The problem of defining an interactive film: game or cinema

Khotin Demid Maksimovich ORCID: 0000-0002-3644-3079 PhD student; Faculty of Art History; Institute of Cinema and Television (GITR) Assistant Director; MAGIC FACTORY ANIMATION 32A Khoroshevskoe Highway, Moscow, 125284, Russia, Central Federal District demid.khotin@yandex.ru

Introduction. The urgency of researching the problem of defining interactive film is due to the rapid development of digital technologies and the emergence of new hybrid forms of media content that blur the traditional boundaries between cinema and video games. Interactive films occupy a special place in the modern media space, combining elements of both cinematic storytelling and game interaction, which creates certain difficulties in their classification and theoretical understanding. The growing popularity of Quantic Dream, Dontnod, and Telltale Games studios demonstrates the relevance of this format to the audience and the need for its detailed scientific study. The lack of a clear definition and criteria for classifying interactive films into a particular category of media products makes it difficult to analyze them within the framework of existing theoretical approaches of film studies and "game studies". In addition, the active development of virtual and augmented reality technologies opens up new opportunities for creating immersive interactive content, which makes the issue of determining the essence and specifics of an interactive film even more relevant. The study of this issue is important not only for the theoretical understanding of modern forms of digital art, but also for the practical activities of creators of such content, as well as for the development of methods for its critical analysis and evaluation.

Scientific problem: the contradiction between existing theoretical approaches to the classification of media formats and the hybrid nature of interactive cinema, which cannot be unambiguously attributed to either video games or cinematic works, which creates the need for a theoretical rethink of its place in the system of modern digital media.

The purpose of the study is to determine the specific nature of interactive cinema as a special media format and to justify the need to separate it into a separate category of "hybrid media".

Research objectives: to analyze existing theoretical approaches to the definition of video games and identify the key characteristics of this media format; to explore the evolution of interactive elements in cinema and determine the boundaries of their application in traditional film production; based on the analysis of the games "Fahrenheit" and "Heavy Rain" to identify the specific features of interactive cinema that distinguish it from both video games and cinema; to determine and theoretically substantiate the position of a person when familiarizing himself with interactive cinema through a comparative analysis of the roles of "gamer", "player" and "spectator"; to develop and justify the definition of the category of "hybrid media" as an independent format of digital storytelling.

The theoretical basis of this research is based on an interdisciplinary approach combining cultural, philosophical and "game studies" perspectives of analysis. The fundamental theoretical basis is the work of Roger Kayua, who proposed a systematic analysis of gaming activity through the "paida-ludus" dichotomy and highlighted the key characteristics of the game as a cultural phenomenon. Marshall McLuhan's concept of "hot" and "cold" media plays an important role in the theoretical understanding of interactive cinema, which makes it possible to analyze the degree of audience involvement in media production. In the field of game studies, the work of Nicholas Esposito is of significant importance, who proposed the basic definition of a video game as an interactive process with an audiovisual component, as well as the research of Eric Zimmerman, who developed an understanding of the game as a voluntary interactive activity with a measurable result. Of particular value are the theoretical developments of Martin Picard, who emphasizes the fundamental role of gameplay as a differentiating factor between video games and traditional art forms. In the context of the analysis of narrative structures, the works of Bernard Perron, who studied the specifics of FMV games and the role of the user in interactive media, as well as the research of Abbott Porter, are important. The interdisciplinary nature of the research is also reinforced by the appeal to modern digital media research presented in the works of King and Krzywinski, who consider video games in a broad cultural context. Such a complex theoretical foundation allows us to consider interactive cinema as a complex cultural phenomenon located at the intersection of various media formats and requiring a multidimensional analysis to understand its specific nature and place in modern digital culture.

