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In this episode of And Now For Something Completely Machinima, Tracy Harwood, Phil Rice and Damien Valentine examine Stolen, a 30-minute GTA V machinima by Dark Frame Films (Kevin Fernandez, aka Shepherd41). Set in a near-future world where consciousness can be transferred between bodies through the mysterious "Rebirth Project," the film follows former soldier John Bell on a relentless quest to recover his daughter's stolen body and restore her consciousness.

The discussion explores the film's ambitious blend of cyberpunk worldbuilding, transhumanist philosophy, revenge-thriller storytelling and cinematic action choreography. The hosts consider how themes of identity, bodily ownership, digital consciousness and technological immortality resonate with contemporary debates around AI, neural interfaces and human enhancement.

Along the way, they compare Stolen to films such as John Wick, Taken, Man on Fire and Payback, while also discussing the strengths and limitations of GTA V as a filmmaking platform compared with Cyberpunk 2077. The conversation highlights the film's impressive cinematography, custom modifications, visual storytelling and sound design, while also critiquing pacing, editing choices and the use of AI-generated voice performances.

Despite differing opinions on its length and execution, the panel agrees that Stolen presents compelling ideas and demonstrates the creative potential of machinima for exploring complex science-fiction concepts through virtual production.

00:00 – Introduction

•  Phil introduces the episode and the panel. 
•  Tracy presents this week's featured film: Stolen by Dark Frame Films. 

01:40 – The Premise of Stolen

•  The Rebirth Project, body donors and transferable consciousness. 
•  Why the film's central idea immediately captured Tracy's attention. 

04:00 – Cyberpunk Themes and Transhumanism

•  Digital identity, body ownership and consciousness transfer. 
•  Connections to contemporary debates around AI and neural technologies. 

08:10 – Revenge Story or Philosophical Sci-Fi?

•  Comparisons with John Wick and other revenge narratives. 
•  Questions of identity, selfhood and what makes a person "themselves." 

11:30 – Ambition vs Execution

•  Discussion of editing, pacing and the challenges of showcasing custom GTA V mods while telling a story. 

12:50 – Damien's Perspective

•  Why the film could have worked within Cyberpunk 2077. 
•  The importance of GTA V's cinematic tools and Rockstar Editor. 

15:40 – Silent Protagonists and Visual Storytelling

•  Why John Bell's lack of dialogue largely succeeds. 
•  Storytelling through action and environmental context. 

18:45 – AI-Generated Voice Acting

•  Damien discovers the voices were AI-generated. 
•  Debate about performance quality versus accessibility. 

19:15 – GTA V as a Filmmaking Platform

•  Rockstar Editor, recamming and cinematic camera control. 
•  Why GTA V remains one of the strongest machinima production environments. 

23:30 – Influences and Inspirations

•  Comparisons to Taken, Man on Fire, John Wick, Steven Seagal films and Payback. 
•  The enduring appeal of revenge-and-recovery narratives. 

24:50 – Story Structure Critique

•  Whether the film waits too long to reveal the protagonist's motivation. 
•  The importance of establishing emotional stakes earlier. 

30:00 – Sound Design Analysis

•  Praise for combat sound effects and musical score. 
•  Discussion of ambience, spatial audio, reverb and sound placement. 

33:40 – Script, Narrative Twist and Midpoint Reveal

•  Why the central revelation changes audience assumptions. 
•  The strengths of the film's writing and worldbuilding. 

36:00 – Why the AI Voices Don't Quite Work

•  The impact of synthetic performances on an otherwise strong script. 
•  The missed opportunity to use human voice actors. 

39:00 – The Third Act and Ending

•  Questions of forgiveness, guilt and personal responsibility. 
•  A powerful idea that may not be fully resolved by the conclusion. 

43:30 – Memorable Moments

•  The hosts discuss the film's most spectacular action sequences. 
•  Phil awards a tongue-in-cheek "Machinima First" for an especially gruesome helicopter-blade death. 

44:10 – Final Verdicts

•  Overall impressions and hopes to see more work from Dark Frame Films. 
•  Closing thoughts and audience invitation to share their views.

Credits -
Co-hosts: Phil Rice, Tracy Harwood, Damien Valentine
Producer/Editor: Phil Rice
Music: Phil Rice & SunoAI

In this news-focused episode of And Now For Something Completely Machinima, Phil Rice, Tracy Harwood and Damien Valentine dive into the latest developments in gaming, machinima, AI, and virtual production. The discussion ranges from the ethics of digitally resurrecting iconic figures like Stan Lee, through major announcements from Summer Game Fest, to upcoming machinima competitions and the evolving role of AI in creative practice. Along the way, the team debates the future of social media, the impact of government regulation on emerging creators, and whether AI is a creative tool, a creative shortcut, or something in between.

01:25 – Ricky Grove's absence explained and congratulations to Lisa Morton on her lifetime achievement award

02:12 – AI ethics debate: Stan Lee's voice and likeness licensed through ElevenLabs after his death

07:53 – James Earl Jones, Darth Vader, AI voice replication and creator responsibility

10:59 – Summer Game Fest highlights begin

11:20 – Dune: Awakening receives single-player and private server options; implications for machinima creators

13:27 – Alien: Isolation 2 announced; discussion of atmosphere, sound design and world-building

16:03 – Star Wars: Zero Company and the cinematic potential of turn-based strategy games

18:08 – Surprise announcement: a remake of the original Halo

19:09 – Machinima Mayhem 2026 launches: Crowbar Productions' annual machinima competition

22:31 – Reallusion Character Creator Contest 2026 and opportunities for digital artists

24:15 – Reallusion's roadmap, AI Creator Studio and emerging AI-enhanced creative workflows

29:12 – NVIDIA ray-traced rendering integration, Omniverse, and future production pipelines

35:25 – Tracy's reflections on TikTok machinima, short-form creativity and the risks of social media restrictions

38:45 – Kane Parsons, The Backrooms, and the rise of young creators shaping mainstream media

44:32 – New research on how AI affects cognition and creative skills

47:00 – Does AI make creators better or worse? A debate on practice, learning and creative development

50:36 – AI as a co-creative partner versus AI as a replacement for creativity

53:20 – Artistic practice, creative tools and whether AI is comparable to instruments, cameras and software

57:00 – Ethics, responsibility and the future of AI-assisted creative work

58:30 – What machinima can teach the wider creative industries about authorship, originality and transformative works

1:01:12 – Final thoughts and optimism for the future of machinima and digital creativity

1:01:37 – One last reminder: the Halo remake is coming

1:02:00 – Closing remarks

Episode Highlights

•  The ethics of AI recreations and posthumous digital performances 
•  Major Summer Game Fest announcements relevant to machinima creators 
•  New opportunities through Machinima Mayhem 2026 
•  Reallusion's AI-powered future and creator tools 
•  The growing creative quality of TikTok-based machinima 
•  The potential impact of social media restrictions on emerging creators 
•  AI, artistic practice, and the importance of maintaining creative agency 
•  Why the machinima community may be uniquely positioned to help define ethical AI-assisted creation 

Whether you're interested in virtual production, game-based filmmaking, creative technology, or the future of AI in media, this episode offers a thoughtful and lively discussion on where digital creativity is heading next.

Credits -
Speakers: Phil Rice, Damien Valentine, Tracy Harwood
Producer/Editor: Phil Rice
Music: Phil Rice & SunoAI

This week on And Now For Something Completely Machinima, Phil Rice, Tracy Harwood and Damien Valentine dive into Michael Is Very Vintage’s hilarious Garry’s Mod space comedy An Astounding Tale from Outer Space. What begins as a simple spaceship emergency quickly spirals into absurdity when an incompetent captain decides that cloning himself is a better solution than actually fixing the problem.

The team explores the film’s brilliant use of slapstick comedy, satirical storytelling, inventive sound design, and surprisingly sophisticated filmmaking craft. From Alien and Red Dwarf influences to hidden Easter eggs, classic action-movie tropes, and the unique creative possibilities of Garry’s Mod, this episode celebrates one of the most entertaining machinima films of the year.

Along the way, the discussion turns to Michael’s growing signature style, the role of game-engine accidents in comedy, the future of machinima creators working in platforms like Garry’s Mod, iClone and Unreal Engine, and whether works like this have a place beyond YouTube in archives, festivals, and cultural collections.

This week's pick is a love letter to inventive machinima, creative chaos, and the enduring power of comedic timing.

01:16 – Damien introduces the film and explains why he picked it

04:05 – Tracy’s reaction: why this is her favourite film of the month

05:00 – Cloning, delegation, bureaucracy and the film’s satirical core

06:30 – Garry’s Mod humour, slapstick physics and six personalities from one character

07:45 – Alien, Red Dwarf, Futurama and classic sci-fi influences

09:26 – The ending, anti-climax as comedy, and why it works

10:00 – Outstanding sound design, voice acting and comic timing

12:32 – Phil’s review: comparing the film to Ridiculous Ties and other animated comedy machinima

13:12 – Why Michael Is Very Vintage is developing a distinctive creative voice

14:20 – Hidden Easter eggs, visual gags and blink-and-you-miss-them details

15:15 – The film’s unique soundscape: cartoon logic, meme culture and deliberate absurdity

18:30 – Recognising an auteur style in machinima filmmaking

19:14 – Deep dive into the film’s references, props, set dressing and visual jokes

23:30 – What the Easter eggs reveal about the creator’s influences and generation

27:55 – Michael’s rapid output and growing body of work

29:24 – Behind-the-scenes videos and custom set construction in Hammer Editor

29:50 – Cinematography highlights and impressive in-engine camera work

30:52 – A broader question: what future exists for talented Gary’s Mod filmmakers?

32:20 – Can skills developed in Gary’s Mod transfer to animation, virtual production and film?

37:15 – Damien on iClone, animation principles and platform-specific comedy

38:35 – Does Gary’s Mod itself become part of the joke?

39:24 – Happy accidents, bugs and creative inspiration in machinima production

44:00 – From software glitches to award-winning films

45:04 – Physics engines, experimentation and unexpected outcomes

46:44 – Final thoughts and audience feedback invitation

47:11 – Closing remarks

If you've ever wondered what would happen if the least competent person on a spaceship cloned themselves five times to avoid doing their job, this episode is for you.

Credits -
Speakers: Phil Rice, Damien Valentine, Tracy Harwood
Producer/Editor: Phil Rice
Music: Phil Rice & SunoAI

What happens when machinima stops telling a story… and instead pulls you inside a fractured mind?

In this episode of And Now For Something Completely Machinima, hosts Phil Rice, Tracy Harwood, and Damien Valentine dive deep into “Dysfunction” by Iono Allen—a powerful, unsettling machinima film created in Second Life.

This isn’t your typical machinima. There’s no clear beginning, middle, or end—just a visceral, abstract experience of psychological breakdown, sensory overload, and emotional fragmentation.

Is it about mental health? Substance abuse? Political disillusionment? Or something even darker?

👀 Watch as the hosts unpack multiple interpretations—from immersive sound design and symbolic imagery to hidden narrative layers involving identity, revolution, and the human psyche.

⏱️ Key Moments & Timestamps

00:00 – Iconic intro: “And now for something completely machinima…”
01:00 – Episode begins & introduction of hosts
01:28 – Tracy introduces “Dysfunction” and why it stands out
02:30 – Experiencing a fractured mind through abstract storytelling
04:30 – The power of sound design & sensory disorientation
06:30 – Exploring the Second Life environments used in the film
10:50 – Hidden symbolism: the French newspaper & time period clues
11:57 – Damien’s take: unsettling tone & visual contrasts
13:30 – Technical brilliance: the mirror reflection scene
15:39 – Phil’s interpretation: a hidden narrative emerges
18:00 – Substance abuse, escapism & dual realities
20:30 – Political symbolism & revolutionary frustration
23:30 – The “dark self” and psychological breakdown
26:30 – Literary parallels: Jekyll & Hyde, Freud, Twin Peaks
31:20 – Alternate WWII-era interpretation
32:30 – Why this is one of the best machinima films of the year
35:00 – Tribute & meaning behind the film’s credits
36:00 – Using Second Life purely as a filmmaking tool
37:00 – Final thoughts & audience discussion prompt

🧠 Why This Episode Matters

This discussion goes beyond machinima—it explores:

•  🎧 Immersive storytelling through sound and visuals
•  🧩 Abstract narrative and audience interpretation
•  🧠 Mental health representation in digital art
•  🌍 Symbolism, politics, and personal identity
•  🎮 The evolution of machinima as a filmmaking medium

💬 Join the Conversation

What do you think “Dysfunction” is about?

•  A psychological breakdown? 
•  A metaphor for addiction? 
•  A political statement? 
•  Or something entirely different? 

