Back in 1982, video artist Bill Viola imagined the future possibilities of digital video, coining the term “data space”. He saw it not just as storage, but as a potential new kind of place—a “conceptual geometry”—that could be explored by a “participant” rather than a passive viewer. Decades later, Netflix’s interactive film Black Mirror: Bandersnatch seems like a tangible, though complicated, step towards this vision. Bandersnatch throws us directly into interactive storytelling, letting us make choices for the main character, Stefan, and actively shaping the branching narrative. For many, myself included, it was an undeniably entertaining and immersive experience. Trying to uncover all the endings, seeing the direct consequences of our choices, and catching the clever links within the story was certainly engaging.
However, the sheer number of paths and potential outcomes could also feel overwhelming, sometimes making it difficult to track exactly how one decision led to a specific scene or ending. This highlights a core question about the interactive format. Interestingly, Viola anticipated structures beyond simple branching paths even back then, wondering about more fluid ways for a participant to navigate information and feeling that relying only on standard logic could be limiting. While Bandersnatch‘s A-or-B input mechanism might seem basic compared to Viola’s more complex theoretical models, the film compensates with remarkable narrative depth that itself explores non-linear ideas. Think of the scene where Colin discusses multiple realities during an LSD trip – if you choose for him to jump, seemingly to his death, he unsettlingly tells Stefan he’ll “see you next time.” Later, Colin can reappear via a delivered tape, blurring the lines of reality and consequence within the story itself. Even his casual acceptance and assistance if the player chooses for Stefan to kill him points to a narrative grappling with complex themes of free will, determinism, and the nature of reality, pushing beyond simple choices. This narrative complexity arguably engages with Viola’s interest in exploring different psychological states, even if the interface is simple. As Viola noted, the potential of technology requires introspection, stating, “…development of self must precede development of the technology or we will go nowhere…”.
So, where does this leave interactive storytelling? While Bandersnatch was a fascinating cinematic experiment, its complexity and the relative lack of similar follow-ups suggest the film format might have limitations for this kind of narrative. Currently, video games often seem better equipped to handle intricate branching stories. Games like Detroit: Become Human or The Quarry, while perhaps imperfect, adopt cinematic visuals but integrate choice-based mechanics within an infrastructure designed for interactivity, sometimes even providing clearer feedback or ways to track narrative paths. They offer a space where deep branching feels more natural to navigate. While film offers unparalleled live-action cinematic quality, the future of complex interactive narratives might lean more heavily towards gaming platforms that can better support the intricate structures required. Ultimately, pushing the boundaries in either medium requires creative thinking beyond established formulas. As Viola put it, “Artists have been to different parts of the brain, and know quite well that things don’t always work like they told you in school”.