With Bandersnatch, Netflix has reactivated an old fantasy of moviegoers: the interactive work. Give viewers the luxury of interacting with the story, no longer being passive but co-skilled with what's happening on the screen. The platform was already praising the spectator-king, able to create his own grid of diffusion, algorithms and personalized suggestions helping. With this special episode (this movie?) Of the Black Mirror series, Netflix now invites its audience to co-create the story they are watching, through a succession of choices.

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Interactive story, a movie or a video game? "Data-reactid =" 14 ">
Interactive story, a movie or a video game?

<p class = "canvas-atom-canvas-text Mb (1.0em) Mb (0) – sm Mt (0.8em) – sm" type = "text" content = "But are we in front of a movie or a video game To go back to Bandersnatch, we are not talking about criticism but feedback, comparing the choices, the ends, the cul-de-sacs, the detours that took the story in a Quite competitively, David Cage, for whom video games are more a question of sensation than of performance Detroit: Become Human (released in 2018) he thought the interactive work a little further: "When you want to tell a story in an interactive model, several possibilities are available to you. You can do it through cutscenes [cinématiques, NdR] but that's not what we wanted to do, we sought to merge interactivity and narration and ensure that the story would be told through the actions of the players "explains David Cage for Collider.

With Bandersnatch, we find the idea of ​​an interactive story a little rigid. Some choices become forced, unmanned to put the user back on the right path. Oriane Hurard, Producer at Les Produits Frais and transmedia specialist, recalls on Twitter that the episode is facing the "eternal dilemma between narrative efficiency vs.". freedom of the player ". For Renan Cros, professor of history of cinema and the series "Black Mirror" does not invent anything, the episode only prolongs a desire impossible to achieve total inclusion of the viewer. But Charlie Brooker is clever, he plays on it with a sleight of hand. The interactions of the spectator end up going round in circles and emphasize the factitious aspect of the series ".

If the envelope is modern, the model used by & nbsp; Charlie Brooker & & nbsp; Annabel Jones is still a little archaic. "Bandersnatch and his multiple-choice story is the same idea as & nbsp; The Lady of the Lake by & nbsp; Robert Montgomery [premier film en vue subjective, la bande-annonce nous affirme que l’on va en être le héros, NdR] or the gadget cinema of William Castle where the public can vote the end of "Mr Sardonicus" says Renan Cros. "This kind of interactive film makes me feel like a pretty retro style exercise – which may not be so surprising on the platform that also broadcasts Stranger Things," says Erwan Higuinen, a journalist specializing in video-reactid = "15"> But are we in front of a movie or a video game? To return to Bandersnatch, we do not speak of criticism but of experience feedback. , the ends, the cul-de-sacs, the detours that history has taken in an almost competitive relationship.In experience, it is also often question David Cage, for whom the video game is more a question of sensation than performance. Detroit: Become Human (released in 2018) he thought the interactive work a little further: "When you want to tell a story in an interactive model, several possibilities are available to you. You can do it through cutscenes [cinématiques, NdR] but that's not what we wanted to do, we tried to merge interactivity and narration and ensure that the story would be told through the actions of the players "explains David Cage for Collider.

With Bandersnatch, we find the idea of ​​an interactive story a little rigid. Some choices become forced, unmanned to put the user back on the right path. Oriane Hurard, Producer at Les Produits Frais and transmedia specialist, recalls on Twitter that the episode is facing the "eternal dilemma between narrative efficiency vs.". freedom of the player ". For Renan Cros, professor of history of cinema and the series "Black Mirror does not invent anything, the episode only prolongs a desire impossible to achieve total inclusion of the viewer. But Charlie Brooker is clever, he plays on it with a sleight of hand. The interactions of the spectator end up going round in circles and emphasize the factitious aspect of the series ".

If the envelope is modern, the model used by Charlie Brooker and Annabel Jones is still a little archaic. "Bandersnatch and his multi-choice story is the same idea as Robert Montgomery's The Lady of the Lake [premier film en vue subjective, la bande-annonce nous affirme que l’on va en être le héros, NdR] or the movie theater of William Castle where the public can vote for the end of Mr Sardonicus "says Renan Cros. "This type of interactive film makes me feel like a pretty retro style exercise – which may not be so surprising on the platform that also broadcasts Stranger Things," adds game journalist Erwan Higuinen. videos.

A format more suitable for video games?