Drop your thoughts in the comments 👇 or email the team at talk@completelymachinima.com

In this episode of And Now For Something Completely Machinima, hosts Phil Rice, Damien Valentine, and Tracy Harwood dive deep into “Wracu”, a stunning student film by Chase McGill.

Created in Blender as a final project at University of Southern California, this cinematic short blends epic fantasy, motion capture, and orchestral scoring into a powerful (and divisive!) storytelling experience.

But is it just visually impressive… or truly great storytelling? 🤔

🔥 What We Cover in This Episode

• A spoiler-filled breakdown of Wracu’s narrative and themes
• The influence of classic epics like Beowulf
• Blender vs Unreal Engine for cinematic storytelling
• The role of motion capture in character realism
• Why sound design (and the Budapest Scoring Orchestra) elevates everything
• A passionate debate: style vs substance

⏱️ Key Moments & Timestamps

00:00 – Intro
The crew kicks off with the usual chaos and machinima energy.

01:00 – Film Pick: “Wracu”
Phil introduces Chase McGill’s USC project and why it stood out.

03:00 – Story Breakdown (Spoilers!)
A death-defying warrior, a skeletal carriage driver, and a gothic showdown.

06:00 – Epic Influences
Connections to Beowulf and medieval fantasy storytelling traditions.

08:30 – Visual Craft & Lighting
Why Blender shines in cinematic composition and mood.

10:00 – Orchestral Score Deep Dive
How the Budapest Scoring Orchestra brings Hollywood-level sound.

11:30 – Subtle Animation Details
Damien highlights the tiny touches that sell realism.

15:50 – Storytelling Without Dialogue
Can silent storytelling carry emotional weight?

16:30 – Tracy’s Critique Begins
A thoughtful (and spicy) take on narrative vs technical mastery.

20:50 – Sound Design vs Visuals
Why audio might be the real hero of the film.

22:40 – “Too Perfect?”
Does hyper-polished rendering hurt immersion?

23:30 – Where the Film Loses Momentum
The shift from atmospheric mystery to action spectacle.

26:50 – Blender vs Unreal Engine Debate
Environment vs set-building: what feels more “real”?

30:20 – Is This a Great Story or a Great Demo?
Portfolio piece vs meaningful narrative.

32:20 – The Challenge of Storytelling Craft
Why story is harder than tech (and always evolving).

34:00 – Elden Ring & Dark Fantasy Vibes
Unexpected parallels to modern games and worldbuilding.

36:00 – Final Thoughts
A brilliant debut—and huge potential for what comes next.

🎧 Why You Should Watch/Listen

If you’re into:

• Machinima & virtual production
• Blender animation workflows
• Cinematic storytelling & film critique
• Game engine vs offline rendering debates

…this episode is packed with insight, inspiration, and honest critique.

💬 Join the Conversation

What did you think of Wracu?
Is Tracy right… or completely wrong? 😏

Drop your thoughts in the comments or email us at talk@completelymachinima.com — we’d love to feature your take in a future episode!

🔗 Links

• Watch Wracu (link in show notes)
• Behind-the-scenes scoring session (included in episode notes)

📢 Don’t Forget

👍 Like | 💬 Comment | 🔔 Subscribe
for more deep dives into machinima, animation, and virtual production.

#Machinima #Blender3D #Animation #VirtualProduction #Filmmaking #GameDev #CinematicStorytelling #MotionCapture #IndieFilm #Podcast

In this episode of And Now For Something Completely Machinima, hosts Phil Rice, Damien Valentine, and Tracy Harwood dive into a stunning fan-made cinematic created inside Star Wars Battlefront II (2017 video game).

We explore how machinima creators are pushing the limits of game engines, modding tools, and cinematic language to produce high-quality storytelling—despite technical limitations like no built-in camera controls. From Cloud City aesthetics to editing techniques and Star Wars authenticity, this episode unpacks what makes this project so impressive (and occasionally hilarious).

Whether you're into machinima, virtual production, or the Star Wars universe, there’s plenty here to inspire.

⏱️ Timestamps

00:00 – Intro & classic Completely Machinima opening
01:09 – Welcome + episode setup
01:36 – Damien introduces Battlefront 2 machinima scene
02:30 – Why this film stood out (engine use & in-game rendering)
04:22 – Tracy’s first impressions: cinematic language & storytelling
06:00 – Cloud City, mood-building & Star Wars “grammar”
08:30 – Editing, pacing & shot composition analysis
11:13 – The challenge: no camera tools → modding solutions
11:34 – Phil on cinematic storytelling vs dialogue limitations
12:44 – Voice acting, authenticity & sound design
13:03 – Unexpected comedy moments (yes, really 😂)
15:19 – Characterisation: Han Solo, Lando & Boba Fett
17:38 – Canon vs non-canon storytelling debate
18:46 – Gameplay origins of the story
19:46 – Multiplayer staging & production complexity
22:15 – Different entry points into Star Wars fandom
23:25 – Exposition text: necessary or not?
26:25 – Runtime critique: pacing & structure
28:44 – The scale and power of the Battlefront 2 engine
32:25 – Star Wars modding community & creator ecosystem
33:31 – Where machinima lives today (YouTube & beyond)
35:41 – Other games, mods & machinima potential
36:53 – Outro & final thoughts

🔍 Topics Covered

•  Machinima filmmaking techniques 
•  Virtual production using game engines 
•  Cinematic storytelling in games 
• Star Wars Battlefront II (2017 video game) modding scene 
•  Camera work without native tools 
•  Editing, pacing & shot composition 
•  Star Wars fan films & canon debates 
•  Multiplayer coordination for filmmaking 

🚀 Why This Episode Matters

This episode highlights how creators are transforming games into filmmaking tools—turning limitations into creative opportunities. It’s a deep dive into how modern machinima blends gameplay, cinematography, and community-driven innovation.

📢 Join the Conversation

What did you think of this Battlefront machinima?
 Does canon matter in fan storytelling?

💬 Drop a comment below or email us at: talk@completelymachinima.com

🔔 Subscribe for More

If you love machinima, virtual production, and creative uses of game engines, don’t forget to like, subscribe, and hit the bell!

In this episode, we dive into Automation Situation 2: Too Little, Too Late by Guillaume H @thegiom — a haunting, AI-driven short film presented as a 1930s educational reel. 

Is this clever satire… or a chilling glimpse of our future with AI? 

We explore how this unsettling film blends retro aesthetics, machinima-style workflows, and AI-generated imagery to question human agency, automation, and the emotional cost of technological progress. 

⏱ Key Moments & Timestamps 
01:00 – What is Automation Situation 2? 
01:43 – Why this film fits today’s AI conversation 
03:06 – Strange coincidence: all picks reflect humanity 
03:30 – The filmmaker & AI creative process 
04:30 – 1930s educational reel aesthetic explained 
06:00 – Retro satire & visual language breakdown 
07:30 – AI tools, machinima parallels & workflow 
09:00 – Human agency vs AI systems 
10:30 – Themes: control, automation & authorship 
11:30 – Emotional tone: calm voice, disturbing message 
12:30 – “You are still loved” – the film’s most chilling idea 
13:30 – Industrial Revolution parallels 15:00 – AI fatigue & audience resistance 
16:40 – Why this satire works (creeping dread vs shock) 
18:00 – Historical imagery & uncanny realism 
20:00 – The fear of AI: universal or inevitable? 
22:00 – Craft vs “AI slop” debate 
24:00 – Filmmaking brilliance & editing choices 
26:00 – Why old footage feels haunting 
28:50 – Personal reactions & emotional impact 
31:00 – Final thoughts: true horror in AI storytelling 

🎥 What we discuss: 
• AI-generated filmmaking & creative workflows 
• Retro aesthetics as storytelling tools 
• Machinima vs AI content creation 
• The psychology of automation & human relevance 
• Why subtle satire can be more disturbing than horror 

💡 Why watch this review? 
If you’re interested in AI films, experimental cinema, or the future of creativity, this breakdown explores one of the most thought-provoking AI shorts out there right now. 

👍 Like, comment, and subscribe for more deep dives into innovative short films, machinima, and emerging media. S

#AIFilm #FilmReview #Machinima #Automation #ArtificialIntelligence #ExperimentalFilm #FutureOfWork #CinemaAnalysis

Credits -
Co-hosts: Damien Valentine, Phil Rice, Tracy Harwood
Producer: Damien Valentine
Editor: Phil Rice
Music: Phil Rice & Suno AI

In this episode of Now For Something Completely Machinima, we dive into a fascinating review of The Egg — a thought-provoking short story by Andy Weir, brought to life through machinima animation by Anima Technica.

With Project Hail Mary dominating conversations, we explore how this earlier work connects to Weir’s storytelling style — blending philosophy, theology, and surprising humour.

🎙️ Featuring Damien Valentine, Phil Rice, Tracy Harwood, and voice acting insights from Ricky Grove, this episode unpacks themes of reincarnation, cosmic identity, and the deeper meaning of existence — all through the lens of machinima filmmaking.

🔑 Topics Covered

•  The philosophy behind The Egg
•  Machinima production techniques (iClone, minimalism, animation style) 
•  Voice acting performance and character dynamics 
•  Connections to Project Hail Mary and Weir’s broader work 
•  Theology, reincarnation, and cosmic responsibility explained 

⏱️ Key Moments & Timestamps

00:00 – Intro & episode setup
 01:27 – What is The Egg and why it matters
03:38 – First impressions & machinima context
06:30 – Animation techniques (iClone & visual style)
07:33 – Voice acting breakdown (Ricky Grove & Jorge Campos)
11:31 – Behind-the-scenes voice recording insights
14:33 – The BIG philosophical reveal explained (no spoilers!)
17:39 – Themes: reincarnation, identity & cosmic purpose
21:58 – Moral implications & “cosmic responsibility”
24:00 – Comparing different adaptations of The Egg
26:12 – Performance analysis: portraying God on screen
27:41 – Andy Weir’s early writing & origins of the story
29:14 – Comparing The Egg to The Martian & Project Hail Mary
30:07 – Final thoughts & outro

💡 Why Listen to This?

If you enjoy:

•  Deep philosophical storytelling 
•  Sci-fi authors like Andy Weir 
•  Machinima filmmaking & animation 
•  Thought experiments about life, death, and existence 

…this discussion offers a unique and insightful breakdown you won’t want to miss.

#AndyWeir #TheEgg #ProjectHailMary #Machinima #FilmReview #Philosophy #SciFi #Animation #VoiceActing #StoryAnalysis

Credits -
Co-hosts: Damien Valentine, Phil Rice, Tracy Harwood
Producer: Damien Valentine
Editor: Phil Rice
Music: Phil Rice & Suno AI

In this episode of And Now For Something Completely Machinima, Phil Rice, Tracy Harwood, and Damien Valentine dive into the latest news in machinima, virtual production, AI creative tools, game cinematics, and real-time animation.

They discuss the explosive hype around Kane Parsons’ The Backrooms movie, new Starfield expansions and what they could mean for Starfield machinima, the release of Fortnite Star Wars assets for fan-made experiences, and useful production updates including DaVinci Resolve optimisation, Headshot 3, free mocap tools, and local AI voice cloning.

The conversation also takes a deeper turn with a thoughtful debate on AI video generation, Sora, creative AI fatigue, public sentiment toward AI tools, and where AI in filmmaking and digital storytelling may be heading next.

If you're interested in machinima filmmaking, AI tools for creators, virtual production workflows, Star Wars fan creation, The Backrooms, Starfield, Fortnite UEFN, or digital storytelling, this episode is packed with insights.

Topics covered:

·       Kane Parsons and The Backrooms trailer reaction

·       Starfield Free Lanes and Terra Nomada

·       Fortnite Star Wars creator tools

·       DaVinci Resolve performance tips

·       Headshot 3 for Character Creator

·       Free motion capture and text-to-mocap tools

·       Local AI voice cloning

·       Sora shutdown and shifting attitudes toward AI

·       Project Hail Mary and practical effects vs AI hype

Timestamps:
00:00 Intro
00:42 Welcome and episode setup
01:45 Kane Parsons’ The Backrooms movie trailer
04:02 Will The Backrooms work as a feature film?
08:24 Kane Parsons directing an A24 film
09:02 Starfield update: Free Lanes and Terra Nomada
12:48 Could Starfield finally get better machinima tools?
17:36 Fortnite Star Wars assets released for creators
19:58 DaVinci Resolve optimisation tips
21:18 Headshot 3 and Character Creator updates
25:10 Free mocap tools and Nvidia text-to-motion
28:12 Local AI voice cloning with Voicebox
31:10 Realusion, Houdini, and animation workflows
32:20 Has AI turned a corner? Public sentiment and backlash
34:53 Sora, Disney, and the future of AI video
38:35 AI fatigue, Microsoft, Nvidia, and creator reactions
41:56 AI beneath the surface vs AI as the product
44:00 Human performance, authenticity, and audience response
47:19 Creator burnout and the “George Lucas effect”
51:06 Is AI backlash irrational or inevitable?
57:58 Project Hail Mary and practical filmmaking
1:02:56 Outro

#Machinima #VirtualProduction #TheBackrooms #KaneParsons #Starfield #Fortnite #StarWars #AI #AIVideo #DaVinciResolve #Headshot3 #VoiceCloning #ProjectHailMary #DigitalStorytelling #RealTimeAnimation

Credits -
Co-hosts: Phil Rice, Damien Valentine, Tracy Harwood
Producer/Editor: Phil Rice
Music: Phil Rice & Suno AI

Dive into one of the most unsettling and artistically ambitious machinima films we’ve ever reviewed. In this episode of Now For Something Completely Machinima, we explore “The Murderer” by Yago Muriel — a haunting black-and-white psychological horror created in Garry's Mod that blends surrealism, classic cinema, and existential dread.

