In series 3, episode 2 of Black Mirror, “Playtest”, a horrifying virtual-reality game of survival horror is introduced to audiences; its premise may seem stranger than fiction, but the concept of thrill-seeking at this level highlights a disturbing trend within the horror genre.
“Playtest” follows adventurer and self-professed “thrill-seeker”, Cooper (Wyatt Russell), who is traveling after the recent passing of his father due to Alzheimer’s. He avoids his mother’s calls to check in, and meets Sonja (Hannah John-Kamen) in a bar. The two become romantically involved, and through her, he learns about an opportunity—based on a job-seeking app’s want ad—to beta test for a highly secretive video game company, SaitoGemu. After landing the gig, Cooper ends up testing out their newest virtual reality technology, which is being applied to a survival horror game that works with each player’s mind to formulate a customized experience based on each person’s individual fears.
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Though the beta testing doesn’t end well for Cooper, the concept of a completely immersive horror experience in “Playtest” isn’t as out of the realm of possibility as one might think. Extreme horror experiences and thrill-seeking outlets have been increasingly popular amongst genre fans. Virtual reality games have also become increasingly popular, especially within the horror genre. As traditional media, such as movies, become less thrilling and engaging to audiences, especially more seasoned horror fans, people have started looking for the next level of fear—this is where “Playtest” becomes eerily relevant.
How “Playtest” Predicted The Growing Interest In Extreme Horror
Virtual reality is the next frontier for horror. As movies become increasingly predictable to some audiences and it becomes increasingly difficult for some to be terrified at the same level they once were, some horror fans are seeking more extreme scares. This can come through the realm of virtual reality games, or even games like BlindSide, which relies entirely on audio rather than visuals to strip the player of some of their senses, then immerses them in a horror environment. The concept in “Playtest”, where the game can learn and modify itself to meet a player’s specific needs—such as when Cooper starts seeing his childhood bully’s face on a grotesque spider creature and throughout the house—doesn’t exist yet, but there are certain types of games that can provide a more directly immersive experience.
On top of virtual reality, there are also haunted attractions that provide a more extreme, hands-on approach with attendees. These houses don’t rely on jump scares in the traditional route. Rather, they incorporate intense violence and situations that are consensually inflicted on their visitors. Often, in these more extreme haunts, participants have to sign a waiver in case of emotional trauma or physical injury. Blackout, one of the more well-known haunts of its kind, has reportedly simulated waterboarding, and put participants through tight crawl spaces. Also, some have described experiences where scare actors have put plastic bags over their heads, fed them unknown substances, and even physically restrained them. Other haunts are so intense that nobody has been able to make it all the way through without uttering the chosen “safe word”.
Because of desensitization, society is continually developing new strategies to consume media. “Playtest” is only one of the many Black Mirror episodes that force the audience to consider the perils of technology and how it can destroy humanity. While it’s a stretch to suggest that the desire for a greater thrill and higher adrenaline rush is damaging, “Playtest” remarks on the phenomena and hits an accurate bullseye as to why people like Cooper would even be drawn to play in the first place. Exploring fear in a safe environment gives people an outlet to fully appreciate the aftermath where they find relief in the knowledge that they survived the horrors they were brave enough to face head-on.
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