Often, players advance through the game by passing “levels” that do not necessarily relate to the inherently unchangeable nature of a nonfiction narrative (no matter from whose perspective it has been constructed). One example is Cutthroat Capitalism (2009), a news game appended to Wired Magazine’s story on Somali pirates. Since the audience is asked to become a Somali pirate, a deeper understanding of the economics of the highjack-and-ransom system is achieved through the play. However, it does not attempt to delineate any individual case in particular, and what happens to the player is based on his/her choices rather than reflecting the facts connected to one or more physical world events that have already transpired. Also, in contrast to immersive nonfiction, there is no virtual embodiment. The difference between immersive nonfiction and documentary games, however, is more difficult to tease out, especially given that there has yet to be a body of research to help determine what constitutes news games versus documentary games. In Tracy Fullerton’s piece on documentary games, she offers a number of examples of games that recreate the events of Pearl Harbor, allow a player to reenact John Kerry’s Vietnam swift boat tour of duty, participate in a recreation of real Iraqi war scenario in which Saddam Hussein’s sons were killed, or “play” a 9/11 victim. As Keith Halper, CEO of KUMA Reality Games, notes: “Games allow us to be who we are not, to do what we cannot, to be in places and times we cannot go… Through entertainment and action, we can educate in novel and powerful ways.” However, each of these examples has shifting narratives—the player does not necessarily kill Kennedy or follow the exact documented path of any particular victim of 9/11. This includes the swiftboat exercise, which offers a player the ability to choose variations on the story. Perhaps key to clarifying the difference would be that immersive journalism uses an embodied experience in an unchangeable narrative that allows queries to the environment without changing any individual’s story trajectory. This reflects more closely a traditional journalistic or documentary practice. Consider the IPSRESS project which uses an HMD in which individuals were put in a virtual body of a detainee in a stress position. The individual in that experience heard an audio of a real transcript of an interrogation of Mohammed al-Qahtani read by actors as if it was coming from another room. This was a recreation of a real event and the experience proved to be journalistically accurate—after this immersive piece was complete, the British government released a video associated with the court trial over the death of civilian Baha Mousa.