批处理bat绘制五彩爱心_这个女人通过绘制世界上最长的洞穴而启发了首批热门电子游戏之一...-CSDN博客

这篇博客介绍了如何使用批处理命令（BAT）来绘制五彩爱心，同时提及了一位女性因其在测绘世界上最长洞穴的贡献而启发了首批热门电子游戏之一的故事。

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批处理bat绘制五彩爱心

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Claire L. Evans is the author of Broad Band: The Untold Story of the Women Who Made the Internet.

克莱尔·埃文斯(Claire L. Evans)是《 宽带：创造互联网的女性的不知名故事》的作者。

The longest cave in the world is in central Kentucky. Its limestone passages stretch 400 miles beneath the earth in twisting patterns as intricate as the roots of the ancient hickory forests above. Within, cavers skirt bottomless pits, pass fountains of orange stone, and discover deep, icy subterranean rivers. Between the sunlit world and the depths below, white mist swirls at ankle height, like the breath of ghosts.

吨他最长的世界洞穴是在肯塔基州中部。它的石灰岩通道以扭曲的方式延伸到地球下方400英里，就像上面古老的山核桃森林的根源一样复杂。洞内的洞穴探员钻入无底洞，穿过橙色的石头喷泉，并发现冰冷的地下河。在阳光普照的世界和下面的深处之间，白色的薄雾在脚踝的高度旋转，就像幽灵的呼吸一样。

Kentuckians have fought bitterly to control access to the secrets of Mammoth Cave. In the early 20th century, hardscrabble locals conned tourists into the sinkholes on their land, spurring “cave wars” that ceased only when the National Parks Department took control, evicting landowners and installing staircases, subterranean toilets, and even a grand dining room 267 feet below ground, its ceiling encrusted with snowballs of gypsum crystal. Serious cavers now enter Mammoth’s wild entrances through locked grates, using keys granted by the Parks Department. They bring with them small carbide headlamps to keep warm and light the darkness.

肯塔基小时已经浴血苦战，以控制进入猛犸洞的秘密。在20世纪初期，拼命的当地人将游客引诱到他们土地上的坑洼中，引发了“洞穴战争”，这种战争直到国家公园局接手控制，驱逐土地所有者并安装楼梯，地下厕所，甚至是267英尺的大餐厅时才停止在地下，其天花板上覆盖着石膏水晶雪球。现在，严重的洞穴探险者使用公园部门授予的钥匙，通过锁紧的炉排进入猛oth象的荒野入口。他们带来了小的碳化物头灯，以保持温暖并照亮黑暗。

The earliest people to map Mammoth were enslaved, installed underground by landowners to lead tours. The ﬁrst of these guides, Stephen Bishop, named its features — the River Styx, the Snowball Room, Little Bat Avenue — and discovered the eyeless white ﬁsh that swim in its deepest waters. When Bishop was sold, along with the caves, to a Louisville doctor, he was ordered to draw a map from memory. As cave maps do, his drawing looked like “a bowl of spaghetti dumped on the ﬂoor,” but it detailed the nearly 10 miles of passages that Bishop had discovered and remained the most thorough map of Mammoth’s reaches for more than 50 years. One nameless noodle, a passage forking off the subterranean Echo River, became important a century after Bishop was buried near the cave’s main entrance, his grave marked by only a cedar tree.

最早绘制猛mm象地图的人被奴役，被土地所有者安装在地下以带队参观。这些指南中的第一个，斯蒂芬·毕晓普(Stephen Bishop)，命名了它的特征-斯Tyk斯河(Styx)，雪球室，小蝙蝠大道(Little Bat Avenue)-并发现了在最深水域游泳的无眼白肉。当毕晓普和洞穴一起被卖给路易斯维尔医生时，他被命令从记忆中绘制地图。就像洞穴地图一样，他的画看起来像“一碗意大利面条倒在地板上”，但是它详细介绍了毕晓普发现的近10英里的通道，并且是50多年来猛Ma象触手可及的最详尽的地图。在毕晓普埋葬在洞穴的主要入口附近一个世纪之后，一个无名的面条，从地下回声河分叉的一条通道就变得非常重要，他的坟墓只有一棵雪松树。

In Bishop’s lifetime, every landowner in Central Kentucky claimed a cave entrance; if not a natural sinkhole, then a crevice blown open with dynamite. Bishop believed that all these fragments were linked into one larger system, and his instinct was shared by generations of Kentucky cavers. At the bitter end of their remotest passages, the caves breathe: Cold air whispers even miles below the surface, and water siphons deeper and deeper into the Earth.

在毕晓普的一生中，肯塔基州中部的每个土地所有者都声称拥有洞穴入口。如果不是天然的污水坑，则用炸药炸开一个缝隙。 Bishop相信所有这些碎片都被链接到一个更大的系统中，他的本能被肯塔基州的几代洞穴探险者所共有。在最遥远的通道的痛苦尽头，这些洞穴会呼吸：冷空气在地表以下甚至几英里处低声细语，而水虹吸越来越深地渗入地球。

Image for post — *The Longest Cave’ by* Roger W. Brucker and Richard A. Watson, Ph.D. *“最长的洞穴”*

Proving Bishop’s connection theory became the cause of the Cave Research Foundation, a ragtag group of caving enthusiasts who spent nearly 20 years linking the disparate caves neighboring Mammoth into a single Flint Ridge system. It was a family affair; once they were old enough, children who grew up playing in the woods surrounding the foundation’s clapboard lodge pushed past the farthest points surveyed by their mothers and fathers. By 1972, the Cave Research Foundation had surveyed nearly every Flint Ridge lead to its endpoint, sometimes with 10-hour belly crawls through womb-like tunnels. The “ﬁnal connection,” as they called it, was imminent.

