Template:PatchDiff/May 6, 2011 Patch/portal2/resource/subtitles schinese.txt

3 3 "Language"       "schinese"   4 4 "Tokens"   5 5 {   6 N/A "announcer.a4_recapture01"        "Announcer: 爆炸迫在眉睫. 立即疏散设施. "   N/A 6 "announcer.a4_recapture01"        "Announcer: 爆炸迫在眉睫. 立即撤离设施. "   7 7 "[english]announcer.a4_recapture01"        "Announcer: Explosion imminent. Evacuate the facility immediately." 8 N/A "announcer.a4_recapture03"       "Announcer: 警告. 反应堆堆芯处于临界温度. "   N/A 8 "announcer.a4_recapture03"        "Announcer: 警告：反应堆堆芯处于临界温度. "   9 9 "[english]announcer.a4_recapture03"        "Announcer: Warning. Reactor core is at critical temperature." 10 N/A "announcer.a4_recapture04"       "Announcer: 警告：堆芯过热. 核容毁迫在眉睫. "   N/A 10 "announcer.a4_recapture04"        "Announcer: 警告：堆芯过热. 核心即将熔毁. "   11 11 "[english]announcer.a4_recapture04"        "Announcer: Warning: Core overheating. Nuclear meltdown imminent." 12 12 "announcer.bb_corruption03"       "Announcer: 警告：堆芯损坏 50%. "   13 13 "[english]announcer.bb_corruption03"        "Announcer: Warning: Core corruption at 50 percent." … 109 109 "[english]announcer.prehub08"        "Announcer: We are currently experiencing technical difficulties due to circumstances of potentially apocalyptic significance beyond our control." 110 110 "announcer.prehub09"       "Announcer: 但是，根据紧急测试协议，测试将持续. 这些预先录好的信息将提供说明和激励支持，使科学仍然可以完成，即使在"   111 111 "[english]announcer.prehub09"        "Announcer: However, thanks to Emergency Testing Protocols, testing can continue. These pre-recorded messages will provide instructional and motivational support, so that science can still be done, even in the event of environmental, social, economic, or structural collapse." 112 N/A "announcer.prehub10"       "Announcer: 门户将打开，紧急测试即将开始. 三、二、一. "   N/A 112 "announcer.prehub10"        "Announcer: 传送门将打开，紧急测试即将开始. 三、二、一. "   113 113 "[english]announcer.prehub10"        "<clr:250,231,181>Announcer: The portal will open and emergency testing will begin in three. Two. One." 114 114 "announcer.prehub11"       "<clr:250,231,181>Announcer: 以立方体和按钮为基础的测试仍然是科学的重要工具，即使是在迫在眉睫的紧急情况下. "   115 115 "[english]announcer.prehub11"        "<clr:250,231,181>Announcer: Cube- and button-based testing remains an important tool for science, even in a dire emergency." … 995 995 "[english]glados.botcoop_intro01"        "<clr:163,193,173>GLaDOS: Please wave to your partner." 996 996 "glados.botcoop_intro02"       "<clr:163,193,173>GLaDOS: 即将开始的测试需要你们作为一个团队合作. "   997 997 "[english]glados.botcoop_intro02"        "<clr:163,193,173>GLaDOS: The upcoming tests require you to work together as a team." 998 N/A "glados.botcoop_intro03"       "<clr:163,193,173>GLaDOS: 为了加强合作，你们两位都已配备 ping 工具. "   N/A 998 "glados.botcoop_intro03"        "<clr:163,193,173>GLaDOS: 为了加强合作，你们两位都已配备交流工具. "   999 999 "[english]glados.botcoop_intro03"        "<clr:163,193,173>GLaDOS: To facilitate collaboration, both of you have been equipped with a ping tool." 1000 N/A "glados.botcoop_intro04"       "<clr:163,193,173>GLaDOS: 蓝队，请使用你的 ping 工具选择你最喜欢的动物. "   N/A 1000 "glados.botcoop_intro04"        "<clr:163,193,173>GLaDOS: 蓝队，请使用你的交流工具选择你最喜欢的动物. "   1001 1001 "[english]glados.botcoop_intro04"        "<clr:163,193,173>GLaDOS: BLUE, please use your ping tool to select your favorite animal." 1002 1002 "glados.botcoop_intro05"       "<clr:163,193,173>GLaDOS: 很好"   1003 1003 "[english]glados.botcoop_intro05"        "<clr:163,193,173>GLaDOS: Good." … 1005 1005 "[english]glados.botcoop_intro06"        "<clr:163,193,173>GLaDOS: ORANGE, please observe your partner's favorite animal." 1006 1006 "glados.botcoop_intro07"       "<clr:163,193,173>GLaDOS: 很好"   1007 1007 "[english]glados.botcoop_intro07"        "<clr:163,193,173>GLaDOS: Good." 1008 N/A "glados.botcoop_intro08"       "<clr:163,193,173>GLaDOS: 黄队，请使用你的 ping 工具从周期表中选择你最喜欢的元素. "   N/A 1008 "glados.botcoop_intro08"        "<clr:163,193,173>GLaDOS: 黄队，请使用你的交流工具从周期表中选择你最喜欢的元素. "   1009 1009 "[english]glados.botcoop_intro08"        "<clr:163,193,173>GLaDOS: ORANGE, please use your ping tool to select your favorite element from the periodic table." 1010 1010 "glados.botcoop_intro09"       "<clr:163,193,173>GLaDOS: 真的吗？太好了. "   1011 1011 "[english]glados.botcoop_intro09"        "<clr:163,193,173>GLaDOS: Really? Okay." 1012 1012 "glados.botcoop_intro10"       "<clr:163,193,173>GLaDOS: 蓝队，请观察你伙伴的...有趣的选择. "   1013 1013 "[english]glados.botcoop_intro10"        "<clr:163,193,173>GLaDOS: BLUE, please observe your partner's... interesting choice." 1014 N/A "glados.botcoop_intro12"       "<clr:163,193,173>GLaDOS: 你的 ping 工具还能用来向你的伙伴指出你想让他们存放传送门的位置. "   N/A 1014 "glados.botcoop_intro12"        "<clr:163,193,173>GLaDOS: 你的交流工具还能用来向你的伙伴指出你想让他们存放传送门的位置. "   1015 1015 "[english]glados.botcoop_intro12"        "<clr:163,193,173>GLaDOS: Your ping tool can also be used to indicate to your partner where you would like them to place their portal." 1016 1016 "glados.botcoop_intro13"       "<clr:163,193,173>GLaDOS: 为了进行这个测试，我会假装是你的伙伴. "   1017 1017 "[english]glados.botcoop_intro13"        "<clr:163,193,173>GLaDOS: For the sake of this test, I will pretend to be your partner." … 1019 1019 "[english]glados.botcoop_intro15"        "<clr:163,193,173>GLaDOS: ORANGE, please show me where you would like me to place a portal." 1020 1020 "glados.botcoop_intro16"       "<clr:163,193,173>GLaDOS: 蓝队，请让我看看你想让我把传送门放在哪. "   1021 1021 "[english]glados.botcoop_intro16"        "<clr:163,193,173>GLaDOS: BLUE, please show me where you would like me to place a portal." 1022 N/A "glados.botcoop_intro17"       "<clr:163,193,173>GLaDOS: 你的 ping 工具很有用，可以用它来和你的伙伴沟通具体位置. "   N/A 1022 "glados.botcoop_intro17"        "<clr:163,193,173>GLaDOS: 你的交流工具很有用，可以用它来和你的伙伴沟通具体位置. "   1023 1023 "[english]glados.botcoop_intro17"        "<clr:163,193,173>GLaDOS: Your ping tool is invaluable for communicating specific locations to your partner." 1024 1024 "glados.botcoop_paxdemo01"       "<clr:163,193,173>GLaDOS: 联邦超级基金的规定要求我们通知你现在必须离开战场，至于估量内衬石棉的促销衣服带来的影响，那不是今天讨论的内容. 享受你的免费 T 恤吧. 再见！"   1025 1025 "[english]glados.botcoop_paxdemo01"        "<clr:163,193,173>GLaDOS: Federal Superfund regulations require us to inform you that you must now leave the theater, as measuring the effects of asbestos-lined promotional clothing is not part of today's presentation. Enjoy your free t-shirt. Goodbye." … 1507 1507 "[english]glados.mp_coop_infinifling_trainstart03"        "<clr:163,193,173>GLaDOS: You can't die in any of those ways." 1508 1508 "glados.mp_coop_infinifling_trainstart04"       "<clr:163,193,173>GLaDOS: 你就继续测试再测试. 圆满的结束测试，还不用想后果. *叹气*"   1509 1509 "[english]glados.mp_coop_infinifling_trainstart04"        "<clr:163,193,173>GLaDOS: You just keep testing and testing.  With perfect results and no consequences." 1510 N/A "glados.mp_coop_laser_201"       "<clr:163,193,173>GLaDOS: 你在干什么？你这个怪兽！他们和咱们是一伙的. "   N/A 1510 "glados.mp_coop_laser_201"        "<clr:163,193,173>GLaDOS: 你在干什么？你这个怪物！他们和咱们是一伙的. "   1511 1511 "[english]glados.mp_coop_laser_201"        "<clr:163,193,173>GLaDOS: What are you doing? YOU MONSTER! They're one of us." 1512 1512 "glados.mp_coop_laser_202"       "<clr:163,193,173>GLaDOS: 开个玩笑. "   1513 1513 "[english]glados.mp_coop_laser_202"        "<clr:163,193,173>GLaDOS: I'm kidding." … 1667 1667 "[english]glados.mp_coop_paint_walljumps02"        "<clr:163,193,173>GLaDOS: I wonder if the humans will make a statue of me for rescuing them?  Oh, don't worry, if they ever write a historical document of my heroic rescue, I will make sure your names are included in the footnotes." 1668 1668 "glados.mp_coop_paint_walljumps04"       "<clr:163,193,173>GLaDOS: （讽刺的）恭喜你通过测试. "   1669 1669 "[english]glados.mp_coop_paint_walljumps04"        "<clr:163,193,173>GLaDOS: Congratulations on passing that test." 1670 N/A "glados.mp_coop_pingtool01"       "<clr:163,193,173>GLaDOS: 请用你的 ping 工具，告诉我你想让我把你的两个传送门放在哪. Ping 出每个位置. "   N/A 1670 "glados.mp_coop_pingtool01"        "<clr:163,193,173>GLaDOS: 请用你的交流工具，告诉我你想让我把你的两个传送门放在哪. 标记出每个位置. "   1671 1671 "[english]glados.mp_coop_pingtool01"        "<clr:163,193,173>GLaDOS: Using your ping tool, please indicate where you would like me to place your two portals.  Ping each location." 1672 1672 "glados.mp_coop_pingtool02"       "<clr:163,193,173>GLaDOS: 在白色的便携式表面上我只能放一个传送门. "   1673 1673 "[english]glados.mp_coop_pingtool02"        "<clr:163,193,173>GLaDOS: I can only place a portal on a white portalable surface." … 5171 5171 "[english]npc_floorturret.talksearch"        "<clr:170,240,209> Turret: Searching!" 5172 5172 "npc_floorturret.talkretire"       "<clr:170,240,209> Turret: 失去目标！"   