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Open Access (free)
Barry Atkins

Dwarf Omnibus (Harmondsworth: Penguin, 1992). Better Than Life is the title of the second volume (originally published in 1990), but the most significant section of the text in relation to the immersive potential of the computer game is to be found in the closing section of the first volume, pp. 255–98. (Both these volumes are included in the Omnibus.) 3 Computer games manufacturers address this perception of the danger of their product in a number of ways. The manuals now usually include sensible epilepsy warnings, but then go on to protect themselves with warning

in More than a game
Wharton,Woolf and the nature of Modernism
Katherine Joslin

links them by proximity of time and place and, on a deeper level, by metaphor. She records, for example, Clarissa’s mind as she watches the omnibuses in Piccadilly and thinks about her own early affair with Peter Walsh: somehow in the streets of London, on the ebb and flow of things, here, there, she survived, Peter survived, lived in each other, she being part, she was positive, of the trees at home; of the house there, ugly, rambling all to bits and pieces as it was; part of people she knew best, who lifted her on their branches as she had seen the trees lift the mist

in Special relationships
Sara Haslam

his wartime experiences to translate the action: ‘It would be long before you regarded an omnibus as something which should carry you smoothly along the streets of an ordered life. Nay, it had been revealed to you that beneath Ordinary Life itself was stretched the merest film with, beneath it, the abysses of Chaos’.12 Ford’s apprehension of abysses of chaos, and Eliot’s apprehension of ruin, demand a reconstruction of rules or forms within the new milieu which the writers perceive.13 Eliot’s climactic offering to the debate, The Waste Land, of 1922, was described

in Fragmenting modernism