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Max Barry (born 18 March 1973) is an Australian author.[3] He also maintains a blog on various topics, including politics. When he published his first novel, Syrup, he spelled his name "Maxx", but subsequently has used "Max".[4]

Key Information

Barry is also the creator of NationStates, an online game created to help advertise Jennifer Government that eventually evolved into its own online community. He is the owner of the website "Tales of Corporate Oppression". He lives in Melbourne with his wife and daughters and worked as a marketer for Hewlett-Packard before he became a novelist.

In early 2004, Barry converted his web site to a blog and began regularly posting to it. In the November 2004 issue of the magazine Fast Company the novel Company was ranked at number 8 on a list of the top 100 "people, ideas, and trends that will change how we work and live in 2005".[5] Barry wrote the screenplay for Syrup, which was released in theatres on 7 June 2013. Universal Pictures has acquired screen rights to Company, which will be adapted by Steve Pink. Jennifer Government was optioned by Steven Soderbergh and George Clooney's now defunct Section Eight Productions. His novel Machine Man initially was an online serial, but has since been updated and published in 2011 by Vintage Books. The film rights have been picked up by Mandalay Pictures.[6]

Bibliography

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References

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Max Barry

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from Grokipedia
Max Barry (born 18 March 1973) is an Australian novelist whose works frequently employ to dissect corporate structures, consumerist excesses, and the societal impacts of . He has published seven novels, beginning with Syrup in 1999, a debut that lampoons the industry through the story of a young entrepreneur pitching a brand, and continuing with titles such as (2003), which depicts a hyper-capitalist world where personal names reflect and overrides ; (2006), exposing bureaucratic absurdities in office environments; Machine Man (2011), probing human augmentation via cybernetic enhancements; (2013), a thriller involving words as weapons of persuasion; Providence (2020), centered on AI-driven interstellar defense; and The 22 Murders of Madison May (2021), intertwining parallel realities and . Barry resides in , where he writes full-time alongside developing digital projects. In addition to his literary output, he created in 2002, an influential browser-based game simulating nation governance that has engaged millions and served as a promotional tool for his early books. His narrative style, characterized by sharp wit and speculative elements, has garnered a dedicated readership without major literary awards, emphasizing accessible critiques over institutional acclaim.

Early Life and Background

Childhood and Education

Max Barry was born on March 18, 1973, in , Victoria, . He grew up in Stratford, a small rural town in the region of Victoria, characterized by a sparse population and agricultural surroundings, with approximately ten cows per human resident. Public details regarding Barry's family background and formal schooling remain limited, with no verified records of specific primary or secondary institutions attended. During his formative years, he developed an interest in personal computing, frequently playing , which later influenced his creative pursuits in game development. No confirmed higher education qualifications are documented, though his subsequent entry into roles implies practical training or self-directed skills in business-related fields.

Early Influences

Barry grew up in Stratford, a rural town in Victoria's region, characterized by sparse population and a ratio of approximately ten cows per human, fostering an isolated environment during his childhood in the and . This setting exposed him to limited local media but increasing access to American-dominated entertainment, which he later critiqued as eroding distinct Australian cultural identity amid the 90% prevalence of U.S. films and music in the and 1990s. Concurrently, personal engagement with during this period ignited an early creative impulse to produce interactive digital experiences, paralleling the motivation derived from reading to author narratives. Attending Gippsland Grammar School, Barry began experimenting with writing in high school, crafting short stories centered on classmates—often involving gruesome deaths—to garner peer attention, a practice that marked his initial foray into provocative fiction. This satirical-horror bent drew heavily from Stephen King's works, which profoundly shaped his formative years by demonstrating the appeal of blending everyday settings with exaggerated peril and social commentary. Complementing this, exposure to classic , particularly K. Dick's explorations of perception versus , cultivated a foundational interest in speculative distortions of societal norms, influencing his later thematic preoccupations without direct corporate immersion at the time. Pursuing a degree at in the early-to-mid 1990s, Barry encountered theoretical frameworks of consumer manipulation and corporate strategy amid Australia's neoliberal economic shifts, including and under the Hawke-Keating governments from onward, which amplified global market influences on local industries. These academic encounters provided conceptual seeds for dissecting capitalism's absurdities, as 's reliance on subverting consumer assumptions—rather than overt deception—highlighted inherent systemic contradictions ripe for , distinct from later practical applications. Such pre-professional insights, unromanticized by real-world implementation, underscored causal pathways from educational critique to a skeptical of unchecked corporate rationales, predating hands-on .

