Transmedia Storytelling Interactivity

**8**

*Narrative Transmedia*

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**11**

**Chapter 2**

**Abstract**

the series.

**1. Introduction**

smart phone, or smart TV.

Bandersnatch

transmedia storytelling, touchpoints

Interactivity in Fiction Series as

Part of Its Transmedia Universe:

*Begoña Ivars-Nicolas and Francisco Julian Martinez-Cano*

The special episode *Black Mirror: Bandersnatch* (Brooker and Slade, 2018) is one of the few interactive experiences that can be found in a fictional series episode. Interactivity, as a generator of transmediality, can be considered in two ways: interactivity with respect to content, content interaction, when contributions, recognized and/or rewarded, are interventions by the user but directed and controlled, without intervening the main plot of the piece, and influential interactions, which can influence the course of history. This text studies how the use of interactivity in *Bandersnatch* contributes to generate a transmedia universe of the chapter, as well as

The way in which audience consume audiovisual content has been transformed in recent decades. In this text we highlight two reasons mainly. On the one hand, the viewer has evolved by demanding personalized and participatory content, and, on the other hand, consumer devices of the moment are mobile and interactive [1]. The consolidation of platforms that offer online content on demand through streaming has displaced the traditional concept of television. From watching television in group in front of the device and in a passive way, now individual consumption is imposed through multiple media and mobile screens that allow interaction with the pieces. Television contents can be viewed on traditional television or by accessing cybermedia or distribution platforms on the Internet from a computer, smart tablet,

This technological development has meant an important advance regarding the viewers. They have become users and producers of content that demand to be part of the narrative process. One of the main strategies for creating innovative storytelling is based on devising ways to involve the viewer actively in the development of the story. However, it should be noted that the involvement of the viewer in the creation of the audiovisual story is not a novelty. In 1999, the term spect-acteur [2]

was used to refer to an active spectator in the construction of history.

The Case of Black Mirror:

**Keywords:** Black Mirror, content interaction, fictional series,
