Ricky, Damien, Tracy and Phil discuss how the essay uses game footage, visual effects and sound to uncover the anxiety beneath Fallout’s cheerful retro imagery. They explore the Master, the game’s haunting ending, and the strange power of its early animated faces. The conversation then moves from Cold War nuclear fears to the concerns that keep Fallout relevant for new generations.

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Show Notes & Links

The Horror of Classic Fallout, released 25 April 2025, by Lando

Lando’s public channel

The discussion explores the film’s dark comedy, its inventive use of limited character models, and its place in early machinima history. Phil also reflects on how his relationship with the film has changed over the years.

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This film is not on YouTube (at least Phil hasn't put it there), and that's because today it would not meet today's criteria for allowable content. You can find the film in its original form on the Internet Archive - link here: https://archive.org/details/Father_Frags_Best/FFB_320.wmv

You can find a trailer for the video on YouTube here -

The production details and contemporary accolades are recorded with the preserved film at the Internet Archive.

Henry Lowood’s account situates Phil Rice and the film within the development of Quake filmmaking and player-created culture in High-Performance Play: The Making of Machinima.

A useful broader history of the period describes how Quake movies progressed from recorded gameplay towards scripting, custom assets and cinematic storytelling in Den of Geek’s history of Quake machinima

Tracy introduces TMC, the German filmmaking collective whose work evolved from in-game footage and fan-made Hired Steel films into sophisticated Unreal Engine virtual production. That journey ultimately brought the team to the attention of MechWarrior developer Piranha Games, which commissioned TMC to create official cinematics for MechWarrior 5: Clans.

Unlike the narrative action of Hired Steel, the Director’s Cut suspends its battles in time. Its camera glides through intricately composed three-dimensional tableaux, revealing ruptured armour, weapons fire, smoke, sparks, water and airborne debris that would ordinarily pass almost unnoticed during gameplay. Tracy considers how this moving “digital eye” transforms spectacular combat into something contemplative, combining the monumental scale of war machines with the intimacy of painted tabletop miniatures.

Damien compares the experience to walking through an art gallery, where each frozen moment exposes the extraordinary detail underlying a fast-paced game. Their discussion concludes by imagining how these dioramas might become fully explorable VR environments—allowing viewers to move freely through the scenes rather than remaining bound to the filmmaker’s camera.

Audio Only Version of this Episode

YouTube Version of this Episode

https://youtu.be/T-hKVCu_FRE

Show Notes & Links

MechWarrior 5 Clans: Clan Mech Dioramas Directors Cut by TMC released 14 Jan 2026

This interview with Constantin and Bernhard gives an excellent account of their work with the game Developer based on their fan production, Hired Steel.

TMC’s YouTube channel contains both projects.

If you want to check out our previous reviews -

• Episode One appeared in Season 1, Episode 16 (August 2021). Phil’s selection and formed part of the episode’s MechWarrior coverage.

• Episode Two received a substantial review in Season 2, Episode 41 (July 2022), beginning at 20:00.

• Episode Three was featured in the Projects Update of April 2023. We highlighted TMC’s increasingly accomplished storytelling and, in particular, its success in building empathy for the characters.

Damien explains how the video combines cinematic sequences with specially captured gameplay footage, transforming Black Flag’s naval battles, parkour and pirate action into a tightly choreographed musical performance. Tracy examines JT Music’s distinctive place between machinima, fan filmmaking and video-game music, comparing their approach with creators such as Dan Bull, The Stupendium, Rockit Music and Harry101UK.

The discussion highlights the extraordinary precision of the audiovisual editing: cannon fire becomes percussion, character gestures embody the lyrics, and combat, camera movement and typography are all synchronized to the rhythm. We also consider how this new version revisits JT Music’s original Black Flag rap, reflecting both the improved visual quality of the game and the development of the duo’s creative craft.

Finally, we reflect on JT Music’s enduring success. Having begun as JT Machinima in 2008, the group has retained its machinima roots while continually reinventing its signature form of character-driven game rap.

