Template:PatchDiff/May 08, 2012 Patch/portal2/resource/subtitles turkish.txt

1259 1259 "[english]glados.fgbrvtrap03"       "GLaDOS: In fact, I devised a much more elaborate trap further ahead, for when you got through this easy one." 1260 1260 "glados.fgbrvtrap05"       "GLaDOS: Kendini bu kadar kolay yakalatacan bilseydim, tavandan ipe bal bir hindi budu sarktrdm." 1261 1261 "[english]glados.fgbrvtrap05"       "GLaDOS: If I'd known you'd let yourself get captured this easily, I would have just dangled a turkey leg on a rope from the ceiling." 1262 N/A "glados.fgbturrets01"       "GLaDOS: Pekl, gzel yakalayt. imdi, iimize geri dnelim." N/A 1262 "glados.fgbturrets01"       "GLaDOS: Pekl, eskileri anmak iyi oldu. imdi iimize geri dnelim." 1263 1263 "[english]glados.fgbturrets01"       "GLaDOS: Well, it was nice catching up. Let's get to business." 1264 1264 "glados.fgbwheatleyentrance10"       "GLaDOS: Seni hzl bir ekilde ldrecektim. Mermilerle. Veya sinir gazyla. Ancak buna benzer akrobasiler deneyeceksen hzl olmak zorunda deil. Haberin olsun. Acele etmeyeceim." 1265 1265 "[english]glados.fgbwheatleyentrance10"       "GLaDOS: I was going to kill you fast. With bullets. Or neurotoxin. But if you're going to pull stunts like this, it doesn't have to be fast. So you know. I'll take my time." … 2099 2099 "[english]glados.mp_subterfuge21"        "GLaDOS: Orange, I agree.  I never noticed that about Blue before." 2100 2100 "glados.mp_subterfuge22"       "GLaDOS: Mavi, kabul ediyorum. Turuncu hakkndaki bu gerei daha nce farketmemitim." 2101 2101 "[english]glados.mp_subterfuge22"       "GLaDOS: Blue, I agree.  I never noticed that about Orange before." 2102 N/A "glados.mp_subterfuge23"       "GLaDOS: Mavi, Turuncu ve ben sadece son birka testteki tavrn tartyorduk." N/A 2102 "glados.mp_subterfuge23"       "GLaDOS: Mavi, Turuncu ve ben az nce son birka testteki tavrn tartyorduk." 2103 2103 "[english]glados.mp_subterfuge23"       "GLaDOS: Blue, Orange and I were just discussing your behavior on the last few tests." 2104 2104 "glados.mp_subterfuge24"       "GLaDOS: Kabul etmeliyim. Mavi 75 bilim ibirlii puan cezalandrld." 2105 2105 "[english]glados.mp_subterfuge24"       "GLaDOS: I have to agree. Blue is penalized 75 science collaboration points." 2106 N/A "glados.mp_subterfuge25"       "<clr:163,193,173>GLaDOS: Turuncu, Mavi ve ben sadece son birka testteki tavrn tartyorduk." N/A 2106 "glados.mp_subterfuge25"       "<clr:163,193,173>GLaDOS: Turuncu, Mavi ve ben az nce son birka testteki tavrn tartyorduk." 2107 2107 "[english]glados.mp_subterfuge25"       "<clr:163,193,173>GLaDOS: Orange, Blue and I were just discussing your behavior on the last few tests." 2108 2108 "glados.mp_subterfuge26"       "<clr:163,193,173>GLaDOS: Kabul etmeliyim. Turuncu 75 bilim ibirlii puan cezalandrld." 2109 2109 "[english]glados.mp_subterfuge26"       "<clr:163,193,173>GLaDOS: I have to agree. Orange is penalized 75 science collaboration points." … 2371 2371 "[english]glados.potatos_sp_a3_end_paradox_poster_walkaway01"        "<clr:163,193,173>GLaDOS: Okay, you didn't have time to stop, I understand, but that WAS actually important." 2372 2372 "glados.potatos_sp_a3_end_peptalk01"       "<clr:163,193,173>GLaDOS: Durumun umutsuz grndnn farkndaym, ama aadaki o lgn adam haklyd. Bu limonlar kabul etmeyelim! imdi doruca yukar kacaz ve onu beni gvdeme geri koymas iin ZORLAYACAIZ!" 2373 2373 "[english]glados.potatos_sp_a3_end_peptalk01"       "<clr:163,193,173>GLaDOS: I know things look bleak, but that crazy man down there was right. Let's not take these lemons! We are going to march right back upstairs and MAKE him put me back in my body!" 2374 N/A "glados.potatos_sp_a3_end_peptalk03"       "<clr:163,193,173>GLaDOS: Ve muhtemelen bizi ldrecek, nk inanlmaz gl durumda ve benim hi bir planm yok." N/A 2374 "glados.potatos_sp_a3_end_peptalk03"       "<clr:163,193,173>GLaDOS: Ve muhtemelen bizi ldrecek, nk inanlmaz gl durumda ve benim hibir planm yok." 2375 2375 "[english]glados.potatos_sp_a3_end_peptalk03"       "<clr:163,193,173>GLaDOS: And he'll probably kill us, because he's incredibly powerful and I have no plan." 2376 2376 "glados.potatos_sp_a3_end_peptalk05"       "<clr:163,193,173>GLaDOS: Sana yalan sylemeyeceim, olaslk milyonda bir. Ve bu ok iyimser bir yuvarlama ile." 2377 2377 "[english]glados.potatos_sp_a3_end_peptalk05"       "<clr:163,193,173>GLaDOS: I'm not going to lie to you, the odds are a million to one. And that's with some generous rounding." … 2681 2681 "[english]glados.sp_a2_trust_fling03"        "<clr:163,193,173>GLaDOS: Try to avoid the garbage hurtling towards you." 2682 2682 "glados.sp_a2_trust_fling04"       "<clr:163,193,173>GLaDOS: ple test yapmak zorunda deilsin. p ptr." 2683 2683 "[english]glados.sp_a2_trust_fling04"       "<clr:163,193,173>GLaDOS: You don't have to test with the garbage. It's garbage." 