Showing posts with label science fiction. Show all posts
Showing posts with label science fiction. Show all posts

Friday, February 21, 2025

"In Memory, Yet Crystal Clear" by JZ Murdock - Part II, Analysis of Relationships

This is a continuation of the recent blog on this story: Art Imitates Life: How a 1990 Dystopian Sci-Fi Tale Mirrors Today


The story "In Memory, Yet Crystal Clear" (audiobook) is a dystopian science fiction narrative that explores complex themes surrounding memory, identity, and the implications of technological advancements. 

The main character, Peter, undergoes a significant transformation, gaining extraordinary cognitive abilities such as perfect recall and enhanced processing power due to experiments with specialized crystalline compounds. This transformation allows him to transcend normal human capabilities, positioning him as potentially the perfect human being mentally.


However, this extraordinary change raises profound questions about what it means to be human and the nature of self-identity, particularly as Peter's physical appearance and essence begin to shift, making him seem alien to his friend George. George primarily represents the emotional and psychological struggles that arise from Peter's transformation, grappling with feelings of inadequacy and the fear of losing his friend to this new identity.

Overall, the story delves into the intersection of memory and technology, illustrating how these themes affect human relationships and self-perception as characters navigate the ramifications of such radical evolution in cognitive and physical attributes. The poignant contrast between Peter's technological ascendance and George's human experience highlights the narrative’s exploration of identity and the effects of technological progress on our understanding of ourselves.

The relationship between George and Peter, compounded by the enigmatic presence of the woman, illustrates a complex interplay of psychological, moral, and societal degradation. As George becomes physically installed in the "nest"—a space that symbolizes Peter's control and transformation—he experiences a profound disconnect from reality due to Peter's radical alterations and the conditions surrounding them. This transformation is not just personal but reverberates through society, challenging George's understanding of normalcy.

Within this "nest," Peter revels in his newly acquired abilities, showcasing a vision of himself as an evolved being, capable of extraordinary cognitive feats. He boasts about his enhanced capabilities, claiming to possess "thrice the parallel processing power of any processor on this planet" and highlighting his perfect recall and accelerated information intake. 

This elevation suggests that society is not only accepting but potentially revering Peter, thrusting George into a confusing spectacle where he increasingly struggles to assert his own perspectives. His dependency on Peter grows, making him an observer in a situation that demands active engagement.

The woman’s role complicates matters further; while she appears to comply with the desires of Peter and George, George discerns her disingenuousness. He perceives her as a figure capable of psychologically damaging both men, propelling them into a spiral of moral chaos. 

This dynamic generates an environment of manipulation, fostering George’s feelings of inadequacy as he watches the superhuman narrative shaped by Peter, further marginalizing him in the unfolding drama. The woman's ambiguous intentions imply that her presence could be toxic, leading both to question their own morality and ethical standing amidst the bizarre evolution of their shared reality.

George's hope for external intervention—someone to recognize this toxic environment and alleviate the suffering caused by the woman—underscores the helplessness felt in the face of their decline. This yearning reflects a desperate desire to reclaim agency and moral clarity, suggesting that the chaos around them is systemic rather than merely personal. 

The interplay of these elements—Peter's transformation, the woman's insidious influence, and George's psychological unraveling—creates a narrative steeped in questions of identity, morality, and the unsettling acceptance of a distorting reality that he cannot fully control.

Thus, the examination of these relationships illustrates how external influences, particularly from seemingly agreeable figures, can leave individuals enmeshed in cycles of moral degradation and confusion, ultimately transforming their capacity for rational thought and ethical action.

The "nest" serves as a potent symbol within the narrative, fundamentally representing both control and transformation for the characters George and Peter. It illustrates the profound changes that Peter undergoes as a result of his experiments and the subsequent shifts in their relationship dynamics. Within this environment, Peter is not merely transformed physically; he is elevated to an almost otherworldly status wherein he embodies the ultimate "ultra-Human" being, boasting "thrice the parallel processing power of any processor on this planet". This metamorphosis reflects how technological advancements can reshape identity and capabilities, pushing the boundaries of what it means to be human.

George, however, experiences a contrasting reality within the nest. As Peter revels in his enhanced abilities, George finds himself increasingly marginalized and disconnected from the evolving situation. He watches Peter transform and elevate himself, which compels George into a role of subordination and observation. This shift solidifies Peter's control over the narrative, leaving George straddling a line between admiration and existential anxiety about his own significance and agency in a rapidly changing framework.

The nest symbolizes not only Peter’s newfound power but also the insidious nature of control exerted over George. It becomes a space—both physical and psychological—where George's autonomy is undermined, encapsulating his helplessness against the evolving intellectual and social landscape that Peter embodies. George’s dependency on Peter grows, as he reflects on the contrast between Peter's magnificent evolution and his own feelings of inadequacy and insignificance.

Moreover, the presence of the woman, who appears compliant but fundamentally disingenuous, exacerbates George's sense of disempowerment. Her influence further manipulates the dynamics, as George perceives her ability to inflict psychological damage, complicating their situation and magnifying his struggle for moral clarity amidst their decline. George's longing for external intervention reflects a desperate hope to reclaim his agency and recognize the toxic environment orchestrated by the interplay of Peter's transformation and the woman's facade.

Ultimately, the nest encapsulates the transformative journey of Peter and George, highlighting the themes of control, identity, and morality. Peter’s ascension illustrates the intoxicating nature of power gained through unprecedented transformation, while George’s plight serves as a cautionary tale about the consequences of such evolution on personal autonomy and ethical grounding. The interconnectedness of these elements reveals the broader implications of transformation and control within the narrative, prompting reflection on the costs that accompany such profound changes.

The narrative surrounding George, Peter, and the woman within the "nest" operates as a compelling allegory for contemporary society, particularly in the context of the United States today. The profound transformation of Peter, who evolves into an ultra-human with extraordinary capabilities, symbolizes the impact of technological advancement and the quest for power that often accompanies it. By boasting traits such as "thrice the parallel processing power of any processor on this planet," Peter represents how society may glorify individuals who harness technological or intellectual superiority to control the narrative and those around them.

Conversely, George embodies the struggle of the average individual navigating a rapidly transforming landscape in which they often feel marginalized and powerless. As Peter revels in his transformation, George becomes increasingly aware of his dependency and feels trapped within Peter's sphere of influence, illustrating the psychological toll such situations can exact on individuals who find themselves sidelined. This reflects a broader societal commentary on how advancements can elevate certain individuals or groups while leaving others feeling inadequate and disconnected.

