#opera turret

[ikilledtvguy]

beautiful women in your area

[wiickian]

Imagine throwing an axe into the opera turret 😔

got taken to axe throwing tonight. i may not have impressed anyone with my technical axe throwing skills but my sheer brute animal strength is unparalleled

[flashingbands]

The Cake is a lie

[jevilowo]

Just finished Portal 2 (yippeeee) and damn GlaDos thinks shes soooo slick for going "goodbye my only friend OH YOU THOUGHT I MEANT YOU HAHAHHA PATHETIC"

Well then Ms. Smuggington WHO THE FUCK DID YOU MEAN??? FUCKING WHEATLEY??????? HE'S IN FUCKING SPACE!!!!!!!

Shes so tsundere smh

[ivyclawthewolfski]

guess who just finished Portal 2

[tracfone]

God, I also just realized? The only time glados can admit she really loves and cares about chell is when she's leaving forever and even then it's in a language chell probably can't even understand

[cultmuse]

Little portal² gijinka

[dread-and-despair-dyke]

cleaned up my desktop, i'm pretty happy with it. unsure of what img to use for it tho, so i'm sticking with kyosaya for now...

[cuchinka]

Tiny Portal paintings of Space core and the turret opera

[fortunelowtier]

til that the "Cara Mia Addio" in Portal 2 (better known as the "Turret Opera"), when translated, is a full on love song in which Glados refers to Chell as "beautiful" and "dear" throughout, with Ellen Mclain saying in an interview afterwards that the song is meant to essentially be taken as "I'm going to miss you, goodbye, my beloved"

I like to think then that Cara Mia Addio was a song created by Glados in a foreign language that Chell wouldn't understand so that way she could tell her how much she meant/means to her without being too direct because she's scared of attachment

In conclusion, happy pride month to whatever the fuck they had going on

[sciencewife]

As a potato, GLaDOS really did get a front row seat to her favorite test subject Chell doing what she does best on the way to put her back in control of the facility and was like “yeah the romantic feelings I’m getting from this are too much, here’s a turret opera love confession byeeeee”

[99thpercentile]

I get the feeling that I'm in the minority here, but I posit that GLaDOS actually is Caroline, and only "not the same person" in the sense that you'd look at your younger self and be like "that bitch ain't me." I think you actually have to go out of your way to interpret them as two separate people.

evidence:

voiced by the same person (I know the initial reasoning was that Valve didn't want to hire another voice actor for a few lines, but in casting Ellen McLain as Caroline, they incorporated her being the same person into the story).

GLaDOS automatically joins in saying "Yes sir, Mister Johnson" like saying it is permanently ingrained in her. you can interpret this as Caroline taking over, but she says "Why did I just—" immediately afterwards.

when GLaDOS talks about hearing the voice of a conscience, she says "for the first time it's MY voice." I don't think she means that she's hearing the woman she gets her literal voice from. she highlights it as distinctly DIFFERENT from hearing the voices of the cores, and I imagine if Caroline were a foreign entity whispering in her ear, the effect would've been much the same.

the GLaDOS project was originally started because Cave was dying and wanted his consciousness uploaded to a computer. the intent was always for the upload to be the same person. he said if he died first, he wanted Caroline to run the place, to be put in his computer. and that's exactly what happened.

GLaDOS not remembering she's Caroline until old Aperture always made sense to me as the result of a deliberate choice on the part of the scientists. Caroline didn't want to be uploaded, and as soon as they switched GLaDOS on, she tried to kill everyone. it's logical for the scientists to think that if they suppressed her memories, she'd have no reason to try to kill them (but instead, she was just filled with murderous rage and no longer knew why).

the story just doesn't have the same impact otherwise. GLaDOS's reactions to rediscovering old Aperture make more sense if it's her past she's rediscovering, rather than the past of...a human that was shoved into the chassis with her. if it were the second one, I think she would just feel violated, not have any major revelations.

counter-evidence:

