I recently picked up Planet Zoo, and I’m enjoying it. It’s a great spiritual successor to the Zoo Tycoon series, and it has an incredibly in-depth level of customization that I’ve barely scratched the surface of (working through the campaign, relying heavily on the prefab stuff at present). It’s also got absolutely beautiful vistas and lovely depictions of lifelike animals, plus a good combination of animal and visitor AIs with a robust in-game economy.
Since childhood, I’ve always been fond of zoological park sims in particular. That includes Frontier Developments’ Planet Zoo and Jurassic World: Evolution, but I can trace the fascination back to Blue Tongue Entertainment’s Jurassic Park: Operation Genesis; the original Zoo Tycoon and Zoo Tycoon 2 from Blue Fang Games, including their expansion packs, which of course added dinosaurs; and the game that started it all, the 1993 Manley & Associates educational game title, DinoPark Tycoon. I’ve always loved zoos and animals, and dinosaurs in particular, so it’s no surprise that I’d continue to be drawn to these games, even though the broader genre of management sims hasn’t kept me as engaged.
Something I’ve been thinking about with Planet Zoo is how it contrasts with the themes and goals of Jurassic World: Evolution. Given that they’re both games by Frontier Developments, released just a year apart from each other, I find the contrast rather interesting, and I think it reflects conscious choices on the part of the developer to characterize both games quite distinctly.
Jurassic World: Evolution, released in 2018, has a profit-focused, exploitative character to it. You play as a nameless corporate executive brought in to run the Jurassic World parks while balancing the needs of the Science, Security, and Entertainment divisions. All of these divisions are fundamentally guided by corporate greed, and to keep them pacified you need to do things like increase the quality and availability of guest services; raise park revenues; research, modify, and release new dinosaurs; and even engage in rather ethically dubious pursuits that include pitting dinosaurs against each other to attract more guests or even to sell off dinosaurs to who-knows-what other corporations to make a little extra profit. All of the divisions have a darker side. Science is perfectly willing to exploit the animals and endanger lives in the pursuit of more knowledge. Security is interested in weaponizing the dinosaurs for other parties. And Entertainment wants more than anything else to ensure that guest satisfaction, and the resultant stream of dollars, stays high, regardless of what that means for the welfare of the dinosaurs. The Secrets of Dr. Wu DLC expands on this dark side, as you get further caught up in the twisted experimentations of the megalomaniacal Dr. Wu. Claire’s Sanctuary initially pushes back on this, as dinosaurs are saved from certain re-extinction on Isla Nublar, but the “Sanctuary” quickly becomes another money-making machine for the Hammond Foundation and Ingen, with guest revenues fueling profit quotas from the corporate backers. Only Return to Jurassic Park truly bucks the trend by returning to the immediate aftermath of Jurassic Park in an alternate timeline in which Grant, Sattler, and Malcolm commit to makingthe park a safe way for guests to observe real dinosaurs; their priorities are genuine guest safety and a greater understanding of these restored creatures. Even so, Hammond and his assistant are there to push you to keep making the park bigger, better, and more fabulous to drive profits.
Planet Zoo, released in 2019, can’t ditch the profit motivation essential to management sims, but that wouldn’t make sense to do away with it entirely–after all, without funds, you can’t care for the animals or retain the staff needed to keep the park running. But the emphasis is different, instead focused on conservation and education, themes emphasized as soon as the initial tutorial missions in the campaign. In this game’s narrative, you actually design a friendly avatar for yourself, and you’re introduced to a couple of warm, caring people who manage these parks because they want to help preserve Earth’s biodiversity by spearheading breeding initiatives for endangered and threatened species and by raising public awareness. Rather than selling animals, you can release animals into the wild to gain “conservation credits,” which can sometimes be used to obtain new animals for the zoo in lieu of cash. And you can’t just send off undesirable animals to benefit. The animals to be released are those born in the zoo; they must have reached maturity; and their value for release is determined by factors like their health, age, and conservation status of the species. Poor animal welfare, or allowing inbreeding of animals, results in negative consequences for your park. An inspector reviews your zoo at regular intervals, ensuring that the animals have a good quality of life, the campus is cleanly, and guests are actually being educated about the animals. Profit margins and guest accommodations don’t factor into that rating (although, of course, to keep the park going, you need happy guests to buy tickets and merch and donate extra money so that you can pay the staff to care for the animals to provide the education and conservation benefits that your zoo can offer).
At the end of the day, you’re still doing many of the same things in Planet Zoo as in Jurassic World: Evolution, plotting out exhibits and guest facilities and staff buildings, monitoring income and expense trends, and ensuring a gradually improving quality rating, but the narrative and mechanic differences are part of the reason why these two game experiences ultimately feel so very different.