<p class = "canvas-atom-canvas-text Mb (1.0em) Mb (0) – sm Mt (0.8em) – sm" type = "text" content = "It's finally video game side that the experience would seem more meaningful and immersive "The game Night Trap, published in the 80s and which was reissued not so long ago, seemed to me much more interesting, because basically very experimental, than what his reputation could suggest. We could also mention the games of the studio Telltale Games, who was a little lost when he wanted to do more than interactive fiction, with action sequences, while the "engine" of his games was not made for that, "explains Erwan Higuinen. For David Cage, it's less a question of fun than of form: "the interactive experience is not necessarily something fun in the entertainment sense of the term. It is a means of expression. In the same way as literature, TV or cinema. It is possible to create interactive works that can express an idea, a feeling, an impression, etc … And it is extremely powerful, because it allows to slip into the skin of someone else, to understand other, and perhaps perceive it differently, "he said for Screenrush at the time of the release of Detroit: Become Human.

On the occasion of the release of Quantum Break, Sam Lake, its creator also confided to AlloCiné "A game, in the experience it provides, is much longer than a film and I found that the narrative structure of a TV series was much more closely related to the narrative structure of a video game". The one who modified his videogame writing when he began to devour series released in DVD box (at the time, we did not talk about binge watching yet) reminds how much the interaction player / story was defined according to a Serial Logic "You, as a player, determine at that time what future you want to give in your gaming experience" Quantum Break ". To make an analogy with TV shows, it's a bit like doing your own Cliffhanger of an episode. You feel that your choice will necessarily have repercussions at the dramatic level, but you do not yet know exactly which ones. A feeling that also shares David Cage: " [sur le fait de faire jouer plusieurs personnages à un seul joueur]we have really been helped by the TV series, which multiply the narrative points of view between the characters for questions of rhythm. It also allows to aggregate several stories that end up forming only one. This is exactly what we have in the game. "" Data-reactid = "19"> It's finally the video game side that the experience would seem more meaningful and immersive "The game Night Trap, published in the 80s and which was reissued not so long ago, seemed to me much more interesting, because basically very experimental, than what his reputation could suggest. We could also mention the games of the studio Telltale Games, who was a little lost when he wanted to do more than interactive fiction, with action sequences, while the "engine" of his games was not made for that, "explains Erwan Higuinen. For David Cage, it's less a question of fun than of form: "the interactive experience is not necessarily something fun in the entertainment sense of the term. It is a means of expression. In the same way as literature, TV or cinema. It is possible to create interactive works that can express an idea, a feeling, an impression, etc … And it is extremely powerful, because it allows to slip into the skin of someone else, to understand 'other, and perhaps to perceive it differently', he said for AlloCiné at the time of the release of Detroit: Become Human.

On the occasion of the release of Quantum BreakSam Lake, its creator also confided to AlloCiné: "A game, in the experience it provides, is much longer than a movie and I found that the narrative structure of a TV series was much more consistent with the narrative structure of a video game ". The one who modified his videogame writing when he began to devour series released in DVD box (at the time, we did not talk about binge watching yet) reminds how much the interaction player / story was defined according to a Serial Logic "You, as a player, determine at that time what future you want to give in your gaming experience" Quantum Break ". To make an analogy with TV shows, it's a bit like doing your own Cliffhanger of an episode. You feel that your choice will necessarily have repercussions at the dramatic level, but you do not yet know exactly which ones. A sentiment shared by David Cage: " [sur le fait de faire jouer plusieurs personnages à un seul joueur]we have really been helped by the TV series, which multiply the narrative points of view between the characters for questions of rhythm. It also allows to aggregate several stories that end up forming only one. This is exactly what we have in the game.

Do we really have the choice?

<p class = "canvas-atom-canvas-text Mb (1.0em) Mb (0) – sm Mt (0.8em) – sm" type = "text" content = "Finally, what matters in the interactive experience is the value of choice, having the impression that we, depending on the story, that our action, even innocuous, has a real impact. "Erwan Higuinen, explains that" what I find the strongest in interactive fiction, and actually rather video games (Life is Strange, Until Dawn, David Cage's games), it is the somewhat dizzying feeling of the existence of a multitude of possibilities that wins the player / spectator when he realizes that the story could evolve quite differently. It joins non-interactive movies such as & nbsp; Smoking / No Smoking by & nbsp; Resnais or & nbsp; The Chance of & nbsp; Kieslowski but with the added idea that we are more or less responsible (of what happens to the characters) ".