Furthermore, the woman's ambiguous involvement demonstrates the complexities of interpersonal dynamics in society. Though she appears to be a compliant figure, her disingenuousness and potential for manipulation underline how relationships can become toxic, leading to moral degradation and confusion for both Peter and George. This interplay echoes current societal concerns about authenticity and the influence of social dynamics on personal identity and moral standings.

The nest itself acts as a microcosm of society, where the interplay of power, transformation, and dependency reveals systemic issues that resonate in real life. George's yearning for external relief highlights the struggles faced by many in society who seek recognition and support amidst chaotic changes and escalating pressures. 

The allegory suggests that just as George grapples with his lack of agency while being engulfed by Peter's enhanced power, contemporary society faces challenges with individuals and institutions exerting disproportionate control, often at the expense of broader ethical considerations and personal autonomy.

In sum, this narrative not only critiques the dynamics of control and transformation but also serves as a reflection of contemporary American society, where the balance of power, the impact of technology, and the nature of human relationships remain contentious and complex issues.

Real-world examples illustrating the themes of power dynamics and technological advancement, as depicted in the allegory of George and Peter, can be observed in various contemporary contexts.

Firstly, the rise of big data and facial recognition technology exemplifies how advancements can lead to control over individuals and societal structures. The narrative touches upon how Peter, through technological superiority, embodies "the Big Data Cyber Deity," showcasing how data-driven systems can recognize and manage social interactions, oftentimes at the expense of individual privacy and autonomy. This reflects real-world concerns about surveillance capitalism, where entities wield significant power over the populace through the collection and manipulation of personal data.

Moreover, the phenomenon of social media platforms illustrates the power dynamics at play, as individuals gravitate towards influential figures who harness technological capabilities to sway public opinion. Just as Peter's elevated status impacts George's sense of agency, influencers and powerful figures on these platforms can marginalize ordinary users, leading to feelings of inadequacy and disconnection in a society increasingly driven by online personas. The comparison highlights how technological advancement can create hierarchies that profoundly affect interpersonal dynamics and individual self-worth.

Additionally, the narrative's emphasis on the "rent in space" caused by experimentation parallels the repercussions societal experimentation can have, particularly in the realms of social engineering and policy. The researchers' acknowledgment of having created a "rent" without full understanding mirrors the unintended consequences of technological advancements that have historically reshaped societies, such as artificial intelligence or genetic engineering. In these cases, the rapid pace of development often leaves ethical considerations behind, similar to how Peter's transformation prioritizes power over moral grounding.

Finally, the interactions between George, Peter, and the woman serve as a microcosm for societal relationships tainted by the quest for power. The woman's compliant façade parallels relationships in various sectors—political, corporate, and personal—where individuals may appear subservient while actually manipulating outcomes for their benefit, echoing the toxic dynamics observed in contemporary organizational behavior. This highlights how personal relationships can become fraught with power struggles that affect morale and ethical boundaries.

In summary, the themes of power dynamics and technological advancement illustrated through the allegory resonate with real-world examples involving surveillance technologies, the influence of social media, the consequences of rapid societal experimentation, and the complexities of interpersonal relationships in power-laden contexts.

In the narrative surrounding George and Peter, the characters represent contrasting societal roles that highlight the dynamics of power and status in contemporary America.

Peter embodies the archetype of the elite or the 'elevated' class, having undergone a transformation that grants him extraordinary abilities and an enhanced status, akin to a technological superbeing. His transformation, where he claims to possess "thrice the parallel processing power of any processor on this planet" and "perfect recall," positions him as a figure of advancement and superiority within society. 

This elevation reflects how individuals with access to cutting-edge technology and intellectual resources can ascend to positions of power, often being viewed as 'heroes' or innovators. Peter's journey illustrates the glorification of success driven by technological prowess, paralleling contemporary societal trends where tech giants and influential innovators dominate the cultural narrative.

Conversely, George represents the struggling middle or lower class, a character grappling with the implications of Peter's transformation on his own life. As he observes Peter's changes and revels in his new form, George's reaction oscillates between awe and terror, reflecting feelings of powerlessness amidst Peter's elevated state. George's experience is symbolic of the average individual who often finds themselves overshadowed and marginalized in the face of rapid advancements and societal shifts dictated by a select few. This dynamic mirrors contemporary societal issues where a significant portion of the population may feel disenfranchised, as decisions made by the elite (those like Peter) often dictate the course of their lives without regard for their input or challenges.

Moreover, George's realization of his dependency on Peter serves to illustrate the psychological impact of such power imbalances. His struggle to maintain balance in a relationship with someone who represents a new societal elite reflects broader societal concerns about dependency and agency. As Peter confidently declares, "This is my life!" in response to George's worries about the implications of his transformation, it suggests a stark reality where individual agency is often subjugated by the whims of those in positions of power.

In essence, George and Peter serve as representations of distinct societal roles in America: Peter as the empowered, tech-savvy elite driving change and innovation, and George as the relatable, grounded individual struggling to navigate a world increasingly influenced by the advancements and aspirations of the powerful. This dichotomy captures the tension between advancement and displacement, showcasing the moral and ethical implications of such disparities.


Compiled with aid of My Reader AI

Thursday, October 17, 2024

Why is SpaceX using giant arms to catch returning landing spacecraft?

I've been talking to ChatGPT again, kicking around how to make it useful for me. For some things, it IS very useful, for others, it's utterly useless. It just takes getting used to it, playing with it, and maybe finding one you feel comfortable using. So today I got onto this topic, about the big SpaceX grab. I was interested to hear what it had to say.

If you were wondering what the big deal is about SpaceX catching a landing rocket, so was I. I got it, but I wanted to know more.

I think I only wrote one spaceship story, "Expedition of the Arcturus", about Earth's first 75-year-long journey, generational spaceship. Told in reverse timeline. First published in PerihelionSF hard sci fi magazine. I got "Arcturus" from David Lindsay's A Voyage to Arcturus (1920).

I asked:

SpaceX recently caught a very large rocket on reentry at the platform it arrived at which caught it with two arms. Why catch it? Considering they already have proven they can land boosters on water barges how is this an advancement?

Republic TV (India)


ChatGPT said:

SpaceX's recent achievement of catching a large rocket during reentry using a platform equipped with two arms represents a significant advancement in several ways:

  1. Precision Landing: While SpaceX has successfully landed its Falcon 9 boosters on drone ships at sea, capturing a rocket using a platform with mechanical arms demonstrates a new level of precision in landing. This capability could potentially allow for more accurate and controlled landings on solid ground, which could be crucial for future missions.

