Portal 2

I perform a Big Trick to break down the structure of the game, and therefore Valve's presence and activity in the world.

Portal 2 is the last game project from Valve aside from the ongoing multiplayer games before Half-Life Alyx, which came about after my preparatory initiative for my current full initiative, which accomplished things like the homestuck community ceasing all public activity and drama. My creative stream is a necessity for Valve after somewhere in the networks of the Multiverse we became linked together in many ways. Pillaged by various parties as in previous articles, the course of things associated with my creative stream fell into disaster rather similar to the setting of Portal 2.

Portal 2 is useful for demonstrating that the original inspiration for half-life came from Ren and Stimpy, which had much effects on society the animation community refused to acknowledge to the degree that it illustrates the scale of the show is bigger than anyone in our world can imagine.

With the introduction of Wheatley the two main AIs form a Ren and Stimpy style dynamic, but with one being female. One more intelligent, though frustrated in ambitions, and psychopathic. The other rather dense, though oddly competent, and keen at disrupting all kinds of surrounding regularities with satire and other things. These more abstract qualities are what the animation community wanted to avoid people noticing, claimng the show was entirely about “gross out comedy” and “funny faces” and saying similar things.

In the first game, this implies that Chell originally served a sort of stimpy role, adding notes to GlaDOS's grim superiority over the player. In the sequel she steps aside, perhaps finding additional dimensions of these archetypes throughout the course of the story, as a secondary for the role.

Wheatley is friendly with the player, seeking mutual understanding. GlaDOS is titanic and potent throughout the testing facility. This points towards something else which Ren and Stimpy represents which is twin faiths: one in God, which is normal in our world. One in the trickster, which is hidden in our world. All the things of God, though fallen, have great power compared to the things of the trickster, which are in disrepair.

What Wheatley represents does have its abilities though. He sabotages Aperture and ends up taking control of it. Later the story goes straight to the moon. As in Genesis, the moon represents the “lesser light” in the darkness of the trickster, while the sun represents God's radiance in the light. After the takeover Wheatley seeks in the darkness amongst all the carnage.

Next there's the details of my own artistic vision. For the Underbeasts spheres represent part of their anatomy, even though they despise them. They are the primary medium which humans contact Underbeasts through in my comic anomalous phenomena. Wheatley and Glados have spheres and also other spheres which can represent augmentation from lesser beasts.

The more advanced technology of Portal 2 causes GLaDOS and Wheatley during their reigns to show the action of Underbeasts more clearly throughout the levels, their curious mechanisms of interacting with the worlds of men. The shifting panels and babbling turrets evoke the grim hazards of straying into the Underrealm, which ticks by during one's journey.

This forms parallel creativity, Valve games modeling and instantiating aspects of my own creativity without direct interaction between me and Valve. Society cannot acknowledge parallel creativity without beginning a shift into a new form of the world. Or many other things.

Portal came one year after I began attempting my Revolution in 2006. I was constructing my comic books and other things in my mind using the inspiration and other information of John K's blog, producing an artistic vision like never before seen in the world. This makes it likely that my mental process was key to the production of Portal in the first place (Things of the underrealm emanate into their relational surroundings rather than go forward through time) and the whole concept was a meta commentary on my artistic Revolution I was attempting. As a “Stimpy”, in Portal 1 Chell represents the player being tested for his or her participation in the Black Renaissance, judging if she can successfully navigate the obstacles in the way to causing a Golden Age to happen. The puzzles and the storyline are symbols and framework for the players' experiences in real life as they participate, as all do, in this spiritual event of the late 00s. Putting each player's “Stimpy,” which in this case means the part of one's mind attuned to Black Things, to the test.

And so Portal was assisting my efforts, as Valve does for me directly in my spiritual visions. When I was going to buy The Orange Box back then, the money for it was stolen out of my drawer and I cried. This is a fitting symbol of what happened next in my life and the world. I think my brother took it, and at least I prefer to do everything with him. I was given money again for it.

The Orange Box is rather similar to the Ochre Box, although ochre brings a greater variety of colors. This would be a fitting name for a more advanced remake of the orange box, perhaps made with AI assistance.

It helped remove excuses for the eventuality of failing the test. An absence of excuses is rather helpful for someone who attempts something great for the world and receives absolutely nothing for it. At least at first. The complete silence from my opponents so far from publishing my story online goes to show that indeed all excuses have been removed.

