Thursday, January 03, 2019
Metafiction and Black Mirror
The Seventh Function of Language', begins to wonder if he is really just a fictional character. 'How do you know you are not living inside a work of fiction?' he asks. This sort of literary self-consciousness is a familiar metafictive device and it works well against the backdrop of literary theory and the walk-on cast of poststructural theorists that populate Binet's tale. Something similar happens in 'Black Mirror: Bandersnatch' in which Stefan Butler, an obsessive videogame programmer, suspects that he may be a character controlled by Netflix viewers. Of course, that's partly true, but then the play is in the carefully plotted choose-your-own-adventure story. And just like Binet's use of the device it's a neat fit, Stefan is working on branching narratives as well as being in one. But maybe we, as viewers, are also being 'played' by Netflix, as they learn whether there's a market for this sort of interactive experience. That's an intriguing question. For a while there has been the suggestion that some sort of interactive videogame/film/narrative hybrid is about to break, and of course there have been experiments. The real question is whether Black Mirror goes far enough. Given the possibilities of a more immersive experience through VR might it just end up being a dud - a choose-your-own-adventure story that works well as a 1980s nostalgia piece but little else? Or could it gain enough attention to finance some bolder experimentation, something that moves beyond self-referential fiction into a more developed form? Maybe Netflix already has the answer.