Murray introduces the idea that visiting these liminal spaces temporarily assists in immersing the player into the narrative. She explains, "For purposes of experiencing multisensory immersion, one of the simplest ways to structure participation is to adopt the format of a visit. The visit metaphor is particularly appropriate for establishing a border between the virtual world and ordinary life because a visit involves explicit limits on both time and space."  The temporal and impermanent nature of visiting the protagonist allows for the player to inconsequentially and fully immerse into the story while keeping open an "exit" back into the real world at any point that they wish to leave. This helps create a sense of immersion because they are uninhibited in their in-game engagement, without concern for their choices to have consequences. 

In the image, we cross-over into a narrative where the protagonist is also occupying a liminal space between choosing to stay or leave their home. The protagonist is crossing-over "in more ways than one" as they are physically travelling to a new world while taking on a mental transformational journey that comes with immigration and settling into a new environment. It's important to note that we have no choice in whether to cross or not, as there is no other option given, and so we shadow them through this transformation, yet we as players are able to leave at any point in time -- unlike the protagonist.