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Q: Why are GPU dies so much physically bigger than CPU dies? I understand that the physical sizes of microchips are generally limited by silicon yields. The larger your chip is, the more waste occurs when you hit a defect in the silicon and have to throw it away, and at some point this becomes unsupportable. I've noticed, however, that modern GPUs always seem to be significantly bigger than CPUs.
High-end consumer GPUs seem to run in the 400-600 mm^2 range, with the RTX 2080 Ti sitting at a whopping 775 mm^2.
It's a bit harder to find die sizes for high-end consumer CPUs, but it looks like the i9-9900K, for example, has a die size of 178 mm^2. The latest Ryzen generation has even smaller sizes, what with their "chiplet" architecture, with the largest single die being the I/O die at around 125 mm^2.
Why are GPUs so much larger than CPUs? Is it something to do with silicon yields and chip architecture, or is there some kind of economic consideration?

A: GPUs are parallel processors.  Their performance scales linearly with die size, while bigger dies can be run at lower clocks and so be more efficient while still being faster.  Therefore, it makes sense to have the die as large as is economically feasible as it will be faster and more efficient.
CPUs have much less parallelism, and so the return from adding more die area is much smaller, or for many applications, non-existent or even negative.  Therefore there is a relatively optimal die size for a consumer CPU on each node, and it is generally quite small.  The comparison to the comparison to the 175mm^2 9900k is actually slightly misleading, only about 100mm^2 is CPU.  The remainder is a relatively large GPU, video decoder, IO, etc.  Since there is also a minimum die size needed to fit all the IO pins, low power CPUs dies each generation are often mostly GPU to fill up the unused die space.

A: It might have to do with exploitable parallelism and locality on typical use cases; and the fact that power consumption (thus heat) rises roughly with the square of the clock rates.
Typical CPU workloads on consumer PCs usually can not be spread evenly across all cores on a die, so visible (benchmarks, etc.) performance is more limited by peak processor core clock rate.  Whereas GPU workloads keep many more of the cores more evenly loaded, and can thus benefit from scaling up the number of cores running at a less scaled down clock rate, reducing die power per area, thus allowing a larger die that will still fit within a PC's thermal envelope.  Typical GPU (shader) workloads also have much more geographic locality, so are less limited by time-of-flight across a larger die or larger caches, relative to the clock rates.


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Complications of Diabetes Insipidus: The Significance of Headache
Mary Jane Hudson, MSN, RN
Pediatr Nurs. 2007;33(1):58-59.
Introduction and Medical History
Continuing Medical Management
The Lesson Learned
Travis was a 10-year-old with panhypopituitarism and recent resection of a craniopharyngioma. One week after discharge, his parents telephoned to report that Travis was complaining of neck and back pain. They were instructed to bring Travis to the hospital immediately. Upon arrival in the Pediatric Clinic, blood was drawn for laboratory tests and intravenous access was obtained. When sodium levels were reported as 181, Travis was admitted to the Pediatric Intensive Care Unit (PICU).
Travis was a healthy young boy until recently when he started complaining of headaches. He was diagnosed with panhypopituitarism and craniopharyngioma. Subsequently, Travis underwent surgical resection of the tumor. Fluctuating sodium levels complicated his immediate postoperative hospital course. Travis had developed diabetes insipidus following the removal of his craniopharyngioma, resulting in extremely high and fluctuating postoperative sodium levels. During his initial postoperative hospital stay, Travis' sodium levels gradually were controlled with intravenous fluids and desmopressin. After his sodium levels were stabilized within normal limits, Travis was discharged on oral desmopressin. Once home, Travis was relatively immobile, gained weight, and spent most of his time in bed and only occasionally left his room or his house.
Pediatr Nurs. 2007;33(1):58-59. © 2007 Jannetti Publications, Inc.
