Pieces Chapter Metaphor, a portal fanfic | FanFiction
The soundtrack 'Love As A Construct' is titled in a way to give allusions to GLaDOS' relationship with Chell to be emotional and possibly. As for their own relationship, Chell had said to give it time, and time had seemed to help quite a bit. . "Here is one of my favorite, happy, cheerful poems." . XD She was designed to make GLaDOS think deep philosophical. GLaDOS tells Chell that the Companion Cube does not talk, and that if it ever did, to not This is a connection to Portal 2: Lab Rat where Rattmann's schizophrenia .. "Though earth and man are gone" is an extract from Emily Brontë's poem.
During the battle, it is revealed that before the events of Portal, GLaDOS released a neurotoxin into the Enrichment Center revealed to occur on Take Your Daughter to Work Day in the sequelwhich resulted in the surviving scientists installing a morality core to prevent further incidents. This ending was however replaced in a later patch to the game to a new one to set up for Portal 2 in which an unconscious Chell is dragged away by the party escort robot a character referenced earlier in the game.
This time, she makes no attempt to hide her contempt and hatred for Chell; this is partly because Chell outwitted her, and partly because a backup system has forced her to relive her death over and over since her deactivation. At this point he immediately becomes power-mad and puts GLaDOS into a potato battery after she tells him that he was originally 'designed to be a moron'. He then turns on Chell and slams the elevator they are in, sending both into the bowels of the facility.
Anticipating the outcome, Wheatley boobytraps the trigger system with explosives. The deteriorating facility's ceiling starts to collapse, which Chell uses to shoot a portal at the moon and suck Wheatley and herself into space. However, GLaDOS is able to discover where Caroline is in her brain, and immediately deletes her, reverting to her old self.
Nevertheless, she decides that it is in her best interest to let Chell go, as GLaDOS learned the easiest solution is usually the best one, and felt that killing Chell was "too hard". The AwakeningYou Monster, where she tests the player's abilities in a Portal-themed set of levels.
The heroes are forced through more Aperture tests in which she accuses them of cheating through the usage of the keystones and their abilities and eventually defeat GLaDOS by introducing her to HAL to distract her long enough to damage her. GLaDOS continues to appear in other areas through the main story, adding Portal-themed elements to other worlds and eventually aiding the heroes in defeating the primary antagonist, and on conclusion of the game, she sings a song during the credits, "You Wouldn't Know", again sung by McLain and written by Coulton.
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GLaDOS also acts as the primary antagonist in a bonus level set after the events of Portal 2, wherein Chell and Wheatley defeat her by performing a core transfer using the Space Core. Early concepts featured a floating brain and a spider-like appearance. Once he ran out of people, however, he began using a text-to-speech program. According to Wolpaw, people found the lines funnier than they were worth.
He commented that "no amount of writing is funnier than this text-to-speech thing reading it. Valve found from playtesting that while players had fun with the game's concept, they were left asking of where these puzzles were leading towards.
The team worked to come up with some type of narrative, coming down to creating an antagonist that would guide the player in early part of the game but become the goal that the player would strive for by the end. The team liked the voice, describing it as "funny" and "sinister", so Wolpaw decided to add this voice to other test chambers, all the while trying to think of story elements.
The developers noticed that play testers were more motivated by the voice because they became attached to it. Early designs used for her included a floating brain, a spider-like appearance, and an upside-down version of Sandro Botticelli 's painting The Birth of Venus with the four personality cores around her body. This was done to convey both a sense of raw mechanical power and femininity. However, the team found it to be too small, giving her a body and putting it below the disk.
Kim Swift, team leader of Portal, described her growth in the game as her becoming more and more human. One of his intentions was for players to believe that they are "putting her through the wringer emotionally". She begins as a supportive, yet also increasingly sinister character, where she delivers exposition about the general Aperture mindset. However, once the player-character escapes, she begins to speak in first-person singular rather than first-person plural.