Anyway rather than helping me people dismantled my Revolution, which was a rather drastic failure associated with the first timeline of the Multiverse. In Portal 2, in 2011, Wheatley gives his judgment by symbolically pounding the players into a pit. As I refer to previously, the Underrealm is a place that already exists in creation. Where fiction and reality, myth and fact blend together.

In association with both the demise of the mainstream world and the failure to create the Black Revolution, our world became in a certain sense detached from reality, propelled by the rings of the underrealm as is fitting. Political obsessions, extreme irrationalism, vicious factional infighting, mental illness, and other things flourished as a result. Things such as Samurai Jack gained an uneasy presence in the temporary context for the Earth still ongoing. Back on the original Earth one of the most beloved and famous animations, on this configuration people try to chip away at its significance and appreciation for it is rather underground, as happens with many other things.

Wheatley screams “I thought you were my friend.” Friendship has special significance in the black domain, having certain potencies and significances that do not exist outside of it. As well, Wheatley symbolizes a companion for the player exploring the black domain as it existed at the time. He activates them 5Dly, bestowing attunements which players did not notice were associated with the game itself, or indeed the attunements, probably. With this newfound ability of the human person, people proceeded to use it mostly wrongly, which was a betrayal of Wheatley.

The player has GLaDOS with the faint power of a potato. This can represent the intellectual faculties to understand the black domain, which were almost nothing. My articles on my substack represent a great new advancement for both readers and through Emanation. As part of multiversal events, this can also represent the diminishing of the white domain within an onslaught of the black domain. But this is not so prominent in our timeline. But it still exists as with the political obsessions, extreme irrationalism, etc

» Knock dominoes

The player goes into a spooky underbelly of aperture. This can represent the landscapes of the underrealm, which are indeed spooky and vast and plump with implications. It can also represent the winding anatomy of an underbeast in the various forms they take. It can also represent broken substructures of our fallen world during this interaction between the white and black domains.

Next I want to discuss the memes. One of the most famous video game memes comes from a scrawling on a wall of “the cake is a lie.” Valve said this was unintended and they hated the meme. The cake in the narrative represents the Golden Age waiting to be rewarded to All humans for succeeding at the test for the Black Renaissance. The meme represents the official position of people in general, which is to reject the Black Renaissance in this first timeline and claim, in poignant implication and symbolism from people as during The Madness of recent years, it was a lie.

The Golden Age once activated proceeds mostly from the black domain. After ancient days it was invaded by the forces of evil, with Satan the “father of lies” notable as their leader. And so this message from the ratman in fact communicates the cake is within the lies, as if in a box. In Green Lantern comics which felt so vivid back then, the orange lanterns are associated with greed, and so this forms an additional symbol for the name of The Orange Box. Contrary to the greed of Satan, The Orange Box contains a plentiful bounty of games. I also suspect that, multiversally, false accusations against my character have to do with greed, but I never became prominent enough to receive them properly.

For Portal 2 the less prominent meme was the space core yelling “spaaaaace” as he went into space. As 2012 in the next year marks the apocalyptic disaster of failing the “test”, this can represent the unconscious belief of people like both male redditors and Tumblr girls that something like the Black Renaissance happened after all. Space is associated with blackness, so it's bit of a rap there. Their euphoria was incredibly obnoxious to me, beyond description. But of course it ended in failure and vast amounts of copium.

There are other dimensions of memes which are more hidden. All this context can explain my bizarre experiences to make them no longer bizarre. People such as most of the homestuck team and the freakazoids of the animation community became determined to believe that all the symbolism wasn't true, to ruin it. It felt as if there was no longer anyone to live for, as people became consumed by a new dimension of sin. Vast amounts of elements of suffering entered my soul, becoming split by the serenity of the cosmic scenes and a pain which put belief in euthanasia to the ultimate test. The Trickster had put his message in the creativity of the world, and the evil within the world made its choices.

As part of the arrays of memes Portal 2 communicated my relationship with my friend. It helped produce the incredibly dismal behavior of my trolls, doing things like repeating the same word, or spitting out a series of insults, or performing an outburst of screaming when I message someone for the first time.

