Don't Stop, Girlypop! News

[h3]Can’t get our soundtrack out of your head?

We know you can’t 💅[/h3]

As a special treat this month, we’re going to be doing not one but TWO…

✨Dev Storytimes✨

…where we meet the composers behind Don’t Stop, Girlypop!’s soundtrack!!!

In this first interview, we’re meeting with Candice Susnjar ❤

Before we get into the interview though, I’ll give a quick introduction on how I met Candice, because it was super random! There’s this belief in Perth, the city in Western Australia where Funny Fintan Softworks is based, that you always meet Perth people when you’re not in Perth, and that’s exactly how it happened. Candice and I are Perth people, but we met in San Francisco!

We were both at GDC when we first met and then we met up again at an event in Perth called Tokyo Alley. I asked Candice what type of music she made, she told me she mainly did orchestral, and then I asked her if she could do pop music. Candice said she wanted to give it a try and sent me over a demo track, which ended up being the start of the song Paint the Town Red in the Don’t Stop, Girlypop! soundtrack. After the demo track, we decided to work together!

Candice Susnjar.

When did you first know that you wanted to pursue a career in music?

Candice: I knew early on in life, when I was about 15 years old. I decided I wanted to pursue music around that time and become a guitarist. Then I started composing music and realised that was what I really wanted to do for the rest of my life!

Did you study music at university or college? Or are you self-taught?

Candice: I went to the Western Australian Academy for Performing Arts and studied jazz guitar. My major was in Performing and Arrangement. My studies definitely helped me when it came to writing for large ensembles and orchestral instruments, not so much pop music. It gave me a really good grounding in melody and harmony though!

The Western Australian Academy for Performing Arts.

If it’s not too much trouble, please could you describe what your career has been like so far.

Candice: After I graduated from the Western Australian Academy for Performing Arts, I started singing and song-writing. I was doing a lot of gigs and just really working on my voice. My guitar was good but my voice…not so much! I decided to move to Melbourne so I could get my confidence up when it came to performing.

It was actually only about 4 years ago that I decided I wanted to start making music for film, TV, and games. I write and produce my own music, which has been my main focus. Writing for Don’t Stop, Girlypop! has been such a pleasure. In my time, I’ve also had the opportunity to write for the Perth Symphony Orchestra, for 2 short films, and for various orchestral compositions. My ultimate dream is to write for a feature film or game soundtrack for with a full orchestra and conduct it at Abbey Road or Air Studios!

What challenges do you face as a composer?

Candice: I love so many different styles of music, so pinpointing who I am as a composer can be difficult. I’ve got the jazz background, plus classical, plus singing, plus guitar, plus a strong love for pop music. How do I mix all of those passions together and explain who I am to the world? It’s a tough challenge!

On top of that, finding work as a composer and maintaining regular work has also been challenging. It’s always really hard to find the next job, particularly when I’m looking for jobs I believe in or that resonate with me. Getting consistent work as a composer is very difficult.

What would you say has been your greatest achievement as a composer to date? What are you most proud of?

Candice: I’d say it’s the album I’m recording at the moment! I’m combining my love of jazz, pop, classical, guitar, and singing all into my own album. It means I’ve been able to pull together all of the skills I’ve learnt from composing for games, TV, and film, from my pop influences, and from my experience writing for string quartets. It feels like I’m finally starting to nail down my unique style. I’m hoping I can give my new style a name!



Have you ever worked on a game’s soundtrack before?

Candice: Don’t Stop, Girlypop! has actually been the first game I’ve worked on! I’m super thankful and excited to be part of the project. It’s really pushed me outside of my comfort zone, because most of my background up until this point had been more orchestral, singer-songwriter, jazz, and soundscapes. Composing pop music and producing a pop track has been challenging! I’ve learnt so much and having Jane’s guidance has been invaluable, since she knew exactly what she wanted for the soundtrack. I learnt so much about sounds and where to go with my voice. I’ll be taking a lot of these learnings and this whole experience forward into my future compositions!

