Of course, these "referential assert themselves consequences" even as the level of the text attempts to them. That is, each individual application of the law threatens the self-sufficiency of the system, because it forces the generality of the law to confront the specificity of the individual refer ent? De Man translates this into textual terms by proposing that "the divergence between gram mar and referential meaning is what we call the figurai dimension of language" "Political Allegory" What in legal terms is the conflict between "the State as a defined.
In The Prelude, this can be seen as a a conflict between the structural "figure" of autobiography, in which the narrated life is expected to "represent" the present, discursive "I," and which tends toward hypos tasis, and the performatively figurai dimension, inwhich the grammar of the figure is subverted. My use of the word "figure" is inevitably problematic, since the word suggests the stasis of representational images as in the human "figure" as well as the process of figuration which, as de Man points out, is characterized by the active divergence of referent from grammar.
From the latter point of view, "figurai grammar" is an oxymoron. However, since Wordsworth indeed creates a very paradoxical "figurai grammar" the terminology seems appropriate, suggesting the hypostasis of grammatical structures, but also gesturing toward their inevitable subversion by the figurai dimension of I language. HANEY Critics in recent years, following de Man's lead, have sought the theoretical locus of the problem ofWordsworth's language in his Essays Upon Epitaphs, and especially in the poet's distinction between language as "incarnation" and as language "counter-spirit": Ifwords be not recurring to ametaphor before used an incarnation of the thought but only a clothing for it, then surely will they prove an ill gift; such a one as those poisoned vestments, read of in the stories of superstitious times, which had power to consume and to alienate from his rightmind the victim who put them on.
Language, if it do not uphold, and feed, and leave in quiet, like the power of gravitation or the air we breathe, is a counter-spirit, unremittingly and noiselessly at work to derange, to subvert, to lay waste, to vitiate, and to dissolve. Frances Ferguson, inWordsworth: Language as Counter-Spirit, develops a related insight in tracing the way in which "both language and con sciousness may be and counter-spirit. Readers who, whether or not are deconstructive, they explicitly devote their energies to the many fissures inWordsworth's theory of assume too that incarnation a desired ahis language, readily represents torical transparency between thought and language which is undercut by the actuality of language as death-ridden counter-spirit.
Hillis Miller's The Disappearance ofGod, for example, the Incarnation and its in the Eucharist are seen as a of communion" repetition "guarantee among God, man, nature, and language resulting from the event which 6. Owen and Jane W. Smyser, 3 vols. London: Oxford UP, 2: New Haven: Yale UP, xvii. Missing from such analyses is the recognition that incarnation is not simply a more essential connection between thought and language, a connection which a pretends to deny history, but is rather very historical relationship which is entirely different from that which sees language as a more or less on theEssays adequate representation of thought.
To be fair to de Man, Wordsworth's own consistent pairing of these op positions supports such a reading, and de Man gives at least some credence to the claim that these "two notions. While de Man argues, by way of a contrast between visible exterior and inaccessible interior, that the relationship of difference obtaining between clothing and body is repeated in the relationship between body and soul, Gadamer insists on a clear distinction between Hans-Georg incarnation and embodiment: Incarnation is obviously not embodiment.
Neither the idea of the soul nor of God that is connected with embodiment corresponds to the Christian idea of incarnation. The relation between soul and body as conceived in these theories [of embodiment rather than. Cambridge, Mass. Similarly, David Ferry associates the "sacramental" inWordsworth simply with harmonious nature in his discussion of The Prelude's final books. Even the notion of an "unfallen" language does not necessarily refer to a simple, pre-temporal unity. Irving Massey, in distinguishing between "prospective" meaning?
It is open to question, however, whether or not the language of poetry is "unfallen. Marshall NY: Crossroad, HANEY Thus, the doctrine of incarnation does not presume the distinction be tween body and spirit that is retranslated in modern literary theory to an ineradicable relationship of difference between signifier and signified. This is not to say, of course, thatWordsworth did not feel the tension between body and spirit in his language; Hartman, de Man, Ferguson, and others have amply demonstrated that he did.
