I have a false memory about The Lost World, before the movie even came out. I distinctly remember Velociraptors running through a field alongside a train in what appeared to be rural America. Where’d I get this image from? A dream? A misinterpretation of a trailer? It doesn’t matter. It’s not real, didn’t happen. But even before the movie came out, I remember hoping that dinosaurs would end up on the mainland. When the freighter plows into the dock and the scattered remains of its crew are discovered, I thought maybe this would mean that raptors had snuck aboard and would now wreak havoc along with the Tyrannosaurus. Of course, this was not to be. But because of that specific hope, the difficulty of understanding exactly how the freighter crew was killed off has stood out to me more. If not the raptors, then how did it happen? The juvenile was taken back separately. The buck was in the cargo hold. How did such a large animal get its jaws into the pilothouse, wrenching some poor soul free from a hand that remained firmly clutched to the wheel? Why did it kill the crewmember who closed the cargo hold back on it but left the body apparently undisturbed? And how did the crewmember survive long enough to close the hold? For that matter, why would the Tyrannosaurus voluntarily return to the hold? The pilothouse, more than anything else, stands out to me, because while normally presented in narrow angles, there’s every indication that it’s closed off to the outside and undamaged.
All that to say, I’ve always been intrigued by the idea of a gap story that fills in what happened. I think it’d be fun to have a private investigator hired by one of the family of the lost crew to investigate events. Perhaps this leads to the discovery that more than the Tyrannosaurus was aboard the freighter. Perhaps he encounters disinterested police officials and active resistance from InGen execs determined to minimize the already disastrous events in San Diego. Maybe he runs into a pack of escaped raptors–or something else entirely! I imagine it as a bit of Chinatown meets Jurassic Park.
But there are other stories I’d like to see (or create myself, in the form of a little fan fiction). There are a few moments not relevant to the films that could offer gung-ho action-adventure. For instance, the Dinosaur Protection Group site has in-universe documentation dated October 5, 1994 that reports current dinosaur population levels on Isla Nublar based on a “1994 clean-up” and estimated dinosaur population levels on Isla Nublar based on a 1993 report. So of course, following the mercenary team that went into the island and cleaned things up, collecting and containing and cataloguing surviving dinosaurs, would be an interesting story. TellTale’s Jurassic Park: The Game, which never really quite fit as a direct follow-up on eventsfrom Jurassic Park, doesn’t have a narrative that works well with the newer movies, and so that can safely be disregarded, leaving a big opening.
The list of dinosaurs on Isla Sorna is presumably similar to the report that Alan and Billy had reviewed before Jurassic Park III, in which the Spinosaurus was noticeably missing. That same Dinosaur Protection Group page I referenced earlier discusses the illegal creation of other dinosaurs that were abandoned on Site B, resulting in the rampaging Spinosaurus. The page says that the new research happened over nine months and started 100 days after InGen was purchased by Masrani Global, while another page says that bidding for InGen happened in 1997 and the illegally cloned animals were introduced in 1999. A story that chronicled the backroom dealings and unethical science, or the release/escape of the newly resurrected dinosaurs, would probably make for an interesting tale. And there’s another mercenary adventure story waiting to detail the recapturing of the escaped Pteranodons from Isla Sorna in 2001.
I imagine Henry Wu weaving his way through all of these stories: part of the efforts to contain the situation on Isla Nublar, returning from his shipboard evacuation of the island to collect valuable scientific information only to be shut out of further genetics efforts until brought in by Masrani for the illegal experiments in 1999 that I’d like to imagine had to be shut down when the Spinosaurus broke containment, and finally meeting up with Vic Hoskins, forming a fateful relationship that would prove pivotal in Jurassic World, when the ex-military man led the mission to collect the pterosaurs.
Then there are the stories that can happen post-Fallen Kingdom. I’ve already rattled off ideas before, but there’s one concept I’d sort of like to play with at some point. At its core, an enterprising rancher has gathered up a small herd of Gallimimus and plans to grow the herd. He soon encounters two threats: something is hunting his new flock of bird mimics at night, and a government investigator shows up to claim that he’s in illegal possession of contraband intellectual property. The two threats collide pretty quickly, deciding the fate of the rancher’s whole operation. I think there’s some mileage in that for a short story, at least.
Anyone else have any gap or side stories they’d want to see, or any fan fiction they’d like to point out?
The element that takes the Jurassic Park formula beyond simple action-adventure fun is the emphasis on human characters with flaws and clear arcs. That human emphasis has, whether intentionally or inadvertently, often resulted in movies with a subtext about family trauma. This is a topic I’ve thought and talked about intermittently on other platforms, but I want to try to develop it a little more here.