证明毕晓普的联系理论成为了洞穴研究基金会的成因。洞穴研究基金会是一群狂热的狂热爱好者，他们花了将近20年的时间将邻近的猛mm象不同的洞穴连接到单个Flint Ridge系统中。这是家庭事务；一旦他们长大了，长大的孩子们在基金会隔板隔板周围的树林里玩耍，就越过了父母调查过的最远点。到1972年，洞穴研究基金会已经对几乎所有的火石岭铅矿的端点进行了调查，有时会经过类似子宫的隧道进行长达10个小时的爬行。他们所谓的“最终联系”迫在眉睫。

The cavers believed that Flint Ridge met Mammoth past a choke of sandstone boulders at survey point Q-87, a remote spur miles from the surface, but moving the boulders with lengths of metal pipe was back-breaking work. One expedition tried an alternate route, through a vertical crevice called “the Tight Spot.” Caving humor has a nihilistic streak: the Tight Spot is a dark slit so small that only one person in the party dared enter. She was a reedy computer programmer, all of 115 pounds, named Patricia Crowther.

探洞者认为，int石岭在距地面遥远的Q-87勘测点处经过一堵砂岩巨石，遇到了猛mm象，但移动带有一定长度金属管的巨石是一项艰巨的工作。一次探险尝试了另一条路线，穿过一条垂直的缝隙，称为“密林点”。放荡的幽默带有虚无的气息：“紧张点”是一个很小的暗缝，以至于只有一个人敢于参加派对。她是一个重达115磅的精巧的计算机程序员，名为Patricia Crowther。

Pat wedged herself into the Tight Spot and came out the other end onto a mud bank. In the cool carbide light, she spotted the calling card of a previous visitor: the initials “P. H.,” engraved on the wall. Back at the surface, her party kept the discovery secret. Anyone familiar with the area would know the legend of old Pete Hanson, who had explored Mammoth before the Civil War. Those had to be his initials down there, which could mean only one thing: Flint Ridge and Mammoth were connected, in a single contiguous cave spanning 340 miles. The monumental discovery would come to be known as the Everest of speleology.

帕特(Pat)陷入了紧绷的地带(Tight Spot)，另一头走到泥滩上。在凉爽的硬质合金灯下，她发现了前一个访客的电话卡：刻在墙上的首字母“ PH”。回到表面，她的政党将发现保密。任何熟悉该地区的人都会知道内战前曾探索过猛mm象的老皮特·汉森的传说。那些必须是他的首字母缩写，这可能只意味着一件事：弗林特·里奇和猛mm象相连，在一个跨越340英里的连续山洞中。巨大的发现将被称为洞穴学的珠穆朗玛峰。

Pat returned to broach the juncture 10 days later.

十天后，帕特回到了关口。

“By the way, Pat — you’re leading this one,” the other cavers told her. Just beyond the Tight Spot, they waded into muddy water up to their chests, until only a foot of air separated the subterranean river and the dripping cave ceiling. Soaked through and caked with mud “like chocolate frosting,” they struggled to keep their headlamps dry. Eyeless crayﬁsh skittered around their waists. When the passage opened, it revealed a wide hall, where they glimpsed the edge of a hand railing: a tourist trail in the heart of Mammoth Cave. The link was complete. Only moments before, they’d been farther aﬁeld than any cavers in history; now, weeping and falling over each other in the water, they were only a few steps away from a public restroom.

“顺便问一下，帕特-你在领导这个，”其他探子告诉她。就在紧绷的地带之外，他们涉入浑水直到他们的胸部，直到只有一英尺的空气将地下河和滴水的洞穴天花板隔开。他们像巧克力糖霜一样浸透并粘上泥土，他们努力使前照灯保持干燥。无眼的螯虾在他们的腰间飞舞。当通道打开时，它露出了一个宽阔的大厅，在那里，他们瞥见了栏杆的边缘：猛Ma洞中心的一条旅游步道。链接已完成。就在不久之前，他们的能力比历史上任何洞穴探险者都高。现在，他们在水里哭泣而掉下来，离公共厕所只有几步之遥。

Riding to base camp in the back of a park ranger’s pickup, they looked up at the stars, bright in the summer sky. Lying “in the open truck bed, with the treetops ﬁling past overhead and falling away behind into the darkness,” they contemplated their feat in silence. The long drive reinforced its magnitude: Had they really traveled these seven miles underground? Their ﬁnal passage, through the Tight Spot and beyond what would come to be known as Hanson’s Lost River, joined the unmarked line on Stephen Bishop’s hand-drawn 1839 map. After hamburgers and champagne at dawn, they slept.

他们骑在公园护林员的皮卡后面的大本营，抬头看着夏日的天空明亮的星星。他们躺在“敞开的卡车床上，树梢飞过头顶，跌落到黑暗中，”他们默默地想到了自己的壮举。漫长的行驶增强了它的震撼力：他们真的走过了地下七英里吗？他们的最后通道，穿过密林点，以及后来被称为汉森的迷失之河，与斯蒂芬·毕晓普(Stephen Bishop)手绘的1839年地图上未加标记的线相连。汉堡包和香槟在黎明后，他们睡了。

“It’s an incredible feeling,” Patricia wrote in a journal account of the trip, “being part of the ﬁrst party to enter Mammoth Cave from Flint Ridge. Something like having a baby. You have to keep reminding yourself that it’s really real, this new creature you’ve brought into the world that wasn’t here yesterday. Everything else seems new, too. After we wake up on Thursday I listen to a Gordon Lightfoot record. The music is so beautiful, it makes me cry.”