The essence of the concept of "video game". In his research on video games as a phenomenon, N. Esposito formulates a basic understanding of video games as an interactive process implemented through audiovisual technologies, with the possible presence of a plot component ^[1]. The fundamental aspect is that a video game, first of all, remains a game, despite the acquisition of additional functions as a cultural, artistic, educational or narrative tool.

Considering the phenomenon of the game in a historical context, it is important to note the theoretical developments of Roger Cayua, who, developing the ideas of Johan Huizinga, identified the key characteristics of the game: its conditionality, unpredictability, lack of direct productivity, the presence of regulatory rules and restrictions in time and space, as well as the voluntary nature of participation ^{[2, p. 30-32]}. Kayua also proposed the "paida-ludus" dichotomy, where the former means free creativity and the latter means structured constraints.

The modern understanding of the game is enriched by the definition of Eric Zimmerman, who characterizes it as a voluntary interactive activity involving one or more players acting within the established rules, creating an artificial conflict with a measurable result ^[3]. This definition, which echoes the work of Avedon and Sutton-Smith, offers a clear and structured concept of the game as a phenomenon, and it is on this definition that we will rely in the framework of this work. So, within the framework of this definition, we are interested in the term "interactive activity", which is essentially synonymous with the phenomenon of "gameplay". We will focus on this in more detail.

In the context of game research, the concept of gameplay is interpreted in two ways: in a broad sense, it covers the entire set of gameplay, whereas in specialized scientific discourse, this term describes a system of interactive mechanics that determine the nature of interaction between the player and the virtual world ^{[4, p. 111-113]}. This system includes both the range of actions available to the player and the game environment's response algorithms. Some researchers, in particular, consider gameplay as a specific form of challenge offered by developers to the player.

Martin Picard emphasizes the fundamental role of gameplay as a differentiating factor between video games and traditional art forms such as cinema or theater ^{[5, p. 201-202]}. At the same time, the aesthetic dimension of video games is not limited to audiovisual characteristics, but significantly depends on the quality of game interaction.

The gameplay shows considerable variability in its complexity and depth. At one end of the spectrum are role-playing games (RPGs) with their multi-level character creation systems and extensive storylines, where the player's actions can significantly influence the development of events and the state of the game world ^{[6, p. 162]}. At the opposite pole are the so-called "walking simulators" (for example, "Dear Esther" from The Chinese Room studio), whose status as full-fledged video games remains the subject of academic debate, with some researchers preferring to classify them as a special form of visual novels or narrative spaces.

Despite the variety of forms and degrees of complexity of gameplay, its presence, even in a minimal amount, provides the user with the opportunity to actively participate in what is happening on the screen, which is a defining characteristic of a video game medium. Thus, in the context of the classification of video games, interactivity is a defining criterion. However, around the beginning of the 2000s, the gaming industry began to change significantly, the reason for which should be considered the emergence of a new genre of video games and a subspecies of "interactive film".

"Fahrenheit" and other works by the studio "Quantic Dream". In 2005, Quantic Dream Studio, led by David Cage, released the revolutionary game Fahrenheit (known in North America as Indigo Prophecy), which became the founder of the interactive cinema genre in video games. The game introduced a fundamentally new approach to gameplay and player interaction with the game world, significantly different from the traditional mechanics of that time.

The main innovation was that the gameplay was built around a cinematic narrative, where the player's actions directly influenced the development of the plot through a system of extensive dialogues and events with multiple consequences. Fahrenheit also improved the "Quick Time Events" (QTE) system, which first appeared back in 1975 in The Driver game and achieved popularity in Dragon's Lair (1983). In Fahrenheit, in the QTE sections, the player had to press the buttons that appeared on the screen in time to perform various actions, which created the effect of active participation in cinematic scenes. An important innovation was the multi-angle camera system, which imitates cinematography in the cinema, which allowed for a more cinematic perception of what is happening. The game also introduced an innovative character emotional state system that influences the development of the plot and the available options for action.