Most of the Park and World films are guided by a loss of family unity and a gradual rebuilding of family around kids. The pattern starts with Jurassic Park: Tim and Lex come to the island to get them away from their parents’ divorce. Through the events of the film, they bond with Grant, who starts out as someone who is very child-averse. As he guides them through the park safely and comes to care deeply about them, he’s addressing the issue in his own otherwise solid relationship with Sattler: she wants kids, but he couldn’t stand them. In the final helicopter flight out, Alan and Ellie share looks that express a great number of things: relief, gratitude, affection…but also there seems to be a shared recognition of how things have changed, as the kids rest against the man who starts out the movie terrifying a child merely out of slight annoyance over an offhanded remark. At least within the scope of the movie, the kids have found a new family, somewhat ironically formed around a man who never wanted one.
The Lost World continues the pattern. This time, Ian Malcolm’s daughter Kelly finds herself torn between separated parents. Her mother’s off on a trip with a new love interest. Her father, a habitual divorcé who’s never made time to nurture relationships with his (ex-)wives or kid(s), acts similarly disinterested in her and inconvenienced by her presence. Rather than be pawned off on one of her dad’s acquaintances, Kelly stows away to come along on his next expedition. The horrors of the island bring her to bond closely with Ian’s girlfriend, Sarah, and Ian finds renewed focus on the safety of both Sarah and Kelly. Ian repeatedly risks his life for both of them. This focus on protecting family ties in rather nicely with the threat from the Tyrannosaurus family that occupies the second and third acts of the film. Once more, the movie ends with a moment of peace for the reformed family, with Kelly, Sarah, and Ian all on the couch; in a reverse on the original, the child stays awake and watches over the sleeping adults.
Jurassic Park III once more finds much of the character motivations in a divorce. The Kirbys have divorced, Paul hasn’t really moved on while Amanda has, and their son Eric is caught in the middle. Eric gets stranded on Isla Sorna because of Amanda’s reckless “fun” boyfriend. The trauma of the island pushes Paul and Amanda back together, and the little nuclear family appears restored by the end of the film. In a separate arc, Grant and Sattler have remained friends but split up; Grant seems to slowly be reintroducing himself to Sattler’s new life of husband and child, but he feels out of place. Ellie insists that Alan can ask for help if he needs it. And by the end of the film, he’s able to do so in a moment of crisis, and she’s there for them. The dinosaurs get their family arc, too, as the Velociraptor pack is desperately pursuing their stolen eggs, and the Pteranodon flock attack to feed their offspring.
By this point, the recurrence of divorce and separation begins to feel somewhere between a fundamental franchise building block and a tired trope trotted out simply because it worked before. Either way, it’s back again in Jurassic World. Brothers Zach and Gray get sent to the titular theme park to visit their aunt Claire while their parents finalize a divorce back home. (Side note: I recall people complaining that the divorce reveal came from nowhere, but this is hinted at from as early as the airport departure scene, and the scene where Karen and Claire talk made that pretty clear to me even though it’s not explicitly stated until a little later on.) Even as their family falls apart, the brothers recommit to each other, and Zach changes his attitude from an aloof bully to a caring and supportive older brother. Claire’s arc echoes both John Hammond (as the most visible face of the park administration’s hubris and a more prominent figure than Masrani) and Alan Grant. From Grant, she gets the same apparent disinterest in kids or parenting, and her commitment to saving her nephews provides a somewhat similar arc, though bogged down in sexism: Grant undergoes an attitude change that is not required by society but simply a natural progression that resolves a tension in his romantic relationship, while Claire is nagged by her sister about how she’ll one day want to have children, stares longingly at a child reunited with their parent, is called out or treated differently because of her awkwardness with kids, and is operating within a larger societal notion that women should be guided by a desire to nurture and raise children. Regardless, while the arc had its missteps, I do believe the intent was to provide an arc that echoed Grant’s. Her relationship with the rugged Owen, from exes to romantic partners, suggests something of a collision of the Sarah/Ian and Amanda/Paul relationships from the other films, as well. Then, of course, as I recently wrote about at length, Owen’s relationship with Blue and the raptor pack provides the dinosaur family narrative for this entry in the series.
