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Episode 38: Kudzu



A Homebrew Draws Near!

A blog series by @Scrobins

Episode 38: Kudzu



A good adventure is anywhere you can find it, if you know where to look. And a good story can be written about anything, if you’re creative and bold enough to write it. Where some saw obsolete video game hardware and software, dismissing them as relics of the past that gave way to more advanced technology, others saw stories left untold. When some look at kudzu, a species of invasive, coiling vine, they may merely see a field or hillside. But to others, it is a green iteration of the dark shadow that pours menacingly across the kingdom menacingly at the beginning of many adventure stories and video games. For the right storyteller, kudzu, and the world of the master gardener, are opportunities.

For this entry, I’m covering Kudzu, a non-linear adventure game for the Gameboy, developed by Pie for Breakfast Studios and published by Mega Cat Studios. As of the time of the writing, the Kickstarter campaign has concluded, and backers will receive their pledges soon. The game is available for download here, and once backers have their games in hand, more physical copies of the game will be available here.


The Physical Edition CIB


Development Team:

Christopher Totten: lead developer

Brandon Ellis: sound designer


Game Evolution:

Kudzu’s Kickstarter campaign first sprouted on May 25, 2023, growing past its initial funding goal within its first 12 hours. By season’s end, Kudzu attracted 866 backers who pollinated more than $46,000. Backer tiers were organized and named with cute gardening themes, which included the game’s rom, a cart-only option, CIB, or a limited-edition wooden cart (a Mega Cart specialty), as well as the soundtrack in a digital file or on vinyl, a poster, stickers, pins, postcards, a keychain, artbook, tie-in comic book, diorama, goat plushie, your name in the credits, an in-game goat named after you, and a custom machete. The campaign also blew through several stretch goals, unlocking a fishing minigame, a second ending, an extra dungeon, and a port to the Nintendo Switch.


An early title screen for the game, circa 2020



Kudzu describes itself as a non-linear adventure game. You play as Max, an apprentice gardener trekking through an expanse of fields, gardens, forests, and mountains overgrown with the globally invasive kudzu in search of your mentor Zoen, who has disappeared into the seemingly sentient labyrinth of vines. Armed with an array of gardening tools, you hack your way into the overgrowth in the hope of bringing the master gardener back into the sunlight.

Controls are straightforward: use the D-pad to move, the A button to interact with your environment, the B button to use tools and attack (once you’re armed with the machete), the Start button to open the status menu screen, and the Select button to access the map screen. The status menu screen toggles between two screens: one features your health, the healing jelly at your disposal, and collectibles; and the other displays your tools as you acquire them. Throughout the map are allies and objects to assist you, as well as enemies and puzzles that thwart you; though these lines can be blurred as you may need to enlist the aid of some kudzu to solve a puzzle or two! At least there will be moments of respite where you can buy goods, talk to people, and save your progress at campsites.



Screenshot from Kudzu


Kudzu is an engrossing dungeon puzzler that I might have forgotten to put down and give myself a break if I didn’t encounter the save tents once in a while (phew). The game is a cute, enveloping experience, reminiscent of A Link to the Past and Link’s Awakening, challenging players to choose their path as they are slowly given the tools to navigate further into an ever-growing mazeworld. The game seems simple at first glance but even at its beginning Kudzu foreshadows the rich gameplay to come as Max takes on the main quest, but is offered/asked/told about tasks and side quests that will come to pass, such as finding goats, pen pals, and assisting other characters, which promise to reap rewards in the future. I especially love the overall sense of humor among the many characters, such as when you talk to a sign outside a closed shop and can respond: “No thanks, sign.” or how characters joke about their behaviors as NPCs, such as when one tells you he can’t leave until you defeat the nearby enemies (and thus open a door), but decides to stay put after you dispatch all the baddies. It’s a tongue in cheek vibe that makes you want to pay attention to each little seedling of silliness. For all its humor though, Kudzu is also surprisingly informative; through its characters and the camp’s library, I learned a lot about actual kudzu, which led me to look up more about the invasive vine when I wasn’t playing and battling the fictional iteration of the plant.