5173 5173 "[english]npc_floorturret.talkretire"        "<clr:170,240,209> Turret: Target lost!" 5174 N/A "Commentary_Title_WELCOME"       "欢迎进入传送门 2"   N/A 5174 "Commentary_Title_WELCOME"        "欢迎来到 PORTAL 2"   5175 5175 "[english]Commentary_Title_WELCOME"        "WELCOME TO PORTAL 2"   5176 N/A "#commentary\com-welcome.wav"        "[Gabe Newell] 嗨！我是 Gabe Newell，欢迎进入传送门 2. 我们在 2007 年发布最初的传送门时，是想了解玩家对另一种游戏和叙述性的体验是怎样反应的. 传送门相继赢得了很多大奖，销售份额巨大，而且最重要的是，通过一种与其他 Valve 主题不同的方式与玩家形成共鸣. 在开发传送门 2 时，我们面临的挑战是如何满足玩家的期望，将他们带回雪儿和光圈科学的世界，以及如何通过增加更多的新元素，而不是靠旧的东西，来给玩家带来更多的惊喜. 而且，我认为，传送门 2 在很大程度上将会是一个惊喜. 如果要收听情节解说，请将准星置于浮动的解说符号上，然后再按使用键. 如果要停止收听评论内容，请将准星移到旋转的节点上，然后再按一次使用键. 某些评论内容出于介绍游戏特点的目的，可能会暂时控制游戏. 如果发生这种情况，请再按一次使用键，即可停止播放评论. 在玩过传送门 2 后，请您与我分享自己的想法. 您可以通过邮件与我联系：gaben@valvesoftware.com. 每次发布一个游戏，我都会收到数以万计的电子邮件，虽然不能一一回复，但我都会打开阅读. 谢谢，祝您玩得愉快！"   N/A 5176 "#commentary\com-welcome.wav"        "[Gabe Newell] 嗨！我是 Gabe Newell，欢迎来到 Portal 2. 我们在 2007 年发布 Portal 一代时的同时，也试着去了解玩家们对这样一种完全不同风格的游戏以及故事情节会有什么看法. Portal 相继赢得了很多大奖，销售份额巨大，而且最重要的是，通过一种与其他 Valve 游戏主题不同的方式与玩家形成共鸣. 在开发 Portal 2 时，我们面临的挑战是如何满足玩家的期望，将他们带回 Chell 和光圈科学实验室的世界，以及如何通过增加更多的新元素，而不是靠旧的东西，来给玩家带来更多的惊喜. 而且，我认为，Portal 2 在很大程度上将会是一个惊喜. 如果要收听解说内容，请将准星置于浮动的解说符号上，然后再按使用键. 如果要停止收听解说内容，请将准星移到旋转的符号上，然后再按一次使用键. 某些评论内容出于介绍游戏特点的目的，可能会暂时控制游戏. 如果发生这种情况，请再按一次使用键，即可停止播放解说. 在玩过 Portal 2 后，请您与我分享自己的想法. 您可以通过邮件与我联系：gaben@valvesoftware.com. 每次发布一个游戏，我都会收到数以万计的电子邮件，虽然不能一一回复，但我都会打开阅读. 谢谢，祝您玩得愉快！"  5177 5177 "[english]#commentary\com-welcome.wav"        "[Gabe Newell] Hi, my name is Gabe Newell, and welcome to Portal 2. When we released the original Portal in 2007, it was an experiment to see how gamers would respond to a different kind of gameplay and storytelling experience. Portal went on to win a bunch of awards, sell many copies, and, most importantly, resonate with gamers in a way that no other Valve title has. The challenges for us in building Portal 2 were to live up to people's expectations, to take you back to the world of Chell and Aperture Science, and to surprise gamers again not with more of the same, but with more of the new. And, I think, it will be, mostly, a pleasant surprise. To listen to a commentary node, put your crosshair over the floating commentary symbol and press your use key. To stop a commentary node, put your crosshair over the rotating node and press the use key again. Some commentary nodes may take control of the game in order to show something to you. In these cases, simply press your use key again to stop the commentary. Please let me know what you think after you have had a chance to play Portal 2. I can be reached at gaben@valvesoftware.com. I get about 10,000 emails each time we release a game, and while I can't respond to all of them, I do read all of them. Thanks, and have fun!"  5178 N/A "Commentary_Title_BIGDOOR"        "大门"   N/A 5178 "Commentary_Title_BIGDOOR"        "巨大的门"   5179 5179 "[english]Commentary_Title_BIGDOOR"        "BIG DOOR"   5180 N/A "#commentary\com-bigdoor.wav"        "[Scott Dalton] 巨型转移密封锁的大小是一个有趣的话题. 我们知道老光圈和新光圈之间的连接必须是一个巨大的设定件. 我们建立的第一种模式比大家预计的大了五倍，但人们一样喜欢它. 我们开玩笑说，它应该是传送门 2 盒上的一个子弹点：“游戏世界中有史以来最大的大门！”我们确定，这将是一款与玩家的期望相符的有趣游戏，并且在它的后面设置了一道看起来微不足道的小门，以及一些小道具. "  N/A 5180 "#commentary\com-bigdoor.wav"        "[Scott Dalton] 关于巨型运输密封锁的尺寸，这算得上是一个有趣的意外. 我们知道老光圈实验室和新光圈实验室之间有一个作相连用大门. 而我们建立的第一个模型就比大家预计的大了五倍，但人们却开始喜欢上了它. 我们开玩笑说，它应该作为一个亮点被写在 Portal 2 包装盒上：“具有游戏世界中有史以来最大的门！”我们确信这将是一款不负众望的有趣游戏，并且在它的后面设置了一道看起来微不足道的小门，以及一些小道具. "  5181 5181 "[english]#commentary\com-bigdoor.wav"        "[Scott Dalton] The size of the gigantic transition seal lock was a happy accident. We knew the connection between old Aperture and new Aperture had to be a big set piece. The first model built was about five times bigger than everyone expected, but people started to like it. We joked that it should be a bullet point on the Portal 2 box: \"Features the biggest door in games ever!\" We decided it would be fun to play with the player's expectations and put a puny looking door behind it, along with a few small props."   5182 N/A "Commentary_Title_JANITOR"        "JANITOR BOB"   N/A 5182 "Commentary_Title_JANITOR"        "看门人 BOB"   5183 5183 "[english]Commentary_Title_JANITOR"        "JANITOR BOB"   5184 N/A "#commentary\com-janitor.wav"        "[Ivan Simonici] 我们必须拿出老版本来寻找所有重要的游戏道具，比如按钮板、门、立方体等 - 基本上，所有的玩家都可以互动. 我们想出了这个虚构的人物 -Janitor Bob. 他会是那个保留所有老光圈的人. 一个对科学一窍不通的人，也许可以用胶带和螺丝刀修复一切东西. 他会使用一切他能得到的东西. 结果可能并不好，但却是可行的. 因此，每当我们对设计第 3 章的道具遇到困难时，我们就会问自己：“嗯，Bob 会怎样构建呢？”"  N/A 5184 "#commentary\com-janitor.wav"        "[Ivan Simonici] 我们第一步工作是先构思出游戏中所有重要道具原来的样子，比如按钮板、门、立方体等 - 基本上是一切玩家所能够使用的东西. 接下来我们设计出了这个虚构的人物 - 看门人 Bob. 他是负责维护旧光圈实验室中所有东西的人. 一个对科学一窍不通的人，但却能用胶带和螺丝刀修复一切东西. 他能够利用好手头上的每一样东西. 最终结果可能并不好，但却管用. 因此，每当我们在设计第 3 章的道具时遇到了困难，我们就会问自己：“好吧，Bob 会怎么来制作这玩意？”"  5185 5185 "[english]#commentary\com-janitor.wav"        "[Ivan Simonici] We had to come up with old-looking versions for all the important gameplay props, such as button panels, doors, cubes - basically everything the player could interact with. We came up with this fictional character - Janitor Bob. He'd be the guy who had to maintain all of old Aperture. A guy who doesn't understand anything about science but can fix everything with duct tape and a screwdriver. He would use everything he could get his hands on. The result might not look pretty but it would work. So whenever we got stuck designing props for chapter 3 we'd ask ourselves: \"Well, how would Bob build it?\""  5186 N/A "Commentary_Title_EYE_HAS_IT"        "关注"   N/A 5186 "Commentary_Title_EYE_HAS_IT"        "那只眼睛"   5187 5187 "[english]Commentary_Title_EYE_HAS_IT"        "THE EYE HAS IT"   5188 N/A "#commentary\com-eyehasit.wav"        "[Karen Prell] 你如何让一个巨大的机械眼球表现生命和情感，更别说在他没有嘴巴的情况下就能说话所给人留下的深刻印象了. 动画师对人类行为的理解派上了用场，为 Wheatley 赋予了鲜活生命的个性. 之所以谈这么多，不仅仅是移动一个人物的嘴巴那么简单了. 你必须用身体语言、姿势以及头部和眼睛的运动节奏来表现一个焦点人物的情感和动机. 缓慢而又流畅的头部动作、坚毅而又轻松的眼神凝视光圈，显现 Wheatley 的冷静. 总之，尖尖的头部转动、快速眨眼和扫视四周表示紧张或欺骗. 添加紧密收缩的眼睛光圈并伴随一丝颤抖以显示恐惧. 倾斜的身体，同时眼睛盯着玩家，这便发出了巧妙地试图最终愚弄 Wheatley 自己的信号. 怀疑是通过眯眼和抿嘴来传达的，请充分发挥极富表现力的眉毛和脸颊的作用. 这非常有趣. 提醒玩家，Wheatley 不过是一台机器. 当攻击时，他的眼睛和身体部分变得相当专注，同时机械地旋转，这是受原 Univac 公司的计算机磁带轴旋转的启发. 当他想观察前方不远的地方时，始终眨动双眼并把头扭向另一侧. 这种动画方法将写作和声乐相结合，使 Wheatley 成为一个独具特色而又非常有趣的角色 - 一部分是人，一部分是机器，拥有人类的眼睛，但却没有大脑. "  N/A 5188 "#commentary\com-eyehasit.wav"        "[Karen Prell] 你该如何让一个巨大的机械眼球表现出生命力和感情，以及让它在没有嘴巴的情况下说话的样子深深地刻在玩家脑海里？此刻动画制作师对人类行为所做的认识派上了用场，为 Wheatley 赋予了鲜明的个性与生命力. 之所以谈这么多，是因为这一切不仅仅只是移动一下人物的嘴巴那么简单. 你必须用到肢体语言、头部的姿势和有节奏的运动、以及眼部神情来表现出一个人物的情感和行为. 平稳的头部移动动作、坚定而又自然的眼神，让 Wheatley 显得沉着冷静. 相反，急促、剧烈的头部转动、快速眨眼和四处张望则会让它看起来紧张、不安. 紧密收缩的瞳孔再加上一丝颤抖能表现出恐惧. 倾斜的身体，同时眼睛盯着玩家，这则表示 Wheatley 试图自作聪明但最后却愚弄了自己. 而眯眼和抿嘴，再加上眉毛和脸颊的动作能充分地表现出人物怀疑的心情. 而对于不时提醒玩家，让他们想起 Wheatley 只不过是一台机器也是一件很有趣的事情. 当 Wheatley 试图入侵系统时，他的眼神和姿势显得十分专注，同时机械地旋转，这是受原 Univac 公司的计算机磁带轴旋转的启发. 当他想观察前方不远的地方时，会把眼睛扭向头的另一侧. 这种动画将写作和声乐相结合，使 Wheatley 成为一个独具特色而又非常有趣的角色 - 一部分是人，一部分是机器，整个身体都是眼睛，但却没有大脑. "  5189 5189 "[english]#commentary\com-eyehasit.wav"        "[Karen Prell] How do you make a giant mechanical eyeball express life and emotions, let alone give the impression that he's talking when he has no mouth? The animator's understanding of human behavior came in handy for bringing Wheatley the personality sphere to life. Talking is so much more than just moving a character's mouth. You have to use body language, head attitudes and rhythm of movement and eye focus to indicate a character's feelings and motivations. Slow, smooth head moves, a steady gaze and a relaxed eye aperture indicate that Wheatley is calm. Short, sharp head turns, rapid blinks and glancing around indicate nervousness or deceit. Add a tightly constricted eye aperture and a little shiver to show fear. Tilting the body away while keeping the eye focused on the player signals an attempt at cleverness that ultimately only fools Wheatley himself. Suspicion is communicated by squinting his eyelids and handles, which function as very expressive eyebrows and cheeks. It's also fun to remind the player that Wheatley is a machine. When hacking, his eye and body segments become perfectly centered and spin mechanically, inspired by the spinning tape reels on old Univac computers. And when he wants to look far in front, he flips his eye all the way over to the other side of his head. This animation approach combined with the writing and vocals makes Wheatley quite a unique and entertaining character--part human, part machine, all eye, and no brain."  5190 5190 "Commentary_Title_MASH-UP"        "混搭"   5191 5191 "[english]Commentary_Title_MASH-UP"        "MASH-UP"   5192 N/A "#commentary\com-mashup.wav"        "[David Sawyer] 虽然我们的构想是 Wheatley 会干掉玩家，但是我们仍然希望给玩家带来充满惊喜的时刻. 在这一刻，Wheatley 会将您凌空踢向路边，这是一个非常有趣和惊险的时刻，因此，玩家将对弹射板的出现感到自然而然，而不会觉得突兀. 我们添加了跳动的盒子，希望玩家能够通过及时地跳跃接住空中的盒子，当他们将精力集中于跳跃时，这也提高了游戏的惊险度. "  N/A 5192 "#commentary\com-mashup.wav"        "[David Sawyer] 虽然我们的构想是 Wheatley 试图把玩家干掉，但是我们仍然希望给玩家们带来惊喜. 在此处，玩家们都会自然而然地想到要使用弹射板向前跳，但事实上 Wheatley 会把玩家弹射到另一个方向去，这是一个非常有趣和惊险的时刻. 