Hey there reader, happy June! I've got a very long and juicy dev log this month so let's not waste any time and jump right into it!

Running a Playtesting Program:

Last month, I announced the Mole Maiden Playtest Program. A free-to-sign-up, volunteer playtest program to help me catch bugs in Mole Maiden. I have never done something like this before so let's see how I faired during the first month of running my first playtest program.

I think I should start by saying that I have never done something like this before. But I knew that playtesting couldn't just consist of people sending me their playthroughs and going, “Oh I found a goofy bug in the room next to the what-cha-ma-call-it and it did a bad. You should fix that.”

So I added tools to the Playtest version of Mole Maiden to help players give me more accurate information and where the game is broken. This included a dev console that shows any critical errors I might find in the game’s console and a text bar under the UI map that says the name of the scene the player is currently in.

But I couldn’t stop there, because I needed to make sure I told players how to properly report information to me. I watched a few GDC talks about indie game playtesting to try and figure out how to properly log user data. This lecture by Adriaan de Jongh was a tremendous help in figuring out how to avoid “evil data".

I decided to create an instructional document for playtesters to follow, and leave a link to that on the main menu of the playtest version of the game.
But WAIT, I couldn't stop there either because I needed a place for everyone to go submit their data to. I had a few ideas for this. At first, I thought it might be easy to have everyone email their bugs to me, but I didn’t because I couldn't see every bug that has been reported at a glance. Not to mention all the other playtesters couldn’t share info on the bugs with each other that way. So I decided to make all playtest reporting to be done via the Mole Maiden discord server.

But the true crux of bug reporting through the discord server is the allowance of me to use a discord bot to take all reported bugs and automatically make them into Jira cards saving me tons of time making tickets myself.
All in all, using automation to create assignments tickets and investing in a new WICKED fast computer meant I had more time to engage with my community and make changes and interactions very quickly. I think the first month has been a success and I cannot wait to see how the rest of the year goes.

Protecting Players from Themselves:

Over the years there has been one element of Mole Maiden that has been admittedly lacking, and that is the Combat. The direction for MM’s combat has always been relatively straightforward. I wanted to create a combat system where the player would need to read their enemy's tells, react, and then go in to land a blow. The combat system was inspired by the combat flow in the Punch-Out games.

However, there was always a sore spot in what is a very straightforward combat system, and that is the “Coil Launch” ability. This move is an air dash that can be done in any direction and is also the tool you use to begin burrowing in the ground. Early feedback from players wanted this move to be used as an attack, but I was hesitant to make it an attack due to its broken nature. You see, the CL also makes you invincible until the dash has finished and resets its cool down when you land on the ground. Combine this with how rapidly a player can execute a chain of CL’s and you can quickly see my original concerns for how broken this move is. And the playtesters agreed. The CL made combat a mindless action of mashing the drill button until the boss felt as opposed to the engaging dance of death I originally envisioned for the game.

So this month, I made the decision to nerf the Coil Launch. Now it is ONLY a traversal method that can be used to stun your enemy at opportune times. And the differences in play styles are incredible. Take a look at this video of the same playtester fighting the same boss but one version of the game uses CL damage and the other does not.

The differences are night and day. But most importantly, the player is engaging with the boss the way that I think they should be to create the most entertaining encounter. This has been a great example of a key responsibility for a game designer, and that is you need to protect your players from themselves.
It’s easy for a developer to fall into the trap of making key decisions based on what the majority says is right. After all, this is your install base, why not give them what they think they want? But (more often than not) people are wrong when it comes to this stuff. As the creative lead, always remember that you know what's best for your game, and don't be scared to make the decisions necessary to create a better experience. No one knows your game better than you.

This month I sat down with Reggie, better known online by his artist name “TNH Nebula” to talk about his music creation process and some of the work he has done for Mole Maiden.
"Hi Reggie, thanks so much for taking the time to talk with me! Why don't you tell the readers a bit about yourself? How did you get started making music?\

No problem! Let’s see. I think I started like a lot of game composers tend to start. I was young and probably still in middle school when I saw these really cool renditions of popular songs being made in a fan-made version of the Mario Paint Composer minigame. I said, “Woah, I want to do something like that myself too.” So, I found it, loaded it on my old Windows XP, and went to town. Over time, I got into making real MIDI using software on my phone and wanted to challenge myself with complex MIDIs of other popular songs. That was when I started making friends with people in my circle who were also just getting into music. I believe from there, my love for music took form, and I dove deep into the rabbit hole of music theory, VSTs, software, etc. It was an escape for me that I felt I could turn into something meaningful for everyone.

