A grieving husband. A body he can no longer control. This week, we revisit Corpus Meum (2006), a gothic machinima horror film made in Lionhead’s The Movies, and discover how an archive playback problem changes the viewing experience.

Phil Rice, Ricky Grove, Tracy Harwood and Damien Valentine explore The Light in the Dust, Part I: Corpus Meum, created by @sherwinliu, Kate Lee and Lizard3209 aka Decadent Pictures (later becoming Chat Noir Studios). Ricky’s archive pick opens a discussion about grief, possession, fractured identity and the ambition of early machinima filmmakers.

There’s a twist: some of us watched an archive playback consisting of still images, while others found the fully animated WMV. We compare how movement, editing and facial close-ups affect the story, alongside Sherwin Liu’s atmospheric original score, which prompts a comparison with Twin Peaks.

We also discuss the filmmakers’ cited influences - Anne Rice’s The Tale of the Body Thief and Quantum Leap - and ask whether dated game graphics still deliver convincing emotional horror. Plus, Ricky shares his own unexpected Quantum Leap connection.

If you watch the film, look for the fully animated WMV on its Internet Archive page so you can compare the viewing experiences. Which version did you watch, and did you read the story as supernatural possession, psychological collapse, or something else?

Tell us in the comments (and feel free also to comment on Damien's new headgear).

01:00 Welcome to Completely Machinima
01:25 Ricky’s pick: Corpus Meum and The Movies
05:28 The score: atmosphere and Twin Peaks echoes
07:56 Discovering the fully animated version
10:25 The Movies community and The French Democracy
11:20 Stills versus animation: spotting the playback problem
13:26 Grief, possession and losing control of your body
15:06 “My body”: Anne Rice and Quantum Leap influences
18:10 The filmmakers’ wider work and gothic visual storytelling
21:47 Changing faces, identity and Dorian Gray echoes
23:46 Does the emotion work, and whose story is being told?
25:47 Can this horror story outlast its dated graphics?
28:26 Reframing old machinima as stylised animation
29:28 Ricky’s unexpected Quantum Leap connection
30:50 Your verdict and how to contact us

Explore more machinima, virtual filmmaking and animation... and note that we've moved our website to https://substack.com/@completelymachinima

Film link: https://archive.org/details/TheLightInTheDust1 (not on YouTube or Vimeo) - make sure you check the WMV version for the full film!

Contact: talk@completelymachinima.com

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#Machinima #TheMovies #horrorshortfilm

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

Tracy Harwood and Phil Rice review RUS-T, John Martin’s science fiction short about a robot abandoned on Mars. They discuss its expressive character design and story of care and disposability, then trace the production workflow through Reallusion AI Studio, Character Creator and Seedance 2.0. How much control does image guided video generation give a filmmaker? And can a film succeed as both a story and a demonstration of new tools? Alongside praise for RUS-T’s character consistency, Tracy and Phil examine its visual slips, frequent crossfades and unresolved questions about its voices, music and sound design.

Key moments

01:00 — Why RUS-T is an unusual choice for the podcast

01:43 — Tracy introduces the film, its maker and its Mars setting

06:57 — Abandonment, robot labour and the discovery of life

12:22 — Visual continuity, sound design and the tools behind the film

17:36 — What AI Studio and Seedance can do, and what the production notes actually establish

24:38 — Phil on RUS-T’s expressive face and emotional range

33:38 — Image guided generation versus animation control and style transfer

37:31 — Why character consistency is the film’s strongest technical achievement

41:17 — Crossfades, short clips and the film’s editing choices

44:23 — The AI voice and the mystery of the soundtrack

50:14 — Comparing RUS-T with another AI film made as a proof of concept

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

An eight-year labour of love made in Garry’s Mod, Dan Shetter’s Avalon takes us into the world of Half-Life for a feature-length story of occupation, memory and survival. Damien, Phil and Tracy discuss its extraordinary cinematography, animation, sound and music, and why it works even for viewers who have never played the games. Tracy explores the film’s characters and layered ending, while Phil asks whether this is the best machinima film he has ever seen.

Spoiler warning: The story discussion begins at 15:28. Watch the film first if you want to experience its twists for yourself.

Key moments

01:17 — Damien introduces Avalon and explains why he chose it.

04:37 — Phil makes the case for its place among the greatest machinima films.

11:27 — How exceptional work can inspire other filmmakers.

14:30 — The brief behind-the-scenes video and the mystery of its production.

15:28 — Spoilers begin: Tracy introduces Dan Shetter’s eight-year project.

17:40 — Camp Haven, Teagan and the film’s opening attack.

20:30 — Breen, Freeman and the film’s relationship to Half-Life.

22:03 — Memory, extraction and the Combine’s plans.

25:30 — Portals, the final battle and collective resistance.

27:44 — The meaning of Avalon, restoration and the recurring crows.

29:27 — Atmosphere, sound, visual storytelling and the film’s limitations.

33:29 — Earlier Half-Life machinima and the achievement of finishing such an ambitious film.

36:39 — What makers working in any engine can learn from it.

