The Men Who Would Be Kings is a set of rules designed for fighting historical or Hollywood colonial battles in the mid to late 19th Century, from the Indian Mutiny to the Boxer Rebellion. Large scale colonial clashes tended to be one-sided affairs, but there are countless reports of brief, frantic skirmishes in every colonial war, where either side could be victorious, and these are the battles that The Men Who Would Be Kings seeks to recreate. Although focusing on the British colonial wars against the Zulus, Maoris and others, these rules will also permit players to explore the empires of France, Germany, and other nations, as well as allowing for battles between rival native factions. Gameplay is very simple, and is driven by the quality of the officers leading your units, in the true spirit of Victorian derring-do and adventure, where larger than life characters such as the (real) Fred Burnaby and the (fictional) Harry Flashman led their troops to glory and medals or a horrible end at the point of a spear tip.

Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.

“The definitive history of the studio” created by the larger-than-life team of Spielberg, Geffen, and Katzenberg (Los Angeles Times). For sixty years, since the birth of United Artists, the studio landscape was unchanged. Then came Hollywood’s Circus Maximus—created by director Steven Spielberg, billionaire David Geffen, and Jeffrey Katzenberg, who gave the world The Lion King—an entertainment empire called DreamWorks. Now Nicole LaPorte, who covered the company for Variety, goes behind the hype to reveal for the first time the delicious truth of what happened. Readers will feel they are part of the creative calamities of moviemaking as LaPorte’s fly-on-the-wall detail shows us Hollywood’s bizarre rules of business. We see the clashes between the often-otherworldly Spielberg’s troops and Katzenberg’s warriors, the debacles and disasters, but also the Oscar-winning triumphs, including Saving Private Ryan. We watch as the studio burns through billions of dollars, its rich owners get richer, and everybody else suffers. LaPorte displays Geffen, seducing investors like Microsoft’s Paul Allen, showing his steel against CAA’s Michael Ovitz, and staging fireworks during negotiations with Paramount and Disney. Here is a blockbuster behind-the-scenes Hollywood story—up close, glamorous, and gritty.

The interest in aesthetics in Philosophy, Literary and Cultural Studies is growing rapidly. 'The new aestheticism' contains exemplary essays by key practitioners in these fields which demonstrate the importance of this area of enquiry.