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Creating and using machinimaThis page contains these sections:Table of contents
Summary of this page This page explores creating and using machinima, an engaging medium emerging from the online 3D gaming culture, familiar to many ‘NetGen’ learners who’ve grown up in a digital world of internet connectedness and shared user-generated content. It allows for rapid, cost effective production of animated content for a variety of purposes, including capture of evidence for assessment and/or portfolio artefacts. It is an increasingly common format for shared creations on sites such as Youtube, and beginning to appear in educational contexts. Machinima is production of movies “rendered using real-time, interactive 3D engines, such as those of games, instead of professional 3D animation software (Wikipedia, 2008). The actions of virtual actors, (as avatars in game environments), can be filmed in both existing and customized virtual environments, allowing users/players to create content using a personal computer. This project aims to build awareness, interest, confidence and skills in creating and using machinima, achieved through sharing links to exemplars, learning opportunities and resources about the tools, techniques, learning theories and appropriate pedagogical approaches and purposes associated with this medium. The power of narrative and its relationship to constructivist approaches suggest machinima, emerging from increasingly powerful and available technology, is similarly emerging as a powerful medium for learning and teaching. Contributing to and using this page - including a guest book for visitorsAnyone can reorganise and contribute to this page. It is released under the default knowledgeGarden Copyright license which you can access by clicking COPYRIGHT on the left menu.
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Creating and using machinima:an engaging medium for teaching and learning that addresses needs and expectations of NetGen learners and others One of my Second Life avatar skins - Rilla ShanIntroductionThis paper/wiki page explores creating and using machinima, an engaging medium emerging from the online 3D gaming culture, familiar to many ‘NetGen’ learners who’ve grown up in a digital world of internet connectedness and shared user-generated content. It allows for rapid, cost effective production of animated content for various purposes, including capture of evidence for educational assessment and/or portfolio artefacts. It is an increasingly common format for shared creations on sites such as Youtube and is beginning to appear in mainstream cinema as well as educational and other contexts.The world we now inhabit continues to display the diversity apparent in human history, along with a story-telling and game-playing culture that has served not only entertainment, dissemination of news, sharing culture and building community, but more importantly, teaching and learning. Rapid technological changes have enabled a globalised, internet connected environment in which, especially in developed countries, a participatory culture pervaded by digital media and portable, powerful multimodal communication and/or computing devices has arisen. This has facilitated the growth of massively multi-player online (MMOs) three dimensional games and multi-user virtual environments (MUVEs) such as Second Life. Substantial communities have been generated both within and around these, with machinima one of the new media forms users have begun to create and share through generic and dedicated media sharing sites. Machinima is accessible in that free or inexpensive, easy to use tools are available for production on personal computers, often packaged with the ‘game’ or viewer. Anyone so inclined or encouraged can actively create, appreciate and respond to the shared stories made available through this, our participatory ‘web 2.0’, in which users may also be producers. Educators are beginning to explore the possibilities and relevance of machinima, along with other emerging media and environments offered by digital gaming and virtual worlds. Media educators, for instance, look to machinima as a creative, expressive form, with its own requisite skills and associated social and cultural practices. Others working with machinima production in educational contexts focus on the development of new applications, or the evolving relationship of machinima to the film or games industries. Others, meanwhile, are interested in machinima as a teaching tool; one that can be adapted to subject areas ranging from drama or film-making, to management training (Carr, 2007, Para:2). Andreas Kirchhoff, who included the topic of machinima in a 2008 creative gaming festival in Germany, sees it as linking film and gaming culture, “building bridges especially for older non-gamer-audiences ...