What artists, TV shows, movies, or other media do you draw inspiration from when making music for Don’t Stop, Girlypop!?

Candice: When I first discussed the soundtrack with Jane, she provided me with a playlist of a bunch of artists, mostly from the Y2K era. There was Chase Icon, PinkPantheress, a bit of Doja Cat, Charli xcx, Von Dutch, SOPHIE etc. I pulled a lot of ideas and sounds from these artists, such as the industrial sounds from SOPHIE (not something I’d ever done before, but it was really fun!) and then the soft vocals from artists like PinkPantheress.

What has been the best part of working on Don’t Stop, Girlypop! so far?

Candice: Working with Jane, 100%. She knew exactly what she wanted and she’s really professional, so working with her has been such a pleasure. I also love the music and the aesthetic of the game. Composing for the soundtrack has really pushed me outside of my comfort zone and forced me to move into new genres, which has been amazing!

[h3]If you want to follow Candice’s work you can follow her on Instagram, Spotify, and on her website.[/h3]



To finish up with, I just wanted to say how insanely thankful I am for all of the work that Candice has done on the Don’t Stop, Girlypop! soundtrack. Whenever we worked together on a track, I would first list a bunch of tracks and then give her a brief based on what vibe I wanted to lean into, what instruments we should focus on, what type of style I wanted, when the industrial part of the track should kick in, and how I wanted the vocals to be.

https://store.steampowered.com/app/2610650/Dont_Stop_Girlypop/

Candice was the real guinea pig though when it came to our process! We had to figure out together how we were going to do the blending for each track. For context, we start out by creating an ambient version, which leads to the pop version, which can then transfer into the industrial version (more hardcore hyper-pop), and then they’re all mixed together to form the final version. Creating multiple versions means they can be blended together in different ways so that they transfer seamlessly into one another while you’re playing the game.

We didn’t start out with this process though and we basically had to figure out together how to write music that fit the structure of the game! That’s also the reason why Candice has the only track in the whole game that has a Combat 4 version.

I hope you’ve enjoyed this interview, girlypops! And don't forget to check out the second part with composers Sarah Wolfe and Xavier Dunn ❤

https://steamcommunity.com/games/2610650/announcements/detail/624430710732620758

[h3]Click the buttons below to join our Discord and follow us on social media for the latest updates on Don’t Stop, Girlypop! ❤[/h3]

[h3]Sometimes great things come in short packages, girlypops!!!

We’re excited to let you all know that Don’t Stop, Girlypop! has been selected to feature in the Short Games Showcase, presented by Ogre Pixel![/h3]



The Short Games Showcase is an event designed to celebrate short video games. These are games that offer a complete and satisfying experience within 1 to 4 hours of gameplay, which makes them perfect for players who are looking for something concise and impactful. After all, we’re all busy bees, so sometimes we just need something short and sweet 🐝

Don’t Stop, Girlypop! is a Y2K arena movement shooter that is entirely based on speed! The faster you move, the more damage you deal and the more you heal. We’ve made speed a core part of our gameplay and have even included an unique wave-hopping mechanic, a combination of a classic bunny hop with a modern slam, dash, and double jump that lets you maximise your speed and precision.

Since speed is such a key feature in our game, it was always our destiny to be a short, punchy, and impactful movement shooter, which is why we’re a perfect fit for the Short Games Showcase ❣️

https://store.steampowered.com/app/2610650/Dont_Stop_Girlypop/

[h3]Still not sure what Don’t Stop, Girlypop! is all about?

Then check out our gameplay trailer below :3[/h3]

[previewyoutube][/previewyoutube]

[h3]Click the buttons below to join our Discord and follow us on social media for the latest updates ❤[/h3]

[h3]Let’s get stylish, girlypops!!!

