Immersive Theater in Escape Rooms [Innovation Interview Series]

This is the third in a series of interviews about innovations that enhance storytelling, the next frontier in escape rooms.

“Take me to a place I have never been. Make me into someone I could never be. Let me do things I could never do.” -Lee Sheldon, on what game players want

Strange Bird Immersive in Houston, TX

My wife likes to play escape games. In fact, she has played more than I have. However, she raises an eyebrow every time I start going on about traveling thousands of miles to play the next great game on my list. She usually gives in and tags along, not reluctantly, but because she’s suspicious about my promises that it will be worth it. 

As we left Strange Bird’s The Man From Beyond and walked to our rental car, she punched me in the arm. I looked over. She had tears in her eyes and a big bottom lip. With a laugh, half mad at herself for being emotional and half laughing at herself for being emotional, she said, “escape rooms aren’t supposed to make me cry.” 

As we headed to dinner with our two sons and talked about what we had just been a part of, she teared up again thinking about it. That is the The Man From Beyond. 

Image via Strange Bird Immersive

That is the power of story, the power of immersion, and the possibilities that become available through the proper use of immersive theater in escape rooms. It’s what turns a game into an experience.

The Man From Beyond was ranked #3 in the 2019 TERPECA listing, the highest ranked room in North America. My vote helped it get there, even if just a tiny bit.

I reached out to Haley E. R. Cooper, co-artistic director of Strange Bird Immersive and author of Immersology.com to learn more about using immersive theater in escape rooms and their creative process. Her response was inspiring.

Why combine immersive theater with escape rooms?

Cooper: Strange Bird Immersive is an immersive theatre company first and foremost—we just happen to enjoy making escape room stories. 

When we played our first escape room, we were inspired because it had all the features of immersive theatre. The world surrounds you and the audience has agency. It was just missing the theatre element of quality, live storytelling.

Why does it work?

Cooper: Adults crave adventure—the kind of adventure kids play-act all the time—but they need someone to create it for them. It needs to be serious, beautiful, and believable for them to feel un-self-conscious, in order to slip into play-acting without feeling silly. We rarely find ourselves in situations that inspire us to act differently than we usually do. Immersive theatre is our doorway to that, and we aim for you to leave Strange Bird Immersive changed.

How does it work?

Cooper: Where most escape rooms start the imaginary world with puzzles and the 60-minute clock, Strange Bird Immersive immerses you in a believable world from the moment you cross our threshold, creating a more cinematic experience from start to finish. We never mention the word “escape room” on site. Players meet characters living in that world, giving the game a stronger sense of reality.

Our characters travel with the team of players creating the opportunity for a deeper relationship between character and team, while still using the actor-in-the-game in a disciplined format, never upstaging the game itself. 

We like to think of escape rooms less as a series of puzzles and more as an opportunity to make discoveries about your environment. Manipulating environments is insanely empowering.

How important is story in your experiences?

Cooper: Strange Bird Immersive’s heart is storytelling. We’ll never create an experience without the complex emotional roller-coaster of a good story. I think the industry isn’t designing yet with story in mind. Most creators are focused on puzzles or set-magic (coming, respectively, from puzzle or haunted house backgrounds). I think the best games are memorable ones, and that’s the craft of theatre. Drama. Change. Emotion. In time, the games that live on will be the ones thinking about it more as an art form than a revenue stream.

We value most giving our guests the chance to engage in an imaginary world, befriend characters, and become heroes in that world. We want it to feel real, to get under your skin—we want you to dream about our experiences. That’s not a goal of most designers right now. We should set our sights higher. There’s so much potential for this art form to be fundamentally transformative.

Potential

Potential is the perfect word to use when discussing combining immersive theater with escape rooms. Nothing puts players into the world of the game more than interacting with characters that already live there. The potential to deliver memorable, meaningful stories that really reach the audience and make them feel. That becomes possible with the use of tools like well-designed and well-performed immersive theater. That is the point where escape games become something more.

Strange Bird Immersive’s next in-person project, Lucidity: A Dream Escape Room, is currently being built and has the potential to be something special.

Book By Time [Innovation Interview Series]

This is the second in a series of interviews about innovations that enhance storytelling, the next frontier in escape rooms.

