Gamasutra is part of the Informa Tech Division of Informa PLC

This site is operated by a business or businesses owned by Informa PLC and all copyright resides with them. Informa PLC's registered office is 5 Howick Place, London SW1P 1WG. Registered in England and Wales. Number 8860726.


Gamasutra: The Art & Business of Making Gamesspacer
arrowPress Releases







If you enjoy reading this site, you might also want to check out these UBM Tech sites:


Best Of GDC: The Secrets Of  Portal 's Huge Success

Best Of GDC: The Secrets Of Portal's Huge Success

February 27, 2008 | By Mathew Kumar

February 27, 2008 | By Mathew Kumar
Comments
    Post A Comment
More: Console/PC, GDC



[Continuing Gamasutra's 'best of GDC' show follow-up, we go in-depth with Valve's Kim Swift and Erik Wolpaw at the Portal postmorterm, examining the iterative process behind integrating story and gameplay in the 2007 Game Developers Choice Game Of The Year.]

Despite holding a session in a room full of clearly die-hard Portal fans, Wolpaw and Swift opened by warning for spoilers and expected the audience to query: Why should we care about Portal?

Introducing why, Swift said, We had a really small team, about 10 people, and for those who wondered why they should care about how the team chose to integrate narrative and design, Swift opined that By itself the story wouldnt make much of a novel (dont get me wrong, the dialogue is pretty fun), and on its own the gameplay would be fun, but kind of dry. But the tight integration of out story and gameplay resonated with people.

Wolpaw introduced the crackpot theory which led to this integration: The feeling that games tell two stories: the story-story and the gameplay-story.

If you lower the delta (the closer you bring them together)," he said, "it makes the game more satisfying.

As an example of a game with a high story delta (a game in which the story-story and the gameplay-story dont intergrate) Wolpaw gave the example of Clive Barkers Undying. As Im in a room full of developers it would be a super dick move if I run down a lot of you, but this is a good shooter and regardless of what you think about his style (thats one super scary pair of pants) hes a good writer, Wolpaw quipped.

He therefore gave the example of a game where the player is constantly under threat from attack by enemies, but features many cut-scenes where the protagonist calmly chats with other characters without ever grabbing them and screaming get out of the house! There are monsters everywhere!'

So Portals narrative design goals were to have a story-story that never intruded on, or contradicted, the gameplay story. And to do that, less is more: we were ruthless about trimming the fat.

Playtesting is probably the most important thing we did on Portal, Swift continued. Sit down and watch people play your game. Dont just have them send you reports: Its not going to be as valuable. You can find out what youre players actually want by watching them. Adjust gameplay to what players look like they need, and adjust story to enhance what players are already feeling.

At the end of a playtest wed ask players to tell us the story back, said Wolpaw. If they couldnt tell us, that was a real sign that they werent paying attention.

Playtest Early and Often

Swift revealed they began testing the first room from the moment they started at Valve. For example, the first room initially featured a shimmery force field and players didnt understand what it was -- so they changed it to glass. Throughout the game they proceeded to make the world cleaner and simpler to help teach the players what they need to know.

The color came from the dialogue, and Wolpaw had some advice for those in the room writing a funny game: God help you. Its unpleasant.

Tough guy dialogue is just about as macho the 50th time you hear it, Wolpaw explained. Funny dialogue is funny once -- maybe. A few years ago I worked on a game called Psychonauts. At Double Fine everyone sits in one big room and for the two and a half years I was there I had to sit there in the middle of this pit hearing my supposedly funny dialogue blaring out of monitors and being greeted with stony silence. It was torture -- for me. So if youre writing a funny game, be prepared to sit in a dark cold despair during development.

He did, however, ask the audience to not despair, as long as they trust their instincts and remember the initial reactions the pain could be alleviated.

Evolve the narrative out of gameplay, Wolpaw advised. Write to enhance what playtesters are feeling -- keep the story wet and dont get too attached to anything.

Gameplay too, Swift continued, recounting the story of the box marathon level. Initially a level where it was easy to destroy the box, they changed it to a level where it was impossible to destroy, and featured more gameplay events which featured the box (to help the player to remember to keep it.)

