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Today marks the ten-year anniversary of my writing career, or “content creation” career if you want to put it more broadly. On this day back in 2009, shortly after my 21st birthday, I published my first blog post at my old website In Mala Fide, beginning a (mostly) uninterrupted stream of articles, podcasts, videos, books, and more to the present day.

Five years ago, I published a triumphant post marking that anniversary, egomaniacally taking you through the ups and downs of my oeuvre. I don’t feel like doing that now for a bunch of reasons, chief being that I’m too old to care. The Internet is an ephemeral place, particularly now with the average user’s attention span having contracted to the size of a quark, so it’s a Big Deal for a writer or other content creator to reach the five- or ten-year mark without selling out and/or losing their mind, but why belabor the point? My work stands on its own merits and you can see it for yourself; it doesn’t need me cheerleading for it like a retard in heat.

But the other reason I don’t feel like arrogantly dragging you down Memory Lane is because the world is no longer the bright, sunny place it was for me five, four, or even three years ago. My five-year anniversary occurred during the waning days of the manosphere and the self-improvement circle jerk, when we were all banging edgy Internet nihilism in the main vein. Obama had won two terms, the social justice warriors had won the culture, and there was nothing for us to do but Enjoy the Decline.™ Hell, one week after my five-year anniversary, I was off to the Philippines to live the lecher life on the cheap, like every other digital nomad with an overpriced laptop and The 4-Hour Workweek committed to memory.

But mere weeks afterwards was when all hell broke loose. Zoë Quinn, bearer of the vagina that would launch a thousand flame wars, sparked off GamerGate, the first major blow against the left I’d seen in my lifetime. GamerGate mushroomed into a greater war against cultural leftist hegemony, and then Donald Trump showed up on the scene to further make the world safe for normality. Like everyone with a soul and a set of eyes, I pulled my head out of my ass long enough to join in the struggle to Make America Great Again.

My career, as well as that of every independent content creator, was predicated on the notion that we’d be able to keep making money online forever, that the platforms we used to ply our trade—Twitter, YouTube, Google, PayPal—would be forever available to us. That’s obviously no longer the case, as the edge providers that now hold a monopoly on Internet access have begun removing political dissidents from their spaces.

Everyone with a bit of fame has been hurt in some way by mass censorship, whether it be from mere social media bans to payment processor bans to bans from banks and domain registrar seizures. We keep saying how this aggression will not stand, man, and yet we continue to do nothing about it aside from self-censor out of fear of being evicted from our online fiefdoms. We mewl and whine online about how the God-Emperor won’t do anything for us, the little people who sacrificed everything to put him in office.

I’m hardly an exception to this. I’ve been banned from Twitter, Facebook, and Amazon Associates, I was nearly banned from YouTube, and I’ve also had to remove content from my YouTube channel and other platforms to avoid running afoul of these sites’ increasingly arbitrary terms of service. And yet, despite my hard work in making backups and moderating my language to avoid triggering censorious AI algorithms, I know that Judgment Day is inevitable and all my actions can do is postpone it.

My lack of triumphalism on this ten-year anniversary is also rooted in how online censorship has hurt my bottom line. Hard to believe, but I used to make a comfortable living from selling books, writing blog posts, and penning articles for websites like Return of Kings. But thanks to Google algorithms ruining my search traffic, I don’t even make enough to afford a shithole apartment in the ex-Soviet Union and have to work a day job to make ends meet.

Mind you, I’m not complaining: I’m making a decent living doing stuff that isn’t related to politics. I no longer have to pretend to like Richard Spencer and the other loathsome dipshits I had to clique up with in 2015-2016 in the name of the movement. I’m free to say what I really think about the dissident right, and I’m also free to pursue projects like Terror House Magazine that I’ve wanted to do all my life. In fact, I could theoretically delete my entire Internet presence and vanish into the night; spend the rest of my days working a 9-to-5 and not have to worry about being digitally gulaged for something I said or did years ago.

But at the same time, my ability to make content is diminished. After spending an entire day drawing up Central American travel brochures or crypto investment guides, my energy is too drained to write for this blog, which is why I spend more time doing live streams: they aren’t as taxing. Projects of mine that I’ve wanted to complete for a long time, such as my long-awaited hitchhiking memoir, get pushed into the future as my time is siphoned for more urgent matters.

