Not For Broadcast is a lot of things: An FMV game released across three episodes and a bonus COVID-19 special over the last three years, a meditation on political extremism, and a test of ones' judgment on the fly with branching narrative paths. It's also a deeply British title, with studio NotGames packing the experience full of humorous and absurd moments across its Guinness World Record-winning 43 hours of live footage.

Game Rant spoke to NotGames co-creator Jason "Jay" Orbaum and CEO Andrew "Andy" Murray about their history and feelings leading up to the release of Not For Broadcast Episode 3. Interview has been edited for clarity.

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Q: Tell me a little about yourselves and what you do at NotGames.

Orbaum: I'm Jay Orbaum, co-creator and director at the company. I also wrote about half the script and all the music.

Murray: I'm Andy Murray, like the more famous tennis player. I'm CEO, so I handle corporate business side. I do level design, video editing, non-script writing, sound engineering, localization, etc.

Orbaum: You did pretty much all the incidents that run between the story. Alex Paterson and I write the majority of the film content, but Andy has written the majority of the incidents system; your family story, that side of things. We're quite a small company, there's only eight of us working full-time. Everyone mucks in and does what they can.

Murray: We wear many hats.

Orbaum: We're producing in one of the most stupid expensive places of real estate in the world, so we do what we can to keep costs down.

Murray: Lovely to live here, though.

Orbaum: It is very pretty, apparently very nice schools. But that's not much use to me, I've already finished school.

Q: You have your roots in TV, film, theater. Tell me more about your experiences in entertainment.

Murray: We are far from your traditional dev company in that sense. We all came from acting/musician/comedian backgrounds and met through Jay's old company doing productions for a youth theater charity. We made a couple of games, but it turns out when you give your profits away you don't have any money - makes it hard to do this for a living.

In terms of our actual backgrounds, Denis Sewell came out of the film industry, I was acting and working part-time - sold my soul to the corporate machine doing sales and tech software.

Orbaum: I was trying to get this company off the ground. I've spent my whole life as a freelancer, I like writing scripts, I have a long list of theatrical experiences. I really like playing music, and my main hobby and earner through those periods has partially been in the games industry. I worked for Eidos back when they were Domark, and I worked for Virtuality which made some of the first VR arcade machines.

What I love about games is you get to use all those disciplines within one art form. That's the beautiful thing about video games, they require story, acting, emotion, pitch and pause, and they require music.

I'm a control freak, I think that's fair, isn't it?

Murray: Yeah.

Orbaum: Being in control of our own company to tell our story is important. Our publisher tinyBuild let us do that. We negotiated with a number of companies when we had our prototype, and some made lovely offers but wanted to change the story. I've done that in my life, making something that someone else wants you to make when you don't believe in it. Then it takes years, and it's not even successful. That process is so utterly soul-destroying that, for me, better to do this weird, out-there game that has grown-up politics and stuff that doesn't belong in a game.

notgames interview jay osbaum andy murray january 2022

To be fair, tinyBuild said they'd give us free rein, and really have. They've made suggestions which we take nine-out-of-10 times because they know how to make good games, but there's never been a situation where if we said "No" there would be an argument. It's given us the freedom to make this, which is a big risk because it's not cheap for an indie game.

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Murray: We've worked it out, there's well over 300 people involved not including us.

One of the ways tinyBuild's influence has been big is the incident system. I ran with the idea they pitched while Jay and Al were busy writing the script for the main game.

But I think the thing that really sold us is we were negotiating directly with CEO Alex Nichiporchik. He sat us down when we agreed and said one of two things are currently true: It's never been done well enough, or it doesn't work. We're going to find out which.

Orbaum: As a creative person, to hear from the money person that "I understand this might not work, but I want to take the risk to find out," it's very much the mindset of a creative entrepreneur. It's not looking at profit, it's looking at how much it would cost to make this crazy piece of art, and how do I raise it? It's worth doing because it's creation.

Luckily so far it's connected with a fair few people. There are still people who really don't like it, but that's okay. I'd rather have that type of reaction than come out with a bland, flat pancake and make no ripples.

Occasionally on Steam we'll get reviews from people who are really, genuinely angry with us. One a few months ago was like, "You're a bunch of Sun readers" - this horrible Murdock paper. They said we were racist, our jokes were racist, this and that. I wrote back to him, because I know you're not supposed to feed the trolls, but it's our reviews.

