What is the point of stepping in to a discussion of problematic policies to try and disregard it by yelling ‘EVERYONE’s TOO SENSITIVE THESE DAYS’
Maybe someone should press a scalding iron on your hand huh. What do you mean it hurts? I didn’t feel anything so you’re just too sensitive
avril’s baffling transformation from 90s teen punk icon to complete otaku
S’more things I noticed in contrasting Still Alive with Want You Gone
Still Alive is upbeat and positive and GLaDOS is being super patronising. She says a lot of nice things behind thinly veiled sarcasm. She basically means the opposite of everything she says.
Want You Gone is cutting and openly antagonistic. GLaDOS is very sarcastic and again, means the opposite of everything she says. In this way her characterisation remains consistent, but shows she’s changed.
The only part I don’t think she means the opposite of is ‘goodbye my only friend’, I think she means that to sound sarcastic, but actually means it and relies on the rest of the sarcastic lyrics to try and let her actual feelings slip under the radar.
Because I mean, Still Alive was patronising because it was about GLaDOS’s superiority over you. It’s the closing song after you defeat the main boss of the game, claiming over and over again that she has not actually been defeated and that you really haven’t accomplished anything. In fact she portrays the game’s ending as a success for Aperture and that her own defeat was intended all along, to prove that the portal gun meets expected standards, and tries to strip all personal glory away to preserve her pride - her defeat is part of her ultimate goal, to test protal gun capabilities. It has nothing to do with you. The song dismisses all of Chell’s initiative and claims victories for the abstract concept of science, Aperture as a company, and GLaDOS’s apparently intact wellbeing. Chell’s role is completely diminished.
And Want You Gone, not just the opposite in changing from happy indifference to ‘okay I’ll level with you’, places Chell’s identity central to the sequence of events and finally validates her. Chell’s desires are acknowledged because GLaDOS just can’t be bothered to deal with her any more. Rather than pushing her aside, WYG has GLaDOS recognise Chell as her equal, something that the gameplay proved threefold (Chell summarily defeated and disabled the main AI, GLaDOS discovered she also used to be human and Chell is now the sole person who understands her past, and then they teamed up to great success) and a status she never has and never would grant to any other person. But it sounds like the act of affording Chell that respect is what drives her out of Aperture - having surpassed the level of test subject, having proved her abilities in the test chambers and by being GLaDOS’s equal, she has no further use as a guinea pig and so there’s nothing to do but set her free.
There’s this consistency there in that GLaDOS’s motivation is - or at least she makes out that it is - simply a calculated procedure. And she clings to that by ‘deleting’ Caroline, though she probably actually didn’t. Twice during the ending song she alludes to her feelings, but covers it up by making one a joke and replacing the other with [redacted]. She sums up the events of Portal 1 as ‘it was a test all along’ and that everything was according to plan for the testing of the gun, and in 2 she faces the reality of her test subject becoming redundant and naturally having to be replaced, to disassociate, in both cases, her emotions and humanity from the situation and to rely on protocol. But we all know it’s there, and as the “we’re out of beta, we’re releasing on time” thing could be a cover to pretend her loss wasn’t a loss, the dismissal of Chell from the facility and all the “you’ve got your short, sad life left”, “don’t come back” etc could be a cover for having gained enough respect for Chell to want her to survive, and pretending to delete Caroline and disregard their human link and their time as allies is a pretense for Chell’s benefit, to convince her there’s no reason to ever return so she can leave with no second thoughts. GLaDOS clearly wants the companionship and always has, first as a sadistic overseer, then as a lonely and bored and distantly human AI, and maybe as a supercomputer whose only challenge exists in competing with, creating puzzles for, and devising insults to throw at the only human it has left. But she recognises there can be no peace or safety as long as they know each other, and wants Chell to have something better than that, so punts her outside and returns to being cold, sadistic, inhuman, and ruthless, so Chell would have no desire to try and salvage the Caroline in her, she has to make it appear to be impossible, because Chell could probably do it if she tried.
extra extra tumblr user snergelly thinks that i don’t know what spunk is
Let’s play a game.