“这真是一种不可思议的感觉，”帕特里夏在这次旅行的日记中写道，“是从弗林特山脊进入猛mm洞的第一方。有点像生孩子了。您必须不断提醒自己，这确实是真实的，这是您昨天带入世界的新生物。其他一切似乎也都是新的。星期四起床后，我听了Gordon Lightfoot的唱片。音乐是如此美妙，它使我哭泣。”

The new creature Patricia felt she had brought into the world had always been there, slumbering in the darkness of geologic time. What she’d given birth to that day was not the cave but the map — not the thing, but its description. By wedging herself into the Tight Spot and bringing her lamplight to the darkness, she moved an earthly place into the symbolic Cartesian plane. Or at least that’s how she might have seen it, being the party’s mapmaker.

帕特里夏(Patricia)带来的新生物感觉到她带入了世界，一直在那儿，在地质时代的黑暗中沉睡。她那天出生的不是洞穴，而是地图 -不是事物，而是事物的描述。通过将自己束缚在紧绷的地方并将灯光带入黑暗，她将一个尘世的地方移到了象征性的笛卡尔平面中。或者至少是她作为党的地图制作者可能看到的样子。

Back home in Massachusetts, Pat and her husband Will ran a “map factory,” tracking the cartographic data each Cave Research Foundation expedition surfaced. Both being programmers, they brought considerable technical sophistication to mapmaking. As Pat described it, the couple typed raw survey data from “muddy little books” into a Teletype terminal in their living room, which was connected to a PDP-1 mainframe computer at Will’s workplace. From this data, they generated “plotting commands on huge rolls of paper tape,” using a program Will wrote — Pat contributed a subroutine to add numbers and letters to the ﬁnal map — which they “carried over and plotted using a salvaged Cal-comp drum plotter attached to a Honeywell 316 that was destined to become an ARPANET IMP.”

帕特(Pat)和她的丈夫在马萨诸塞州的家中，经营着一家“地图工厂”，追踪每一个洞穴研究基金会探险队浮出水面的制图数据。都是程序员，他们为制图带来了相当多的技术。正如Pat所描述的，这对夫妇将“泥泞的小书”中的原始调查数据输入到他们客厅中的Teletype终端，该终端连接到Will工作场所的PDP-1大型计算机。根据这些数据，他们使用Will编写的程序生成了“在大卷纸带上绘图的命令”-Pat贡献了一个子程序，以向最终地图中添加数字和字母-他们“使用可挽救的Cal-comp进行了绘制”鼓式绘图仪连接到注定要成为ARPANET IMP的Honeywell316。”

The Crowthers’ maps were simpliﬁed line plots, but they represent some of the earliest efforts to computerize caves, a leap in technical sophistication made possible by the hardware to which they had access: a PDP-1 mainframe and a Honeywell 316, a 16-bit minicomputer, both far beyond consumer-grade. Will Crowther’s employer was Bolt, Beranek and Newman (BBN), a Massachusetts company that specialized in advanced research. In 1969, BBN was contracted by the U.S. government to help build the ARPANET, the military and academic packet-switching network that spawned our present-day internet. A few years after the Crowthers used it to plot their cave maps, the Honeywell 316 minicomputer was repurposed and ruggedized to become an Interface Message Processor, or IMP — what we now call a router. These routers formed a subnetwork of smaller computers within the ARPANET, shuffling data around and translating between primary nodes, a vital component of internet infrastructure then and now.

Crowthers的地图是简化的线图，但它们代表了使洞穴计算机化的最早努力，他们可以使用的硬件实现了技术上的飞跃：PDP-1大型机和Honeywell 316、16-微型计算机，两者都远远超出了消费级。威尔·克劳瑟(Will Crowther)的雇主是马萨诸塞州的Bolt，Beranek和Newman(BBN)公司，该公司专门从事高级研究。 1969年，BBN与美国政府签约，以帮助建立ARPANET(军事和学术数据包交换网络)，催生了当今的互联网。在Crowthers用它绘制洞穴图之后的几年，霍尼韦尔316微型计算机经过了重新设计和加固，成为接口消息处理器或IMP(我们现在称为路由器)。这些路由器在ARPANET内形成了由小型计算机组成的子网，围绕着主要节点(过去和现在是互联网基础设施的重要组成部分)进行数据转换并在它们之间进行转换。

Will was one of the strongest programmers at BBN, and his tight, frugal code expressed his fastidious manner. A lifelong mountaineer, he taught Patricia to climb the vertical faces of New York’s Shawangunk Mountains and was known to hang from his office door frame by his ﬁngertips while deep in thought. Will was a caver, too, and the couple spent all their vacations deep underground. “I get cold when he’s not keeping me company,” she wrote in one caving diary. “There’s quite a draft here; the cave’s breathing.”

Will是BBN最强大的程序员之一，他紧凑而节俭的代码表达了他的挑剔态度。他是一个毕生的登山者，他教帕特里夏(Patricia)攀登纽约Shawangunk山脉的垂直面，并因深思熟虑而用手指尖将他吊在办公室的门框上。威尔也是一个探洞者，这对夫妇在地下深处度过了所有假期。她在一封洞穴日记中写道：“当他不让我陪伴时，我会感到寒冷。” “这里有一个草稿；洞穴的呼吸。”

Will didn’t come along on the ﬁnal connection trip. He’d been at Patricia’s side on earlier surveys, pushed to his limit in the underground wilderness. But the ﬁnal survey fell in early September, right as their daughters, Sandy and Laura — aged eight and six, respectively — were headed back to school. One of the Crowthers had to stay home, buy the girls their books and school clothes, take them to the dentist, and register them for classes. Will knew how much the expedition meant to Patricia. She had, after all, found the lead, what cavers call “going cave,” and she was dying to see it through. He told her to go ahead. He’d take care of the girls.

