Divinity: Original Sin 2 - Update #1

Good evening folks. Hope you're all doing alright.

So I'm currently making a start on the next project, having moved some footage over to the main PC on the weekend. And in the spirit of the usual routine, the choice of this one gets to be mine. And I'm rather keen to continue with Divinity 2: Original Sin.

I've got a couple of reasons there:

• This series could potentially be quite lengthy. And since I'm hoping it'll be something watched end-to-end in a playlist. So it's best that I focus on it a little more.
• This series has some specific dependencies in the form of outsourced work that I cannot replace myself. Notably art and voice narration. Meaning I may find myself in a difficult position if I'm slow with it.

Now, the difficult part to talk about.

I've had my confidence in this project a bit shaken because - I don't think I've done a very good job with it. Based on general feedback. And I need to try and rework the process a bit.

The problem is structural.

Ultimately my goal is comedy. Specifically showcasing the comedic interactions between people with good chemistry. And in a more advanced sense, I like to cut to a specific rhythm that you've seen me mention before? The "111, 22, 3, 22, 111" guideline that serves as the hidden blueprint to most of my videos. 

And I've found myself greatly inspired by this interview with John Cleese and his approach to comedy. Particularly the part about trying to keep it energetic. To try and keep the comedy on a roll.

The problem I've got with Divinity is that there's a lot of story going on. It's a story-driven game with heady themes and exposition dialogue.

And it all acts as the comedic breaks on the car that's slowing the whole show down. Which is probably something that comes with the territory, as if one were to cut the clips out of context, they wouldn't make any sense otherwise.

I basically have segments of the videos that serve a narrative purpose, but increase the gaps between the comedy. The thing that's my principle goal.

And I feel I agree with what Mr Cleese says there in that, "you can write the driest, wittiest thing in the world and people will enjoy it. But there will never be the level of laughing abandon like you can with a good farcical element".

I feel I've got the same problem in a different costume. In that I can animate well. And put in fancy soundtracks. And even commission impressive voice work.

But if it's just not funny, then it's just not funny.

So here's my plan...

I'm going to stay in the initial scrubbing phase all the way from Fort Joy (Chapter 1) to Driftwood (Chapter 2). Effectively doing no cutting at all and instead taking extensive notes. What happens where and when? What's important narratively and what's not? Does freeing the ice dragon Slane need to be shown if it's too narrative heavy for only a couple of minor gag?

Or even, can those gags be removed from that context and placed somewhere else? For example, some verbal quips from dialogue recorded in combat. Can it be better placed moving between areas of the game world?

In short, I need to plan ahead more to try and make a more satisfying structure. By acknowledging that narrative segments, where necessary, will slow down the comedic. And the comedic is what most people are principally there for.

So chapter 2 started on roughly the 8th stream. And since Tuesday I've been scrubbing from the 3rd stream to the 5th. So this should keep me busy for much of the week.

Will let you know how it goes. Hope you're all doing well.