There’s something about the story of Orpheus and Eurydice that’s held my soul in a vise gripe since I saw Hadestown
And I think it’s the fact that the story is of course, devastating, but it doesn’t mean anything
Not to say that it’s meaningless, but that so many other stories in mythology are used to explain natural phenomena or take down histories or tell cautionary tales about what happens when you mess with the gods
No, in this case, it’s just a tale of two people who loved each other, and would go to the ends of the earth to save one another. It wasn’t about destiny or being forced down some awful path or making terrible mistakes and being filled with regret. At its core, this is just a story about love, in it’s most human vulnerability and strength.
I mean, think about someone you love. Doesn’t even have to be a romantic partner. I know, in my absolute core, that I would go to the ends of the earth and back and around again for my partner. I’d die for my sister. I’d live for my dog.
Sure, Orpheus walks the lonely road to hell and nearly makes it back. And maybe, sometime in history, there was a man named Orpheus who loved his wife and when she was taken from him, he followed, in one way or another, never to return. It’s not vengeance. It’s not destiny. In a way, it’s not even valor or chivalry or bravery. It’s just love. At its core, it’s just love. And maybe the people left behind honored that by telling their story.
So it is a sad song, an old tale. And we sing it again and again, because we hope that if someday we have to follow our lives into hell with no hope of returning, there will be some vestige of our love left behind.
So if I am remembered for anything, thousands of years after I have gone, let it be for my love.
I was here, and I loved, and I left with love, and I didn’t get to come back, so sing my song, in my absence, with love.
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Portal 2 is still the perfect game to me. I hyperfixated on it like crazy in middle school. Would sing Want You Gone out loud cuz I had ADHD and no social awareness. Would make fan animations and pixel art. Would explain the ending spoilers and fan theories to anyone who'd listen. Would keep up with DeviantArt posts of the cores as humans. Would find and play community-made maps (Gelocity is insanely fun).
I still can't believe this game came out 12 years ago and it looks like THIS.
Like Mirror's Edge, the timeless art style and economic yet atmospheric lighting means this game will never age. The decision not to include any visible humans (ideas of Doug Rattmann showing up or a human co-op partner were cut) is doing so much legroom too. And the idea to use geometric tileset-like level designs is so smart! I sincerely believe that, by design, no game with a "realistic art style" has looked better than Portal 2.
Do you guys remember when Nvidia released Portal with RTX at it looked like dogshit? Just the most airbrushed crap I've ever seen; completely erased the cold, dry, clinical feel of Aperture.
So many breathtakingly pit-in-your-stomach moments I still think about too. And it's such a unique feeling; I'd describe at as... architectural existentialism? Experiencing the sublime under the shadow of manmade structures (Look up Giovanni Battista Piranesi's art if you're curious)? That scene where you're running from GLaDOS with Wheatley on a catwalk over a bottomless pit and––out of rage and desperation––GLaDOS silently begins tearing her facility apart and Wheatley cries 'She's bringing the whole place down!' and ENORMOUS apartment building-sized blocks begin groaning towards you on suspended rails and cement pillars crumble and sparks fly and the metal catwalk strains and bends and snaps under your feet. And when you finally make it to the safety of a work lift, you look back and watch the facility close its jaws behind you as it screams.
Or the horror of knowing you're already miles underground, and then Wheatley smashes you down an elevator shaft and you realize it goes deeper. That there's a hell under hell, and it's much, much older.
Or how about the moment when you finally claw your way out of Old Aperture, reaching the peak of this underground mountain, only to look up and discover an endless stone ceiling built above you. There's a service door connected to some stairs ahead, but surrounding you is this array of giant, building-sized springs that hold the entire facility up. They stretch on into the fog. You keep climbing.
I love that the facility itself is treated like an android zooid too, a colony of nano-machines and service cores and sentient panel arms and security cameras and more. And now, after thousands of years of neglect, the facility is festering with decomposition and microbes; deer, raccoons, birds. There are ghosts too. You're never alone, even when it's quiet. I wonder what you'd hear if you put your ear up against a test chamber's walls and listened. (I say that all contemplatively, but that's literally an easter egg in the game. You hear a voice.)
Also, a reminder that GLaDOS and Chell are not related and their relationship is meant to be psychosexual. There was a cut bit where GLaDOS would role-play as Chell's jealous housewife and accuse her of seeing other cores in between chambers. And their shared struggle for freedom and control? GLaDOS realizing, after remembering her past life, that she's become the abuser and deciding that she has the power to stop? That even if she can't be free, she can let Chell go because she hates her. And she loves her. Most people interpret GLaDOS "deleting Caroline in her brain" as an ominous sign, that she's forgetting her human roots and becoming "fully robot." But to me, it's a sign of hope for GLaDOS. She's relieving herself of the baggage that has defined her very existence, she's letting Caroline finally rest, and she's allowing herself to grow beyond what Cave and Aperture and the scientists defined her to be. The fact that GLaDOS still lets you go after deleting Caroline proves this. She doesn't double-back or change her mind like Wheatley did, she sticks to her word because she knows who she is. No one and nothing can influence her because she's in control. GLaDOS proves she's capable of empathy and mercy and change, human or not.
That's my retrospective, I love this game to bits. I wish I could experience it for the first time again.
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