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about
Michael Burden
Michael Burden (BSc,
MA) finished his thesis
on the cultural impact of
algorithms in video
games and web sites
while writing this paper.
He has previously
worked for two video
game companies (the
defunct Igamol, and
Ubisoft), as well as
authoring video games
for research, and is now
performing analytics at
BioWare. His one-yearold son is already trying
to join his video game
sessions.
michael.burden@gmail.com
Sean Gouglas
Sean Gouglas (PhD) is
Director of
Interdisciplinary Studies
in the Faculty of Arts at
the University of Alberta
and an Associate
Professor in Humanities
Computing. He is also a
theme leader for
Canadas Graphics,
Animation and New
Media NCE. His research
focuses on universities
and the game industry,
as well as women in
gaming. He is amused
at the irony that his coauthor is now analyzing
metrics for a large
company.
seangouglas@gmail.com
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volume 12 issue 2
December 2012
ISSN:1604-7982
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Abstract
The videogame Portal is an algorithmic exploration of human struggle
against algorithmic processes that have superseded their original
intended purpose. The game explores the search for freedom from
such computational processes. The freedom presumed in the portal
gun - which allows access where there was none - is circumscribed by
creating pathways that only open back into the maze of the Aperture
Science Facility. The promised reward for completing the algorithm is
freedom, but the promise is made by a master chained to the very
facility it controls. Both GLaDOS and the player are bound to complete
the algorithm. There is no escape.
Portal extends this tension, perverting the traditional relationship
between player and protagonist. Each test requires inputs to
complete, with the companion cube serving as a necessary but
disposable means to that end. What the companion cube is to Chell so
Chell is to the player - she reappears after each failed test like a
weighted companion cube dropping from a chute.
Harmony between the game mechanic and the story ensures
emotional resonance between Chells suffocation in the workings of
the system and the players own frustration in moving through the
game. Unlike other artworks, Portal not only communicates emotion
but also allows for play to achieve it. Thus when the narrative pushes
Chell to complete the tests by being incinerated, the players own
yearning to escape the confines of GlaDOSs control reaches its own
breaking point, synchronizing the goals of both player and
protagonist. This aesthetic of play speaks directly to the relevance
artistic videogames hold for {INSERT AUDIENCE HERE}.
Keywords: Portal, Art, Algorithms, Testing, Videogame, Aesthetics
"We all know that art is not truth. Art is a lie that makes
us realize the truth."
Pablo Picasso: The Arts (1923)
"The cake is a lie."
Portal (Valve, 2007)
Introduction
Algorithms, the step-by-step processes that permit simple and
complex computation, provide powerful shorthands, allowing control
and exploitation with the promised certainty of reliable outputs. In
everyday life, algorithms surround us, and we increasingly give
agency to algorithms that are too complex for our understanding:
1. Algorithms control financial trades without oversight, as
humans toil on the ground serving the algorithms needs
(Slavin 2011)
2. Algorithms refine exposure to information, serving as
gatekeepers to that information, creating and reinforcing
perspectives (Pariser 2011)
3. Algorithms determine whether to receive an email or silently
trash it (Brownlee 2011)
4. Algorithms shape the development and release of books and
films (Wakefield 2011)
5. Algorithms keep aircraft in the air (mostly) (Heasley 2011)
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Test Chamber 17
Each test chamber becomes more difficult, introducing increasingly
complex consequences made possible by the affordances of the portal
gun, while GLaDOSs prompts to complete these tests become more
insistent. Obedience to authority, particularly scientific-institutional
authority, permeates all aspects of Portal with the game serving as an
instantiation of the Milgram experiment an infamous experiment
that examines the willingness to obey an authoritative voice cloaked
in the mantle of science (Milgram, 1963). GLaDOS compels the player
to be part of the algorithmic process.
The player is placed in the dual role of the learner who suffers for
failing to complete increasingly more difficult test chambers, and the
teacher who punishes his or her recalcitrant student. Wearing the
cloak of the Learner, the player as Chell is at first enticed, then
goaded, then guilted and finally threatened to complete each test.
Constantly punished for each failure (usually with death) and
increasingly demeaned when successful.
As Milgrams Teacher, the player pushes the buttons that prod Chell to
complete each task, punishing her with each failure. These concurrent
roles crystallize the players identification with and separation from
Chell. GLaDOS serves the role of Milgram, prompting the teacher to
inflict greater and greater acts of barbarity: longer jumps, riskier falls,
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When Chell and the player finally burn the cube, as they must to
advance the experiment, GLaDOS informs them that she euthanized
her faithful companion cube more quickly than any test subject on
record. Congratulations." Even here, when the Milgram-like nature of
the experiment is clear, GLaDOS continues her testing, providing a
Taylor-like efficiency assessment of the players willingness to inflict
pain on the Learner.10
This scene serves two additional purposes. First, it trains the player in
steps necessary to complete the game in the final confrontation. As
mentioned earlier, Portal inverts many gaming conventions. In this
case, the tutorial level is, in fact, the game. Second, it foreshadows
Chells fate. As Chell treats the companion cube, GLaDOS treats
Chell.
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Test Chamber 19
In addition to the burning of the companion cube in Test Chamber 17,
other events foreshadow Chells fate: for example, in Chamber 13
GLaDOS states, When the testing is over, you will be ... missed; and
in Chamber 16 a message intended for a robotic test subject is
delivered to Chell, "Well done, android. The Enrichment Center once
again reminds you that Android Hell is a real place where you will be
sent at the first sign of defiance."
