This document provides instructions and details for navigating through two levels of a video game. It describes the main character Squid and enemies like crabs. It outlines obstacles like crushers, water bursts, and platforms. It explains the goals of collecting clues and reaching the rocket. Step-by-step instructions are provided for accessing the first clue in each level, which involve activating platforms and buttons. Strategies are outlined for getting past challenges like crushers and sky platforms safely.
The document provides instructions for navigating a level in a video game where the player controls Squid. Squid must collect all the clues in the level while avoiding enemies like crabs and hazards like crushers and water bursts. There are moving platforms and turtles that can help Squid navigate. The document outlines how to access the first clue by hitting a button with a rock to activate a platform. It also describes navigating the crusher obstacle course to get the second clue and platform jumping puzzles to find the final clue and complete the level.
Jeremy is an alien who has crash landed on Earth and been taken to Area 51. He must escape and collect documents and sheep along the way. There are two levels with guards, lasers, ladders and collectibles. To succeed, the player must time their movements between the lasers and avoid or distract the guards to reach the spaceship.
1) This walkthrough provides step-by-step instructions for completing Level 2 of Tomb Raider: Anniversary, set in the City of Vilcabamba. It details 17 kills, 8 supplies including the Village Key, and 1 artifact collected.
2) Early on, the player must complete a tutorial on using the adrenaline dodge move to avoid a charging bear and prevent a potential bug.
3) Throughout the level, the player navigates various platforms, jumps between huts and ledges, solves puzzles, and fights enemies to unlock a temple and collect an artifact. Detailed guidance is given for overcoming each challenge and reaching checkpoints.
The document describes 7 levels of a multiplayer battle arena game. Each level introduces new challenges and obstacles for players to overcome such as spikes, dart traps, disappearing platforms, and environmental hazards. To progress to the next level, players must battle each other until only one player remains standing. The increasing difficulties across the levels aim to provide an engaging experience for players to improve their skills.
The document provides a timeline, shot-lists, and storyboards for a television program about a group of young friends called "The Red Hand Gang". The timeline breaks the 60 second program into an intro, character introductions, adventures, and an outro. It outlines what will happen in each section. The breakdown and rough shot-list sections further describe some of the shots planned for the adventures section. The detailed shot-list then lists out 23 shots with descriptions. Finally, the storyboard section visually represents two of the shots.
This document contains a timeline, shot-lists, and storyboards for a proposed television program called "The Red Hand Gang". The timeline breaks the 60 second introductory sequence into sections for the intro, introducing the characters, and depicting adventures. The shot-lists further describe proposed shots including locations, characters, and props. The storyboard provides visual descriptions and camera directions for 5 shots showing the characters in action around the street.
Three campers are being chased by a zombie down a path. They come to a fence that slows them down and have to squeeze through a tight gap. One camper is out of breath and realizes another forgot their inhaler. As two campers carry on, zombies appear and surround the breathless camper while the others look on.
This document outlines the chapter and mission structure of an unreleased video game. It is divided into two main areas. Area 1 consists of 3 chapters that introduce the characters and have the player rescuing a stranded soldier. Area 2 introduces a news reporter and has the player infiltrating a city over 4 chapters to face an obscured enemy calling himself "The General". Each chapter contains several missions to complete chapter goals like reaching a crash site or rescuing the soldier.
This risk assessment document identifies and analyzes four risks associated with taking photographs:
1. Taking photos of someone without consent is an invasion of privacy that could upset the subject or cause physical harm.
2. Taking photos on stairs risks the photographer tripping and falling or bumping into others on the stairs.
3. Photographing in front of exits like doors endangers the photographer and others who could be hurt by a fall or damaged items.