With clear influences from David Lynch, The Outer Limits, and Hitchcock-era filmmaking, this film transforms a humble game engine into something deeply disturbing, poetic, and unforgettable. Expect eerie bird motifs, ambiguous storytelling, and a shocking twist that lingers long after the credits.

If you love psychological horror, surreal films, experimental storytelling, or indie filmmaking, this is a must-watch discussion.

⏱️ Key Moments & Timestamps

1:00 – Overview of The Murderer & creator background
3:50 – Why you should watch the film BEFORE this review (no spoilers!)
4:20 – Visual style: black & white, classic horror influences
8:20 – Surreal tone & comparisons to classic TV and cinema
10:30 – Atmosphere, mood, and uncanny storytelling
15:10 – Sound design, editing, and emotional impact
20:10 – The shocking twist explained ⚠️ (SPOILERS)
21:50 – Filmmaking craft & narrative ambiguity
23:00 – Interpretation: madness, guilt, and symbolism
26:50 – Style analysis: blending classic cinema & machinima
29:30 – Alternate interpretations of the ending
34:20 – Themes: human nature, violence, and surreal logic
36:50 – Why ambiguity makes the film more powerful
37:00 – Creator insights: influences & creative process
39:30 – Final thoughts & why this could become a cult classic

🎥 What We Discuss in This Review

• How The Murderer pushes machinima storytelling to new heights
• The influence of classic black-and-white horror & surreal cinema
• Why limitations of game engines can enhance creativity
• The film’s disturbing emotional tone and psychological depth
• Multiple interpretations of its ambiguous, haunting ending

🔥 Why This Film Matters

This isn’t just another machinima experiment — it’s a masterclass in mood, editing, and storytelling under constraints. By embracing the quirks of Garry's Mod, Yago Muriel creates something that feels closer to arthouse cinema than gaming content.

If you’re a filmmaker, creator, or horror fan, there’s a lot to learn here.

#Machinima #PsychologicalHorror #SurrealFilm #IndieFilm #FilmAnalysis #GarrysMod #DavidLynchInspired #HorrorReview #ExperimentalFilm #CultCinema

Credits -
Co-hosts: Ricky Grove, Phil Rice, Damien Valentine, Tracy Harwood
Producer: Damien Valentine
Editor: Phil Rice
Music: Phil Rice & Suno AI

In this episode of Completely Machinima Reviews, Damien Valentine, Ricky Grove, Phil Rice, and Tracy Harwood discuss Eater, a character vignette of a larger work (Hate Speech). The film is a provocative experimental short by M (formerly M dot Strange), created using Nightmare Puppeteer. The conversation explores machinima, AI-generated voices, Unreal/indie animation tools, absurd humor, avant-garde filmmaking, and the film’s sharp social commentary on junk food, global warming, and corporate culture.

This is a deep dive into one of the most unusual works in experimental digital cinema—touching on ragdoll physics, AI animation workflows, satire in machinima, and the artistic philosophy behind Nightmare Puppeteer, the low-cost indie animation tool that embraces chaos, randomness, and creativity.

Whether you’re into machinima reviews, experimental film analysis, M dot Strange, indie animation software, or digital art and AI storytelling, this episode offers a fascinating discussion on style, meaning, and outsider creativity.

Topics covered in this episode:

• Eater film review 
•  M / M dot Strange’s artistic style 
•  Nightmare Puppeteer on Steam 
•  AI voice performance in animation 
•  Satire, absurdism, and social critique 
•  Global warming and food culture in experimental film 
•  Ragdoll physics and improvisational animation 
•  Avant-garde machinima and internet-native storytelling 

Key Moments / Timestamps
01:00 Damien Valentine opens the review panel
01:22 Ricky Grove introduces M (formerly M dot Strange)
02:00 Background on Nightmare Puppeteer and M’s creative philosophy
05:20 How Nightmare Puppeteer uses randomness, chaos, and AI-driven animation
06:24 Introducing Eater from Hate Speech: The Movie
08:33 Phil Rice reacts: difficult, angry, elusive satire
11:38 Is Eater more anger than humor?
16:18 Nightmare Puppeteer character import discussion
16:53 Damien Valentine on humor, shock, and the film’s deeper message
18:13 Tracy Harwood’s analysis: cinematic essay, rap track, meme, and machinima hybrid
22:43 Editing, dream logic, and M’s comfort with abstraction
27:59 Experimental machinima beyond traditional storytelling
30:50 Social commentary: junk food, climate change, and corporate food systems
33:16 Ricky on M’s spontaneity, style, and outsider audience
36:41 Damien on the AI voice choice and M’s musical work
37:37 Phil on M’s music, alternate personas, and artistic chaos
40:06 Why Ricky laughed: absurd humor and avant-garde sensibility
41:04 Why Nightmare Puppeteer is worth trying
41:36 Ragdoll physics, unpredictability, and creative freedom
43:51 Finishing projects vs perfectionism in indie art
45:16 Final thoughts and outro

If you enjoy discussions on machinima, experimental animation, AI filmmaking, and underground digital art, make sure to like, comment, and subscribe.

#Machinima #NightmarePuppeteer #MDotStrange #FilmReview #AIAnimation #ExperimentalFilm #AvantGarde #DigitalArt #IndieAnimation #Satire #AnimationReview #GlobalWarming #SocialCommentary #UnrealEngine #MachinimaReviews

Credits -
Co-hosts: Ricky Grove, Damien Valentine, Phil Rice, Tracy Harwood
Producer: Damien Valentine
Editor: Phil Rice
Music: Phil Rice & Suno AI

In this episode of Completely Machinima, Phil, Tracy, and Damien dive into “Wallace Breen’s Day Off” — a chaotic, meme-filled Garry’s Mod machinima that embraces absurdity, cartoon violence, and old-school Source Engine humor.

From immature internet antics to Robot Chicken-style sketch comedy, the team explores how this short transforms one of Half-Life’s most sinister villains into a hilariously pathetic bureaucrat just trying to enjoy his day off.

Along the way, they unpack its Sopranos-inspired ending, hidden easter eggs, and how it reflects both the roots and evolution of machinima as a creative medium.

⏱️ Timestamps

00:00 – Intro & classic “Completely Machinima” opening chaos
01:00 – Episode setup & why Phil picked this film
02:00 – What is Wallace Breen’s Day Off? (context + premise)
04:00 – Absurd humor & Breen’s bizarre “day off” activities
06:30 – Favorite scenes (slot machine, fast food chaos, bowling alley)
08:30 – The Sopranos homage ending explained
11:10 – Robot Chicken comparisons & sketch comedy structure
13:30 – Why it works without knowing Half-Life
14:15 – Old-school machinima vibes & Source Engine humor
16:00 – Workplace satire & character inversion (Breen as a fool)
18:00 – Is it all a dream? Sopranos-style ambiguity discussion
19:30 – Sketch format vs narrative storytelling
21:30 – Comparisons to classic machinima (Red vs Blue, etc.)
24:15 – Cameos & cross-game references (G-Man, TF2, GTA IV)
25:00 – Hidden easter eggs (Dan Rather & George W. Bush parody)
27:30 – Why creators love hiding secrets in machinima
29:00 – Classic game easter eggs (Doom, John Romero)
30:00 – Final thoughts & audience discussion prompt

💡 Key Topics

• Machinima & virtual production
• Garry’s Mod and Source Engine creativity
• Meme culture and absurdist humor
• The Sopranos parody & ambiguous endings
• Easter eggs, cameos, and hidden details
• Old-school vs modern machinima styles

🎧 About the Podcast

Completely Machinima explores the art, technology, and culture of machinima — from experimental shorts to cinematic virtual productions.

Credits -
Co-hosts: Phil Rice, Tracy Harwood, Damien Valentine
Producer/Editor: Phil Rice
Music: Phil Rice & Suno AI

In this episode of the Completely Machinima Podcast, we dive into Hostiles — a stunning Half-Life-inspired machinima short that pushes the boundaries of virtual production, animation, and storytelling.

Originally believed to be created in Source Filmmaker, this cinematic piece was actually made in Garry’s Mod, challenging assumptions about tools, quality, and creativity in the machinima community.

We explore how Hostiles achieves cinematic tension through lighting, sound design, camera work, and animation, while also discussing its deeper impact on perspective, narrative, and audience expectations.

🔥 If you're into machinima, game filmmaking, or virtual cinematography, this episode is packed with insights you don’t want to miss.

⏱️ Timestamps

00:00 – Intro: “Now for something completely machinima”
01:00 – Episode setup & introduction to Hostiles
01:29 – What Hostiles is (Half-Life short + listener recommendation)
02:00 – Cinematic quality: pacing, lighting, and camera language
03:30 – Surprise reveal: made in Garry’s Mod (not Source Filmmaker)
04:30 – Tool stigma & perception in machinima communities
05:30 – Tutorials & giving back to the community
06:30 – Narrative breakdown: tension, atmosphere, and storytelling
08:00 – Sound design & editing analysis
09:05 – Damien’s reaction: “How was this made?”
10:30 – Animation realism & visual quality discussion
12:17 – Garry’s Mod vs Source Filmmaker (technical comparison)
14:00 – Why labeling matters: audience & discoverability strategy
16:30 – Cinematic perspective & emotional immersion
18:00 – The reveal (spoiler-free discussion)
19:30 – Reframing Half-Life soldiers: from enemies to humans
22:00 – Comparing to other machinima interpretations
24:00 – Themes of empathy, perspective, and storytelling
25:30 – Final thoughts & critique (sound design note)

🎧 What We Cover

• Machinima storytelling techniques
• Garry’s Mod vs Source Filmmaker workflows
• Cinematic lighting, animation, and camera movement
• Sound design and tension building
• Narrative perspective in the Half-Life universe
• Community learning through tutorials and sharing

🔔 Subscribe for More

Stay tuned for weekly discussions on:

• Machinima & virtual production
• Game engines as filmmaking tools
• Animation, storytelling, and creative tech

#machinima, #HalfLife, #GarrysMod, #SourceFilmmaker, #virtualproduction, #gamefilmmaking, #animation, #cinematicstorytelling, #SFM, #GMod, #HalfLifemachinima, #indieanimation, #filmanalysis, #sounddesign, #gameenginefilmmaking

Credits -
Co-hosts: Phil Rice, Tracy Harwood, Damien Valentine
Producer/Editor: Phil Rice
Music: Phil Rice & Suno AI

Can Starfield become the next great machinima platform? In this episode of the Completely Machinima Podcast, the team breaks down a fascinating Starfield mod trailer that mixes machinima, virtual production, gameplay cinematics, sci-fi mystery, and mod storytelling.

Damien Valentine brings in “Farseer,” a Starfield mod trailer that feels bigger than a simple showcase — part trailer, part cinematic, part environmental story. Phil Rice, Tracy Harwood, and Ricky Grove unpack what works, what doesn’t, and why Starfield’s modding ecosystem could be a huge opportunity for the future of machinima filmmaking.

The discussion covers Starfield mods, cinematic camera tools, game storytelling, sci-fi horror vibes, Bethesda worldbuilding, and whether Starfield has the ingredients to inspire a new wave of narrative-driven machinima. The panel also compares Starfield to Fallout, Half-Life, Mass Effect, No Man’s Sky, Elite Dangerous, and more.

If you're into machinima, Starfield, game mods, virtual production, cinematic gameplay, or storytelling in games, this episode is for you.