Mary Jane Hudson, MSN, RN, Clinician IV University of Virginia Health Science Center Charlottesville, VA
2002242772-overview
Diseases & Conditions Lithium Nephropathy
Diseases & Conditions Post Head Injury Endocrine Complications
Diseases & Conditions Pediatric Craniopharyngioma
20021157189-overview
Diseases & Conditions Pituitary Tumors
Drugs Related to null
According to NURSES
Nurse Turnover: Understand It, Reduce It
Need a COVID-19 Nurse? That'll Be $8,000 a Week
Proper Use of N95 Respirators
RN Pay Remains Stagnant; LPNs Fare a Bit Better
Earnings for CRNAs, the Highest-Paid APRNs, Top $200K: Survey
b:recommendationscuratedHasData : false

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text:
Tag: Secrets of Dr. Wu
Alternate-alternate histories for Jurassic World Evolution 2's Chaos Theory
At this point, I've completed Jurassic World Evolution 2's Campaign and Chaos Theory missions, and I've tested the waters with Challenge mode, completing the first challenge on easy. The handful of Challenge levels suggest that it's actually reasonable to try to complete them all on Jurassic difficulty–and it might even be fun. At just over 50 hours of game time, this has proven to be a robust game with enough content to make the price tag worthwhile, and there's still more to do.
Nodosaurus in nature.
On top of that, compared to the original, the dinosaurs are better-looking and have more realistic behaviors, guests are more varied in interests, and park-building is a deeper and more customizable experience. (Really, the only gameplay elements I wish were different are the still relatively short lifespans of most of the dinosaurs and the lack of breeding in the wild–the latter means you'll never have an authentic dinosaur preserve, and it's also a glaring absence given the importance of breeding in Planet Zoo and the significance of breeding and natural survival in the books and films.)
Dilophosaurus death leap.
All that said, there's something that still feels "light" about the whole experience. If I had to identify a single factor, it would be that there's very little connective tissue between levels. As I discussed in my original review, the campaign is incredibly short, easily completed in about five hours, with little development in plot or the handful of characters you're interacting with. Then each Chaos Theory level is its own isolated experience: build Jurassic Park, build Jurassic Park San Diego, capture dinosaurs from Site B for Jurassic World, build Jurassic World, tear down Jurassic World and help the dinosaurs go free. Each is in its own separate alternate universe, so your successful Jurassic Park has no bearing on San Diego or Jurassic World. And there's very little to explain just how the timelines changed, beyond just your involvement–for instance, why exactly is Ian Malcolm on board with San Diego and why is there no Peter Ludlow in sight? This disconnect between the movie timeline and the isolated alternate universe tales was maybe strongest felt in the Jurassic World level: the Indominus rex is created, and so long as you did a decent job designing a secure pen and catering to its environmental needs, it's never really a threat to the park as a whole (meanwhile, my "Rexy" died of old age and was replaced just before the Indominus was released). But every level embodied some level of detachment–for instance, in the Jurassic Park III level, the mission runs as a plausible prequel to Jurassic World, as you collect dinosaurs for the new park and witness the death of the Spinosaurus at the hands of a raptor pack, but it decidedly cannot be part of the official continuity because the Spinosaurus still has the ringing phone signature and the Dino-Soar sail can still be found caught in a canopy. The "alternate universe" nature of the level almost seems to be that all the Kirby party survivors died, or were rescued without mention earlier than in the movie.
The end of the Spinosaurus in Chaos Theory.
It's true that these levels certainly taught me again and again that it was difficult to make an excellent dinosaur park–I had to restart a lot from a hopelessly bankrupt state in the first mission, I never got San Diego to five stars (unnecessary to complete the mission), and I had to fire scientists and hunker down in a slow recovery when I overinvested in synthesizing the Indominus and a replacement Tyrannosaur just as Rexy passed away. But these problems are not the big problems of the movies. It's true that John Hammond and Simon Masrani had some more mundane management problems, like Hammond's no-shows and a sick Triceratops or Masrani's lost and sick visitors, overly rambunctious Pachycephalosaurus, and perpetual need to rekindle visitor interest, but these weren't the issues that sunk their parks. Hammond claimed to spare no expense but relied too heavily on automation and low-bid contractors who didn't share his vision. Ludlow never had any vision of his own and rushed into things without fully understanding the risks he was taking. Masrani let Wu take the genetics into even more questionable places without caring to understand the science and allowed the creation of fantastic hybrids with too little oversight. And these three men were all betrayed, not just by park whims, but by deliberate human actions. Hammond was betrayed by Nedry. Ludlow was betrayed by Hammond (and his eco-saboteur). Masrani was betrayed, not deliberately, but by the at first rushed and later panicked actions of the Indominus guards and park staff.
Things going sideways in Chaos Theory.
