The Final Hours of Portal 2 - Free ebook download as PDF File .pdf) or read book online for free. NEW: Read about the making of the “Peer Review” DLC and the future of Portal 2 in a just-released bonus chapter! The Final Hour of Portal 2 takes you deep. The Final Hour of Portal 2 takes you deep within the top-secret offices of Valve, creators of Half-Life, for an unvarnished look at the creative process behind the.
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Portal 2 draws from the award-winning formula of innovative gameplay, story, and music that earned the original Portal over 70 industry. Portal 2: The Final Hours is a digital book about wait, don't tell me no, it's gone. The book is either called “The Final Hours of Portal 2” if you. The Final Hours of Portal 2 Authors Geoff Keighley Subjects Video game design The Final Hours of Portal 2, also known as Portal 2 - The Final Hours, is a PC.
From the hush-hush Portal prequel that was shelved to the last minute scramble to complete the game's story, The Final Hours of Portal 2 is a gripping and dramatic story brought to life by Keighley - with the Steam app going beyond conventional journalism to offer degree panorama photos of the Valve office and design labs, Jonathan Coulton's Portal 2 song in various stages of development, and a host of other features.
The ultimate insider's look into the making of one of the best games of the last decade, with some fascinating bonuses in the Steam app version. I am, and I highly recommend it. Lots of insight on the inner workings of Valve and what makes them so innovative. The same eight hours he gets every night.
Tiptoeing around the house in darkness, Erik puts on a flannel button-down, says goodbye to his wife Diana, checks that his month-old son Jack is soundly sleeping, and pulls out of the driveway in his Ford Taurus. But tonight might be different. Tonight, February 16, , might be the night Portal 2 , the new video game Wolpaw co-wrote at Valve in Seattle, will be finished after more than three arduous years of development.
Wolpaw likened this to players working together on the same computer to solve point-and-click adventure games. As soon as a playtester discovered a way to complete a puzzle with one set of portals, the level was sent back to the designers for further work. Some of the puzzle chambers were designed asymmetrically; one player would manipulate portals and controls to allow the other player to cross the room, emphasizing that the two characters, while working together, are separate entities.
According to Wolpaw, the mode was similar to the video game Speedball ;  one team would try to transport a ball from one side of the playing field to the other using portals, while the other team would attempt to stop them with their own use of portals. Matches would commence with this objective in mind, but quickly descended into chaos. Valve realized that people enjoyed solving puzzles with portals more and therefore they focused on the cooperative mode.
Wolpaw said that while some developers have been moving towards art games , no one had made a comedic video game. The team returned to the idea of exploring parts of the facility from Aperture's early days, and reincorporated Johnson through a series of recordings. One of these joke endings was triggered by shooting a portal onto the moon's surface, after which the player's character would die from asphyxiation over a closing song, but the idea of creating a portal on the moon was incorporated into the game's final ending.
"Final Hours of Portal 2" Now Available on Steam
As a reward, the Animal King would have married Chell to a turret, which would have followed Chell around the game without visible movement. The writers hoped to use this idea to make the robots human-like for testing purposes, but recognized that unlike the captive audience of the single-player campaign, the two players in cooperative mode may simply talk over the story, and thus the story was condensed into very basic elements.
He said, "if you thought you were sick of the memes, I was sick of it way ahead of you". It is depicted as a "living, breathing place",  and "a science company that's gone mad with science. Building itself out of itself. McCormick also likens Wheatley to Prometheus' foolish brother Epimetheus.
Within the game, a sentry gun makes reference to the Prometheus myth, the word "Tartarus" is visible on the supporting columns in the depths of Aperture Science, and a portrait of Cave and Caroline also shows Aeschylus , the presumed author of Prometheus Bound.
In a crossover , in Portal 2 an experiment accidentally teleported Aperture Science's cargo ship, the Borealis, into the position in which it is discovered at the end of Half-Life 2: Episode Two.
Simmons voices Cave Johnson, the eccentric CEO of Aperture Science Though Portal 2 introduced some new characters, the writers wanted to maintain the one-on-one relationships between each character and the player-character. The playtesters accepted playing as a different character for the first part of the game, but they became disoriented when GLaDOS did not recognize them.