Finally, Jurassic World: Fallen Kingdom is partially about people looking for connection and purpose after losing everything. Owen and Claire have split up and slowly reconnect, Owen is motivated to save his abandoned baby Blue, and Claire is guided by a desire to make right her failings at the park and feels deeply obligated to the dinosaurs she once saw as only “assets.” Lockwood fell out with business partner Hammond after using cloning technology to duplicate his deceased daughter. Over the course of the movie, that cloned girl, Maisie, learns the truth about her identity only after she discovers that her “grandfather” was killed by his not-so-loyal assistant. Once more, a family is formed by film’s end, this time between Owen, Claire, and Maisie. As all three characters are returning in Dominion, perhaps this new found family will be a little more permanent. And for the dinosaur family, Owen reunites with Blue, only to part ways once more by the end of the film.
Not only is this deconstruction and reformation of family structures so central to the movies’ narratives, but the movies themselves work as a metaphor for that family turmoil–as I suggested way back at the top. The dinosaurs are a vehicle for children’s wonder, amazement, and curiosity. Family and children were clearly on the mind of Michael Crichton when he wrote the original novel. As he’s quoted as saying in The Making of Jurassic Park:
My wife was pregnant with my first child, and I found that I couldn’t walk past a toy store without buying a stuffed toy. And what I was buying, more often than not, were stuffed dinosaurs. My wife couldn’t understand it. We knew we were having a girl. Why was I buying all these dinosaurs? And I would say, “Well, girls like dinosaurs, too.” But it was clear that I was sort of obsessed with dinosaurs; and the whole idea of children and dinosaurs, and the meaning of what that was, was just on my mind a lot during that period.
(Don Shay & Jody Duncan, p. 3)
Dr. Will Tattersdill, an academic researching the “social history of dinosaurs” in popular culture over the decades, has discussed how dinosaurs “mean a yearning for the past” and allow the observer to experience both human culture and natural history simultaneously. It’s interesting to consider that framework in recognizing that these movies start with characters, especially kids, yearning to connect with the dinosaurs, being awed by the dinosaurs, before the dinosaurs turn against them. The past isn’t enough to shield them from the crisis of the present, and in fact leads to that very crisis, the dissolution of the preexisting family.
It pains me to say that I can’t recall who said this or where it was printed, but I vaguely recall a comparison made between dinosaurs and children’s parents. Dinosaurs are big, objects of affection, at times terrifying, representative of a past before you existed, just as parents are to kids. A divorce or separation causes a considerable amount of chaos and confusion, if not outright trauma, for a young child, and these devoted caretakers also may inadvertently harm the child in the process of an especially bitter divorce. I think there’s something there in the Jurassic Park franchise, in that these kids admire the dinosaurs, the dinosaurs cause them harm, and they ultimately learn to coexist with the dinosaurs and survive. That evolution typically overlaps with the reformation of the family or the creation of a new found family.
At least to my eye, then, the experiences of the characters make literal the emotional harm and healing associated with the largely background family dynamics that inform the motivations and relationships central to every Jurassic Park movie.
Jurassic World portrays the Velociraptors as very intelligent, feral animals that can nonetheless be trained, at least to a certain degree. Owen’s pack appears to bounce around in loyalty dependent on the situation, and there’s the constant tension from the beginning that they’re always a moment away from turning on and killing their human alpha. It makes sense that the raptors would be trainable but unreliable. You could expect the same from a “trained” wolf or tiger or bear. And the raptors are super-smart predators from another era.
Still, Fallen Kingdom relies on the audience to root for and trust Blue throughout virtually the whole movie. She’s the Good Dinosaur, if you will. And we’re shown early on in this movie that Blue is actually special in a number of ways, not just smarter than the other raptors but more empathetic. She and Owen have a very special bond.
At first, Fallen Kingdom seems to reverse on the depiction of the raptors from the predecessor film, making Blue, at least, a friendlier killer. But while I’ll admit that it’s at least somewhat of a retcon, I don’t think that the movies are actually in contradiction. Fallen Kingdom invites a different read, in which Blue has been a hero the whole time, a consistently loyal girl to her sisters and her human dad.
It must be acknowledged that this view of Blue is not shared by Owen himself. Owen clearly respects the raptors, but he is also clearly aware that they might kill him given the chance. And that’s undeniable; riled up enough, they probably would kill Owen and move on. But these raptors don’t have any reason to understand just how much weaker humans are; humans always seem in control of the situation, literally above them all, wielding treats and correction from a remove. They could easily kill Owen, but I suspect that were it to happen, it would be an accident. The raptors regularly jostle for rank, it would seem, and what could be an acceptable clash between sisters could be lethal if applied toward a human.