In 2019 Off The Couch of Santa Clara, CA acquired 3 popular games from Evil Genius Escape Rooms of Los Angeles, including Chapter 3: The Morgue which landed in the #7 position in the latest TERPECA ranking. These games helped form a base on which Off The Couch built their newest project Pandorum.

The game clock and the frenzy that comes with it as we try to escape before it ticks down are standard practice in the escape room industry. But is that really the best way to experience everything the creators have provided for us? Playing for speed isn’t always the most fun.

A futuristic skyline.

About Pandorum

Pandorum is a single, 3-chapter game requiring several hours to play from start to finish. The innovative idea employed by Off The Couch is a system that allows players to buy blocks of time and then play the game at their own pace. Never feeling rushed, they have time to explore, understand, and appreciate the entire game and the story it tells.

For creators, once they decide to allow teams to move at their own pace, opportunities arise for additional story and even optional content. They don’t have to worry about fitting everything in 60 minutes.

Pandorum incorporates several interesting ideas, but the book-by-time innovation is something I am interested in keeping an eye on going forward. It is an adaptation that has tremendous possibilities with regard to storytelling. 

Pandorum currently has an uncertain future. Check in with Off The Couch for the latest details.

Nick Schilbe, sometimes known as Panda, owner of OTC, told me more about Pandorum and the reasons behind the book-by-time system:

A morgue with a body on a slab.

Why Book By Time?

Schilbe: We are moving away from the concept of “getting out / doing X in Y amount of time” for this game after reviewing data on hinting in our previous games. As part of our games, we offer an unlimited number of hints. After reviewing all of our hint data, it turns out that almost 80% of all hints asked for by our players are asked for in the last 10-15 minutes of a game. The players simply don’t want to lose the game and will rapid-fire ask for hints at the end just to see all of the content. This creates two things that we dislike:

1) Players have to rush through the final puzzles, which most commonly include the best puzzle or the main, climactic puzzle. This also means they are rushing through any ending story elements. As a game designer, we want players to see all of the content the way that it was meant to be played instead of rushing through it.

2) Players are not playing the way they would otherwise play. We feel that if a player wants to play quickly and ask for tons of hints, they should be allowed to do that. On the other hand, if a player wants to ask for zero hints, they should also be allowed to do that too. 

To solve these problems we made Pandorum a book-by-time (instead of a book by slot) kind of game. Players can buy as much time as they like for Pandorum. When their purchased amount of time runs out, we save the players’ status and progression in the game. When they come back, they purchase more time and simply pick up where they left off, just like in a video game.

A couch in a strangely lit living room like space.

What is the key to your system?

Schilbe: The ability to save game progress is a huge game changer for us. It allows us to create more elaborate and longer game experiences. This means the stories are more complete, the players get a chance to become more immersed in the environment, and we get to experiment with more innovative ideas when it comes to puzzles.

What other video game concepts are you employing?

Schilbe: Pandorum plays more like a real-life video game than a traditional escape room. It still has all of the puzzle elements that people have grown to love about escape rooms, but it also introduces some new mechanics: side quests, classes, experience points, levels, and in-game items. The side quests serve as additional puzzles that make the game seem more realistic and can unlock prizes like in-game currency, exclusive souvenirs, and even additional game time. 

We are also pushing the idea of player agency as an important part of the game. Most escape rooms follow a linear path and every outcome of every puzzle is the same. We wanted the players to feel more involved in how the game plays out by having their choices and actions impact future parts of the game. 

For example, there are segments of the game where the players have to accomplish something in a certain amount of time. Success and failure result in different outcomes with potentially different experiences.

An art gallery.

How long will a full playthrough take?

Schilbe: The length is a bit of a moving target, but we are expecting the average player to take around 4 hours to get through the main story of the game. There will also be the side quests that introduce more gameplay, if the players pursue them.

Take Your Time

Almost every escape room player appreciates when a game operator pauses the clock and allows the team to continue playing past the deadline. Being able to book as much time as desired and knowing up front that you will be able to experience a deeper level of game detail and more story is an exciting concept. 

Most storytelling media do not benefit from being rushed. We’d all want our favorite scenes or chapters to be extended, to be in that fictional world just a bit longer. Escape rooms are our chance to live inside of compelling stories. Book-by-time can allow us to more fully enjoy where the story goes. We can appreciate it, take it in, experience it… rather than race against the clock in the moments where the storytelling might be at its best.