(such as teachers)...The opportunity to create your own narrative content motivates an experimental approach to (or play with) technology, which… helps… understand how games work” (cited in Carr, 2007, Para:5).Machinima?Machinima (muh-shin-ee-mah) is a mash-up/portmanteau of the words ‘machine’ and ‘cinema’ (Marino, 2004). They are virtual movies filmed within real-time, three-dimensional (3D) virtual environments such as Second Life, and 3D video-games such as Everquest, The Sims and World of Warcraft. Machinima are “rendered using real-time, interactive 3D engines, such as those of games, instead of professional 3D animation software (Wikipedia, 2008). The actions of virtual actors, (as avatars in game environments), can be filmed in both existing and customized virtual environments, allowing users/players to create content using a personal computer. The technologies available, both external to and within these ‘games’, enable players to capture computer generated imagery (CGI) screenshots and action that can be stored on a hard drive for later editing.ExamplesThe following Introduction to Second Life was made and shared on YouTube in 2006, however, it provides a four minute overview that conveys a sense of the Second Life experience and possibilities. It is one of many machinima available on YouTube that consider the use of Second Life in education. It can be viewed as embedded media in the wiki page, or alternatively, you could visit the YouTube site and view it there. An advantage to this is the availability of related videos you can just click to view. See it at http://www.youtube.com/watch?v=b72CvvMuD6Q&feature=related.Alternatively, you could visit the YouTube site and view it there. An advantage to this is the availability of related videos you can just click to view. See it at http://www.youtube.com/watch?v=b72CvvMuD6Q&feature=relatedTechnical note for embedding video in a tikiwiki page: To embed this YouTube video, I had to use the code Peter provided in Creating a Screen Movie under the heading Render or output the movie. I harvested the following part of the embed code from the selected YouTube video (from the page on YouTube that I was on to view the video): you can see it below. This had to be preceded by {xFLASH(movie= and closed with x)x{FLASH}. In the interests of avoiding these instructions executing themselves in the page, I have added x, but you would delete this in your real coding. Let's hope this strategy works, as I've just had to rollback to a previous version. The previous avoidance strategy turned the rest of the page formatting into a single block of text. http://www.youtube.com/v/b72CvvMuD6Q&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><embed src="http://www.youtube.com/v/b72CvvMuD6Q&hl=en&fs=1Further examples This Second Life website page showcases user-created photos and machinima: http://secondlife.com/showcase/machinima/ . One of particular note is from the London Oncology Clinic, the machinima promoting its real world services and clinic, as well as its Second Life location, itself intended to inform and familiarise people with it before visiting in real life. View it at http://www.youtube.com/mauriceslevinAimee Weber’s ‘Solar System’ is considered the “first fully realised machinima for educational purposes” (Wagner, 2006). Weber declares “Anybody who hasn’t been hiding under a prim for the last year knows that Machinima is what the cool kids in gaming are doing these days” (ibid, Para:1). Her blog contribution documenting the process of making her machinima, and a link to view it, is available at http://nwn.blogs.com/nwn/2006/03/her_worlds_her_.html .The Australian Film, Television and Radio School students create machinima using Second Life to build skills in cinematography. This video, ‘The Good Game’ communicates the initiatives well. http://www.abc.net.au/tv/goodgame/stories/s1748375.htm Bajo's Adventures in Machinima - 15 September, 2008 http://www.abc.net.au/tv/goodgame/video/default.htm?pres=20080915_2100&story=4 ABC Television’s Good Game Community for sharing videos and photos. http://affiliate.kickapps.com/kickapps/service/displayHomePageExperience.kickAction?page=Homepage&as=15742 Second Life in Education - Educational Uses of Second Life - Machinima. http://sleducation.wikispaces.com/educationaluses#machinima Creating machinimaThere are levels of sophistication in making machinima, from basic capture of what is visible on the screen using the ‘game’ viewer, to the full gamut of roles involved in a traditional filmmaking project. These could range from conceptual scriptwriting and storyboarding, locating or building original virtual sets and props, recruiting virtual actors, organising avatar appearance and wardrobe, uploading textures and character animations, directing, controlling camera operations, recording and editing sound and video, to final production and release.A summary of Weber’s (ibid, 2006) machinima making process begins with creating a screenplay, which is basically dialogue combined with cinematic direction. This is followed by storyboarding in order to provide some direction for filming, then set building (virtual). Mouse camera control can produce a shaky effect, so Weber and others choose to film using the Alt-Zoom camera for a smoother result. Waypoints are set and the camera operator/avatar then rides the camera. Fraps was used to capture the action, with the process then moving to post-production using Adobe After-Effects or Premiere to edit, assemble and coordinate footage, music and narration for the movie. Weber advises that machinimators may need to be familiar with the keyframing technique to allow smooth transitions from one effect to the next, for sound and visuals. What tools do I need?The tools required may vary depending on the virtual 'gaming' environment. There are numerous options once you begin to explore the 'how-to' of making machinima.What software do I use and where do I get it?
Minimum Hardware - 1GB RAM, 15 MB hard drive space for installation, 2GB free space for recorded videos;
Further information to be added - contributions welcome. Are there any hardware 'must-haves'?