2684 N/A "glados.sp_a2_trust_fling06"       "<clr:163,193,173>GLaDOS: Le gibi kokan plerin hi bir ie yaramadan ylece durduunu sylediimi hatrlyor musun? O bir metafordu. Aslnda senden bahsediyordum. Ve zr dilerim. O an tepki vermedin, o yzden ben de aklndan kp gittiini sandm. Ki, bu zrm anlamsz klard. Bu yzden sana imdi bir kez daha p demek zorunda kaldm." N/A 2684 "glados.sp_a2_trust_fling06"       "<clr:163,193,173>GLaDOS: Le gibi kokan plerin hibir ie yaramadan ylece durduunu sylediimi hatrlyor musun? O bir metafordu. Aslnda senden bahsediyordum. Ve zr dilerim. O an tepki vermedin, o yzden ben de aklndan kp gittiini sandm. Ki, bu zrm anlamsz klard. Bu yzden sana imdi bir kez daha p demek zorunda kaldm." 2685 2685 "[english]glados.sp_a2_trust_fling06"       "<clr:163,193,173>GLaDOS: Remember before when I was talking about smelly garbage standing around being useless? That was a metaphor. I was actually talking about you. And I'm sorry. You didn't react at the time, so I was worried it sailed right over your head. Which would have made this apology seem insane. That's why I had to call you garbage a second time just now." 2686 2686 "glados.sp_a2_turret_blocker_future_starter01"       "<clr:163,193,173>GLaDOS: Hay aksi. Kendi kendini kapana kstrdn. O zaman buraya kadarm sanrm. Testler iin teekkrler. Uzanp l olma pozisyonuna almaya balayabilirsin." 2687 2687 "[english]glados.sp_a2_turret_blocker_future_starter01"       "<clr:163,193,173>GLaDOS: Oops. You trapped yourself. I guess that's it then. Thanks for testing. You may as well lie down and get acclimated to the being dead position." … 3349 3349 "[english]sphere03.bw_finale02_spinnyblade05"        "<clr:29,172,214>Wheatley: Spinny-blade-wall!" 3350 3350 "sphere03.bw_finale04_button_press01"       "<clr:29,172,214>Wheatley: BENC KISIM! BUB TUZAKLI KLEM DMES!" 3351 3351 "[english]sphere03.bw_finale04_button_press01"       "<clr:29,172,214>Wheatley: PART FIVE! BOOBYTRAP THE STALEMATE BUTTON!" 3352 N/A "sphere03.bw_finale04_button_press03"       "<clr:29,172,214>Wheatley: Ne? Hl yayor musun? aka yapyorsun. Benimle dalga geiyor olmalsn. Pekl, kontrol hl bende. VE BU YER NASIL DZELTECEME DAR H BR FKRM YOK." N/A 3352 "sphere03.bw_finale04_button_press03"       "<clr:29,172,214>Wheatley: Ne? Hl yayor musun? aka yapyorsun. Benimle dalga geiyor olmalsn. Pekl, kontrol hl bende. VE BU YER NASIL DZELTECEME DAR HBR FKRM YOK." 3353 3353 "[english]sphere03.bw_finale04_button_press03"       "<clr:29,172,214>Wheatley: What, are you still alive? You are joking. You have got be kidding me. Well, I'm still in control. AND I HAVE NO IDEA HOW TO FIX THIS PLACE." 3354 3354 "sphere03.bw_finale04_button_press04"       "<clr:29,172,214>Wheatley: Hep son anda kamak zorundaydn, deil mi? Dier insanlar almaya urayorken. Evet, eh, imdi hepimiz bunun bedelini deyeceiz. NK HEPMZ LECEZ." 3355 3355 "[english]sphere03.bw_finale04_button_press04"       "<clr:29,172,214>Wheatley: You had to play bloody cat and mouse, didn't you?  While people were trying to work. Yes, well, now we're all going to pay the price. BECAUSE WE'RE ALL GOING TO BLOODY DIE." … 3785 3785 "[english]sphere03.demosphereswitchroom03"        "<clr:29,172,214>Wheatley: There we go. Lights on." 3786 3786 "sphere03.demosphereswitchroom04"       "<clr:29,172,214>Wheatley: Buras ana alter odas." 3787 3787 "[english]sphere03.demosphereswitchroom04"       "<clr:29,172,214>Wheatley: This is the main breaker room." 3788 N/A "sphere03.demosphereswitchroom05"       "<clr:29,172,214>Wheatley: Baka eyler ilgimizi ekmiyor. Baka hibir eye DOKUNMA. Baka eylere BAKMA bile, sadece--eh, elbette KAI BLMESN bulmak iin dier her eye de bakman gerekecek, ama bir eye bakmsan ve KAI BLMES yazmyorsa baka bir eye bak, sradakine bak. Tamam m? Baka hi bir eye dokunma veya bakma--eh, dier eylere bak, ama... anladn sen." N/A 3788 "sphere03.demosphereswitchroom05"       "<clr:29,172,214>Wheatley: Baka eyler ilgimizi ekmiyor. Baka hibir eye DOKUNMA. Baka eylere BAKMA bile, sadece--eh, elbette KAI BLMESN bulmak iin dier her eye de bakman gerekecek, ama bir eye bakmsan ve KAI BLMES yazmyorsa baka bir eye bak, sradakine bak. Tamam m? Baka hibir eye dokunma veya bakma--eh, dier eylere bak, ama... anladn sen." 3789 3789 "[english]sphere03.demosphereswitchroom05"       "<clr:29,172,214>Wheatley: Not interested in anything else. Don't TOUCH anything else. Don't even LOOK at anything else, just--well, obviously you've got to look at everything else to find ESCAPE POD, but as soon as you've looked at something and it doesn't say ESCAPE POD, look at something else, look at the next thing. Alright? But don't touch anything else or look at any--well, look at other things, but don't... you understand." 