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My mum’s name was Mum, my dad’s name was Malcolm and his new wife’s name was Jessica. Every other weekend, I would leave our council flat in Hackney and go to Malcolm and Jessica’s place in Kent. It was a converted farmhouse called The Gables. They didn’t own all of it, just a large flat that made up 1/8th, but it had a driveway you could roll a skateboard down and about an acre’s worth of garden in the back. In addition, they had all the luxuries we couldn’t afford at home: a colour tv, a video, a sodastream, one of those hanging paper lampshades from Habitat.

And an Amstrad PCW.

You’ll hear all sorts of eulogies for the Spectrum and the BBC Micro, but very few for the Amstrad PCW. It occupied a particular space in the history of computers in the UK – ubiquitous and perhaps underloved. If you were middle class in the late 80s and you couldn’t afford an Apple Mac, you probably had an Amstrad PCW. It was cheap and self-contained. £399 got you a computer, a screen and a printer – everything you needed to word process, which was what most people (adults, anyway) thought computing was.

The PCW had a green-screen monitor, because Alan Sugar was savvy enough to know that shades of green were more high-tech than simple black and white. It used 3″ discs and as far as I know was the only computer that did so. The fact that the drives were mounted sideways seemed very cool to me. The non-standard media meant that to this day there are still boutique companies that specialise on transferring files from this format to something more useful – once 3.5″ floppies, now probably a USB stick.

The PCW was sold entirely as an office machine, but that wasn’t to say that fun couldn’t be had on one. That depended, of course, on what your definition of fun was. Malcolm once told me that he really enjoyed putting a load of numbers into a spreadsheet and then just playing around with them. I thought he was insane and would harass him to get some games. You know, real games.

Eventually, he relented and came home with a large grey box with colourful graphics on the front.

SOME ADVENTURE, ver 1.245.6

© Infocom, 1985

You are standing in the sitting room of Malcolm and Jessica’s house in The Gables. The room is comfortably furnished, with a large sofa in the middle, facing a TV and VCR. At the other end of the room is an antique desk with a computer on it.

>EXAMINE DESK

The desk is incredibly untidy. Every square inch of its surface is covered in miscellany – notepads, scraps of paper, at least three old mugs (more may be lurking under the mess) and an overflowing ashtray. The main focal point of the desk is an Amstrad PCW word processor that sits in the middle of this bonsai scrapyard.

>EXAMINE PCW

The word processor consists of three components. The screen, the keyboard and the printer. The screen also houses the main cpu and other gubbins. The screen usually displays 8 shades of green, but is currently dark as the computer is switched off. Two cables run from the back of the screen. One goes to the 9-pin dot matrix printer that sits at the back of the desk, a corrugated spool of paper running out of the back. The other lead goes to the keyboard on the desk in front of you. As well as the coffee and ash stains dotted over it, the ink on the keycaps is starting to wear off, most notably the ‘e’. This indicat s that it’s cl arly s n a lot of us .

The desk is incredibly untidy.

>TIDY DESK

You sort of resent doing this, as it’s not really your place to clear up someone else’s mess. Still, it’s got to be done if you’re ever going to work your way through this. In truth, “tidying” is nothing more than gathering the scattered papers and putting them into one slightly more coherent pile, which you then dump on the floor.

You discover another cup, half full of cold coffee, a packet of cigarettes, a ballpoint pen and a grey box.

>TAKE CIGARETTES

You’re not old enough to smoke. Besides, the packet is empty.

>EXAMINE PEN

It’s a blue Bic biro. You try writing with it and while no ink is transferred onto the paper, a good amount spills onto your fingertips. On closer examination, you see that there’s a leak in the barrel. Logic tells you to throw it away. Instead, you put it back where you found it.

>EXAMINE BOX

The box is slightly smaller than a sheet of A4 paper and roughly one-and-a-half inches thick. Constructed from shiny grey card, it gives the impression of being crafted to a high standard. The front reads LEATHER GODDESSES OF PHOBOS and has pictures of planets and stars, but doesn’t really tell you much about it. You do notice, however, some text in the bottom left corner that boasts “3 exciting playing modes: Tame, Suggestive, Lewd”. Clearly this is some sort of game, but you have no idea what a Lewd playing mode is. As you pick up the box, you can feel things shifting around inside and there’s a definite clunk as you turn it over to look at the back. There’s text here.

