Can a Poem Be Transformed Into a Video Game? Here's What I Discovered Through My Attempt

Explore the process of adapting a poem into a video game and the lessons learned from the attempt. This journey reveals the unique challenges and insights gained in transforming poetic narratives into interactive gameplay, showcasing the creative potential and complexities involved in merging these two artistic forms.

Video game adaptations of novels and short fiction have long helped bring works of fiction to new audiences. The Witcher, for example, which now spans three games and a Netflix series, began life as a series of fantasy stories by Polish author Andrzej Sapkowski.

Frank Herbert’s novel Dune (1965) has been adapted into more video games than movies. The same is true of Terry Pratchett’s popular Discworld series (1983-2015), while Harlan Ellison’s short story I Have No Mouth, and I Must Scream (1967) was turned into a point-and-click adventure game in 1995 under supervision from Ellison himself.

Shakespeare’s work has been adapted into video games many times, most notably in Elsinore (2019), and has also been the subject of multiple game-making contests.

But what of poetry? There’s a long history of poetry crossing over with puzzles and games, which suggests the medium could survive being brought into the age of visual interactive entertainment.

Pattern Poetry: Guide to an Unknown Literature by Dick Higgins (1987), for example, documents examples of chessboard, labyrinth, and riddle poems from centuries past. There’s also a form Higgins calls “leonine verse,” which features branching paths for the reader to follow in a “choose your own adventure” style.

The mid-20th century, meanwhile, saw a variety of poets and artists experimenting with new “ludic” forms of poems – poems which either evoked games and gaming or invited physical interaction. La Rose et le Chien: Poème Perpétuel (A Rose and the Dog: Perpetual Poem, 1958) by Tristan Tzara and Pablo Picasso, for example, is a volvelle (a paper machine with rotating discs), which can be adjusted to produce variants on the same poem.

Even more expansively, Cent Mille Milliards de Poems (Hundred Thousand Billion Poems, 1961) by Raymond Queneau, enables readers to build their own sonnets from 140 different mixable lines. A digital version can be played online.

None of these poetry games, though, are adaptations. Perhaps the most longstanding case of existing poetry being used as the basis for a game is Hyakunin Isshu Karuta, a competitive Japanese card game in which players match the different parts of poems from the Hyakunin Isshu haiku anthology. The actions of the players here embody the principle of “two worlds in one breath,” which some have argued is central to haiku.

But with the plethora of digital game-making tools now available to poets, as well as the enduring literary penchant for modernizing classical texts – see Alice Oswald’s Memorial (2011), or Simon Armitage’s Sir Gawain and the Green Knight (2000) – it’s likely that we’ll begin to see more efforts to convert classical poems into video games.

Scenes from Dante’s Inferno (2010)

One example is Dante’s Inferno (2010) by Visceral Games. This third-person adventure re-imagines Dante’s circles of hell as battle arenas, honoring some of the poem’s more memorable imagery, such as “the infernal hurricane that never rests.” Inevitably, though, in the case of violent action games, it’s the narrative arc of the story which is the focus.

On the more experimental end, Gotta Eat the Plums! with William Carlos Williams by Calum Rodger remakes Williams’ poem This Is Just To Say (1934) as a miniature role-playing game for the Game Boy. The original poem can be interpreted as concerned with the everyday perversity of human desires, about which we are simultaneously apologetic and boastful (plums, like all juicy fruit, being symbolically linked to forbidden knowledge and sex).

But Rodger adds subtle commentary to this symbolism. He gives the player the option to refrain from eating the plums three times, using up their willpower gauge until they are eventually compelled to consume them.

In a Minute There is Time (2023) by Aster Fialla, meanwhile, is a short text-based game using T.S. Eliot’s The Love Song of J. Alfred Prufrock (1915) as its springboard. It plays specifically on the theme of time, forcing the player down various avenues using a countdown timer. This puts them physically in the position of Prufrock, who is haunted and vexed by the inevitability of death.

