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Bandersnatch's claims to provide control, it's really just an illusion

In 1984, a complicated video game that was touted as a revolutionary concept was never released and helped its creator Imagine Software to fail.

The game provides the title and inspiration for Charlie Brooker's new [Black Mirror] film Bandersnatch a project which, while not threatening the legacy or future of this exemplary science fiction series, feels but also as a concept that is far better in theory than in execution

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On Friday, when a fan was needed a few days earlier as a trailer, Netflix put on the chosen adventure movie . Regardless of the upcoming 5th season, Fionn Whitehead ( Dunkerque ) is shown as Stefan Butler, a young 1

980s programmer in London working on an interactive video game.

Stefan approaches the giant gaming company Tuckersoft, owned by Mohan Tucker (Asim Choudhry) and home to rock star game designer Colin Ritman (Will Poulter), who are impressed enough to release the game. Black Mirror This is the beginning of the nightmare, of course.

During the movie, viewers are asked to decide how the plot will go by selecting the answers that appear on the screen. "Frosties or sugar puffs?" is the first choice to give the idea a whole new meaning. Breakfast is the most important meal of the day. Later decisions have a direct effect on the plot by treading different narrative paths.

There is no question that audiences were fascinated. Within hours of Bandersnatch flow charts had surfaced on Twitter, showing the maze of possible routes proving that Netflix struck gold at harvest time of the year in which everyone has plenty of time on their hands.

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The only problem is that it's just not very good – either on the interactive layer itself (which is forgivable) or as a compelling story that bears the name Black Mirror (which is not the case).

At the most basic level, the pop-up options are fun at first, but they have the paradoxical effect of pulling you out of the narrative. Something that makes the movie "immersive" has the opposite effect as you spend the next scene wondering where you might have made a different choice.

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Even if you set that aside and get on board with the interactive element, it does not take long for you to realize that no matter what your choices Meeting, not being able to err Too long before you run back to some set routes: Come to an end, and you can just start over and make different decisions.

History should never have made the writer's room

That's the same problem that suffers from Steven Soderbergh's interactive series Mosaic the series would seem far more compelling and risky if the viewers could be allowed a shot to an end, r more than a series of lapses

Here are the limitations of the feature film hybrid: Netflix shot for five weeks for a two and a half hour long screenplay – much longer than a single episode requires – and even this does not allow many hours of material, which feels like a variety of ways. Many of the options give the same result in a roundabout way – for example, if you do not opt ​​for Stefan to take LSD, he will be stunned by Colin anyway.

These limitations are recognized in the act itself. If you make an early choice wrong and get Stefan to develop his game internally, he will produce a poorly scored game whose scope is too limited. These meta-nods – and there are many, along with some Netflix-related fourth wall breaks – are all very clever, but they make the movie no longer enjoyable.

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There are endless" easter eggs "in the film, from references to earlier Black Mirror episodes like" Nosedive "or the symbol appearing in" White Bear "Since surfing a website for Tuckersoft online with a ridiculed job section, these hidden clues to Reddit communities are an entertaining encipherment that does not bring anything further into the story and the Black Mirror franchise makes something seem too content with itself for inserting this.

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Advertising – read below [19659024] But here's the real problem paper thin on, as it is under many different We and therefore one can not help but feel the interactive aspect. This story would never have made it into the writer's room. Stefan's background story is clichéd and undeveloped. Poulter – a truly exciting British actor after roles in The Revenant and Detroit – is reduced to a pastiche of a game god with a grating nasal sound that was obviously enticed to Richard Ayoade in The IT Crowd.

Brooker's prophetic series warned of the danger of technology long before it infiltrated our (real) news feeds or became a must for dystopian dramas. But at best it always focused on the humanity at stake here, an important element missing here.

The therapist, who offered you the chance to fight off the deadbeat dad you can chop off Bandersnatch's two-dimensional characters pale compared to Bella in "Metalhead" or Kelly in "San Junipero".

  Bandersnatch Black Mirror


In an interview with the New York Times, co-founder Annabel Jones said Bandersnatch was "designed as a cinematic experience" while Brooker argued, "They make decisions, they actively manage." and if you're trying to be both a game and a movie, you're in an unsatisfactory gray area between them. Uncontrollable enough to be a game, or cinematic enough to be a movie. Let's hope the Series 5 returns an old-fashioned set of linear narratives – Black Mirror its own pulse back to cable standards.

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