>READ TEXT

The text reads:

“And now…the next exciting episode of humanoids in space!

“How did you, a regular at Joe’s Bar in Upper Sandusky, Ohio, end up on a Martian moon? Can you prevent the hideous space creatures from abducting the naked heiress? Why does scratch ‘n’ sniff #2 smell so familiar? How many uses can you find for a rubber hose? Is it easy to remove a brass bikini? Is it hard to outsmart a robotoid sumo wrestler? Can you stop the Leather Goddesses’ fiendish plan to turn all Earthlings into sex slaves?

“Learn the answers to these burning questions in LEATHER GODDESSES OF PHOBOS, Infocom’s racy spoof of 1930’s pulp fiction. But first, a word from our sponsor:

“Why put up with only one playing mode, when you can have three! That’s right, three! So whether your tastes run to Tame, Suggestive, or Lewd, LEATHER GODDESSES OF PHOBOS can satisfy you!”

>OPEN BOX

The front of the box opens like the cover of a book, revealing the contents inside. Inside the box is a black disc, a comic, a pair of 3D glasses and a scratch-n-sniff card.

>EXAMINE DISC

It’s a black, 3-inch floppy disc, labelled “Leather Goddesses of Phobos – Game Disc”.

>TAKE DISC

Taken.

>CLOSE BOX

Closed.

>PUT DISC INTO PCW

You push the disc into the drive and it sits in with a satisfying “clunk”. Nothing happens.

>SWITCH ON PCW

You press the power switch at the bottom-left of the screen. There’s a whirring noise and the little red light by the disc drive starts blinking on and off as data is accessed. The screen comes to life, slowly blooming into brilliant shades of green and letters start appearing on the VDU. Eventually, the boot sequence completes and the game is loaded.

>PLAY GAME

I don’t know how to do that. There isn’t a joystick connected to the computer.

>USE KEYS TO PLAY GAME

Your fingers settle into the natural playing position you’ve learned since your first ZX Spectrum: Q and A for up and down, O and P for left and right, with the thumb hovering over the space bar that will inevitably be used to fire bullets, throw coconuts or swing your sword. You await the first level and the stream of enemies that will surely come with it.

Nothing happens.

>WAIT

Nothing happens.

>WAIT

Even nothinger happens.

>PRESS SPACE

Space, by its very definition, is nothingness. How am I meant to press it?

>PRESS SPACE BAR

Success! By pressing the button, there’s a definite sense of action on-screen (information on the VDU is preceded by “++”)

This:

++Leather Goddesses of Phobos, by Infocom.
++_

Changes to this:

++Leather Goddesses of Phobos, by Infocom
++ _

Heady stuff.

>MASH KEYS

++qap p aspaopopoa aaaopaqaaqpoqa aoq

You press enter at the end of the line, more by accident than design. The following pops up on screen:

++I didn’t understand that. Could you phrase
++it a different way?

This doesn’t seem to be a game in any way that you appreciate. No graphics, no sound effects, not even a high score table.

>TYPE HELP

++If you’re in a bind, maps and hint booklets
++are available from your “dealer,” or via
++mail order with the form that came in your
++LEATHER GODDESSES OF PHOBOS package.

Not very helpful. You hit the keys a few more times, then decide that this probably isn’t your cup of tea.

MALCOLM enters the room.

>SAY HELLO

Who do you want to say hello to?

>SAY HELLO TO MALCOLM

[You used the word “hello” in a way that I don’t understand]

>HELLO MALCOLM

[The proper way to talk to characters in the story is PERSON, HELLO]

>MALCOLM, HELLO

“Hello, Sausage.”

>MALCOLM, HOW DO YOU PLAY THE GAME?

[You used the word “game” in a way that I don’t

understand]

>YOU AND ME BOTH

[I didn’t understand that. Perhaps you could rephrase it?]

>MALCOLM, PLAY GAME

Malcolm looks at the computer. “I was about to go and get the paper,” he says, “but I suppose I could play for a while.”

