The project shifted toward handcrafted theater and roleplaying, an intermediate story followed an artist who became lost on the way to a wilderness residency and entered a traveling troupe’s warehouse theater. Initially assigned a background role, the protagonist would be corrected by the director whenever they departed from the script. Discovering another performer’s script backstage introduced a way forward: borrowing and exchanging scripts allowed the player to inhabit different characters, understand their roles through others’ reactions, and complete tasks to progress between acts. The motivation later shifted from escaping the theater to recovering O’s stolen head and identity. In the later Margo version, the journey became more personal: O was an unfinished, headless doll whose creator, Margo, had not yet decided who they would be. After Margo became lost in the woods, her doll came alive within her dream and began searching for its missing maker. The theatrical worlds drew from her experiences—a forest, a sandcastle, a circus souvenir, and family life—while taking on other identities became part of O’s journey toward understanding others, forming connections, and discovering a sense of self.