At the end of the day, however, I know I’m not going anywhere. My writing career is Lindy, and I know that even if I were to try and ghost you all, I’d be back before long. The compulsion that led me to embark on this career-destroying journey ten years ago will carry me through to the point where I’m either dead or have been silenced via the Mark of the Beast. Writing isn’t a job; it’s a mental illness.

I can also take satisfaction that I’ve outlasted countless frauds like Spencer, Mike Enoch, Jim Goad, and other failures who’ve tried to bring me down. I never thought of my thick-skinned nature as being that special, with everyone from John Steele to Blonde in the Belly of the Beast commenting on my fearlessness, but in a world where people fly off the handle at the slightest criticism, I guess I really don’t give a fuck. I may not be rich or mega-popular, but I have one thing my enemies will never have: integrity.

I’d like to thank everyone who continues to read and enjoy my work. While I’m nowhere near as popular as I was 3-4 years ago, I’m happy that I have a core audience that gets value out of what I put out in the world, enough so that I can make some money doing it. It’s especially humbling that I have people who’ve been reading my work for close to a decade.

I’d say I’m in this for the long haul, but you already know that I am.

Read Next: Five Years Long, Five Years Strong

As most of you already know, I have been banned from Twitter, Facebook, and other mainstream social media platforms. I’ve also been skeptical of “alt-tech” platforms ever since the collapse of Gab last year. Ever since I closed my Gab, Instagram, and VK accounts, the only places where you can hear from me are my blog, my Discord server, my video and streaming channels (YouTube, Twitch, DLive, BitChute), my podcast channels (Anchor and the various sites it feeds my podcasts to), and my email newsletter.

Telegram is a messaging service similar to WhatsApp or iMessage that allows you to send texts and make calls to other people. Unlike those services, it places a premium on security, with encrypted messaging functions and more, and its owners have specifically refused to turn over their users’ encryption keys to world governments. Telegram also has a “channel” feature that functions similarly to Twitter, allowing users to broadcast posts, images, and videos to anyone who follows. Many popular right-wingers, such as Laura Loomer, Martina Markota, Roosh, and Nick Fuentes now have their own Telegram channels.

I’ve decided to follow suit: you can find my Telegram channel here. I’ll be using it to publish short posts akin to Twitter as well as keep you all updated on my projects. You can get Telegram by clicking here; it’s available for desktop computers as well as Android and Apple devices. Hope to see you over there.

This is a guest post by Reagan Cox.

It’s time for another contest in the House of Terror. Shake that 300 mg caffeine haze out of your dopey head; we want you focused for this one, champ! Or potential champ. In this contest, there is one grand champion who will win $20. Get out there and see how many feet pics you can rustle up for that, sport. Second and third place will get $10, taking a significantly smaller portion of the feet. Fourth and fifth get $5. At the current rate of feet inflation, you’d be lucky to get a toe. This is the only contest that can bestow the title “Feet Pic King of the Literary Underground.” All that we ask for this glorious title is that you write the best pulp story.

What is a pulp story? Named for the paper they were printed on, “pulps” were cheap literature magazines, often read by the working class, in early 20th century America. The Argosy pioneered the form beginning in 1896. They published all genres of fiction for readers of all stripes: love and war, crime and science fiction, westerns and fantasy. This is where America’s countercultural obsession began.

In the 1920’s, the movement picked up steam with pulps like Black Mask publishing classic American crime novels that are still read today, like Dashiell Hammett’s Maltese Falcon. Weird Tales published works by H.P. Lovecraft that captured the public imagination. Many working class women of the ’20s read the short tales in Love Story.

After World War II, the pulp magazine fell out of style and was usurped by paperback novels and comic books, but the pulp soul lived on through these. Its genre and story forms can be seen everywhere in American culture from then to today: Hollywood cinema, TV, video games, science fiction novels, the list goes on. Hemingway may have used pulps as inspiration in forming his populist style. They are a part of the American creative spirit and we want to enter the arena.

Send us pieces in a genre style. Horror, Western, science fiction, crime, romance: all are welcome. It would behoove you to mix them up into something unique that other writers wouldn’t send us. That’s what we’re looking for most of all: unique takes on these established American genres.