Sitting down at the desk, Malcolm lights up a cigarette and starts reading off the screen. He begins typing commands and is soon lost in the game.

>MALCOLM, I WANTED TO PLAY

Malcolm’s eyebrows furrow, but it’s difficult to tell whether it’s because he didn’t understand you or because he’s stuck in the game.

>WAIT

A few tapped keys. One cigarette is stubbed out and another lit. Essentially, nothing changes.

>LOOK

You are standing in the sitting room of Malcolm and Jessica’s house in The Gables. The room is comfortably furnished, with a large sofa in the middle, facing a TV and VCR. At the other end of the room is an antique desk with a computer and the LEATHER GODDESSES OF PHOBOS box on it. Malcolm is sitting at the desk, using the computer. There is a pile of paper on the floor.

>TAKE BOX

Taken.

>SIT ON SOFA

You sit on the sofa. It’s not as comfy as it looks.

>OPEN BOX

The front of the box opens like the cover of a book, revealing the contents inside. Inside the box is a comic, a pair of 3D glasses and a scratch-n-sniff card.

>SNIFF CARD

It smells like card.

>SCRATCH AND SNIFF CARD

Yes. That’s what it is.

>SCRATCH AND SNIFF SCRATCH AND SNIFF CARD

You need to be more specific.

>EXAMINE SCRATCH AND SNIFF CARD

The card has seven differently coloured circled patches, each with a number written in a stylised manner that is supposed to indicate futurism.

>SCRATCH AND SNIFF PANEL 1 OF SCRATCH AND SNIFF CARD

After using your fingernail to tickle the first panel, you press your nostrils to the card. There’s definitely a scent there – sort of sweet, kind of familiar, but impossible to place.

>SCRATCH AND SNIFF PANEL 3 OF SCRATCH AND SNIFF CARD

Another scent, different from the first in that it has synthetically spicy undertones. Like the other scent, however, it’s just as impossible to tell what the smell scientists had in mind when they concocted it.

>SCRATCH AND SNIFF PANEL 2

You need to be more specific.

>DROP CARD.

Dropped.

>READ COMIC

The bright cover of the comic book reads:”THE ADVENTURES OF LANE MASTODON” and from the pulpy quality of the art you can tell that this is an affectionate homage to Flash Gordon and other space opera types.

When you open the comic, however, you’re confronted by a mess of red and green blurred lines. While you can make out shapes and words, trying to read the comic is impossible.

You close the comic and feel a slight headache coming on.

>WEAR 3D GLASSES

[First taking them]

You are now wearing 3D glasses. Everything is tinted with red and green.

>READ COMIC

Now that you have the glasses on, the text and pictures form a coherent image, with elements seeming to pop in and out of the page. The images may be deep, but the story is not. As suspected, it’s a campy pulp story with a few bawdy elements dropped in here and there. No great shakes, but a lot more entertaining that typing random words into an uncooperative computer.

The whole thing takes about five minutes to read. It has space ships and aliens and laser guns in it (as well as ladies in bras) and you wonder why they didn’t make a proper game for it. It could be pretty good. Better than what they did, anyway. You wonder why anyone would bother “playing” a game like that. It seems to have none of the fun bits of computer games – action, explosions, speed – and none of the stuff you enjoy about writing stories – choosing what happens, freedom of imagination. If anything, it’s like doing someone else’s homework for them. No fun at all. What does someone get from that?

>LOOK AT MALCOLM

He’s still sitting there, utterly enthralled by the screen.

>MALCOLM, WHY ARE YOU PLAYING THAT

He’s still sitting there, utterly enthralled by the screen.

>MALCOLM, CAN I TURN ON THE TELLY?

He’s still sitting there, utterly enthralled by the screen.

>TURN ON TV

You get up from the sofa and switch on the TV. An image fades in on screen. It’s Jim Bowen, standing by a dartboard. He doesn’t look well.

>LOOK AT JIM BOWEN

His skin is mottled in a shifting palette of reds and greens. Just looking at him makes you feel a little ill, too.