Seamless Transitions Between Individual Escape Rooms [Innovation Interview Series]

This is the first in a series of interviews about innovations that enhance storytelling, the next frontier in escape rooms.

In these conversations with Lost Games of Las Vegas, NV and City 13 of Milwaukee, WI, we’ll unpack an immersive aspect that I feel is underutilized in the escape room world: immediate, seamless (or close to it) transitions between escape rooms that exist in the same world. This innovation aids storytelling by adding both length and depth to an experience. 

A beautifully designed old victorian study set.
Lost Games

Many escape room companies have multiple rooms that exist in the same fictional universe. With transitions, they can get more mileage out of the creative capital they built inventing and designing these worlds. This can help attract repeat business from customers who had previously had fun in their fictional world. It can help with immersion if players are already aware and excited about where they – and the story they are already invested in – are about to go.

Booking Back to Back

Enthusiasts often like to marathon escape rooms, playing two or more games back to back, especially if they are multiple parts of the same story. Most often players will exit the first game experience, reunite with their host for a debrief, then head back to the lobby to wait for the start time for their next game. Once the clock strikes the appropriate hour, the host will again collect the team, begin another briefing, and re-immerse the players into the world of the game.

Not many companies provide an opportunity to transition without interruption directly from one room into the next, thereby lengthening the experience into something epic.

Longer games are also a tool to tell more detailed stories. A flexible solution for offering a longer experience is to design an optional transition sequence between two or more escape rooms with related storylines.

Come up with a plan that is easy on the game host, but believable for the players. Market it as a premium booking option while only making minor changes to normal operations. 

Lost Games in Las Vegas, NV

Lost Games offers their two games: Chapter 1: The Doctor’s Secret and Chapter 2: Playtime as stand-alone escape rooms or as a single two-game experience. The second option takes two excellent escape games and turns them into a truly memorable experience. 

A creepy living room with an old tv/ radio and a cross hanging on the wall.
Lost Games

Where did the idea for the transition come from?

Lost Games: From the beginning of creating Lost Games, immersion was our number one goal. If nothing else, we wanted everyone to feel like they were a part of the story once they walked in the door. The back-to-back experience was not a part of the plan from the beginning, but we learned from our enthusiasts that 1 hour of gameplay is never enough. So, when building Chapter 2, we had to figure out the actor introduction to the game, and thought it would be pretty exciting and unexpected if it began right when the exit door from Chapter 1 opens, without interruption. As enthusiasts ourselves, we just always focused on building something that we would like to see.

How does it impact your normal operation?

Lost Games: The tasks that the game operators do during the transition involving lighting and sound would also occur for the normal Chapter 2 introduction; those are not specific to the back-to-back experience. We’ve done some streamlining over time to make this transition flow well, while still moving the story along.

City 13 in Milwaukee, WI

Nick Timber, owner of City 13 in Milwaukee, WI is using a similar idea to connect their four existing escape rooms in a new enthusiast-focused mega escape game creation he calls Save The City.

A city street set with graphitti on the walls.
City 13

Where did the mega-game idea come from?

Timber: I had the idea of the 2-4 hour game during, you guessed it, the lockdowns. I figured if I was going to only allow one group into the space at a time, why not let them play as many games as they want? From that thought we came up with Save The City, an experience that not many other escape rooms can provide. Our space is unique in its layout with all of the escape rooms being built like buildings inside a dystopian cyberpunk future city, with all of it fitting inside one large common space. Alleyways connect our rooms and the players sneak through them as they make their way into each escape room experience. All of our games have one overarching story of the city being taken over by supervillains and the players (the superheroes of City 13) are helping the citizens take it back.

How will it work?

Timber: Save The City plans to tie everything together into one adventurous gameplay. Players will actually begin the adventure and interact with the story inside the alleyways with all of the rooms locked down. As you complete the new alleyway puzzles you will begin to make your way inside one building at a time to obtain new items to help progress through the story. Once you have completed one room you move back into the alleyway for more puzzles that unlock the next room. There will be audio dialog between the General (City 13’s leader) and Oculus (the head villain) that will provide story transition in the alleyway.

How long will it be?

Timber: We allow the players to choose how many rooms they want included in the mission. They can do 2 rooms (2 hours), 3 rooms (3 hours), or all 4 of our rooms (4 hours). No matter what size mission they choose, they will also get the new alleyway puzzles and the one new bonus room where all of the stories will always end: Rick’s Robot Garage. The new content adds another hour of play into the adventures. 

