It''ll be the same door. The meaning of going through will have been changed according to what it took to get the ablity to go through it. Bear in mind the getting through the door was important enough in the first place to send him off on all these adventures just to gain the ability to get through the door.
It''s what going through the door means to bob, not you or the player, and that relationship gets more and more meaningful to you or the player the more they have invested in bob over the time of the playing of the levels took.
In plot structuralizing terms, Bob had a pretty good reason to go through the door from the get go, you had to have exposited this need in some way from the start, or him taking off on the adventures to gain the ability to go through the door had to be both significant enough to bob and to the player to follow/manipulate the avatar to begin with.
Set up the plot well, and they will follow most of the time, or they will eject the CD, and you never had it right from the get go. The Door per se is a really concrete as well as metaphorical example of opposition or barrier, which has to be set in front of the protagonist(s)/antihero(s) anyway for the sake of the dramaturgy. By placing it way up front as the clear and omnipotent driving reason bob had to go adventuring, the story has to by definition have to have some pretty mammoth significance either to bob or to bob''s world (as bob may discover later in the game) or it should not be places there to begin with.
Every thing you tell in a story, whether representing it graphically as background scenery, in scene dressing or props, or words that are spoken to actions taken all must relate to the plot and the driving to conclusion for better or worse of that plot, or it doesn''t belong in the story.
HTH,
Addy
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Is it the same door?
Hi guys, I''m back from my vacation! I know you all missed me terribly! ;P 
How about this: a door is not one object but two: a threshhold and a barrier. When Bob finds the door the first time he is encountering the barrier; only when and if this is defeated can he access the threshhold. The threshhold connects the same two rooms whether or not the barrier blocks it; the barrier blocks the way whether or not the threshhold goes anywhere interesting.
How about this: a door is not one object but two: a threshhold and a barrier. When Bob finds the door the first time he is encountering the barrier; only when and if this is defeated can he access the threshhold. The threshhold connects the same two rooms whether or not the barrier blocks it; the barrier blocks the way whether or not the threshhold goes anywhere interesting.
Time for M2C, take something other than a door, a literary character. Use gollum. He is a plot device in the Hobbit and FotR. He moved the story along. But in the end, it is him that finishes the story. At the end he is sort of the tragic (and unwilling) hero. He did not change but his purpose and essence changed.
Assume that these metaphysical wackos are correctt. Time does not move, but we are progressing thoguh it, taking whatever position and thoughts that are in our future
Image having an old divers helmet helmet on your head, with a long tube for the eye hole eyepeice. Now imagine that you are tied down to a train moving long at a set speed. You cannot move your head. (Yes I read Slaughterhouse V) That is time. We are simply moving along and assuming the position of the present.
So in that sense, yes there are two doors. Two uses, two reasons for existance=two doors.
For more on this stuff read Slaughterhouse V by Kurt Vonneget(sp?)
It does not proceed from beginning to climax.
Assume that these metaphysical wackos are correctt. Time does not move, but we are progressing thoguh it, taking whatever position and thoughts that are in our future
Image having an old divers helmet helmet on your head, with a long tube for the eye hole eyepeice. Now imagine that you are tied down to a train moving long at a set speed. You cannot move your head. (Yes I read Slaughterhouse V) That is time. We are simply moving along and assuming the position of the present.
So in that sense, yes there are two doors. Two uses, two reasons for existance=two doors.
For more on this stuff read Slaughterhouse V by Kurt Vonneget(sp?)
It does not proceed from beginning to climax.
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