It’s Jane, the lead developer at Funny Fintan Softworks, and I’m back for another installment of…

✨Dev Storytime✨

In this update, I want to talk about the inspiration behind the unique Y2K style in Don’t Stop, Girlypop![/h3]



The first thing you’re probably all wondering is, why make a movement shooter with a Y2K style?

As I mentioned in the previous dev storytime, I’m a huge fan of games like ULTRAKILL, TURBO OVERKILL, and DOOM Eternal, but they’re all grimdark and gritty. From an aesthetic perspective, we’re in hell, we’re in a dark fantasy castle, we’re in a cyberpunk dystopia. They’re all beautiful in their own right, but there’s just this common set of aesthetics that seem to dominate in FPS games and especially arena shooters. It’s a lot of browns, blacks, reds, etc.

When I was in Melbourne 2 years ago trying to pitch our game to publishers, I kept getting knocked back because it was “just another sci-fi shooter.” When you’re in the indie space, being able to stand out is crucial, so you need a hook that really screams in peoples’ faces. I was on an escalator talking to our marketing consultant Michal over the phone when I had this revelation. What if the enemies EXPLODED into pink blood?

I prototyped it straight away and it looked AWESOME. I discovered that having the enemies explode into love hearts and pink blood was just as satisfying as seeing them explode in gibs and regular blood. I decided that I wanted aesthetically to lean much more into using a lot of color and particularly a lot of pink, which is not a palette that’s used a lot in FPS games. It’s a very maximalist aesthetic. That’s really where the Y2K style started.



In terms of other games, Bratz: Rock Angelz was a huge inspiration for us, particularly when it came to the dress-up mini-game. Outside of gaming though, I’ve taken a lot of inspiration from music. I was obsessed with Britney Spears, so her style and music have had a major influence on the game. PinkPanthress as well has been a huge inspiration. The music video for her song “Nice to Meet You” has all of these crazy VFX effects in it, which reminded me a lot of those old school Microsoft screensavers. A lot of her music videos are like a romanticised version of the Y2K era, which is the same style we’re shooting for in Don’t Stop, Girlypop!

Growing up in Australia, I was also heavily influenced by a kid’s TV channel called ABC3. In terms of style, ABC3’s visuals were like a combination of pop art with clip art. Think of like the 2010s line art and clip art. If you want to get technical, I guess the style we’re going for is a mixture of Frutiger Metro and Fruitger Aero.

When you wave-hop in the game, there are these filigree lines that grow around the edges of the screen, which was inspired by the Frutiger styles. There’s also a section with a boom box where big fat music notes visually appear and pulse with the music, which also follows this style.

I’d like to add here that I think Windows Vista is beautiful and nobody is gonna change my mind on that!!!



Speaking of pop stars, the character of Adiuvo (your guide who speaks to you via the flip phone) is inspired by Magdalena Bay. Mica’s look and make-up in the music video for “Image” is where I got the idea for Adiuvo. I also love the deliberately sort of DIY-looking greenscreen visuals in that music video. Like the PinkPanthress videos, it has this old school Microsoft Windows feel to it.

The faeries in Don’t Stop, Girlypop!, who provide you with new fabrics and accessories for your guns, were mainly inspired by the 3D Tinkerbell movie. For me, that’s always what I imagine whenever I think of faeries!



Speaking of fabrics, we obviously wanted to include the fabrics that we felt were staples of the Y2K era. Obviously the first one was denim, thanks to that iconic image of Britney and Justin in ALL denim at the VMAs. The flannel was thrown in for the country/lumberjack flair. It’s one of my favorite fabrics to use on the fluffy parts at the bottom of the arms. Another style I really like is that sort of PinkPanthress’s TKMaxx crossed with grandma-core aesthetic. There’s this one fabric in the game that’s purple and has this flower pattern embedded in it. For me, that screams Y2K grandma-core.



For the tech in the game, like the flip phone, my process is usually to start off with a bunch of reference images, try to rip them off, do a bad job of ripping them off, and end up with a completely different thing!

