Interview with AZmaybe9, a 3-D Artist Focused on Giantess Growth Videos

AZmaybe9 is a 3-D artist who has produced many giantess growth videos and has been active in the size-fetish community for several years now. AZmaybe9 creates animated sequences using software such as Blender, MikuMikuMoving (MMM), and Unreal Engine 4. AZmaybe9 has been on DeviantArt for eight years and posting to YouTube since September 2017, and also maintains a presence on Picarto Stream. As of early February 2020, there are 65 videos on YouTube. Blog readers and creators such as Eom, Gearrain, and SGAnimator have all expressed their appreciation for AZmaybe9’s work. Fans can follow AZmaybe9 on DeviantArt and Twitter for previews and the latest updates, as well as support AZmaybe9 via Patreon.

#1) Can you tell the readers a little about yourself?

Yo, I’m AZmaybe9. I’ve been working on giantess growth vids for awhile now striving for my Ultimate goal to make an arcade racing adventure game in the likes of Speed Racer. Learning 3d stuff has really boring tutorials so I decided that I’d learn with something that would keep me inspired! The path that led me here was rough with many mistakes, but ultimately this rollercoaster ride of a life choice was the best decision I ever made! My idea for entering into giantess growth vids came from my frustration at the sheer low quality-ness of it all at the time and the repeat blue-balls mainstream gives us. I wanted to see someone release more cinematic and satisfying videos that were just like the action movies I love that didn’t skip out on awesome growth! And so here I am carving a path forward to inspire others so that they can see that this art is the opposite of a dead end! In fact, more doors opened for me doing this than ever before. I’m a Gemini that’s a Jack-of-All-Trades who loves composing orchestral music and had a small history in acting. I also have ADD that somehow flips into a laser sight because everything that I want to achieve in my life and strive for lies within each project I do. (In which my Picarto stream chat has to remind me to eat and drink all the time) One huge misconception about me is that people think I’m always busy and don’t want to waste my time or get in the way. I mean I technically am, but I like to think I’m not because I don’t want to be like that artist who seems unapproachable so I’ll listen anyways. I like approachable grounded artists!

#2) How did you first become interested in size content like giantesses?

I think I started with Alice in Wonderland. Wondering why I like the rabbit’s house scene the most, games with growth mechanics on girls like Super Smash Bros. Melee, Gauntlet: Dark Legacy, the usual. I think me knowingly finding out about the fetish name, and that I have it, was when I saw the infinite stacking ZSS Brawl growth videos. Then I found deviantart as the place to go for gts art and to go to for terrible stories that were still hot though to get the imagination running. When making my account name, I wanted to stay as anonymous as possible! So it was something basic. A through Z like the alphabet and maybe 0-9… AZ09? That sounds like a robot. No. Maybe… maybe? AZmaybe9? Perfect anonymous name! Matched my indecisiveness for who I was in my life at the time too! The icon (made WAY later) is based on my love for Sly Cooper and Persona 5. Despite how much I lurked on deviantart and, I never participated in a community until I decided to start creating stuff on the MMD-Size Discord. It’s funny how my alternate self became who I am. The mask IS me now. And I’m all for that.

#3) Are any of your everyday acquaintances aware of your interest?

So my family knows I have some kind of successful Patreon and my sis knows it’s “just” animating giant women and has suddenly picked up on seeing giant women more in media lately, (thanks, Poison Ivy) but I never showed them my work because I’m embarrassed by it. But it’s so WEIRD how normal it is when I talked about it to my friends once and showed one of my friends the Samus vid. His reaction, “That’s pretty badass, dude.”
My friends’ reactions to saying I animate gts stuff, “Hey man, you’re earning almost minimum wage by doing that and you BUILT your job. I’m so inspired, bro”
… Like guys, wtf. It’s supposed to be odd and weird? Conversation is over? Back to Project M?
Apparently giants are well-ingrained in society. So much so that it’s beyond tame and is sfw in most cases for my videos.

#4) What are a few of your favorite works from other creators?

