爆肝30天!我做了一款《跳跳史莱姆》游戏!!
【游戏音乐课】《八方旅人/歧路旅人》如何让Boss战音乐更燃 How Octopath Traveler Hypes its Boss Battle | GSF
【游戏音乐课】《八方旅人/歧路旅人》让黄金时代的JRPG焕然一新 Octopath Traveler & Reimagining Game Music
【游戏制作工具箱】“时钟游戏”和时间循环 Clockwork Games and Time Loops | Game Maker's Toolkit
【游戏幕后】《死亡细胞》是如何做得好玩?How Dead Cells Cheated to Make the Game More Fun
【游戏制作工具箱】如何用关卡设计讲故事 How Level Design Can Tell a Story | GMTK
【游戏制作工具箱】随机性的两种类型 The Two Types of Random | GMTK
【游戏制作工具箱】《蔚蓝》的手感为何迷人?Why Does Celeste Feel So Good to Play? | GMTK
【游戏声效课】音效设计的三个步骤 How To Make Sounds For Video Games | Waveform
【游戏幕后】席德·梅尔的《文明》最初是实时制?How Sid Meier Almost Made Civilization a Real-Time Strate
【游戏声效课】《使命召唤:现代战争》的枪支音效为何出色?Why the Guns In Modern Warfare Sound So Incredible
【游戏幕后】《杀戮尖塔》是如何诞生的?How Slay the Spire Original Interface Almost Killed the Game
【游戏幕后】冈部启一与《尼尔:自动人形/机械纪元》配乐 Keiichi Okabe Composer | toco toco
【游戏制作工具箱】2019年游戏是否对残障玩家更友好?How Accessible Were This Year's Games? | GMTK