The origins of cyberpunk are rooted in the New Wave science fiction movement of the 1960s and 70s, where "New Worlds", under the editorship of Michael Moorcock, began inviting and encouraging stories that examined new writing styles, techniques, and archetypes. Reacting to conventional storytelling, New Wave authors attempted to present a world where society coped with a constant upheaval of new technology and culture, generally with dystopian outcomes. Writers like Roger Zelazny, J.G. Ballard, Philip Jose Farmer, and Harlan Ellison often examined the impact of drug culture, technology, and the sexual revolution with an avant-garde style influenced by the Beat Generation (especially William S. Burroughs' own SF), Dadaism, and their own ideas.Ballard’s think-pieces on the intrusion of technology and media — "The Atrocity Exhibition", "Notes Towards a Mental Breakdown", "The Assassination of John Fitzgerald Kennedy Considered as a Downhill Motor Race" (collected with others as "The Atrocity Exhibition" with illustrations by Phoebe Gloeckner) — paved the way for cyberpunk. Brian Aldiss practically populated his own subgenre with quirky epics like "Acid Head War", a messianic tale of freestyle narrative set in a post-war Europe in which hallucinogenic drugs had affected entire populations, and "Report on Probability A", an experimental story about the observations of three characters named G, S, and C.</ref> Ballard attacked the idea that stories should follow the "archetypes" popular since the time of Ancient Greece, and the assumption that these would somehow be the same ones that would call to modern readers, as Joseph Campbell argued in "The Hero with a Thousand Faces". Instead, Ballard wanted to write a new myth for the modern reader, a style with "more psycho-literary ideas, more meta-biological and meta-chemical concepts, private time systems, synthetic psychologies and space-times, more of the sombre half-worlds one glimpses in the paintings of schizophrenics."