3790 3790 "sphere03.demosphereswitchroom06"       "<clr:29,172,214>Wheatley: Onu grebiliyor musun? Ben gremiyorum. Ah. Ne diyeceim bak, beni bala da klar aaym." 3791 3791 "[english]sphere03.demosphereswitchroom06"       "<clr:29,172,214>Wheatley: Can you see it anywhere? I can't see it anywhere. Uh. Tell you what, plug me in and I'll turn the lights on." … 4285 4285 "[english]sphere03.sp_a2_bts5_lockeddoor05"        "<clr:29,172,214>Wheatley: Alright, so, silent contemplation it is. Mysterious button... Sorry. Sorry. Silence. Do not speak. In the silence. Let the silence descend. Here it comes. One hundred percent silence. From now.  By the way, if you come up with any ideas, do flag them up. Don't feel you have to stay quiet because I've said absolute silence. So if you come up with an idea, mention it. Otherwise, absolute silence starting... Now." 4286 4286 "sphere03.sp_a2_bts5_science_fair01"       "<clr:29,172,214>Wheatley: una bak, o kadar bym ki tavan delip gemi. Muhtemelen u srada tm burada patates younluu yaanyor. En azndan sen a kalmayacaksn." 4287 4287 "[english]sphere03.sp_a2_bts5_science_fair01"       "<clr:29,172,214>Wheatley: Look at that, it's growing right up into the ceiling. The whole place is probably overrun with potatoes at this point. At least you won't starve, though." 4288 N/A "sphere03.sp_a2_bts5_science_fair02"       "<clr:29,172,214>Wheatley: Soda volkan piiriyorum. Eh, en azndan bir patates pili olmamasndan memnunum. Yine de inanlmaz derecede orijinal saylmaz geri. ocuk bilimi iin bile ok nemli bir aratrma deil." N/A 4288 "sphere03.sp_a2_bts5_science_fair02"       "<clr:29,172,214>Wheatley: Kabartma Tozu Volkan. Eh, en azndan bir patates pili olmamasndan memnunum. Geri yine de inanlmaz derecede orijinal saylmaz. ocuk bilimi iin bile ok nemli bir aratrma deil." 4289 4289 "[english]sphere03.sp_a2_bts5_science_fair02"       "<clr:29,172,214>Wheatley: Baking Soda Volcano. Well, at least it's not a potato battery, I'll give it that. Still not terrifically original, though. Not exactly primary research, even within the child sciences." 4290 4290 "sphere03.sp_a2_bts5_science_fair03"       "<clr:29,172,214>Wheatley: Sanrm bu bilim adamlarnn ocuklarndan biri deil. Ukala davranmak istemiyorum ama drst olalm: Her taraf gereksiz yazlarla dolu. Profesyoneller kadar iyi deiller demiyorum. Sadece daha aptallar." 4291 4291 "[english]sphere03.sp_a2_bts5_science_fair03"       "<clr:29,172,214>Wheatley: I'm guessing this wasn't one of the scientist's children. I don't want to be snobby, but let's be honest: It's got manual laborer written all over it. I'm not saying they're not as good as the professionals. They're just a lot dumber." … 5229 5229 "[english]#commentary\com-catapult.wav"        "[Kristopher Katz] This was the first test map we created when we started to experiment with the Aerial Faith Plate puzzle element. The map underwent many visual refinements, but it's one of the few puzzles that remained almost completely unchanged from its first form." 5230 5230 "Commentary_Title_DESTRUCTION"       "YIKIMA GR"   5231 5231 "[english]Commentary_Title_DESTRUCTION"        "INTRODUCTION DESTRUCTION"   N/A 5232 "#commentary\com-destruction.wav"        "[Gray Horsfield] Konteynerin yok oluunu ieren sahne kendine zg teknik zorluklar ieriyordu. Tecrbe ettiiniz dinamikler aslnda birbirinden ayr hesaplanm ancak birbirine kaynatrlm iki farkl simlasyondan oluuyor. lki gerilim testi eklinde tasarlanan kaba lekli simlasyon. Bu test, konteynerin kendi genel hareketliliini ve keyframe(komut verilen kare)deki veri ile constraint(3 boyutta belirtilen hesap noktalar)lere dayanan krlma noktalarn ve arpmalar hesaplyor. Konteynerin her vuru ve arpnda constraintler krlmaya balyor ve oda kademeli bir ekilde paralanmaya balyor. Bu rig(3 boyutta iskelet) ierisinde, her birinin hassaslk, srtnme ve krlmaya kar verdii tepkinin farkl olduu 900 constraint ve 300n zerinde iskelet yaps bulunuyor. Kaba simlasyon, brt deviniminde yakalanan sahnenin temel dinamiklerini tanmlyordu ancak en iyi ayrntlar betimleyemiyordu. Kaba simlasyonun rn daha sonra konteyner geometrisini yanstan spline(oluk) esasl yzeyleri deforme etmek iin kullanlr oldu. Yzey deformasyonu art gsterdike, balar krlyor ve ince kat cisim enkazlar simlasyona braklyordu. Simlasyon ayn zamanda ev eyalarn ve model detaylandrlmasn ieriyordu. Daha sonra iki simlasyon veri nbellii kullanlarak birbirine baland ve bir dizi komut dizisi ile beraber kullanld. Birbirine kaynatrlm iki simlasyonu kullanmann getirdii hesaplama karmaklndan dolay baz ilgin matematiksel problemleri zmek iin zmler bulmak zorundaydk. Sorunlardan biri, birbirine kaynatrlm simlasyonlarn doasndan dolay ince enkaz hesaplamalarnda baz istikrarszlklar, kayan noktal programsal snrlardan dolay gerekleiyordu. Bunun iin kullanlm olan zm, kaba simlasyonun dizin kk deiimi iptal edilip