In short, the problems that they failed to overcome were not ones of simple management, and with Ian Malcolm's chaos theory messaging, the suggestion is that regardless of what they had done, the control they were attempting over such complex and unpredictable systems would inevitably lead to failure at some point. Therefore, to really feel like you were stepping into their shoes, it would have made more sense to have experiences catered around reacting to unique crisis points. It's easy to avoid overworking your staff and thus avoid sabotage, so what if the game put more pressure on you to push a little too far? What if you had to design a Jurassic Park that was actually closer in design to Hammond's vision, with park tours aligned with the map of the park from the film? What if you had ample money, with regular new income from investors, but your problem was not dwindling income streams but rather a deadline? Hammond's investors were wary and ready to shut down the park close to opening, so you could have had two competing priorities: efficiency versus security. You could be racing to open the park with a test run of the park tour attended by scientific consultants by a certain deadline (with all planned exhibits and attractions in place) without having more than x number of fatalities. Then you'd really be living Hammond's vision, where the issue wasn't simply a matter of draining money before opening but dealing with competing demands from investors and employees. I also would have had a set limit of scientists that you have to work with at the start of the game–have to keep the park secret, after all! No extra staff centers to increase scientist count. And you could even have set staff specifically for this level–the "scientists" could be Wu (genetics), Harding (welfare), Nedry (logistics, and with the Entitled Salary trait, of course), and Muldoon (generalist?), for instance. Just because Nedry betrayed Hammond in the film doesn't mean he'd be the bad actor here, if you happened to keep him more rested.
Jurassic Park Chaos Theory
This process of reconstituting the levels to be better tailored to their respective films could be extended to the full Chaos Theory mode.
The Lost World is challenging because, outside of the promise of San Diego (which is clearly signaled to be a bad idea), there isn't a clear "park" to deal with here. But Frontier had two Chaos Theory levels that avoided dealing with park-building, and perhaps they should have applied this to The Lost World. I think I would have split this into two levels, with an overarching story: first on Isla Sorna, and then outside San Diego. The big thing is that Frontier never clearly explains why Malcolm has come around on San Diego–it seems like InGen maybe listened to him in this timeline and thus didn't do the snatch-and-grab, but they still decided to monetize the Isla Sorna dinosaurs anyway. I would make the turning point into a whole level, in which you play as Malcolm's research/sabotage team. In this alternate timeline, Hammond makes the full team aware immediately of InGen's plans, and Malcolm agrees to go with Harding, Carr, and Van Owen to get documentation of the dinosaurs to bring to the world to derail their plans. Van Owen makes his sabotage play before departure, the InGen hunter team's expedition is resultantly delayed, and your team gets to the island with time to spare and a clear deadline once more: you have to get enough observation and footage in within the time provided, or else the InGen team gets to the island. (And if that team gets to the island, you get a losing cinematic in which things play out largely the same–sabotage of the hunter camp, destruction of the research team camp, mass death, and a Tyrannosaurus loose in San Diego.) The mission could be very simple, locking you in to a ranger Jeep (something the game experiments with on some levels already) and having you drive across the island, scanning the dinosaurs and photographing particular behaviors within some species before the hunters arrive, then driving to the old InGen compound to broadcast out your findings. That would launch the second, interconnected level: InGen's mission was shut down, the dinosaur preserve was established, humans were amazed by the dinosaurs, and there was no big chaotic event like the San Diego attack. Years pass, and InGen executives persuade Malcolm to come on as a consultant once more as Jurassic Park San Diego is set to launch. Rather than importing dinosaurs from Isla Sorna, which again is an untouchable preserve, InGen has restarted its genetics program under Dr. Wu. Wu and Malcolm become opposing narrative factions–Malcolm encourages moderation and a focus on natural preservation and herbivorous species, while Wu pushes the envelope, gradually recreating carnivores for the park that could peak with the return of the Tyrannosaurus. Much like in the existing version of Jurassic Park San Diego in the game, the challenges could be more oriented around the unique environment, the gradual acquisition of more land, and the mundane problems of park management, rather than the unique risks of the prior scenarios. There could be a big final challenge of corporate sabotage–by BioSyn, of course–resulting in the release of the carnivores and a frantic effort to protect the guests, secure the paddocks, and recapture the dinosaurs before fatalities get high enough or dinosaurs get far enough away to shut the park down for good.