I watched the eight episodes of season two over their release weekend, but I didn’t feel particularly compelled to put my thoughts down right after. I think that impulse reflects what season two turned out to be: a pleasant but forgettable bit of television comfort food. I suppose that this puts it rather in line with my impression of the first season, but the first improved over the course of its run and set up exciting possibilities for the second, and I just don’t feel like the follow-up season really ran with anything or even attempted anything new. It did, at least, have several exciting action sequences!
As I mentioned in my first review, this show is rather character-focused over anything else. So, after having grown fond of the kids in the first season, I was simultaneously pleased with and disappointed by their portrayals in this season. This time around, there were more moments where the kids could almost relax, where they tried to just act like kids, but there’d always be some harsh new reality to force them back into survival mode. They’ve grown as characters, and they all get opportunities to shine. They’re also a rather tightly knit found family, although the constant stress does lead to inevitable infighting at times. All that said, sometimes the show forced an arbitrary regression of a character to suit the plot of a particular episode. In finding a situation for the star athlete Yaz to truly learn that sometimes she couldn’t help, sometimes even her best wasn’t enough, and sometimes she had to rest, the writers forced spoiled rich kid Kenji back into his obnoxiously lazy and selfish role to act as a foil. Sure, Kenji’s dumb and self-centered, but he’d come a tremendous way in the first season, and this felt like an unnecessary step back for him. At the same time, the show does appear to want to show what trauma looks like for these children, and having moments of regression does seem natural. Clearly, the show didn’t always convince me that that’s what was going on, though.
The best character development this season goes to Ben, presumed dead by the other campers (though the show made clear enough he’d survived at the very end of season one). Once he’s reintroduced as a wannabe-commando figure to a couple of his friends, the show focuses a whole episode on his arc of surviving on the island alone for however many days (or weeks) have elapsed. He was forced to find his own inner strength and courage, he prevailed over a series of hazards, and he eventually reached a point of power and competence. Yet he’s still Ben, the skinny, dweebish little kid, and so he’s also developed the amusing quirk in which he believes that he’s tougher than anyone else, all evidence to the contrary. With a whole episode devoted just to his survival story, however, it was still a little goofy that it conveniently skips over the point at which he’d made some serious outfit adjustments, and it just as conveniently has a brief falling out between Ben and Bumpy that allows Bumpy to mature into a full-size Ankylosaurus off-screen. (Bumpy remains as adorable as ever, even fully grown, and I still cheered for Bumpy whenever she did anything at all.)
The plot is more disappointing. The first season focused on the attempt to reach the evacuation point in time; the group failed, of course. This season again finds the kids attempting to reach a target for rescue–actually, two targets. The first one is an emergency beacon that can call for help. That objective is accomplished rather handily with the group’s new survival skills and teamwork. However, typical chaos ensues involving a Tyrannosaurus, and the kids aren’t sure if their message got through. They soon after stumble upon a small party of “ecotourists” who have made their way to the island in the days since the park shutdown. These yuppie adventurers promise the kids access to their yacht in a few days when it returns from refueling. They’re lying, and how the kids react to their alleged rescuers–and how the rescuers respond–becomes the major point of conflict for the remainder of the season. It’s all for naught because (spoiler alert) the kids find themselves stranded on the island once more, yet again barely missing a boat off the island.
The stakes felt lower this season. The adults could serve as dino food, but the show largely stepped back from any real sense that any of the kids would ever actually die. This made many of the dinosaur attacks (so, so many dinosaur attacks) thrilling rather than horrifying, but if the action-adventure show about killer dinosaurs doesn’t really have killer dinosaurs, it loses its edge fast. Likewise, there weren’t really any great moments of wonder this season. The closest would be the discovery of a watering hole shared by several dinosaur species, but it’s populated with dinosaurs we’re already familiar with, and something about the lighting or dinosaur models or design just made it feel like a bunch of CG dinosaur assets positioned around a flat surface. (Yes, of course, they’re always CGI effects, but the quality did not support the emotional effect needed from the scene.) On the other hand, many of the dinosaur attack sequences looked very real, as though the dinosaurs occupied physical sets, although in a somewhat jarring manner, as though they were claymation.