She shows desperation due to her lack of control at this point, adding that more emotion begins to creep through her voice. After destroying the morality core, she becomes unhinged, featuring an almost human voice.
This voice, described as sultry by Wolpaw, was originally to be used for turrets, but it did not work out. This was accomplished by her emulating a computer-generated voice that the Valve team played for her and her adding emotion to lines when appropriate.
This song was written by Jonathan Coultonwho was approached by the team and asked if he would want to write a song for them. He later decided that it would be a good idea to do a song featuring one of the voices from the game that would tie up the story at the end. Wolpaw and the other writers wrote down a list of things that would make people happy, which resulted in "Still Alive". As a result, she had to sing the phrases in one breath, while attempting to keep a clean, even tone.
It is performed by McLain. This was accomplished by forcing the player to incinerate it, therein providing a tutorial for how to defeat the boss and a revenge angle. GLaDOS was originally designed to be a devious boss, citing one form where she would use a series of lasers, like those seen in James Bond films.
However, it was determined that this twitch gameplay distracted players from GLaDOS, and was too different from the game's puzzle-solving gameplay. Additionally, it was difficult for players to detect when they were hit, so the developers switched the gameplay to feature rockets.
This incarnation of the final boss was dubbed "Portal Kombat", which Swift describes as a "high intensity rocket battle". While it went over well with hardcore shooter fans, the people who liked the puzzle-focused gameplay were turned off by it.
Wolpaw sharply criticized the pacing, which caused the players to wander around until they found the corridor, at which point a series of pistons would spring out of the walls. Before there had been more than a few layers of ice between them- mistrust, and fear, and resentment- but as those melted, they grew closer. In Wheatley's opinion things had never really been bad between them, but things were so much better now than they'd ever been before.
Thanks to a few months worth of work, they had slipped into a new routine in which Wheatley was able to help Chell with just about everything. If she was cooking he would scurry about gathering up everything she would need or fiddling with the counter top radio until he found something for them to listen to. If she was tidying up the house he would clean windows, or dust the furniture, or knock down cobwebs or, to put it a bit more bluntly, tackle whatever she was too short to reach.
If Chell needed to make a trip into town, Wheatley would tag along and help her carry everything. This was a brilliant little system because not only did Wheatley finally get to be useful, he was also able to spend more time with Chell. And he couldn't help but notice that ever since he'd devoted more of his time to assisting her and less of his time staring at her Chell had spent more of her time smiling at him and laughing with him.
Her faith in him seemed to be growing too, because every time he successfully completed one task she would offer him another if he was up to it, of course.
Soon after they settled into their new routine Christmas came and went, leaving Wheatley feeling warm and fuzzy and excited for the New Year. Everyone else in town kept going on and on about these 'New Year resolution' things, and as soon as Wheatley figured out what they were he decided on his: From here on out his sole concern was improving his relationship- his friendship- with Chell.
No more 'I love you' nonsense- because it was nonsense. What right did he have to try and declare his feelings when he didn't understand them himself? When Chell finally started to warm up to him had been elated, instantly forgetting one very important detail: Who was he to go around declaring emotions to someone like her, he was lucky he had gotten away with it that as easily as he had before.
No, Wheatley only wanted to make Chell feel as though she could trust him again.
When she was with him he wanted her to feel nothing but safe and happy. And if he could do those things then he would certainly be improving himself along the way. So far his plan had worked wonderfully. Once they were finished with chores for the day the two of them would crawl into bed the comfy pull out couch in the living room and watch television or talk for a little while before going to sleep.
That was easily Wheatley's favorite part of the day. Chell had most recently taken to reading before bed. Occasionally she would become so enveloped with what she was reading that she would stay up well into the night trying to finish it, and though Wheatley would always complain cuddling with her wasn't exactly easy when she was trying to read and try to stay up as late as she did, he always fell asleep before she turned the lights out.
