Independent Science Fiction and Speculative Culture Newspaper
Alienaward PressBuenos Aires · Independently edited · Weekly columns and dispatches
Alienaward Press is not a platform with an onboarding flow. There is no account to create, no profile to fill in, and nothing to configure before you can read. What follows is simply the order in which the newsroom works, so a first-time reader knows where a piece comes from before it reaches the page.
Contributors send review pitches and essay proposals to the editor, who reads them against what the current issue still needs. A pitch that names a specific book, film, or game and says why it matters now moves faster than a general offer to write about the genre.
Columns, author interviews, convention dispatches, and translation notes are drafted with sources attached. Behind-the-scenes pieces on zine fairs, print runs, and cover art usually need a second pass, because the people doing that work are often mid-production when they talk.
Every piece is edited by a person, and the letters page is read and answered by contributors rather than sorted by software. Corrections sent to the editor are logged and folded back into the text where they belong.
Finished work goes out in the current issue, and the week's material is gathered into the weekly reading selection for readers who prefer a concise overview. Short fiction reprints run alongside the criticism rather than in a separate stream.
The only form on the site lives on the contact page; it confirms technical receipt on a thanks page and does not create an account, a mailing-list record, or a comment thread. Everything else here is reading.
Alienaward Press is not an account-based service and there is no account to create. The value sits in the reporting itself: weekly columns, author interviews, convention dispatches, and short fiction reprints, edited by contributors who read what they publish. Here is what that means if you are opening the paper for the first time.
Long-form reviews and essays on science fiction literature and speculative writing, with room to argue a position instead of summarizing a plot. Translation notes appear alongside the reviews, so you can see what shifted between the Spanish original and the English edition.
Zine fairs, print runs, and cover art decisions get covered as working practice, not as lifestyle content. If you publish or table your own work, the pieces on paper stock, binding, and table organisation are written for you specifically.
Festival runs, repertory screenings, and the slow path a small Argentine production takes toward an audience. We follow the distribution side, because that is where most genre films actually live or die.
Reader mail is selected and answered by contributors, not sorted by a feed. Disagreements about canon, translation, and what counts as science fiction run for months, and that continuity is the point.
Game books that leave geography unfinished, and what that asks of a designer. Useful whether you run games in Buenos Aires or read settings from a distance.
If you want the practical side first, the editorial process explains how a piece moves from pitch to print, and the service list lays out what we publish and how to send a review pitch or a correction.