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It was an ark, a monolith, and its screen was the sort of primitive green-text display that made me feel, even in the 1980s, as if I were a programmer in an ancient language just to tell it to RUN, driving a blinking bright-green cursor across a swamp-colored screen.
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The most important thing in it was a PC the size of a refrigerator, with a great big shelf for disks the size of pizza boxes. The cool space was more than a reprieve from the heat.

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From the basement rafter, a painted rope swing in the shape of a horse that Charlotte’s father had built for her and her brothers.
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After we got done playing outside, Charlotte and I would escape the summer heat by retreating into her basement, a magic space in its own right: Her father, who to my memory was a mad scientist, kept all his things down here, hulking bookshelves full of calculus texts that might as well have been bibles in a foreign language (but were ideal for playing “teenager”), a fascinating bin of many-colored wires in tiny looped bundles, an old brown and orange couch set whose foam cushions were better for forts than for sitting. With all the wandering we did, I remain impressed that was the only time we lost our path, and that that was the only trouble we’d ever really gotten into (aside from a mud-ruined sneaker or a missed dinner or two).īut then, my childhood world was one long continuum of maps, forests, and secret places.
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Once, we got lost, having come out of the woods on a thoroughfare a few blocks away, and we walked back and forth bawling loudly until someone came out of their house and directed us how to get home. They were faerie crowns, they were clues in a murder mystery, they were signposts for travelers. Trails were to be followed, walls scaled, and any unusual object, from abandoned toys to simple garbage, had the possibility of being invested with magic. I am sure Liberty Hill Circle is neither as vast nor as magical as it was to my young mind, but to my memory Charlotte and I had great trees that breathed, forbidding encampments for imaginary tribal people, and “rivers” – muddy gullies in the woods between homes that sometimes had crude planks for bridges. I often mapped the woodlands of the neighborhood in which I grew up: a suburban Massachusetts loop of peaceful little homes surrounded by the kind of greenery I took for granted as a kid, not knowing yet how rare it was, how distant a memory it would be once the ruthless asphalt and metal of the big city became my adult home.

As a child I was a cartographer of imaginary worlds, drawing maps by hand for my best friend Charlotte and I to play with. Nearly every time the subway stairs eject me blinking into the aboveground sun, I don’t know which way is north I stagger for landmarks, and I am shaking my iPhone to dislodge the compass interference that will tell me which way to turn. I’ve lived in New York City for nearly nine years now, and yet I still can become so easily disoriented in the grids of Manhattan.

This week in Gaming Made Me, our series of highly subjective game retrospectives, Leigh Alexander documents the profound escapism and giddy cartography offered by Colossal Cave Adventure, aka Adventure, aka ADVENT - aka the first-ever adventure game.