为此我们还添加了一个不断弹跳的箱子，试图让玩家把注意力都集中在“拿到箱子”这件事情上，而当他们踏上弹射板等着起跳时，惊喜也随之发生了. "  5193 5193 "[english]#commentary\com-mashup.wav"        "[David Sawyer]Having built up the expectation that Wheatley is going to kill the player, we still wanted the actual moment to be a surprise. By this point players are entirely comfortable with faith plates, and the simple subversion of expectations as Wheatley punts you sideways, is a fun and surprising moment. We added the bouncing box with the intention that players attempt to time their jump to catch the box, focusing their attention on the expected result of their jump and heightening the surprise."  5194 N/A "Commentary_Title_CRUSHERS"        "粉碎机"   N/A 5194 "Commentary_Title_CRUSHERS"        "粉碎钉板"   5195 5195 "[english]Commentary_Title_CRUSHERS"        "CRUSHERS"   5196 N/A "#commentary\com-crushers.wav"        "[Cayle George] 我们拥有许多级别，在这些级别中，使用粉碎机面板的方式会使测试实验室变得更加危险. 在新闻演示中展示了其中一些级别之后，我们收到了一些反馈意见，玩们对传送门 2 的超高难度留下了深刻印象，因为他们必须与时间赛跑，例如通过传送门奔跑或掉落，才不会被致命的粉碎机击中. 我们决定在 Wheatley 试图拖住你时，保留这些设置以供逃跑之用. "  N/A 5196 "#commentary\com-crushers.wav"        "[Cayle George] 我们在许多关卡中都增加了粉碎钉板，这使得测试实验室变得更加危险. 而在发布会上演示了一些这样的关卡后，我们收到了一些观众的反馈意见，他们都觉得，要玩家在限定时间内逃脱或是穿过传送门的同时还要提防被这些玩意打中，这种流程设计会使 Portal 2 变得难以上手. 因此我们决定把这些都先暂且保留下来，等到了玩家需要逃跑的这一关时，再让 Wheatley 使用这些玩意来阻止你逃跑. "  5197 5197 "[english]#commentary\com-crushers.wav"        "[Cayle George] We had a bunch of levels that used the crusher panels in ways that made the test chambers more dangerous. After showing some of these levels in press demos, we got feedback that viewers were getting the impression that Portal 2 was going to be too difficult since players would have to time events such as running or falling through a portal with not getting hit by a deadly crusher. We decided to save these for the escape, when Wheatley tries to hold you off."  5198 N/A "Commentary_Title_LAIR"        "为 WHEATLEY 准备巢穴"   N/A 5198 "Commentary_Title_LAIR"        "准备前往 WHEATLEY 的巢穴"   5199 5199 "[english]Commentary_Title_LAIR"        "PREPARING FOR WHEATLEY'S LAIR"   5200 N/A "#commentary\com-lair.wav"        "[Alireza Razmpoosh] 在测试游戏最终的 BOSS 大战时，我们发现，玩家们对他们进入 Wheatley 的巢穴时该怎么做感到困惑. 我们的解决办法是对玩家进行培训，方法是通过让他们在上一关打破玻璃漆管. 这让他们在没有任何时间压力的情况下掌握过关方法，最后他们必须与 Wheatley 进行搏斗. 这个过程还培训玩家将 Wheatley 向他们投掷的炸弹改变方向. "  N/A 5200 "#commentary\com-lair.wav"        "[Alireza Razmpoosh] 在游戏测试阶段，当要进行最终的 BOSS 大战时，我们发现玩家们在进入 Wheatley 的巢穴后不知道该做些什么. 我们的解决办法是在稍早前的一关通过让玩家打破玻璃漆管来进行练习. 这让能他们在与 Wheatley 进行决战之前不需浪费额外的时间来掌握诀窍. 这个设计同时还让玩家学习到如果将 Wheatley 向他们投掷的炸弹改变方向. "  5201 5201 "[english]#commentary\com-lair.wav"        "[Alireza Razmpoosh] When playtesting the final boss battle, we found players were confused about what to do when they entered Wheatley's lair. Our solution was to train the player by having them break glass paint pipes a level earlier. This lets them learn the mechanic without any time pressure before they have to fight Wheatley. This also trains the player to redirect the bombs Wheatley throws at them."  5202 5202 "Commentary_Title_FATIGUE"        "电梯疲劳"   5203 5203 "[english]Commentary_Title_FATIGUE"        "ELEVATOR FATIGUE"   5204 N/A "#commentary\com-fatigue.wav"        "[Marcus Egan]：我们发现，游戏测试者在解决如此众多的复杂测试实验室时会变得非常疲劳. 因此，我们增加了一条具有一些破坏功能的长漏斗交通装备来进入下一关卡，而不是千篇一律地采用例行的电梯交通装备，以便使玩家能有短暂的休息时间，同时提醒他们设备的破坏程度. "  N/A 5204 "#commentary\com-fatigue.wav"        "[Marcus Egan]：我们发现当游戏测试者们需要一次过解决许多复杂的难题时会很容变得疲劳. 因此，我们增加了一条破损的漏斗通道来引领玩家进入下一关卡，而不是千篇一律地去上下电梯，以给予玩家短暂的休息时间，同时提醒他们此设备正处于失修状态. "  5205 5205 "[english]#commentary\com-fatigue.wav"        "[Marcus Egan] We found that playtesters were getting fatigued at solving so many complex test chambers in a row. So, instead of a routine elevator ride to the next puzzle, we added a long funnel ride with some destruction to give players a short break while reminding them of the facility's state of disrepair."  5206 5206 "Commentary_Title_CHEATING"        "欺骗光速"   5207 5207 "[english]Commentary_Title_CHEATING"        "CHEATING THE SPEED OF LIGHT"   5208 N/A "#commentary\com-cheating.wav"        "[菲尔公司] 我们希望科学准确地破解这道谜题. 我们发现，在我们看到月亮上的传送门之前，会稍微有所延迟，因为光需要花费 1.4 秒的时间才能走完这段距离. 但是，游戏测试者会射击月球，然后立即闪开，就当什么事儿没发生一样. 他们没有意识到他们实际上已经射击了月球. 我们试图拒绝一些传达这种效应的不同方法，包括涉及量子缠绕的欺骗，然后确定针对这一问题的最新解决办法. "  N/A 5208 "#commentary\com-cheating.wav"        "[Phil Co] 我们希望科学且准确地探讨这个谜题，要指出的是，在你看到月亮上的传送门之前，会稍微有所延迟，因为光需要花费 1.4 秒的时间才能走完这段距离. 但是游戏测试者往往会朝着月球射击，然后立即闪开，并认为不会有事情发生. 他们没有意识到他们实际上已经射击了月球. 我们试着并阻止了一些传达这种结论的途径，其中包括一个涉及到量子缠绕理论的骗局，然后确定针对这一问题的最新解决办法. "  5209 5209 "[english]#commentary\com-cheating.wav"        "[Phil Co] We wanted to be scientifically accurate in this puzzle, figuring that there'd be a slight delay before you'd see a portal on the moon, since light takes 1.4 seconds to travel the distance. But playtesters would shoot the moon and instantly turn away, thinking nothing had happened. They didn't realize they actually had shot the moon. We tried and rejected a few different approaches to communicate the effect, including a cheat involving quantum entanglement, before settling on the current solution to this problem."  5210 5210 "Commentary_Title_DECAY"        "腐朽状态"   5211 5211 "[english]Commentary_Title_DECAY"        "STATE OF DECAY"   5212 N/A "#commentary\com-decay.wav"        "[Kelly Thornton] 从第一款游戏的测试实验室废墟开始，这是从第一天起的就已设定的目标. 我们希望给玩家带来一种怀旧感，缅怀他们所玩过的游戏，而且非常清楚地展示变化了的事情. 不但以一种虚拟感的形式，而且同样以图形的方式. 我们需要弥补第一款游戏中设置得过于简单的艺术资产与传送门 2 中引人入胜的艺术资产之间的差距. "  N/A 5212 "#commentary\com-decay.wav"        "[Kelly Thornton] 让新的故事从一代的测试实验室废墟开始，这几乎是我们在第一天就设定好了的目标. 我们希望给玩家带来一种怀旧感，缅怀他们所玩过的游戏，而同时也向玩家们清楚地展示出一件事情：一切都发生了改变. 不只是以一种虚拟的形式，同时也用具体的图像来表达这一切. 我们需要弥补第一款游戏中那些相对简单的艺术环境与 Portal 2 中复杂多样的艺术环境之间的差距. "  5213 5213 "[english]#commentary\com-decay.wav"        "[Kelly Thornton] Starting out in the ruins of the test chambers from the first Portal was our goal pretty much from Day One. We wanted to give players a sense of nostalgia for what they had played, but also make it very clear that things had changed. Not only in a fictional sense, but in a graphical one as well. We needed to bridge the gap between the first game's simpler art assets to the much more complex look of Portal 2."  5214 N/A "Commentary_Title_CAROUSEL"        "传送门旋转木马"   N/A 5214 "Commentary_Title_CAROUSEL"        "传送门转盘"   5215 5215 "[english]Commentary_Title_CAROUSEL"        "PORTAL CAROUSEL"   5216 5216 "#commentary\com-carousel.wav"        "[Alex Vlachos] 这个房间对向玩家传授将他们与世界上的两个地方联系起来的传送门基础知识意义重大. 世界各地的蓝色传送门是不断移动的，而桔黄色的传送门保持不动. 最初，在传送门中，这个房间具有按照定时器来自己移动的传送门. 这导致大多数人只是通过他们桔黄色的传送门来开始，等待蓝色的传送门在合适的地方停止. 我们觉得，改变这种模式会使玩家确定传送门出现的地方更具指导意义，而且这意味着懂得如何使用传送门的玩家能够迅速地利用权限来解决这一谜题. "  5217 5217 "[english]#commentary\com-carousel.wav"        "[Alex Vlachos] This room is meant to teach players the fundamentals of portals connecting them to two places in the world. As the blue portal moves around the world, the orange stays rooted. In the original Portal, this room had the portals moving by themselves on a timer. This led to most people simply staring through their orange portal waiting for the blue one to end up in the right place. We felt that altering this to make the players decide where the portals came out was more instructive and meant that players who already knew how to use portals could solve this puzzle both quickly and with authority."  5218 N/A "Commentary_Title_JAZZ"        "流淌的爵士乐"   N/A 5218 "Commentary_Title_JAZZ"        "通俗爵士乐"   5219 5219 "[english]Commentary_Title_JAZZ"        "SMOOTH JAZZ"   5220 5220 "#commentary\com-jazz.wav"        "[Mike Morasky] 此地图是首批较老的传送门地图之一，我们凭借这些地图击败和摧毁了敌人，将两款游戏绑定在一起. “流淌的爵士乐”笑话可能是游戏中历史最悠久的笑话之一. 研究小组发现，舒缓的爵士乐适合所有年龄、性别和文化. "  5221 5221 "[english]#commentary\com-jazz.wav"        "[Mike Morasky] This map was one of the first of the older Portal maps that we beat up and decayed to bind the two games together. The 'smooth jazz' joke is probably the oldest one in the game. The team discovered through playtesting that smooth jazz was funny to all ages, genders and cultures." …  5273 5273 "[english]#commentary\com-remnants.wav"        "[Kyle Monroe] The writers went back and forth over whether or not Wheatley had tried escaping with other test subjects before waking the player up. It was an interesting idea, and you can still hear remnants of this story arc in some of the dialogue. But at the end of the day, it was just too expansive a concept to sell. So it’s hinted at, but not overtly mentioned until the end."  5274 5274 "Commentary_Title_SLOWBURN"        "缓慢燃烧"   5275 5275 "[english]Commentary_Title_SLOWBURN"        "SLOW BURN"   5276 N/A "#commentary\com-slowburn.wav"        "[Elan Ruskin] GLaDOS 最初是在这些开放式的房间进行切割，前提是她与被她视为凶手的人谈话. 游戏测试者透露，虽然在游戏的初期就被 GLaDOS 俘获有些残酷，但她的暗线被重新改写，以便让她在玩家面前更缓慢地燃烧. "  N/A 5276 "#commentary\com-slowburn.wav"        "[Elan Ruskin] 最初的设计里,GLaDOS在游戏开场时讲话语气非常重,因为它在与杀害它的凶手对话.