# Treezy Play: full content > Every guide, help article and interactive-movie directory entry in > full, as markdown. The short index is at https://treezyplay.com/llms.txt --- # The Best Interactive Story Apps, Sorted by What You Want Source: https://treezyplay.com/blog/interactive-story-apps Search "interactive story apps" and you will get the same eight names in a slightly different order, each one described as immersive, each one somehow both the best and a strong contender. We have published lists like that. They were not useful, and we deleted them. Here is the thing those lists dodge: **"interactive story app" isn't one category. It's three, and they barely have anything in common besides the phrase.** One is a comic you tap through. One is a novel that argues back. One is a film that watches you watch it. Downloading the wrong one is the single most common way people conclude they don't like interactive fiction, when what actually happened is they wanted a novel and got a dress-up sim, or wanted a soap opera and got 40,000 words of second-person prose about a dirigible. So this page sorts the category instead of ranking it. Figure out which of the three you want, and the choice inside each lane gets easy. ## Lane one: choice fiction, the tap-through kind This is what most people picture. Episode, Choices, Chapters, Romance Club, The Arcana. Static or lightly animated art, dialogue on top, and every so often a fork: say the bold thing or the kind thing. **Episode** is the biggest by a distance, because most of it isn't written by the company, it's user-generated, with tools that let anyone build a story. That is genuinely the reason to be there. It is also the reason the floor is where it is: an enormous library with no editorial filter is an enormous library you have to filter yourself. Chapters are gated by passes that refill on a timer, and the more interesting choices tend to cost gems. **Choices: Stories You Play**, from Pixelberry, is the opposite trade. Fewer stories, professionally written, noticeably better craft in the dialogue and the plotting, and a long-running commitment to a cast that isn't uniformly straight and white. It runs on diamonds, and diamonds gate the choices you most want to make. **Chapters** narrows further into romance and drama, some of it adapted from published novels, which is a real draw if you already follow the author. **Romance Club** works a mythology-and-history angle with an art style that reads as distinctly not-American, and has a reputation for being less grasping about its currency than its rivals. **The Arcana** is the most stylish of the group, a hand-drawn murder mystery in a plague-struck city, six romance routes, choices framed as tarot. Now the part the listicles won't say. **In this lane, the monetization model is a spoiler for the story structure.** When premium currency is spent at choice points, the choice point stops being purely a dramatic instrument and starts being a checkout. You can feel it. The story leans, gently and consistently, toward making the interesting option the paid one, because that is what the mechanic is for. That isn't villainy; it's just what a business model does to a script over time, the way ad breaks shaped the act structure of network television. It is worth knowing before you decide the writing is bad. Often the writing is fine and the incentive is the problem. If that trade is fine with you, and for a lot of people it genuinely is, this lane is comfort food and there's no shame in comfort food: Choices is where the craft is and Episode is where the volume is. ## Lane two: interactive fiction, the reading kind Older, stranger, better than its reputation, and almost entirely absent from "best story apps" roundups because it doesn't screenshot well. **Choice of Games** and its **Hosted Games** label publish text, no character art, no sprites, just prose in the second person and a lot of it. The variables run deep, the endings actually diverge rather than recolor, and here's the part that matters: you buy the story once and then you own it. No passes, no diamonds, nobody metering your curiosity. Every choice is available to you because you already paid for the book. Coming from lane one, the effect is startling, the story is finally optimizing for being good instead of for the next transaction. **inkle** is the other name to know: *80 Days*, *Heaven's Vault*, *Overboard!*, literary, beautifully made, and proof that a branching story can be a serious piece of work rather than a novelty. They open-sourced their narrative engine, **Ink**, which is now under a lot of games that never advertise it. **AI Dungeon** is the wild card, generating text on the fly so the story goes anywhere you type. "Anywhere" includes nowhere. It's an amazing toy and an unreliable novel, and which of those you get depends on how much you enjoy driving. If you want a map of the whole tradition (decades of it, much of it free) the **Interactive Fiction Database** is the front door. ## Lane three: filmed stories, where the actors are people Live-action interactive stories are not a new idea people are only now getting right. They're a 30-year-old idea people keep getting wrong. The FMV boom of the early nineties put real actors on discs and mostly produced expensive nonsense, because the interactivity was decorative, you weren't making decisions, you were guessing the one right input. The medium came back because a few people found something that only works with a real human face. Sam Barlow's **Her Story** hands you a police database of video clips and a search box, and that's the whole game: you type words, you watch an actor lie to you, you decide what happened. Nobody chose anything from a menu and it's one of the most genuinely interactive stories ever made. Netflix's *Bandersnatch* dragged the format in front of a mass audience and proved the appetite is real, even as it also proved that a remote control is a lousy instrument for a scene. This is the lane **Treezy Play** is in, and it's worth being blunt about what that means: **Treezy is not an alternative to Episode.** It is not a text app with better art. It's live-action interactive film (actors, camera, a crew) which makes it a different medium that happens to share a search term. If you want a library of hundreds of romance chapters to read on a commute, we are the wrong download and we would rather say so here than collect the uninstall. ![Treezy Play](/blog/interactive-story-apps/img-1.jpg) What we're chasing is the thing Barlow found: interaction that requires a person on screen. Our debut film, *The Seminal Works of Dr. Tiffany Belle*, is a dark comedy played like a phone call. Dr. Belle FaceTimes you, and you don't pick a reply off a menu, you **speak**, out loud, in your own words, and the film goes where your answer goes. Four branches, twenty-eight endings, about forty minutes a run. One honest note on how that works, because the category is full of overclaiming right now: your speech steers the story, and Dr. Belle answers in character through the film and through text captions on screen. There is no synthesized voice reading generated lines at you. What you hear is what was performed. We think the seam between "real performance" and "machine improv" is exactly where this medium falls apart, and we'd rather stay on the side of it where an actor is actually acting. 🎬 **[Watch the trailer](https://www.youtube.com/watch?v=Ljbh6SjOzHM)**, one minute, and the pitch explains itself. Treezy Play is free on the [App Store](https://apps.apple.com/app/id6738535368) for iPhone; a membership unlocks the films. More on how the talking works in [Treezy Play 1.6](/blog/treezy-play-1-6-conversational-calls), and on the medium generally in our guide to [interactive movie games](/blog/interactive-movie-games). ## The lane people actually mean half the time A confession about search: a lot of people typing "best interactive story games" don't want an app at all. They want *The Walking Dead*, *Life is Strange*, *Detroit: Become Human*, *Until Dawn*, *Disco Elysium*, *Firewatch*. Those are the high-water marks of choice-driven narrative and mostly they live on console and PC, though a few have made the trip to phones over the years. If that's you, take the tip and go play them properly on the biggest screen you have. Nothing in the app category is going to substitute, and pretending otherwise is how these lists lose your trust. Our roundup of [story-driven mobile games](/blog/story-driven-mobile-games) covers what genuinely translates. One mobile exception worth naming: **Duskwood**, a detective mystery told almost entirely through a fake messaging app on your phone. It sounds like a gimmick and it isn't, it's the rare case where the format and the story are the same idea, and the dread of a message arriving works because it arrives the way messages actually arrive. ## And if you want to make one The tools got cheap and the good ones are free. **Twine** has been the on-ramp since 2009, browser-based, open source, exports a standalone HTML file you can put anywhere, and it will teach you branching structure in an afternoon. **Ink** (inkle's engine) is where you go when you want to write a lot of prose and wire it into a real game. **ChoiceScript** is purpose-built for the Choice of Games house style, and they'll publish you. **Ren'Py** is the default for visual novels and has been for years. For filmed interactive stories, that's what we build **[Treezy Studio](/blog/introducing-treezy-studio)** for, it takes a one-line idea to a branching, playable film and publishes it straight into the Treezy Play app, no crew required. The craft advice that survives across every one of those tools is short: make choices *cost* something, keep the fork to two or three options so the reader can actually hold them in their head, funnel branches back together or you'll never finish, and test with people who aren't you. ## So: which one - **You want something warm to fall into on a commute.** Lane one. Start with Choices; go to Episode when you want volume over craft. - **You want a story that respects you and doesn't nickel you.** Lane two. Buy a Choice of Games title outright, or play *80 Days*. - **You want to see a face and be seen back.** Lane three. Her Story, *Bandersnatch*, us. - **You want the canon.** It's on console. Go get it. - **You want to build one.** Twine tonight, free. The category's real problem was never a shortage of apps. It's that everything got labeled the same, so nobody could find the thing they came for. Pick your lane first. The rest is easy. More: [choose your own adventure games](/blog/choose-your-own-adventure-games) · [interactive movie games](/blog/interactive-movie-games) · [story-driven mobile games](/blog/story-driven-mobile-games) ## Frequently Asked Questions ### What are interactive story apps? Apps where your choices change the story. In practice the label covers three unrelated things: tap-through choice fiction with illustrated scenes (Episode, Choices), prose interactive fiction you read and steer (Choice of Games, inkle), and live-action interactive film where the story is shot with actors (Treezy Play). Deciding which of those you want matters more than which app you pick. ### Are interactive story apps free? Most are free to download and make money after that, which is the part to look at. Lane-one apps typically meter you with premium currency at choice points, so the story is free but the interesting decisions aren't. Interactive fiction from Choice of Games is usually bought once and fully yours. Treezy Play is free to download with a membership that unlocks the films. Twine is free, full stop. ### What's the best interactive story app for romance? Choices for the writing, Romance Club for a less aggressive currency and a distinctive art style, Chapters if you want adaptations of romance novels you already read, The Arcana if you want the strangest and best-looking of the group. ### What's the difference between interactive story apps and visual novels? Visual novels are a specific tradition, static character art, dialogue, occasional forks, with Ren'Py as the standard toolkit. "Interactive story app" is a marketing phrase wrapped around visual novels, text fiction, and filmed stories all at once. Every visual novel is an interactive story; most interactive story apps aren't visual novels. ### Are there interactive story apps with real actors? Yes, and it's the oldest idea in the category. *Her Story* and *Telling Lies* are the landmarks; *Bandersnatch* brought it to Netflix. [Treezy Play](/) is filmed interactive cinema built for the phone, where characters call you and you answer out loud. ### Are interactive story apps only for teenagers? No, though the marketing skews young because the biggest apps do. Interactive fiction in particular has been writing for grown-up readers for forty years, and interactive film is where the form is going next. --- # The Best Interactive Movie Games: 13 That Actually Let You Steer Source: https://treezyplay.com/blog/interactive-movie-games Here is the uncomfortable thing about interactive movie games: most of them are lying to you. Not maliciously. But the format has an original sin, and it's the ending count. Somewhere along the way "how many endings does it have?" became the metric, and once you're being graded on endings, the cheapest way to score is to let the story run on rails for ninety minutes and then fork it three ways in the last four. You chose. The film didn't notice. You get a different final shot and the same movie. The good ones do something harder. They make the story *remember*. That's the whole test, and it's the only one worth applying: **not how many endings, but how early the film starts listening.** A game with four endings that has been quietly tracking you since minute six is worth more than one with twenty that only wakes up at the climax. So this isn't a ranking by ending count. It's thirteen interactive movie games sorted by the kind of choice each one actually asks of you, because that's what determines whether you'll enjoy it, and nobody puts it on the box. ## First, a definition worth having "Interactive movie game" is a phrase doing two jobs at once, and the seam shows. At one end you have interactive **films**: live action, real actors, real cameras, and your input is choosing what happens next. You're not operating a character so much as making decisions for one. At the other end you have **games** that happen to be cinematic, you're still moving a body around a space, but the presentation borrows the grammar of film. The old name for the live-action end is FMV, full-motion video, a term inherited from the 1990s when the technology was new and the writing mostly wasn't. It's a slur in some circles and a badge in others. The modern wave earned the badge back. The practical difference for you: a true interactive film has no fail state to grind past. You never repeat a corridor. Everything you're watching was shot by a crew, which means every branch cost real money, which means, and this is the useful part, **the branches tell you what the filmmakers actually cared about.** Nobody spends a shooting day on a choice they think is decorative. Follow the money and you find the real story. If you want the full map of the format, we keep a [directory of interactive movies](/interactive-movies) with the specifics on each title below. ## Choices under a clock **[Late Shift](/interactive-movies/late-shift)** (2016, 90 minutes, seven endings) is still the cleanest argument for the whole format. Matt is a maths student working a London parking garage who gets pulled into a heist at an auction house, and across more than 180 decision points the film never once stops moving. That's the trick: no menu, no pause, no deliberation. The choice arrives while the scene is still playing and you take it or you don't, and *not choosing is also a choice*. Director Tobias Weber originally built it for cinemas, where whole audiences voted together, which tells you how it's tuned. It plays best fast and slightly panicked. Don't overthink it. It's designed to punish overthinking. **[The Complex](/interactive-movies/the-complex)** (2020, 75 minutes, nine endings) does the tracking out loud. You're a bioweapons scientist locked in a London lab after a nanotech exposure, and the film keeps a visible personality matrix on you (boldness, empathy, honesty) which sounds like a gimmick and is actually a confession. It's showing you the machinery. You get to watch yourself become a person the story then reacts to, which is either the most honest thing in the genre or the least mysterious, depending on your mood. ## Choices you're meant to make twice **[She Sees Red](/interactive-movies/she-sees-red)** (2019, 35 minutes, four endings) is the one I'd hand to a skeptic. It's a noir (a murder at a nightclub, cut between a detective's interrogations and the killer's night) and it's thirty-five minutes long, which sounds slight until you learn that a single playthrough shows you roughly *half* the footage that exists. The replay isn't a bonus. It's the second act. The Russian studio Rhinotales built a film where watching it once means you haven't seen it, and at that runtime the second pass costs you nothing. Efficiency as a design philosophy. **[Five Dates](/interactive-movies/five-dates)** (2020, 80 minutes, five paths) is the same replay logic pointed at romance instead of murder. Vinny does video-call dating through the 2020 lockdown (five women, five separate storylines) and you're steering not just who he ends up with but what kind of man he turns out to be. Made by Wales Interactive as a companion piece to *The Complex*: same engine, opposite temperature. It has aged into an accidental period piece, which honestly improves it. ## Choices that cost somebody **[The Quarry](/interactive-movies/the-quarry)** (2022) is the big-budget end. Nine camp counsellors, one last night at Hackett's Quarry, 186 branching paths, and every one of those nine can live or die on you. It runs about ten hours, so it's a game in a way the others aren't, motion capture, real control, Hollywood faces. But it ships with a **Movie Mode** where you set personality profiles and just watch it play out, and that mode is quietly one of the most interesting things anyone has built in this space. It's the genre asking itself, out loud, whether you were ever necessary. Directed by Will Byles. **[The Bunker](/interactive-movies/the-bunker)** (2016, 80 minutes) shot in a real decommissioned British government bunker, and you can feel it in every frame, the walls are actually that close. John was born underground the day the bombs fell, and thirty years later he's the last one, running his routines, until a warning light sends him somewhere his mother told him never to go. Only three paths. It doesn't need more. The horror is architectural. **[Night Book](/interactive-movies/night-book)** (2021, 60 minutes, five endings) frames itself through webcams. Loralyn is a pregnant interpreter working a late shift from her flat who reads an incantation aloud on a live call and invites something in. Wales Interactive again, same branching engine as *The Complex*, but the webcam conceit does something the others can't: it makes the frame feel found rather than composed. You're not watching a film. You're on the call. **[Erica](/interactive-movies/erica)** (2019, 90 minutes, six paths) is the one that changed the input. Flavourworks and Sony built it around touch, you light the match, you turn the page, you open the door with your hand on the glass. It's a psychological mystery about a woman returning to the institute where her father was murdered, and the tactility matters more than it sounds like it should. Pressing a button says *I choose this*. Dragging your thumb across a match head says *I did this*. Different verb entirely. ## Choices as a job **[Not For Broadcast](/interactive-movies/not-for-broadcast)** (2022, eight endings) makes you a vision mixer on the National Nightly News the night a populist government takes power. You pick which feed airs. You bleep what needs bleeping. And its whole cruel argument is that you will drift, not through one big villainous choice but through a hundred small professional ones, each defensible, until you look up and see what you've been building. It's the best political interactive film there is, and it works because it never asks you to be evil. It just asks you to do your job. **[Immortality](/interactive-movies/immortality)** (2022) barely belongs on this list, which is why it has to be here. Sam Barlow (*Her Story*, *Telling Lies*) gives you hundreds of clips from three unreleased films by a vanished movie star named Marissa Marcel, and you find your way through by clicking an object in one clip to match-cut into another. There are no choices. There's no branch. You are simply *looking*, and the film is about what looking does. Around six hours if you're thorough. It's the high-water mark of the medium, and it gets there by throwing out the entire idea of the menu. ## Choices with a Netflix account **[Black Mirror: Bandersnatch](/interactive-movies/black-mirror-bandersnatch)** (2018, 150 minutes of footage, five main paths) is the one everybody's seen, and it remains a strange, spiky thing: a 1984 programmer adapting a choose-your-own-adventure novel while suspecting something is choosing for him. David Slade directed, Charlie Brooker wrote, and the metafictional joke is that it's a story about the absence of free will in which you have some, but not much. It's not the best thing on this list. It's the reason the rest of the list got funded. **[Choose Love](/interactive-movies/choose-love)** (2023, 78 minutes) is Netflix's first interactive rom-com, and it's fine: Cami, three suitors, LA. I include it because it proves something useful: the format doesn't only work when someone's about to die. That's a genuinely important data point, even if the film itself is a shrug. ## The choice you say out loud Everything above shares one assumption so deep nobody names it: **you choose by pressing.