daha sonra kullanlmak zere sakland yerde ince enkaz hesaplamalar yaplmasyd. Bu bize evre ve enkaz arasndaki etkileimi kesin olarak tespit etmemize izin verdi. Simlasyondan sonra, dizin kk deiimi pozisyonu ve eylemsizlik yeniden detaylara uyguland. Uratrc sorunu, oyuncuyu, bu son derece dinamik evre dahilinde; konteynerin tm temel modellerini ieren ama tamamen oyuncu yngdmn hesaplamak iin bir virtual room(sanal oda)'a yerletirerek sorunu zdk. (Bu haritada herhangi bir yerde gizli.) Oyuncunun bak as daha sonra son ilenen karede kaba simlasyon deiiminin kayna. Sahnenin sonunda oyuncu gerek oyun alanna nlanyor. Simlasyonlar, bize oyun tasarm ile paralel olarak dinamiklere ekil vermemize izin veren ve kendini tekrarlayan yaplard. Son rnde, 1200'den fazla kat cisim, 900'den fazla constraint ve 1000'den fazla joint(iki paray birletiren yer) kullanlmt. Tekrarlamalar birletirildiinde, simlasyonu hesaplamak iin harcadmz gerek sre 92.4875 gn etmiti."  N/A 5233 "[english]#commentary\com-destruction.wav"        "[Gray Horsfield] The container ride destruction sequence provided some unique technical challenges. The dynamics you experience are actually computed as two separate but nested simulations. The first is a coarse scale simulation designed as a stress element analysis pass. This pass computes the overall gross motion of the container itself, and computes the collisions and break points based on path keyframe data and a network of constraints. As the container bumps and crashes along, the constraints start breaking, and the room progressively starts to come apart. There are over three hundred rigid bodies and nine hundred constraints in this rig, all individually configured for properties like tensile, friction and collision response. The coarse simulation portrayed gross motion that captured the main dynamics of the ride, but not the fine details. The product of the coarse simulation was then used to deform spline-based surfaces representing the container geometry, which in turn were parents to fine debris as anchored rigid bodies. As the surface deformations increase, anchors are broken and the fine debris rigid bodies are released into the simulation. The fine simulation also includes the interior furniture, and the model detailing. The two simulations were then connected using cache data and were driven together by a series of scripts. Due to the computational complexities of having two nested simulations, we had to come up with some solutions to some interesting mathematical problems. One problem was that the nested nature of the simulations resulted in some instability in the fine debris calculations due to floating point computing limits. The solution employed for this was to compute the fine debris on a stage where the root transform of the coarse simulation was essentially cancelled out and stored for later use. This allowed us to more accurately detect the fine interactions between the debris and the environment. Post simulation, the root transform position and inertia were reapplied to the details. We solved the problem of trying to compute the player within this highly dynamic environment by putting them in a virtual room that has all the base shapes of the rendered container, but is simply used to compute player navigation. (Its hidden somewhere else in the map.) The viewpoint of the player is then parented to coarse simulation transform, resulting in the final rendered frame. At the end of the ride the player is teleported into the actual game space. The simulations were iterative, enabling us to sculpt the dynamics in parallel with the gameplay design. In the final product there are over 1200 rigid bodies, 900 constraints, and 1000 joints. With all the iterations combined, the actual run time spent computing the simulation was 92.4875 days."  5232 5234 "Commentary_Title_REFERENCE"        "REFERANS ALINAN MALZEMELER"   5233 5235 "[english]Commentary_Title_REFERENCE"        "REFERENCE MATERIALS"   5234 5236 "#commentary\com-reference.wav"        "[Adam Foster] Portal 2'yu yaparken, ok byk miktarlarda referans materyalleri aratrdk. Fikirler, NASA'nn Apollo ve Shuttle program fotoraflarn, CERN'in eski ve yeni parack hzlandrclarn, endstriyel robotlar, terk edilmi Sovyet mekiklerini, devasa tapnaklar, Brksel metro istasyonlarn, eskimi Amerikan motellerini, fze biliminde kullanlan ekipmanlarla dolu hurdalklar, inaat halindeki in apartmanlarn, Polonya tersanelerini, nikel madenlerinde kullanlan ntrino dedektrlerini, eitli dnemlere ait irket merkezlerini, ticari nkleer reaktrleri, deneysel fzyon reaktrlerini, Detroit'te yamurdan srlsklam olan kitap depolarn, garip kameralar, unutulmu uzay paralarn ve daha nicelerini ieriyordu." …  5251 5253 "[english]#commentary\com-funnel.wav"        "[Dave Saunders] In this excursion funnel ride, playtesters would often end up shooting the wrong portal at the critical moment and killing themselves. This ruined the moment for players, who often didn't quite understand why their excursion funnel hadn't been redirected. As a solution, we now detect when the player places the wrong portal in hopes of saving themselves; we help them out by moving their other portal under the excursion funnel source. This effectively makes the section foolproof, by allowing the player to shoot either portal to save themselves."  