A result may be difficult to obtain for the episode of & nbsp; Black Mirror despite the many hours of drama filmed. The scenario of Detroit: Become Human would make 2000 pages. What largely immerse the player in a fiction of which he feels a little author. A desire for inclusion at the origin of the project: "It is particularly interesting to see how players play their stories, how different each player is and become the co-author, the co-director, the co-actor. It's really an experience that we create together, as an author, creating a narrative landscape and the players, telling their own stories according to the choices they make, "said David Cage. For Renan Cros, "& nbsp; David Cage reverses the video game by making the player a conscience, ie a screenwriter. It induces a brilliant relationship of contemplation-interaction. "" Data-reactid = "26"> Finally, what matters in the interactive experience is the value of the choice, having the impression that of us, depends the following of history, that our action, even trivial, has a real impact. "Erwan Higuinen, explains that" what I find most powerful in the interactive fiction, and actually rather side video games (Life is Strange, Until Dawn, David Cage's games), it is the somewhat dizzying feeling of the existence of a multitude of possibilities that wins the player / spectator when he realizes that the story could evolve quite differently. It joins non-interactive films such as Smoking / No Smoking by Resnais or Le hazard by Kieslowski, but with the added idea that we are more or less responsible (of what happens to the characters) ".

A result may be difficult to obtain for the episode of Black Mirror despite the many hours of drama filmed. The scenario of Detroit: Become Human would make 2000 pages. What largely immerse the player in a fiction of which he feels a little author. A desire for inclusion at the origin of the project: "It is particularly interesting to see how players play their stories, how different each player is and become the co-author, the co-director, the co-actor. It's really an experience that we create together, as an author, creating a narrative landscape and the players, telling their own stories according to the choices they make, "said David Cage. For Renan Cros, "David Cage overturns the video game by making the player a conscience, ie a screenwriter. It induces a brilliant relationship of contemplation-interaction.

Bandersnatch, by choosing a certain efficiency may have limited its possibilities "Everything is done so that [les] A priori innocuous choices become a habit for the user (even the non-player) as and when the episode "says Oriane Hurard in his live-tweet. If the idea of ​​having made the wrong decision, the wrong choice will be in the mind of any spectator, the prospects are reduced enormously as the end approaches. Paradoxically, there is in Bandersnatch logic more videoludic than in Detroit: Become Human for example, with a notion of goal to reach, of narrative to conclude, when in the work of David Cage another feeling dominates: the importance of the details "the little things, the almost minimal differences (and which can have great consequences) between two "versions" of the narrative more than in the great narrative bends supported, in Resnais as in Detroit: Become Human Reveals Erwan Higuinen.

The future of interactive movies or episodes

<p class = "canvas-atom-text-canvas Mb (1.0em) Mb (0) – sm Mt (0.8em) – sm" type = "text" content = "Does this mean that the interactive experience Netflix is ​​doomed to fail For David Cage "I think it's unique to the gaming media, because you can really put yourself in the character's place, you share his emotions, you take his choices that will have an impact on history, something that only video games can achieve. "Erwan Higuinen goes further:" For this kind of exercise, the most exciting would be for me to return to the audience. cinema, by having the audience vote during the film to determine its progression, as it has been done in various ways and at different times, whereas Bandersnatch plays rather on the "domestic" terrain of the video game. a social experiment of collective responsibility, with the impos the ability to go back and make other choices and a succession of potentially frustrating victories and defeats depending on whether or not our choices are those of the majority ".

However, Netflix can be satisfied with the buzz on social networks and imagine a sequel to the experience. We can quite think that Bandersnatch has served as a pilot for future programs and worry that through all the choices we make, there are potentially ambiguous intentions. "Data-reactid =" 31 "> Is this does this mean that the interactive experience that Netflix wants to put in motion is doomed to fail? "David Cage" I think it's unique to the gaming media because you can really put yourself in the character's shoes. share your emotions, you make choices that will have an impact on the story, something that only video games can achieve. "Erwan Higuinen goes further:" For this kind of exercise, the most exciting thing would be to me back to the movie theater, by having the audience vote during the film to determine its progress, as has been done in various ways and at different times, while Bandersnatch plays on the "domestic" terrain of the video game, there would be a social experiment of collective responsibility, with the impossibility to go back to make other choices and a succession of victories and potentially frustrating defeats according to our choices are or are not those of the majority ".

However, Netflix can be satisfied with the buzz on social networks and imagine a sequel to the experience. We can quite think that Bandersnatch has served as a pilot for future programs and worry that through all the choices we make, there are potentially ambiguous intentions.