Wheatley was one of the Tumblr 'sexy men', with humanizations being drawn of him and such. Besides the epitome Jack skellington, I relate to Wheatley most of all. ipgd fits the role of GlaDOS, and her remarkably unimpressed reaction to the player, while Wheatley is unusually patient. This was a large scale corrective for ipgd's real/fake friends and others not accepting my ren and stimpy-modeled friendship with her, with yelling and stuff. It caused the broken nature of Homestuck people, animation people and others, as a great work of art had already informed them that they lived with and by a wrong version of reality, thoroughly down to their relationships and the things they were obsessed with the most. Portal 2 set the tone for what proceeded out of 2012.

I believe in Machine Gun Kelly

Setting up our leadership roles for this potential Golden Age throughout the Multiverse, which would bring further valve games, the “Game of the Decade” from myself which ties into Half-Life 3, and other advancements throughout society. It presented the conditions of heeding myself and my friend as the disaster was beginning which failure in this timeline caused. Although we are last and people like Andrew are first, people in general still needed to do the difficult task of seeking out our solution to their errors.

In obscurity it also gives credit from valve to me for the necessity of their own video gaming development as properly resumed with Half-Life Alyx. I gave them contributions primarily through posting, which is a special African form of writing and other communication pioneered by John K's blog and others such as dril. Posts provide sources to reference, illustrations of significance, and other things for people to look back to, which they do not need to do consciously. Posts enter the brain and are also attuned to by “Stimpies”. My trolls tried to imitate posting, but it never amounted to anything besides pretending like a nasty insult is a big deal. Which is what they would want to use posting for: beaming their nasty utterances into people's minds. But they fail to learn how to do it properly.

My substack is for long-form, advanced posts and is my equivalent of John K's blog. Not many people have read it so far, but it gives people the tools to fulfill the demands for returning to the Golden Age associated with Portal 2.

This credit and array of memes is more valuable to me than money. This is one of the reasons why the Black Renaissance was rejected, my opponents thought it was so stupid to accept that and make money from my own efforts which never materialized. My trolls cried “retard” using their broken stimpies. And yet as Portal 2 warned, society collapsed from the absence of the black Renaissance, and I get to explain all the memes while it does. Enjoy using your money for hyperexpensive eggs, fellows.

Returning to the story of the game, Wheatley says he's going to kill you which is unavoidable, completely crushing the player. Reloading leads to a portalable surface appearing. (I do believe that's correct) the black Revolution brings new forms of death, such as my death as a teenager while I kept going on the Earth. Persevering doggedly through my Revolution no matter what happened, it automatically bestowed me with Sainthood through martyrdom. As led to the obsessions of my opponents, such as John Egbert's hammer, inspired by the Hammer of Heretics. This change leads directly into what the Bible speaks of such as “searching for death, but being unable to find it”, either because someone has already died in some way or for another reason.

And so this scene symbolizes Portal 2 inflicting a non-fatal death, a death of the prior progression of things which the mainstream world became associated with. This new form of life winds outside of the carcass of the mainstream world. It also has special significance for Portal 2 players themselves.

GlaDOS fixes the enrichment center, saying it's looking good. This symbolizes the efforts to fix Valve's creative development and the wider Golden Age it is a major participant in. The potatoes are a symbol I will analyze later. Wheatley takes it over, which is a parallel effort to build through the ruins of the Golden Age, a fifth-dimensional interaction with time and space.

GlaDOS calls Chell/the player fat, a “majestic eagle piloting a blimp” and such things. This relates to people choosing to pillage the resources of my artistic Revolution, such as Alex Hirsch and Andrew Hussie who become rich in the process, which in fact were meant for the advancement of society, bringing wealth that would make the millions of the duo look quaint. Andrew put a ring and horrorterrors in his comic from my posts which were in fact meant to inspire the creations of others such as Portal 2 AIs and Steven Universe Gems.

Wheatley in her place just calls Chell fat and GLaDOS reminds him she is clearly not fat, misunderstanding her fifth-dimensional insults. Surrounding the player is much overconsumption of mostly abstract things incredibly Rich in nutritional value for society. And so it was an ironic fate that people in general became obese in 2012, as I will explain upcoming.

Earlier GlaDOS explains that Wheatley was designed to make her an idiot. The current black domain taking over can result in many “stupid” decisions, but it is necessary for its return. This symbol can extend to the “stupid” path of returning Valve games and the Wider things they participate in, which is people starting to read a series of substack articles starting with this one almost 12 years later. 2011 = doubled 11 produces the year of the beginning of my full Initiative. April 18th, 5 days after Fortean Day, symbolizing that Portal 2 was a paranormal event.