>TAKE OFF 3D GLASSES

Bowen looks a little more human. It’s disappointing that you’ve missed the intro sequence to “Bullseye”, because the cartoon at the beginning is the only good bit, especially Bully flying on the dart. If only they made the whole programme like that, it would be loads better. Your eyes flick back to the LEATHER GODDESSES OF PHOBOS box and it occurs to you that adults really don’t know how to make good stuff. It’s frustrating, but you don’t know what to do about it.

Resigned to your fate, you sit down on the sofa and decide to stick it out until Dempsey & Makepeace comes on. You watch a man from Preston try to win a caravan, disturbed only occasionally by the tapping of keys and the spark of a lighter.

================GAME OVER======================

You scored 8 of a possible 72 points.

Would you like to Restart, Restore or Abandon the game?

>ABANDON

If gaming wasn’t going to happen on the PCW, then I had to look at other activities in order to get my computer fix at the weekend. I had a computer of my own, but my Amstrad was a CPC and ran on tapes. This had a disc drive that seemed impossibly quick. Given that you didn’t have to wait ten minutes to load up a program, I was itching to make the most of it.

I had a look at Locoscript, the word processor that came free with every machine, but something about it seemed off putting. For a start, it booted into a complex file tree system that seemed more like a database than writing a story. It seemed to complicate something that was supposed to be simple. So, I carried on looking.

Malcolm told me about Desktop Publishing, where you could make your own magazines and newspapers. This was definitely of interest to me. I was an avid user of stencils and Letraset, creating my own comics and magazines with short print-runs (often of one copy). The idea that I could do this on the computer, without having to rely on my dodgy pencil hand or inability to get all the words on the right line could be exactly what I was looking for.

As was usually the case with any activity with Malcolm, there was a distinct lag between suggestion and execution. Some of this can be attributed to the fact that I only saw him every other weekend, but a large percentage of it probably comes from the fact that there were always other interests, other hobbies and other purchases to be made. One weekend would be all about archery, the next fortnight model trains and then over the Easter holidays we would scour the sports shops of Kent and Sussex looking for a junior pitcher’s glove so that I could join Malcolm in his newfound enthusiasm for baseball. 

One of them was a game – a real game – that not only had proper graphics and sound to sate my shallow tendencies, but also starred one of my personal idols (albeit in low-res, slightly tubby form).

The 1986 Batman game was an isometric puzzle-platform game created by Jon Ritman and Bernie Drummond and published by Ocean Software. It had graphics, which meant is was a proper game, but enough logical dexterity was required to mean that Malcolm enjoyed it, too. The conceit of the game was that the Batcave had been over-run with monsters and you had to retrieve the six parts of the Batmobile to make yours escape. In addition, you had to collect your bat-belt, bat-boots, bat-pack and bat-bag, which bestowed various abilities, such as being able to jump or pick up objects.

I never managed to escape from the Bat-cave. That game was hard, requiring pixel-perfect timing in order to traverse each room. A single touch from an enemy meant death. Walking on the wrong part of the floor meant death. Brushing against an electrified piece of the scenery with no marks to distinguish it from any normal piece of the scenery meant death. The obstacles were numerous, but the greatest obstacle was my own lack of confidence.

The game was played using the cursor keys marked ←↑↓→ to move in the diagonal directions ⬊⬈⬉⬋. This required a mental disconnection between the brain and the fingertips so that the conscious mind couldn’t interfere with what the digits were doing. The fingers knew instinctively which direction was which and as long as the little Batman kept moving, where wasn’t a problem. As soon as he stopped for a moment, however, my brain would purge all knowledge of which way was which and I would become unsure as to which key would guide my chubby caped crusader in a north-easterly direction. Both up and right seemed equally plausible and I would find myself gripped by indecision. It didn’t matter that I had pressed the right key seconds ago. I now had no memory of which way was which and in a game as punishing as Batman, the slightest mistake would almost certainly mean doom. So I would sit there, hunched over the keyboard, betting my life on a 50/50 chance, red or black at the casino.

To make matters worse, Batman had no patience. If you stopped moving for anything more than a few seconds, the little figure on screen would fold his arms, tap his foot and look directly out of the screen at you, indicating that you should shake a leg and get on with it.