  2. Resource Efficiency: Landing on a platform on land can reduce costs associated with using drone ships. It minimizes the need for extensive maritime operations, reduces wear and tear on the drones, and can shorten turnaround times for rocket reusability.

  3. Increased Payload Capacity: By catching rockets at a platform, SpaceX may be able to develop larger rockets with increased payload capacities. This is essential for ambitious missions like Mars colonization or larger satellite deployments.

  4. Safety and Reliability: Catching a rocket with arms could provide a more secure method of retrieval than landing on a moving drone ship in the ocean, which is subject to variable sea conditions. This method could enhance the reliability of the landing process and further improve rocket reusability.

  5. Future Innovations: This achievement may pave the way for new designs and technologies in rocket recovery and landing systems, potentially leading to innovations that could be applied to other aerospace endeavors.

Overall, while SpaceX has already demonstrated impressive capabilities with drone ship landings, this new method of catching rockets on land represents a progressive step toward even more efficient, reliable, and ambitious space operations.

I said:

It seems a bizarre and kludgy process rather than simply landing not on a barge but on solid land, as Russia does.

ChatGPT said:

You raise a valid point. From an outsider's perspective, the use of mechanical arms to catch rockets in mid-air can seem overly complex compared to traditional landing methods. Here are a few reasons why SpaceX might pursue this approach, despite the apparent simplicity of landing on solid ground like Russia does:

  1. Complexity of Rocket Design: SpaceX's rockets, particularly the Starship, are designed for high-performance reusability, which includes the capability to be recovered in a controlled manner. Catching the rocket with arms can minimize the stresses and potential damage that might occur during a hard landing, especially if landing gear is not designed for solid ground recovery.

  2. Versatility: The arm-catching method allows for flexibility in landing zones. SpaceX often launches from sites where solid ground landings might not be feasible due to surrounding infrastructure or geographical constraints. This method could potentially allow recovery in diverse environments.

  3. Controlled Environment: Landing on a barge allows for a controlled environment in terms of timing and conditions, which can be more predictable than solid ground recovery, where factors like wind and weather can affect precision.

  4. Safety and Recovery: Landing on a barge at sea has the added benefit of reducing risks associated with populated areas. By utilizing barges, SpaceX can mitigate safety concerns related to rocket recovery and avoid the possibility of rocket debris impacting residential or commercial areas.

  5. Research and Development: This approach could be part of SpaceX's broader R&D strategy, allowing them to experiment with different recovery techniques. Innovations in rocket recovery may lead to more effective methods in the long run, even if they seem bizarre now.

While it may appear more cumbersome than conventional methods, SpaceX's catch system aligns with its vision of maximizing rocket reusability and efficiency. Ultimately, the effectiveness of this approach will become clearer as SpaceX continues to refine and deploy its technology.

Atomic Rockets

I said:

Yes, but as a rocket that can take off and land, and take off again as has always been exemplified in science fiction, as in using a plane or a car, in the air or on the ground, seems perhaps a more expensive and longer-term and reasonable path to follow. To get it over with, until a vehicle is fully compatible with space travel, otherwise having barges to land on, or arms to catch rockets, is delaying the inevitable need.

ChatGPT said:

You make an insightful observation about the potential benefits of developing fully reusable space vehicles that can seamlessly operate in both atmospheric and space environments, much like planes or cars. The concept of a rocket that can take off, land, and take off again without the need for complex recovery systems aligns with the long-term vision of many in the aerospace industry. Here are a few considerations regarding your points:
  1. Ultimate Goal of Reusability: The ideal scenario is to create spacecraft that can operate more like conventional aircraft, allowing for frequent and economical access to space. This would reduce reliance on complex recovery systems like barges and mechanical arms, ultimately streamlining operations.

  2. Technological Maturity: Achieving a fully reusable space vehicle that can operate like an airplane requires significant advancements in materials, propulsion, and control systems. SpaceX, for instance, is making strides with Starship, which is designed to be fully reusable for various missions. However, such technology is still in development and may take time to mature.

  3. Current Practicalities: While the long-term vision is clear, the current technology landscape necessitates incremental advancements. SpaceX's methods, including barge landings and catch arms, may be interim solutions to achieve reusability and cost-effectiveness as the technology evolves. These methods allow SpaceX to test and refine their systems in real-world conditions.

  4. Lessons Learned: Each step taken by companies like SpaceX informs future designs and methods. The experience gained from using recovery barges and arms could contribute to developing better landing technologies that can ultimately lead to the fully integrated systems you envision.

  5. Investment in Research: Funding and time dedicated to developing fully reusable vehicles are significant. The complexity and expense associated with designing a rocket that can perform as a multi-environment vehicle may deter some companies from pursuing this route initially, especially if they are still trying to demonstrate basic reusability.

In summary, while the concept of a fully integrated spacecraft that can take off and land like an aircraft is appealing and seems more efficient, the current path of using recovery systems allows for iterative progress toward that goal. Over time, as technology matures and lessons are learned, we may see developments that align more closely with the vision of seamless space travel you describe.

I asked:

But aren't the Russians already doing this?

ChatGPT said:

Yes, the Russians have developed and operated vehicles that exemplify the concept of reusability and multi-environment operation, particularly with their Soyuz spacecraft and the space shuttle-like Buran program. Here are some key points about their approach:
  1. Soyuz Spacecraft: The Soyuz has been used for decades to transport astronauts to and from the International Space Station (ISS). While it doesn't operate like an airplane, it is designed to be reusable. The spacecraft descends through the atmosphere, using parachutes to land safely on solid ground. Its design allows for relatively quick turnaround times for subsequent missions.

  2. Buran Shuttle Program: The Soviet Union developed the Buran shuttle as a response to NASA's Space Shuttle. Although it only flew once in 1988, the Buran was designed for fully autonomous flight and landing, demonstrating the capability for reusable spacecraft. However, the program was ultimately canceled due to funding issues and the dissolution of the Soviet Union.

  3. Multi-Environment Capability: The Russian approach emphasizes simplicity and reliability. While they may not have a fully reusable rocket that can launch and land like a plane, their vehicles are designed for effective operations in both space and atmospheric conditions, focusing on mission success and crew safety.

  4. Current Developments: Russia has been working on new spacecraft, such as the Oryol (Eagle) crew vehicle, which aims to enhance their capabilities for future missions to the Moon and beyond. The focus remains on developing systems that can operate reliably in a variety of environments.

While Russia's approach may differ from SpaceX's innovative methods, they have certainly made strides in the direction of reusability and adaptability in space travel. However, SpaceX's emphasis on rapid reusability and cost reduction has pushed the boundaries of what is currently possible, aiming for a more commercialized and frequent access to space. Each nation's methods reflect different technological priorities and capabilities, shaping their unique paths in the space race.