Murray: We do talk if we feel a genuine point has been made. Because there's politics in our game, it makes it easier to objectively reply rather than just saying, "Our game is good, you don't have taste." It's more like, "I understand the point you're making, but if you play through and do this you'll find we address that."

Orbaum: It's going to be a lot easier once the whole game is out. I've had a lot of spats with people where I find it's hard because they're only two-thirds of the way through the murder mystery book and telling me I love murderers because he hasn't been caught yet. But I can't say what's going to happen because spoilers.

Murray: Episode 3 is all about consequences. As Jay says it's got payoffs for everything you see in the game: Your personal story, advert choices, political choices, everything. If you weren't in Early Access or releasing episodically I think it'd be quite nice to play through, see consequences, and get other paths.

notgames interview jay osbaum andy murray january 2022

Orbaum: Most of my writing and directing experience is on the stage, you're rarely writing in multiple parts and getting input from audiences to evolve your story going forward. In a play the script is nailed before you sit an actor down, whereas with this type of storytelling different paths change.

In Not For Broadcast, although the events are the same, the manner players are treated differ. It's similar to a more basic RPG where you might turn up in town and they say, "It's lovely to see you" or, "You're a monster." Hopefully it's less linear than that, we didn't want to do branching narratives traditionally.

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We worked on a system of waiting where what you do running this TV show has an impact on how the public feels about what you're reporting on. It's not as simple as using this photo makes them hate this character, it can have a pro or anti-score for the government, resistance, etc. The game encourages or suggests that players propagandize, and you should begin to see those results get weighty.

Don't get me wrong, we didn't shoot millions of variants because it's too expensive, but we found lots of ways to make the experience different using the same footage.

Murray: The incidents between segments are text, so it's easier to change. I think that's been a key point for some of our fans over the last two years, they've seen consequences coming about in Episode 2 and try to figure out how to see the endings.

Orbaum: We have a few endings, and then there's all these lovely epilogues where it looks back over your entire career. For example, there's an epilogue you can unlock if you've been a bit of a government toady and then changed your mind to go resistance. You might wind up with a government win ending but see more turmoil because of subversions you've done.

We took this side-path when coronavirus came along. It was either do a lockdown episode or do nothing for three months and rely on furloughs - which none of us wanted to do, we'd all go crazy. Fortunately we could do everything at home except shooting actors. Three days out from the beginning of the principal shoot, we had to shut it all down, so we wrote an episode and had the actors do it from their homes. Obviously they're desperate for work too.

notgames interview jay osbaum andy murray january 2022

What that taught us is we made one level that was very broad. It had a lot of separate bits you could unlock, ways it could go, multiple endings. The response informed our approach to Episode 3, because it turns out people love unlocking stuff. We thought nobody was going to play this three times, they've already heard our funny joke twice. But it turns out some will play it again, and again, and again to find little pieces.

When Alex and I write the scripts, we know that bit at the beginning won't be heard because a tutorial plays over it. That can refer to things later, where you're releasing facts to the player and assuming they're doing backstage homework in a non-chronological order. It makes for interesting writing.

Murray: There's a lot of moving parts.

Orbaum: A lot of moving parts you have to handle, which is something you learn in theater: how to turn an audience's mood, deliver information. Delivering it in this non-sequential way can be a mindspin, but when we nail it - when a player sees something that totally changes their perspective - that's an experience hard to replicate in any other medium.

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Q: To clarify the timeline: When were you guys working on that early game you said didn't work out, and then when did you come back to do this?

Murray: It would have been the summer of my first year at Uni when we first came together. The release of NotTheNameWeWanted would have been around the next spring. This is when we were working out of your lounge, team must have been eight or nine of us.

Orbaum: We put it in for Steam Greenlight, not thinking we stood a chance, so we forgot about it.

Murray: Then a month later we got greenlit, and after it came out on Steam that's when we got momentum, selling enough that we wound up on the front page.

Orbaum: It was mad.

Murray: We never expected it. So we did The Kickstarter Avoidance Album DLC, a fundraiser that was pretty much the equivalent of an OST at the time.

Orbaum: It was a comedy album.

Murray: But we filmed, edited, and did everything for it within a week. It was a really fun week, but a long one.

Orbaum: But it didn't make us anything. Turns out OSTs are rubbish for money, like most music.

Murray: Because we got so much more than we expected, it wound up being a decent amount for charity. We just knew we needed something higher than what was essentially a Snake clone, hand-drawn with a cappella sound. The idea was we were going to satirize the whole industry.

