Mountain cue


With such a sparsely populated setting, the writing in A Highland Song is less focused on conversati­ons with strangers and more the ones that happen inside your own head. While you won’t be picking the next thought on Moira’s behalf (Inkle experiment­ed with this but found it felt too “stuck on”), this doesn’t mean her inner monologue is any more predictabl­e than the dialogue. “It’s not linear,” Ingold says. “It’s massively contextual. It’s reading off where you are, how you are, what’s going on, what you’ve seen, where you’re going, what you’re about to see…” This is particular­ly important because

A Highland Song is designed to be played multiple times. “The dialogue you get in your second game should be substantia­lly different than in your first game, because it’s keeping track of what you know and what you don’t know.”

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