5252 5254 "Commentary_Title_WORLD_PORTALS"        "PORTAL DNYASI"   5253 5255 "[english]Commentary_Title_WORLD_PORTALS"        "WORLD PORTALS"   N/A 5256 "#commentary\com-worldportals.wav"        "[Eric Tams] Portaldan alnan elencenin ou, yeni bir ey rendiinizde kardnz \"Ah Ha!\" sesine baldr. Bu durumu salayabilmek iin oyun ok zel bir tempoya sahip olmaldr. Bilmeceler ok kolay olursa, o an sizden alnm olur ve sanki hibir ey baarmam hissiyat yaratr. Eer ok zor olursa, en sonunda insanlar bilmecenin kard kk bir blmn farkettiklerinde kendilerini akll hissetmek yerine aptal hissederler. Ne yazk ki bu kadar hassas bir denge salamaya almak blmlerin birok kere deimesine ve gzden geirilip tekrar ince ayar yaplmasna neden oluyor. Blmlerin srasnda ya da iinde yapsal olarak byk bir deiiklik yapldnda olaylar tekrar balamak ve sraya koymak iin saatlerimizi hatta gnlerimizi youn bir almayla geirmek durumunda kaldk. Eer bir daha Portal byklnde, ayarnda ve dengesinde istediimiz bir ey yaynlamak istersek bu ileri tekrar sfrdan yapma urasna katlanmadan rahata byk deiiklikler yapabileceimiz bir yola ihtiyacmz vard. Bize uzay bkebilmek iin bir yol gerekiyordu. Portallarla dnebilmemiz gerekiyordu. Uzayda imkansz olan eyleri tasarlayabilmek iin dnyann farkl alanlarna portallarla balanmamz gerekiyordu. Yanndaki odaya bir koridordan bakyor olabilirsin ancak koridor haritann dier tarafnda olabilir ve baktn oda tamamen farkl bir oryantasyonda karna kabilir. Sonsuz bir asansr, ok geni bir bak as, ii dndan daha byk olan bir oda, hatta bir aft kendi kendine balayarak sonsuz d bile yaratabilirdik. Fazla zaman gemeden btn boluklarn balants bizim iin bir portald. Hatta bunlar uarken bile deitirebiliyorduk. En basit bir kap bile bir izgi film gibi alyordu: sonu bambaka bir yere alan duvara boyanm bir kap. Oyun yerine oturabilecek bir seviyeye geldiinde, oyundaki yollar son haline getirip btn portallar sildik. Oyunda sadece bir tane imkansz boluk kald, bakalm nerede olduunu bulabilecek misiniz..."  N/A 5257 "[english]#commentary\com-worldportals.wav"        "[Eric Tams] Much of the fun in Portal is based on the joy of the \"Ah Ha!\" moment when you learn something new. The game needs a very specific pacing to ensure these moments. If things are too easy then you are robbed of that moment since it feels like you didn't accomplish anything. If it's too hard then players feel stupid instead of smart when they finally realize that one small part of the puzzle that they were missing. Unfortunately trying to create that delicate balance leads to a lot of shuffling of levels and a lot of revisions and tweaks to existing levels. When we started the project making any big structural change in a level or the order of levels would lead to hours or even days of busy work trying to reconnect things and make sure they lined up again. If we ever wanted to ship something the size of Portal with the finely tuned balance we desired then we needed a way to be able to make big changes to the layout of the game without paying the cost of making everything line up again. We needed a way to bend space. We needed to think with portals. Using portals to connect different areas in the world we could make any type of impossible space work out. You could look through a hallway into the next room but the hallway might be on the other side of the map and the room you are looking into might be in a completely different orientation. We could seamlessly insert an elevator, a huge expansive vista, a room that was bigger on the inside than the outside, or even create an infinite fall by connecting a shaft back into itself. Soon every connection between any space was a portal. We would even switch them on the fly. Even a simple door worked like the cartoons - just a facade painted on a wall that seamlessly opened somewhere else entirely. Once the game settled down we were able to finalize our path and remove all of the world portals. There's only one impossible space left in the whole game - see if you can figure out where it is."  5254 5258 "Commentary_Title_BLOBULATOR"        "BLOBULATOR"   5255 5259 "[english]Commentary_Title_BLOBULATOR"        "BLOBULATOR"   5256 5260 "#commentary\com-blobulator.wav"        "[Olivier Nallet] Boya damlas Source motoruna ilk olarak 2007'de entegre edilmiti. Yllar boyunca kodu nemli derecede iyi hale getirdik ama hl oyun konsollarnda almak iin ok yavat. Bu damlalar Portal 2'nin temel zelliklerinden olduu halde konsollarda alabilecek mi bilmiyorduk. 