That's so inspiring Reggie! I actually have a similar story. My forte into game development started when I hacked old Pokemon games. I would make a bunch of changes to the art, or the level design and then would load them onto an emulator on my phone and play what I had made in between class.
(laughs)
Back to you though, it sounds like music is really important to you as a creative outlet. Do you have any composers who you take inspiration from?

Well, to name a few, I used to listen to a lot of tracks from Hideki Naganuma when I was younger. Oftentimes, I still find myself wanting to achieve that kind of groove and creativity, and I used to call myself Naganuma 2 (laughs). But I do take some inspiration from artists like Michael Jackson, Bruno Mars, Earth, Wind & Fire…
For arcade-like music, I’ve listened to various songs from video game composers that I believe shaped my core, such as Jake Kaufman, Yousuke Yasui, James Landino; I mean, the list goes on! And I’m not sure if other composers do this, but I have a ton of organized YouTube playlists that cater to a certain vibe, genre, or setting that help me visualize the kinds of songs to make. You can always find inspiration through continued meditation on not just the songs you like, but also by dissecting why you like them so much!

That's really cool actually! I love Naganuma’s work on Jet Set Radio.
It's also really funny that you mention organized playlists for different musical vibes. When Mole Maiden started development way back I actually made a “Moodboard playlist” full of all the different inspiration tracks I had for the game.
Would you say exercises like this are helpful when communicating ideas to the music people?

Of course! It’s a fantastic exercise. If you’re someone who wants to achieve a certain style of song, take some time to listen to a track and just have it on repeat, the one song or playlist you have while you do anything—chores, work, jogging. The more you listen to it, the more you have time to marinate and dissect each different part of the song you are paying attention to. You begin to understand patterns and techniques. You can also ask around for instruments that hit the vibe well if you need them. I can’t tell you how massive of a library I’ve collected over the years from experimenting with new styles all the time. It’s pretty thrilling to exit that comfort zone of what you know!
And the best part is, right? When composing for Mole Maiden, the practice I put into learning some new techniques during my time comes right back, such as reversing your kicks or other cool effects pertaining to chopping audio or volume adjustment to the beat. As small as they were, it helped enhance the whole experience, so yeah, it pays off too. Big time.

Wow, that’s incredible! (laughs) One thing that has always impressed me about your music is how well your songs are mixed. Some fan game tracks online suffer from what I call ‘hollow ear.’ By that, I mean the song plays correctly, but it lacks the fullness and background depth of a professionally produced track.
When I compose music, I often use reverb to let sounds ring out into the silences, which helps create that ‘full’ sound. What’s your secret to making a track sound so full?

That’s a very good question, A.J., and I’ve got to say, layers. Layers, layers, layers. I love them. Heck, I’d even have as many as 64 channels worth of layered instruments (laughs)! Backing melodies are the key, and I don’t just mean supporting chords to enhance the harmony. One thing I like to do, and I do this a lot, is to incorporate some complex piano rolls, but in a way where they fall in the exact same sort of beat that comes from the bassline and the percussion. And even then, I’ll copy and layer the work I’ve put into that into a second, different instrument that is either a synth, pluck, arp, or just a light string with the proper mixing and volume balance right behind it. It helps when they all have that unison, and it all just… works together perfectly.
But other than that, give your backing instruments an identity of their own. Some tracks have a bassline that’s very iconic, others have a sound effect that helps it stand out, and others may have weird-sounding arpeggios.
You know me, though. I like a little orchestra with my rock; I love a little disco in my techno. Give your songs an identity in every layer you can, and do not be afraid to experiment and just see what sounds good. Music theory is like teaching you how to cook or showing you how to ride a bike. The best chefs try out unique spice combinations, and the best cyclists try out tricks and flips. That’s how I’d like to see it.

That cooking analogy is spot on. I'll need to use that in the future. Your music is definitely very creative in how it seamlessly blends music and sound effects. It's been really exciting listening to how you use them in the Mole Maiden tracks we've composed together. One of the tracks we haven't shown people yet has a distinct buzzing sound. I remember showing an early WIP track to a friend, and they said, 'The buzzing sounds so threatening.' Hearing that reaction made me very excited for you.
(Laughs)
Well, let’s shift gears and talk about Mole Maiden for a bit. I’m curious to know how the collaboration process has been so far. I know you’ve worked on other games before, like Head 2 Head. How has this project been different from the others?

