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What the episode also demonstrates is that the writers of any branching show should be crystal clear about the options they’re presenting.The fact they’re obscure here doesn’t matter all that much because there are no real consequences, and you’re basically picking between silly and slapstick.I’ve just watched my first ever episode of Puss in Boots.Not because I’ve been drawn in by those big shiny eyes while browsing my Netflix home page, but because it’s the series that the streaming service has used to trial its first interactive TV show.Then, if you give them another choice on each of those paths, you’re creating four story paths.And so on, until you’ve got a sprawling interconnected plot web – and that’s only assuming you’re providing a binary choice in any given scenario.

She goes on: “It’s really about finding the right stories – and storytellers – that can tell these complex narratives and bring them to life in a compelling way.”I can’t help but let my imagination run wild with the idea.When stranded in ‘The Jungle of Terrible Things That Happen to You’ Puss can either fight some bandits or host an awkward tea party with them – but either way, he’s carted off at the end to see the genie in a dessert. Pick ‘facing a giant’ over ‘being Goldilocks’ and Puss will be stamped to a pulp, prompting an automatic jump to the Three Bears.The system presents some interesting limitations on rewinding and fast-forwarding.Plus, in theory, games are much more expensive to make, if you want to hit the same level of quality.If Netflix takes its time to think about the changes needed to ramp up the scale, then it could really be onto a winner.

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