Ellen
Mclain is a popular voice actress for Valve, a gaming software company. She is
perhaps most known as the award-winning voice of GLaDOS (the hilariously
passive-aggressive artificial-intelligence antagonist) in Portal and Portal 2. She
is also an opera singer.
I am not
much of a gamer (though I greatly and increasingly appreciate the creative
energy that goes into making games), so perhaps this post isn’t any kind of
news to some who are veterans to gaming. I have played both Portal and Portal 2, and I can’t think of a better word to describe my
reaction to them other than “charmed”—not just by the fun gameplay and creative
storytelling, but by the unexpected use of music in the games, each of which
rolls its ending credits in tandem with a pop-style song sung by GLaDOS. The
second game even features an opera-style mini-aria as part of the ending scene,
complete with Italian libretto, and also voiced by Mclain. What an interesting
way to cross those two career paths!
It’s no
secret that games can and do involve wonderful music produced by skilled
musicians—music ranging from simple but catchy MIDI tunes to complete
orchestral scores, similar to film scores. Those who are better acquainted with
games than I am could doubtless expand on the merits of game music even more. Video
games are, in my opinion, heralding in a new form of storytelling and artistic
ingenuity; it’s increasingly clear that the classical musician, and classical
performance traditions, could find places in such an art form. They already
have, in fact, and have already met with approval—just look at the popularity
of Video Game Orchestras (VGOs) such as Boston’s own.
I was so
tickled by the “Turret Opera” (as it has come to be known) after finishing Portal 2 that I scoured YouTube for recordings,
and—for a nice change of pace, given the general maturity level and
thoughtfulness threshold of most YouTube comments—read through pages and pages
of commenters gushing over the music: how nice it was, how it moved them, how
they were actually entertained by it, and so on. This was operatic and
classical-style music (albeit in a much shorter form) placed in an
entertainment category that allowed the listeners access; they understood the
characters and the world of the game by then, and the music made sense to them
as a result. It didn’t seem stuffy or inaccessible because it was catered to them, the players. Though
certainly many attempts are made by classical musicians to make classical music
accessible to a broad audience, we seemed to have maintained that strange aura
of “too difficult for the common public to understand”. Perhaps the key (or one of many keys) to
actually widening that audience in the united
states is to further unite classical music
with other art forms. Why not step into a new, evolving, popular art form as
classical musicians? Why not make it easy to understand?
My surprise
and delight at the opera shout-out in Portal
2, and the knowledge that Mclain herself is an opera singer, was not due to
the fact that music was present in a game. I was excited, as a singer myself,
that it involved someone who has, and still does, pursue goals similar to my
own; someone who managed to incorporate a bit of her first goal into her
current career, and who was met with approval by a generally non-classical
audience. We’d do well to follow the popular consciousness in order to keep our
art form alive, and video games are certainly popular. Who knows what kind of
future success could be waiting if we all, as classical musicians, kept our
minds open?
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