Excursion Fans work in a similar fashion, although they lack the same tangibility. Pop a portal on a wall at the destination of a light bridge (they flow from a source, kind of like a river), and the walkway will continue to beam out of your second portal, wherever that may be. Light Bridges allow the creation of tangible walkways across test chambers. Latter puzzles bring together all three gels, which turns a test chamber into a scene from an infant school art lesson. Conversion Gel is slightly different, allowing you to paint over a surface so that it can support wormholes.
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Blue Repulsion Gel, for example, lets you bounce to lofty new heights, while the orange Propulsion Gel boosts your speed, letting you zip through one portal and emerge from the other with enough pace to cross otherwise impassable chasms. Surface modifiers are the most notable example of this, which give new properties to a wall or floor. Portal 2 is a far more diverse experience in this respect, introducing a host of new mechanics and subsequent applications of your portals. The first Portal was undeniably brilliant, but most of its puzzles were variants of the same handful of concepts. Even after four years, I still find it totally bewildering to walk through one portal and emerge from the other in a completely different location. This requires an out-of-the-box approach to thinking and a relaxed attitude to abstract concepts. In order to succeed, you’ll need to set up your portals in the right places at precisely the right time. Armed with your trusty portal gun – blue portal on the right trigger, orange on the left – you’ll need to get from a starting point to a designated exit, with the space in between stitched together with all manner of button-pressing, bottomless-pit-crossing, laser-redirecting and killer-turret-avoiding. So, let’s talk puzzles – the test chambers designed to put your ability at thinking with wormholes to the test. It isn’t long before you’re the subject of a familiar testing regime once again, a plaything for GLaDOS, the potty AI from the first game. That motel room I mentioned at the start of my review? You break out of it and soon find yourself back in Aperture Science labs.
I assume you’d like something in the way of contextualisation, however, so here’s the horrendously vague gist of it all. Portal 2 raises the bar for dialogue delivery, presenting a continuous stream of hilarious chatter, witty insults and comical references to past antics. Such is the power of Erik Wolpaw’s script-writing talents, which are of an even higher calibre the second time around. Remember the Weighted Companion Cube? An inanimate block that was little more than six uniform faces decorated with love hearts? Of course you do, because you became inexplicably attached to it, then ashamed of the cruel, cruel thing GLaDOS forced you to do to it.
Valve has an uncanny knack for bringing life and colour to even the most mundane of objects. I think he might be my favourite video game character of all time. Despite the simplicity of his design – a lack of any distinguishing features at all, really – Wheatley possesses more personality than the cast of most other games put together. Only here he’s a spherical robot with a blinking blue eye – something known as a Personality Sphere. It’s that Bristolian chap from the Barclays adverts, Ricky Gervais’ pal – Stephen Merchant. You’ve been asleep for some time, hauled out of a mammoth slumber by an energetic banging on the door and a familiar voice. It begins in what appears to be a motel room a quaint little cubicle furnished with a bed, desk and the odd decorative object. All of which has made this a right bugger to write. To that end, there are no plot spoilers, no dialogue quotes, no references to cake or lies, no lyrics from Still Alive used as cheesy puns and no explanations of what happened at the end of the first game (for those that weren’t intellectually on the ball enough to finish it). Fear not: this review has been the subject of endless scrutinisation to ensure that you, our cherished reader, do not have one of the best experiences of 2011 – nay, of recent years – ruined for you in any way, shape or form.
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