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Mystery of Webster's Curse Background

Story to Video

18 hours ago

They throw stones

I first told this to a class, making it up, no notes, spoken as narrator. I went home and wrote it down. 2002. I was 35 years old, friendless, under siege from pedophiles and child killers, soon to lose my job, my home, everything I treasured.

The fiction, horror story was autobiographical. A sister in my dysfunctional family died from kidney disease and renal failure following a transplant, on Valentines Day 1978. A pet dog had saved our family from a house fire, but later died after a traffic accident when no one had wanted to walk it. I had visited the Amityville House. We had had a neighbour, Mrs Webster, who would look at our backyard and complain about our dog doing its' business there. Chris, Joff, Big and Arthur were real too. Big liked ant farms. Chris and Arthur shared music and guitar play. I would tell them the truth and they would not listen. I drew on real events and twisted them to narrate the story, to keep direction for focus.

The start of the story with Webster throwing stones, calling out etc, echoes the narrator's experience of being cursed, wanting to warn others, and throwing stones and calling out. Webster and the Narrator die in a comfortable armchair looking for resolution and finding only horror. The new family was to be the Amityville Horror family. This is a prequel.

https://oddballsstories.blogspot.com/2007/12/mystery-of-websters-curse-heroism-of.html

My first video attempts I sourced pictures from the Internet, but it was too disjointed. I got a Disney animator to do some art for me. But I had no money to complete my project.

Recently, I've been working with Suno and Grok AI and they allowed me to do the work I've done. I've spent two weeks on this, and could do better with transitions and effects. I will put the better effort into the sequel, the Ballad of Mytzi the Puppy.

As for the stone throwing, the actual story is my dad was very angry with me and wanted to drive me to school on his way to work. He vented as he drove. When I was to leave the car he punched me on the face, giving me a black eye. He apologised, saying he meant to hit my chest and not leave a mark. He was very concerned I might tell people he hit me. I assured him I wouldn't. A nurse asked me about the eye. I said I injured it playing Ball. To this day, nobody knows the joke. I had been in first grade.

I welcome feedback.

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improved marketing on Rumble

Journey to the Tanami Desert with the Ballad of Jampijinpa, a Warlpiri Jukurrpa retelling of Bambi. Follow Jampijinpa, a young red kangaroo, as he learns the sacred laws of his Country from Napangardi, faces dangers like the machine’s shadow, and rises as a leader under the Seven Sisters’ stars. This Dreamtime story celebrates Warlpiri culture, resilience, and connection to the land. Comment your favorite Indigenous story below! Subscribe for more Warlpiri tales and join my Locals for exclusive Jukurrpa insights.

#Warlpiri

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The story of Bambi is, for many, their first encounter with profound loss. Writing this story in Warlpiri Dreamtime, Tanami Desert context. Loss is part of life, yet life goes on. But, a good life, serving the community is also important. How do Indigenous stories like Jampijinpa’s inspire you?

Notes on the Adaptation: Setting and Characters: The Tanami Desert replaces the forest, with native animals (red kangaroo, dingo, mallee fowl, perentie) as characters, reflecting the local ecology. Warlpiri skin names (Jampijinpa, Napangardi, etc.) root the characters in kinship systems, central to Warlpiri identity. Jukurrpa: The Dreamtime frames the story as a sacred narrative, where loss and growth are part of the land’s law. The “shadow” (a machine) nods to modern intrusions like mining, a real threat in the Tanami, but keeps the story timeless. Themes: Bambi’s coming-of-age becomes a journey of learning country and law, emphasizing Warlpiri values of responsibility and connection. The mother’s death and the fire echo Bambi’s trials but are grounded in desert realities. Cultural Respect: I avoided inventing sacred details or mimicking restricted Warlpiri stories, focusing on universal elements (land, kinship, survival) informed by public Warlpiri narratives, like those shared in art or ethnographies.

The Ballad of Jampijinpa In Tanami’s heart where the spinifex sways, ‘Neath the Jukurrpa’s first starlit blaze, The ancestors carved from the red desert’s hand, Young Jampijinpa, to guard sacred land.

Chorus: Oh, Jampijinpa, with bounds swift and free, Carry the law of your country’s decree. Through sand and through sorrow, your spirit will roam, In the Tanami’s dreaming, you’ll always find home.

Napangardi taught him the desert’s old ways, Where soakages shimmer through blistering days. The bilby’s soft tracks led to yams in the ground, And the wind whispered tales when no rain could be found. With Jangala, dingo, he leaped o’er the plain, While Nungarrayi tidied the earth’s ancient pain. The oaks sang of patience, the elders stood near, Their ochre-lit eyes guiding young kangaroo’s fear. But dawn brought a shadow, a roar cold as stone, A machine’s cruel hunger tore flesh from the bone. Napangardi fell, her spirit took flight, To the ancestors’ campfire in the starwoven night.

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Final Chorus: Oh, Jampijinpa, your story’s been spun, A thread in the Jukurrpa, forever begun. The Tanami dreams, and its stars softly call, For the kangaroo’s heart that will never grow small.

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