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.
Pokémon Detective Pikachu is fun, and it feels like a video game adaptation made by people who actually care about the franchise. That’s impressive–it’s at this point trite to note that film adaptations of video games are terrible as a rule. Even walking into the theater, excited by nostalgic appeal and the promise of what would at the very least be a colorful (if cheesy) adventure, I doubted whether I’d be fully on-board with the hyper-realistic depictions of Pokémon; this mood was not helped any by a pre-showing trailer for Sonic the Hedgehog, with the titular character living deep in the uncanny valley and dialogue that is somehow both campy and generic.
I was swiftly converted, however, by a beautiful early sequence depicting plausible Pokémon inhabiting the world. Even more important was the film’s tone, established quickly, which leans heavy into whimsy and comedy. This is evident from our introduction to Tim Goodman (Justice Smith, bringing a greater degree of bravery and emotional range to the character type he played in Jurassic World: Fallen Kingdom), who is tricked into accompanying his childhood friend (Karan Soni, with a quirky comic persona for his one scene) to catch a Cubone. Tim’s friend thinks that they’d be a good match because they’re both “lonely.” We learn that Pokémon can only be caught if they’re willing to be partnered with a trainer. Tim, reluctant to even make the effort, attempts to befriend the Cubone by telling it that not many people could pull off wearing the skull of a “dead relative.” The tiny Cubone does not react kindly to this, to say the least, leading to a failed catch attempt, a hilariously short retreat, and a colossal wipe-out.
Justice Smith spends a good portion of the movie acting awkward or uncomfortable and running from CGI Pokémon threats, and I never got tired of it. After that introductory scene, he learns that his father Harry was apparently killed, and he takes a train ride to Rhyme City to close out his deceased parent’s affairs. Not long after reaching his apartment, he meets Detective Pikachu, who possesses the startling and unique ability to communicate with Tim, and who is amnesiac with only a deerstalker cap imprinted with the detective’s name and address linking him to Harry. Smith’s banter with Ryan Reynolds as the eponymous Pokémon sleuth is consistently fast and witty, and the relationship between Tim and his dad’s old partner Pikachu forms the heart of the movie. That’s a good thing–it’s shocking just how charismatic Reynolds can be as a voice applied to a computer-modeled electric yellow mouse. The effects were wonderful, as well, allowing for the feeling of genuine physical interaction between human and Pokémon, which proved critical for many of the action and character beats.
There’s also a low-level love interest between Tim and newsroom intern Lucy Stevens (Kathryn Newton), who team up to try to uncover the mystery that led to the disappearance of Tim’s dad and a rash of unexplained feral Pokémon attacks. (It just dawned on me in this moment that a good portion of this movie’s plot mirrors that of Zootopia). I’m not familiar with Newton, but I got the impression that she’s a good actor, and her film credits mostly support that. She’s very funny and expressive in this film, and she delivers hilarious lines of dialogue with not just a straight face but an inspired fervor. That said, her character’s not really given that much to do, other than tag along with Tim, exchanging barbs, providing sympathy, and occasionally almost-flirting.
I was impressed by the twists and turns of the detective story, and by the action sequences linking events together. I don’t think it would be too hard to predict at least some of those twists, and a lot of the revelations are dependent upon withholding information from the audience. To be fair, it’s information that the viewpoint characters don’t have, and I at least never felt cheated or bored with the mystery. I’ve never played the game, but reading the Wikipedia page tells me that the story and characters should be familiar to diehard fans, but with plenty of changes to keep them on their toes (and to condense story, tighten the connections between characters, and provide a greater sense of closure). Additionally, while I wasn’t particularly moved by Tim’s complicated family situation, especially given that the movie invested more time in action and comedy than quiet character moments, it provided a clear character arc for Justice Smith to work through (Lucy sadly did not get much of an arc), and the bond that formed between Tim and Detective Pikachu was touching and heartfelt.
It should not be surprising that this film is made for fans of the franchise and nostalgic millennials. But it’s a solid action-comedy movie nonetheless! It actually drops in some rules for the universe to explain how Pokémon and humans interact, making things a little more palatable for a hyper-realistic setting and providing some context for non-fans (there’s one scene early on that’s a bit too exposition-heavy, but it fits the moment). So no one should be unable to track what’s going on, even if they’re not too engaged by the parade of cute-yet-creepy, hyper-real corporate mascots. Despite the narrative friendliness to casual viewers, the film also leans hard into the weirdness of Pokémon, with its bizarre combinations of spirituality and science-fiction. While everything makes sense, I could definitely see those not already invested in the consumer cult of Pokémon finding themselves unwilling or unable to accept the radical events of the third act (thankfully, it’s still grounded in character, and I’m confident that even the most skeptical viewer can still depend on the anchoring bond between Tim Goodman and Detective Pikachu).