后来测试游戏的玩家向我们提出了建议,他们认为游戏刚开始GLaDOS很刻薄的对话有点让人受不了.于是我们重新修改了它的故事,让玩家在游戏中慢慢体验它对你的恨意."   5277 5277 "[english]#commentary\com-slowburn.wav"        "[Elan Ruskin] GLaDOS originally was a lot more cutting in these opening rooms, given that she’s talking to someone she perceives as her murderer. Playtests revealed, though, that it was a bit grueling getting brow-beaten by GLaDOS this early in the game, so her arc was rewritten to give her more of a slow burn towards the player."  5278 5278 "Commentary_Title_MANY_TO_ONE"        "多对一"   5279 5279 "[english]Commentary_Title_MANY_TO_ONE"        "MANY TO ONE"  …  5305 5305 "[english]#commentary\com-punisher.wav"        "[Joel Shoop] There was a lot of debate over how to properly punish Wheatley at the end of the game. Killing him seemed too severe, given how much we’d grown to love the character. On the other hand, simply letting him out of the GLaDOS body with a slap on the wrist seemed unacceptably anticlimactic. Having him sucked out into space with the Space Sphere seemed like a happy middle ground that everybody could get behind."  5306 5306 "Commentary_Title_WHIMSY"        "机器人奇思妙想"   5307 5307 "[english]Commentary_Title_WHIMSY"        "ROBOT WHIMSY"   5308 N/A "#commentary\com-whimsy.wav"        "[Mike Belzer] 在我们最初的机器人设计和首次动画测试过程中，我们开始认为，作为机器人，他们的行动应该具有有限的“人格”，并且具有更多一些的机械性. 测试人员对玩游戏的反馈意见，以及粉丝们对拖车的反应，使我们相信，一种对动画更加异想天开的方法，会导致更好的体验. 因此，我们摆脱了枯燥乏味的方法，寻找全新的可能性，我们开始探索他们的个性和特殊姿势. "  N/A 5308 "#commentary\com-whimsy.wav"        "[Mike Belzer] 在我们最初的机器人设计和首次动画测试过程中，我们开始认为，作为机器人，它们的行为只应该具有有限的“个性”，并且具有更多的机械性. 但是根据我们游戏测试人员的反馈意见，以及粉丝们对宣传视频的反应，使我们相信，一种相比动画更加异想天开的构思，会带来更好的体验. 因此，我们摆脱了原先那种枯燥乏味的构思，寻找全新的可能性，所以我们开始尝试赋予它们不同的个性和特殊姿势. "  5309 5309 "[english]#commentary\com-whimsy.wav"        "[Mike Belzer] In our original robot designs, and the first animation tests, we started with the premise that, being robots, their movements should have limited 'personality' and be a bit more mechanical. The feedback of our game testers, and the reaction of fans through the trailers, convinced us that a more whimsical approach to animation would lead to a better experience. So we moved away from a sterile approach and found a whole new range of possibilities, as we began to explore their personalities and gestures."  5310 5310 "Commentary_Title_ORANGE"        "橙色机器人"   5311 5311 "[english]Commentary_Title_ORANGE"        "ORANGE BOT"   5312 N/A "#commentary\com-orange.wav"        "[Keith Lango] 橙色机器人已被描述为无可挑剔，你可以看到元素有点像鸟，甚至有些 Odd Couple 的 Felix Unger 的怀旧感. “gotta pee”休闲舞蹈诞生自这种想法，即当前的双足机器人需要不断调整，找到自己的平衡. 由于橙色的设计相当不稳定，运动设计解决办法是一种保持平衡所需的永恒运动. "  N/A 5312 "#commentary\com-orange.wav"        "[Keith Lango] 橙色机器人已被描述为过于讲究，你可以看到其造型设计有点像鸟，甚至给人一种怀旧的感觉，仿佛见到了《不是冤家不聚头》中的 Felix Unger. 而从“gotta pee”休闲舞蹈诞生出了一个想法，即当前的双足机器人需要不断地进行调整以保持自己的平衡. 由于橙色机器人的设计相当不稳定，因此解决这个问题的方法就是把它设计成不停运动以保持自身平衡. "  5313 5313 "[english]#commentary\com-orange.wav"        "[Keith Lango] The orange bot has been described as finicky, and you can see elements that are somewhat birdlike and even reminiscent of the Odd Couple's Felix Unger. The 'gotta pee' idle dance was born out of the idea that current bipedal robots are constantly needing to readjust in order to find their balance. Because Orange's design is rather unstable, the motion design solution was kind of a perpetual motion needed to maintain his balance."  5314 5314 "Commentary_Title_BLUE"        "蓝色机器人"   5315 5315 "[english]Commentary_Title_BLUE"        "BLUE BOT"   5316 N/A "#commentary\com-blue.wav"        "[Christen Coomer] 如果橙色机器人是 Odd Couple 的 Felix，那么蓝色机器人便是奥斯卡. 蓝色意味着这是相当粗糙的早期原型机器人 - 代表在做双足机器人测试时 GLaDOS 的第一次尝试. 相对于橙色的圆润线条，它显得更加优雅. 对于运动的灵感，我们观察了一些我们喜欢的、栩栩如生的机器人，例如麻省理工学院的大狗机器人和日立的毛巾折叠机器人. "  N/A 5316 "#commentary\com-blue.wav"        "[Christen Coomer] 如果说橙色机器人是《不是冤家不聚头》中的 Felix，那么蓝色机器人便是 Oscar. 蓝色机器人其实是早期的、制作相当粗糙的原型机器人 - 这代表了 GLaDOS 第一次尝试制作一个测试用的双足机器人的经历. 对比起橙色机器人的圆润线条，它可显得没那么优雅. 至于这个机器人的动作设计灵感，我们观察了一些我们喜欢的、现实中存在的机器人，例如麻省理工学院的大狗机器人和日立的毛巾折叠机器人. "  5317 5317 "[english]#commentary\com-blue.wav"        "[Christen Coomer] If the Orange bot is the Odd Couple's Felix, then Blue is Oscar. Blue was meant to be an early and rather rough prototype robot--representing GLaDOS’s first attempt at making a bipedal testing bot. Compared to the sleek lines of Orange, he is much less elegant. For motion inspiration, we looked to some of our favorite real life robots, such as the Big Dog robot from MIT and the towel-folding robot from Hitachi."  5318 5318 "Commentary_Title_DECOR"        "装饰光圈"   5319 5319 "[english]Commentary_Title_DECOR"        "DECORATING APERTURE"  …  5337 5337 "[english]#commentary\com-hubreturn.wav"        "[Gautam Babbar] Our initial goal in designing the hub was to provide players with a lot of choices, so they could to sample a variety of game types. The idea was that if they got stuck or needed a break, they could pick another test chamber or another mechanic to explore. In reality, this prevented us from doing sufficient training and limited the overall scope of the puzzles. With such a flat structure, it was much harder to layer old mechanics onto new ones, because we couldn't guarantee that players understood what they needed to know to solve a puzzle. By going linear, we could guarantee prior knowledge and provide a much better experience, more satisfying pacing and a story that gathered momentum over a long period of time."  5338 5338 "Commentary_Title_STEALING"        "盗窃核心"   5339 5339 "[english]Commentary_Title_STEALING"        "STEALING THE CORE"   5340 N/A "#commentary\com-stealing.wav"        "[Ted Backman] 我们嘲讽机器人在哪里盗窃对方的核心. 在实施时，它是需要一个人去开创的唯一的嘲讽. 正因为如此，我们担心，这将会是产生悲痛的缘由. 当早期游戏测试者将此评价为他们最喜爱的嘲讽时，我们在重新思考我们的方法. 这也是玩家们最常用的嘲讽方法，因为它只需一个玩家发起，并且易于供其他人使用. 我们结束了改变所有其他球队嘲笑的方式，以便模仿盗窃核心工作. "  N/A 5340 "#commentary\com-stealing.wav"        "[Ted Backman] 我们制作了一个嘲讽姿势，就是一个机器人把另一个机器人的核心窃取过来. 就其使用方面，这也是唯一一个只需要一名玩家使用便能进行的嘲讽. 正因为如此，我们担心这会被一些玩家用来恶搞其他玩家. 当早期的游戏测试者将此评价为他们最喜爱的嘲讽时，我们便重新思考我们的构思. 这也是玩家们最常用的嘲讽，因为它只需一个玩家使用便可进行，并且相对与其他嘲讽，它更容易使用. 现在我们已经完成其他嘲讽方式的修改，都改成了类似于盗窃核心这个嘲讽的发动方式. "  5341 5341 "[english]#commentary\com-stealing.wav"        "[Ted Backman] We have a taunt where one robot steals the other's core. When implemented, it was the only taunt that required one person to initiate. Because of this we were afraid that it would be used for griefing. We were in the process of rethinking our approach when early playtesters rated this as their favorite taunt. It was also the most used team taunt because it only required one player to initiate, and was easier to use than the others. We ended up changing all the other team taunts to emulate the way stealing the core works."  5342 N/A "Commentary_Title_PING_TOOL"        "Ping 工具"   N/A 5342 "Commentary_Title_PING_TOOL"        "交流工具"   5343 5343 "[english]Commentary_Title_PING_TOOL"        "PING TOOL"   5344 N/A "#commentary\com-pingtool.wav"        "[Josh Weier] 我们在初期意识到，要告诉你的伴侣去哪里、在哪里看或者设置一个传送门将是非常困难的. 即使语音聊天，说“在那里”，也并不能在三维空间给您的伙伴提供足够的信息. 玩家一直想站起来，并直接指向伙伴的屏幕. 我们开发了 Ping 工具来解决这个问题. 由于 Ping 工具是如此重要，我们决定培训玩家如何使用，在此之前不再做其他任何事情. 我们拒绝了大量玩家的操作，而是让玩家把注意力完全放在 ping 工具上. 这就是合作机器人开始在试管中分离的原因，甚至不需要能够走动或射击传送门. "  N/A 5344 "#commentary\com-pingtool.wav"        "[Josh Weier] 在早期的游戏里,我们发现要与你的同伴交流,例如告诉你的科学伙伴应该看哪里,在哪里放置传送门,或者什么时候同时行动是一件非常困难的事.即使使用语音聊天,告诉你的科学伙应该注意哪里,应该看哪里,应该在哪放置传送门也是一件非常困难的事.导致测试玩家经常去另一位科学伙伴身边,指着他的屏幕告诉他该如何行动.因此我们编写了一个交流工具来解决这项难题.因为交流工具非常重要,所以在多人游戏刚开始我们将玩家放在一个无法自由行动的地方,让玩家使用这个工具进行交流,并且完全把注意力放在交流工具上.这也是为什么,机器人刚开始会出现在试管里,而不是实验室."   5345 5345 "[english]#commentary\com-pingtool.wav"        "[Josh Weier] Early on we realized that trying to tell your partner where to go, where to look or where to place a portal was going to be really hard. Even with voice chat, saying 'over there' doesn't give enough information to your partner within the 3D space. Players kept wanting to get up and point directly at their partner's screen. We developed the ping tool to address this problem. Because the ping tool was so important, we decided to train players in its use before we did anything else. We held back on the vast majority of player actions and let the players focus entirely on the ping tool. This is why the co-op bots start separated in a tube, without even the ability to walk or shoot a portal."  5346 5346 "Commentary_Title_CONTEXT"        "PING 背景"   5347 5347 "[english]Commentary_Title_CONTEXT"        "PING CONTEXT"   5348 N/A "#commentary\com-context.wav"        "[Iestyn Bleasdale-Shepherd] 大多数玩家都没有意识到，Ping 工具是对上下文敏感的. 当他们播放语音时，玩家通常依靠 Ping 工具的外观部分. 没有语音，“按下按钮”或“站在这里”等图标就变得更加重要. "  N/A 5348 "#commentary\com-context.wav"        "[Iestyn Bleasdale-Shepherd] 大多数玩家都没有意识到，交流工具是一种辅助说明工具. 当玩家们使用语音时，他们通常还会配合交流工具的指示图标使用. 