作者: simonbut

 We started working on Craft in Abyss in February this year, so the game has been in development for three months now. That being said, we haven’t introduced you guys to the dev team yet. Craft in Abyss is a game that is being developed by 8 devs in total in their free tie. It’s a pretty large team compared to commercial development teams in Hong Kong. (A big part of the reason is due to the high salary in Hong Kong. You can actually hire twice as many developers in Taiwan with the same amount).

閱讀全文〈Introducing the Craft in Abyss Dev Team 《Craft In Abyss》開發團隊介紹〉

The Steam Game Festival Summer Edition started on June 16th, and the base-building rogue-lite game, Craft in Abys, joined with a free demo for everyone.

Craft in Abyss is developed by Firepillar2, a Hong Kong indie studio. In the game, the player takes the role of the main female character, Alex. They will design their own fortress and embark on a journey, during which, they will learn new skills and gather resources to continuously strengthen their fortress.

閱讀全文〈Craft In Abyss in the Steam Game Festival 《Craft In Abyss》參展 Steam 遊戲節〉

Someone once asked me why I develop games. I told him that it was “Because I want to tell a story.” The person merely replied, “You can do that with novels or movies as well.”

閱讀全文〈Using Games to Tell a Story 遊戲敘事的優勢〉

Whenever we bring up the Hong Kong game industry, a lot of people will point fingers at the government for not supporting us. But the truth is that the government did actually offer some support, but it’s just been pitifully small and most people probably never caught wind of it.

閱讀全文〈What Has the Government Done for Us? Introducing the Hong Kong Game Enhancement and Promotion Scheme 政府做過甚麼？「香港遊戲優化和推廣計劃」〉

Over the last three months, I realized that a lot of Hong Kong game development teams don’t actually now Steam very well, and don’t actually know what would help increase their game’s exposure on the platform. 

閱讀全文〈How to Increase Steam Exposure? 如何增加遊戲在 Steam 平台上的曝光〉

 A lot of Unity-specializing teams want to get into developing games, but many of them are stuck without someone to take care of the art. Sure, they make some 2D games that utilize simple polygons like 2048 or Tetris, but the lack of a art specialist is rather troublesome for a team that wants to create an actual game world.

閱讀全文〈A Unity Toolkit That Can Save Your Life! 沒有美術人手怎麼辦？這件 unity 法寶救你一命〉

約 7 年前(2013年)，畢子在機緣巧合下接觸了 .hack//G.U. ，當時便立志要從事遊戲業，成立火柱工作室，創作生涯正式開始。

閱讀全文〈火柱工作室 2020 打算做甚麼？〉

最近因為疫情的關係，使得《瘟疫公司》跟《世紀戰疫》兩部作品被很多人翻出來。如果大家困在家中閒得慌的話，可以試試這款同樣以病毒為主題的遊戲《428 ~被封鎖的澀谷~》。

閱讀全文〈《428 ~被封鎖的澀谷~》一場病毒疫苗背後的陰謀〉

（本文寫於 22/11/2019）

有很多創作者，其實不想讓人干預自己創作，這是很多名牌製作人離開大公司自立門戶的原因。不過，獨立團隊是否真的就能自主創作了呢？

話說在前，這篇文章正如標題所言，是分享過人經驗。

閱讀全文〈Steam 的評分機制如何改變我……〉

（本文寫於 17/11/2019）

一隻獨立製作的遊戲，很需要創意。因為，如果不談創意，獨立遊戲之於大廠製作，有甚麼優勢可言？

不過，也有很多人不懂如何拿捏「適量的創意」。如果一隻遊戲過於天馬行空，有可能讓玩家無所適從。

閱讀全文〈如何防止遊戲「過於」天馬行空？〉