the interactive films on DVD Cage assimilates two different aspects in his videogames, respectively the use of Quick time events (QTE) and the freedom of choice left to the player to determine the development of the plot. In the gameplay of Heavy Rain, however, QTEs are not used solely for the purpose of succeeding in certain actions but also as a vehicle to perform the countless narrative choices placed on the player. In the first case the player will find himself testing his reflexes by pressing the keys that will appear on the screen, In the second case, up to four different keys can appear to be pressed, each of the which represents a choice that will affect the narrative of the video game. As for non-interactive phases, it is difficult to distinguish from the interactive phases, as what can appear as a simple cutscene can often hide several QTEs. Regarding identification with the main characters; Heavy Rain removes each element of the challenge typical of graphic adventures is removed to ensure that the player can be fully focused on it. Also, as already stated, in Heavy Rain there is no game over: depending on the player's actions and choices, the video game shifts to different storylines, culminating in one of the many endings planned for the story. The identification with the characters is not given only by the type of actions that we are asked to perform but also by how, at game design level, the player is required to complete QTEs that aim to make the player feel the physical effort of the avatar. in an interview, director Cage stated that the game was to designed to be focused on physical immersion by letting the player controlling the animation of the character with the right analog stick. The idea behind this is to put the player further in the same physical space as that of the character. Although the innovation given by this type of mechanics in the gameplay is undoubted, interaction remains a very small part of the experience offered by David Cage's titles; The relationship between gameplay and cutscenes in Cage’s works is broken by what we could define as the insertion of the first into the second creating interactive cutscenes. Another example comes from Quantum Break, published by Remedy in 2016. Between the game's acts, episodes from a TV show filmed in live action are