最终的连接之旅中没有出现威尔。在较早的调查中，他一直在帕特里夏(Patricia)身边，在地下荒野中被推到了极限。但是最后的调查是在9月初，恰好是他们的女儿桑迪和劳拉(分别是8岁和6岁)回到学校。一名乌鸦人必须待在家里，给女孩买书和学校的衣服，带他们去看牙医，并为他们注册上课。威尔知道这次探险对帕特里夏有多重要。毕竟，她找到了引路者，被洞穴人称为“行进洞穴”，而她渴望看到它。他告诉她继续前进。他会照顾女孩的。

When Pat came home, deeply moved by the experience, Will was waiting for her. They stayed up late, holding each other and talking about the connection. When Will fell asleep, Pat crept to the Teletype terminal in the living room and entered, as quietly as she could, the bearings of the survey they’d made in Kentucky. She ran a coordinate program, and the data spooled into her hands in the form of a long paper tape. In the morning, Pat and Will brought the tape to his office, and she watched the BBN computer plot the link she’d made, beneath the earth, between two vast and lonely places. “Now I can sleep,” she wrote.

当帕特回到家，对这段经历深为感动时，威尔在等她。他们熬夜，互相抱着，谈论联系。当威尔入睡时，帕特爬到客厅的电传打字机终端，尽可能安静地进入他们在肯塔基州进行的调查的方向。她运行了一个坐标程序，并且数据以长纸带的形式存入了她的手中。早晨，Pat和Will将录像带带到他的办公室，她看着BBN计算机绘制了她在大地下面两个孤独的地方之间建立的联系。 “ 现在我可以睡觉了，”她写道。

Caving is unforgiving. Until the late 1960s, anyone entering Mammoth would have passed the glass-topped coffin of Floyd Collins, a country caver who died pinned by a boulder. Cavers become enveloped by the earth, their every move constrained by walls and ceilings of rock.

崩塌是无情的。直到1960年代末，进入猛Ma象的任何人都必须经过Floyd Collins的玻璃棺材，该棺材是一个死于乡村的山洞洞窟，死后被一块巨石钉死。洞穴被大地所笼罩，它们的一举一动都受到岩石墙壁和天花板的限制。

They eat very little — candy bars and canned meat — and carry their waste with them back to the surface. They have no sense of time. Emerging, they may be surprised to see the moon. As the Crowthers’ friends Roger Brucker and Richard Watson wrote in The Longest Cave, their account of the connection trip, “The route is never in view except as you can imagine it in your mind. Nothing unrolls. There is no progress; there is only a progression of places that change as you go along.”

他们吃得很少(糖果棒和肉罐头)，并将它们的废物带回表面。他们没有时间感。新兴的人们可能会惊讶地看到月亮。正如Crowthers的朋友Roger Brucker和Richard Watson在“最长的洞穴”中写道，他们对联结之旅的描述是：“除非您在脑海中想象，否则这条路永远不会在视野中。没有任何进展。没有进步；随着您的前进，只有一小部分地方会发生变化。”

Making the route visible is the central pursuit of serious caving. The Cave Research Foundation had a group doctrine: no exploration without survey. A map is the only way to see a cave in its entirety, and making maps is caving’s equivalent of summiting mountains. It’s also a survival mechanism. To stay safe, cavers map as they go, “working rationally and systematically to locate known passages.” It’s no wonder the hobby attracts computer programmers. Code is a country populated by the fastidious. Like programmers, cavers may work in groups, but they always face their challenges alone.

使路线可见是认真探洞的核心追求。洞穴研究基金会有一个集体学说： 没有调查就无法进行探索。 唯一的方法就是完整地看到一个山洞，而制作地图就相当于洞顶的最高峰。这也是一种生存机制。为了安全起见，探洞者会随时随地进行地图绘制，“合理而系统地寻找已知通道。” 难怪这种爱好吸引了计算机程序员。密码是一个挑剔的国家。像程序员一样，探洞者可以分组工作，但是他们总是独自面对挑战。

Not long after the connection trip, Patricia and Will’s marriage deteriorated. They divorced in 1976, after a separation that left Will “pulled apart in various ways.” Caving without Patricia in the company of their mutual friends in the small Cave Research Foundation community “had become awkward.” Alone and surrounded by their maps, including an extensive survey of the Bedquilt section of Mammoth they’d made together in the summer of 1974, he consoled himself with long Dungeons & Dragons campaigns and late nights coding at home. When Sandy and Laura visited their father, they usually found him hard at work on a long and elegantly structured string of FORTRAN code. He told them it was a computer game, and that when he was done, it would be theirs to play.

连接旅行后不久，帕特里夏和威尔的婚姻恶化了。两人分居后，威尔于1976年离婚，威尔“以各种方式被瓜分”。在小型洞穴研究基金会社区中，没有帕特里夏在他们共同的朋友的陪伴下，洞穴探险“变得尴尬”。独自一人并被他们的地图包围着，包括他们在1974年夏天一起对猛mm象的Bedquilt部分进行的广泛调查，他通过长时间的Dungeons＆Dragons广告活动和深夜在家中编码来安慰自己。桑迪(Sandy)和劳拉(Laura)拜访父亲时，他们通常会发现他在处理冗长且结构优雅的FORTRAN代码字符串方面很辛苦。他告诉他们这是一个电脑游戏，玩完了就去玩。

The novelist Richard Powers once wrote that “software is the ﬁnal victory of description over things.” The painstaking speciﬁcity with which software describes reality approaches, and sometimes even touches, a deeper order. This is perhaps why Will Crowther felt compelled to make one last map. This one wasn’t plotted from his wife’s muddy notebooks but rather from his own memories. Translated into 700 lines of FORTRAN, they became Colossal Cave Adventure, one of the ﬁrst computer games, modeled faithfully on the sections of Mammoth Cave he had explored with Patricia and mapped alongside her, on a computer that would form the backbone of the internet.

