Portal 2 [Contains spoilers, you've been warned!]

Lightning Count

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I want this game so bad, but have to wait till next month, don't really have the spare cash to blow on games right now.
 

D-Fence

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All of the hilarious dialogue from part of the end of the game:

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[video=youtube;NxMKoB-A5-8]http://www.youtube.com/watch?v=NxMKoB-A5-8[/video]


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I'M IN SPAAAAAAAAAAAAAAAAAAACE


I fucking loved that core :D I even fucked up one jump because I laughed so hard :D
 

Matt2000

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Aaaaand... Done! Phew.

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What a ride, but either I'm very good at this or the end boss fight was actually quite easy. Song's awesome. :lol:
 

vikiradTG2007

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6 hours played so far, progress not helped by fatigue and high fragmentation of play time. Chapter 7 I think, I've lost track of reality between this and stressful real life. :lol:
 

thevictor390

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I'm on chapter 4 and stuck for the first time. It was late though so I'll give it another go before seeking help.

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It's a large room with a single turret on a pedestal across from the entrance. There's a light bridge going into the ceiling from the ground. I've worked out how to press the button to launch the two boxes into each other but not sure how to catch them / stop them from launching.
 

vikiradTG2007

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I'm on chapter 4 and stuck for the first time. It was late though so I'll give it another go before seeking help.

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It's a large room with a single turret on a pedestal across from the entrance. There's a light bridge going into the ceiling from the ground. I've worked out how to press the button to launch the two boxes into each other but not sure how to catch them / stop them from launching.
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Use the light bridge as a barrier between the faith plates' cube trajectory. They'll both fall where you can retrieve them.
 

WillDAQ

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It's a large room with a single turret on a pedestal across from the entrance. There's a light bridge going into the ceiling from the ground. I've worked out how to press the button to launch the two boxes into each other but not sure how to catch them / stop them from launching.
Spoiler Text: (Click here to toggle display)
Have lightbridge coming up out of the ground in front of the box dispenser furthest from the turret. Both boxes land on that side.
 

Matt2000

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Use the light bridge as a barrier between the faith plates' cube trajectory. They'll both fall where you can retrieve them.
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Have lightbridge coming up out of the ground in front of the box dispenser furthest from the turret. Both boxes land on that side.
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That's true.

Would it be considered a spoiler if I used a quote from the fact core in my signature?
 
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thevictor390

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Thanks guys, I figured it out on my own, for some reason I was completely overlooking the small area of portalable ground in front of the first springy thing (yes I know it has a name and I can't remember it right now).
 

vikiradTG2007

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Just started chapter 8. To be honest, fragmenting the gaming experience keeps it fresh actually. 7 hours played so far according to Steam.

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The turret-cubes are definitely the work of a moron. :lol: Also, potato-GLaDOS is fantastic.
 

jedd_kenobi

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actually i've given in and literally just got back from a visit to the Town Center and got a copy of the game on the PC. will fire it up in a bit.
 

chaos386

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Did anyone else avoid the Internet until they could finish the game, to avoid spoilers? :p

My first thoughts... (as is often the case, I intended to write one or two things and ended up with an essay.) I finished the game in two goes this morning, because I got stuck at one point.

There's not a huge amount ruined. Well, the end is, and other important stuff. In fact I'd say most of it is ruined. Don't read this if you don't want it ruined, that's my advice.

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Wheatley grew on me. I was very unsure about him when I saw the trailers... I'm still not sold on him, and I completed the game this morning. Steve Merchant's voice acting is very expressive and entertaining, but he's not exactly stretching himself with the type of character Wheatley is. That's not a huge criticism. You can't blame Valve for going for someone who can do that character reliably, and you can't blame Merchant for taking a good gig, but there are points where the character seems too ready-made. They could have taken lines from Extras and turns of phrase he's used on the Ricky Gervais Show to construct the dialogue, that's what I mean. Lazy's not the right word to use but it springs to mind.

Nor am I quite sold on the constant testing. I think what Valve are getting at is that Aperture Science is the least well-run company on the planet, and their products never make it to market, instead just going through a perpetual process of testing and retesting for no good reason. And that's why GLaDOS 'loves to test', and why Wheatley gets an itch when he doesn't test - it's part of the mainframe's programming that testing is the be-all and end-all of the company. I'd say that's meeting Valve more than halfway though (if I'm at all correct), because there aren't very many clues to this, and for that reason I think the testing seems futile for long stretches. Similarly, I don't think it's especially clear why Wheatley comes to wake you up and escape with you at the start of the game. He makes mention of power running out, I think... and everyone else being dead, so presumably Chell's his only hope. Still, I don't think the initial motivation to go forward is clear enough.

