Artistic Change
The path to new forms of enjoying artwork and the battle along the way involving myself and Valve.
In my article on Portal 2 I explained that Valve has been assisting my efforts I started when I was a teenager all along, but through immaterial, paranormal, indirect means. (Also some normal interaction I suspect) Just as they do in my spiritual visions. A cross-timeline loyalty greater than all the incredible adversity in my way, although I needed to avoid bringing this to light because of it.
The thing is that the story of the game is actually dependent on no one finding out. I explained that GLaDOS and Wheatley have a Ren and Stimpy style dynamic, which completely changes the meaning of the game from shifts of protagonists and antagonists to a more abstract relationship between the two AIs. To have the original experience of the game by the playerbase is contextually dependent on my artistic philosophy lurking in the Darkness. And now that I have exposed it, when the information about Portal 2 enters people's lives it will change their experience of playing Portal 2, both over the whole playerbase as well as on the individual level such as someone who has read my articles and someone who hasn't, who will be affected differently.
This creates remarkably different perspectives and experiences. As I have explained previously, the black domain involves the individual. The white domain more involves how an individual can build himself up to become part of society, like architecture and formal philosophy. The black domain more involves the personal traits of the individual himself.
And so this is an element of my Revolution, which the worldly powers of the past decade needed to prevent to maintain narrative control and other such things.
This is what I consider to be a healthy difference of opinion, instead of seeking to be different by being wrong. As a teenager, people cried out about their “opinions”, which is of course counterproductive to receiving a greater form of opinion. Instead of prizing what you think about the Iron Giant being good or bad, you can value the good things you experience with a work which other people are not experiencing, at least not currently. A greater richness which brings a better artwork to more life, such as there's no point in disputing that something is good anymore. The quality of artistic works have an actual objective reality in the spiritual dimension of the trickster.
The puzzles of Portal relate to the trickiness of unlocking further artistic experiences, entering a new room. Which has a puzzle to be unlocked again, the continual progression which players start to think with, of the trickster.
Today I experienced another puzzle of enjoying experiencing normal living. I witnessed it progressing over a couple hours. At long last this enjoyment was unlocked, analyzing an office for what the items said about the employee. As in this article, the progression of the trickster is utterly intertwined with people's wrongdoing.
The current puzzle for people to face is that of accepting my artistic experiences to play a new version of Portal 2 without changing the actual data. This presents challenges that differ from individual to individual, or more significantly group to group, as members have not manifested particular differentiating traits yet to alter the experience significantly.
My particular artistic experiences are something to be protected for proper engagement, as after all they involve people I am connected to. My various trolls and others have bothered me about seeing my art, presumably expecting me to create animations while they yell constantly for control of what I make, and offering no reimbursement. But I already have a game for people to play through immaterial, fifth-dimensional involvement in Portal 2. Now they need to read my articles, possibly indirectly related ones, and perform other things for compatibility to unlock it.
This means coming to understand myself and my philosophy, as literally millions of people are committed to not doing. Whether Homestuck fans and their friends, animation people of a variety of types, demented wokesters, livers-for-politics, and others, not only would it do away with their current way of life, their efforts were really about preventing my Revolution all along, including when they proceed before my birth to people such as Margaret Sanger, whose deathdate is my own birthdate upside down.
They also have to grapple with things about organizations and people besides myself, such as that Valve already presented the reason why their new games went away for a decade in the deeper levels of Portal 2, which can be summarized in the title of the ending song “Want You Gone.” Who GLaDOS wants gone can be determined by who pisses her off, according to my analysis. People can no longer be a type of person who does so for her, but it can be expected that some can't, which motivates them to impede my Revolution as they will be immaterially gatekept from things like new valve games in the near future.
I myself did not realize all the things I found in Portal 2 before I actually wrote my article on it. I knew some things such as the ending line of Wheatley: “I'm sorry for being so bossy, so monstrous… if I could, I’d take it all back”. But there were many more things along the way which I did not all point out. The process of this involved a challenge of faith to see through to the to the end of the meaning of the game. This challenge is an immaterial event which goes directly back into the production of the game in the first place. The timeless progression of pushing myself to new levels, even beyond the level of martyrdom: allowed for Portal 2 to be as incredible as it was.
There's also the advancement in understanding of God's ways and theology. In general, I have started to dismantle why atheists mocked the phrase “God works in mysterious ways.” and through my exposé of Portal 2 I have uncovered, though not fully, one piece of the way in which God arranges Good and evil so that good triumphs fully, evil serving as merely achieving goods that would not have been possible without it in the course of the events of the Earth. Pretty generally overwhelming for the weak of the world, but I push until they accept it.
My opponents throughout society try to topple every artistic work of value with things like throwing food on paintings, making horrible Lord of the Rings media and it goes on and forth. The utterances of their mouths are basically irrelevant, not even worth listening to oftentimes for new evidence of their evil will. Throwing food on paintings is a symbol, on one level, that artwork can be food in various ways such as for my creatures The Underbeasts. They thrive when people interact with good art, and they are very dangerous to evil people. Crying that art is irrelevant compared to food (as if we are just grazing herbivores) is crying that feeding themselves - people who currently choose to be evil, on the path to damnation - should be preferred over feeding cosmic monsters who reward people with treasure in return such as Portal 2 in the first place and further levels of the experience.
The vast impasse between my opponents and myself, spiritual warring for control of the black domain taken over by evil, is standing in the way of the many artistic changes I refer to and imply. When it is broken then many people will be able to craft and have the same experiences with other artworks and artistry which does not involve me. Until then Portal 2 will be a great stumbling block for evil, as difficulty grows to ignore the true significance of the game, bringing out the sort of experiences children can easily have - if they are good — into the adult world.