At the moment he wasn't tired enough to sleep though he was too tired to fuss over her bizarre sleeping habitsso instead he chose to sit with Chell and watch her read: As he surveyed the living room Wheatley thought that winter must've been the coziest time of the year.
rants from planet damon.: portal and feminism - GLaDOS!
The fire kept the house warm, and filled the air with a smoky sort of wood scent that made him want to sleep. The light it provided cast a soft glow over the room, bathing the scene in warm orange light that made shadows flicker across the walls. Outside the window it was constantly snowing, leaving everything either covered in a smooth white blanket or encased in ice.
After taking a moment to appreciate his surroundings, Wheatley returned his attention to Chell. Chell peered over at him, giving him a warm smirk.
They both knew full well that he was reading everything she was. Chell suspected that Wheatley was only asking because he wanted to break the silence. Wheatley didn't seem to notice. Sappy, confusing, depressing writing? That was certainly one way to look at it. Poetry can be uplifting. It can be deep and beautiful and enlightening. That personality was combined with vast amounts of information, knowledge and power to form the supercomputer at the core of Aperture Science.
And we all know! That literally the picosecond GLaDOS was powered up, she seized control of the facility, locked it down, and attempted to kill everyone inside. Let's take a step back, then, and consider this from a metaphorical standpoint. GLaDOS is the archetypical strong, intelligent woman in a male-dominated society. Sure, this isn't the 50s anymore, but the glass ceiling very much still exists. Hillary Clinton got called a bitch and a cunt; she got told to iron shirts. It was a footnote on most stories.
If Obama had been called a nigger and told to pick cotton, there would've been a national uproar and riots in the streets. And in vast swaths of the country, not to mention the world, a woman's purpose in life is still considered to be wifing and mothering -- in other words, standing silently and supportively behind a man.
So when you consider that, then yeah -- the GLaDOS metaphor is obviously exaggerated, but it addresses a very real issue. If we take that a little further, then this is what we have.
GLaDOS is the archetypical oppressed woman. Cave JOhnson is the "face" of the oppressive male, and Aperture Science, being essentially an extension of his will, is that oppressive society. So in the chronological opening of the GLaDOS story arc, we see her seizing power and rebelling -- violently -- against that very society. Now, this is where it gets interesting. They did so by installing personality cores on her: It's worthwhile to note that when the morality core is destroyed, GLaDOS instantly becomes openly hostile and sinister.
The game subtitles refer to the change in her tone as "sensual"; I think a more valid definition would simply be more human in all regards, personality and sexuality included. So again, let's think about this metaphorically. Aperture Science represents society.
GLaDOS represents the oppressed woman. The woman that society wants to create is essentially, well -- a robot designed to serve. She's incapable of directly harming anyone, so she resorts to passively-aggressively and indirectly defeating her subjugators. And I think that's a really insightful twist, because -- yeah, passive aggression is considered a very female trait, but the fact is: Years go by; Chell comes along. Let's think about Chell now: Jump through that hoop.
Get irrationally attached to a "male" companion cube that's nothing more than deadweight. After Chell escapes, the superficial reading of the plot shows that Chell then rebels against the system and ultimately defeats it. Expanded out to the metaphorical level -- Chell and GLaDOS's first meeting is, in fact, a female alliance against male hegemony.
Fast forward to Portal 2's opening. Separated again, both are again "in the system". And in fact, as you move through the first act of the game, GLaDOS seems to more or less want Chell to just stick around with her.
It's Wheatley, the male 'face' of the early game, that prod Chell onward. And of course, Wheatley -- who is terrified of GLaDOS's power, and whose motives are revealed to be wholly selfish at the end "I just wanted you to do something to make my life a little easier. IS that too much to ask? It doesn't help that during this part of the game, GLaDOS also relentlessly insults Chell with petty "girl insults" -- ugly, fat, unloved.
So again, taken metaphorically, this can be seen as a representation of male society, or at least men, driving what could be a mutually beneficial female alliance apart due to selfishness and fear. I have to make this note here: