New sci-fi series aren't exactly a dime a dozen on British TV, awash as it usually is with serial killers, cops and costume dramas, so the fact that Humans not only exists but is also bold and fresh-looking triggers instant brownie points. It doubtless helps that it's a collaboration between Channel 4 and America's AMC, home of Mad Men and The Walking Dead. It pitches us into a contemporary London which looks superficially unchanged, but has been rendered utterly alien by the new boom in synthetic humans, or "synths".

Welcome to Newton, 2087. In this dystopic cityscape of neon lights, seedy underbellies and scientific industry, the overwhelming influences of genetic engineering, CCTV, AI and techno-terrorists are running rampant over the lives of its troubled inhabitants. The only means of escape is in the Trance, a digital world of obsolete physics, where any computer programme can be made manifest and interacted with on a human level. It’s now the norm to have wetware implanted in your brain so that you can phase in and out of Trance whenever you like.

Retrospectively, two things help The Blob stand apart from the glut of late-Fifties aliens-invade-small-town-America science fiction films. It gave Steve McQueen his first starring role and its theme tune was an early Burt Bacharach co-write. Either of these – or even both together – are probably not enough to make the 1958 regional independent production into a classic piece of American cinema. But it is pretty good.

Should games be challenging? One of the perennial design challenges of videogames. Make a game too tough and you'll put people off; make it too easy and you'll offer no interest. And then there's the tricky issue of individuals having vastly different play styles and abilities.

Warning! Spoilers ahead, etc… Bearing in mind the high-octane thrills of recent Marvel forays into cinema, Agents of S.H.I.E.L.D. is a surprisingly unshowy show. Some have taken this to be a good thing, though I suspect these people simply don’t like comic book adaptations or superheroes much. Me? I love comic-book characters – preferably covered in spandex and the sweat of battle. I want to see them have a massive scrap and fight personal demons along with extraterrestrial threats and improbably accented supervillains.

An innocent is corrupted in South African director Neill's Blomkamp's third feature (co-written with his wife Terri Tatchell), but the kid in question is far from what you'd expect. Set in the near future, it focuses on a reprogrammed police robot with the consciousness, sensitivity and suggestibility of a child - a lovably tatty piece of tech who has been literally labelled a reject, and who sports bunny ears, graffiti and gangster bling.

A shambling corpse, desperately gouging anything that comes near it for sustenance, a shadow of its former self. I'm not talking of the zombies that infest this game, but the Resident Evil series itself and its iconic Japanese publisher Capcom.

For those not familiar with the Resident Evil series, this wildly successful set of games jump-started the "survival horror" genre in 1996, and has since spawned an army of spin-off game titles and films, while the main series has mutated – from slow-paced adventure to high-speed action.

The gloom of Victorian London might be shared with The Order: 1886, also reviewed this week, but the games couldn't be further apart. In Sunless Sea, you play a nautical captain, navigating the "Unterzee" of the waters surrounding a fallen, underground London. Or rather, you play lots of captains – because if this cruel game is about anything, it's about repeated death.

In terms of atmosphere, The Order: 1886 wins out in spades. It's just everywhere else that it falls down, unfortunately.

Sneaking through the Ripper-stalked streets of an alternative Victorian Whitechapel, you can almost smell the stink of the slums. And certainly this matches the recent Assassin's Creed: Unity for the detailed and fetid depiction of dirty, litter-strewn cobbled streets. It's moments like this that The Order does excellently.

Techland's previous first-person zombie game was Dead Island. This swaps its beach resort location for a nondescript south American city, and its supercharged, cobbled-together weaponry for parkour-style run-jump-climb agility. One of these swaps is good news, the other not so much.

Crash-landing in the zombie-infested city of Harran, your undercover government operative has to ingratiate himself with the locals, trying to survive holed up in a tower block. How he does that is largely by going and fetching things for them from all over.