Unlike previous games, where gameplay usually focused on the action component or solving puzzles, Fahrenheit emphasized the narrative component and the emotional involvement of the player. The developers have implemented a parallel narrative system that allows the player to control multiple characters and see the story from different perspectives. The game was also notable for the presence of many interactive elements of the environment, which were not always related to the main plot, but helped to create a deeper immersion into the game world. A special feature of Fahrenheit was the real-time decision-making system, where the player had to quickly choose options for action, which created tension and a sense of urgency. Unlike classic adventure games, where the player could think about their actions indefinitely, decisions had to be made quickly, which influenced the further development of the plot. In addition, the game introduced an innovative split-screen system that allows you to watch multiple storylines simultaneously, which was unique for that time.

All these elements combined to create a new approach to interactive storytelling, where traditional game mechanics were reinterpreted in favor of a more cinematic and emotionally intense experience, which subsequently had a significant impact on the development of the interactive cinema genre in video games.

In 2010, Quantic Dream studio released the game "Heavy Rain", which became the next significant step in the development of the interactive cinema genre after Fahrenheit ^[7]. "Heavy Rain" introduced an even more cinematic approach to game storytelling, significantly improving the mechanics of player interaction with the virtual world.

The game featured an unprecedented level of graphical detail and realistic character animation, which made it possible to create the most believable scenes with emotional acting. Unlike traditional video games, "Heavy Rain" has completely abandoned elements of classic gameplay, such as scoring, health levels or inventory, focusing on the narrative and emotional involvement of the player. The "Quick Time Events" system has been significantly improved and has become more contextual – the movements that the player had to perform corresponded to the actual actions of the characters on the screen. An important feature was the system of irreversible consequences: any player's decision could lead to the death of one of the main characters, while the story continued without the possibility of replaying the moment, which created an unprecedented level of tension and responsibility for the decisions made.

The game introduced four playable characters whose stories were closely intertwined, while actions performed for one character could significantly affect the fate of others. "Heavy Rain" also featured an innovative approach to exploring the environment – the player could freely explore locations and interact with a variety of objects using contextual actions, which created the effect of being present in a realistic world. It is especially worth noting the character's system of thoughts, which allows the player to immerse himself in the inner world of the hero and better understand his motivations. The game implemented a unique dialogue system where the choice of cues was made through the emotional states of the character, rather than through specific phrases, which made communication more natural and unpredictable. "Heavy Rain" also stood out for having many intimate and emotionally intense scenes that require the player to delicately control the movements of the characters through a system of contextual actions. An important innovation was the ability to perform multiple actions simultaneously using different controller buttons, which created additional complexity and realism in key scenes. All these elements combined to create a unique gaming experience, where traditional mechanics were completely rethought in favor of creating an interactive drama that emphasized the emotional involvement of the player and the consequences of his decisions.

A detailed analysis of the content of "Fahrenheit" and "Heavy Rain" allows us to conclude that there has been a significant shift in emphasis from traditional game interactivity towards the narrative component, which calls into question the correctness of their classification as video games in the traditional sense. In these projects, there is a significant reduction in classic gameplay elements: there are no progression systems typical for video games, scoring, character characterization improvements, traditional combat systems or puzzle-solving mechanics. Instead, interactivity is reduced to minimal forms of interaction through the QTE system and contextual actions, which serve more as a tool to advance the narrative rather than full-fledged game mechanics. It is the narrative component that plays the predominant role in both works.: storytelling, character development, drama and cinematic presentation of the material. The player acts more as an active spectator than a full-fledged participant in the gameplay, since his actions are more focused on choosing options for the development of the plot, rather than on overcoming game challenges or solving gameplay problems. The user spends a significant part of his time passively observing the development of the story through cinematic scenes, where his participation is limited to rare inserts of interactive elements. Moreover, the very structure of these projects is based on the principles of cinematic storytelling: with a clear dramatic composition, stage direction, multi-camera shooting and an emphasis on acting.