小说家理查德·鲍尔斯(Richard Powers)曾经写道：“软件是描述胜于事物的最终胜利。” 软件刻苦细致地描述了现实的方法，有时甚至触及了更深层次的秩序。这也许就是为什么威尔·克劳瑟(Will Crowther)感到不得不绘制最后一张地图的原因。这不是从他妻子的泥泞笔记本上绘制的，而是从他自己的回忆中绘制的。他们被翻译成700条FORTRAN，成为了第一个计算机游戏《 巨大洞穴冒险》，忠实地模仿了他与帕特里夏一起探索的庞然大物洞穴的各个部分，并与她一起绘制在构成互联网骨干的计算机上。

Colossal Cave Adventure — now more commonly known as Adventure — doesn’t look like a game in the modern sense. There are no images or animations, no joysticks or controllers. Instead, blocks of text describe sections of a cave in the second person, like so:

巨大洞穴探险 -现在更称为冒险 -看起来不像现代意义上的游戏。没有图像或动画，没有操纵杆或控制器。相反，文本块描述了第二人称洞穴中的各个部分，如下所示：

You are in a splendid chamber 30 feet high. The walls are frozen rivers of orange stone. An awkward canyon and a good passage exit from the east and west sides of the chamber. A cheerful little bird is sitting here singing.

您在30英尺高的华丽房间中。墙壁是橙色石头的冻河。尴尬的峡谷和良好的通道从会议厅的东侧和西侧流出。一只开朗的小鸟坐在这里唱歌。

In order to interact with this cave, players type terse imperative commands, like GO WEST or GET BIRD, which trigger fresh onslaughts of description. Adventure’s puzzles are an endless shuffle of magical inventory: To pass the snake coiled in the Hall of the Mountain King, you must unleash the bird from its cage, but you can’t GET BIRD if you’re in possession of the black rod, because the bird is afraid of the rod, and in turn, the crystal bridge will not appear without a wave of the rod, and all the while you are in a maze of twisty little passages, all different — or worse, all alike.

为了与这个洞穴互动，玩家输入简洁的命令式命令，例如GO WEST或GET BIRD，这些命令会触发新的描述冲击。冒险的谜题是无休止的魔法库存：要掠过盘绕在山王殿堂中的蛇，您必须从笼子中释放那只鸟，但是如果您拥有黑鸟，那么您将无法获得鸟叫杆，因为鸟怕杆，反过来，没有杆的摇动，水晶桥就不会出现，而且在迷宫般曲折的小通道中，所有的时间都不一样，或更糟的是，都一样。

This would have been familiar to Will’s colleagues from the ongoing Dungeons & Dragons campaign they sometimes played after work. In D&D, a game with no winnable objective, a godlike “Dungeon Master” describes scenes in detail, prompting players at actionable decision points. But Will wrote the game for his young daughters. After the divorce, Sandy and Laura came to expect that they’d play computer games whenever they visited their father. According to a researcher who interviewed members of the Cave Research Foundation, “Another caver who was with the Crowthers on an expedition in the summer of 1975 reports that one glance at ‘Adventure’ was enough to identify it immediately as a cathartic exercise, an attempt by Will to memorialize a lost experience.”

Will的同事对正在进行的《地下城与龙》战役有时很熟悉，他们有时下班后也会玩。在《 D＆D》中，游戏没有目标，上帝般的“地牢大师”会详细描述场景，并在可行的决策点上提示玩家。但是威尔为他的小女儿写了游戏。离婚后，桑迪和劳拉开始期望他们每次拜访父亲时都会玩电脑游戏。一位接受Cave研究基金会成员采访的研究人员说：“另一位在1975年夏天与Crowthers一起探险的洞穴人报告说，只要一眼看过'Adventure'就足以立即将其识别为宣泄运动，这是一次尝试。由Will来纪念失去的经历。”

Once he’d ﬁnished coding, Will saved a compiled version of the game on a BBN computer and left for a monthlong vacation. It might have stayed there, untouched and unremembered by anyone save for the Crowther girls, had his computer not been connected to the new computer network his company had helped to build. By the time Will ﬁnished his vacation, Adventure had been discovered by people across the ARPANET. Where Patricia linked caves, Will linked nodes, and Adventure, a mental map of the long expeditions they took together, traveled wherever those links were forged.

完成编码后，威尔将游戏的编译版本保存在BBN电脑上，并度过了一个月的假期。如果他的计算机没有连接到公司帮助建造的新计算机网络上，它可能会一直呆在那里，除了Crowther姑娘以外，任何人都不会被触及和记住。到威尔结束假期的时候，冒险已经被整个ARPANET上的人们发现。帕特里夏(Patricia)链接山洞，威尔(Will)节点和冒险(Adventure)的地方，无论它们被伪造的位置如何，都可以旅行到他们远距离探险的心理地图。

Adventure was a phenomenon. The game was as unforgiving as caving itself. It was maddening to navigate — a “harrowing of Hell,” proposed one writer who tried it — and addictive to play. Productivity in computer science labs ceased every time Adventure made landfall on a terminal. An Adventure devotee at Stanford, Don Woods, modiﬁed the code further by adding fantasy elements — an underground volcano, a battery-dispensing machine — to Crowther’s austere descriptions. Adventure’s journey into the earth is now considered a foundational text of computer culture. Hundreds of players took their chances on it, then thousands, each scribbling their own hand-drawn maps of the subterranean world Will described.

