InPark Magazine Issue #101: Story Beats - A Journey in Creativity

Story Beats: A Journey in Creativity with PGAV

Our “guiding light”

Martin PublisherPalicki,

Few people will remember that Judith Rubin’s first article for InPark Magazine was in our Fall 2005 issue, just one year after our debut. The topic: A special event at what was then Paramount’s Kings Dominion (Richmond, Virginia) providing guests the opportunity to meet what Judy called “their favorite scrubby-chinned, sensitive, puppyish-yetmanly leading men from the CBS soap opera Guiding Light.” The event was a natural tie-in for CBS and Paramount, both owned by media giant Viacom.

Among others, Judy profiled a 15-year-old named after Guiding Light lead character Reva and a middle-aged postal worker who claimed the event was the second most thrilling event of her life, outranking multiple Elvis sightings.

Of course, all good things must come to an end. Guiding Light wrapped up its 57-year television run in 2009. Cedar Fair purchased Paramount’s Kings Dominion in 2006 and is currently in the process of merging with Six Flags. And Judy is now hanging up her editor’s hat at InPark after nearly 20 years of writing for, editing and transforming this publication. (For more on her future plans, see her editorial opposite this one.)

Without a doubt, InPark would not be where it is today without Judy. She has pushed the magazine to move into new markets (museums, expos, AV technology, etc.), guided us into and around the world of social media and expanded our PR capabilities – all skills she gained from decades of working in the industry.

Nearly every article we have published has benefited from Judy’s keen editorial sense. A wordsmith by nature, there has never been a sticky semantic situation she couldn’t save us from with skill and savvy.

I had no idea when I agreed to publish her pitch about soap opera stars in a theme park that Judy would become such a wonderful, long term friend and business partner. She really is InPark’s “guiding light!” I’m lucky, honored and grateful for having the opportunity to work with her so closely…and I look forward to continuing to work with her in various ways over the coming years. Thank you, Judy!

Martin founded InPark Magazine in 2004, combining years of experience working in themed entertainment with a passion for writing and design.

The march of time

Judith Rubin, Editor

The year was 1987. I was 30 years old and I had moved cross-country from Manhattan to Oakland, hoping to find a place in the Bay Area publishing community. I had reached out to potential employers and Alfred Heller, publisher of World’s Fair magazine, invited me to interview. My subsequent eight-year adventure and learning curve with World’s Fair launched me into the world of themed entertainment.

I had found my industry – and it wasn’t only world’s fairs, as big of a sector and topic that is on its own - it was the larger visitor attractions industry. It turned out that the creative and supplier community serving world expos was also active on all kinds of educational and entertaining attractions, exhibitions and guest experiences.

Over several decades, I have worked with a number of different media outlets and trade associations serving the industry, and some of the best years have been the ones with InPark and its founder Martin Palicki. Our collaboration began in 2005. I have enjoyed every moment of it so far, and Marty has become a dear friend as well as a great business partner.

Now, stepping back my role, I’ve traded my InPark editor’s hat for an editorial adviser and contributor’s cap. You’ll still be seeing me around online, in the pages of InPark and at the occasional trade show. Marty has built a great publication with high editorial standards and strong connections. InPark boasts the support of a fantastic clientele and readership who value the meaningful content produced by insightful writers who know and love the industry.

Of course, I will miss the day-to-day rapport with Marty and with Joe Kleiman, who has been a vital part of InPark’s editorial team since 2011. But I’m excited about having more time for some personal creative pursuits. Meanwhile, I can’t wait to see what Marty and his team do next. I know, and you know, that it will be relevant, topical and useful to this business.

Judith helps drive content to serve the attractions industry, fostering professional connections, business development and the meaningful exchange of information. She has been contributing to InPark since 2005 and became editor in 2010.

Joe Kleiman, Senior Correspondent

Raised in San Diego on theme parks, zoos, and IMAX films, Joe Kleiman would expand his childhood loves into two decades as a projectionist and theater director within the giant screen industry. In addition to his work in commercial and museum operations, Joe has volunteered his time to animal husbandry at leading facilities in California and Texas and has played a leading management role for a number of performing arts companies. Joe has been news editor at InPark Magazine since 2011, becoming the publication’s senior correspondent in 2021. His blog,ThemedReality.com takes an unconventional look at the attractions industry. Follow on Instagram @JalekAvant

inparkmagazine.com

Industry News

Our new InPark News section highlights new projects and products in the industry. To include your news item in print, contact Marty via news@inparkmagazine.com.