For example, I used a very average flip phone as my first point of reference, but I wanted it to have that transparent see-through plastic look that was really popular in the 2010s. Think like the iMacG3 or the old Rock Candy controllers. I love that plastic see-through look! I don’t think there was ever actually a flip phone with transparent plastic like that, but I guess now there is in Don’t Stop, Girlypop! The weirdest part is I’ve never even opened a flip phone before. My first phone was an iPhone 4!

In fact, I get a lot of people asking me why I wanted to lean into a Y2K style when I wasn’t even around for most of that era. For me though, it’s like a very romanticised version of the Y2K era. It’s all of these things I barely have memories of that become so much more magical and meaningful to me precisely because my memories are so faint. When I see an iPod Nano or an iPod Shuffle, I get this like magical feeling. There are so many things we don’t have anymore because our phones or computers do it all for us, it’s all digital. I love collecting DVDs and discs, and generally just having physical things.

I wanted to take a very non-commital approach to the era though, because for example the flip phone has videos, which isn’t realistic. It’s more like one big nostalgic dream of the Y2K era. It’s not just about the aesthetic style either. I’ve always been fascinated by technology, so a large part of the game is also this element of imagining what technology could be like from the perspective of a child growing up in the Y2K era.





One of the best parts of having this style is that it attracts all of these gamers who wouldn’t normally play an FPS game. When we’re at events, we have people come over and try the game out because they think the game looks cute, and then they’re like, “Wait, WTF is this?” It’s been a really interesting experience trying to onboard these players and have them see that it’s fun. A lot of gamers seem to have this idea in their heads that they shouldn’t play FPS games because they’re bad at them or they can’t aim, but they see the style of our game and they really want to play it. It’s all about convincing them that you don’t need to be good at FPS games to enjoy playing them.

I know what it feels like to be tricked into playing genres that you don’t normally play. I really don’t like horror or being scared, but Alan Wake 2 drew me in so much with other aspects I wanted to explore that I was willing to play a genre I normally avoid. I’m hoping I can bridge that gap as well with gamers who find FPS games off-putting.

At the end of the day though, I’m mainly making a game that I wanted to play and sometimes I think it’s good to just really lean into your niche. I’d love to bring more people into the FPS genre, but the real motivation behind Don’t Stop, Girlypop! is that I’m just making the game that I’ve always wanted to make.



That’s all for now, girlypops!!!

Don’t forget to keep your eyes peeled for our next dev storytime in August though, where we’ll be chatting with the incredible composers working on the soundtrack for Don’t Stop, Girlypop!

https://store.steampowered.com/app/2610650/Dont_Stop_Girlypop/

[h3]Click the buttons below to join our Discord and follow us on social media for the latest updates on Don’t Stop, Girlypop! ❤[/h3]

[h3]Are you ready for part 2 of the girlypop journey?

I’m Jane, the lead developer at Funny Fintan Softworks, and this is…

✨Dev Storytime✨

Following on from our post last week, we’ll be continuing the girlypop story! In this second part, I’ll be talking a bit more about the games that inspired Don’t Stop, Girlypop![/h3]



Our inspiration story begins when I was about 10 years old and I was at a store called EB Games, which is like the Australian version of Gamestop. They used to have these consoles in-store that you could play on and I’d go there to play the demo for Star Wars: Battlefront on the Xbox One. I was blown away by the “real life graphics” and decided I needed an Xbox One.

I traded in my New 3DS XL and a bunch of other stuff to get an Xbox One SX, but then tragedy struck! I didn’t have enough credit left to buy Star Wars: Battlefront! I was walking around the store trying to find another game I could buy and then my friend pointed out a game that “looked kind of like Star Wars.” That game was Destiny. Since that day, I’ve probably sunk over 2,000 hours into that game. I’ve played the first game, all of the expansions, Destiny 2, and all of the expansions for that. It became the initial inspiration for the artistic direction for the landscapes and buildings in Don’t Stop, Girlypop! In particular, a lot of inspiration came from Dreaming City, which is from Destiny 2: Forsaken.