Professional Career

Marketing and Initial Employment

Prior to his writing career, Max Barry worked in sales and for (HP) in , , focusing on high-end computer systems. His tenure lasted approximately two and a half years in the late , during which he engaged in promoting enterprise-level hardware solutions to corporate clients. This role required developing persuasive communication skills and navigating bureaucratic corporate environments, experiences that later informed the satirical elements in his fiction drawn from observed absurdities such as internal politics and inefficiency. While employed at HP, Barry covertly drafted his debut novel (published 1999) during lunch breaks, allocating his one-hour window to both eating and writing under the guise of routine office duties. He described this period as one where he "pretended to sell" systems, prioritizing manuscript development over full immersion in targets. These firsthand encounters with tactics and corporate hierarchies provided causal material for his critiques of and business practices, without which his early works lacked authentic detail. In 1999, Barry left HP to pursue writing full-time, leveraging his acquired tech sales acumen—which included familiarity with scalable systems and user engagement strategies—to support subsequent online projects like . This transition marked the end of his initial professional employment, shifting focus from hardware promotion to creative output grounded in those corporate insights.

Transition to Writing

While employed as a representative at , Barry composed his debut novel during lunch breaks and other limited personal time, completing the manuscript amid the demands of corporate sales targets. The work faced approximately 20 rejections from publishers before securing literary agency representation, which subsequently sparked a bidding war among houses, leading to its acquisition by Viking for publication in July 1999. This sequence underscored the precarious nature of breaking into traditional publishing, where initial setbacks tested persistence without guaranteed outcomes. In a bold move reflective of early ambition, Barry resigned from his stable position at at age 25 in 1998, prior to Syrup's confirmed sale, wagering that authorship could sustain him despite lacking assured income or prior sales track record. This decision entailed significant financial vulnerability, as he relinquished a reliable tech sector salary to focus exclusively on writing, a path fraught with potential for prolonged instability in an industry where debut success rates remain low. The 1999 release of , which satirized marketing tactics drawn from Barry's professional observations, marked the pivotal validation of his pivot, generating sufficient advances and sales to enable full-time dedication to novels without reverting to corporate employment. Subsequent works, including in 2003, built on this foundation, but the initial transition hinged on Syrup's unforeseen commercial traction amid the risks of forgoing steady pay. No early film adaptations materialized during this phase, though rejections had earlier highlighted the iterative hurdles in securing validation.

Literary Works

Debut and Early Novels

Barry's debut novel, , was published in 1999 by Doubleday in hardcover, with a paperback edition following from in 2000. The story centers on Scat, a young marketer who invents a revolutionary called Fukk and pitches it to corporate executives amid cutthroat competition, sexual intrigue, and branding battles in the advertising world. Written at age 23 during lunch breaks from a sales position, the novel drew from Barry's observations of consumer product marketing but achieved limited initial commercial success despite its satirical edge on corporate ambition. It was later adapted into a 2013 directed by Aram Rappaport, starring as the lead marketer, with a limited theatrical and video-on-demand release. In 2003, Barry released Jennifer Government, published by Doubleday, which portrays a near-future where governments have withered under corporate dominance, taxation is absent, and citizens adopt their employers' names as surnames—such as protagonists John Nike and , a tenacious federal agent. The plot revolves around a Nike executive's scheme to boost sales through orchestrated teen murders, sparking a chain of assassinations, alliances, and chases across a privatized . Inspired by extreme libertarian ideologies Barry deemed implausible, the critiques unchecked through episodic chapters named after corporations involved. It garnered attention for its fast-paced, darkly comedic narrative and has since been used in high school curricula for discussions on and . Barry's third novel, , appeared in 2006 from Doubleday, following recent graduate Stephen Jones into the enigmatic Zephyr Holdings, a sprawling firm whose purpose remains elusive to employees, who endure pointless meetings, , and tests under unseen . The narrative exposes the absurdities of corporate and bureaucracy, including inter-departmental rivalries and enforced team-building rituals that escalate to potential violence. Informed by Barry's prior role selling systems, where he observed opaque office dynamics, the book received praise for its Dilbert-like humor on workplace dehumanization, with describing it as a "hilarious" depiction of drudgery.