This modern conflict between semiotic and incarnational views of language reflects a tension within the romantic project itself:Wordsworth's own poetic practice is uncomfortably situated between the dualistic representational system of the Enlightenment and the incarnational poetics he wanted to institute. As De Quincey noted in , the point of the romantic objection to the Enlightenment view of language as thought's dress is that poetic thought posits, not just a closer relationship between language and thought, but a different kind of relationship, expressible as incarnation: if language were merely a dress, then you could separate the two; you could lay the thoughts on the left hand, the language on the right.
But, generally speaking, you can no more deal thus with poetic thought than you can with soul and body. The union is too subtle, the intertexture too ineffable? An image, for instance, a word, often enters into a as a constituent single thought In short, the two elements are not united as a with a part.
1. Prelude: A Dip in Quoting’s Ocean
The concept of incarnation is fraught with rhetorical and philosophical difficulties which cannot be resolved into the dualism that is implicit in both of these positions. My goal here is not simply to rehabilitate Wordsworth's stated poetics in the face of the recent criticism which has emphasized what the poet seemed towant to avoid. My hope is that we will follow Wordsworth's own thought through to its limits, rather than too quickly appropriate his text to the implications of its ironic underside.
An analysis of Wordsworth's "counter-spirit" appeals to our desire for a critical attitude that will release us from romanticism. However, thus the by simply reversing il. Collected Writings, ed. Masson Edinburgh, , quoted inWordsworth, Prose Works 2: The Subversion of Grammar The language of incarnation will provide a medium for analyzing the recuperation at the end of The Prelude. In Books ix and x, however, de Man's discussion of the tension between grammar and performance remains an appropriate framework for reading The Prelude's rhetoric.
The grammar of the poem's figurai rhetoric is indeed subverted, partic ularly in the crisis surrounding the French Revolution, and we witness a collapse into a text negatively characterized by loss and divergence. The events in France begin by providing the poet with a new grammar, a figurai structure in which the progress toward political liberty is an image of progress toward personal and universal liberty. The poet's per sonal education in nature made the French Revolution seem a natural reflection of the liberty on which he had been nursed and which The Prelude has been describing: It could not be But that one tutored thus, who had been formed To thought and moral feeling in theway This story hath described, should look with awe Upon the faculties of man, receive Gladly the highest promises, and hail As best the government of equal rights And individual worth.
The Gadamer says of romantic hermeneutics, "precisely because romanticism disparages this development [the Enlightenment 'conquest of mythos by logos'], it takes over the schema itself as a self-evident truth. It shares the presupposition of the Enlightenment and only reverses its values" Truth andMethod HANEY crucial romantic concept of Bildung or formation gestures toward both the process of formation and its culmination in a form and figure that partakes of the universality of self-consciousness.
As Gadamer points out, the concept of Bildung is complicated further in that the German word Bild "comprehends both Nachbild image, copy and Vorbild model. This complex figure ismetaphorically connected to a concept of democratic liberty that is still operative even in the Prelude. Thus a grammar is generated within which the attractiveness of theRevolution can be read. This figurai grammar of liberty, however, is intimately connected with its subversion, not only because we know that the poet will be disillusioned, but also because this grammar, like the one identified by de Man in Rousseau, is so clearly dependent on the exclusion of its constitutive referents.
For the natural between example, correspondence the poet's formation in liberty and the French struggle is admittedly premised on an ignorance of history: the poet valued "the historian's tale. The identification of his personal history with that of France is just such a poetic interpretation of history, a reading of events which can remain within the grammar of poetry only by suppressing the historical events of both France and the poet's formation that make the identification possible.
Similarly, the attractive perception of Beaupuy, who wanders the events "as a book, an old romance, or tale" through through 9. The poet not only organizes his attention to the events in France in the of romance, but that attention with ro grammar actually replaces Truth andMethod n. For more on the philosophical see Truth history of this concept and Method Philip Barnard and Cheryl Lester Albany, NY: State U of New York P, on the Athenaeum fragments of the Schlegel brothers: "Hence the constant and crucial motif of Bildung throughout the fragments, in its two values of formation as putting-into-form and formation as culture.
