Full Motion Video games are like a 6 year olds school play, terrible but we are never allowed to say. Instead we smile politely and clap and say it was good. The heyday of FMV games was the early 90s when Sony released Johnny Mnemonic and became the first film studio to release a video game…back when the ‘video’ part of that meant just that.
Soon after Electronic Arts followed up with Mark Hamill in Wing Commander III (and IV). The 90s were awash with FMV games, Night Trap (1992), 7th Guest (1993), Phantasmagoria (1995). It was going to be the next big thing.
Full Motion Video never worked though.
The reality was very different from the hype. Usually offering limited gameplay and using second rate actors who couldn’t create a scene if they had a tantrum in a shopping mall. It was gamers who saw through the hype to realise they actually offered very little and the FMV game died along with punctuality, Fax machines and MC Hammers’ parachute pants at the end of the 90s.
So when ‘Not for Broadcast’ landed on my desk, I was less than excited.
A full motion video game with what looks like second rate actors in grainy rendered footage and cheap backdrops; where you play an trainee broadcast editor for a nightly news programme.
Look, it’s not that hard. Choose the angles, roll the ads, and bleep the swears, but as the tutorial warns you, just keep in mind that how you show these people will change their lives…and maybe yours.
The controls are simple enough and you are introduced to them well in the first level broadcast and the game is outstanding. You begin a year in the job at the start of a new government taking power and one of your first edits is a statement from the winning party leaders.
Things become more sinister and your choices are more subtle as the game advances. For example, having picked up the skill of editing out swear words over a couple of broadcasts, you are then instructed by the station boss to bleep out overly critical statements of the government as well. So when a faux gangster rapper, who spends the entire interview lying and talking garbage, takes the stage for an unrehearsed song that criticises the government, what do you do? Do you edit out the swearing and the criticism or do you allow it and make this prick a hero or perhaps allowing it will get this prick arrested? The choice is yours.
Not for Broadcast consistently puts you in these difficult and subtle positions; asking if you will cooperate to keep your job because you need to to keep your family together? Or if seeing what is happening under this new regime and the impact that has on your family, will you try to undermine it?
The impact of your choices plays out in text based updates of family life between broadcasts and is tied to what is going on in the country.
This heavy theme of coming police state and your facilitation of it is juxtaposed with the actual broadcast material which is pure comedic gold. So much so, that I don’t much care about my family updates I want to get to the shows. There’s so much going on it’s glorious.
Not only are the jokes puerile in that we frequently deal with the leader of a multi-national company called Rymmington Svist and at one point interview an ex-con called Tit-Wank Tony who unleashes everything on a live interview we might have secretly wished for in our head, but the stories and presentation of each item is delightfully observed and presented.
We have to manage a god awful teenage drama presentation about bullying, a bizarre new sport that has an imaginary round and is invaded by streaking nude protesters, a new tv show for kids about farm animals boufing, one of those inexplicable letharios that seem to do and offer nothing and yet are nationally famous lying in bed hosting a quiz about himself, and so many more wonderful characters that offer delicious comment on society. It is glorious choosing what to do with them? Do you deliver the clean edit you are supposed to or do you broadcast the rants that are supposed to be off-screen? Do you present the message these terribly self-righteous people want to deliver or do you show the tired, eye rolls of the individuals forced to share an interview with them.
Do you cut the adverts short to expose your lead anchor slagging off the guests he is returning to interview or not? There are lots of choices here and all of them are recorded in your edit that went out to the nation that you can rewatch at anytime.
Not for Broadcast isn’t without some small problems though.
I had occasional crashes and had to restart levels and failure and loss of viewers means you are sacked and have to restart the level as well. This can be a bit tedious as we’re running a show here and there are often lengthy things to repeat, but these issues were very infrequent and are enormously outweighed by the sheer fun the game consistently delivers.
Not for Broadcast is still in Early Access and some people like to leave Early Access games alone until they have launched, but you really shouldn’t here. It’s entirely worth it even as it is, despite there being more updates in the pipeline.
