An immersive experience to introduce my novel and make people want to read it. Art direction, storytelling and interaction driven by scrolling.
Give Us This Day Our Daily Lie · Interactive Experience
The video follows one path. On the website, each person can find their own pace.
Give us This Day Our Daily Lie is a novel I wrote as a hobby. I created the website to give readers a first encounter with its atmosphere, characters and conflicts — and make them want to open the book.
I selected three key moments without revealing major spoilers. Settings, framing and transitions were designed as an invitation into the story, not a condensed retelling.
I gathered references for the visual language of all three scenes and their characters before generating images. AI helped execute that direction; it did not choose it.
Scene 1 — finding the place
Making-of: real location, texture and hillside study.
I researched a real hillside street. When words could not resolve the relationship between the street, houses and elevation, I drew volumes and side sections to guide the construction.
A character sheet established proportions, clothing and appearance before 3D, keeping Jota consistent throughout the process.
I avoided fully revealing the characters’ faces. I wanted to give them presence without closing off the image each reader can build from the book.
Distant city and vegetation arranged in layers.
The street is 3D. The distant city and some vegetation are 2D planes. These layers create depth as the camera moves, with attention to each asset’s weight to keep the website light.
In the studies below, I worked on volume, light, the window and masking. Grayscale versions helped resolve the space; color and red light defined its atmosphere.
PUBLISHED SCENE · KITCHEN
The references below explore color, rain and framing. A low viewpoint, reflections and the distance between characters helped build tension in the scene.
Benchmark · color, perspective and rain
The retreating camera echoes the novel’s narrative, which moves forward and backward in time. Each scene presents a key moment without giving away its major revelations.
Between the kitchen and the Opala, a wall fills the frame before revealing the next street. The change from 2017 to 2015 turns a visual transition into a clue about the structure of the story.
I led the project from design to publication, with AI assistance. The technical challenge was preserving the visual quality of a 3D experience without making the website heavy.
I simplified character geometry while preserving detail in priority areas. The Jota model used on the website has 91.8% fewer triangles than the original.
Upon entering the kitchen, the street seen through the window switches from 3D to a static image matched to the same framing. This reduces rendering cost without breaking visual continuity.
I used responsive images with srcset so smaller screens load lighter versions instead of the larger files intended for desktop.
Optimize what the camera does not reveal. Preserve what the reader perceives.
FIGMA · GEMINI · MESHY · CLAUDE CODE · CODEX · VERCEL
ORIGINAL MODEL · MESHY
649k TRIANGLES
OPTIMIZED FOR THE WEBSITE
53k TRIANGLES
Published in Portuguese and English, with three connected scenes, framing adapted for desktop and mobile, and access to the book on Amazon.
The experience ends with the book in focus and a direct path to Amazon, connecting the curiosity built across the scenes to the possibility of starting to read.
Explore the website
For me, the first barrier is making a reader want to begin. Opening a book takes time and trust in a story we do not yet know — and many titles are never even considered.
Make people want to open the book — without telling the story for them.
The website was created to build that first connection: offering atmosphere, encounters and questions before reading. It does not replace the reader’s imagination; it opens a door to it.
hello@deiver.com.br
My role
Project