** A prompt appears, you pick, the film continues. That's the format's ceiling and also its tell, the instant the prompt appears, you remember you're holding a phone. *[The Seminal Works of Dr. Tiffany Belle](/interactive-movies/the-seminal-works-of-tiffany-belle)* is our attempt at removing the prompt. It's a forty-minute dark comedy about a sperm donation technician with a validation problem, written and directed by Steve French, and it's built to be played like a phone call, because it is one. Dr. Belle FaceTimes you. She can see you. And when she asks you something, **you answer out loud, with your actual voice**, no menu, no options, nothing to pick from. You just talk, and the story follows where you took it. She answers back the way a person on a call answers: in character, in her own words on screen, having heard what you said. Four branches, twenty-eight endings, forty minutes. But the ending count isn't the pitch, by the argument at the top of this piece it's nearly beside the point. The pitch is that there's no prompt to break the spell, and the thing being tracked from minute one is you. It's a comedy, and a fairly filthy one. That's deliberate too. The format has spent a decade proving it can kill teenagers; rather less time proving it can land a joke. 🎬 **[Watch the trailer](https://www.youtube.com/watch?v=Ljbh6SjOzHM)**, one minute, and you'll see what talking to a film looks like. ## How to spot a fake in ten minutes You don't need to finish a bad interactive movie to know it's bad. Three tells: 1. **The first choice is cosmetic.** Coffee or tea. If the opening beat doesn't cost anything, the film is warming up its menu system, not its story. 2. **Nothing you did comes back.** Somewhere around the halfway mark a good one will quietly reference something you decided twenty minutes ago. If nothing ever returns, nothing was ever recorded. 3. **The ending count is in the marketing above the fold.** Studios that lead with the number are telling you which end of the film the branching lives at. And the reason so few of these exist at all is unglamorous: every branch is footage, and footage is a shooting day, actors, a location, a crew. A branching film costs multiples of a linear one and sells to a smaller audience. That's it. That's the whole reason the shelf is short, not a lack of imagination, just arithmetic. There's a subtler tax, too, and once you know it you can't unsee it. Every branch leaving a single moment has to *match the light* (same setup, same lamps, same time of day) because the viewer might take any of them out of that same frame. Offering four choices at one beat means shooting four continuations under identical conditions. That's the physical ceiling on how wide a scene can fan out, and it's why the answer to "why can't I do anything I want?" is a gaffer, not a programmer. It's also why performers in these films hold still a half-second longer than feels natural at decision points: someone has to leave a gap for the choice to live in. Watch for the held beat. It's the seam in the medium. All of which is why the shelf is so unusually good. Nobody makes one of these casually. ## Where to start If you have thirty-five minutes: *She Sees Red*. If you have ninety and want to know why anyone bothers: *Late Shift*. If you want the artistic case for the medium: *Immortality*. If you want to see what happens when the menu disappears entirely, **[Treezy Play](https://apps.apple.com/app/id6738535368)** is free on iPhone, download it, press Play, and let Dr. Belle call you. Membership unlocks the films; the download costs nothing. Just answer her honestly. It's tracking. --- # Choose Your Own Adventure Games on iPhone: Real Choices vs. Gem Traps Source: https://treezyplay.com/blog/choose-your-own-adventure-games Type "choose your own adventure" into the App Store search bar and watch what comes back: a wall of pastel romance apps, a few things with "story" in the name, and nothing at all that actually calls itself a choose your own adventure game. You assume you've searched wrong. You haven't. The phrase is a registered trademark. Chooseco owns it, the Vermont publisher behind the gamebooks you're picturing, more than 250 million copies sold by their own count. In 2019 they sued Netflix over *Black Mirror: Bandersnatch*, which used the words on screen. Netflix argued the term had gone generic, the way "escalator" did. A federal judge declined to throw the case out in February 2020, and Netflix settled that November on undisclosed terms. So the genre is everywhere on your phone and the name is nowhere on it. Nobody with a legal department markets a branching story with those five words. Which means the search that brought you here can't be answered by searching, you have to know what the thing is actually called, and what it's actually doing to you. That second part matters more than anyone wants to admit. Because the real question isn't which branching game is best. It's **who pays for the choices**. ## The question that sorts the entire genre A choose your own adventure game makes one promise: your decisions are yours. Every app below keeps that promise or breaks it in a specific, knowable way, and the tell is almost always the business model. Once you learn to read it, the App Store stops being a wall of pastel and becomes four clearly different things. ### 1. Episodic gem apps, where your choices are the product This is the biggest category by a mile, and the reason your search results look the way they do. *Episode* and *Choices: Stories You Play* run enormous libraries of serialized romance and drama, free to download, free to start, genuinely popular for reasons that aren't cynical. Some of the writing is sharp. The volume is staggering. But the money comes from the choices themselves. In *Choices*, diamonds, bought with real money, unlock the premium option at key moments. In *Episode*, authors decide which choices sit behind gems; the writer documentation caps them at five per story branch, which tells you how routine the practice is. The pattern is consistent: the free option is the plain one, and the interesting one costs. The criticism that's stuck, including in academic work on these games, is that this hollows out the thing you came for. If the richer scene is always the paid scene, the story isn't responding to your judgment, it's responding to your wallet, and a non-paying player is quietly railroaded toward the duller version of their own life. It's not a scam. It's just important to know you're buying the branch, not the book. **Get one if:** you want an endless serialized drama to live inside, and you're at peace with waiting on timers or paying at the good part. ### 2. Text gamebooks, done properly: Choice of Games If what you actually miss is the paperback (stat tracking, consequences, prose doing all the work) this is the one nobody tells you about, because it doesn't advertise. Choice of Games publishes its own curated line and hosts a wilder community library under Hosted Games. Both now live in omnibus apps rather than hundreds of separate downloads, at Apple's request. Roughly twenty full titles are free and ad-supported: not free chapters, not a free prologue, the complete game, start to finish, and you can pay to switch the ads off if you'd rather. The crucial part: no gem-gated choices. When you're in a story, every option in front of you is available. The games track your stats and personality across the whole run, which is exactly the machinery the gem apps spend their engineering budget on billing you for. **Get one if:** you want the gamebook feeling with thirty years of craft on top, and you'd rather read than watch. ### 3. Premium, pay-once design, inkle *80 Days* and the *Sorcery!* series are what happens when a studio decides the choices aren't a revenue line. *80 Days* reworks Verne into a branching circumnavigation with a script of around half a million words by Meg Jayanth, and no in-app purchases at all, you buy it, you own it, every route is yours. *Sorcery!* adapts Steve Jackson's gamebooks and remembers essentially everything you do. These are old now, in phone years. They remain the high-water mark for branching design on iOS, and they're the clearest possible proof that the gem model is a choice a publisher makes, not a law of physics. **Get one if:** you want the best-written branching on the platform and you hate being nickeled mid-scene. ### 4. Live-action interactive film: Treezy Play This is us, so read it with the appropriate squint. [Treezy Play](https://apps.apple.com/app/id6738535368) is free to download for iPhone; a membership unlocks the films. Our debut is *The Seminal Works of Dr. Tiffany Belle*, a dark comedy, roughly forty minutes a run, four branches and twenty-eight endings, shot with real actors rather than animated or drawn. The mechanic worth explaining: Dr. Belle FaceTimes you mid-story, and you answer by **talking out loud**. Not by picking from a menu that appears underneath, there isn't one. Your actual words route the scene. If she doesn't catch your meaning, she asks again in character, on screen, in text, and the film keeps moving. (She replies in captions, not a synthesized voice. That's a deliberate line we don't cross.) We wrote up how it works in [the 1.6 release notes](/blog/treezy-play-1-6-conversational-calls). **Get it if:** the format you actually wanted from choose your own adventure was the *movie*, cinema that answers back. 🎬 **[Watch the trailer](https://www.youtube.com/watch?v=Ljbh6SjOzHM)**, one minute, no membership required. ## How to tell in sixty seconds whether the choices are real Download anything, start it, and run these four checks before you get invested. **Does a choice cost currency?** Then choices are the product, and you are not the director, you're the customer standing outside the good scene. **Is there a timer or an energy meter?** Then pacing is the product. A story that makes you wait three hours to find out what happened isn't building suspense; it's building a purchase decision. **Count the endings, then discount them.** A big ending number is marketing, not quality. In 2015 the critic Sam Kabo Ashwell catalogued the recurring shapes of branching stories, and two of his terms explain nearly everything you'll meet. A **time cave** branches constantly and never rejoins: enormous ending counts, thirty seconds of consequence each, most of them a shrug. A **branch and bottleneck** lets paths diverge and then pulls them back through shared scenes, using state-tracking so what you did earlier keeps surfacing later. The second one is harder to build and is almost always the better story. Twenty-eight endings means nothing on its own. Twenty-eight endings that *remember* means a great deal. By that standard, judge us too: *Dr. Tiffany Belle*'s four branches are the bottlenecks, and the endings hang off what the film has been quietly noting about you. If it didn't remember, the number would be a party trick. **Take the re-read test.** Play a chapter, then replay it choosing the opposite of everything. If the second run lands in more or less the same place with different adjectives, the choices were decorative. This one test disqualifies more apps than the other three combined. ## What about the books, and the films? Two honest clarifications, since the merged history of this page covers both. The original gamebooks are a genuinely different medium, and better at some things than any app: no battery, no account, no timer, and a physical bookmark-in-the-thumb cheat that every reader used and no one admits to. Chooseco still sells them, and they read on a phone through Kindle. If that's the itch, scratch that. Interactive *film* is the branch we're on, and it's a young, thin category, *Bandersnatch* made it famous and then most of the industry wandered off. We think that was a mistake of execution, not of concept, and we've argued the case at length in our [rundown of interactive movie games](/blog/interactive-movie-games). But it would be silly to pretend there's a deep catalogue here. There's a handful of good things and a lot of ambition. For the wider field of branching apps beyond this genre's borders, our guide to [interactive story apps](/blog/interactive-story-apps) is the broader map. ## The oldest joke in the genre In 1982 Edward Packard, the man who invented this whole form, published *Inside UFO 54-40*. Somewhere in it is a perfect ending: a paradise called Ultima. It cannot be reached. No choice leads there. No sequence of correct decisions arrives. You can only find it by cheating, by flipping through the book like the fallible human you are, and when you get there, the text cheerfully points out that you cheated. Forty-odd years later, half the App Store's branching stories have rebuilt that joke without the wit: the best ending exists, you can see it, and the path there costs $4.99 in diamonds. The whole genre is still arguing with that page. The apps worth your evening are the ones where the good ending is reachable by being *right*, by paying attention, by meaning what you said, by being the kind of person the story was watching for. Pick any of the four above on that basis. If you want ours, [it's free to download](https://apps.apple.com/app/id6738535368), and Dr. Belle is already dialling. See you at the movies. 🎬 ## FAQ ### Is there a real choose your own adventure app on iPhone? Not under that name, "Choose Your Own Adventure" is a Chooseco trademark, so App Store listings avoid it. Search instead for "interactive fiction", "interactive story", "gamebook", or "interactive film". The genre is thriving; the phrase just isn't available to it. ### What's the best free choose your own adventure game on iOS? For genuinely free and complete, the Choice of Games and Hosted Games omnibus apps are the strongest answer: roughly twenty full titles are free and ad-supported, with no choices locked behind currency. Apps like Episode and Choices are free to download and free to start, but their premium choices cost gems or diamonds. ### Do the choices in these apps actually matter? It varies enormously, and you can test it. Replay a chapter making opposite decisions, if you land in the same place, the branching was cosmetic. Also check whether choices cost in-app currency: when the interesting option is the paid option, the story is responding to spending rather than judgment. ### What's the difference between a choose your own adventure game and an interactive movie? Medium, mostly. Classic choose your own adventure is text and imagination; interactive film is shot with actors and cameras, so your choices cut between real footage. Treezy Play is the second kind, you speak to characters who call you, and the film routes on what you say. ### How many endings should a good branching story have? Fewer than you'd think. Ending count is easy to inflate by branching constantly and never rejoining, which produces dozens of shallow stops. A story that funnels paths back through shared scenes while remembering what you did earlier will beat a bigger number nearly every time. --- # The Best Story-Driven Mobile Games (And Which Ones Are Actually on Android) Source: https://treezyplay.com/blog/story-driven-mobile-games Most "best story games" lists are really best-games lists with the word *story* sprinkled on top. You get told that a combat RPG has "deep lore," and then you spend nine hours farming materials to reach the next cutscene. That's a fine way to spend a weekend. It is not what you came here for. The question underneath the search is narrower and more honest: **what can I put on my phone tonight that will actually tell me something?