Chapters -
00:00 Intro
01:00 Damien introduces the Starfield pick
01:36 Why this mod trailer stands out
05:01 Phil starts playing Starfield
07:35 Why Starfield is perfect for mods and machinima
09:41 Gameplay footage and cinematic potential
11:02 The trailer’s biggest storytelling weakness
13:58 Why story stakes matter
15:53 Fallout, Half-Life, and narrative motivation
18:10 Starfield’s worldbuilding vs. its story
20:41 Trailer, film, or something in between?
24:05 Tracy on sci-fi atmosphere and cosmic horror
28:50 Why the battle section feels disconnected
31:59 Environmental storytelling as the main character
34:10 What Starfield’s machinima tools can do
36:17 Why camera control is the missing piece
40:32 Damien’s own Starfield roleplay experience
41:17 Phil on the game’s better side quests
44:53 Final thoughts on Starfield’s machinima future

Keywords-
 Starfield machinima, Starfield mod, Starfield mods, machinima podcast, virtual production, Bethesda, sci-fi storytelling, gameplay cinematics, mod trailer, game cinematography, Starfield trailer, machinima filmmaking, environmental storytelling, game narrative, cinematic gaming

Hashtags -
#Starfield #Machinima #GameMods #VirtualProduction #Bethesda #SciFi #Gameplay #Cinematics #NarrativeDesign #Podcast

Credits -
Co-hosts: Phil Rice, Ricky Grove, Damien Valentine, Tracy Harwood
Producer/Editor: Phil Rice
Music: Phil Rice & Suno AI

What happens when real-time graphics stop trying to impress technically and start feeling like cinema? In this episode of And Now For Something Completely Machinima, Phil Rice, Ricky Grove, Tracy Harwood and Damien Valentine explore “Nine” (IX) by Moppi Productions - a landmark 2003 demoscene work that bridges machinima, digital art and real-time filmmaking.

⏱ Chapters -
0:00 Intro
1:01 Welcome & episode overview
2:01 What is the demoscene? (Nine introduction)
8:16 Why Nine is so significant
13:15 How it broke demoscene conventions
17:27 Visual style, pacing & minimalist design
22:30 Art vs technical performance debate
26:03 Demoscene vs machinima
28:49 Story, themes & viewer reactions
33:16 Running the original demo (executable experience)
35:00 Real-time vs rendered controversy
40:05 Origins of the demoscene
43:33 Experimental machinima comparisons
47:20 How Nine was created (technical insights)
52:05 Music, storytelling & standout moments
57:19 Final thoughts

In this episode -

• Why Nine is a landmark demoscene production
• The difference between machinima and demos
• The tension between technical mastery and artistic expression
• Real-time graphics as digital filmmaking
• Why this 2003 work still feels modern

#Machinima #Demoscene #RealtimeAnimation #VirtualProduction #DigitalArt #ExperimentalFilm #AnimationPodcast #RealtimeGraphics #DigitalFilmmaking

Credits -
Co-hosts: Phil Rice, Ricky Grove, Damien Valentine, Tracy Harwood
Producer/Editor: Phil Rice
Music: Phil Rice & Suno AI

What happens when a Twitch streamer can’t talk about a game because of an NDA… so they recreate the experience inside another MMO instead?

In this episode of Now For Something Completely Machinima, Phil Rice, Tracy Harwood, and Damien Valentine unpack a bizarre, brilliant, and surprisingly cinematic machinima created in Final Fantasy XIV that channels the mood of Dune, social media culture, and fan-driven storytelling.

From desert sandworms to a surprise Harkonnen rap battle, this piece blends machinima, AI-assisted music, fan cinema, and musical narrative into something that feels less like gameplay and more like a cinematic essay.

🔍 What we explore in this episode:

• How machinima is evolving through virtual production & MMO worlds
• The creative workaround of NDA restrictions through in-game storytelling
• AI tools in content creation (music, editing, lip sync & workflow)
• Social media satire: rap battles vs Instagram warfare
• Fan cinema vs traditional gameplay videos
• Mood-driven storytelling & algorithm-era audience engagement
• Why this style feels fresh — and maybe a little alien — to longtime creators

Is this the future of machinima… or the algorithm shaping a new visual language?

02:01 Damien’s pick explained: NDA workaround & MMO recreation
03:30 Final Fantasy XIV standing in for Dune Awakening
05:02 First impressions & unusual storytelling style
06:45 Confusion, reactions & the surprise rap moment
07:23 Tracy’s analysis: creator background & AI-assisted music
09:00 A cinematic essay vs traditional gaming content
10:30 Mood, music & musical narrative structure
12:05 Editing rhythm & fan cinema aesthetics
13:37 Is this a new style shaped by the algorithm?
14:48 Lip sync, AI tools & production techniques
16:58 Audience reaction: “I don’t understand… but I’m laughing”
17:48 Discoverability, hashtags & YouTube algorithm behavior
18:55 Release timing & Dune Awakening context
19:18 Dream request: a Harkonnen rap anthem
20:00 Final thoughts & audience feedback invitation

Credits -
Co-hosts: Phil Rice, Damien Valentine, Tracy Harwood
Producer/Editor: Phil Rice
Music: Phil Rice & Suno AI

In Episode 217 of And Now for Something Completely Machinima, we explore “Ersatz” a haunting new solo animated film by Saint Greaver created in Blender’s Eevee engine. Set within a surreal World War I–inspired landscape, the film blends virtual production techniques with painterly concept art aesthetics to create a disturbing, dreamlike vision of war, identity, and memory.

The discussion unpacks the film’s themes of replaceability, dehumanization, and institutional machinery, where bodies are interchangeable and suffering becomes routine. Drawing on cultural memory, surrealist art traditions, and early industrial warfare imagery, the episode examines how the film communicates trauma and systemic violence without explicit politics or historical specificity.

Phil Rice, Tracy Harwood, and Damien Valentine also highlight the production craft behind the film — from its stylized rendering and stop-motion-like animation feel to its exceptional voice performances and unsettling sound design. The hosts reflect on the emotional weight of the work, its historical echoes, and why its bleak, surreal horror feels both timeless and urgently relevant.

A challenging but powerful viewing experience, Ersatz stands out as an important piece of animated storytelling that pushes machinima and virtual filmmaking into deeply thought-provoking territory.

01:15 What Ersatz is and who made it
03:00 Visual style: Blender Eevee & concept-art look
05:00 Story setup & WWI-inspired world
07:30 Surreal horror atmosphere & symbolism
10:00 Themes: replaceability, identity & dehumanization
14:00 Artistic influences & cultural memory of war
18:30 Animation craft & handcrafted aesthetic
21:45 Voice acting & sound design
24:30 Emotional impact & why it’s unsettling
27:45 Endless war & the soldier’s perspective
30:30 Why it’s difficult — and important — to watch
33:30 Historical echoes & WWI parallels
39:00 Interpretation: systems, humanity & meaning
41:15 Final thoughts & significance
 
Credits -
Co-hosts: Phil Rice, Tracy Harwood, Damien Valentine
Producer/Editor: Phil Rice
Music: Phil Rice & Suno AI

In this episode of Completely Machinima, Damien Valentine, Tracy Harwood, and Phil Rice unpack the biggest talking points at the intersection of machinima, AI, and creator rights.

We start with a quick birthday nod to id Software’s 35th anniversary—a foundational influence on game culture and the machinima scene—before diving into the headline debate: the Disney + OpenAI partnership. Tracy breaks down why Disney choosing licensing over litigation is a major signal for how entertainment giants may handle AI training and generation going forward—raising questions around copyright, compensation, and control. The team explores the ripple effects for fan creators: what stays “safe-ish,” what gets riskier when monetization enters the picture, and why platform policy enforcement (YouTube, TikTok, Steam Workshop) may tighten even before the law catches up.

From there, the conversation shifts to practical creator tech: new tools for posing and animation reference, the evolving state of video mocap (including clever ways to capture motion from existing footage), and the emerging frontier of text-to-motion generation. Finally, Phil highlights a standout release for creators: Hytale, a Minecraft-style sandbox game with built-in machinima tools (scriptable cameras, keyframe animation, and more) that could open up huge possibilities for in-engine filmmaking. Damien also points to Surviving Mars as another surprisingly useful source of cinematic footage thanks to its photo mode and camera controls.

The episode closes with two community spotlights: a playlist celebrating machinima creator Frank Fox, and a recommendation for the latest Biggs Trek chapter in the Forbidden Planet series.

01:43 id Software 35th anniversary (Doom/Quake legacy)
02:47 Disney x OpenAI partnership — what’s actually significant
04:10 Copyright, fair use, and why licensing changes the game
06:40 What this could mean for machinima + fan creators
09:10 Platform enforcement & creator program “box” concerns
12:49 Safer inspiration vs risky “Disney-like” framing
14:03 Damien’s take: Disney+ fan AI videos & controlled distribution
16:10 Why Disney might pull the plug (fans outperforming “official”)
19:23 Phil: “productizing” AI output + deal fragility
21:39 Is this basically a legal settlement?
24:41 Detection tech: audio is advanced, video is harder (for now)
28:34 AI backlash trend & audience revulsion
30:20 Case study: “Clair Obscur: Expedition 33” AI controversy
32:12 Star Trek Voyager game: fans reject AI voices
33:05 Aronofsky AI series + public reaction
36:54 Phil’s line: AI as satire, not “real” storytelling
38:05 Portrait Studio Pro (HAELE 3D) — posing + FBX export potential
40:38 Line of Action (drawing reference resource)
41:27 Motion capture options: suits vs video mocap
43:34 Freedom’s tutorial: mocap motion from a video game clip
46:19 Damien’s real-world test: video mocap limits & workarounds
48:59 Text-to-motion is here: Cartwheel “Swing” (watchlist)
52:10 Hytale early access — built-in machinima tools (huge)
58:24 Surviving Mars as a cinematics tool (photo mode + recording)
1:01:21 Frank Fox tribute playlist + Forbidden Planet Ep. 2 shout-out

Credits -
Co-hosts: Phil Rice, Damien Valentine, Tracy Harwood, Ricky Grove
Producer: Damien Valentine
Editor: Phil Rice
Music: Phil Rice and Suno AI

In this episode of And Now for Something Completely Machinima, the team dives deep into the chilling Blender short I Made a Self-Aware Robot by the enigmatic creator Lights Are Off.

Tracy brings the film to the table, praising its haunting realism, uncanny robot design, and smart use of found-footage aesthetics. What begins as a seemingly grounded “scientist vlog” quickly spirals into a modern Frankenstein story—raising powerful questions about consciousness, ethics, and the dangers of unchecked technological ambition.

Damien highlights how the home-built lab setting makes the horror feel disturbingly close to reality, while Phil marvels at the stunning Blender craftsmanship—from hyper-realistic lighting to meticulous set dressing and believable mechanical detail. The group also unpacks the film’s clever use of cameras, surveillance, and direct eye contact to unsettle the viewer.

While everyone agrees the short is visually brilliant and deeply atmospheric, Ricky and Phil note that the story follows familiar sci-fi tropes—leaving them wishing for a bigger twist. Still, with millions of views and a sequel already out, it’s clear this series has struck a nerve with audiences.

Packed with insights on machinima, virtual filmmaking, sound design, horror storytelling, and the ethics of AI and robotics, this episode is a must-watch for creators, filmmakers, and sci-fi fans alike.

Timestamps -

01:36 — Tracy introduces I Made a Self-Aware Robot

03:00 — Plot & Elba explained

06:00 — Frankenstein & ethical themes

09:30 — Sound, camera, and realism

11:43 — Damien on the creepy home lab

14:30 — Creepiest moments (CCTV & eye contact)

16:37 — Phil’s take: story vs. craft

21:00 — Blender breakdown (lighting & detail)

27:21 — Ricky’s reactions & critiques

33:40 — Fourth-wall camera moments

35:06 — Real 1970s robot “The Sensor”

35:14 — Wrap-up & links

Credits -
Co-hosts: Ricky Grove, Phil Rice, Tracy Harwood, Damien Valentine
Producer: Ricky Grove
Editor: Phil Rice
Music: Phil Rice and Suno AI

In this episode of Now for Something Completely Machinima, the team revisits Ozymandias (1999) — one of the earliest and most controversial works of machinima, created by Hugh Hancock and Strange Company using the experimental LithTech Film Producer toolkit.

What begins as a straightforward critique quickly turns into a deeper debate:

👉 Is Ozymandias a “bad film”… or a groundbreaking prototype that helped shape virtual filmmaking?

Ricky challenges the film’s pacing, visuals, and sound, arguing that by today’s standards it feels unfinished and awkward. But Tracy and Phil place the work in its historical context — revealing it as a crucial pivot point where machinima shifted from gameplay recording to intentional, cinematic storytelling inside game engines.

The panel explores:

• How Ozymandias tested the first true machinima production tools
• Why moving sand and free-camera shots were revolutionary at the time
• How this experiment foreshadowed today’s virtual production (Unreal, Source Filmmaker, The Mandalorian, etc.)
• Why the film mattered more as a technical and artistic manifesto than as a polished short film
• Hugh Hancock’s legacy, ambition, and influence on the machinima movement

Along the way, the hosts reminisce about the wild early days of machinima — executable films, hacked tools, screen-recording cameras, and the struggle to share video before YouTube even existed.