"now little Caroline is in here too" lyric from Want You Gone

GLaDOS says she found out "where Caroline lives in [her] brain" and deleted her, like she's a separate entity

but GLaDOS is a habitual liar. she acts like deleting Caroline means she's fully back to her old self and has gotten rid of the part of her that made her want to save Chell's life, but there's...lots of evidence that she still cares about Chell after the fact (letting her go anyway, the companion cube, the turret opera if you think GLaDOS arranged that, talking to the co-op bots about Chell like she's an ex she's still heartbroken over...). I also think GLaDOS would like to imagine her and Caroline as two separate entities, in the same way you might find your younger self embarrassing and want to distance yourself from that person. I think it's notable that both instances where she refers to Caroline as a separate entity are at the end of the game, after Chell has been passed out a while and she's had time to process everything and compartmentalize. her instinct when the revelations are first happening is to refer to Caroline as if she is her.

now I don't like stories where a robot has to become or be seen as more human in some way for them to be sympathetic. but I think Portal 2 is an excellent subversion of this trope, because GLaDOS is a robot that learns she used to be human and then discards that humanity (symbolically if not literally). Caroline may not have wanted to be uploaded, but from the Want You Gone lyrics "one day they woke me up / so I could live forever / it's such a shame the same will never happen to you" I think we can say that GLaDOS definitely prefers being a robot now that she is one.

anyway this post was supposed to be much shorter than this, thank you for coming to my Ted Talk

[spiribia]

So bizarre how aperture was just a cold sterile lethal place and then you kill glados and it’s like plants are growing in wildly through the walls and letting in the sunlight. There is a strange glow of feeling that woke up in the machinery. A robot dreamed of you for maybe thousands of years. The ghosts in the lower reaches of the facility are stirring. There are turrets forming an opera group and singing. The light bridges are singing. Birds are nesting on the abandoned prototype chassis. Radio is playing a song in the dens where Rattmann’s paintings run untrammeled across the walls. Chell’s freak science project unintentionally gigantic potato from however many years ago is blasting up through the ceiling.

[internetskiff]

Portal 2's Turret Opera still hits soooo hard as a closing point for Chell and GLaDOS' story dude. Right after a monologue about how after everything they've been through she realizes she's incapable of killing Chell, GLaDOS has actually.. set up a perfect, inescapable death trap. She could've easily had the turrets shoot through the glass, sent the elevator all the way back down to Old Aperture or simply gassed her without letting the elevator even leave her central chamber. She basically had her. She could've obliterated her while she was still out cold from fighting Wheatley, but she doesn't. Instead, she has them perform an opera about walking as far away from science as possible. An opera that's implied to have been rehearsed even before Chell broke out with Wheatley - was she considering doing this long before Chell went out to try and kill her again?? This is very blatantly me steering into headcanon territory, but I like to think this whole room was the "REAL surprise with tragic consequences" GLaDOS spoke of. I imagine this is exactly what she originally planned to do - give her false hope by having her ride an escape elevator only for it to stop right in the middle of a massive turret ambush. She would literally treat Chell like a fish in a barrel. Quick, easy and delightfully painful. Each instance where she escaped was either due to oversight or third party intervention - so she created a situation where none of that is possible. All that would arrive to the surface and see the sun is a bullet-riddled corpse. But that's not what the elevator brings to that dingy faux shed in the end. I wonder what she's done with this room after the elevator made its ascent. Do the turrets still stand there, waiting on the off-chance the elevator goes back down with a familiar face within? Do they still sing the same song, over and over, hoping she'll hear it up there? Do they think of her, does she think of them, does she think of her? If Chell were to step back in, would GLaDOS even have the heart to let that elevator go back down? Either way, they'd still be down there, gathered for someone that may never ever come back. They'll all be faithfully standing at their usual spots in the chambers, ready to lovingly shoot her again should she be back to test forever.

[oohsocialmediaiscool]

In Portal and Portal 2 I tried to kill the least amount of turrets possible. Turns out, the only ones truely necessary are in the turret production line…

Here are some screenshots I took of stuff I was proud of!

The first level with turrets!

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The chamber with the lasers and faith plates

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It took a lot of luck for this one!!! Probably would’ve been easier with the strategies I learned later on.

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By far the hardest one. It took hours of making the same jump and slightly changing my strategy to finally save them. Turns out the elevator doesn’t work if they’re not dead, but luckily it’s the final chamber of the chapter so I just selected the next chapter.

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I never realized that after the MASHY SPIKE PLATE you could see where you were previously. Luckily theres plenty of cover!

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Yes, even these ones are avoidable!

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The opera feels even better knowing how many of them I saved!