Proposing A Machinima Canon

I mentioned a couple of weeks ago that I was being interviewed (by William) for the journal Transformative Works and Cultures. I was hunting through previous interviews to understand the expectations and genre for an interviewee when I came across a great interview with Paul Marino about Machinima. I liked the discussion of gender in particular. The last part of the interview is Paul outlining what he proposes a potential machinima canon, where he offers 6 examples that showcase historical and technically diverse films. One of them is the Snow Witch (2007).

This Japanese ghost story is adapted from Hearn’s “Yuki-Onna” (Kwaidan)

This one uses a known story and adapts it to machinima form.

Another of his 6 examples is The Photographer (2006).

A lone photographer is searching for his subject through the crowded city. Filmmaker Friedrich Kirschner mixes various media elements in his machinima, thus emphasizing that the medium not only can be devoid of game assets but also can break free of its commonly known framework.

I love this one because of its artistry, and because you don’t need to be an insider of the gaming culture to appreciate it.

Yet there are some Second Life machinima which I think I appreciate most of all (which don’t make Marino’s canon suggestions) precisely because I am an insider and I “get” the pathos or the humour at a much deeper level. Robbie Dingo’s Better Life (2006) is one I cite all the time:

and of course, I always mention the one in which I was the leading lady, Lip Flap (2006):

Lip Flap has had almost 10,000 views, The Snow Witch has had about 60,000, and Better Life has had about 80,000. Nothing really in comparison to the other machinima I quote a lot which has had over 1.6 million views (!), the first episode of Red vs Blue (2003):

What machinimas would you add to a proposed machinima canon?

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