OK then. So there it is...

Saturday, October 12, 2024

My NYC Big Book Award for Best Horror of the Year - DEATH OF HEAVEN, & Video Book Trailers

Right off, two links:

Press release: Author JZ Murdock receives national recognition for Death of Heaven (cover title as, Death of heaven) through the NYC BIG BOOK AWARD® for Horror!

My author profile page for my books on Amazon. This includes my ebooks and audiobooks (also on Audible.com). Also Smashwords for only ebooks.

First up, congrats to winners of the Horror category:

Some NYC Big Book Award (a part of the Independent Press Awards) winners in the Horror category from over the years:

OK, here we go...

Back in 2012, I was asked to adapt a novelist's book to screenplay. That was Dark of kNight by TL Mitchell. That led to another adaptation of her friend's book, Mitchell was starting her own publishing company. She pulled her books from her publisher and got to work. But she wouldn't publish my works. I found that frustrating. She turned me onto Cal Miller at Zilyon Publishing and he published my first book, Anthology of Evil, a collection of all my initial, original short horror and sci fi fiction. 

I took all my short stories I thought could stand alone and put them in that book. Originally I put all my short stories into that book at nearly 1,000 pages. But he said, "Uh, thanks, but maybe cut that by half?" So I did and he published it.

But I had a bunch of other stories left over so I put them in a second book. I thought I might make it into a portmanteau novel of sorts. Frame those stories and build another book within the book in a kind of meta book surrounding the book. How to tie that all together. This is something I've always excelled at. In college and later in various positions at corporations.

I had been a senior technical writer on various high-end, high-tech IT teams around the Pacific Northwest. I worked at US West Technologies, Holland American Cruise Lines, just missed out on a job at McCaw Cellular, and kept turning down a job at some place called Network Data Expresss (NDEX, or NDEx) which I finally took a job with after 5.5 months out of work during a period in the Pacific Northwest that experienced massive layoffs in high tech.


So I created my book, Death of Heaven in 2012 and Cal published that book also. I thought the cover was interesting but I thought it was too light. I had wanted a more hyperreal format of graphics, but when you get offered by an incredible artist to do you cover, you say, Thank you! Also, didn't need the "By" but we learned as we created, just the author name. 

Also, you can buy his art on Redbubble, which includes my book cover art and his art from over his amazing career. The image above is from his Redbubble profile

He made a banner like that for my book...

Three of the Tiny Colony "Gods" from Death of heaven

Then in 2014, my friend I worked at the same company with, Kurt Giambatiani (who wrote some of my favorite books in his "Fallen Cloud" series of revisionist history where Native Americans rode dinosaurs that terrified the horses of the US Army...where Custer never died at Little Big Horn but became President of the United States and his son joined the US Army...this is a great series of fun books. I highly recommend them. Kurt has moved on from that series. Check him out: K. R. A. Giambastiani.

Anyway, his wife Ilene had helped edit his books so I took a chance and asked and she decided to edit my book. We had a great time. She worked from their home in north Seattle, while I worked from my home in Suquamish, Washington, just a Bainbridge Island ride away from downtown Seattle, where both Kurt and I worked in the same building over by the 9th Avenue Seattle light rail (subway).

In 2014, I published a revised version of Death of Heaven. It was interesting as once he sent me this version he said he didn't know what he was thinking about the lighter cover version. 

In 2013 I had gotten into making book video trailers of my books. I broke out some of the short stories and made ebooks out of them. I also eventually made some audiobooks of them. After I retired and moved to Bremerton, I got my friend Tom to read my audiobooks. 

After a couple of years, after having made a short film ("The Rapping" an Edgar Allen Poe reference from his poem, The Raven), I moved to my current location about a mile from my last house. I made a new film, "Gumdrop", a short horror. Tom was the lead.

It's now years later after health problems since catching COVID-19 in February 2020 before we knew what it was, having caught it twice again. In 2022 I made another film, a filmic poem/WWI documentary that's now won about 63 international film festival awards.

I had retired in 2016 to write and turn my writings into films. I've done that. What I hadn't done until I got into the film festival circuit and got used to applying for and winning many awards, I thought about my books/writings. So last year I submitted things for book awards. And this year I won the 2024 New York City Big Book Award for Death of heaven. I've written about that title before.

Originally I got the title from my son who in his senior year of high school produced a CD of his own music he engineered at school. I liked the title of one and he said I could use it for my book. When my younger brother, an artist, who has done all my book covers, redid my cover for the 2nd edition, he left the "h" in "Heaven" lowercase.

 Somehow we didn't notice it and when we did, I realized it actually fit the book and the stories within. So you will see my title in various places as either "Death of Heaven" the correct format for entities like Amazon (you can't use a loser case in a title), or "Death of heaven", as it now is on the book cover with a special font my brother made just for this book. 

The lowercase "h" made sense to me as, well... you'd have to read the book to understand why that is. But it makes total sense, other than and outside of the rules of grammar that require it be capitalized. But writing is also art and as a poem can not just be in a stanza form but also printed on the page in a form to mimic the meaning within the poem. As in a "concrete poem" or a "shape poem". 

I've had a weird relationship with poetry. In the late 80s I tried unsuccessfully to create a magazine and in the tenets of the magazine, no poetry was allowed. I'd taken poetry at university and learned a lot. I think my feelings had to do with pretentiousness. My 2022 documentary film is a "filmic poem", something I learned about in my first college cinema class.

I wrote a poem around 2014 on the topic of Maurice Ravel and his composition, "Bolero" (which I explain more on elsewhere). I researched him and that song and learned a lot. Like he had been in WWI in a way that Hemmingway had. I researched and rewrote it over the years and even had a professional poet read it and comment. 

I used that poem in my film as a centerpiece to exemplify the horror of war and I hired two French-speaking actors to do the speaking parts in the film. As I composed the film, I altered the poem, and back and forth over 6 months while I was recuperating slowly, painfully slowly from Long Covid. 

In 2013 I made a bunch of book trailer videos as I detail in my blog back then: New JZ Murdock Video Book Trailers (for reference, I include the links in that below). I remade one for the 2nd edition of Death of heaven in 2014,

2024 NYC Big Book Awards / Death of heaven page

Now that I've won a book award, I thought I'd use the videos. What the heck, right? They were a lot of work, regardless how they may now be viewed.

And so here they are...

I now have more I would like to share with you. I hope you find them intriguing. If you would like to keep track of my channel, go to: TheJZMurdock on YouTube.