Later Novels and Themes

Machine Man (2011), initially serialized online from 2009 with daily one-page installments on Barry's website, explores cybernetic enhancement through protagonist Charles Neumann, a engineer who loses a leg in an accident and replaces it with a superior prosthetic, escalating to full-body augmentation. The novel satirizes transhumanist pursuits, portraying augmentation as both an engineering triumph enabling superior performance and a vector for corporate , where human bodies become prototypes for profit-driven experimentation. In (2013), Barry examines linguistic manipulation as a form of technological control, depicting a clandestine training "poets" to wield words that compel obedience, akin to psychological weapons derived from rhetorical precision and behavioral conditioning. The contrasts the of language-based —rooted in empirical patterns of —with its dystopian by elites, highlighting causal chains where verbal mastery bypasses consent to enforce hierarchical power structures. Providence (2020) delves into aboard an AI-piloted warship alien threats, where human crew members serve primarily as expendable publicity tools for interstellar defense initiatives. The plot underscores AI's predictive superiority in —leveraging models for flawless tactics—against its ethical blind spots, such as indifference to human values, revealing tensions between and the unpredictable frailties of biological decision-making. The 22 Murders of Madison May (2021) employs mechanics to track a killer traversing parallel realities in obsessive pursuit of his victim, with journalist Felicity Staples navigating timeline shifts to intervene. This framework probes quantum-inspired divergences from minor choices, illustrating how infinitesimal causal variances amplify into divergent societal outcomes, while critiquing unchecked personal agency amid infinite alternatives. Across these works, Barry recurrently dissects technology's dual causality in society: augmenting human capabilities through market-driven innovation, as in cybernetic upgrades yielding tangible performance gains, yet fostering excesses like dehumanizing commodification and unaccountable control systems. His speculative dystopias, while innovative in delivery—exemplified by Machine Man's serialization fostering direct reader engagement—draw criticism for overemphasizing tech-induced perils at the expense of balanced portrayals of adaptive efficiencies, potentially amplifying narrative pessimism over empirical variances in technological deployment. Power dynamics emerge as a core motif, with tools like AI or rhetoric enabling elite dominance, reflecting realist assessments of incentives where unchecked advancement prioritizes efficacy over equity.

Short Stories and Essays

Barry has published a number of short stories, often made available for free on his official website under a Creative Commons license. "A Shade Less Perfect" (May 2005, approximately 3,000 words) depicts the subtle rivalries among new parents comparing their infants' attributes, with an audio adaptation produced by ABC National Radio featuring narration by Adrian Mulraney. "How I Met My Daughter" (December 2007) appeared originally in The Bulletin and examines a father's unconventional path to parenthood, distributed as a PDF on Barry's site. "Short Story About a Guy Who Rents a Baby," initiated on August 22, 2009, follows a protagonist testing parenthood through a rental service, reflecting Barry's experimental approach to fiction. More recently, "It Came From Cruden Farm" (2020, 6,000 words) portrays a U.S. president's discovery of a long-concealed alien entity held by the military, first published by Slate and later adapted into a television project. In addition to fiction, Barry has authored essays focused on the craft of writing and publishing, compiled on his website to assist emerging writers. These include practical guides such as "Getting Published," which contrasts submission processes in U.S. and Australian markets and recommends researching agents via resources like Noah Lukeman's query guide; "The Query Letter," advocating concise pitches with genre hooks and bio details; and "The Synopsis," emphasizing 500-word overviews that reveal plot resolutions to demonstrate narrative competence. "The Syrup Experience" recounts Barry's persistence in querying 30 agents for his debut novel, resulting in one acceptance after rejections, underscoring the value of online workshops for feedback. Another essay, "Risk," commissioned by , delves into uncertainties inherent in creative endeavors. These pieces prioritize actionable strategies over theoretical discourse, drawing from Barry's direct experiences in the industry.

