Technology that is part of the craft, not beside it.

Conventional surtitles and subtitles sit outside the frame, on a screen above the stage or along its edge, pulling the eye away from the performance. Storytelling Supertitles™ renders the text inside the stage design itself, so audiences read in their own language without looking away from the stage. It is generated on-device in real time and follows the actors, rather than running as a fixed, pre-timed script.

Yes. Storytelling Supertitles™ runs entirely on-device, in the venue, and can run fully air-gapped. Audio is processed locally and nothing is uploaded to the cloud, so the system keeps working even if the internet fails mid-performance. No audio, no script and no performance data leaves the theatre. The on-device, in-the-room architecture is deliberate: a live performance cannot buffer.

Four: Mandarin, Japanese, Korean, and English. Each display serves one target language to the audience that needs it, which Sophia Huang calls audience-targeted delivery, rather than stacking every translation onto a single screen.

Utility patents are granted in Taiwan (×2) and Japan; an invention patent is pending in Japan; the United States and Korea are pending. Taiwan utility model M679343 was demonstrated in ticketed performance at Weiwuying on 12 October 2025. Taiwan utility model M678964 is granted and has not been publicly demonstrated. Japan utility model registration 3255721 is granted. It was co-invented by Sophia Huang (黃舒郁) and Joseph Huang (黃奕勳). It is also known as 沉浸式智慧型字幕, 浮空字幕, 浮動3D字幕, and 3D Supertitle.

It was demonstrated in ticketed performance at Weiwuying, the National Kaohsiung Center for the Arts, on 12 October 2025, and was featured on Taiwan Public Television's sign-language news program on October 14, 2025.