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And even later on, a vengeful father will request you to let a man named Simon Wens through. A little further in, you will meet a secretive group called the Ezic Order whose members will tempt you to join their side with the promises of eliminating corruption and a brighter future for the country. At other times they are willing to pay you for small tasks like distributing little advertisement slips to engineers who are migrating. As you proceed through the game you will meet many people who will ask you for help or want to bribe their way in. As an unnamed immigration inspector, your duty is to review documents and grant/ reject entry to immigrants. Papers Please, is set in a fictional dystopian country called Arstotzka. Mainly, the idea for a narrative and whether it will proceed down one line or many.

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Pope’s vision of creating a puzzle simulator was posed with multiple challenges. PAPERS, PLEASE IS NARRATIVE DRIVEN PUZZLE SIMULATION WHICH OFFERS CHOICES AND TESTS YOUR MORALITY AT THE CORE OF IT Sometimes they will make you question your judgement, sometimes they will smack you right back and land you in trouble. Somewhere down the line, you would find yourself making difficult decisions.

In that sense, smokescreen tactics are often mixed with empathy to give the narrative a real and often humorous, and more often a perfidious direction. There is hardly any honesty in Papers, Please, but it expects you to show both. If you have come across the popular catchphrase “Honesty is the best policy”, you would know that the expression carries with it two sets of moral behaviours, one which is appreciated (tell the truth and you will be praised) and the other which is frowned upon by society (lie and you will be punished). Lucas Pope’s Papers, Please is a tour de force in puzzle simulations. PAPERS, PLEASE & ITS DIFFERENT DIMENSIONS As a result, people are only left with one rack to choose from, shelves filled with sham, conceptions of a sterile mind. Force-fed because the market which is operating against the interests of the consumers is not providing likeable options or options that are any different, in turn creating an audience which lacks taste. A society which craves for thrill and seeks excitement has stepped into an era of decay where they are being force-fed recycled materials manufactured by an increasingly derivative industry. Video games are becoming increasingly boring. Whether the next Watch Dogs game will be any different or if the next Call of Duty will have anything new are audible questions amid a mass of enthusiasts who pine for a little change.

To this day, originality in games has remained a major subject of debate. When the competition is big there are many to compete, but when the big competitors are fallible, a stronger small opponent replaces it.

To call names, we have witnessed the gross degradation of the 2013 SimCity, that was shortly afterwards beaten black and blue by Colossal Order’s Cities: Skylines. Their actions have led to the erosion of various ramifications of game design, leaving bleak, senseless and even deplorable worlds of arrant decadence. In a fight against a declining empire, or in this case empires, the revolutionaries or the bringers of change have played an enormous role in setting a standard that was forsaken long ago at the expense of transforming these empires into money-making machines. Their rise can be translated as a nexus between the deterioration in the quality of AAA games and the tangible imitation culture spearheaded by an industry that is devoid of ingenuity, and the ingress of small teams or individual developers, who despite being in a highly competitive playing field have unequivocally proven themselves, victors. Indie games are great, at times even unparalleled. THE SORRY STATE OF AAA GAME & THE RISE OF INDIE GAMES

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