Let me narrow it down for you with a handy list of dos and don’ts. Do:

• See Town, Paul. “Gore is so Passé.”
• Think Conan, not Tolkien.
• Try to write in a genre or style that is unique.
• Blend genres as you need
• But make it genre fiction, please!

Don’t:

• Try and do the hard-boiled detective voice. It’s played out.
• Be boring and pretentious. We want genre fiction with teeth and rhythm.
• Be afraid to email or DM us on Twitter to work out an idea. We can also get an idea of what genres people are writing in that way.
• Try to usurp my cyberpunk crown, because I will strike thee down.

Here are the rules:

1. Write a pulp short story or literary nonfiction piece. Your piece must conform to both the theme and our preexisting submission guidelines (found here). No other types of submissions (poetry, photography/artwork, serialized works etc.) are eligible.
2. Submit your work via email at submissions [at] terrorhousemag [dot] com or via Twitter direct message at @terrorhousemag. If submitting via email, please use the subject line “Pulp Submission Contest”; if submitting via Twitter, state in your message that the submission is for the Pulp Submission Contest. Failure to do so may lead to your submission being disqualified.
3. The deadline for submissions is Wednesday, July 17 at 2PM Eastern (1PM Central/11AM Pacific/7PM WEST/8PM CEST).
4. Winners will be announced on Monday, July 22. The first-place winner will receive a $20 prize, the second- and third-place winners will receive $10 each, and the fourth- and fifth-place winners will receive $5 each. These prizes are separate from our $10 Best of the Month prize.
5. The winning submissions will be published from July 29-August 2. We may also publish some runners-up on August 3 and 4, but this is not guaranteed.

If you have questions about the Pulp Submission Contest, feel free to contact the editors: our email addresses and Twitter handles can be found on the About page here. Good luck!

Cross-posted at Terror House Magazine.

As Terror House Magazine nears the one-year anniversary of when it was untimely ripped from the womb, we’ve decided to step our game up a bit. In the time since our founding, we’ve grown exponentially, angering both the Puritanical, gender-neutral clods of #saferLIT and the disruptive federal agents of wignatdom, with our readership exploding, our book publishing division under development, and our submission queue growing like a teenager’s erection in the morning breeze. We’ve seen the departure of Calvin Westra as Editor-at-Large and his replacement with up-and-coming writers Reagan Cox and Dione, and with new blood comes new ideas.

As Senior Editor Glahn and others have lamented, outsider literature is too often synonymous with sexual and moral depravity. There’s nothing wrong with titties or violence—good art is defined by its willingness to probe aspects of the human experience that no one else will touch—but at the same time, writers don’t need to pour buckets of blood and/or semen onto their manuscripts to make them good.

With Easter around the corner, Terror House has decided to launch an Easter Submission Contest. Here are the rules:

1. Write a short story or literary nonfiction piece on the theme of finding God, celebrating Easter, and/or religiosity/spirituality in general. Your piece must conform to both the theme and our preexisting submission guidelines (found here). No other types of submissions (poetry, photography/artwork, serialized works etc.) are eligible.
2. Submit your work via email at submissions [at] terrorhousemag [dot] com or via Twitter direct message at @terrorhousemag. If submitting via email, please use the subject line “Easter Submission Contest”; if submitting via Twitter, state in your message that the submission is for the Easter Submission Contest. Failure to do so may lead to your submission being disqualified.
3. The deadline for submissions is Friday, April 12 at 2PM Eastern (1PM Central/11AM Pacific/7PM WEST/8PM CEST).
4. Winners will be announced on Monday, April 15. The first-place winner will receive a $20 prize, while the runners-up will receive $5 each. These prizes are separate from our $10 Best of the Month prize.
5. The winning submissions will be published from April 17-19. Submissions that do not win first, second, or third place will not be published.

If you have questions about the Easter Submission Contest, feel free to contact the editors: our email addresses and Twitter handles can be found on the About page here. Good luck!

This article was originally published at Terror House Magazine on March 11, 2019.

