What else do we need to consider in telling stories of this form?
To start, we might consider how different audiences react differently to the injection of choice into their entertainment. For every person who is intrigued by asserting more control over the story, there will be others who are looking for passive entertainment.
"Even the most complex, arresting, emotionally draining show is essentially escapism because all the work is done for us.” …do people want to be the decision makers? It is hard work.
As a viewer, I will wave from the shores of traditional TV, happy to be spoonfed my entertainment and hoping that the young folk are having fun.” — The Guardian
Secondly, we have to ask: Does choice come at the expense of characters, coherence, and clarity of story telling? Bandersnatch struggled to build interesting characters. Traditional stories control the audience’s perception of a character at all times, and therefore can build a foundation of what makes that character work, layer by layer. By ceding control of that process to the audience, the author provides a collection of character “bricks” that haven’t been constructed into anything.
"It rarely deviated from the expected deviance, rarely landed in an unexpected place or – and this was where it most resembled its videogaming ancestry – had energy to spare to make the characters much more than ciphers.” — The Guardian
Finally, the audience of an interactive story has to ask themselves (just as Stefan asks): Are we really in control of our choices, or is there a hidden power that is flipping the switches? Are we only getting the illusion of choice?
Bandersnatch is mostly satire, too, but the "gameplay" jumps around a confusing timeline, making you repeat past scenes with different decisions. How you interact with your therapist, whether you agree to take drugs, and if you manage to open a secret safe, for example, all bring you down different paths and to several Game Over screens. These soft endings then send you back to earlier scenes, so you can choose the "correct" choice to further your progress. You have to do this numerous times to eventually receive a true ending. The concept of "right" and "wrong" choices bothered me and cornered me into decisions I didn't want to pick. — Elise Favis, Game Informer
For TV, this is an evolving entertainment form. In the world of data, we are also creating an evolving communication form. How do we find the balance of choice and flexibility with message? How can we engage and entertain without heaping the burden of authorship on an audience? These are questions we’ll need to continue to explore.