Alan Wen is a freelance journalist writing about video games in the form of features, interview, previews, reviews and op-eds. Work has appeared in print including Edge, Official Playstation Magazine, GamesMaster, Games TM, Wireframe, Stuff, and online including Kotaku UK, TechRadar, FANDOM, Rock Paper Shotgun, Digital Spy, The Guardian, and The Telegraph.
Latest articles by Alan Wen

Pragmata review: innovative AA action with AAA sci-fi sheen shoots for the moon and scores
By Alan Wen published
One of the most original Capcom games I've played is refreshingly old-school.

This indie studio's first 3D adventure in an anime spirit world is like Spirited Away for grown-ups
By Alan Wen published
Behind the lens of Opus: Prism Peak.

How Crushed In Time reimagines Sherlock Holmes as a LucasArts-inspired adventure
By Alan Wen published
A 3D game disguised as 2D, and you can break it.

A decade in the making, Clockwork Ambrosia reinvents how Metroidvanias fight
By Alan Wen published
Realmsoft's Nathan Hiemenz explains how mixing Super Metroid, Mega Man X, and Slay the Spire can work.

Darwin’s Paradox is an Unreal Engine 5 platformer turning an octopus into a Pixar-style hero
By Alan Wen published
ZDT Studio's art director, Mikael Tanguy, on making a debut game with Looney Tunes absurdity.

Kena: Bridge of Spirits (Switch 2) review: old-school Nintendo with Pixar polish
By Alan Wen published
The gorgeous visuals still do most of the heavy lifting in Ember Labs' Switch 2 debut.

This painterly indie game turns a children’s book into a playable illustration
By Alan Wen published
How Hyper Luminal recreated Guridi's hand-drawn magic into 3D for The Day I Became A Bird.

Screamer review: the '90s arcade racer gets an anime redesign, and I love it
By Alan Wen published
Italians do it better, with a little Japanese inspiration.

This solo dev is making a retro PC horror game that taps into Y2K internet fears perfectly
By Alan Wen published
Shutter Story is like a nostalgic J-horror version of Her Story.

How The Mermaid Mask introduces 3D objects to its detective work without compromising its 2D vision
By Alan Wen published
The latest game in the Detective Grimoire series is also a continuation of its predecessor's aesthetic, with an extra dimension.

Fatal Frame II: Crimson Butterfly Remake on Switch 2 is as beautifully terrifying as it is clunky and frustrating
By Alan Wen published
A shot in the dark.

This solo dev's cosy game is set in a hand-painted Japan-inspired world made with Unreal Engine 5
By Alan Wen published
How rural Japan and Shinto influenced Argyro Brotsi's debut game.

Why new sci-fi adventure Obex leans into low-fi DIY effects (and not AI)
By Alan Wen published
“There are smarter, faster ways, but they lose something,” director Albert Birney says of his ode to retro games and physical media.

Resident Evil Requiem is Nintendo's best since the GameCube era, as our retrospective reveals
By Alan Wen published
Resident Evil's history on Nintendo hardware has been one of innovations and limitations, including Requiem.

Why this solo dev rebuilt his Zelda-like Playdate game for Switch
By Alan Wen published
Ratcheteer DX is a retro-inspired game with a clever lighting twist.

Virtual Boy was a design disaster in 1995, so why did I buy one for Switch?
By Alan Wen published
Just $99 for the ‘authentic’ Nintendo VR experience.

How Obey the Insect God is reviving a forgotten '90s game artform
By Alan Wen published
Digitised sprites are back.

Yakuza Kiwami 3 on Switch 2 is a paradise for niche Sega retro curios
By Alan Wen published
The shortest entry in the series gets an expansive remake that's worth investing in.

Indie game Relooted shows how Unreal Blueprints can empower artists
By Alan Wen published
Nyamakop's Ben Myres shares how Epic's tech helped make its upcoming Africanfuturism heist game.

How the epic 12-year dev journey to make Sub-Species was saved by a switch to Unity
By Alan Wen published
The self-taught, two-person indie studio Howling Hamster reveals why Unity made all the difference.

Suda51 explains his creative chaos: "We make our games through a lot of ad-libbing"
By Alan Wen published
Grasshopper Manufacture still refuses to make games ‘properly’, and it's why Romeo is a Deadman looks so original.

Unreal Engine 5 makes Daughter of Voodoo's solo dev feel unstoppable
By Alan Wen published
How the indie horror game uses Metahumans and phone face capture.

Why this indie horror dev turned to Unreal Engine 5 to build believable fear
By Alan Wen published
Using MetaHumans helped two-person indie studio bring Silent Road's J-horror to life.
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