Anything else?High bandwidth internet connection (particularly if using Second Life 3D engine or online multi-user games such as World of Warcraft). It is also recommended any extraneous applications should be closed to maximize the processing power available whilst filming and in editing processes.Using machinima for teaching and learningHerrington and Oliver (2001) include learning resources as one of three main elements constituting online learning settings, with learning tasks and learning supports as the others. In advising on the use of media, they consider audio, video clips and virtual reality: machinima as a combination of these certainly offers a rich source of information. It is an appealing medium of expression particularly for learners who have grown up immersed in digital media and technologies, online games and socially networked communities of interest.Daly-Swanson (2007) documents her explorations of machinima made in Second Life for the role of librarians in education. Her presentation encapsulates the main areas of consideration identified including:
Machinima is a visually rich instructional media that appeals to millenials/NetGen learners, characterized as ‘digital natives’ (Prensky, 2001). As Daly Swanson (op cit) states: It’s recreational and educational and can be shared on many of the social networking sites where young people are currently publishing and sharing content. Wikipedia lists 90 sites with social features and some supporting video (“List of social networking”)… Jenkins writes that in this new participatory culture fans and information consumers “are invited to actively participate in creation and circulation of new content” (cites Jenkins, P290). Alexander and Levine (2008) reinforce the notion of ‘web 2.0 storytelling’ as an emerging new genre and it is inspiring to witness the range of formats and channels considered that might serve the use of machinima. The authors note the two main applications of “Web 2.0 storytelling” for colleges and universities as “composition platform and as curricular object” (P 52). What's so good about it?
Any problems associated with it I should know about?
What learning theories underpin it and what pedagogical approaches are associated with it?Virtual environments such as Second Life “could provide engaging worlds in which students are actively involved in “story-centric” problem-solving activities”, supporting the belief that machinima as a medium for learning resources “could revolve around compelling virtual worlds, believable characters, thought provoking themes, and rich stories” (Mott et al, 1999, p78). These authors draw on Gerrig (2003) who describes the power of narrative experiences, of storytelling as “a fundamental form of meaning-making (pp78-79) that addresses the pedagogical goals of learning effectiveness and intrinsic motivation.Constructivism has an emphasis on active learners, who according to Gerrig, when immersed “in a captivating world of intriguing characters” (ibid) can participate in activities that enable them to co-construct knowledge, explore and reflect. The importance of linking the story to the pedagogical activity is highlighted in giving meaning through its place in the overall sequence of narrative constituents. An excellent example is the presentation of a scenario that enriches and deepens learner involvement for case-based learning. Agostinho similarly advocates the “use of characters to present tasks and critical information in a simulated environment” to support “more authentic learning environments online” (2006, P88) for a constructivist approach. Machinima has been effectively exploited to present a complex scenario in Air Gondwana, a fictional airline, to engage law students in moving from novice to mentor roles as they develop negotiation skills (Butler & Prosser, 2007; Meredith, 2008). Interactive activities that incorporate questions and answer activities throughout traditional and machinima video media play can enhance the support offered by stand-alone machinima resources. Such enhancements may require specialized services. Machinima as an emerging medium of expression has arisen out of the digital game arena. Bryce and Rutter (2006) outline the growth in research that highlights “the rich diversity of interest in digital games”, citing Wolf and Perron (2003, Para:2) to explain the tensions and blurring between and across academic disciplines.The emerging field of video game theory is itself is itself a convergence of a wide variety of approaches including film and television theory, semiotics, performance theory, game studies, literary theory, computer science, theories of hypertext, cybertext, interactivity, identity, postmodernism, ludology, media theory, narratology, aesthetics and art theory, psychology, theories of simulacra, and others. Further theories and approaches considered include literary theory, cultural studies, film studies, new media and community and identity. However, narrative-based learning is certainly a theoretical approach that informs the use of machinima in teaching and learning and melds with constructivist philosophy as considered in the following references:
It would appear machinima might, therefore, contribute to situated learning environments that provide “access to expert performances and the modeling of processes…such access enables narratives and stories to be accumulated, and invites the learner to absorb strategies which employ the social periphery (legitimate peripheral participation)…a ‘window onto practice’ (Herrington & Oliver, 1995, Para:16). How have others used machinima in education?