冒险是一种现象。这场比赛就像洞穴本身一样令人难以忍受。一位尝试过此事的作家提议说，这令人发狂，令人发狂，令人沉迷。每当Adventure在终端上登陆时，计算机科学实验室的生产力就会停止。斯坦福大学的一位探险爱好者唐·伍兹(Don Woods)通过在幻想中添加了幻想元素(地下火山，电池分配器)进一步修改了代码。 现在，冒险之旅进入地球的旅程被视为计算机文化的基础文字。成千上万的玩家抓住了机会，然后是成千上万的玩家，每个人都在自己绘制的地下世界手绘地图上作了描写。

It must have been strange for Pat. By the time she encountered Adventure ﬁrsthand, at a Cave Research Foundation meeting in Boston sometime in 1976 or 1977, she was Patricia Wilcox, having married the leader of the 1972 expedition. Will’s computer game proved a delightful oddity for the experienced cavers in their circle, and indeed for anyone who knew Mammoth well. In Boston, the foundation spent much of their meeting playing Adventure. Because they played the more popular version supplemented by Don Woods, who had embellished sections of the game, Patricia didn’t immediately recognize the cave it described. She told a researcher in 2002 that it was “completely different from the real cave.”

帕特一定很奇怪。 1976年或1977年，在波士顿的一个洞穴研究基金会会议上，当她遇到探险队的时候，她已经是帕特里夏·威尔科克斯(Patricia Wilcox)，与1972年探险队的首领结婚。威尔的电脑游戏对他们这个圈子里有经验的洞穴探险者，以及对于熟悉猛mm象的人来说，确实是一个令人愉快的怪胎。在波士顿，基金会花了很多时间在冒险游戏上 。因为他们玩的是由Don Woods补充的更流行的版本，Don Woods对游戏的各个部分进行了点缀，所以Patricia并没有立即意识到它所描述的洞穴。她在2002年告诉研究人员，它“与真正的洞穴完全不同”。

Except it wasn’t: Mammoth cavers who tried Adventure found they needed no maps. It was so accurate they could navigate it from memory. As the game spread, Adventure players who made pilgrimages to the real Mammoth Cave could scramble down the twisting passageways secure in their knowledge of the game’s virtual map. A former co-worker of Will Crowther’s, recalling the topographical data stored on the computers at Bolt, Beranek and Newman, noted in 1985 that “Adventure’s Colossal Cave, at least up to a point (or down to a point) is the same as the one in Kentucky, and the description and geology of the ﬁrst few levels are consistent and accurate.” That has been proven. In 2005, a group of researchers visiting the “source cave,” the Bedquilt section of Mammoth, was able to document clear parallels between the cave’s geology and Crowther’s descriptions.

除非事实并非如此：尝试冒险的猛mm洞人发现他们不需要地图。如此精确，他们可以从内存中浏览它。随着游戏的传播，到真正的猛mm洞朝圣的冒险游戏玩家可以在了解游戏虚拟地图的情况下安全地沿着扭曲的通道爬行。威尔·克劳瑟(Will Crowther's)的前同事回忆起存储在Bolt，Beranek和Newman的计算机上的地形数据，他在1985年指出：“冒险的巨大洞穴，至少到一个点(或向下一个点)都与肯塔基州的那一处，最初几层的描述和地质情况是一致且准确的。” 事实证明。 2005年，一群研究人员参观了“猛cave洞”(位于猛mm象的Bedquilt部分)，证实了该洞的地质学与克劳瑟的描述之间的相似之处。

Like the fluorescent dye with which speleologists trace the course of underground streams, Adventure’s version of caving culture stained the entire network. Cavers seek connections, which they discover through systematic survey, collective effort, and a willingness to forge ahead into the darkness, knowing full well that when the end appears, it may be a small place, a crack in the rock so tight only the wind can broach it. The game is a set of instructions for recreating Mammoth; those instructions explode into pencil passageways, antechambers, and pits. Adventure can be won only with a map, just as caves are survived only by those who know the way back out. Steven Levy, in his history of computer culture, compares Adventure to the craft of programming itself, writing that “the deep recesses you explored in the Adventure world were akin to the basic, most obscure levels of the machine that you’d be traveling in when you hacked assembly code. You could get dizzy trying to remember where you were in both activities.”

就像洞穴学家用来追踪地下河道的荧光染料一样， Adventure的版本的崩塌文化也污染了整个网络。洞察者寻求联系，他们通过系统的调查，集体的努力以及愿意在黑暗中前进的意愿而发现，他们充分了解到尽头出现可能是一个很小的地方，岩石上的裂缝如此紧紧，只有风可以拉它。该游戏是重新创建猛Ma象的一组指令；这些说明会爆炸到铅笔通道，前室和凹坑中。冒险只有通过地图才能赢得胜利，就像只有知道出路的人才能在山洞中生存一样。史蒂文·列维(Steven Levy)在他的计算机文化历史中，将冒险与编程本身进行了比较，他写道：“您在冒险世界中探索的深层凹坑类似于您所使用的机器的基本且最晦涩的水平当您入侵汇编代码时。试图记住自己在两次活动中的位置时，您可能会感到头晕。”

I’m telling you the story of the Mammoth Cave, of Stephen Bishop and Patricia Crowther and her husband Will, heartbroken as he memorialized their adventures in code, as a way of reminding you that every technological object, be it a map or a computer game, is also a human artifact. Its archaeology is always its anthropology. In fact, the most famous archaeologist to study Mammoth, Patty Jo Watson, inferred an entire agricultural economy from the grains digested by the corpses preserved in the cave’s constant temperature and humidity. To under-stand a people, we must know how they ate. To understand a program, we must know its makers — not only how they coded but for whom and why.

