And Now For Something Completely Machinima

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” graphicsWe 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 Technique15:00 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 possible23:00 Production Challenges & Artistic Choices27:30 Anime, Visual Economy & Stylization31:30 Timelessness vs. Realism in Machinima35:30 Reflections & Creative Inspiration Credits –Hosts: Ricky Grove, Phil Rice, Damien Valentine, Tracy HarwoodProducer: Ricky GroveEditor: Phil RiceMusic: 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 brilliantHow sound design carries the story as much as the visualsThe genius of using gaps, cuts, and implication instead of over-animatingWhy Livviathen’s claim of “not being an animator” absolutely does not convince usAnd how this short channels Bugs Bunny, Road Runner, and Ren & Stimpy… inside Source FilmmakerPlus, 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 ValentineProducer/Editor: Phil RiceMusic: 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 laterThe passion (not profit!) behind modding communitiesHow mods act as hidden résumés for future game developersSteam, new hardware rumors, and the eternal hope for Half-Life 3Plus 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 HarwoodProducer/Editor: Phil RiceMusic: 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 mediumUnreal 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 HarwoodProducer: Damien ValentineEditor: Phil RiceMusic: 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 assetsHow boredom fuels imaginationUsing obscure, “weird,” or abandoned games as storytelling toolsDesert Bus’s surprising cult following and charity legacy (yes, millions raised!)Why machinima has always been about writing, ideas, and voice more than graphicsThe 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 HarwoodProducer: Ricky GroveEditor: Phil RiceMusic: 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 HarwoodEditor: Phil RiceProducer: 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 HarwoodProducer: Damien ValentineEditor: Phil RiceMusic: 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 ValentineProducer/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 EatHow short-form machinima builds game lore and community engagementThe potential for fan contests to uncover new creative talentIdeas 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 #PodcastCredits -Hosts: Phil Rice, Damien Valentine, Tracy HarwoodEditor/Producer: Phil RiceMusic: 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 chaoticHow 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 trilogyLandon’s backstory as a young animator with huge potential in film and game designThe film’s connection to the 40th anniversary of Back to the FutureWhy even Dr. Helen Sharman, the UK’s first astronaut, reacted to the film!Credits -Speakers: Phil Rice, Tracy Harwood, Damien ValentineEditor/Producer: Phil RiceMusic: 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 moreWhether 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 GroveRicky 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.CreditsSpeaker / Producer / Sound Editor: Ricky GroveVisuals, 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 RiceMusic: 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 MachinimaDiscover 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 GroveRicky 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.CreditsSpeaker / Producer / Sound Editor: Ricky GroveVisuals & 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 MachinimaDiscover 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 GroveRicky 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.CreditsSpeaker / Producer / Sound Editor: Ricky GroveVisuals & 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 average7:00 This is not just cut scenes9:13 A tribute to both the game and the film9:47 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 game13:00 Discussing the tools usedCredits - Speakers: Ricky Grove, Damien Valentine, Phil Rice Producer: Ricky Grove Editor: Phil Rice Music: Phil Rice & SunoAI