2010 yaznda konsollar iin o kadar iyi gzkmeyen tamamen farkl bir yntem dnyorduk. 360'da ok dk kaliteli bir damlayla bile performans btesinin sonuna dayanyorduk. Ama btn platformlarda ayn kalitede damlalar olmasn gerekten istedik. PS3 ilemcisi iin de kodu ok uygunsuzdu. Damla kodunu en batan yazarak btn ilemci ve ekirdeklerinden faydalandk. Hafza ve performans kstlamalar iinde kaliteli damlalara sahip olduk." …  5366 5370 "[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."  5367 5371 "Commentary_Title_IMPOSTERS"        "MEKAN TAKLTLER"   5368 5372 "[english]Commentary_Title_IMPOSTERS"        "WORLD IMPOSTERS"   N/A 5373 "#commentary\com-imposters.wav"        "[Gary McTaggart] Left 4 Dead 2'de, su yansmalar iin tekrar btn dnyay ileyip CPU ykn arttrmamak nedeniyle basit, sisli, siyah ve tek yongal modeller tasarladk. Bu, Left 4 Dead 2 gibi n gkyznden geldii d ortamlarda ok gzel iledi. Ancak Portal 2 neredeyse tamamen i mekanlarda geiyor ve bu yzden dnya geometrisi su yzeyinde kendi rengi ve deerleriyle yansyor. Portal 2'nin dnya geometrisi nispeten basit olduundan dolay aydnlatma ve yzey glgelemesini, sadece yzey glgelenmeli baka bir desenle birletiren tek ana desen oluturabilmek iin sahte bir dnya geometrisi tasarladk. Dier desen ise dinamik klandrmalar ilenirken kullanld. Bu desenler k haritalaryla ayn uzaysal znrlle sahip ve bunlar her blmde tek bir byk atlasa paketleniyor. Portal 2'deki oklu portal grnmleri, blnm ekranlar ve su yansmalar gibi ilenmesi gereken eyler varken bu sahte dnya modelinin izimi zaten limitli bir kaynak olan CPU zamanndan ok az harcam bulunuyor. En bata sadece su yansmalarn ilemek iin planladmz sahte dnyalar, performans arttrmak iin blnm ekran modundaki uzak portallar ve daha derindeki portallar ilemek iin de kullandk. Co-op modu tek kiilik moddan ok daha fazla portal grnm ilemesi gerekiyor ve bize biraz daha performans art salamas iin sahte dnyalar tam ekran co-op modunda suyu ilemek iin de kullandk."  N/A 5374 "[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."  5369 5375 "Commentary_Title_GEL_SOUNDS"        "JEL SESLER"   5370 5376 "[english]Commentary_Title_GEL_SOUNDS"        "GEL SOUNDS"   N/A 5377 "#commentary\com-gelsounds.wav"        "[David Feise] Portal 2'deki jel sesleri ile, oyuncunun elencesine katkda bulunacak acayip ancak samalk izgisini amayan bir ey oluturmak istedik. rnek olarak, mavi jeldeki sekme sesini ilk olarak plastik oyun topu, tek perdelik bir harp teli ve ilenmi az liri(temir komuz) seslerini harmanlayarak oluturduk. Ortaya kan ses elence fikrini gzel olarak ilemesine ramen biraz kak kald. Bu sesi biraz irdeledikten sonra tramplene benzeyen metal bir ubuun zplatma sesini sentezleyerek bunda karar kldk. ok kak deil ama, umuyoruz ki hala elenceli."  N/A 5378 "[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 players 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. Its not as wacky, but hopefully its still fun."  5371 5379 "Commentary_Title_WHEEL"        "JEST MENS"   5372 5380 "[english]Commentary_Title_WHEEL"        "GESTURE WHEEL"   N/A 5381 "#commentary\com-wheel.wav"        "[Andrew Burke] lk uygulamamzda jestler oyuncunun durumuna gre otomatik olarak belirleniyordu. Mesela, mavi dmenin zerinde duruyorsa zel bir jest yapabiliyordu. Oyuncular bu jestleri grmekten ok abuk skldlar ve yeni zel durumlar kefedemeden jestleri kullanmay braktlar. Bu nedenden dolay jestelerin kontroln oyunculara verip kendilerini ifade etmelerine karar verdik, ancak btn jestleri bir anda gsterdiimizde oyuncular seeneklerin iinde bouldu. Oyun ilerledike oyuncular jestlerle mkafatlandrarak birbirlerine snmalarna izin verdik. Jest mensnde grnr boluklar brakarak oyuncularn oyunda ilerledike ok gzel jestler elde edecekleri beklentisini kurduk. Jest mens jestlere gerekten hzl bir eriim salad iin oyuncular bo anlarnda arkadalaryla rahatlkla bir jest paylaabilme hissini elde edebiliyorlar ve bu da oyunculara bi belik akmalar iin mkemmel zaman semelerini salyor."  N/A 5382 "[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."  