I also have to note that, while having no impact on the larger film, a small bit of exposition basically establishes some version of the events of the first generation of games (or the anime) as part of the canon of this Detective Pikachu film universe, which is an exciting bit of fan service. Less fan service, but definitely pandering to millennials, is a visual reference to Home Alone when Tim enters Harry’s apartment. I imagine there are other such references to millennial nostalgia that I’m forgetting or just missing.
Detective Pikachu is an entertaining, family-friendly action-mystery movie with a lot of humor. It’s also a great Pokémon movie and an excellent video game adaptation. (It might be the first video game adaptation to actually have a mostly positive rating on Rotten Tomatoes, for what that’s worth!) For those with kids, and for those who are (or were) fans of the Pokémon franchise, this is a good movie to kick off summer early.
At any rate, between this movie and the Let’s Go games, now’s a great time for lapsed or new Pokémon fans to enter the fold.
The Evolution of Claire is fairly small in scope, intimate even, especially for a title set in the Jurassic Park–excuse me, Jurassic World–franchise. Author Tess Sharpe details a nineteen-year-old Claire Dearing’s summer internship on Isla Nublar for the Masrani Corporation, in the final months before the new park would open. While there are many misadventures and some moments of wonder as the interns interact with dinosaurs in the park, the central focus of the novel is Claire’s budding romance with another intern. A B plot is a series of mysterious happenings around the facilities that seem somehow connected with a fabled class of Phantom Interns from the year before. The central culprit behind those happenings is a spoiled, mysogynist intern who is so obviously villainous and yet so obviously not the true antagonist that he’s basically Red Herring from A Pup Named Scooby Doo.
So it’s a YA novel with dinosaurs. It was a fun read. There were issues with continuity that sometimes annoyed me. I would have enjoyed more about the creation of the dinosaurs (Sharpe seems aware that mosquitoes alone would be insufficient for this resurrection miracle, yet never references potential alternative DNA sources–even Crichton’s original book, and the recent game Jurassic World: Evolution, at least refer to bone fragments and other potential alternative sources). Isla Sorna is mentioned, and it’s suggested that most if not all of the animals were to be moved to Isla Nublar (after several had been thinned out by poaching), but this plot thread still feels nebulous. The interns freely hop between radically different assignments, like security, genetics lab work, and vet work, though most of them are not qualified. The interns themselves seem rather young for such a selective and intensive program, having only completed a semester of undergrad, although maybe that’s commonplace among the hyper-competitive. There were some good dinosaur moments, but I wanted more dinosaurs in general; Brachiosaurus and Triceratops got spotlights, Tyrannosaurus had its moment, and there was a big showdown in the climax with an angry Velociraptor, but other genera had fleeting glimpses or name drops if they appeared at all. With so many dinosaurs to choose from, so many dinosaurs we know were at the park, it’s disappointing that the author settled on the highlights of the original film. And while Claire is no specialist and therefore doesn’t necessarily know how to interpret what is happening, there’s a general lack of detail that is disappointing in contrast to the rather specific world-building found in the Crichton books and Spielberg films (the latter show that depth does not need to bog down the story with exposition). So there are things that I would have preferred to be different, but nothing that ruined the reading experience.
There’s a good deal of melodrama, particularly in the last third of the book, but there’s also a lot of authentic depiction of trauma and grief in those moments as well. I’m not sure that I would have made the decision to have yet more death at this park before it even opened if I were making narrative choices here, yet it does do a lot to provide a clear character arc for Claire that extends through both of the films in which she appears. Over the course of the book, we see her go from an ambitious, bright-eyed optimist who is truly amazed by the creatures she encounters to a hard-edged, jaded young woman who sees protecting people from those same creatures as a driving purpose. It’s more complex than that; I was truly impressed with the character development, which really helped explain who Claire was and made clear why she would make the decisions that she did in Fallen Kingdom. Most surprisingly, the book does a lot to renovate Dr. Wu’s appearance; he’s driven, but his ambitions are motivated at least in part by his coping strategies for the loss of close coworkers at the first park. It’s a more effective portrait than the mad scientist of the Jurassic World films.
