Jurassic World Aftermath Collection – making PSVR 2's comic book chaos

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Jurassic World Aftermath Collection – making PSVR 2's comic book chaos
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The developer behind JurassicWorldAftermathCollection on PSVR2 discusses the game's distinctive art style and much more.

. The developer has confirmed a sequel is coming, Jurassic World Aftermath Collection 2 will release this September, so now is the perfect time to discover one of PSVR 2's best games.

While pinning UI to the players vision is a possibility, it has potential for adding towards VR sickness and so more often than not, more elegant in-world solutions have to be found. The nature of this, though, means that it's a little more difficult to have a standardized UI in the same way as a screen based one. With this in mind, extra effort has to be put into considerations such as readability, accessibility and usability.

If we had to think traditionally, opening up a menu would take you out of the experience and back into the realisation that you are actually just playing a video game. The difficulty of this is balancing it out with the needs of the player. VR games often have many settings due to the comfort options needed for the variety of players, and as such a concession has to be made somewhere to fit these large menus in.Many factors went into our decision to use a comic book visual style.

For the PSVR 2 version, we felt it was important to update the render pipeline because the previous one was made specifically for the Quest and its capabilities/limitations and wouldn’t support high quality shadows, points lights and screen space effects . Initially we had concerns that having access to this feature from the get-go would ruin the surprise of encountering each dinosaur in the main game, so we simply locked each room off until the corresponding dinosaur was encountered. We played around with multiple options for the complexity of the Gallery, with the lowest bar option being to simply place the player in front of a console featuring a button for each dinosaur.

It had to be a good balance between being intimidating and not being a huge burden on art and programming to make it fit in the environments. The Velociraptor was originally about 25 percent larger but that made the environments feel too open.We went back to the drawing board and rewrote it in another four months. The implementation of the AI stayed pretty much the same after we re-worked the AI from the ground up again. This gave us time to test and add new things to refine it.

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