When we first meet the raptors, they’re responding to Owen’s commands (if perhaps a bit reluctantly). We are to understand that this has been a long journey to get them to respond promptly and correctly. But Fallen Kingdom also lets us know that the other raptors are going to be more problematic, that they don’t have the same level of empathy, the same ability for cross-species connection, that Blue has. Blue is the bridge between the worlds. Even Jurassic World doesn’t suggest that they’d kill for no reason. The antics with the pig and the keeper are the result of human negligence; it’s natural that the raptors, instinctively viewing the little fleeing piglet as prey, would be desirous of it, and it’s also natural that they might react with hostility toward a human suddenly and unwantedly dropped into their territory, a human interfering with their pig hunt, a human they have no connection to. They’d definitely kill that keeper; I’m not so sure, however, that they’d have lunged for Owen if he hadn’t rolled away. In fact, it’s not just the roll but his movement to face away from them that seems to trigger them. If they’d wanted to, they could have easily taken him down in the moment, but they were at least tenuously reactive to his commands.
After that, Blue doesn’t ever act aggressively toward Owen. In fact, none of the raptors seem to act aggressively toward their alpha. When deployed on the chase for the Indominus, they’re perfectly content to hunt down their target, running alongside Owen as an integrated pack. Sure, they’re caught off guard by the Indominus; they’d have no reason to expect that it could communicate with them. And it’s certainly big enough to be a real threat! When I first watched this scene, I saw the moment in which all their camera views are trained on Owen as a sign that they’d turned on him, that they were about to attack. Owen certainly believes they’d found a new alpha (after, it should be mentioned, the raptors would have reason to feel betrayed by being fired on). But again, in context of the softer view of at least Blue in Fallen Kingdom, it’s just as reasonable to see that moment as the raptors turning back to Owen for input about how to proceed. Because Owen doesn’t fully trust his pack and can’t intuit their thinking, he perceives it as a threat. But wouldn’t a loyal pack look to their leader, waiting patiently for his cue before proceeding? It’s only when the mercenaries start firing that they turn on the humans–and even then, they target the other humans, not Owen. Owen had warned early in the movie, in that pig-keeper scene, that if the raptors were fired on, they’d “never trust me again.”
Even in the ensuing chaos, there are signs of raptor loyalty. Charlie and Owen made eye contact during the fight, and even though she’d just killed another man, she didn’t react aggressively. She cocked her head, acted curious. She seemed to be awaiting input yet again, only to be killed by a rocket explosion a moment later. Similarly, Owen was able to get Blue to leave Barry alone by whistling for her; it’s as easy to say that she followed him because he was the leader as to say it was because she was hunting him instead. Later, Delta might even have attacked Hoskins because she recognizes him as a bad guy and a threat to both Owen and her pack.
It’s true that the raptors pursue Owen’s party and corner them, but why wouldn’t they? Owen’s their leader, and they’re trained to form up on him. Rather than attack, Blue lets him remove the camera halter. The raptors once more communicate with Indominus and look to Owen for input, which he’s able to actually signal this time. Frustrated by the raptors’ lack of compliance, the Indominus attacks Blue, making the ensuing fight deeply personal for Delta and Echo. The raptors fight for their sisters and their dad to the very end in this final battle. After the fight, lone raptor survivor Blue looks first to the Tyrannosaurus and then to Owen to determine what to do. Subtly warned away by Owen and apparently perceiving that she no longer has a place or a pack, she leaves without any aggression toward Owen or his companions.
Fallen Kingdom‘s additional details about Blue don’t have to undermine or contradict anything that came before. And once more in Fallen Kingdom, Blue feels fiercely loyal to her human dad and his human pack, though once more she ultimately chooses to go off on her own when all the threats have passed, seemingly recognizing that she’ll never fit in without her own raptor companions. She stays long enough to make sure Owen is okay, and then she leaves, choosing a life of isolation and freedom over companionship and imprisonment.
Blue is a loyal hero with a tragic arc. This is largely true for her antihero raptor sisters, as well. Both of the Jurassic World films ultimately support this read, especially when viewed together. And Blue deserves the interpretation!
I’ve never really cared for Jurassic Park III. It’s loud, dumb, and mean. It doesn’t truly do anything new. Once more, people return to an island full of dinosaurs, and bad things happen as a result. Sam Neill’s returning Alan Grant seems as fatigued with the tired cycle as the most cynical audience member, and that fatigue only grows as he puts up with surviving a dino-island yet again, accompanied by idiots. His shock and disbelief at having been tricked back onto one of these islands is matched by my own: it’s quite a contrived narrative that gets him there and in the predicament of once more standing down theropods.
But I’m not here to explain why I didn’t like Jurassic Park III. I’d imagine most people who have seen it could understand that well enough on their own. I’m here to explain how I came to tolerate it within the franchise.
