Douglas [Adams] had received many requests to turn Hitchhiker's Guide to the Galaxy into a computer game, and had so far refused all of them. However, the time spent playing computer games had given him definite ideas: he knew he wanted the Hitchhiker's game to be far more a problem-solving, interactive novel than an arcade or space invaders game.
In late 1983 he contacted Infocom, a Massachusetts based company whose previous games had impressed him, and suggested a collaboration. They agreed enthusiastically, and by January 1984 Douglas was in a position to announce, "I'm going to get the computer game done this year, which will give me an excuse for playing around with my computer. I'll be doing the work on a computer in Boston and accessing it from here on international packet-switching. I love all that!"
Douglas Adams's collaborator on the computer game was an American, Steve Meretzky. They began by corresponding via electronic bulletin board, and then met in February 1984 for initial discussions. Adams wrote chunks of material, sent them via computer to Meretzky, who programmed them and sent them back. Douglas Adams actually designed and wrote more than half the game; the rest was a joint effort, using Douglas's ideas and material, and Meretzky's computer experience. The game itself was released in late '84, and proved an immediate success. The packaging was imaginative, containing an illustrated booklet with pictures of the guide and sundry alien phenomena, together with a 'Don't Panic' badge, Joo Janta sunglasses, fluff, a microscopic space fleet, demolition orders (real eager-beavers should take a very careful look at the signatures on them), and no tea.
The computer game, which Adams describes as "bearing as much relationship to the books as Rosencrantz and Guildenstern are Dead does to Hamlet", opens much as the other versions of Hitchhiker's. You are Arthur Dent, waking with a hangover on the morning that your house is demolished, but you rapidly find yourself in a fiendish and phantasmagoric nightmare, in which the object seems to be as much to find out what the purpose of the game is as to play it.
As Adams explains, "It gets the player going and lulled into a false sense of security. And then all hell breaks loose and it goes through the most extraordinary number of directions. The game just glances at events which were a major part of the books, while things I used as one line throw-aways are those that I use for the game's set pieces. The reason was to keep me interested in doing it, and I wanted to make it fair for the people who haven't read the books. So readers and non-readers were, as much as possible, on an equal footing ... the game is equally difficult for both."
The response to the game was extraordinary. Described by the London Times as "without doubt the best adventure ever seen on computer", it became the bestselling adventure game in America on its release, selling over a quarter of a million copies. A major part of the game's success must have been due to the fact that a real-life author was, for the first time, actively involving himself in, indeed writing, a computer game based on his work; and also to Adams's own love of messing around with computers, and devising problems, doing crosswords and the like - not to mention his need to keep himself interested and amused by the game, which communicates itself to participants.
The game contains much that is new (and doubtless apocryphal); obscure, brain-baffling problems; and much new Adams text, including another opportunity to examine and rewrite the events of the first half of the first book. Doors, Babel fish, peanuts and tea (or lack thereof) take on a whole new lease of life.
Some sample passages include:
Of a pub cheese sandwich ...
The barman gives you a cheese sandwich. The bread is like the stuff that stereos come packed in, the cheese would be great for rubbing out spelling mistakes, and margarine and pickle have combined to produce something that shouldn't be, but is, turquoise. Since it is clearly unfit for human consumption you are grateful to be charged only a pound for it.
Of one of the many deaths of Arthur Dent ...
Your serious allergic reaction to protein loss from matter transference beams becomes a cause celebre among various holistic pressure groups in the Galaxy and leads to a total ban on dematerialisation. Within fifty years, space travel is replaced by a keen interest in old furniture restoration and market gardening. In this new quieter Galaxy, the art of telepathy flourishes as never before, creating a new universal harmony which brings all life together, converts all matter into thought and brings about the rebirth of the entire Universe on a higher and better plane of existence. However, none of this affects you, because you are dead.
Later in the game, when one obtains a copy of the Guide, it can be consulted on a number of subjects. Fluff, for example ...
