Ministry of Broadcast Image
Metascore
75

Generally favorable reviews - based on 6 Critic Reviews What's this?

User Score
8.8

Generally favorable reviews- based on 6 Ratings

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  • Summary: Inspired by games such as Prince of Persia (1989) and Oddworld: Abe’s Exoddus, Ministry of Broadcast revives the spirit of classic cinematic platformers where players need nimble run-and-jump reflexes as well as a healthy aversion to falling from precarious heights.
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Score distribution:
  1. Positive: 4 out of 6
  2. Negative: 0 out of 6
  1. May 12, 2020
    80
    With its unusual mixture of a dystopian narrative, a minimalist art style, and a 2D platforming gameplay, Ministry of Broadcast delivers a unique experience that feels truly cinematic – despite some annoying difficult spikes.
  2. Apr 30, 2020
    80
    A relentlessly impressive experience, Ministry of Broadcast is always enjoyable, often excellent and very clearly a labour of love. Some will find the exacting nature of the controls rubs them the wrong way, but if you're looking for an old-school experience that isn't a self-conscious throwback and has a narrative you can get your teeth into, it's an unambiguous recommendation from us. It's not perfect – the in-game dialogue is well-written but rough around the edges, with plentiful typos and grammar confusion – but that's not enough to distract from Ministry of Broadcast's terrific level design and superb visuals. Nothing new here, but what it offers is, quite simply, a very, very, very, very good cinematic platformer.
  3. May 4, 2020
    80
    Ministry of Broadcast is a well-made cinematic-platformer that does a great job presenting its dark humor themes through haphazard means. Sure, the game is incredibly linear, and there are some annoying puzzle layouts, but the overall experience is one that kept me coming back for more. The developer clearly had a vision for this adventure, and it shows during every minute of gameplay.
  4. Sep 21, 2020
    78
    Ministry of Broadcast is a real surprise, an excellent game with a great story. Its dynamics are simple, enjoyable and the messages it offers about our protagonist and his life create a remarkable experience.
  5. May 6, 2020
    70
    An odd combination of George Orwell's 1984, puzzle platforming and comedy, which doesn't blend as well as you'd hope. As good as the setting is, it doesn't make up for the rigid platforming or out of place jokes.
  6. 70
    At the end of the day, Ministry of Broadcast has a lot of charm. With its interesting setting and its hilarious, sarcastic sense of humor there’s a good chance you might be able to force your way through some of the more frustrating parts. However, others may find that those frustrating sequences happen more often than deemed acceptable to put up with. Add the fact that every death leads to a crow taking an antagonistic shot at the player, an aspect that has an ability to be funny one second and incredibly annoying the next, and Ministry of Broadcast becomes a game in which the term “your mileage may vary” heavily applies.
Score distribution:
  1. Positive: 1 out of 1
  2. Mixed: 0 out of 1
  3. Negative: 0 out of 1
  1. Sep 20, 2020
    8
    Usually, the protagonists of video games are perceived as heroes because they make the right choice when in trouble; unless more options,Usually, the protagonists of video games are perceived as heroes because they make the right choice when in trouble; unless more options, explicitly connoted in a negative sense, are provided to the player. Ministry of Broadcast (Ministry of Broadcast Studio, 2020) does neither, but it certainly offers several thoughts on the actions performed by its protagonist.
    The general context is a dystopia linked to surveillance, control and punishment. Orwell is certainly present as a reference, but Ministry of Broadcast transforms it into a more spectacularized and television-related version: a reality show that’s only apparently harmless. Much less austere than the Orwellian 1984, but no less disturbing. Everything is subtler, indirect, mediated by jokes and comic situations, which however generate somewhat bitter laughters. During each of the days that mark the video game, the protagonist – an individual characterized by his red hair – finds himself carrying out horrible actions: he unleashes hounds against people, throws his friends into the water, pushes strangers against sharp spikes and much more. None of them – it must be said – dies, which helps to dilute the mood of the game, but this does not make the actions less disturbing. The protagonist is moved by a noble desire: to be able to overcome the tests of this show/prison to see loved ones again, but – and this is a particularly disturbing element – he never has too many problems about the actions he must take to reach his goal. He’s not cruel, nor sadistic. He doesn’t even seem driven by some philosophy of life like the famous «the ends justify the means» from Niccolò Machiavelli. The protagonist appears just fatalistic: he behaves in a certain way because he must and there are no alternatives. This is an implicit reference to the structure of Ministry of Broadcast itself and, in general, to the very structure of video games, in which choices are decided by others. Moreover, to confirm all this, there are some moments of breaking of the fourth wall, linked for example to certain phrases of the omnipresent crow that accompanies the protagonist, and which constitutes a sort of cynical Jiminy Cricket (the talking cricket from Pinocchio), always ready to dispense advices mixed with moral judgments (which could be aimed at both the protagonist and the gamer). Certainly, this isn’t the first video game that address similar issues, nor the one that delves deeper into them, but the topic ties well with context and setting.
    Speaking of setting, the pixel art chosen for the video game shows effectively the different elements of the setting. The setting, however, is not so internally differentiated. However, the developers have tried to insert a minimum of variations in environments (almost always underground) through historical (statues, bas-reliefs ...) or dreamlike inserts, but the overall result doesn’t change much. The possibilities available for exploration are not many and are basically limited to jumping, running and interacting with levers and buttons. The avatar’s response is not always perfect, especially when you need to chain different actions (for example, push a box and immediately climb on it) in agitated situations, where a moment can make the difference between success and defeat.
    Deaths are very common, but fortunately you start again immediately: this is good when the trial and error is necessary to experiment and discover the right solution. Some puzzles, in fact, are not very immediate and require creative, unusual approaches to be solved. This is generally a positive aspect, because it pushes to seek original solutions to a problem. In some cases, however, especially when you have to repeat a larger segment of the game, this can be quite boring. Moments like these artificially lengthen the duration of an experience which remains rather short in general, since Ministry of Broadcast can be completed in few hours. This is not a bad thing, however, because it already has some repetitions inside, and a longer length would probably be boring. Whit is current duration, instead, the video game manages to maintain a good degree of internal variations, by progressively expanding the enigmas (which become more complex and creative each time) and by gradually deepening the dystopian element and the fatalism of character’s actions.
    In conclusion, Ministry of Broadcast is a video game capable of keeping attention for a good part of the adventure, but at the same time contains some moments that break its rhythm: because the controls are not always optimal and because some puzzles and sequences tend to repeat. Generally speaking, however, the product deserves attention, especially for its mixture of reality shows and militarized surveillance dystopias.
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