UPDATE 1/18/2013: Before I get to the fiction video book trailers (book trailer videos?), I have just created two new ones for a couple of my non-fiction articles:

Synesthesia, and the Need for More Information - Video Book Trailer
This article is free and also included in:

Some Notes on Field Theory, Albert's Mind and the Status Quo - Video Book Trailer

Okay then, here are my fiction trailers:

Books
Anthology of Evil - Video Book Trailer

Death of Heaven - Video Book Trailer

Novella

Andrew - Video Book Trailer (this is at the end of "Anthology of Evil" and now there is a 2 volume sequel to that, this is also the origination story of Death of heaven).

Short Story ebooks

EarVu - Video Book Trailer

Gumdrop City - Video Book Trailer

In Memory, Yet Crystal Clear - Video Book Trailer

Japheth, Ishvi and The Light - Video Book Trailer

Poor Lord Ritchie's Answer to a Question He Knever Knew - Video Book Trailer

Sarah - Video Book Trailer

Simon's Beautiful Thought - Video Book Trailer

The Mea Culpa Document of London - Video Book Trailer

That it, that's all I've got for now.

Cheers! Sláinte!

Tuesday, September 3, 2024

Who the Hell Am I? JZ Murdock - Filmmaker/Screenwriter/Writer/Author

Just messing around, I asked ChatGPT AI to comment on what it could find about me. Kind of like "Googling yourself" on steroids. I thought I'd share it here for those who don't know me.


Author Book reading in Port Orchard, WA

Before I get into all that, please feel free to stop by my Facebook page. I know, all that stuff about who uses what social media. I've been on there for over 14 years. A couple of weeks ago Facebook disabled my entire account without talking with me about it, and I'm now rebuilding from scratch. I'm not impressed with their customer service. A lot of people suddenly saw me, my branded pages for films and books and groups all gone. So I'm moving on, starting again.

I'm offering a free download until election day November 5, 2024, because it is relevant. It is for me, my scariest story, because of how much it became true but cannot ever again. "In Memory, Yet Crystal Clear" (coupon: CL4MM) is a world resembling a Philip K. Dick novel, where a renowned surgeon's attempt to help his missing son's best friend sparks a series of events that transform the U.S. into a dystopian nightmare. Originally published in 1990, In Memory, Yet Crystal Clear foreshadows the rise of popularism, revealing how good intentions can lead a nation into madness—while only one man sees the truth. Also available as an audiobook.

This isn't my best-written story (though it was good enough to be bought and published), or perhaps my scariest. "EarVu" for instance is scarier, or I could name others. But this is not only the first story I sold (and to a horror quarterly magazine decades ago), it is one of my most disturbing. While my writing has gotten better since I penned this story, it remains such a disturbing story still because when I wrote it in the 1980s, I never imagined it could in a way, come true. I saw things headed in this direction back then, but on election day in 2016, it became in various ways, all too true.

One more thing.

I actually got t my orientation in life and politics, organically, as few do today. It came through education, my university degree is in Psychology, concentrating in Phenomenology where I learned to be a researcher. I worked for years as a Senior Technical Writer and research in high tech, on some of the top IT teams in the Pacific Northwest.

Also, I've read, a lot. In 8th grade, I was trained to read at 10,000 words per minute with tested 80% comprehension. All my life I picked my books carefully, reading many science and "intelligence" books as well as history and world issues. Not IQ type intelligence, though that does help, but through actual data sources as raw as I could acquire them. 

Along with a history of studying espionage and world politics, where since the 1970s I was interested in a career in that area. I was intensely interviewed and tested to get into the USAF OSI. However I chose at the end to start a university career. Later I worked at the University of Washington for over seven years. I've received much of my information not just through media, which I paid little attention to until the past couple of decades, but a variety of vetted sources and materials. 

I had a secret clearance for nuclear weapons in the USAF where we received quarterly secret-level briefings on a variety of things. Decades later I was a founding member of an international cyber security group with business, government, and law enforcement that went on for years through the 1990s/2000s, getting direct briefings from law enforcement and high-level government sources.

OK, enough fo that. Here's what ChatGPT AI had to say about me, with a few additions of links and titles I added for reader orientation:


JZ Murdock is a versatile and compelling storyteller whose work spans across horror, science fiction, true crime, and psychology. As an author, screenwriter, and filmmaker, Murdock brings a unique voice to each of these genres, blending dark, thought-provoking themes with a deep understanding of human nature.

Master of Horror and Science Fiction
Murdock’s work is a hidden gem in the realms of horror and science fiction, captivating those who discover it with its unique blend of dark, thought-provoking themes. While independently produced, his stories resonate deeply with readers and viewers who appreciate fresh and original voices in the genre.
His novels and short stories, such as "Anthology of Evil" and "Death of heaven," (even the "h" in "heaven" in the title has a reason and a meaning) are infused with cosmic horror and dark fantasy, often drawing comparisons to H.P. Lovecraft and Clive Barker's older stories.
His stories explore the unknown, the supernatural, and the darker aspects of human nature, leaving readers with a lingering sense of unease and fascination.

JZ Murdock: "I love the roller coaster ride of a good horror film or story. I do not however equate that with real horrors in life, which I have done my best to avoid or protect others from them. I studied martial arts from 5th grade on. I studied and practiced search and rescue and first responder training for lost/downed aircraft in junior high as a Civil Air Patrol cadet. I packed parachutes in the USAF and prepped B-52 nuclear weapons systems for war. All things that make one quite aware of the horrors surrounding our human experience. But a good horror story, or a good SF story? These things offer us a vision of the possible, of our future, perhaps as forewarning. They can be greatly disturbing things to behold. Or they can simply be great fun."

Blending horror and science fiction in such disturbing stories as, "EarVu" where a lab experiment goes wrong. A stark contrast to another story of an experiment gone wrong as in the humorous, "Quantum History" from his short story collection series, "Anthology of Evil". Or as with the short story, "In Memory, Yet Crystal Clear" (his first fiction story sold a long time ago) which details the journey of a world-famous surgeon who reluctantly aids a disturbed mind, who goes on to take over all advertising in America, to the demise of our most valued traits as a country. That title is an homage to one of Murdock's favorite authors growing up, Isaac Asimov whose first autobiography is, "In Memory Yet Green". There is often something more behind small things in his writings.