If you are doing the math, you realize that you only have 2/3/4 hours to do 3/4/5 hours of content. Well, we figured two things: 

(1) This game is not meant for the casual player, but the enthusiast who wants this challenge or 

(2) The interested players in our area that have already played our games should be able to get through them more quickly a second time.

Either way, Save The City players will get the newly-added alley puzzles and the bonus 5th room ending. It’s a full night of an escape room experience that won’t disappoint.

How does it impact your normal operation?

Timber: This structure allows us to keep running each room individually for our normal customers and at the same time provide a more challenging experience for enthusiasts and new content for returning players.

With the current state of the world, escape rooms are trying to utilize the tools and assets they already have in new ways. While some chose to go online, I decided to take my in-person experiences to the next level.

Make Your Stories Bingeworthy

Most escape room storylines are just the climactic third act of a story that was unenthusiastically told to you during a pregame briefing. Escape rooms designed with optional, immediate transitions open up a world of possibilities for creative operators.

Online video streaming services have proven that bingeing story episodes appeals to a lot of people. With this technique, storytelling can be enhanced and given more room to breathe. The games can show us acts 1 and 2. Creators can build stories with cliffhanger endings and players won’t be annoyed if they have the opportunity to continue uninterrupted to find out what happens next. 

Escape room customers may be more likely to book multiple games if they are presented with this option. That could give owners more of a chance to make an impression that will lead to those customers returning in the future. 

Seamless transitions between related escape rooms is a low-cost adjustment that can create a win-win situation for owners, players, and stories.

Spectre and Vox – A Tabletop Escape Room Adventure Kickstarter [Interview]

I have never been as excited for a tabletop game as I am about Spectre and Vox. The potential of this project gives me feelings of anticipation and hope. It takes seriously the things I find most important in escape rooms of all forms: immersion, characters, and storytelling.

The ambitious product consists of a 3D haunted mansion set that promises to “dominate your dining table.” The only technological accompaniment to the game is in the form of a free voice-activated app available on any smartphone- or Amazon Alexa-enabled device. Through this, the story, the world, and its characters will emerge. You will then work through the mansion room by room to uncover its secrets.

An Alexa Dot sitting beside the dollhouse.

The Spectre and Vox 3D Haunted House Escape Room will be available exclusively on Kickstarter. It has already surpassed its goal, but the Kickstarter continues until November 19th. There is still time to become a backer and receive your own copy.

Interview with Nick Moran

On behalf of Room Escape Artist I interviewed the game’s creator, Nick Moran, former Creative Director of Time Run’s real-life escape rooms The Lance of Longinus and The Celestial Chain, and the award-winning Sherlock: The Game is Now.

Who are Spectre and Vox?

Moran: Spectre and Vox are the UK’s foremost paranormal investigators – or at least, the best that I know. If you haven’t met them, they’re Rylan Spectre, charlatan and tinkerer, and Tabitha Vox, enigmatic master of the occult. Their agency, the titular Spectre & Vox, was formed in the 1890s, in London, when the whole city was in the grips of supernatural mania. Quacks and frauds were everywhere, but Spectre & Vox? They only cared about the real deal: small seaside towns, terrified by monsters. Strange sightings in Merthyr Tydfil. You know, the actually unexplained and unexplainable.

Exterior of th Spectre and Vox dollhouse.

What are they (and we) about to get ourselves into?

Moran: Well, a pretty amazing supernatural adventure that you play in your own massive haunted house set at your dining table, that’s what! Oh, and, a whole lot of spectral trouble, obviously. But you already knew that.

Why did you decide to make a play-at-home tabletop product?

Moran: I’ve wanted to make an at-home escape room game for years. I just hadn’t had the opportunity to find out exactly what I wanted to make. Unfortunately – or fortunately – COVID-19 gave me and my business partner, Glen Hughes, the necessary space to think. I realized that there was an audience of people who were missing out on a lot of the aspects of live games that I most appreciate: the build, the sounds, the lights, and the sense of adventure and discovery. In many ways the opportunity shaped what we were thinking. We set the challenge: how do we build a game that feels like a full-scale immersive experience, that thing that almost everyone is missing out on right now?

A hand placing a grand piano in the ballroom.

What makes your tabletop game unique? Tell us what we are getting.

Moran: Ultimately, it’s two aspects that both play to our strengths.

Firstly, build: Glen is the best set builder I know. We wanted a full set that you can have at your dining table, a show-piece that can be at the heart of an experience, full of lights, beautifully constructed miniature props – you don’t get that anywhere!

Secondly, it’s the experiential and storytelling aspect: We’ve hired excellent actors, our composer, Matt Farthing is just so good (listen to the audio in the Kickstarter video for a snapshot of his compositions) and we have a complex and satisfying narrative that weaves it all together. It’s not just the house; it’s the cohesion – sounds, lights, audio and build – all working together as one. My background is video and audio production. I am both a sound engineer and a post producer, so making studio-quality audio is something I know how to do.

Was it important to you to push the boundaries of the medium?

Moran: Why play anything safe? When we first built Time Run, we were absolutely taking a massive risk. No one had committed to the build in the way we had, at that time, certainly not in the UK.

With Spectre and Vox we were nervous, of course. What if the Kickstarter flopped? What if people thought the product wasn’t something they wanted to invite into their home?

Sometimes you just have to try to do something that no one else is doing, and that, for us, was this product. To side swerve into our pricing tiers for a second, we have two editions, the “Core” edition and the “Deluxe” edition. For me, the “Deluxe” is the product we set out to make.

It includes 6 hours of gameplay and an entire, massive haunted house set for the same price as a 6-month subscription game. You see, our goal is not to make huge amounts of profit from this game. (After all, how could we on a hand-made game that we sell, complete with lights, for £139?) Rather, our goal is to create a new type of escape room product for the home, something that we want people to love… and then see what happens from there. Yes, we’ve done something no one else would do, for a price no one else would dare to do it for, but we have played to our strengths.

Overhead view of the bathroom.

How important is the tactile/ physical aspect of the game – liberating us from our screens?

Moran: Absolutely essential. Full disclosure, I, like everyone else, spend too much time on my phone. It’s pretty much the only thing I ever argue about with my boyfriend. Part of the reason why we were really keen on the lighting element isn’t just because we think it looks cool (which it… does); it’s so you can turn off all your house lights, let your eyes adjust, and play the game lit by the flickering lamps of the haunted house. We wanted to make something you bring into your home that then transports you away from it: no screens, no notifications – just sound, lights, beautiful painted objects, and a gripping story of ghostly intrigue, spanning generations.

I can imagine well-produced audio narration being immersive. Will the audio app allow us to interact with the game environment and the characters that live there?

Moran: Absolutely. Character interactions are essential to the story. Naturally, we don’t want lengthy dialogue trees or anything that reduces the pace of the adventure arbitrarily. There are, however, 5 distinct characters that you’ll discover along this adventure, all of whom have completely distinct identities and internal lives (who are, of course, bound by a common, supernatural thread).

Closeup of an illuminated window.

What has the Locktopus software allowed you to do?

Disclosure – Locktopus Studio is a separate business owned by Room Escape Artist owners Lisa & David Spira.

Moran: Ultimately, tell a better story – and a more immersive one, too. There’s a saying that radio is the most immersive form of storytelling and I absolutely believe that to be true. If you hear the crunch on gravel and a knock at the door, the images are fully formed, fresh in your mind. If I tell you I’m piloting my ship through the ice fields of Proxima Nova and you feel the rumble of the ship and the whistle of the chill wind – bam – there you are in your mind’s eye. By harnessing the power of the imagination together with excellent sound design and composition, we really can tell the story that we want to tell.

I see escape rooms as primarily a storytelling medium. How important is telling a good story with Spectre and Vox?

Moran: Absolutely essential. It’s everything, really. There was a long debate about how we get across in our marketing the “narrative” aspect of the game, because to describe it as just a puzzle experience is like describing Monkey Island or Broken Sword as just a puzzle game. The story is one of the game’s strongest aspects. It’s definitely the most complete story I’ve had the chance to tell in an escape room medium and by a long way the best, too. I’m an old-fashioned writer in many ways. I like solid themes that come through in every pore of the narrative. I like the story to be grounded in dramatic action (character in a situation with a motive) and character wants and needs. Although we’re following Spectre & Vox’s investigations, what we’re really investigating is the multigenerational story of this house and the impact the paranormal has on the characters’ lives, across the years. It’s all densely woven together and carefully plotted. It unfolds, room by room, space by space. Thankfully, there’s no arbitrary time limit to explain or artificially high stakes. This format allows the narrative of the space to breathe and to become as engrossing as it needs to be.