All in all, this isn’t a bad book by any means. It’s light and enjoyable. It’s not really what I would want out of a book in this franchise. But it does character development better than Crichton ever did. With expectations accordingly set, the average Jurassic World fan should be able to appreciate the experience.
Jurassic World: Evolution is not a perfect game, but it’s fun. You could say that about many games in the history of the franchise. Many more, however, are just plain bad (or just plain weird).
There are still game styles and narratives I’d like to see explored by video games set in this franchise, and I figured I’d throw those ideas out here.
The smallest idea I have wouldn’t be for a new game. I’d just like to see Evolution added to. It would be nice to have more dinosaurs, to have feathered theropod skins, and to have some sort of DLC expansion that finally completed the plot of corporate intrigue that the game introduces but fails to develop anywhere. I’d also love the ability to design your own island maps, so you could keep randomly generating new challenges and new parks to build on. I lost interest in the sandbox mode fairly quickly…
Who knows? Maybe some of these elements are already in development! And now that Fallen Kingdom is out, there’s no reason that Evolution can’t go on to tell its own separate and complete story.
The next idea isn’t a new game type, but a development on what came before. Telltale’s Jurassic Park: The Game came out to mixed reviews (I personally liked the story but was baffled by the changes to Gerry Harding’s character and found the focus on quick-time events infuriating and anti-cinematic), but I do think the idea of a Jurassic Park adventure game is solid. I would like to see adventure games that adapted the novels. The novels were a little meatier, with a few big mysteries to explore (in the first book alone, there were the dinosaurs on the mainland, the breeding populations and nest sites, and the cause of the Stegosaurus illnesses). They also had a series of scenes that I could easily see played out as a variety of adventure game sets or mini-games. The books were driven by mysteries and punctuated by moments of terror. A game that was more cerebral (and that largely avoided quick-time events) could be a fun way to explore the plots, characters, and themes of the original source material. Plus, by inserting players into the roles of various characters, immersion would help carry some of the novels’ weaker characterizations.
I’d also like to see a survival game set on Isla Sorna. Here too is a concept that is not truly unique to the Jurassic Park setting: the poorly received Trespasser did it in 1998, then there was the canceled Jurassic Park: Survival, and that seemed to have survived a while onward in the similarly canceled Jurassic World: Survivor. However, I’d like to see a game that offered minimal weaponry (the three I discussed above all relied on firearms pretty heavily) and that was more focused on exploring the world. Perhaps, rather than being focused on escape, the game could be about being a Sarah Harding-type researcher, there to study the dinosaurs. Unlocking codices describing dinosaur biology and behavior, perhaps recovering scattered Site B documents from old computers and file cabinets, and simply photographing the animals could all be soft objectives. In short, I’d like a game where the dinosaurs were animals and not just monsters to fear. And please, no more dinosaur survival crafting games!
Finally, I do have a more conventional, narrative-driven shooter in mind. In the wake of Fallen Kingdom, we now have dinosaurs spread across the western United States. These animals could breed, and it’s suggested that corporate and governmental interests might clone more dinosaurs across the globe. Putting yourself in the role of perhaps a small Southwestern sheriff as you attempt to defend a small town against dangerous new animals–or a member of a commando team sent to disrupt cloning facilities set up in a rogue nation–could offer some fun run-and-gun gaming. (Okay, that latter idea is basically Dino Crisis…)
None of these are truly wild departures from what’s come before. None are suggesting radical new game styles or narratives. But I hope they offer some interesting possibilities. I’d love to hear what you might want to see in a future Jurassic Park game!
For bonus points, though, allow me to suggest a sprawling open-world RPG where you are a lone wanderer, perhaps an ambassador or mechanic, making your way across the world of the Xenozoic Saga. Or, in short, make more Cadillacs and Dinosaurs!
It has been a while since I last read the Jurassic Park novels. Believe it or not, I don’t always just rehash my same old interests over and over every time a new release comes out! I didn’t read the books when Jurassic World came out. I’ve read both Jurassic Park and The Lost World a few times, but probably college was when I last revisited them. Fallen Kingdom felt like such a fresh approach to the franchise, though, and at the same time, Evolution drew so heavily from the books. So read them again I did.