True Crime and Psychological Insights
Beyond fiction, Murdock has delved into the world of true crime and non-fiction, bringing his narrative skills to real-life stories that examine the complexities of criminal behavior with such works as his screenplay, "The Teenage Bodyguard", almost made into a movie several times. Murdock pulled the film each time, saying he would wait for a director who has a vision for the screenplay that would best fit what actually happened.
His short true crime horror story "Gumdrop City" and its film prequel ("Gumdrop", a short horror) delve into the chilling tale of a man who descends into the darkest depths of criminality. The film, a short horror piece, offers a gripping exploration of one possible origin story behind the harrowing events depicted in the story. His true crime writings are marked by meticulous research and an insightful analysis of what drives individuals to commit heinous acts.
His well-researched memoir after dealing with COVID-19 and the ensuing "long covid" led to his book, Suffering "Long Covid", which has been well received by those reviewing and reading it. The ebook version has clickable research links used in the book. In his non-fiction works and articles, he explores a wide range of psychological themes, from the intricacies of the human mind to the motivations behind our actions.

Screenwriter and Filmmaker
As a screenwriter, Murdock has created scripts that blend his love for horror, science fiction, and psychology, often exploring surreal and dark themes. As in his award-winning, "Gray and Lover The Hearth Tales Incident", about two demon-hunting women. His screenplays have garnered attention in film festivals, highlighting his ability to translate complex narratives into compelling visual stories. Even their titles are interesting: "Popsicle Death", "Colorado Lobsters", and "Poor Lord Ritchie's Answer", to name a few.
Murdock’s filmmaking through his LgN Productions company also reflects his unique vision, creating atmospheric and unsettling experiences for audiences. His film "Gumdrop", a short horror (17 international awards), and his "Pvt. Ravel's Bolero" (63 international awards), a non-fiction/filmic poem and historical documentary on WWI, composer Maurice Ravel, and his infamous composition "Bolero", are unique visions in filmmaking.

Cover art by Marvin Hayes

Exploring the Human Psyche
Murdock’s interest in psychology is evident throughout his work, whether in his fiction, screenwriting, or non-fiction articles. With a university degree in psychology, concentrating on phenomenology, he delves into the psychological underpinnings of his characters and stories, offering readers and viewers a deeper understanding of the human psyche.
His writing on psychology is insightful and accessible, providing valuable perspectives on how our minds work and how these principles can be applied to storytelling. His senior-level presentation to his seminar on abnormal psychology, a paper on synesthesia and schizophrenia was commented on by their professor that he had found a field of study one could spend a career on, something unusual below the graduate student level. That paper and another are included in the ebook: "On Psychology: With Illustration in Psychopathology via Synesthesia and Schizophrenia."

A Voice for the Dark and the Thought-Provoking
JZ Murdock’s work appeals to those who are drawn to the darker and more mysterious aspects of life. His ability to weave psychological insights into compelling narratives makes his stories not just entertaining but also deeply thought-provoking. Whether you’re a fan of horror, science fiction, true crime, or psychological exploration, Murdock’s work offers a rich and immersive experience.

For readers and viewers who appreciate stories that challenge the mind and explore the depths of human nature, JZ Murdock is an author and creator who delivers on all fronts. His work is a testament to the power of storytelling to not only entertain but also to provoke thought and reflection on the complexities of the human condition.

Gee, thanks ChatGPT!

Cheers! Sláinte!

Monday, August 26, 2024

DEATH OF HEAVEN, a reflection (SciFi/Eldritch Horror)

I just reread my Literary Titan review of my book. Interesting. Odd to write something and hear another's informed view of it. I seem to produce works that are of a specific nature for a certain type of consumer. One for the odd, or disturbing, the unique and bizarre.

See, I've had a setback this past week on Facebook. They killed 14 years of my account on there, with groups, with band pages, all affecting myself and many hundreds of followers with an utter lack of care or customer service. I've repeatedly contacted them to no avail. 

And so in the end I've had to recreate a page on Facebook. That led to (once past the frustration and loss) creating a new page here. That led me to some marketing efforts to gain followers as well as perhaps sell some books and film views.

I've been marketing some of my works this past week, my films and writings. Like my film "Gumdrop", a short horror which I came to realize I was shooting for a "Henry: Portrait of a Serial Killer" kind of vibe. Great little flick and if you saw it (Henry) and if you did not like that one, you certainly won't like mine. 

There is also my short filmic poem/historical WWI documentary, "Pvt. Ravel's Bolero", where I used all public domain media. Until I put it on YouTube when there was a licensing issue for the main song (Bolero) from NAXOS and maybe also (though I don't think so) with, Universal Music for the written song. Finally today, after years I got an answer from PDinfo.com:
Sound Recordings get 100 years copyright protection in the USA.  It is our understanding that a sound recording with a 1930 copyright will not be PD in the USA until January 1, 2031.
Lynn
Public Domain Information Project PDinfo.com

Also, my non-fiction memoir and rather well-researched (and well-received) health book, Suffering "Long Covid"

On my epic portmanteau novel reviewed below, the reason for today's blog, even if you're not interested in reading my book, the review is something to remark upon. That being said, it is not the type of book you can pick up and read a few pages and think you know the rest. Those who have done that might have loved the rest, but the initial story is only a few pages and vastly different from the rest. However, it sets the tone for how this is not a typical book. And the adventure one is about to embark upon.

When you read the next and first full chapter, a story of two boys' horrific event and how it reshaped their futures, it does not even then offer insight to the next and following chapters, where from there, it descends into madness. But of a crafted type. It is a story that is multi-layered and "meta" in a way that is rather unusual.

The book is based upon the final novella, "Andrew" in my first collection of short stories, "Anthology of Evil". 

My non-fiction article Marvin produced the cover for, below.


For those who are confused by my book covers, do follow the old adage about not judging a book by its cover. I do like the covers. Some of them are done by my younger half-brother who is a brilliant artist in his own right. But these covers give you a bizarre consideration of what's inside. His art has always awed me. You can get an idea of how great he can be by checking out his works on Redbubble. You can even purchase them for your devices. 


Above, three of the "Gods" from DEATH OF HEAVEN (again, art by Marvin). Perhaps think of the Starz series, "American Gods" based on Neil Gaiman's book. But these are very different "Gods".

All that being said, welcome to one of the reviews of my book...

