We’ve all been there: The week before, you’d clicked “Interested” on a friend’s invitation to a student group’s event.
Set in what seems to be New York City several hundred years in the future, “The Sky is Yours” does not follow the traditional narrative arc expected of its ilk.
Ants: they’re creepy to some, cute to others, and inspirational to a handful of independent video game developers.
Its main draw is a slick combat engine employed to great effect alongside the Nemesis system.
There comes a time in every galaxy’s life, as the impending heat-death of the universe edges ever closer, when a young set of stars and large spherical masses might look around and start to think, “Hey, those are some pretty nice giant balls of flaming gas which surround me in this dark matter sea."
Perhaps the most relevant show on this list in the face of current events is “The Americans.”
It is particularly striking that the season finale functions as something of a reset button for the Sanchez-Smith family in a season which has been explicitly about change.
It’s a great single-player experience that you might not want to play again after you beat it, but it’s a hell of a time while you’re on that first run.
In Hellblade, everything’s very intimate—the camera is very close to Senua. It’s brutal, and it’s very visceral, so combat is different.
I’ve poured many, many hours into "Stellaris,” and I can tell you that it’s worth your time.
“The Americans” is doing its best to juggle a number of plotlines in its fifth season. That makes for great storytelling, but it can also make for particularly confusing episodes when the directors choose to advance too many of them at once.
Not only are the environments large enough in scope and scale to be imposing—more importantly, the game will require a lot of your time.
The season is definitely slower than previous ones; that hasn’t changed. But it might be less of an issue than I first thought, because these first few episodes, taken together, constitute the beginning of a metamorphosis for both Stan and the Jennings.
This season continues to build on the work of the initial seasons, but I have to wonder if the dramatically slowed pace will undercut that success.
Joe Weisberg, former C.I.A. officer and creator/producer of “The Americans,” has earned my trust with four mostly incredible seasons of television. It must be said, however, that this was not the triumphant return to the small screen that could be hoped for, perhaps even expected, from the show.