Eu posso não ser a fonte mais imparcial para falar desse jogo já que eu acompanhei ele desde o começo .MAS esse jogo é muito bom , eu amo esse estilo de jogo , que você tem uma mecânica básica no começo e vai ficando cada vez mais complicado , como papers please. A História é basicamente boa, é simples, mas no que esse jogo excede é na re-jogabilidade, tendo uns 12 finais e cada coisinha que você faz afeta TUDO, e tal qual chaves , você pode ver a mesma piada 12 vezes que na décima-terceira vai ser tão engraçada quanto a primeira

It's tough to even know where to start but I guess I'll give a quick clinical summary.
You work as the live editor of a TV news station, most of the game happens through 4 cameras you have to micromanage alongside a variety of other tools and mechanics that you'll use to keep the show going as smoothly as possible.
The station has standards on what to censor and what to promote, but they're not the ones in control of what gets shown, you'll have to come to your own conclusions on what is right to show the public.

The premise is going to sound incredibly boring to some on paper and if you aren't into the political drama, you aren't entirely out of luck, the game on its own is also just, genuinely really funny.
I'd compare it to Tim & Eric or most other live-action Adult Swim stuff except with, I don't wanna say "actual restraint" but it's got a unique pace in coherence with the game's design, all of it's done in 4 separate takes and the only "cuts" are between commercial breaks, I couldn't help but be astounded over how much planning and communication had to be done to get everything right over every session.
I'll have to check the documentary they made alongside the game to get a proper idea which I'll undoubtedly do soon but in my head, all the potential work is a complete headache to even imagine.

I don't think it can be underestimated to say how much of a behemoth this game is, by the way.
At a staggering 50 gigs and 43 hours of footage, it's got the world record for the most FMV in any game ever. Divide that by 4 and you'll get an average playthrough of the campaign, I'm not entirely sure how they calculated the length since there's definitely more than that but whatever, point is it's as long as you can get for an FMV game right now and that is seriously something given how outright experimental the whole game feels, it's got an almost theater kid feel despite being done very professionally all things considered. Maybe it's cuz of the musical stuff, idk.

It's so detached from any kind of gaming niche I'm aware of aside from the revitalization of FMV games that's been kinda on and off for the past decade (Roundabout and Her Story seem really good but I've heard a lot of mixed things about Late Shift) that it's hard to make any comparisons that'd feel right, but that really speaks to its uniqueness more than anything.

I've heard comparisons to Papers Please from a gameplay standpoint and I can get behind that, though managing your home life is relegated more to visual novel decisions. (which on their own get colored by your performance in the main game)
You won't have to choose between paying for electricity or food for your family but you will get asked if paying for immediate small pleasures or distractions instead of a safely budgeted vacation next year is worth it.
They're story-driven, as opposed to Papers' clinical and mathematical money management.

Anyway, if any of this sounds interesting in the slightest, I implore you to check it out. I really don't know if there will ever be a game like this made again but if it does, I'd play it in a heartbeat.
The team's obviously been passionate as hell about this game throughout its entire development and it shows, the dynamic they got here is way too good for them to not do another project together.
Whatever happens, I'm seriously grateful they stuck with this until the very end because this is a genuine achievement of a game.

In a world that feels to me to be oversaturated with Papers, Please-like political sims, in which the player controls an ordinary person influencing the government through player choices, Not For Broadcast manages to stand out to me, thanks in no small part to its commitment to the world it builds, just a little off-kilter from our own.

It's a flawed game, to be sure. In addition to bugs, some of them game-breaking, it's politics are muddled, which isn't necessarily what you want to hear about a political sim. It tries to commit to neutrality in the name of letting the choice between rival factions truly belong to the player, but ends up emphasizing the bad of these factions so heavily that supporting either in any way makes me feel like a heel. Additionally, the visual novel segments which elaborate on the life of the player character do succeed in their goal of forging a more personal connection between player and story, they are infinitely less fun than the broadcast sequences and often I find myself skimming the text in hopes of getting back to the core game quicker.

Still, I love when stories feel to me like they were made with care, and even with branching paths that reveal new FMV footage in each playthrough, episodes feel connected to one another, rarely contradicting facts set up by earlier episodes. You're granted the voyeuristic pleasure of watching back footage outside of the broadcast room to listen in on behind the scenes conversations you missed while you were running the news, and finding footage I haven't yet seen is as thrilling to me as digging out a chunk of cookie dough in cookie dough ice cream. It's easy to become invested in the characters, as superbly-acted as they are well-written, and that investment is ultimately what makes the story land. And though I see that others don't agree, I find the gameplay of the broadcast sections extremely satisfying.

It's a game that, if you give yourself the chance to care about it, is all at once bizarre and heart-rending, as genuinely terrifying as it is darkly humorous. And hell if that isn't my kind of game.