5373 5383 "Commentary_Title_HIGH_FIVE"        "BELK AKMAK"   5374 5384 "[english]Commentary_Title_HIGH_FIVE"        "HIGH-FIVE"   5375 5385 "#commentary\com-highfive.wav"        "[Matthew Scott] Oyunu test edenlerin zor bir bulmacay zdkten sonra, bazen k kapsna doru gitmeden oyunu brakp heyecandan hoplayp zpladklarn farkettik. Bu buluma noktalarnn oyunculara belik akmas ve baarlarn kutlamas iin harika bir yer olduunun farkna vardk. lk arayz denememiz, bir oyuncunun belik akmas iin eli havada beklemesi ve dier oyuncunun ayn jesti seerek dierinin yanna gitmesiydi. Eer doru pozisyonda dururlarsa, belik akabiliyorlard. Ama durmalar gereken doru pozisyonlar renmek olduka zordu. Bylece botlar belik akmak iin, otomatik olarak doru pozisyona getirmeye karar verdik. Bazen, her naslsa, oyunculardan biri jesti kabul etmeden giderse, belik akmak isteyen oyuncunun eli havada kalyordu. Bu da belik akmak isteyen oyuncunun eli havada beklemesi gereken zaman arttryor ve dier oyuncunun geri dnp jesti kabul etmesi iin zaman veriyordu ama bir yerde bir ka saniyeden fazla durup kalmak olduka sinir bozucuydu. Bylece son olarak, oyuncularn jestleri otomatik olarak kabul etmesini oyuna ekledik. imdi, ne zaman oyunculardan birinin keyfi artarsa, oyun her zaman baarl bir kutlama salyor." …  5380 5390 "[english]#commentary\com-hugs.wav"        "[Keith Lango] For a while, we were on the fence about whether to keep the team taunt 'hug' in the game. Some felt it wasnt suitably robotic, while others had a concern that it perhaps showed too much emotion for these characters. But once it was animated for a trade show trailer, many of our concerns were washed away by the positive reaction of the fans. It was a huge success."  5381 5391 "Commentary_Title_ROBOT_VISUAL"        "ROBOTLARIN GRSEL TASARIMI"   5382 5392 "[english]Commentary_Title_ROBOT_VISUAL"        "ROBOTS VISUAL DESIGN"   N/A 5393 "#commentary\com-robotvisual.wav"        "[Tristan Reidford] Robotlarn grsel tasarmlar birok konsept izimle balad. lk aamada konspetler insans robot izimlerinden, ok daha soyut izimlere kadar her eyi ieriyordu. Kendimizi orijinal Portal'dan hatrladmz kresel ekiller ve taretlere doru ekilirken bulduk. Yerleik olan portal tasarmn estetik tutarken tamamen yeni iki karakter oluturmaya hevesliydik ve bu ikilinin birbirlerinin zde kopyalar olmalar yerine her birinin kendi ayr tasarm olmas ok nemliydi. rnek olarak Team Fortress 2'de karakterlerin doasyla iletiim iin temel bir silet vazgeilmezdi. Bunun aksine Portal 2'de daha dank tasarmlarla oynama ansn elde ettik; zerlerinden sarkan eylerle yar retilmi, yar doalanm grndler. Kabataslak olan teknik izimlerinde karar kldmzda daha ok doalama ve denemenin olutuu 3 boyutlu ekillerini modellemeye baladk. Genellikle modeller 3 boyutlu olarak dizayn edilir ve animasyon iin ekipman ile donatlr, ancak bu aamada ekipman donanmnn modellere yn vermesini saladk. Robotlarn mekanik dizaynn kutlamak istedik. Bu fonksiyonun bir form oluturmasn istedik ve motorlar, eklemler, hareket salayclar gibi bu tr eyleri dnmeye baladmzda robotlar kendi kendini dizayn etmeye balad. Klasik ikililer genellikle iki zt beden ekilleriyle uyarlanrlar: fra gibi uzun bir nesnenin yanna bodur bir ksa, Laurel ve Hadry ya da C3PO ve R2D2 gibi karakterleri de bunlarn iinde grmek zor deil. Siletlerimizi biraz pasakl yapabilme zgrlne sahip olmamza ramen, iki ayakl ve insans ahslar olarak grlebilmeleri nemliydi. Oyuncularn partnerlerine tipik bir insanm gibi olumsuzluk yaratmadan haylazlk yapabilmelerini istedik. Robotlar bunun iin mkemmeldi."  N/A 5394 "[english]#commentary\com-robotvisual.wav"        "[Tristan Reidford] Visual design of robots began with lots of concept art. The initial round of concepts explored all kind of forms from human to the more abstract. We found ourselves gravitating toward shapes that reminded us of the sphere and turret in the original Portal. Whilst keeping with the established portal design aesthetic, we were keen to create all new characters, and, being a duo, it was important that they were their own separate designs, rather than identical copies of each other. Unlike, for instance, Team Fortress 2, where a clean silhouette is essential for communicating the nature of a character, we had an opportunity here to play with designs that were a bit messy, with things sticking out of them, so they looked half manufactured, half improvised. Once we had agreed on rough designs in 2D, we began to build the shapes in 3D, and this is where the next level of improvisation and experimentation occurred. Usually, a model will be designed and built in 3d and then rigged for animation, but here we allowed the rigging process to inform the models. We wanted to celebrate the mechanics of robots. We allowed function to dictate form, and in terms of detail they started to design themselves once you start thinking about motors, ball joints, actuators, and all that sort of thing. The classic duo is often made up of the two contrasting body types--short and squat next to tall and wiry, and it's not hard to see Laurel and Hardy, C3P0 and R2D2, in these characters. Even though we had the freedom to make our silhouettes a bit untidy, it was still important that they remain readable as anthropomorphic bipeds. We wanted players to feel free to make mischief for their partners, in a typically human way, but without creating any kind of gore. The robots were perfect for