The first step is distance. I return to these movies often enough, but it wasn’t too hard to leave III out of the rotation even as Jurassic World and Fallen Kingdom were added in. Yet I still did return to it, with enough time between viewings that my impression could become more muted and less annoyed.
The second step required me to let go of my frustrations as I gave up on my annoyance. And there were a lot of things that frustrated me: the aforementioned laborious way in which Dr. Grant is brought back, the obnoxious Kirbys, Billy’s fake-out death and abrupt return in the rushed final moments, the lackluster depictions of the dinosaurs, the super-monster version of Spinosaurus, the super-intelligent raptors, the mean-spiritedness of the deaths…Even petty things that aren’t inherently flaws within the film, like the writers’ decision to end Grant and Sattler’s relationship, with Ellie settling down to have kids and Alan refocusing on his digs in isolation. Just let it all go. I had to accept that those things exist in the movie and there’s nothing for me to do about it.
The third step was being goaded to return to the film by people who found things to like about it. And yes, there are things to like about it–it’s a technically impressive film if nothing else. Plus, hearing from people who like it and can re-contextualize some of its less-impressive elements can lead to a little altered, more forgiving perspective when viewing. That leads right into the next step.
The fourth step is reframing some of the things that used to bother me. For instance, it always bothered me that Eric Kirby, a 12-year-old kid, managed to survive alone on the island for weeks; his survival skills appeared to outmatch even Grant’s, whom he rescued, and he appears to have performed a series of death-defying stunts in his parents’ absence, for instance collecting fresh tyrannosaur piss or obtaining a claw from a Velociraptor. But the actual events in the movie can provide an implied narrative that isn’t so outlandish and is a little easier for me to suspend disbelief. Eric was lucky. He wandered onto the InGen site, finding a source of food, water, and shelter. The abandoned tanker truck made a perfectly secure abode that could be sealed from dinosaur threats. He didn’t spend his time becoming a hardened survivalist so much as simply hiding and staying out of the way. Maybe he happened to collect the tyrannosaur urine after having observed one of the tyrants passing nearby with compies scattering before it. Maybe the Velociraptor lost its claw in a fight with a rival or in taking down prey, and Eric just collected it later. When Grant is ambushed by the Velociraptors, it’s not because he screwed up; he was carrying their eggs, and he didn’t know it. They could smell them, surely, and their entire objective was in retrieving their brood. Eric then dashed in with his supply of gas grenades. Once more, it was luck that got Eric through. Clearly, the kid is tough, determined, and smart, but we don’t have to accept the notion that he’s the most badass member of the group.
The fifth step is pure happenstance. As this whole process was taking place, years–now literally decades–after the movie was released, I got really into Jurassic World: Evolution. And some of the coolest dinosaur skins in that game were based off models from Jurassic Park III. Most realistic? No. But coolest. The dinosaurs in that movie are really vibrant. I liked those models. It was a small thing, but it let me come around to their depiction in the movie.
The sixth and final step is to find the things I outright like in the movie and to focus on them. For instance, much of III is a big, fun safari adventure just like The Lost World but with a smaller cast and no rival team. This adventure narrative leads to some very cool action sequences, like the initial Spinosaurus attack, the Velociraptor-induced stampede, the boat attack, or the aviary ambush. And while the movie avoids moments of true wonder that balanced out the first two movies, it does at least have a beautiful aerial sequence when the rescue team first arrives, and there’s the slow-paced moment on the river right after Grant lays out his theory about boys who want to be astronomers versus astronauts. And yes, the raptors are way too smart at this point, and the males’ little fringe of quills was a poor nod to the developing notion that dinosaurs like them would have been feathered, but the elaborate communication was still interesting behavior, and it did serve as a further attempt to present the dinosaurs as animals, not monsters (even as that effort is undermined by the wildly inaccurate and hyper-aggressive Spinosaurus that is fixated on hunting down all humans). And okay, the movie has a mean streak, but it’s okay for the franchise to lean into horror a little more–Fallen Kingdom‘s gothic vibes are great–and anyway, wasn’t I just praising The Lost World for being a darker film?
And that’s how I’ve learned to tolerate Jurassic Park III. Of course, I don’t really need to go soft on a movie in a massive blockbuster franchise. But it’s a franchise I’m otherwise rather fond of, and it’s nice to actually enjoy a rewatch of that third entry.