My biggest disappointment is that every time I reread these books, I like them a little bit less. Crichton always had such cool ideas with every book, but then execution typically followed the same action-horror formulas. Many of the characters just feel like repeats from other books, and it’s hard not to jump from, say, Jurassic Park to Timeline to Prey without getting hit repeatedly with déjà vu (I’m sure that Crichton’s Westworld would fit right in, but I have never seen the film). And the biggest flaw of Crichton’s books is that he tends to be self-righteously preachy and philosophical. While his messages vary, they often come down to a fundamental mistrust of scientific industry. And there’s typically at least one character to take on the authorial voice.
In Jurassic Park and The Lost World, the authorial voice character has been Ian Malcolm. Unlike Jeff Goldblum’s goofy mathematician/”rock star,” book Malcolm is a never-ending speechifying machine. He goes on and on about chaos theory, and frankly, it’s hard to want Malcolm to be right when he’s so pretentious, self-absorbed, and long-winded. We’re talking pages of monologue from Malcolm, especially later in the book.
But Jurassic Park makes many odd character decisions. Grant, for instance, is a gruff, outdoorsy, manly man who disdains more academic scientists. He’s positioned as the protagonist, and he does shepherd the kids through the park like in the film and helps uncover the truths about the breeding dinosaurs and their nesting sites. But he’s not very likeable. He’s an asshole to many of the characters and makes snap decisions about people, often choosing to dislike them. Plus, he’s incredibly belligerent toward Gennaro.
Now, that might seem like a weird complaint if you haven’t read the books. But Gennaro is actually Crichton’s everyman viewpoint character here. He’s smart, even though he’s not an expert in the scientific fields and so needs to get up to speed on some points. Even while his law firm is invested in Jurassic Park, he is quite willing to close it down if it’s unsafe, and he doesn’t fall for Hammond’s bullshit. He never gets caught up in greed, and he’s not a coward (the one to flee the T-rex attack is Ed Regis, PR guy for Jurassic Park). And he accepts responsibility for his role in enabling the place, often tagging along with Muldoon to handle some of the most dangerous tasks in attempting to restore order to the park. But Muldoon and Grant remain hostile to him basically the entire time.
Then we have characters reduced to the blankest of archetypes, ready for morally acceptable dino-snacking: Hammond is a sinister industrialist who cares little about the loss of life happening in his park, Regis is a slick corporate executive who proves to be cowardly and stupid, Wu is blinded by his scientific ambition, Arnold never really understands the complex systems he’s tasked with running, and Nedry is a greedy fat slob with very little motivation for being so easily corrupted. Basically all the characters are improved in the film.
Meanwhile, Sattler is Sattler. The other characters often look at her lustfully, or are surprised that she’s a woman. But she herself is incredibly competent, a Sigourney Weaver-type action protagonist. I think even Sattler is improved on-screen, though, because she’s allowed more emotional vulnerability and human reaction than she gets in the book. Interestingly, in The Making of Jurassic Park by Don Shay and Jody Duncan, Steven Spielberg is quoted as saying that the selection of an actor for Sattler “was a tough choice.” He added:
I never thought of Laura [Dern] in the context of Jurassic Park because I saw her as kind of frail and always being pursued by circumstances and men. I never envisioned her as a tough gal, like Linda Hamilton or Sigourney Weaver. But, actually, she didn’t need to be. She wasn’t required to play that kind of character in the film. Ellie is more of a brain–a paleobotanist who loves animals and plants and is pretty much a creature of the earth. And when I got to meet Laura and spend some time with her, I found that was pretty much what she was. So it worked out nicely.
The only character I genuinely prefer in book-form is Robert Muldoon, who is depicted at first as a hyper-competent park warden with years of experience but ultimately reveals himself to be a belligerent drunk under pressure. And yet he still manages to pull off some ridiculous feats–tranquilizing the tyrannosaur and blowing up a raptor, for instance.
The Lost World ends up repeating many of the same plot points and characters. Seriously, most of the characters seem interchangeable with their Jurassic Park counterparts. The engineering professor Thorne is a gruff, physical, materialist character like Grant. Eddie Carr is a young, out-of-his-depth city kid like Ed Regis (he even has the same first name, while his last name bluntly echoes his role as mechanic); Carr, unlike Regis, is actually heroic, but he also meets a grisly fate. Dodgson returns to take on the direct role of greedy and corrupt villain that Nedry previously inhabited. Malcolm rises from the dead to be Malcolm again (his return from a very clear death in the first book echoes the return of Sherlock Holmes from death, which seems fitting given the heavy debt Crichton obviously owed to Arthur Conan Doyle’s own Lost World). Harding is the new Sattler. Kelly and Arby are the new Tim and Lex. Levine is…I don’t know who the hell Levine corresponds with, but he’s obnoxious as hell. In fact, Levine’s survival to the end and Carr’s death are supporting evidence for my theory that The Lost World was largely Crichton’s attempt to correct perceived errors in the original book–we move away from moralistic death scenes to having characters killed or surviving by random chance (even Howard King on the villain’s team really is a sympathetic guy after all and doesn’t “deserve” his horrifying death at the hands of the raptors).