DEATH OF HEAVEN

Literary Titan Review

"Eldritch Horror is a narrative style that is defined by the names of those who create works within its genre: H. P. Lovecraft, Clive Barker, and now, JZ Murdock. To speak of the overarching plot of Death of heaven is to speak of madness, depravity, and incomprehensible horror of both mortal men and unimaginable beings, for both the characters in the world, and for the reader of the book.
"Death of heaven captures the essence of what makes Eldritch Horror spectacular-entities that are difficult for the mind to fathom are front and center within the narrative. True to the form of the genre, their interactions with the mortals of planet Earth are always interesting and usually end quite poorly for the mortals who receive their attention. JZ Murdock does an exceptional job with his narrative crafting, and the main protagonists of Jimmy and James provide an understandable vessel through which to view the narrative events as they unfold. They are, as characters, perfectly imperfect, each shaped by their experiences both with the incomprehensibility of life and the even greater incomprehensibility of the beings that have now taken note of them. To read this story is to gaze into the abyss, which is one of its greatest strengths.
"With that being said, however, it is important to note that this book is, by all merits, predominantly an all-consuming abyss and, by its nature, is often devoid of anything vaguely resembling happiness, hope, or basic decency. JZ Murdock's world is established as a world in which the conceptualization of God or gods is a radical misunderstanding of the true structure of the world, and the moral fashioning of those who live within this world reflects that quite well. This book plays freely and loosely with morality, divinity, and concepts that are generally felt to be too dark to be included in any form of media, making it entirely unsuitable for any who are not committed to Eldritch Horror as a genre: if Hellraiser was too much for you as a film, leave Death of heaven on the library shelf and choose another tome. The words of Dante match this work quite well: "All hope abandon ye who enter in."
"The story expands and balloons dramatically, and I felt that it is often difficult to understand what is a core event of the plot, and what is simply window dressing to make the experience "darker" or "more macabre." This leads it in places to leave the confines of Eldritch Horror and take on the feeling of the film Knowing starring Nicholas Cage. The core plot, I feel, takes readers on a headfirst spiral toward the end of all things, but there is an overarching sense of curiosity as to what is truly important for that end.
"Death of heaven earns its place in the Eldritch Horror pantheon (an ironic turn of phrase, considering), and while its tone and construction may eliminate many who would read it, those who can find enjoyment within the dark and twisted works of Lovecraft and Barker will undoubtedly find joy in the words of Murdock." - Literary Titan ★★★★

JZ Murdock's "Death of Heaven" lured me in with a sense of poignancy as childhood friends James and Jimmy played treasure hunters in the suburban yard. It seemed like such a sweet tale. Until I turned the page and discovered abject horror. This novel is unrelentingly unique, defying the norms of the classic horror genre. JZ Murdock doesn't think outside the box: he IS outside the box. Expect nothing "normal" here.
With an imagination that brings to mind certain hallucinogens, the author takes the reader on a mind-numbing roller coaster ride in a haunted mansion. There are highs and lows, twists and turns, but all of them happen in the eerie darkness. James and Jimmy have grown into adulthood, but both have struggled to overcome their childhood trauma. Now they've got to rely on each other as they begin receiving disturbing messages about the potential destruction of all they know. But that's part of the paradox here; the more they find out, the more apparent it is that all they've ever known is... incorrect. Unfortunately for them, things begin spooling up at such an incredible rate that they don't have time to process all they've received. They're racing against time and doing it on thin ice.
JZ Murdock presents his readers with a highly imaginative and unique read. It's a bit of a "Frankenstein" piece if you will. Made up of previously written short stories and wrapped with an overarching meta storyline that strings them all together, this is decidedly not your normal horror or sci-fi novel. Within its pages, readers will find viscerally gritty scenes of unimaginable (except to the author) inhumanity. Yet there are also pages of amazing prose dealing with philosophy, psychology, the human condition, and man's reliance on religion. My mind may have blown a fuse or two making these transitions.
"A dark character rode my mind, I knew that. A dark rider who made no compromise and rode in ways both surreal and inexplicable. Eventually I began to believe him. Someone was indeed out there. And in here."
This is high-functioning fiction, not designed for those who just want a quick, light read. It demands attention from its readers with its profundity and its depth. So often I read a novel and think to myself that I would love to see that story brought into production. I don't ever see that happening with this novel- all the thought, rhythm, and mystery of this piece simply wouldn't translate to a movie screen.
While I profess the storyline is remarkable and highly creative, I struggled with the inconsistent pace as the author led his readers from horror into philosophy, then on to his next whim. For me, this felt like the literary equivalent of a Jackson Pollock painting. The reader will most likely get out what the reader puts into this story.
I can easily see this novel becoming a cult classic in the vein of HP Lovecraft. With its polarizing style, it's fair to anticipate that most readers will either love it or loathe it- there is no in-between. If you enjoy reading avant-garde literature that shatters genres and tropes, this one's for you. - Reader Views

From the Author

This is one of my favorites of my books and writings. It was a complicated journey writing it and an intricate interweaving of many dark stories on many levels that all culminate into a fascinating tale that is larger than we are. Larger than humanity is, and encompasses the entire galaxy, if not that of the universe. Contained herein are tales of many kinds, and many times. Of youth abused. Of love gone awry. Of a dark love the color of congealed blood. Of friendships torn asunder for desire and power. It is based in two stories of mine. "Andrew" a novella contained in my first collection of short horror titled, Anthology of Evil. Andrew is a young boy who has seen horrible things and he too has to find a way to grow and live and eventually, he finds his place in the universe. The second is a very short piece I wrote for a psychology professor of mine during my university years. It is titled, "Perception" and is about how easily and from the very beginning, we as humans have misperceived so very many basic things. Misunderstandings that have led us to here and now. For all the good or bad it may one day be judged to be. In the end I believe this is an engrossing and entertaining read. Others have agreed. I hope you will too!JZ Murdock

From the Inside Flap

"A dream you dream alone is only a dream.A dream you dream together is reality." John Lennon

From the Back Cover

WHERE DID WE COME FROM?Throughout human history many philosophers and religions have pondered this ultimate question. James and Jimmy, brothers in arms since childhood, will learn that the answer is what nightmares are made of. They, along with all of humanity, will experience firsthand the...DEATH OF HEAVEN
Cheers! Sláinte!

My newest anthology, Anthology of Evil II Vol. I and Anthology of Evil II Vol. II.
On these, I shot the photos and crafted the book covers, but Marvin worked on enhancing them the photos.
 

Monday, June 10, 2019

Seven Books Worth Reading Plus One...Plus

I don't usually go in for these posting on demand things on Facebook, however...mostly seems a pain for people to do that too you. Once in a while, one comes about that I feel I can get behind, however. This was one of those. The idea is, choose a book you love, share it and say nothing. Share only seven books, one on each succeeding day.

It was a little frustrating, however. So I thought I'd alleviate some of that through a blog about these books and my reasoning in choosing them. Yes, perhaps this goes against the idea of the effort on Facebook, but I just wanted to explain where I couldn't on Facebook, to give a little background in the hope it might be interesting.

