The sequel novel to Jurassic fan Ethan Pettus’ first novel ‘Primitive War‘ is available now! The novel is titled ‘Primitive War II – Animus Infernal’.
In case you missed the first novel in the series, ‘Primitive War’ is set at the height of the Vietnam War and tells the story of a search and rescue team known as Vulture Squad. The team is sent into an isolated jungle valley to uncover the fate of a missing platoon. As they hunt through the primordial depths of the valley, they discover ancient horrors that not only threaten to unravel their minds, but to end their lives as well.
The implosion of a particle accelerator in Cold War era Angola begins the story of ‘Primitive War II – Animus Infernal’. Two Angolan bounty hunters must lead an elite dinosaur-tracking team called Stalker Force to the heart of the implosion in order to contain a prehistoric outbreak. As the men devolve in their struggle to survive an inhospitable lost world, the landscape of the earth as we know it is changed forever by… the Primitive War.
This sequel novel presents an enticing new story for fans of dinosaurs, time travel, and historical fiction. The first ‘Primitive War’ novel was both thrilling and terrifying, combining ancient horrors with modern combat drama. ‘Primitive War – Animus Infernal’ takes those elements to the next level, and is an awesome new dinosaur story that Jurassic fans will love.
Also available now is the episodic short story anthology ‘Primitive War Dispatches – The Hunting of Stalker Force’, which serves as a bridge between the two novels, along with ‘The Primitive War Bestiary’, which is a field guide illustrated by Bruno Hernandez. The audiobook version of ‘Primitive War’, recorded by Wayne June, is also being released in January 2021!
In even more exciting future release news, a brand new graphic novel adaptation of ‘Primitive War’ is currently in the works! This will be an excellent way for fans to visualize the novel’s vicious carnivores and thrilling action sequences like never before. The adaptation’s stunning colors and frames are being brought to life by writer Ethan Pettus, illustrator Babisu Kourtis, colorist Maja Opacic, and letterer Taylor Esposito. The five-issue first volume of the adaptation is currently being drafted simultaneously with a KickStarter campaign and conversations with publishers.
Thanks to the generosity of author Ethan Pettus, Jurassic Outpost is able to showcase exclusive images and pages from the upcoming graphic novel. Check them out below!
The people of Singapore will be getting a fun surprise this November as Universal brings a Jurassic World themed restaurant to ION Sky, a popular tourist destination in the capital city. Located 56 floors up in the ION Orchard shopping mall, the dino-centered pop-up will serve premium menu items amongst the backdrop of the Singapore city skyline.
The new diner will feature a variety of Jurassic themed menu offerings, including a Jurassic World Burger, Volcano Curry, and Nasi Lemak. Keep an eye out for some fancy dessert choices too, like Geologic Parfaits and Lava Cookies.
The restaurant also plans to offer more festive themed dishes as we approach the Christmas season. Limited edition merchandise will also be available for purchase, including LEGO sets, keychains, and Snap Squad figures.
The pop-up is a collaboration between Universal Brand Development, 1-Group, ION Orchard, and PARCO – a licensee of the Jurassic World Café. The café opens its doors on November 6, 2020 and will serve hungry customers until January 3, 2021.
It will be open daily from 11am to 10pm, and reservations are highly encouraged. Anybody feeling like taking a trip to Singapore? Gives us your best Jurassic themed food ideas in the comments below!
And while your mouth is watering at the photos above, be sure to also check out Jurassic Park: Chronicle, an Italian short film based on the Jurassic Park saga!
This short is a prequel to the first movie and “blends adventure with mystery, telling the story of Garrison Eriksen, a journalist who’s heard rumors about suspicious activities occurring on an island off the coast of Costa Rica. He arrives at Isla Nublar to investigate and soon regrets it.”
The animated short film is available to watch above, and you can find more information at the official website and on the team’s Facebook page! Let us know in the comments section down below what you think of Jurassic Park: Chronicle!
It was a digital landscape that sometimes we think time wishes it could forget. Before Facebook or Twitter, Instagram or Tumblr, even before Myspace. It was an age when the internet wasn’t quite in its infancy, but more of an awkward transitional phase, as everyday it seemed new sites, forums and chat rooms came and went.
Today the graveyards of Archive.org are littered with the remnants of this now bygone era and provide a fascinating insight into the Jurassic Park fandom. Full of forgotten fanfics, early rumors of a “Jurassic Park 4” and maybe if you’re lucky some old screencaps and fan art, there is one page in particular that stands out. A place many once heard of and few probably remember, it was only recently that it was rediscovered.
Almost lost forever and forgotten by most, Jurassic Park: England (or “JP:UK” as it was also known) was a website chronicling a labor of love undertaken by British fan Andy Simpson and his quest to create a patch of prehistoric paradise in his own garden. Seemingly inspired by “Jurassic Park: The Ride” and then then recent Jurassic Park III, you can guarantee no expense was spared.
With some reports estimating that Andy spent about £4,000, the attraction included a 20ft. river safari through primeval overgrowth, smoky banks and of course a 15ft. recreation of the infamous “King Kong gates” that loomed over guests in the movie. All of this ending in a home theater where guests could join its creator in a private screening of his favorite films. “I’ve seen Jurassic Park over 300 times!” Simpson told reporters back in 2001. “I watched the films over and over ’cause each time I’d notice new things to re-create.” he also commented.
The attraction itself was by no means easy to build. According to Andy, besides the two years and countless hours needed to construct the massive attraction, it was also required to meet certain standards from the local council in order to entertain guests. Luckily for him however, “Jurassic Park: England” came just short of the required dimensions for some serious urban planning. As, if that wasn’t enough to consider, Simpson had to reach out to Steven Speilberg and Universal themselves for their blessing to use the Jurassic Park name and iconography. With little in his favor and probably as much chance as the cast of Jurassic Park had escaping the jaws of a hungry t-rex, Universal and Speilberg’s company actually reached out to the teenage fan, providing him with everything he needed to properly represent what they created.