For the past six years, I’ve used a service called Pingler to increase search traffic to my blog, YouTube channel, and other online properties. Pingler automatically pings websites to Google and other search engines on regular intervals, meaning that they rise in the rankings faster and new content on them gets disseminated more rapidly.

I recently upgraded to a Pingler plan that allows me to ping my websites every day (as opposed to the standard three days), as well as increasing the number of websites I can have on my account. I don’t have nearly enough websites to fill up my URL allotment, so I’m offering to ping your website(s) on my account for the rate of $5 per year.

The reason I’m offering this service is because it’s far cheaper for the average person to purchase from me than from Pingler. The plan I’m using costs over $10 a month, and if you only have one or two URLs, why pay $120 a year for something you’ll barely use? In contrast, for $5 a year, I will add your URL(s) to my account and you can sit back and enjoy the boost in your search traffic.

Additionally, you can use Pingler to increase search traffic to any web property you want. A blog, a YouTube channel, a Twitter account, an individual YouTube video or article: all of it can benefit from being pinged every day. Pinging is an easy, effortless way to increase search traffic on whatever you desire.

If you’re interested in taking advantage of my pinging service, click here to email me and use subject line “Pinging Service.” Individual URLs are $5 per year, and if you have five or more URLs, the rate is $4 for each (i.e. you’ll pay $20 instead of $25). I only have a limited number of slots available, so contact me soon.

For the past four years, the Matt Forney Show—as well as the MP3 downloads of Matt Forney Live—have been hosted on SoundCloud. I transitioned to hosting the show on SoundCloud after originally using my own site in order to expand its reach as well as make it easier to get the show onto the iTunes Store and other platforms.

However, SoundCloud has been aggressively deplatforming right-wing users for the past two years. Numerous podcasters on the site, from Red Ice to Roosh, have either been heavily censored or banned outright. This is even more galling when you consider that SoundCloud is a paid platform: despite charging podcast hosts $13 a month to upload their shows, the site arbitrarily bans users without refunds or recourse.

While I haven’t been persecuted by SoundCloud that much compared to others—I’ve only had one of my podcasts banned so far—I know it’s only a matter of time.

Because of this, I’ve moved The Matt Forney Show to Anchor, a new podcast platform that has a superior set of features and is less censorious. As of this writing, all of my old podcasts have been removed from SoundCloud (since I need to pay a monthly subscription to keep them up), and old and future episodes of the show will exclusively be published on Anchor. I recorded a short podcast explaining the move:

If you followed The Matt Forney Show or listened to the MP3 downloads of Matt Forney Live via SoundCloud, you’ll need to subscribe to the Anchor page here in order to keep listening. If you’re subscribed to the show via the RSS feed or an external app such as the iTunes Store, you don’t need to make any changes.

Thanks to those of you who have listened to The Matt Forney Show and Matt Forney Live all these years, and stay tuned, because the show will go on.

While I ordinarily do a year-end roundup of my favorite blog posts, articles, podcasts, and other things I’ve done, because I’ve shifted into working as a publisher and live stream host, I no longer write as much as I used to. Much of my energy has been focused on building up Terror House Magazine and Terror House Press, turning them into the premier hubs for outsider literature.

Since we launched in May, Terror House Magazine has published over 350 submissions from over 150 different writers, spanning short stories, literary nonfiction, poetry, reviews, and serialized novellas. Our traffic has continued to grow, with December falling a hair short of being our best month yet. We’ve been attacked by both the far-left and the neo-Nazi right, with the clods of #saferLIT trying to blackball our writers and famous right-wing personalities like Richard Spencer and J.F. Gariépy crying about us on their shows.

My co-editor Glahn has published an article today featuring his favorite Terror House submissions over the past year, and I present my favorite picks below. Note that I deliberately avoided choosing submissions that he also picked, since our tastes overlap on many of them, instead choosing to highlight several favorites of my own. Additionally, both Glahn’s list and mine exclude submissions that won Terror House’s Best of the Month Award, which you can find here.

Blood Knot by Jose Oseguera

I’m not really big on erotica; my one foray into writing it was as part of an aborted trolling campaign. For that matter, I don’t even really like gratuitous sex in writing period. Dangerous Days, a documentary about the making of Blade Runner, features an extended cut of the scene where Harrison Ford and Sean Young make out where she gets topless, with Ridley Scott explaining that he didn’t put it in the final cut because he views sex scenes as unnecessary unless they drive the plot forward in some fashion.