Whether you’re a machinima veteran or a newcomer, this episode is a fascinating look at how a rough, experimental short helped open the door to modern virtual filmmaking.

🎬 Watch, debate, and decide for yourself: brilliant milestone… or broken relic?

Time stamps -
01:00 Ricky introduces today’s pick: Ozymandias
02:10 Why the film mattered to early machinima
03:00 Ricky’s harsh rewatch critique
05:56 Damien: likely a LithTech test film
07:57 Ricky pushes back on “test video” idea
09:11 The infamous (hilarious) Archive.org comment
10:19 Tracy reframes Ozymandias as a historic pivot point
15:00 Early virtual filmmaking & camera tools explained
20:07 Pre-YouTube reality and why Film Producer failed commercially
24:36 Phil’s memories of Machinima.com’s homepage
26:30 Phil corrects the record: Strange Company built Film Producer
31:00 Why the “moving sand” was revolutionary in 1999
36:42 Original release was a standalone executable (not video)
38:09 Early capture glitches and screen-recording methods
41:05 Ricky: films “live in time” + call for context on Archive.org
43:03 How long did this take to make?
44:35 Festival nomination (Best Technical Achievement, 2003)
46:10 Tool credits — “Alpha 0.5”
47:00 Skyrim machinima tools & Unreal “Outside the Blocks”
48:20 Show wrap-up + listener email invite

Credits -
Co-hosts: Ricky Grove, Phil Rice, Damien Valentine, Tracy Harwood
Producer: Ricky Grove
Editor: Phil Rice
Music: Phil Rice and Suno AI

Starfield is one of the most cinematic games Bethesda’s ever shipped… so why haven’t we seen much machinima from it? Today we’re looking at a mod that might finally crack that open: a fully built settlement with lore, characters, quests, and surprisingly strong voice acting, presented with a “lore trailer” that feels like a slice-of-life tour through a corporate-controlled mining town. We’ll break down what it gets right, what it’s missing as machinima, and why projects like this might be the new bridge between fandom and professional virtual production.

Starfield has been sitting there looking cinematic… and creators have mostly not used it for machinima. In this ep, we dig into a standout exception by @team fire: an ambitious settlement + narrative mod (Arinya / Yeltsin Corp vibe) that ships with voice acting, lore, quests, factions, and “paid mod” ambitions - plus what that could mean for machinima, virtual production workflows, and the future of creator-made expansions.

We dive into one of the most ambitious Starfield mod creations we’ve seen: a new settlement with lore, characters, quests, factions, and fully voiced performances. 

Why this works:

·       It’s a real Starfield creation with serious craft (environment dressing, lore framing, VO credits).

·       It tees up a bigger convo: “mods as mini-studios,” machinima as a portfolio path (again), and whether Starfield can become a true machinima platform.

·       It has stakes: paid creations, bugs/beta realities, Bethesda updates potentially reshaping the ecosystem.

Timestamps -

01:05 Damien’s pick: the Starfield settlement mod + why it caught our eye
 03:10 What the trailer shows: Arinya, prefab-built scale, and “lived-in” set dressing
 05:25 Lore + story hooks: corporation control, unrest, factions, player choice
 07:45 Machinima critique: why it works as a “lore trailer” (and what’s missing)
 10:05 Camera language: sweeping establishes vs character/coverage (tools or style?)
 12:35 Voice acting & credits: why human performance changes the feel
 15:10 Ambition vs reality: beta bugs, updates, and building a team
 18:05 Paid mod potential: bridge between free mods and official-style expansions
 21:10 Mods as career pipeline: machinima exodus parallels + mod-to-studio pathways
 24:05 Starfield updates/DLC: risk of breaking mods vs reviving interest
 26:35 What this could mean for Starfield as a machinima platform
 28:40 Viewer question: have you played it / what Starfield machinima should we cover?

Credits –

Hosts: Ricky Grove, Phil Rice, Damien Valentine, Tracy Harwood

Producer/Editor: Phil Rice

Music: Phil Rice and Suno AI

What happens when Tolkien’s world, Enya’s music, and cutting-edge virtual performance collide?

In this episode, we explore a breathtaking Second Life film that reimagines “May It Be” as a haunting, hopeful journey through shadow and light. From gothic landscapes and cinematic lighting to an unexpectedly intimate motion-capture reveal, this episode showcases how virtual worlds can deliver not just spectacle, but genuine emotional resonance.

If you love:

·       Lord of the Rings and its timeless theme of hope against darkness

·       Machinima and virtual cinematography at its most poetic

·       Innovative uses of facial mocap and performance in online worlds

·       Discovering undiscovered creative voices with serious talent

…then you won’t want to miss this. 

We dive into a strikingly beautiful piece of Second Life machinima: Anna Kurka’s cinematic cover of Enya’s “May It Be” from The Lord of the Rings: The Fellowship of the Ring. Tracy brings the pick, introducing Anna as a Belgium-based virtual performer who blends singing, storytelling, and atmospheric world-building into emotionally rich visual journeys.

Set in the hauntingly gothic Second Life region “Infinite Darkness,” the film pairs slow, ethereal fly-throughs of ancient forests, ruins, mist, and light with a tender, intimate vocal performance. The hosts explore how the imagery echoes Tolkien’s core themes of darkness and hope, fear and resilience, the liminal space between night and dawn, and how Anna’s more human, grounded interpretation contrasts with Enya’s otherworldly original.

The discussion also turns technical, with a spoiler-friendly deep dive into the surprise ending: a remarkably convincing facial motion-capture performance inside Second Life, raising fascinating questions about virtual production, real-time mocap, and how far user-generated platforms have evolved.

Along the way, the panel reflects on Tolkien’s enduring emotional power, the courage it takes to reinterpret iconic music, and the often-hidden talent within virtual worlds that deserves a much wider audience.

Timestamps –

01:26 Overview of Anna Kirker’s “May It Be” (Enya / Lord of the Rings cover), her background as a Second Life creator and singer, and the cinematic quality of her work. 

06:31 Thematic and musical analysis

10:41 Anna’s background and artistic potential

12:41 Connection to Tolkien’s storytelling

14:31 Personal Tolkien memories

17:11 Spoiler alert and setup for the ending

Credits –

Hosts: Ricky Grove, Phil Rice, Damien Valentine, Tracy Harwood

Producer/Editor: Phil Rice

Music: Phil Rice and Suno AI

This week, we review a supporter-recommended iClone fantasy machinima that surprised us with its polish: “Quest of a Key - Chapter One” by AuroraTrek. We’re always saying we want more story-driven iClone machinima (and fewer tech-demo vibes)… and this one delivers on craft: strong shot selection, confident editing, excellent music cues, and character animation that’s smoother than you’d expect.

But then the conversation gets interesting.

We dig into sound mastering and spatial audio, the difference between “dry” dialogue and believable room tone, how stylized realism can drift into “clay-face” territory, and what happens when a series leans hard into character introductions without giving the audience enough plot hooks to chase. Tracy goes deep on the structure across multiple chapters, and we talk about why view counts can drop when episodes feel like long-form animation sliced into shorts.

We also get into pipeline talk: Daz characters into iClone, motion capture vs animation libraries, and the very real challenge of stepping from an established fan universe (Star Trek / Star Wars) into an original world where you don’t get story shorthand for free.

If you make machinima, virtual production, iClone films, or Unreal/CG shorts, this ep is packed with practical takeaways: pace, hooks, sound space, visual texture, and how to reveal character through action inside the plot.

👇 Join the discussion: did you watch all the chapters, and do you feel the “quest” kicks in soon enough?

Timestamps

00:00 Cold open – we found story-driven iClone
 01:00 Intro + this week’s pick (supporter recommendation)
 03:00 First impressions: craft, animation, voice acting, direction
 06:45 Sound nerd corner: mastering, stereo placement, reverb/space
 08:45 Visual style: realism vs stylized realism, texture “clay-face” notes
 10:00 Pipeline talk: motion capture, Daz → iClone, avoiding clipping
 14:19 Series structure: shorts vs long-form, pacing, “padding” vs plot
 33:46 Views vs hooks: what the audience drop-off might signal
 42:27 Fan universe vs original IP: why discovery is harder without shorthand
 46:26 Creator lesson: reveal character through story action
 50:00 Wrap + audience question

Credits –

Hosts: Ricky Grove, Phil Rice, Damien Valentine, Tracy Harwood

Producer: Ricky Grove

Editor: Phil Rice

Music: Phil Rice and Suno AI

We begin with a heartfelt tribute to the late Frank Fox — filmmaker, musician, and beloved member of the machinima community. From his classic MovieStorm film Morning Run Amok to his live music performances as “Frank Leonatra,” we reflect on his creativity, generosity, and the lasting impact he had on virtual filmmaking and the people who loved him.

Then we dive deep into one of the most visually unique and emotionally powerful machinima ever made:

🎥 “Among Fables and Men” (2007) by Tobias “Dopefish” Lundmark.

Created in World of Warcraft using an experimental motion-comic style, this five-minute film is a masterclass in:

·       Visual storytelling without dialogue

·       Music-driven narrative

·       Surreal atmosphere and symbolic design

·       Why bold artistic style can outlive “realistic” graphics

We explore its production history, its Japanese folklore and graphic-novel influences, its innovative camera and compositing techniques, and why it still feels fresh nearly 20 years later.

If you love:
✨ Machinima history 

🎮 Game-based filmmaking

🎼 Cinematic sound design
 🎨 Experimental visual style
 📽️ Virtual production as true art

…this episode is for you.

In the history of machinima, Among Fables and Men stands out as a quiet but profound turning point, not because it pushed technical realism, but because it expanded the very idea of what machinima could be. At a time when most creators were striving to replicate the look and grammar of live-action cinema - dialogue, shot-reverse-shot editing, lip-sync, and narrative realism - Tobias “Dopefish” Lundmark chose a radically different path. He treated the game engine not as a virtual film set, but as raw visual material, closer to animation cels, comic panels, and theatrical tableaux than to conventional cinematography.

The film’s motion-comic style, its use of cut-out figures moving through layered 3D space, its panel-like framing, and its subtle depth illusions created a hybrid language that sat somewhere between graphic novels, animation, and experimental cinema. By refusing to anchor the story in spoken dialogue or narration, Lundmark allowed music, rhythm, and sound design to become the primary storytelling forces. Meaning emerges through atmosphere and emotional progression rather than through explicit plot mechanics, placing the work in the tradition of visual music and art film rather than scripted drama.

This stylization also gave the film a timeless quality. While many machinima from the mid-2000s now appear dated as game engines evolved, Among Fables and Men still feels fresh because it is not trying to simulate reality. Its abstraction frees it from technological obsolescence and instead roots it in artistic intention. The world of Warcraft becomes a symbolic landscape rather than a literal one, a dreamspace shaped by folklore, surrealism, and the logic of music rather than by gameplay.

Lundmark’s innovation lies in this shift of perspective. He did not ask how to make a game look more like a movie; he asked what kinds of cinema could only exist inside a game engine. By combining modded camera tools, compositing, and graphic design principles, he constructed a personal visual grammar that was neither traditional animation nor traditional machinima. The intense, constraint-driven production process, created in a matter of days, without final voice performances, pushed the film toward suggestion, mood, and symbolic imagery, turning limitation into aesthetic identity.

In doing so, Tobias Lundmark helped demonstrate that machinima could be more than recorded performance or digital theater. It could be poetic, abstract, musically structured, and formally experimental. Among Fables and Men showed that virtual worlds could host not only stories, but also atmosphere, metaphor, and visual philosophy, opening the door for machinima to be understood not just as a technique, but as a legitimate and distinctive cinematic art form.

🕒 Jump to key moments with our chapter timestamps
 💬 Join the discussion in the comments

Timestamps –

12:00 Visual Style & Motion Comic Technique

15:00 Cultural Analysis, including Japanese folklore (Nuricabe, Alice in Wonderland parallels), Graphic novel and Flash animation influences, Sound design as narrative driver, the role of experimental machinima in digital art history, the Warcraft camera tools that made the film possible

23:00 Production Challenges & Artistic Choices

27:30 Anime, Visual Economy & Stylization

31:30 Timelessness vs. Realism in Machinima

35:30 Reflections & Creative Inspiration

Credits –

Hosts: Ricky Grove, Phil Rice, Damien Valentine, Tracy Harwood

Producer: Ricky Grove

Editor: Phil Rice

Music: Phil Rice and Suno AI

This week on And Now for Something Completely Machinima, snacks are flowing, pretzels are implied, and Tracy throws us a curveball of a film pick. 🍪🎬

We dive into “Demoram” by Livviathen, a lightning-fast, 90-second burst of animated chaos made in Team Fortress 2 and Garry’s Mod—and somehow packed with more storytelling, personality, and punch than films ten times its length.

