Not for Broadcast’s unique gameplay gives me an idea of how difficult that is. I’m not much of a movie buff or a TV nerd I couldn’t tell you much about camera terminology or set management. I start to feel as if I’m in control, and that’s a heady feeling. I fall into a comfortable rhythm: Shot, reaction shot, wide shot, go to commercials. I want to put the camera on whoever’s talking, but things get boring if I stay on a single shot for too long. It’s initially chaotic, but there are a few simple rules that clarify things. I have to watch all of those screens, and then look at the console beneath them, which allows me to switch screens, select images to show the audience, run commercials, and censor out any unfortunate swears. The live feed is the broadcast that the entire nation is watching that’s where I can see if my editing decisions worked out, or if I flubbed a transition. I get to choose which of those screens to display on the broadcast screen, which is smack in the middle. There are four screens on the left, each of which can show different camera angles or segments of the news. However, that station is quite elaborate. I don’t move around too much in Not for Broadcast I’m stuck at my station.
At the end of the call, he tells me this is my job now. Luckily, there’s a robust tutorial, where my friend calls into the studio and walks me through everything I need to do. I take the role of broadcast operator, which comes with a unique set of controls. Not for Broadcast is an early access title this release contains a massive chunk of story and multiple missions, but there will be more to come with extra polish added to the existing parts.
And, it turns out, producing live news is hard. Is Not for Broadcast goofy slapstick, or a political story with teeth? It’s both. On the other hand, I also have to manage the interview of a man named Tit-wank Tony, and decide whether to publicize an Elon Musk-esque transit tunnel that’s given the acronym of MOOBS (Mobile Orientation Operation Burrowing System). If I’m sloppy, viewers stop tuning in, and I’m suddenly out of a job. If I’m smart, I can edit that news in order to steer public perception the way I desire, in a direction I think will inform or help people. This full-motion video game shows me newscasters, directors promoting their movies, politicians, and entrepreneurs on a variety of screens, and it’s my job to make some sense out of it for the audience that tunes in every night to get the “news.”Ī new political party, the far-left Advance, has come to power. My job is to handle the nightly news in an alternative-history version of 1980s Britain, producing the live events as they happen. I am a cog in the machine of a slowly approaching dystopia.
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