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YouTube Version of this Episode

https://youtu.be/aEtftuapFv8

Show Notes & Links

Assassin’s Creed Black Flag Resynced Rap by JT Music released 18 July 2026

The original rap here -

And to check out the previous episodes we've covered JT Music's raps, well what more can we say...

Tracy introduces DramaMancer, an experimental AI-powered storytelling platform developed through Midjourney’s Storytelling Lab. Rather than generating an entire story, DramaMancer combines an author’s characters, scenes and narrative framework with natural-language player input. Tracy considers whether this represents genuine player agency or merely a more sophisticated illusion of choice—and asks where authorship lies when stories are co-created by the writer, player and AI.

Damien responds by considering what happens when players push an AI-generated narrative so far from its intended path that the story can no longer progress, recalling the infamous research-order bug in X-COM: Terror from the Deep.

The discussion then turns to a recent panel featuring pioneers of Second Life machinima. Tracy reflects on how early creators transformed a social virtual world into a collectively maintained filmmaking environment through experimentation, shared knowledge and community initiatives such as Machinima Mondays. She contrasts this socially driven model of innovation with DramaMancer’s attempt to lower creative barriers through automation.

Finally, Damien discusses Reallusion’s new iClone RTX renderer, which promises ray-traced rendering inside iClone without exporting projects to NVIDIA Omniverse. He also explains his practical approach to facial performance capture with AccuFACE, including why subtle expressions, head movements and accurately performed dialogue can make such a dramatic difference to animated characters.

Audio Only Version of this Episode

YouTube Version of this Episode

https://youtu.be/YDBjXwlx2u0

Show Notes & Links

Dramamancer case study here, available on Storytelling Lab at Midjourney.

Q&A recorded at Silver City on 25 July 2026. The featured pioneers are Phaylen Fairchild, Chantal Harvey, Toxic Menges, Petlove Petshop and Saffia Widdershins -

Reallusion at SIGGRAPH 2026: with HP and NVIDIA RTX - Reallusion Magazine

RTX Render Open Beta Begins : Path-Traced Quality Inside Character Creator 5 and iClone 8

AccuFACE 2: AI Facial Mocap | iClone Motion LIVE

We examine Pedercini’s use of the US military’s own PTSD checklist, fragmented desert imagery, shifting viewpoints and an unsettling soundscape of wind, footsteps and white noise. Together, these elements transform the game world from a tactical arena into the isolated psychological space of a traumatised soldier.

The discussion situates the film within the traditions of counter-gaming, tactical media and culture jamming, comparing Pedercini’s approach with Joseph DeLappe’s dead-in-iraq. We also consider whether the soldier’s anonymity strengthens the film, why its lack of sentimentality is so effective, and how the work might be remade using a contemporary game or Unreal Engine.

Content note: This episode discusses warfare, killing and post-traumatic stress disorder.

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Show Notes & Links

Welcome to the Desert of the Real by Paolo Pedercini, released in 2009

A couple of posts worth reading for further anlaysis of this film when it was originally released –

A blog by Simon Ferrari http://simonferrari.com/2009/06/08/desert-of-the-real/

As well as a blog post about Molleindustria, here http://simonferrari.com/2009/06/08/desert-of-the-real/

The historical checklist used is the 17-item DSM-IV PCL-M, not today’s 20-item DSM-5 PCL-5. It was a self-report measure of symptom severity rather than, by itself, a clinical diagnosis. The National Center for PTSD retains the historical PCL-M, while the film is documented as juxtaposing that checklist with footage from the Army game in its Wikimedia record. The Army’s own historical material confirms the involvement of OEMA and its America’s Army team in military game development and training applications.

Rather than relying on action or spectacle, MUELEN tells a mysterious story about grief, trauma and a man struggling to understand what has happened around him. The film gradually blurs memory, reality and the supernatural, leaving the audience to decide how much of what they see can be trusted.