Not Games just released one of those, a second large update made during the lockdown of the last 18 months, which has not hampered their style or commitment one bit as they simply introduced an hilarious lockdown of their own in the game, developing a storyline about teddies that come alive and hunt people down requiring society to hide in our homes.
This allows all sorts of observed fun of lockdown; people wearing pants only on the bottom half, fake backdrops and people pretending to be outside, people caught eating lunch and not ready for the camera to be on them and forgetting to switch it off.
The death-teddies eventually invade the studio and become another difficulty to deal with as does a passing storm that electrifies some of the buttons making them unusable. The game winds up the chaos continuously with each broadcast and never lets you stop laughing.
I tell you this is the best Full Motion Video game I have ever seen and is one of the best games of any type I’ve played all year. An hilarious ride with stacks of replayability.
Not for Broadcast is available for about $25 and is worth every penny in current form with more updates to come. My Friends…the revolution will be televised, just put me in charge of broadcasting it will you.
Did your ordinary German soldier in 1943 who was fresh out of school at 18 know he was one of the bad guys in WW2? I’m a bit confused about The Happy Little Virus. Normally in games you play the hero, sometimes the bad guy, but when you do it’s clear. I think I’m the bad guy in this…
The game is played in imagined circuit boards, in a kind of Tron way, where you are in the grid, on the motherboard of a computer or in the servers. You play a virus…so a bad guy (right?) and there are companies to choose from to ‘attack’ on the menu screen.
One is for Guide Dogs and the other is a Cancer support charity… we’re hacking and stealing from these people? We’re definitely the bad guys! Right? Perhaps we are fighting corruption or abuse? No, there are suggestions that rich people want guide dogs because they are trained to poo on command. You are sent to hack and steal from various addiction, wildlife and support charities. We’re definitely the bad guys.
Happy Little Dalek-like Creature
In The Happy Little Virus you control a small Dalek like creature in a 2.5D shooter and you have to run through circuit boards, which are effectively corridors. You gradually collect weapon power-ups through the course of the game and your progress saves after each level.
The early levels are just corridor shooters and lack a zing about them to draw you in, but if you persist the game does develop a bit. You are presented with wider levels, giving you choice about how to tackle opponents. Enemies (the good guys) are similar Dalek shaped creatures but represent anti-virus software and sometimes can reproduce in hubs on some levels.
You (as the virus) can take over these hubs and replicate yourself a few times. This gives you a form of extra life in some of the more challenging levels. Levels also develop a variety of additional features. You can regain health from circuit board resistors and there are firewalls, which act as little laser gates that can be activated on and off sometimes. If you are smart you can use these to your advantage making some of the faster anti-virus Daleks career into them as you sidestep like a matador.
Sound & Visuals
The music and sound effects are not up to much, it’s there, but pretty rote and unobtrusive. The colours however are vibrant and look good, with bright greens making borders and circuit connections and some levels using luminescent lighting to provide a different type of challenge than just more enemies. The gameplay curves nicely in difficulty although the final level is something of a chaotic overwhelming challenge.
There are a variety of different weapons on offer through the game and they are quite inventive, you don’t just shoot things, although of course in a robot shooter, you do have a laser. You can blow a blast on a diffuser that shatters opponents – only at point blank range mind you, you can blow bubbles that capture enemies and bounce them off into space and off the board and you can gather up the shattered bodies of your enemies into a debris whirlwind and fire them at your enemies.
The more enemies you face, the more cluttered your narrow play area and corridors become with these shattered bits of anti-virus robot. This can be a help to you as it slows down the advance of your enemies allowing you to retreat a little and gather yourself; but it can also hinder you by rendering your long range laser redundant with too much debris in the way to hit the intended ‘good guy’.
The weapons then work best at a variety of distances and best against certain types of enemy. This all means you need to become pretty good at switching between weapon types and picking attack and retreat as weapons cool down. all-in-all it’s a pretty good fire system and definitely the strength of The Happy Little Virus.