NationStates and Online Ventures

Creation and Gameplay

NationStates was developed by Australian author Max Barry and launched on November 12, 2002, as a free browser-based simulation game designed to promote his novel , which he feared might commercially underperform like his debut . Barry coded the game himself using skills self-taught from a book on , initially sharing it privately with friends before making it publicly available. The project drew from the novel's themes of corporatized and extreme , presenting a satirical take on nation-building and policy-making. Core gameplay centers on players creating a custom nation by selecting a name, national animal, , and initial civil rights level, after which they manage it through responses to procedurally generated "issues"—hypothetical dilemmas requiring policy choices on topics like , , and . Each decision impacts quantifiable statistics such as political freedoms, , and economic strength, which in turn determine the nation's quadrant-based classification (e.g., "Civil Rights Lovefest" or "Iron Fist Consumerists") and overall ranking in a simulated framework. Issues arrive at timed intervals, typically up to three per day, with outcomes often featuring hyperbolic, satirical descriptions of real-world policy effects, such as skyrocketing crime from lax laws or economic booms from . The game's 2002-era technology stack, built on basic and , enabled simple, text-driven interactions without requiring downloads or payments, facilitating rapid initial adoption. Following launch, NationStates spread organically via word-of-mouth and early media coverage, including a New York Times feature on January 16, 2003, which highlighted its addictive quality and growing player base experimenting with extreme models. By early 2003, it had evolved beyond promotion into a self-sustaining , though exact initial user figures remain undocumented in primary sources.

Development and Maintenance

Since its launch on November 12, 2002, NationStates has undergone periodic technical updates managed directly by Max Barry, focusing on gameplay mechanics, issue resolutions, and feature refinements to address evolving user needs and server performance. Examples include enhancements to World Census calculations in December 2016 for improved nation rankings and a May 2023 revision to censorship metrics for more accurate tracking of personal freedoms. More recent efforts, such as a July 2025 working paper outlining General Assembly reforms, demonstrate ongoing iteration on legislative simulation tools after nearly two decades of operation. To support automation and reduce direct server strain from user scripts, the platform introduced an (API) that provides structured data access for bots and external tools, outperforming traditional parsing in efficiency. Community developers have leveraged this API to create utilities like card-junking scripts and region management aids, subject to rate limits and moderator-approved keys to prevent abuse. These third-party extensions extend functionality without core code modifications, as Barry has declined open-sourcing requests to maintain control over competitive advantages. Sustainability challenges include handling computational demands from a user base that generated over eight million nations by 2022, with Barry personally overseeing updates amid forum-reported bugs and scalability concerns. The site adheres to a free-access model without premium features or subscriptions, relying on Barry's independent maintenance rather than external funding, which has preserved accessibility but prompted user discussions on potential UI modernizations. Barry coordinates this work alongside his novel-writing commitments, issuing dispatches as time permits without dedicated staff expansion.

Cultural and Educational Impact

NationStates has enabled the creation of more than 9.6 million nations since its inception in 2002, demonstrating substantial user engagement in simulated governance. In educational contexts, the platform supports instruction by allowing teachers to form dedicated class regions, where students manage virtual nations and address daily policy dilemmas to model real-world decision-making in and . This approach has been implemented in classrooms to simulate political processes, fostering discussion on issues like and , with reports of successful group-based play enhancing understanding of collective policy impacts. The game has shaped the political simulation genre by prioritizing broad ideological experimentation and narrative-driven policy choices over granular , influencing subsequent titles like Politics & War, which incorporate similar elements but emphasize military and economic . Its promote user with concepts, though detractors argue the binary issue resolutions oversimplify complex ideologies, potentially reducing nuanced political discourse to caricatured extremes. Criticisms highlight perceived biases in issue framing, where conservative-leaning options often correlate with declines in metrics like civil rights or , prompting accusations of systemic favoritism toward progressive policies that align with Barry's satirical critiques of corporate in works like . Player forums document these patterns as evidence of design choices that may embed left-leaning assumptions, though the game's satirical intent complicates attributions of deliberate ideological skew.