Unlike the fictional park, which was only previewed to six selected guests, “Jurassic Park: England” opened to 40 and was met with critical acclaim for such a humble attraction. People gasped with delight as they were towed through the torch lit river and amazed as they came face to face with simulated dangers waiting along the banks. Simpson went on to be featured in countless news outlets including radio, tv, magazines and newspapers. In addition his site showcasing the ride briefly went viral with thanks from an avid community of fans.
What happened to “JP:UK?” Well truth be told, nobody really knows. In a time before social media as we know it today, it was easy for it all to fall into obscurity. The last time anyone heard from Simpson was in 2008 when he last updated his webpage. Perhaps somewhere in a British suburb, in an overgrown garden adorned with plastic skulls are the ancient ruins of this once proud attraction. A real lost world, waiting to be rediscovered, to be explored and maybe even entertain guests once again.
It’s hard to think that anything this huge could be forgotten, but if it’s one thing dinosaurs like the ones in Jurassic Park have to teach us, it’s this: Even the biggest things can be lost to time and reclaimed by the Earth. That’s why it’s important that we make our mark and tell the world who we are. The dreamers, the innovators, the people who do the impossible, keep pushing forward, shine bright and leave your legacy.
This article was written with love and with cooperation from “Big Razzie” and “Jurassic Outpost”.
A new Kickstarter has launched for an upcoming dinosaur survival horror game known as Deathground. The game is described as a solo and co-op survival horror game that throws players into a desperate battle for survival against deadly AI dinosaurs.
The Jurassic Park franchise has unfortunately been a stranger to survival horror video games, with efforts in the past often being cancelled before completion. Jurassic Park: Survival was a cancelled Playstation 2 video game that was third person and similar to Tomb Raider in gameplay style. It was set on a mysterious third island and for its time appeared to be the horror survival game fans had wanted.
In more recent years, Universal Pictures had trademarked Jurassic World: Survivor, which was known to be an open world third or first person survival game taking place on Isla Nublar. It was being developed by Cryptic Studios but ceased development at some point in 2017.
This year, Universal Pictures trademarked Jurassic World: Aftermath, which we believe could be the same game, perhaps under a new developer. So far the game has not been officially discussed.
And that brings us to now. Five movies into the franchise and not a single, modern (we can’t forget Trespasser) survival adventure game. Nothing with a similar style to The Last of Us, or Alien: Isolation, which are arguably two of the most defining in that genre.
Based on the trailer, Deathground promises to be the survival game Jurassic fans have been looking for, mixing deep jungles with InGen looking facilities, it does appear to be heavily Jurassic Park inspired. Check out the video below:
The game already looks very promising and has strong Dino Crisis vibes, and it’s hard to argue with the beautiful imagery that it isn’t Jurassic inspired.
As huge dinosaur fanatics and experienced game developers, we’re building a game that we’re extremely passionate about and believe this is a game people would love to play. For years, we’ve spotted all types of requests and comments across the internet for this game type. We’ve heard your calls and this is our answer! We’re a collective of experienced game development professionals and specialists in Unreal Engine. Beyond this, we have a wide range of talented collaborators we frequently work with who can help us create something incredible. So we feel we’re in a great position to develop a game like this and we’ve come to Kickstarter for your support on this journey!
The game aims to fully immerse you in its world, using dynamic weather changes and unpredictable AI dinosaurs to create a suspenseful and challenging experience for the player.
They are using Unreal Engine 4 to create beautiful environments that scream Isla Nublar/Isla Sorna, and currently there are four main dinosaurs in the game, with more to be added.
The team behind the game are looking for £80,000, and with their experience of 10 plus years working in the industry, they believe reaching that figure will allow them to get the game into early access.
Jaw Drop Games have worked on a number of AAA games, including Alien Isolation, Lego Star Wars, Dirt 5, and more. They share a lot of experience in various forms of gameplay which, when put together, will help make this ‘independent’ game feel as real as it can.
With Universal showing no signs of filling this gap in the video game market, Deathground is worth looking at, and if you’re impressed with what you see then please consider donating to this game. Even a small donation goes a long way, and personally I’m excited to see what the team can really do once they reach their Kickstarter goal.
The campaign ends on August 7 and there are many rewards that come with your pledge, so be sure to go check it out and if you like what you see, donate what you can!
Let us know what you think of this game, and what Jurassic Park game you’d like to see in the comments section below!
Jurassic Park’s groundbreaking special effects are often the topic of conversation when the movie is discussed. So often in fact, that sometimes it can overshadow many other elements of the production that were fundamental in their own way, to creating the movie we know and love.
The production of Jurassic Park began with an adaptation of Michael Crichton’s novel, and those involved with the production considered many different ideas and concepts before landing on the final screenplay. This exploratory phase of development and pre-production has been skimmed over in the movie’s official ‘behind the scenes’ documentaries and books…
Until now. Jurassic Time have launched a new project, one to showcase all of the myriad of ideas that could have been realised if they survived the development stage of Jurassic Park. Jurassic Memoirs dives into these un-seen concepts, sometimes with the aid of personal recollections from those involved with the production.
The first release, Michael Crichton’s Adaptation of Jurassic Park, is a 5-part audio analysis series that explores the variations in Crichton’s own screenplay drafts, and the first part is available to listen to now:
And to follow the above, Jurassic Time will then release Rick Carter’s Adaptation of Jurassic Park, which will be an audio drama with visuals.
Jurassic Time is known for it’s audiobook-style memoir of John Parker Hammond, featuring audio recordings of Richard Attenborough extracted from the video game Trespasser. The audio recordings unveil details about InGen and the islands, which Jurassic Time wanted to preserve. The ‘Definitive Edition’ of that is available in audio, video and book programs.