Thus, despite the presence of elements of interactivity, these works represent rather a new form of interactive storytelling, located at the junction of cinema and video games, but tending more towards the former. This suggests that the application of the term "video game" to these works is not entirely accurate and requires a revision of their categorization within the broader understanding of interactive digital media. At the same time, the presence of such games with similar features to cinematic works requires asking the following question in the framework of this work: is it possible to consider games in the genre of interactive cinema and cinema as concepts with generic relations? In other words, are these works part of cinema?

Interactive cinema and cinematography. The evolution of cinema demonstrates a steady trend towards increasing interactivity. From traditional cinemas to modern streaming platforms, there has been a consistent development of forms of interaction with the audience. This phenomenon can be considered as a natural continuation of the concept of "cinema of attractions", where the main emphasis is on direct impact on the audience through impressive visual effects and unusual events that can capture the viewer's attention ^[8].

If we take into account the ability of cinema to involve the viewer in what is happening on the screen, it can be argued that there has been a certain form of interactivity since the advent of cinema. The development of this trend has led to the emergence of experimental formats of interaction with the audience. An illustrative example is the film "Mr. Sardonicus" (1961), where viewers were given the opportunity to vote for the development of the plot, although the ending remained unchanged.

The innovative Odorama technology used in John Waters' Polyester (1981) deserves special attention. Viewers received special scratch-coated cards containing various flavors that had to be activated at certain viewing points. This innovation, although it turned out to be short-lived, became a significant experiment in breaking down the "fourth wall" and expanding the boundaries of the spectator experience, which can be considered as a direct legacy of the traditions of cinema attractions.

The development of film screening technologies, including the introduction of 3D and 4D formats, significantly transforms the traditional relationship between the viewer and the film, which actualizes the discussion about the boundary between a passive observer and an active participant. Traditionally, the moviegoer is perceived as a passive recipient of the narrative, temporarily withdrawing from his own worldview in order to immerse himself in the presented story. Despite the long tradition of preserving this passive role of the viewer, the influence of the "cinema of attractions" demonstrates the importance of the interactive element in the viewer's perception.

In the era of streaming services, the concept of interactive cinema has received a new development. A striking example is the Bandersnatch project, which represents an unprecedented level of viewer participation through a binary choice system, reminiscent of the "Choose Your Adventure" series of game books popular in the 1980s ^[9]. At the same time, it is fundamentally important to note that interactivity is not an exclusive characteristic of video games or cinema - it is present in both media formats, but it is implemented in fundamentally different ways.

The key difference lies in the audience's position: in video games, the user acts as an active participant directly influencing the development of events, whereas in movies, even with 4D elements, the viewer remains primarily the recipient of the impact. Even if there are special effects, such as smells or air movement, the viewer does not control their appearance and does not influence their implementation – they remain programmed elements of the narrative that affect the audience at certain moments, regardless of its reaction. In video games, the player has a significant degree of control over the game environment, where goals can be achieved in various ways depending on the user's individual decisions. This is fundamentally different from the cinematic experience, where each frame is the result of carefully thought-out directorial decisions aimed at conveying a specific artistic intent.

The course of our reasoning positively correlates with the opinion of Marshall McLuhan. The concept of "hot" and "cold" media, proposed by him, perfectly illustrates the fundamental difference between traditional cinema and interactive works such as "Fahrenheit" and "Heavy Rain".

According to McLuhan's theory, "hot" media are characterized by a high degree of certainty and saturation of information, requiring minimal audience participation in the perception process, and this is the type of traditional cinema where the viewer receives a fully formed audiovisual experience ^{[10, p. 154-158]}. In contrast, the interactive works under consideration are "cold" media, as they intentionally leave information gaps that must be filled with the active participation of the user. This "coldness" is manifested in the fact that the player does not just perceive the proposed content, but is forced to constantly interact with it through a system of choices, actions and decisions.

