Foreword: The Origins Of Trucker
The seeds for Trucker were planted a long time ago. Being born and raised in San Francisco, I remain no stranger to the long drive on Interstate 5 that connects Northern, Central and Southern California.
Along these drives as a kid and later as an adult, I would wonder about the men who drove those big rigs up and down the state to earn their living and keep the arteries of commerce alive.
I noticed many signs popping up along I-5 on arid land pleading with drivers to call certain politicians about a shortage of water caused by a distant legislature, not nature. In a cultural sense, these forgotten farmers had no voice. This didn’t sit well with me.
The plight of those struggling farmers then snowballed into a grander narrative about the growing size and scope of a federal/state/local government that is committing fiscal suicide, the irreparable damage from open borders leading to crime and unspeakable suffering, artificial intelligence replacing human labor and endless wars in the Middle East stoked by globalists. All of this and more inspired me to say something using a format that would be better digested by a large audience.
Conveniently ignored by Hollywood, the Federal Reserve and its activist role in the economy caught my attention too. The Fed is arguably more powerful than all government institutions combined and remains in the news virtually every day. Previous action movies with a government focus would almost always center on Washington D.C. and the White House. Not Trucker. It’s deliberately set thousands of miles from Washington D.C.
America in the late 2010s finds itself at a crossroads where the stakes for its survival are high and climbing by the day. Our geopolitical foes are emboldened. Given the precarious status of the dollar as the world’s reserve currency, catastrophic fiscal imbalances, forced demographic and cultural change via bad immigration policy, all mixed into a globally-codependent world economy, the conditions for a fatal storm are all there.
So, in Trucker, I found myself writing about a noble blue collar profession being eliminated by automation, a struggling sector of the state’s economy, a globalist power struggle, institutional Marxist infiltration, the Fed, dangerous open borders, political correctness, climate change, etc. America 2042 is a grounded, frightening outgrowth of our problems in 2017.
Including some artwork and storyboards in this book appealed to me as a way to spice things up too. I wanted to give readers a sample of the world and a taste of the pre-production work involved in visualizing a script that is written for the screen. Encountering a script embedded with art before it’s in pre-production is an uncommon treat for readers like you. Taken together, pairing words with this imagery further serves to raise awareness about serious projects out there like Trucker that Hollywood wrongfully suppresses.
Further, Trucker stands as a deliberate punch in the mouth of Hollywood’s grotesque, degenerate, perverted Cultural Marxists.
Ultimately, my aim in telling an entertaining right wing didactic tale is to have Trucker act as a counterbalance, a bulwark against these wicked forces, a dream of what the next version of Hollywood could be, and will be, one day. I didn’t write Trucker as a nuanced, spineless, diplomatic appeal to America’s enemies. It’s not an olive branch. I wrote Trucker in spite of America’s enemies; I wrote Trucker to piss them off. I wrote Trucker for you, the man or woman who loves our great country.
Plans for Trucker sequels are in development. I have plans to tell other stories with more subtle messaging too. But, that’s for another day.
There is hope yet America will mute globalism’s influence. It’s critical that we remind Americans to remain vigilant and remind them of what disasters will manifest if voters succumb to evil.
Enjoy the ride with Trucker. You can purchase it from Amazon here.