4. Taking photos in a car park involves risks like the camera or subject being run over if the camera is dropped.
This document provides a shot list for 5 scenes in a production. Scene 1 involves roller skating and includes low angle, tilting, long, and tracking shots. Scene 2 takes place while shopping and uses medium and tracking shots, ending with a fixed shot. Scene 3 features cycling with long and tracking shots. Scene 4 includes a conversation with two-shot and medium shots. Scene 5 is set in Maddie's bedroom and employs long shots.
The document provides a detailed analysis of the cinematography and mise-en-scene in the climactic fight scene between the Alien and Predator in Alien VS Predator. Shots show the Predator as dominant over humans but on equal footing with the Alien. Close ups reveal expressions of anger, shock, and fear. Rapid editing and changing perspectives of who has the upper hand keep the audience guessing as to who will win. Shadows and limited lighting maintain suspense. Ultimately, the Alien defeats the Predator, shocking audiences who may have been rooting for the Predator, but ensuring the Predator's comeback and the film's continuation.
The document provides instructions for a game where the player controls Spiderman by clicking "GO" to move him and "STOP" at checkpoints for 5 seconds, with the goal of reaching the prize before a rocket to win.
This document identifies four risks associated with taking photographs in different situations and lists who could be harmed and how to minimize each risk. The risks range from taking photos of someone without permission, which could invade their privacy, to taking photos in a car park, which poses the greatest risk of physical harm. Suggested ways to minimize risks include getting permission before taking photos of people, choosing vacant areas, and avoiding busy locations.
The ship moves around the lava volcano and sometimes hits itself or other characters. The player controls a character that can shoot at the ship to make it move in a specific path and earn points by killing it. The main character can move, shoot, grow its cannon when it gets an apple, earn points by killing enemies, and lose points by touching lava. Getting 30 points allows the character to pass through a bridge. The objectives are to kill enemies to open the path to the star, get apples to grow the cannon, and get the star to win the game.
Pixar is an animation studio known for films like Toy Story and Cars. It was founded by Steve Jobs and pioneered CGI animation using its RenderMan software. Key people include Edwin Catmull, who helped develop RenderMan, and John Lasseter, a director who helped popularize 3D animation. Early films like Toy Story were a success, but Pixar struggled initially and almost failed before being purchased by Jobs. Pixar is now owned by Disney and has found continued success with films like Up, earning many awards. Future projects include Monsters University and Finding Dory.
- Disney and Pixar initially formed a partnership in 1991 where Disney would market and distribute Pixar's computer animated films. This partnership was successful but faced disagreements.
- In 2006, Disney acquired Pixar, merging the two companies. The combined Disney-Pixar company is now able to focus on creating creative stories and films to delight audiences worldwide.
- For the partnership and acquisition to succeed, both companies needed to share strengths like creativity and tolerance, while overcoming cultural differences in management style and priorities between Pixar's egalitarian culture and Disney's hierarchical structure.
The document summarizes the history and culture of Pixar Animation Studios. It details how Pixar was founded in the 1970s as a small, tight-knit group that fostered an unconventional and laid-back work culture. It grew successful with films like Toy Story and Monsters Inc. Pixar emphasized its people-centered business model, hiring talented people and focusing on quality. The culture also included an open communication structure, a "no hero" approach where all received credit, and Pixar University which provided creative training to employees. While critically successful, some argued Pixar's insular culture could lead to stagnation without new influences, but overall Pixar exemplified a collaborative environment that
The Walt Disney Company and Pixar Inc.: To Acquire or Not to AcquireEric Moon
Ìý
This document discusses Pixar and Disney's potential acquisition of Pixar. It provides overviews of both companies and their capabilities. Pixar has strong animation and storytelling capabilities as well as a culture that promotes creativity and collaboration. Disney lacks these capabilities and has a more hierarchical culture. The document considers alternatives to acquisition like a strategic alliance but finds acquisition makes the most sense for Disney's growth given Pixar is a near-perfect strategic fit. However, risks include integrating the different cultures and financial risks around stock dilution from the deal. In the end, Disney's CEO believes more can be accomplished through full ownership than a joint venture.