As Test Chamber 19s obstacles are completed, Chell is on a moving
platform in an enclosed tunnel. A sign indicates that Cake - which
was promised for successfully completing all tests - is around the
corner. Instead, the platform is headed directly toward a burning pit.
GLaDOSs homicidal intent and indifference to suffering becomes
remarkably clear. The cake is a lie and the reward for successfully
navigating the tests is death. The test subjects purpose is to produce
data; consideration beyond this is immaterial. Chell has fulfilled her
purpose as a test subject and, like the cube, is now expendable, ready
to be replaced by the next test subject. In Gramscian doublespeak,
where the subordinate class comes to view the oppression as natural
and expected, GLaDOS congratulates Chell on the successful testing
and imminent death:
Congratulations. The test is now over. All Aperture
technologies remain safely operational up to 4000
degrees Kelvin. Rest assured that there is absolutely no
chance of a dangerous equipment malfunction prior to
your victory candescence. Thank you for participating in
this Aperture Science computer aided enrichment
activity. Goodbye. (Test Chamber 19)
Science was advanced, with nothing of value damaged in the process.
This murderous intent brings together multiple narrative elements
foreshadowed in the game, but also emphasizes the appropriateness
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Escape
With her escape from the fire, the testing protocol is shattered. The
player collapses GLaDOSs Milgram paradigm, re-merging with the
protagonist in common purpose to escape the facility (but not the
game). This disturbance to the algorithm also reveals the final piece of
the GLaDOS story. At the moment of Chells escape, GLaDOS drops
any pretense of representing a team of scientists working for Aperture
Science. She uses the pronoun I for the first time to describe her
intent.12 The story is now clearly the struggle of woman against
machine.
Chell and the player then move through the infrastructure of the
Aperture Science facility, which to this point has only been revealed
through slips in GLaDOSs speech or the tiny chinks in the armour that
are Rattmanns dens. In Campbellian terms, Chell crosses the
threshold to see the dark, institutional inner workings in its entirety.
The portal gun opens a wormhole that deconstructs the facility and
shows visually, experientially and narratively, the belly of the beast.13
In the final showdown Chell confronts GLaDOS, who appears
enslaved, bound by tubes and wires to the very structure of the test
facility. The machine has escaped the control of her scientist creators
but has not found freedom. Instead, in Hegelian fashion, the master is
enslaved in her role as a master. She is imprisoned, perhaps even
more than Chell, as algorithmic constraints parallel her physical
imprisonment. In computational theory, the Halting problem means
that GLaDOS cannot know if she or any algorithm she sets in motion
will ever finish. To find out, she must test. This could be taken further.
For example, the Robertson-Seymour Theorem shows that the proofs
to many classes of problems are non-constructive. This means that
algorithms to solve such problems exist, but we can never know what
they are. One would imagine such a contradiction would force GLaDOS
to test. Relentlessly. In Portal 2, much simpler paradoxes play a key
role in advancing the plot.14
The boss battle is technically straightforward, in part because of the
training the player received in Test Chamber 17. GLaDOS is destroyed
by fire in a convenient Aperture-Science-Emergency-IntelligenceIncinerator, echoing Chells near-death experience. Psychologically,
the battle is more difficult. Shackled to the walls, GLaDOS appears a
tormented figure. It does not help that GLaDOS tries to reason with
Chell during the process, saying, "This isn't brave. It's murder.".
Although necessary to complete the game, there seems reason to not
kill the tormentor (Towell 2008). The experiment, however, must be
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Gaming Tropes
GLaDOS and Game Design
The agon of Portal is the challenge of each test chambers puzzle, but
GLaDOS is the source of that conflict. She created the environment
and challenges that Chell must complete, much like videogame
designers do for players. And like GLaDOS, designers remain (mostly)
unseen, experienced through the challenges and environments they
create.17 The game designers, GLaDOS, Chell and the player are
known through that creation. All are trapped in it.
Chell and the player wander the path laid out for them by their
respective designers, seeking the source of their imprisonment. Upon
finishing the game and revealing the designers schemes, both are
free to be in the world, having ended their trial. Chell destroys the
research facility and kills her master, awakening in the middle of a
parking lot surrounded by debris, sunshine, clouds and apparent
escape. Interestingly, shortly before the sequel was released the
original games ending was reversed so that Chell was not free but
dragged back into the system, an idea that had been proposed as the
original ending (Reeves, 2010). That ending adds more horror to
GLaDOSs first words, Hello and again.18
For the player, this openness is the end of the game and its control
over the player. There is, however, an end-title sequence
accompanying the credits in which a song provides a more
sympathetic view of the controlling GLaDOS character. The song is
perhaps a vindication of the game creators for their role, or just a
reminder that all is in jest in a game. Either way, the player may then
move on to whatever else needs to be done or play again, like a good
test subject.
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Acknowledgements
The authors would like to thank their colleagues and three anonymous
reviewers for their assistance in drafting this paper.
Endnotes
1
It is not clear whether these sales were just the stand-alone version
of Portal, or whether they included sales of The Orange Box a
collection of games that included Portal.
6
GLaDOS stands for Genetic Lifeform and Disk Operating System and
is a homophone of Gladys.
8
The games designers have noted that the companion cube was
originally designed as a simple box (required to be carried to the end
as an additional challenge to the player), but that players often forgot
to bring the box. Erik Wolpaw, one of the games writers, learned from
government documents that isolation leads subjects to become
attached to inanimate objects (Edge 2008). Valve sells a stuffed
version of the companion cube, which is the most popular element of
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