我在告诉您有关猛mm洞的故事，史蒂芬·毕晓普(Stephen Bishop)和帕特里夏·克劳瑟(Patricia Crowther)以及她的丈夫威尔(Will)在纪念他们的代码冒险时心碎，以提醒您每种技术对象(无论是地图还是计算机)游戏，也是人类的神器。它的考古学始终是人类学。实际上，研究猛mm象的最著名的考古学家帕蒂·乔·沃森(Patty Jo Watson)从洞穴中恒温恒湿保存的尸体消化的谷物中推断出整个农业经济。要了解一个民族，我们必须知道他们的饮食。要理解一个程序，我们必须了解它的制造者，不仅是他们的编码方式，而且是为谁以及为什么。

A half-dozen turns into Adventure, a magic word appears on the cave wall. The real Mammoth Cave contains its share of carved messages — Patricia discovered the most important — but the “word” that shows up in Adventure, “XYZZY,” is Will’s invention. He added it for his sister, Betty Bloom, who came to stay with him after the divorce. She was one of Adventure’s original playtesters and a famously impatient sort. When typed, the magic word transports the player elsewhere in the game in a quick jump-ﬂash, skipping the tedious steps along the way. According to Bloom, XYZZY, which Will pronounced “zizzy,” was a family password. His daughters were told to use it if they ever got lost or needed to identify themselves. It is the original cheat code.

半打变成冒险，一个神奇的词出现在洞壁上。真正的猛mm洞包含着雕刻的信息，其中最重要的是帕特里夏(Patricia)发现的，但冒险中出现的“单词”(XYZZY)是威尔的发明。他为他的妹妹贝蒂·布鲁姆(Betty Bloom)加上了离婚后的妹妹。她是Adventure最初的游戏测试者之一，并且是一位不耐烦的著名人物。键入时，魔术字会以快速跳转的形式将玩家转移到游戏中的其他位置，从而跳过过程中的繁琐步骤。根据Bloom的说法，将发音为“ zizzy”的XYZZY是家庭密码。告诉他的女儿如果迷路或需要证明自己的身份，请使用它。这是原始的作弊代码。

The ﬁrst academic to seriously consider Adventure was a woman, Mary Ann Buckles, who compared the game with folktales, chivalric literature, and the earliest uses of ﬁlm, arguing that the growing cultural importance of computer technology that Adventure represented would lead to a democratization of computer use “analogous to the democratization of reading that characterized the spread of printing.” The literary critic Espen Aarseth, writing about the genre of forking digital literature that Adventure catalyzed, called it “a mythological urtext, located everywhere and nowhere.” Adventure spawned a genre of adventure games, which mutated from text interfaces to visual ones while retaining Crowther’s strange and compelling interplay of second-person description (There is a shiny brass lamp nearby) and imperative command (Get lamp). This developed into a textual physics used in virtual spaces all over the early internet. In time, even people with no knowledge of cave adventures came to talk this talk.

认真考虑冒险的第一位学者是女人玛丽·安·巴克斯( Mary Ann Buckles)，她将游戏与民间故事，骑士文学和电影的最早用途进行了比较，认为冒险代表的计算机技术在文化中的重要性日益提高，这将导致冒险的民主化。计算机使用“类似于阅读民主化的特征，代表了印刷技术的普及。” 文学评论家埃斯彭·奥塞斯(Espen Aarseth)撰写了冒险所催生的分叉数字文学流派，称其为“无处不在的神话文本”。冒险催生了一种冒险游戏类型，从文本界面转变为视觉游戏，同时保留了克劳瑟奇怪而引人注目的第二人称描述(附近有闪亮的黄铜灯)和命令式命令(获取灯)的相互作用。在早期的互联网中，这发展成为一种文本物理学，用于虚拟空间。随着时间的流逝，即使是对洞穴探险一无所知的人也开始谈论这个话题。

Adventure has been remembered, celebrated, canonized, satirized. Crowther, who never made another game, is now considered interactive ﬁction’s J. D. Salinger. But the domestic context from which Adventure emerged bears exploring, too: Will Crowther wrote the code after divorcing the woman with whom he’d mapped the cave Adventure emulates. It was playtested by his sister, for whom he invented the game’s “magic word.” It was created for the daughters he saw only on weekends and holidays and because he missed Patricia, or at the very least because she had instilled in him a love of the enveloping darkness.

历险记已被记住，庆祝，经典化，讽刺。从未制作过其他游戏的Crowther现在被视为互动游戏的JD Salinger。但国内方面从冒险出现的熊探索，太：威尔·克劳瑟离婚与他会映射洞穴探险模拟了女人后写的代码。它由他的姐姐进行游戏测试，他为他的妹妹发明了游戏的“魔术字”。它是为他仅在周末和节假日见到的女儿而创建的，因为他想念Patricia，或者至少因为她向他灌输了对笼罩黑暗的热爱。

Patricia Crowther had been a FORTRAN programmer at the Haystack Radio Observatory when she graduated from MIT. Like many technical women at the time, she left the computing industry behind to raise her children — and to cave, naturally. When she returned to work in the late 1970s, everything had changed. She went back to school, enrolling in all the undergraduate computer science courses the Indiana University of Pennsylvania had to offer, eventually taking a job as an instructor. In her classes, which were often attended by hundreds, she remembers seeing plenty of female students, but they would be the last generation of women to enter the ﬁeld in substantial numbers. In the generation after the pioneering programmer Grace Hopper and her contemporaries, the professionalization of “software engineering” marked a sea change in the gender demographics of computing. By 1984, the number of women pursuing computer science degrees in the United States began to dive, and it has kept diving to this day, a decline unrivaled in any other professional ﬁeld.