We get some new dinosaurs, but mostly it’s reused assets from before. That means that at some point, it begins to feel like the park is dominated by Parasaurolophus, Brachiosaurus, Stegosaurus, and Sinoceratops (especially unusual given that the ceratopsian is supposed to be a recent addition to the park, yet we don’t really see Triceratops or Styracosaurus). Where are the herds of diverse dinosaurs present in the films? I recognize the answer to that is that the show has a limited budget compared to a movie, but I can’t help but think how diverse and lifelike the dinosaurs look in Jurassic World: Evolution, a video game that also simulates animal and tourist behaviors, weather effects, and a park economy. There are some new dinosaurs, carnivores pulled from the films: Ceratosaurus and Baryonyx. However, the former only has a couple appearances. Meanwhile, the Baryonyx has been reimagined as a very social pack hunter and terrestrial pursuit predator, which raises the question: why did they use Baryonyx at all? It felt more than a little like the showrunners really wanted a predator to fill the gap left by the Velociraptors, so they just forced an animal into the role. Fallen Kingdom‘s introduction of Baryonyx was already far enough from the real animal, but the creatures in Camp Cretaceous seem rather out of step with the semiaquatic, piscivorous but opportunistic spinosaurid that the real animal appears to have been. (And why do you pick Baryonyx for this role when Allosaurus is also in the park, similarly sized, and an actual big game predator that might have actually coordinated in social groups?! Or why not Ceratosaurus, already an asset in the show??)
All that said, it might seem foolish to once again be hopeful about the next season. But there are several elements in play here that should finally push the story in new directions:
The kids have decided to try to find their own way off the island, rather than being dependent on rescue, and they all now have the survival skills to potentially achieve that without always being on the run.
The kids do not know if the emergency beacon worked, but the audience knows that a successful transmission was sent–to whom remains the big question.
The kids accidentally unleashed some new experimental creature on the island, which will almost surely be a focus for the third season. (Is it a prototype Indoraptor or something else entirely?)
We have the pieces but I can’t see what this jigsaw puzzle is supposed to form. I’ll be interested to see what answers the show arrives at.
Continuing the theme from the past couple years, I’m listing my top five favorite games that I enjoyed the most while playing over the past year. As is now tradition, they weren’t necessarily released in 2020; that’s just when I played them.
1. Ring Fit Adventure
Last week’s post should make it clear how much I love this game and how special it is to me. It’s made fitness fun for me. Enough said for this post. I’m so grateful for this game.
2. Jurassic World Evolution: Return to Jurassic Park
I’ve written a fair amount about Jurassic World: Evolution, even before it came out. Steam tells me I’ve put 200 hours into the game. I have unlocked 69 of 73 achievements and finished all story content. I’ve been playing intermittently since the game came out. But I did not include it on my favorite games lists for 2018 or 2019. Partly that’s because I played a lot of great games in those years, but partly it’s because the game felt incomplete and a bit rough around the edges. With a couple years of polishing and enhancements in the form of several free updates and paid DLC packs, the game is in a much better place. Furthermore, the nostalgia of running a park with the aesthetics of the original movie and a slicker, more streamlined economy without some of the more ethically dubious contracts of the base game make the Return to Jurassic Park expansion the singularly best version of Jurassic World: Evolution available. (Its story mode, while not incredible, is also the strongest in the game.) Encountering this new mode finally gave me the ammunition to add this to a year’s best list.
This creepy, compelling sci-fi story grows from survival horror to power fantasy all while presenting a smoldering plot guided by mysterious figures with competing motivations aboard a derelict and alien-infested space station. Moral choice, manipulable environments, a crafting system that requires you to make tough decisions with limited resources, and a varied and robust skill system make for unique gameplay experiences. And as required for a game of this type, the environmental storytelling as you explore the station and uncover its secrets is top-notch.
4. Dishonored 2
This is the peak of the Dishonored series for me. I enjoyed sneaking and fighting my way through the levels, and I loved the intimate characterization of its cast. As I said in my review, its plot was largely a repeat of the original game’s, heightened by an emphasis on legacy at least when playing as Emily. But that just gives it the opportunity to be bigger and better, the Terminator 2 to Terminator. And just like Prey, Dishonored 2 is another example of Arkane Studios’ excellent environmental storytelling.