Blunxy. Straight up the #1 person who inspired me with his Growth spells and 3 Tall Tales vids. It’s unfortunate that his Industrial Practice vids were purged from dailymotion as those were wonderful too. Such camerawork and story without words. Amazing! My heart stopped when he showed up in my Picarto stream while I was making Pool Remix. He pretty much blessed that video as we talked. First thing I think he said was, “So this is what the new upcoming talent is like”. Something along those lines.
SGAnimator helped me with finding voice actresses for Pool Remix. He helped me talk to them and it’s all because of him that they’re so often used now!
Alloyrabbit, who has some of the craziest povs I’ve seen for gts art and GLORIOUS destruction. Ah, his Gen OC is the best.
I think my current favorite gts vid by another artist is Growblue Fantasy. Stellar length and work all-around. Love the growth in that one!
Before that came out, Linda’s Tale by JoetheVenezuelan topped my list! It feels so unreal that he’s making another episode now!
Raps lately has just been a god.
RIP IAmTheTetsu on burning out from his work.
Sihagen is a great friend of mine.
SoaringHog’s Pool series was so awesome that I had to get his permission to remix it into a video!
MagnaProspekt has great gentle vibes.
Chibibiscuit is a LEGEND and I lurked the shit outta him since his start!
ThunderAfterDark, DarkestHour, Pogonip and Nearl’s OC, and Lowerrider introducing higher quality mini-gts photoshops, and then checking out Chamomile lately on Twitter with such beautiful colors, and Yilx with his amazing destruction, Sorenzer0’s cinema-like lighting who I should ask for tips…
And then there’s other animators like SliceofSize, Minmax3d, MMDAnon, MMMadness (Who’s been training in UE4 lately) and even Can’tStopGrowing’s crazy detailed growth stuff…
Ya know, it’s mostly all favorited on my deviantart under Just Amazing. So many good artists. Don’t even get me started on the Japanese.
What’s crazy is that most of these creators I looked up to I got to meet. My first year or 2 was a rollercoaster as I met great artists and they were fans of me too! It’s actually still a rollercoaster to this day, but it used to be too. I feel like I’m Ms. Marvel of the size community. Somehow, nothing sunk in. When I work on a vid, I don’t feel like I’m AZmaybe9 making another “mastahpiece”. I just want to blow away minds with this shot or this idea and then do it again the next time! But looking at older videos, it feels like somebody else made them. I don’t have imposter syndrome, it’s just… so weird to see all that library of content and try to muster up the thought, “I did that”. It’s also like, “I’m so proud of learning how to do this or that differently here. Man that shot was hell but I learned a lot. Fuck that Bowsette model for 3 months of hell. Samus and Gumi were so fun to work on it didn’t even feel like work! Man, that’s a lot of feet shots. Kinda embarrassing.”

Screenshot taken from “Pool Remix.”

#5) How would you describe your work?

