Abstract

This paper outlines an alternative genealogy of “non-narrative machinima” by the means of tracing a parallel with different cinematographic genres. It analyses the circuit of production and distribution of such material as a field for modes of superplay, in which users both compete and collaborate. Doing so, it proposes that the recording of playthroughs, a practice seemingly secondary to videogame consumption, might constitute an essential part of its culture and development, creating meaningful interfaces between players and industries.

Keywords: Machinima, Cinema, Appropriation, Superplay, Videogame culture.

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