They tried to remind players by making sure they could always see the button at the end of the level which would require the box, and tried to put hints into the environment, but when all else failed...

Id been reading these declassified government interrogation manuals, and one of the things that they talked about was that isolation leads people to become attached to inanimate objects, and maybe is GLaDOS needled you a bit you would become attached to the box, said Wolpaw, explicitly describing the creation of the weighted companion cube.

Gamers might be surprised, but Wolpaw revealed that the end of the level was, initially, that the player just had to leave it behind. However, forcing the player to incinerate the box was a great satisfying ending.

As at the time they were also struggling with developing the final boss battle and discovered that not only was this satisfying to the story, it was also an excellent way to train the player for the final boss battle, allowing the mechanic to later work as revenge.

The Boss Of It All

The boss monster for a puzzle game: Isnt it obviously a complex puzzle?

The first puzzle that we tried was James Bond lasers, Swift revealed. The lasers were extremely boring to dodge and really difficult to aim, and it was really hard to tell if you were hit. So we abandoned this idea and decided to use rockets.

The second idea that they had was Portal Kombat, a high intensity rocket battle with GLaDOS in a room full of turrets.

The high intensity gameplay sucked, jumped in Wolpaw, it sucked so much that Im not going to let Kim talk. No one paid attention to what GLaDOS was saying. There were some hard core shooters who got some fun out of it but it alienated the people who were enjoying the puzzles.

The final attempt that they tried was a chase sequence, chasing GLaDOS along a corridor.

The pacing was just horrible, Wolpaw lamented, Players didnt know where they were going and theyd wander around lost and once they actually got to the corridor we wanted to spring a trick on you, so we had all these pistons spring out of the walls, and it failed in every way thats possible. Bad pacing and players didnt really know what was going on.

So, as Swift explained, by this point all they had learned was a complex boss battle was only going to slow the player down, confuse them, and lead to bad pacing.

Its funny now, Wolpaw deadpanned, but we were screwed, because Episode 2 was winding up. In the end, our old friend playtesting helped us. There was one piece of feedback that helped us that there was one part of the game that the players found very satisfying, and that was the fire pit. They were consistently telling us that this was not only dramatic and exciting and it was a really tough puzzle.

That made absolutely no sense," he added, "When it comes right down it it, thats about the easiest puzzle in the entire game.

Swift: We had to work out what made this puzzle climactic? There was time pressure, and a high visual impact.

Wolpaw continued, It was a dramatic high point, because for the first time GLaDOS is pretty obviously trying to kill you, and its first time you can actually control your environment to really escape her.

So for the final battle with GLaDOS, they just added a timer counting down until a neutotoxin killed you.
Putting a timer meant I only had to write 6 minutes of dialogue, compared to all of our previous final puzzles, which had required me to write an infinity of dialogue, Wolpaw joked.

Describing the development process that led to Jonathan Coulton's internet song sensation Still Alive, Swift said We wanted players to leave the game genuinely happy and with a smile on their face, with Erik expanding that they we wrote down a list of what would make people happy, and a song kind of floated to the top.

When all is said and done a lot of this came down to our constraints, Swift admitted. We couldnt create a massive FMV ending of doom.

Wolpaw countered that Without constraints Portal would not have been as good as it tunred out to be.

Have faith in your writing and in your team (theyre really the best asset you have), Swift concluded, and playtest, playtest, playtest.


Related Jobs

Exultant Games LLC
Exultant Games LLC — Flemington, New Jersey, United States
[10.16.19]

Software Engineer / Game Developer
Insomniac Games
Insomniac Games — Burbank CA or Durham NC, California, United States
[10.16.19]

Mid to Senior Engine Programmer (Tools)
Insomniac Games
Insomniac Games — BURBANK, California, United States
[10.16.19]

Character TD (Rigger)
Mutant Arm Studios
Mutant Arm Studios — Bend, Oregon, United States
[10.16.19]

Senior Concept Artist









Loading Comments

loader image