** Something with a plot that goes somewhere, characters who behave like people, and an ending that lands. Mechanics optional, in fact, mechanics are usually the tax. So this list is sorted by what the game *wants from you*, not by review scores. And because a lot of you are searching from an Android phone and getting handed lists of iOS exclusives: platform availability is stated plainly, and where it's genuinely murky, I say so rather than guess. Store listings for older narrative games move around as publishing rights change. Check before you get attached. ## If you want to read something great **80 Days** is the one I recommend first, to almost anyone. It's inkle's take on Jules Verne, you're Passepartout, managing Phileas Fogg's luggage, money, and moods while circling a steampunk 1872 in whatever direction you please. It is mostly text, and it is *extraordinary* text. Meg Jayanth wrote a version of the colonial world map where every city has its own politics and its own opinion of you, and a run takes an evening. Two playthroughs share almost nothing. On iOS and Android. **A Normal Lost Phone** hands you a stranger's phone and lets you snoop. The whole game is texts, photos, and half-answered emails, and the story of who Sam is assembles itself in your head rather than on the screen. It's short, it's gentle, and it uses the phone-as-phone conceit better than almost anything since. Available on both platforms, though like a lot of small indie work, listings have shifted over the years. **Her Story** is Sam Barlow's live-action detective puzzle: a database of police-interview clips, a search box, and no instructions. You type a word, you watch what comes back, you form a theory, you type a better word. Viva Seifert's performance is doing the heavy lifting and it's remarkable. It's on iOS and Android, and it's the closest thing on this list to what happens when film and game stop pretending they're different jobs. ## If you want to feel something on a Tuesday **Florence** is forty-five minutes about a relationship starting and ending, told through tiny interactions, fitting jigsaw pieces together to hold a conversation, and the pieces getting easier as you learn each other. It won an Apple Design Award and deserved it. Play it in one sitting, with headphones, without your notifications on. Both platforms. **Monument Valley 2** tells you about a mother and a daughter without either of them saying much. The puzzles are impossible architecture; the story is in who's walking ahead of whom. Where the first game was a beautiful object, the sequel is a beautiful object with a lump in its throat. Both platforms. **Life is Strange**, the original and *Before the Storm*, made it to phones, and they hold up better than the phone ports of that era usually do. Arcadia Bay is a teenage soap opera with a supernatural stopwatch, and the writing is uneven in a way that somehow makes the good parts hit harder. Chloe Price remains one of the best-drawn characters in the medium. Playable on iOS and Android, though these are ports of long console games: expect a big download and a warm phone. ## If you want to be the reason it went wrong **Reigns: Her Majesty** turns ruling a kingdom into a stack of cards you swipe left or right, Tinder-style, balancing the church, the people, the army, and the treasury until one of them kills you. It sounds like a novelty. It's a genuinely sharp, funny, mean little narrative engine, and *Her Majesty* is the best of the family because being queen means everything you do is read as a threat. Both platforms. **The Walking Dead: Season One** is the reason half the games on this list exist. Lee and Clementine, an impossible choice every episode, a timer under every line of dialogue. It's the game that proved a phone could break your heart. Fair warning: its mobile availability has come and gone as rights have moved around, so confirm your store has it before you plan an evening. **Oxenfree** does dialogue better than anything else here, conversations flow in real time, characters talk over each other, and staying silent is a choice with weight. It's teenagers, a radio, and an island that doesn't want them. It has lived in a few different places on mobile over the years, including through Netflix's games catalog, so check what's on offer where you are. ## A word about Episode, Choices, and the "story app" tier You've seen the ads: gasping love interests, cliffhanger every four taps. Apps like these are the biggest story-shaped things on both stores, and I'm not going to sneer at them, the writing is more competent than the ads suggest, and there's a real craft to serialized romance. But be clear-eyed about the deal. The economy is built on premium choices: the interesting option costs gems, gems cost money or ad-watching, and the story is engineered so the free path feels like the compromise it is. If that trade suits you, they'll happily eat a year of your commute. If you find that a choice you paid for stops feeling like a choice, you're not being precious. You're right. ## And one thing on this list that isn't a game Here's the honest part, since it's our blog and you can see the logo. **[Treezy Play](/)** is not a story-driven game. It's an interactive film app, the story is shot with real actors, and you're watching a movie that happens to answer back. No inventory, no puzzles, no stats. If what you actually want is *mechanics*, everything above will serve you better and I'd rather you go play 80 Days. But if you've read this far because you want story and merely tolerate the gameplay wrapped around it, we built the thing for you. Our debut film is *The Seminal Works of Dr. Tiffany Belle*, a dark comedy played like a phone call. Dr. Belle FaceTimes you. You **speak out loud**, and the film routes on what you said; she answers in character, on screen, in the moment. To be precise about what that means, because the category is full of overclaiming: she responds through the story branching to your words and through in-character text captions, not a synthesized voice reading a script back at you. Four branches, twenty-eight endings, around forty minutes a run, and your choices persist across them. 🎬 **[Watch the trailer](https://www.youtube.com/watch?v=Ljbh6SjOzHM)**, one minute, and you'll know immediately whether it's for you. **One thing I won't dress up.** Treezy Play is free to download on both iPhone and Android, but the films unlock with a membership. That's the deal, stated up front, which is more than the gem economy will give you. 📱 **[Treezy Play on the App Store](https://apps.apple.com/app/id6738535368)** · **[on Google Play](https://play.google.com/store/apps/details?id=com.treezy.play)** ## How to actually choose If you have one evening and want to be impressed: **Her Story**. One evening and want to be moved: **Florence**. A long commute and a love of good prose: **80 Days**. You want to be cruel and laugh about it: **Reigns: Her Majesty**. You want to be wrecked: **The Walking Dead: Season One**, if your store still has it. You want cinema rather than a game, and you're on an iPhone: **[Treezy Play](/)**. The through-line in all of these is that they respect your attention. Nothing here has a daily login streak. Nothing here is trying to keep you playing for eleven months. They start, they say what they came to say, and they end, which, on a device engineered to never let you finish anything, is close to a radical act. If you want to go deeper on the film side of this, we've written about [interactive movie games](/blog/interactive-movie-games), the [best interactive story apps](/blog/interactive-story-apps), and [how choose-your-own-adventure design works](/blog/choose-your-own-adventure-games). ## Frequently asked questions ### What counts as a story-driven mobile game? One where the narrative is the point and the mechanics exist to serve it, not the other way around. A useful test: if you removed the story, would there still be a game worth playing? For *Genshin Impact*, yes. For *Florence*, no, and that's a compliment. ### What are the best story games on Android? *80 Days*, *Monument Valley 2*, *Florence*, *Reigns: Her Majesty*, *Her Story*, and the *Life is Strange* ports are all on Android and all worth your time, as is *Treezy Play* if you want live action rather than animation. Android is well served for narrative games; it's the lists that are lazy, not the platform. ### Are they free? Most of the best ones are paid, and they're the good kind of paid: a few dollars once, no ads, no energy timers. Free story apps almost always run on premium-choice currency instead. Pick your poison, but a one-time purchase is usually the cheaper story. ### Do they work offline? Most of the premium narrative games above are self-contained once downloaded. Live-service and serialized apps need a connection. Treezy Play streams its films, so it needs one too. ### What's the best story experience on iPhone specifically? For a game, *Her Story* or *Florence*, depending on whether you want a puzzle or a bruise. For film rather than a game (real actors, spoken choices, a story that reacts) that's what we made [Treezy Play](https://apps.apple.com/app/id6738535368) for. --- # Introducing Treezy Source: https://treezyplay.com/blog/introducing-treezy ## Welcome to Treezy: Interactive Movie Streaming Imagine watching a movie where you're not just a viewer, but the main character. With Treezy, you dive into live-action films and make decisions that shape the storyline. Interactive film isn't new, audiences voted on a movie's path at Expo 67 in Montréal, nearly sixty years ago. What's new is that it finally fits in your pocket, and that the choices are the point rather than a bonus feature. ## Treezy: A New Dimension in Storytelling Treezy makes this immersive experience possible. Our platform blends the magic of cinema with interactive storytelling, letting you engage with content like never before. Each movie puts you in control, offering a personalized and dynamic viewing experience. ### Interactive Movie Features Our interactive movies are designed to respond to your decisions in real-time, creating a unique narrative tailored to your choices. This isn't just watching a movie – it's becoming part of the story. ## Our Debut Title: "The Seminal Works of Dr. Tiffany Belle" Our debut title, *"The Seminal Works of Dr. Tiffany Belle,"* is an interactive adventure that takes you through uncharted territories. It's a dark comedy following Tiffany, a charismatic sperm donation technician, as she navigates wild, comedic escapades in her quest for validation. Available exclusively on Treezy, this movie sets the standard for a new era of entertainment. ### Why "The Seminal Works of Dr. Tiffany Belle" Stands Out This film pushes the boundaries of traditional storytelling, merging humor, drama, and interactive elements to offer a viewing experience like no other. It sets the tone for what you can expect from Treezy. ## Experience Movies Like Never Before At Treezy, we believe movies should be more than just watched – they should be experienced. By combining traditional filmmaking with interactive elements, we aim to create unforgettable stories that captivate and engage you. ### The Future of Interactive Storytelling Right now, we're focused on bringing *"The Seminal Works of Dr. Tiffany Belle"* to life, but we're excited about a future where every genre can be explored interactively. What story will you shape next? --- # Introducing Treezy Studio: Make Your Own Interactive Film with AI Source: https://treezyplay.com/blog/introducing-treezy-studio For two years we've been making interactive films the hard way. Scripts with dozens of branches, shoot days for scenes most viewers would never find, and a story graph wired together by hand. Our first title, [*The Seminal Works of Dr. Tiffany Belle*](https://apps.apple.com/us/app/treezy-play/id6738535368), has four branches and twenty-eight endings, and every one of them was written, filmed, and connected manually. Today we're announcing the thing we built so nobody has to do it that way again. **Treezy Studio is an AI-native studio for interactive film**, a web-based interactive movie maker that takes you from a one-sentence idea to a branching, playable story, and then puts it in front of a real audience in the [Treezy Play app](https://apps.apple.com/us/app/treezy-play/id6738535368) on iPhone. No film crew. No distribution deal. No app to build. ## Why interactive film needed a studio The idea of movies you can play isn't new. Netflix proved audiences loved it with *Bandersnatch*, then quietly retired its interactive catalog. Eko, the pioneer of the format, shut down its interactive video editor. The format didn't fail because viewers didn't want it, every experiment found an audience. It failed because **branching stories multiply production costs**. A film with twenty-eight endings costs a lot more than a film with one, and studios did that math and walked away. AI video generation just broke that math. Video models can now produce a scene for cents per second instead of thousands of dollars per shoot day. What was missing was a tool built for *branching* (something that understands choices, state, and consequence, not just clips on a timeline) and a place where finished interactive stories could actually reach viewers. Treezy Studio is both. It's a branching narrative editor, an AI production pipeline, and a publishing platform in one. ## What Treezy Studio does ### Start with a logline, not a blank page Type one sentence, *"a con-artist fertility doctor who won't take no for an answer"*, and a roundtable of AI collaborators picks it up: story editors, casting directors, visual and sound designers who debate your concept with you and lock decisions into a project brain that every later step remembers. It feels less like using a tool and more like walking into a development meeting where everyone read your one-pager. ![Treezy Play on iPhone, the premise reel, an incoming FaceTime call from Dr. Tiffany Belle, and the branching story tree](/studio/studio-triptych.png) ### Design the branches on a visual canvas Interactive stories live and die by structure, so structure is the center of the product: a node-based canvas where scenes connect through choices, conditions, and variables. Wire up the interaction grammar our viewers already love from Treezy Play: - **FaceTime-style calls** your audience has to answer (or dare to decline) - **Text-message threads** where their replies steer the scene - **Timed choices** with real consequences and defaults when they freeze - **State and memory**, so a decision in scene three pays off in scene thirty ### Generate the film, scene by scene From the locked story, the pipeline generates the screenplay, character sheets, a visual Style DNA, and a Sound DNA, then video, voice, and music for every scene, on generation models tuned for cost as much as quality. The workflow we recommend is **animatic-first**: draft your entire branching story as stills, voice, and music for a few dollars, play it on your phone, fix the story problems, and only then promote scenes to full video. Your hero path gets the premium treatment; your rare endings still look like the same film, because consistency checks enforce the DNA across every branch. ### Publish to a real audience This is the part no other AI filmmaking tool has: **a stage**. When your story is ready, you submit it for review. A human (hi, it's us) checks that it plays properly and fits the catalog. Approved titles go live in Treezy Play on iPhone, instantly, with no app update. Your interactive film ships to phones the way a video uploads to YouTube. ## The first title is already live We rebuilt our own flagship through this pipeline. *The Seminal Works of Dr. Tiffany Belle* (dark comedy, four branches, twenty-eight endings, one unforgettable hostess) is title #1 in the new catalog, and it's [free to play on the App Store](https://apps.apple.com/us/app/treezy-play/id6738535368) right now. If you want to feel what the format can do before you make one, start there. Answer her call. ## Who Treezy Studio is for - **Filmmakers** who want to experiment with branching narrative without betting a production budget on it - **Writers** sitting on a choose-your-own-adventure story that deserves more than text - **AI video creators** with stunning clips and nowhere for them to *matter*, no audience, no interactivity, no format - **Studios and brands** curious about interactive storytelling but allergic to seven-figure pilots If that's you, [request early access](/studio), we're onboarding a small group of creators first and walking each first title through the pipeline personally. ## FAQ ### What is Treezy Studio? Treezy Studio is a web-based platform for creating interactive films with AI. It combines a branching story editor, AI generation of scripts, video, voice, and music, and direct publishing to the Treezy Play app on iPhone. ### Do I need filmmaking experience to use it? No. The AI writers' room helps you develop the story, and the generation pipeline produces the visuals and audio. If you can describe a story and make decisions about it, you can make an interactive film. ### How much does it cost to make an interactive film? During early access, Treezy Studio is free. Generation costs depend on how much video you produce: a playable animatic draft of a full branching story typically costs a few dollars, and full video generation uses budget-tier models priced in cents per second of footage. ### How do viewers watch what I make? Approved titles are published into the Treezy Play catalog and play natively on iPhone and Android, with tap choices, FaceTime-style calls, and text-message interactions. ### How is this different from other AI video generators? AI video tools stop at a clip you download. Treezy Studio is built around branching, interactive stories (choices, state, multiple endings) and it ends with your film distributed to a real audience in a native app, not a file in your downloads folder. ### When does it launch? Treezy Studio is in early access now at studio.treezyplay.com. [Request access here](/studio) and we'll onboard you as slots open. --- # Never Stall: A Conversational Call Engine for Filmed Branching Narrative Source: https://treezyplay.com/blog/never-stall-conversational-call-engine Engineering report, published 1 October 2026. Describes the conversational call engine shipped in Treezy Play on 12 July 2026 (backend and Android) and 15 July 2026 (iOS 1.6). ## Abstract Treezy Play is a mobile app in which a filmed character telephones the viewer and the story branches on what the viewer says out loud. Because the branch point is a video call, the interaction carries a constraint menu-driven branching video does not: a filmed clip runs on a clock and cannot wait politely for a decision. Playback must never stall, and it must never look like the character stopped listening. Speech is transcribed on the device and endpointed locally into complete utterances. Each finished utterance, with the running turn history, is posted to one authenticated backend endpoint, which asks a small language model for exactly one forced tool call returning either `route`, meaning the utterance clearly selects one of the scene's filmed branches, or `clarify`, meaning the character says one short line and keeps listening. Routing is declared in the prompt to be a mechanical judgment that overrides the character's personality, because a character given free rein argues with clear answers instead of routing them. Clarifications are budgeted and escalate to a forced route, and every failure path drops to the pre-existing on-device classifier, so the scene always ends on a branch. ## 1. The problem Treezy Play plays filmed, branching stories on iOS and Android. The branch point is not a menu. The character calls you, you answer, and you talk. The app's one feature film, *The Seminal Works of Dr. Tiffany Belle*, is built around a protagonist who phones the viewer repeatedly, and every call forks the story. As originally built, before I took over hands-on engineering, the mechanic worked the way voice input usually works in a video product: an on-device text classifier returned positive or negative, a literal string match ran against branch labels written for a menu, and a timed default fired when the clip ended. That fails in two ways that look identical to a viewer. People do not say the label; they say "I guess so", or "hold on, who is this", and a binary verdict maps some of that correctly and the rest arbitrarily. People also say nothing at all, and silence produces no classification, so the character appears to have lost interest in her own question. Either way the clip runs out and the default takes the branch, teaching the viewer who spoke that speaking does not matter. The constraint underneath both failures is worth stating plainly, because every design choice below descends from it. A filmed scene is a fixed-duration asset, with no idle animation to loop. You can hold the last beat of a clip for a moment, and that is all. The system therefore has one non-negotiable invariant: **playback must never stall**. A better understanding of the viewer's speech is worth nothing if the cost of obtaining it is a frozen frame. ## 2. Architecture A turn has three stages. The device captures speech and decides when an utterance is finished, the backend decides what it means, and the device acts, either by cutting to a branch or by showing a caption and continuing to