There were obvious books I skipped because so many know of them. A few seeped in below. Like, Dune, perhaps because it was so deeply affecting to me (see below). Others were also deeply affecting but did not get mentioned. Like The Hobbit, or Lord of the Rings, because so very many others also felt those books so deeply. I just felt it went without saying and the time and space could be better used with other books, less familiar to the public.

Here is what I chose and finally...why:


Day 1
Friend and actress; Jennifer True asked friend and filmmaker\director Kelly Hughes and he asked me to post covers of seven books that I love with no explanation, no reviews, etc. With each day, I'm also supposed to nominate more people.

I choose artist Marvin HayesAristotle's Works

When I was in fifth grade I was only allowed at our new house we'd just moved into, to go to the library on my bicycle. I was a bother as a child, not unlike my own son. Curious, investigative, always into...something. It was a wise decision. And I did go, only to the library when I asked. I discovered very interesting things. I'd always been fascinated by the written word. Sick of waiting for someone to read me the Sunday comics in the newspaper, until after everyone else finished reading the paper on Sunday mornings, I strove to learn to read young and never stopped.

On my first time at my new library, I discovered the "Adult" section. Not what you might think but definitely more interesting than the kid's section. It was directly before the door into the library, past the "old" ladies at the front desk, clearly in the open. I sat on the floor and started going through books, occasionally sneaking a glance at the front desk, amazed they let me unbidden at the adult section.

On that first time, I found a very old book by some guy named Aristotle. Single name. Starts with an "A". Had to be something, right? I started reading there on the floor. Something touched me. So I checked the book out. And they LET me! It was a fascinating dive into logic and ethics by the Master.

I knew I was onto something one day when I mentioned something relevant in the living room to my parents, a quote from Aristotle. By then, having looked up who he was in our family encyclopedia, which I also loved to peruse, I knew he was someone important, all throughout history.

My stepfather, who didn't much like me anyway, snapped at me that what I had said was stupid. I heard that a lot from him. I responded I wasn't sure that was right. He asked what would make me say that. Very carefully, a little scared, I said that he was a well thought of thinker all throughout history and many held him in the highest esteem.

He asked me, like who? I was surprised 1) he never heard of Aristotle as I kept running across him; 2) he didn't know people referenced Aristotle a lot and; 3) my response to him that, just about every educated and well-known person in history through highly of Aristotle. And that, shut him up. Thankfully.

From that exposure to Aristotle at such a young age, his way of thinking deeply affected me. All throughout my life.


Day 2
I choose, Nikolas HayesSlaughter-House Five,


Day 3
I choose, friend and fellow author Kurt GiambastianiThe Year the Cloud Fell


Day 4
 I choose, friend and photographer Erwin Verweij Something Wicked This Way Comes



Day 5
I choose, author Mark BaranowskiThe Star Thrower


Day 6
I choose, author Mark David GersonDune


Day 7
 I choose, author Stephen KingThe Books of Blood

Epilogue
I'm going to add one more book. Not just as pure self-promotion but as an honest comment about a book I wrote myself. I wrote it as I do all my stories to write something I've not seen before. At least in some way. I wrote my book, Death of heaven to show something I've not seen before.


I do not like to have to explain its format but for some, it may not have the depth it actually has. I wrote it to exemplify that "Heaven" (that is, heaven) never existed except in our minds, our mythologies, our religions. But even lies can and do have a base in fact. And that is the effort put forth in this horror / sci fi book.

We had a reason, as constructed in the book, to think there are Gods, to think there is an afterlife (maybe there is, but is there in the "Matrix" or is it another thing altogether?). And no, I do not use the Matrix as a foundation but something entirely different.

The Universe is not just as big as it is for us in the ways we conceive of. But in many ways, in many layers, in many dimensions. I tried to write a book that expands on that, expands our thinking, and offers some disturbing concepts and images to stretch concepts even further.

I based this book on Andrew, a novella about a five year traumatized boy who grows up into great things beyond that of any other human being throughout history. Andrew is a standalone ebook and the final story in my first book, a collection of my older and original short horror and sci fi fiction titled, Anthology of Evil. By the way, I have a sequel to this Anthology of Evil II but I have been busy and have not yet found a new publisher for it.

Death of heaven (see link for more) in my mind is the better book. But one leads into the other.

IF you want a book like you've not read before, give it a try. So far people seem to like it. It just hasn't had the marketing and attention it needs. See, m focus has been on film production. I've been focusing for years on screenplays and one of my favorites, the true crime biopic, The Teenage Bodyguard is now in talks with an active producer and we're building a plan for its production.

This past weekend Kelly Hughes hanging with the awesome Alison ArngrimMeeting actors Warren and Elif at Zombie Joe's Underground Theatre in North Hollywood with Alison and Robert. — with Alison Arngrim and Robert Schoonover.
This week's blog isn't about film production but it's been my primary focus of late. So for an update...along with Kelly Hughes over at his Lucky Charm Studio, friend and fellow filmmaker and founder of the Gorst Underground Film Festival in its second annual event this fall where I have been and I am again judging films.

I hope to get one of my own in there this year or next. Kelly just produced his documentary Hush, Hush Nellie Oleson currently making the round of film festivals. And a music video collaboration with the Italian band Postvorta with the same, We're Nothing. I'm also in his book, Are You A Good Witch, with a shot of Alison Arngrim ("Nellie" from Little House on the Prarie), who "murdered" me in one of Kelly's films.

I'm currently in pre-production on shooting my own short horror film, Gumdrop based on a previous short story of mine, Gumdrop City. A true crime story. After I'm done with the Bodyguard project I'll move over to a horror comedy I wrote that did well in screenplay contests, Gray and Lover The Hearth Tales Incident. It is one that could easily lend itself to a franchise.

Getting back to the seven books, they are all great books. I don't put mine up there in the same category. But I've certainly given it a worthy effort.

I'll just leave you here with these reviews by reviewers. Make up your own mind:

From author and reviewer Michael Brookes:
"The book starts well and has a Books of Blood vibe, which really works well. It's in these tales that the author's writing ability shines. He demonstrates a lovely turn of phrase and some of the writing is almost poetic in its beauty."

From British Book Reviewer Lynn Worton:
"JZ Murdock has written a horror story that had me completely transfixed! I'm intrigued as to what he is working on next! Although horror is not one my favorite genres, I recommend this book to those who do love it."

From WILDSound Writing Festival First Chapter review said:
"The story itself is very strong, lulling the reader into a false sense of security as two young boys hunt for treasure, before ultimately morphing into a violent and sometimes disturbing tale of horror. This is done with such swiftness that it takes the reader completely by surprise, which only enhances the effect."

Check out Death of heaven!

Sláinte! Cheers!