1. Disney has a long history in 2D animation but lacked strength in 3D animation, while Pixar pioneered 3D computer animation and had great success with films like Toy Story.
2. Pixar was acquired by Disney in 2006 for $7.4 billion, allowing Disney to consolidate its position in animation and gain access to Pixar's talent and technology.
3. While the acquisition provided benefits like creative synergies, there were also risks like cultural clashes between the large corporate Disney and smaller, freewheeling Pixar. Maintaining Pixar's creative independence within Disney was a challenge.
Pixar was founded by Steve Jobs and others in 1986 as a computer graphics division of Lucasfilm. It became independent in 1986 and produced highly successful animated films like Toy Story. In 2006, Disney acquired Pixar for $7.4 billion to gain access to its talent and technology. The merger brought Pixar's creative leaders like John Lasseter into Disney and reinvigorated Disney's animation business. Analysts saw it as a strategic fit that would boost revenues and human resources for both companies.
This document provides an analysis of the Flappy Bird app icon. Key points made:
- The bird is centered in the icon to draw immediate attention as the main character.
- The color palette and pixel art style hint that the game will be simple and challenging.
- The worried facial expression of the bird suggests the game will be difficult to not fail.
- Negative space around the bird implies spending most time in the air avoiding objects.
- The drop shadow separates the bird from the background, indicating flying rather than being on the ground.
The document provides analysis and feedback on app store icons. It discusses elements that make good icons such as using gameplay elements and characters to represent the game. It also discusses things that make bad icons such as logos that are too simple to understand the game. The document then analyzes specific icons for games and provides examples of icon designs and color schemes, providing feedback on what works and doesn't work visually.
Games developed for Glass will have simple 2D graphics and minimal audio due to the device's limited processing power. Potential genres include puzzle games and games incorporating hand gestures or voice controls. While an MMO is unlikely, possible games could include moving hands to hit objects, simulated sports like tennis using head orientation, a Sudoku game using voice commands, or a shape-making game with time limits using hand gestures.
Spyro the Dragon revolutionized 3D open world games on PS1 by eliminating fogging through an engine that reduced polygon counts at a distance. This allowed for greater landscape detail. Later games like GTA 5 still use fogging to reduce polygon loads and create a sense of depth. While 2D games don't need fogging, 3D open world games must consider hardware limitations through techniques like fogging or innovative engines to balance visuals and performance.
- Early 3D games like Spyro the Dragon and Turok: Dinosaur Hunter used "fogging" techniques to reduce polygon counts and render distances due to hardware limitations, which improved performance but reduced visual quality.
- Modern consoles have much more powerful hardware, eliminating the need for unnecessary fogging and allowing for higher levels of landscape detail and resolution in games. However, some fogging effects are still used for atmospheric purposes.
- The debate around differences in the Xbox One and PS4 versions of games like Call of Duty: Ghosts stems from the PS4's ability to output true 1080p resolution compared to the Xbox One's upscaled 720p, despite minimal visible differences.
The document outlines a photography project where the photographer will take 12-24 landscape photos in Cambridge, England. They will photograph both a graveyard and city buildings using an iPhone camera. The estimated time is 4 hours to travel to locations by bus, take photos in the city center and Mill Road Cemetery. Safety considerations include being careful of traffic and not annoying people who don't want their photo taken. Legally, photos are allowed to be taken in the cemetery but people's privacy needs to be respected. The budget is £5 for the round-trip bus fare. Sample photos are critiqued on strengths like composition and weaknesses like lack of focus or editing issues.
Todorov proposes a theory of narrative structure with 5 stages: 1) initial state of equilibrium, 2) disruption of equilibrium by some event, 3) recognition of the disruption, 4) attempt to repair the disruption, 5) reinstatement of the initial equilibrium. This model is applied to the plot of The Dark Knight Rises, with the introduction of Bane disrupting the peaceful state of Gotham, Batman's return to fight Bane and save the city from a nuclear bomb, restoring the initial equilibrium.
