Not For Broadcast VR

10 / 10 Everyone needs to play this.

Как я понял, мой баг с руками не единичный случай. Руки на полу, ничего не помогает. Использовал Steam Link с Quest 2. Баг есть, а разрабы не чинют. Лучше играть в плоскую версию.

The game is alright, it plays fine other than the interference but, the tracking is so off, and the game requires these portions of the game to be so precise, that when you get to an interference section it just kind of comes down to luck whether you're gonna get past it or not. I've been stuck in the same level for hot minute now due to this issue 😔 I give it a 7/10 though.

Все жалуются что рук нет в меню. Такая же проблема. Только я заметил руки. Они под полом блин! Что не пробовал не подходило. В итоге сейчас сижу на кресле и пишу это обзор. Баганная фигня

couldn't interact with the menu (cannot start the game properly) not showing controllers after starting the game. played on Quest 2

обалденная игра спасибо за Русский язык

Просто "ОТЛИЧНАЯ ИГРА" настолько, что я даже не могу начать в неё играть, ВР подключен, котроллеры подключены, но САМИХ РУК ПЕРСОНАЖА ПРОСТО НЕТУ, Я НЕ МОГУ НАЧАТЬ ИГРАТЬ, ПОПРОБОВАЛ В РАЗНЫХ КОМНАТАХ , ВЫКЛЮЧАЛ ВКЛЮЧАЛ - НЕ РАБОТАЕТ!! ЗАШЕЛ ДЛЯ ТЕСТА В ДРУГИЕ ИГРЫ - ТАМ ВСЕ НОРМАЛЬНО, ПОКА ЧТО ДЛЯ МЕНЯ ИГРА 0/0 . ЕСЛИ ЗНАЕТЕ КАК РЕШИТЬ ПРОБЛЕМУ - ИЗМЕНЮ ОТЗЫВ

Not For Broadcast VR is the virtual reality adaptation of the acclaimed newsroom satire created by NotGames and co-developed with Babaroga, published by tinyBuild. Building upon the foundation of the original flatscreen release, this VR edition attempts to translate the frantic, morally complex experience of controlling a live television broadcast into a fully immersive, first-person environment. Rather than simply recreating the original game in virtual reality, it restructures the interaction model to emphasize physical engagement with the newsroom equipment, placing players directly inside the control booth where chaos unfolds in real time. The core premise remains unchanged: players take on the role of a broadcast technician responsible for managing live news segments in a dystopian, politically unstable society. From selecting camera feeds to censoring inappropriate language and deciding which advertisements air, every action influences both ratings and the broader political trajectory of the fictional nation. The satire is sharp and unapologetic, targeting media bias, propaganda, and the absurdities of televised politics. The humor oscillates between slapstick absurdity and biting commentary, reinforcing the idea that even minor editorial choices can shape public opinion in profound ways. What distinguishes the VR version most significantly is its tactile design. Players physically grab tapes, adjust sliders, press censor buttons, and swap camera feeds using motion controls. The sense of immersion is heightened by the need to juggle multiple tasks simultaneously—monitoring live audio, switching between angles, and responding to sudden disruptions while the clock continues ticking. When functioning smoothly, this creates an exhilarating sense of urgency that mirrors the stress of real-time broadcasting. The physicality of interacting with switches and dials amplifies the tension, making even routine tasks feel consequential. Narratively, the game retains its branching structure. Editorial decisions, from favoring certain political figures to suppressing controversial statements, ripple outward into long-term story consequences. The full-motion video performances—an essential element of the original—remain central here. Actors portray politicians, celebrities, and presenters with exaggerated yet believable conviction, anchoring the satire in grounded performances. In VR, being physically present in the control room while watching these broadcasts adds a new layer of immediacy. The sense of responsibility feels more personal, as though you are not merely selecting options from a menu but actively shaping the narrative in real time. However, the transition to VR is not without friction. Precision-based tasks can occasionally feel awkward, particularly when manipulating small controls under time pressure. Some players report that hand tracking or input responsiveness can falter at critical moments, turning tension into frustration. Additionally, while the FMV content is effective, its visual clarity can vary in VR headsets, sometimes appearing less crisp than in the flatscreen version. Performance demands also require capable hardware to maintain smooth immersion, and technical inconsistencies can detract from the otherwise compelling design. Despite these challenges, Not For Broadcast VR demonstrates how VR can meaningfully enhance certain simulation-driven experiences. The immersive environment elevates the original’s central concept—controlling information in a chaotic media landscape—into something more visceral. Instead of passively clicking through interfaces, players must physically multitask, reinforcing the sense of being overwhelmed by competing demands. This embodiment of stress aligns perfectly with the game’s thematic focus on media manipulation and the weight of responsibility. Reception has been more divided than the original title’s overwhelmingly positive response. Many players praise the ambition and immersive qualities, describing it as one of the more conceptually fitting uses of VR for simulation. Others criticize the technical roughness and interface quirks that can interrupt pacing. The result is a game that feels innovative yet occasionally uneven, showcasing both the potential and limitations of adapting complex management gameplay into virtual reality. Ultimately, Not For Broadcast VR stands as a bold reinterpretation of an already distinctive satire. It successfully translates the moral tension and frantic multitasking of live broadcasting into a physically immersive format, deepening the player’s sense of agency and consequence. While technical hurdles prevent it from fully surpassing its flatscreen predecessor in accessibility and polish, it remains a compelling experiment in VR storytelling and simulation—particularly for players seeking narrative-driven experiences that blend humor, political commentary, and high-pressure interaction. Rating: 5/10

my hand are spawning under floor, this is not normal i hate not for broadcast vr!!!

This game would have been perfect for VR, but I kept having issues where my hands were spawning below the floor and far ahead of me, making it unplayable. This game needs to be fixed before I can consider buying it again.