The first entry in my series, Halo’s Place in Science Fiction for Halo Archive, this analysis on The Fall of Reach will also be the first entry in a more expansive series.
Gaming’s Place in Literature seeks to examine game-related fiction through different lenses of literary analysis.
Fall of Reach is very much a character-driven story. Scenes transition from one to the other when a character point is made or developed, as opposed to the completion of an event. In fact, looking at it from a whole, there is not that much of a solid plot. There is the underlying themes of what it takes to save humanity and the continual comparisons of lives spent and lives wasted. Each segment gives something else from which the next can continue and build. However, there is no overarching story line; it’s more a chronicle of events.
I do not fault Fall of Reach for this, not in the slightest. This is no detraction from the novel. One of the most widely celebrated science fiction novels, Starship Troopers, is the same. There is an end goal and a final exciting event that changes the course of the war, but the story is more about the characters and their journey. Quite frankly, I think a plot would get in the way with the sort of story that Fall of Reach is trying to tell.
A plotted story calls for resolution at the end, be it triumph or tragedy. Here, there is no resolution. Halsey’s constant questioning of morality is never answered. John’s understanding of winning/losing and spending/wasting lives is never finalized. Keyes and his crew find their morale, only to have to torn from their grasp. Cortana has barely entered the world proper and already her goals have been forced to shift drastically. It’s a strange sense of reality that was interwoven so beautifully that I didn’t even realize the lack of plot until I sat down to write this piece.