如果没有语音的话，那么”按下按钮“、”站在这里“等图标就变得更加重要. "  5349 5349 "[english]#commentary\com-context.wav"        "[Iestyn Bleasdale-Shepherd] Most players don't realize that the ping tool is context sensitive. When they are playing voice enabled, players usually rely on the look portion of the ping tool. Without voice, icons such as 'press the button' or 'stand here' become much more important."  5350 5350 "Commentary_Title_SYNC"        "保持同步"   5351 5351 "[english]Commentary_Title_SYNC"        "SYNC UP"  …  5353 5353 "[english]#commentary\com-sync.wav"        "[Brian Jacobson] It is important to give co-op players a way to coordinate their action. Seeing how our players naturally wanted this ability, we decided to support it with the ping timer, and ended up designing some puzzles around it. Due to lag and other issues, syncing up actions over voice chat turned out to be rather difficult. Therefore we created the countdown timer as a way for players to keep in sync. It's completely predictable. Both players see the GO at the same instant, and the clocks run in sync even if they are on different systems."  5354 5354 "Commentary_Title_HANDOFF"        "传递"   5355 5355 "[english]Commentary_Title_HANDOFF"        "HAND OFF"   5356 N/A "#commentary\com-handoff.wav"        "[Chris Boyd] 令我们着实感到惊讶的一些事情是玩家经常说他们喜欢将立方体传递给伙伴的基本体验. 玩家并不期望这样基本的物理互动在游戏中会起到作用. 在首次尝试之前，他们会讨论他们的计划，如同这是某种独特或者特殊的新游戏机制一样. 当它发挥作用时，他们便会欣喜万分. "  N/A 5356 "#commentary\com-handoff.wav"        "[Chris Boyd] 某些事情着实令我们感到惊讶，那就是游戏测试者们经常会表明自己很喜欢把方块传给自己同伴时的感觉. 玩家们之前并没有预料到这么个基本的物理互动事件在游戏中会有那么大的影响. 在第一次尝试做这件事情之前，他们会进行计划讨论，仿佛这事情是某种独特的或是特殊的新游戏机制. 而当做完这事情时，他们便会欣喜万分. "  5357 5357 "[english]#commentary\com-handoff.wav"        "[Chris Boyd] Something that really surprised us was how often playtesters stated that they loved the basic experience of handing off a cube to their partner. Players didn't expect such a fundamental physical interaction to just work in a game. Before trying it for the first time, they would discuss their plan as if it were some unique or special new game mechanic. When it just worked, they were overjoyed."  5358 5358 "Commentary_Title_DYING"        "始终濒临死亡"   5359 5359 "[english]Commentary_Title_DYING"        "DYING ALL THE TIME"   5360 N/A "#commentary\com-dying.wav"        "[Andrea Wicklund] 通常，在游戏中，当玩家死亡时，他们认为这是一大失败. 但是，在传送门中，死亡是谜题解决经验的正常组成部分. 在合作过程中，死亡不仅比较频繁地发生，而且还可能发生在你的伙伴手上（当然纯属意外）. 我们觉得这很重要，这不仅使死亡“没什么大不了的”，而且使之妙趣横生. 在早期，我们尝试了一些详细的死亡动画 - 如显示你的机器人在粉碎机下被慢慢粉碎. 这些都是很值得观看，但他们很快变得具有重复性. 此外，在很短的一段时间内，玩家害怕承担风险. 害怕在重新尝试之前必须等待较长的时间，妨碍了他们玩游戏和体验乐趣. 我们必须找到足以没有惩罚性的迅速死亡和精妙得足以扣人心弦和令人满意之间的正确平衡 - 一种成功实现创造性游戏的乐趣. "  N/A 5360 "#commentary\com-dying.wav"        "[Andrea Wicklund] 通常，在游戏中，玩家们会把死亡看作是一大失败. 但是，在 Portal 中，死亡是谜题解决过程中的正常组成部分. 在合作模式中，死亡不仅更频繁地发生，而且还可能是由你的伙伴所造成的（当然纯属意外）. 我们觉得，重要的不仅是让死亡变得”没什么大不了的“，而且还要使之变得有趣. 在早期，我们尝试为机器人增加一些特别的死亡动画 - 例如让你观看你的机器人在粉碎钉板下被慢慢压碎. 这些都是很值得观看，但它们很快就变得过于重复. 此外，过不了多久，玩家们就会对”放手一搏“之类的事情变得恐惧. 而这也使得玩家必须等待较长一段的时间才能重新开始游戏，妨碍了他们进行游戏和体验乐趣. 因此我们要在没有惩罚性的迅速死亡过程与精妙得足以扣人心弦、令人满意的动画效果之间找到正确平衡点 - 在创造性的游戏过程中获得有趣的回报. "  5361 5361 "[english]#commentary\com-dying.wav"        "[Andrea Wicklund] Normally in games, when players die, they see this as a big failure. But in Portal, death is a normal part of the puzzle solving experience. In co-op, death not only happens more frequently, but it can happen at the hands of your partner (purely accidentally of course). We felt it was important to not only make death \"no big deal,\" but to make it fun. Early on, we tried some elaborate death animations--such as showing your robot slowly getting crushed under a giant crusher. These were awesome to watch, but they quickly became repetitive. Also, after a very short while, players grew afraid to take risks. The fear of having to wait a long time before trying again prevented them from simply playing and experimenting in a spirit of fun. We had to find the right balance where death was quick enough to be a non-penalty, and elaborate enough to be visceral and satisfying--a fun pay-off for creative play."  5362 5362 "Commentary_Title_DISASSEMBLY"        "拆卸设备"   5363 5363 "[english]Commentary_Title_DISASSEMBLY"        "DISASSEMBLY DEVICE"  …  5365 5365 "[english]#commentary\com-disassembly.wav"        "[Danika Wright] Since the co-op characters can die at any time, we needed a way to rebuild them quickly and often. Therefore in co-op, we replaced the elevators that connected test chambers in singleplayer, with disassembly machines. These are meant to reinforce the idea that since the robots are disposable, being destroyed is no big deal. In the robot world, it happens all the time!"  5366 5366 "Commentary_Title_AIRLOCKS"        "气密舱"   5367 5367 "[english]Commentary_Title_AIRLOCKS"        "AIRLOCKS"   5368 N/A "#commentary\com-airlocks.wav"        "[Garret Rickey] 引进气密舱气闸室主要是作为使玩家能够把注意力集中于个别谜题上的途径. 在我们早期的一些调查中，包含谜题的区域并不意味着以组和适合单独解决办法的其他形式加以解决. 但是，我们发现，如果玩家无法在他们之间自由移动，他们会逻辑地假设个别谜题是属于大谜题的一部分. 这便产生了很坏的后果. 出于澄清目的，我们创建了这些类似气密舱的重生房间，作为谜题之间的检查站. 在两名玩家进入气密舱之后，我们便立即锁住出入口. "  N/A 5368 "#commentary\com-airlocks.wav"        "[Garret Rickey] 引进气密舱的主要目的是为了使玩家能够把注意力集中在自己所遇到的谜题上. 在我们早期的一些调查中，我们发现，那些需要两人合作解谜或是需要独立解决问题的解谜区域，如果让玩家们能够在这些区域之间自由进出的话，会使得他们下意识地认为这只是一个巨大谜题中的一小部分. 而这就导致了很坏的结果. 为了明确区域划分，我们创建了这些类似气密舱的重生房间，用来作为不同解谜区域之间的检查站. 一旦两名玩家都进入了气密舱，我们便立即锁住出入口. "  5369 5369 "[english]#commentary\com-airlocks.wav"        "[Garret Rickey] Airlocks were introduced mainly as a way to allow players to focus on individual puzzles. In some of our early investigations, areas contained puzzles that were meant to be solved as a group, as well as others that were for individual solution. But we found that if players could move freely between them, they logically assumed that the individual puzzles were part of one big puzzle. This had bad results. For clarity, we created these airlock-like spawn rooms that act as checkpoints between puzzles. Once both players enter the airlock, we lock off access."  5370 N/A "Commentary_Title_IMPOSTERS"        "世界骗子"   N/A 5370 "Commentary_Title_IMPOSTERS"        "环境欺诈模型"   5371 5371 "[english]Commentary_Title_IMPOSTERS"        "WORLD IMPOSTERS"   5372 N/A "#commentary\com-imposters.wav"        "[Gary McTaggart] 在 Left 4 Dead 2 中，我们编写了简单的、迷雾重重的黑色世界，作为巨大的模型，以避免重新渲染世界实现水面反射效果的 CPU 开销. 这对 Left 4 Dead 大多数光线来自天空的室外环境起到了很好的作用. 但是，传送门 2 几乎完全是在室内，因此，世界几何体的颜色和值在水面反射作用下是透明的. 由于传送门 2 世界几何体相对简单，我们自动构建了具有单独纹理的世界几何体版本，它将光照和表面阴影与表面阴影相结合. 在渲染动态光线时，使用后面的纹理. 这些纹理与光线地图具有相同的空间分辨率，并且每个级别中包括了单独的大阿特拉斯纹理. 绘制这种简单的世界骗子模型花费了很少的 CPU 时间，这在传送门 2 上是一个有限的资源，原因在于需要渲染许多传送门视图、分屏视图和水面反射视图. 我们最初计划仅仅出于水面反射渲染目的而使用世界骗子，但我们最终不再使用它来提高分屏模式下的性能，在此情况下，将其用于渲染遥远的传送门和两个级别的传送门. 我们还使用世界骗子来渲染全屏合作模式下的水，以便为我们提供一些性能开销，原因在于合作模式具有比单玩家模式更多的传送门视图需要渲染. "  N/A 5372 "#commentary\com-imposters.wav"        "[Gary McTaggart] 在 Left 4 Dead 2 中，为了不让 CPU 因再次渲染水中的环境模型倒影而负荷太重，我们创作了简单、朦胧、漆黑的游戏环境并让它作为一个独立的模型存在. 而 Left 4 Dead 2 中的大多数光照都来自天空，因此这做法与游戏的户外环境很搭配. 但是 Protal 2 的故事情节几乎完全是在室内发生的，因此，环境模型的颜色和外观的水面倒影看起来会过于透明. 由于 Portal 2 环境模型都相对简单，所以我们自行为环境模型构建了一个由光照与表面阴影效果结合而成的独立纹理，以及另一个只具有表面阴影效果的独立纹理. 在渲染动态光照时会使用后者. 这些纹理与打光渲染步骤都具有相同的空间分辨率，并且在每个关卡中都会把它加入到地图纹理里面. 这种简单的环境欺诈模型只需花费很少的 CPU 处理时间来绘制，因为在 Portal 2 中，CPU 处理时间相当有限，原因在于还有许多的传送门视图、分屏视图和水面倒影视图需要我们处理. 我们最初只计划在渲染水面倒影时使用环境欺骗模型，但我们最后还是在分屏模式中用它来渲染远处的传送门以及渲染二级深度的传送门，以提高性能. 在合作模式中，我们还使用环境欺骗模型来渲染在全屏显示模式下的水体，以便为我们节省性能，因为在合作模式比单人模式有更多的传送门视图需要渲染. "  5373 5373 "[english]#commentary\com-imposters.wav"        "[Gary McTaggart] In Left 4 Dead 2, we authored simple, fogged, black versions of the world as monolithic models to avoid the CPU overhead of rendering the world again for water reflections. This worked well for the Left 4 Dead 2 outdoor environments where most light comes from the sky. But Portal 2 is almost entirely indoors, so the color and value of the world geometry is apparent in the water reflections. Since the Portal 2 world geometry is relatively simple, we automatically build a version of the world geometry that has a single texture that combines both lighting and surface shading along with another texture with just surface shading. The latter texture is used when rendering dynamic lights. These textures are at the same spatial resolution as the light maps and get packed into a single large atlased texture per level. Drawing this simple world imposter model takes very little CPU time, which was a limited resource on Portal 2 due to the many portal views, split-screen views, and water reflection views that we needed to render. We initially planned on using the world imposters only for water reflection rendering, but we ended up using it to improve performance in split-screen mode where it is used for rendering distant portals and portals that are two levels deep. We also use the world imposters to render water in full screen co-op mode, to give us some performance overhead, since the co-op mode has more portal views to render than single-player mode."  5374 5374 "Commentary_Title_GEL_SOUNDS"        "凝胶声音"   5375 5375 "[english]Commentary_Title_GEL_SOUNDS"        "GEL SOUNDS"  …  5377 5377 "[english]#commentary\com-gelsounds.wav"        "[David Feise] With the gel sounds for Portal 2 we wanted to create something whimsical that would add to the player’s enjoyment of the mechanics, without crossing over the line into ludicrousness. For example, our initial pass at the blue gel 'bounce' sound included a rubber playground ball, a pitch-bent harp string and a processed mouth harp. The resulting sound captured the idea of fun, but was off the charts on the goofy scale. After several iterations we settled on the current, less over-the-top sound which features a piece of metal bar bouncing like a diving board and a heavy dose of synthesis. It’s not as wacky, but hopefully it’s still fun."  5378 5378 "Commentary_Title_WHEEL"        "特殊姿势轮"   5379 5379 "[english]Commentary_Title_WHEEL"        "GESTURE WHEEL"   5380 N/A "#commentary\com-wheel.wav"        "[Andrew Burke] 在我们的首次实施过程中，根据玩家的背景自动选择特殊姿势. 