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

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