The game’s graphics offer a lot of personality compacted in such little space. The characters have distinct and silly appearances, which express and match their personalities, while the environments have elaborate textures that make it easy to differentiate. This sounds like an obvious aspect of any game, but for a Gameboy game, with a limited color palette, set among plants, clearly distinguishing barriers, ground, breakable materials, and enemies from each other when all 4 categories are types of plants is a tall order! So for the developers to accomplish this successfully is a real testament to their sprite designs. Meanwhile the game’s soundtrack provides a varied array of music to fit the game’s many moods, ranging from bouncy and friendly when among friends, to tense as you stand amid an ever-encroaching invasive species. There is a tempo behind each track, one which transcends any mood the game conveys, that uses its persistent beat to push Max forward, one more chamber of the kudzu field, one more puzzle, keep going, keep going, you can do it. It is the score of an adventure: no matter how uncertain you feel about what lies ahead, you don’t actually want to stop.



I decided to hedge my bets and reached out to the developers in the hopes they would let me into their garden of ideas. Don’t worry though, no soilers ahead, keep reading for more…



Chris Totten


-Before we dive into Kudzu, I would love to talk about your background. What first inspired you to become a homebrew game developer? What is your origin story? What is the story behind the name Pie for Breakfast?

I got into the game industry soon after finishing my master’s degree in architecture. I had made some small indie projects in college with a friend of mine and started incorporating game design theory into my architecture work. I finished grad school in the recession, when nothing was being built, but my skills both with game design and 3D art landed me a job teaching game making courses at a small college. That gave me the time to build up my resume, portfolio, and network through the local gamedev meetup. Long story short, I’ve been making games now professionally for about 13 years (including in the mobile, indie, and “serious/educational games” spaces) and am a tenured associate professor at Kent State University. Along the way I wrote some books about level design too that people seem to really enjoy!

I kind of got into homebrew by accident through the GB Studio engine. I saw that there was this engine floating around online that lets you ship to Game Boy cartridges and that seemed really cool - I would say that Game Boy was one of my most played and loved consoles growing up and I really wanted to do a project with it. I just approached it as a regular indie project and had known that homebrew existed, but making something led me to the awesome community of folks who talk about this stuff such as the GB Studio community and the folks at Homebrew Game Club.


-Who are your influences? And whose work are you watching closely now?

I try to pull from things that aren’t games as much as I can: architecture, art, literature. I make a lot of games based on works in the public domain like books or artworks. Kudzu itself was inspired by plants and gardening. In terms of games though, I grew up in the NES/SNES era, so a lot of the games I enjoyed growing up were directed by Takashi Tezuka, things like Super Mario Bros. 3, Zelda: Link’s Awakening, etc. I also really loved Capcom’s action games for the NES like Mega Man and the licensed stuff like Little Nemo and the Disney games. I like how those games take a mechanic or a small set of mechanics and squeeze everything they can out of them. I think that Tezuka is particularly good with that in Link’s Awakening, which got a ton of content into a Game Boy cartridge. This is why later games like Portal and a lot of the early 10’s indie games like Super Meat Boy stuck out to me so much. That late aughts/early 10’s period is around the time that my career in games began so that era was super formative for me.

I’m also a very big fan in general of games with a lot of exploration. When I was in my early teens, I got into the more exploratory stuff like Super Metroid and the Koji Igarashi Castlevania’s and they’ve really stuck with me. They feed my curiosity a lot through their level design and it’s easy for me to just get lost in that experience. I’m very interested in how game spaces communicate with players to aid in this exploration. Some of my favorites include the worlds of Metroid Prime, Half-Life 2, Dishonored, Marvel’s Spider-Man, William Chyr’s Manifold Garden, Dark Souls/Elden Ring, and the many many indie Metroidvania’s out there.


-How would you describe your design aesthetic, and what to you are hallmarks of a game designed by you?

This is kind of a funny story: on another project I’m working on, Little Nemo and the Nightmare Fiends, my development partners and I were starting to plan out the game’s shop, and looked through our overall design documentation to figure out what players could buy. We all came to the realization that each of our individual design aesthetics all included being very resource-light: our games don’t have a ton of items that you have to manage so we had a hard time getting started! We DID work it out so that the shop will have lots of cool things to buy (as do the shops in Kudzu), but I think it speaks to some of the holdovers of a designer who grew up in that NES/Game Boy era. I try to find a good core gameplay loop and then build lots of content from that - the design is very efficient and there’s not a lot of extraneous elements. An example might be with an enemy: you introduce them in one kind of space, but what happens when they’re in a smaller space? What happens if there are two of them? What happens when you pair them with other types of enemies?