This document provides details about a photography project shooting in the style of a skater magazine. The locations will be in town and a graveyard, with subjects including gravestones, statues, and random objects. Photos will use wide shots to fit more in the frame, close-ups for detail, and high and low angles. Post-production plans include converting photos to black and white, cropping some to 16:9 ratio, and using Curves in Photoshop to add contrast.
This risk assessment document identifies and analyzes four risks associated with taking photographs:
1. Taking photos of someone without consent is an invasion of privacy that could upset the subject or cause physical harm.
2. Taking photos on stairs risks the photographer tripping and falling or bumping into others on the stairs.
3. Photographing in front of exits like doors endangers the photographer and others who could be hurt by a fall or damaged items.
4. Taking photos in a car park involves risks like the camera or subject being run over if the camera is dropped.
This document provides a shot list for 5 scenes in a production. Scene 1 involves roller skating and includes low angle, tilting, long, and tracking shots. Scene 2 takes place while shopping and uses medium and tracking shots, ending with a fixed shot. Scene 3 features cycling with long and tracking shots. Scene 4 includes a conversation with two-shot and medium shots. Scene 5 is set in Maddie's bedroom and employs long shots.
The document provides a detailed analysis of the cinematography and mise-en-scene in the climactic fight scene between the Alien and Predator in Alien VS Predator. Shots show the Predator as dominant over humans but on equal footing with the Alien. Close ups reveal expressions of anger, shock, and fear. Rapid editing and changing perspectives of who has the upper hand keep the audience guessing as to who will win. Shadows and limited lighting maintain suspense. Ultimately, the Alien defeats the Predator, shocking audiences who may have been rooting for the Predator, but ensuring the Predator's comeback and the film's continuation.
The document provides instructions for a game where the player controls Spiderman by clicking "GO" to move him and "STOP" at checkpoints for 5 seconds, with the goal of reaching the prize before a rocket to win.
This document identifies four risks associated with taking photographs in different situations and lists who could be harmed and how to minimize each risk. The risks range from taking photos of someone without permission, which could invade their privacy, to taking photos in a car park, which poses the greatest risk of physical harm. Suggested ways to minimize risks include getting permission before taking photos of people, choosing vacant areas, and avoiding busy locations.
The ship moves around the lava volcano and sometimes hits itself or other characters. The player controls a character that can shoot at the ship to make it move in a specific path and earn points by killing it. The main character can move, shoot, grow its cannon when it gets an apple, earn points by killing enemies, and lose points by touching lava. Getting 30 points allows the character to pass through a bridge. The objectives are to kill enemies to open the path to the star, get apples to grow the cannon, and get the star to win the game.
Pixar is an animation studio known for films like Toy Story and Cars. It was founded by Steve Jobs and pioneered CGI animation using its RenderMan software. Key people include Edwin Catmull, who helped develop RenderMan, and John Lasseter, a director who helped popularize 3D animation. Early films like Toy Story were a success, but Pixar struggled initially and almost failed before being purchased by Jobs. Pixar is now owned by Disney and has found continued success with films like Up, earning many awards. Future projects include Monsters University and Finding Dory.
- Disney and Pixar initially formed a partnership in 1991 where Disney would market and distribute Pixar's computer animated films. This partnership was successful but faced disagreements.
- In 2006, Disney acquired Pixar, merging the two companies. The combined Disney-Pixar company is now able to focus on creating creative stories and films to delight audiences worldwide.
- For the partnership and acquisition to succeed, both companies needed to share strengths like creativity and tolerance, while overcoming cultural differences in management style and priorities between Pixar's egalitarian culture and Disney's hierarchical structure.
