Cities: Skylines II - title

I've been playing Cities: Skylines for almost 10 years. As soon as I started playing it, I recognized it as the definitive city-building game. It blew its contemporaries, such as SimCity (2013) and Cities XL out of the water. It was a smash success that developed a massive following and spawned 11 full expansions, 4 mini-expansions, 21 asset packs, numerous music packs, and thousands of player-created mods and custom assets.

Creating a sequel to a game that is so beloved and content-rich can be challenging or daunting. Sequels to extensively-expanded games, such as any given entry of The Sims, Civilization, Crusader Kings, World of Warcraft, Rock Band, and so forth, run the extreme risk of feeling bland, empty, and incomplete compared to their content-rich and/or mechanically-complex predecessors. This can leave the sequel feeling underwhelming to long-time audiences, who might return to the older game because they crave the extensive, familiar content. The Sims in particular is infamous for stripping out popular expansion content, and then selling that content back to consumers again (and again) as an expansion pack for the sequel. The most notable example is probably that every Sims game has a "Pets" expansion, because EA could never bite the bullet and just put dogs and cats in the vanilla launch of a sequel.

Sequels to expanded games often strip out popular content to re-sell as expansions.

The sequel to Cities: Skylines is a bit of a mixed bag in this regard. On the one hand, yeah, a lot of content from the original game is absent from the sequel, and the options for what players can build can feel a bit sparse. On the other hand, the vanilla release of Cities: Skylines II retains something from almost every one of the original game's expansions. It even includes content and mechanics that were part of some of the smaller content packs and from popular mods.

The vanilla game includes a day/night cycle that was introduced in the original's After Dark expansion. Some of the economic models of the After Dark and Industries expansions have been expanded in scope to apply to the entire game, thus alleviating some of the need for explicit tourism, leisure, or specialized industry districts. It took the winter themes of Snowfall and fleshed it out into a full seasonal cycle. It includes some of the weather and disaster events from Natural Disasters, as well as some of the early-warning and shelter infrastructure. It includes modular upgrades and customizations to certain buildings and infrastructure, as well as large industrial areas, that fills a similar role as the modular areas of Parklife, Industries, Campus, and Airports (though I'll talk more about this mechanic later in the review). It includes pedestrian roads from Plazas & Promenades. It includes eco-friendly variations of utilities that were part of the Green Cities expansion. And of course, it has road-building and transit-planning tools that largely leave Mass Transit in the dust.

It even includes sports parks and parking lots, which were late DLC content released for the original game in the last couple years. And the road-building and traffic-management tools have much of the functionality from the popular "Road Anarcy" and "Network Extension" mods. And that's to say nothing of all the brand new content, mechanics, and more complicated simulation! So even though it is not as full or content-rich as its predecessor with its double-digit expansions (how could it be?!), Cities: Skylines II is still a fully-featured and content-rich city-builder that can be played for many hours before going stale.

Some content and mechanics from almost every CS1 expansion are included in CS2's launch.

But as I said, there is quite a lot of content from the original game that did not make the cut, and which is sorely missed. For one thing, bicycles and bike lanes aren't in the game at launch, which is a kind of baffling decision (considering this game is developed in Scandinavia, where bicycling is huge). There also aren't any walls or fences or quays, and the tool for disabling zoning on either side of a road is strangely absent. So it's back to using pedestrian paths to remove zoning from arterial roads. Zoning is actually quite a bit of a pain in the ass in the sequel, and I am frequently fighting with the road layout, zoning squares, and pedestrian paths to try to get my city to look the way I want.

If you were particularly fond of leveling up and expanding things like industrial parks, nature preserves, amusement parks, universities, and so forth, then you might be disappointed by their absence. In fact, recreation, leisure, and tourism options are very spares in the sequel, as it lacks the tourism and leisure districts of the After Dark expansion. You also won't be building any small fishing villages, since Sunset Harbor is the one expansion that doesn't have anything being carried over into the sequel.

To its credit, the vanilla release of Cities: Skylines II feels more content rich and mechanically-compelling compared to the vanilla release of the original Cities: Skylines. But there's so much absent from the original game, that I un-install the original from my PC with a degree of trepidation.

There is some content from CS1 that is conspicuously absent.
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So what the heck happened to Picard's dog?! Number One was my favorite character in the premiere, but then he completely disappeared from the entire rest of the show and hasn't even been mentioned since. Were his inclusions in the premiere nothing more than reshoots that were thrown in at the last minute, after much of the rest of the show had been scripted and filmed?

Picard's home was broken into and Picard physically assaulted. The dog was nowhere to be seen. Guess he's not much of a guard dog, huh? I don't even think Picard bothered to ask if Number One was alive after the attack. For all he knew, the Romulan assassins murdered his dog. There's also no tearful "good bye" when Picard has to leave the planet on a potentially dangerous mission, or talk of who might take care of the dog if Picard doesn't return. On the upside, at least the writers didn't kill the dog as an excuse to turn Picard into "space John Wick", in the same fashion that the TNG movies used Picard as a "space John McClane".

Then again, bringing up an idea or character, only to completely drop it by the end of an episode with no real exploration of the concept or character seems to be the modus operandi of Star Trek: Picard.

I gave a lot of leeway to the premiere. I even said that I want to "delight of having just watched a new piece of Star Trek media that I didn't hate". Well that lack of hatred didn't last long. Each episode of Picard just got progressively worse and worse.

If not for the fact that I intended to write a full season review, I would have stopped watching the show by episode 4.

What happened to Picard's dog, Number One? He just disappears from the show after the first episode!

Just as I feared, Star Trek; Picard isn't about the rights of androids or the moral imperative to provide humanitarian relief to refugees (whether those refugees happen to be Romulans or ex-Borg). These things are dominant themes, but they aren't what the plot or story is actually about, nor does it ever become the ultimate message of the show. I think the overall message was supposed to be to not let your fear and prejudice turn you into a genocidal monster, but even that happens in a lazy, eleventh-hour "twist" that I thought made no sense. The actual plot is about conspiracies to cover up the existence of robot Lovecraft monsters from another dimension, and to stop androids from inevitably summoning them to kill all humans. Yep, that's Star Trek canon now. Go figure...

Picard facepalm

In the meantime, the episode-by-episode (and minute-to-minute) scripting is trying too hard to be like Firefly or any other grungy sci-fi series from the past 20 years. Now, I love Firefly. I also praise The Mandalorian for taking cues from Firefly. But The Mandalorian is set in the Star Wars universe, which was always a grungy universe that contained lovable rogues and scrappy survivors. Star Trek has never been that kind of universe. It's the antithesis of that kind of universe. If I wanted to watch a dark and gritty cowboy / ronin space adventure, then I'll watch The Mandalorian, or I'll go back and watch Firefly or Battlestar Galactica again. Or I'll check out The Expanse or Dark Matter or Altered Carbon or Westworld, or any one of a dozen other sci fi shows that have come and gone in the past 20 years and have borrowed heavily from that same aesthetic. Or I'll play Mass Effect 3, which Picard seems to have blatantly plagerized.

I don't watch Star Trek for that. I watch Star Trek for thought-out, uplifting, cerebral science fiction about an optimistic future that I hope humanity eventually achieves.

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