listen. The backend holds no session state: every request carries the scene identifier, the transcript, the turn history and the clarifications already spent, so each turn is independently replayable. The two mobile engines are twins with the same states, nudge ceiling and wire format. ### 2.1 Transcription on the device, offline preferred Audio never leaves the phone. On iOS we set `requiresOnDeviceRecognition` on `SFSpeechRecognizer` from the recognizer's own `supportsOnDeviceRecognition`, so local recognition is used wherever the device offers it. On Android we set `EXTRA_PREFER_OFFLINE` on the recognizer intent, which is best effort: offline coverage depends on a language pack the operating system may not have downloaded, and the recognizer silently falls back to network recognition when it is missing. We document that asymmetry rather than claim parity. Endpointing is local too. The iOS recognizer accumulates the running transcript and arms a timer for 0.9 seconds of silence following speech; when it fires, the text is delivered as one finished utterance and recognition restarts. On Android the platform recognizer's end-of-speech and no-match callbacks play the same role. What crosses the network is text, not audio: a privacy, bandwidth and latency property at once. Silence is treated as an utterance rather than an absence. On iOS a 7 second timer, re-armed whenever speech begins, submits an empty transcript; on Android the recognizer's no-match and speech-timeout errors publish an empty string into the same path. The backend reads `""` as silence and the character teases the viewer into answering, which is what a person on a video call does when the other side goes quiet. ### 2.2 The request Each turn posts `{sceneId, transcript, history, nudgeCount}` to `POST /api/interaction/converse` with a 6 second client timeout, deliberately shorter than the patience of the scene. Identity is the signed-in viewer's Firebase ID token in an `Authorization: Bearer` header, verified server-side first, because the endpoint spends money on every turn and anonymous traffic is better rejected at the door than rate-limited later. The controller truncates history to the last twelve turns and each turn's text to 400 characters, so a client cannot inflate the prompt. ### 2.3 One forced tool call The backend loads the scene and its branch choices, builds a single prompt, and calls a small model, `claude-haiku-4-5-20251001`, with exactly one tool named `decide` and `tool_choice` set to force it. The schema is the entire contract: `decision`, an enum of `route` or `clarify`; `choiceId`, required when routing; `reply`, required when clarifying, at most 18 words; and `confidence` from 0 to 1. `max_tokens` is 300. There is no prose to parse, no JSON to repair and no second round trip. A response with no `tool_use` block for `decide` is a failure rather than a puzzle, and so is a route to a `choiceId` the scene does not contain: the service returns an error instead of guessing at the nearest label. Being wrong in a way the client can detect beats being plausibly right. ### 2.4 Mechanical routing, separated from personality The prompt has two parts that must not blend: a distilled character canon block derived from the film's story bible, which is itself derived from the shooting script, and a set of decision rules that state in the prompt that they override the canon. They have to. This character is written to flip from flirtatious to furious and to argue, so given the canon alone she treats a clear "no" as an opening position and negotiates, and the story never forks. The rules say that routing is a mechanical judgment about whether the utterance selects one of the branch options, that natural agreement and clear refusal both route, that she never argues with a clear answer because the story does that, and that her personality colours only the wording of clarifications. The canon block is kept compact, because it rides on every turn. ### 2.5 Nudge escalation, then the default Every `clarify` increments a nudge counter the client owns and sends back, and the counter changes behaviour twice. In the prompt, once two clarifications have been spent, the instruction flips from preferring clarification over a low-confidence route to routing to whichever option best fits the conversation so far. The character stops asking and commits, and the canon gives her a way to do that in voice, by blaming the connection rather than the viewer. In the client, a third clarification ends the negotiation: the engine releases its hold on the scene and lets the pre-existing behaviour finish the job, which is the on-device classifier's warm pick or the timed default. The conversation improves on the old path and never replaces it. ### 2.6 Failure is a first-class path The failure path is short, total and quiet. Missing sign-in, a token error, a non-200 status, a missing tool block, an unparseable body, an unknown choice identifier, a timeout, a dropped connection: all converge on one callback, which turns conversational mode off, un-ducks the film audio, resumes listening and hands the scene back to the on-device classifier. The viewer sees no error, only a film that keeps playing. On iOS the feature also sits behind a Remote Config flag, `conversational_calls_enabled`, so it can be switched off for the entire install base without a release. Android has no such flag and relies on the failure path alone, an asymmetry rather than a design, listed in the limitations. ### 2.7 Text-only clarifications Clarification lines appear as captions styled like a video call's, never as synthesised speech. The reason is a consent rule the project set for itself: no performer's voice is cloned, a stock synthetic voice was rejected as character-breaking, and the text-to-speech path that had been built was removed. Rendering reuses the viewer's own caption preferences, the same size, colour and background model that governs the film's closed captions, with one addition: the call caption keeps a floor of translucency behind the text even when film captions are set to a transparent background, so the line stays legible over moving video. A constraint that began as an ethics decision produced an interface cheaper, quieter and more accessible than the synthesised alternative. ## 3. Design decisions and the alternatives rejected Each decision below is recorded in our architecture decision records, cited by number and date. **ADR 0003, 13 July 2026. Transcribe on the device, decide meaning on the server.** Rejected: a fully on-device intent model, which would need retraining for every scene's branch set and could not write a free-form clarification; fully cloud speech recognition, worse on privacy, latency and offline behaviour alike; and a streaming duplex voice agent, impossible without a consented voice and fighting the film's audio for the same speaker. The record also fixes the invariants both clients keep: token authentication, silence as a turn, roughly three nudges then the default, and a fallback on any failure so playback never stalls. **ADR 0001, 13 July 2026. No voice clone.** The text-to-speech path was built and then deliberately removed. A stock voice was rejected because a wrong voice mid-call is more character-breaking than a caption, and the decision stands as a project rule. **ADR 0006, 13 July 2026. In-character prompts derive from the story bible.** Any feature where a model speaks as a film character embeds a distilled canon block generated from the bible and regenerated whenever it changes. Rejected: the full bible in the prompt, on cost and latency, since the block ships on every turn, and a fine-tuned per-character model, premature for one character in one film. The record carries the lesson that cost the most debugging time: decision logic must be declared to override personality. **ADR 0007, 13 July 2026. One caption preference model.** Film captions are generated with Whisper into WebVTT and muxed into the scene manifests as a subtitle track. Separate styling for call captions was rejected, so a viewer who set large amber captions for the film gets them from the character too. **ADR 0010, 26 August 2026, accepted 1 September 2026. The category is the call, not the format.** This reads as positioning and functions as an engineering constraint, ruling out generated video and generated faces: the footage is filmed, the model listens and routes, and nothing it produces is rendered as image or voice. It also rules out game framing, which is why the branch prompt is a question from a person on a call and not a menu with a timer. ## 4. Measurements These numbers do not exist yet. The engine shipped with telemetry and a unit-test harness, but no measurement run has been performed, and this section is published with placeholders so the method is reviewable before the results are. - **Median end-to-end decision latency**: [P50 latency ms] (population: Turns that returned a decision) - **Tail decision latency**: [P95 latency ms] (population: Turns that returned a decision) - **Fallback rate**: [fallback rate %] (population: All conversational turns) - **Routing accuracy**: [routing accuracy on N labelled utterances] (population: Offline labelled set) - **Clarify rate**: [clarify rate %] (population: All conversational turns) **Latency** comes from the client, because the number that matters is the one the viewer waits through. Both clients stamp the moment an utterance is submitted and emit a `call_turn` event carrying `latency_ms` when the decision arrives, with the decision, the nudge count, a silence flag and the utterance length. Export the events, filter `call_turn` to decisions of `route` and `clarify`, and take the median and 95th percentile of `latency_ms`. Note that the interval excludes on-device transcription and the 0.9 second endpointing delay, and add both to any figure quoted as mic-to-cut. **Fallback rate** has two readings and both should be given. At turn level it is the share of `call_turn` events whose decision is `fail`. At call level it is the distribution of the `outcome` field on the `call_ended` event, which records `routed_engine`, `routed_classifier`, `default` or `declined`, so the share of calls that finished on the engine rather than the old classifier falls straight out of it. The call-level number answers the question the invariant poses. **Routing accuracy** cannot come from production logs, by design: no transcript text is logged client-side, because the endpoint already sees every utterance and the corpus belongs server-side. It comes from an offline harness. Build a labelled set of N utterances per conversational scene from three pools of roughly equal size, namely clear selections in natural phrasing, ambiguities and questions back at the character, and empty strings representing silence. Label each with the branch a human reader would take, or with `clarify` where no branch is correct. Drive the exported prompt builder and the real service against the live model with the production canon block, and compare the returned `choiceId` against the label. Report overall accuracy, the route-versus-clarify confusion matrix, false-route and false-clarify rates separately because their costs differ, and the count of routes to an identifier that does not exist. The backend unit tests, which inject a fake `fetch` and a fake Firestore, supply the scaffolding; only the fake `fetch` becomes a live call. **Clarify rate** is the share of `call_turn` events with decision `clarify`. Two companions make it interpretable: the distribution of `nudge_count` at the moment of routing, and the frequency of the `max_nudges` decision, which is the engine admitting it could not resolve the turn. Split all three by the silence flag: a clarification prompted by silence is a success, one prompted by speech the model could not place is closer to a miss. ## 5. Prior art **Menu-driven branching video.** The reference points are Netflix's interactive specials, of which *Bandersnatch* in 2018 is the best known, and Eko, which built a platform and catalogue for branching video. The affordance in both is a menu: a layer appears over the video, enumerated options are shown, and a tap or remote press selects one within a timer. That absorbs exactly the problem described here by making the wait state explicit and the input space finite, at the cost of the viewer leaving the fiction to operate a control. Both have contracted commercially, Eko closing in 2024 and Netflix retiring most of its interactive titles in 2025, which is one reason we do not present this work as a continuation of that category. Our branch point keeps the fiction: the option set is never shown, and the input is whatever the viewer says to a person on the phone with them. **Language-model branching narrative.** WHAT-IF, by Huang, Martin and Callison-Burch ([arXiv:2412.10582](https://arxiv.org/abs/2412.10582), posted 13 December 2024, revised 20 October 2025), uses zero-shot meta-prompting to turn a prewritten story into a branching structure, storing generated alternatives in a graph for interactive fiction. The relationship is close in spirit and opposite in direction. WHAT-IF generates the branches; ours are filmed, finite and fixed months before the model sees them, and the model's only job is to decide which of them the viewer just chose. WHAT-IF also operates in text, where the reader's turn has no deadline, whereas ours is bounded by a running clip. "Facilitating Video Story Interaction with Multi-Agent Collaborative System", by Zhang, Hao, Wang, Sheng and Zeng ([arXiv:2505.03807](https://arxiv.org/abs/2505.03807), May 2025), applies a vision language model to video stories and combines retrieval-augmented generation with a multi-agent system so viewers can explore personalised stories with dynamic characters and customisable scenes. The direction again differs: that system's value is in composing new material, while ours renders no generated frame and no generated voice, by decision as well as by capability, under a real-time no-stall invariant on two consumer platforms. **Task-oriented dialogue.** Route-or-clarify is not a new pattern: committing to an interpretation or asking a clarification question is the core loop of task-oriented dialogue, and forcing a structured decision through a tool schema is ordinary practice. The narrow claim is the setting, a wait state that cannot be paused, which forces a finite clarification budget, explicit escalation and a fallback that works with the model switched off. We are aware of no adoption of this design outside our own codebase, no third-party evaluation and no citations. ## 6. Limitations The measurements in section 4 are placeholders. Until a run exists, every performance claim here is a design intention. Android has no kill switch and relies on the failure path alone, its offline recognition preference is best effort, and the iOS latency stamp uses a wall clock where a monotonic one belongs. The fallback is the binary classifier that predates the engine: positive or negative is a poor floor for a scene with more than two filmed branches, so the safety net degrades exactly where the branching gets interesting. The clarification ceiling of three, the 0.9 second endpointing window, the 7 second silence prompt and the 18 word reply limit were chosen by hand and none has been swept. The confidence score is recorded and unused. Latency has no perceptual target, because we have not established what mic-to-cut delay a viewer reads as thinking rather than hanging. The scope is one English-language character in one film with one canon block, so multi-character calls, other languages and code-switching are untested. The system has a single human author working with AI-assisted tooling throughout, so it has had no independent engineering review. ## 7. What practitioners can reuse 1. **Make the dumb mechanism the default and the smart one an addition.** The engine can be switched off, or fail on every turn, and the film still reaches an ending. That is what made it safe to put a model in the critical path. 2. **Force the tool call and treat any deviation as failure.** An out-of-range identifier should fail loudly, not snap to the nearest match. 3. **Declare that mechanical judgment overrides voice.** If a character has personality in the prompt and also decides control flow, the personality wins unless the prompt says it does not. 4. **Treat silence as an utterance.** Absence of input is information, and routing it through the same path as speech costs one timer and removes a class of dead ends. 5. **Budget the clarifications and escalate.** Two chances to ask, then a requirement to commit, then take the decision away. An unbounded clarification loop is a stall with more talking. 6. **Let consent constraints shape the interface.** The text-only caption path exists because the project ruled out cloning any performer's voice, and it proved cheaper, more accessible and more failure-tolerant. 7. **Send text, not audio, and log decisions, not transcripts.** On-device recognition with local endpointing buys privacy, payload and latency at once, and a decision, a nudge count, a silence flag, an utterance length and a latency measure the system without keeping any words. ## References 1. R. Huang, L. J. Martin, C. Callison-Burch. "WHAT-IF: Exploring Branching Narratives by Meta-Prompting Large Language Models." [arXiv:2412.10582](https://arxiv.org/abs/2412.10582), 13 December 2024, revised 20 October 2025. 2. Y. Zhang, J. Hao, Z. Wang, H. Sheng, W. Zeng. "Facilitating Video Story Interaction with Multi-Agent Collaborative System." [arXiv:2505.03807](https://arxiv.org/abs/2505.03807), May 2025. 3. Netflix, *Black Mirror: Bandersnatch*, 2018. Menu-driven interactive feature. 4. Eko. Interactive video platform and catalogue, closed 2024. 5. Treezy Technologies Inc. Architecture decision records 0001, 0003, 0006 and 0007, 13 July 2026, and 0010, 26 August 2026, accepted 1 September 2026. Internal. ## Colophon The engine described here was designed and written by one human engineer working with AI-assisted development tooling throughout. Publication path: this report here, with byline and date, then a system-paper version to arXiv under cs.HC. Two constraints apply there. arXiv has required an endorsement from an established author in the category for first-time authors since 21 January 2026, and since 31 October 2025 the computer science categories reject surveys and position papers that have not been peer reviewed. The submitted version must therefore be a system description with an evaluation, and section 4 must carry real numbers. --- # Treezy Play 1.6: Now the Cast Really Talks Back Source: https://treezyplay.com/blog/treezy-play-1-6-conversational-calls **Version 1.6 is live on the [App Store](https://apps.apple.com/app/id6738535368)**, and it changes the part of Treezy that people react to most: the phone call. Characters have been FaceTiming you mid-story since launch. Until now, you answered them the way you answer an app, by tapping. In 1.6, you answer them the way you'd answer a person. You talk. ## The call is a real conversation Pick up Dr. Tiffany Belle's call and just say what you think. She's listening, and the story follows your lead. Your actual words decide which way the scene breaks; there's no menu waiting underneath, no "press 1 to agree." Say yes in whatever words you'd really use and she takes it as a yes. Tell her no and the film goes where a no goes. If she doesn't catch what you meant, she does what anyone would: asks again, in character, and keeps listening. The story never stalls waiting for you to find the right phrase. That's the whole idea behind the design language we call **Cinema**, an interactive film shouldn't feel like an app that happens to play video. It should feel like it's in the room with you. 