Rotten Tomatoes has Jurassic Park at 92% fresh, in contrast to the rotten 53% of The Lost World and even worse 49% of Jurassic Park III. Clearly, among most critics there’s a widely agreed-upon loss in quality between the first film and its sequels–and audiences generally agreed as well. But while I recognize that The Lost World isn’t as good a movie as the original, I’m with the 53% of critics who had a generally favorable impression of the first sequel.
Part of my fondness for the film is pure nostalgia. I was only 8 years old when the movie released. By this point, I’d watched Jurassic Park many times on home video and played even more hours with an assortment of tie-in toys; I’d read the sequel novel by Michael Crichton (although, curiously, I wouldn’t read the original until a few years later); and while I no longer remember the particular entertainment magazine, I remember flipping through glossy photos of the actors, sets, and dinosaur animatronics while reading behind-the-scenes details in advance. While I had been very interested in Jurassic Park, I was a bit too young for it when it came out; I just loved dinosaurs, but the movie was initially a little too scary for me (I vividly remember covering my eyes the first time during the kitchen scene), and I certainly didn’t get to go see it in theaters. I was primed to love the newer movie in the full, over-eager way a kid can love anything, and with a nearly quadrupled promotional budget over the original, Universal was clearly doing everything in its power to burrow brand recognition and excitement into every young person’s head.
As I’ve aged, my views about the movie have shifted, but I’ve never been able to regard it too harshly. For what it is, it’s a lot of fun: a big, prehistoric safari for the first half that shifts to something resembling survival horror and ends with a King Kong– or kaiju-style monster rampage through San Diego.
The cast is truly great, too. Jeff Goldblum’s return as Ian Malcolm, now the lead protagonist, offers a new spin on the character, who has gone from rock star to worn-out dad. I like that the movie inverts his role within the narrative, especially as it builds on the trauma he endured at the park. I also like that Malcolm is prominently confronted by the consequences of his former cavalier attitude toward women and relationships. Then there’s Julianne Moore, who’s great in everything, as not only an adventurous paleontologist but a sort of maternal force: Sarah Harding argues that dinosaurs nurtured their young and views the island as a way to test her views, she’s supportive of Kelly in a way that Ian isn’t, she attempts to care for the wounded juvenile tyrannosaur, and she protects Kelly when the adult tyrannosaurs show up in the camp site. Pete Postlethwaite is shockingly sympathetic for a poacher, with his wearied no-nonsense attitude in working for yet another rich idiot, his concern for the injured, his focus on problem-solving and willingness to set aside a grudge, his quixotic quest to be the best hunter on the planet, and his eventual separation from the mercenary lifestyle that all together suggest an inner nobility guided by self-imposed rules of honor, like some modern-day knight. Richard Schiff plays loveable tech geek Eddie Carr, completely out of his element but a downright good guy who sacrifices his life for his colleagues (in a truly horrific death that deeply disturbs me every time–I find myself screaming, “Eddie’s a hero! He deserves better!” on just about every viewing); Peter Stormare has a notable side role as Dieter, the asshole second-in-command for the poachers; Arliss Howard is an anti-Hammond whose snide and overconfident façade that barely covers a weaselly inferiority complex is easy to hate; Vince Vaughn plays his usual laid-back-bro-with-a-heart-of-gold; and Richard Attenborough’s single appearance in the film is scene-stealing.
The Lost World also has a little more darkness and moral complexity than the original. After all, it confronts the audience again and again with the proposition, are the heroes even the good guys? Hammond sends Sarah off alone to an island full of lethal prehistoric animals, which just isn’t smart regardless of her survival skills on the African savannah, and he dispatches the remainder of the team without even adequately informing them of the risks–for instance, that another, and much better funded, InGen team would soon arrive to pillage the place. To be fair, he clues in one member of the team, but of course Nick Van Owen is a saboteur and eco-terrorist who’s willing to put others’ lives in danger for the sake of freeing the dinosaurs, and he doesn’t bother to fill anyone in until things get set in motion. Sarah and Nick make several decisions that compromise the safety of both teams: freeing the dinosaurs in the camp, taking the juvenile tyrannosaur with them, keeping the bloodied clothing instead of discarding it so that the tyrannosaurs are all that much more easily able to track them, and taking the bullets from Roland Tembo’s gun. Sure, most of these actions were inadvertent, but it’s also true that most if not all of the deaths can be traced to their choices. Of course, it’s still easy to root for them since they care about the dinosaurs and we know them better than the hunters. And who really wants to cheer for poachers, even commanded by someone as charming as Pete Postlethwaite, when the scummy Peter Ludlow is writing their checks and some of them, like Dieter, are just vicious, uncaring, and brutal? (Whether we should actually devote so much to conserving species brought back from extinction after dozens or hundreds of millions of years is another question entirely that this film doesn’t really wrangle with; Jurassic World: Fallen Kingdom at least engaged with that debate but quickly backed away from it.)