Summary of things to expect from my vids: animation quality, character personality, lore to chew on because growth fans love to think beyond a video, cinematic, ambitious, variety of scenes, crazy interactions, accidentally retrowave color palette, and lately some VR. It’s classic giantess growth content that doesn’t jam a bunch of other fetishes in there. Like a damn good pepperoni pizza with cheese in the crust.
My work is crazy ambitious. I set standards on myself that are too damn high because i’m aiming for cinema-like creations, but then reach “good enough” and can implement on them further later.
I feel the best part of my works are the personalities that come alive on screen. So many gts vids have some girl from some anime, but rip their personality out. I love to develop the story around how that character would react in that situation and then also have the situation loosely based around their lore. DDLC is HEAVY with this in so many ways. The god device, the Dictaphone that I modeled in inspiration from the interactive story, fit perfectly in because it was like if any of the characters could be Monika. Thankfully, Minmax gave me the best and worst girl from the game. I did lots of research into the clash between Yuri and Natsuki as well as their likes and interests. Yuri loved books where the main character snaps and goes on a rampage. And then BAM! The story clicked for the video right there with Natsuki as the absolute worst person to get ahold of such a device. PLUS, I could play on Yuri’s personality change in the game with the usage of the Dictaphone, in which I could DOUBLE PLAY on the trope of a nice girl becoming a gts and then suddenly being out of character. But this time, it’s all in-character and correct. Hell, the billboard had a knife on it. Natsuki went from my personal worst girl of the game to the absolute best as I made this video. Someone who took all their frustrations back out on the world and she was gonna use her rival to do it. Underthinking played a key role for her though since her knee-jerk reactions got her into trouble.
Then there’s Diane, which I kinda improvised the whole thing as I was making it, just like Pool Remix, but it’s a big fuck you to 7DS. The key thing was to keep Diane as like herself as much as possible then throw in someone she’d HATE to be with on a journey so I can bring out that lovely anger from her.
Samus vid was really easy. She stays focused on the mission, deals with annoying traffic, and some planet has to blow up or it wouldn’t be a Metroid video. But there are still some elements of her unexplored that could be really good with a different story applied to it. Something more mystery with Noir and that growth device the space pirates had and the SA-X. Even the music I composed for it was insanely researched and mostly based on Metroid: Fusion.
Neko vid was interesting. No research to be had but I wanted Rin to be like the supporting character she was in Pool Remix with her half pet/half cat Neko IA. For some reason, that Lingerie costume looks SUPER cute on her rather than sexy with those cat ears. Because this was also a video made with no real script involved, the sound design is gonna be… interesting. VR will be great though!
The only one that doesn’t feel right is Pyra. But I’ll fix that with a Morag vid.
Bubblegum vid was based on recommendations for this or that because the guy really surprised me with such an idea as bubblegum growth. LOTS of AlloyRabbit references in that one!

#6) Can you briefly describe the amount of work which goes into a video, such as the recent “Ms. Marvel Test Run”? Do you have any advice for people wanting to make their own productions?

Oh boi. The amount of work. Think of each project as like starting a Dark Souls game. You’re excited to discover everything, but the game beats your ass down every step of the way making you earn your worth with a bunch of unfair twists on your path. 3D animation has set me on the lowest of lows and the highest of highs on an emotional rollercoaster, but in the end it’s always worth it for that insane high of beating the boss I was stuck on for awhile! Then next time you know what to expect and blast through everything while challenging yourself a little further.
I can briefly describe a few processes, but there’s lots to go over so bear with me:
. First there’s picking a character from a location that doesn’t have a dick giving out rules for a model he doesn’t rightfully own and then getting them imported into Blender. In which I do a few things to the skeleton for how I prefer things. (Cleaned up mmd bone style with glorious Kalashnikov [IK]47 for the hands) Ms. Marvel, who ROCKS btw read her comics for TONS of gts action, was interesting to set up. The way she does her stretching is by disconnecting all the connected bones and moving them apart. I did it for the whole body and the result is surprisingly compatible with game engines and fun af to animate.

. Then it’s about creating their story/world in UE4. Do lots of research into where they come from and plan out some loose scene ideas. I’ve bought LOTS of assets on Epic’s marketplace but sometimes those assets pop up for free for the month. ALWAYS take advantage of that sweet deal. I’ve recently been wanting to learn Quixel Megascans’ import process because their entire environment library is free for UE4 users! Remember to start small. Like Bowsette’s city was made starting in the small alleyway ONLY. And that was supposed to be a basketball court.
UE4 world building in VR is truly amazing!