The document summarizes the history and culture of Pixar Animation Studios. It details how Pixar was founded in the 1970s as a small, tight-knit group that fostered an unconventional and laid-back work culture. It grew successful with films like Toy Story and Monsters Inc. Pixar emphasized its people-centered business model, hiring talented people and focusing on quality. The culture also included an open communication structure, a "no hero" approach where all received credit, and Pixar University which provided creative training to employees. While critically successful, some argued Pixar's insular culture could lead to stagnation without new influences, but overall Pixar exemplified a collaborative environment that
The Walt Disney Company and Pixar Inc.: To Acquire or Not to AcquireEric Moon
Ìý
This document discusses Pixar and Disney's potential acquisition of Pixar. It provides overviews of both companies and their capabilities. Pixar has strong animation and storytelling capabilities as well as a culture that promotes creativity and collaboration. Disney lacks these capabilities and has a more hierarchical culture. The document considers alternatives to acquisition like a strategic alliance but finds acquisition makes the most sense for Disney's growth given Pixar is a near-perfect strategic fit. However, risks include integrating the different cultures and financial risks around stock dilution from the deal. In the end, Disney's CEO believes more can be accomplished through full ownership than a joint venture.
1. Disney has a long history in 2D animation but lacked strength in 3D animation, while Pixar pioneered 3D computer animation and had great success with films like Toy Story.
2. Pixar was acquired by Disney in 2006 for $7.4 billion, allowing Disney to consolidate its position in animation and gain access to Pixar's talent and technology.
3. While the acquisition provided benefits like creative synergies, there were also risks like cultural clashes between the large corporate Disney and smaller, freewheeling Pixar. Maintaining Pixar's creative independence within Disney was a challenge.
Pixar was founded by Steve Jobs and others in 1986 as a computer graphics division of Lucasfilm. It became independent in 1986 and produced highly successful animated films like Toy Story. In 2006, Disney acquired Pixar for $7.4 billion to gain access to its talent and technology. The merger brought Pixar's creative leaders like John Lasseter into Disney and reinvigorated Disney's animation business. Analysts saw it as a strategic fit that would boost revenues and human resources for both companies.
This document provides an analysis of the Flappy Bird app icon. Key points made:
- The bird is centered in the icon to draw immediate attention as the main character.
- The color palette and pixel art style hint that the game will be simple and challenging.
- The worried facial expression of the bird suggests the game will be difficult to not fail.
- Negative space around the bird implies spending most time in the air avoiding objects.
- The drop shadow separates the bird from the background, indicating flying rather than being on the ground.
The document provides analysis and feedback on app store icons. It discusses elements that make good icons such as using gameplay elements and characters to represent the game. It also discusses things that make bad icons such as logos that are too simple to understand the game. The document then analyzes specific icons for games and provides examples of icon designs and color schemes, providing feedback on what works and doesn't work visually.
Games developed for Glass will have simple 2D graphics and minimal audio due to the device's limited processing power. Potential genres include puzzle games and games incorporating hand gestures or voice controls. While an MMO is unlikely, possible games could include moving hands to hit objects, simulated sports like tennis using head orientation, a Sudoku game using voice commands, or a shape-making game with time limits using hand gestures.
Spyro the Dragon revolutionized 3D open world games on PS1 by eliminating fogging through an engine that reduced polygon counts at a distance. This allowed for greater landscape detail. Later games like GTA 5 still use fogging to reduce polygon loads and create a sense of depth. While 2D games don't need fogging, 3D open world games must consider hardware limitations through techniques like fogging or innovative engines to balance visuals and performance.
- Early 3D games like Spyro the Dragon and Turok: Dinosaur Hunter used "fogging" techniques to reduce polygon counts and render distances due to hardware limitations, which improved performance but reduced visual quality.
- Modern consoles have much more powerful hardware, eliminating the need for unnecessary fogging and allowing for higher levels of landscape detail and resolution in games. However, some fogging effects are still used for atmospheric purposes.