Man and work of art alike are what they are on the form and figure of what they ought only insofar as they are gebildet, having taken to be" The tale will have the self-consis tency of a tragic narrative, operating on a general level precisely because of its poetic distance from specific referents. The story of Vaudracour and Julia achieves this grammatical generality as an allegory which refers to, but is distanced from, both the individual pole Wordsworth's affair with Annette Vallon and the political pole the subversion of natural law by class-based social law of the figure.
In terms of the complex river imagery with which Book ix opens, the poem continues to make rhetorical "motions so as to defer the "de retrograde" 9. It is even suggested that, instead of the autobiographical narrative flowing into the extra-textual life, we might have been faced with a death thatwould prevent both the continuation of lifewhich would give the autobiography a point, and thewriting of the poem or any poem itself He would have "haply perished In Book x, the subversion of grammar which is implied by the infrastructure of the poem's rhetoric becomes open conflict as the figurai grammar of liberty dissolves into the performance of a personal revo lution.
Until "the strength of Britain was put forth" That is, he had considered the grammar of liberty on its own general level only, and had not considered the event which would signal the subver sion ofthat system. In its Greek, Latin, and modern senses, "figure" emphasizes a form or outline that in some sense transcends the temporality of its production.
It is a teleological structure: the end result or final form of a figurai transposition is valued over the act ofmaking the transposition. This leaves out the possibility that such an actmay stem from an efficient cause, without a figurai end product in view. The word "trope," how ever, "to turn," the act rather than the originally meaning emphasizes end of the figurai process. In contrast to the "metaphysical" sense of metaphor discussed by Derrida: "In this case, metaphor is included within metaphysics as that which should penetrate to the horizon or to the depths of the proper, and in the end there regain the origin of its truth.
Moore, New Literary History 6 : The figure which had paired individual and political liberty is divided and turned against itself along every possible axis. On the political side, the split between England and France divides what was once a united pair of metaphors for liberty. On the individual side, a divisive "treach ery and desertion" is found in the poet's "own soul" And of course the individual pole of the figure is separated from the political: Wordsworth leaves France, but feels like an "uninvited guest" in an English church.
Liberty is no longer the structuring principle of a figurai grammar within which the poet can read his individual and political existence. As the narrative turns away from the figurai identification of individ ual and political liberty, its status can best be summarized in reference to the passage which describes the rise and fall of revolutionary France in an extended solar The of Nature's metaphor. For a discussion of the line as an image of narrative continuity, seej. With reference to Tristram Shandy, Miller points to the "contrast between the featureless straight line and the line curved to become a sign, so carrying meaning and becoming a plot, but at the same time becoming transgressive, deviant" This last opprobrium, when we see the dog Returning to his vomit, when the sun That rose in splendour, was alive, and moved In exultation among living clouds, Hath put his function and his glory off, And, turned into a gewgaw, a machine, Sets like an opera phantom.
The elaborate metaphor in which the natural sun becomes artificial is clearly the poetic climax of this passage, but that importance contrasts sharply with the image's syntactic position. The main clause of this second half of a long compound sentence speaks of nature's the poet to The solar permanence, conducting "open day. The natural, life-giving sun leads the poet toward the Platonic an artificial "open day" in order to oppose a sun which has become However, that natural sun is also the metaphorical source of "gewgaw.
The controlling image of the sentence diverges from its grammatical meaning, and the course of the sun image is itself one of divergence. The natural daily See "White Mythology," esp. Just as the sun has become an artificial self-parody, the young poet's changing intellectual affiliations present a series of exaggerated gram mars, systems which, from the older poet's perspective, the parody possibility of a universal grammar in which one's life can be read. This parodie decay of the figurai system manifests itself as autobiographical alienation: Thus strangely did Iwar against myself; A bigot to a new idolatry, Did like a monk who hath forsworn theworld Zealously labor to cut offmy heart From all the sources of her former strength.
The discursive "I" criticizes, opposes, and actively interrogates the narrative plot of his life. As the events subvert the grammar, the relationship between discourse and narrative ceases to be a figurai structure within which the poet's life can be read. In terms of the poet's life, there was in the war between France and Britain not, as hitherto, A swallowing up of lesser things in great, But change of them into their opposites, And thus a way was opened formistakes And false conclusions of the intellect, As gross in their degree, and in their kind Far, farmore dangerous.
