I'm not a particularly voracious reader of fiction. Most of my reading is in the form of books and magazines about science or history. But I do try to squeeze in a novel here and there -- usually something from the canon of classics. I never write about them on this blog because I doubt I have anything of value to say about them. Besides, being predominantly a video game writer means that I lack the vocabulary for expressing critical opinions of non-interactive media. I struggle to get by with the reviews of movies and TV shows that I write.

However, I read a rather unique novel over the summer that I do feel I can discuss. In large part, my willingness to talk about this particular novel comes from the fact that this particular novel actually has an interactive element to it that makes some of my video game criticism lingua more applicable. The novel in question is House of Leaves by Mark Z. Danielewski, published by Pantheon Books in 2000.

I was introduced to this book by a YouTube video from Noah Caldwell-Gervais about the 2019 Blair Witch game on the XBox. Towards the end of the video, he talks about the conclusion of the Blair Witch game, which involves surreal, looping hallways. He goes on to talk about the recent fad of looping hallways, which has been seen in games ranging from Blair Witch to Layers of Fear to P.T.. He then talks about a novel which may have served as an inspiration for these games, and which attempts to simulate the feeling of being lost in a corridor (and the ensuing madness that it brings on) through the structure and organization of the text itself. This piqued my interest, and I promptly hopped onto Amazon and ordered a copy of the book. I was going to have a lot of downtime during the stay-at-home lockdowns of the COVID-19 pandemic, and needed something to help kill the time.

I was inspired to read House of Leaves after watching Noah Caldwell-Gervais' critique of Blair Witch.

Indeed, I ended up enjoying House of Leaves, which has become a sort of paradigm shift for me in terms of how the written word can engage the reader. For me, House of Leaves is a watershed work of literature, in much the same way that Demon's Souls was a watershed video game. House of Leaves is my first encounter with true "ergodic text" (unless you want to count the "Choose Your Own Adventure" books I read as a child) and has redefined (for me) how a textual work (such as a book) can go about engaging its audience, and how it can tell a story in a more interactive manner than other peers in the respective media.

It's impossible to discuss this book and its merits without going into spoiler territory. As such, there will be some minor or moderate spoilers in this review. I'll try to keep them as light as possible, but consider yourself warned.

Lost in the pages

House of Leaves employs several framing devices to tell multiple narratives simultaneously. At the center is a documentary movie, called The Navidson Record about a family (named the Navidsons) exploring a supernatural house that is bigger on the inside than it is on the outside, and which regularly changes its interior size and geometry in increasingly impossible ways. This movie is being reviewed and researched by a third party named Zampanò, who is writing a book about the documentary in the hopes of determining if the documentary depicts a real supernatural phenomena, or if it is the work of Hollywood trickery. Zampanò dies while working on this book, and his research is recovered by a third party named Johnny Truant, who attempts to piece together Zampanò's research and finish his work. Both Zampanò and Johnny become increasingly obsessed with The Navidson Record, and eventually go mad.

To further obfuscate the work, the introduction establishes that the original version of the work was a series of scattered pages, photographs, video clips, and audio recordings that were passed around on paper, VHS, and cassette tapes before being posted piecemeal to internet message boards in the mid-to-late 90's. The scattered documents were eventually collected by a book publisher and edited together into a single published work, which is implied to be the novel that you are holding in your hand.

Danielewski employs multiple framing devices to tell between 2 and 4 concurrent narratives.

Zampanò transcribed the events of the film into text, along with his own interpretations and commentary. Then Johnny reviewed Zampanò's notes, and added his own interpretations and commentary on top Zampanò's commentaries, while also maintaining a journal of his daily life (and decline in sanity).

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After reading through my complaints regarding the shrinking scale of the Star Wars film universe, a colleague of mine asked me to preview a novel that he was writing. He also grew up as a Trekker, and he sorely misses the optimistic science fiction that Star Trek represents, as well as the attention to technical and scientific accuracy that is sadly lacking in much of today's science fiction. Popular "science fiction" of today frequently focuses on special effect spectacle to the exclusion of cerebral or thoughtful stories and concepts, but there are still plenty of indie writers and film makers who try to offer more substance over pomp.

In his debut novel, Without Gravity, author David Pax explores an optimistic distant future in which humanity has spread across the stars, living in harmony with our technology and the worlds that we inhabit. It's not a vision of the future without conflict, however. Planet-bound humans are drawn into periodic conflict with a divergent culture of human "Spacers" who spend their entire lives within the confines of their zero-gravity space ships, making them virtually aliens to the rest of humanity.

When the Spacers launch a surprise attack on the mineral-rich frontier world of Tirimba, the citizens must take shelter within the cavernous mines and prevent the Spacers from acquiring the valuable resources that would allow them to build new ships and threaten the heart of human civilization. The Spacers aren't the only threat, as the citizens of Tirimba must also deal with one colleague who's selfish greed puts the entire war effort at risk.

Pax's vision of the future may be exotic, but it's also very grounded. The conflict is one of resources and logistics, as Pax pays diligent respect to the vast scale and distances of intergalactic conflict, and puts strict limits on the capabilities of the warships and technologies. Tirimba is remote, and is only a small piece of a larger conflict that happens mostly beyond the awareness and comprehension of the civilian refugees who remain stranded on the planet. This remoteness creates drama and maintains mystery and intrigue regarding the conflict. The story, after all, focuses on the civilians, and the personal cost that they pay, rather than on the military.

The novel itself is fairly short and a relatively light and easy read. Despite his engineering background and attempts to describe and develop the technologies and society that he has imagined, Pax doesn't drag the novel's pace down with unnecessary techno-babble. You don't need an engineering degree to follow along or understand.

Pax also writes short stories and maintains a blog. He's a friend and colleague of mine, and we share many common interests and perspectives. If you enjoy reading my ramblings, then I invite you to visit his site as well, and to support him and other indie authors who are trying to keep the spirit of science fiction alive.

If you do decide to purchase Without Gravity, use the promo code MEGABEARSFAN at checkout to receive a discount.

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A gamer's thoughts

Welcome to Mega Bears Fan's blog, and thanks for visiting! This blog is mostly dedicated to game reviews, strategies, and analysis of my favorite games. I also talk about my other interests, like football, science and technology, movies, and so on. Feel free to read more about the blog.

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Without Gravity

And check out my colleague, David Pax's novel Without Gravity on his website!

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