- The debate around differences in the Xbox One and PS4 versions of games like Call of Duty: Ghosts stems from the PS4's ability to output true 1080p resolution compared to the Xbox One's upscaled 720p, despite minimal visible differences.
The document outlines a photography project where the photographer will take 12-24 landscape photos in Cambridge, England. They will photograph both a graveyard and city buildings using an iPhone camera. The estimated time is 4 hours to travel to locations by bus, take photos in the city center and Mill Road Cemetery. Safety considerations include being careful of traffic and not annoying people who don't want their photo taken. Legally, photos are allowed to be taken in the cemetery but people's privacy needs to be respected. The budget is £5 for the round-trip bus fare. Sample photos are critiqued on strengths like composition and weaknesses like lack of focus or editing issues.
Todorov proposes a theory of narrative structure with 5 stages: 1) initial state of equilibrium, 2) disruption of equilibrium by some event, 3) recognition of the disruption, 4) attempt to repair the disruption, 5) reinstatement of the initial equilibrium. This model is applied to the plot of The Dark Knight Rises, with the introduction of Bane disrupting the peaceful state of Gotham, Batman's return to fight Bane and save the city from a nuclear bomb, restoring the initial equilibrium.
This document provides details about a photography project shooting in the style of a skater magazine. The locations will be in town and a graveyard, with subjects including gravestones, statues, and random objects. Photos will use wide shots to fit more in the frame, close-ups for detail, and high and low angles. Post-production plans include converting photos to black and white, cropping some to 16:9 ratio, and using Curves in Photoshop to add contrast.
The document provides an evaluation of the production process for a short film called "Hunted". It summarizes that the film followed a man being stalked by a masked person, exploring feelings of paranoia. The film was produced by a group of 4 students who took on roles like director, editor, and camera operator. Some challenges included scheduling issues, last minute location changes, and an absent editor. However, the group worked well together and was able to complete filming and editing, creating a film that closely matched the director's vision. Areas for improvement included planning, having a shot list, and focusing more on audio quality.
Your marketing plan must have a clearly defined aim, such as growing your YouTube channel to include 3+ Let's Play videos by July. This will help grow your audience, revenue, awareness and reputation. Your targets to achieve this aim must be SMART - specific, measurable, assignable, realistic and timely. For example, targets could include 500 in-app purchases in the first month or 500 retweets in the first month from a new game release. Establishing appropriate SMART targets is important for successfully achieving the overall aim of your marketing plan.
The document analyzes the logo for the game Flappy Bird. It notes that the bird character is centered in the image to draw immediate attention. The simple pixel art style and color palette of 10 colors for the bird and background indicate the game will also have a pixelated aesthetic. The worried facial expression of the bird hints that the game will be challenging and players will likely fail often. The negative space around the bird and strong drop shadow suggest players will spend the game airborne and must avoid touching objects.
The interface of Gamesalad is nice and intuitive, making it easy to drag and drop attributes to create rules quickly. You can easily control music and sounds by changing attribute volumes. However, projects cannot be transferred between Windows and Mac, and settings turned off may turn back on during export. Additionally, precise positioning is difficult without zooming, and timers do not always work reliably. The community provides helpful support through forums and tutorials.
A programmer is crucial for any video game development as they code the game to make it work. Programmers work in teams with lead programmers overseeing core elements and the overall game while others code specific aspects. Key skills include experience in languages like C++, creativity to problem solve under pressure, and a genuine love of games to understand different mechanics. A degree in fields like computer science is typically needed, and interning at game studios helps gain experience and connections. For example, Travis Mcintosh as the lead programmer on The Last of Us coded the main game aspects and core from scratch, which is a greater challenge than building upon an existing framework.
The role of the Audio Engineer is important to the production of any video game. They are responsible for composing and creating all music, sound effects, and other sounds needed for the game. When composing music, Audio Engineers must account for the non-linear nature of video games and be creative. Key skills for Audio Engineers include the ability to compose music and knowledge of various audio production software packages. Attention to detail is also crucial when creating realistic sound effects and emotive music.
