If you ask me, Portal's signature moment involves putting a portal in the ceiling and another portal in the floor just below it. Thump, thump. These portals, for the uninitiated, are basically two sides of the same magical hole; walk through the orange portal and you emerge through the blue portal. In the game's deliriously arch fiction you are testing a device that projects these holes, allowing you to do unusual things with space as a result.
Onwards it goes! Over the last decade, this perfect linear video game - near linear, even now I am compelled to remember that there are moments hived off for self-expression, generally involving the disposal of turrets - over the last decade this precision game has been gleefully broken into pieces and rearranged by speedrunners.
I guess what I am trying to say here is that thinking about Portal can get quite complex and annoying. And for years I haven't actually played Portal, so it's just been my memories of it, steadily ossifying into the idea of something that is ingenious but rather airless, a game so brilliant it sort of deconstructs itself as you play, while its antagonist patronises you for your progress. Fine. But this week, I went back.
Oh, and it's mind blowing when you hit the end credits after a few hours and there's a lovely song to listen to, the villain singing you a toxic lullaby built around the cheery subject of futility.
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