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

Phil brings us Lando’s video essay The Horror of Classic Fallout. What makes the original game unsettling: its grotesque creatures, its unforgiving countdown, or the institutions that promise safety while exercising control?

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.

Key moments

01:26 – Phil introduces Lando’s essay and the darker origins of Fallout

04:43 – What makes a compelling game documentary or video essay?

07:05 – The original game’s countdown and the freedom to explore

12:17 – Tracy examines the essay’s structure and visual style

18:01 – The Master, cosmic horror and the cost of survival

21:00 – Uncanny character animation and Mark Morgan’s soundscape

25:32 – Cold War memory and Fallout’s appeal across generations

29:03 – Corporate control and distrust of institutions

30:59 – Modern anxieties, the news and why the game still resonates

33:46 – How a film about a 1997 game sparked a discussion of the present

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

What happens when a space marine comes home from war and tries to settle into family life? In this episode, Ricky, Tracy and Damien revisit Phil Rice’s 1999 film Father Frags Best with its creator. Phil recalls turning Quake II into a sitcom set, directing fellow players through typed messages, and using KeyGrip 2 to shape the camera work.

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.

Key moments

01:00 – Ricky introduces Father Frags Best and its place in early machinima.

04:01 – Phil explains the idea behind the film and how KeyGrip 2 opened up new camera possibilities.

11:57 – From familiar sitcom conventions to increasingly dark comedy.

14:11 – Damien discusses the revealing post-credits production footage.

16:10 – Phil recalls the single-map set, player performers and direction by text chat.

21:53 – Tracy examines the story, characters and domestic setting.

32:26 – Camera work, performance and the craft behind the limited animation.

35:00 – Music, period humour and the challenges of sharing the film today.

39:43 – Why the film matters in the history of Quake movies and machinima.

44:54 – Phil reflects on revisiting work made at a different point in his life.

48:14 – Voice acting and whether filmmakers could still use Quake II and KeyGrip today.

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

This week, Tracy and Damien explore TMC’s MechWarrior 5: Clans – Clan Mech Dioramas Director’s Cut, a striking collection of battle scenes that sits somewhere between machinima, virtual photography and digital sculpture.

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.

Key time stamps -

01:00 – Damien welcomes Tracy and explains Phil and Ricky’s mysterious absence
01:30 – Introducing TMC’s MechWarrior 5: Clans – Clan Mech Dioramas Director’s Cut
02:10 – TMC’s history and Completely Machinima’s earlier coverage of Hired Steel
03:25 – From MechWarrior players to 3D artists and filmmakers
04:25 – TMC’s evolution from gameplay capture to Blender and Unreal Engine production
05:35 – How TMC’s fan filmmaking led to official work with Piranha Games
06:32 – The crucial difference between Hired Steel and the non-narrative dioramas
07:20 – Machinima as virtual photography and digital sculpture
08:35 – Arrested time, frozen combat and the camera as a “digital eye”
10:25 – The tension between colossal machines and miniature tabletop aesthetics
11:49 – Colour, composition and the immersive quality of the diorama collection
12:31 – Bullet time, slow motion and contemplative spectacle
13:25 – Lighting, smoke, sparks, muzzle flashes and layered particle effects
14:54 – Damien’s response: walking through a virtual art gallery
16:10 – Revealing details that players rarely notice during fast-paced combat
18:15 – How the film maintains variety across its numerous battle scenes
19:03 – The dioramas’ original purpose as proposed loading screens
19:17 – Wanting to take control of the camera and explore each composition
20:01 – Imagining the work as an immersive VR experience
21:07 – The limitations of video—and why wanting more is a mark of its success
22:03 – Could the Unreal Engine scenes become fully explorable environments?
22:19 – From photography to three-dimensional sculpture
22:57 – Final verdict and closing thoughts

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

This week, Tracy and Damien explore JT Music’s Assassin’s Creed Black Flag Resynced Rap—a bass-heavy fusion of pirate sea shanty, nerdcore rap and meticulously edited game cinematics.

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.

Key Time Stamps -

01:00 – Tracy welcomes Damien and explains Phil and Ricky’s absence
01:43 – Introducing Assassin’s Creed Black Flag and JT Music’s new rap
04:57 – JT Music’s distinctive blend of rap, fan filmmaking and machinima
07:41 – The editing craft that makes the game appear to perform the song
08:05 – Who are JT Music? From JT Machinima to millions of followers
11:20 – Turning combat, gestures and camera movement into musical choreography
13:22 – Kinetic typography and lyrics woven into the game world
14:25 – Comparing the resynced video with JT Music’s original Black Flag rap
15:43 – Bass, sea-shanty influences and the physical rhythm of the edit
17:34 – Precise synchronization between lyrics, weapons, parkour and action
19:09 – How quickly does JT Music learn, capture and interpret a new game?
21:08 – Visual jokes, Easter eggs and close attention to the source material
23:29 – JT Music’s longevity and enduring contribution to machinima
24:11 – Damien’s concluding assessment
24:57 – Closing comments and invitation to viewers

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

In this news episode, Tracy Harwood and Damien Valentine explore three very different developments shaping machinima and virtual storytelling.

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.

Key time stamps

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