Orbaum: On the back of a beer napkin is what we were thinking, it'd look like everything was scribbled and deliberately sh*t. Well it turned out people just thought it was sh*t.

Murray: The joke didn't land. So the next game we made was NotCoD, where the idea was gameplay stayed exactly the same, but graphics would get better each episode. We managed to release one-and-a-half episodes, but it didn't sell near as well.

Orbaum: The black years.

Murray: Yeah, that hit us hard. We'd come down from the original team to our core four: Jay, myself, Al, and Den. When that didn't pay off, and it hit us all this wasn't going to work, at that point we had to go do something else.

Orbaum: I was on benefits for a little while I remember, because I funded most of NotCod. Not only did the game fail, my personal debt was insane.

Murray: After we went our separate ways, in 2017 Al had this idea and spoke to Jay about it. In 2018, I bankrolled the prototype for that summer, and by the end of the year we started pitching to publishers. In April 2019 everyone else started full-time, and I followed in May.

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Orbaum: In the meantime we met George Burchmore, who helped us out with lighting on the prototype. It turned out he was a good coder, and at the time I'd been writing it all. For the prototype, I learned Unity and Al learned Blender. We basically locked ourselves in and, ignoring the advice of our families, single-mindedly kept slogging on. By the time we sold it, I had wrung the financial patience of everyone around me as thin as it would get. It was a gamble, and it was scary.

Murray: One of the best things for us is it's been full-time for almost three years now, and we have a salary, paychecks, a company to run. It's been phenomenal.

TinyBuild logo

Orbaum: Clearly tinyBuild are absolutely mental, they gave us folk with very little games experience way too much money to make something crazy and unique. They weren't scared, even though one of the worst things with this game is how to describe it. Until you've played it, it doesn't sound like a lot of fun, and screenshots are pretty much all the same.

Normally FMV in a game works against you, it plunges sets into the uncanny valley. Because the video is supposed to be video in this game, I think that's why it works. Where I think Not For Broadcast scores is using TV as its spell, not trying to pretend it's something else.

Murray: If you look at early games like Night Trap, it kind of works because they went campy and brought themselves in on the joke. Back then there was only so much they could deliver with FMV, but you move forward a few years games like Her Story pave the way for games that are less of a joke or self-nod.

Orbaum: And Her Story, again, uses video as video. They didn't try to make it like this is the world you're in, you're looking at police video files.

Murray: That helps people understand you can look at FMV in a different light.

Q: I'm assuming going down the FMV route was an early decision here.

Orbaum: It was a no-brainer because of our backgrounds, we knew the only place we may be able to compete with more established indie teams who put their lives in was this particular arena. We knew a lot of actors, a lot of crew.

Murray: We like to joke that we made it twice as hard on ourselves because we decided to make a TV show and then a video game off that. But while we have the challenges from both, the structure of the TV segments are more like plays.

At this stage, we were never going to be Netflix making The Witcher. We're also never going to be AAA game developers. But the niche of being a company making TV shows and video games as one thing, that's what nobody was doing in the way this idea was pitched.

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Orbaum: It was the place we thought we could add a little something. We could have just made another cash-grabbing microtransaction clone game. It's valid to make a nice, addictive little phone game, but I don't know.

Murray: Something we're proud of.

Orbaum: You want to try and bring something new. If I switch on The Boys I say, "That's great, I've never seen them do that before." Admittedly I have because I've read the comic, but point is I - and we as artists - want to be different. We get a lot of people saying Chris Morris, and that's really nice. We've found a comfy place even if it doesn't make us billionaires.

Murray: That would be nice, wouldn't be upset if it did.

notgames interview jay osbaum andy murray january 2022

Orbaum: Of course, we're not turning down billions if anyone wants to give us any.

Murray: But yeah, it wasn't designed that way. Part of what we know is the politics can be polarizing. As much as we try to engage with people, some will just see politics and say, "I play video games to escape, I don't want to get into that." Which is fair enough. As with every genre ever, it's not for everyone, but there are things we can build on.

Orbaum: I also think there's a myth that young people aren't interested in politics. I don't think that's true, if you look at protests and BLM. Maybe young people aren't interested in having the establishment tell them what to think about politics, which is what a lot of conventional news looks like. I think in life we're drawn to stories that have an underpinning of a world philosophy.

Even for something as ephemeral as the Marvel Cinematic Universe, which isn't really political - it studiously avoids big party politics. But that shared universe, that long-form story, we like it. Superhero stories become your modern-day Greek myths. I do believe a story formed with politics didn't hurt House of Cards or The West Wing.

