The term “spectator” has long been employed as a multifaceted literary device, serving simultaneously as a pseudonymous signature, a symbol of detached observation, and a critical lens through which society is examined. In eighteenth‐century periodicals like Addison and Steele’s The Spectator, the name is not simply a title but a persona—a stand-in for the discerning, sometimes humorously detached commentator on social manners and fashions ([1], [2], [3]). Later authors expand on this notion: for instance, thinkers such as John Dewey contrast the passive observer with the active participant ([4]), while literary figures like Oscar Wilde suggest that becoming a spectator of one’s own life can be seen as an escape from suffering ([5]). Even in narrative works like Joyce’s Ulysses, the spectator is invoked to question whether one can ever fully partake in or simply observe the unfolding of life’s natural phenomena ([6]). Across these examples, “spectator” consistently encapsulates a dual role—both as the detached chronicler of cultural moments and as a reflective, sometimes self-aware presence in literature.