With major companies and broadcasters investing huge amounts of time and money into Responsive Storytelling as a potential future for engaging with viewers what are your favourite or most effective examples? As we think about using StoryFormer to create responsive experiences, where do you look for inspiration?
There are some interesting examples in games which respond to the viewers input in different ways.
For example, Lifeline by Big Fish Games is a text adventure that takes place in real time on your phone or Apple Watch - your choices are all about what to say to an astronaut stuck in space, but from a small series of choices big consequences arrive, and having to wait while the character goes and does stuff turns out to be an effective mechanic - a playthrough takes several days, fitting around the other stuff you do on your phone.
Florence by Mountains requires very simple viewer inputs to move the story forward, but it does it in a way that feels satisfying and makes you identify with the story being told.
Consume Me by Jenny Jiao Hsia has a structure of related mini stories, each of which requires a different interaction. I really like the disconnect between sugary visuals and serious subject matter.
Any other thoughts?
The Beginner’s Guide is a brilliant example of storytelling in a responsive media.
Good Wikipedia page on it
This article came out today - makes me really want to try Eliza: https://www.rockpapershotgun.com/2019/10/15/elizas-creator-explains-the-real-inspirations-for-his-fictional-therapy-software/
Described in the piece as “a fascinating, thought provoking game where you play as Evenlyn, a “proxy” for the titular counselling service software. It measures heart rate and key words and things like that, and then generates a counselling script for Evelyn to read.”
In a world of increasing mental health awareness and a rise in the use of software agents it sounds very much of its time.
Has anyone played it?
Thanks for sharing @MikeA - will check it out!
For lots of reasons why it’s good have a read of Hannah Wood’s analysis