While creating his new show Battle Kitty, there was one thing executive producer Matt Layzell knew he wanted: booties. Via WIREDUK
.” The show’s futuro-medieval world, Battle Island, took nearly five years to make, and its nine-episode boss-battle storyline plays out on a map that can be navigated start-to-finish from within the show—no jumping to the episode list required. It’s wildly creative. It also almost broke Netflix’s interactive tech.started out as a much different show. The initial pitch the Layzell brothers took to Netflix in the summer of 2017 was for an animated series based on Matt’sInstagram sketches.
It was during these scrappy salad days that the concept for the show took shape. The creative team locked down the season’s central monsters-and-realms plot, and the Layzells came up with a concept that they took to Dave Schlafman, the head of design for Netflix’s interactive offerings: overworld maps. It’s a navigation method familiar to anyone who’s ever taken part in a role-playing game, but one totally new to TV.
“Bandersnatch,” and the 20 or so interactive kids specials built with Netflix’s Branch Manager, are generally made up of “segments,” “memories,” and “recaps” that viewers select as they make their own way through the series. In addition to the maps and quests,’s building blocks include “gates” and “states.
“We tried to add layers of discovery to the maps,” says Paul. “We were watching all the animatics, trying to come up with clever ways to tie them into the story, to uncover something in the environment or just connote change in the environment to show you’re progressing.” The maps are also designed to fill the time in between episodes, keeping you in the show. The interactivity of Brooker’s recent cartoon-meets-trivia-game’s approach to play brings you further in.
Style-wise, the animation was always meant to be a mashup of a 3D game aesthetic and classic cartoons like. “We wanted it to feel like playing Nintendo video games in summertime,” says Paul, rattling off influences from
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