🎬 **[Watch the trailer](https://www.youtube.com/watch?v=Ljbh6SjOzHM)**, one minute, and you'll see what we mean. ## Captions, made yours Closed captions are here, and they're properly yours: turn them on, then choose the **size, color, and background** until they sit right against the film. A caption should be readable without pulling you out of the scene, and that means different things on a phone in a bright room than it does in a dark room at night. ## A cinematic open Every show now starts with a proper **opening-titles sequence** before the first frame of story. Films earn their opening. Ours does now too. ## A smoother show The unglamorous work that makes the rest land: - **Choices route to the right scene**, every time. - **Trailers end cleanly** instead of bleeding into the next beat. - **Your self-view camera sits the right way up** during calls. - **Fixed crashes** around playback and returning to the app. ## Get the update Treezy Play 1.6 is free to download on [the App Store](https://apps.apple.com/app/id6738535368) for iPhone and on [Google Play](https://play.google.com/store/apps/details?id=com.treezy.play) for Android, a membership unlocks the films. New chapters are on the way. Thanks for playing. See you at the movies. 🎬 --- # Treezy Play 1.9: She Calls You Source: https://treezyplay.com/blog/treezy-play-1-9 **Version 1.9 is live on the [App Store](https://apps.apple.com/us/app/treezy-play/id6738535368) and [Google Play](https://play.google.com/store/apps/details?id=com.treezy.play)**, and it comes with a new name: **Treezy Play: She Calls You**. We did not pick that name in a meeting. We picked it because it is what people already say when they describe this to a friend. Nobody opens with the branching structure or the ending count. They say: *your phone rings in the middle of the movie, and it's her.* So the name says that now, and so does everything around it. ## The page opens on the call Our store pages used to walk you through what the app was before showing you the part that matters. That order is backwards. The first thing you see now is an incoming call from Dr. Tiffany Belle, because that is the moment Treezy stops being something you watch and becomes a story that reaches out to you. Answer and the story changes. Ignore her and it changes anyway. Four branches, twenty-eight endings. ## The handoff lands on the beat The ritual that connects you into *The Seminal Works of Dr. Tiffany Belle* runs through a technician's kiosk, and the overlay has to come off at one exact moment: when Tiffany, in the film, reaches out and takes your card. A frame early and you see the seam. A frame late and the moment is gone. Getting that right turned out to be a lesson in humility. The overlay used to come off on a timer, which is fine until you consider that the film has to be fetched and buffered first. On a warm connection the timing looked perfect. On a cold one the overlay lifted while the film was still catching up, and the same code that felt invisible at home felt broken on someone else's network. In 1.9 the handoff follows the film's own clock instead of a stopwatch. It lands on the beat whether you are on fast WiFi or a tired cell signal, because it is now tied to a real position in the film rather than to how long the app has been waiting. ## Let the moment play When a scene hands you a choice, the moment underneath now keeps playing while you decide, instead of cutting away the instant your options appear. Small change, and it does a lot. Choices should feel like a beat in the scene, not an interruption of it. ## Your privacy, plainly The calls are the heart of Treezy, and calls involve a camera and a microphone, so we hold ourselves to a simple standard: say it plainly, release it instantly. - The camera prompt tells you exactly what is happening. Characters see you during the calls, and your reactions change the story. - Your microphone is released the moment a call ends. - Speech recognition runs on your device. - Every connection the app makes is secure, and the film itself is delivered over a signed, private channel. ## Get the update Treezy Play is free to download for [iPhone](https://apps.apple.com/us/app/treezy-play/id6738535368) and [Android](https://play.google.com/store/apps/details?id=com.treezy.play), with one account carrying your story between them. 🎬 New here? **[Watch the trailer](https://www.youtube.com/watch?v=Ljbh6SjOzHM)**, one minute of *The Seminal Works of Dr. Tiffany Belle*, and you will see why the call comes first. If you want the background instead, start with our primer on [what an interactive movie is](/blog/interactive-movie-games). Then put the phone down somewhere you can reach it. She will call. --- # Treezy Play Is Now on Android Source: https://treezyplay.com/blog/treezy-play-android **Treezy Play is out on [Google Play](https://play.google.com/store/apps/details?id=com.treezy.play), starting today.** This is the question we have been asked more than any other, usually in a tone that suggests the asker has heard "soon" before. Fair. So here is the plain version: it is not a beta, it is not a waitlist, and it is not a stripped-down companion app. It is Treezy Play, on Android, in the store, now. ## The same film, not a smaller one *The Seminal Works of Dr. Tiffany Belle* plays on Android exactly as it plays on iPhone. Same dark comedy, same forty minutes, same four branches and twenty-eight endings, same Cinema design language we shipped in 1.5. Nothing was cut to make the port fit. That mattered more than shipping early. An Android app that played the film but skipped the calls, or skipped the branching, would have been a worse thing to release than nothing. ## The call still works the way it should The part people react to most is the one we were least willing to compromise: Dr. Tiffany Belle FaceTimes you mid-story, and you answer out loud, in your own words. There is no menu hiding underneath. You say what you actually think, she takes it as the answer, and the scene breaks the way your answer breaks it. On Android that runs through the phone's own speech recognition, and the routing happens the same way it does on iPhone, because it is the same story engine deciding. Her replies stay on screen as captions. That is deliberate and it is not changing: the actress who plays her declined a voice clone, and we think she was right to. ## One account, both phones Sign in with Google, Apple, or email, and your progress follows you. Start the film on an iPhone at lunch, finish it on an Android phone that evening, and you pick up where you stopped. Your profile portrait comes across too. If you have been waiting on Android while a household iPhone did the watching, you do not have to start over. ## What it costs The app is free to download. A membership unlocks the films, and the pricing is the same as on iOS. The debut runs about forty minutes, so it is worth buying the way you would buy a film rather than the way you would buy a season of television. That is the whole deal, stated up front. ## What you need Android 6.0 or later. The app is available everywhere Google Play operates. ## FAQ ### Is the Android version the same as the iPhone version? The film is. Same story, same branching choices, same spoken phone calls, same Cinema design. The two apps carry their own version numbers and will not always update in lockstep, but the thing you came for is the same on both. ### Does my account work across both? Yes. Sign in with the same Google, Apple, or email account and your progress, profile, and membership carry across. You can start on one phone and finish on the other. ### Is it free? The app is free to download. A membership unlocks the films, at the same price as on iOS. ### What Android version do I need? Android 6.0 or later. ### Do I need to talk out loud to play? Only in the call scenes, and that is rather the point of them. If you stay quiet, she notices and nudges you a couple of times. Keep saying nothing and the scene picks a path at the end of the clip and carries on. You are never stuck in a silent room, but speaking is how you steer a call. ### Is it on tablets? It is built for phones. It will install on many Android tablets, but the layout is designed for a phone in your hand, the same as on iOS. --- # The New Treezy Play Is Here, a Cinematic Redesign, Now on the App Store Source: https://treezyplay.com/blog/treezy-play-redesign Today we shipped the biggest update to Treezy Play since launch. **Version 1.5 is live on the [App Store](https://apps.apple.com/us/app/treezy-play/id6738535368)**, and it looks nothing like the app you remember. We call the new design language **Cinema**. Ink-dark screens, warm amber accents, editorial serif headlines, film grain, and imagery that drifts like a locked-off camera slowly pushing in. The idea is simple: an interactive movie platform should feel like a night at the movies from the first frame, not like an app that happens to play video. ## What's new in 1.5 ### A cinematic look, everywhere Every screen you touch has been rebuilt, the opening reels, sign-in, the home screen, membership, and settings. The home screen is now a full-bleed **Now Showing** marquee for our debut title, *The Seminal Works of Dr. Tiffany Belle*: poster art, the essentials at a glance, and two buttons. Press Play. That's the whole pitch. 🎬 **[Watch the trailer](https://www.youtube.com/watch?v=Ljbh6SjOzHM)**, one minute of *The Seminal Works of Dr. Tiffany Belle*, and you'll see what we mean by cinema that answers back. ### The reels First-time viewers are welcomed by four short reels that explain what Treezy is, and what it isn't. You're not just watching. You make choices. Characters FaceTime you mid-story, see you, and react to you. Your story branches, and your choices persist across every ending. The reels end where every good trailer does: ready to press Play. ### Joining is now part of the show The membership screen has been redesigned around our **Founding 500**, the first five hundred members who get in while the seats last. Clear plans, a real free trial, and no fine-print traps: you see the price, the trial length, and "cancel anytime" before you commit to anything. ### Small things that matter - **Profile portraits, automatically.** Sign in and Treezy resolves a portrait for you (from your Google account, your Gravatar, or a generated one) no setup screen in sight. - **The opening scene opens the movie.** A long-standing quirk where Play could drop you into a mid-story menu is fixed. The film starts at the beginning, as films should. - **Faster, steadier playback** and a stack of reliability fixes throughout. ## Android: it's here *Updated: Treezy Play is now on Google Play.* When this post first went up, the Android app was still in internal testing. It has since shipped: same films, same choices, same calls from Dr. Belle, same Cinema design, and one account that carries your progress between an iPhone and an Android phone. You can [get it on Google Play](https://play.google.com/store/apps/details?id=com.treezy.play). ## Get the update Treezy Play 1.5 is free to download on [the App Store](https://apps.apple.com/us/app/treezy-play/id6738535368) for iPhone, with a free trial when you're ready to join. If you're new to interactive film, start with our primer on [what an interactive movie is](/blog/what-is-an-interactive-movie), then skip the reading and just press Play. See you at the movies. 🎬 --- # Accounts, Profiles & Subscriptions Source: https://treezyplay.com/help/account-and-subscription ## Signing in Treezy Play supports **Sign in with Apple**, **Google**, and email/password. Your watch history, bookmarks, and ending progress are tied to your account. ## Your profile picture Your avatar is resolved automatically when you sign in, from your Google profile, your Gravatar, or a generated monogram in Treezy's house style if neither exists. No setup needed. ## Free vs. premium Titles in the catalog are free to start. Some films or branches are part of **Treezy Premium**, unlocked with a subscription billed through your Apple ID. ## Managing your subscription Subscriptions are handled by the App Store, so all management happens there: 1. Open **Settings** on your iPhone 2. Tap your name → **Subscriptions** 3. Select Treezy Play to change or cancel Canceling keeps premium access until the end of the paid period. ## Restoring purchases New phone, reinstalled the app, or premium isn't showing? Sign in with the same Apple ID, then use **Restore Purchases** in the app's settings. If the subscription check can't reach the store, premium content stays locked until it succeeds, try again on a good connection. ## Changing your password Use **Forgot Password** on the sign-in screen (for email accounts) or **Change Password** in settings once signed in. Google and Apple sign-ins manage their own credentials. ## Deleting your account Account deletion is available in the app's settings, or email [hello@treezyplay.com](mailto:hello@treezyplay.com) and we'll take care of it. --- # The Branching Canvas: Scenes, Choices & State Source: https://treezyplay.com/help/branching-canvas-guide The canvas is the structural heart of your film: every scene is a node, every choice is an edge, and the whole graph is your story. ## Scenes A scene node holds its video (or image), its script, and one **interaction**, the moment it hands control to the viewer. Scene types match the interaction they carry: button choices, a FaceTime call, a text thread, or hotspots. ## Interaction types - **Buttons**, classic choices over the video. Configure labels, layout, a countdown, and which option is the default when time runs out. - **FaceTime call**, an incoming video call with your character's name and avatar. Accept and decline each route to their own scene. - **Text message**, a chat thread with suggested replies; each reply targets a scene. - **Hotspots**, tappable regions positioned on the frame itself. ## Choices and edges Drag from a choice's handle to the scene it should lead to. One scene's choices can fan out to many branches, or several branches can **converge** back into a shared scene. Convergence is how you keep 28 endings affordable: branch for the moments that matter, reconverge when they don't. ## Variables and conditions Stories can remember. Set a variable when a viewer makes a choice (`toldHerTheTruth = true`), then gate a later branch on it with a condition. Relationship meters, counters, and flags all work this way, it's the difference between a story that branches and a story that *remembers*. ## Start and endings Every story has one start scene. Endings are simply scenes with no outgoing choices, the player reaches one, the film wraps, and that ending is added to their tracker. Give your endings personality; they're what players screenshot. ## Testing structure without video You don't need generated media to test structure. Use **phone preview** (scan the QR code) to play your graph as an animatic (stills, voice, and timing) and feel whether the branching works before you spend on video. More in [Previewing & Sharing Your Story](/help/preview-and-share). --- # Creating Your First Interactive Story Source: https://treezyplay.com/help/creating-your-first-story A Treezy Studio project moves through a **journey of production rooms**, the way a real film moves through departments. You can lean on the AI collaborators in every room or override them at any point, you're the director. ## The journey ### 1 · Story Start with your format (interactive story, short film, and more) and a logline. The ideation room's AI panel develops premise, tone, and audience with you. Decisions you lock here feed every later room via the **project brain**. ### 2 · Casting Define your characters: who they are, how they look, how they sound. Character sheets and voice profiles created here keep faces and voices consistent across every generated scene. ### 3 · Script The script room turns your locked story into scene-by-scene screenplay, dialogue, direction, and the branch structure. Review it, give notes, regenerate what you don't love. ### 4 · Visual Lock your film's **Style DNA**: palette, lighting, lens language, and reference imagery that every generated shot must obey. ### 5 · Sound The same for audio, **Sound DNA** covers music direction, ambience, and mix character. ### 6 · Shot Plan how scenes become footage: shot composition, motion, and the generation settings per scene. ### 7 · Floor The production floor is where generation actually runs, watch scenes render, retry or skip failures, and track spend against your budget in real time. ### 8 · Edit & 9 · Release Trim, assemble, and prepare for publishing. (These rooms are being finished during early access, the canvas and publish flow cover their essentials today.) ## Fast Draft vs. Deep Cut Two pipeline depths: - **Fast Draft**, a handful of generation steps that get you a playable draft in minutes. Great for testing whether the story *works*. - **Deep Cut**, the full 16-step pipeline: story bible, character arcs, continuity checks, consequence mapping, screenplay refinement, and full media generation. Start with Fast Draft. Always. ## From draft to submission When your story plays the way you want, head to the canvas's **Publish** flow, the readiness checklist will tell you exactly what's missing. Then see [Publishing, Review & Going Live](/help/publishing-review-going-live). --- # Endings, Replays & the Ending Tracker Source: https://treezyplay.com/help/endings-and-replays A Treezy film doesn't have *an* ending, it has many. *Dr. Tiffany Belle* alone has **twenty-eight**. Finding them all is the real game. ![Film strips branching like tree limbs, every path is a different cut of the film](/help/endings-and-replays/branches.png) ## How endings work Every playthrough ends somewhere: a triumphant exit, a hang-up, a door slammed in your face, or something stranger. When you reach an ending, the film wraps and you'll see the rating screen. ## The ending tracker The app remembers every distinct ending you've reached. On the end-of-story screen you'll see your progress, **"You've unlocked X of Y endings"**. Endings are counted per device account, so replays on the same account keep building your tally. ## Spoiler-free tips for finding more endings - **Do the opposite.** Whatever you picked last time, pick the other thing. Even "small" choices can route you somewhere new. - **Let the timer run out.** Auto-decisions are choices too, and some paths only open when the character decides for you. - **Be rude.** Politeness is not always rewarded. Neither is rudeness. Try both. - **Decline the call.** Just once. See what happens. - **Explore every main-menu branch.