Logic dictates that I should have chosen the right key at least half the time. As I recall it, though, I went the wrong way and plunged to my death nearly every time. Whether this innate lack of proper direction was a learned or genetic trait, I’ll never know for sure, but amidst all these distractions – the bike, the computer, the search for the batmobile – I hadn’t picked up on the fact that Malcolm didn’t go to work any more.

Although ours was an every other weekend and a portion of the school holidays type of arrangement, the difference was clear to see. While the most of the things remained the same – the house, the TV, the soda-stream – all the things that mattered changed. Or maybe they didn’t. When you’re a kid, it’s difficult to see what’s happening in the lives of adults – strange, inexplicable creatures that they are – and on reflection it’s possible that what seems like a bolt from the blue was probably a long time coming.

That’s what happened with Jessica. I was surprised when a letter arrived from her, telling me that she’d left Malcolm, but when I thought about it, it made sense. Things had been bad there for a long time and even though I probably wasn’t very nice to her most of the time, she had done what she could to shield me from most of the unpleasantness. Maybe Malcolm did, too, but he was less aware of what was wrong than everyone else. When the issue of Jessica leaving came up, all he said was “I suppose you know about…” and that was that.

The weekend visits continued, but they became less regular and less fun. I stopped bringing friends along with me. Even if they had wanted to come, I wouldn’t have wanted to expose them to what was happening down at the Gables, or what was happening to Malcolm. Besides, there was something I liked about the fact it was just me and him. Even though a lot of times it wasn’t fun, it still felt special that it was the two of us together. We were a duo, although not that dynamic. The house was still the same in many ways, with the VCR and the PCW, but aside from those three-lettered things there were definite signs that all was not well. The hazards didn’t compare to those in the Batcave. There were no bionic dogs or electrified floors, but instead rotting food and smouldering cigarettes. Not as exciting, but more real, more scary.

As time went on, Jessica – quite reasonably – stopped paying for a house she didn’t live in and Malcolm had to leave.

Because faith in one’s parents is the last vestige of childhood and it’s terribly difficult to let go of, whether you’re 8, 18 or 80. Of course we all learn at some point that our parents are just people, with all the fallibility, fallacies and failures as us. Perhaps, though, this insight doesn’t come all at once. There’s a threshold that needs to be broken in order for the truth to out and maybe we have some sort of limited choice as to when this is reached. There are some truths that we know and understand before we are ready to deal with.

I knew that Malcolm was unreliable and had a flexible relationship with reality. On some level I knew this to be a fact, but on another I wasn’t yet ready to deal with it in any real way. I told myself that it was because it was the right thing to think the best of people, but that obscured a more horrible and tender truth.

He was my dad and I loved him.

It felt horrible to confess that. I knew that he had hurt my mum, my sister and now Jessica, but I didn’t really know why and how. Loving him felt like a betrayal, so I buried it deep and feigned indifference. But in my heart, I thought that he would get it together and that somehow things would be good again.

Me being me, I constructed elaborate fantasies out of this faith. I would calculate the missed weeks of pocket money owed by him and, sure that he would pay them one day and I would be able to afford some of that glorious, unattainable equipment advertised in my computer mags.

(He had also promised to buy me a car when I was 17, but I think I knew even as the promise was made that it was never going to happen.)

Of course it didn’t happen and as time went on I became less and less interested in him paying back my pocket money and more and more concerned with whether he was alive or dead and whether anyone would tell me.

In the end, we spent more than a decade out of touch.

And then a friend of the family told me that Malcolm had been diagnosed with cancer and was undergoing treatment. He said he wasn’t expecting anything from me or my sister, but that he felt that we should know. After a lot of umming and ahhing, I got the phone number from the friend and called him.

Hearing his voice was weird. There he was, on the other end of the phone, just like a real person. I asked how he was doing. He said fine. The doctors had given him the all clear on the cancer. I said that was good. He was sorry for all the things he had done wrong over the years. He said he was trying again and just wanted to have some contact. I said I understood, but that I wasn’t sure how much of a relationship I was ready for. Ten years was a long time. We would have to take it slowly. But we thought that was OK. We had plenty of time.