In games such as Fahrenheit and Heavy Rain, the user must constantly be in a state of active engagement: make decisions that affect the development of the plot, participate in interactive scenes through the QTE system, explore the environment and interact with objects, conduct dialogues with a choice of cues. Moreover, the player must constantly analyze the consequences of their actions, as they can have a long-term impact on the development of the story. This need for active participation creates a deeper level of engagement compared to passive movie watching, where the viewer is only the recipient of information.

In interactive works, the user becomes a co-author of the narrative, his actions and decisions form a unique experience, which fully corresponds to the concept of "cold" media according to McLuhan. Even at the moments when the player is watching cinematic inserts, he must remain in a state of readiness for interaction, since at any moment his participation through the QTE system or decision-making may be required. This creates a special type of perception where the user never fully enters the passive observation mode typical of "hot" media.

Thus, despite their cinematography and a significant number of non-interactive elements, these works retain the key characteristic of "cold" media - the need for active user participation in shaping the end experience, which significantly distinguishes them from traditional cinema. Consequently, these games and cinema cannot be considered as concepts that have a generic relationship with each other.

In addition, within the framework of this work, the question of who the user is in contact with the work is of interest.

A gamer, a player, or a viewer? We cannot consider a person as a spectator when interacting with an interactive film. The role of the viewer presupposes passive observation, whereas an interactive film implies the active participation of a person. The role of a gamer also seems to be not quite suitable due to the limited gameplay options offered by interactive films. Another role that is of interest in the context of the issue under consideration is the role of the "player", which in Russian can also be interpreted as a "player" or "player".

The distinction between "players" and "gamers" was made by Bernard Perron, considering different examples of FMV games. According to his concept, in such works there is a clear separation between interactive elements and narration, which cannot coexist simultaneously ^{[11, p. 243-250]}. At the same time, the "player" takes the position of an external observer in relation to the diegetic world, unlike the "gamer" in traditional video games with live-action elements (for example, the Tex Murphy series). Perron emphasizes that classical game mechanics are based on a victory/defeat dichotomy, whereas in FMV games the user rather acts as an editor putting together pieces of a narrative puzzle, which casts doubt on their belonging to the category of games in the traditional sense.

The modern generation of FMV games demonstrates a remarkable trend: the deliberate restriction of player interactivity and agency is transformed into a special type of hermeneutic challenge. The lack of traditional game actions is offset by the need to develop other skills focused on understanding, analyzing, and interpreting what is happening. Thus, these works shift the focus from actively influencing the game world towards a deeper understanding of the presented narrative.

However, despite some similar elements of interactive film and FMV games, interactive films have more differences. If interactive elements in a work in the manner of "Bandersnatch" cannot exist simultaneously with the narrative, and due to this, a person can partially act from the position of an external observer, then in the works of the studio "Quantic Dream" interactive and narrative sections may overlap. In addition, in an interactive film, although there is a deliberate limitation of gameplay capabilities in favor of cinematography, a person does not act as an editor: he is not given the opportunity to change the sequence of narrative passages in any way, which is the basis of the entire interactive experience in modern FMV games. In this regard, the role of a "player" does not seem appropriate to designate a person who interacts with an interactive film.

We can find the closest role in the concept of "focalization", borrowed from narratology, which defines the prism of perception of narrative events ^{[12, p. 32-34]}. The theory of focalization identifies two main types of perception: external and internal (character). In the context of narrative video games, these states are constantly alternating: the player switches between active character control (internal focalization) and passive observation of cinematic inserts (external focalization).