帕特里夏·克劳瑟(Patricia Crowther)毕业于麻省理工学院时，曾是Haystack无线电天文台的FORTRAN程序员。与当时的许多技术女性一样，她抛弃了计算机行业，抚养自己的孩子，并且自然而然地屈服了。当她在1970年代后期重返工作岗位时，一切都变了。她回到学校，参加了宾夕法尼亚州印第安纳大学提供的所有本科计算机科学课程，最终找到了一名讲师。在她经常有数百人参加的班级中，她记得有很多女学生，但她们将是进入该领域的最后一批女性。在具有开创性的程序员Grace Hopper和她的同时代人之后的一代人中，“软件工程”的专业化标志着计算机性别统计的巨变。到1984年，在美国攻读计算机科学学位的女性人数开始下降，并且一直持续到今天，这在任何其他专业领域都是无与伦比的。

The Honeywell 316, the microcomputer at Will’s workplace that would become a router on the early internet, has one more claim to fame. Honeywell made a model for women: With a built-in pedestal and a cutting board, it sold in the Neiman Marcus 1969 Christmas catalog as the Honeywell “Kitchen Computer.” It cost ten thousand dollars, came with an apron, and took two weeks of programming classes to learn how to operate, but the catalog picture shows a woman in a long ﬂoral dress unpacking a basket of groceries on top of the computer as though it were an extension of her kitchen counter. “If she can only cook as well as Honeywell can compute,” the copy says, implying that the computer has “more authority, power, and intelligence than its female user.” And on her home turf to boot.

威尔公司工作场所的微型计算机霍尼韦尔316(Honeywell 316)将成为早期互联网的路由器。霍尼韦尔(Honeywell)为女性打造了一个模型：带有内置基座和切菜板，它在内曼·马库斯(Neiman Marcus)1969年圣诞节的产品目录中作为霍尼韦尔“厨房计算机”出售。它花了一万美元，带了一条围裙，花了两个星期的编程课来学习如何操作，但是目录图片显示，一个穿着长礼服的女人在计算机上打开了一篮子食品杂货。厨房柜台的延伸。这份副本说：“如果她只能做霍尼韦尔能做的事，”她说，这意味着计算机比女性用户拥有更多的权限，权力和智慧。 ”然后在她家的草地上启动。

As Patricia’s ex-husband’s game grew in popularity, it was men who congregated around networked terminals to play it late into the night. It was men who scribbled cave maps on notepads lit by the electric glow of the screen. It was men who emerged dizzy in the light of day from each long crawl. And for all that Patricia accomplished, in the many tellings of the Adventure story, she has remained a background ﬁgure. Although she mapped and charted the subterranean world Will popularized with his game and made a physical leap into the unknown that few would even consider, her presence is a spectral outline of what might have been. She has been hidden in plain sight. The same could be said about many women in the early network era.

随着帕特里夏(Patricia)前夫的游戏越来越受欢迎，正是人们聚集在网络终端周围，直到深夜才玩游戏。是男人在由屏幕电光照亮的记事本上绘制了洞穴地图。是男人从每次漫长的爬行中变得头晕目眩。尽管Patricia在冒险故事的许多讲述中都取得了成就，但她仍然是一位背景人物。尽管她绘制并绘制了地下世界Will随他的游戏而流行的图表，并跃入了鲜为人知的未知世界，但她的存在只是可能的轮廓。她已经被隐藏在众目。之下。对于早期网络时代的许多女性，也可以这样说。

It’s ﬁtting that the networked century’s inaugural collective experience would be Adventure. It’s a story about how intimately people inﬂuence software, and how wide its impact can be. And caves were always virtual worlds, the ﬁrst places where human beings experienced the ontological disembodiment we now so strongly associate with projecting ourselves on-screen. By ﬂickering ﬁrelight or by the shudder of a CRT monitor, we see beyond the real. Symbols applied to raw granite, to canvas, to code: All of it lights up the darkness.

可以肯定的是，网络世纪的首批集体经历将是“ 冒险” 。这是一个关于人们如何影响软件及其影响范围的故事。洞穴始终是虚拟的世界，这是人类经历本体论失范的第一个地方，我们现在非常强烈地将自己投射在屏幕上。通过闪烁的光线或CRT显示器的颤抖，我们看到的超出了真实范围。应用于花岗岩，帆布，代码的符号：所有这些都照亮了黑暗。

There’s a lamp in the cave. Do you know what to do?

山洞里有一盏灯。你知道该怎么办吗？

GET LAMP

灯

Good. Now hold it tight, we’ll need to take it with us. We’ll take it through the twisting passages until they open wide to the other side and we can ﬁnally see the writing on the wall, a scrawl a hundred years old. It’s our magic word, our cheat code, our jump cut through the night. You can barely read it in the carbide light: Even when women were invisible, it never means they weren’t there.

好。现在紧紧抓住它，我们需要随身携带。我们将通过扭曲的通道，直到它们向另一侧张开为止，我们最终可以看到墙上的笔迹，有100年的历史。这是我们的魔语，我们的作弊代码，我们彻夜难眠的跳跃。您几乎无法从硬朗的光中读懂它： 即使女性是隐形的，也绝不意味着她们不在那儿。