Jason Sheehan

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.

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.

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.

Our occasional series on storytelling in video games returns with a look at The New Colossus, a surprisingly heartfelt entry in the classic Castle Wolfenstein series. (Yes, you still shoot Nazis.)

The pseudonymous Reed King's new novel is a loopy, violent, funny Technicolor road trip across a post-apocalyptic America. There are robots, talking goats, and even the occasional lone songbird.

Elvia Wilk's new novel follows a group of aimless young people in Berlin, working, going out, coming home — until something happens that brings about a cataclysm. But is the aimlessness intentional?

Salvatore Scibona's new novel is a generational saga, an epic of Vietnam and other places rendered in language that makes even simple things sound mythic. But first, a boy is abandoned at an airport.

Our occasional series on storytelling in video games returns with a trip to Donut County — which is about doughnuts, yes, but also giant holes, cranky raccoons, and learning not to be a jerk.

Our critic Jason Sheehan says he's a little surprised that the legendary sci-fi writer passed away peacefully at home. It should have been an attack by alien space bears, or an argument with gravity.

It's a simple premise — a guy, a girl, a gun and a debt to repay — but in Bioshock Infinite it becomes a mind-bending story about politics, oppression, change and sacrifice. Set in a flying city.