I also like how Metroid games make the inventory a part of Samus rather than involving a lot of item management - this was actually helpful in Kudzu, since I had to be so careful with animation frames in GB Studio. Since I’m a big fan of exploration, I also like doing things like teasing a player with an item and obscuring the path to it, or having a door with several locks, but you can explore to find them in any order (both types of things are in Kudzu.)


Early sketchbook dungeon designs from a Medium post Chris posted


-You’ve written books on game design and animation. To what extent is your development work informed by your previous writing? Do you find yourself updating your thinking with new projects?

Part of the whole reason I write is to turn my thinking about design into a vocabulary that myself and others who find the ideas interesting can repeat. That way it becomes a tool that lots of people can use rather than just being something fuzzy that I just kind of intuited and that is only useful to me. This is also a big part of being a teacher: it’s better for me to be able to give my students an idea of how to improve their work through clear and concise language.

Both Kudzu and Little Nemo have been great laboratories for playing with exploratory design patterns. In Kudzu, working on Game Boy means that I had to think a lot about single-screen design and making puzzles and paths through levels really expressive in the minimum viable space possible. I think this is something that every game developer should try, even if you work on big 3D titles. In both titles, we’re looking for patterns in both our designs and games that inspire us to help us with reducing annoying backtracking, giving players clear goals but also explorable space, etc. Both playing others’ games and prototyping our own have been hugely useful for developing our design language.


-What tools do you use to code and create?

For Kudzu, I used the GB Studio 2.5 Beta engine (the version number is important because I had to work around some of the limitations of the earlier version compared to the more advanced 3.x editions). I made the art in a pixel art program called Aseprite and I made the level backgrounds in an editor called Tiled. For other projects, I’ve been developing in Unity and working in both 2D and 3D in Blender since about 2010.


-One of your prominent previous projects was Little Nemo and the Nightmare Fiends. Did your work on Little Nemo provide any insight and inspiration for your work on Kudzu?

Since both projects are ongoing at the same time, and Kudzu was started during the development of Nemo as a sort of weekend side project (Kudzu was done faster because the scope for a Game Boy title like this is way smaller than a modern hand-drawn indie game), they definitely fed one another. There have been a lot of Nemo design meetings where I would report that I started designing something one way in Kudzu or came up with a system for something that might be useful in Nemo. Part of the reason that I keep mentioning them both in this interview is that they’re twins in a way: both were developed in concert with one another (which, I will never try to do again - it’s exhausting to make 2 games at one time!) There were even periods where I was working on similarly themed levels in both projects - both games have mushroomy forests!


Promotional art for Little Nemo and the Nightmare Fiends


-What encouraged you to make games for the Gameboy, and how did you discover GB Studio?

I just kind of saw GB Studio being shared around game development Twitter one day and thought, “wow, that’s really cool - I’d love to do a Game Boy game!” This is covered somewhat in the campaign, but Kudzu is a game idea that my wife and I had about 9 or 10 years ago but that was just tucked away in a folder of “really ambitious game ideas I’d need a big team for and will probably never happen.” When I found GB Studio, I realized that Kudzu was a project that could probably work really well on Game Boy, and which would probably benefit from being forced into a more limited scope of a Game Boy game. It still took several years - because that’s just how long games take - but that I could make something like it was both incredibly freeing and a wonderful surprise, since it’s something that my wife and I have lots of fond memories of planning out together.


-At the heart of Kudzu is its nonlinear, maze-oriented exploration. What about this genre resonates so strongly with you? What inspired you to make this type of game?

Like I said in the influences section, I love Metroid, I love the exploratory Castlevania games. I love all sorts of indie games like Hollow Knight, Iconoclasts, Cave Story (which isn’t a full Metroidvania but which has such a rich lovely world with great characters), the Ori games, Owlboy, and others that do these things. I also love Zelda and other action-adventures like the early Ys games. These games have such a strong sense of place and reward you for looking under every rock and in every tree. I take painfully long to play other games for this reason because they’ve influenced my play style so much. For both Kudzu and Nemo, I’ve tried to capture that in both the level design and how we think about populating the world with interesting characters.


-What elements are crucial for a good adventure game?

Oh boy, you could ask 50 designers that and get 50 different answers! My preferences are games that give you a tour of the world but which at some point let you go off and explore on your own more freely. It’s kind of like when you learned how to ride a bike and your teacher (parent, grandparent, guardian, etc.) let go of the handlebars and let you ride on your own. When you can feel cozy just moving around the world and say to yourself “what should I do today?” is when these games get really good. Also I like really interesting characters. They don’t need a ton of dialog or huge backstories, but a line like “I like shorts. They’re comfy and easy to wear!” paints such an interesting picture of that little pixel person and that’s really cool to me.