If you're going to make a game where one of the central mechanics is censoring things you can't show on TV, you have to shoot a lot of stuff you can't show on TV. You're already in your 18+ market, so at that point you write for that audience, and anyone who has lived in the adult world becomes annoyed with politicians.

If they claim to not like politics, they usually have strong views - even if those views are "a plague on both your houses," which is one of the central tenets of Not For Broadcast. I'm in my 50s, and I've never seen anything like what we have in the west at the moment. This game is born out of that society, it's a reaction to that polarization. It's a game about extremist factions.

People on the right don't like to have the right criticized, and people on the left don't want to have the left criticized. Until we start being grown-ups and doing that again, we'll become ever-more polarized. That's so dangerous. There's no growth, we're not meshing as much as we should.

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Murray: Our game is built into the nature of people saying, "This is my belief, that's wrong, we should do this." We just say okay, you've made that choice. Now here are the consequences of that kind of thinking. Turns out there's stuff on both sides that isn't ideal. You need to live with that, understand there are gray areas and that balance is useful.

Orbaum: It's like real politics, it's mucky. There is no goodie or baddie, it's not a war framed as heroes and villains; it's a battle between the left wanting equality and the right wanting freedom. Both of those are valid things that we need a balance of. We all want a happier, prospering society at the end of the day, we just don't always agree on how to get there. It's easy to forget that when you get your news from Facebook and Twitter.

notgames interview jay osbaum andy murray january 2022

I've been talking about the game like it's a big political treatise - it's mainly Monty Python-esque.

Murray: There are 10 levels, only so much we can do with that.

Orbaum: We have like five political points, and then there are 20 minutes where we have a pop at Gordon Ramsay. A pretty good pop, I'd say.

Murray: The ups and downs were important to maintain, because we like humor, so we tried to make a game that was funny as well as having dark, serious points to get across. Marrying those two was a challenge, but I think we've done it.

Orbaum: In real life we've been to events as tragic as funerals and heard giggles go around the room. The two things sit uncomfortably next to each other, and any half-decent story should leave you laughing before delivering a punch. Or right when the tension is built up, you need a laugh to release it. That's what drama does all the time, Shakespeare has Macbeth slicing people up and then incomes a drunk porter. Those two masks next to each other are essential.

I hope that's something we always do, even if we never make a game about party politics again - my god, after three years I think we're done with that. But that's not the only thing that happens in media, there's a lot to talk about.

Q: I've seen reviews commenting on you centering a far-left government with progressive policies at a time when - especially in the US and UK - more conservatives have been in power. Did you have any thoughts?

Orbaum: There are a couple of things. Firstly, this decision to make our totalitarian government left-wing - which has been interpreted as a strongly political decision - was absolutely a creative one. We were seeing shows like The Handmaid's Tale with right-wing, authoritarian, Christian dictatorships, and we don't want to compete with Margaret Atwood; she's amazing. Even though we live in a world where there are autocratic left-wing states, we don't see the fiction of that very often.

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So we thought Al and I are lifelong lefties, let's see what it looks like if it's our side that does it. How did communism establish itself, how do you go from "I want equality for everyone" to labor camps? We thought that would be more interesting for us as writers, not recognizing it would be taken as an interpretation as our views. By the end of the story we knew we were also going to turn our guns on the right - but the audience doesn't know.

We'll get people saying, "You say your society is evil, but they're just redistributing wealth and allowing euthanasia." Yeah, we agree, we would vote for that too. That's the point. Totalitarian states don't look ugly when you're in them, they often look very effective. If you're in the crowd going off to storm the capitol, you don't feel like a terrorist.

We wanted our dictatorship to be more like Brave New World than 1984, but soma is media. Because it's a story about a newsroom, it's important to show the factors that influence the news. From a government perspective, you either want it to censor or do what our government does: turn the news into a game, make it pointless.

notgames interview jay osbaum andy murray january 2022

Hopefully what happens to the player is they see the news becoming an early evening children's show, and that's something they feel incensed about. I'm not saying the real news has become entertainment, but there are bits of Fox News I see and think, "You're not far off Alex Jones." It's a small step from what you're saying to full-on QAnon crazy.

The left does it as well, I don't want to attack just the right. I don't even want to attack Trump voters because I can understand it as a reaction to being desperate, poor, and unrepresented while being told you hate other people because of words you're misusing. You don't go after the voting block, you go after the leadership that enables them.