例如，在按下地板按钮时，蓝色可能代表特殊的特殊姿势. 玩家会对看到这些特殊姿势感到厌烦，因为这样会迅速使他们停止使用，然后才能发现任何特殊的背景. 由于此原因，我们决定让玩家能够控制特殊姿势，作为自己表达用意的一种途径，但是，但从开始显示时，他们会对所有的选择感到束手无策. 通过随着特殊姿势的进度而奖励特殊姿势，我们使玩家能够轮流熟悉每一种特殊姿势. 在特殊姿势轮中留下可见的空插槽，期望他们随着游戏的进度而获得炫酷的新特殊姿势. 特殊姿势轮提供了快速的访问权限，从而使玩家在停机时间也能感受到舒适的抛出感，任凭他们挑选完美的时刻来个击掌相庆. "  N/A 5380 "#commentary\com-wheel.wav"        "[Andrew Burke] 在我们的初次测试过程中，机器人的姿势是由系统根据玩家当前状况进行自动选择的. 举个例子，当蓝色机器人站到地板上的按钮上时，它很可能就会摆出一个特殊的姿势. 但是玩家们很快就对这些姿势产生厌恶感，因此这使得他们在那些特殊状况到来之前，就开始阻止机器人摆姿势. 由于此原因，我们决定让玩家控制人物的姿势，以作为一种自我表达的方式，但是，由于一开始就可以使用所以姿势，反而使得玩家们有些不堪重负. 所以在姿势选项栏中预先保留一些空位，会使玩家期望通过跟随游戏的进度前进并获得酷炫的新姿势作为奖励. 另外姿势选项栏提供了快速造型功能，这使玩家即使在维修的时候也能轻松地摆出姿势，让他们可以选个完美的时刻来击掌庆祝. "  5381 5381 "[english]#commentary\com-wheel.wav"        "[Andrew Burke] In our first implementation, gestures were automatically selected based on the player's context. For example, Blue might do a special gesture when standing on a floor button. Players became bored of seeing these gestures so quickly that they stopped using them before discovering any of the special contexts. Because of this, we decided to give players control of gestures as a way to express themselves, but when shown the full set from the start, they were overwhelmed by all the choices. By awarding gestures as the game progresses, we allow players to familiarize themselves with each gesture in turn. Leaving visible empty slots in the gesture wheel lets players anticipate that they'll be rewarded with cool new gestures as they progress. The gesture wheel provides quick access so that players can feel comfortable tossing out a gesture during down time, letting them pick the perfect moment to share a high five."  5382 5382 "Commentary_Title_HIGH_FIVE"        "击掌相庆"   5383 5383 "[english]Commentary_Title_HIGH_FIVE"        "HIGH-FIVE"   5384 N/A "#commentary\com-highfive.wav"        "[Matthew Scott] 我们注意到，在游戏测试者一起解决了一道困难的谜题之后，他们有时会在进入下一出口门之前暂停一下，然后反复上下跳动，以示他们的兴奋之情. 我们认识到，这些交汇点会是使玩家能够击掌相庆和酷酷地庆祝胜利的完美时刻. 我们的第一次接口尝试是让一名玩家通过举起手来等待击掌，同时其他玩家通过选择相同的特殊姿势予以回应. 如果他们站在相对于另一方正确的位置上，他们便会回应击掌. 但是，了解要站立的正确位置太困难了. 因此，我们决定自动将机器人移到正确的位置以实现击掌. 但有时，希望击掌的玩家通常会落在后面，因为其他玩家会在不作回应的情况下跑在前面. 增加发起者等待的时间会使其他玩家有时间返回和回应，而不是在一个地方呆着不动几秒钟时间，那样太让人失望了. 最后，我们使玩家能够自动回应团队的特殊姿势. 现在，如果玩家心情不错的话，他们可以在游戏中尽情庆祝. "  N/A 5384 "#commentary\com-highfive.wav"        "[Matthew Scott] 我们发现，在游戏测试者一起解决了一道困难的谜题之后，他们有时会在进入下一关卡的门口前稍作暂停，然后兴奋地上蹦下跳. 我们意识到，这些集合点是让玩家相互击掌和庆祝胜利的好地方. 我们的初次尝试是让一名玩家把手举起来等待击掌，而另一名玩家可以通过选择摆出相同的姿势来完成整套动作. 如果他们站在正确的位置上，他们便会进行击掌. 但是，要找到正确位置实在太困难了. 因此，我们决定让机器人能自动移到正确的位置以实现击掌. 但有时，想要击掌的玩家通常会落在后面，而另一名玩家则会毫无回应地跑到前面. 虽然我们增加了发起者的等待时间，以让另一名玩家有足够的时间返回并完成击掌，但这让发起者得在同一个地方至少呆上好几秒，那样太让人沮丧了. 而最终，我们让玩家控制的人物都能自动回应这类团队姿势. 现在，只要玩家愿意，他们可以随时在游戏中相互庆祝. "  5385 5385 "[english]#commentary\com-highfive.wav"        "[Matthew Scott] We noticed that after playtesters had solved a difficult puzzle together, they'd sometimes pause before funneling through the exit door to repeatedly jump up and down in excitement. We realized that these meeting points would be the perfect time to allow players to high-five each other and celebrate their victory in style. Our first interface attempt had one player initiate a high five by holding their hand up and waiting, the other player could join in by selecting the same gesture. If they were standing in the correct positions relative to each other, they would pull off a high five. But learning the correct places to stand was too difficult. So we decided to automatically move the bots into the correct positions for the high five. Sometimes, however, the player who wanted to high five would be left hanging as the other player ran ahead without accepting. Increasing the time that the initiator waited with his hand up gave the other player time to return and accept, but being frozen in place for more than a few seconds was too frustrating. So finally, we made players auto-accept the team gestures. Now, when the mood strikes either player, the game always ensures a successful celebration."  5386 5386 "Commentary_Title_HUGS"        "拥抱"   5387 5387 "[english]Commentary_Title_HUGS"        "HUGS"  …  5405 5405 "[english]#commentary\com-wheatleymodel.wav"        "[Richard Lord] The Wheatley model was designed as a mechanical version of the original Portal 1 personality sphere. Originally they filled a very similar role to that in Portal 1, so we needed one base model which could hold a lot of different expressions. Experimenting with different rigging ideas we came up with the onion skin design where a number of spherical plates could slide around inside each other all supported on a small motion platform mounted on a gyroscope. This meant that no matter what expression Wheatley was pulling, he always retained his spherical shape. The modelers and the animators collaborated closely on these early tests to make sure the design supported the range of expression needed to satisfy any personality sphere that got designed. Lots of ideas were thrown out, such as a small internal robot arm that Wheatley could pull out of one of his ports and pull himself around with. We were careful to make the mechanics look plausible, but we had to cheat the eyelids, since they ended up being a physical impossibility. There was no way all that geometry could fit into the space around his eye without clipping out the other side, but they were such an essential feature of the model that we resorted to crushing them up inside the eye where the player can't see them."  5406 5406 "Commentary_Title_VACUUM"        "真空运输"   5407 5407 "[english]Commentary_Title_VACUUM"        "VACUUM TRANSPORT"   5408 N/A "#commentary\com-vacuum.wav"        "[Jeremy Bennett] 在传送门 1 中，偶尔会出现真空管. 但这次，我们想表明，这是光圈在设施周围运输所有物资的主要方式. 这对光圈来说感觉非常真实，因为它像一个效率低下而又昂贵的运输问题解决方案. 我们还希望它比以前更暴力和更加物理化，而且物体不断地在管道的一侧弹起. 好像光圈没有真正控制系统一样，而且没有真正注意他们运输的东西. 毕竟，他们具有数以千计的东西. "  N/A 5408 "#commentary\com-vacuum.wav"        "[Jeremy Bennett] 在传送门 1 中，偶尔会出现真空管. 但这次，我们想表明，这是光圈实验室有关设备运输所有物资的主要方式. 这对光圈实验室来说感觉非常真实，因为它就像一个效率低下、可笑而且又昂贵的运输问题解决方案. 我们还希望它比以前更暴力和更加物理化，而且物体不断地在管道的一侧弹起. 好像光圈实验室没能对这系统进行真正的控制一样，以及也不怎么关心他们正在运送的东西. 毕竟，他们有着数以千计的东西. "  5409 5409 "[english]#commentary\com-vacuum.wav"        "[Jeremy Bennett] Vacuum pipes cropped up occasionally in the original Portal, but this time we wanted to show that this was the main way that Aperture transported all of its supplies about the facility. It felt very true to Aperture, in that it seemed like an inefficient and ridiculously expensive solution to their transport problems. We also wanted it to feel more violent and physical than before, with objects constantly ricocheting against the sides of the pipes. It was as if Aperture had no real control over the system, and no real care for the things they were transporting. After all, they have thousands of the things."  