Editing Machinima (section)

===Precedent===
1980s [[software cracking|software crackers]] added custom introductory credits sequences (intros) to programs whose copy protection they had removed.<ref name="Marino 5">{{harvnb|Marino|2004a|p=5}}</ref><ref>{{harvnb|Green|1995|p=1}}</ref> Increasing computing power allowed for more complex intros, and the [[demoscene]] formed when focus shifted to the intros instead of the cracks.<ref name="Marino 5"/> The goal became to create the best 3-D demos in real-time with the least amount of software code.<ref name="Nitsche 2007"/><ref name="Marino 5"/> Disk storage was too slow for this, so graphics had to be calculated on the fly and without a pre-existing [[game engine]].<ref name="Nitsche 2007"/><ref name="Marino 5"/>

In [[Disney Interactive Studios]]' [[1992 in video gaming|1992 computer game]] ''[[Stunt Island]]'', users could stage, record, and play back stunts. As Nitsche stated, the game's goal was "not ... a high score but a spectacle."<ref name="Nitsche 2007"/> Released the following year, [[id Software]]'s ''[[Doom (1993 video game)|Doom]]'' included the ability to record gameplay as sequences of events that the game engine could later replay in real-time.<ref name="Marino 3">{{harvnb|Marino|2004a|p=3}}</ref> Because events and not video frames were saved, the resulting game demo files were small and easily shared among players.<ref name="Marino 3" /> A culture of recording gameplay developed, as Henry Lowood of [[Stanford University]] said, "a context for spectatorship.... The result was nothing less than a metamorphosis of the player into a performer."<ref name="Lowood 2006 30">{{harvnb|Lowood|2006|p=30}}</ref> Another important feature of ''Doom'' was that it allowed players to create their own [[mod (computer gaming)|modifications]], [[Level (computer and video games)|map]]s, and software for the game, thus expanding the concept of game authorship.<ref name="Lowood 2005 11">{{harvnb|Lowood|2005|p=11}}</ref> In machinima, there is a dual register of gestures: the trained motions of the player determine the in-game images of expressive motion.<ref name="Krapp 2011 93f">{{harvnb|Krapp|2011|p=93}}</ref>

In parallel of the video game approach, in the media art field, [[Maurice Benayoun]]'s Virtual Reality artwork ''The Tunnel under the Atlantic'' (1995), often compared to video games, introduced a virtual film director, fully autonomous intelligent agent, to shoot and edit in real time a full video from the digging performance in the Pompidou Center in Paris and the Museum of Contemporary art in Montreal. The full movie, ''Inside the Tunnel under the Atlantic'',<ref name="Benayoun 2011 44-49">{{harvnb|Benayoun|2011|pp=44-49}}</ref> 21h long, was followed in 1997 by ''Inside the Paris New-Delhi Tunnel'' (13h long). Only short excerpts were presented to the public. The complex behavior of the Tunnel's virtual director makes it a significant precursor of later application to video games based machinimas.<ref name="Benayoun 2011 50-54">{{harvnb|Benayoun|2011|pp=50-54}}</ref>

''Doom''{{'}}s 1996 successor, ''[[Quake (video game)|Quake]]'', offered new opportunities for both gameplay and customization,<ref name="Lowood 2005 12">{{harvnb|Lowood|2005|p=12}}</ref> while retaining the ability to record demos.<ref name="Marino 4">{{harvnb|Marino|2004a|p=4}}</ref> [[Multiplayer video game]]s became popular, and demos of matches between teams of players ([[Clan (computer gaming)|clans]]) were recorded and studied.<ref name="Kelland 28">{{harvnb|Kelland|Morris|Lloyd|2005|p=28}}</ref> [[Paul Marino]], executive director of the AMAS, stated that [[deathmatch (gaming)|deathmatch]]es, a type of multiplayer game, became more "cinematic".<ref name="Marino 4" /> At this point, however, they still documented gameplay without a narrative.<ref name="Lowood 2006 33">{{harvnb|Lowood|2006|p=33}}</ref>