If the combat is well constructed the level design and gameflow is less impressive. Although the difficulty is well planned and scaled, the essence of the game does not change very much and this makes play somewhat repetitive and slightly irritating. On top of this the constant messaging is just odd and awkward.
There are about 25 levels in all and they are grouped into rough themes, culminating in destroying and stealing from organised religion. It doesn’t feel like there is a narrative, rather that you are being subjected to the developers prejudices. If you can ignore this, it will take you about five hours to complete Dalek Training school.
The Happy Little Virus is a reasonable FPS puzzle game and is available on Steam. It has some good design in weapons and a reasonably well planned difficulty curve, but the messaging falls flat and the game is a bit repetitive and lacking fun after a short while; kind of in the way that Candy Crush is a challenge but isn’t actually fun.
The Happy Little Virus provides the sort of frustrating challenge that trying to bounce a tennis ball on the edge of the racket does, you want to go again because you know you can do better, but you also know the experience and result isn’t going to be much different and when you finish you probably won’t ever do it again, unless you’re a bad guy and then nothing you do makes sense.
It’s a rarity that I end up playing most games in the survival game genre, such as Minecraft and Rust, Subnautica, Don’t Starve, and more. It’s not that these games are bad, but the market has become oversaturated with games in this genre in the last decade or so.
My talents for building beautiful structures, or finding the patience in my ADHD brain to gather the countless resources to craft what I need to advance to the next tier of the game.
But Valheim hits different.
You are a mighty Viking warrior, sent by Odin Allfather himself to the Norse equivalent of Purgatory in order to slay mythical beings that threaten Valhalla. Starting in the relatively peaceful Meadow biome, you build a small home (or find one) and begin to collect resources to better your equipment and explore the world.
Valheim offers a great tutorial system in the form of a huge raven that explains some of the core mechanics of the game, and offers a bit of direction on how to progress forward, which is a big step up from similar games that just drop you into a random world with little to no instructions.
I really enjoy that Iron Gate Studios spent the time to add a good, clear goal as well as a simple but well integrated tutorial system. One of my biggest struggles with Minecraft over the years is how absolutely massive the game is, with little to no direction on how to get to the endgame goal of killing the Ender Dragon or how you should be progressing forward.
Wait, Minecraft Is 12 Years Old?
It’s possible that’s more of an opinion, or signs of age as Minecraft is nearing it’s 12th year, but I’m not as much of a fan of the “figure it out yourself” side of these games. Maybe I’m just old.
The world of Valhiem is a beautiful, slightly haunting world. Danger might not lurk around every corner, but it is ever-present. Beyond the safety of the open Meadows biome, lies a myriad of dangerous creatures that attack relentlessly. From Greylings, Trolls, skeletons and more, they will endlessly hunt you down as long as you leave the safety of your home.
Base building becomes even more important as you delve farther into the world, as attacks on your home will become more frequent and you’ll need to build defenses like spikes and pits to stop them. Crafting your base is a breeze, with pieces snapping into place and requiring you to be mindful of support beams, chimneys for smoke ventilation, as well as protective walls for safety.
Beautiful Visuals, Open World Exploration
Visually, the game’s landscapes are beautiful and the building system lets you easily create nice looking structures without being an architect (in contrast to Minecraft where I can’t build anything). However, monsters and players themselves look like they were ripped out of Runescape, and don’t really mesh with the rest of the visuals of the game.
I do miss the lack of things to discover in the world, but to my credit I have only explored the first two biomes, and have not seen much on the Wiki to change my mind about more discoverable things beyond abandoned structures and small dungeons.
Where No Man’s Sky offers a plethora of locations that overall don’t matter a great deal to progression, and Minecraft offers a huge variety of possible things to explore that are (usually) beneficial in some way, Valheim’s abandoned homes generally only offer the same couple resources (some gems/amber/money that you can’t use for a while longer, feathers, bees, and maybe some arrows). The crypts you find in Black Forest are necessary to create Forges and smelters, but after that there’s never been anything of note to find in them.