A seminal resource for educators is the Second Life in Education (SLED) wiki which suggests the potential of machinima as “a way of recording students research within Second Life, as a tool for responding to texts, issues or events, as an engaging form of digital storytelling or as a process for learning about digital media production techniques. It also offers the opportunity to engage students in learning whilst playing their favourite games” (SLED, 2008). What's the ROI (Return on Investment) if I decide to learn to create and use machinima?
ConclusionJust as for students, (the intended audience and/or participants for teaching and learning), any who embark on an exploration of the machinima medium may gain enjoyment and satisfaction in meeting the creative and technical challenges it presents. It is an emerging mode of expression already engaging the ‘NetGen/millenials/digital natives with its historical use for recreation and sharing of content in socially networked communities of interest now so easily accessed through the increasing power and availability of technologies. Its emerging appearance in educational and other contexts has excited a revived interest in narrative and digital game based approaches to teaching and learning.Toolkits for creating and using machinima are freely available for production and editing on personal computers, with a wealth of accessible resources and literature to support and inform interested educators. Significant commitment and investment of time on a personal level, as well as challenges for supporting infrastructure in terms of processing power and file storage, never the less appear to represent a viable return on investment Recording and reflecting on my own learning experienceSome of this experience will be recorded in Janice's Reflective Learning Blog (a Mahara blog), as well as points included here. It takes the form of an Appendix in the paper version.My first attempt at filming in Second Life - September 2008
Troubleshooting and creating custom characters - mid October 2008 (duplicated in my Mahara blog)
Hard lessons when starting out to make machinima - late October/early November 2008It's been an interesting journey with my first attempts in making machinima. It all sounds so easy but the reality of a seemingly thousand different aspects brings home the importance of an honest account of exploring the making of this medium, machinima.The software that allows one to capture action in games (or in-world, Second Life, in my case) I'm using is Fraps. I've downloaded the free trial version that limits clips to 30 seconds and doesn't include sound capture options offered in the paid version. The watermark is everpresent in this situation. My first attempt at making machinima necessarily calls on multiple applications: fraps (to capture in-world 'game' action), Audacity (to record and edit narration, then export in an extra aspect that encodes the audio into mp3 format), and Windows MovieMaker , WMM, (that allows text screens, transition effects, apparently video trimming and editing to a limited extent, and audio tracks, to be brought together and exported as a 'wmv' file that can be loaded to YouTube or other such host sites to share with others). I've scripted my text, video and audio screens in preparation for putting them together in WMM (a free download from Microsoft if you use their operating system). This application allows for final compression and export of the project. However, despite bringing home my worklaptop, I've found the WMM constantly crashes. I did suspect a powerful desktop system might be required to put together the diverse media items required (audio and video clips) but hoped my work laptop would be up to this task. I will persevere, but am considering how I might compress segments of my project to bring together in a final full production (humble as it is). Wish me luck! It suggests that machinima may be beyond the capacity of less privileged educators whomay be working with out-dated and inadequate hardware. I have found the 'script' will also present the equitable transcription of the machinima product, offered as a document, to those who may be unable to view the final product. Apart from representing my own guide to structuring the product, it serves to help some experience the 'movie' from a text. The issues I am presented with as I make my first attempts in WMM do offer valid aspects of the whole process that could make it just 'too hard' for the average educator that I seek to represent in this project. Sharing these experiences may have some value for others, and will help me identify issues that need to be considered and addressed if this new medium is to find its place in enhancing the options for resources that communicate concepts in Higher Education and other sectors. What is the return on investment for academics interested in innovative and engaging media? Will it be too hard, will the obstacles they face and the problem-solving it demands just negate the potential machinima offers? Perhaps my own problems with enacting my project vision are not widespread. I