5410 5410 "Commentary_Title_ARMS"        "臂弯中入睡"   5411 5411 "[english]Commentary_Title_ARMS"        "ARMS ASLEEP"  …  5429 5429 "[english]#commentary\com-wakes.wav"        "[Matthew Russell] Originally GLaDOS was built to curl up and disguise herself as one of her rings, potentially explaining how she had survived the explosion at the end of Portal 1. But this wasn't a very dramatic reveal, so we threw it out in favour of spreading her out over a greater distance. This also made her more recognizable as GLaDOS when you initially crossed the room. The actual wakeup animation was a combination of simulated animation with a layer of hand keyed animation over the top. A two-stage model was created for this scene. The first stage had separate pieces and connecting cables that would be drawn together by running a physics simulation so that the pieces would interact with the environment. Physics simulations were also used to break apart the objects GLaDOS crashes into while she writhes around. At the point where GLaDOS rises free of contact with the ground, she switches instantaneously to a fully connected model with controls for hand-keyed animation. From this point, the animator enhanced GLaDOS' awakening by hand, choreographing the violent chaos of her re-emerging consciousness while at the same time conveying the weight of a machine the size of an airliner. Once the hand-keyed animation was done, a final simulation pass was run to animate the cables and dangling parts of GLaDOS' body. The scene was produced very rapidly for an E3 deadline, and a traditional rig for the sequence was never fully realized. This made it difficult when we extended the sequence after E3 to add further animation, but we accomplished it by bearing in mind that GLaDOS herself is pretty broken at this point. The last part of the sequence requires the player to lose control of their view while being immobilized by a giant mechanical pincher. Once the controlled camera takes over, a careful alignment and time synchronization was required to make all the hand-animated models and camera interact with each other. Each of the stages in this wakeup scene contain a variety of processes that are very challenging to achieve live in a game engine."  5430 5430 "Commentary_Title_TAG"        "标签：油漆的力量"   5431 5431 "[english]Commentary_Title_TAG"        "TAG: THE POWER OF PAINT"   5432 N/A "#commentary\com-tag.wav"        "[Brett English ] 与学生游戏 Narbacular Drop 成为原始传送门的途径相似，传送门 2 的油漆机械装置来自学生游戏，标签：油漆的力量. 传送门 2 的斥力凝胶是根据标签仿制的，但进行了重新设计，以便更好地适合传送门. 原始的反弹油画总是在反弹到一个固定的高度时激活玩家和玩家接触的油漆. 我们改变了排斥凝胶，以反映玩家的速度，这样使他们反弹的高度下降了. 这个机制带来了更棒的谜题，涉及传送门，因为玩家们必须考虑获得和维持高度. 我们还改变了排斥凝胶才使激活玩家跳下，或落在凝胶上. 这样做是因为玩家们经常不小心走到他们没有看到的排斥凝胶上，然后触发不必要的反弹. 这是一个传送门 2 特别讨厌的问题，因为玩家无法获得摆脱涂刷的油漆；而在标签中的玩家可以在任何时间清除他们想要所需要的油漆. "  N/A 5432 "#commentary\com-tag.wav"        "[Brett English] 像初代传送门的灵感来源于学生游戏 Narbacular Drop 一样，传送门 2 的油漆机械装置来自另一款学生游戏，标签：涂鸦的力量. 传送门 2 的斥力凝胶就是根据这个游戏制作的，但进行了重新设计，以便更好地与传送门 2 游戏本身相适应. 在最初，当玩家碰到弹跳油漆时，就会激活油漆并把玩家弹射到一个特定的高度. 我们对此进行了修改，使其与玩家的下落速度相关联，这样一来，玩家从多高的地方下落，也会弹射回多高的地方. 这个改动为游戏带来了更棒的、涉及到传送门使用的谜题，因为玩家们必须考虑如何到达和维持高度. 我们还改变了排斥凝胶的属性，只有当玩家跳落到或掉落在凝胶上才会使其激活. 这样做是因为玩家们经常会不小心走到他们没有看到的排斥凝胶上，然后触发不必要的弹跳. 这是在传送门 2 中一个特别讨厌的问题，因为玩家一旦遇到它们，就无法摆脱它们；而在标签：涂鸦的力量中，玩家可以在任何时候清除他们不想要油漆. "  5433 5433 "[english]#commentary\com-tag.wav"        "[Brett English] Similar to the way the student game Narbacular Drop became the original Portal, the paint mechanics in Portal 2 come from a student game,  Tag: The Power of Paint. The repulsion gel in Portal 2 is modeled after the bounce paint from Tag, but was redesigned to fit better within Portal. The original bounce paint always bounced the player at a fixed height and activated whenever the player touched the paint. We changed the repulsion gel to reflect the player's velocity, such that they will bounce back up to the height that they fell from. This mechanic lends itself better to puzzles involving portals because players have to think about gaining and preserving height. We also changed the repulsion gel to only activate if the player jumps off of, or falls on to the gel. This was done because players would often accidently walk onto repulsion gel they didn't see and then trigger an unwanted bounce. This was a particularly nasty problem in Portal 2 because the player couldn't get rid of paint once it was applied; whereas in Tag the player can erase paint at any time they want."  5434 5434 "Commentary_Title_PORTING"        "搬运油漆"   5435 5435 "[english]Commentary_Title_PORTING"        "PORTING PAINT"  …  5467 5467 "[english]Commentary_Title_CO-WRITE"        "WRITING FOR CO-OP"   5468 5468 "#commentary\com-cowrite.wav"        "[Chet Faliszek] 写作合作 GLaDOS 介绍了一些有趣的问题. 在单人游戏中，你可以指望玩家关注重要时刻. 在合作过程中，你能指望这两个做什么呢，他们只是按照 GLaDOS 的要求提供网上聊天的玩家. 为了帮助解决这个问题，我们打破了这个故事，让这样的玩家不要急躁. 我们也多次重申要点，以确保即使在信息沉淀下来，即使你错过了几次. 最后，我们也给玩家提供房间交谈功能. 例如，在你临死之前，至少有两秒钟时间让你在 GLaDOS 面前大笑或大声说话. 重要的是给玩家提供发言的地方，因为关于合作的最好部分便是分享经验. "  5469 5469 "[english]#commentary\com-cowrite.wav"        "[Chet Faliszek] Writing GLaDOS for co-op introduces some interesting problems. In single player you can count on players paying attention and being caught up in important moments. In co-op, you can count on the two players chatting about what they just did as GLaDOS delivers an important line. To help with this issue, we broke up the story beats into smaller sections so players don’t become impatient. We also repeat the points multiple times to insure the message sinks in even if you missed it a few times. Lastly, we also give players room to talk. For example when you die, there is a two second beat for you to laugh or yell before GLaDOS speaks. It is important to give those places for players to speak because the best part about co-op is the shared experience."  5470 N/A "Commentary_Title_BONK"        "BONK HEADS"   N/A 5470 "Commentary_Title_BONK"        "头脑碰撞"   5471 5471 "[english]Commentary_Title_BONK"        "BONK HEADS"   5472 N/A "#commentary\com-bonk.wav"        "[Jeep Barnett] 这个谜需要传送门最棘手的合乎逻辑的跳跃. 早期游戏测试者往往需要比他们的耐心更长的时间，几乎按照他们最终解决问题的时间扯掉头发. 但是，几乎每个人都坚持认为，他们的得到的好处远远超出最喜欢的合作时刻. 我们大大缩短了时间，增加了拼图，这只是在此之前的平均解决时间，其中两个立方体多次发生冲突，但这几乎完全剥夺了一时的吸引力. 因此，相反，我们决定做一些细微的调整，使玩家责任产生最后的飞跃. 首先，我们增加了一个谜题，四个初期的实验室. 然后，我们下意识地通过让玩家在空中相撞反复引起反响. 最后，我们设计了这个房间的布局、照明、贴花等，玩家会认为这是一个对称的整体空间和可视化的机器人. 通过种植思维的碎片，我们让玩家拥有激动人心的双重碰撞，产生顿悟，同时保持清醒. "  N/A 5472 "#commentary\com-bonk.wav"        "[Jeep Barnett] 这个谜题需要运用到传送门中最难做到但是却合乎逻辑的跳跃之一. 早期的游戏测试者往往需要花费比他们的耐心更长的时间来处理这个问题，而最终在他们几乎把自己的头发给扯掉前解决了问题. 但是，几乎每个人都坚持认为，他们的得到的回报远远超出其它合作模式下的迷题甚至是他们最喜欢的迷题. 对此，我们在这那两个方块总是相撞的地方前增加了一个谜题，以大大缩短整个谜题的平均解题时间，但这大大地降低了谜题的吸引力. 所以，我们决定做一些细微的调整，使玩家带着责任感来完成一起. 首先，我们增加了一个谜题，在四个实验室之前出现过的，用来教玩家如何切断光桥并落到下方的平台上. 然后，我们下意识地让玩家用重球体在空中碰撞来进行反复的弹跳，借此来对付光桥. 最后，我们设计了这个房间的布局、光照、贴花等，这样玩家会认为这是一个对称的整体空间和拥有可见的机器人通道. 通过把这些思维碎片植入玩家脑内，我们使得玩家在进行激动人心的双重碰撞时依然保持头脑清醒. "  5473 5473 "[english]#commentary\com-bonk.wav"        "[Jeep Barnett] This puzzle requires one of Portal’s trickiest logical leaps. Early playtesters often took longer than their patience would allow, and were nearly ripping out their hair by the time they’d finally solved it. But almost everyone insisted that the payoff was by far their favorite moment in all of co-op. We significantly reduced the average solution time by adding a puzzle just before this where two cubes repeatedly collide, but this almost completely robbed the appeal from what was once a high moment. So, instead we decided to make a few subtle adjustments and leave players with the responsibility to make the final leap. First we added a puzzle four chambers earlier, to teach players to fling by cutting their hard light bridge and falling into a surface directly below. We then subconsciously prime the thought of midair collision by having players repeatedly ricochet weighted spheres against a hard light bridge. Finally, we designed this room’s layout, lighting, and decals so that players would see the entire space as a symmetrical whole and visualize the bots' fling path. By planting shards of the idea in their heads, we allow players to own that exciting dual collision epiphany while keeping their sanity intact."  5474 5474 "Commentary_Title_TRUST"        "信任谜题"   5475 5475 "[english]Commentary_Title_TRUST"        "TRUST PUZZLES"   5476 N/A "#commentary\com-trust.wav"        "[Eric Tams] 游戏中的几个难点问题需要玩家采取不同的、相互交织的措施. 我们称这些不对称的信任谜题，是因为一名玩家往往是控制在对方的手中. 当一名玩家不小心杀死了其他人时，几乎总是在笑声中结束. 如此多的笑声，是我们有时不得不考虑的问题，如果它是真实存在的话. 这些谜题也需要玩家不断地沟通，这自然导致了合作，从而产生伟大的时刻. 虽然一些玩家发现了这些压力，但对许多合作伙伴而言，这些谜题是他们最喜欢的类型. 但大家都同意，他们需要改变类型和生活节奏. 并通过交换角色，每个玩家都可以得到与同一个谜题中完全不同的体验. "  N/A 5476 "#commentary\com-trust.wav"        "[Eric Tams] 游戏中的一些迷题需要玩家担任独特的、关键的角色. 我们称这谜题为“信任谜题”，因为此时其中一名玩家需要把自己的性命交到另一名玩家手中. 当一名玩家不小心杀死了别人时，几乎都是在笑声中结束这一切. 虽然有如此多的笑声，可我们有时不得不考虑一个问题：如果这一切是真实存在的话. 这些谜题也需要玩家不断地相互沟通，才能自然而然使得玩家进行合作，从而成就了些伟大的时刻. 虽然一些玩家在这种情况下会感到压力，可对许多玩家而言，这类谜题是他们最喜欢的类型. 但大家都觉得需要增加多样性和做适当的改变. 并通过交换角色，使每个玩家都可以在同一个谜题中获得不同的体验. "  5477 5477 "[english]#commentary\com-trust.wav"        "[Eric Tams] Several puzzles in the game require the players to take on distinct, intertwined roles. We called these asymmetric chambers 'Trust Puzzles,' because one player is often placing their life in the hands of the other. When one player accidentally kills the other it almost always ends in laughter. So much laughter, that we sometimes had to question if it really was a legitimate accident. These puzzles also require players to stay in constant communication, which naturally leads to some great moments of cooperative bonding. While some teams found these stressful, for many partners, these puzzles were their favorite type. But everyone agreed that they added needed variety and a nice change of pace. And by swapping roles, each player can get an entirely different experience within the exact same puzzle."  