There’s a certain dehumanizing impulse that comes with mastering game systems. It is articulated through the dissonance between Nathan Drake as-he-appears-in-cutscenes and the Nathan Drake whose actions correspond to a controller’s thumbsticks. It is the reason why genetic algorithms have been used to plan the “perfect” build order in StarCraft 2. Processes are fertile ground for privileging economy of action and thought. This is so ingrained in contemporary game design that player progress is often measured by the increasing complexity of game mechanics: by adding new abilities, introducing more difficult foes, more challenging environments, etc.

Who said that paper work is boring? Well, maybe it is, but there are some conditions that actually make it extremely interesting and even dangerous. In this game, you are going to play for a man, who works on the border between two countries.
Papers, Please is a single-player “Dystopian Document Thriller” in which the player steps into the role of an immigration inspector in the fictional country of Arstotzka in the year 1982. As the player stands on the threshold between two different countries, a unique perspective of immigration and border security springs out of the mundane.
Papers Please is an amazing puzzle simulator where you will play the role of a serious man – an inspector on the border between countries that are enemies. The events take place in 1982 in a fictional state Arstotzka. The main character gets the job on the border and controls the immigration process.
Papers, Please Yugoslavia mod Jul 7 2020 Released Mar 2019 Adventure ( 1.5 SMALL MISTAKE FIXED ) NEW UPDATE 1.4 A LOT OF IMPROVEMENTS Papers, Please Yugoslavia mod a lot of assets,data files, and text changed.

Become an immigration officer so that you can make sure people are getting into the country legally with Papers, Please. This is a game where you are an officer who looks at the immigration papers of the people who want to get into the country. If they don't have the proper documents, then they can be arrested.

In his 2013 book, The Art of Failure, Jesper Juul briefly examines the motivations of players that obsessively “min-max” or optimize their gaming strategy, often to the detriment of their sense of fun; players will find an effective strategy and continue to use it, even though it turns what should be a fun experience into a mind-numbing, repetitive chore (60-61). Juul suggests that this behaviour illustrates what he calls the “paradox of failure,” which is “the combination of a short-term goal of avoiding failure and an aesthetic goal of engaging in an activity that includes failure” (62). He goes on to say that designers must “[make] sure that the path of least resistance is also the most interesting one” (62). Juul’s general point is that games (and in particular, video games) are always a form of emotional gambling, and his main assertion in the text is “failure in games tells us that we are flawed and deficient. As such, video games are the art of failure, the singular art form that sets us up for failure and allows us to experience and experiment with failure” (30).

It is this focus on failure and human flaws that, on the surface, suggests a useful convergence between Papers, Please (2013) and Juul’s The Art of Failure. Papers, Please is a game in which its ever-changing rules create a claustrophobic experience for the player, who feels as though the game’s processes actively work against them, rather than in the service of gradual mastery or slowly-mounting difficulty. Rather than concern itself with traditional fail states, Papers, Please exposes the player to ambiguous failure and typically treats “failure” as an “ending.”

Set in a dystopian version of the 1980s, the player takes on the role of an immigration officer for Arstotzka, a fictional Eastern Bloc country. Every day, the player receives edicts that make their job more difficult. Even when these edicts add new mechanics (new document types, lists of wanted criminals, etc.) it is also an agglomeration of newer, more subtle points of failure for the player. In addition to the steady difficulty creep of ensuring that the documents of every NPC are in order, players must also provide for their family. For every NPC that is successfully processed and properly approved or denied, the player receives $5. If the player approves someone with faulty documentation, or rejects someone that should have been cleared, they are not paid and receive a warning. After 3 warnings, they are then docked $5 for every subsequent error. Fail to make enough money to cover rent at the end of the day, and the game ends. Fail to make enough money to feed your family and pay for heat, and your family will fall ill. If you are not able to provide medication soon enough, a sick family member will die. Lose all of your family members and, again, the game ends.

Add to these constraints the very real possibility that a terrorist attack will cut the day short – every day is on a timer, meaning fewer NPCs will be processed – and Papers, Please quickly convinces the player that the optimum strategy is to immediately reject suspicious documents, ignore pleas for mercy or assistance as every doubt entertained is wasted time and a step closer to losing a loved one or ending the game entirely. Without being pedantic, Papers, Please perfectly critiques that dehumanizing impulse of mastery even as it introduces a moral dimension that goes well beyond simple binary choices. Players are neither Hitler reincarnate nor a saint. They’re just doing their level best in a situation where every new rule, every new mechanic works against them. The only thing that the player needs to excel in Papers, Please, is time, which becomes ever more scarce and important as the game progresses.

In Papers, Please, the question is: can you, the player, live with yourself if you follow the “path of least resistance” or optimal strategy in terms of the game’s mechanics. To return to Juul’s suggestion that designers must make the path of least resistance the “most interesting,” designer Lucas Pope did not create a balanced world for the player – the “path of least resistance” is interesting only in retrospect. It demands that players engage completely with the mechanics and ignore any narrative justification for their actions beyond the premise of the game; players are only faced with the consequences of those actions in an ending cutscene. It embodies what it means to be an unthinking cog in a great uncaring machine in a way that leaves the player with a real feeling of culpability. Which is to say, players taking the “path of least resistance” actively ignore Pope’s excellent narrative elements, which taunt with their alluring suggestions of escape from the banality of checking documentation. However, it is at this point that Papers, Please illuminates a few of my problems with what Juul has to say in The Art of Failure.

Juul asserts throughout his text that “failure” is an intrinsic aspect to games, which raises the question: how does this work for games without fail states, or games that do not conform to traditionally-defined fail states. In fact, when asked about Every Day the Same Dream (2009), a game in which players are presented with an “everyday” routine not unlike Papers, Please and also features a non-traditional approach to fail states, Juul’s response was a little problematic.

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Juul initially tries to brush Every Day the Same Dream off as anomalous, a parody of traditional game design. Then he shifts to talking about games as a sort of personal goal-setting, not unlike players self-imposing their own sets of rules, which certainly comes up later in the book in the form of a triad of goals that players largely set for themselves: Completable goals (typically to be completed once, like a single-player campaign), Transient goals (things to be repeated, like winning a certain amount of multiplayer matches) and Improvement goals

Papers Please