Books like Fun, Taste, & Games — picked by fans

Sheff's 1994 story is still the most incisive narrative history of Nintendo. It's full of all the ups and downs you expect in a process-oriented tome. But it also has soul, delivered by the wonder-filled mind of Shigeru Miyamoto, the creator of the Mario and the Legend Of Zelda series. Today, no journalist could ever get inside Nintendo, which is as closed off to its inner workings as Apple is. But Sheff got inside, way inside, and every reader is the better for it.

Steve's sprawlingly wonderful book is not only an essential (and the first) oral history of video games' early years. The author takes you inside the minds of the (mainly) white men who pioneered a form of entertainment media that's now bigger than all forms of popular art combined. Just as it makes you think of the brilliance of these slick hucksters and brainy engineers who created a new form of culture, it makes you think that games would have benefitted greatly from more diversity back then - and now.

Of the small subgenre books that deal with the way games aid education, Toppo's shows how games can make a difference in the way students learn by looking at first at a Washington, D.C. school's success with improving math scores through game playing. From there, he visits professors and visionaries, all of whom have helped kids learn through games. One thing becomes clear: if there were a games class in every school, especially in underserved communities, student grades would go up.

No one's written the perfect history of the PlayStation. But this illustration-rife, Kickstarted book for fans details the secrets of Sony's history with consoles, including rare photos of collectibles and decent interviews of 26 of the key developers, like PaRappa The Rapper co-creator Rodney Alan Greenblatt and Crash Bandicoot co-creator Jason Rubin. Yes, they could have included interviews with key U.S execs like Andrew House and Mark Cerny. Still, it works. Dimension-wise, the book's not large enough to be a coffee table book. But that's what it feels like, and an indispensable one at that.

This delightful book erases the stiff, sepia portraits of a bygone age, painting the Victorian world in living color. It shreds the era’s image as fun-challenged. The Victorians knew how to have a rollicking good time, inventing popular entertainment on a commercial scale.

In two generations, theatrical performances, professional sporting events, and seaside holidays were accessible to the masses. Jackson traces the social and economic transformations that made it possible.

This book explores McLuhan’s relationship with avant-garde art. While McLuhan’s engagement with artistic endeavours, has received some attention, Kitnick examines in detail not only how McLuhan’s work on art developed over an extended period, but how his views on artistic practice came to inform the work of others. He builds on McLuhan’s contention that art was not primarily a means of self-expression, but rather the basis for cultural exploration and environmental change. Drawing inspiration from figures such as James Joyce, T.S. Eliot, and Wyndham Lewis. McLuhan, according to Kitnick, saw members of the avant-garde as artists who work within conventional structures in order to disrupt them, thereby throwing them into relief. 

Many of us, when young, read Looking-Glass with Carroll’s first work, Alice’s Adventures in Wonderland, but it was as an adult, eager to reflect philosophically, that I began to appreciate deep puzzles within our language and consciousness – and these are more prominent in Looking-Glass.  

I taught philosophy for many years – oops, not true, I don’t think philosophy can be taught. Rather, I encourage people to step back and think philosophically by confronting paradoxes, using their imagination, and looking beyond appearances. I often recommend Looking-Glass to achieve a sense of bewilderment and the delicious desire to dig into and question everyday assumptions of living.

Kermode is a literary critic and this book is a study of apocalyptic narrative throughout the ages. But as Lowith shows, all Western historical thought is apocalyptic. Kermode takes this point further by looking not just at the Bible, but also Roman philosophy, modern English poetry, and more. It might sound like a bit of a detour, only it doesn’t feel that way when he brings it all to a head in an early diagnosis of the postmodern condition. Because we now know the power of stories, he argues, they can only continue to do their work by ‘defying our sense of reality.' Talk about the ultimate cliffhanger!

A landmark philosophical tome, which argues for the ‘imbrication of forgetting in memory’. The disentangling of the complex relationships between history, memory and forgetting raises ethical questions about abuses of memory and interrogates the connection between forgetting and forgiving.

I first fell in love with Alex Grey’s art before I found his book that described his career and experiences that solidified the themes he has chosen to explore throughout his craft.

The Mission of Art was an incredible read that took me on a journey of art appreciation, self-discovery, and the concept of creativity. My favorite part of the book includes the illustrations and backstory behind their conception.

I appreciate that Alex reminded me and other readers that all art deserves to exist as evidence of humanity & culture and should not be limited to what is “good” or “bad,” but it should all be accepted for what it is. (Cause it says a lot about who we are as people and the current time we live in)