Except we didn’t.

He called me some weeks later. That pissed me off. I had been very clear that I wanted to be in control of this process. Perhaps it was unreasonable, but I felt I was owed it after a couple of decades wondering whether he was alive or dead. It was petty and maybe even spiteful, but I felt it was earned. Besides, it was a saturday morning and I was spending it with my new girlfriend and the last thing I wanted to was to have to deal with him.

We made stilted conversation for a while. I did would I could to make it as stilted as possible. Rather than say, “this isn’t a good time – can I call you back”, I acted haughty and passive-aggressive. We talked the film review website I was working for. He said it was interesting, because it used PHP and he preferred using Microsoft’s ASP.NET protocol. I really didn’t know anything about it, but thought that he could perhaps have mentioned my writing. By the end of the conversation, I was pretty pissed off.

“Unbelievable,” I said as I hung up the phone and got back into bed. Ten years and all he wants to talk about is programming languages.

I didn’t call him back. I didn’t get back in touch. I didn’t explain why I was upset. I just withdrew from him. Not because I was hurt, but just because I could.

It was the last time I ever spoke to him.

He died in a nursing home in Cheshire. At first I assumed he was there because of the cancer, but after going up there in order to sort out his things I discovered that the story, inevitably, wasn’t that simple. It wasn’t the cancer that killed him. In fact, he’d never had cancer in the first place. While he did have serious health problems – his diabetes had developed into coeliac disease and there were all sorts of intestinal issues that affected his day to day life – cancer was never even on his radar. Maybe he thought it was easier to relate than what he really had. Mum told me later that it wasn’t the first time he’d said he had cancer, with the motives for why he’d done it then being just as opaque as the more recent fantasy. There was plenty really wrong with him, though, as evidenced by the amount of medication my aunt and I found in his small, poky flat. Box after box of tablets, unopened and unused, dating back weeks and weeks. I don’t know why he didn’t take them, but it seemed to me like a very deliberate, very slow way of punishing himself.

We had his estate to deal with, as well as the results of the post-mortem. Cause of death was attributed to asphyxiation by blood and vomit, caused by the chronic stomach issues he was dealing with and that had been left untreated.

We sifted through his things. There were a number of cameras. I checked the digital ones for exposures and all I could see were single shots of the very same room I was standing in. There were also two laptops. One had a trackpad that worked, but the keyboard was broken. The other had a working keyboard, but no pointing device. Two halves that didn’t quite make a whole.

I found his passport and although I know passport pictures never look like the person, it was still a shock to see. He looked like an old man. I suppose by that point he was. Even if he was still comparatively young, he had perhaps seen too much and done too little.

When the business of the funeral and cremation was done with, I thought that there wouldn’t be much difference. After all, I had been living without him for most of my life, so what difference did it make? At least I knew where he was now.

But the difference was marked. Whereas before there was always the possibility of reconnection, now there was none. I wasn’t going to be able to let him have it, nor would we be able to work out a differences and come to an understanding. What was unresolved was going to remain so, with an utter sense of finality.

Without the possibility of him ever coming back into my life, it was up to me to come up with some sort of conclusion, to find some sort of peace with it al. Writing this has been part of the process. Perhaps not the end, because feelings are constantly in flux, but at least a way to put down a marker and signify that perhaps it’s time to move on to a new chapter.

I don’t have children of my own. I have no way of knowing what sort of father I would be, but I’ve probably reached a point where I’ve exorcised enough of my demons to realise that I would probably not be exactly the same as Malcolm. The mistakes I’d make would probably be my own. I have no way of knowing if that’s a good thing or not, but perhaps now I’m a little more willing to find out.

In IT, there’s a concept known as the Three-Fingered Salute – a combination of keys that will reset a machine, flush the memory and allow it to start up again. Unlike pulling the plug, which can corrupt the memory or perhaps fry a processor, it’s a reasonably safe way of starting again and sometimes unavoidable when you get stuck in a loop. One of the things I’ve learned is that it’s possible, perhaps even necessary, to perform these every now and again. Sometimes you lose things, but the clean slate you gain is usually worth the price you pay.

SHIFT

EXTRA

EXIT

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