titles released was the 1998 PC and PlayStation adventure The X-Files: The Game, packed in 7 CDs. That same year, Tex Murphy: Overseer became the first game developed specifically for DVD-ROM and one of the last "interactive movies" to make heavy use of live-action FMV. In 2014, the Tex Murphy series continued with a new FMV game, Tesla Effect: A Tex Murphy Adventure. With advances in computer technology, interactive films waned as more developers used fully digitized characters and scenes. This format was popularized by Telltale Games, achieving success in The Walking Dead series of adventure games. These have sometimes been called interactive movies, as while the player can make choices that affect the game's overall narrative, they do not have direct control over characters, making the experience comparable to watching a sequence of cut scenes. This idea was even further realized in Telltale's The Walking Dead series, where player actions can drastically change future games, for example, different characters may be alive in the end depending on choices made by the player in The Walking Dead season 1, but those same characters affect The Walking Dead: Season Two. Other examples of episodic adventure games include Telltale's The Wolf Among Us series and the Life Is Strange series, created by Dontnod Entertainment. David Cage: videogames referred to as interactive films At its release, Heavy Rain (a 2010 video game by Quantic Dream) received very positive reviews and won several gaming and film and television awards. What is most striking, however, is the unanimity of critics in defining it an interactive-film more that a video game. This definition is certainly inspired by the phenomenon, typical of the Nineties, of films available in home video or computer that presented to the viewer a series of pre-recorded sequences, at the end of which it was possible to make choices that directly influenced the direction of the story. Cage himself will define his Heavy Rain as an interactive film and, in fact, the goal of the video game coincides with the type of film just mentioned; to combine the interactive potential of the video game with the expressive richness of cinema. However, unlike its predecessors, Cage chooses not to work with live-action, but to use only synthetic images, avoiding, at least in part, the effect of estrangement typical of interactive films in the passage from moments of exploration to sequences of narrative exposure. From