A truly magnificent thing about the way the brain was coded, Sam thought, was that it could say ‘Excuse me’ while meaning ‘Screw you.’. “He found himself uttering a series of ‘excuse mes’ that he did not mean. In one notable passage when Sam was 21 and trying to get through a crowd: That theme sets into relief a more important mirror-image theme, i.e., the programming of the human brain, so much more difficult to adjust than in a game. One is the difficulty of programming, and how it both reflects real life as well as the dreams and wishes of programmers, and how the programmer purposefully constructs a game imagining the person or persons who might play it. There are so many clever sub-themes in this book deserving of mention. I can wait until you’re dead.”Īs adults, they formed a wildly successful game-producing partnership, all stemming from that day when they first tested each other’s mettle and became friends. Sam: “You want to play the rest of this life?” Their first conversation was a wonder, and in some ways predictive of their lives to come: When Sadie was directed to the game room to pass the time, she encountered Sam, playing Super Mario Bros. Sam, 12, was in the same hospital recovering from surgery on his foot following a gruesome automobile accident. Sadie, 11, was at the hospital visiting her older sister Alice, who had leukemia. Sadie and Sam met when they were kids in Los Angeles. Zevin then proceeds to delve into the many different ways freight can be proportioned to the groove, especially through the ongoing and ever-morphing relationship of two main characters, Sadie Green and Sam Masur. The Dickinson poem that precedes the books is this: You might make it about the games and gamers themselves, because “no matter how bad the world gets, there will always be players.” Gabrielle Zevin did all of this, and she did it brilliantly. You might make it about the ability to leave your own body and live through an avatar without the body’s shortcomings, and without its problems that can often seem unsolvable at worse, depressing at best. You might make it about life and death, and the ways in which online gaming gives you an infinite number of lives and the ability to stop time, unlike the much crueler reality offline.
You might make the superficial focus about computer gaming, and the love between friends, among friends, between lovers, and among family that characterizes a group of people involved in developing computer games. Suppose you wanted to write a novel based in part on a four-line poem about love by Emily Dickinson, but you wanted to make it relevant to young readers who tend to eschew poetry.
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