-How did you connect with Brandon? What was the working dynamic like across your collaboration?

Brandon and I were connected by the folks at Mega Cat. I had, of course, heard his work in games like 30XX, which I’ve played and have seen at a bunch of indie game events through the years. He’s been wonderful to work with: I made up a big spreadsheet of tracks we needed, how long they had to be, and what kind of feel each should have. He really dove in and got a lot out of the Game Boy sound hardware!


-How did you connect with Mega Cat Studios, and how has working with them been?

One of my other big projects is the Smithsonian American Art Museum Arcade (SAAM Arcade) in Washington DC, which is an event that is now in its 9th year. I was one of the co-founders along with SAAM staff members. Long story short - when I lived in DC and was part of the indie game scene out there, we wanted a local place to show our games, and SAAM wanted more game events after the success of the Art of Video Games exhibition in 2012. At one point throughout SAAM Arcade’s run, Mega Cat had shown a number of their games at the event, and I would always visit their booth at other events like MAGFest. We basically ran in a lot of the same development circles. Years later, I showed Kudzu to them at the GDEX game expo in Columbus, OH and it seemed like a really good fit, so we decided to work together on it.


-Ever since my first episode, M-Tee planted this idea in my mind that a game’s protagonist, who serves as both the player's point of immersion in the game as well as a reflection of its designer. What was the intention behind Max’s design, and are there elements of yourself that you see in him?

So Max is actually literally my brother-in-law turned into a video game character. The only difference is that Kudzu Max is 16 pixels tall and real-life Max is very very tall. This is part of how my wife and I got to talking about the game idea. I told her about a time in architecture school where my whole studio group designed buildings in a field of invasive kudzu, not knowing what it was (this was nearly disastrous in the end-of-semester review). She talked about her brother fighting back out-of-control vines in their backyard (which was thankfully akebia and not kudzu) in a gardening outfit very much like what Max wears in the game. There are also other characters in the game based on people we know. Our cats are even in the game!


-What aspects of Kudzu are you most proud of?

I’m proud to have finally made it, and to have been able to do something with this idea that my wife and I had when we were first together (we’ve been married 10 years now.) More broadly, I’m just happy to have made something that people have responded so positively to. My kids get really into it. It’s something to watch someone get pulled in by something you’ve made and think back to the games that did that to you when you were young (or…games that do that to you now!) Making something for a console I really loved has been extra nice. At the same time, I’m proud that I added modern game design elements to it and thought of it as distinctly its own product: I didn’t want to just make something super Zelda-like in setting and have people treat it like a knock-off. I want Kudzu to feel like a brand-new thing that happens to be coming for Game Boy.


-What new challenges or surprises surfaced in developing Kudzu? What lessons did you learn that you would like to share with the people who aspire to follow in your footsteps?

This is super under-the-hood, but you learn a lot about how both engines and consoles handle memory when you make a game in/on them. These things affect how big your game files are, how the engine behaves when a game gets to a certain size, etc.  I honestly think that GB Studio is the new Twine, which is to say a super-approachable engine that lots of new developers (and many experienced folks) have picked up to make small, expressive projects in addition to some of these big epics. For that reason, I even e-mailed the folks at Mega Cat and said “look, I think you’re going to start seeing a lot of pitches for games made in this, I’d be happy to compile a list of technical surprises that may help on what are sure to be other projects that will come up.” For a publisher, that might affect what cartridges you have to buy, etc.

Pleasant surprises include how easy the engine in particular made story-based games: it began as an engine for making adventures, so it really shined in a lot of ways. Cutscenes and story content can be a pain in other engines (looking at you, Unity), but GB Studio made it a breeze. It helped make a game of Kudzu’s scale possible for someone who started this as a weekend project (it eventually became a weekday project too, of course). I don’t have any immediate plans, but I’d love to keep making GB Studio games because working with it was just so pleasant.


-There has been a lot of support and enthusiasm for Kudzu on Kickstarter, and on social media. How does it feel to see so many people excited about the game?

It’s amazing! It’s really cool, especially since this came from a very personal place of sharing stories with my wife and coming up with this together. I don’t think I’d be at the place I am in my career without my wife Clara and her encouraging me to pursue things like my book or some of these game projects, so it means a lot to make this finally a reality.