In terms of the gameplay though, my first major inspiration was Quake 3. In high school, we had these PCs that all had Quake 3, Halo Combat Evolved, and Minecraft on them. Whenever the teachers weren’t looking, my friends and I would just play Quake 3, although the one at our school was this weird open source version of the game called OpenArena. It was the first time I’d played a shooter on PC instead of console and I couldn’t get over how good the raw PC game mouse aim was. The arena shooting in Don’t Stop, Girlypop! was definitely inspired by Quake 3 and then after that Half Life 2 played a major role, with the gravity gun serving as the inspiration for our magic wand.



Back in 2020, the game was initially going to be a Battlefield-style shooter, but then I went to a friend’s house and experienced DOOM Eternal for the first time. It was the best thing I’d ever seen in my life!!! I loved how they’d taken the arena shooter and brought it into the modern day.

After that, I ended up playing ULTRAKILL, which was another huge inspiration. I felt like ULTRAKILL took a lot of the ideas and mechanics from DOOM Eternal and pushed them even harder. The alt-fires in ULTRAKILL in particular were mind-blowing for me, especially the coin flip alt-fire. I loved the idea that an alt-fire could be something so creative and different, rather than just being a more powerful version of the default fire.



When it comes to the girlypop style, that all started back when I was at GDC last year and I came across Bratz: Rock Angelz. I stood on the show floor and played that game for hours. Back in the day, I used to play a lot of flash games on a website called Friv. There were millions of dress-up games on that website that I loved playing. Bratz: Rock Angelz reminded me of those dress-up games, but if they had a real budget. That then became the inspiration behind the girlypop style and in particular the dress-up mini-game in Don’t Stop, Girlypop!



This may seem like a weird one to everyone reading, but I bet you wouldn’t have guessed that Alan Wake 2 was also a major inspiration!

That game totally changed my perspective on video games and made me fall in love with gaming all over again. It was the first time I’d seen a game lean so hard into the concept of video games as an art form, taking elements from other art forms like music, writing, film, TV, and theatre and embedding them into the game itself. Alan Wake 2 really explored all of the different types of art forms that comprised video games individually and I wanted to do that in Don’t Stop, Girlypop! as well. There are a bunch of vignettes throughout Don’t Stop, Girlypop!, along with music videos and weird boss fights. All of these ideas came from Alan Wake 2.



It’s a big melting pot of inspirations that have all come together to make something totally unique!

I love games like ULTRAKILL, TURBO OVERKILL, and DOOM Eternal, but they’re all grimdark and gritty. Aesthetically, when it comes to most shooters, we’re always in hell or in a castle or a cyberpunk dystopia. Don’t get me wrong, they’re all beautiful looking, but there’s this common set of aesthetics within the FPS genre and particularly in arena shooters. When I first started pitching our game to publishers, I kept getting knocked back because we were “just another sci-fi shooter.” We needed to find a way to stand out. I was in an escalator talking to our PR & marketing consultant Michal and I had this revelation. What if our enemies exploded into PINK BLOOD???

I prototyped it straight away and it looked AWESOME! An FPS game is sort of like an advanced button pusher, so you need to make the button pushing as satisfying as possible. Having the enemies explode in love hearts and pink blood was just as satisfying as seeing them explode into gibs and red blood. The whole world started to form around enemies exploding into love hearts and that’s where the aesthetic began.

We really wanted to lean into a lot of colour and a lot of pink, which is not a palette that is used a lot in FPS games. It’s a very maximalist aesthetic. We get a lot of comments from people saying “this looks like slop” or “this looks like vomit,” but we’ve learned to just respond with “if it’s not for you, it’s not for you.”