At first glance, it looks like old-school machinima. But look again, and you’ll spot razor-sharp animation choices, perfectly timed sound design, and a wild, Warner Bros.–style cartoon energy that feels both nostalgic and fresh. A furious Scottish cyclops ram, a doomed Scout, explosive slapstick violence, and blink-and-you-miss-it details all collide in a miniature masterpiece.

We talk about:

• Why less than half the action is actually shown—and why that makes it brilliant
• How sound design carries the story as much as the visuals
• The genius of using gaps, cuts, and implication instead of over-animating
• Why Livviathen’s claim of “not being an animator” absolutely does not convince us
• And how this short channels Bugs Bunny, Road Runner, and Ren & Stimpy… inside Source Filmmaker

Plus, we explore Livviathen’s behind-the-scenes channel, her creature work (including the unsettlingly awesome Spantis), and why her workflow proves that instinct and timing matter just as much as polish.

Short, silly, ferocious, and shockingly smart—Demoram is proof that machinima can still surprise us.

👉 Watch along, then tell us: what do YOU call someone who animates like this if not an animator?

Credits -
Co-hosts: Phil Rice, Tracy Harwood, Damien Valentine
Producer/Editor: Phil Rice
Music: Phil Rice & Suno AI

🎮 What if the “bad ending” of Half-Life… wasn’t the end at all?

In this episode of Completely Machinima, Phil, Tracy, and Damien dive into one of gaming’s most legendary “what ifs.” We explore a fan-made Half-Life mod that does the unthinkable: it turns the game’s infamous impossible ending—the one where you’re meant to die horribly—into a brutal but beatable continuation of the story.

Instead of accepting your fate at the hands of the mysterious G-Man, this mod asks: what if you survived? The result is a fascinating piece of fan fiction-meets-game design, complete with eerie “backrooms” vibes, authentic Half-Life visuals, and a surprising amount of new gameplay—made nearly 20 years after the original game launched.

Along the way, we talk about:

• Why Half-Life’s world still inspires creators decades later
• The passion (not profit!) behind modding communities
• How mods act as hidden résumés for future game developers
• Steam, new hardware rumors, and the eternal hope for Half-Life 3
• Plus a bonus machinima pick featuring Ryan Gosling awkwardly—but brilliantly—dropped into Half-Life 2 😄

Whether you’re a hardcore Half-Life fan, a modding nerd, or just love stories about creative communities keeping worlds alive long past their expiration date, this episode is all about the joy of saying: “What if we didn’t stop there?”

👉 Let us know what you think on our socials—tell us which game ending you wish someone would rewrite.

Credits -
Co-hosts: Phil Rice, Damien Valentine, Tracy Harwood
Producer/Editor: Phil Rice
Music: Phil Rice & Suno AI

🎬 This week on And Now for Something Completely Machinima, we’re shaking (and stirring) things up with a deep dive into Benjamin Tuttle’s long-awaited James Bond machinima, Endgame – Part One 🍸💥

Host Damien Valentine kicks things off by revealing he actually voices Q in the film (recorded years ago!), before the panel digs into why this project is such a standout. Created in iClone and rendered in Unreal Engine, Endgame delivers a Bond look and feel that’s grounded, stylish, and refreshingly not sci-fi flashy—London actually looks like London, and the tone leans classic rather than futuristic.

🎶 From its full-length Bond-style title sequence and original theme song to slick action choreography, witty humor, and loving nods to Bond lore (Spectre, Q, M, Cold War vibes, and yes—the car), we agree: this is a heartfelt homage made with serious craft. There’s also a touching dedication to Ken White, honoring the machinima community that helped shape projects like this.

Of course, no good Bond briefing is complete without critique 👀
We debate storytelling clarity, episodic structure, sound mixing, facial animation quirks, and whether Part One leaves us with enough of a cliffhanger to fully ignite anticipation for what comes next.

🎤 Along the way, we talk:

• What makes a Bond feel like Bond (without copying the originals)
• Machinima’s evolution as a filmmaking medium
• Unreal Engine vs iClone (and why skill matters more than tools)
• Why this project is a major proof-of-concept for solo creators

💡 Bottom line: Endgame – Part One is ambitious, polished, and packed with love for both James Bond and machinima—and it sparks a lively, thoughtful discussion you won’t want to miss.

👉 Grab your martini, hit play, and join us for one of our most energetic episodes yet... starting 2026 with a BANG!

Credits -
Co-hosts: Ricky Grove, Damien Valentine, Phil Rice, Tracy Harwood
Producer: Damien Valentine
Editor: Phil Rice
Music: Phil Rice & Suno AI

🚍 This Week on Now for Something Completely Machinima 🎮

What if the most boring video game ever made was actually a goldmine for creativity?

This episode kicks off with Ricky’s unconventional pick: Desert Bus, a notorious 1990s “anti-game” by Penn & Teller where you drive a bus from Tucson to Las Vegas… in real time… for eight hours… and earn one point. That’s it. No explosions. No shortcuts. No pause button. Just desert, drift, and existential dread.

But instead of dismissing it as pointless, we flip the script. What if boredom is the point? What if empty, quiet, repetitive spaces are actually perfect canvases for machinima storytelling?

From comedy-driven conversations and Tarantino-style dialogue, to slice-of-life sci-fi journeys, existential bus rides, lonely astronauts, AI companions with zero empathy, and even an eight-hour “Are we there yet?” gag, the group explores how creativity thrives when spectacle disappears.

Along the way, they we into:

• Why originality matters more than flashy assets
• How boredom fuels imagination
• Using obscure, “weird,” or abandoned games as storytelling tools
• Desert Bus’s surprising cult following and charity legacy (yes, millions raised!)
• Why machinima has always been about writing, ideas, and voice more than graphics

The big takeaway?

 🎨 Creativity isn’t about having more tools — it’s about seeing possibilities where others see nothing.

If you’ve ever wondered how to turn the dullest game, the quietest moment, or the emptiest road into a compelling story, this episode is for you.

Buckle up. It’s a long ride… and that’s where the good ideas start.

And, for good measure: HAPPY CHRISTMAS!

Credits -
Co-hosts: Ricky Grove, Phil Rice, Damien Valentine, Tracy Harwood
Producer: Ricky Grove
Editor: Phil Rice
Music: Phil Rice & Suno AI

This week on the podcast, we’re diving into a grab-bag of big creator news, starting with YouTube, and yes… the “slop” situation. 

Tracy kicks things off with what looks like YouTube’s latest attempt to clean house: platform changes that claim to improve privacy and the viewing experience, but also mess with how videos behave when embedded on third-party sites. If you stream shows inside places like Second Life, that’s a real headache, because some embeds and API-based workarounds are suddenly unreliable or broken. 

But the bigger story? YouTube appears to be cracking down on the explosion of low-effort, mass-generated content. The buzz is that Gemini is being used to evaluate whether videos look human-made, original, and honestly presented - plus there’s talk of internal “trust scores” that creators can’t actually see, but which may influence how channels are treated behind the scenes. Tracy even tests how an AI describes our channel, and it basically nails the vibe: a legit passion-project podcast with deep experience… while also very clearly not the unrelated, controversy-riddled “Machinima Inc” from back in the day. 

Phil jumps in to untangle the embed drama: it may not be “AI policy” so much as an ad-delivery and revenue control move because some embedded browsers can bypass ads, and Second Life gets caught in the crossfire. Workarounds exist (including the very ironic “embed it somewhere else first” method), and Vimeo comes up as an alternative… but with price hikes that feel more “premium platform” than creator-friendly. Locked-in subscriptions, anyone? 

Then it’s off to the creative tools corner: Phil’s been deep in Blender, and he’s found some very machinima developments, like a third-person controller kit that basically turns Blender into a game-like character puppeteering environment. On top of that, there’s a newly released Blender cloth-building and simulation tool that could become a budget-friendly alternative to pricey standards like Marvelous Designer - huge potential for indie creators who want great-looking outfits without a studio budget. 

From there, the conversation swings to Reallusion’s latest move: Video Mocap, turning ordinary video footage into motion capture data, integrated straight into iClone’s workflow. The group talks practical realities (camera framing, background contrast, space constraints, upper-body capture modes) and why this could be a game-changer for animators who don’t have mocap suits lying around. 

We also touch on Unreal Engine’s rapid evolution and its ever-improving animation tools—plus the eternal question: with tech this powerful, why aren’t we seeing more great films made with it? 

Damien drops some rock-solid creator advice: don’t try to learn new tools by making your magnum opus. Make a short “training film,” and if you switch platforms… remake it. Same story, new tech, better skills. Simple, smart, and honestly kind of brilliant. 

Finally, we hit a spicy AI update: major AI music platforms (Suno and Udio) have reportedly reached settlements with record labels, meaning they’ll rework how training and licensing works going forward. That could reshape what “responsible” AI music use looks like in 2026 - and what it’ll cost creators. And to wrap up on a lighter note, there’s a shoutout to NeuralVIZ and a fun character-driven sci-fi project, The Adventures of Remo Green, as a reminder that experimentation can still be entertaining (and weirdly impressive). 

And that’s the episode: YouTube changes, creator workarounds, new animation toys, and the future of AI tools, served with equal parts curiosity and chaos. 

Timestamps 
03:10 – “Slop” crackdown: why YouTube is cleaning house + channels disappearing since mid-November 
05:10 – The mystery “trust score”: internal channel metric creators can’t see 
12:40 – Phil’s Blender deep dive: from pass-through tool to real production work 
18:45 – Damien’s Star Wars uniform struggle: accuracy vs what’s actually available 
22:55 – Realusion Video Mocap: turning video footage into usable motion capture inside iClone 
27:05 – Upper-body-only mode: more practical capture for dialogue scenes 
32:10 – Learning strategy: don’t take a 30-hour course—learn by solving what blocks you 
40:05 – AI music legal shakeup: Suno + Udio settlements with major labels (and what it changes) 
44:35 – What about indie creators outside big catalogs? 
46:40 – Why smaller AI music tools may get crushed (no cash for lawsuits) 
51:55 – Looking ahead: what shifts in 2026 might bring 

Contact: talk@completelymachinima.com 
Show notes: Drop comments on socials — we love hearing what you’re working on. 

Credits - Co-hosts: Phil Rice, Tracy Harwood, Damien Valentine Editor/Producer: Phil Rice Music: Phil Rice & SunoAI

A special ep but unfortunately for the main content, most of this you need to hop on to our YouTube channel to watch as its mainly video footage... here is the intro by Tracy, with part of Paul Marino's keynote from his 2007 Introduction to the Machinima Europe Film Festival and the occasional part of a conversation.  Enjoy nonetheless.

Credits -
Host: Tracy Harwood
Editor: Phil Rice
Producer: Phil Rice (introduction); Lit Fuse Productions (content)
Music: Phil Rice & Suno AI (introduction); Lit Fuse Productions (content)

On this episode of And Now For Something Completely Machinima, Damien, Tracy and Ricky dive into one of Machinima.com’s most unexpected gems: the documentary series “All Your History Are Belong To Us”, focusing on the Stamper brothers and their legendary studio, Rare. 

💬 We talk about how the series charts Rare’s rise from a small UK outfit in Ashby-de-la-Zouch to a powerhouse behind classics like Donkey Kong Country, GoldenEye 007, and later Sea of Thieves – highlighting their pioneering use of pre-rendered 3D graphics and their influence on console FPS games. Ricky explains why, despite his misgivings about machinima.com, this more serious, low-flash, history-focused series stands out as a true passion project by writer/director Nicholas Werner, packed with fascinating early game footage. 

Tracy brings in her deep-dive research: the meme origins of the title, the messy archival trail across YouTube, Rooster Teeth and the Internet Archive, the handover of the series, and why such valuable historical content never hit the popularity Machinima.com wanted. Together, we explore the cultural importance of the show, Rare’s place in UK games history, and why All Your History is now a kind of hidden treasure for anyone interested in game development and machinima’s legacy — all while Phil is, of course, busy “moving to Mars.”

Credits 
Hosts: Ricky Grove, Damien Valentine, Tracy Harwood
Producer: Damien Valentine
Editor: Phil Rice
Music: Phil Rice & Suno AI

In this episode of Completely Machinima, hosts Phil Rice, Tracy Harwood, and Damien Valentine explore the stunning AI-powered operatic machinima “Arido Taurajo” — a groundbreaking short film created by Chantal Harvey (aka Mamachinima) in collaboration with digital artist James Morgan, AI composer Roboccini and soprano/AI researcher Maya Ackerman, among others.

🎮 About the Film:
Set in the World of Warcraft universe, Arido Taurajo tells the story of Dahlia, a female warrior torn between family life and adventure. The film combines AI-generated music with human performance, blending digital game visuals and classical opera in a visually rich and emotionally resonant experience.