-Are there any other projects you have lined up on the horizon, Gameboy, or otherwise? Any dream projects?

Oof. Both Nemo and Kudzu are such big projects that I’m having trouble looking past them. I would like to make more Game Boy games, though I don’t know in what scale. If there is ever a Kudzu 2 (I have some ideas…), I think I’d try to make it with a bigger team. Having this world on modern hardware could be interesting. As for dream games, I mean…I’m literally making a game based on Little Nemo in Slumberland! I love that world and those characters. Nemo is definitely another game I’ve wanted to make forever (I have a design document for it dating back to about 2013), and Kudzu is, in a lot of ways, a way for me to make the Zelda or Metroid games that I’m sure Nintendo would never let me work on. These are projects I really care about and am happy to finally bring to fruition.

If we’re talking about ABSOLUTELY ABSURD dream games and Nintendo, after Nemo, they should let me hand-animate a remake of Mario 3 in the visual style of Yoichi Kotabe (the illustrator who did a lot of the early Mario promotional art.)


-Are there any homebrew games in development that you are excited to play?

Super Sunny World is looking really cool. I picked up Fire and Rescue by Skyboy Games at MAGFest this past year and my kids and I have had a lot of fun with it. I also really want to check out Full Quiet - it looks stunning. The GB Studio community’s output has been fantastic, and I have a lot to catch up on that has been released in the time that I’ve been working on Kudzu. I don’t want to name drop anyone in particular mostly because the community is so big I don’t want to miss anyone, but if readers of this interview go to itch.io and look up GB Studio games, you’ll find stuff by a lot of amazing developers. So many in that community have been supportive of this project and I’m deeply grateful to all of them for their encouragement, development tips, and support. The community’s news site, GB Studio Central, has also been wonderfully supportive and is a fantastic resource for not only information on Game Boy development, but also game design in general. And of course, some of the other awesome games from my publisher, Mega Cat Studios (no, they didn’t pay me to say that, I’ve been following their games for years.)


Screenshot of Super Sunny World, in development by Matt Hughson


-I really appreciate you taking the time to talk with me and share your experiences. Is there anything else you would like to tell readers and fans?

Play Kudzu! Play Little Nemo and the Nightmare Fiends (we have a demo going up on Steam during June’s Steam Next Fest!) Try out GB Studio! It’s a great tool for both reliving your childhood days of Game Boy games and dipping your toe into game development if you’ve never done it before (and, if you have done it before, it’s a great way to make ambitious projects come to life.)




Brandon Ellis


-Before we talk about Kudzu, I want to talk about you and your background. What first inspired you to be a musician? What led you to compose music for games? What is your origin story?

My dad was a musician, mostly writing pop and country music! He had a Yamaha keyboard that would let you program a little song, so he taught me how to use it. I was completely obsessed with making terrible little songs on it.

So eventually I borrowed his audio editing software when we got a PC, slowly learned how to add stuff to my music, and spent all of middle school and high school forcing my friends to listen to my music. I always thought it MUST be possible to get a job writing music for games, and I was extremely fortunate that several opportunities worked out and gave me a chance to do it!


-Who are your influences? And whose work are you watching closely now?

I was firmly in the era of incredible Sega Genesis and Gameboy soundtracks. So there are an uncountable number of those that are incredible (shout-outs to the Vectorman OST. I never managed to beat that game….)

But beyond that, I’ve always loved any pop/electronic music that uses a lot of chiptune/8bit sounds. Bands like Anamanaguchi and The Postal Service were huge for me.

Now I mostly follow all the incredible indie game composers everyone else follows, but off the top of my head it’s: Chipzel, Danny B, Ben Prunty, Lifeformed, nervous_testpilot, Jake Kaufman, and tons more. I’ve also been really into synthwave bands: The Midnight, Gunship, etc.


It’s time for you to start listening to The Midnight


-In addition to your musical work on video games, you describe yourself as a sound designer and general audio person. Does your breadth of experience provide lessons that carry over to other areas of your work or do you find them distinct from one another?

I think all those disciplines feed into each other really well. You learn a lot of new techniques for composition by working on sound design. Sound design is less forgiving if you’re messy with your project management, for instance. So it helps you learn ways to manage your works-in-progress.

And doing things like running sound at a concert venue, or managing a concert hall, they all give you better perspectives: you get to see incredible musicians doing their own unique things, and it helps inspire ideas on how you might change up your own workflow.