5. Baldur’s Gate: Enhanced Edition
I didn’t write about this one for the blog before now. Baldur’s Gate came out way back in 1998, and the Enhanced Edition was released in 2012. So even this newer version is still getting up there. Baldur’s Gate was such a formative experience for roleplaying gamers of my age; more broadly, it was hugely influential and came to form much of the basis of the Bioware style and of what people expected from CRPGs moving forward; even those who had never played it, like me, heard plenty about it. I had a disc at some point with several old Black Isle Studios CRPGS on it, and I gave Baldur’s Gate a try then. I didn’t get far. The Enhanced Edition, courtesy of Beamdog and Overhaul Games, provides several modern conveniences and lower difficulty settings, but my first encounter with it a year or so ago didn’t go so well, either. I decided to give the game another try out of the blue, and while the initial hours were still frustrating, it clicked with me enough for me to persevere until I got my party to a high enough level to where the game was actually fun and challenging instead of punishingly difficult. The story is basic, nested in tired tropes even when it originally came out, and the excessive and convoluted lore in this game feels so detached from the actual world-building, but there are a lot of distinctive, quirky characters (to be expected of a Bioware game) and several fascinating side quests that range from weird to funny to strikingly poignant. I might be playing more out of momentum than anything else, but I do generally enjoy myself, and it’s seen a lot of hours logged in the past month or so. I’d been wandering the city of Baldur’s Gate more recently, wrapping myself in the city’s intrigues, but the last play session led me off to a voluntary detour to Ulgoth’s Beard, and now I’m making my way down through the torturous labyrinths of Durlag’s Tower as I attempt to complete content from Tales of the Sword Coast. I’m having enough of a good time that I’m considering more isometric CRPGs for 2021, perhaps building up to another attempt at Divinity: Original Sin II, which I’d given up on near the start of 2020. Heck, maybe my newfound patience for old-school RPG mechanics (and their associated difficulty) might finally lead me to take another crack at Arena…maybe! For getting me excited about isometric CRPGs, Baldur’s Gate: Enhanced Edition deserves to make this list. It didn’t hurt that I lacked strong alternative contenders this year…
If I could say only one thing about the expansions for Jurassic World: Evolution, I would say, “Buy Return to Jurassic Park; it’s worth it.” That one expansion was a stand-out, balancing nostalgia with new features, building on the solid foundation of the base game, and focusing on story to a greater degree than any other campaign mode in the game.
There’s a lot more to say about Return to Jurassic Park, but I want to discuss the other expansions first. I’ve now had some experience with all the existing DLC for JWE, which includes three added campaigns (Secrets of Dr. Wu, Claire’s Sanctuary, and Return to Jurassic Park), four expansion packs of additional dinosaurs (the Deluxe Dinosaur Pack, the Cretaceous Dinosaur Pack, the Carnivore Dinosaur Pack, and the Herbivore Dinosaur Pack), and one purely cosmetic addition (the Raptor Squad Skin Collection). Nothing really disappointed me, although some were better than others.
There’s nothing remarkable in the dinosaur content packs, but I liked having even more dinosaur options to add to the park, even though there’s largely a focus on existing clades, such that, at least with some of the new additions, they’ll feel more like new skins rather than truly new animals. Frequent additions to my parks have included the Styracosaurus from Deluxe (a ceratopsian I love about as much as Triceratops, given its appearance in Crichton’s sequel novel and its charismatic and dangerous role in “Last Link in the Chain” of Xenozoic Tales, not to mention the genus’s metal-as-hell skulls), the colossal Dreadnoughtus from the Cretaceous pack, the Proceratosaurus from the Carnivore pack (a small carnivore whose comfort in packs and ability to coexist with larger predators makes a helpful addition to boost ratings, especially in a certain carnivore-only challenge!), and the wide-jawed and small-for-a-sauropod Nigersaurus from the Herbivore pack (she’s too goofy-looking not to love). Dinosaurs in these packs, the campaign expansions, and some of the free content updates further round out the prehistoric life from the Jurassic Park novels, movies, and games that had previously been missing from JWE, although any marine life is still absent entirely. All that said, I liked adding more dinosaurs to the park, but you’re not missing anything vital if you don’t get these content packs. Furthermore, none of the dinosaurs break the balance of building a park, as they are unlocked over the campaign by building up favor with the different park directors, same as many of the already existing features in the base game.
The only thing that feels truly frivolous is the Raptor Squad Skin Collection. It’s only a couple bucks by itself, or less if bought discounted, but it only provides Velociraptor skins so that your raptors can look like Blue, Delta, Echo, and Charlie from Jurassic World. Since I have the pack, I’ve used the skins frequently; it adds a little more variety, and those skins are more dynamic than many of the other options available in the base game. But it’s a purely cosmetic choice. I can take it or leave it.
That gets us back to those campaign expansions. Unlike Return to Jurassic Park, the first two expansions, Secrets of Dr. Wu and Claire’s Sanctuary, are overall enjoyable, though largely forgettable.
Secrets of Dr. Wu serves as something of a conclusion to the base game’s campaign. All the secrets, plotting, and inter-division politics that never really went anywhere in the base game provide the platform for what happens next: Dr. Wu enlists your character to help him further his research into genetic modifications, taking you to new locations on the islands, including a top-secret research site. At first, you’re still juggling the interests of the Security, Entertainment, and Science divisions along with Wu’s requests, but the chief geneticist’s interests eventually become paramount. Wu’s research initially produces access to some new dinosaurs in a new park dubbed Muerta East. When you’ve met his initial objectives, though, he requests that you join him at his private lab, the Tacaño Research Facility. Here, you’re blessedly free of competing division contracts, but the scope is also fairly narrow. You help cultivate a new line of hybrid dinosaurs, culminating in a break-out and dino-to-dino battle before settling into a bland grind to increase the ratings of dinosaurs for export in the final mission. The base campaign’s story now feels more “complete,” but it still never really goes anywhere, and you’re still involved in deeply unethical activities without any real consequences.