That’s also where the idea of songs with lyrics came in. It all started when I was re-playing DOOM Eternal. I love the DOOM Eternal soundtrack but, the second time around, I muted the game, played with my own music, and loved it. I decided then and there that I wanted Don’t Stop, Girlypop! to have songs with lyrics.



From a gameplay perspective, I wanted to bring arena shooters even more into the modern day, so unintentional but integral mechanics like bunny-hopping have been transformed into something intentional that we call wave-hopping. I wanted to add such a huge feature of the arena shooter genre and make it an official mechanic! In original arena shooters, you were never really required to move (but it was the most fun way to play the game), so I wanted to bring movement to the forefront in Don’t Stop, Girlypop! and I’ve solidified that intention with the wave-hopping mechanic.

In terms of the Y2K aesthetic, it’s really more related to nostalgia for me than an actual recreation of the Y2K era. I love the idea of tactile technology, so like chunky mobile phones, DVDs, CDs, etc. I’ll talk about the Y2K inspirations more in our next dev storytime though, so keep an eye out for that!

I hope you’ve enjoyed our first dev storytime and I can’t wait to share more with you soon!!!!

https://store.steampowered.com/app/2610650/Dont_Stop_Girlypop/

[h3]Click the buttons below to join our Discord and follow us on social media for the latest updates on Don’t Stop, Girlypop! ❤[/h3]

[h3]Buckle up, girlypops!

It’s Jane, the lead developer at Funny Fintan Softworks, and I’m here to kickstart the first…

✨Dev Storytime✨

In this update, I’ll be talking all about how development on Don’t Stop, Girlypop! started and what it’s been like up until this point. It’s been a wild ride and I’m excited to finally tell you all about it![/h3]



Our story begins in March 2020, when I was around 15 years old and I was taking a class called Tech Graphics. As part of the class, we had to do a mandated project and a personal project, kind of like a workshop class. For your personal project, you could pick anything you wanted to do. Some students did woodwork, some kids made skateboards, some made music albums, and a few even did whittling! All that mattered was that you were making something and you were managing the project yourself. My friend came to me and said, “Wanna make a game?”

And that’s how the girlypop journey began!



The game was first known only as “Untitled First Person Shooter.” Super original name, I know. Then it became Project Snowtiger, which came from the fact that my sister had a snow tiger plushie that she loved and that she just called Snowtiger. Yeah, coming up with super original names totally runs in my family. Fun Fact: The name Project Snowtiger became the inspiration for the name Tigris Nix, the evil corporation in Don’t Stop, Girlypop!

The game was known as Project Snowtiger for almost all of its first year, but then in December I was searching the Internet for cool words and came across “incolatus.” I read that it meant “a short stay somewhere” or a “sojourn,” which felt perfect because the game was originally going to be about dying and temporarily occupying different bodies. As time went on though and the game started to gain more recognition, I had people coming to me saying that wasn’t the meaning of “incolatus” at all! It turns out “incolatus” had a lot of different interpretations and pronunciations. Based on that and the fact that the game had changed so much thematically from the original concept, we decided as a team to solidify our tagline “Don’t Stop, Girlypop!” as the final name for the game.



Along this whole journey, I’ve been engaging with members of my local game development scene.

First of all, I want to start off by saying I love the Australian game development scene. I used to be vice chair of an organisation called WAGIC (the Western Australian Games Industry Council), which is where I met our producer Caitlin. I’m passionate about advocating for game development in my local community and try to attend as many local events as possible, like Tokyo Alley and Pixel Expo. I attribute my success to this community and the amazing people around me who have been so willing to help!

In fact, my first time showing off the game was at a local event called the Perth Games Festival, which was hosted by Let’s Make Games (the original name of WAGIC). This was my first proper introduction to the game development community in Western Australia. For context, where I live is one of the most remote cities in the world! Perth is the only real city in Western Australia and you’d have to travel about 28 hours by car to reach the next nearest city called Adelaide. We’re literally on the other side of the continent with all of the other cities in Australia. For that reason, we’re a tight-knit community and the support has been unbelievable!