Blogging and Public Commentary

Platform and Style

Max Barry maintains his blog on the personal maxbarry.com, with posts dating back to at least May 2005, following the surge in site traffic from his novel and the game in early 2003. The platform serves as a direct channel for commentary on writing techniques, technological developments, and political matters, allowing Barry to connect with readers between novel releases, which can span years. Barry's rhetorical style is informal and satirical, characterized by hyperbolic titles and wry observations that echo the corporate dystopian humor in his , such as exaggerated critiques of everyday absurdities or tech hype. Over time, the blog evolved to include the dedicated "What Max Reckons" section for more pointed opinion essays, with entries appearing as early as October 2021, enabling focused explorations of ideas without the constraints of narrative . This format emphasizes personal reckoning over polished prose, often employing self-deprecating humor to dissect topics like failures or societal quirks.

Political and Social Opinions

Barry has described possessing many left-leaning political opinions while frequently identifying merits in right-wing arguments, attributing this to his profession as a that necessitates empathizing with diverse perspectives. He self-identifies as a "militant centrist," explaining that this stance arises from reflexively attempting to understand opposing viewpoints, even those he deems "objectively incorrect" based on evidence, as evidenced by his left-libertarian positioning on test (-3.5 economic left, -3.5 libertarian). This approach leads him to sympathize with elements of right-wing positions, such as contextual rationales for opposing , rather than outright rejection. In Australian politics, Barry has emphasized opposition to governmental irrespective of party affiliation, arguing that voters must punish proven liars to deter future deception. During the 2004 federal election, he cited the incumbent government's falsehoods on projections—contradicted by economists—and the Iraq War's weapons of mass destruction claims, which he linked to over 10,000 Iraqi deaths, as reasons to vote against them despite acknowledging universal political mendacity. He contended that failing to penalize such lies incentivizes more of them, prioritizing accountability over policy self-interest like economic stability. Barry critiques corporate behavior for its profit-driven amorality, asserting that corporations would eliminate individuals for financial gain absent legal restraints, though he distinguishes this from broader anti-capitalist sentiment by not rejecting market mechanisms outright. On technology regulation, he has advocated antitrust measures to dismantle monopolies held by firms like , , and Apple, supporting Australia's 2021 that compelled tech platforms to compensate media for content usage. He condemned 's retaliatory blockade of Australian news links—which disrupted non-media users including hospitals and charities—as an overreach demonstrating unchecked corporate influence over information flows, while noting the government's potential retreat under pressure.