Jurassic World: Evolution and Secrets of Dr. Wu are functionally alternative sequels to Jurassic World. While Claire’s Sanctuary is another alternative sequel, it also acts as a happier timeline in which Lockwood’s promise of Sanctuary was real and Claire is successful in relocating several dinosaurs. No Gothic horror shenanigans, no final dino release onto the mainland. Its narrative is rather subdued as a result, and the main challenge is dealing with the use of an ever-increasing Hammond Foundation fee while making sure your Sanctuary can both house happy dinosaurs (with an interesting new Paleobotany element requiring you to have the correct mix of plant life for different dinosaur types) and draw in a profit from tourists. (Yes, that means that it’s not so much a nature preserve as it is yet another island zoo, and yes, that’s a tragic compromise, but the game spends little time on this theme.) The standout mission is before you start your Sanctuary, however. You lead a team to set up a small research outpost on Isla Nublar. The map chosen winds from a valley up onto the slopes of the volcanic Mount Sibo. It’s a truly massive map, and dinosaurs roam freely in their own social groups. It captures the adventure-safari spirit of The Lost World and the first act of Fallen Kingdom quite well. I enjoyed driving across the island, photographing and observing the dinosaurs and providing medications to treat a new disease. The mission is very story-focused, so I concentrated on the story objectives and the setting, free from contracts or the demands of tourists. It was a delight, and I would have loved a whole game about exploring and researching this prehistoric preserve while attempting to prepare for, or even undo, a predicted tragedy. Some of my fondest memories of this level are of dealing with an ornery stegosaur herd near my base camp, which often attacked my perimeter fencing and sowed chaos among the researchers on the ground. It was an interesting experience, trying to find a way to coexist with these animals. The final moments of the mission also stood out as tense and horrific, as I had to choose which dinosaurs we’d be able to transport off the island in time, and dinosaurs began dying off in the chaos of the volcano’s imminent eruption. Sacrifices must be made.
Finally, there’s Return to Jurassic Park, yet another alternative sequel but this time to the original film, picking up shortly after the evacuation of Hammond and the other survivors from Isla Nublar. In this alternate universe, Hammond has convinced Grant, Sattler, and Malcolm to return to Jurassic Park, to start over and try to do things right. Hammond walks a line between his friendly tycoon persona and the born-again naturalist of The Lost World, as he is eager to build a park that is safe yet profitable, with dinosaurs who are well-cared-for, although sometimes his contracts darkly indicate that he’s still a little bit short-sighted and too profit-motivated. Hammond is aided by a young version of Cabot Finch, the PR manager from the base game. This Finch proves himself to be loyal to Hammond, even though he’s still ambitious and self-serving. He is the only central character not from the films, and the story largely focuses on Hammond, Grant, Sattler, and Malcolm (while Sam Neill, Laura Dern, and Jeff Goldblum returned to voice their roles, Richard Attenborough of course passed away a few years ago, and his voice actor delivers at best a decent imitation, at worst a whinier and more nasally knockoff).
Contracts became far more tolerable to me in Return; instead of competing against everyone, the divisions are headed by people possessing more or less mutual respect, all with the goal of presenting as-accurate-as-possible dinosaurs in humane enclosures with safe exhibits and facilities for park guests. You still have to complete contracts to raise your reputation with a division and to unlock more features, but you’re not risking reputation decreases or sabotage by focusing on one division’s contracts over the others (after all, petty infighting and anything intentionally done to risk the safety of the guests and dinosaurs would be intensely antithetical to these characters). Contracts are also in line with the ethical, reasonable personas you’re working with, so don’t expect contracts to have dinosaurs fight each other or to sell off certain dinosaurs. The contracts also have more interesting overlap in interests: Grant’s are focused on expeditions and the creation of more authentic dinosaurs; Sattler’s are focused on the wellbeing of the animals and observation of them in their natural habitats; Malcolm’s are very focused on security, and rather than independently increasing a separate division score for himself, completion of his contracts improves your reputation with Grant and Sattler; and Hammond’s and Finch’s are focused on expansion of the park, improvement of guest facilities, and profit growth.