The Lost World Chaos Theory
I rather liked what Frontier did for Jurassic Park III, having the level serve as a canon-adjacent backstory for the creation of Jurassic World. But a couple of the nods to the third film–the hang glider and the ringtone–just add confusion as to the when/where/how. Plus, Jurassic World always had dinosaurs from both Isla Sorna and Isla Nublar, so it's not a definitive story to show the importation of dinosaurs from Site B. I think you can give an alternate timeline to III that acts as both an alternate prequel to that movie and to Jurassic World by changing the focus to InGen's unauthorized cloning and release of animals on Isla Sorna shortly after Masrani Global's purchase of InGen. As the Dinosaur Protection Group materials made clear, these new animals included Ankylosaurus, Ceratosaurus, Corythosaurus, and Spinosaurus. This mission could have seen you working with Dr. Wu yet again, this time without a sympathetic foil–the closest, perhaps, being the misguided and naïve Masrani himself. You could set up a small research facility on Isla Sorna, ensure that it is secure from dinosaur incursions, send teams to dig sites to specifically target the creation of these four species, and then create habitats for them that met their needs. Perhaps this climaxes with a unique disease that you have to identify and treat (pulling some inspiration from DX in The Lost World novel, perhaps) that is further complicated by an unusually bad storm. If you get through this with the dinosaurs contained, Masrani decides to export them to Jurassic World right away, rather than allow them to be abandoned, and the mission ends.
Jurassic Park III Chaos Theory
Next up is Jurassic World, and I think that's another one that's fairly well-served by its current incarnation. I would have liked a more curated experience of building this park, though–as I suggested with Jurassic Park, it would be nice to be guided in building a park that more closely matched its on-screen counterpart. This could also have a little more guided mission structure, starting with the capture of the Isla Nublar dinosaurs, then the importation of the Isla Sorna dinosaurs, the creation of the Mosasaurus, and the creation of the Indominus. Since Jurassic World collapsed because of the Indominus's tricks, I think the mission should climax with a scripted sequence in which the gate is opened by a fleeing guard checking on it, resulting in the Indominus getting loose in the park and removing its tracker (so you couldn't see it on the overhead map or check its status–you'd need a visual confirmation of its location). You could be more aggressive in taking it down quickly, and you'd have the added benefit of using a capture helicopter from the start, so you'd probably be able to contain the threat much more easily than your film counterparts–once more, the goal would be avoiding excessive guest fatalities and restoring order.
Jurassic World Chaos Theory
The last Chaos Theory mission, for Fallen Kingdom, works just fine as is: in this timeline, the volcano is not about to erupt, so Claire is able to clear away the old park and let the dinosaurs loose. I think I would tweak this one only a little, to allow for the development of a more permanent dinosaur preserve without the commercial focus of the preexisting park.
Fallen Kingdom Chaos Theory
I also would have liked more Chaos Theory missions–and I think easy additions would have been updated versions of Return to Jurassic Park, Secrets of Dr. Wu, and Claire's Sanctuary, offering up alternative sequels/events to Jurassic Park, Jurassic World, and Fallen Kingdom, respectively.
Return to Jurassic Park
I certainly threw out a lot of ideas above, but I recognize that these aren't the only ways to have offered more expanded alternate stories, and they're almost certainly not the best ways. I nonetheless think they'd offer more narrative experiences that better suited the stories they're adapting. I had hoped that Chaos Theory would play more like the original game's Return to Jurassic Park or Claire's Sanctuary, which offered some of the better narrative-focused campaigns in the game. Instead, the final implementation feels more "inspired by" the movies rather than directly responding to them. What does exist is not bad. I wouldn't have already played for over 50 hours if I didn't like what I was doing. But the overall experience feels detached, narratively light and fluffy, just a series of out-of-context anecdotes oriented around building up or tearing down park after park after park. While the levels are varied, it feels a step back from where the team had been going with the original game's DLC content. Despite this criticism, at the end of the day, I suppose this is all a testament to the quality of the game, that at 50 hours in, with several Challenge levels left to go, my biggest disappointment is that there is not even more.
The dream of resurrected dinosaurs flourishing on Site B.
Eric Farr	Review, Sci-Fi, Video Games	Leave a comment November 28, 2021 10 Minutes
Review – Jurassic World: Evolution DLC
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.
Slowly gaining Dr. Grant's trust and respect was definitely a high point.
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.