We explore the film’s striking cinematography, muted colour palette, use of fog, carefully designed interiors and slow pacing. Together, these elements transform the familiar GTA V world into an isolated rural setting that feels far removed from Los Santos.

We also discuss the film’s sound design, voice acting and music, including the way the soundtrack creates tension and draws the viewer into the story. Although there are some inconsistencies in the audio mix, the overall soundscape adds greatly to the film’s unsettling atmosphere.

The conversation includes comparisons with Supernatural, Lovecraftian horror, David Lynch and Stanley Kubrick. We also consider why MUELEN feels closer to independent cinema than conventional machinima, and what it suggests about the growing quality and ambition of films being made in GTA V.

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Show Notes & Links

Meulen by Greenhouse Lightshow, released 29 May 2026 for the Machinimay2026 contest, which is organised and hosted by Whanowa

Check out the Machinimay 2026 playlist here.

Our discussion begins with the creator's production workflow, examining the challenges of rebuilding facial models, refining lighting, solving animation problems and developing convincing lightsaber effects. We discuss how the film succeeds because it focuses less on software techniques than on creative problem-solving, showing how artistic decisions emerge through experimentation rather than following a fixed recipe. The making-of becomes every bit as engaging as the finished animation itself.

From there, the conversation moves beyond technical craft to consider the film as an act of interpretation rather than imitation. Instead of copying Nick Gillard's original choreography shot-for-shot, the animator recognises that live-action movement must be translated into the visual grammar of The Clone Wars. We explore how anticipation, exaggerated silhouettes, camera language and carefully staged movement preserve the emotional intent of the original while allowing it to function naturally within animation. This leads into a broader discussion about adaptation, visual storytelling and what distinguishes thoughtful fan filmmaking from straightforward recreation.

We also examine how the animation reflects George Lucas's long-established idea of "visual rhyming", drawing subtle connections between Anakin's duel with Dooku and Luke Skywalker's confrontation with Darth Vader in Return of the Jedi. The conversation considers how character movement, camera placement and composition reinforce Palpatine's manipulation of events while deepening the narrative through recurring visual motifs that span the Star Wars saga.

Perhaps the most unexpected part of the discussion comes when we compare the film with practice-based research. We suggest that the completed animation functions as the creative artefact, while the accompanying making-of operates much like an academic exegesis, revealing the questions, methods and countless creative decisions that remain invisible within the finished work itself. This becomes one of the episode's central themes, prompting a wider conversation about how creative knowledge is communicated and why understanding process often changes our appreciation of the final outcome.

The episode concludes by returning to broader questions about animation and performance. We discuss why motion captured from live actors cannot simply be transferred directly into stylised animation, how movement must be reshaped to feel believable, and why the creative journey documented throughout the film ultimately proves more rewarding than the destination. In the end, we agree that this is not simply a Star Wars fan project, but an insightful study of adaptation, visual storytelling and the craft of animation itself.

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Show Notes & Links

I animated the Anakin vs Dooku fight we never saw by Eastern Exposure Studio, released 6 June 2026

Film based on a screen test which you can find here:

The episode opens with a tribute to Mike Joyce, longtime collaborator of Kate Fosk and member of the Moviestorm-era machinima community. The hosts reflect on his generosity, his contribution to Machinima Expo productions, and the supportive nature of earlier online machinima communities.

We discuss a PC Gamer feature covering a GTA V filmmaker who is livestreaming their production process.

Halo Campaign Evolved and the Return of "Machinima Mode" - we examine Microsoft's remake of the original Halo, noting the inclusion of an officially branded Machinima Mode. The conversation broadens into a discussion of machinima history. Tracy observes that the remake is more than nostalgia—it is introducing machinima to third- and fourth-generation creators, demonstrating how enduring the medium has become.

Ricky argues that Red vs. Blue legitimised machinima as entertainment, while Damien explains how watching the series inspired his own filmmaking career. The discussion concludes with an invitation for creators to use Halo creatively rather than simply reproducing Red vs. Blue.

Tiny Bookshop - a lighter discussion follows around the success of Tiny Bookshop.

