Not for Broadcast

Not for Broadcast is a real-time FMV simulation game where you assume the role of a broadcast director in a dystopian political landscape, tasked with controlling live television content by censoring, editing, or amplifying news segments as they unfold. Using a unique interface that mirrors actual broadcast controls, you must navigate moral dilemmas, governmental pressure, and unexpected events to shape public perception while uncovering a conspiracy that threatens the nation, with your choices directly influencing multiple narrative outcomes.

Not for Broadcast: A Masterclass in Satirical Game Design

Introduction

Not for Broadcast is a game that defies easy categorization. Part FMV (Full Motion Video) experience, part propaganda simulator, and part political satire, it weaves a narrative so rich and layered that it demands to be experienced, dissected, and debated. At its core, Not for Broadcast is a game about power, control, and the ethical dilemmas of media manipulation in a dystopian society. It challenges players to navigate the murky waters of censorship, propaganda, and resistance, all while grappling with the consequences of their choices. This review aims to explore the game’s development history, narrative depth, gameplay mechanics, world-building, critical reception, and lasting legacy, ultimately arguing that Not for Broadcast is not just a game but a cultural artifact that mirrors the complexities of our own world.

Development History & Context

Not for Broadcast was developed by the British indie studio NotGames and published by tinyBuild. The game’s development was marked by a series of challenges, not least of which was the COVID-19 pandemic, which forced the team to adapt and innovate. The game was released in early access on January 30, 2020, with the full version launching on January 25, 2022. The development team, led by directors Alex Paterson and Jason Orbaum, drew inspiration from a variety of sources, including classic FMV games like Night Trap and Grounding: Founders’ Edition, as well as political satires like Papers, Please.

The game’s setting is a fictionalized version of the United Kingdom, renamed Territory One, where a far-left socialist party named Advance has won a landslide election. The player takes on the role of Alex Winston, a studio director at Channel One, the nation’s largest television network. The game’s narrative unfolds through a series of broadcasts, interspersed with visual novel-style segments that explore Alex’s personal life and the broader political landscape.

Narrative & Thematic Deep Dive

Not for Broadcast is a masterclass in narrative design. The game’s story is divided into three episodes, each covering a different period in the political and personal life of Alex Winston. The narrative is rich with themes of power, resistance, and the ethical dilemmas of media manipulation. The game’s characters are complex and multifaceted, each with their own motivations, flaws, and arcs.

Plot Overview

The game begins with the election night broadcast, where the Advance party has just won a landslide victory. As the game progresses, the player witnesses the gradual descent of the Advance party into authoritarianism. The game’s narrative is structured around a series of broadcasts, each covering a different event or issue. The player’s choices during these broadcasts have far-reaching consequences, affecting not only the political landscape but also the personal lives of the characters.

Character Analysis

• Alex Winston: The protagonist of the game, Alex is a complex character whose actions and choices shape the narrative. Alex’s journey is one of moral ambiguity, as they grapple with the ethical dilemmas of media manipulation.
• Jeremy Donaldson: A seasoned news anchor, Jeremy is a cynical and jaded character who becomes increasingly disillusioned with the Advance party’s policies. His arc culminates in a dramatic confrontation with the government.
• Megan Wolfe: A younger, more idealistic news anchor, Megan serves as a foil to Jeremy. Her character arc explores the tension between idealism and pragmatism.
• Julia Salisbury: The co-leader of the Advance party, Julia is a charismatic but ruthless politician whose actions drive much of the game’s narrative.
• Peter Clement: The other co-leader of the Advance party, Peter is a more affable and approachable figure, but his actions are no less consequential.

Themes and Motifs

• Power and Control: The game explores the dynamics of power and control, both in the political sphere and in the media. The player’s role as a studio director gives them a unique perspective on these dynamics.
• Resistance and Compliance: The game’s narrative is driven by the tension between resistance and compliance. The player must navigate this tension, making choices that have far-reaching consequences.
• Media Manipulation: The game’s central mechanic revolves around media manipulation, exploring the ethical dilemmas of censorship, propaganda, and misinformation.

Gameplay Mechanics & Systems

Not for Broadcast is a unique blend of FMV and simulation gameplay. The player’s primary role is to edit live broadcasts, making choices that affect the narrative and the game’s outcomes. The gameplay is divided into two main segments: broadcast days and non-broadcast days.