Eric Farr	Review, Sci-Fi, Video Games	2 Comments November 29, 2020 November 28, 2020 9 Minutes


Here's how you can restore mobile data service if you STILL can't get any!
After O2's 4G data going down for a working day, the service is now back up and running smoothly. However, you may still not get any data coverage on your phone, and we've got a few ways to solve that problem.
Simply restarting your iPhone should fix the problem. On an iPhone 8 or older, hold down the Power button and slide the slider. On an iPhone X or later, hold the Power and Volume Up buttons together to bring up this menu. Make sure your mobile data is turned on by sliding up (or down on iPhone X) to get to Control Centre, and tapping the Data button - it will turn green when on.
iPhones will automatically find your mobile network usually, but the O2 downtime may have confused it a bit. To search for your service provider, open Settings, then tap Mobile/Cellular Data and Network Selection (or something similar). Tap the toggle to turn it off, then wait and tap your network in the list that comes up.
That should do it! If you have any questions, don't hesitate to let us know.
Have you been affected by this downtime?
If you need additional help, use the links below for the networks that have been affected by problems. You should call them or chat to them to solve the issues.


text:
Media Decoder | James Cameron on Chinese Filmmakers, Censorship and Potential Co-Productions
James Cameron on Chinese Filmmakers, Censorship and Potential Co-Productions
By Edward Wong
May 5, 2012 9:22 am May 5, 2012 9:22 am
Jonah M. Kessel for The New York TimesThe director and deep-sea explorer James Cameron at the Grand Hyatt Beijing, Sunday, April 22.
BEIJING – James Cameron, director of "Titanic" and "Avatar," among other well-known movies, visited Beijing in mid-April for the Beijing International Film Festival. The festival was screening the 3-D version of "Titanic," which had recently opened in theaters here. More important, Mr. Cameron was here to meet with people in the Chinese film industry to talk about doing joint productions and getting greater distribution for his 3-D films, which use technology developed by Cameron Pace Group, or C.P.G.
China has a strict limit on the number of foreign films allowed to be shown in theaters here, although that number was raised in February when Chinese officials announced an agreement with Hollywood studio executives during a trip to the United States by Xi Jinping, the vice president and presumed next leader of China (and reportedly a fan of Hollywood World War II films).
On April 22, the day after his arrival in Beijing, Mr. Cameron talked about his projects and the Chinese film industry in an interview with The New York Times and The Economist. (The interview took place before it was reported that regulators in the United States were looking into whether American studios might have made improper payments to Chinese officials, so that was not a topic of discussion). Edited and condensed excerpts from the interview follow.
Can you tell us a little bit about your interactions with the Chinese film industry? I know you're here partly to promote the technology and to see where the Chinese filmmaking landscape is in terms of using this technology.
Not just filmmaking but broadcast. Everybody just assumes, probably most people know me internationally as a filmmaker, but domestically in the U.S. as co-chairman of C.P.G., most of our business is broadcast. And China has potentially this enormous 3-D broadcast market — unexplored as of right now, to my knowledge, and I just need to know more. I need to know more about it and find out if there are people here who believe as I do that this is where broadcast can and should be going.
Xi Jinping is a movie buff. He's talked about American war movies. So are you meeting with him?
I'm not saying anything about who I'm meeting with, but I am in meetings and explorations on a couple of subjects. One is 3-D, both for the filmmaking community and for the broadcast community. And these are very, very preliminary, from my perspective anyway. And the other one is a possibility of co-production here, possibly even to the extent of some kind of technology exchange — bringing over our 3-D technology and things like that. There are a lot of things I want to look at as possibilities. Because it's such an exciting market that's growing so rapidly. There's a lot that I also have to know about – government restrictions and so on. That would apply to the co-production issues, with respect to content, censorship, content requirements, Chinese content and so on.
As everybody has already seen, you experienced a small taste of that with "Titanic."
Well, "Titanic" is actually censored less this time than it was in '97. Because it was their second bite at the apple. It's gotten much wider and we're seeing it being less restrictive. So we're moving in the right direction. The quotas for international films coming in now, it's a higher quota, the percentage of revenue is higher, so everything is moving in the right direction. You see the market opening up. And I think that that's having a beneficial effect in that it's growing the exhibition market internally, if you look at how rapidly theaters are being built here. Eight a day, I've been told? Eight theaters a day?
Are you a fan of Chinese filmmakers? Do you have a few that you like?