Type the following words into your tags box, then post the first automatic tag that comes up.
you, also, what, when, why, how, look, because, never
extra extra tumblr user snergelly thinks that i don’t know what spunk is
Wild Cards ♠ a yes man/courier fanmix
Lookie, I even tried to hipster up an album cover. Some of these songs are romantic, and some of them are not. They are all something that has reminded me of that darn robot somehow, whatever the relationship may be.
01. Yes Man | Dean Miller
♠ She flipped my switch, I saw the light // I tried to say no, but I lost that fight // I’m a yes man, oh I’m a yes man // She says jump, I say yes ma’am, when it comes to her love, I’m a yes man
02. How Did It Come To This | Take That
♠ Have you turned on your tv? Have you seen reality? // Have you found the program that you’ve spent your whole life looking for?
03. Anything Goes | Cole Porter
♠ In olden days a glimpse of stocking // Was looked on as something shocking // But now, God knows // Anything goes
04. Super Conductor | Beautiful Small Machines
♠ Hey there, tin smiles, I’ve been loadin’ down your files // Movin’ up your dials and I think I know what’s goin’ on // I am programmed, clicky-clicky, your command // Shift for a man with the heart of an automaton
05. Shame | Robbie Williams & Gary Barlow
♠ People spend a lifetime this way // And that’s how they stay // Oh what a shame // Words come easy when they’re true
06. Danger! High Voltage | Electric Six
♠ Danger, danger! High voltage! // When we touch, when we kiss! // When we touch, when we kiss!
07. Human Shield | Hannah M.
♠ Haven’t you, a man of science, ever wondered why I try so hard to make you feel so secure? // Haven’t you with all your cleverness devised a reason why I miss no hit and dodge no bullet // Can’t you see why I go through it?
08. Friend Like Me | Robin Williams
♠ Life is your restaurant, and I’m your maitre d’ // Whisper what it is you want, you ain’t never had a friend like me!
09. Be Human | Scott Matthew
♠ If I could just be more human, I would see every little thing with a gleam in my eye // If I only was more human, I’d embrace every single feeling that came in my life
10. Resistance | Muse
♠ It could be wrong, could be wrong, but it should have been right // It could be wrong, could be wrong, to let our hearts ignite // It could be wrong, could be wrong, are we digging a hole? // It could be wrong, could be wrong, this is out of control
11. Super Trouper | Superchic[k]
♠ You were meant to live life // Come on, take charge // Let’s go light the world up // Let’s not wait until the end // To be the things we wish we’d been
12. What Is Love | Take That
♠ If love is truth, then let it break my heart // If love is fear, lead me to the dark // If love is a game, I’m playing all my cards
13. Yes Man | Munchausen By Proxy
♠ Yes man, let’s go for a ride // There’s so many lanes that we could try // There are so many rules, no need to abide // Throw my helmet on, hold on tight // Oh yeah you’re mine, all mine
14. Where Have You Been All My Life | Hal David & John Cacavas
♠ Until the moment we met, I had no-one to cling to // To be just everything to // To be my own true love
15. Hollywood | Michael Bublé
♠ Don’t go higher for desire // Put it in your head // Baby, Hollywood is dead // You can find it in yourself
16. She’s My Ride Home | Blue October
♠ We talked, together sharpening a knife // Like killing partners for a life // Hey, we can hide the bodies on the ride home
17. Robots In Love | Beautiful Small Machines
♠ I’ve gotta go, go, go, ‘cause it hurts to feel // I’m gonna run, run, run, like a man of steel // And I could try, try, try, to stay in the fight // But when push comes to shove // We are only robots in love
It makes me so happy that Emily Ortal slept with Benny when she went over there to do his securitron tinkering
like they literally boinked and then yes man was borned
ohh god I’m hooooome
now for the awkward readjustment period to a rsponsive keyboard I accidentally hammer on and a 1920x1080 screen instead of 1024x768
I GOT THEM BOTH I GOT THE PRETTY BABIES
you are gonna be mummy’s favourite precious, yes you are
(huge thank u to draayder for lending me enough money for this)
I have over 800 followers and most of you guys never say anything.
who are you?