In 2018, writer Charlie Brook and director David Slade created Spinoff film "Black Mirror" called "Banders', which was supposed to be a daring media experiment. The Bandersnatch plot was followed by a young computer programmer named Stephen (Fion Whitehead) in the search to adapt to one of his favorite novels to choose its owners (also called "Bandersnatch") in an open video game. It is 1984, and such games are still considered a novelty. He teamed up with Colin (Will Pulter), a game designer, and the two are starting to wear heads over creative control and how corporate the game should be. There is a continuation of Stephen's dead mother and indications of the world that is based on what he says in therapy.

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The bandwidth tire is that the film itself is a story of ownership. The film was transferred to Netflix, and viewers were encouraged to retain their remote controls, having to make decisions about Stephen's stories, as they periodically appeared on the screen. If Stephen accepts Colin's offer to corporate his game, for example, it is considered a "wrong" path, and the film will start again. There are also multiple endings, including a meta-end, with Stephen realizing that he is in a Netflix-owned movie. On average, Bandersnatch should take about 90 minutes to see. In Toto, different film segments last five hours and 12 minutes long. Seeing every possible Bandersnatch is a all -day affair. When I watched it, I finished the target.

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"Bandersnatch", of course, requires certain types of home -grown film technologies to work properly; The story of chosen-lifeline would not work in a crowd theater. As such, it's a fascinating new way to watch a movie. Does interactivity help or hurt narrative?

And "Bandersnatch" was not the only time Netflix experimented with the "branched narrative" structure. They exhibited many special (mostly for children) under their interactive specialist banner. Unfortunately, according to A new report from the AV ClubAll these special sides will be deleted.

"Bandersnatch" was not even the first interactive special Netflix. The first came in 2017 as "Puss in Book", Spinoff from the Franchise "Shrek". Netflix has also returned the video game to select "Choose your own adventure" "Minecraft: Story Mode" in an interactive 2018 film. Most of Netflix's interactive specialists were aimed at children, and included films such as "Cats burglar", "We lost the man" and "Battle Kitty" (cats were atmosing great in these specials for some reason). Most of the Interactive Specials were based on existing IP, and included "Barbie: Epic Road Trip," "Johnny Test's Ultimate Meatloaf Quest," "Stretch Armstrong: The Breakout," "Carmen Sandiego: Steal, "" wwe: Escape the Undertaker, "Jurassic World: Camp Cretaceous-Hidden Adventure," "Captain Underpants: Epic Choice-O-RAMA," and A Little Other.

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Interactive adult specialists include Bandersnatch, but also an episode of 2020 from "unbreakable Kimi Schmidt" called "Kimi against the rest". There was also a series of documentary interactive specialists starring Bear Grills, all under the "You vs. Wild" banner. Interactive specialists were plentiful enough to assume that they were not just a novelty, but a prosperous new media storytelling medium. In the world of "Second Showing" and the distracting films watching at home, interactive films seemed to be a good way to make sure the audience was careful. Films and video games overlap somewhat.

Netflix was ideally located for presenting interactive films, and technology worked (most of the time). Unfortunately, all of the above films will soon be deleted from the platform. According to AV Club report, Netflix has undergone mass redesign, and new user interface technology will make interactive films impossible to navigate. And if they are not on Netflix, you will hardly repackage them. Maybe as a video game that can be downloaded?

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Netflix, the AV article points out, probably only excludes their interactive specialists in favor of the already followed video game market. Netflix currently produces about 120 interactive mobile games, all based on their properties. It seems that sales of those games will be more profitable for the company than to maintain their digital library of interactive films.

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Netflix, of course, is not the first company to experiment with interactive characteristic films. The interactive pre-complex driving simulators turned back in the 1950s, for example. In 1961 Just before the climate of the film, audience members will be encouraged to keep the "thumbs up" or "thumbs down", voting on whether the villain should be punished. Of course, "Mr. Sardonx" was not really interactive, because the castle never wrote or shot a "happy" end.

In the eighties of the last century, with the arrival of Laserisk technology, interactive narratives became easier to simulate at home. Many animated films with Laserisk have been released throughout the decade, mostly in Japan.

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In 1995, Mr. Gifted the release of Mr. Darja, short of 30 minutes, which was supposed to be displayed in cinemas. Members of the audience were given a click of "voting", and their votes will dictate how badly the title of protagonist (Billy Warlock) will punish the people who annoyed him. Bruce McGill, Christopher Lloyd and Leslie Elligbrook also appeared, while Late-T and a half Anka played. The experiment failed, and no one cared about how well the technology worked.

There was also an interactive sequel to Vargami in 2015 called "#Wargames". That film used more screens, all things at the same time, and the narrative changed on the basis of which the viewer had zoomed in. It worked well enough, but it remains unusual.

Maybe the world is not ready for interactive films. But you can be convinced that we will continue to experiment.