#tutorial_01

[uselesshollowknightfacts]

The longest non-infinite cdash in the game extends from this wall in Crystal Peak all the way through King's Pass, measuring at a whopping 442 units.

[Video ID: Gameplay footage of Hollow Knight. The player charges Crystal Heart near the middle of a wall in Crystal Peak. After releasing it, they shoot to the left. They continue moving along the same trajectory into Dirtmouth, passing through the elevator, and continuing all the way across the top layer of King's Pass. They stop moving after hitting a sloped wall in the upper left side of the room. /End ID]

[jackheathcoteaub]

Exhibit://Tutorial_01

20/10/17

I had my first tutorial today for the Exhibit brief which I was given to us yesterday. Since the briefing and initial group discussions, I’ve had a look at the sort of topics I might be interested in and have managed to bring my main idea down to something on Global Warming. Bringing this to the tutorial today, Rich & Laura mentioned a few things for me to consider. Firstly, and I think most importantly, they talked about how it was important for me to consider what would actually get people interested in an exhibition on Global Warming. It has been done to death at this point. So mixing my topic, to put a spin on it, will be important I think. Global Warming and what? is something I will definitely consider.

They also suggested I take a look at Al Gore’s Inconvenient truth if I want to focus on data for this exhibition.

Moving forward, I want to dig a bit deeper into my choices for the exhibition so I can get a better understanding of my content before branding.

[uselesshollowknightfacts]

Of the large downwards room transitions in the game, only the fall into King's Pass is two-way. Attempting to reenter the transition from below will cause the player to fall out of bounds until they hit the hazard respawn plane. The camera will incorrectly stay locked onto the rightmost part of the room until the player takes damage to an enemy or hazard.

The hazard respawn plane initially uses the player's respawn coordinates from the previous room. Interestingly, after the first respawn the hazard respawn coordinates are updated to 204.9, 27.1, which is on the cusp of the ledge by the fall down to KP. This is the only way to get these hazard respawn coordinates without the use of mods, making their existence pointless in normal gameplay.

[Image ID: A zoomed out screenshot of King's Pass with hitboxes turned on. There is a purple box out of bounds above the visible part of the room with an arrow pointing to it. The text reads "room transition". /End ID]

[jackheathcoteaub]

Spatial Com://Tutorial_01

12/10/17

With our initial ideas and thoughts, we brought what we had to our first tutorial today. The main thing which Rich & Neil talked about in this tutorial was the definitions and how we might want to look at them more deeply. I think they did this so that we didn’t get too bottlenecked into literal interpretations or move on too quickly with ideas.

Neil also mentioned that we should observe our spaces (A Public Path) to understand them and how we might want to incorporate our words into our contexts.

Moving forward we’re going to do some more research into the words and carry on with ideas.

[jackheathcoteaub]

Moving Brands://Tutorial_01

06/10/17

Me and Verity had our tutorial with Laura this morning and we showed off the ideas that we had come up with. Laura liked my idea and said that it could work, she also liked Verity’s idea with the people icons. The main thing that was mentioned, however, was research. It was clear from what we had already, that though the ideas were good, we were creating a piece of branded content and we needed deeper research into what they were about. She also mentioned that The Guardian had undergone a massive re-branding in the last few years and that we should research into that too.

Mine and Verity’s ideas both seemed to comment on the community, so Laura said that since it appears to be an underlining theme in both our ideas that we should consider taking it forward (if it’s applicable to the brand of course). She also spoke about how we might want to visually connect our bumpers. Just as with Series & Systems, it’s important they work together. Especially as they are made to represent the same brand. The brand is where they are linked so think about how they can present something different but still obviously work as part of The Guardian ident. 

Moving forward me and Verity decided that we should do more research into the brand as she had only read the wiki and I had only looked at their supporters feature. We also decided that we should come up with some ideas together to make sure that our bumpers worked with each other.

[jackheathcoteaub]

Series & Systems://Tutorial_01

30/09/17

In my first tutorial for the Series & Systems brief on the 28th, we presented our first initial idea to Rich & Neil. They both agreed, as did we, that our data sets were too broad and unfocused to produce useful data that we would be able to use. 

What we were interested in while talking about our first idea was the interaction between people. This is where our first idea came from. To begin with, we just wanted to collect what people were talking about. This then branched out to accents, image and then our very broad sets on who these people were. This progression from one to many sets of information happened because we felt that if we were going to look at what people said, we needed something to compare this to. Who said what? Is there a correlation between types of people and what they say? Neil suggested that if we wanted to observe the interaction between categorised individuals, that we focus on their interaction between something in particular. Like how they might react to being greeted. Or how they might act in a specific environment like a train station, where people tend to hurry. This seemed much clearer and in hindsight, we might have moved too quickly from the first idea that interested us. Leaving the tutorial we decided to go back to the drawing board, taking a slower approach.