💡 Discussion Highlights:

• The role of AI in creative filmmaking and music generation.
• How Roboccini, trained on Puccini operas, composed the film’s aria.
• Chantal Harvey’s filmmaking process inside World of Warcraft.
• Insights into AI ethics, creative authorship, and collaboration.
• The film’s connection to the EU COST Action Grassroots of Digital Europe (GRADE) project, celebrating women and minorities in creative technology.

✨ Whether you’re into AI art, machinima, digital filmmaking, or World of Warcraft, this episode dives deep into the fusion of technology, music, and storytelling.

Credits -

🎙️ Hosts: Phil Rice, Tracy Harwood, and Damien Valentine
Producer/Editor: Phil Rice
🎵 Music: Phil Rice & Suno AI

#Machinima #CompletelyMachinima #AIArt #ArtificialIntelligence #AIMusic #WorldofWarcraft #ChantalHarvey #MayaAckerman #DigitalArt #FanFilm #VirtualProduction #AIOpera #CreativeAI #MachinimaPodcast #AridoTaurajo

In this episode of Completely Machinima, hosts Phil Rice, Tracy Harwood, and Damien Valentine review two creative Star Citizen machinima commercials — Dumpers Depot and Big Benny’s Grab Eats — both made for a Star Citizen video contest.

They explore how these 45-second in-game ads show off community creativity, storytelling, and production skills. Tracy breaks down what made Dumpers Depot Commercial more sophisticated in design and sound, while Big Benny’s... Grab Eat took home the win with its humor and clever use of Star Citizen lore.

💬 In This Episode:

• Star Citizen machinima film analysis: Dumpers Depot vs Big Benny’s Grab Eat
• How short-form machinima builds game lore and community engagement
• The potential for fan contests to uncover new creative talent
• Ideas for a future Completely Machinima short film contest

🎮 Whether you’re a Star Citizen fan, machinima creator, or just love game-based filmmaking, this episode dives into how fan films bring virtual worlds to life.

#StarCitizen #Machinima #CompletelyMachinima #FanFilm #GameFilm #DumpersDepot #BigBennys #StarCitizenMachinima #GameContest #ShortFilm #Podcast

Credits -
Hosts: Phil Rice, Damien Valentine, Tracy Harwood
Editor/Producer: Phil Rice
Music: Phil Rice & Suno AI

We're beginning Season 6 with one of the best machinima-animated shorts we've ever seen (probably)!

🎥 Back to the Future UNHINGED, Machinima Film Made in Blender 

In this episode of The Completely Machinima Podcast, hosts Phil Rice, Damien Valentine, and Tracy Harwood review “Back to the Future Unhinged”, a viral machinima short film by Landon’s Animation Wheelhouse, created entirely in Blender 3D.

This chaotic, hilarious reimagining of Doc Brown and Marty’s adventures has racked up 700,000+ views and showcases incredible 3D animation, storytelling, and sound design. It’s packed with visual gags, cinematic camera work, and even a Doom scream!

🎬 What You’ll Hear in This Episode:

• The brilliance behind Back to the Future Unhinged and why it feels both planned and chaotic
• How Landon built the film’s world entirely in Blender (not a video game engine!)
• The hosts’ breakdown of the film’s humor, detail, and love for the original trilogy
• Landon’s backstory as a young animator with huge potential in film and game design
• The film’s connection to the 40th anniversary of Back to the Future
• Why even Dr. Helen Sharman, the UK’s first astronaut, reacted to the film!

Credits -
Speakers: Phil Rice, Tracy Harwood, Damien Valentine
Editor/Producer: Phil Rice
Music: Phil Rice & Suno AI

🎬 Ricky’s Wonderful World of Sound – Footsteps 

In episode 5 of our Maker Series, Ricky Grove explores the often-overlooked power of footstep sound design — and how something as simple as a single step can define mood, build tension, and reveal character. 

👣 What You’ll Learn: 
How footstep sounds convey location, emotion, and suspense in film. 
Why footsteps in the Spanish horror series 30 Coins masterfully foreshadow violence. 
The challenges of using video game sound libraries for cinematic sound design. 
Practical tips on recording and manipulating ambient sounds for realism. 
How to find free, high-quality sounds using Creative Commons resources like freesound.org 

🎧 Ricky breaks down how to use sound not just as background, but as storytelling — helping filmmakers, sound designers, and creators elevate their craft through the language of footsteps. 

#SoundDesign #Filmmaking #MakerSeries #RickyGrove #FilmSound #FoleyArt #AudioDesign #HorrorFilm #CinematicSound #CreativeCommons #FreeSound #30Coins #Suspense #IndieFilm #FilmTips #machinima 

About Ricky Grove 
Ricky Grove is an award-winning actor, director, voice artist, and sound designer with decades of experience in stage, film, and virtual production. 

After earning his BFA in Directing from Arizona State University and a Master’s in Acting from the Yale School of Drama, Ricky built a rich career in theatre and television, appearing in works such as Army of Darkness and ER. In the late 1990s, he became a pioneer in the machinima community, collaborating with trailblazers like Hugh Hancock, Phil Rice, and Jason Choi. 

His contributions as a voice director, actor, and sound designer have shaped many award-winning early machinima films. He’s hosted festivals, championed the art form, and continues to share his passion as co-host of the Completely Machinima Podcast. 

The first episodes of Ricky’s Wonderful World of Sound were originally created for the early-2000s machinima podcast The Overcast. This updated series expands his original teachings, offering timeless advice for creating powerful sound in machinima. 

Credits - 
Speaker / Producer / Sound Editor: Ricky Grove 
Visuals & Music: Phil Rice 

🎃 Halloween Special | Ricky’s Wonderful World of Sounds: MONSTERS! 👹

This Halloween, step into the dark side of Ricky’s Wonderful World of Sounds — where we explore the terrifying art of monster sound design! 🧟‍♂️

What do monsters really sound like? From the primal screeches that haunted early humans to the eerie, unearthly noises that send chills down modern audiences’ spines — this episode reveals how sound designers craft the perfect scare.

Discover:
 🔊 Why you should hear the monster before you see it
🦴 How altered animal and environmental sounds create fear
🧬 The science of sound that taps into our instinctive fight-or-flight response
🎥 Classic monster sound examples from “Them!”, Godzilla, Predator, The Exorcist, and more

Whether you’re a filmmaker, sound designer, or just a Halloween horror fan, this episode will make you listen to fear in a whole new way.

💀 Subscribe, turn up the volume, and enter the world where sound becomes terror.

Ricky Grove shares his expert insights on using ambient sound to bring machinima to life, offering practical tips and creative ideas you can apply to your own projects. Whether you’re crafting your first indie animation or refining your cinematic game scenes, you’ll be inspired and better equipped to design unforgettable soundscapes.

About Ricky Grove
Ricky Grove is an award-winning actor, director, voice artist, and sound designer with decades of experience in stage, film, and virtual production. After earning his BFA in Directing from Arizona State University and a Master’s in Acting from the Yale School of Drama, Ricky built a rich career in theatre and television, appearing in works such as Army of Darkness and ER.

In the late 1990s, he became a pioneer in the machinima community, collaborating with trailblazers like Hugh Hancock, Phil Rice, and Jason Choi. His contributions as a voice director, actor, and sound designer have shaped many award-winning early machinima films. He’s hosted festivals, championed the art form, and continues to share his passion as co-host of the Completely Machinima Podcast.

The first episodes of Ricky’s Wonderful World of Sound were originally created for the early-2000s machinima podcast The Overcast. This updated series expands his original teachings, offering timeless advice for creating powerful sound in machinima.

🎧 Tip: For the best experience, close your eyes and immerse yourself in Ricky’s words.

Credits

• Speaker / Producer / Sound Editor: Ricky Grove
• Visuals, Monsters & Music: Phil Rice

#Machinima #SoundDesign #Filmmaking #3DAnimation #GameEngines #MonsterSounds #HorrorMovies #IndieFilm #VoiceActing 

🕯️ Maker Series: Phil’s Music Notes – [Horror] Intervals 👻 

🎃 A pre-Halloween special exploring the dark side of sound. 

At its core, music is a game of intervals — the spaces between notes that define every melody, every emotion. Even without musical training, we instinctively recognize the cheerful sound of a major chord or the melancholy of a minor. But some intervals go far beyond sad or happy… some are unnerving, unsettling, even evil. 

In this pre-Halloween edition of Phil’s Music Notes, we dive into the tritone, the infamous “Devil’s Interval.” Once banned by tradition and feared for its dissonance, this interval has haunted music for centuries — from John Williams’ shark-infested tension in Jaws, to John Carpenter’s chilling Halloween theme, to the thunder of Holst’s Mars, the chaos of Mussorgsky’s Night on Bald Mountain, and the heavy riffs of Black Sabbath and Metallica. 🎸 

But there’s more to this sinister sound — it’s also at the heart of jazz harmony. Those lush, complex 7th chords you hear? They’re built on the same mysterious tritone. The very interval once deemed forbidden became the key to modern expression. In this episode, we’ll explore how this interval transformed from symbol of darkness to a cornerstone of musical color — and how you can use it to bring new life (or afterlife 👀) to your own compositions. For a full list of playlist Phil refers to, go to our Show Notes here: https://completelymachinima.com/maker-series-e2-phils-music-notes-horror-intervals/ 

🎧 About Phil Rice aka @zsOverman 

Phil Rice is a composer, multi-instrumentalist, filmmaker, and storyteller whose creative work bridges the worlds of music, technology, and narrative art. With a background spanning rock, jazz, and digital media, Phil brings a uniquely analytical yet deeply emotional perspective to music theory and composition. His Maker Series: Phil’s Music Notes explores the building blocks of sound and how they shape the way we feel, think, and create — from timeless harmonic traditions to modern experimental sounds. Phil’s original music has appeared in independent films, multimedia projects, and his own albums, including Mad Hominem, where his song “Walking Papers” features a deliberate use of the tritone explored in this episode. 

Through his work, Phil continues to celebrate the craftsmanship and curiosity at the heart of making music. 

🧠 Listen. Learn. Create. Subscribe for more reviews, tips and hints 🔔 Don’t miss the next deep dive into the world where sound meets story.

For a full list of works referenced in this episode, go to our show notes web page.

Credits -
Producer/Editor: Phil Rice
Music: Phil Rice 

#Makerseries #PhilsMusicNotes #HalloweenSpecial #MusicTheory #Tritone #DevilsInterval #HorrorMusic #JazzHarmony #FilmScore #Composing #MusicEducation #PhilRice

How do you make virtual worlds sound real? 🎧

In this episode of Ricky’s Wonderful World of Sound, Ricky Grove reveals the secrets of sound frequency—the subtle audio magic that transforms machinima and 3D game-engine films into unforgettable experiences. Perfect for filmmakers, animators, and sound lovers alike.

🎬 Ricky’s Wonderful World of Sound –  Ambient Sound in Machinima

Discover how sound transforms storytelling in filmmaking, with a deep dive into frequency—the subtle audio that sets mood, builds atmosphere, and immerses your audience. This episode focuses on machinima—films created using 3D game engines and virtual worlds—making it a must-watch for filmmakers, sound designers, game creators, and animation enthusiasts.

Ricky Grove shares his expert insights on using sound frequency to bring machinima to life, offering practical tips and creative ideas you can apply to your own projects. Whether you’re crafting your first indie animation or refining your cinematic game scenes, you’ll be inspired and better equipped to design unforgettable soundscapes.

About Ricky Grove
Ricky Grove is an award-winning actor, director, voice artist, and sound designer with decades of experience in stage, film, and virtual production. After earning his BFA in Directing from Arizona State University and a Master’s in Acting from the Yale School of Drama, Ricky built a rich career in theatre and television, appearing in works such as Army of Darkness and ER.

In the late 1990s, he became a pioneer in the machinima community, collaborating with trailblazers like Hugh Hancock, Phil Rice, and Jason Choi. His contributions as a voice director, actor, and sound designer have shaped many award-winning early machinima films. He’s hosted festivals, championed the art form, and continues to share his passion as co-host of the Completely Machinima Podcast.

The first episodes of Ricky’s Wonderful World of Sound were originally created for the early-2000s machinima podcast The Overcast. This updated series expands his original teachings, offering timeless advice for creating powerful sound in machinima.

🎧 Tip: For the best experience, close your eyes and immerse yourself in Ricky’s words.

Credits

• Speaker / Producer / Sound Editor: Ricky Grove
• Visuals & Music: Phil Rice

#Machinima #SoundDesign #Filmmaking #3DAnimation #GameEngines #AmbientSound #VirtualWorlds #IndieFilm #VoiceActing

How do you make virtual worlds sound real? 🎧

In this episode of Ricky’s Wonderful World of Sound, Ricky Grove reveals the secrets of ambient sound—the subtle audio magic that transforms machinima and 3D game-engine films into unforgettable experiences. Perfect for filmmakers, animators, and sound lovers alike.

