![]() RPS: Rooms crashing into each other takes that detail to another scale. And you do get this lived in sense of the world. I’m still spotting new things when I play it. ![]() And it’s not a feeling of cracking the whip, “Get this done by Tuesday!” In the final act, when Wheatley’s taken over, there’s so much going on. I think it’s a testament to the fact of how much unbridled creativity people have on this project. Jay: There are so many things in the background. Because we’ve gotten better at it! How is that a controversial statement, that we’ve gotten better at things we do a lot of? It is weird. But don’t you think we learn from our previous games and get better at it? So, I’m not comparing it to any other games out in the world (though it is better) compared to all our others it’s the best one we’ve done. (For multiplayer Left 4 Dead is still dear to me.) And reading the comments, as I forced myself to do, they’re like, “Oh, what an arrogant prick.” And I’m like, well, he asked me a question, and I answered. For single player it’s the best game we ever made. In fact, I was reading the Escapist this morning, and they picked up that someone had asked me if it was the best game we had made, and I agreed. Jay: Well, Chet and I personally did it, and we say thank you.Ĭhet: It’s how dense the game is, that’s where it comes from. The turret building factory, where you can run straight past or watch these robot arms building in intricate detail. RPS: The scale of detail really surprised me. For us they were never really cutscenes, like, “Okay, here’s your big moment to do a scene,” so much as they were, “Okay, here’s our chance to let people know they’ve progressed.” You’ve beaten this one level, and here we go off to act 3 or whatever. But the pivot points, these are the moments where things are about to take a one-eighty on you, you’re about to go into a new environment. ![]() Through playtesting we’ve learned that after a set number of puzzles it’s a good time to have a little fun with the character. And you do need times just to slow down, and let your brain rest for a bit. Jay: For me there more just these pivot points during the game. But you’re going along, there’s no getting out of the room. It’s an experience that you’re part of, and you can choose some things in there. I don’t want to say the word “cutscene”, because I don’t think the original room ride is really a cutscene. There’s a lot of experiences in the game. RPS: Wait, come back! I’m just saying it shows the emphasis you guys want to put on story.Ĭhet: I was trying to explain this to somebody the other day who hadn’t gotten to see it. Is it really a cutscene if you’re tied to the bench? The very end elevator ride.Ĭhet: The rest of the stuff is in-game. RPS: You even have cutscenes in this game. So how are you going to tell the story when there’s guns shooting off continuously, versus when you have quiet’s going to be different. How you tell the story in single player versus how you tell the story in co-op’s different. Some people make it clear that it’s just the background. Let’s just say there’s a little something for everybody.Ĭhet: But we care about it. Jay: That’s a little bit subjective, as for a lot of people it’s puzzle first. In Portal 2 it almost seems to be more important than the puzzles. But clearly that’s not the case at Valve. RPS: Story still seems to be so incidental to the first-person genre. We also discover their thoughts on the crossover with the Half-Life universe, how heartwarming Jay finds the community, and quite how offended Valve writers get if you suggest their game contains cutscenes. Simmons, and how much of Valve's decisions are driven by creativity, or money. (Here's part one.) Below we discuss how the game came to be so intricately detailed, what it was like working with Stephen Merchant and J.K. ![]() And here's part two of our exclusive spoiler-packed interview with Portal 2 writers Chet Faliszek and Jay Pinkerton.
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