Blood Knot is a perfect example of a book where gratuitous sex isn’t just welcome, it’s necessary. A Story of O-esque novella about a relationship between a young man and an older woman, Oseguera’s graphic prose goes from sexy to sickening when layered with context. Blood Knot is a story about abuse, showing how the sins and scars of one person are transmuted to the next generation, knowingly or unknowingly.

“You Have a Mushroom Infection” by John Grauerholz

John Grauerholz, aka Mr. Mean-Spirited, is a writer I’ve followed for years, his cutting wit and ebullient misanthropy a welcome reprieve from the clap-happy self-empowerment talk common in this corner of the Internet. In this nonfiction story, he details a horrific case of jock itch he contracted while visiting Tijuana and the even more horrific doctor’s visit he endured afterwards.

“Bubblegum Cigarettes” by Matthew Brockmeyer

Set in the 1970’s, “Bubblegum Cigarettes” is the story of a young girl who runs away from her abusive parents. It’s full of wonderful quips and lines (e.g. “You don’t even know how to finger-fuck! You couldn’t even find my secret spot!”) and has a bleak, comic atmosphere.

“White Dwarf” by Glahn

If it weren’t for the fact that Terror House’s editors don’t give awards to themselves, “White Dwarf” would have been a strong contender for July’s Best of the Month Award. It’s a rarity in modern literature: a short story with a cartoony premise that is written so well it’s impossible not to take seriously.

“White Dwarf” follows the adventures of its titular character Milky, a slave owned by the black man Theo, who enjoys tormenting him in between having fun with the PAWGs chained up in his basement. It’s dark, funny, and after you read it, you’ll never look at jujubes the same way again.

“Food for Thought” by Anagha Subhash

As Glahn points out in his best-of list, one issue with outsider writers is that they tend towards depravity. I love reading about venereal diseases and white dwarves getting the shit kicked out of them as much as the next man, but it does get tiring after a while.

“Food for Thought” is a significant departure from Terror House’s usual fare: a story about one girl’s favorite dish. I’ve said for years that a talented writer can talk about the dumbest shit imaginable and still make it entertaining, and Anagha Subhash’s essay is proof of that: after reading it, I was craving a fatayer so badly that I went down to the only Lebanese restaurant in Budapest to get one.

“Was Her Resting?” by Kirk Forlatt

Terror House has published a few Southern Gothic pieces, but this is by far my favorite. The tale of an old man, his dog, and some robbers, I challenge you to not shed a tear at the ending. Forlatt’s sparse prose and attention to detail sell the story.

“Fetish” by Benjamin Welton

Benjamin Welton specializes in contemporary horror stories that take advantage of “negative space,” allowing readers to fill in the blanks and speculate about the motives and fates of his characters. “Fetish” is my personal favorite of his work so far, focusing on a trophy wife, her husband’s foot fetish, and her paranoia over his potential cheating.

“Helené Brooks” by Edward Shaw

Edward Shaw is another regular writer at Terror House, penning stories known for their sudden twists and surreal atmospheres. This story, about a young man searching for a present for his girlfriend in 1950’s San Francisco and his run-in with a sultry older woman, is my personal favorite of his.

“Sugar-Plum Fearless” by Soren James

I’m not even sure what the fuck this story is supposed to be, other than that I like it. It starts with a private eye pissing his pants because he’s too senile to remember how to unzip, then he has a philosophical discussion with a dwarf while he chops up the corpse of a tranny hooker in his bathtub. Seriously, read it.

NEET by Calvin Westra

I’ve been friends with Calvin for years and in that time, I’ve watched him mature into one of the best writers of our generation. NEET, an eight-part novella about a jobless junkie who gets bullied by a monster made out of cans, is his best work to date. Calvin has truly mastered the art of doing less with more, as he effortlessly narrates the life of Ben and how he is ridiculed by his dealer, patronized by his mother, and mocked by the can monster.