Then of course the dinosaurs themselves are great. I love the speculative socialized and nurturing behaviors shown. Would Stegosaurus really have cared for its young like that? It doesn’t matter; it was still some fun behavior to model, a nice counterpoint to dinosaurs as dumb and slow brutes, and the animatronics and computer animation that brought those stegosaurs to life is really something else. In general, the special effects look even better than those in Jurassic Park, showing some impressive updates in technology in a few short years, and all of the returning dinosaurs get a bit of a makeover even as a few new critters make their appearance. And while the Compsognathus / Procompsognathus amalgam is maybe a bit of a miss, most of the other new additions seemed rather true-to-life for the time. Plus, in 1997 paleontologists were only beginning to discover more and more feathered dinosaurs, so it was fair enough (probably) to leave them all scaly.
There are things that I truly don’t like about the movie. The pacing is a bit all over the place, as the plot moves forward in fits and starts, and the San Diego sequence, while exciting, feels like it belongs to a different movie (of course, if you think of the whole movie as an homage to King Kong, which surely would have been in Steven Spielberg’s mind, then the final act makes more sense). And that San Diego sequence offers a tantalizing possibility but in some ways doesn’t go far enough; dinosaurs on the mainland would have been a practical way to move on from the repeated trips to remote islands for similar survival stories, and it wouldn’t be until Fallen Kingdom that the franchise finally took advantage of this. Not that all of my complaints lay in that final section of the film, but also, I can never wrap my head around the logistics of how the Tyrannosaurus buck broke out of the cargo hold, killed everyone, and then was once more trapped; an explanation could exist, and perhaps it would even be something that would satisfy me, but the bizarre appearance of the ghost freighter has always invited the question of what exactly happened–and I don’t think of myself typically as the sort of doofus yelling “plot hole!” just because something’s not explicitly depicted onscreen. Then there’s the one really bad casting choice: Harvey Jason, an English actor, plays Ajay Sidhu, the Indian assistant to Roland Tembo, and it seems to be a textbook example of brownface.
Other than that, though, I wouldn’t say that The Lost World is a bad movie. It’s just tonally different from Jurassic Park. It’s not about the same things, and its recurring characters are (appropriately) different than they were before. This is an adventure movie, a spiritual successor to movies like the original screen adaptation of The Lost World in 1925, or King Kong in 1933, or any of the kaiju movies spawned out of them. It’s part monster movie, part safari adventure, and it maybe feels a bit disjointed because of that. Or maybe it’s because The Lost World is a crueler movie with a less-clear moral center than its predecessor. Doesn’t make it bad, but it does make it difficult to categorize. It’s rough around the edges, more inclined to brutality than awe, with deeply flawed characters filling the roles of protagonists and antagonists. It’s an interesting experiment for such a damn big blockbuster movie. And I’m still charmed by it.
Camp Cretaceous returned on May 21st with a 10-part third season, and I found it to be an improvement over the sophomore round in just about every way. While–spoiler alert–the kids more or less retain plot armor, they are pushed more than ever before, and their lives are threatened and the stakes are higher than ever.
We’re reunited with the Camp Fam as they fail yet another attempt to escape the island and literally return to the drawing board. They’ve fallen into a “comfortable” routine on the island. They know how to survive its prehistoric hazards. They’ve had enough time without the constant threat of death to form some cozy bonds and petty rivalries. But things soon take a turn for the worse, as the escaped hybrid only hinted at in the last season begins to wreak havoc on the neo-Mesozoic ecosystem. The kids suddenly find the park animals acting erratically and dangerously, and they’re hunted by an antisocial killing machine that doesn’t act in a predictable way. Added to the mix, we–and they–learn that six months have passed since the events of Jurassic World, and mercenary teams soon arrive with Dr. Wu to recover needed genetic materials and research for his continued hybridization projects. (We’re introduced to that last element in one of the best sequences in the season, which directly dovetails with the opening moments of Fallen Kingdom.) The kids are torn between the need to escape, the drive to stop Dr. Wu from furthering his amoral research, and the hope of saving the dinosaurs from re-extinction at the claws of the loose hybrid monster on the island.
