Glados and chell relationship problems

What kind of relationship do you think GLaDOS has with Chell? : Portal

glados and chell relationship problems

Glados discovers that Chell is following Ratman's advice, and kills him. . that GLaDOS let Chell go because she felt sympathy for her due to blood relations. Erik Wolpaw, the award-winning script-writer at Valve, who also wrote for Portal, Team Fortress, and will be writing for Portal 2, has discussed. Throughout P2 GLaDOS comments towards Chell are pretty personal and insulting, and she has a lot of animosity towards Personally I really don't see Chell and GLaDOS's relationship as romantic. . Chell is a PROBLEM.

Chell the protagonist is clearly an adult. There is also a poster believed to be chell next to a robot boss, wearing a lab coat. Combine this with Cave's speech saying testing is now mandatory for all employees, I'm thinking Chell was a scientist at Appeture.

But I can't figure out that with the potato battery from bring your daughter to work day. What, that potato got left out for Thats even before we count the that Chell was in long term relaxation between Portal 1 and 2.

On the other hand, how can it not be Chell? My brain hurts thinking about portal. I think you are over complicating this a bit by looking at the conclusion and THEN the evidence. What would happen if we did that?

glados and chell relationship problems

What would happen if we put her in a potato? What happens when we strip away that power.

glados and chell relationship problems

A lot of that was a game of Jenga. But as a potato, she does seem to be a nicer person. When the player first stumbled on GLaDOS in early tests, the idea was that you as the player would turn her on.

Chell's age in relation to the Portal storyline

But no one wanted to. Playtesting really helped us get that right. Were they in recently? Not everyone picks that turret up. She told me about Caroline. How did she know about that? Which tells you everything you need to know. My favourite Easter egg, which people can go find, is in the final act.

Evil Wheatley has you on a conveyer belt which you can jump out of, with a spinny blade wall. You can jump out of that thing again and again, and he starts begging you to get back in, before restarting his super-villain speech.

I loved the dismissive treatment of the Weighted Companion Cube. Obviously there was so much lunacy about a box with a heart on it — did that take Valve by surprise?

Valve On Portal 2: Spoiler Interview Part One | Rock Paper Shotgun

Yeah, if we would have known we would have had more cubes to sell. One thing we all agreed on this time around was, once something becomes a meme it belongs to the world and not us any more.

No cake, no companion cube. 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.

One play tester helped them by pointing out the quality of the fire pit puzzle, a puzzle that has the player-character riding on a moving platform that is descending into flames, requiring players to find a way to survive. He stated that it was both dramatic and exciting, but also a difficult puzzle. Wolpaw stated that this made no sense, commenting that it was one of the easiest puzzles in the game.

He added that the battle was a dramatic high-point, since it was being the first time GLaDOS directly tries to kill the player-character and the first time that players have to use the environment to their advantage. After learning about what fellow Valve developers had planned for the final boss battle in Half-Life 2: Episode Two, the Portal developers decided to implement a neurotoxin that would kill the player-character in six minutes.

As a result, they scaled the game back, intending to ensure that everyone was able to see the game to the very end. Here come the test results: However, the demand for all of these to be implemented into Portal 2 was great enough that they chose to do so. Originally, the character Cave Johnson was intended to be the antagonist instead and Portal 2 to be a prequel.

They felt that she should "go someplace" and that since GLaDOS is "kind of likeable in the first game" and players "enjoy being with her", they would utilize Wheatley as an "other, external threat".

He compared her transformation into a potato and having her power stripped away to the game Jenga: They found that play testers were not interested in her when she was powerless and insulting players and would question why they were "carting this person along". In order to keep players from feeling that they should want to abandon GLaDOS in her powerless form to prevent her from becoming powerful again, the designers made sure to give players reason to bring her with them. The co-operative campaign includes additional dialog from GLaDOS; the original dialog Wolpaw wrote for GLaDOS was aimed to two women, Chell and a new character "Mel", with the assumption of "image issues", but this dialog remains in place even after the change of the co-op characters to robots.

Valve considered initially to have separate lines for GLaDOS that would be given to each player individually, but found this to be a significant effort for minimal benefit. The writers also attempted adding GLaDOS lines that would make the players attempt to compete against each other, such as the awarding of meaningless points, but playtesters did not respond well to these lines.

They felt however that this would "get old pretty quick" if they did not put her "into another space". They accomplished this through a combination of her anger with Wheatley and her conflict with her past life as Caroline. Through the course of the game's events, GLaDOS' personality shifts significantly; however, at the end, she resets her personality to her original personality, an action Wolpaw sums up as "explicitly reject[ing] it" and saying "You know what?

The designers also intended to make it vague whether or not GLaDOS was under the control of the machine that she was attached to. These games were all a part of an alternate reality, based on a cryptic narrative that suggested the awakening and relaunch of GLaDOS.