Merlin Entertainments tasked Alterface to produce the scary Dämonen Gruft dark ride at Heide Park Resort

Now open, the Dämonen Gruft (Demon’s Crypt) compact (380m2) dark ride produced by Alterface offers adventurous guests at Heide Park Resort, northern Germany’s largest theme park, an immersive plunge into a dangerous netherworld. The attraction is sited within “ancient catacombs discovered during excavations” last year amid whispers of dark secrets and rumors of people going missing. An anonymous video of a shadowy figure warned against attempting the “Katakomben Tour” and spoke of the Demon’s Crypt. Ominous warnings beg the question: is the Demon’s Crypt a new exciting experience not to be missed…or a terrible trap?

“Merlin Entertainments called upon Alterface to oversee the production of the show and ensure every detail – from lighting and sound to media and special effects – was flawlessly synchronized,” said Stéphane Battaille, CEO of Alterface. “Collaborating closely with Merlin on art direction, we brought their vision to life by recruiting the perfect team to realize the frightening promise of Demon’s Crypt.” Alterface worked with a mix of newcomers and highly experienced partners from around the globe for the project.

Two Belgian firms were recruited, Oddities, who provided critical support in art direction and played a vital role in bringing the concept to life, and 400 Coups who were charged with media production. Andy Garfield at Pachinko Media in the USA managed audio production, and JP Showsystems from the UK provided show control and technical design. Preston & Barbieri from Italy were contracted by Merlin Entertainments to provide the ride system, and TAA Group in Spain to provide theming.

“Demon’s Crypt wasn’t a solo endeavor—it was all thanks to our incredible team. Each member brought their unique expertise and dedication, making this project a smooth and enjoyable collaboration that was essential to the ride’s success,” Battaille said. “And of course, it all began with a great design by and the full support of Merlin Entertainments’ Creative Lead – New Products and Concepts, Liz Cummings, and her team.”

The story of the crypt, special effects, media, and – most important – terror, are packed into Demon’s Crypt’s footprint. Eight cars, each carrying four adventurers through the seven-scene, 3.5 minute ride, provide a maximum capacity of 480 passengers per hour. “Special effects include scent, temperature, theatrical and SFX lighting, smoke, water spritz and CO2 sprays,” said Alterface’s Etienne Sainton, producer for the attraction. “Given the tight time frame, we knew we had to find highly qualified partners to realize the many conceptual and technical aspects of the project.”

While this was their first dark ride, Oddities, with creative freedom from Merlin Entertainments and Alterface’s support, made full use of the opportunity. “Everyone worked together,” said Taddéus Fraylich, Artistic Director at Oddities. “The team produced something we believe will serve as a cornerstone for Alterface and Merlin in the field of dark rides/ghost trains. We hope this was the first of many projects with Alterface!”

Sainton particularly enjoys the very first scene. “Unlike most loading stations, which are often utilitarian, the boarding area is the initial scene for Demon’s Crypt. It puts guests into the vehicles and the story right at the beginning,” he explained. “From the start it is scary – scarier than other dark rides you can find in theme parks.”

Perhaps most immersive is Scene 5, “Feast for the Souls,” which brings together most of the effects into a single frightening presentation. “A Pepper’s Ghost scrim, video, scents, water jets, immersive sound, and lighting perfectly envelop the video content and theming,” said Katleen Abraham, Production Designer at Oddities. “It’s an immersive scene that finally reveals the demonic creature that will chase the riders until the end.”

Alterface has extensive experience working in partnership with other qualified vendors to conceive, design and create guest experiences, but is also capable of realizing immersive turnkey projects. “Whether done in-house or in combination with other firms, our efforts are always driven by the client and the story,” said Battaille. “Demon’s Crypt shows how great teamwork can result in an amazing attraction. I can’t wait to see how people respond to this crazy, scary ride!” •

Images ©JP Showsystems

Providing music, sound design, and audio ser vices for: attractions | parades | nighttime spectaculars | immersive experiences exhibit s | stage shows | themed area ambiance Crafting

Personalizing cultural attractions, the Mad Systems way

New Alice® and Lory® technologies interview

by Joe Kleiman

According to Elizabeth Merritt, Director of the Center for the Future of Museums at the American Alliance of Museums (AAM), the education sector has pivoted from a “conformed one-size-fits-all model” to personalized learning, where students’ individual needs and interests shape their lesson plans. Within the related fields of interpretation and curation in museums and other cultural attractions, a similar transition is taking place, sometimes through physical media and live facilitators, but often through the implementation of technology as an educational tool. As new technologies such as artificial intelligence (AI) are embraced, personalized curation begins to take the visitor experience in new directions.