I have to wonder why Crichton decided to focus on the characters he settled on. Grant’s absence is especially jarring. Book Grant escapes the Jurassic Park crisis more or less unscathed. He was quick-thinking and quick-acting. Sometimes his plans worked great, sometimes they backfired, and sometimes he survived by luck alone. But he kept persevering. He was always the scientist, even seeking out the raptor nest voluntarily when he could have stayed safely back at the control center. He was intrigued by the raptor behavior up until he was evacuated. Knowing there was another island would easily perk up the Grant of the novel and motivate him to launch another expedition.
Instead, we have Malcolm–a character Crichton had to bring back from the dead–in the main role. Film Malcolm was heavily traumatized by his experiences; book Malcolm suffered even worse and carried physical traumas for years afterward, so his willingness to look for and go to yet another island feels arbitrary. Plus, he’s now focusing on evolution and extinction events, trying to apply chaos theory to the subjects (yawn) and acting like an expert in a field he didn’t know anything about until after Jurassic Park. And then we have Levine, a sniveling, foppish nuisance, as a new paleontologist brought into the fold (who is far less likeable than Grant). Finally, Thorne takes on Grant’s physical traits and personality. So we now have three characters in Malcolm, Levine, and Thorne to represent Grant’s role as protagonist, paleontologist, and outdoorsman.
While I genuinely like Sarah Harding, I wouldn’t have minded seeing Grant and Sattler launching an expedition to discover a continued source of dinosaurs following the events of the Jurassic Park crisis. And since Harding is basically a stand-in for Sattler (young, competent, intelligent, attractive, and an expert in her field), Harding would become less necessary (although really, having more than one woman as protagonist wouldn’t be the end of the world, jeeze). And there were already dangling threads for a sequel in Jurassic Park that were never explored: we know that some animals made it into the mountains of Costa Rica and were surviving with targeted diets (and they were probably velociraptors and procompsognathids), and we know that InGen still had ample genetic materials at its main base in California.
I understand the impulse to have Dodgson return–he’d want to make good on his promises of dinosaur embryos in the first book, and he’s already an established villainous character. But his cartoonish brand of villainy, yet another evil corporate type, makes him an uninteresting character to spend time with. I liked the larger-scale InGen expedition to recover resources launched in The Lost World film–the villain wasn’t so much Peter Ludlow as it was simple corporate greed, embodied by Ludlow, yes, but existing regardless of what he did. Ludlow was just a guy trying to salvage his company; he was arrogant and greedy and too-slick, but he was just embodying the failings of an institution. He was his own person, not defined simply by greed, and he had ambition (now that I’m thinking about it, Ludlow is rather like the book version of Hammond, greedy and exploitative to a fault and lacking in empathy but not really evil).
In short, it’s like I said up top: I’m disappointed. Crichton had a lot of cool ideas, and he obviously had good bones to his stories for the film adaptations to have turned out so well, but both books fall short of greatness. They end up feeling more like pulpy sci-fi horror. And yet, ideas and scenes and dialogue keep getting mined from the books for each new installment in the franchise.
Now, what’s the point to all the above? Honestly, hell if I know. But let me know if you have anything to add, or if you disagree.
Jurassic World: Evolution is a flawed game, but it’s also an excellent addition to the Jurassic Park franchise and a lovely companion to both the original novel and the new Jurassic World films.
The concept is simple enough: it’s a park management sim, like Zoo Tycoon or Roller Coaster Tycoon (Evolution was in fact developed by Frontier Developments, which released Planet Coaster in 2016). A park management sim with dinosaurs is not exactly a new idea: Zoo Tycoon had Dinosaur Digs in 2002 and Zoo Tycoon 2 had Extinct Animals in 2007, while the Jurassic Park franchise has already had Jurassic Park III: Park Builder (GBA, 2001), Operation Genesis (Xbox, PS2, PC, 2003), and the mobile titles Jurassic Park Builder (2012) and Jurassic World: The Game (2015). Most of those were not very good–the mobile games are tedious time-wasters, and while I’ve never played the GBA park builder, its reviews were not positive. But Operation Genesis proved the obvious, that a film franchise about building a dinosaur park that falls to chaos would be a good fit for a game about managing the dinosaur park in the face of system failures.