Adapting a Poem into a Game

For my part, I have tried to adapt part of Arthur Rimbaud’s Une Saison en Enfer (A Season in Hell, 1873) into a custom level for Broforce (2014) by FreeLives, a run-and-gun pastiche of 1980s action movies.

This attempt uses a flaming tropical jungle, replete with machine guns and exploding barrels, as a metaphysical representation of Rimbaud’s psychological turmoil, with the player battling toward self-understanding. It ran aground, however, due to the difficulty of following the poem alongside the colorful action sequences.

Video game adaptations of poems are not impossible. They do, however, need to leave space for readers to engage with the specific effects of language.

Experimenting further, I found the video game genres which admit the presence of poetry most readily are those which require careful calibration and thoughtful probing from the player. For example, puzzle games, story-rich role-playing games, games of exploration, and visual novels. Where the two mediums can be integrated, there is great potential for a doubling up of their powers – video games’ ability to draw us into alternative worlds and poetry’s propensity to speak lasting truths.

The Potential for Poetry in Games

Video game adaptations of novels and short stories have shown how interactive media can breathe new life into literary works. While poetry might seem less suited to this medium due to its brevity and abstract nature, there are promising examples that hint at the potential for successful adaptations.

Interactive and Ludic Poetry: The history of poetry intersecting with interactive and game-like elements suggests that the transition to digital interactive media is a natural evolution. The concept of "pattern poetry" and "ludic" forms in the mid-20th century show that poets have long been interested in blending their work with elements of play and interaction. These historical precedents provide a rich foundation for modern adaptations.

Cultural Adaptations: The example of Hyakunin Isshu Karuta demonstrates how poetry can be central to gameplay, with the competitive card game emphasizing the beauty and brevity of haiku. This cultural adaptation shows that poetry can be integrated into games in ways that respect the original form while adding new dimensions of engagement.

Technological Advances: With advancements in digital game-making tools, poets and game designers have unprecedented opportunities to experiment with new forms of interactive poetry. The digital space allows for creative freedoms that can bring the evocative power of poetry to a wider audience through immersive experiences.

Challenges and Opportunities

Adapting poetry into video games presents unique challenges. Poetry relies heavily on language, metaphor, and brevity to convey deep emotions and concepts. Translating these elements into a visual and interactive medium requires careful consideration to preserve the essence of the original work.

Maintaining the Integrity of Language: One of the main challenges is maintaining the integrity of the poem's language while integrating it into gameplay. The game's mechanics and narrative should complement the poem, enhancing the reader's engagement without overshadowing the literary elements.

Choosing the Right Genre: Selecting the appropriate game genre is crucial. Puzzle games, story-rich RPGs, and visual novels seem to be the most suitable genres for integrating poetry, as they allow for thoughtful exploration and interaction. These genres can provide the space needed for players to appreciate the nuances of poetic language.

Creative Collaboration: Successful adaptations may require collaboration between poets and game designers. This partnership can ensure that the poetic elements are effectively woven into the game's design, creating a harmonious blend of literature and gameplay.

Future Directions

The future of poetry in video games is promising, with the potential for innovative and immersive adaptations. As more poets and game designers experiment with this medium, we can expect to see a diverse range of poetic games that push the boundaries of both art forms.

Educational Applications: Video game adaptations of poetry can also have educational applications. They can be used as teaching tools to engage students with poetry in new and exciting ways, making the study of literature more interactive and accessible.

Expanding Audiences: By adapting poetry into video games, literary works can reach new audiences who may not engage with traditional poetry. This cross-pollination of media can introduce the beauty and power of poetry to a broader demographic.

Preserving Poetic Traditions: While embracing new technologies, it's essential to preserve the traditions and essence of poetry. Successful adaptations will balance innovation with respect for the original works, creating experiences that honor the depth and richness of poetic expression.

In conclusion, the adaptation of poetry into video games is a challenging yet rewarding endeavor. By leveraging interactive media, poets and game designers can create unique experiences that highlight the emotional and intellectual impact of poetry. As the field continues to evolve, we can look forward to a future where poetry and video games coexist, enriching our cultural landscape with their combined creative potential.

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Source: theconversation‍