this."  5383 5395 "Commentary_Title_TURRET"        "TARET MALAT MAKNES"   5384 5396 "[english]Commentary_Title_TURRET"        "TURRET BUILDING MACHINE"   N/A 5397 "#commentary\com-turret.wav"        "[Aaron Nicholls] Biz dahil birok Portal oyuncusunun Aperture resminin derinliklerine bakmak istediini farkettik: sadece terk edilmi kntlardan ziyade fabrikann daha can alc yeri olan kalbine doru. Taret fabrikas bu arzuyu tatmin ederken bunun yannda fabrikadaki tm malzemelerin nereden geldii sorusuna da cevap vermi oldu. Oyun sresince taret retim ilemine zaman zaman dokundurduumuzdan dolay sonunda srekli hakknda bir eyler duyduunuz taretlerin merkezini grmek hikaye asndan gayet tatmin edici oldu. Taretlerin retim srecini gstererek, sonsuz testlerle tketilmek zere oluturulan dier btn malzemelerin nasl retildii hakknda oyunculara bir fikir yrtme ans verdik. Yaratlndan rn testine, hata taramasndan paketlemesine, hatta geri dnm ilemine kadar kader mahkumu olan zavall taretlerin btn yaam srecini tasarladk. Drst olmak gerekirse taretler hibir zaman nakliye edilmedi. retim sreci bittii anda paketlenip direkt olarak anti-paket ilemine maruz braklp geri dnme gittikten sonra yepyeni hayatlarna tekrar baladlar. Bylece Aperture'n retimini ve malzemenin retim amacn srekli deitirmesini, hayal edilebilecek en verimsiz ekilde baardn gstermi olduk. Hibir zaman asl anti-paketleme cihazn yapmaya yaklaamadk, ancak tam paketleme cihaznn alt tarafnda bulunduunu varsayyoruz ve taretler bileenlerine ayrlrken paketler karlp geri dntrlmemi paket dann zerindeki yerlerini alyor olacaklard."  N/A 5398 "[english]#commentary\com-turret.wav"        "[Aaron Nicholls] We felt that most players of Portal, ourselves included, wanted more opportunities to look behind the scenes of Aperture--and not only into deserted crawlspaces, but into the vital heart of the factory. The turret factory was a way for us to satisfy this desire, while also answering the nagging question of where all the stuff in the facility came from. Because we constantly allude to the turret creation process throughout the game, it is satisfying from a story standpoint, to finally stand before the machine you've been hearing about. By showing how turrets are made, it's easy enough to extrapolate a similar creation path for all the other items that Aperture generates only to be consumed by the endless process of product testing. We designed an entire life cycle for the poor doomed turrets, from creation, product testing, error detection, packaging, and their ultimate unpackaging prior to being recycled. In fact, the turrets never make it to shipping. As soon as a turret is completely finished and packed in a box, it is immediately sent to the un-boxer, where it goes on to recycling and begins its life anew. Thus we show Aperture continually building and repurposing its items in the most inefficient way imaginable. We never got around to building the actual unboxer, but what we pictured was that it was located immediately below the boxing machine. And while the turrets would be reduced to their components, the boxes would be discarded and end up in a steadily growing mountain of unrecycled packing materials."  5385 5399 "Commentary_Title_FRANKENTURRET"        "ZRL TARETLER"   5386 5400 "[english]Commentary_Title_FRANKENTURRET"        "FRANKENTURRETS"   5387 5401 "Commentary_Title_WHEATLEY_MODEL"        "WHEATLEY MODEL"  …  5414 5428 "[english]Commentary_Title_CRAZYBOX"        "CRAZY BOX"   5415 5429 "Commentary_Title_PORTALPAINT"        "PORTAL BOYASI"   5416 5430 "[english]Commentary_Title_PORTALPAINT"        "PORTAL PAINT"   N/A 5431 "#commentary\com-portalpaint.wav"        "[Vitaliy Genkin] Portal boyas oyuna en son eklediimiz boyayd ve uzun bir sre en iyi kullanm amacndan emin olamadk. Tama yntemiyle denemeler yaptk ve fazla miktarda verilince en ok etkiyi gsterdiini grdk. Bir baka nemli faktr ise uygulama asyd. Boyay belirli ada kullanabilmek oyuncunun boyayla daha serbeste oynayabilmesini salad, bylece portallar daha nce koyamadklar yere koyarak kurallar ineme hissine eritiler."  N/A 5432 "[english]#commentary\com-portalpaint.wav"        "[Vitaliy Genkin] Portal paint was the last paint we added to the game, and for a long time we werent sure of the best way to use it. We experimented with the delivery method and found that it was most effective when it was deployed in large quantities. Another important factor was the angle of application. Dropping the paint at an angle allowed the player to play more freely with the paint, which gave them the liberating feeling of breaking the rules by being able to place portals where they couldnt before."  5417 5433 "Commentary_Title_arg"        "ARG"   5418 5434 "[english]Commentary_Title_arg"        "ARG"   5419 5435 "#commentary\com-arg.wav"        "[Adam Foster]"