As the surface deformations increase, anchors are broken and the fine debris rigid bodies are released into the simulation. 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. The coarse simulation portrayed gross motion that captured the main dynamics of the ride, but not the fine details. 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. As the container bumps and crashes along, the constraints start breaking, and the room progressively starts to come apart. 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. The first is a coarse scale simulation designed as a stress element analysis pass. The dynamics you experience are actually computed as two separate but nested simulations. The container ride destruction sequence provided some unique technical challenges. 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. And when he wants to look far in front, he flips his eye all the way over to the other side of his head. When hacking, his eye and body segments become perfectly centered and spin mechanically, inspired by the spinning tape reels on old Univac computers. It's also fun to remind the player that Wheatley is a machine.
Suspicion is communicated by squinting his eyelids and handles, which function as very expressive eyebrows and cheeks. Tilting the body away while keeping the eye focused on the player signals an attempt at cleverness that ultimately only fools Wheatley himself. Add a tightly constricted eye aperture and a little shiver to show fear. Short, sharp head turns, rapid blinks and glancing around indicate nervousness or deceit. Slow, smooth head moves, a steady gaze and a relaxed eye aperture indicate that Wheatley is calm. You have to use body language, head attitudes and rhythm of movement and eye focus to indicate a character's feelings and motivations. Talking is so much more than just moving a character's mouth.
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.
I can be reached at 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. Please let me know what you think after you have had a chance to play Portal 2. In these cases, simply press your use key again to stop the commentary. Some commentary nodes may take control of the game in order to show something to you.
To stop a commentary node, put your crosshair over the rotating node and press the use key again. To listen to a commentary node, put your crosshair over the floating commentary symbol and press your use key. And, I think, it will be, mostly, a pleasant surprise. 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. 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. 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. Hi, my name is Gabe Newell, and welcome to Portal 2.
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