5478 N/A "Commentary_Title_CUBES"        "立方体与球体"   N/A 5478 "Commentary_Title_CUBES"        "立方体 VS 球体"   5479 5479 "[english]Commentary_Title_CUBES"        "CUBES V. SPHERES"   5480 N/A "#commentary\com-cubes.wav"        "[Matthew Scott] 重球体最早出现在传送门 1 的高级实验室中. 对于传送门 2，我们意外地让他们富有弹性，这实在太好玩了，使他们去寻求改变. 在合作过程中，我们希望玩家使用团队捕捉的对象，虽然可能有一个立方体安全着陆，球会反弹和滚动出界. 因此，在这个实验室中，我们抛下了一个球体，作为一个有趣的视觉奖励，而且我们希望通过麦克风欺骗玩家说说“球”. "  N/A 5480 "#commentary\com-cubes.wav"        "[Matthew Scott] 重球体最早出现在 Portal 1 的高级实验室中. 而在 Portal 2 里，我们无意间试着让他们具有弹性并发现这实在太有趣了，因此我们决定保留这个修改. 在合作模式中，我们希望玩家能通过团队合作来抓取目标物体，虽然一个立方体也许能让你安全落到上面，但是球体则会四处弹跳而且不受约束地到处滚动. 因此，在这个实验室中，我们抛下了一堆球体，作为一个有趣的视觉奖励，而且我们希望借此使得玩家们在麦克风里面大叫“球”. "  5481 5481 "[english]#commentary\com-cubes.wav"        "[Matthew Scott] Weighted spheres first appeared in one of Portal 1's advanced chambers. For Portal 2, we accidently made them bouncy and it was too much fun chasing them to change it. In co-op, we wanted players to use teamwork to catch an object, and while a cube might have landed safely, a sphere will bounce and roll out of bounds. So, in this chamber we drop a bunch of spheres as a fun visual reward, and we wanted to trick players into saying 'balls' over the microphone."  5482 N/A "Commentary_Title_CHELL"        "NEW CHELL"   N/A 5482 "Commentary_Title_CHELL"        "全新的 CHELL"   5483 5483 "[english]Commentary_Title_CHELL"        "NEW CHELL"   5484 N/A "#commentary\com-chell.wav"        "[Realm Lovejoy] 我们做一个整体的传送门 2 新角色的想法，但是我们不想失去在传送门 1 开始的 GLaDOS 和谢尔之间的关系. 当我们决定与 Chell 站在一起后，我们想让 CHELL 看上去比以前更好，更新她的腿弹簧和连衣裤有更多的功能设计. 与此同时，我们不希望玩家不认识她，所以我们一直喜欢的橙色的标志性元素. 她折了她的连衣裤，显示她已基本卷起她的袖子和脱落的标签......她再次醒来进行测试，但比以往任何时候都更强大、更确定. "  N/A 5484 "#commentary\com-chell.wav"        "[Realm Lovejoy] 我们曾经想为 Portal 2 重新设计一名新角色，但是我们不想失去在 Portal 1 开始的 GLaDOS 和 Chell 之间的关系. 当我们决定继续使用 Chell 作为本作主角时，我们想让 CHELL 看上去比以前更好：我们更新她的腿部弹簧和连衣裤，让它们看起来比以前更实用. 与此同时，我们不希望玩家认不出她，所以我们保留了很多原有的标志性元素例如橙色. 她脱下了她的连衣裤，把袖子绑在腰上以及展示出背心上的光圈科学标志......她再次醒来进行测试，但比以往任何时候都更强大、更有决心. "  5485 5485 "[english]#commentary\com-chell.wav"        "[Realm Lovejoy] We thought of making a whole new character for Portal 2, but we didn't want to lose the relationship between GLaDOS and Chell that began in Portal 1. Once we decided to stay with Chell, we wanted to improve her look: updating her leg springs and jumpsuit to have a more functional design. At the same time, we didn't want players to not recognize her, so we kept a lot of the iconic elements like the color orange. She has folded down her jumpsuit to show she has essentially rolled up her sleeves and shed some of the Aperture label...she is awake again to test, but stronger and more determined than ever."  5486 N/A "Commentary_Title_LIL"        "项目实验室"   N/A 5486 "Commentary_Title_LIL"        "LIL 计划"   5487 5487 "[english]Commentary_Title_LIL"        "PROJECT LIL"   5488 N/A "#commentary\com-lil.wav"        "[Marc Laidlaw] Project Lil 是我们的代码名称，用于内部推动目的，以便使我们的意见更容易获得社会的认可. 有人指出，在邮件中，从一个粉丝到我们以前的一些评论，设计师都始终将玩家称为“他”. 虽然在自然发言中，我们大多数人通常都会说“他们”和“他们的”，而不是“他”和“他的”，有些沉闷的语法会通过并修订所有这些用户，以便使它们符合压迫性的性别偏向的规则. 然而，研究表明，“他们”和“他们的”是完全可以接受的，甚至旧的形式，我们都很高兴去依赖，让人们紧紧依照对粉丝昵称的所谓规则，按照他们正常的交谈方式去说吧. 谢谢，Lil. "  N/A 5488 "#commentary\com-lil.wav"        "[Marc Laidlaw] Project Lil 是我们的一个计划的代号，用于内部推动目的，以便使我们的意见更容易获得 Valve 社区的认可. 因为之前有一位粉丝通过电子邮件指出，在我们以前所做的一些评论中，设计师都始终将玩家称为“他”. 虽然在平时的发言中，我们大多数人通常都会说 “他们”和“他们的”，而不是“他”和“他的”，而有些对语法使用表现出过度骚闷情绪的家伙们则会把与“他们”和“他们的”这些单词有关的所有用法以及用意都翻一遍，以求能够给它安上个\"符合压迫性性别歧视特征”这么个类似莫须有的罪名. 然而，研究表明，“他们”和“他们的”都是完全可以接受的，甚至旧的形式，我们都很高兴去这么做，让大家按照平时的交谈方式去说吧，由于之前那些所谓的规则，让我们与玩家们疏远了. 谢谢，Lil. "  5489 5489 "[english]#commentary\com-lil.wav"        "[Marc Laidlaw] Project Lil is our codename for an internal push to make our comments more accessible to the whole Valve community.  It was pointed out to us in mail from a fan that in some of our previous commentary, the designers referred unfailingly to the gamer as a 'he.'  Although in natural speech, most of us normally tend to say \"they\" and \"their\" rather than \"he\" and \"his,\" some stuffy overactive minion of the grammar police went through and revised all those usages to make them conform to an oppressive gender-biased rule.  However, research shows that \"they\" and \"their\" is a perfectly acceptable and even older form, and we are happy to fall back on it and let people talk the way they normally talk, and screw the so-called rules that alienate our fans. Thanks, Lil."  5490 N/A "Commentary_Title_BOTVOX"        "呼唤机器人"   N/A 5490 "Commentary_Title_BOTVOX"        "为机器人配音"   5491 5491 "[english]Commentary_Title_BOTVOX"        "VOICING THE BOTS"   5492 N/A "#commentary\com-botvox.wav"        "[Bill Van Buren] 过了一段时间，我们合作研制拨号机器人发声的正确方法. 起初，我们记录了一些内部处理与声乐表演，以及他们所产生的声音，加以认真的处理，使之听起来非常象是机器人的声音. 然而，由于动画为机器人创造了如此全面的表现，我们很快就意识到，我们要尝试不同的方法. 经过几次内部实验，我们引入了 Dee Bradley Baker，我们曾与之创造了 Left 4 Dead’s Special Infected 的一些特别的声音. 我们与 Dee 拿出两个不同声音和性格的机器人的方法和记录，每一个都得到各种不同的答复. 后来，我们的两位声音设计师，每人都认真聆听一种声音，创造了独特的声音处理方式，为每个机器人制作了独特的声音个性，使 Dee 的性能的能量和表达熠熠生辉. 这是 Dee 的原始性能听起的象是什么的一个样本，并且声音设计师通过了这一结果. "  N/A 5492 "#commentary\com-botvox.wav"        "[Bill Van Buren] 这花了我们好一段时间来为合作模式中的机器人制作恰当的人物声音. 起初，我们录制了一些机器工作时的内部处理音效，以及他们所产生的声音，加以认真的处理，使之听起来非常象是机器人的声音. 然而，由于宣传动画把机器人刻画得如此全面与生动，我们很快就意识到，我们要尝试不同的发声类型. 经过几次内部实验，我们请来了 Dee Bradley Baker，我们曾经与他一起为 Left 4 Dead 中的特殊感染者制作过一些的声音. 我们与 Dee 合作，为机器人设计出了两套不同的声音方案、人物性格以及为每个机器人都录制了一系列的人物回应. 后来，我们的两位声音设计师，各拿一套声音方案，运用了独特的声音处理方式，为每个机器人制作了具有鲜明个性的声音，且仍然使得 Dee 设计的这些声音中所具有的活力与特点充分地表现出来. 接下来的展示中您可以听到 Dee 的最初设计方案中的声音 ，以及由声音设计师处理过的声音. "  5493 5493 "[english]#commentary\com-botvox.wav"        "[Bill Van Buren] It took a while for us to dial in the right approach for the co-op bot vocalizations. Initially we recorded some in-house vocal performances and processed them heavily with the resulting sounds being very robotic. However, as the animations being created for the bots were so broad and expressive, we soon realized we were going to need to try a different sonic approach. After a few more in-house experiments, we brought in Dee Bradley Baker, who we had worked with to create the voices for some of Left 4 Dead’s Special Infected. We worked with Dee to come up with two distinct vocal and character approaches for the bots and recorded a range of responses for each. Afterward, two of our sound designers each took on one of the voices and came up with a unique sound-processing approach to create a distinct sonic personality for each bot, that still allowed the energy and expression of Dee’s performances to shine through. In the following samples you can hear what they sounded like in Dee’s original performance, and the result after the sound designers got through with them."  5494 N/A "Commentary_Title_WHEATLEY_ATTACKS"        "WHEATLEY 攻击"   N/A 5494 "Commentary_Title_WHEATLEY_ATTACKS"        "WHEATLEY的攻击"   5495 5495 "[english]Commentary_Title_WHEATLEY_ATTACKS"        "WHEATLEY ATTACKS"   5496 N/A "#commentary\com-wheat_attacks.wav"        "[Kutta Srinivasan] Wheatley 习惯于进行不同类型的攻击，而非抛掷炸弹. 有一次，我们试图追加一些可以指向您的炮台. 这被证明惩罚过重了，然后便将它们删除了. 我们还尝试了 Wheatley 可以尝试粉碎你的粉碎机面板. 这也证明惩罚过于严重，因为玩家们注重 Wheatley 的所作所为，而且常常会在他们不注意时被粉碎机撞住. "  N/A 5496 "#commentary\com-wheat_attacks.wav"        "[Kutta Srinivasan] Wheatley 习惯于进行不同类型的攻击，而非抛掷炸弹. 有一次，我们尝试为 Wheatley 添加一些可以瞄准玩家的炮台. 这被证实过于严苛，于是，便将它们删除了. 我们还尝试放置粉碎机面板，使得 Wheatley 可以把你弄个粉碎. 这也被证实过于严苛，因为玩家们通常在留意 Wheatley 的一举一动，因此常常会在不注意时被粉碎机撞到. "  5497 5497 "[english]#commentary\com-wheat_attacks.wav"        "[Kutta Srinivasan] Wheatley used to have different kinds of attacks, other than lobbing bombs. At one point, we tried attaching several turrets to him that he could point at you. This proved too punishing, however, and they were removed. We also tried crusher panels that Wheatley could try to smash you with. This, once again, proved too punishing since players were focused on what Wheatley was doing and would often get hit by a crusher they weren't looking at."  5498 5498 "Commentary_Title_DESIGNER"        "作为级别设计人员的 WHEATLEY"   5499 5499 "[english]Commentary_Title_DESIGNER"        "WHEATLEY'S AS LEVEL DESIGNER"   5500 N/A "#commentary\com-designer.wav"        "[Aaron Barber] Wheatley 的第一个考验非常有趣，因为我们要想让它觉得他是一个第一次的级别设计师. 我们在很多地图中看到许多人试图将他们的话语或名字写入到使用不同纹理或光线的墙壁中. "  N/A 5500 "#commentary\com-designer.wav"        "[Aaron Barber] Wheatley 的第一个考验非常有趣，因为我们要想令它给人感觉像是一名头一次干活的级别设计师. 我们在很多地图中看到这么个情况，许多人试图用不同的纹理或是灯光将他们的话语或名字弄到墙壁上. "  5501 5501 "[english]#commentary\com-designer.wav"        "[Aaron Barber] Wheatley's first test was really fun to make because we wanted it to feel like he was a first-time level designer. We see a lot of maps where people try using different textures or lights to write words or put their names on the walls."  5502 5502 "Commentary_Title_WHEATDOS"        "WHEATDOS"   5503 5503 "[english]Commentary_Title_WHEATDOS"        "WHEATDOS"