The writers returned to using Chell, the protagonist of Portal. To remedy this, they created the Caroline subplot to give GLaDOS an external situation to deal with and to drive the story during the middle act of the game. Ultimately they decided to concentrate on a single core, Wheatley,  recycling two of the rejected cores in the final boss fight.
The designers initially planned to use Chell and a new human character called "Mel". GLaDOS' dialogue would play off the humans' "image issues", and this aspect was retained after the designers switched to using robots.
GLaDOS from the first er has explored, melodrama is a dramatic form particularly well suited for mo- Portal is joined by two other voices —Wheatley and Cave Johnson — in Portal 2, dernity and the technologies of the cinema. Melodrama, according to Singer, yet Chell remains mute throughout. The narrative process for kind of at a premium. Often a woman, sis on the female point of view. Brookes elaborates, explaining that this they inadvertently appeal to in creating Chell.
She writes: participating in these conversations in a way. He is an ab- say anything. A mute arouses ideas of identity, origin and desire. If, indeed, the player is the protag- about what her personality is like by now.
She is silent and silenced, yet her actions address the These concepts are not unique to cinema theory. This means that there is a Game Ego presence in the game. Statistics continue to illustrate fleetingly through the portals.
Yet her silence and visual absence acts to con- the breadth of game players in the market, and these statistics often account nect players to her experience, imagining her reactions as our reactions. We for both gender and racial or ethnic background. Yet in game design, gender are denied a voice in the game, seething with frustration or satisfied in our is often separated from ethnic or racial background; if a black or Latino char- accomplishments, and our avatar too, mirrors our abilities.
In this, Chell is the acter is in the game, the odds are that the character is a male. And with so few melodramatic object of identification and desire within the affordances of women protagonists to play, it is statistically impossible to offer a diversity of player expectation.
She cisely because she is obviously a woman, her ethnic heritage is ambiguous es- is a silent woman, victim of the whims of technology. She fights, yet her fight pecially in the first game , and she is silent, never able to tell her own story. In this new, tri- tantly, the writers and designers unwittingly tapped into the tropes of female ple A game, none of the protagonists are female, yet when questioned about narratives and melodrama, the struggle between good and evil with exagger- this, Ubisoft representatives explained that it would be too hard to animate ated characters and a mute who is the mirror of the player-protagonist.
Thus, female ninjas, launching the twitter hashtag womenaretoohardtoanimate. Further, some re- er-avatar relationships that people may develop with Chell. The Portal commu- sponse to the recent criticism leveled against Ubisoft suggests that gameplay nity, on the other hand, expands on their desire for Chell to be someone oth- and narrative are more important than characters.
The final hours of Half-Life
They write on the silence, they imbue her with a rich inner gument above illustrates that representation matters, and that women from life, and they explore her struggles in fan fiction and blog-posted meander- multiple groups are in such great need of a good game with a female charac- ings. Significantly different, we would argue. For example, when designing custom levels in Portal 2, the avatar accessed 30 May She still features prominently in blogs, fan May fiction, and conjecture, shaping even the alternative endings of Portal 2.
If games pro- cis. Bellevue: Valve Corporation. Available online at [www.
In Eurogamer, 14 March , [www. Violence Against Women of Color. In: Sociological Inquiry 1, pp. In: Sex Roles 61, 1, pp. May 6, Computers in Human Behavior 29, 3, pp. In: The Escapist 17 why-chell-doesnt-speak.
The Final Hours of Portal 2
The Escapist, May 7, Correlational Studies. In: Psychological Bulletin 3, pp. Not hating but just curious. Ubisoft Knows This. In: Thornham, com. June 23, In: Feminist Media Studies of Research.I am, and I highly recommend it. Submit Your Reply.
Journalist Geoff Keighley was granted unprecedented "fly on the wall" access to Valve over the past three years to create this staggering 15, word multimedia experience. E-mail This Review. Matches would commence with this objective in mind, but quickly descended into chaos.
Ultimately they decided to concentrate on a single core, Wheatley,  recycling two of the rejected cores in the final boss fight.