What had been a pride Was now a shame; my likings and my loves Ran in new channels, leaving old ones dry. HANEY but have become a "change of them into their opposites" The familiar river image now presents the narrative as a divergence from the line which, running "in new channels, leaving old ones dry," de stroys the line itself. The Language of Incarnation Perhaps the most important thing about the image, quoted above, of the sun becoming artificial is that themovement away from the natural occurs within a natural movement: this process of divergence from the natural is the natural rising and setting of the sun.
This is not a substi tution of an artificial for a natural one; the events are not grammar simply to be read in an artificial light, as in an opera house, instead of a natural light "among the living clouds. This signals a major change in the structural principles of The Prelude. No longer until the very end, in a modified way will the narrative seek its authority in figurai pairs such as narrative and discourse or individual freedom and political liberty.
Instead, the poem will build on its own tropological activity, its narration of acts of interpretation which involve divergence from the grammar of totalizing figures. In order to account for that tropological activity, we must shift our critical terminology. The language of de Man and Derrida is certainly appropriate to describe the breakdown of figurai structures in Books ix and x, but such terms fail to characterize the efforts of Books xi adequately recuperative through xiii. A reconsideration of the notion of incarnation will help to define theways inwhich tropological divergence can lead to a rhetorical which reformulates rather than denies that divergence.
As noted above, de Man sees a clear conflict between the need for coherence in a legal system and the subversion of the system in the application of the legal grammar to an individual case. It is possible, however, to see the per formative figurality which emerges from the interaction between gram mar and individual case in terms of a productive incarnation of meaning, instead of a subversion of Gadamer, whose model of under grammar.
Here we have themodel for the relationship between past and present thatwe are seeking. The judge who adapts the transmitted law to the needs of the present is undoubtedly seeking to perform a practical task, but his interpretation of the law is by no means for that reason an revision. The merely arbitrary judge seeks to be in accord with the "legal idea" in mediating it with the present. Truth andMethod In more "our of law and I do it myself. I notice others doing the same, attributed or not, extensively or not, and regularly regaling pieces from conversations they have heard or been engaged in or, perhaps, imagined.
I recall words and voices from my younger days and at times still use them with other family members today. I sat next the Duchess at tea It was as I knew it would be Her rumblings abdominal Were something phenomenal And everyone thought it was me. Tyger tyger burning bright In the forest of the night What immortal hand or eye Could frame thy fearful symmetry…. My mother had her favoured maxims too. No doubt many came from elsewhere but they became personal to her, and to us, and we still quote and think of them as hers:.
When in doubt tell the truth.
Why Do We Quote? - 1. Prelude: A Dip in Quoting’s Ocean - Open Book Publishers
There was an old man called Michael Finnegan He grew whiskers on his chinnigan The wind came out and blew them in again Poor old Michael Finnegan Beginnegan [ Begin again ]. But I have increasingly come to wonder how far my experience matches those of others; and since quoting is not just an individual matter, what are the social arrangements and conventions that promote and facilitate it, and the definitions — perhaps changing over time?
Is it indeed a universal human propensity or so culturally variable as to be impossible to pin down? But it may be equally pertinent to first gain some insight into the present, into how people engage with quoting here and now. I knew what the school books prescribed, but not so much about how people today actually use quoting in practice and what they think about it. So that is where I start. You can suggest to your library or institution to subscribe to the program OpenEdition Freemium for books. Feel free to give our address: contact openedition. We will be glad to provide it with information about OpenEdition and its subscription offers.
Thank you. We will forward your request to your library as soon as possible. OpenEdition is a web platform for electronic publishing and academic communication in the humanities and social sciences. Desktop version Mobile version. Results per book Results per chapter. Open Book Publishers. The difficulty curve is not a ladder here, it's an Everest. But if you were going for replayability instead of simple fun, that should about do it.
Stop comparing. Our vision of the game is more punitive than Valve's one. That's it. If you don't like it, there's nothing we can do about it. I don't see what everyone is complaining about difficulty for. User made maps always seem harder than the original portal. And really that's why I'm downloading them. If I wanted to play through something exactly like the original game I'd play through Portal. That's not what this is and I never expected it to be. I personally think this has been a great mod.