I think I like the ones that everybody likes, that we know in the West. You know, Zhang Yimou and, I can never remember, Chen Kaige. But I'm not a student.
I'm interested in storytellers that you admire. They don't have to be Chinese. If you could talk a little bit about the films that you are looking to these days, whatever you find inspirational. …
I don't find my inspiration in movies. I find my inspiration in life – in the natural world, in daily life. There are filmmakers that come along that are quite iconoclastic. And that I'm in awe of, frankly. Zack Snyder's "300." I think that was a really revolutionary film, because it was a completely deconstructive form of filmmaking in a way that nobody had done before, other than maybe Robert Rodriguez. That's inspirational to me. Zhang Yimou's films are inspirational to me. I have to see them multiple times to really see how he's doing it and what exactly he's doing that seems to work so well. So as a fan of film, there are certain films that come along that are just stunning to me, and I'll study them.
Who are you in awe of?
I just gave you three examples. You know, there's the old guard. You know, Spielberg, Kubrick and all that sort of thing. But in terms of new filmmakers, up and coming, I haven't seen anybody that blew me away in the last year or so.
What about scripts that you're looking at? Is there a project that you're working on right now? Or subject matters or general areas of interest that you're looking at?
That's interesting. I've divided my time over the last 16 years over deep ocean exploration and filmmaking. I've made two movies in 16 years, and I've done eight expeditions. Last year I basically completely disbanded my production company's development arm. So I'm not interested in developing anything. I'm in the "Avatar" business. Period. That's it. I'm making "Avatar 2," "Avatar 3," maybe "Avatar 4," and I'm not going to produce other people's movies for them. I'm not interested in taking scripts. And that all sounds I suppose a little bit restricted, but the point is I think within the "Avatar" landscape I can say everything I need to say that I think needs to be said, in terms of the state of the world and what I think we need to be doing about it. And doing it in an entertaining way. And anything I can't say in that area, I want to say through documentaries, which I'm continuing. I've done five documentaries in the last 10 years, and I'll hopefully do a lot more. In fact, I'm doing one right now, which is on this, the Deep Sea Challenge project that we just completed the first expedition. So that'll be a film that'll get made this year and come out first quarter of next year.
"Avatar," of course, said a few things in terms of your world view, including on the environment. And here of course, it was interpreted differently as being about China. Some people online and fans took a kind of political overlay that applied here.
Yeah, I'm not too aware of the nuances of that. Other than that there was speculation that it might be problematic for the government, seen as criticism of a resource-hungry nation. Except all the developing or developed nations on the planet are resource-hungry. So the same perspective was in Russia, Europe, Canada and the U.S. I got the biggest political blowback in the U.S., because frankly the U.S. is the most medieval right now when it comes to climate change and the role of business in compromising and devastating the natural world. Way behind Europe.
How far are you along in working on the "Avatar" sequels?
We've spent the last year and a half on software development and pipeline development. The virtual production methodology was extremely prototypical on the first film. As then, no one had ever done it before and we didn't even know for two and half years into it and $100 million into it if it was going to work. So we just wanted to make our lives a whole lot easier so that we can spend a little more of our brainpower on creativity. It was a very, very uphill battle on the first film. So we've been mostly working on the tool set, the production pipeline, setting up the new stages in Los Angeles, setting up the new visual effects pipeline in New Zealand, that sort of thing. And, by the way, writing. We haven't gotten to the design stage yet. That'll be the next.
Would any part of the sequels – I mean two, three, or a possible four – be done partly in China?
It's conceivable. You know, one of the things I want to explore while I'm here is the idea of co-production on those films, but it's a slightly different case because they're studio films. There were zero… I can't say zero exteriors. We did one night in the parking lot next to the sound stage. But there were no locations.
So what's the advantage of doing a co-production at all in China? I mean, your movie's going to make money, you don't need the financing….
It's a major market. Possibly within this time scope of these two films, certainly by the time of the third film, it may rival the U.S. domestic market, if not surpass it. And there are economic advantages with respect to the percentage of gross revenue that flows back. So that needs to be weighed off against what it would cost us to set up our capability here. We'd have to take our capability with us to do the virtual production. The 3-D production is easy. That's flight-ready to go anywhere in the world, so that's not an issue. When I say 3-D, I'm talking about the cameras. With my C.P.G. hat on, my Cameron Pace Group hat on, we can put fly packs anywhere in the world to support up to 30 or 40 cameras. We can do it right now. Mobile units and all that sort of thing. So that's not an issue. That could come here easily, and that might be very beneficial to the Chinese resident film community because the crews would get trained up on this equipment. They would have access to cutting-edge stuff, so that's partly how we sell our position. But we'd have to bring over our virtual production capability with us. And again, that's mobile. We took it with us to New Zealand last time. So it's all doable. It's just looking at the numbers.