The puzzles are tremendous though, some instantly obvious and others getting you to that point where you're just about to give up... but still need to complete it! The moments of clarity at which you figure out the answer and everything clicks into place are as satisfying as in the first game, if not more so, given the increased complexity provided by the new items.

Although the gels worked better in Tag, they would never have worked if you'd had a separate paint gun in Portal 2. It would have ruined the elegance and focus of having a single item in your hands (weapon's the wrong word there). I think the use of pipes to deploy the gels complements the portal mechanic well. They did lead to the one moment where I got stuck and gave up for half an hour though, when you're given the white gel that creates portal-friendly surfaces, and you need to get onto a ledge to continue. The only method I could see to complete it was a series of increasingly fast flings, but they were haphazard and it seemed to be a matter of chance whether I made it to the ledge in question. Valve said that they wanted to avoid puzzles where you knew the answer but had trouble actually performing the actions required. For the most part I think they did that, but on this bit I don't, and it really pissed me off.

The writing, as before, is very funny and sharp. With Wheatley being a motormouth, and playing it on a second run, I'm taking the opportunity to stand still and do nothing when he tells me to do something, just to see what dialogue he might come out with to further urge me on. He's got some very funny, well-delivered lines.

I was worried when I saw all of the potato bring your daughter to work day stuff, because I don't like wackiness and the potato sack had me worried. GLaDOS being turned into one worried me further, but it did lead to the nice bit where you come across her in a nest. I got used to it, and it was certainly an interesting way of getting you to team up with her.

The old facilities were beautifully designed and gave me one of the bits that made me laugh out loud - when you get a colossal metal door to slowly open... revealing a normal wall, with a normal-sized door at the bottom. Brilliant! I liked the different designs through the decades, particularly the Fifties. It proved that not only Bioshock and Fallout can take advantage of the past for comedy. And it proved that you can be just as funny doing it for 30 minutes as you can basing an entire game on it. (Nothing against Bioshock or Fallout, those games are good and the design is superb, but I liked seeing it for just half an hour before finding myself in the Seventies, surrounded by beige.)

The stuff about Caroline/GLaDOS/Cave Johnson/Chell... I don't know. Not sure I care given that it's impossible to work out. People seem to be all over Steam trying to figure out what the history of this lot is, whether Bring Your Daughter To Work Day was where Cave Johnson and Caroline left their infant daughter Chell in the facility, whether GLaDOS is Caroline's digitised brain... frankly, either Valve deliberately gave us bugger all to work with in the interests of keeping it vague, which makes them dicks because it's impossible, or they did a shitty job providing us with enough clues to figure it out, which is just poor writing. (On playing it a second time, it makes much more sense, given that I'm tuned into little lines of dialogue that I didn't pay any attention to at first. Still, I would say that playing the game once left me confused about it all, and while I'm not asking to be spoon-fed, to place enough emphasis on such a plot point but not go all the way to divulging what it actually is, is poor.)

When Wheatley took over and made the disfigured turret/boxes... eeeurgh. I shivered so much. They were so creepy. They helped the atmosphere a lot but man they made me shiver. I just wanted to euthanise them. You know in films when the experimented-upon half-human half-something else weakly mutters, 'Kill me'? I felt so sorry for them.

I should have felt sorry for Wheatley too. He wasn't a bad egg, it was the system that corrupted him. I'd feel drunk with power too if I could move walls. But he'll be perfectly happy in space.

Talking of which, that was such a great ending. Balls-out insane, and I loved it. Valve could have gone for something like the first game, just making sense. Nah, let's fucking portal to the Moon. So bombastic.

Seeing the rooms from Portal again was wonderful. It was rather like in Portal when you break out and see a few rooms again, from the perspective of someone who shouldn't be there. You could see it coming a mile off, but it didn't make it any less exciting. Your first experience of them being back in the relaxation chamber was an especially nice touch. I also adored the very opening where you're told to look at art and go back to sleep. And then Wheatley asks you to talk and gets confused when you jump. A superb opening to the game.

