{"id":1171130,"date":"2026-02-12T22:23:07","date_gmt":"2026-02-12T22:23:07","guid":{"rendered":"https:\/\/www.polygon.com\/?p=555730"},"modified":"2026-02-12T22:23:07","modified_gmt":"2026-02-12T22:23:07","slug":"black-mirrors-plaything-is-a-great-sequel-to-bandersnatch-because-theres-a-new-game-to-play-too","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/black-mirrors-plaything-is-a-great-sequel-to-bandersnatch-because-theres-a-new-game-to-play-too\/","title":{"rendered":"Black Mirror\u2019s Plaything is a great sequel to Bandersnatch because there\u2019s a new game to play, too"},"content":{"rendered":"
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A sequel to a beloved anthology TV episode might seem like a cash grab; two in one season<\/a> could reek of desperation. Yet Charlie Brooker bests the skepticism in Black Mirror<\/em> season 7 with a double whammy of \u201cUSS Callister: Into Infinity,\u201d a follow-up to season 4\u2019s Star Trek spoof, and \u201cPlaything,\u201d a sci-fi tragedy that returns to the timeline of the interactive special Bandersnatch<\/a><\/em> \u2014 complete with a new gamified twist.<\/p>\n

There was likely no matching the thrill of Bandersnatch<\/em>\u2019s violent, choose-your-own-adventure progression, and thankfully, Brooker doesn\u2019t try. But the reintroduction of grandiose video game programmer Colin Ritman (played by Will Poulter) offers the TV\u2019s leading doomsdayer another chance to once again examine science fiction dystopias through the lens of gaming. Unlike Bandersnatch<\/em>, \u201cPlaything\u201d is not literally playable, but it arrives in tandem with a full-blown mobile game, Thronglets<\/em>, derived from the nightmare at the center of the episode. Both might feel slight on their own. Together, they create a symbiotic experience, well beyond a tie-in game<\/a>, that seems like a sweet spot for the emerging Netflix Games.<\/p>\n

\"\"<\/p>\n

Written by Brooker and directed by David Slade (Bandersnatch<\/em>, 30 Days of Night<\/em>), \u201cPlaything\u201d focuses on young \u201990s games journalist Cameron Walker (Lewis Gribben), who\u2019s invited to preview Ritman\u2019s latest creation. But as Ritman reveals behind closed doors, what he has programmed, a title called Thronglets<\/em>, can\u2019t be qualified as a \u201cgame.\u201d There is no goal. There is no victory. As Ritman explains, Thronglets<\/em>, as it exists as data on a CD-ROM, is life, not code. Walker instantly feels the difference as he tends to the throng of li\u2019l furry yellow guys \u2014 this is not a Lemmings<\/em> or SimAnt<\/em>. The only thing he is playing when hunched over Thronglets<\/em> is god.<\/p>\n

Brooker frames the evolution of Walker from mild-mannered gamer to throng overlord through flashback. In 2034, an older Walker (Peter Capaldi) is under arrest for an unsolved murder and offers his entire life\u2019s story to police as an explanation for what happened. Slade orchestrates the back and forth with a heavy metal grind that feels in sync with Bandersnatch<\/em>. Walker\u2019s escalating obsession with growing his throng \u2014 which requires him to strip generations of gaming consoles for parts in order to build a supercomputer \u2014 plays out with rhythmic paranoia that everything will go wrong. Viewers can\u2019t choose which direction the story goes this time, and Slade keeps us trapped in Walker\u2019s head.\u00a0<\/p>\n

The clever technological twist with \u201cPlaything\u201d is that Brooker and Night School, an indie studio acquired by Netflix in 2021, actually came together to produce a version of Thronglets<\/em>. The experience of managing the ever-growing throng is every bit as mind-boggling as Walker\u2019s. Like in the episode, players begin with one li\u2019l furry yellow guy, who requires food, water for bathing, and toys to play. Fulfillment allows the single thronglet to bud off and spawn more thronglets, who zip across the pixelated map to find what they need and question their reality. Tap fast enough \u2014\u00a0to grow apple trees, place bathtubs, construct playgrounds \u2014 and the throng will be content, until they aren\u2019t.<\/p>\n

\"A<\/p>\n

In \u201cPlaything,\u201d Walker ascends to the next level of Thronglets<\/em> when he unlocks a way to communicate with his primitive throng. They want food and shelter, yes, but they also want meaning. Night School\u2019s playable Thronglets<\/em> doesn\u2019t require you to hardwire anything into your brain to decode a sentient program\u2019s language of choice, but the throngs do make clear early on that they, too, look to you as a supreme being. <\/p>\n

