About Bill Ectric

I want to believe it's possible to erase the line between science and mysticism. My first novel, Tamper, is about a kid named Whit who grows up in the 1960s obsessed with unexplained mysteries, B-movies, and strange noises in the basement. By the 1970s, he is seeing a psychiatrist and experimenting with drugs, trying to solve the mystery of his fixation on the number "4." In the 1980s, Whit meets a reclusive paranormal researcher who suggests that the answer might be found on the island of Malta, among the ancient catacombs known as the Hypogeum. Tamper takes its name from the works of real-life science fiction writer Richard Shaver, who claimed that underground mutants were using invisible rays to "tamper" with his brain. Some people thought Richard Shaver was crazy - Whit can relate! My interview with music legend David Amram is featured in the Litkicks book Beats in Time: A Literary Generation's Legacy.. I appear briefly as one of the commentators in the Steve Aylett film Lint - the Movie. On the internet, my work has appeared on Literary Kicks, Candlelight Stories, Lit-Up Magazine, Empty Mirror Books, Red Fez, Mystery Island, Dogmatika, Syntax of Things, The Beat, and Zygote In My Coffee. I like this old Zen saying: Before I became enlightened, I chopped wood and carried water. After I became enlightened, I chopped wood and carried water. I'm working on my second novel. I live with my wife in Jacksonville, Florida. By day, when not writing, I mow the lawn and complain about the heat. I have experienced lucid dreams, in which I knew I was dreaming and consciously stayed in the dream world without waking up, interacting with the dream - almost like being in a video game.

Old Time Occultism

https://hellhorror.com/article/8174/Ed-and-Lorraine-Warren-Occult-Museum.html

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A Deliciously Macabre Cult Movie

 

The Stranger From AfarThe best horror movie I’ve seen in a while is called The Stranger From Afar, or it’s original name, Marebito. Here are excerpts from a review on Midnight Eye: 

“Can I face the terror to which the only escape is to kill myself?” Shinya Tsukamoto, director of the cult films Tetsuo and A Snake of June plays Masuoka, a freelance TV cameraman with a finely honed proclivity for the morbid and macabre . . . 
His quest leads him deep into the catacombs of hidden tunnels that lie deep beneath Tokyo while avoiding the fearsome DERO or “detrimental robot”, rumoured to prowl the subway passages spreading terror. Amongst the subterranean ruins of an ancient city lying far from the sun, he discovers a strange, feral young girl, blank-eyed and barely human in her movements . . . In recent years, wunderkind horror director Takashi Shimizu has forged a rather envious reputation for himself as Japan’s new Crown Prince of Horror.

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Ghostly Influences

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Writing for Nightmare Magazine, John Langan discusses the influence of Shirley Jackson on horror writers like Stephen King, Paul Tremblay, and others. Here are some excerpts from Langan’s essay:

One novel does not a profound and lasting influence prove. However, there are others. Stephen King, for instance, has returned to Jackson’s work throughout his long career. In Carrie, there is a description of the young Carrie White having experienced a rain of stones very much like the one that precipitated upon the young Eleanor Vance. (And the novel’s portrait of the relationship between Carrie White and her mother probably owes something to the maternal conflict hinted at in The Haunting of Hill House) . . . As (King) acknowledges in Danse Macabre, The Shining engages Jackson’s The Sundial in its plot of a family confined to a large, old building while a storm rages outside. King’s script for Rose Red, in which a group of researchers gathers to investigate an infamous haunted house, began as a deliberate response to The Haunting of Hill House. Among recent works by other writers, Sarah Langan’s Audrey’s Door incorporates a rewriting of the opening paragraph of The Haunting of Hill House into a late chapter to signal its conversation with the novel, particularly at the nexus of mental illness, maternal anxiety, and uncanny dwelling places. Paul Tremblay’s A Head Full of Ghosts mirrors the sibling relationship at the heart of We Have Always Lived in the Castle to add resonance to his story of a family under pressure from forces from without and within.

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A Sci-Fi Screenplay Written by Artificial Intelligence

Here’s an intriguing article about a screenplay written by a computer. I found this at ARS Technica.

Knowing that an AI wrote Sunspring makes the movie more fun to watch, especially once you know how the cast and crew put it together. Director Oscar Sharp made the movie for Sci-Fi London, an annual film festival that includes the 48-Hour Film Challenge, where contestants are given a set of prompts (mostly props and lines) that have to appear in a movie they make over the next two days.

“As soon as we had a read-through, everyone around the table was laughing their heads off with delight,” Sharp told Ars. The actors interpreted the lines as they read, adding tone and body language, and the results are what you see in the movie. Somehow, a slightly garbled series of sentences became a tale of romance and murder, set in a dark future world. 

Benjamin is an LSTM recurrent neural network, a type of AI that is often used for text recognition. To train Benjamin, Goodwin fed the AI with a corpus of dozens of sci-fi screenplays he found online—mostly movies from the 1980s and 90s. Benjamin dissected them down to the letter, learning to predict which letters tended to follow each other and from there which words and phrases tended to occur together. The advantage of an LSTM algorithm over a Markov chain is that it can sample much longer strings of letters, so it’s better at predicting whole paragraphs rather than just a few words. It’s also good at generating original sentences rather than cutting and pasting sentences together from its corpus. Over time, Benjamin learned to imitate the structure of a screenplay, producing stage directions and well-formatted character lines.

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Annihilation, the film: A Fresh Review

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Natalie Portman in Annihilation (2018, Paramount-Pictures)

Scott Ashlin doesn’t pull punches. If he doesn’t like a movie, he will tell you, and he will tell you why. Ashlin, also known as El Santo, writes reviews at one of my favorite sites,  1000 Misspent Hours and Counting. Even though he jokingly calls his site “aimed exppressly at wrong-thinking,” Ashlin actually excels at knowledgeable film criticism. That’s why I was so interested in his opinion of Annihilation (2018), based on a book by Jeff VanderMeer, directed and co-written by Alex Garland. Many reviews of this film, both good and bad, seem to have agendas. S. T. Joshi, for example, hardly ever likes the most recent books of the weird or their movies, preferring the old, grizzled masters.  For example, he dismisses Stephen King and champions H. P. Lovecraft. It’s almost as though you can’t be that good if your book has been made into a blockbuster movie. Joshi is a great scholar of the weird, and I enjoy reading him, even if I don’t always agree with him.

But here is Scott Ashlin’s unsolicited opinion of Annihilation. He likes it:

 What I am certain of is that Annihilation is suffused throughout with something that’s been largely missing from mainstream science fiction movies for far too long, a sense of the vast and awesome strangeness of the universe that we inhabit. One of my favorite characteristics of the best and most ambitious sci-fi of the 50’s and 60’s is that it reveled in the majesty of the unknown. . .

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