I previously wrote about how Evolution looks like a spiritual successor to Operation Genesis. Having now played Evolution for more than sixty hours, I feel completely validated in that impression. The overall game involves developing dinosaur parks across six islands; there’s an overarching campaign tied loosely together with missions across Las Cinco Muertes, with advancement from island to island dependent upon reaching an adequate park rating across the archipelago, and Isla Nublar also appears as a sandbox park with unlimited cash at your disposal and all buildings, upgrades, and dinosaurs available that you have unlocked across the other islands.
Management of the parks involves producing operations facilities (ranger units to feed and medicate the dinosaurs, Asset Containment Units or ACUs to tranquilize and transport them, storm towers to predict and protect against storm damage, and a variety of support buildings like expedition centers to launch new digs and fossil centers to use the results of those digs to unlock new dinosaurs and research centers to unlock new upgrades), guest facilities (some used to satisfy guests, some used to provide adequate guest capacity, and some to keep guests safe), enclosures (including fencing, guest viewing structures, and feeders), and power infrastructure (to keep all the above humming along). Successful park management will quickly become micromanagement; while you can choose between manually handling the day-to-day tasks of the rangers and ACU teams or simply delegating the tasks to them, you will never have the ability to unlock any sort of automatic designation of assignments, so that even ensuring the regular restocking of feeders must be directly assigned by you. A ranger will drive by a sick dinosaur or empty feeder and take no action without your direct input. And there were the occasional path-finding issues (though not too frequent) that added a little extra inconvenience.
The micromanagement might seem tedious, and it can be, but it adds to the sense of chaos when things start to fall apart–and they will. Tropical storms, sabotage, dinosaur disease epidemics, and escape attempts blossom into a thousand concerns all at once, and even more red alerts flash at the top of your screen as feeders run out or dinosaurs get loose in the midst of it all. Small problems and large problems alike can seem overwhelming, and sometimes you’ll be racing about, switching between manual control and delegation, as you attempt to triage the situation and respond to appropriately prioritized tasks. This game succeeds in not just being a park management sim, but in accurately portraying the loss of control amid inevitable chaos that the Jurassic Park franchise is all about! That element is masterful, though reflective of a minority of the time spent in the game.
Because failure is inevitable, the game is actually rather forgiving. It is certainly challenging, but it’s not really difficult. While you have the option to reset a park if things get too out of control, I never had to use the tool. Still, in the midst of a spiraling set of problems, the game can be tense–basically always in a fun way. Big problems call for big problem-solving and quick thinking! Outside of the moments of crisis, though, success is largely a matter of time and responsiveness. Keep the animals healthy and the guests at least somewhat satisfied, and your park rating (and profits) will rise. Even if cash is tight, having a single dinosaur and a fast food joint can be enough to get an early-stage park on the path to success.
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.
Even the unlocking of database entries, that wild goose chase of achievement hunting, was largely accomplished by accident, with me just stumbling across new entries without any effort or intent. By the end, after lucking into everything else, I was able to determine (thanks to the alphabetical ordering) that I was only missing two characters, Paul Kirby and Simon Masrani. I couldn’t figure out what to do, though I suspected that Paul might have something to do with the Ceratosaurus or Spinosaurus, while Masrani might have something to do with pteranodons (not in the game) or the Indominus. I looked that up–turned out that it involved letting guests get eaten by certain types of dinosaurs! So the biggest challenge was simply letting myself fail more than I had so far (though I’d be lying if I denied having many, many, many dinosaur escapes and resultant guest deaths).
Perhaps my favorite part of the game was just driving around in the ranger vehicle. Doing this results in a lot of random fun, like catching air over a slight rise or fishtailing around a tight turn or sending guests fleeing from my path (the game causes them to always dodge, so I grew more reckless as I stopped worrying about vehicular manslaughter). Even the everyday tasks can be fun: every attempt to medicate a dinosaur is an accuracy contest against surprisingly quick moving targets. There’s a lot to enjoy in the little things. And the dinosaurs are just absolutely beautiful. There was obviously a lot of investment in the dinosaur appearances, animations, sounds, and behaviors (they often act like convincing animals in enclosures). There are so many of them, too! Literally dozens of species, and even more after the free Jurassic World: Evolution update and if you pay the little extra for the Deluxe DLC (the total reaches 48 dinosaur species with all the above).
