By watching more, you learn to narrow your searches to focus on specific topics, eventually getting to the juicy bits. Searching keywords shows clips organised by date: search something vague like ‘love’ and you’ll get 34 matches, but the system limits you by only allowing you to watch the five earliest clips. There is the handsome man played by Prometheus actor Logan Marshall Green, a frustrated nurse caring for her daughter alone (Kerry Bishe of Argo), a spiky activist ( X-Men’s Alexandra Shipp) and a chameleonic cam-girl played by Westworld’s Angela Sarafyan.You play from the perspective of a woman on her laptop in a sleek apartment, trawling through an NSA surveillance database for an unknown reason. ![]() She has got her hands on an external hard drive, packed with hundreds of short clips made up of covert surveillance tapes and video calls between a handful of key players and supporting characters. You ‘play’ as an unknown woman reflected in the glow of a PC screen. To wit: the weaponisation of the computer search bar. It is a game of considerably increased scope -more lavish, layered and unwieldy than Her Story- but one that retains that game’s smarts and driving ethos. Now, in a post- Black Mirror: Bandersnatch world (in which malleable television has been thrust into mainstream consciousness), Barlow is at it again with Telling Lies. It was also a shot in the arm for the somewhat underground live-action ‘ interactive fiction’ renaissance. ![]() How it twisted and turned no matter what snippet of info you uncovered was a work of tangled yet understated brilliance. Sam Barlow’s BAFTA-snaffling Her Story was a fabulously tight and taut whodunwhat as you pieced together the tale of a mysterious young woman from a jumbled collection of police interview clips.
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