The game also offers a skill system where the more you use a skill, the better you get at it.
Or, so I’m told.
I haven’t really noticed any difference between where I started the game and and where I am now. I’ve been sprinting since I started the game, but I haven’t seen a single difference in running speed. The only noticeable progression is upgrading tools and weapons, which make a decent enough difference to feel like progression.
The Final Verdict
Overall, I’m still really enjoying running around the world of Valheim. I’m somewhere around day 35 or so of my current world, wasting time trying to mine more bronze before I craft a ship to sail to the next island to face the second boss. And I’ve enjoyed just about every minute of it.
For an early access title (which is only about $20), it’s a great game at it’s current version. Iron Gate Studio has been adding small patches fairly frequently, improving the game’s stability while also being fairly open about their roadmap for new features.
I hope that some of the visuals are changed as the game goes on, mainly the horrendous looking trolls and player models, but we’ll see if that is just a design choice or not. I’d also like to see more attention paid to the skill system, to feel like there’s an actual progression for all the trees I’ve hacked down over the last 20 hours of game time.
Fans of great emergent storytelling and multiplayer survival games, Valheim is an easy pick. Even if you want to sit and let the game marinate for a bit longer for more content, there’s already plenty to unpack now to keep you entertained for a few weeks with your buddies.
Let’s be honest here. Hades is a fantastic game and there’s no reason to give it anything but a recommendation. Five Stars. 10/10. To claim otherwise that Supergiant’s entry into the rogue-lite genre isn’t a masterpiece would be a complete lie, and I’m an honest man.
Overview of Hades
It’s not difficult to describe Hades on the surface – It’s a 2.5D rogue-lite game that takes place in the beautiful world of the Greek Underworld. You play as Zagreus, the edgy and cool son of Hades who just wants to leave his hometown and explore the world, but Hades oddly refuses to let you leave Tartarus and communicate with your Olympian relatives.
So naturally, you run away. Dashing through the rooms of Tartarus, fighting monsters left and right as you make your ascent to Earth. You meet colorful characters from Greek mythology, like Sisyphus and his super cool eternal punishment despite him being super kind, or eternal sad boy Orpheus who just wants to vibe in the afterlife.
Not to mention the Olympian gods, who send you their blessings to help you advance through each run, each one with their own personalities and boons to offer unique builds for every run through the layers of Hell.
One of the most unique features that Hades offers is that it’s a rogue-lite with an actual story. And like, a good one too.
Most roguelikes have a story ranging from “mom locked me in a basement and is going to kill me, by the way here are the four horsemen of the apocalypse and my dead unborn brother” to [frustrated shouting at your monitor when you’re 12 minutes into Monsoon difficulty], with gameplay superseding the story-line of the game.
The more you progress, and die, and repeat, the more the game opens up for you. New characters begin to wander the halls of Hades’ home, as well as new weapons with unique upgrade paths for each one. Each character has their own story and personality that unlocks the more you spend time to interact with them, or gift them items to strengthen that bond.
Supergiant isn’t new to the realms of excellent storytelling as well as engaging gameplay – with the hit games Bastion and Transistor under their belts, they are no strangers to fantastic storytelling. Paired with the unique genre of Roguelite games, the gameplay loop of progressing as far as you can before dying also allows the story to unfold at the pace of the player. Hades only offers one clear goal: Escape Hell, and you beat the game.
Of course, most players aren’t going to be able to pick up the game and complete it in their first attempt. Once they have shaken off their mortal coil, players see new characters and options in the world to unlock and play with, as the story unfolds with each incremental victory.
Summing Up Hades
Eventually, the game culminates in it’s “final ending” (Although I think there is a third ending after you escape a certain number of times), which is not only completely satisfying, even still adds further content to explore within the game.
Generally, I don’t play a game all the way to completion for a review. In this case, our Hades review was epic. I’ve logged close to 55 hours of the game, and I still pick it up for a few runs every couple days.
I don’t think there is any other way to sum up how I really feel about this game, and I wholeheartedly recommend it.
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