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.
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.
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.
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.
There’s a startling and sudden dearth of the realism that once made the show such compelling television.
Each member of the band is individually quite talented—Jason Krunnfusz provided great harmony and solid bass lines, and Martin’s smoky soprano is unmistakably the musical calling card of the ensemble—but the true joy of listening to PHOX is hearing their talents mesh together.
Piñatas, komodo dragons, a dog that turns into a human: These wacky sights, among others, will take the stage at Farkas Hall this weekend during Harvard’s production of Naomi Iizuka’s 1999 comedy “Aloha, Say the Pretty Girls.”
Never-before-seen recordings of the Broadway performance are interspersed throughout the feature, along with commentary from prominent musicians and actors on the unique style of the show.
“Bad Hombres, Nasty Women,” a songification of the final presidential debate, features a great complex backing track with a fabulous hook.
If you haven’t watched the seventh season premiere of “The Walking Dead” yet, read no further: Here be spoilers.
The Harvard Crimson discusses upcoming game "Through the Woods" in a Q&A with Dan Wakefield.