** Big titles have multiple top-level paths, each one hides its own family of endings. ## Replaying Start the film again from its title page and play from the top. Your ending tally carries over; your choices don't, so every run is a clean slate. --- # Creator FAQ Source: https://treezyplay.com/help/faq-creators ## Do I own my story? Yes. Your story, characters, and creative decisions are yours. Publishing to Treezy Play grants Treezy a license to distribute the title in the catalog, it doesn't transfer ownership. ## What does it cost to make a title? The Studio is free during early access; you pay for what you generate. A full animatic draft is typically a few dollars; a fully video-generated title depends on scene count and model tier, budget models run cents per second of footage. Your project's budget meter shows spend in real time, with caps you control. ## How long does review take? Early access reviews are handled personally, usually within a few days. You'll see the state change from **Submitted** to **In review** to a decision, with notes if it's a rejection. ## What content is allowed? Broadly: strong storytelling for adults is welcome (our own flagship is a 17+ dark comedy), but every title must fit an App Store age rating honestly. Hard lines: no sexual content involving minors, no hate content, no content you don't have rights to, including real people's likenesses and copyrighted music. When in doubt, ask before you generate. ## Can I upload my own footage instead of generating? Yes, upload video per scene and the Studio transcodes it for streaming. Mixing filmed and generated footage in one title works too (that's how our flagship was made). ## Can I use my own AI clips from other tools? Yes, via the same upload path, the canvas doesn't care where a scene's video came from, only that it plays. ## Do viewers pay for my title? Do I get paid? During early access, titles are part of the free catalog while we build audience. Creator monetization (revenue share on premium engagement) is on the roadmap, early-access creators will be first in. ## Android? Web player? The catalog ships on iPhone and Android. Shareable preview links already play in any mobile browser. ## Where do I sign in? The Studio lives at [studio.treezyplay.com](https://studio.treezyplay.com). Early-access creators sign in with Google or Apple. ## Something's broken / I'm stuck Email [hello@treezyplay.com](mailto:hello@treezyplay.com), early-access creators get priority support. --- # Viewer FAQ Source: https://treezyplay.com/help/faq-viewers ## Which devices are supported? iPhone on a current iOS version, and Android. You can browse the catalog and read about titles on the web, but films play in the app. ## Is Treezy Play free? The app is free and so is starting any title. Some content is part of Treezy Premium (billed through your Apple ID). ## Can I watch offline? Not yet. Films are streamed so that every branch, including ones you might reach, is available instantly. ## Do my choices carry over between playthroughs? No. Every replay starts clean, which is exactly what makes ending-hunting possible. Only your **ending tally** persists. ## Can two people watch together? Absolutely, interactive films are great with an audience arguing about what to pick. But there's one set of controls: whoever holds the phone holds the power. ## Why did the character decide without me? Every choice has a time limit. When it expires, the story picks a default and tells you it did. Answer faster next time, or don't, and see where surrender leads. ## Are the films age-appropriate? Titles carry age ratings in the app and on the App Store. *Dr. Tiffany Belle* is rated 17+ for crude humor and adult themes, she is not for kids, and she'd be the first to say so. ## How many endings does each film have? It varies by title and is shown on the film's page. When you finish a run, the tracker shows how many you've found. ## I found a bug / I have a feature idea We read everything: [hello@treezyplay.com](mailto:hello@treezyplay.com). --- # Generation, Models & Costs Source: https://treezyplay.com/help/generation-and-costs Treezy Studio generates every layer of your film (script, images, video, voice, sound effects, and music) through a pipeline you control scene by scene. ## Model tiers The Studio routes work to the best model for the job, and you can see (and feel) the difference in cost: - **Premium video** (e.g. Runway), the top of the quality range, used by the Deep Cut pipeline for hero scenes. - **Budget video** (Veo Fast, Kling, Seedance), remarkably good, at cents per second. Perfect for drafts, secondary branches, and volume. - **Voice, SFX & music** (ElevenLabs), character voices from your casting profiles, scene sound, and scored music. You don't have to pick models manually, the pipeline defaults are sensible, but everything is visible, and every generated asset records what made it and what it cost. ## The animatic-first workflow (do this) The single best habit in interactive filmmaking: 1. **Draft the whole story as an animatic**, generated stills, voices, and music. Cost: a few dollars for an entire branching story. 2. **Play it on your phone.** Fix story problems while they're cheap. A confusing choice costs nothing to rewrite at this stage. 3. **Promote scenes to full video selectively**, hero path first, then the branches players hit most. Generating full video for every branch of an untested story is the expensive way to discover your second act drags. ## Budgets and caps Every project has a budget ledger: estimates before generation, actuals after, running totals always visible on the production floor. Spending caps stop the pipeline before it exceeds what you've authorized, generation halts, nothing is charged beyond the cap, and you decide whether to raise it. ## Regeneration and director's notes Don't like a shot? Reject it with a note ("too dark, lose the handheld wobble"), the pipeline compiles your rejections into negative guidance so the retry actually addresses them. Scoped regeneration re-runs just one scene, branch, or asset without touching the rest of the film. ## Consistency Style DNA and voice profiles are enforced by automated consistency checks across every branch, including the rare ones, so a player who finds ending #27 sees the same film as one who took the golden path. --- # Getting Started with Treezy Play Source: https://treezyplay.com/help/getting-started-treezy-play Treezy Play is an app for **interactive films**, movies where the story stops at key moments and asks *you* what happens next. Here's everything you need for your first playthrough. ![The Treezy Play title page for The Seminal Works of Dr. Tiffany Belle, with the Play button ready](/help/getting-started-treezy-play/now-showing.png) ## 1. Download and sign in Treezy Play is free on the [App Store](https://apps.apple.com/us/app/treezy-play/id6738535368) for iPhone and on [Google Play](https://play.google.com/store/apps/details?id=com.treezy.play) for Android. Open it and sign in with **Google**, **Apple**, or email, your profile picture is set up automatically, and your progress syncs with your account. ## 2. Pick a film The home screen is your marquee: every title currently showing, with its genre and description. Tap a poster to see details, watch a trailer, or start playing. Our flagship title is *The Seminal Works of Dr. Tiffany Belle*, a dark comedy with four branches and twenty-eight endings. ## 3. Play, and answer An interactive film plays like a normal movie until a character needs something from you: - **Buttons** appear over the scene, tap the choice you want. - **A FaceTime-style call** comes in, accept it (she'll keep calling…). - **A text thread** opens, tap a reply to send it. Whatever you pick, the story bends around your answer, and the film keeps rolling. There's no pause-and-menu: it's designed to feel like the character is really talking to you. ## 4. If you do nothing… Choices have a time limit. If the timer runs out, the character decides for you, and you'll see a note that she did. Freezing up is a valid strategy, but you live with the consequences. ## What's next - Learn every interaction type in [How the Interactive Controls Work](/help/interactive-controls) - Hunt down all the endings with [Endings, Replays & the Ending Tracker](/help/endings-and-replays) --- # How the Interactive Controls Work Source: https://treezyplay.com/help/interactive-controls Every Treezy film speaks the same interaction language. Once you know it, you can play anything in the catalog. ## Button choices The most common interaction: two or more options appear over the scene. Tap one and the story continues down that branch. Some choices are big forks; others change a line of dialogue. You rarely know which is which, that's the fun. ## FaceTime-style calls ![An incoming call card from Dr. Tiffany Belle with accept and decline buttons](/help/interactive-controls/incoming-call.png) A character video-calls you, complete with ringtone and caller card. **Accept** answers the call and plays the scene. Characters can be… persistent about being answered. If you decline, don't be surprised if the story has opinions about that. ## Text-message threads A messaging thread opens on screen and the character texts you. Tap one of the suggested replies to answer. Your reply steers the next scene, just like a spoken choice. ## Timers and auto-decisions Interactive moments don't wait forever. A countdown runs while choices are on screen; when it expires, the story picks a default and shows a note that the character decided for you. If you want the story to feel like yours, answer before the clock does. ## Playback controls Tap anywhere on the video to show the player controls (play/pause, title info). They auto-hide after a few seconds so the film stays immersive. ## The shake gesture Missed an interaction because you looked away? **Shake your phone** during a scene and Treezy jumps you back to just before the interaction point so you can answer properly. It only works before you've made the choice, no take-backs after the story has moved on. ## Captions and audio Films play with full sound design, headphones recommended. If a scene includes captions, they render automatically over the video. --- # Previewing & Sharing Your Story Source: https://treezyplay.com/help/preview-and-share Interactive films live on phones, so test them on one, early and constantly. ## In-editor preview The phone-frame preview inside the Studio plays your story exactly as the app will: video, interactions, timers, and branching, with a live view of your variables and state as you play. Use it for quick structural checks while you edit. ## Device preview (QR code) For the real thing: 1. Open preview in the Studio and choose device preview 2. Scan the QR code with your phone 3. Your story plays in the browser on the phone, no install, no sign-in This is the fastest honest answer to "does my story *feel* right?" Timers that seem generous on a monitor feel very different with a phone in your hand. ## Shareable links Send your story to people who aren't you: - Create a **shareable preview link** from the Studio, it's tokenized, so only people with the link can view - Viewers can play the story and **leave comments** tied to your project - Revoke any link at any time Use this for your trusted-reader circle before submitting for review. Five honest friends catch what you can't. ## What reviewers see When you later submit for review, the review team plays your story the same way your preview audience does, so if it plays well over a shareable link, you're in good shape for [submission](/help/publishing-review-going-live). --- # Publishing, Review & Going Live Source: https://treezyplay.com/help/publishing-review-going-live Every title in the Treezy Play catalog goes through the same pipeline: **publish a version → submit it for review → approval → live**. Here's each step. ## 1. Pass the readiness checklist The **Publish** button runs a readiness check on your story and lists anything that would break the player experience, scenes without video, unreachable branches, dead-end wiring, missing interaction timing. Fix the list and publish; this creates a numbered, immutable **version** of your story. You can keep editing after publishing, edits go into the *next* version, never the one under review. ## 2. Submit for review On a published version you'll see its review status chip, starting at **Draft**. Hit **Submit for review** and it enters the queue. ## 3. Review states | State | What it means | | :-- | :-- | | **Draft** | Published, not yet submitted | | **Submitted** | In the review queue | | **In review** | A human is actively playing your story | | **Approved** | Cleared for the catalog, launch is scheduled | | **Rejected** | Not this version, see the notes | | **Live** | In the Treezy Play catalog, playable by everyone | ## If you're rejected Rejections always come with written notes, what didn't work and what would change the decision. Fix, publish a new version (or amend), and **resubmit**. Rejection is feedback, not a verdict; most first submissions take a round of notes. ## What review looks for - The story plays start-to-finish on every major branch without stalls - Interactions are answerable (readable labels, sane timers) - Content fits the title's age rating and our content guidelines - The title page (name, synopsis, cover) honestly represents the story ## 4. Going live Approved versions are pushed live by the Treezy team. Your title appears in the Treezy Play catalog on iPhone, **no app update required, ever**. Publishing a later version goes through the same review, and the previous live version keeps playing until the new one replaces it. --- # What Is Treezy Studio? Source: https://treezyplay.com/help/treezy-studio-overview **Treezy Studio** is a web-based studio for making interactive films: branching stories with real video, voice, and music, playable in the Treezy Play app on iPhone. You bring the idea and the taste; AI collaborators and a generation pipeline handle the production heavy-lifting. ![Treezy Play on iPhone, the films your audience will play](/help/treezy-studio-overview/reels.png) ## What it actually does - **Develops your story with you.** A roundtable of AI specialists (story editors, casting directors, visual and sound designers) debates your concept and locks decisions into a project brain. - **Gives branching a real editor.** A node-based canvas for scenes, choices, conditions, and state, plus Treezy's signature interactions: FaceTime-style calls and text-message threads. - **Generates the film.** Screenplay, characters, style, then video, voice, and music, scene by scene, with consistency checks so every branch looks like one film. - **Publishes to a real audience.** Submit for review; approved titles go live in the Treezy Play catalog, no app build, no distribution deal. ## Who it's for Filmmakers who want to try branching narrative without a production budget, writers with a story that deserves more than text, and AI-video creators whose clips need somewhere to *matter*. ## Getting access Treezy Studio is in **early access**. [Request an invite](/studio) and we'll onboard you as slots open, early creators get hands-on help taking their first title through the pipeline. ## What it costs The Studio is free during early access. Generation costs are pay-what-you-generate: drafting an entire story as an animatic typically costs a few dollars, and full video runs on budget-tier models priced in cents per second. Every project has a budget meter and spending caps, so costs are never a surprise. See [Generation, Models & Costs](/help/generation-and-costs). ## Where to start Read [Creating Your First Interactive Story](/help/creating-your-first-story) for the full walkthrough from logline to submission. --- # Troubleshooting Playback Source: https://treezyplay.com/help/troubleshooting-playback Interactive films are streamed in adaptive quality, so most playback issues come down to connection or a stale session. Work down this list: ## Video won't start or keeps buffering 1. Check your connection, streaming needs a stable few Mbps; video quality adapts automatically but can't survive a dead spot. 2. Switch between Wi-Fi and cellular to rule out a network issue. 3. Close and reopen the app, this rebuilds the player session. ## Black screen or frozen scene Force-quit the app (swipe up from the app switcher) and relaunch. The film resumes from its title page; your ending progress is never lost. ## No audio - Check the mute switch / volume rocker (yes, really, it's always this). - If you're on Bluetooth, confirm the audio is routing to the device you expect. - Background music and scene audio are mixed in the app; if another app is holding the audio session, relaunching Treezy reclaims it. ## The story stopped at a choice and nothing happens Choices wait for you, but they do have timers, if the countdown ran out, the story should continue on its own within a few seconds. If it's genuinely stuck, shake the phone to re-trigger the interaction, or relaunch the app. ## The app closed the player unexpectedly This usually means a scene's video couldn't be loaded in time. It's rare, it's usually the network, and a replay of that branch almost always sails through. If one specific scene fails repeatedly, we want to know, see below. ## Reporting a problem Email [hello@treezyplay.com](mailto:hello@treezyplay.com) with: - The film and roughly where you were in the story - Your device model and iOS version - What happened vs. what you expected That's enough for us to trace the exact scene in our logs. --- # Interactive movies directory Source: https://treezyplay.com/interactive-movies Reference entries on 36 interactive films: what each one is, who made it, how long it runs, how many endings it has, and where (or whether) it can still be watched. --- ## Black Mirror: Bandersnatch Source: https://treezyplay.com/interactive-movies/black-mirror-bandersnatch - Released: 2018 - Genre: Sci-Fi, Thriller, Drama - Runtime: 150 minutes - Endings: 5 - Director: David Slade - Cast: Fionn Whitehead, Will Poulter, Craig Parkinson, Alice Lowe - No longer streaming: removed from Netflix in 2025-05. In 1984, a young programmer named Stefan Butler begins adapting a sprawling choose-your-own-adventure novel into a video game for a leading software company. As the project consumes him, Stefan becomes increasingly paranoid that unseen forces are controlling his decisions, and he may be right. The viewer steers Stefan through a branching labyrinth of choices, from mundane morning routines to life-altering confrontations with his father, his therapist, and his idol Colin Ritman. Each path reveals different layers of conspiracy, madness, and metafictional commentary on free will, with some routes breaking the fourth wall entirely. With multiple endings that range from triumphant to devastating, Netflix's landmark interactive film blurs the line between player and character, asking whether any of us truly control our own stories. --- ## Late Shift Source: https://treezyplay.com/interactive-movies/late-shift - Released: 2016 - Genre: Crime, Thriller - Runtime: 90 minutes - Endings: 7 - Director: Tobias Weber - Cast: Joe Sowerbutts, Haruka Abe, Richard Mayonade - Available on Steam: https://store.steampowered.com/app/584980/Late_Shift/ Matt Thompson is a mathematics student working the night shift at a London parking garage when he is coerced into driving a getaway car for an audacious heist at a prestigious auction house. What begins as a wrong-place-wrong-time thriller quickly escalates as Matt is drawn deeper into a criminal underworld involving stolen Chinese antiques, ruthless crime families, and a mysterious woman named May-Ling whose loyalties remain unclear. The viewer makes over 180 decision points across the film, shaping Matt's alliances, moral compass, and ultimate fate through tense confrontations and split-second choices. With seven distinct endings, ranging from freedom to imprisonment to death: Late Shift was one of the first interactive movies designed for cinema screenings where audiences voted collectively on choices, pioneering the modern interactive film format. --- ## The Complex Source: https://treezyplay.com/interactive-movies/the-complex - Released: 2020 - Genre: Sci-Fi, Thriller, Drama - Runtime: 75 minutes - Endings: 9 - Director: Paul Raschid - Cast: Michelle Mylett, Al Weaver, Kate Dickie - Available on Steam: https://store.steampowered.com/app/1107790/The_Complex/ Dr. Amy Tenant is a bioweapons scientist who rushes to a locked-down London laboratory after two people are exposed to a deadly nanotechnology agent she helped develop. Trapped inside the complex with her former colleague Rees Wakefield and a critically ill young