Jason Sheehan
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The Mass Effect series is known almost as much for its storytelling as its actual gameplay — as the series is rereleased in an omnibus Legendary edition, we look at what makes it so literary.
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Martha Wells' new Murderbot novella is a classic locked-room mystery — only the locked room is a docked shuttle at a normally peaceful space station ill-equipped to deal with murder and mayhem.
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Our occasional series on storytelling in video games returns with a look at The Last of Us Part II, which pulls a perspective switch on players that forces them to confront their role in the game.
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Our occasional series on storytelling in video games returns with a look at the eerie indie hit Kentucky Route Zero, which is ostensibly about a guy making a delivery — but there's so much more.
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Stina Leicht's new sci-fi novel has a lot of moving parts: Space opera, rough-and-tumble mercenaries, corporate intrigue, alien first contact — and to her credit, she almost pulls it all off.
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Video games can offer immense, immersive open worlds — but for some players, the small-scale grinding repetition of the games known as "roguelikes" is a better way to pass the time.
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CD Projekt Red's hotly-anticipated new game turned out to be a buggy mess — but beyond that, it's just a bad game that doesn't do justice to the gritty, anti-corporate nature of its source material.
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The social deduction game. where you play a froup of funny-shaped little spaceman trying to uncover murderous impostors among you, originally came out in 2018 — but it's having a real moment now.
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Cixin Liu's latest collection — made up of several decades' worth of stories — showcases a science fiction that harks back to the earliest days of the genre, before grimdark or galactic empires.
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Critic Jason Sheehan says the new novel from Matt Haig — about a mystical library that lets people sample all the ways their lives might have gone — is a little too gentle and straightforward.