Mad Systems’ team (www.madsystems.com), headquartered in Southern California and led by Tricia Ensing (President and CEO) and Maris Ensing (Founder and Creative Tech Consultant) is a leader in providing custom technological solutions tailored for the specialized needs of owners and designers within cultural attractions. Their signature offering, the QuickSilver® AV ecosystem, is the cornerstone of the AV++® suite. Quicksilver represents a major transformation in AV integration, facilitating personalized visitor experiences while significantly reducing infrastructure requirements. Previous installations include the Missouri Botanical Garden, Crayola IDEAworks traveling exhibition and the Pittsburgh Steelers Hall of Honor and Museum.

Language captions via Alice® All images courtesy of Mad Systems

Mad Systems got its stronghold in the industry through creative exhibitions and unique installations that were rooted in traditional AV. Now, their capabilities transcend those roots as they work closely with facility owners, architects, and exhibit designers to understand the specific challenges and opportunities involved in creating engaging visitor experiences that are sustainable and economically viable. Their AV++ suite provides solutions that create personalized experiences, making each visitor interaction unique and memorable. This approach has created a space for new methods of designing exhibitions that can be inclusive for all.

The whimsical yet sophisticated naming of their system components, inspired by Lewis Carroll’s Alice’s Adventures in Wonderland, reflects their transformative potential as well as the company’s creative ethos. Under the leadership of Maris Ensing, a pioneer in the AV field and known for his disruptive innovations and unconventional problem-solving, Mad’s development team has introduced groundbreaking patented and patent-pending solutions. “We’re updating a 40-year old toolkit,” Ensing says. His outside-the-box style thinking led to three new products within the AV++ space:

• CheshireCat® and Alice® are patented and patentpending technologies, respectively, centered around personalization and interactive engagement. CheshireCat offers high-speed, privacy-centric, recognition-based media delivery, while Alice serves as a dynamic, AI-driven media generator that adapts content in real time to match individual visitor preferences and interests. If a client prefers to not use facial recognition, Alice is flexible and designed to also work with barcode wristbands, QR codes, RFID, and NFC tags.

• Specifically designed to enhance accessibility and to allow for additional language support, the patented Lory® tour guide system uses a visitor’s personal smart devices to cater to guests with diverse needs or preferences, including those requiring hearing assistance or vision-related support. It also handles multilingual content via headphones or AirPods, ensuring a more inclusive and engaging experience for all visitors. Since Lory can also use QR codes or NFC tags, it is possible to retrofit existing exhibitions.

Previously, InPark Magazine explored QuickSilver and the potential applications of Alice and Lory for the attractions market [see “You can’t spell personalization without AI,” InPark Magazine issue #99]. The company is currently offering demos of Alice and Lory, providing owners and designers the opportunity to experience them in action firsthand at Mad Systems headquarters and to discuss deployment in new projects. The company also has an active presence at trade events throughout the year.

Maris Ensing

Interview with Maris Ensing

What are some of the ways the Mad Systems AV++ product line is tailored to the needs of museums and attractions?

The cultural sector - comprising museums, visitor centers, and similar institutions - is facing an increasingly complex landscape. Challenges stem from evolving visitor and client demands, the need for innovative communication strategies, and the drive for competitive differentiation. Visitor expectations are also escalating, with a growing demand for memorable, ‘wow’ experiences that cater to a broad demographic spectrum and encourage repeat visitation. Moreover, the rapid pace of technological advancements presents its own set of challenges, including faster redundancy rates for proprietary hardware and the ongoing quest for long-term viable, flexible solutions that can also provide a new generation of options.

We address these multifaceted challenges by taking a revolutionary approach to audiovisual system design in the form of QuickSilver and options for patented CheshireCat, patent-pending Alice, and patented Lory technologies. These technologies offer a myriad of benefits to owners and designers in the cultural sector, promising to redefine and advance the visitor experience through personalization, inclusivity, and adaptability.

This suite of technologies provides a competitive edge. By integrating these advanced AV solutions to help tell their stories and convey their messaging for education and/or entertainment, operators can address the pressing challenges of today’s landscape. They can deliver more engaging, hyper-personalized, and inclusive experiences that not only meet but exceed visitor expectations, fostering sustained interest and encouraging repeat visitation in an increasingly competitive marketplace. This supports other essential goals such as sustaining educational missions, customer resource management (CRM), and meeting return on investment (ROI) targets. Technologies like Alice and Lory make a venue stand out from the crowd and stimulate repeat visits, which can have a significant impact on financial returns while QuickSilver provides a long-term, computer/IT-based solution with a level of flexibility that allows for these new features to be integrated.