“If You Love Something” by Brian Eckert

Brian Eckert holds the distinctions of being the first writer to submit to Terror House and the first winner of our Best of the Month Award. “If You Love Something” is his most recent story for us and one of his best, a moving tale about a loveless nerd who makes his fantasies into reality, in a similar fashion as Jimmy Stewart’s character in Vertigo. In contrast to the black comedy of “Standing Arrow Straight” and the surreal “Nagasaki Boy,” “If You Love Something” is almost tender, a love story for a world in which God is dead.

“Last Days and Testament” by Nick Willis

“Last Days and Testament” is a story about the archetypal modern man: a man with no family, no friends, no love life, no fulfilling job, and nothing to live for aside from jerking off. It’s a common story, one that we’ve heard before, but Willis narrates it with humor and clarity.

“Self-Destruction” by Ikhnaton Skypeople

I’ve made it clear in the past that I don’t care for most women writers, particularly young women: their lack of life experience and narcissism is unbearable. However, good women writers have one thing on men: they’re much better at capturing emotion itself, the swirling maelstrom of hormones and hindbrain impulses that afflict all humans but which men are less capable of understanding.

“Self-Destruction” is the kind of work that only a woman could have written. A patchwork tale of one woman’s descent into alcoholism and ruin, “Self-Destruction” is told through a combination of first-person accounts, emails, and MySpace postings, detailing the unraveling of Allie’s life in graphic, unflinching detail.

“Conjugal Bloodbath” by Bronze Age Chad

One of the secrets of Terror House’s success is that we’re not pretentious. We’ll publish traditional-style fiction and poetry, but we’ll also publish works that no other literary magazine would touch…such as a story depicting Richard Spencer and James Fields as prison lovers. Published shortly after Fields’ murder conviction, “Conjugal Bloodbath” is a stinging satire of the alt-right.

“Win” by the Juju Writers’ Collective

Last month, as an experiment, Glahn created an open-access Google Document, inviting anyone and everyone to collectively write a short story. “Win” is the result: a story about an Indian chief shitting into an octoroon’s mouth, then raping him so hard that his intestines prolapse. Depending on your perspective, it’s either the best thing ever or the worst thing ever.

I’d like to thank not only those of you who have read and supported Terror House Magazine since its inception, but those of you who’ve followed my own work over the years. Stay tuned, because 2019 is going to be the biggest year yet.

Terror House Magazine is nearing its seven-month anniversary and is continuing to light the literary world on fire. Our enemies’ attempts to shut us down have backfired hilariously, with our traffic growing exponentially since September; it’s no exaggeration to say that we’re one of the most-read literary magazines in the world. Submissions continue to flow in at a steady pace, to the point where we’re now scheduling into the new year. Most importantly, Terror House Press will be launching in the near future.

That’s where you come in.

We know how popular and beloved Terror House is—our stats don’t lie—but we want to know what you think. We want to know what you like about our site, what you want to see more (or less) of, and how we can improve. We also want your thoughts on the forthcoming Terror House Press.

Because of this, we’ve prepared a short reader survey that you can access by clicking here. It’ll take you less than ten minutes to fill out and is totally anonymous. Your answers will help shape the direction of Terror House Magazine and Terror House Press.

You have one week—until December 10 at 3PM Eastern—to fill out the survey. We will collect your answers and discuss them in a post next week.

Thanks for taking the time to fill out our survey, and a special thanks to you for reading our site. Terror House Magazine has succeeded beyond our wildest dreams, and with your input, we hope to make it even better.

Cross-posted at Terror House Magazine.

As I announced two weeks ago, Terror House Magazine will soon be expanding into Terror House Press, with Andy Nowicki’s novel Heart Killer as one of our first products. I’m hard at work getting that ready as well as dealing with other issues in my personal life, so for now, here are the ten best submissions that Terror House has published in the past month:

