Latest articles by Alan Wen
Art director Jo Gauthier reveals why this hand-drawn 2D indie game secretly uses 3D tech.
Peter Soerensen quit his job, learned Unreal Engine and made Kick, a side-scrolling football game.
Supermassive's new technical highs can't overcome the lacklustre gameplay choices.
Art director Matt Moore reveals how Lumen lit the Edinburgh-inspired world of this painterly gothic fantasy.
This indie nails lighting in the harsh north, but left me lost at sea.
The spirit of John Hughes, Take on Me and MTV in playable form.
Art director Kate Rado explains how tactile food, puppet theatre and a “charmingly weird” world are being made.
This lower-priced spin-off could be the Switch 2's sleeper hit this summer.
Indie developer Fabraz's take is more than a nostalgic re-skin.
A PS5-exclusive that blends retro headomism with Sony's cinematic gaming polish.
Prove You're Human uses FMV and photogrammetry in uncanny ways.
How Hattori Graphics, the Tokyo-based artist and animator behind Romeo is a Dead Man, is turning pixels into art.
The art direction and rendering tricks behind Mixtape's nostalgic feel are explained.
RE Engine's tech is pared back on Switch 2, but it offers one unique way to play.
From Wii Sports to Tomodachi Life: Living the Dream, the timeless appeal of Miis explained.
One of the most original Capcom games I've played is refreshingly old-school.
Behind the lens of Opus: Prism Peak.
A 3D game disguised as 2D, and you can break it.
Realmsoft's Nathan Hiemenz explains how mixing Super Metroid, Mega Man X, and Slay the Spire can work.
ZDT Studio's art director, Mikael Tanguy, on making a debut game with Looney Tunes absurdity.
The gorgeous visuals still do most of the heavy lifting in Ember Labs' Switch 2 debut.
How Hyper Luminal recreated Guridi's hand-drawn magic into 3D for The Day I Became A Bird.
Italians do it better, with a little Japanese inspiration.