Broadcast Days

During broadcast days, the player takes on the role of a studio director, responsible for editing live broadcasts. The player must manage multiple camera feeds, censor inappropriate content, and select advertisements to maximize viewership. The gameplay is intense and fast-paced, requiring quick reflexes and strategic thinking.

• Camera Management: The player must switch between multiple camera feeds to ensure that the broadcast runs smoothly. Each camera feed offers a different perspective on the action, and the player must choose the most appropriate feed at any given moment.
• Censorship: The player must censor inappropriate content, such as profanity and political dissent. The game’s censorship mechanic is a key part of its narrative, exploring the ethical dilemmas of media manipulation.
• Advertisement Selection: The player must select advertisements to maximize viewership. The advertisements can have a significant impact on the narrative, affecting the political landscape and the personal lives of the characters.

Non-Broadcast Days

During non-broadcast days, the player engages with a visual novel-style segment that explores Alex’s personal life and the broader political landscape. These segments are slower-paced and more narrative-driven, providing a counterpoint to the intense gameplay of the broadcast days.

• Incident System: The incident system is a series of text-based choices that allow the player to influence the narrative. The choices made during these segments can have far-reaching consequences, affecting the political landscape and the personal lives of the characters.
• Character Relationships: The incident system also allows the player to manage their relationships with other characters. The choices made during these segments can strengthen or weaken these relationships, affecting the narrative and the game’s outcomes.

World-Building, Art & Sound

Not for Broadcast is a game that excels in world-building. The game’s setting is a fictionalized version of the United Kingdom, renamed Territory One. The game’s art style is a blend of FMV and traditional animation, creating a unique and immersive visual experience. The game’s sound design is equally impressive, with a score that complements the narrative and enhances the gameplay.

Setting and Atmosphere

The game’s setting is a dystopian version of the United Kingdom, where a far-left socialist party named Advance has won a landslide election. The game’s atmosphere is one of tension and uncertainty, as the player witnesses the gradual descent of the Advance party into authoritarianism. The game’s setting is richly detailed, with a variety of locations and environments that reflect the political and social landscape of the game’s world.

Visual Direction

The game’s visual direction is a blend of FMV and traditional animation. The FMV segments are shot with real actors and sets, creating a sense of immediacy and realism. The traditional animation segments are used to convey information and context, providing a counterpoint to the FMV segments. The game’s art style is cohesive and immersive, creating a world that feels both familiar and alien.

Sound Design

The game’s sound design is a key part of its immersive experience. The score is a blend of orchestral and electronic elements, creating a sense of tension and urgency. The sound effects are equally impressive, with a variety of ambient sounds and voice acting that enhance the gameplay and narrative.

Reception & Legacy

Not for Broadcast has been widely praised for its innovative gameplay, rich narrative, and political satire. The game has received numerous awards and nominations, including the Seumas McNally Grand Prize at the Independent Games Festival Awards. The game’s critical reception has been overwhelmingly positive, with critics praising its unique blend of FMV and simulation gameplay, as well as its exploration of complex political themes.

Critical Reception

The game has received high scores from critics, with an average Metacritic score of 82/100. Critics have praised the game’s innovative gameplay, rich narrative, and political satire. The game’s FMV segments have been particularly lauded, with critics noting the high production values and the performances of the actors.

Commercial Success

The game has been a commercial success, with over 111 players having collected it on MobyGames. The game’s success has led to the development of several DLC expansions, including Live & Spooky, Bits of Your Life, and The Timeloeloop. These expansions have further enriched the game’s narrative and gameplay, providing players with additional content and experiences.

Influence and Legacy

Not for Broadcast has had a significant impact on the gaming industry, inspiring a new wave of FMV and simulation games. The game’s exploration of political themes and ethical dilemmas has resonated with players and critics alike, establishing it as a cultural artifact that mirrors the complexities of our own world. The game’s legacy is likely to endure, as it continues to be celebrated for its innovation, creativity, and relevance.

Conclusion

Not for Broadcast is a game that defies easy categorization. It is a masterclass in narrative design, gameplay innovation, and political satire. The game’s exploration of power, control, and media manipulation is both timely and timeless, resonating with players and critics alike. Not for Broadcast is not just a game; it is a cultural artifact that mirrors the complexities of our own world. Its legacy is likely to endure, as it continues to be celebrated for its innovation, creativity, and relevance. In the pantheon of video game history, Not for Broadcast stands as a testament to the power of interactive storytelling and the enduring appeal of political satire.