have part of the product I planned for my project completed, but find I would prefer to present what I envisioned, not what I have to accept because of hardware and/or software problems. It's all learning, so is of value whatever the quality of the final product I can share with others. My first machinima product seeks to present a beginner's account of lessons learned. This may encourage others who experience similar difficulties so that they too might persevere. I am reluctant to load what my limited hardware/processing capacity has allowed to date to a public site such as YouTube so haven't embedded it on this page so far. I may have to do this, but am conscious of the pressures surrounding 'publication' or 'release' when one is just setting out on the learning journey. I might try releasing it in a view as an artefact in Mahara in its first humble guise, but would prefer to be able to present a product I can live with on Youtube, and embed the link to it here. This reminds me of Nick Saunders' queries relating to quality and confidence for wiki contributions. Human doubts and audience considerations seem to be a factor in new media. It takes time…baby… it takes time…. to learn to learn machinima (early November)A mentor did point out he invested his entire academic vacation, the equivalent of a summer semester) in learning the basics of making machinima. I have, unfortunately, not had that seeming luxury and find myself unsatisfied to date with my progress. I remain convinced of the value of the media and the potential applications, but find the frustration engendered by work project pressures, study deadlines (already past) and hardware problems have made for an extremely stressful experience. The value of a structured workshop looms large and this only lends credence to the further plans for professional development in creating and using machinima the full project envisions.Module 6 in FET8611 considers what is ‘emerging’ technology, versus that which is a ‘must-haves’ (accepted and assumed) and how context-specific the former is. Machinima is not yet a must-have in education, however, in recreational and non-educational spheres, for some sub-cultures, it is accepted and assumed, having a decade of informal niche gamer action recording and sharing. Machinima aligns most closely with the podcasts, videocasts and screencasts tools listed in the module overview. Machinima is a user-generated product that can be shared through blogs as well as media sharing sites such as YouTube, BlipTV and other dedicated sites such as machinima.org and the Australian Broadcasting Commission’s Good Game Community. Education Queensland have a special innovative “Games in Learning” project happening around machinima (Machinima Headstart – Machinima Fantastic, March 2007) featured in the Courier Mail (25 March, 2008). It has tied in to the Global Kids initiative and is encouraging in its vision. However, it has taken dedicated funding and project leaders to get it off the ground. You can access the material at: www.holymeatballs.org/pdfs/machinima-headstart-article-25March2008.PDF I am willing to share what I’ve created to date but don’t know how to do that and simultaneously avoid a public sharing on YouTube, the channel I am most familiar with for sharing media. My own standards dictate that I prefer to have a finished product before I share it with an experienced and critical public. Frankly, this is where I’d appreciate the limited viewing options of our Mahara eportfolio! I’ll try this, but basically, am aiming to get my hardware to enable the first envisioned product to be created and shared publicly. Within an institution, my resource might well be published to students on an experimental basis as an alternative media looking for feedback. Already, I can appreciate the expertise of the many machinima pieces others have shared on YouTube from a creator’s perspective. This indicates the value of a protected publishing environment for students who are experimenting with machinima. A space to share ‘works in progress’ is valuable, and apart from constructive critique, might also bring collaborators who can assist with the production of a quality artifact. Machinima is not just a one to many product. It has the potential for collaborative projects, or developmental feedback to inform and enhance the final product. The benefits of setting out to learn about creating and using machinima in education were not entirely forecast from my perspective. This has helped to inform my original planning for this project (raising awareness, skills and applications of machinima) and is therefore of value, even if my initial product isn’t! Accepting reality - well past time to share an inferior product but a valuable experience never the less (November 2008)_Here is my first attempt at machinima. It is a fragment of the intended piece due to hardware problems but has served as a reality check. Title: First attempt at making machinima http://au.youtube.com/watch?v=AjfA8bARY6g I will persevere with machinima beyond this project/assignment as I have the script, some basic captured footage and some narrated audio clips intended for collation in Windows MovieMaker. I made my last attempt this evening but am defeated by system crashes! Unfortunately my embed code technique isn't working either and I offer the link to its location in YouTube instead. The YouTube interface and code has changed slightly it seems and I will need to experiment anew. Related knowledgeGarden pages