Some American businesses have expressed reluctance in doing technology transfer here in China because then they'll lose the proprietary technology. And they feel the Chinese competitors might create products that compete with theirs in the market. You're so closely associated with this technology, so I'm just wondering whether you have any thoughts on this?
I think that there's certainly always that danger. But we've found that people have tried to imitate us in the past and it usually comes to grief, because they can't continuously invest in R.&D. So they'll create a rig. Well that rig then becomes fixed in time at the moment they create it. We've got many, many clients across broadcast and cinema. So that allows us to continuously do engineering development of the next generation. And our generations are three to six months apart. Nobody can compete with that. So what we find is that our partners just say, "Look it's better for us to just do business with you because you're already ahead." We've seen people buy rigs and then be mired three or four years down the line in that moment of technology, and we've gone four generations past that. If it's embraced here and there's a big enough market for it, there may be other companies that spring up. But you're not going to be able to replace 12 years of experience overnight. So I think it's a question of being first to market with quality and good, solid partnerships. And after that we just have to see where it goes.
Is it fair to say then that when you're exploring the possibility of co-production, that includes the next one, "Avatar 2?"
Yeah, absolutely. Sure.
You must have had people talk to you to give you a briefing on the censorship process, about how it works or how it's affected certain films here. Do you have any general thoughts on that?
As an artist, I'm always against censorship. But censorship's a reality, even in the U.S. We have a form of it there. We used to have the Hays commission. We now have the M.P.A.A. ratings system, which is basically a self-censorship process that prevents government from doing it. But the economic imperatives are that if you get an R rating, the studio won't make a film that looks like it's headed toward an R rating, and if you get a R you've got to cut it yourself to comply with PG-13. So it's really just a form of censorship indirectly."
Do you consider that the same as Chinese censorship?
You've got a little more choice in it. It's not as draconian. But I can't be judgmental about another culture's process. I don't think that's healthy.
Did you talk to other filmmakers – your peers – about Chinese censorship?
No. I'm not interested in their reality. My reality is that I've made two films in the last 15 years that both have been resounding successes here, and this is an important market for me. And so I'm going to do what's necessary to continue having this be an important market for my films. And I'm going to play by the rules that are internal to this market. Because you have to. You know, I can stomp my feet and hold my breath but I'm not going to change people's minds that way. Now I do feel that everything is trending in the right direction right now, as I mentioned earlier.
Transcribed by Anastasia Taber
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text:
Dr Hannah Greenstreet
Writer and theatre researcher
Review: [BLANK] by Alice Birch
October 20, 2019 November 17, 2019 / Hannah
Originally published by Exeunt Magazine.
Photo: Helen Maybanks.
A child wearing safety goggles and carrying a baseball bat stands on a chair and smashes up a dinner party. Sugar glass and crockery scatter in brilliant, violent shards. The table splinters and gives way. An adult actor removes a wine bottle from harm's way. The gesture of care makes the performance feel suddenly more dangerous. The child's safety goggles slip down off her face. I wonder whether she will keep smashing, or an adult will intervene to stop her.
[BLANK] by Alice Birch was co-commissioned by Clean Break and National Theatre Connections, a festival of plays written for and performed by young companies. Although Maria Aberg's production at the Donmar is the full-length premiere, I have seen a production of [BLANK] before, by a local school at the Lyric Hammersmith last year. Where the Connections version of the script had 60 scenes, the republished script has 100, 45 with parts written to be played by children, 45 written to be played by adults, and 10 to be played between adults and children. Companies are invited to perform as many scenes as they like, in any order, carrying the formal experimentation of the play into the heart of each production. The author's note on the script states, 'This play is a challenge and an invitation to you and your company to make your own play from these scenes. This play might have a narrative and recurring characters, or it might not – it is entirely up to you'.