It's something that got me excited about Portal again. And while I don't get the same feeling of "that was awesome" as I did with Portal, I do feel a sense of amazement and pride when I pull of tricks here that I never would have thought possible in the original game. Anyways, this has been a lot of fun. And I agree with acoustony, take your vacation and ignore the trolls, their just robbing themselves of some great gaming. Thats how it is. It took me a few tries as well, but not Or maybe I'm just better at adjusting my timing..? Anyway, I didn't bother mentioning these problems since it already seemed to crop up in the forum, too.
The margin of error felt pretty thin at some points. For myself though, I attributed it to me not being able to respond quickly enough to stuff in Portal. Making crouch jumping a neccesity or at least a percieved one thins out the margin further. In Prelude, with more complex portal techniques, it makes it nigh impossible for me to respond in time. I quit on Room 09, and I'm conflicted about cheating to continue on. If you're on near minimum specs, it can't be helped.
Tough luck. Don't discredit what most people are saying just because you had a few playtesters that didn't have the same problems. Much of this game is split second timing doing difficult moves 20 times over. If this is what you intended, then keep it this way. You're hinging very closely on "I'm a better designer than you are a player" with that attitude, and it's not difficult to simply design things players can't beat.
It's the major problem with a lot of so-called "uber-difficult hardcore" fan-made mods. Second, from the comments you've made I'm not sure you quite understood the way testing works. Your comment from the post, about your testing pool: "All of them found the game difficult and we lowered the difficulty a bit in some of the areas. At the end, each of them was finishing the game with ease, even the guy who played Portal once by curiosity and never played it again. You need to understand that your testing pool reflects a balanced game at "Hard" or "Expert" mode, not "Normal" or "Easy", no matter what the core difficulty setting you're going for is.
- Awaken My Angels.
- I. Setting the present scene.
- The Prelude Quotes.
- 1. Prelude: A Dip in Quoting’s Ocean!
- Making Tuberculosis History: Community-based Solutions for Millions.
- Witches Booties Crochet Pattern!
- Q&A with 'Tom Richardson'?
Completing the game with ease is a basic thing all testers should be able to do-- if that's not the case you've made a game that's functionally impossible, not "tuned to be difficult". That bar says only that you have made a completable game, not a well-balanced or well-tuned one. Your testers should be finishing the game with flair, beating record times, etc, and then you should analyze the game from start to finish with a tester or series of testers that has never seen the game before.
There are always these people available-- you are on the Internet. This is a common, huge mistake and it's rampant in Prelude. There's no excuse for it, not even some kind of "punitive" system. That's not very easy for me. And sorry if I can't make things perfect, I'm not a "professional game designer" beeing paid 8 hours a day to work on a few aspects of a game. I'm a 22 years old IT student and employee who's bitching with Valve's tools on his spare time and having to work on EVERY aspect of the game, from storywriting to videomaking and webdesign. Looks pretty normal that I can't come up with perfect gameplay.
Also, we didn't asked our testers to playtest it several times, or at least not with huge modifications of the rooms. Anyway, I'm not going to comment more on this for the moment, I'm tired of all this. What you've proven is that you're not receptive to criticism-- anything that isn't extremely well-worded and polite you decry as flames, and the admittedly rare one that is gets excuses in response I'm not a professional, this is an amateur mod, the target audience for this is not you, etc.
You're certainly welcome to take this standpoint, but I offered my post above about game design tenets because someone with the wherewithal to put together something of this magnitude has at least the potential to be an extremely good designer. Most people don't get this far, and it would be a shame to see someone with that level of dedication not get as far as possible just because they hadn't taken game design tenets into account.
Requoting, for emphasis: "having to work on EVERY aspect of the game, from storywriting to videomaking and webdesign. I don't know if you're looking to improve for future projects. I don't know if you are in fact pursuing a career in game design. I can tell you what your designs look like from a professional standpoint, not judging things based on Portal, but judging it based on successful fan-made mods that I've seen and even interviewed new designers as a result of.