Related web sites
ReferencesAgostinho, S. (2006). Using characters in online simulated environments to guide authentic tasks. In A. Herrington & J. Herrington (Eds.), Authentic learning environments in higher education (pp. 88-95). Hershey, PA: Information Science Publishing. Alexander, B. & Levine, A. (2008). Web 2.0 Storytelling: emergence of a new genre. In EDUCAUSE Review, Vol. 43, Number. 6 (November/December 2008). Retrieved 3 November, 2008, from http://connect.educause.edu/Library/EDUCAUSE+Review/Web20StorytellingEmergenc/47444 Bryce, J. & Rutter, B. (2006). An introduction to understanding digital games. In Understanding digital games. Sage. Retrieved 9 October, 2008, from http://www.bryce&rutter2006_digitalgames&theory_9768_36401ch1.pdf Butler, D. & Prosser, C. (2007). Air Gondwana: Teaching fundamental negotiation skills using the Second Life virtual environment. Proceedings: Effective Teaching and Learning Conference, 2007. Retrieved 19 October, 2008, from http://www.etl2007.qut.edu.au/program/ETL_Butler_Des_000.pdf Daly Swanson, B. (2007). Second Life machinima for libraries: the intersection of instruction, outreach and marketing in a virtual world. In World Library and Information Congress: 73rd IFLA General Conference and Council 19-23 August 2007. Retrieved 21 October, 2008, from http://www.ifla.org/IV/ifla73/papers/133-DalySwanson-en.pdf Headstart Education Queensland. (2008). Machinima-tastic. In Courier Mail, 25 March, 2008. Retrieved 19 October, 2008, from www.holymeatballs.org/pdfs/machinima-headstart-article-25March2008.PDF Herrington, J. & Oliver, R. (2001). Teaching and learning online: a beginner’s guide to e-learning and e-teaching in higher education. Centre for Research in Information Technology and Communications, Edith Cowan University, WA, Australia. Herrington, J. & Oliver, R. (1995). Critical characteristics of situated learning: Implications for the instructional design of multimedia. In Proceedings of Twelfth Annual ASCILITE Conference, Melbourne. Retrieved 19 October, 2008, from http://www.ascilite.org.au/conferences/melbourne95/smtu/papers/herrington.pdf Lafferty, M. (2003). Gamics’ Nathan Ciprick talks about blending comics with videogame storylines. Retrieved 30 September, 2008, from http://www.gamezone.com/news/03_24_05_09_41AM.htm Lester, J. (200?). Narrative-centered learning environments. Retrieved 25 October, 2008, from http://projects.ict.usc.edu/itgs/talks/Lester_Narrative%20Centered%20Learning%20Environments.pdf McQuiggan, S.W., Rowe, J.P., Lee, S. & Lester, J.C. (2008). Story-based learning: the impact of narrative on learning experiences and outcomes. http://www4.ncsu.edu/~swmcquig/papers/narrative-its-2008.pdf Marino, P. (2004). 3D game-based filmmaking: the art of machinima. Paraglyph Press, Inc. USA. Mott, B.W., Callaway, C.B., Zettlemoyer, L.S., Lee, S.Y., Lester, J.C. (1999). Towards narrative-centered learning environments, In "Proceedings of the 1999 AAAI fall symposium on narrative intelligence'' (pp. 78-82). Cape Cod, Massachussetts, November 1999. Retrieved 27 July, 2008, from http://www.bradfordmott.com/papers/Mott-NI1999.pdf Meredith, H. (2008). Law students fly high with a brawl and a bribe. In Sydney Morning Herald, 10 June, 2008. Retrieved 19 October, 2008, from http://www.smh.com.au/news/businessinnovations/law-students-fly-high-with-a-brawl-and-a-bribe/2008/06/09/1214951096638.html Oblinger, D. & Oblinger, J. (2005). Educating the net generation. Educause. Boulder, Colorado. Retrieved 24 July, 2007, from http://www.educause.edu/educatingthenetgen Prensky, M. (2001). Digital Natives, Digital Immigrants. On the Horizon (NCB University Press, Vol. 9 No. 5, October 2001) Retrieved 9 August, 2008, from http://www.marcprensky.com/writing/Prensky%20-%20Digital%20Nativesexternal link,%20Digital%20Immigrants%20-%20Part1.pdf Second Life in Education. (2008). Educational uses of Second Life. Retrieved 15 July, 2008, from http://sleducation.wikispaces.com/educationaluses Van Eck, R. (2006). Digital game-based learning: It’s not just the digital natives who are restless. In EDUCAUSE Review, Vol. 41, Number. 2 (March/April 2006). Retrieved 3 October, 2008, from http://educause.edu/ir/library/pdf/erm0620.pdf Wagner, J. (2006). "Her Worlds…Her Imagination”. Blogpost, Friday March 10, 2006, in New World Notes. Retrieved 14 October, 2008, from http://nwn.blogs.com/nwn/2006/03/her_worlds_her_.html Weber, A., Rufer-Bach, K. & Platel, R. (2008). Creating your world: the official guide to advanced content creation for second life. Wiley Publishing Inc., USA Wikipedia. (2008). Machinima. Retrieved 25 July, 2008, from http://en.wikipedia.org/wiki/Machinima
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