But aside from those audio recordings, founder of Jurassic Time Derrick Davis has also unveiled never-before-seen concept art and storyboards from Jurassic Park which shed light on ‘The Many Deaths of John Hammond‘, this image below was recently uncovered to help illustrate one of the concepts:
The Jurassic Memoirs website also includes a number of interviews with key people associated with the franchise, including John Bell (Art Director), John Gurche (Concept Artist), Gary Goddard (creator of Jurassic Park: The Ride), and Austin Grossman – the writer of Trespasser.
The website really is filled with a heap of resources and content to further your love for the original movie, so be sure to go check it out, and follow Jurassic Time’s Facebook and Twitter pages for more!
Are you looking forward to tonight’s ‘Watch from Home’ party of Jurassic Park, hosted by Joseph Mazzello? While you know him as Tim Murphy from Jurassic Park, his career has been incredibly diverse, with roles in films like The Social Network, and most recently starring as John Deacon in Bohemian Rhapsody.
We were lucky enough to chat with Joe about all things Jurassic Park, Jurassic World, and dinosaur. We cover a variety of subjects, such as runaway raptors, deleted scenes, and where his character may be today.
Tonight’s watch party starts at 8pm EST, and can be watched in the embeded video above once live. Until then, be sure to read our interview below!
You have an upcoming Jurassic Park ‘watch from home’ with IGN, can you tell us a little bit more about that?
JM: I was approached by Universal first, and I really jumped at the chance! The last time I saw it was in 3D in theatres -a bunch of my friends made me go watch myself, and have their 3D glasses on and look at the screen and look at me back and forth like that for 2 and half hours. That was a chance to really think about what a great movie it was and how it still holds up today. You know I would hold it up against any action movie, any monster movie, really anything. I just think the visual effects hold up really well, the story is beautiful. Spielberg the way he was an artist with every shot, every single one, and you still feel it to this day- the care he took with everything. So any chance that I get to kinda come back to the fans a little bit. If there’s one constant in my entire life, it is guys around my age telling me that they went and saw Jurassic Park 4, 5, 6, or 7 times in theatres and telling me how much they identified with me. They wanted to be me when they were growing up. Stuff like that warms my heart, knowing that I could be apart of something that was so special in people’s lives. To be able to do it for as many people as possible while we’re all at home, we’re all trying to deal with these strange and heartbreaking events together is a great escape for us. Its a way for us to come together and enjoy a great film and impart my insight about it and great memories, and I can wait to do it.
I’ve grown up with Jurassic Park, I’m too young to have seen the original in theaters, but I grew up with it on VHS and it was always a really big part of my life, especially with dinosaurs because ultimately it guided me to go to school for paleontology — though I eventually shifted over to film. But Jurassic Park has been kind of a constant in my life, so outside of Jurassic Park, do you have a continued relationship with dinosaurs, going to the museum or anything along those lines?
JM: Well it’s funny, I have a five year old nephew now who is of course obsessed with dinosaurs. So I’ve been waiting for all this to be over so I can take him to the Natural History Museum in New York and kind of spur his excitement about this thing that was such a big part of my childhood. I think that I’m reliving a lot of it because of him, it’s probably close association with dinosaurs themselves. Jurassic Park of course I live everyday, but dinosaurs, it’s fun to see how excited kids can get about them.
Outside of the Jurassic Park films, do you have a favorite dinosaur that you like that wasn’t a part of the films?
JM: Oh man, that’s tricky looking at Jurassic Park ,and with all the sequels, you see a much bigger variety than you see in the first film. Even like the ‘pterodactyls’… When you saw them in some of the sequels, like in Jurassic World, I thought that was pretty awesome.
So have you kept up with the sequels then?
JM: I have yeah, absolutely! I usually don’t go see them in theaters and then once they kinda…you know I get recognized a lot from the original film. So I try to see them a little more in private now. But yeah, I watched them.
So here’s a question, and its probably a bit of an oddball one but it might the type of thing you would get from a jurassic park fan site. Over the years, Jurassic Park 3 and Jurassic World, had a very long development with many different stories. Was there ever a time that you were potentially going to be involved with Jurassic Park 3 or Jurassic Park 4.
JM: You know, I don’t know if I was. It was probably something that was discussed internally. No one at the time reached out to me about those two films in particular. Obviously, The Lost World, Steven called right away and kinda have me and Arianna come in there, and advance the ball and kind of away we go with the film. And even that was so much fun. But no, in terms of Jurassic World, but if they did, I wasn’t privy to it.
Do you think Tim would have visited Jurassic World when it opened? Do you think that’s something his character would like to do?
JM: My goodness, its funny because I feel there’s still so much character and you could go so many different ways with it. You could go the way it was a traumatizing event and his love for dinosaurs kind of faded – or became a fear instead of a love. Or you could do that it was something more, and he’s a average kid and being the grandson of John Hammond and being the heir to these things that he might want to get involved. But being at the park as a spectator, we could go either way with that, but either way it would be interesting.
It would be interesting to see his character’s perspective. Its funny, there was a comic book series released called Jurassic Park Redemption that featured an adult Tim and he kind of started his own little park, and his rules were no carnivore’s this time and lets do it right, and of course the scientists didn’t listen and things went astray. It would be one of those things that fans have wanted to see where Tim’s role would go. Tim and Lex have a legacy with Hammond and they probably still fit into the puzzle somewhere.
JM: I hope one day that’s something that gets answered. There is so much you can do with these characters and its such a phenomenal franchise that has grown and now been beloved across generations. It’s still a character that is near and dear to my heart and there is so much you can do with him going forward.
Now with Jurassic Park, I’m sure you get asked this a lot, what’s your favorite filming story.
