This was perhaps a conscious design decision to counter the player’s dexterity being hampered by a choppy four frame per second refresh rate and a lack of strafing. A dinosaur feet away from your will literally stare at you indefinably without attacking and will only activate when you’re about five steps away. You will frequently occupy the same room as several dinosaurs but their ominous presence is somewhat diminished by the fact that they just stare blankly and wait for you to line up a shot. Furthermore, while the indoor dinosaurs you kill are gone for the rest of the game any and all pickups will respawn each time you re-enter the level. It’s incredibly easy therefore to stock up on the best ammunition or to pop into a building whenever you need some health, which in turn makes the outside ‘Zelda’ sections very easy. Weapons are carried across between the two different play styles, which actually makes the game feel cohesive. Both sections share the same enemies too, (even if they are viewed from different angles) but they also share the game’s biggest fault; a complete lack of clear objectives. Yes, you may presume that it’s best to avoid dinosaurs, and try to get off an island populated by them but it’s not ever made clear how you can best do this.
Great. Now where's the hut? After much roaming and dino carnage, mentally noting every path, you eventually find it. Here the view changes into 3D perspective. But again a large portion of time is spent searching, this time for the generator.“ It’s great that a game allows you to explore a world freely, but you always need to know what you should be doing even if you opt not to do it. The significance of needing key cards to open the island sections eventually becomes apparent but where these are is never made clear. Consequently I found myself exploring every inch of confusing identically walled buildings, just to make sure I hadn’t missed something I was required to have in order to advance the game. I turned on power switches and deactivated security fences but even now had no clue if I needed to. With no map, and very little distinction between rooms, this process of complete exploration of buildings was actually incredibly confusing and dull.
Escape was only possible when all 18 eggs had been found, not that this was ever explained of course, I found out from using an online guide.
While the bulk of the music played during the exterior sections sounds not dissimilar to ‘ShadowRun’, the interior drones are suitably tense, ideal for a game where terror is intended to be the player’s prevailing emotion. The music is therefore context sensitive it changes depending on which dinosaur is about to eat you. This game also has the dubious honour of “best lift music in any Snes game”, sounding like a Vegas casino and offering a welcome respite from the drudgery of the first person perspective sections. Super Play Magazine however lamented on the glaring omission of the film’s main and iconic theme tune. “It’s a shame Ocean [the game’s developer] didn’t stump up the extra dosh and use it. (Imagine ‘Super Star Wars’ without the proper ‘Star Wars’ music).”