I hope there will be more content releases. Notably absent at this point is the Compsognathus from the films. But it would also be cool to have the additional dinosaurs from the books that didn’t make the final cut, including Euoplocephalus, Hypsilophodon, Microceratus, Othnielia, and Procompsognathus. Most of the dinosaurs from this group match the compys from the films in being small to mid-size, so maybe there was a sizing issue. Or maybe we’ll see some later on. The Euplocephalus, however, was somewhat bizarre to exclude, given that ankylosaurs including Ankylosaurus, Crichtonsaurus, Nodosaurus, and Polacanthus made it (though I do appreciate the nod with Crichtonsaurus to the late Michael Crichton, who after all is the reason Jurassic Park exists). The cearadactyls from the first book, and the pteranodons and dimorphodons and mososaur from the films, are completely absent. Especially given how significant the pteranodons and mosasaur have been to the Jurassic World films, I wouldn’t be surprised if we get flying and marine reptile updates later on.
I also hope that future updates might allow for the possibility that the dinosaurs will start breeding. On Isla Sorna, a fun surprise is that you start the park with a tightly guarded guest center area that opens up into vast rugged forests populated by herds of Stegosaurus and a Spinosaurus. The Spinosaurus preys on the stegosaurs, and the stegosaurs live off the foliage (actually concealed feed dispensers). But as soon as this park is accessed, I knew that their survival was numbered. The game does not currently allow for breeding, and so these animals would all eventually die out. It would be cool to truly be able to set up a “kind of biological preserve.” (Though the lack of breeding drives home the irony of the InGen Science Division’s efforts to set up working ecosystems on Isla Sorna in the game–none of them are sustainable without a heavy human hand). Similarly, it would be nice if the herbivores could live off the local plant life instead of relying exclusively on feeders.
There’s a camera mode, where you can make extra cash snapping pictures of the dinosaurs. I was disappointed to realize rather late on that the photos you take aren’t automatically saved (or if they are, I haven’t found where they’re saved to yet, and there doesn’t seem to be an obvious way to review them in-game). I did use the camera tool even after this realization to set up shots that would be worth screen-capping, images that were up-close to the animals, but I found that it could be just about as good to take screen-captures even outside of the photo mode. Aerial shots of big dinosaur herds were sometimes more impressive, and I could easily capture scenic views of the island landscapes (even the islands themselves are gorgeous). The graphically weak elements are the buildings, which simply look mundane and maybe a tad cartoonish, and the guests, who look like plastic mini-figures. But my eyes were on the dinosaurs most of the time.
At first I was terrified to go into carnivore enclosures–they’ll roar and charge at you. But the dinosaurs can’t hurt you, and you can’t hurt them. The worst is that they’ll knock your car around a bit, which is fun in its own way. So once I discovered that, carnivores became some of my favorite photo subjects–especially the fearsome Tyrannosaurus rex.
The first time a Tyrannosaurus bounded out of containment and into the enclosure was magic. And I never got tired of hearing its roar echoing across whatever park I put it on. There were other moments that were special, like with the first dinosaur you release into the park ever, or when my childhood favorite Triceratops was introduced, but the tyrannosaur was the most remarkable. Film-accurate, indeed.
There is a plot, but it doesn’t amount to anything. There’s a lot of suspicion and mistrust between the different divisions. The PR executive who oversees you is suspicious of your intentions and worried that you’ll outshine him. You carry out missions with the Science, Entertainment, and Security divisions to curry favor with them. The Science Division is focused on research and developing new animals, blinding them to other concerns. The Entertainment Division wants to make money and get guests into the park, and they’ll do risky and dumb things to make that money. The Security Division is willing to bleed money from the park to ensure that security protocols are sufficient, but they’re also in bed with Dr. Wu’s research into hybridization and militarization of the dinosaurs, resulting in some Bad Things happening. In addition to the missions, you’ll also get more randomized contracts. The division heads get voice overs, helping develop their personalities. We also have Jeff Goldblum back as Ian Malcolm, Bryce Dallace Howard as Claire Dearing, BD Wong as Henry Wu, and (for some reason) a guy who kind of sounds like Chris Pratt as Owen Grady. While Wu makes sense, it’s hard to understand why Dr. Malcolm, Claire, or Owen would be involved with the park again. You just have to accept that they have their reasons (which are never articulated but seem to be based around mistrust in InGen and the hope that their involvement can moderate the company). It’s obviously set in an alternate universe that appears to split off after the events of Jurassic World; there’s no doubt of that after the events detailed in Fallen Kingdom.