JM: The one that stood out to me, there’s obviously a couple, the Hurricane Inniki, which at the time was the biggest hurricane to hit the US. The fact that was going to be happening, and on the last day of shooting [before halting for the hurricane] we wake up in the morning and they say we’re going to evacuate — but then Steven comes in and says ‘no, we’re going to hangout here, let it pass over us’. We ended up having the entire crew in the ballroom together like it was camp, and the craft services and caterers had a bunch of food for us, they brought in all the lawn chairs from the pool and we all just hung out as this hurricane was coming in. And Steven, because he was so passionate about what he does, and he’s such a perfectionist and has a love for film, his emotion behind this was “I’ve got to go out there and film this thing as it’s approaching, and maybe use it for the movie”. I guess having that kind of personality at the helm, it made me love acting and potentially directing which I ended up doing, only grew. It was something I found so inspiring. It was such a wild and crazy time thinking about how my mom and brother and sister were at home – there were no cell phones and all the phone lines were down so they didn’t know what happened to us. Such a wild time in our lives.
Onset though, a story I tell a bunch that I’m sure you guys know, but on my birthday, we were doing the kitchen scene and I’m supposed to be running to the freezer. I’ve got my limp going and I’m running to the freezer, and the Raptor is supposed to take a right and I’m supposed to take a left. Well the raptor was on wheels and being pushed since it was such a fast shot. The guys lost control of it and it ended up going left with me, and I turned around and its claw hit me in the head. I got knocked down on the floor! Steven came running over to see if I was okay. I was a little bit dizzy but I was alright. And Steven said “well this is as good a time as any, ready everybody?” and he starts singing happy birthday! I had Happy birthday sung to me by the entire crew of Jurassic Park, which was such a wild thing. And after that Steven actually asked me if we could film a little bit more, but at that point I was a little bit out of it. So he said “okay I think we got it, we got it”.
That’s a testament to working with practical animatronic dinosaurs I suppose – they really do make it real, on and off screen.
JM: Absolutely. It was funny too because it sort of played out the way it does in the movie where you’re waiting to see the dinosaurs and don’t really see them. Because first we started shooting in Hawaii, the first things we did mostly were CGI stuff. So it was like the Gallimimus around us that were not there. Then the T. rex coming out and eating one of them, that was just someone holding a big piece of wood that was like two stories high with a Tyrannosaur head made of cardboard on top of it, and guys moving it up and down. And then when we ultimately got to LA and started shooting in the studios we started working with dinosaurs every single day, and at last the Trex. It became so unbelievable how massive these machines were, and Steven would sometimes call me out of school on set, and show me them because he knew I was so interested and he’s got that childhood imagination and still has it. So he always wanted to show me these incredible dinosaurs they were building. Every day on set was wonderful. They were the best days possible, and even the worst day was still better than bad days I had on any other set.
It seems like for everyone involved in the movie, the production was something special and the movie itself with the visual effects, with what Stan Winston Studios did with the animatronics, what ILM did with the CG animals, what really is revolutionary on so many fronts, I think on top of the wonderful story, the great directing, the great acting, its one of the many reason it has held up and is so near and dear to so many people’s hearts.
JM: I agree. Like I said, after Jurassic Park because the CGI was so brilliant, movies started leaning on CGI too much and that continues to this day where a lot of films look like cartoons. As good as CGI often is, you still know when you can actually reach out and touch something. There’s something to be said, even the puppeteering back in the day, even if they looked a little wonky, you still know it was there. I think that’s also what helps make the originals so iconic. And the other thing is, it’s really a small story if you think about it. Like what is the movie Jurassic Park really about? Yes it’s about dinosaurs, it’s about monsters, it’s about the chase, it’s about all of that. But it’s really about very few people stuck in a small place, and this guy who doesn’t want to have children who is forced to take care of two of them in a dire situation, and learns to love them. That at its core is so Spielberg. It’s a story about a father, a family, a member that pushes against it but ultimately finding that redemption, and finding that love. I just think that when a story can play out on the small personal level, and play out on a grand scale, when those things come together you can tell it’s a classic and that’s what Jurassic Park is.
We talk about it a lot, the sense of intimacy across the board in the original Jurassic Park is what makes it so relatable on a character level, makes the story so engaging, which ultimately makes the action so believable. There’s a certain tactile sense to it that makes the story really resonate, and the things that play out visually really anchor to reality. Like you said with CG, one of the things about shooting practical is that practical has limitations and imperfections like the real world has limitations and imperfections.
And sometimes I see CG, beautiful and incredible work, but it almost starts to break the sense of believability when everything is so beautiful, so incredible. The sunsets are so perfect, the mountain range so ideally placed that, while it looks photoreal but you as an audience member know its not real, and the illusion breaks. It’s interesting how Jurassic Park, being out there on location as much, embracing these ‘limitations’ made it feel all the more genuine.
JM: Right and thats not to say that brilliant, brilliant films haven’t been made using CGI almost completely but I think that there’s still that feeling you want to have something tangible there to hold onto as the audience. Something that you know is there, something that is real that you get invested in. Because when the more you can make people feel actual danger, the more invested you’re going to get, the more you are going to feel the plight of those characters.
Absolutely. You talked about the Raptor in the kitchen and how it hit you but what do you think has happened to that Raptor that got locked in the freezer. Where do you think that Raptor is today?
JM: Well it probably ate a lot of frozen meatballs. So it did okay, for a little while anyway. But who knows, maybe one day there will be a sequel in the works about the frozen raptor.
The frozen raptor being thawed out. On its revenge spree.
JM: Exactly. I think it’s perfect. Who knows what sub-zero temperatures do to dinosaurs. We’re about to find out!
Exactly, but we’ll probably have to wait for Jurassic Park 27 on the moon. Jurassic Moon.
