Goodbye Strangers allows us to see characters through a range of lenses. Among them: how they present themselves in public, how they are described through a metatextual lens (i.e through supplemental essays), and through the stylized and transcendentally targeted advertisements of Eraserlist and other character-based modules – all of which is presented in a collaged and compressed "slice" of both in- and out- of world experience.

This juxtaposition of paradoxical framing points – direct experience vs. secondary commentary^꒔, reflection^ೞ, or duplication^ʬ – is consistent throughout the work. Zeroworld, for example, is not a 1:1 scale of itself; the Zeroworld that Verity and Default creates is not the Zeroworld that we, as the audience see - and presumably, characters' insecurities are not being projected as ads on their own computer screen.

This idea of "voyeurism" ties in with the higher dimensional themes present within the narrative, as in the following sequence:

We see these themes further explored on a larger scale within Beyond the Curtain, whose "character/reader" connections are mirrored through the "character/thoughtform" and "thoughtform/dimensionarian" relationships. Just as the reader can see into a character's head without their consent, higher-dimension beings like the probotaxazatonians can perceive and influence the path of thoughtforms.

The "sense of transcendent dimensional relationships" that is gained through an understanding of how Beyond the Curtain and Space Madness relate, can then be applied to further metaphysical ideas, as portrayed in helpfully anthropomorphized forms, ala drug-addicted time-shifting aliens, dimensionally warping alphabet letters, adorable but weird cat-esque entities, and trippy feline mech angels.