I met our producer Caitlin back when I was 17 years old and Caitlin was working for Screenwest, which is a government agency that provides funding for art projects throughout Australia. I wanted to get a grant to help fund the making of Don’t Stop, Girlypop!, so I was meeting with Amelia, who worked at Screen Australia, and I ended up also seeing Caitlin, since Screen Australia and Screenwest work together. I asked if Caitlin would be willing to mentor me to get a Screen Australia grant and she agreed! She would spend hours every week looking at all of the documents I was submitting and working through my application with me. My application ended up being successful in large part thanks to Caitlin’s hard work and invaluable guidance. I also received a lot of help from Nick Lowe at Hungry Sky and Vee Pendergrast at CODE NZ throughout this process, so big shout out to them as well!

Since then, I’ve met so many wonderful people in the games industry throughout Australia!

I have so many amazing stories that I could share. One that stands out in my mind that I think is really emblematic of what the industry is like here was when I was to SXSW Sydney last year. I met another developer called Ally McLean Hennessy, who is currently working on an awesome game called Mystiques: Haunted Antiques. I ended up catching COVID during the event and, even though we had only known each other for 4 days, Ally brought a care package full of masks, soup, medicine, and all sorts of other super useful stuff to my hotel. Being in an unfamiliar city and being trapped in my hotel room with COVID, let me tell you I really needed that care package!!!

Jane Fiona (left) with Caitlin Lomax, Co-chair of WAGIC (right) and Samantha Rowe MLC (centre) at the launch of WAGIC in 2024.

I was inspired by all of the support I’d received from my local community to join WAGIC and I’ve been campaigning for the government to provide more funding to local game developers ever since!

I remember another one of my mentors Stuart Scott, whose background is in business, mentioning how people in the games industry are so friendly, and that really stuck with me because it’s so true. Games are like a combination of art and tech, but they’re more art in my view. No one in the indie development scene is out to make buckets of money and you can really feel it. If you wanted to make money, you wouldn’t be making video games. It’s honestly a miracle that games ever get made, considering how complicated and ridiculous they are!

I’m not going to lie, game development is really hard. You have to work long hours and there was a period of time where I couldn’t even pay myself for 7 months. The thing that keeps me going is that the people I’m mutually enduring this experience of making games with are so lovely and supportive. What I’m trying to say is, if you’re an aspiring game developer, then put yourself out there. You’ll find that the people who are making games will most likely be just like you.



As an indie developer, I’ve had to face a lot of challenges trying to get my game off the ground. The greatest challenge on the girlypop journey so far has been trying to run a business while simultaneously creating an art project. Getting involved in budgeting, legal discussions, marketing, and finding a publisher can feel overwhelming at times. Turning my passion into a job was really difficult, but I also feel so lucky that I’ve been able to do that!

So what is my passion? What do I want players to feel when they play Don’t Stop, Girlypop!?



As corny as it sounds, I want to make people happy. I love when games just make you chuckle a bit, not because they’re funny but because they’re doing something really clever or satisfying that you find fun. For us as a dev team, no matter what we put into the game, it all comes down to “Is it fun?” We’ve cut a lot of cool concepts and features because they weren’t fun. I hope that clicking on things in Don’t Stop, Girlypop! and making them explode will be satisfying.

I wanted to dive into what other games inspired Don’t Stop, Girlypop! but this storytime is already waaaaaaaaaaay too long!! I’ll be releasing a second part to this next week so I hope you enjoyed this update and be on the lookout for the Girlypop Journey Part 2!!!!

https://store.steampowered.com/app/2610650/Dont_Stop_Girlypop/

[h3]Click the buttons below to join our Discord and follow us on social media for the latest updates on Don’t Stop, Girlypop! ❤[/h3]