Ok, so I imagine you’ve been asked this before, but when you’re in the Ford Explorer tour vehicle in Jurassic Park, the T. rex pushes its head down through the viewing dome — I guess when the window is on top of you and Arrianna Richards, a part of the window had broken off? Which was not supposed to happen.
JM: That’s correct.
Was that a scarier moment when that happened?
JM: You know, in real life, these are really heavy machines that are being handled by people in a remote way. And so there was inherent danger just even if they were big blocks, the fact that they were being controlled and brought towards you. And it was supposed to hit the plexiglass, it was supposed to come down. But it was not supposed to come down with that kind of force that it would actually come down that far, and actually break the plexiglass in half. Actually, you can see it in the movie that there’s a quick shot of the Trex with a missing tooth in that moment because the tooth fell out when it hit the glass, and they tried for like half an hour to get it back in and it wasn’t sticking, so we just said screw it we’ll just do it without it. So that’s a good little thing to watch out for, not an Easter egg. But it’s something funny to watch out for if you can pause it.
Another question a lot of people had, are there any notable deleted scenes that your character was involved in?
JM: Oh boy, I don’t think that’s a question I’ve ever been asked. I don’t think there was anything that I was in, a scene, that was cut. I’m sure in the original script there were things that were cut or moved around. There were certain shots I remember that were cut out. There was one in particular where when the self driving vehicles were on the track, we were supposed to go over this land bridge – a real land bridge in Hawaii – that had no guards on either side of it, they were supposed to have us go over it but we were like “no way”. So they have some doubles in the car of us, and have it go over the bridge for us. But that was something that was cut, I’m not sure why. They were little shots like that, but I can’t think of any scene in particular.
I believe one of the scenes people were questioning was I think in the children’s novelization, it talks about a scene where Grant starts talking about the Tyrannosaurus after the attack, while Lex and Tim are in the storm drain, but he realizes they are too traumatized to continue the conversation. So a lot of people wondered if that was filmed, or was that just part of the novelization from the script.
JM: That was not something that I remember filming. I can say with 99.9% certainty that we did not film it.
Okay! Another question we got was what was the hair and makeup process for making your electrocuted look.
JM: Ha! I can’t totally remember but it was my hair. Boy I wish I could remember. Monty Hall, I think he did the make up. But I can’t totally remember but it didn’t take any longer than usual. Pretty much a lot of hairspray to make it stand up. Actually Spielberg always had an issue with me coming to the set, my hair was always too neat in his opinion. And so whenever I would come on set, and no matter what, he would come over to me and rub his fingers through my hair, and just jostle it around a little just to make sure it was always messy. But I can’t quite remember the process but if I could I would do it again. For the IGN Watch From Home.
Are there any small details that Jurassic “superfans” would appreciate or know or what to know from your experiences?
JM: I think the answer to that question has to be join us tonight, because when I watch the movie is when all these things really come rushing back to me. I’m gonna try my best to really try and dig into the depths of my brain to remember every little moment.
Do you keep up with the Jurassic Park community to a degree just to see what people are talking about or are interested in over the years?
JM: I will say they definitely keep up with me. I get great messages all the time from Jurassic Park fans, and I’ve had a lot of great conversations around the world with people who love the film so it keeps me up to date just having people who enjoy these films so much. It makes me feel a part of the family which is a wonderful thing because it’s such a wonderful franchise to be part of, they’re making great movies and my hope is we keep seeing Jurassic Park a long way into the future.
We wanted to end this with a huge thank you to Joe for taking the time to do this interview with us, and chat all things Jurassic. You can follow him on his Twitter here, and Instagram here. We hope to see you tonight during the Watch from Home stream!
We’re living in unique, uneasy, uncertain, and unprecedented times.
Due to the global spread of COVID-19, better known as the ‘Coronavirus’, and the widespread public safety precautions being enacted across the globe, most industries have ground to a halt. While we know it can be frustrating to know delays are looming on the horizon, it’s important to remember how crucial it is to put the health and safety of others first. ‘Jurassic World: Dominion’ has halted filming, and will likely see a delay as the global pandemic continues to be an issue, ‘Jurassic World: Live Tour’ has been formally shutdown and cancelled, and the fate of ‘Camp Cretaceous’ remains unknown as DreamWorks has shifted to work from home.
In these times of social distancing, it’s easy to feel isolated – and it’s up to us find new ways to entertain, support, and interact as the world experiences this together. In that sense, we’ve all never been closer together. Be safe, help flatten that curve, stream more Netflix than ever before, and turn to the Jurassic community online if you’re looking for a distraction. We’ll be here.
To accompany this, we’ve decided to to publish director Colin Trevorrow’s note to the ‘Dominion’ crew – his words not only apply to those working on the film, but to the fans in the community. Read his words below, and stay safe out there.
I know most of us were together Friday night when the news broke, but now that we’ve all had a chance to process, a quick note.
One of the things I’ve found to be true, time and again, is that opportunities can be found in the worst of news. Sometimes it’s an opportunity to appreciate something you may have taken for granted. Or just to take a step back and look at the world around you and your place in it. While this is a frustrating delay—especially as we’ve started to hit a real stride together—I hope all of us take a moment to recognize how lucky we are to tell stories for a living. Especially stories with dinosaurs in them. It’s a gift.
The most invigorating surprise for me on this production so far is how strong we are together. This crew is a well-oiled machine of human ingenuity, the kind of rare army my mentors have built over decades of work together. But every part of our group matters equally—none of us are expendable or replaceable. That’s why we’re being so careful. I want to finish the game with the team I took the field with.
So take care of yourselves, be vigilant. Value this time with your partners and children. Call your parents. We’re making a film about the need for all living things to take care of each other, with our own survival in the balance. It’s a message that matters.
Thank you again for your brilliant work so far. We’ll finish the job together soon.
