It will then tie this analysis back to a broader discussion regarding open literacy and how these games can interface with larger discussions. This article particularly focuses on the ‘Antegrian Husband and Wife’ event, contrasting that with the ‘Snowier Pastures’ ending, showing how the two are thematically connected. Papers, Please is one of the best examples of a choice-driven game in which the player’s choices are accumulated into an expressed self which is then responded to in a way that exists independently of any objective ‘win’ or ‘lose’ conditions. – resulting in a rough proxy of the player that the interactive text can see and respond to. The expressed self is a new term that describes the process whereby choices made by players in an interactive narrative are saved – either as alignment, flags, character favour, etc. This article analyses Papers, Please through the expressed self. In doing so it interfaces with broader cultural discussions by directly interacting with a player’s long-term unconscious and instinctive responses to moral dilemmas. It does this not just at the end of the experience, but by keeping track of the player’s long-term behaviour.
It encourages the player to offer their own answer to the question: how do we respond to border control? – and then offers them a nuanced takedown of that response. As an interactive narrative with multiple endings, Papers, Please interfaces with public discourses surrounding refugees, border control and asylum in ways that have implications for the role that ‘open literacy’ plays in the realm of videogame narratives.
#Papers please game map simulator#
Lucas Pope’s border-control simulator Papers, Please ( 2013) was released shortly after a United Nation’s paper titled Displacement: The New 21st Century Challenge ( UNHCR, 2013) which declared that the number of internationally displaced people on earth had reached a 20-year high.
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