Not always a required choice, linear plot and the absence of the “fourth wall”.
Bear Grylls in “You Against Wildlife” Frame Netflix
On April 10, Netflix released the interactive show You Are Against Wildlife with Bear Grylls. In it, you can make decisions for a survival expert: for example, choose what he will eat and where he will hide overnight. Editor TJ watched the show and said what to expect from him.
How does the show
In “You’re against the wildlife”, Bear Grylls does what he can best – travels to different exotic places and arranges for himself “survival”. Most often, an expert needs to perform a certain task: for example, to get to a certain point or save someone. Along the way, he tells how to survive in the wild.
The show consists of eight episodes, but in some places the Grylls lingers on two series and performs two different tasks. As in Bandersnatch , viewers cannot squander a series or move on its timeline.
You can skip segments of 10 seconds, but only between two interactive elements. In addition, you can switch the series itself: the content of the following episodes does not depend on the decisions in the previous ones.
Every few minutes, viewers are offered some choice, for example, to help Grylls choose a bite to eat.
The duration of the series also depends on the user. If you choose the most reasonable and balanced, the episode can end in about 20 minutes. Often Grylls himself suggests a more “correct” version, which will lead to success and simple passage.
The interface of solutions is made in the style of the series, but for some reason it is not translated into Russian, although the show immediately came out with voice-over by Netflix shot
If deliberately make dubious decisions, the series may be delayed due to the branching of the plot. However, in the case of errors, it is often necessary to re-pass the episode from the last “checkpoint” – depending on the context, this may even be the very beginning of the series.
In March, Netflix announced that the first interactive film of the service, Bandersnatch, was “a great success.” The company told that they would continue to experiment with the format, and promised to release several more projects, including light comedies. One of them was the show with Grylls.
Unlike Bandersnatch, You Are Against Wildlife does not offer true plot variability. If the picture on the “Black Mirror” was scolded for too few endings, then in the series with Grylls everything leads to one result – he survives.
The audience can influence the intermediate stages of the story, but the presenter will eventually reach the goal and complete the task. All wrong decisions lead to the proposal to repeat from the “control point”.
This slightly devalues the interactivity format itself, the ending is known in advance. Nevertheless, it is still interesting to know exactly how the leader will perform the task and what can be influenced.
Sometimes viewers are given the opportunity to choose openly “for show”: Grylls tries the solution, but it turns out that it is not suitable. Then the leader acts in a different scenario. At the same time, such moments are not annoying, because they occur infrequently and Grylls explains why he cannot follow the decision of the viewer.
“You are against the wild” do not want to pereprohodit: the series itself does not encourage such research, because often alternative solutions lead to dead ends. In Bandersnatch, Netflix allowed you to choose from different key points even at the very end, and here you can only replay everything from scratch.
The screen, which most often will be seen by amateurs explorer plot Frame Netflix
Everything new is well forgotten old
Bear Grylls became popular thanks to the program “ Survive at All Costs ”, which went on Discovery from 2006 to 2012. And in fact, “You are against wildlife” – the same show, but in a slightly different wrapper.
There are almost no differences between the programs: this time Grylls travels again to exotic places, tells how to survive in the wild, and eats various animals. True, in “Survive at any cost” the presenter allegedly survived almost without tools, and in the Netflix show he has all the necessary equipment.
Discovery’s transmission was easy to take seriously, including because of the feeling that the life of Grylls is at stake, but in You Against Wildlife it seems that he takes almost no risk. Apparently, in order to compensate for this, “serious” tasks were added to the series, such as rescuing a doctor with a cure for malaria or searching for fragments with antidotes from scorpions and snakes.
“Survive at any cost” has often been criticized for giving out some of the production scenes as real survival attempts, but on Netflix this has reached a new level. All stories – a clear fiction, which is served as a reality.
At the same time, it seems that the show could do without interactivity: it was enough for the authors to choose the most dramatic and exciting plot chain and leave it alone. Unlike Bandersnatch, which from the very beginning was built around interactive mechanics, the show with Grylls looks like the creators took the idea 10 years ago and added a choice to it.
As in Survive at All Costs, the most interesting and nasty moments of the show are related to eating food. One of the best examples is a series about finding a dog in the snowy mountains. Grylls searches for an animal by litter, but finds bear excrement, and at that moment he just wants to eat. The presenter says that bears do not digest the nuts badly, so if you take them out of the feces and wash them, you can eat them.
After that, a choice appears: “Eat nuts from excrement or find other food.” If you choose the first option, then Grylls will ask “What’s wrong with you?”, And then really eat nuts from feces.
During the announcement of “You are against wildlife”, representatives of Netflix called the series “family show”, and this is a fairly accurate definition of its audience. Most of all, the series resembles a truly interactive version of Dashi Traveler.
Probably, the project will be most interesting for children, including due to interactive mechanics and cognitive information about the world. And adult viewers have to be content with funny moments with food and breathtaking landscapes.