Of course Portal: Prelude isn't as well-made as the original Portal was, although the fact that the original Portal started off as a project just like the one you've made here is worth noting. I'm not judging you on the same level as Portal, but I have no qualms about judging a project ambitious enough to call itself a prelude to Portal by the same standards I would judge Counter-Strike by. Just understand the the masses of 'hardcore' gamers who loved Portal only have a tiny subset of players that may be as 'hardcore' as your intended audience.
The vast majority of players who are attracted to your mod will go away frustrated. Also, if players that want to be fans, and come away aggravated and hit this forum for help, seeing the dev refer to them as 'whiners' is certain to doubly turn them off. I know it did for me.
It's probably these early levels that are responsible for most of the criticism you're receiving regarding the game's difficulty. This is a great pity as many people won't play past them and reach the really great levels further in. And the later levels really are so much better; inventive gravity, logic and timing puzzles that are very rewarding to play.
Anyway, thanks for all the time and effort you put into this mod, which celebrates the first anniversary of Portal's release nicely. I don't play games to be frustrated and I'm old enough to have lost my 13 year old reflexes. If the only people you had test this were close friends, then you clearly failed Quality Assurance Likewise, based on your reactions to valid criticism let alone the flames you probably refused to use a tester who didn't kiss your ass.
Cry more, boo hoo. I have never played anything that forced me to reload on the first minute or so chamber 01 so many times. I played Portal and enjoyed it, but that was long ago. I expected to be baby-sitted for about 3 or 5 mins so I'd get used to the whole mechanics again and the feel. Chamber 02 is also a downer, having to crouch without any feedback from the screen or any indication but stating you must do so in Chamber 03 is kinda insulting.
But to add some more, Chamber 03 requires some split second crouch-jumping precision. I don't know about you, Nicolas, but if I had put 9 months of efforts into a mod, I would want people to have fun with it and make sure the average gamer can see it through the end and see my work, of course. If the hardcore or wannabe genius got lucky or enjoyed reloading plenty, I am certainly not one of them.
So, in the end, you made a tremendous effort that only a few will see and appreciate? Think again. If you intended to make the game so different from Portal by going another direction from the one Valve took, I'd suggest you to rename your mod and not use the original's assets or add huge banners in the main menu of the game to explain what's ahead , you are indeed confusing people big time. You want the crowds to download a mod based on Portal's fame and positioning but think it's something completly different yet you include in your mod's title the name of the original?
IMO, it defies logic in a very frustrating way. I find the mod so counter-intuitive, I can't even find a way to uninstall it, to be honest. I am more than willing to give it another try shall you decide to release another version where there are clear hints and where my sense of logic can help me through the game that sense of logic, for the record, helped me through Portal in a very satisfying way despite some challenges in the later rooms.
It's a shame, it looked very interesting. I guess that playing your mod for such a short while made me understand even more how important difficulty can be in game design. For this, Valve, I love you, very, very much. But, I loved every second of it. The only thing that bugged me was the computer generated voices.
Maybe someone can record new optional voices for the game and send them to you guys. If you like them you can upload them as an optional patch, no need for you to have super high-quality computers if people send you fan made voice recording. First thing's first: Get the hell off the Internet and go relax.
You've put a lot of time and effort into this mod.
That's clear just playing it. I'm not a 'mod person'; even when they're critically acclaimed, I just can't get into them. That even being the case, I can see myself playing through Prelude multiple times in the future, unless there's some stuff later on that really just ruins it for me Like, for instance, if there are a lot of chambers like Chamber 9, which I noclipped through after half an hour of mind-melting frustration.
Anyway, back to my first point. You need to get away from the Internet for a while. A month or two, at least. Forget you ever made this. The reason you have to do this is because right now, legitimate criticism is offending you way more than it should, and it shows. If you just let your own feelings about your game settle down in your mind, when you come back, you'll be able to logically and reasonably handle anything this place can throw at you. For instance, the script is solid, and the voices have their moments, but there are just some things that distract from the experience in those areas.
Right now, this criticism might prompt a response angrily pointing out what you had to work with. But after a month or two of just chilling out, you'll see your own missteps more clearly, and will perhaps organize small online groups to improve on those areas. I know that I, for one, would love to contribute to such an effort.