I have got to say, the experience has been a lot of fun in comparison. There’s a lot of heavy, hard-working rock, dubstep, and metal for the dark and badass aspect of a game like Head 2 Head. So when it came to Mole Maiden, I gotta say it feels really good making a soundtrack all about adventure, fun, and rising to a challenge. I’ve always wanted to make a really fun and melodic soundtrack for a game like this, and one day make soundtracks so catchy, so iconic, that others would find it worthwhile to cover and remix them too.
You showed some really good pointers through the process, and it was able to really help shape the goal swiftly. It’s a lot of fun to hear out the prompts that are fun in nature and just go to town with it all. Not to mention, the way you made MIDI’s for the songs that already exist or the previews you shared. You really worked hard, and I respect that to probably the highest degree. I’m sitting here like, “This guy really gets it. He does.”

Aww, thank you, Reggie! I guess I really am doing good at my job huh? (Laughs)

(laughs) You really did good, man. It’s been great so far!

I’m humbled! The aspect I’ve enjoyed the most about working with you so far is… well, actually a couple of things.
First, it’s been a lot of fun giving you a direction for a track, maybe some motifs and instrument suggestions, and then just letting you cook. Nine times out of ten, the only feedback I’ve had to give is maybe some notes on mixing or minor tweaks. You’ve never taken a song in such a radically different direction that I’ve had to ask you to start from scratch, which has saved us both a lot of stress. (laughs)
Secondly, I appreciate how receptive you are to client feedback. It’s very clear that you understand the importance of revisions during the creative process. You’ve always been willing to hear me out if I need something changed, which is great because I used to be really anxious about asking for corrections in previous collaborations. Is there a reason why you’re so relaxed about revisions?

Thank you! I have got to say, it’s all a mentality kind of thing. I always tell myself this the most: “Never marry your WIPs.” It’s easy to get engrossed in a track so much that you make a lot of work or spend so much time making it sound well and balanced that you fear the revision call-out. Most people can be very self-centered when it comes to how they uphold their tracks; others are very nervous about the process of revision and committing. But all it takes is a back and-forth to see where the project stems from and remember that your work is to help enhance and realize the vision of another’s passion. You gotta put yourself aside a little bit.
In any case, I like to be really chill and relaxed with the people I work with. Get to know them and their visions and build a connection based on what they feel works best. Building a versatile portfolio helps to pick out what kind of style to pull from and place into the track. Overall, I think it’s about approaching a client-to-artist connection as just one person to another person. They have their reasons for revisions, and you have the skills and knowledge to make it possible.

I think that’s really commendable and a testament to how much of a team player you are.
Alright, one last question before we wrap up. What has been your favorite track you have done for Mole Maiden so far and why?

So far, of all these tracks, I have got to say I enjoyed “Sand Highway City” the most. I feel like I really might have nailed that iconic sort of sense that plays throughout the song, especially because of the Mole Maiden motif. It’s one of those songs that gives me the effect I get when I look back and go, “Oh geez… how the hell did I pull this off? What was I doing?!” And I think if a song of mine can do that to me, then it’s definitely a song I feel I can be proud of in a timeless manner (laughs).
I wanted to go for a track that really latched onto your mind and stayed there for a while and could be covered and adapted to so many styles by other talented fans too. I think that alone would be pretty neat to see.

And if I could add to that, I think you absolutely nailed the essence of “city” with that song. When I went to San Francisco for GDC this year, I had to walk through the downtown area to get to a lunch meet-up. While I was walking, I was listening to that track.
That song was the perfect backdrop as I walked through the city, looking up at the skyscrapers and shuffling through the crowds. All I could think to myself was, “This is the city song!” (laughs)

(laughs) Yes! The best thing for me is designing songs for big bustling cities because the aesthetic of something like that just strongly resonates with me. I personally loved the chance to incorporate jazz elements on top of some funky synths and basslines. I thought that was a lot of fun.

Awesome, awesome stuff!
Reggie, thank you so much for sitting down for this interview! If people want to follow you or keep up to date with your music, where can they find you?

I’m very active on both Twitter and YouTube under TNH Nebula, but I can also be found on any music streaming app like Spotify or iTunes under the same name.
If anyone would like to contact me, my email is [email protected]. I also have a website with information on my craft that’s currently being worked on at nebulatnh.wixsite.com/tnh-nebula.
Feel free to stay up to date wherever you would like!"

Fantastic! Reggie, thank you so much for your time and for all your help with Mole Maiden’s OST!
You all can listen to our latest song here!

What's Next?
Announcing the Mole Maiden Internship program! A special internship just for students in Ohio! Have you ever wanted to help Mole Maiden, do you want to have a shipped game on your portfolio? Then sign up to be an intern for Mole Maiden and help get the game across the finish line! Applications for artists, programmers, sound designers, writers, and a producer internship go up today and can be found on the careers page at tastiegames.com. Interviews will start in two weeks.
In the meantime, I will be working on the FINAL BATTLE against Coppra this month, and cannot wait to finally have this HUGE fight programmed!
See you all In July, and thank you for following Mole Maiden's development!