British writer, editor and researcher Jon Stone has just uploaded this experiment, created as part of his research for Dual Wield: The Interplay of Poetry and Video Games (De Gruyter, 2022: Volume 3 in the series Video Games and the Humanities), noting in the description that “I wanted to see if I could rewrite the opening of this long Rimbaud poem as a playable action sequence. In the end, I decided it wasn’t working — but it makes for a fun video.” He has a new essay in The Conversation going into more detail about the project: “Can a poem be adapted into a video game? Here’s what I learned from trying.”

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 modernising 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.

One example is Dante’s Inferno (2010) by Visceral Games. This third-person adventure re-imagines Dante’s circles of hell as battle arenas, honouring 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.

Read the rest. Discussing the Rimbaud video, he says:

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 colourful 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.