State of Unreal 2026 - Phil highlights a technical demonstration from Unreal Engine featuring highly detailed urban environments. The conversation highlights how production values in virtual filmmaking continue to approach traditional film set design. Video here -

Reallusion AI Studio and Free iClone Personal Edition - we discusses Reallusion's biggest software announcement. Tracy suggests that Reallusion may be moving toward an Unreal-style ecosystem, where the software becomes a gateway to a scalable marketplace rather than the primary revenue source. We agree that making professional animation software freely available could significantly expand the machinima community. Launch video here -

Phil introduces the free personal version of Massive, the crowd simulation software used in The Lord of the Rings. The segment ends humorously with Ricky imagining an absurd "massive household" comedy requiring crowd simulation simply to go shopping. Demo and links here -

The major themes across the Episode are summarized as -

• Remembering and celebrating machinima pioneers.

• Evidence that machinima continues to influence commercial game development.

• Lowering technical barriers for new creators.

• Free creative software and accessible production pipelines.

• Preservation of machinima history while encouraging new generations.

• The continuing importance of storytelling over technology.

Audio Only Version of this Episode

YouTube Version of this Episode

https://youtu.be/FJtClXl3yfI

Phil introduces the film as a painstaking recreation of the Severance opening titles, explaining that although it uses Portal assets, it extends well beyond simple gameplay capture. He highlights the remarkable fluid simulations, sophisticated editing, and careful adaptation of the original sequence's symbolism into the Portal universe, arguing that the work becomes an interpretation rather than a straightforward imitation.

Ricky praises the craftsmanship and recognises it as an example of machinima at its highest technical level, while also reflecting on his personal preference for films that retain more visible traces of the game's constraints. He suggests that technical perfection can sometimes lose the handcrafted qualities that give traditional machinima its distinctive charm.

Tracy provides an extended analysis by first examining the original Severance title sequence. She argues that it functions as a psychological and symbolic introduction to the series rather than a conventional credit sequence, exploring themes of fractured identity, loss of agency, corporate control and the uncanny through recurring visual metaphors including looping architecture, duplicated identities and the mysterious black fluid.

Building from this analysis, Tracy argues that Brian Kissig's recreation does considerably more than reproduce the original. By replacing the psychological architecture of Severance with the systemic logic of Portal, the film transforms the central metaphor. Portal's mechanics become a new visual language through which bureaucracy, institutional power, identity and labour are explored. She argues that the Companion Cube, portals themselves and Aperture Science all deepen the thematic reading rather than simply referencing the game. She concludes that the filmmaker demonstrates how games can function as conceptual systems capable of generating entirely new meanings.

Damien echoes this reading, explaining that after watching the original sequence he appreciated just how carefully the recreation preserved the structure while allowing Portal to reinterpret its ideas. The discussion also convinces him to move Severance higher on his viewing list.

The conversation concludes by broadening into a reflection on machinima itself. The panel discusses the distinction between filmmaker-led machinima and game-native machinima, debating how creative limitations influence artistic practice. Ricky, Phil and Damien argue that technical constraints often stimulate creativity rather than restrict it, and that the problem-solving mindset developed through machinima translates into wider creative practice and filmmaking.

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Show Notes & Links

Featured Film: Severance Opening Titles Recreated in Portal by Brian Kissig, released 1 May 2026

The Oliver Latto opening of Severance

Ricky and Damien join Phil to examine the compilation, discussing everything from live-action recreations of video game scenarios and AI NPC comedy to intricate gameplay demonstrations that resemble elaborate Rube Goldberg machines. The conversation also considers the darker side of viral gaming content, questioning the prevalence of violence and spectacle while reflecting on what these trends reveal about online audiences and contemporary digital culture.

Among the highlights are a striking retro-inspired animated artist known as Perfect Loop, whose nostalgic visual experiments stand out amid TikTok's constant stream of content, and discussions of creators such as Viva La Dirt League, whose game-inspired comedy continues to influence online gaming entertainment.