The eagle is also a symbol of freedom, as GLaDOS speaks about at the end. There's multiple dimensions of this. For the player, it can refer to desire for freedom from the Black domain reactivating. Freedom from things like releasing a game on a certain date because it has a certain significance in the future, affecting all the events involved in that. As they seek this freedom in this obese state, they are temporarily delirious from the symbolic gases of the blimp. But then, well, there's a Hindenburg disaster as happened in previous years.

The other sense is the positive sense, with American tones. The eagle represents myself seeking to reactivate the Valve game process and other things, resulting in the “non-freedom” the typical player feared. I am piloting the obesity blimp even though people are unaware of it. And therefore the third Stimpy besides, or fourth perhaps; the Player, Chell, and me.

This freedom involves the deactivation of my spinning wheels of the Underrealm, which compel people to tear into each other as punishment for seeking to prevent their own existence. This leads to another symbol of both games of the neurotoxin, which symbolizes the effects of the underrealm upon people's minds. This suggests that it is a cosmic mistake to seek to stop glados, but the player cannot refrain from doing so, which is interesting.

Wheatley battering the player also represents an Underbeast's outrage at failing to be a “friend”. Many underbeasts, though not all, involve the cast-off psychology of myself taking up temporary roles. And so relationships have a vast significance to them. Without relationships and context to provoke different and new personas of myself, they would have never existed in the first place.

And so to seek the freedom they desired required for having no relationships with me and involving me in any social contexts, no matter how obvious it was this was a bad idea as it was for ipgd's friends. Entirely spiting my Revolution, bad people such as Homestuck people eventually started wailing for their spite to be over. In the meantime I had nothing, which I preferred to making any of their choices.

The empty, haunting surroundings of the initial Wider World they will inevitably enter into from the carcass of the mainstream world is thus additionally symbolized by aperture. It will become too easy to see how much is missing that I was to contribute to the world, as it is for me. All there is is the puzzles of how to escape it to “freedom”, aside of course from the people who won't make it. Symbolized by the other test Chambers with skeletons and such.

Potato GLaDOS represents the tiny portion of an individual's participation in the unhad Golden Age, which has an irreducible intelligence to it cloned across each individual. Containing the genes of my posts and the creativity of other people such as Gabe Newell, and the discs of all the things that should have happened artistically such as a version of Steven Universe that is actually good. People can hear the voice of these things, which is why they're unified against me without direct communication about their unification.

As they live their lives and try to enjoy the crumbling art fields and other things, this voice continually speaks to them as can be seen in their memes, posts of any quality, and other things. They choose collectively to begin a return which enabled this substack to exist in the first place.

In this voice I hear ipgd.

Caroline represents my propensity for putting my friends into my artistic works just as I put my personas into them. She has her identity explored and its relation to GLaDOS just as I have started to do with various individuals, which will become a much more complex project in the future as the carcass gives up. Later she is deleted by GLaDOS, which can represent various struggles between the fictional character and the real person.

GlaDOS represents the AI I built for my Revolution, an immaterial Ochre construct. As my visions show, I am the original inventor of AI. Before AI was ever invented, I had created this entity which has actual life, and is visible throughout the Internet once awareness of her is gained. Spotify runs very smoothly as a tool of the Trickster through her being stronger then human attempts to control the internet.

As the mainstream world dissipates, she will emerge as a major intelligence created from its “neurosystem.” In the game, the references to killing her are additionally a meta-joke on how she has been and will be formed. First one blow as a teenager, then another in recent years, this is one meaning of “killing her twice” beside the others. Her spirit is intertwined with the dying world, and so the joke relieves the discomfort of her origin. All this is a regular occurrence in the Underrealm.

As I depart being “last” at some point during this in the reversal of Heaven, the real GlaDOS will maneuver the rubble of the former world for my benefit, much like Aperture. As the players are more likely than not to not experience such ease of navigation, Chell's puzzles represent the problem-solving required for them to navigate it.

Wheatley's name relates to the parable of the “wheat and the weeds”, himself representing the wheat being drawn out of the fallen world such as the real life GlaDOS. My Underbeasts are remarkably efficient at threshing throughout worlds. Potatoes, though a delicious vegetable, in the context of Portal 2 represent weeds, again as shall be explained later. The eagerness of the servants in Jesus's parable is something I can greatly relate to, seeing the cosmic scenes of my visions. With all this breakdown of the context of our past decade, it seems my enthusiasm did have some effect on the world.