Over the course of the game, you’ll get some offers that are frankly unethical, like pitting dinosaurs against each other. At first, I refused. But as some missions (required for full game completion and technology unlocks) required some of that behavior, my moral guidelines loosened and I began to indulge in some frankly Evil Corporate Bullshit. Dr. Malcolm and Claire seemed to become increasingly distressed with my decision-making, and Wu and the PR exec became more envious and distrustful. And all the while, there was obviously secret research being conducted behind the scenes. But it never really built anywhere, even in the “memos” (actually transcripts would be more accurate) that you unlock as you (at least briefly) max out reputation with each division on an island. I think that video game stories can be really powerful when they lead a player to make decisions that are part of that story-telling, that feed into the narrative’s themes. This game does that. But there’s not really any payoff. Malcolm talks a lot about chaos, and Claire and Owen worry about the condition of the animals, and Wu does his Bond villain thing, but there’s no conclusion! We just end with a series of successful parks, all the corporate mistrust and secret dealings still simmering in the background and not fully revealed. The credits roll a couple of times–I believe it was once with completion of all missions and once with five-star ratings across all islands. Then you just hop back in and get back to work, grinding out whatever few achievements you may have left and building up your parks’ reputations. For most of the game, I thought that Evolution might miraculously be the best sequel in the franchise, a worthy successor to the original film and an interesting sibling to Jurassic World with its corporate and personal greed, militarization of technology, and rampant discussion and demonstration of chaos theory in action. But since the story goes nowhere, and there are no real consequences for the player’s, well, playing along (other than massive success), it’s ultimately disappointing.
I was also somewhat disappointed with the modification options for the dinosaurs. Over the course of the game, you assign fossil digs to collect genetic material that can further refine the genetic code for the dinosaurs. Separate research projects can provide new color patterns or improvements like extended lifespan, disease resistance, better defense, or increased attack power. While we get the Indominus and the Indoraptor hybrids, there’s no real way to make new custom animals outside of the slight genetic tweaking from the research projects. Still, while customization is limited, I loved the cosmetic changes available, especially with the Rainforest and Vivid palettes that brought bright blues and purples to my “assets.” Some of these changes seemed to accommodate the different appearances of the dinosaurs over different films.
Unfortunately, the search for a purer genetic code for the dinosaurs and the existence of cosmetic alterations makes me even more disappointed that the dinosaurs retain such an outdated appearance. I recognize that an established franchise doesn’t want to remake its dinosaurs, especially where there is still speculation about appearance, but its Velociraptor and Dilophosaurus, for instance, have always been inaccurate, and Jurassic World made explicit Dr. Wu’s contentions from the first book that none of the animals in Jurassic Park were accurate. Where a game specifically provides for “improving” the genetic code of the animals, why couldn’t we get to the point that a Velociraptor is small and feathered? Or that the Dilophosaurus is larger and frill-less?
The worst part for me was the inclusion of Deinonychus, yet another dromaeosaur, and instead of feathering it, giving it a couple of leathery ridges along head and tail! The game’s database entry for Deinonychus even references its link to research that would ultimately connect birds with dinosaurs.
But more generally, why not allow for dinosaurs with slightly updated appearances to better reflect current paleontological ideas? These dinosaurs could be unlocks at 100% genome completion, and there’d be no requirement that anyone produce these more accurate dinosaurs over their historic depictions. We could even have this decrease a dinosaur’s rating, with guests expecting to see the massive and leathery Velociraptor, for instance.
Not that this complaint stopped me from enjoying the hell out of the game. It’s one of the few games I’ve ever completed 100%, with all unlocks and all missions completed and ratings maxed and every achievement reached. It’s also probably the biggest game that I’ve ever done this with.
Sadly, I’m probably at the point where I’m done with the game, at least for now. I might hop in occasionally to snap some dinosaur pictures or to review the surprisingly vast database of Jurassic Park lore contained within. If there’s new content out, I expect to be back for that. But there’s nothing compelling me to just manage a fully established chain of parks. It’s mundane, the challenge is removed, and now it’s just a matter of deploying the appropriate team to fulfill the appropriate task. There’s nothing to keep me going, and there’s no reason to replay.
Still, this was a game that was worth its cost. I had a lot of fun and will have some good memories. If you love Jurassic Park and can at least tolerate management simulator games, I would highly recommend this title.