Behind the scenes #3: Building a scene

Gizmo: Every time I write a scene, I have an idea in my mind of what it would look like. Sometimes it’s a bit like remembering a dream - I sort of understand the surroundings the characters are in, though the color of the sky may keep changing and there’s some gaps here and there. Other times, I have very specific shots in mind, I could tell you exactly how many feet each character is standing from each other and how the light is hitting them and each and every reaction they are having to every single thought that goes through their mind.

I could tell you. And by that I mean I could tell Grogu for him to recreate it. But here’s the thing. If I were to describe all of these things in exhausting detail to him, it would most likely be, you guessed it, exhausting. For me, because I would have to dig into each aspect of every single scene that I write, and for him, because it would leave no place for any creative freedom. Most of the time I’ll cover the most relevant details in the script with enough room for him to take it and fly - and fly he does.

The reason I keep this in mind so much is that many of these details are not part of the writing that will end up in the visual novel itself. The way I see it, why would I tell you a character is smiling when you will see it in the image? If this fact is included, there has to be a reason - maybe a character reflecting on how that smile makes them feel, or maybe they’re not buying that smile at all. So most actions, displays of emotions and other details, end up in little side notes for Grogu to know.

Here’s an example of script-to-final-scene:

But then there’s the times in which for some inexplicable reason I feel the drive to illustrate things. And honestly, to me, this is a very fun experiment. First, because I immediately realize I’m shit at translating the images in my mind into Paint. Secondly, because then Grogu needs to try to figure out what the hell my doodles are supposed to represent. And then he is charged with deciding what the end product will look like. The best part of it all - it works. You know when you write a phrase into Google Translate and watch it get butchered by language limitations over and over again? Well, I’d say this process is the exact opposite. It’s pushing a messy ball of putty into a pasta shaper and watching it come out looking like Fettuccine Alfredo.

*passes the mic*

Grogu: If I had to explain what the toughest part when it comes to creating a scene is, it would come down to posing the character and giving it an expression. Showing what they’re feeling is complicated for one reason in particular, and that is that expressions in DAZ never look good, or it takes way too long for them to do. Perhaps this is because there are so many bodies and generations of models (Genesis, Genesis 2, Genesis 3, Genesis 8, Genesis 8.1, Genesis 9 🤯) that predetermined poses I buy always look awful on my characters, or maybe because if I use the default expressions we reach uncanny valley territory and I hate that.

Generally, poses and expressions make up for 80% of the time spent setting up a scene - this one, for instance, took 2 hours total. Once it’s ready and I’m happy with it (meaning never), the background is easier to solve because it adapts to the character. There’s a lot of assets that are great to use as they come. For this one, I removed all lights leaving only the chandelier on, added a ghost light and changed some shaders like the one on the floor among others. Oops, are Becca’s feet overlapping the rug? It’s fine, they’re not in the frame… Though now that I see it I kinda want to go back and fix it.