All the cinematic bits... yep, they were all good. I liked the bit where you escape from GLaDOS and she offers the final room to you. I immediately went in expecting to die, and did. Dooi!

I also love the fact that Portal's probably the only hugely popular and successful FPS where nobody talks about the graphics. Sure, they're good, but everyone talks story, writing, gameplay. That's exactly the way it should be. All Crysis has going for it is graphics, because the rest is a sack of balls, and this proves it.


I probably have heaps more to say but I'm going to eat chicken wings and pizza now.
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My take is that Caroline's mind/personality (or at least part of it) was used to create GLaDOS. Remember the quote from 80s Cave talking about how if they can't put him in a computer, they should put in Caroline and have her run the place, forcing her to do so even if she protests? I'm guessing that's precisely what happened, and to force her to run the tests, they put in that "itch" into her programming (along with the don't-give-away-the-answers code). Being forced to do something against her will along with shock therapy and the feeling of power is probably what drove her insane over the years. I'm not convinced the constant testing is linked with Aperture's downfall, although their knack for being incredibly smart to make all the inventions, but tremendously stupid in some of their execution probably had something to do with it!

As for why Wheatley is trying to save you in the beginning, I think it's just that his task is to take care of the test subjects, so he wants to save you (until he swaps places with GLaDOS), similar to the testing itch. Or it's just that everything's exploding and he wants to get the hell out of there and needs your help! :p

I loved the ending, too. GLaDOS really did seem to have changed a little on the inside, although her sarcastic and sadistic personality means she had to hide that. It really seemed like she was thanking Chell (you know, not killing her and all, and setting her free with a chorus to send her off), but she had to do it in a way that didn't make her seem soft.
 

thevictor390

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Thanks everybody for keeping it spoilered, I too am taking it in smaller chunks because I'd hate to finish a new game only days after buying it. I love how they've kept it varied with several plot twists and completely new environments.
 

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bloody hell this game is good. Up to Chapter 3 at the moment and enjoying the layers of story and puzzles mixed in betwwen. some of the stuff really requires a lot of thought.
 

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Something occurred to me earlier, I didn't see a single vacuum tunnel in the game. I don't know if they're in co-op, but if not I wonder if that was a subtle hint to the ending, completely meaningless before the game but makes sense afterwards.

I've just re-played a few of my favourite bits, just for the sake of it. :D
 

essentialatom

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Did anyone else avoid the Internet until they could finish the game, to avoid spoilers? :p



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My take is that Caroline's mind/personality (or at least part of it) was used to create GLaDOS. Remember the quote from 80s Cave talking about how if they can't put him in a computer, they should put in Caroline and have her run the place, forcing her to do so even if she protests? I'm guessing that's precisely what happened, and to force her to run the tests, they put in that "itch" into her programming (along with the don't-give-away-the-answers code). Being forced to do something against her will along with shock therapy and the feeling of power is probably what drove her insane over the years. I'm not convinced the constant testing is linked with Aperture's downfall, although their knack for being incredibly smart to make all the inventions, but tremendously stupid in some of their execution probably had something to do with it!

As for why Wheatley is trying to save you in the beginning, I think it's just that his task is to take care of the test subjects, so he wants to save you (until he swaps places with GLaDOS), similar to the testing itch. Or it's just that everything's exploding and he wants to get the hell out of there and needs your help! :p
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Yeah, as I say, on a second playthrough it all seemed to fit together much more solidly. But that first time, I just felt like Valve were being dicks and throwing in a load of disjointed plot points just so that they could pick up on it in a later game, and say that they'd laid the groundwork first. (And they probably will, of course.)

I don't recall there being much of a reason for Wheatley waking you up at that particular point - by which I mean, why does he come and get you when he does, as opposed to any other time? GLaDOS is dormant, after all, and I don't remember waking up during anything going wrong. Seeing as he mentions that everyone else is dead, perhaps it's possible that he's already woken all of them up before, and they've all died in some way or other, and Chell's the last one. But then why does he wake them up? I don't think anyone would be convinced by that explanation anyway, so as I say, I think the plot provides limited initial motivation for playing, because if you think about it you really don't know why Wheatley's woken you up, and you haven't actually been given any good reason to get going. I don't think it makes sense that his task is to take care of the test subjects, because he's a personality core - although I seem to recall him saying that he'd get in trouble if other people found out that everyone was dead, so maybe that is his task. In which case... that's poor writing.
 
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