Wild, stressful, or stupid: Que es Bandersnatch? Exploring user outcomes of Netflix’s interactive Black Mirror episode

Abstract

Prior scholarship related to interactive digital narratives (IDNs) typically has analyzed this emerging genre of storytelling on web-based platforms. The Bandersnatch episode of the Black Mirror series on Netflix offers a unique opportunity to explore the affordances and audience effects of IDNs appearing within a popular streamed TV program. This case study combines updated models of the uses and gratifications theory of media use with human–computer interaction frameworks to identify cognitive themes and emotional valences among Bandersnatch users, as expressed through tweets related to their experience. Findings show positive emotions were associated with perceived degree of control, as well as immersion or sense of flow. Gratifications associated with binge-type behavior on streaming services were also present. However, perceived realism, parasocial identification with the character, a need for a sense of completion, and the burden of choice created stress among many users. Social media served as a valuable ancillary vehicle for users to participate with others around the program, thus elevating the interactive narrative elements of the experience, which were otherwise limited and controlled.

Experimenting With Branching Narratives in Video Form on Streaming Platforms

“…Interestingly, viewer texts posted on social media deviate from Roth and Koenitz's findings. A large number of users imply that through Stefan's indecisiveness and traumas they relate to him as a player-character, and worry if they can make the right choice on behalf of him (Nee, 2021). Employing a larger sample, Nee's research captures receptions from a more diverse audience group, though it does not refute the entirety of Roth and Koenitz's conclusion.…”

“…The current research on interactive narratives on the streaming services is unsurprisingly concentrated around Black Mirror: Bandersnatch, the first high-profile title of its own kind in Bandersnatch has faced varying evaluations of its narrative design from a number of scholars (Roth & Koenitz, 2019;McSweeny & Joy, 2019;Murray, 2019;Nee, 2021).…”

Be a part of the narrative: How audiences are introduced to the “free choice dilemma” in the interactive film Bandersnatch

“…In this way, the audience can, at least according to the design, spend more time immersed in the plot and have a sense of attachment to the story. The interactive digital narrative is a new concept, previous studies have shown that when the audience interacts with digital content, this will produce positive emotional effects (Nee, 2021). The design choice in interactive films makes it necessary for the viewer to spend a relatively long and continuous time navigating the film if they wish to achieve its primary uses and gratifications reward of discovering how their plot choices will be ultimately resolved.…”

“…Bandersnatch is a stand-alone film presented as a video tale mixed with elements of the interactive video game and TV series (Nee, 2021). Thus, the audience can control the protagonist's actions and choices through the remote control or touch the screen (AKŞİT and NAZLI, 2020).…”

Where to look? Sustaining Presence While Directing Attention in Virtual Reality Stories.

“…While interactivity ranges from low to high(Nee 2021(Nee , 1493, soliciting varying degrees of agency, video games differ from other interactive media(Robson and Meskin 2016, 167), in that most of what is displayed on screen is a result of a player's continued (inter)action with the system.…”