The story is simple and derivative but entertaining. We first have to get the dinosaurs on Isla Nublar contained again. We then have to address what went wrong and work out a solution to the breeding problem (sadly, as far as I could tell, dinosaurs are not self-reproducing in the game even before the fix, and they’re still reliant on concealed feeders even in natural habitats). This involves a side trip to Isla Sorna, where we get the production facilities back online; in the campaign mode only, all your dinosaurs are shipped to Isla Nublar from Isla Sorna, creating a fun variation in how you stock the park with new attractions that unfortunately is not carried over into the Challenge modes. Finally, back on Isla Nublar, you work to grow the newly opened Jurassic Park, attempt to stop a bit of corporate espionage, and use your Tyrannosaurus to end yet another Velociraptor outbreak. The returning characters voice their concerns with attempting this reopening, but the game doesn’t try very hard to explain why they’d agree to come back to this site of death or why they believe in Hammond’s mission; if you can accept that Hammond intends to try again and has convinced the others that working with him from the beginning could keep dinosaurs and people safer, then you don’t need a deeper explanation. The story doesn’t really offer anything new, either; it just ties up loose ends (mostly loose ends that didn’t really need tying) and provides enough of a narrative structure to explain how exactly we’re all back at Jurassic Park. As a huge fan of the movies, I had more than enough to satisfy me.
In addition to the new story, we get a couple new creatures, as well: Compsognathus and Pteranodon, which have both had significant roles in the first two sequels. On top of that, many of the dinosaurs present in the Jurassic Park trilogy now have specific skins modeled after their appearances in these films. Once you unlock the new creatures and skins in the expansion, you can use them in any other mode; same goes for the Jurassic Park aesthetic and park economy.
I found the gameplay to be the best in this mode, and it’s not just nostalgia speaking. Certainly, nostalgia plays a role: park staff are dressed like their counterparts in the first film, the visitor center is more or less a duplicate of the original, visitors arrive to the island by helicopter, you have the classic cable fences and electric Explorers, the dinosaurs are movie-accurate, the guests are dressed like nineties tourists, and the additional park facilities feel like natural extensions of the design aesthetic of the first park. But management just feels simpler, more straightforward, more focused on providing lovely enclosures for the dinosaurs. For starters, the needed infrastructure is greatly streamlined: helipad to arrive at (placed by you, instead of the default monorail locations), visitor center that houses all the R&D departments as hub add-ons, geothermal power plant to provide electricity, only two types of visitor attractions (the car tour and a self-contained Pteranodon aviary), and only five types of visitor-needs buildings (restaurant, restroom, gift shop, emergency bunker, and hotel) that can all be clustered around a single attraction entrance point. It’s easy to chain along the ride through multiple enclosures (or around them, in the case of carnivore pens). Even the dinosaurs are simplified, in a way: while the expansion does add more animals to all game modes, any Jurassic Park-themed park has a reduced roster of era-appropriate dinosaurs. It’s a more focused experience, though there’s still plenty to manage properly to get your park to five stars (especially when playing in challenge modes).
My Challenge mode attempts tend to use the Jurassic Park setting. The combination of tight park-building gameplay and heavy doses of nostalgia makes this my preferred Jurassic World: Evolution experience. Over two years ago, I described the base game as flawed, fun, and slightly disappointing. Frontier Developments has added so much to it since, so it was already an improved experience, but Return to Jurassic Park has transformed the game into something truly special.
I hadn’t played Jurassic World: Evolution much since I was last writing about it in July of this year. But I’m a sucker for this franchise, and it doesn’t take much of a promotion to draw me back in. This time around, it was simply the build-up to the release of the Switch version of the game–and no, I did not purchase the Switch version after I’d already bought all the content on PC; I have some restraint. I did, however, decide to get back to the Challenge mode a bit.
This Saturday, I loaded the Challenge mode save I’d last seriously pursued in July, before I dropped out and moved on to other things in my spare time. I found myself picking up the controls as though I’d never left the game, and I remembered some of the more advanced management tactics I had finally gotten a firm grasp on in almost as little time. My particular challenge was to get to five stars in medium difficulty on Isla Pena while releasing only carnivores. I therefore hoped to get two achievements for a single five-star run (beating any Challenge for one, beating Isla Pena on medium or higher with only carnivores for the other). Back in July, I’d named my save file for this unique challenge “MORE TEETH,” which I thought was sort of cute because, you know…
I didn’t manage to get to five stars within the level’s suggested par time, but I did get to five stars in just under four and a half hours total time, dealing with a variety of crises big and small that climaxed with a thrillingly destructive storm complete with twister and the resultant chaos of various carnivores rampaging across the island, and I secured the two achievements.