. Import the environment to Blender and start animating. When it comes to characters, I research how they move, their general attitude with things, facial expressions, etc. Photo references are mostly key all the time for proper posing references. Diane has poses taken all over the place from 7DS covers and anime. Samus was heavily based on her movements in Smash. Although that crawling scene… There will be a time where you don’t know how to animate something and you have to do the movement yourself and then study how you move. Funny stuff and very useful! Rin throwing the treat bag into Neko’s mouth was me spinning a trash can outside. Apparently everyone spins in place without stepping forwards on the internet. Ah, that vid I learned how powerful pivoting your foot can be. Well underneath all of that are the physics in my head. Inertia, weight, speed, rolling the back by cascading keyframes, don’t put all movements on the same column like a robot, intention of movement, how the whole body moves for one small thing, balance, arcing movements, etc. There’s a lot to think about but it doesn’t all come up at once and you can always do the movement yourself to double-check if it feels right on screen. I challenged myself to learn the Uncharted and Mission Impossible stuff because I love action! But I had to start from learning basic limb movement. The absolute worst is a walking animation. NEVER start there as the animation only properly looks good after you’ve applied ALL the techniques. And when it comes to tutorials on numbers to follow, who cares about them! You don’t need foot placement exactly on keyframe 13. Just what feels right at every angle. People will only see the final result. And DON’T RUSH! Getting a character from point A to B is a journey. It’s not about how quick you do it, it’s about how that character personally does things. Every character does things differently and capturing that moment where it really feels like them at point A1/2 is far more interesting than an uninspired rush. Those moments push you to keep bringing the character to life and eventually get to that goal post. It starts to feel like they’re the ones guiding you when you get used to being in the head of the character. I also need to mention that a normal amount of rough unpolished animation done for a day can be 10-12 seconds of video. Anything afterwards is because of smart planning with the camera to not animate body parts. Adding another character on the screen DOUBLES the time it takes for that scene to get done. (But animating in VR would cut this all down to a QUARTER of the time required! I’m thirsty for something like MARUI to come to Blender!)

. Finally, export the- nope. Physics. Gotta figure out how to make the hair move naturally. So… I’ve mostly manually animated the hair with ik or the no-collision gravity wire setup until I figured out my gravity collider physics setup. Diane’s hair was using no-collision gravity wire setup so when her hair became extra long I had to continue on manually animating everything. Then there’s breast physics, which I usually avoided because it never scaled with characters and glitched out. Another horrible thing using a game engine for rendering is that 90% of those physics solutions you see on Blender are not gonna be usable to you unless you cut off the hair/clothing and import it in its own animation. But my Gravity Collider setup I figured out after trying ALL the other physics methods, including within UE4, (Nothing scaled with proper collision mid-animation or allowed good cinematic control) changes all of that. I may suck at simulating collision and physics now, but I can offset that by sliding down the ik weight on the affected problem bones to manually animate them until sliding them back to normal again. Even if you have all these fancy tools, knowing animation like doing hair or object physics yourself polishes everything. Ms. Marvel test run, DDLC, and one instance in Bowsette used physics for small objects flying around. Neko vid was mostly manually animated stuff with a few Blender fracturing ideas thrown in like the tables and walls being broken. Yoko vid helped me learn UE4 Apex Destruction but all other object physics were manually animated in UE4 sequencer. I’m STILL experimenting with destruction, btw. Giganta uses Apex Destruction to get a bunch of things done, but there’s no cache to save doing exactly that. Might go back to Blender for more detailed stuff. Speaking of that, there’s an office scene where Wonder Woman flies through a building and all the stuff is falling towards her. Now those small physics I could actually record. But not in the actual building because they went haywire! I tilted a room to a super steep angle then dropped the physics items a bit and recorded their movements. After a bit of parenting problems to move that whole scene and attach it to the building I finally got it and the scene looks fuckin’ amazing!

. Finally, it’s do- Nope. Post process, Steven Spielberg inspired camerawork re-done in UE4 requires shaking, character import has movement issues because UE4 doesn’t like “control/shadow” bones that mmd bones like to have, bug fixing everything, adding Patreon names to the scene in creative ways, effects that are thankfully easy to get from the marketplace and apply into UE4’s sequencer, studying cinematic lighting, studying aspect ratio and going for Jurassic Park because of how properly tall it is, background life going on, maybe crowds someday, and whatever I’m missing like adding rubble to swap in during destruction to make it look better.

. And now to render out the video that you can see in real time because working in UE4 allows “what you see is what you get”. It PAYS OFF to work/render in full quality in minutes what Blender would do in 2 weeks for other artists. Probably a month for my work. Finally, I can rest easy with a finished animation that I can releas-

