After discussing realism in Machinima, I thought it would be helpful to find four examples that correspond to the four styles of Machinimatic realism, other than those presented in the paper.  I’ll also mention that I have no background with Machinima, and little background of the actual games many of the Machinima videos are created in.  I will be using Halo for the examples in this post, as that is what I have most experience in.

I’ll start with the first style:

[1a] Simply recording game play, using screen capture software, a practice that may or may not include the UI (depending on whether diegetic vs non-diegetic aspects of the game play are important)

Although I feel this style seems the most straightforward, I wonder if it is being naive to assume this is the reality of gameplay.  This goes back to the idea that once a camera (or screen capture software) is introduced, does this change how players interact with others, as well as the game?  I would have to assume it does, unless it is not known that the gameplay is being captured.

So below is the first example.  It is simply a multi-player battle between a red, blue, and green team.  There is no communication that can be seen in the video, and is simply following a member of the red team as he plays.  As I mentioned before, very straightforward.

Now lets move on to the second style:

[2a] Stylizing the presentation of the game world to express internal psychological phenomena or fantasies, that is, events that have no literal place in the diegetic world of the game or in the typical experience of playing it.

The example I have provided below is once again created using the game world of Halo, and is a troubling story simply about a man (a soldier because of the constraints of Halo) that is walking the desert alone, after somehow losing somebody that they have loved.  This story ends with the soldier raising his gun towards his head, implying suicide.  This also is contradicting in Halo, because you simply ‘re-spawn’ and little damage is done, but an emotional connection is created through the video.  I believe this would fit in this category, but I am not quite sure.  Video is below.

Next the third style:

[3a] Presenting the game’s reality in a truthful and clarifying way, whether it is some aspect of the diegetic game lore and/or an aspect of non-diegetic game play.

For this style, if I am understanding it correctly, is presenting ‘real’ gameplay, but it can have been edited or planned, as long as it is bringing to the forefront actual characteristics of the game/gameplay.  So for this example, the video shows a battle paused in time, with a dramatic soundtrack playing in the background.  It eventually turns into a slow motion battle scene, specifically showing teams in battle, and soldiers falling in defeat.  I feel this could also have some aspects of style [2a], but fell more into this category.  It visualizes to the viewer how hectic the gameplay is, even though they would not experience this scene in normal gameplay.

Now to move on to the final style:

[4a] Presenting game reality in a way that corresponds to our experience, regardless of the means by which the finished video is actually constructed.

I’ll be honest, this is the style that I find confusing when looking for examples.  I understand the example that is presented in the paper, but have a hard time actually applying that style and finding other examples.  Maybe if somebody knows of a good one, they could leave it in the comments.