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The country tentatively embraced the wider world, fostering a new generation of cosmopolitan urbanites.
Meanwhile, Mazurenko had grown from a skinny teen into a strikingly handsome young man.
But it becomes much more complex and difficult to navigate when that comedy is built in to a user interface – and the repercussions for a brand’s image can be severe if they get it wrong – necessitating an extra level of caution and sensitivity to how things can be perceived. #roastmecleo @meet_cleo pic.twitter.com/Rk Rd8KZEg2 — Brigette Strange (@strangecrabbe) February 15, 2019 However, another drawback of “savage mode” is that it takes the default position of assuming that whatever the user spends large amounts of money on must be a bad thing – even when those expenditures are necessities like food, or transfers to a savings account.
To be fair to the team behind Cleo, the copywriting for Cleo’s “savage mode” comes across as intended most of the time. This has produced some slightly awkward exchanges with users where Cleo “roasts” them for spending money on groceries: This kind of issue can be ironed out with some fine-tuning.
They remember him as an unusually serious child; when he was 8 he wrote a letter to his descendents declaring his most cherished values: wisdom and justice.
In family photos, Mazurenko roller-skates, sails a boat, and climbs trees.
The responses are organic, flow well and integrate GIFs in a natural and funny way. What seems like a very funny idea in the abstract won’t always come across that way in real-world situations, which illustrates the importance of extensive testing and feedback.
Cleo in “savage mode” will occasionally dole out compliments – though they’re always backhanded – and will always rein in the scorn after a few messages, at least until the next time the user opts in. There is also the increased risk of causing offence, which means that brands should be prepared to be humble and honest in owning up to their mistakes, and quick to respond to user comments.
hen the engineers had at last finished their work, Eugenia Kuyda opened a console on her laptop and began to type. “This is your digital monument.” It had been three months since Roman Mazurenko, Kuyda’s closest friend, had died.
However, even when it does fit squarely with a brand’s tone of voice, it can be very easy to veer into dangerous territory – or to have an excellent idea in theory come across quite differently in practice.
Take the very recent example of Cleo, a financial services chatbot.
However, Cleo’s creators chose some rather unfortunate wording to highlight this new option to users, which appalled many women when it was highlighted by freelance technology journalist Holly Brockwell on Twitter (warning for implications of sexual violence): The team behind Cleo were quick to respond, assuring Brockwell that the jarring line had been removed and that the intent from the bot’s all-female writing team had been to subvert the stereotype of a passive, gendered AI – not to insinuate violence.
While the damage had to an extent been done from a brand reputation standpoint, Cleo’s creators took steps to rectify the unfortunate situation, and Brockwell was satisfied with their response, retweeting it to her followers on Twitter.