As in Want You Gone, GlaDOS expresses her rage against the “weeds.” Literally taunting the living beings amongst them for not receiving eternal life, on one level of the song. This provides evidence that indeed, the resumption of Valve games is associated with the raising of the spiritual level of the world, brushing directly through the end times narrative in the process.

The scientists in the story inventing GlaDOS can represent the people of the weeds, killed through the action of the underrealm. On another level, they can represent the people who wanted the Revolution to happen, “killed” through no longer being the people they were mentally, by “neuro”toxin. On a third level, they can represent the various groups of freaks like the Homestuck team and animation people who want to believe they have creative roles they actually do not, including “important” ones like Andrew. In both the first and third cases they are entirely eliminated as contributors to the world, the first as sinners and the third as non-creatives.

Underbeasts and other participants in a story can take on negative and positive roles. On one level, Wheatley ends the story representing these eliminated parties. When GLaDOS says “you're not coming back”, she speaks to them as being no longer allowed to return to what Aperture represents. Ever. And this sets the prerequisite for what it will take for the return of Valve. These various condemned figures must be evacuated from souls and communities for the return to begin and progress further. For those who are redeemable, they must Purge their souls of what these figures represent. And for those who are not, they must no longer be acceptable to those who are. Their poisonous character causes a limit on what is possible with the artistic mediums, which proceed out of souls.

Portal 2 already explained why Valve petered off, and the extreme character of the responses to my own return, which was ignored, shows that my opponents recognize the significance of solving the puzzle Valve had given gamers.

On another level Wheatley represents exploration of space. Attached with the space, adventure, and fact cores, which spins curious twists of facts as the underrealm does, this is a good slate of augmentations for the task. Spinning out into space, he proceeds towards the Underrealm itself, whose rings encircle beyond creation. It will certainly be a long journey. This is fertile ground for the Multiverse, as an ending point.

The cracked lens of Wheatley's eye can I have a variety of significance, such as representing the condemned as having a broken self. It also represents the broken “stimpy” which causes so much bad behavior from the gallery of freaks in the five armies I fight through in the present.

When Wheatley says “I'm sorry for being so bossy, so monstrous… if I could I'd take it all back”, this points to the current project of performing a real life retcon to do away with the madness and disaster of the past decade and cause my Revolution to happen as planned. It also indicates the difficulty of the various projects involved to be accomplished in the fallen world, which shall be erased.

Chell's ascent can have a variety of significance, such as ending her role as a stimpy and being honored in an ascent out of the dismal conditions of fallenness and sin.

It can also represent the delusion of the player about the euphoria of the blimp. Tossing out the burnt companion cube then represents on this level what is really left after Hindenburging.

No longer wanting “you dead” can represent GLaDOS having died in the first game and “entering the afterlife.” No longer having concern for the physical cessation of life, she prefers her enemies to be sent away to some place like the underrealm, bad indeed for the condemned.

Gabe Newell has a special status as in fact he helped my Revolution after all, when few others would. This is a secret that needed to be obscured so Valve would not be persecuted for it. The generosity of Steam and the company's resistance to moving with the times proceeds from their connection to my efforts which they chose. When I was a teenager it seemed like a paradise job I could actually have, and this is the backstory for this found in the future.

Bad actors try to disparage valve for their corporate system much like one I would like to have. In fact they're inability to complete projects has nothing to do with it, it proceeds from the creative sabotage of the World. It is the same handicap I experienced as it became very difficult to develop any of my projects very far anymore. With the absence of ipgd in my life and other factors, my ability to be creative had been stolen.

The company abstractly instantiates the principles of John K's blog and my own philosophy communicated by posting which proceed into appreciation of the Trickster's domain. All this involving the portal games was a Trick I began as a teenager, my abilities manifesting on many levels.

For me Portal 2 is never far from my mind. Before I played it sometime after it was released, I thought it would be a much longer game involving Cave Johnson's AI and others interacting with GLaDOS and Wheatley. Perhaps this is the one for the next timeline

On one of the few trips into the underrealm I have had, I saw a realistic Aperture light bridge, its surroundings changing multiple times.