![]() ![]() Coulton wrote a new song for the game's ending credits, "Want You Gone", also written from GLaDOS's viewpoint. Jonathan Coulton's song " Still Alive", which is sung by GLaDOS (voiced by Ellen McLain) over Portal 's end credits, was considered a large part of Portal's success in designing Portal 2, Valve desired to incorporate more music into the game, including further involvement from Coulton. "Want You Gone" Jonathan Coulton, who provided the song " Still Alive" for the first Portal, was asked to compose the game's final credits song, "Want You Gone". The bulk of the music was released as a freely-available download across three volumes, entitled Songs to Test By, and later in a four-disc retail Collector's edition that included music from Portal. ![]() ![]() The game's music includes original scores composed by Valve's Mike Morasky, and two original songs provided by Jonathan Coulton and the band The National. The game expands on the original Portal by adding new puzzle elements, such as paint that imparts properties to surfaces, plates that can launch the player and objects over distances, tractor beams and bridges made of light. The game, set in the desolate, labyrinthine Aperture Science facility, challenges the player to navigate test chambers created by the artificial intelligence GLaDOS, using a portal gun, a device able to create portals that link two points in space like a wormhole. Portal 2 is a physics-based puzzle-platform game created by Valve and released on Microsoft Windows, Mac OS X, PlayStation 3, Xbox 360 and Linux in April 2011, followed by a Nintendo Switch version in June 2022. "Deleting" Carolyn, "killed" her mother, in a bid to ensure she would have no reason to return with that relationship wiped out.and used the turrets to bid her farewell in a language she wouldn't understand.Soundtrack and related music of the video game Portal 2 But GLaDOS knew if she didn't get Chell out of Aperture her hardware would force her to use Chell for testing again, and eventually it would kill Chell. And that GLaDOS did not actually delete Carolyn, but faked it for Chell's benefit.their having listened to the recordings in the older test tracks and such could have clued the both of them in to their family relationship. Chell was definitely there for bring your daughter to work day as evidenced by one of the science experiments bearing her name. They seemed to have some connection in the recordings, and I just can't see Cave handing over the GLaDOS (and thusly the control of the entire premises in effect) over to his secretary, unless they had shared some bond beyond that. Chell being the daughter of Carolyn & Cave. No one usually expects cold robotic machines to express emotion.Įven if it's no canon, it's still good headcanon to me. Love As A Construct is the best name for their relationship I think. I like how the Opera is foreshadowed even before it plays, like the Companion Cube singing or the Lasers, Bridges. It was a beautiful scene, i will admit, really tugged at the heartstrings, and She's too proud of course and had to pretend that everything they endured was just corrected by a prompt deletion of a file, but really, we know Caroline and how she likes to lie. I don't really see a mother daughter link between them, and relationship wise it seems they're in the frenemy stage or have passed that. Realizing their only true friend they've ever known. The lyrics of Cara Mia Addio were bits of Spanish that Ellen made up on the spot, and she herself has addressed that people have reached for things that aren't there or weren't intended upon listening to the performance, Valve does tend to use a lot of symbolism in their games so maybe it was representing GLaDOS relationship with Chell. Overall, I am disappointed to say that I think the only way GLaDOS could have instructed the turrets would be to ask them to sing, and that the turrets could have easily organized it on their own. Wheatley specifically chooses to use turrets to make "boxes with legs," so I think it is likely that turrets can move on their own. For all robots in the building, her control is limited to moving robots around and giving them orders. Elsewhere in Portal 2, we see that GLaDOS is not aware of changes in the turret production or quality control systems. The Oracle Turret is proof that the turrets don't play pre-recorded messages or follow specific instructions for what to say, and proof that GLaDOS does not completely control them. Some people suggest that the turrets in the game lack free-will and are just following orders, but we know from the Oracle Turret that this cannot be the case. I like it when these little details have every bit of significance. Someone had to have chosen those lyrics, and I hope they were not unintentional.
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