Lucid Dreams and interactive storytelling in Telegram apps

In the shadow of tap-to-earn giants and casual clickers in Telegram apps a distinct genre is slowly taking shape — interactive storytelling. It is not Notcoin, not Hamster Kombat, not Catizen. It is narrative apps with branching plots, closer in spirit to interactive novels and webtoon series than to classic games.

Lucid Dreams is one of the flagship projects of this genre in 2026. This article breaks down the format, who is building it, how it makes money, and why the niche exists inside Telegram at all rather than as a separate App Store application.

What interactive storytelling TWA is

The genre is defined by three traits:

1. Branching plot. The user reads scenes, makes decisions, choices change the next chapter. Technically a choose-your-own-adventure, a long-familiar format in literature and games.
2. Minimal gameplay. No character progression, no combat, no tapping. Only text, illustrations, an optional music bed, and choice buttons.
3. Serialized content. Content drops chapter by chapter, like a TV show. Users return for the next episode rather than playing one long session.

Classic mobile platforms have analogs — Choices, Episode, EVE: Echoes Stories — with tens of millions of users and mature monetization. The Telegram-resident genre is an adaptation of that same model into the TWA format with its own specifics.

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Not to be confused with games. Interactive storytelling is literature with light interactivity, not a game in the strict sense. Analytics for the genre in Telegram should be compared to visual novel and webtoon platforms, not to tap-to-earn. Different retention metrics, different monetization patterns.

Lucid Dreams: what it is

Lucid Dreams is a Telegram TWA positioned as a narrative mini-series. The plot is built around a world of lucid dreams: the protagonist enters the dreams of other people, makes decisions that change their reality.

Technically it consists of:

• Scenes — text + one or two static illustrations + optional sound bed.
• Choices — 2-4 options at key plot junctions, branching story.
• Chapters — a content portion for 15-25 minutes of reading, released periodically.
• Seasons — several chapters tied to a common arc.

Access to the first chapters is free, further chapters require unlock via Stars or TON. This is the standard pattern of the genre: zero friction at entry, monetization on the sufficiently engaged audience.

How monetization works

Storytelling apps earn in a fundamentally different way from tap-to-earn:

Advertising in this genre is considered an anti-pattern: ads break immersion, and the entire value of narrative depends on immersion. The base model is freemium with paid content, not free-to-play with ads.

Telegram Stars are convenient: micro-transactions ($0.5–$2 per chapter), payment is built in, no card friction. TON is used for larger purchases (season passes, exclusives) — cheaper for the user, higher margin for the developer because there is no 30% Telegram commission above certain Stars-revenue thresholds.

Why Telegram specifically

The interactive novel genre has long existed on App Store and Google Play. What does Telegram add on top?

1. No install barrier. The user clicks a link from chat or channel, reads the first scene in 2 seconds. On the store, the user must first find the app, download 100-300 MB, sign in.
2. Built-in social sharing. A favorite scene is forwarded into a chat with friends by one button — built-in viral channel. On the store, sharing means “here is a link, install and then text me.”
3. Cardless payments. Telegram Stars are purchased for rubles, tenge, euros via built-in methods. For impulsive content this solves a lot.
4. Notifications via bot. A new chapter is out, the bot writes into the chat, user reads immediately. Push notifications in classic apps usually get ignored.
5. Low retention requirements. On the store, monetization requires D30/D90 retention of 5-10%, otherwise ROI on install does not work out. In Telegram there is no install cost — only content retention, and short sessions work.

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Telegram’s main advantage for the genre is friction removal at every step of the funnel. Storytelling is an impulsive entertainment format, like reading a webtoon while waiting in line. Any barrier (install, registration, card binding) kills 70-80% of conversion. The TWA format removes all barriers at once.

Adjacent projects

Lucid Dreams is not alone. As of May 2026 several interactive-storytelling projects of varying maturity exist in Telegram:

1. Lucid Dreams — the leader by recognition, focused on mystery and plot depth, supports TON payments.
2. Several localized adaptations of known webtoon series — usually Stars-only.
3. Studio experiments — game companies that previously worked with visual novels on the store, now testing the TWA format.

Audience size: tens of thousands MAU at the leader, single-digit thousands at smaller projects. That is 1,000-10,000 times smaller than tap-to-earn giants, but conversion to paying users and LTV are an order of magnitude higher.

Genre economics: the numbers

A rough comparison of a typical genre user with a typical tap-to-earn user (orders of magnitude, exact numbers depend on the project):

If tap-to-earn is a media business (show ad → earn on CPM), storytelling is a content business (sell chapter → earn on price). Different models, different teams, different economics.

Who plays

The user profile of an interactive-storytelling app in Telegram is not a crypto-user profile. Closer to:

• Age: 18-35, skewed toward female audiences (as with webtoons overall).
• Source: not from crypto channels but from general entertainment channels, cross-promo with other narrative apps.
• Motive: a short daily portion of fiction, like reading a webtoon over lunch.
• Payment willingness: comfortable spending $2-10 a week on a favorite plot if the content actually lands.

This user does not come for TON and does not stay in the TON ecosystem after the story ends. Storytelling is not a TON gateway use-case — it is a standalone entertainment segment that uses TON as a payment rail.

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Do not confuse this audience with crypto users. Storytelling TWAs have minimal overlap with the active TON DeFi/staking audience. Similar to how mobile game users on App Store do not overlap with the fintech audience. Cross-sell strategies between these segments mostly fail.

Technical limits of the format

TWA is not ideal for storytelling. Specific constraints:

1. Limited content width. The TWA opens in an iframe inside Telegram, available height is smaller than the native screen. Scene designers account for it, but part of the viewer experience is lost.
2. Audio is optional. Many users in public places read with sound off. Sound design cannot be critical to comprehension.
3. Heavy graphics — slow. Large-resolution illustrations load slowly, especially on 3G/EDGE. The genre optimizes around light SVG/WebP imagery, losing some visual quality.
4. Save state is tied to the Telegram account. Switch accounts, lose progress, unless the developer syncs via TON wallet or backend.
5. Stars payments have caps. A very expensive unlock ($50+ for a season) goes through more cleanly via TON than via Stars because of Telegram limits.

Outlook for 2026-2027

Where the niche is heading:

1. Professional content. Studios with webtoon and visual-novel experience gradually migrate to the TWA format — cost of acquisition is lower there.
2. Cross-promo in Telegram channels. Advertising narrative apps in entertainment channels works better than in crypto channels. Telegram-native ads via Telegram Ads are cheap relative to App Store UA.
3. AI generation. Some scenes will be partially generated by LLMs, which lowers production cost but risks diluting authorial voice.
4. Subscription model. Replacing one-off chapter purchases with monthly subscriptions is the standard step of a maturing content market.
5. Localization. The genre depends heavily on language. Russian and English versions are the base, expansion to Spanish, Indonesian, Brazilian — where the webtoon audience is concentrated.

Where the boundaries are

What storytelling apps in Telegram do not do:

• They do not try to be “everything for everyone” — the segment is narrow and accepts it.
• They do not integrate crypto mechanics (staking, farming, NFTs) — that breaks immersion and repels the non-crypto audience.
• They do not try to convert tap-to-earn users — that is a different content consumption pattern.
• They do not build social networks around the plot — the user reads, discusses in a community channel, and that is it.

Those who try to combine storytelling with DeFi or NFT-collectible characters usually fail on two fronts: immersion breaks for the narrative audience, and the crypto product fails to mature.

Conclusion

Interactive storytelling in Telegram is a small but stable TWA genre with clear economics and a clear audience. Lucid Dreams and adjacent projects show that not everything in Telegram has to be tap-to-earn or DeFi. The Stars + TON payment infrastructure plus zero install friction make the format viable even on niche audiences.

It is not an “App Store killer” and not the next TWA revolution. It is an effective niche distribution channel for a genre that already existed. Telegram gives it lower acquisition costs and cleaner monetization — and that is enough for the genre to keep growing.

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