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'It is now thirty-five years since Geoffrey Moorhouse wrote his cricket classic The Best Loved Game, which also seems unimaginable, but only because it feels like last week. Even so, in that time the game has changed, in many respects beyond recognition, which makes the book more valuable than ever - as an elegy for a lost world.' Matthew Engel, in his new Preface Geoffrey Moorhouse spent the summer of 1978 sampling cricket at every level: from Eton v Harrow to the Lancashire League; from Cambridge undergraduates getting a lesson from Zaheer Abbas to Ian Botham excelling with bat and ball at Lord's; from a farmer's boy making an unbeaten 24 at an Oxfordshire village match to the incomparable clowning of Derek Randall at Trent Bridge. 'Surely destined to rest beside the finest works of this nature in the library of cricket.' David Frith, Wisden Cricket Monthly
In this unforgettable novel, Leonard Cohen boldly etches the youth and early manhood of Lawrence Breavman, only son of an old Jewish family in Montreal. Life for Breavman is made up of dazzling colour—a series of motion pictures fed through a high-speed projector: the half-understood death of his father; the adult games of love and war, with their infinite capacity for fantasy and cruelty; his secret experiments with hypnotism; the night-long adventures with Krantz, his beloved comrade and confidant. Later, achieving literary fame as a college student, Breavman does penance through manual labour, but ultimately flees to New York. And although he has loved the bodies of many women, it is only when he meets Shell, whom he awakens to her own beauty, that he discovers the totality of love and its demands, and comes to terms with the sacrifices he must make.
"Today's gamers don't understand what the disco generation had to go through to get their gaming fix. They know nothing of the slow load speeds, coding glitches, memory capacity downfalls and console rivalries we put up with, all to make pill-munching pizza creatures gobble down ghosts, or rescue tiny critters from grisly deaths. But this book remembers it all ... Take a walk down memory lane and revisit some of the best and worst games, consoles and technologies in the history of gaming"--Page 4 of cover
Eve is used to being the odd woman out. As the only girl on her school's baseball team, she knows exactly how to put sweaty, macho baseball players in their place, and she's learned to focus on one thing and one thing only--being the best pitcher she can be. But when a freak accident forces her school to be absorbed by the neighboring town, Eve has to contend with a new group of guys who aren't used to having a woman on their team. And the new team's star pitcher, Jamie, has no interest in being ousted from his throne. He can't afford to give up his starting slot to a new pitcher--especially to a girl. As the competition between Jamie and Eve starts to heat up, so does their attraction to each other. Can they keep their heads in the game, or will they end up getting played? -- netgalley.
Jesse Rigsby hates video games—and for good reason. You see, a video game character is trying to kill him. After getting sucked in the new game Full Blast with his friend Eric, Jesse starts to see the appeal of vaporizing man-size praying mantis while cruising around by jet pack. But pretty soon, a mysterious figure begins following Eric and Jesse, and they discover they can't leave the game. If they don't figure out what's going on fast, they'll be trapped for good! With black-and-white illustrations throughout and a cliff hanger at the end of every chapter, this is a great series for kids who think they don’t like to read!
"Games are a unique art form. The game designer doesn't just create a world; they create who you will be in that world. They tell you what abilities to use and what goals to take on. In other words, they specify a form of agency. Games work in the medium of agency. And to play them, we take on alternate agencies and submerge ourselves in them. What can we learn about our own rationality and agency, from thinking about games? We learn that we have a considerable degree of fluidity with our agency. First, we have the capacity for a peculiar sort of motivational inversion. For some of us, winning is not the point. We take on an interest in winning temporarily, so that we can play the game. Thus, we are capable of taking on temporary and disposable ends. We can submerge ourselves in alternate agencies, letting them dominate our consciousness, and then dropping them the moment the game is over. Games are, then, a way of recording forms of agency, of encoding them in artifacts. Our games are a library of agencies. And exploring that library can help us develop our own agency and autonomy. But this technology can also be used for art. Games can sculpt our practical activity, for the sake of the beauty of our own actions. Games are part of a crucial, but overlooked category of art - the process arts. These are the arts which evoke an activity, and then ask you to appreciate your own activity. And games are a special place where we can foster beautiful experiences of our own activity. Because our struggles, in games, can be designed to fit our capacities. Games can present a harmonious world, where our abilities fit the task, and where we pursue obvious goals and act under clear values. Games are a kind of existential balm against the difficult and exhausting value clarity of the world. But this presents a special danger. Games can be a fantasy of value clarity. And when that fantasy leaks out into the world, we can be tempted to oversimplify our enduring values. Then, the pleasures of games can seduce us away from our autonomy, and reduce our agency."--
Masters of Doom is the amazing true story of the Lennon and McCartney of video games: John Carmack and John Romero. Together, they ruled big business. They transformed popular culture. And they provoked a national controversy. More than anything, they lived a unique and rollicking American Dream, escaping the broken homes of their youth to co-create the most notoriously successful game franchises in history—Doom and Quake—until the games they made tore them apart. Americans spend more money on video games than on movie tickets. Masters of Doom is the first book to chronicle this industry’s greatest story, written by one of the medium’s leading observers. David Kushner takes readers inside the rags-to-riches adventure of two rebellious entrepreneurs who came of age to shape a generation. The vivid portrait reveals why their games are so violent and why their immersion in their brilliantly designed fantasy worlds offered them solace. And it shows how they channeled their fury and imagination into products that are a formative influence on our culture, from MTV to the Internet to Columbine. This is a story of friendship and betrayal, commerce and artistry—a powerful and compassionate account of what it’s like to be young, driven, and wildly creative. “To my taste, the greatest American myth of cosmogenesis features the maladjusted, antisocial, genius teenage boy who, in the insular laboratory of his own bedroom, invents the universe from scratch. Masters of Doom is a particularly inspired rendition. Dave Kushner chronicles the saga of video game virtuosi Carmack and Romero with terrific brio. This is a page-turning, mythopoeic cyber-soap opera about two glamorous geek geniuses—and it should be read while scarfing down pepperoni pizza and swilling Diet Coke, with Queens of the Stone Age cranked up all the way.”—Mark Leyner, author of I Smell Esther Williams