I’m all for interesting ways to write books, but using a game of “Twitter
telephone” is a new one for me. In fact, can we even call this book written
by Gaiman at all? Sure, he’s great at these types of modern fairy tales
(like Stardust , for instance), but he only got the ball rolling on this
story and let the internet write the rest of it. Granted, he was the one who
chose which segments to include next, to help guide it into some limited form
of coherence, so maybe he “wrote” it after all?
It’s not that Hearts, Keys, and Puppetry isn’t an utterly incoherent
story; it’s that it lacks focus at times. Plenty of interesting subplots
could have been explored but were quickly abandoned as the story switched
over to a different writer. I’m almost glad this book was as short as it
was because otherwise, I don’t know how much more of the plotline whiplash
I could take. Perhaps it’s a good thing for readers everywhere that stories
aren’t normally created 140 characters at a time. Not that it can’t be
done, but that the longer scope of the project is lost in the changing points
of view.
If anything, this book reminds me a bit of Forum Role-Playing stories. Each
individual controls a character, and everyone writes a segment at a time to
advance the plot. The problem with this approach (other than people not
committing to contributing) is that each individual has an idea in their mind
of where the story should go. Rarely do those ideas match with the rest of
the group. If this story were edited down to a few base ideas that Neil
Gaiman would then use to create a longer-form and coherent story, then maybe
this experiment would have merit. As it is right now, Hearts, Keys, and
Puppetry displays the true randomness of the internet.
A crowd-sourced story that has all the problems of a crowd-sourced story, I
give Hearts, Keys, and Puppetry 3.0 stars out of 5.