In connection with this interpretation, the question arises of how much and deeply a person is immersed in the proposed image. To answer this question, we can turn to human studies focused on the player's position when dealing with video games. Art critic Anton Denikin emphasizes the preservation of a critical distance between the player and the game reality - the actions of a character are determined not so much by his established character as by the preferences of the player himself within the framework of available mechanics ^{[13, pp. 55-56]}. And cinematography researchers King and Krzywinska note a significant difference between acting and acting experience ^{[14, p. 77-80]}. They argue that even in genres with direct first-person character control (for example, in shooters), there is no deep psychological "integration" into the role - instead, the player uses the proposed role as a tool for interacting with game mechanics. Thus, the gaming experience is fundamentally different from the actor's method of living the role and has a critical distance from the work. Similarly, the focalizer maintains a critical distance, since its interaction with an interactive movie is similar to how a gamer interacts with a video game.

Narratology and the concept of focalization are controversial in the scientific community, as part of the discussion of video games. However, in the case of an interactive film, we are convinced that a person acts precisely as a "focalizer", and not as a "gamer", "viewer" or "player". It is in an interactive film that we can most vividly observe the constant change of perception, the fluctuation between internal and external focalization when changing gameplay sections and cinematic (narrative) ones. But we also note that internal focalization occurs within a critical distance, without psychological "getting used" to the role in the manner of an actor.

"Hybrid Media". A detailed analysis of the specific characteristics of video games and cinematic works allows us to conclude that interactive cinema, represented by such works as "Fahrenheit" and "Heavy Rain", occupies a special position that does not allow it to be unambiguously classified within existing media formats.

On the one hand, these works cannot be fully attributed to video games, since they significantly limit traditional game interactivity, do not provide classic game mechanics, progression systems, and freedom of action typical of video games. The gameplay in them is reduced to a minimal set of actions, mainly aimed at promoting the narrative, rather than creating a full-fledged gaming experience.

On the other hand, these works cannot be considered purely cinematic works either, since they require the active participation of the user, provide an opportunity to influence the development of the plot and do not have a single, unchanging form of narration characteristic of traditional cinema. The presence of multiple plot forks, the variability of the story's development and the need for constant interaction with content contradict the fundamental principles of cinema as a "hot" media.

In this regard, it seems advisable to single out such works in a separate category of "hybrid media", which most accurately reflects their intermediate position between cinema and video games. We propose the following author's definition of this format:

Hybrid media (interactive cinema) is a form of digital narrative work that combines cinematic principles of visual storytelling with elements of interactive and immersive interaction, where the user simultaneously acts as a viewer and an active participant influencing the development of the plot through a limited set of predefined actions, while maintaining the priority of the narrative component over game mechanics. This definition highlights the unique nature of these works, their intermediate position between traditional media formats and the special nature of interaction with the audience.

The development of an interactive film. Within the framework of this study, it will also be important to note how interactive cinema has developed over the past decade. For example, the 2015 interactive horror film "Until Dawn" by Supermassive Games studio has significantly enriched the genre, bringing several important innovations to it. First, the film introduced the "butterfly effect" system, where each player's decision had consequences for the development of the plot, and these consequences could manifest themselves both immediately and after several hours of playing time. This system was also developed through the introduction of a character, a psychologist, with whom the user had a "session" from time to time. Through communication with him, the film could adapt to the user's individual fears. "Thus, for the first time in the history of interactive entertainment, a game product tries to adapt itself to the viewer, to please his personal tastes" ^{[15, p. 79]}. Secondly, the game developed the mechanics introduced in "Heavy Rain", which was that any of the game characters could die or survive depending on the player's actions. However, whereas "Heavy Rain" offered three characters to control, "Until Dawn" offered eight, which created an unprecedented number of possible endings. "Until Dawn" also raised the bar for the quality of graphics and animation in the genre, using advanced motion capture and facial animation technologies to achieve photorealistic visual storytelling. "Until Dawn" successfully combines elements of classic slasher, horror, and teen thrillers with interactive storytelling, creating a tense atmosphere where every decision can be the characters' last. In addition, "Until Dawn" introduced an innovative approach to replay – the system of collectibles and totems provided hints about the possible consequences of decisions, encouraging multiple playthroughs to explore all possible story lines.