As we continue to approach the start of filming for Jurassic World 3, it is safe to say that there is a lot of excited speculation within the fandom about what the title of Jurassic World 3 may be. Whilst we know that the working title of the film is Arcadia, as confirmed by production weekly, we know that this will not be the final title for the film.
There has been lots of speculation in the fandom about the nature of the name of the new film – and recently, Jurassic community member James Ronan shared a great thread on Twitter which Colin Trevorrow actually got involved in – adding fuel to the speculation fire – and eventually confirming fans within the thread have guessed the title.
Wow, somebody in this thread actually got it. Respect.
Colin’s involvement within the thread involved teasing fans, before adding some additional context to some of the titles. Whilst he replied to some, such as ‘Jurassic World 3: Duel of Fates’, to poke fun at some of the ideas which fans were throwing out, he did also offer some hints about the direction which the title of the third entry in the film series may be taking.
I think JW3 will have a hopeful title! This saga ain’t going to end with dinosaurs going extinct!
While the above tweet isn’t from Colin, it is part of the thread, and one of the few Colin liked within it. Considering that, it stands to reason the title will be something more hopeful. Another thing Colin did confirm on this thread was that ‘Jurassic World: Extinction’ will NOT be the title of the new film. I must admit, I was slightly disappointed to read this as I and several other fans had been excited about the prospect of ‘Extinction’ being an obvious new subtitle for the series – as it was nearly the title of Jurassic Park 3 – but it does now bring into question where exactly we may be heading next. There were several fantastic suggestions within the thread such as ‘Paradigm Shifts’, New Era and ‘Welcome to Jurassic World’ – all of which I personally really appreciate as they have they communicate the current nature of the franchise well. Other great suggestions included ‘Jurassic World: The Edge of Chaos’ and ‘Jurassic World: Paradise Lost’ – though they skew less positive sounding, and more grim.
So you’re probably now thinking ‘but I saw people saying Colin Trevorrow confirmed the title is ‘New Era’. He didn’t. While that title is the current running theory, as it was guessed within the thread, and reads in a positive way, Colin’s tweet using the words dates back to the Summer, regarding a very different topic.
The running theory is Colin chose the words New Era on purpose, as an easter egg of sorts, that would only come to light after the title of the film is announced. It wouldn’t be the first time he did that – in past interviews with Jurassic Outpost, he snuck direct quotes from the Fallen Kingdom script into his answers to our questions. However, only time will tell!
‘Jurassic World: New Era’ or not, these titles should have one thing in common – they suggest that the title should reflect the new nature of the third instalment in the series now that we are off Isla Nublar, and well within the domain of the general population. Short features like Battle at Big Rockand The Jurassic World Motion Comicshave provided tantalising hints at the nature of the world after the fallout from Jurassic World: Fallen Kingdom – so this is something which I feel should be further emphasized in the title of the third film. It is safe to say that the stakes which we are facing within the upcoming sequel are the most extreme they have been within the franchise so far – so I am hopeful that the title will reflect the change in scale and scope which we are likely to see when this film debuts in cinemas everywhere next year.
Equally, however, the title may be something much more on the nose like ‘Jurassic Park: The New World’ – hinting at the more open and ‘new’ nature of the franchise moving forwards. With Universal Pictures ramping up the amount of energy Jurassic is getting, and with more toy-line and spin-off materials than ever before, I think that this film may be used as a springboard to debut a new world of Jurassic content – functioning as an ending to the story saga we have followed, but also as a new start for wherever the franchise may go in the future. It’s safe to say that we could speculate over the title all day – but, at the end of the day, it is just a title – and it may not even directly hint to what happens within the film but may be something much subtler, so we will have to wait and see how the title eventually ties into the film.
With all this said – I’m eager to hear what you are all thinking about Jurassic World 3. What do you hope the title of this new entry in the saga will be? And what are you hoping the film will explore thematically? Let us know in the comments below, and stay tuned for more news on Jurassic World 3 as soon as we get it!
When it comes to the Jurassic Park franchise, it is safe to say that there has been a lot of world building over the duration of the five installments which Universal Studios have produced. It is certainly safe to say that a lot has been added to the franchise over the years. The films have added new locations and new animals and characters, whilst the secondary materials – such as the viral marketing – have aimed to add in more continuity between the sequel installments. Canon, however, has not always been maintained – and there have always been issues which have plagued the Jurassic franchise and the continuity it shares between its various outings. We have seen Universal and Colin Trevorrow take steps towards addressing these issues in recent years – but unfortunately, a recent announcement during the press for Jurassic World: The Live Tour has us concerned about the future canonical consistencies within the franchise.
In the past, Colin Trevorrow has stated that he is the overseer of the franchise – and would oversee issues, such as Canon, moving forwards to ensure better continuity and cohesion across the property in the future. This had many of us excited, as it seemed to indicate that both Colin and the studio behind him were willing to take meaningful steps towards building a much more coherent cinematic universe. Indeed, it appeared that the Jurassic franchise would take a similar approach to other great franchises like Star Wars and Marvel, building outwards with meaningful connections to the very core pillars which first established the franchise. For a while, this seemed to hold true – with inconsistencies around the geography of the Isla Nublar report in both Jurassic World and Jurassic World: Fallen Kingdom openly addressed by the director, who proceeded to work with the team behind the viral marketing and surrounding canonical materials (Chaos Theorem) to build a meaningful explanation which alleviated the canon-breaking implications that the change in island geography had. Furthermore, the team working behind the scenes had the opportunity to build upon the background of the franchise – adding in new implications for the canon which alleviated some of the strained connections that the narratives of the more recent films had. It is safe to say that the Dinosaur Protection Group website, and other subsequent ventures, did a lot to build upon the canon in meaningful ways – addressing the concerns of long term fans and creating much more of a cinematic ‘universe’ than we had ever seen for the franchise before.