Fluff is interesting stuff: a deadly poison on Bodega Minor, the diet staple of Frazelon V, the unit of currency on the moons of the Blurfoid System, and the major crop of the laundry supplies planet, Blastus III. One ancient legend claims that four pieces of fluff lie scattered around the Galaxy: each forming one quarter of the seedling of a tree with amazing properties, the sole survivor of the tropical planet Fuzzbol (Footnote 8). The ultimate source of fluff is still a mystery, with the scientific community divided between the Big Lint Bang theory and the White Lint Hole theory. (Footnote 8, should you care to check, informs you that it's not much of a legend really.)
The game is bizarre and improbable. It has the text of a short novel in its memory, and means that a good part of Douglas Adams's mail now consists of heartfelt cries from people trapped on the bridge of the Heart of Gold or unable to obtain a Babel fish.
A second game was planned at the same time as the first, this to take place on the planet of Magrathea.
Whether or not the game is a valid part of the Hitchhiker's canon (for which the only requisite for joining would seem to be that it is completely different from other versions) could be debated. But comparison is not really needed. As Douglas Adams explained, when interviewed about Interactive Literature, "You can't compare IL with literature. If you do, you can very easily make a fool of yourself. When Leo Fender first invented an electric guitar one could have said: 'But to what extent is this real music?' To which the answer is: 'All right, we're not going to play Beethoven on it, but at least let's see what we can do.' What matters is whether it's interesting and exciting.
"The thing I like about this is that I can sit down and know that I am the first person to be working in this specific field. When you are writing a novel, you are aware that you are manipulating your readers. Here you know you are going to have to make them think how you want them to reason. I don't regard it as being an abdication of creative art. Yes, at first I was horrified: in fact, there is a sense in which now the author is even more in control, because the 'reader' has more problems to solve. All the devices of the novel are still at your disposal, because a novel is simply a string of words, and words can mean whatever you want them to. It just offers the opportunity to have a lot of fun."
Adams enjoyed putting together and writing the computer game more than any other aspect of Hitchhiker's. Following the computer game, Adams's interest in computers, computer games and programming has remained high, although at one point he found that he was spending so much time playing with his Apple Macintosh that he switched back to a manual typewriter, in order to get some work done and as a form of penance. Computer-related projects for the future include Bureaucracy (the object of Bureaucracy being to persuade your bank to acknowledge a change-of-address card) planned for mid-1985 release (but delayed until 1987).
Things remain fairly faithful to the book until you reach the Heart of Gold, at which point Ford, Zaphod and Trillian go off to have a sauna and you are left to your own devices in a ship full of uncooperative GPP machines. After that things get very bizarre indeed: events are experienced from a multitude of viewpoints; problems to be solved occur in places as disparate as Damogran, a party in Islington, and the interior of a whale.
To get you through the game are your copy of the Hitchhiker's Guide, your Sub-Etha Sensomatic Thumb, and your towel - not to mention your native wit, luck, and a sense of humour. And a thing your aunt gave you that you don't know what it is.
The game is addictive: fiendishly hard, yet impossible to leave alone until every last problem is solved, which can only be done by paying attention to every piece of information that comes your way, and often by thinking extremely laterally. The game can be played by novices, who might in some ways have less difficulty than experienced computer gamers, who would not necessarily find it easy to tune in to the game's peculiar mind-set.
It is easy to see why Douglas Adams found this the most enjoyable part of Hitchhiker's; almost all aspects of it, from the adventure, to the Guide entries, to the footnotes, even to the Invisiclues Hints book, display a relaxed attitude missing from the books and the radio series. Adams has a tendency to have ideas that don't always fit into the framework of what he is doing at the time. The enjoyable thing about the computer game is that the most bizarre ideas can be incorporated into it with ease. Also Adams's love of problem-solving (crosswords and such) is given full rein.
The weakest part of the game is the opening section of the packaging and manual: an eight-page advertisement for the Guide ("Yes! The Universe Can Be Yours For Less Than 30 Altairian Dollars Per Day!") which comes across as sophomoric - more like Mad magazine than Douglas Adams.
The game, however, is a major achievement, one that even the least computer literate Hitchhiker's fan should enjoy.
Thanks to Warwick Annear for transcribing and donating this article.