The constitution of Aberg's brilliant, all-female company, with twelve adult actors and four child actors (who play two child parts between them), brings out the bleakness of Birch's script. Whereas the young company production I saw focused on children, forced to grow up before their time and take care of the adults in their lives, Aberg's production focuses on mothers and daughters. In tracing how that relationship continues to re-echo throughout their lives into adulthood, it cannot help but recall Birch's earlier play Anatomy of a Suicide, which showed snatches of the lives of three generations of women from one family simultaneously.
Maria Aberg responds to the challenge of [BLANK] in several different ways. In the first part of the production, three distinct narratives emerge around three characters: Zainab, who has become estranged from her mother by, amongst other things, addiction; Joanna, a new mother struggling to look after her baby; and Kate, a woman with at least one child who enters into a relationship that becomes abusive. To try to summarise these women's stories would be to give them a narrative and, indeed, logical coherence that the form of the play resists. Instead, bright, crystalline scenes in their lives stand out like shards of glass, sustained by powerful performances. The hurt and despair underlying the spiky relationship between Zainab (Zainab Hasan) and her mother (Thusitha Jayasundera), who catches her breaking into her house to rob her. The desperation of Joanna (Joanna Horton) asking her mother (Jackie Clune) for help and her arms-folded refusal. Kate (Kate O'Flynn)'s temperamental affection towards her young daughter (Zaris-Angel Hator), withdrawn as soon as she says that she doesn't like her new boyfriend.
Rosie Elnile's modular, two-level set, with white walls and fluorescent strip lights creates the impression of many rooms where the walls entrap rather than protect their residents. In combination with Jess Bernberg's bold, primary colour lighting design, and Heta Multanen's video design, which projects close-ups of the cast's faces onto the walls, the sparse set facilitates the creation of striking visual images. A mother holding a baby paces in an upstairs room, desperately trying to get the baby to stop crying. It is not surprising when the set is transformed, through movement and lighting, into a prison. An older woman waits in her cell for a visit from her daughter that never comes. The production widens in scope to take in more women's stories, putting another spin on care and responsibility. Now it is not mothers, but an institution falling short in its duty of care, but its fallibility is less forgivable and has more disastrous consequences. Zainab is forced to the floor and restrained by three prison officers. 'I can't breathe', she cries, her voice muffled by the bodies pressing her down. 'I want my mum'.
With another twist of the kaleidoscope, the production shifts focus again to a dinner party. Nine women sit, drinking wine, around a table, its pristine white cloth loaded with a mezze. Kate is introducing her friends to her new girlfriend, Shona (Shona Babayemi). The painfully middle-class friends flaunt an affected care for women like the ones that have been portrayed in the rest of the play, at the same time as passing judgement in a performance of tolerance. They clearly believe their lives to be completely insulated from the issues they discuss, failing to recognise their own implication in them, as revealed by lower status characters who intrude on their world. Shona, mocked for not knowing what labneh is, is the only voice of dissent. As in Revolt. She Said. Revolt Again., Birch makes her most biting social critique through horrifying humour.
This scene – by far the longest and most naturalistic scene in the play, with overlapping dialogue that acknowledges the influence of Caryl Churchill in a nod to the opening of Top Girls – is a stark departure in style from the rest of [BLANK]. It is also a metatheatrical challenge to the audience to consider the ethics of how we consume a play like [BLANK]. In some ways, the production up to this point has the effect of emphasising how widespread the experience of violence and neglect is, smouldering through lives like a slow-burning forest fire. Yet the dinner party scene, which seems like it might have been written specifically for the Clean Break production and the Donmar's predominantly middle-class audience, stresses that there are structural causes, particularly class, that render direct experience of those things more or less likely.
Although the writing of this scene is closely observed and funny, it almost seems overwritten against the sparseness of the previous scenes, which could skewer or move in a single image or a few lines. It seems to draw back from its challenge to the director and audience to try to make meaning from the heap of brittle shards of the rest of the play by including such a direct critique. Yet it offers a different kind of challenge to the audience: to consider their own position and implication within society conceived as ecosystem; to consider their own responsibility towards others within that system.
My life is closer to those of the women at the dinner party than those of the women who have experienced foster care or the criminal justice system. Is my claim to care about these characters, and the lives of the women the play gestures towards, only performative? Do I really care?
A girl smashes up the dinner party with a baseball bat. Shards of glass fly.
[BLANK] is on at the Donmar Warehouse till 30th November. More info here.
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