All the kids have satisfying arcs this time around, without the frustrating tendency to regress at key dramatic moments that was so common in the earlier seasons. They have history together now, and the show built on and used that to further challenge the characters, rather than tonally resetting them at times to create convenient interrelationship tension. Once more, though, the highlight of the season for me was Ben, who matured so much over season two and now is really struggling with the idea of leaving the island and his beloved Bumpy behind. It was a fun way to continue pushing on this character. He didn’t need to overcome fear; he’d conquered that. He didn’t need to develop independence or survival skills; he was already forced to do so. He’s loyal and strong. His weakness now lies in his rashness, in sometimes being a little too independent, and being uncertain about his ability to give his new life up and return to normal.
The art and animation look better than ever. Once more, we get additional prehistoric reptiles added to the field: setting aside the hybrid freak, this season sees a return of the Dimorphodons from Fallen Kingdom, and new-to-the-franchise Monolophosaurus and Ouranosaurus also show up. The dinosaurs look great. There aren’t any conspicuously big, flat plains sequences with reused dinosaur assets just standing about. Their animation makes them seem physically present, although at this point the show seems to have leaned into the whole pseudo-claymation aesthetic. The human character models are about the same, but environmental effects, like lighting, seem improved, and the show definitely shows an attention to detail in tracking continuity in clothing changes, dirt and grime, and even simple things like Brooklynn’s roots growing out as time has passed.
The hybrid dinosaur looks like an impressively disturbing monstrous first stab at creating the sort of creatures that could become Indominus or Indoraptor. But this new “original” hybrid, Scorpios, is also somewhat revolting to look at. Its proportions, its movements, are all off. It’s an effective monster, and its presence pushed the plot forward, but I sure hope this is truly the last hybrid we see (you know, outside of the fact that all the dinosaurs of Jurassic Park are hybrids that don’t look exactly like their real-life counterparts because, in-universe, they used DNA from sources like frogs to fill the gaps in the sequences).
There’s one dinosaur return I wasn’t expecting: that of Blue. This could have been heavy-handed, but she’s used sparingly, and it actually turned out to be a nice encounter in which this unique Velociraptor, established to have special characteristics of intelligence and empathy, is given a reason to develop some wary trust of humans. It’s not a necessary foundational step to her sparing Owen and his friends at the end of Fallen Kingdom, but it works as a little stepping stone on the path to that moment, with the ground having been laid, of course, by Owen himself as her trainer.
This season has bigger stakes, clearer theme and purpose, deeper character development, further improved art and animation, and direct continuity with the film universe that gives it a sense of greater relevance. It’s a high point for the show so far, and I hope that it continues for at least another season.
Quick season-end spoiler discussion here. They’re finally off the island, but it seems a certain predator might be hidden away aboard the ship. If there isn’t another season, that leaves some dire implications. After all, they have a flash drive showing Dr. Wu’s research, and they have every desire to see him face justice. And they know that he was back on the island in an attempt to continue his research. But he seems to have evaded any serious consequences and successfully escaped any scrutiny about ongoing research by the time of Fallen Kingdom.
On the other hand, it’s probably worth noting that the Jurassic World: Fallen Kingdom Survival Guide reports that “Dr. Henry Wu was found guilty of bioethical misconduct and stripped of all his credentials” (p. 20). I’m not sure that this line in a tie-in book aimed at kids substantiates that he did face some sort of penalties; it’s also not clear to me exactly what specific crimes he was found guilty of, or by what sort of judicial system. Again, given the audience, and given the fact that the in-universe nature of the text is that of a guide quickly assembled on last-minute notice by Claire Dearing for her Dinosaur Protection Group team before their Lockwood Foundation-backed mission to Isla Nublar, it could just be an inaccurate turn of phrase that might refer to a finding of fault in some sort of civil proceeding, or perhaps a finding of ethical misconduct by a professional board. It would be satisfying if the kids’ efforts led to some of these suggested consequences.
Given that we last see the kids aboard a yacht in the middle of the Pacific Ocean with a perhaps hungry mystery dinosaur trapped on board, there’s not a guarantee that they meet a happy end! Of course, even without another season, we could come up with alternatives to address this ambiguity, even if it turns out that Dr. Wu never did face serious consequences between films. Perhaps something happens to the disc but they’re okay. Perhaps, like in the original Jurassic Park novel, the Costa Rican government detains these survivors and attempts to cover things up to save further international embarrassment. Perhaps their findings aren’t enough to persuade any governing body to take action. Perhaps it’s something else entirely! I’m sure the show won’t kill the kids and isn’t considering that as a serious outcome, but it’s still enough for me to anxiously await the next season.
(For a bit of a reality check and some reassurance about the fates of these kids and their left-behind pet dinosaur, and actually for some interesting thoughts from Colin Trevorrow in general, read this from The Hollywood Reporter.)
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.
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.