Whilst the Dinosaur Protection Group faded into obscurity after the cinematic debut of Fallen Kingdom, it appeared canon would continue to grow and expand within the franchise. This brings us to Jurassic World: The Live Tour. Press Events for the tour (see Chris’s coverage from an event in April of this year) got fans excited – with a clear focus on developing a story which could fit within the confines of a pre-established Jurassic World narrative. Indeed, whilst some of the live show would build upon the back of the blockbuster film, showcasing the Indominus rampage on Isla Nublar, the clear majority was stated to be a brand-new story exploring a top-secret InGen Facility in Chile. The story follows Doctor Kate Walker, who was working with dinosaurs in a similar behavioral capacity to Owen Grady, and has essentially been pitched as the other half of the IBRIS project which we see on screen within Jurassic World. This, again, is a project which has always been relatively secretive on-screen, so fans were excited to be able to learn even more about this new piece of lore which was sure to build upon the fundamental ideals explored within the first Jurassic World film. Anticipation was high – and this was only exasperated further by the debut of Battle at Big Rock, which explored more new characters within the same universe, after the events of Fallen Kingdom.
Unfortunately, however, it seems that the story continuity will not last.
Fast forward to the start of November, when the Live Tour is kicking off with its worldwide premiere. Colin was interviewed by the Social Media team working on behalf of Feld Entertainment., and in an Instagram story on the official tour account, Colin was asked where the events of the show fit within the timeline of Jurassic World. His response was as follows:
“We have something we call soft canon – which is that it happens, but it also exists within its own space. You know, Feld’s writers and creators made a new and original story which exists within the context of Jurassic World and I think people are really going to love it.”
This statement is great when we consider how passionate Colin is for the franchise, and it is nice to see how excited he is about the live show – but it also poses a very real problem for the franchise moving forwards. That statement of ‘soft-canon’, and the careful phrasing of this show ‘existing within the context of Jurassic World’, has set alarm bells ringing for many fans – suggesting that the show may not be a meaningful fit within the pre-determined canon of the franchise, as was previously implied. Soft-canon itself is an alarming phrase, considering its what ‘Jurassic World Evolution’ is described as — something that is not canon at all, but adheres to the rules of the universal while carving out its alternate reality.
This becomes problematic as a universe which is built without canon in mind can very quickly crumble and implode if not handle with a degree of oversight and brand management. Disney know this all too well – and it is the reason why the Star Wars Expanded Universe is now referred to as ‘Legends’. Here, Disney told too many stories which conflicted with one another and posed potential problems for the canons of the franchise so they had to restart this from the ground up and discount any of their old stories as being non-canon unless reintroduced into modern films or properties. Whilst this soured many Star Wars fans, Disney could get away with this because of the sheer scale and scope of Star Wars and its fan-base, with many more pre-established stories already under the franchise’s belt. Jurassic, in contrast, is a relatively new and expanding franchise with a smaller fan base, and so the movements made to grow the brand really need to be considered and thoughtful to connect with audiences and build a meaningful and consistent fan base. Therefore, the term ‘soft canon’ being thrown out so early in the growth of the franchise has both I and many other Jurassic fans concerned about the future direction of the franchise.
It should also be noted that Star War’s non-canon ‘legends’ media only consists of expanded fiction that came out prior to The Force Awakens. Everything since then has been carefully cultivated to fit within the ever expanding galaxy, working with their brand team, writers, and directors as to not contradict the films, but add to them all while telling their own stories. Why Jurassic cannot do this, especially given their stable creative team, and smaller universe size, is a frustrating mystery.
Whilst I appreciate that it is hard to canonise a Live Tour (other properties like ‘Marvel Universe Live’ opted to tell entirely separate stories), I think straddling the line between canon and ‘soft canon’ is an attempt for Jurassic to have its cake and eat it too. Whilst it’s a humble attempt at developing upon the IP, I feel that it misses the mark and misses what fans have truly been clamoring for – which are stories which will have larger impacts on the overall franchise whilst enabling them to connect with these characters and these stories in much more meaningful ways. The attitude of utilizing ‘soft canon’ poses a worry for fans, as it brings into question upcoming properties like Camp Cretaceous, and where they will stand in terms of both canon and impact on the other properties within the franchise. Whilst there is certainly an argument for these being more children’s tailored properties, it is important to note that even in that regard a canonical middle ground is achievable. Take, for example, Star Wars: The Clone Wars. This property found a way to tell stories within a pre-existing universe whilst not damaging canon. In fact, Clone Wars could build upon the pre-established in interesting and meaningful ways – connecting with both older and younger fans alike. This was due not only to the creative vision of Dave Filoni, but also due to the creative oversight and brand consistency which Disney and the Star Wars team had in place – and something which Jurassic seems to be sorely missing at this moment in time.
For the Jurassic World Live Tour, the format itself doesn’t entirely mesh with real world antics – so we understand that the action and context that which the story plays out may not be 1:1 to canon. But there is no reasons the overarching story itself of Dr. Kate Walker, InGens facility in Chile, and the events that subsequently played out cannot be canon. A simple “The story is canon, the action within and execution of it is soft canon” would be far more understandable. It was stated numerous times that Colin Trevorrow was involved from the start to make sure the story is hard canon. So what happened?
Make no mistake – I, and many others, are excited for new stories to be explored within the Jurassic universe. Many of us have clamoured for more from this brand for years, so the fact that we are finally getting this is exciting, and is a true testament to the creative passion of individuals like Colin Trevorrow. But, with that said, oversight is important too – and it’s important that this is built into a brand with solid foundations so that these stories can continue to be told for years to come. With that in mind, an organisation like Chaos Theorem or someone else altogether really need to be empowered to get more involved in the day-to-day canon of this universe, so that we can finally have something which feels cohesive. Continuity has always been a matter of discussion for Jurassic – and in some ways, poor continuity adds to the charm of these films. But, if Jurassic is to ever grow into a franchise with the power to do more than beat back other big names at the box office, then it is crucial that canon is considered, and that the time is taken to build a rich universe for these stories to take place within.
