My intent isn’t to be reductive or morbid here, but with the unfortunate recent death of R.A. Montgomery, now’s as good a time as any to reminisce about the impact that the Choose Your Own Adventure series had on me as a kid.
R.A. Montgomery was co-creator of Choose Your Own Adventure along with Ed Packard; a Williams College and Princeton graduate, respectively . These weren’t works of grand children’s literature, nor were they meant to be, but their interactive nature was effective at keeping kids glued to a book. The undisputed stars of every CYOA novel were the bad endings. Particularly for a burgeoning horror fiction fan like me, the myriad ways to die, disappear, destroy everything or otherwise accidentally choose the path of failure were fascinating.
One of my older brothers was into CYOA, which is how I got into it. They were some of the earliest books I ever read because they were readily available around the house and easily accessible. They also gave me an odd appreciation for unhappy endings. Off the top of my head, I can’t remember a single “successful” happy ending from any of the stories I read. But I can still recall being vaporized by futuristic guns, being devoured by a housecat after being turned into a mouse, and being hanged by castle executioners while stranded in the past. That’s not even a scratch on the surface of the multitude of untimely demises awaiting readers in the CYOA books. Even more interesting, nearly every book was written in second-person, placing “you” directly in the role of the lead character.
In a way the books were precursor to what was to come in video gaming, from adventure games like King’s Quest, to modern first-person games where your character is mute, or games such as Mass Effect where the choices you make can change a story’s direction, influence whether you get a good ending or bad ending, and who among your allies will survive. But while most modern video games are understandably beholden to a certain sense of “fair play,” the CYOA books had no qualms with rewarding a seemingly sound or innocuous decision with an abrupt, often brutal death.
Now to share a few of my favorite endings that I recall, some from books written by Mr. Montgomery, some by his colleague Mr. Packard:
In The Cave of Time you can find yourself in distant future or the past, relatively near or distant. And by “distant” we’re talking about far enough into the future to see the sun has become a red giant, and far enough into history that you are effectively pre-pre-history. In the latter scenario, your end comes via asphyxiation, as you’ve come to a time in the past when the Earth is effectively still in its formative stages, and there isn’t any oxygen in the atmosphere.
Journey Under the Sea has several of my all-time favorites. The aforementioned vaporizing episode takes place in this book, courtesy of some overzealous security guards. Relatively early on in the story, you can end up the main course for a feeding frenzy.
You also have the option of being swallowed whole by a “big mouth grouper”, a fate which also came with a helpful illustration.
There are plenty of unpleasant fates waiting in haunted house horror story The Curse of Chimney Rock. A lot of them involve being turned into a mouse and / or becoming a meal for a black cat. But the two that stuck with me were even more unconventional. The first involves accidentally knocking over and smashing a vase, and being ordered by the house’s resident witch to “make up for it.” You start to pick up the shattered pieces, but this immediately turns into a bizarre, Sisyphean punishment; no matter how hard you try, you can’t even gather all of the pieces of the vase, much less begin to put them together. Nonetheless you’re compelled to keep trying. Tellingly, instead of the traditional The End, this page concluded with There is No End.
Even more unusual, another Chimney Rock ending has you escape the titular house while being warned by a disembodied voice accompanying a pair of disembodied, ghostly eyes to never look back at the house again. The book gives you the option of letting it end there or (and how could you pass up this temptation?) stealing one last look. You turn to the appropriate page for the final fate of the terminally curious and…
From an adult perspective, while still macabre and grim, this is all pretty silly. But as a kid, for me, some of these endings could take on a dimension of strangeness that could occasionally prove unsettling. Particularly because, again, the stories were written in second-person. This is especially effective when it comes to my favorite type of ending in all of the CYOA books. One that was used more than once, but that I recall first reading in Montgomery’s Space and Beyond. Making the wrong decision in an effort to escape the pull of a black hole leads to this gem…
The only (extraordinarily minor) flaw here is that “The End” is redundant. You are never heard from again. Years later, I still find those words perfectly chilling.
Rest in Peace Mr. Montgomery, and thank you for all of the adventures.