Murray: I don't want to spoil too much, but if you play through to the end following left- or right-hand leaders of each faction, they shouldn't be theatrical villains who want power for power's sake. They genuinely want to help people and look for what they think will be best. Hopefully both sides can understand where they started, why they're going there, and where they wound up. It's a question of what we can learn from that.

Orbaum: The dream is taking players all over so they can empathize with both sides, but we've discovered a minority of our players can't get past it. They think because they disagree with something, it's a problem. They're written in saying, "But I agree with euthanasia," and we're not saying it's bad, we're saying could mistreated euthanasia become something problematic. Because our main news character is a skeptic, people assume that's the position we want them to take.

Murray: People who only play Episode 1 don't see that Jeremy becomes a skeptic of everyone, so criticisms at the beginning said we were only attacking the left. Just bear with us.

Orbaum: It'll be interesting to see if that criticism dies down with the release of the full game, because it also depends on how many times you play. It's possible to support the government so much that it becomes a locked-in totalitarian state. You could go through it and say "this game is totally biased toward the government." No, you were. The game followed your bias.

We didn't want to take a left or right approach, and not because of commercial reasons. We wanted to criticize the extremes. It's a love letter to balance, to freedom of speech, to decent news.

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Murray: Understanding both sides of the aisle before judging. Not just shouting something down because you don't agree with it.

Orbaum: Fortunately I think people are very considerate. Our sales would suggest thus far that the game making people think isn't putting them off. For Early Access I think we've done alright.

Murray: It's very difficult to tell because we've never done Early Access before and nobody has done this game before. We don't really know the benchmark.

Orbaum: The reviews are nice, they're in the 90s, positive. I had a teacher once who said more people hated The Beatles than loved them, and they were the most popular band ever. So I've always thought anything over 50 is probably alright.

It's quite extraordinary because you'd think the game would be more polarizing. I think people are laughing, and if you're laughing quite a bit you're normally having quite a good time.

Q: When you were setting up this stylized, alternative 1980s world, was it more about fitting your FMV aesthetics or the style of TV at the time?

Orbaum: It was mainly that we wanted analog equipment in the studio. We thought we were going to make our very first version in VR, having never written a full game in 3D. "How hard could it be?" We had it where you could sit in there and the TVs would stutter, that's about as far as it got.

Murray: Which was cool, to be fair.

Orbaum: Anyway, we knew we wanted the tactility of buttons and analog tech, which suggested using a 4x3 TV ratio and fitting more tellies across in a slice. We didn't want to be getting into things like typing tools, lower thirds, digital transitions; as simple as possible.

Then we realized, politically, it would be interesting to tell the story in the 80s because the lack of Internet, Twitter, tech, etc. makes for a more organic, street-level story. You have to meet in pubs because you can't meet in a Facebook group.

Murray: It feels more dramatic. Nowadays if something happens it can be on Twitter in five minutes, but back then TV was a key way to be informed, like we have with The National Nightly News.

Orbaum: However, early on we decided we would rarely use idioms or fashion from the 80s. We've been careful not to catch modern cars in any shots, but we've deliberately dressed our actors in modern dress except for the odd moment. Doing it all the time would have felt too pastiche and taken from more serious moments.

Murray: I think it's more engaging to an audience to see people are just like us, regardless of the technology.

Orbaum: And we've used politically correct language, we don't use racial epithets or slurs - which were rampant on television in the 80s.

notgames interview jay osbaum andy murray january 2022

We also don't have everyone walking around saying things like, "You're a cool cat." Later on in the game there is a sequence about the evolution of language, in which the totalitarian state has evolved new terms. Al and I knew we were heading toward that right from the beginning, so we've been sewing phrases into Episode 1 that become slang later.

I think the evolution of language and generational divides that it can cause is really fascinating. We're at a time when we're so much more sensitive to language than we used to be - in a good way. It's nearly always about not causing unnecessary offense, which seems a worthy idea. We think of our universe like an alternate 80s, or today with 80s tech.

Murray: Floods are our MacGuffin, they explain why certain things aren't as advanced.

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Orbaum: Once you invent something like that it can slot into anything. People have started picking up on it, and they'll talk about that on the Discord. Someone will just say, "Oh we'll do it with floods," and I love that. That's so amazing that the four of us sit in a room, have a stupid idea, and after that makes it into this game people you've never met are doing jokes riffing off the back of it. What an amazing world where that can happen, and what a privilege we get to do that.

