The evidence for this theory of Mario is explained better in this image than I ever could: 3 all just a performance?” the video interviewer asks? But last September he took to Twitter to answer questions about his most famous creation. Miyamoto is the driving force behind some of the most influential video games of all time, Donkey Kong and The Legend of Zelda among them. On September 10, 2015, Shigeru Miyamoto settled a mystery that was 27 years in the making. Hopefully you’ll be able to join us and see if you feel the same. When I think about that, Portal doesn’t seem like an odd choice for a musical at all. The experience just would not have been complete without it, and it’s what cemented Portal on my list of all time favorite games. Here was a song that perfectly encapsulated the spirit of a character and the tone of an entire piece. If you’d like to hear “Still Alive” sung live in its entirety, I know a great place where you can hear it the nights of July 18, 19, 25, and 26. The game clocks in at a streamlined eight hours or so, and while I enjoyed the game’s final confrontation I didn’t feel quite ready to put down the controller yet.Īnd that’s when GLaDOS sings the game’s theme song, “Still Alive.” The puzzles and the story felt fluid and organic. I was a huge fan of the way the game encouraged you to bend the rules as much as possible. Her adversary in this is a sentient AI named GLaDOS, who begins as a neutral instruction voice and gradually grows into something much more hilariously demented. And for that, I think back to my very first time playing Portal.įor those unfamiliar with Portal, it’s a puzzle-oriented video game where the player takes the role of Chell, a mute protagonist endowed with the ability to create space-bending portals. So is Portal: The Musical an odd duck? I think the answer here is to focus less on the source medium and more on what the source brings to the table. This seems like an appropriate time for me to watch “Ring of Keys” for the sixty-fourth time and sob quietly for a bit.īut, with all this being said, there still isn’t a flood of video game-to-musical adaptations. It’s like, what’s next, video games interpreted as baked goods?
It’s been my impression that a lot of people view the musical as a rather limited genre – boy meets girl, couple single sappy love song, potentially while dressed like a cat / opera phantom / lion king – and I think that’s why the combination of video game and musical strikes so many as being so unusual. Don’t miss it!), I’d been a huge proponent of musicals in general. The thing is, long before promoting our upcoming musical (PROTIP: July 18 – 26. In all fairness, the track record for video game adaptations isn’t that great. “Making a video game into a musical? That’s weird.” Guest blogger Kirk Shimano explores the connection between video games and theater from all sides of the equation.įor the last year, I’ve been telling anyone I meet “We’re going to be adapting the video game Portal into a musical!” This led to some delightful conversations about one of my favorite games of all time, as well as some wonderful tangential discussions about the music of Jonathan Coulton (which figures prominently into our show), but I can’t help think that all of these conversations shared the same subtext:
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