The Bunker

The Bunker is a post-apocalyptic horror adventure game set in an alternative version of Britain where nuclear war occurred in the mid-80s. Players control John, the sole survivor in a decommissioned government nuclear bunker, who has lived his entire life underground. The game is presented almost entirely in live-action full-motion video, with players navigating through the bunker and uncovering its secrets as John’s routines are disrupted by a server crash.

The Bunker: Review

Introduction

In the shadowy corridors of gaming’s experimental fringe, The Bunker (2016) stands as a haunting relic of the FMV (full motion video) genre’s unlikely resurgence. Developed by Splendy Games and Wales Interactive, this live-action psychological horror adventure dared to revive a format largely abandoned since the 1990s, blending cinematic storytelling with minimalist interactivity.
Set in a post-apocalyptic nuclear bunker, The Bunker tells the harrowing tale of John, the last survivor of a Cold War-era catastrophe, grappling with isolation and suppressed trauma. While its gameplay mechanics falter under the weight of ambition, its atmospheric storytelling and commitment to analog filmmaking carve a unique niche in gaming history. This review argues that The Bunker is a flawed yet fascinating experiment—a bridge between interactive cinema and traditional gaming, revitalizing FMV’s potential while exposing its inherent limitations.

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Development History & Context

Studio Vision & Origins
Splendy Games, founded by industry veterans with credits on The Witcher, Broken Sword, and SOMA, sought to reimagine FMV as a viable medium for modern players. Partnering with Wales Interactive, they aimed to elevate the genre beyond its campy ’90s roots (Night Trap, Phantasmagoria) with higher production values and psychological depth.

Technical & Creative Constraints
Filmed entirely on location at Essex’s Kelvedon Hatch Secret Nuclear Bunker, the team eschewed CGI and motion capture for practical effects and live actors, including The Hobbit’s Adam Brown and Penny Dreadful’s Sarah Greene. The decision to shoot on-location lent authenticity but introduced logistical challenges: limited lighting, tight corridors, and a shoestring budget strained the production.

2016’s Gaming Landscape
Released amidst a wave of narrative-driven indies (Firewatch, Oxenfree), The Bunker arrived as FMV games began creeping back into relevance (Her Story, Contradiction). However, its linearity and lack of gameplay depth clashed with contemporary expectations for player agency.

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Narrative & Thematic Deep Dive

Plot & Structure
Born on July 3, 1986—the day nuclear missiles devastated Britain—John has lived his entire life in the bunker, following a rigid routine enforced by his mother, Margaret. Thirty years later, Margaret’s death leaves him alone until a system malfunction forces him to confront suppressed memories of the bunker’s dark past.

The story unfolds through flashbacks, revealing a grim conspiracy: Margaret, desperate to extend dwindling supplies, poisoned the bunker’s inhabitants and manipulated John into aiding her. The climax forces John to choose between staying in the decaying bunker or risking the irradiated outside world—a poignant metaphor for confronting trauma.

Characters & Dialogue
Adam Brown’s performance as John is a masterclass in vulnerability, his wide-eyed terror and mumbled monologues embodying a man-child shaped by isolation. Sarah Greene’s Margaret balances maternal warmth with chilling pragmatism, her ghostly apparitions haunting John’s psyche. Supporting characters (bunker staff, a paranoid commander) serve as tragic foils, though their limited screen time undermines emotional impact.

Themes
– Isolation & Routine: The game critiques the fragility of sanity in confined spaces. John’s daily rituals—vitamins, radiation checks, reading to his mother’s corpse—mirror real-world compulsive behaviors.
– Trauma & Guilt: Flashbacks depict John’s unwitting role in mass murder, framing him as both victim and perpetrator.
– Survival Morality: Margaret’s actions pose ethical questions: Is monstrous cruelty justified to protect loved ones?

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Gameplay Mechanics & Systems

Core Loop & Interactivity
The Bunker is a point-and-click adventure with brief QTEs. Players guide John through static environments, clicking hotspots to examine objects or trigger cutscenes. The linear design offers little agency—failing QTEs merely replays scenes, while “decisions” (e.g., choosing which book to read) rarely alter outcomes.

Strengths
– Atmospheric Pacing: Slow exploration amplifies tension, with hushed footsteps and flickering lights immersing players in John’s paranoia.
– Optional Lore: Collectibles (toys, documents) flesh out the bunker’s history, rewarding meticulous players.

Weaknesses
– Shallow Interactivity: Many “puzzles” involve fetching keys or pressing buttons, lacking challenge.
– QTE Frustrations: Misplaced prompts (e.g., rapidly tapping to bandage a wound) disrupt immersion.

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World-Building, Art & Sound

Setting & Atmosphere
The Kelvedon Hatch bunker’s oppressive design—rusted pipes, peeling paint, claustrophobic corridors—becomes a character itself. Static cameras and grainy footage evoke found-footage horror, while eerie silence juxtaposes with sudden industrial clangs.

Visual Direction
Director Allan Plenderleith embraces analog grit: no CGI, just dim lighting and practical effects. Flashbacks use warmer tones to contrast the bleak present, symbolizing John’s fractured psyche.

Sound Design & Music
Dominic Shovelton’s synth-heavy score channels John Carpenter, its droning melodies heightening dread. Foley work—creaking doors, distant sirens—grounds the surreal premise in visceral reality.

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Reception & Legacy

Launch Reception
Critics praised the performances and atmosphere (Techaeris: 90%; Video Chums: 78%) but lambasted shallow gameplay (Destructoid: 70%; Adventure Gamers: 50%). Metascores settled at 68 (PS4) and 66 (Xbox One), reflecting polarizing divide.

Enduring Influence
Despite mediocre sales, The Bunker proved FMV’s viability, paving the way for Wales Interactive’s later successes (Late Shift, The Complex). It remains a cult favorite among horror fans and FMV enthusiasts.

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Conclusion

The Bunker is a paradox: a technically impressive revival of a forgotten genre, yet a prisoner of its own constraints. Its story and aesthetic craftsmanship deserve acclaim, but its gameplay feels like an afterthought—a reminder that interactivity cannot thrive on narrative alone.

Yet within gaming’s broader tapestry, The Bunker holds value. It embodies a daring experiment, blending film and gaming to probe uncomfortable themes of isolation and guilt. For historians, it’s a testament to FMV’s untapped potential; for players, a flawed but unforgettable journey into darkness.

Final Verdict:
The Bunker is not a great game—but it is a compelling piece of interactive cinema, deserving recognition for its ambition and atmosphere. Its place in history lies not in perfection, but in its willingness to wander gaming’s unexplored corridors.