Reception and Legacy

Critical Reviews

Max Barry's debut novel Syrup (1999) received praise for its sharp satire on marketing and consumerism, with critics noting its fast-paced critique of corporate ambition, though some found its humor uneven. Jennifer Government (2003) earned acclaim for its witty dystopian portrayal of extreme capitalism, where corporations wield near-absolute power; The New York Times described it as a "funny and clever novel" set in a near-future world dominated by branded economies. The Guardian highlighted its thriller elements amid anti-consumerist themes, observing that the narrative unfolds in a U.S.-annexed Australia divided into corporate spheres. Reviewers appreciated the novel's accuracy in satirizing real-world branding excesses, such as naming conventions tied to employment loyalty. Barry's follow-up Company (2006) amplified praise for corporate satire, with The New York Times calling it a "hilarious" depiction of office absurdities in a generic firm resembling Zephyr Holdings. Kirkus Reviews lauded it as a "raucous black comedy" entering "sublimely Kafkaesque territory," emphasizing its piercing insights into bureaucratic double-speak and employee expendability. Critics positioned Barry as a leading satirist of corporate culture, valuing how the novel exposes mechanisms like endless reorganizations mirroring actual business practices. Later novels faced mixed reception, with some reviewers critiquing formulaic dystopian elements. (2011), originally serialized online, was commended by for reshaping tragic scenarios into "smart, piercing comedy" about technological augmentation and corporate exploitation, yet others noted unlikable protagonists and contrived conflicts undermining the satire. (2013) shifted toward thriller territory, earning Kirkus description as an "intensely analytical yet bombastic" tale of linguistic mind control, but faced criticism for plot inconsistencies and over-reliance on genre tropes rather than fresh satirical bite. Reviews of (launched 2002), Barry's browser-based nation-building game, highlight its satirical take on and , with players responding to policy "issues" that generate statistical outcomes. Educators value it for simulating trade-offs, as noted in TeachersFirst reviews for fostering interactive . However, critics argue it oversimplifies politics into binary choices, leading to accusations of ; a review deemed it an "inaccurate simulation of ," prioritizing humor over realism. Forum discussions echo concerns that the game's issues favor exaggerated extremes, diluting educational depth with satirical caricature.

Commercial Success and Influence

Barry's debut novel Syrup (1999) garnered early commercial interest, leading to its into a released on video-on-demand on May 2, 2013, directed by Aram Rappaport and starring , , and . The film's production, secured through options on Barry's manuscript, highlighted the market appeal of his satirical take on marketing and consumer culture, with distribution handled by . His follow-up, (2003), received designation as a New York Times Notable Book, signaling broader industry recognition and sales momentum for his corporate dystopia themes. This recognition, coupled with Doubleday's publication, contributed to its status as a commercial benchmark in satirical fiction, though exact sales figures remain undisclosed in . NationStates, launched in November 2002 as a free browser-based nation simulation game to promote , exemplifies Barry's innovative use of digital platforms for sustained indie success. By its 20th anniversary in 2022, the game had generated over eight million nations, maintaining active player engagement without traditional funding or advertising, driven primarily by organic word-of-mouth and algorithmic retention. This underscores causal of web-native distribution in building long-term audiences, bypassing conventional publishing gatekeepers. Barry's approach influenced subsequent tech-savvy authors by demonstrating viable models for web serialization and cross-media promotion; for instance, (2011) originated as an online serial on his , evolving into a published and a script adaptation penned by . Such strategies prefigured broader adoption of digital-first releases among genre writers, emphasizing direct reader interaction over legacy media dependencies.

Criticisms and Debates

Some players of have debated the ideological neutrality of the game's policy issues, arguing that their wording and statistical impacts exhibit a subtle left-libertarian . For example, issues often frame public as inherently eroding civil rights or present increased education funding as carrying economic trade-offs in ways that align more with progressive assumptions than conservative or authoritarian perspectives. Barry has acknowledged that while he strives for balance across multiple issue options, unintentional biases may arise from his own worldview. These player forums, though not formal critiques, highlight ongoing tensions in a game designed to simulate diverse without endorsing any single . Barry's satirical novels, particularly those targeting corporate culture like Company (2006) and Jennifer Government (2003), have drawn accusations of exaggeration in depicting capitalist excesses, such as branding campaigns escalating to mass murder or opaque holding companies fostering absurd hierarchies. Critics contend these hyperbolic elements prioritize polemic over nuance, rendering the anti-corporate messaging overly explicit and less subtle than effective satire demands. Barry rebuts such claims by grounding his portrayals in empirical observations, including real absurdities from his Hewlett-Packard sales role—such as disjointed departmental silos and performative management rituals—that directly informed Company's dystopian office dynamics. This debate underscores a broader tension: whether extreme fiction illuminates causal flaws in unchecked corporatism or distorts them for rhetorical effect, with Barry maintaining the former by analogizing to documented corporate malpractices like aggressive marketing ethics lapses. Personal critiques of Barry's blogging remain minor and self-referential, with Barry himself lampooning overly literal or humorless reader responses in posts critiquing critic tropes. No systemic controversies have emerged from his commentary, though its edge occasionally provokes dismissal as annoyingly provocative without altering his output's reception.