Unlike in most life sims, there\u2019s a strong narrative undercurrent to Thronglets<\/em> that plays out in dialogue trees in which the player is given the choice to be a cruel or kind master. You can try to explain the point of love or family, or you can be glib and potentially lose the faith of the throng. When it\u2019s time to venture out into the world to discover ore-rich mining areas, you can either build bridges from out of the nearby woods or harvest the bones of fallen throngs, which is sick, but also faster.\u00a0<\/p>\n

In one of its most clever moments, \u201cPlaything\u201d nods to the history of tormenting Sims by trapping them in doorless houses or ladderless pools in a moment of violence that sends the ultra-protective Walker off the deep end. Thronglets<\/em>, the playable game, is similarly successful in giving the genre its own self-reflective twists as it forces you to keep up with the pace of throng activity \u2014 which is so hyperactive that it might be a chore to play while second-screening Black Mirror<\/em> \u2014 that can only result in consequence. Like Walker, I found myself unexpectedly committed to protecting those li\u2019l furry yellow guys as they grew and grew and grew in number, and suffered in the factories that were eventually built to process ore. I couldn\u2019t help but mourn that our once serene home became an industrial wasteland capable of processing nukes, but I also wanted to see where it all went.<\/p>\n

\"A<\/p>\n

Night School didn\u2019t make Thronglets<\/em> a full Tamagotchi-level commitment in its attempt to fuse Charlie Brooker\u2019s storytelling with a game; you can put down your phone without sacrificing the lives of the thronglets. But I do recommend turning on notifications for the full existential spiral; after a day or two of ignoring Thronglets<\/em>, I started receiving pop-ups from my throng begging me to save their lives. Dark. And by the end of the game, it gets darker in true Black Mirror<\/em> fashion.<\/p>\n

Sean Krankel, founder of Night School and Netflix’s current head of Narrative Games, has teased that people who watch \u201cPlaything\u201d and play Thronglets<\/em> might see some connectivity occur between the two (a Netflix account is required to play the free-to-download game). Even those who don\u2019t get that far, but who engage with both the episode and the game, should feel the next-level experience of their connection. Since they were made in concert with one another, \u201cPlaything\u201d and Thronglets<\/em> feel like two halves of the same story. \u201cPlaything\u201d establishes a world and Thronglets<\/em> dunks your head in it.<\/p>\n

Like Bandersnatch<\/em>, the combination feels like uncharted \u2014 and overdue\u00a0\u2014 territory for a fully plugged-in streaming service with more to offer than clones of basic cable programming. At this year\u2019s Game Developers Conference, Netflix said it would continue to host major titles on the service, like the Grand Theft Auto series<\/a>, and invest in couch party games similar to Jackbox<\/a>. But a third category, in which games and linear TV are tethered through interactive story, has so much potential. As he did with Bandersnatch<\/em>, Brooker seems ready to experiment. Whether Netflix will grant its other creators the same galaxy-brain freedom may depend on how many people play the Love Is Blind<\/em> video game<\/a>. As Colin Ritman says in \u201cPlaything,\u201d at the end of the day, gaming for most people is all about money.<\/p>\n

\n

Black Mirror season 7 is now streaming on Netflix. <\/em>Thronglets is also available to play now. <\/em><\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

A sequel to a beloved anthology TV episode might seem like a cash grab; two in one season could reek of desperation. Yet Charlie Brooker bests the skepticism in Black Mirror season 7 with a double whammy of \u201cUSS Callister: Into Infinity,\u201d a follow-up to season 4\u2019s Star Trek spoof, and \u201cPlaything,\u201d a sci-fi tragedy that returns to the timeline of the interactive special Bandersnatch \u2014 complete with a new gamified twist. There was likely no matching the thrill of Bandersnatch\u2019s violent, choose-your-own-adventure progression, and thankfully, Brooker doesn\u2019t try. But the reintroduction of grandiose video game programmer Colin Ritman (played by Will Poulter) offers the TV\u2019s leading doomsdayer another chance to once again examine science fiction dystopias through the lens of gaming. Unlike Bandersnatch, \u201cPlaything\u201d…<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":1,"featured_media":1171131,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1171130","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"\nBlack Mirror\u2019s Plaything is a great sequel to Bandersnatch because there\u2019s a new game to play, too | Arcader News<\/title>\n<meta name=\"description\" content=\"A sequel to a beloved anthology TV episode might seem like a cash grab; two in one season could reek of desperation. 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