A hand gently caressing the dollhouse while someone watches.

Might we someday see further adventures of Rylan Spectre and Tabitha Vox?

Moran: Of course. I’ve always most enjoyed building universes with concrete and solid rules that allow for both depth and breadth. I am unsure how most game designers do it, but I don’t have a game in mind before I build a world. I begin with the rough area I want to explore, then find the characters that excite me; then, finally, the games and experiences emerge. In truth, this isn’t even the first Spectre & Vox mystery we wrote; there are so many more, one of which is fully fleshed out, just as ready to go as this one. Depending on how well our Kickstarter does, maybe you’ll see more snapshots of the world of Spectre and Vox. For now, I’ll leave you with this: if you suspect we have it planned, we have it planned. We love to make games – small, miniature – big, of course – and all of those feature in our future, and hopefully yours, too. 

Read More About It

If you’re curious where this will go, or if you are even half as excited as I am to experience storytelling in a tabletop escape room product, visit the Kickstarter campaign and back Spectre and Vox before November 19th.

Pursuit of Storytelling

While Nick was busy launching his Kickstarter, and before it captured my attention (and excitement!), I was already researching escape room innovations that would enable more advanced storytelling. Spectre and Vox accomplishes this in a tabletop format. In my upcoming interviews with other escape room creators, I explore other innovations with similar motivations. You can read my introduction to this upcoming series here: Pursuit of Storytelling: Year 5 of Escape Room Innovation.

In Pursuit of Storytelling: Year 5 of Escape Room Innovation (Interview Series Intro)

At this point in my escape room journey, I am most interested in learning more about innovative ideas. I want to understand the creators and companies trying new and different things to advance and expand the medium. 

In the latter half of 2019, I interviewed a selection of creators about the motivations and goals driving their innovation. There are many people thinking differently about escape rooms and what they can be. As one of them put it to me, “There is no universe in which we would consider trying something safer or simpler. It’s not why we’re here.” 

Stylized image of a light bulb

I have my own theory of escape room evolution. I feel like after their initial introduction as puzzle games, we entered into the era of tech. This included everything from rooms using a single Arduino all the way up to the brilliant display of technology in The Edison Room at Palace Games. The next stage is going to be the rise of the importance of drama, character, emotion, and story: the era of narrative. I’ve caught glimpses of this in escape rooms I’ve played over the last few years, but it is far from widespread.

Through my conversations about innovations, I noticed that we’re entering that next stage. As we reached 5 years of escape rooms in the United States, storytelling became the driving force behind a lot of significant innovation. Escape rooms are truly a new medium for storytelling, one with a ton of untapped potential.

Conversations With Creators

I talked with the owners of Lost Games and City 13 about Seamless Transitions Between Individual Escape Rooms. One of the storytelling challenges of most escape games is their short length. That’s why the players always seem to arrive after the inciting incident of the story, just in time for the climactic scene. Transitions like this allow for additional world building, more of a story, more of a complete arc, and more immersion. The real advantage to seamless transitions is an opportunity for more storytelling.

Off The Couch spoke about the Book By Time model for their new game Pandorum. This booking technique is another vehicle to further storytelling. It literally allows you to stay inside the game for as long as you want. It pleads with us to slow down and not rush through the story elements in service of the puzzles.

Haley E. R. Cooper of Strange Bird Immersive shared thoughts about using Immersive Theater in Escape Rooms. Strange Bird Immersive’s aim is to leave you with a memory. Feeling and living the story of their experience creates a more lasting memory than any puzzle, or probably even any set, ever could.

Hatch Escapes discussed The Quest for Replayability and their next experience The Ladder, where they ask, “Why have we taken for granted that escape rooms can’t be re-playable? That they can’t support compelling, complicated, moving stories? That they can’t have branching narratives?” Replayability will succeed when it lets players truly get more into and also get more out of the story.

2020 has impacted all of these companies and their innovations in different ways, but I feel that we’re now in a place where we can start to get excited about in-person escape rooms again. I can finally share these ideas that I have been thinking about: ideas about telling stories.

I hope you will follow along as we present these topics as a series of articles about interesting innovations, and what the people and companies behind them are adding to the escape room industry.

The links to each interview article will be added above once it is published.