Hinterland – a game that turns into a poem, or a game about cities and language, or possibly a poem that you play – was a modest success, I think. We had 227 players in total, of whom 72 made it past Canto 1, and nine hardy, wonderful players made it all the way to the top of Calton Hill and the conclusion of Canto 4.
Hinterland – a poem that you play – ran for two weeks at the Edinburgh festival. Over four cantos, players would seek out strangers meeting particular criteria (which varied per canto), and get them to help answer a questionnaire. Then, players would phone the Operator, and hand over their answers. The Operator wasn’t a human being, though: it was a piece of software. I wanted to write a little about the technical design behind the game: how we wrote a game for telephones, and the design considerations that went into it.
With just a week to go before the Hinterland opens up at Forest Fringe in Edinburgh, I wanted to look back briefly on the genesis of the project.
Following on from our collaboration on last year’s London Poetry Game, we’re joining forces with Ross Sutherland on a new poetry / game hybrid. Close followers of last year’s project will be pleased to note that we’re bringing even more poetry and even more game.