-Do you feel that your music has any qualities that are quintessentially you? How would you describe your aesthetic?

I usually work in genres that allow you to be as big/loud/melodic as you can possibly be, which is a ton of fun. So I usually try to work on having really memorable and catchy melodies. The other thing that comes to mind is that I’ve always been really in love with the combination of classic chiptune sounds alongside piano and orchestral sounds. Something about that juxtaposition is really lovely to me. (“Exciting World” from the Pushmo World is the perfect example)


-What tools do you use to compose, generally as well as for games?

I typically use Logic Pro X as my DAW. I use a plugin called Plogue’s Chipsounds for most of my 8bit sounds when I’m not using a tracker. Otherwise I use a ton of the Native Instruments Komplete collection (Super 8, Massive, Battery, Kontakt, Reaktor, etc.)

For trackers I’m not hyper experienced with the differences between them. But FamiTracker was probably the easiest for me to jump into and I would recommend that one for beginners!


-What qualities do you look for in order to feel like a game you’re playing has good, engaging music?

I think I always want to notice the music. That’s probably not always appropriate in every game, but usually if it’s hitting the exact right vibe or emotion it’s going to jump out at you.


-Tell me about the development of Kudzu’s music, what was your composition process?

The inspirations and references for this style of music made it pretty easy to get a good rough idea! Everyone who has played an RPG from the 90s knows how the music is “supposed to sound” when you’re inside a shop. So you just find your own unique spin on that type of emotion.

So all of it was taking that core inspiration for a “mountain level” or a “boss fight”, working against the technical and time limitations for the music, and imprinting your own personal take on it.


-What new challenges or surprises surfaced in your work on Kudzu? What lessons did you learn that you would like to share with the people who aspire to follow in your footsteps?

It was really fun! The toughest thing was having to fit into really specific constraints from the technical side: you can’t actually use most of the modern tracker features with your music. The original Gameboy files require a really limited toolset. But to anyone working on a project like this or learning how to write music for the first time, I would ALWAYS recommend forcing strict limitations on yourself. Limitations force you to get creative. If you can’t just slap a reverb on a sound to make it sound “bigger”, you have to get creative with your solutions.

On top of that, I find that I always struggle to be “done” with a song. So I also recommend setting a timer and saying, “When this clock hits zero, I’m done. Bounce it and move forward.” That’s gotten me out of a lot of jams when I feel stuck on something.


-How did you first connect with Chris and what was the working dynamic like as you worked on the game?

I was introduced to the team through Mega Cat Studios after working with them on a few projects! Chris and the rest of the team seemed really amazing, and the version of the project I was handed was immediately very fun and very polished! They gave me a ton of freedom to explore the music however I wanted, and considering how tough the technical limitations were for the music, that was really appreciated!


-Is there another project after Kudzu on the horizon? Another dream project that you hope to bring into existence, video game or otherwise?

If I’m allowed to shout out other soundtracks I’m working on, I’ve been fortunate to work on a few others this year! 30XX is a Mega Man-style co-op, roguelike platform shooter that’s coming out summer! That soundtrack was amazing to work on because it’s supposed to be as melodic and catchy as I can possibly make it!

I’m also doing the music and sound design for Techtonica, an underground factory-building game that’s going into Early Access soon! That game has a completely different vibe to Kudzu and 30XX, but I personally love writing in a variety of styles.

Aside from projects I’m currently working on, I think I’d love to work on a big, bold fantasy RPG. Something fully orchestral would be a really fun challenge! But aside from wanting to try new genres, I’d love to keep digging into using trackers for more composition. I like the difference in how your brain has to process working on a tracker!


Album cover for 30XX


-I really appreciate you taking the time to talk with me and share your experiences. Is there anything else you would like to tell readers and fans?

Thanks so much for your questions! To anyone reading this, thanks so much for your kind words and support! You have no idea how impactful it is to see someone tweet or comment on a video saying something as simple as “This music is nice.” It’s easy to get inside your own head as an artist, and that unprompted, external validation can carry us much farther than you might think. So please be generous in complementing the art, music, level design, sound design, or anything you think is cool at all. I promise that the person who made that thing will REALLY appreciate it!



Thanks for tuning in to this latest episode of the series that gets deep into the weeds of your favorite new homebrews. What are your thoughts on Kudzu and its development team? What homebrews are you eagerly looking forward to? Perhaps you’ll see it here soon when…A Homebrew Draws Near! Command?




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