What do you all think? Where do you stand on canon in cinema, and is it important to you that these side projects tie in? Sound of in the comments below!
2021 is swiftly approaching. Jurassic World 3 is already shaping up to be an event unlike anything we have seen since the original Jurassic Park. With Sam Neill, Laura Dern, and Jeff Goldblum all returning for major roles in the upcoming film, it is easy to see that we are in store for a movie with some serious callbacks to the film that started it all. With the return of old human characters, Jurassic World 3 is posed in the perfect position to be a film that showcases the original aspects of Jurassic Park side by side with the new ideas put forth in the Jurassic World movies. We can talk about the human characters until the sun goes down, but at the end of the day, the highlight of Jurassic has always been the dinosaurs.
One complaint that we see time and time again is how different some of the dinosaurs look in the newer films. While some fans view these differences as a major drawback, it’s time to take a hard look at how these perceived differences actually present a unique opportunity to showcase exactly what these dinosaurs are: genetically engineered, theme park…creatures. In other words, these dinosaurs are simply lab-created animals melding natural science and science fiction.
So today, let’s take a look at some specific examples of these differences. Let’s start with a classic: the mighty Stegosaurus. We first got a glimpse at the creature on Isla Sorna in The Lost World Jurassic Park. This Jurassic Park era Stego was on the more athletic side. As you can see below, it featured a straight tail and narrow head, which featured a beak of some sort. Its athleticism was put on full display when it sensed a threat in Sarah Harding approaching its infant.
Now, let us compare that to the Jurassic World era Stegosaurus. The new creation featured a heavier retro build, with a drooping tail and a wider head (with lips instead of a beak). Their coloration is slightly different, and their skin texture is entirely different than their park counterparts. We’re first introduced to them roaming Nublar’s Gyrosphere Valley in Jurassic World, presumably engineered under Masrani’s supervision to achieve certain goals.
In a universe where scientists have been cloning and creating new dinosaurs for over twenty five years, these differences can be explained by genetic manipulation. Perhaps the old Stegosauruses were just too agile and destructive with their more athletic build and size. Maybe the Jurassic World scientists realized a beefier build appealed to the parks older demographs who imagine dinosaurs with more outdated views. Questions like these are exactly the kind of lore I believe are ripe for answering in Jurassic World 3. Before we move on to how exactly the movie can present those answers in a natural way, let’s take a look at another dinosaur example.
The Ankylosaurus is well-known for the armor plating all along its back, but the different eras of Jurassictook the animal in otherwise different directions. We first see the Jurassic Park era Anyklosaur in Jurassic Park 3 as it lumbers underneath the tree some of our characters are hiding out in. It touts rougher scale-based armor with a smaller, colorful head. It has a narrow and angular build overall and is not overtly large.
Once again, let’s look at the Jurassic World edition Ankylosaurus that we see duke it out with the Indominous Rex. Not only is the Jurassic World era animal bigger, it has defined armor plating and a larger, uniform-color head. Just like the Stegosaurus, it sports a bulkier, stockier build overall. It’s been theorized that ‘World’s’ Anylosaurs are female counterparts to ‘Park’s’ males.
Ankylosaurs and Stegosaurs are only scratching the surface. Numerous other species have distinct sub-species within the Jurassic films, with 3 different Pteranodon breeds, over 3 different breeds of Velociraptors, plus a variety of sexual dimorphism seen within Parasaurs, Brachiosaurs, and more.
The best step for Jurassic to take is to embrace the differences and use them as a tool to enrich the deep mythology the universe has already given to us. I mean, who wouldn’t want to see the Jurassic Park 3 raptors running around Blue? That sort of variety in appearance is a treasure trove of rich story that has largely only been explored by the DPG marketing campaign for Jurassic World Fallen Kingdom. It’s important to not stifle that variety, but embrace it fully, and bring all these elements from various films together.
However, not every difference is a canonical variation – the T. rex of Jurassic World being a prime example. Many fans have complained she looks off from her Jurassic Park appearance – and it’s true – the design has changed in more ways than just aging. This love for Jurassic Park’s iconic designs is another prime reason to bring them back. Not just nostalgia – they’re some of the most iconic creature designs in cinema. Embrace the masterclass work of Stan Winston Studios, Crash McCreery and ILM that laid the foundation for Jurassic World.
We know that Jurassic World 3 director Colin Trevorrow plans to expand the universe even more and deal with these creatures on a much larger scale now that they’re part of our world. One of the best ways to explore this evolution naturally, while keeping it tied to the past films is to simply go back to the older, forgotten dinosaurs. Likewise, we can finally explore how these various subspecies may interact – what would a crossbreed of a Jurassic Park female raptor and JP3 male raptor look like? Or would they never have the chance, fighting for territory instead?
What makes the Jurassic Park novel so great is that it tackles the science aspect of the story head on – the novel version of Wu has candid conversations with Hammond about manipulating the DNA of the dinosaurs to alter their physical characteristics and change the way they behave. If we’re trying to find inspiration, that’s where to start the search. Having a character in the movie, like Wu, explain the differences between all the animals on screen only serves to deepen the canon in a positive way. Not only that, it serves as a natural explanation for why Project IBRIS with the raptors at Jurassic World was (eventually) successful compared to the more aggressive raptors from the previous movies.
What are your thoughts on the dinosaur differences? Is this a purposeful creation from Jurassic Park scientists, or do you think the filmmakers were just looking to switch up the styles? If you believe the science backs it up, would you like to see it explained on screen? Sound off in the comments below and tell us how you would explain the uniqueness of the dinosaurs!