activist, Amy must navigate a web of corporate betrayal, government conspiracy, and personal guilt while the clock ticks down on the victims' lives. The viewer's choices shape Amy's relationships (tracked through a visible personality matrix measuring boldness, empathy, honesty, and other traits) and determine which of nine endings plays out. Built by Wales Interactive, the film uses full-motion video with seamless branching and was designed for repeat viewings to uncover every hidden storyline and reveal new facets of Amy's character. --- ## She Sees Red Source: https://treezyplay.com/interactive-movies/she-sees-red - Released: 2019 - Genre: Crime, Thriller, Noir - Runtime: 35 minutes - Endings: 4 - Available on Steam: https://store.steampowered.com/app/1081510/She_Sees_Red__Interactive_Movie/ A grisly murder in a high-end nightclub sets a seasoned detective on the trail of a killer whose motives run deeper than they first appear. Told through two intercut timelines, the detective's interrogation of suspects after the crime, and the killer's blood-soaked rampage through the club on the night of the murder, the viewer's choices determine whose perspective dominates, which clues surface, and how the two timelines converge. With its tight runtime and four distinct endings, She Sees Red delivers a compact noir thriller that rewards immediate replays: a single viewing shows roughly half the filmed footage, and the second playthrough reveals scenes, characters, and motivations hidden the first time through. Developed by Russian studio Rhinotales, it is a masterclass in efficient interactive storytelling. --- ## Five Dates Source: https://treezyplay.com/interactive-movies/five-dates - Released: 2020 - Genre: Romance, Comedy, Drama - Runtime: 80 minutes - Endings: 5 - Director: Paul Raschid - Cast: Taheen Modak, Georgia Hirst, Mandip Gill - Available on Steam: https://store.steampowered.com/app/1353270/Five_Dates/ Vinny is a single Londoner navigating the world of video-call dating during the 2020 lockdown. Matched with five very different women through a dating app, the viewer decides which dates Vinny pursues, what he reveals about himself, and how he handles the awkwardness, chemistry, and vulnerability of getting to know someone through a screen. Each woman has her own storyline, personality, and set of possible outcomes, and the viewer's choices shape not just which relationship develops but what kind of person Vinny becomes along the way. Built by Wales Interactive as a companion piece to The Complex, Five Dates trades thriller tension for romantic comedy warmth while keeping the same seamless FMV branching engine and replayable structure that rewards multiple playthroughs to see every character's full arc. --- ## The Bunker Source: https://treezyplay.com/interactive-movies/the-bunker - Released: 2016 - Genre: Horror, Thriller, Drama - Runtime: 80 minutes - Director: Allan Plenderleith - Cast: Adam Brown, Sarah Greene, Grahame Fox - Available on Steam: https://store.steampowered.com/app/481110/The_Bunker/ John was born in a government nuclear bunker on the day the bombs fell. Thirty years later, he is the sole survivor, living a meticulous daily routine of checking radiation levels, rationing food, and maintaining the bunker's aging systems. When a warning light triggers a maintenance alert in an area of the bunker his mother forbade him from ever entering, John's fragile world begins to unravel. As the viewer guides him deeper underground, repressed childhood memories surface, each one revealing more about what really happened to the other survivors and what his mother was hiding. Filmed on location in a decommissioned British government bunker, The Bunker uses its real, claustrophobic setting to amplify a psychological horror story about isolation, obedience, and buried truths. --- ## Night Book Source: https://treezyplay.com/interactive-movies/night-book - Released: 2021 - Genre: Horror, Supernatural, Thriller - Runtime: 60 minutes - Endings: 5 - Director: Paul Mayson Mayze - Cast: Julie Dray, Colin Salmon - Available on Steam: https://store.steampowered.com/app/1477920/Night_Book/ Loralyn is a pregnant online interpreter working the late shift from her London apartment when a routine translation job takes a terrifying turn. Asked to interpret an ancient text during a live session, Loralyn inadvertently reads an incantation that summons a malevolent presence into her home, and the homes of everyone connected to the call. As the night spirals into supernatural horror, the viewer makes choices that determine who Loralyn trusts, which dark secrets are revealed about her family, and whether she can protect herself and her unborn child before dawn. Built by Wales Interactive using the same FMV branching engine as The Complex, Night Book delivers its scares through webcam-framed footage, making the viewer feel like they are watching, and controlling, real events unfolding on screen. --- ## Choose Love Source: https://treezyplay.com/interactive-movies/choose-love - Released: 2023 - Genre: Comedy, Romance - Runtime: 78 minutes - Endings: 4 - Director: Stuart McDonald - Cast: Laura Marano, Avan Jogia, Jordi Webber, Scott Michael Foster - No longer streaming: removed from Netflix in 2024-12. Cami Conway has it all, a steady boyfriend, a rising music career, and a comfortable life in Los Angeles. But when a magnetic British pop star and a rugged adventure photographer both enter her orbit on the same day, her perfectly planned future is thrown into delightful chaos. The viewer takes control of Cami's love life, deciding which romantic interest she pursues, how she handles jealousy and temptation, and whether she follows her heart or plays it safe. Every choice reshapes the story, from intimate dinner dates to dramatic confrontations, leading to one of several endings that range from fairy-tale romance to empowering self-discovery. Netflix's first interactive romantic comedy, Choose Love proves the branching format works just as well for laughs and butterflies as it does for thrillers. --- ## The Quarry Source: https://treezyplay.com/interactive-movies/the-quarry - Released: 2022 - Genre: Horror, Mystery - Runtime: 600 minutes - Endings: 186 - Director: Will Byles - Cast: David Arquette, Ariel Winter, Justice Smith, Brenda Song - Available on Steam: https://store.steampowered.com/app/1577120/The_Quarry/ Nine teenage camp counselors gather for one final night at Hackett's Quarry after summer camp ends, only to find themselves hunted by bloodthirsty locals and something far worse lurking in the surrounding woods. As the group splits up and tensions rise, the viewer controls each counselor's decisions, who to trust, where to hide, when to run, and whether to fight back. Every choice feeds into an intricate web of 186 branching paths, and any character can live or die based on the player's actions. Inspired by classic slasher films and built with motion-captured performances from Hollywood actors, The Quarry blends cinematic horror with deep narrative consequences. The game's Movie Mode lets viewers sit back and watch the story unfold based on preset personality profiles, turning it into a true interactive horror film. --- ## Not For Broadcast Source: https://treezyplay.com/interactive-movies/not-for-broadcast - Released: 2022 - Genre: Simulation, Drama - Runtime: 60 minutes - Endings: 8 - Director: Alex Sherbrooke - Available on Steam: https://store.steampowered.com/app/1147550/Not_For_Broadcast/ You are the new vision mixer at the National Nightly News, thrust behind the control desk on the night a radical populist government seizes power. Your job is deceptively simple: choose which camera feeds air, censor live footage, and keep the broadcast running smoothly. But every editorial decision you make (what to show, what to hide, and whose story to tell) ripples outward, shaping public opinion and the fate of an entire nation over months of escalating political chaos. Not For Broadcast combines real filmed footage with a broadcast-simulator interface, creating an interactive experience where propaganda, truth, and personal morality collide. With multiple endings determined by the cumulative weight of your choices, the game asks how much power a single person behind a camera can really wield, and at what cost. --- ## Immortality Source: https://treezyplay.com/interactive-movies/immortality - Released: 2022 - Genre: Mystery, Drama - Runtime: 360 minutes - Director: Sam Barlow - Cast: Manon Gage, Hans Christopher, Charlotta Mohlin - Available on Steam: https://store.steampowered.com/app/1350200/IMMORTALITY/ Marissa Marcel is a film star who made three movies over three decades, none of them were ever released, and then she vanished. The viewer is given access to hundreds of clips from her unreleased films, behind-the-scenes footage, talk-show appearances, and table reads, and must scrub through the footage to piece together what happened to her. By clicking on objects and faces within each clip, new footage is surfaced through a match-cut mechanic, creating a non-linear investigation that feels like editing a film and solving a mystery at the same time. Directed by Sam Barlow, creator of Her Story and Telling Lies, Immortality pushes interactive cinema into genuinely new territory, a game about watching movies, about the act of looking, and about the dark truths that hide between the frames of Hollywood's glossy image. --- ## Stretch Armstrong: The Breakout Source: https://treezyplay.com/interactive-movies/stretch-armstrong-the-breakout - Released: 2018 - Genre: Animation, Adventure - Runtime: 45 minutes - Director: Victor Cook - Cast: Scott Menville, Steven Yeun, Ogie Banks, Wil Wheaton - No longer streaming: removed from Netflix in 2024-12. When the villainous Stretch Monster escapes from a high-security prison and unleashes a wave of super-powered criminals across Charter City, the Flex Fighters must reassemble for one last mission. The viewer guides the team (stretchy leader Jake, tech genius Nathan, and powerhouse Ricardo) through a series of action-packed encounters, deciding which villains to pursue first, which allies to call on, and how to deploy each hero's unique abilities. Every branching decision changes the team's route through the city and which showdowns they face, leading to different climactic confrontations. Based on the Netflix animated series, this interactive special brings the superhero team-up format into choose-your-own-adventure territory, giving younger audiences a chance to play field commander in a colorful, fast-paced animated adventure. --- ## Escape the Undertaker Source: https://treezyplay.com/interactive-movies/escape-the-undertaker - Released: 2021 - Genre: Adventure, Comedy, Horror - Runtime: 31 minutes - Director: Ben Simms - Cast: Mark Calaway, Ettore Ewen, Kofi Kingston, Austin Watson - No longer streaming: removed from Netflix in 2024-12. WWE tag team The New Day (Kofi Kingston, Xavier Woods, and Big E) accept an invitation to The Undertaker's haunted mansion, lured by the promise of a mysterious supernatural power hidden somewhere inside. What they find is a house of horrors: shifting corridors, cursed relics, and The Undertaker himself stalking them through every room. The viewer decides which doors the trio opens, whether they stick together or split up, and how they confront the escalating supernatural threats, choices that determine whether each wrestler escapes alive or becomes trapped in the mansion forever. Blending WWE's over-the-top theatricality with genuine haunted-house scares, Escape the Undertaker is a campy, fun interactive horror-comedy that works for wrestling fans and casual viewers alike, with multiple endings that reward repeat viewings. --- ## Barbie Epic Road Trip Source: https://treezyplay.com/interactive-movies/barbie-epic-road-trip - Released: 2022 - Genre: Adventure, Animation, Comedy - Runtime: 65 minutes - Endings: 4 - Director: Conrad Helten - Cast: America Young, Tatiana Varria, Kirsten Day, Ritesh Rajan - No longer streaming: removed from Netflix in 2024-12. Barbie and her friends hit the open road in a colorful camper van, embarking on a cross-country adventure to deliver a litter of adorable puppies to their new homes. But the journey is anything but straightforward, at every fork in the road, the viewer decides which route to take, which detour to explore, and how Barbie handles the surprises along the way. From a beachside talent show to a mountain rescue to an unexpected encounter at a roadside diner, each choice opens up a different chapter of the trip with its own mini-adventure and life lesson. The interactive format gives young viewers agency over the story while reinforcing themes of friendship, problem-solving, and following your dreams, making it one of Netflix's most polished animated interactive specials. --- ## Jurassic World Camp Cretaceous: Hidden Adventure Source: https://treezyplay.com/interactive-movies/jurassic-world-camp-cretaceous-hidden-adventure - Released: 2022 - Genre: Adventure, Animation - Runtime: 32 minutes - Director: Leah Artwick - Cast: Paul-Mikél Williams, Ryan Potter, Jenna Ortega, Kausar Mohammed - No longer streaming: removed from Netflix in 2024-12. The campers of Camp Cretaceous are still stranded on Isla Nublar when a tropical storm cuts off their escape route and forces them deeper into the island's restricted zones. With dinosaurs roaming freely and the island's abandoned infrastructure crumbling around them, the viewer guides the group through a series of survival decisions, which path to take through the jungle, whether to hide or distract a pursuing predator, and how to ration their dwindling supplies. Each choice changes which dinosaurs the group encounters and which hidden areas of the park they discover, leading to different escape scenarios. The interactive special captures the tension and wonder of the Jurassic World franchise while giving viewers control over the survival strategy, making every rewatch a different adventure through the dinosaur-infested island. --- ## The Last Kids on Earth: Happy Apocalypse to You Source: https://treezyplay.com/interactive-movies/the-last-kids-on-earth - Released: 2021 - Genre: Adventure, Animation - Runtime: 27 minutes - Endings: 4 - Director: Steve Rolston - Cast: Nick Wolfhard, Montse Hernandez, Charles Demers, Bruce Campbell - No longer streaming: removed from Netflix in 2024-12. Jack Sullivan and his band of post-apocalyptic kid survivors (June, Quint, and Dirk) are celebrating the anniversary of the monster apocalypse when a new threat emerges that could destroy their hard-won sanctuary. The viewer makes choices for the group as they venture beyond their treehouse fortress, deciding which monster-infested zones to explore, which bizarre apocalyptic inventions to build, and how to handle encounters with both friendly and hostile creatures. Based on the bestselling book series by Max Brallier, the interactive special keeps the show's signature blend of humor, heart, and monster-battling action while letting viewers steer the adventure. With multiple paths and endings, Happy Apocalypse to You turns the post-apocalyptic playground into a choose-your-own-adventure that rewards curiosity and creative problem-solving. --- ## We Lost Our Human Source: https://treezyplay.com/interactive-movies/we-lost-our-human - Released: 2023 - Genre: Animation, Comedy - Runtime: 103 minutes - Endings: 5 - Director: Curtis Lelash - Cast: Ben Schwartz, Ayo Edebiri, Lauren Tom, Jon Glaser - No longer streaming: removed from Netflix in 2024-12. When every human on Earth suddenly vanishes, a pampered house cat named Pud and an overly enthusiastic dog named Ham must team up to find their owner, the only human who matters to them. The viewer decides how the mismatched duo navigates a surreal, human-free world, choosing which bizarre locations to investigate, which other animals to befriend or avoid, and whether to follow Pud's cautious instincts or Ham's boundless optimism. Every choice sends the pair into wildly different animated set pieces, from an underground mole civilization to a sky palace ruled by pigeons, each with its own visual style and comedic tone. With five distinct endings and over one hundred minutes of branching content, We Lost Our Human is one of Netflix's most ambitious animated interactive specials, blending absurdist comedy with genuine warmth. --- ## Spirit Riding Free: Ride Along Adventure Source: https://treezyplay.com/interactive-movies/spirit-riding-free - Released: 2020 - Genre: Adventure, Animation - Runtime: 22 minutes - Director: Allan Jacobsen - Cast: Amber Frank, Bailey Gambertoglio, Sydney Park - No longer streaming: removed from Netflix in 2024-12. Lucky Prescott and her best friends Pru and Abigail set out on a daring quest to reunite Lucky's wild mustang Spirit with his herd after the horses are scattered by a sudden stampede. The viewer rides alongside Lucky, choosing which trails to follow through the frontier landscape, how to handle encounters with wranglers and wildlife, and whether to take risky shortcuts or safer detours. Each decision shapes the group's journey through canyons, forests, and open plains, leading to different reunions and discoveries along the way. Based on the beloved Netflix animated series, Ride Along Adventure captures the show's spirit of independence, friendship, and the bond between a girl and her horse, while giving young viewers the thrill of steering the adventure themselves through branching paths and multiple endings. --- ## Johnny Test's Ultimate Meatloaf Quest Source: https://treezyplay.com/interactive-movies/johnny-tests-ultimate-meatloaf-quest - Released: 2021 - Genre: Adventure, Animation, Comedy - Runtime: 20 minutes - Director: Jim Miller - Cast: James Arnold Taylor, Trevor Devall, Maryke Hendrikse, Emily Tennant - No longer streaming: removed from Netflix in 2024-12. Johnny Test and his loyal dog companion Dukey embark on an epic culinary adventure after Johnny's dad announces a meatloaf-cooking competition with a prize too good to pass up. To win, Johnny must gather the rarest ingredients from the most dangerous corners of Porkbelly, and the viewer decides how he goes about it. Should Johnny raid the forbidden section of the supermarket, bargain with a shady food truck vendor, or convince his genius twin sisters to synthesize the ultimate ingredient in their lab? Every choice leads to a different chain of slapstick misadventures, gadget malfunctions, and increasingly absurd cooking challenges, with multiple endings that determine whether Johnny's meatloaf is a masterpiece or a disaster. Based on the Netflix animated series, this interactive special is pure kid-friendly comedy chaos. --- ## Captain Underpants Epic Choice-o-Rama Source: https://treezyplay.com/interactive-movies/captain-underpants-epic-choice-o-rama - Released: 2020 - Genre: Animation, Comedy - Runtime: 24 minutes - Director: Todd Grimes - Cast: Nat Faxon, Jay Gragnani, Ramone Hamilton, Sean Astin - No longer streaming: removed from Netflix in 2024-12. George Beard and Harold Hutchins are back with their greatest invention yet: the Chooserizer 3000, a machine that lets them, and the viewer, control the course of events at Jerome Horwitz Elementary. When the Chooserizer accidentally summons three of their most ridiculous villains simultaneously, George and Harold must guide Captain Underpants through a branching gauntlet of absurd challenges to save the school. The viewer picks which villain to face first, which ridiculous gadget Captain Underpants deploys, and how George and Harold's comic-book fantasies intersect with reality. Every choice leads to a different combination of slapstick battles, toilet humor, and surprisingly clever meta-commentary on storytelling