The hosts debate whether TikTok represents a genuine new frontier for machinima and virtual production, or simply another algorithm-driven platform where discovering exceptional work requires patience and persistence. Along the way they reflect on changing audience habits, creator communities, and whether short-form video is expanding, or narrowing, the possibilities for creative storytelling.

Watch Phil's featured TikTok compilation and join the discussion: have you discovered innovative machinima or virtual production creators on TikTok? Let us know in the comments.

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https://youtu.be/ZF-Q5XVcnaw

Show Notes & Links

Phil's compilation available on Vimeo here -

The featured film is Anthem (2001) by Julien Vanhoenacker, an early real-time animated short created using the Phoenix3D engine. Rather than relying on graphic violence, Anthem presents a haunting, poetic meditation on suffering, memory and loss through the story of a mysterious humanoid subjected to mechanised torture. Phil, Ricky and Damien examine the film's handcrafted production, its visual and sonic influences, including echoes of Nine Inch Nails and industrial horror aesthetics, and discuss how suggestion, mood and restraint often create more powerful horror than explicit gore. The conversation also highlights the extraordinary technical achievement of producing such an ambitious work with the limited tools available in 2004, making Anthem an overlooked but significant landmark in early independent machinima.

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Show Notes & Links

Film Anthem by Julien Vanhoenacker was released in 2001 and is available on Vimeo here -

with more information on his website, link here.

You can also find the film in the Internet Archive machinima collection, link here.

For Julien's more contemporary work, you can find him on YouTube here.

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.

Audio Only Version of this Episode

YouTube Version of this Episode

https://youtu.be/GatlB6wrYSU

Show Notes & Links

GTA 5 Movie | STOLEN | Machinima Film by Dark Frame Films released 30 Jan 2024

Audio Only Version of this Episode

YouTube Version of this Episode

https://youtu.be/NodlMLvGi8U

Show Notes & Links

ElevenLabs struck an expansive deal with Stan Lee Universe to add the late Marvel Comics writer’s voice and likeness to its Iconic Marketplace - see link here.

Single player coming to Dune: Awakening - see link here.

Alien: Isolation 2 reveal trailer -

Star Wars Zero Company gameplay trailer here -

Crowbar Productions Machinima Mayhem contest - a three-month long film festival - details here

Reallusion's 2026 Character Creator contest - details here

The future, what to expect from Reallusion -

How AI affects your brain - link here

Check out the Art AI Festival for artists views on the use of AI-based tools - YouTube.com/@ArtAIFestival

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.

Audio Only Version of this Episode

YouTube Version of this Episode

https://youtu.be/zUT_TNDbkIA

Show Notes & Links

An Astounding Tale from Outer Space [Garry’s Mod Machinima] by Michael Is Very Vintage released 29 April 2026

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.

Audio Only Version of this Episode

YouTube Version of this Episode

https://youtu.be/cVTneXqEMr0

Show Notes & Links

Dysfunction by Iono Allen released 20 June 2025

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

Audio Only Version of this Episode

YouTube Version of this Episode

https://youtu.be/2C7zzNMeAvs

Show Notes & Links

Wracu | Blender Animated Short Film by Chase McGill, released 16 Dec 2025

Our review of Forlorn -

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).

Audio Only Version of this Episode

YouTube Version of this Episode

https://youtu.be/Oev4_u0OIP0

Show Notes & Links

Star Wars: Incursion on Bespin – A Battlefront II Film (4K) by Anoh

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. 

🎥 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. 

Audio Only Version of this Episode

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https://www.youtube.com/watch?v=me1d8u4stGc

Show Notes & Links

The Automation Situation 2 by Guillaume H. – director, released on 11 September 2025

Check out Guillaume H's channel for the first episode of this series - its worth the watch too!

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 

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Show Notes & Links

The Egg by Anima Technica based on a story by Andy Weir starring Ricky Grove and Jorge Campos, with music composed by Jesse Pringle, originally released 15 Feb 2011

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Kurzgesagt, 2019 -