Secondly, now that you've taken some time off, it's time for the truth. Your game is too hard. That's the fact. Your game is too hard, and it's subtracting hugely from its potential. It's too hard, and it's unbalanced, and those issues detract from the moments of sheer brilliance. But it's still very good, even if it could be better with just a little bit more work, and it'll always have a place on my Games list in Steam. Feel good that you did something all of the complainers could not do themselves.
That's what I'll be doing when I can find 2 hours to dedicate to starting this difficult game. Cheers, 2C. Don't listen too much to the people who are making you furious. Especially don't listen to those that tell you its too hard. Its obvious that you've made it clear that the game was meant to be a new kind of hard - we've all seen the front page post about some of the chambers going into near "impossibility" and that the mod was directed at people that are godly with this game.
That said I enjoyed it, and I am by far not an avid or really good player. I got past level 1 after a few deaths which I understood as to mean the game would be frustratingly and yet fun but difficult and I got past level 2 and 3 really easily as well. I'm not sure where people get problems from these levels as you don't need to crouch for 2 and 3 just takes some good old fashioned physics. I did cheat on some of the chambers, but that was because I found that some of the save points were oddly placed, or that the precision was too great.
The only place I cheated heavily in was probably the end game, since I didn't feel like dying all the time. But really even with that there is challenge, and I like it. Please, don't take harsh words too much into your heart - you've made an amazing mod and it has an amazing difficulty. As far as I know, the Portal: Prelude team hasn't asked for it. The only explanation I have is that people are assholes.
Of course the mod isn't perfect. It's a bloody amateur mod!! I have reacted to some things as well, for example that autosaves are being made before long voice dialogues that pauses the progress of the game. But I would never point it out unless the developers specifically asked for opinions. Because I have only played it for less than half an hour and still have got a lot of entertainment out of it.
- The Prelude Quotes | GradeSaver?
- Développer votre productivité (French Edition).
- Prelude to a main story - Possible? | Writer's Digest.
And considering that I didn't pay anything for it or even more, that the developers didn't get paid just makes it better. I can live with the glitches. This is comparable to when you are browsing for music on MySpace. Most bands are really crappy, but you still don't write to each and every one of them and say, "Hey, your drummer sucks! And you should go to a REAL studio to record, you fuckin bastards!!! Because there would be no point in doing so. It wouldn't be constructive to anyone. But I guess lots of the people complaining in here really are spoiled year olds.
I've been around the mod scene for quite some time prolly since and the online gaming scene for longer. I'm one of the head beta testers for Earth's Special Forces, a half life mod that's been in active development for about 8 years or so. The simple fact of the matter is that you're always gonna have complainers and insulters. They're getting this for free and they're gonna hammer you for it not living up to their exact expectations. In the end, you need to make the mod how you want to since it's your work.
So Fuck 'em. I love the fact its community made, but personally for me this game blows my skill away. I liked that you had people talking although, that adds a lot to the feel of the game. Nobody is forcing anyone to play. If it's too hard go do something else. Personally I'm only on Chamber 8 or so but I'm having a lot of fun. I appreciate the different style of play this mod brings to the table, the challenge, and the storytelling.
Do people really want their hands held like they're 2 years old again? I applaud the developers for all the hard work - they should be proud. I do not understand why people say it sucked. He said it was going to be a hard game, so you either like it or you don't. You're not the ones who took a chunk out of your time to make a mod for a community of seven year olds. I think you deserve to take that long break now Nic. They have a topic on the forums for feedback and criticisms. I mean I wouldn't have a problem with it if maybe I'd been eased into it.
But going straight into a chamber with turrets was just wack. Also until I came here I was under the impression it was an official valve release. People who liked the first game but don't follow it religiously are going to get confused and wonder why its so hard out of the box. I really want to get into it but the frustration I've had so far just isn't worth it.
It's pretty entertaining seeing what kinda e-mails developers get after a game or mod has been released. It isn't whining, yo. WTF is wrong with letting the public know all the feedback he gets? Whoever suggess for Nic to disappear should go eat his or her own ass. Remember what he said? He's not a kid anymore. Jeez, can't you guys just accept that you got owned? We didn't pay a thing for this so show some respect they spent a lot of time and effort on this.
For the record I suck at portal but still managed to finish Portal. I'm not sure if I will ever finish portal prelude but I will keep trying.