itself. Based on the hit Netflix series and Dav Pilkey's beloved books, Epic Choice-o-Rama is a love letter to the power of imagination and bathroom jokes in equal measure. --- ## Headspace: Unwind Your Mind Source: https://treezyplay.com/interactive-movies/headspace-unwind-your-mind - Released: 2021 - Genre: Animation - Runtime: 15 minutes - Cast: Andy Puddicombe - No longer streaming: removed from Netflix in 2024-12. From the meditation app that redefined mindfulness for millions, Headspace: Unwind Your Mind is an interactive animated special that puts the viewer in control of their own relaxation experience. At the start, the viewer chooses what they need most (to wind down before sleep, to meditate for focus, or simply to relax) and the special branches into a tailored session guided by Headspace co-founder Andy Puddicombe's calm narration. Along the way, further choices shape the length, intensity, and visual style of the experience, from gentle breathing exercises set against pastel landscapes to playful animated scenarios designed to ease anxiety. It is a unique entry in the interactive film space: not a story with stakes and endings, but a wellness tool that uses the branching format to personalize a guided meditation experience for each individual viewing session. --- ## Cat Burglar Source: https://treezyplay.com/interactive-movies/cat-burglar - Released: 2022 - Genre: Animation, Comedy - Runtime: 12 minutes - Endings: 4 - Director: James Bowman - Cast: Alan Lee, James Adomian, Trevor Devall - No longer streaming: removed from Netflix in 2024-12. Rowdy Cat is a smooth-talking feline thief on a mission to steal a priceless painting from a heavily guarded museum, but standing in his way is Peanut the security guard dog, and the viewer's ability to answer trivia questions correctly. In this unique hybrid of interactive film and trivia game, the viewer watches Rowdy's heist unfold in classic cartoon style, but at key moments must answer rapid-fire trivia questions. Correct answers help Rowdy advance past traps and guards; wrong answers trigger hilarious slapstick failures straight out of a Tom and Jerry cartoon. The branching paths lead to different heist outcomes depending on the viewer's trivia prowess, and hidden bonus scenes reward perfect runs. Created by the team behind Nailed It, Cat Burglar turns the interactive format into a party game, blending hand-drawn animation with competitive knowledge challenges. --- ## Triviaverse Source: https://treezyplay.com/interactive-movies/triviaverse - Released: 2022 - Genre: Animation, Trivia - Runtime: 15 minutes - Endings: 2 - No longer streaming: removed from Netflix in 2024-12. Step into the Triviaverse, a neon-drenched animated dimension where a mysterious trivia master challenges the viewer to rapid-fire rounds of questions across every imaginable category, history, science, pop culture, geography, and more. The viewer answers each question against a ticking clock, and correct answers unlock deeper levels of the Triviaverse while wrong answers trigger comedic animated consequences. The branching structure means that different combinations of correct and incorrect answers lead to entirely different animated sequences, visual gags, and final scores, making each playthrough a unique experience. Designed for both solo and group viewing, Triviaverse is Netflix's purest gamification of the interactive format, less a story and more an arcade-style trivia challenge wrapped in eye-catching animation, built to be replayed competitively with friends and family. --- ## Battle Kitty Source: https://treezyplay.com/interactive-movies/battle-kitty - Released: 2022 - Genre: Animation, Fantasy - Runtime: 22 minutes - Endings: 4 - Cast: Matt Layzell, Gideon Adlon, Baker Terry, Grey Griffin - No longer streaming: removed from Netflix in 2024-12. On Battle Island, a scrappy young cat and her best friend Orc set out to defeat every monster on the island and earn the legendary title of Champion. But in this interactive animated series, the viewer picks which monsters Kitty faces, which power-ups she collects, and how she handles the island's eccentric inhabitants, choices that determine the order of battles, which allies join the quest, and which secret areas are unlocked. Each episode functions as a self-contained interactive adventure with its own branching paths and endings, creating a replayable series where no two viewings follow the same route. With a bold, hand-drawn art style inspired by indie comics and a tone that mixes slapstick comedy with surprisingly epic fantasy battles, Battle Kitty is one of Netflix's most creatively ambitious interactive animated projects. --- ## The Boss Baby: Get That Baby! Source: https://treezyplay.com/interactive-movies/the-boss-baby-get-that-baby - Released: 2020 - Genre: Animation, Comedy - Runtime: 24 minutes - Endings: 4 - Director: Dan Forgione - Cast: Flula Borg, Alex Cazares, Rhys Darby, Pierce Gagnon - No longer streaming: removed from Netflix in 2024-12. Baby Corp is recruiting, and the viewer is the newest candidate. In this interactive animated special based on the hit DreamWorks franchise, the viewer takes a series of personality tests, skill challenges, and workplace scenarios to determine which Baby Corp department they belong to, from field agents to middle management to the mysterious Executive Floor. Each choice reveals a different corner of Baby Corp's sprawling corporate-baby empire, with branching paths that lead to entirely different job assignments, coworker dynamics, and comedic crises to solve. Boss Baby himself serves as the viewer's guide and occasional antagonist, doling out corporate wisdom and diaper-related puns in equal measure. With four distinct career endings and dozens of hidden gags, Get That Baby turns the interactive format into a personality quiz wrapped in a comedy special. --- ## Unbreakable Kimmy Schmidt: Kimmy vs. the Reverend Source: https://treezyplay.com/interactive-movies/unbreakable-kimmy-schmidt-kimmy-vs-the-reverend - Released: 2020 - Genre: Comedy - Runtime: 80 minutes - Endings: 16 - Director: Claire Scanlon - Cast: Ellie Kemper, Tituss Burgess, Daniel Radcliffe, Jon Hamm - No longer streaming: removed from Netflix in 2025-05. Kimmy Schmidt is days away from marrying a cheerfully dim English prince when she finds a backpack suggesting the Reverend, the man who kept her in a bunker for fifteen years, has a second bunker of kidnapped women he never confessed to. The viewer steers Kimmy and her friends through the rescue, from wardrobe choices to life-or-death confrontations, and wrong turns end the story early in spectacular game-over fashion (a robot apocalypse among them) before letting you rewind and choose again. Written by Tina Fey, Robert Carlock, Meredith Scardino, and Sam Means, the special reunites the full series cast, adds Daniel Radcliffe as Prince Frederick, and doubles as the series finale. It earned two Primetime Emmy nominations, including Outstanding Television Movie, and outlasted every Netflix interactive title except Bandersnatch: both were pulled the same day in May 2025, closing the platform's interactive era. --- ## Ranveer vs Wild with Bear Grylls Source: https://treezyplay.com/interactive-movies/ranveer-vs-wild-with-bear-grylls - Released: 2022 - Genre: Adventure, Reality - Runtime: 70 minutes - Endings: 2 - Director: Khuzema Haveliwala - Cast: Ranveer Singh, Bear Grylls - No longer streaming: removed from Netflix in 2025-01. Bollywood star Ranveer Singh has thirty-six hours to cross the Serbian wilderness with survivalist Bear Grylls and recover a rare Ramonda serbica flower as a gift for Deepika Padukone. The viewer makes the survival calls: take the machete trail through the jungle or risk the river route, what to eat, and how to handle wolf and bear encounters along the way, with Singh performing his own stunts for the first time in his career. Netflix billed the special, produced by Banijay Asia and Bear Grylls' The Natural Studios, as India's first interactive reality special, pairing one of Bollywood's biggest personalities with the choose-your-path format Grylls pioneered in You vs. Wild. The interactive version survived Netflix's December 2024 purge as one of the final four titles, then was removed in January 2025 and replaced with a shorter linear cut, so the branching original can no longer be watched anywhere. --- ## Ten Dates Source: https://treezyplay.com/interactive-movies/ten-dates - Released: 2023 - Genre: Romance, Comedy, Drama - Runtime: 90 minutes - Endings: 10 - Director: Paul Raschid - Cast: Rosie Day, Charlie Maher, Meaghan Martin, Sagar Radia - Available on Steam: https://store.steampowered.com/app/1946070/Ten_Dates/ The sequel to lockdown hit Five Dates doubles the premise: two playable leads, Misha and Ryan, each work through five video dates, and the viewer decides what they reveal, what they dodge, and which connections are worth pursuing. Every choice strengthens or weakens the chemistry with each match, and each of the ten dates has a genuine storyline that can end in a relationship or a polite fade-out, with around twelve hours of filmed footage behind a single evening's playthrough. Writer-director Paul Raschid, the most prolific filmmaker working in FMV today, draws his cast from prestige British television: Rosie Day of Outlander, Sagar Radia of Industry, Ellie James of I May Destroy You, and Until Dawn's Meaghan Martin among the potential matches. Released on Valentine's Day 2023, it is Wales Interactive's warmest and most replayable film, a romantic comedy built to be run back until every happy ending has been found. --- ## Who Pressed Mute on Uncle Marcus? Source: https://treezyplay.com/interactive-movies/who-pressed-mute-on-uncle-marcus - Released: 2022 - Genre: Mystery, Comedy - Runtime: 40 minutes - Endings: 7 - Director: Steven Sheil - Cast: Andy Buckley, Abigail Hardingham, Robbie Kay, Susannah Doyle - Available on Steam: https://store.steampowered.com/app/1628130/Who_Pressed_Mute_on_Uncle_Marcus/ A Zoom-era whodunnit that plays out entirely as a family video-call quiz night. Uncle Marcus, played by Andy Buckley, David Wallace of the American Office, privately tells his niece Abby that he has been poisoned, and that the culprit is on the call. The viewer plays Abby, and the structure is the mystery's engine: each quiz round you partner with one relative, so a single playthrough can never interrogate the whole family. Identifying the poison, the motive, and the murderer means replaying the same evening with different partners, steering the small talk toward secrets each family member would rather keep buried. Directed by Steven Sheil and written by Dan Kiss for Wales Interactive and Good Gate Media, it turns the most mundane artifact of lockdown life, the family group call, into a devious detective format with six endings plus a true finale for players who piece together everything. --- ## Mia and the Dragon Princess Source: https://treezyplay.com/interactive-movies/mia-and-the-dragon-princess - Released: 2023 - Genre: Action, Comedy - Runtime: 83 minutes - Endings: 4 - Director: Richard Foster - Cast: Noa Nikita Bleeker, Dita Tantang, Paul McGann, Brian McCardie - Available on Steam: https://store.steampowered.com/app/1837580/Mia_and_the_Dragon_Princess/ Mia is a barmaid in a London pub when a mysterious woman named Marshanda bursts in, pursued by violent thugs, speaking no English and carrying a secret worth killing for. What follows is Wales Interactive's first action-comedy FMV: the viewer steers Mia through brawls, chases, and escalating loyalty tests, with martial-arts choreography courtesy of co-developer Dead Pixel Productions and fail states that can end the story abruptly for a wrong move. Paul McGann, the Eighth Doctor of Doctor Who, plays the villain Walsh with relish, and because Marshanda never speaks English on screen, the central friendship runs entirely on physical comedy and the player's choices. An in-game story tree maps every path already taken, encouraging replays toward the four distinct endings. It is the broadest and most crowd-pleasing film in the Wales Interactive catalogue, a live-action beat-em-up where the fists are real and the decisions are yours. --- ## Her Story Source: https://treezyplay.com/interactive-movies/her-story - Released: 2015 - Genre: Mystery, Crime, Drama - Runtime: 240 minutes - Endings: 1 - Director: Sam Barlow - Cast: Viva Seifert - Available on Steam: https://store.steampowered.com/app/368370/Her_Story/ A woman is interviewed seven times by police about her missing husband, and all that survives is a database of 271 short video clips, searchable only by the words spoken in them. The viewer types a keyword, watches every clip containing it, and follows the trail of names, dates, and slips of the tongue toward what actually happened, assembling the story in whatever order their own curiosity dictates. Viva Seifert carries the entire film alone on screen, a performance that won Best Performance at the 2015 Game Awards, and writer-director Sam Barlow built the whole thing as a solo developer. It won three BAFTAs, including Game Innovation, sold over 100,000 copies within weeks, and is widely credited with single-handedly reviving full-motion video as a serious storytelling medium. There is no branching here at all: the footage is fixed, and the interactivity is the act of investigation itself, which is exactly why it remains the format's most influential film. --- ## Telling Lies Source: https://treezyplay.com/interactive-movies/telling-lies - Released: 2019 - Genre: Mystery, Thriller, Drama - Runtime: 300 minutes - Endings: 1 - Director: Sam Barlow - Cast: Logan Marshall-Green, Kerry Bishé, Alexandra Shipp, Angela Sarafyan - Available on Steam: https://store.steampowered.com/app/762830/Telling_Lies/ A former NSA contractor sits down with a stolen hard drive of secretly recorded video calls spanning two years of four intertwined lives: a federal agent under deep cover, his wife, an activist, and a cam performer. Each clip shows only one side of a conversation, so the viewer must hunt down the matching half of every call by searching the words people actually said, watching intimacy, deception, and surveillance collapse into each other across roughly ten hours of footage. Sam Barlow's follow-up to Her Story swaps a single actress for a Hollywood cast, Logan Marshall-Green, Kerry Bishé, Alexandra Shipp, and Angela Sarafyan, and a 240-plus page script co-written with Mr. Robot's Amelia Gray, published by Annapurna Interactive. Like its predecessor it does not branch; the investigation order is the story you get, and the uncomfortable intimacy of watching people lie to the ones they love is the point. --- ## Puss in Book: Trapped in an Epic Tale Source: https://treezyplay.com/interactive-movies/puss-in-book-trapped-in-an-epic-tale - Released: 2017 - Genre: Animation, Comedy, Adventure - Runtime: 23 minutes - Endings: 2 - Director: Roy Burdine - Cast: Eric Bauza, Jayma Mays, Ron Funches, Jeff Bennett - No longer streaming: removed from Netflix in 2024-01. This is where it all started: Netflix's first-ever interactive title, released in June 2017, the proof of concept for the branching technology that would later power Bandersnatch. Puss in Boots is magically trapped inside a storybook whose narrator keeps rewriting his adventure, and the viewer makes roughly a dozen binary choices by remote, controller, or touchscreen, steering the swashbuckling cat through duels, detours, and fourth-wall arguments with the storyteller himself. A DreamWorks Animation spinoff of The Adventures of Puss in Boots voiced by Eric Bauza, it was deliberately aimed at children, who Netflix reasoned would naturally tap and talk at their screens, making them the perfect test audience for choose-your-own-adventure television. Two endings reward different instincts: escape the book without answers, or push deeper and unmask who has really been telling the tale. It was quietly removed in early 2024, nearly a year before Netflix purged its interactive catalog. --- ## Buddy Thunderstruck: The Maybe Pile Source: https://treezyplay.com/interactive-movies/buddy-thunderstruck-the-maybe-pile - Released: 2017 - Genre: Animation, Comedy - Runtime: 13 minutes - Endings: 4 - Director: Harry Chaskin - Cast: Brian Atkinson, Ted Raimi - No longer streaming: removed from Netflix in 2024-12. Netflix's second interactive title ever, arriving just three weeks after Puss in Book, and the first in stop-motion: a scheme-of-the-week special from Stoopid Buddy Stoodios, the studio behind Robot Chicken. Daredevil truck-racing dog Buddy Thunderstruck and his albino ferret mechanic Darnell dig through the maybe pile, a bag stuffed with stunt ideas too crazy for a definite yes, and the viewer decides which ones actually get tested, choosing between two options at each junction and steering the pair from harebrained setup to harebrained payoff. The premise is natively interactive in a way few of Netflix's later experiments matched: the whole story is literally a pile of maybes, and you are the one saying yes. Four different endings cap the chaos depending on which stunts you greenlight. Based on the American Greetings series, it was swept out in Netflix's December 2024 interactive purge alongside nearly the entire catalog. --- ## You vs. Wild Source: https://treezyplay.com/interactive-movies/you-vs-wild - Released: 2019 - Genre: Adventure, Reality - Runtime: 19 minutes - Endings: 8 - Director: Ben Simms - Cast: Bear Grylls - No longer streaming: removed from Netflix in 2025-01. Bear Grylls turns his survival format over to the viewer: across eight missions, from jungle rescues to alpine crossings, Grylls looks straight into the camera and asks what you want him to do next. Scale the cliff or follow the coastline, eat the grub or go hungry, and he commits to your call on the spot, with wrong choices rewinding rather than ending the mission, because the point is the adventure and not the fail state. Marketed as the heir to Bandersnatch and the first interactive series in the reality genre, it was created by Grylls with Robert Buchta and Delbert Shoopman and spawned a full franchise: the films Animals on the Loose and Out Cold, plus the Indian spin-off Ranveer vs. Wild. It survived Netflix's December 2024 purge as one of the last four interactive titles, then in January 2025 the interactive versions were removed and replaced with linear cuts, ending the experiment Grylls had fronted for six years. --- ## The Seminal Works of Dr. Tiffany Belle Source: https://treezyplay.com/interactive-movies/the-seminal-works-of-tiffany-belle - Released: 2026 - Genre: Comedy - Runtime: 40 minutes - Endings: 28 - Director: Steve French - Cast: Hannah Tiffin - Production company: Treezy Technologies Inc. - Available on Treezy: https://apps.apple.com/app/id6738535368 From the creative minds of Laksh Gandikota and Steve French, this forty-minute interactive film centers on Tiffany, a charismatic but unconventional sperm donation technician navigating the absurdities of her profession and her personal life in a quest for validation. Combining elements of dark comedy and satirical humor, the story plunges Tiffany into a series of wild, hilarious, and surprisingly poignant escapades that the viewer steers through branching decision points. Each choice reveals a different facet of Tiffany's world, her eccentric colleagues, her complicated love life, and the existential questions that arise when your day job involves the literal origins of human life. With multiple endings that range from triumphant to devastatingly funny, The Seminal Works of Dr. Tiffany Belle is a bold, original entry in the interactive film space that proves the format can handle adult comedy with genuine emotional depth.