. “Where is sound?” x500 times. After my sound editors got too busy to work on my stuff, I had to enter the arena myself starting with DDLC. Adding sound fx is a horrific slog if you don’t have a library of sounds ready. Searching on the internet will give you low quality results. (And people expect cinematic results unless it’s for a joke) BUY sound packs on sale. I’m not kidding how much of a world of difference they make. Using FL Studio, I go through and place sounds all over the place with meaningful intention. Squeaky metal doors on the left or right, footsteps that are bigger and boomier over time, hidden Initial D memes, etc. But that’s not all, mixing stuff together provides GREAT results like metal, heels, and a sci-fi robot stomp are perfect for Samus’s heels. Sometimes there’s opportunities to come up with new kinds of sounds for something like the Dictaphone. Those moments are a massive highlights as well as the silly satisfying timing of sounds or a nice THOOM that makes me smile like in Ms. Marvel’s test run. Then there’s music. That’s gotta be well researched too and fit the mood. I know it’s optional, but the results in the Samus vid with sound sing for themselves that it’s something I should continue to do for that cinematic experience. And then there’s voice actors. Gotta have them! After SGA introduced me to a few girls and helped me expand how many I talked to, the general workflow is to ask what kind of voice they can provide for the character, give them a script and video, but ALSO give a version of the video where I do all the talking and acting as best as I can so that they have an idea of what to do. I haven’t tried talking to the VA in a call while they do it, but it sounds really cool.

. Finally, it’s all done. Except now you gotta set up posting it everywhere so everyone knows. With the amount of size Discords I’m in and places I gotta post to, this will at least take 2 hours to set up and go through. Once it’s posted, I can now revel in the comments of how jawdropping something is paired with, “Where is part 2?” and, “Wtf is this and why is it recommended to me!?”
I am at least trying to get through making a workflow tutorial series on all this but I’m trying to be careful from saying wrong information and if my workflow changes to change something earlier.

#7) Could you discuss the rewards for supporting your Patreon? Are there any upcoming projects that you would like to mention?

Ah Patreon. I tried to keep this to knowledge-based or time-based stuff because I despise paywalls.

Tier 1 is like getting the basic picture info of vids, maybe some cool tests, if I ever hold a poll again when I catch up with my list of work to do…oh shoot, I need to do pics of my latest Giganta project…

Tier 2 gets WiP vids from UE4.

Tier 3 gets Early Access soundless vids and VR vids 1 month early. A Beta vid is pretty much as close to how it’s gonna look at release as possible… How the hell is the VR vid gonna be 1 month early if it requires sound, which takes a month to do… I might have to adjust that.

Tier 4 Is getting your name inside the video as an Easter egg. I’d have credits for everyone at the end but fuuuuck me there’s almost 300 people to carefully look through and see who was in the Patreon since I started working on the video. Some have found it to be joy to see where their name pops up and however I photoshop what their logo looks like! Goloxus theater sounds badass as well as the Sayer Raiders for the gang in Samus vid! They’re starting to become like a background history of names in the videos that connect them all.

If you REALLY want to get the latest from me, then join my Discord and check out my streams on Picarto. The coolest thing about my Discord, to me, is that I have a stream notepad in there where ALL of my notes I make while making a vid go in there. And I take A LOT of notes! (Especially when I’m frustrated)

For future projects, I’ve got Giganta vid coming up, Marin vid is currently in a void of “I’ll get to it… next time”, (It’s a big vid and it intimidates me) then Morag from Xenoblade Ch. 2, I’ve also got a nearly rigged Kat from Gravity Rush model I commissioned coming out soon, and then throughout all this time, I’ve been working with a team to make Project Kaiju Club. (Don’t worry, the real name is badass) An original Giantess web series that takes cues from Pacific Rim and Evangelion. Directing a team to make something like this is paramount to my arcade racing game. Yep… That damn game idea is still driving me to this day through everything I need to do to make it. The series will start with 4 20-minute or so episodes as like a test run. I’m currently working on building a preview scene so we can go for an Epic Megagrant to help pay everyone more properly for their efforts. Of course, I’m not personally ready yet in a few areas for this show and still need to work on smaller projects to learn important things. But man… it gets more real every day.







Thank you so much for this interview!

This was taken from “DDLC: Mile High Club.”

All Rights Reserved.

3 thoughts on “Interview with AZmaybe9, a 3-D Artist Focused on Giantess Growth Videos

  1. Great interview! That’s all I can say.

    Liked by 1 person

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