1. “The Last Will and Testament of Philip Alan Dennison“: A short story by Benjamin Welton about a man’s posthumous murder confession.
2. “The Damned Beautiful“: A dystopian short story by T.J. Martinell about a world in which beautiful women are forced to wear burkas in order to avoid offending fat and ugly women.
3. “Was Her Resting?“: A tragic short story by Kirk Forlatt about a man, his dog, and a robbery.
4. “Hostess Cherry Pies“: A comic short story by Pete Able about a man’s struggle with alcohol and heroin addiction in Philadelphia.
5. “Frank and Liz“: A short story by A.R. Bender about a man who falls in love with a manipulative woman and loses everything he has in the process.
6. “Fetish“: A short story by Benjamin Welton about a woman’s attempt to cope with her husband’s disgusting sexual fetish.
7. “Helené Brooks“: A short story by Edward Shaw about a young man in 1950’s San Francisco and his run-in with a mysterious older woman.
8. “Sugar-Plum Fearless“: A comic short story by Soren James about a detective, his dwarf neighbor, and a dead transsexual hooker.
9. “Letters from a Heartbroken Pervert: Fucking Angela Merkel, Considered“: In this installment from Letters from a Heartbroken Pervert, Nameless Writer relays the results of an experiment designed to test Angela Merkel’s attractiveness.
10. “NEET, Part 1“: The first part of Terror House Editor-at-Large Calvin Westra’s novella NEET, about an unemployed young man who is mercilessly bullied by a monster made out of cans.

In addition, be sure to check out Gregory Yelnish’s “The Elves and the Witch” and Daniel Hammarberg’s “Alcohol Drought,” the winners of our Best of the Month Awards for July and August 2018, respectively.

If you’re not already following Terror House Magazine, you can visit the site here, follow us on Twitter here, and subscribe to our YouTube channel here. Stay tuned for more news soon.

It’s not a secret that in the past few months, I’ve been devoting more time to my YouTube channel. This is for several reasons. The first is that I’ve been trying to complete several writing projects, leaving me less time to write on my blog or for other sites, meaning I need to provide regular content in other ways. Doing live streams and podcasts allows me to get my thoughts out and entertain you all without compromising the quality of my writing.

The second is that I’ve neglected my YouTube channel for years and I’ve been trying to build up a larger presence there with more consistent content. I’m nearing 3,000 YouTube subscribers and am hoping to get to 5,000 before the end of the year.

The third is that producing YouTube videos has become much easier due to the rising popularity of live streaming. Due to a combination of censorship and changing audience preferences, live streams have supplanted prerecorded videos as the most popular type of content on YouTube. This benefits me because I no longer have to own a camera or use editing software in order to post YouTube videos, two things that have kept me from making videos as often as I would like. The Super Chat system, which allows users to pay money to have their chat comments featured on a live stream, has also made streaming a lucrative enterprise for talented hosts.

Live streams are essentially live podcasts, featuring a dynamism and level of interactivity that podcasts lack. With my live streams Matt Forney Live and Matt Forney Live: Arcade, I can not only talk about the news and entertain you all, you can interact while the show is going on through chat comments, Super Chat, Streamlabs tips, and calling in via my Discord server. This is in large part why I’ve switched to doing live streams primarily instead of prerecorded podcasts like the Matt Forney Show (though I won’t rule out going back to that show in the future).

At the moment, Matt Forney Live airs Tuesdays and Thursdays at 5PM Eastern (4PM Central/2PM Pacific). In addition to that show, I host other streams throughout the week, including Matt Forney Live: Arcade, a series where I stream various video games. I’ve completed stream series on several games so far, from new ones such as Super Seducer to classics such as Deus Ex, Max Payne, and Star Wars: Shadows of the Empire.

I don’t post most of my streams on this blog (or I only post them after they’re over), so in order to watch them live, you’ll have to subscribe to my YouTube channel by clicking here. Be sure to click the bell icon after subscribing to ensure you get push notifications for all my YouTube streams and uploads (YouTube has been censoring right-wing users by keeping their subscribers from being notified of new videos and streams). You can see my live channel (where my latest live stream is always posted/streamed) by clicking here.

In addition to YouTube, I’ve also been simulcasting my streams on Twitch, and you can subscribe to my Twitch channel here. However, Twitch has more stringent censorship than YouTube and it also has a limited capacity for saving recordings (past streams are only kept for two weeks before being deleted), while YouTube allows me to keep past recordings of streams up in perpetuity.

I appreciate your support and readership over the years and I hope you’ll join me over on YouTube and Twitch. MattForney.com will remain online and I will continue to update it, though new articles will come at a slower rate as I focus on other projects.