Another example of the development of the genre is the interactive film "Detroit: Become Human" 2018 by the studio "Quantic Dream". For the first time in the genre, the work offered an in-depth study of social and philosophical topics, including issues of artificial intelligence, civil rights, discrimination and humanity. A unique feature was the system of relationships between the characters, where the user's actions influenced the level of trust and affection, which could change the development of the plot. The interactive film also stands out for the scale of the narrative, where the player's decisions affect not only the fate of individual characters, but also the development of an entire society, up to the possibility of a full-scale android revolution. In addition, the film has developed a system of "flowcharts" for each story scene, allowing players to see all possible scenarios and providing statistics on the elections of other users. Prior to this, this system was introduced in a primitive form in interactive series from Telltale Games, for example, "The Walking Dead", but in "Detroit", due to the greater plot variability, the "flowcharts" became more complex and detailed, which significantly stimulates motivation to re-familiarize with the work.

According to D.V. Tchaikovsky and T.N. Lomteva, interactive cinema occupies a special niche in the gaming industry today, having become a mature and independent genre that successfully combines cinematic narration with interactive elements ^[16]. This genre attracts both traditional gamers and people who were not previously interested in video games, due to its accessibility and focus on the plot. Technological advances, including photorealistic graphics, advanced motion capture and mimicry systems, have made a significant contribution to the development of the genre, which has made it possible to virtually erase the line between cinema and gaming. Modern interactive cinema actively uses artificial intelligence technologies to create more natural dialogues and character reactions to the player's actions. An important trend has been the expansion of thematic diversity: in addition to traditional thrillers and dramas, projects in the genres of science fiction, historical dramas and even comedies are emerging ^[17]. Major studios and publishers are showing increasing interest in this genre, seeing in it the potential to attract a new audience. Many interactive cinema projects are now being created in collaboration with renowned directors and actors from traditional cinema, which increases their artistic value and attractiveness to the mass audience. Streaming platforms are also actively including interactive cinema in their catalogs, blurring the boundaries between traditional media. Decision-making systems and their consequences have been significantly improved, offering players a deeper and more comprehensive influence on the development of the plot. The genre is also actively experimenting with formats, including episodic releases and cross-platform storytelling. Thanks to the development of VR technologies, projects are emerging that offer a deeper immersion into the narrative. Interactive cinema has become an important part of the film and gaming industry, offering a unique experience at the intersection of cinema and video games, and continues to evolve, mastering new technologies and narrative techniques.

Conclusion. The conducted research allows us to conclude that interactive cinema is a unique media format that cannot be unambiguously classified either as a video game or as a cinematic work.

Interactive cinema differs from video games by a significant limitation of traditional game interactivity, the absence of classical game mechanics (progression systems, scoring, performance improvement), as well as minimizing the user's freedom of action. Interaction boils down to basic forms through QTE and contextual actions, which serve primarily to advance the narrative rather than create a full-fledged gaming experience.

Interactive cinema differs from cinema by the need for active user participation, the ability to influence the development of the plot and the lack of a single, unchanging form of narration. The presence of multiple plot forks and the need for constant interaction contradict the fundamental principles of cinema as a "hot" media.

In this regard, we propose the following definition: hybrid media (interactive cinema) is a form of digital narrative work that combines cinematic principles of visual storytelling with elements of interactive interaction, where the user simultaneously acts as a viewer and an active participant influencing the development of the plot through a limited set of predefined actions, while maintaining the priority of narrative working on game mechanics.

We support the narratological concept of "focalization" in relation to a person who interacts with an interactive film, with the clarification that the "focalizer" has a critical distance in relation to the work.

Thus, interactive cinema is an independent hybrid media format that requires a special approach to theoretical understanding and analysis, and its user occupies a unique position of "focalizer", significantly different from both the position of the gamer and the position of the moviegoer.