• Relate how the choices the player makes in the game do not affect the story directly but they are still given the ability to choose an response.
• The choices in the game don't allow the player to choose only whether to finish the game faster or not.
• Ending is already determined so the player is allowed to focus on the rules and procedures needed to get to the ending.
• Player is told there is one path that is what actually happened but they are still allowed to explore all the different possible paths and reactions.
• Frasca discusses critical thinking that comes from being separated from the events instead of being fully Immersed. The player is allowed to think critically in the game because the choices only slightly affect and the player is not directly involved. The choices are not impactful because they all eventually lead to the same path.

Instead of being "inside the skin" of the character, he encouraged having a critical distance that would let them understand their role.

Brazilian dramatist Augusto Boal (1971) took Brecht's ideas even further by creating a set of

techniques, known as the "Theater of the Oppressed"(TO), that tear down the stage's "fourth wall." Boal's main goal is to foster critical thinking and break the actor/spectator dichotomy by creating the "spect-actor," a new category that integrates both by giving them active participation in the play. (88)