The document outlines the production pipeline for The Last of Us. It began with the co-founders of Naughty Dog deciding not to reboot an existing IP and instead developing a new idea for a post-apocalyptic game focused on the relationship between two main characters. Throughout pre-production and production, the creative director, writers, artists, animators, composers, sound designers and other leads worked to bring the game to life, with an emphasis on motion capture, music and sound design. Post-production involved refining the user interface, testing for bugs, and promoting the game after The Walking Dead and in a PS3 bundle.
The document discusses the roles of composers and sound designers in creating audio for video games. It focuses on their work for The Last of Us. Composers convey emotion through a variety of instruments and experimenting with sounds from the environment. They also use a combination of electronic and traditional music to add tension and atmosphere while still allowing emotion to come through traditional instruments. Sound designers layer different sounds to create realistic effects and ensure the audio enhances the game experience without losing dynamics through compression. Their creativity is key in developing foley sounds to further immerse the player.
Stewart Copeland, the drummer of The Police, composed the soundtracks for the first 4 Spyro games during his band's hiatus. For Spyro The Dragon, his first video game soundtrack, Copeland created unique, original music for each level using experimental instruments and samples. His creative, layered compositions helped develop the game's themes and built character. Copeland's innovative Spyro soundtrack showed his talent for experimental, complex music that revealed more with repeated listening.
Gameplay received the lowest average rating of 6.8, with feedback indicating issues with unclear instructions and difficult controls positioned too far apart. Visuals received the highest rating of 8.6, though sometimes the parallax background disappeared. Fun received a middle rating of 7.4, but comments noted the game was difficult and frustrating without checkpoints. Re-playability was rated 7.2, and adding checkpoints was suggested to make the game less frustrating and improve re-playability.
The document lists various graphical and audio assets needed for a game, including logos, menus, character animations, backgrounds, levels, and sounds for actions like collecting items, jumping, taking damage, and boss fights. It also assigns artists to create specific animations and sounds.
1. Goal:
The goal of any level is to collect the clues within the level, and then make it to Squid’s
rocket.
Squid
Squid is the main character that you will control. He can move left,
right, and do a simple jump.
Rock
The rock is Squids’ weapon, which he throws forward in the
direction he’s facing. The rock travels forward in a straight line, and
destroys after 4 seconds, which is something to take into account
when attempting to hit something too far in the distance.
Crabs
Crabs are the enemies of this world, and patrol back and forth
between two points. You want to either avoid or destroy Crabs, as
contact with them causes instant death. They can easily be killed
with one hit of a rock – the score for killing a crab is 10 points.
Water Bursts
Bursts of water that rise and fall. These need to be avoided by waiting for
them to go down, and then jumping over them. Contact with a water burst
results in instant death.
Crushers
Crushers are slabs of stone that move up and down, pounding the ground. If
a Crusher pounds Squid then it’s instant death, so you must time your path
carefully so that you pass under the slab while it’s either moving up or
down.
Clues
All the clues are needed to complete the level. The amount of clues you
2. need, as well as a record of how many you have, are shown in the top left of the HUD. To
collect a clue, simply walk over it.
Stars
Stars make your score go up, and can be collected by simply walking over
them. The score for collecting a star is 5 points.
Buttons
Buttons activate something within the level, such as a moving platform or
a door. The way to press a button is by throwing a rock at it.
Turtle platform
Turtle platforms are activated when Squid stands on them.
When activated they move back and forth along a route,
carrying Squid on his journey.
Checkpoints
Checkpoints save your place in the game as long as you have lives. If you die with
lives left Squid will re-spawn at the last checkpoint he crossed, with all progress
intact.
Squids Rocket
This is Squids transport, how he gets to and from worlds. Once you have
collected all the clues you need to start heading towards the Rocket,
wherever it may be in the level. Entering the rocket with all the clues in your
possession means you have cleared the level.