I had fun, as usual. I think this is a game I’ll keep finding reasons to come back to over the months–maybe even the years. I have no idea whether I’ll ever get the final four achievements on Steam, though, especially given that three require timed Challenge-mode completions. And I strongly doubt that I’ll ever unlock all the dinosaur skins that would require completing every island on the highest difficulty at least once. There’s still a lot left to check off in the game, then, but it’s rather repetitive in nature. Get to five stars on islands I’ve already played through, dealing with a slightly different contract assignment system and the extra costs of the steadily increasing Hammond Foundation fee, again and again and again.
The reason I have returned yet again to the game, then, has very little to do with completionism at this point. Instead, I genuinely end up having fun, sometimes for hours at a time. I still manage to experience moments of awe, curiosity, and excitement with this game. I picked the featured image for this post not because it was a moment of great excitement but because the moment of rolling through a jungle canopy in a ranger Jeep and coming out at the edge of a small pond, seeing my pack of Velociraptors settling down to sleep for the night on the other end, and snapping a picture with the ranger’s camera just felt special and peaceful and unique; the more I play the game, the more these little moments of simulated animal behavior and dynamic interactions with them at ground level are what really stand out to me, although I’ll never get over the explosive excitement of a park in the midst of a tropical storm. There’s always going to be something to continue to engage me with this game. Perhaps the only thing to draw me away for good would be a bigger, better sequel…
On a slightly different note, writing this post made me realize that I apparently never wrote anything about my experiences with all the DLC. It looks like I last seriously wrote about JW:E when playing through the base game again earlier this year with some of the new updates that had been made available over time. By the end of July, I’d played through everything. I should probably fix that oversight at some point, huh?
I do sometimes have reason to work from home, and I’d reached a point where my desktop computer simply wasn’t all that reliable for that task. It was the final straw for me, and so I purchased a new (well, refurbished) computer and a new monitor. That ends a ten-year reign for my last desktop. I built that computer, and I upgraded it at least a couple times over the years, and it served me well. I have nothing but fondness for that machine, though I’ve now set it aside.
With a new computer came opportunities to test games and graphic settings that would have taxed–or entirely overwhelmed–its predecessor. Look, it’s not like I went out and bought a top-of-the-line computer. But it could at least comfortably handle current-gen titles!
The first thing I tried out was, perhaps unsurprisingly, Jurassic World: Evolution. I’d played the hell out of that game, but always on lower graphics settings, and I still experienced frequent frame-rate drops, lag, and crashes. It now looks incredible running on the higher-end graphics settings, and the game loads quicker and runs smoothly without any perceived technical issues. The lighting, the vegetation, the building and people textures, and even the already-lovely dinosaurs were all vastly improved!
I mostly play games that are older or from mid-sized or smaller studios, so consequently I can typically get away with fairly limited or outdated tech. I actually struggled to think of another game that I wanted to play that would actually test out the computer’s abilities a bit more. I ended up purchasing the second Star Wars: Battlefront II (which really seems like it should just be Battlefront IV). I didn’t push things that hard, opting for medium graphics, but the game played smoothly, and I had a lot of fun with it.
Interestingly, the gameplay itself was incredibly smooth and I don’t think I ever had any noticeable framerate drops or weird pop-ins or anything to disrupt the experience, but the cutscenes, which all looked incredible, often had little hiccups of drops in performance in between scene transitions, especially for those scenes following the end of a level. This isn’t going to mark the shift of my attention to a greater number of AAA titles (not that that was ever very likely, given my interests), but it at least means I have a computer I think can safely handle the occasional newer Star Wars game, like Fallen Order or the upcoming Squadrons.
Also, while I’m not interested in “reviewing” the newer Battlefront II, I do want to talk about its story. That story is surprisingly short; I’ve played less than 10 hours in the game so far, including in some of the Arcade and Instant Action modes, and yet I’ve already completed both “campaigns” with the middle difficulty setting. That said, I think it’s clear enough what one of my future blog post topics will be about…
A final thought for this post, though. My Arena save file is on the old machine. Maybe I’ll transfer it at some point. Maybe I’ll start a new one. But I’m betting that my attempt to play through Arena might have truly met its end (an end that admittedly came months ago). I actually feel okay with that.
Holy heck, I just realized that I’ve been playing a major portion of Jurassic World: Evolution entirely wrong.
In a nutshell: the game has two types of ratings to determine the success of your parks. One is a dinosaur rating, which uses the total number of dinosaurs, the number of distinct species, the cumulative ratings of individual dinosaurs (based on completeness of gene code and addition of genetic modifications), and the general welfare of the animals to determine how well your park is doing. The other is a guest rating, which looks at security, capacity, and satisfaction to similarly assess the human side of the park’s performance. Both ratings work on a five-star scale, and the average of their scores dictates your park’s overall five-star rating.