I didn't really know much about the process of maintaining a community around a game, we've never done Early Access or been on Discord. Now checking that Discord is one of my favorite things to do every day.

Murray: The community has grown so much that I can't keep up with it anymore.

Orbaum: There's something like 12 threads to follow, and some actors are on there, like the girl who plays the prime minister Julia Salisbury (Claire Racklyeft) - she's a scream. She'll go on there in-character and just tell everyone to behave. They love that and she loves that. I don't think you get that so much with theater. An audience turns up for two hours and leaves, they don't stick around for three years and ask how it's going.

Murray: Because we're a small indie team we're all on there, it's our baby and we want to be part of the community. I'd be interested to know what it's like on a big TV show. Like The Witcher, they take promotional pictures, but it's not like Henry Cavill is on the Discord.

Orbaum: Maybe he is.

Murray: Okay, that was a bad example. But just that kind of thing.

Orbaum: Yeah, and there's a to-and-fro. The fact our community can make suggestions that might make it into the game because we're in Early Access is cool. We're not paying them, but if there's a good idea let's do that.

notgames interview jay osbaum andy murray january 2022

When you get to writing Episode 3, you know the characters and how their actors will deliver them. The process becomes so much more fluid, whereas when you're writing that first episode and haven't cast it you see Lily James or Olivia Colman in your head.

Murray: The actors turn them into real characters, and you love them to bits.

Q: Earlier you talked about feeling "shell-shocked" leading up to the 1.0 launch. How has it been prepping for that and whatever comes next?

Orbaum: It's a rollercoaster. There's not much more we can do to the game because every time we make a change it risks something else going wrong. But at the same time you want to do everything: polish this, remix that song. There are days when you have nothing to do, and then a bug report comes in and everyone's like, "While we're fixing it can I put this in?"

For me, this is a really scary time. I loved Game of Thrones, or we have a show called Line of Duty. Both of them had very controversial last episodes. Here, I'm the writer of the last episode bits. We want people to love these endings and feel satisfied. I've never let a story go with this much expectation riding on it.

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Murray: Jay's favorite saying around the office is that art is never finished, it's abandoned. It puts you in the mindset that we're not going to get this perfect, we're not going to be happy with where it is. We can only see what we want to improve, not how far we've come.

Orbaum: In theater, when you put the player up and the audience is there you can hear the laughs. You can feel whether you've got them silent. I won't know whether this episode works for weeks after we release it to the audience, and that's interesting creatively. That said, we have fantastic plans we can't say much about. I think it's fair to say we want to stay in FMV, this little niche we've carved out for ourselves.

Murray: We haven't finished with Not For Broadcast. We've told the story we're going to tell, but there are other things we can do before moving onto the next project.

Orbaum: On that point, we've decided every ending the player gets is canon. We're not going to release anything that goes chronologically on from this story. While we might release something that ties into the middle or a sequel, we don't want one ending to be the "correct" ending. Fundamentally, for the way someone played, that is the right ending.

Murray: The only way to do a chronological sequel, as far as I'm concerned, is "the import;" you do a Mass Effect. I think we all agreed it would be wrong to say you played it wrong. We've told our story, and while something tangential might come along, that's it.

Orbaum: We might do a spiritual sequel in the way of BioShock Infinite, but we'd have to pick up about 14 epilogues. We've learned a lot about how to do modular video with Episode 3. There's one sequence where everybody's version should be different. We want everyone to realize they've had a very different experience, make something feel bittersweet on one playthrough but pleasant on another. All these tiny stories will hopefully be found later that may be inconsequential as individual units, but make up a greater whole.

Q: Is there anything else you want to add?

Orbaum: Please buy our game.

Murray: Yeah, if you wouldn't mind.

Orbaum: And please don't Torrent it, or if you do have the grace to buy if it makes you laugh.

Murray: Just don't tell us you're Torrenting it.

Orbaum: Right, don't write a review telling us you pirated our game and liked it so much that you bought it. I don't know how to feel about that, because on the one hand great, but there's so many mixed feelings.

Murray: But anyway, as we've spoken about a few times, come join us in our community Discord.

Orbaum: And we stream every other Thursday on Twitch. If anyone has any follow-up questions, you can feel welcome to come ask us. We like to have a debate and laugh. We're on Steam discussions and reviews as well, but please don't use those to start debates.

[END]

Not For Broadcast is available now on PC.

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