Personal Life

Family and Residence

Max Barry resides in , , where he has lived since at least the early 2000s. He maintains a full-time writing from this base, emphasizing the flexibility it affords in his daily routine. Barry is married and has two daughters; he has publicly noted involvement in family activities, including occasionally coaching children's . Details beyond this remain private, with no public records of relocations or extended family mentioned in verified sources.

Interests Outside Writing

Barry has pursued programming and development as significant avocations, self-teaching the from and applying it to create the browser-based nation simulation game NationStates in 2002 using on a rudimentary tech stack. He continues to maintain and update NationStates, which has grown to host over 8 million simulated nations and an active community, demonstrating his ongoing engagement with coding projects that provide structured creative feedback distinct from novel-writing. In 2021, he released Squiggle Football, a Steam-published inspired by , featuring generative AI for player portraits and earning 94% positive reviews from 110 users as of October 2025. Beyond digital pursuits, Barry engages with sports, particularly , which directly informed the mechanics of Squiggle Football, and soccer, including following the Scottish club . He coaches children's teams in , integrating community involvement with family-oriented physical activities. Additionally, Barry has experimented with non-digital hobbies, such as renting chickens to observe their behaviors, which he described as robotic and contributed to his toward alongside influences from code and science fiction author . These interests reflect a pattern of empirical curiosity, often blending observation with technical or analytical application.

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  71. https://maxbarry.com/2005/05/10/news.html
  72. https://maxbarry.com/2005/03/news.html
  73. https://maxbarry.com/2012/04/24/news.html
  74. https://maxbarry.com/whatmaxreckons/
  75. https://maxbarry.com/2023/07/17/news.html
  76. https://maxbarry.com/whatmaxreckons/?page=2
  77. https://maxbarry.com/2023/04/05/news.html
  78. https://maxbarry.com/2019/09/14/news.html
  79. https://maxbarry.com/2004/10/03/
  80. https://maxbarry.com/2005/01/20/news.html
  81. https://maxbarry.com/2021/02/18/news.html
  82. https://chimesnewspaper.com/23826/entertainment/syrup-does-satire-right/
  83. https://www.nytimes.com/2003/02/16/books/shoot-to-sell.html
  84. https://books.guardian.co.uk/reviews/generalfiction/0%2C6121%2C1006395%2C00.html
  85. https://www.nytimes.com/2003/06/01/books/reading.html
  86. https://maxbarry.com/company/reviews.html
  87. https://www.complete-review.com/reviews/barrym/company.htm
  88. https://www.kirkusreviews.com/book-reviews/max-barry/machine-man/
  89. https://www.kirkusreviews.com/book-reviews/max-barry/lexicon/
  90. https://www.teachersfirst.com/single.cfm?id=16502
  91. https://gamefaqs.gamespot.com/webonly/917377-nationstates/reviews/54131
  92. https://forum.nationstates.net/viewtopic.php?f=13&t=1395
  93. https://www.imdb.com/title/tt0762138/
  94. https://www.firstshowing.net/2013/amber-heard-in-first-syrup-trailer-based-on-max-barrys-novel/
  95. https://www.audible.com/author/Max-Barry/B001IXMF4W
  96. https://www.reddit.com/r/SF_Book_Club/comments/1x0i1q/machine_im_max_barry_i_wrote_machine_man/
  97. https://forum.nationstates.net/viewtopic.php?f=20&t=217704
  98. https://forum.nationstates.net/viewtopic.php?f=13&t=419017
  99. https://www.collectedmiscellany.com/2006/02/28/company-by-max-barry/
  100. https://www.marketplace.org/story/2006/02/06/company-author-max-barry
  101. https://maxbarry.com/writing/bits/critics.html
  102. https://store.steampowered.com/app/1543960/Squiggle_Football/
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