3. The First Clue
To reach the first clue you will need to activate a moving platform, by throwing a rock at
it. In order to reach you must be standing on the second platform you see, then jump and
fire.
The platform holds a Crab, so you’ll want to destroy that before jumping onto the
platform. Wait for the water burst to move down and then jump up and fire a rock.
Once on the platform, again wait for the water burst to go down, and then jump up and
fire a rock. Once the rock hits the button the moving platform will rise up. Jump on it,
and it will take you up to the first clue.
From the first clue you can continue to move up, into the upper section of the level.
The Upper Section
4. Be careful on this upper section of the level, as there’s a crab here that doesn’t just
patrol the ground, but jumps between a lower and a higher platform. This can catch you
out if you’re standing on the edge waiting for the crab to turn around, but instead it
jumps up and kills you. All you need to do is wait for it to jump up then take it out in
order to avoid this sneaky crab.
The second clue is found at the end of the upper section, guarded by a crab. Simply jump
over the water, kill the crab, and collect the clue. With the upper section complete, you
now need to retrace your steps and go back to the start of the level.
Turtle Section
The turtle section is a kind of obstacle course, with Squid riding a turtle through a
serious of blocks and platforms that you have to jump over. There’s also a tricky star to
get, that last one in the row
The trick to getting pass the turtle section is to always jump as soon as you can. You’ll
need to jump the moment you land on the turtle in order to clear the first block, and
then jump again the moment you land from the first jump, in order to collect that last
star.
Getting the final clue is easy, once you get approach the platform
jump onto it like any other platform, you will see the clue. Once in sit
just jump over the water (please do remember that Squid is allergic
to water) and retrieve the clue, then jump back onto the turtle as it
approaches the end of the level, then simply jump off the turtle and
get onto the rocket.
World 2 – Chalk Pitari
5. Accessing the first clue
The first clue you are presented with is blocked off and cannot be reached, in order to
retrieve this clue you must get onto the moving platform shown below and then wait for
it to hit its maximum height, once it has done this jump and throw a rock at the button
shown in the image below.
Once you have hit the button, back track the way you came to where the first clue was
blocked off by a wall, the wall will no longer be there and you will be able to access the
clue.
The Crushers
The Crushers are not easy to get past, they take patience and skill. These cannot be
avoided as at the end of this obstacle course is the second clue which you need in order
to complete the level, what you must do is wait for the crusher to hit the ground and it
will then slowly start going up, once there’s room for Squid to go under, go forward and
stand in front of the next one and repeat, once you have the clue you’ll need to go back
the way you came, make sure to use the same tactic, the hardest part is getting back onto
the platform as you have to jump for it, so be extra careful here.
The third clue
Once you defeat the crushers get back on the moving platform and take it right to the
top, on your way up you’ll see to your left the third clue, simply progress through the
6. level until you’re greeted with this:
Go onto the platform which will take you under where you just came from, go down and
start going right until you see a crab, take out the pesky crab and retrieve the clue, turn
around and continue on your quest.
The platforms in the Sky and the final clue
These are tricky, one mistake and you end up at the beginning of the level so you must
be careful here. Again this requires patience and skill, for each platform you must get a
small running start and then jump.
Do one at a time, don’t go trying to jump from one to the other like Tarzan, you are a
Squid not Tarzan. If you do happen to stumble try not to mash the keys as this is a
common thing which causes people to fall, you have to keep your cool and take it one
step at a time.
Once you’ve gotten past the dreaded Sky Platforms you will be shown a dead end with a
drop to the very beginning of the level, but there is a clue you must hit while you fall, the
best way to get it is to have a few practise goes, not actually jumping of the edge, until
you feel confident enough to go for the real thing.
7. It’s not too hard if you are careful, one wrong move and you have to go through the
WHOLE map again.
Now that you’ve gotten the last clue just go back into the ship and blast off!!!