🎬 Ricky’s Wonderful World of Sound – Episode: Ambient Sound in Machinima

Discover how sound transforms storytelling in filmmaking, with a deep dive into ambient sound—the subtle audio that sets mood, builds atmosphere, and immerses your audience. This episode focuses on machinima—films created using 3D game engines and virtual worlds—making it a must-watch for filmmakers, sound designers, game creators, and animation enthusiasts.

Ricky Grove shares his expert insights on using ambient sound to bring machinima to life, offering practical tips and creative ideas you can apply to your own projects. Whether you’re crafting your first indie animation or refining your cinematic game scenes, you’ll be inspired and better equipped to design unforgettable soundscapes.

About Ricky Grove
Ricky Grove is an award-winning actor, director, voice artist, and sound designer with decades of experience in stage, film, and virtual production. After earning his BFA in Directing from Arizona State University and a Master’s in Acting from the Yale School of Drama, Ricky built a rich career in theatre and television, appearing in works such as Army of Darkness and ER.

In the late 1990s, he became a pioneer in the machinima community, collaborating with trailblazers like Hugh Hancock, Phil Rice, and Jason Choi. His contributions as a voice director, actor, and sound designer have shaped many award-winning early machinima films. He’s hosted festivals, championed the art form, and continues to share his passion as co-host of the Completely Machinima Podcast.

The first episodes of Ricky’s Wonderful World of Sound were originally created for the early-2000s machinima podcast The Overcast. This updated series expands his original teachings, offering timeless advice for creating powerful sound in machinima.

🎧 Tip: For the best experience, close your eyes and immerse yourself in Ricky’s words.

Credits

• Speaker / Producer / Sound Editor: Ricky Grove
• Visuals & Music: Phil Rice

#Machinima #SoundDesign #Filmmaking #3DAnimation #GameEngines #AmbientSound #VirtualWorlds #IndieFilm #VoiceActing

This week, we continue our discussion, reflecting on Season 5 and our predictions for 2026.... yep, sure is a lot going on in the world of #machinima! Do add your own thoughts into the comments (on our show notes).

1:01 Our predictions for 2026
1:10 Tracy’s thoughts!
4:26 A quick interjection on the Minecraft short we reviewed
6:47 Damien’s views and perspective on tools being used
7:38 Ricky’s prediction on genAI and it’s layering out and ethical approaches
10:27 Who is the world’s smartest dumb person?! Phil tees up some fab analogies – who is going to keep golfing?
22:30 The joy of machinima!
27:31 Killing off the golden goose
28:17 Creators we look forward to seeing:  ⁨@Dominzki⁩ ⁨@thebizthebiz⁩ ⁨@biggstrek⁩ among others
30:00 Celebrating  ⁨@DarthAngelus⁩ achievements with Heir to the Empire – a ‘big’ production project completed in machinima is a rare thing!
36:08 Ricky’s final wishes for 2026:  ⁨@NeuralViz⁩ figures out how to bring Prag Snarbo back!
36:38 Exciting new CM episodes introduced – The Wonderful World of Sound by  ⁨@RickyGrove⁩ and  ⁨@zsOverman⁩

Credits -
Speakers: Ricky Grove, Phil Rice, Damien Valentine, Tracy Harwood 
Producer: Tracy Harwood 
Editor: Phil Rice 
Music: Phil Rice & SunoAI

In this first part of our 200th episode of Completely Machinima Podcast, Ricky highlights ⁨@NeuralViz⁩ AI-driven films as a significant advancement, while Phil praised the fast-paced, subtle social commentary. We discuss legal developments affecting AI use, such as Warner Brothers suing Midjourney. The success of Blender's "Flow" at the Oscars is noted, emphasizing the growing capabilities of open-source tools. The conversation also touches on the breadth of aesthetic approaches to machinima projects, the rise of big-budget projects like "Predator: Killer of Killers," and the evolving role of generative AI in storytelling. Tune into next week's part B to hear about our predictions for next year!

Credits - 
Speakers: Phil Rice, Ricky Grove, Tracy Harwood, Damien Valentine 
Producer: Tracy Harwood 
Editor: Phil Rice 
Music: Phil Rice and SunoAI

This is our final film pick for Season 5, and it stimulates quite a discussion. The film is a concept test of tools and techniques, but the story and aesthetic is less inspiring. Check out our thoughts and do add your own comments below.

1:47 Introduction to Reflekt by @derunique
4:00 Anachronistically broken 
10:25 Gelling the story? 
11:54 The aesthetic of Unreal 
13:19 Who is the apocalyptic soldier Unreal tutor? 
14:00 The attraction of Unreal – its all about the technology, and little about the story 
15:02 Comparison to Project Zomboid movie (S5 ep 193) 
15:40 Camera work in Unreal is uninspiring! 
18:12 Prazinburke Ridge remains the outstanding Unreal film we’ve seen 
18:22 Lighting is a standout, ambiguity and some suggestions 
25:31 Speaking vs talking to self, and quality and use of the sound library 
33:11 Surrealism and uncanny are some of the most creative ideas 
37:35 Why is the Unreal creator community just not hit the high notes just yet 
39:29 Final words 

Credits - 
Speakers: Ricky Grove, Phil Rice, Tracy Harwood, Damien Valentine 
Producer: Phil Rice 
Editor: Phil Rice 
Music: Phil Rice & SunoAI

This week's film selectiion is a technical masterpiece, made in RDR2. It is both an homage to the game and the film. John Wick's Red Dead Redemption is made by eli_handle_b.wav, and is worth every second of your time watching it! 

1:49 Introduction to film, editing quality, compositing and matching RDR2 to John Wick – technically outstanding!

4:11 How?!!! Skill level is well above average

7:00 This is not just cut scenes

9:13 A tribute to both the game and the film

9:47 There are no scripted behaviour mods for RDR2 – the camera in the game all has to be positioned through play for this kind of machinima to be achieved – an editor is a missed opportunity for the game

13:00 Discussing the tools used

Credits - 
Speakers: Ricky Grove, Damien Valentine, Phil Rice 
Producer: Ricky Grove 
Editor: Phil Rice 
Music: Phil Rice & SunoAI

A DC inspired short made with love and artful skill, this week's pick is also an homage to the creative talent of a young creator now sadly passed. Despite us not necessarily being the target audience - due to certain demographic features - we really enjoyed reviewing this. Check out our comments and do add your own. 

1:32 Introduction to the film: form and creative technique – Smallville comedy vibe X superhero, and a shout out for collaborations everywhere 
6:00 The challenge of being a Minecraft modder and making machinima possible – the Blockbuster mod and BBS mod 
9:20 Player control: the visual fidelity is outstanding, the choreography is impressive, the editing, shot selection and sequencing and craft is admirable 
12:37 Is it for us oldies? Maybe… target audience is key to this, identifying with the game aesthetic 
17:20 Discussing early machinimas: Seal of Nahara and Devil’s Covenant 
19:28 Kid Flash comparison to the DC TV show – this is better! 
22:58 In conclusion: “This film was clearly loved by its creators” 

Credits - 
Speakers: Ricky Grove, Phil Rice, Damien Valentine 
Producer: Ricky Grove 
Editor: Phil Rice 
Music: Phil Rice and SunoAI

This week, we discuss a 2013 episode of @Draxtor's interviews series with artists filmed in Second Life series, this episode with Australian artist  @lynettewallworth270. 

1:43 Get involved in the latest Star Citizen contest, links in Show Notes 
3:26 Introduction to the pick 
9:12 Phil describes early traditions of interview shows filmed in virtual worlds, such as Late Night with Toxie (filmed in Quake) and This Spartan Life (Halo) 
12:44 Could this episode now be updated using AI? 
13:33 Quality of audio is the most valuable part 15:49 GenZ viewing patterns are changing – how well does SL as an interview format reflect contemporary approaches? 
17:53 The major obstacle to multi-tasking…! 

Credits - 
Speakes: Ricky Grove, Phil Rice, Damien Valentine 
Producer: Ricky Grove 
Editor: Phil Rice 
Music: Phil Rice & SonaAI

This is not genSLOP... or is it?! This week's discussion focusses on a recent genAI meme, vlogging from the Fall of the Empire as a Stormtrooper tourist.  The series we take a look at is by Galactic Archives, which has garnered a phenomenal number of views in just a couple of weeks.  Its quite different to The Glurons we discussed a couple of months back by NeuralViz, which remains a standout for us.  There are some excellent learning points from the way this short / series has been created as a narrative arc though, despite the creative process and generative tools leaving something a little unsavoury in the reactor core.  

1:35 Intro to film and the meme

4:15 Reminiscent of the Space 1999 aesthetic

10:24 Slop or Slap? Beyond speed, what’s the real benefit of using genAI tools for this kind of narrative approach?

21:55 Tools, tricks, NeuralViz and thoughts

Credits -
Speakers: Phil Rice, Tracy Harwood, Damien Valentine
Producer/Editor: Phil Rice
Music: Phil Rice and SunoAI

We love AFK! This week's ep covers another of AFK's ambitious world building attempts to round out the Star Wars universe... and of course it works. What do you imagine the worst jobs to be for the most hapless Stormtroopers? These totally make sense to us! Check out our comments, our overview of AFK's background and other projects, and what we really think of this short.
 

1:39 Intro to film

3:14 Humor and world building

6:12 The most clever way to integrate sponsorship?

10:26 Memories of advertising…. Err maybe

12:47 Background to the series and Peter Haynes as a creator

18:23 What are the most useless jobs you can think of? In jokes and fun references

21:41 Tech tests and pee takes

Credits -
Speakers: Phil Rice, Tracy Harwood, Damien Valentine
Producer/Editor: Phil Rice
Music: Phil Rice and SunoAI

This week's pick is the complete contrast to the Happy Wheels gag-fest, Ep 191: the film is called They Were Once Here by Werlias and it has everything you would expect from a Project Zomboid machinima, plus some things you wouldn't. Its a dark and sad tale, beautifully told, and delivers a real emotional punch. It makes excellent use of Zach Beever's classic composition for the game, and harnesses a bunch of mods to achieve the outcome. Catch our review and reflections on this one. For those of you into zombie fests, we're sure you'll enjoy it.

1:00 Intro to film

11:11 Background to film, early zombie stories

17:57 Emotional responses to the film, the role of music

20:00 What’s happened to Werlias?

22:03 Alternative perspectives on the narrative

25:25 How would Machinima [Inc] have reacted to this? Tragic tales

Credits -
Speakers: Ricky Grove, Phil Rice, Damien Valentine, Tracy Harwood
Producer/Editor: Phil Rice
Music: Phil Rice and SunoAI 

This week, we cover a lot of things this month, as usual, but start with a tribute to a machinima pioneer who has sadly crossed the bridge into an unknown world - Tutsy NAvArAthnA. We then go through some more fascinating projects that we want to share, more about genAI and machinima, a bunch of new tools and techniques, some wise words from some great artists, latest games and relevant updates. All links on our show notes link below.

1:39 Tribute to Tutsy

3:45 Projects 

5:50 Conversations

7:40 genAI, Anthropic case discussion, implications for creative practice from the machinima perspective, killing YouTube

26:44 Tools and techniques

27:75 Martin Bells’ new tutorial series for Unreal Engine

28:00 Jaws and the power of silence!

31:00 Games updates: Dune discussion

45:49 Another definition for machinima: Fortnite

47:22 Character Creator 5 and iClone 9?

52:26 Cyberpunk 2077 updates

58:10 Getting the call up to produce a show for a big studio… but changing you mind!

1:02:23 More genAI news – Hollywood vs MidJourney

1:03:10 Fender 8 Track software release

1:04:47 mod NaturalVision for GTA5 discussion

Credits -
Speakers: Phil Rice, Tracy Harwood, Damien Valentine
Producer/Editor: Phil Rice
Music: Phil Rice & SunoAI

In days of yore, when Machinima ruled the digiwaves, they commissioned stuff like this week's pick... we have a rather more heated discussion than usual about the pros and cons of the choice and the commissioning strategy. Check out our thoughts and let us know what you think. Maybe you were caught up in this mess, we certainly hope not... or at least, we hope the lesson was well learned. Ricky tells it from his experience, as part of the Hollywood set - seen it all before. Enjoy the show! 

1:28 Intro to Happy Wheels, evolution of a community

9:40 Background to Happy Wheels, creators, producers and game

21:07 ‘Well, I wasn’t asking you whether you like them or not….’ music vs death and cruelty

23:53 ‘Make Money for Machinima [Inc]’

36:50 Beyond a joke

44:36 Minecrafty: a provocation!

Credits - 
Speakers: Ricky Grove, Phil Rice, Tracy Harwood, Damien Valentine 
Producer/Editor: Phil Rice 
Music: Phil Rice and SunoAI