Guest satisfaction has always been a struggle for me. It’s easy going at first because you don’t have that many guests, so throwing in a few basic goods and services (restaurants, shops, and restrooms) will satisfy them enough. But as the park grows with the draw of more and better dinosaur attractions, guests demand more. I’ve always struggled to get from 4.5 stars to 5 stars because my dinosaurs toward the later stages of a park’s life are so popular that the park is overrun. I manage it, but it often requires a lot of buildings that make my park look ugly and cluttered and that slow down the performance of the game. And even then, guest opinion oscillates quite a bit. I remember using the trick of shutting down and reopening parks to get the guest count down so that I could beat the system and get a five-star park rating when I was ready to move on to the next island.
Only there’s no reason to “beat the system” because you can build a successful park that stays steady at five full stars, no matter the island or challenges before you. I’ve been overlooking obvious management features all this time.
Most buildings aimed at guests have three types of features to control: the number of staff, the type of product sold, and the price of the product. I’d fiddled with these controls before on many occasions, but I never found much rhyme or reason behind them. I don’t know if these features have been improved since release or if I just didn’t spend enough time with them, but they’re crucial when used correctly. As your park builds in popularity, you should be looking to your structures to see which specific buildings are popular. They might warrant staff increases if they are maxed out with visitors; that way, more guests can use a given building at a time. In contrast, it might be time to tear down a seldom-used facility that’s not contributing to guest satisfaction or park revenue. As something gains in popularity, people are more desirous of premium items at that location, and they are more willing to pay more. Manage these features, and you can have a tremendously successful five-star park that still looks neat and orderly, that doesn’t have constant fluctuations in guest satisfaction, and that more efficiently uses limited park resources (chiefly space and power).
I don’t think I ever figured this out before, not even back when I completed the original campaign the first time around. If I did, it was late in the game, I may have never maximized the value of that knowledge, and I must have forgotten in the many intervening months before I returned to the game. But I doubt I figured it out, at least not fully, or else it’s hard to understand why I found the sandbox and challenge modes to be such a turn-off. Now the challenge modes are piquing my interest more, and I think I will check them out once I get through the copious story content available (and after I go back to optimize my other parks in this campaign save file).
There are a lot of deep statistics that are never explained anywhere in the game, but you only have to get a cursory understanding of any process to make it work. I still don’t fully understand how staffing, item quality, and price affects guest satisfaction with a particular store, and other than knowing that sales price should at least be higher than my own cost, I never did bother to figure it out. I didn’t need to. After I grew frustrated with one park always hovering around 4.5 stars because my continued success would draw down guest satisfaction as demand would continuously outstrip supply, I discovered via a forum tip that you could just close your park down briefly–then everyone would be excited with the reopening and the overcrowding would be gone, solving the problem for a while. Again, the game can be challenging, but it’s typically open to being exploited–and since it’s all about the bottom line with profits and divisional reputation, the game sort of encourages that exploitative mentality.
That doesn’t read like someone who ever figured out how to manage guest buildings. In my defense, my experimentation never really seemed to pay off. I’d try too early in a park’s life, when screwing with the values was more likely to increase how much a facility was costing me, instead of rewarding me with increased paying guests or higher profits. Later in each park, the process of building new stores was so ingrained that I didn’t ever seriously reconsider my tactics. Now I know that some buildings would go unattended even as guests complained about a lack of a good or service that those buildings supplied because they weren’t placed in areas of high guest activity, near major pathways or exhibits. Simply adding more buildings wasn’t solving the problem. Guests weren’t going to go out of their way to find a hidden restroom tucked behind a power plant; they’d instead wait on the overcrowded, obvious restroom and complain about that. It’s a realistic system, but one that is never explained in the game.
It’s a little embarrassing that it took me this long to figure it out. At the same time, at least I did manage to figure it out on my own!
While I thought this was worth writing about because it showcased a more complex hidden system within Jurassic World: Evolution while providing a hopefully amusing personal anecdote, I’d be glad to hear that someone considering the game, or already struggling with its management systems, found this and saved themselves a lot of time and frustration! And I’d sure love to hear any other tips or tricks people have for providing the best park management experience for all their guests. It took me this long to figure out this basic gameplay component. I shudder to think how long it might take me to learn and master more advanced strategies…
I’ll probably have a more traditional post up tomorrow, but for today, I just want to share a screenshot I took last night in Jurassic World: Evolution with the Capture Mode feature. I’m just thrilled by how it turned out; it might be my favorite screenshot I’ve taken in the game, and it feels like it captures a lot of the mood of the franchise. I hope you like it!