Tell us more about the impact on visitor experience and “hyper-personalization.”

Mad Systems is committed to innovation and a proactive approach to technology deployment. We collaborate with clients and designers to ensure that cultural institutions can

meet and exceed the evolving expectations of the public, providing tools to help exhibitions engage with visitors in ways that are deeply immersive and hyper-personalized.

Hyper-personalization in terms of what these systems can deliver includes seamless multilingual access and inclusivity for individuals who are hard of hearing, deaf, partially sighted or blind. Hyper-personalized experiences have the capability to instantaneously adapt to the visitor’s preferences, encouraging repeat visitation by providing targeted and changing media to each visitor.

While the technology is very sophisticated, its reliance on standard PC hardware ensures longevity and overcomes obsolescence with flexibility that allows for both wired and wireless installations. Not only that, but since Alice derives personal media from a curated “Body Of Knowledge,” content is forever changing and can easily be kept up to date, encouraging return visits.

In an era where technology and visitor expectations are rapidly evolving, embracing solutions like QuickSilver, CheshireCat, Alice, and Lory offers a path forward for the cultural sector to thrive - to be able to deliver hyper-personalized experiences in a fluid environment that can adapt to both present and future needs.

What is featured in a demo of Alice or Lory? Who should attend these demos?

When you come in for a demonstration, or when we do a demo at your venue, you’ll experience how Alice can deliver hyperpersonalized media experiences of depth and adaptability. You’ll check in using a kiosk or your phone (other options are, of course, available) and input basic details such as your age,

interests (ranging from art to science to history), preferred language (with a selection from an extensive list that includes European languages, Mandarin, Katakana script, Arabic, Urdu, Tagalog, Russian, and others), level of interest, and preferred delivery style. At that point, Alice leaps into action. Leveraging a meta-tagged media library, it selects or generates hyperpersonalized content that aligns with your stated preferences, blending text with suitable imagery or video. We are presently working on a further option to convert this text into speech in the selected language and to create avatars in the form of Virtual Docents to enrich the personalized visitor experience further.

Lory’s capabilities are demonstrated by providing Lorydelivered content on personal devices that are aligned with the main media show in the exhibit or theater, offering different spoken languages, subtitles, and sign language options. This system’s ongoing development aims to extend the range of spoken, written, and video-based sign languages available and to accommodate a large number of simultaneous options, ensuring information accessibility for as broad an audience as possible.

The current incarnations of Alice and Lory suggest what can be achieved in creating exhibitions tailored for modern audiences. We stand ready to deploy these innovative solutions and we invite operators, designers, storytellers, consultants and creatives to come and explore the vast potential of these technologies for setting a new standard in immersive, personalized guest experience in a wide variety of settings. We are prepared to discuss options and implementation possibilities, and we are very enthusiastic about assisting you with this new, vastly expanded AV and media delivery toolkit. Our doors and minds are open. We have something substantial to offer the education and attractions sectors. •

AI image of Lory®

Alice® interacting through mobile device

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Story beats

A journey in creativity with PGAV Destinations

by Gene Jeffers

This InPark exclusive is a deep dive into the creative process at PGAV Destinations, one of the leading design studios in the global attractions industry. With headquarters in St. Louis, Missouri, and Orlando, Florida, PGAV has built on decades of experience designing for themed entertainment.

Atthe core of PGAV’s creative process is a dynamic team committed to story-making – digging into the art, science, and strategy of storytelling to create experiences that resonate with guests. The story serves as the cornerstone of projects, providing a framework that guides the design. Each beat of the experience is carefully crafted to build and release tension, guiding guests through a spectrum of emotions while carefully considering the diverse interests and nature of the audience. This empathetic approach ensures that each individual engages with the story in a meaningful way.

“For us, story is everything,” said Dave Cooperstein, Senior Creative Designer at PGAV Destinations. “All the destinations we design originate from some kind of story, whether fictional, historical, fantastical or metaphorical.” With efforts ranging worldwide from small exhibits to entire museums and theme parks, PGAV Destinations projects engage visitors by immersing them in rich stories built through character development, atmosphere, sound, smell, and environmental clues. “Finding ways to personally connect a wide range of

people – the young, the old, the curious, the adventurous, the tranquil – requires us to create experiences that immerse guests on multiple levels and provide variations that allow all members of a family and guests of all ages to connect with the client’s message.”

Working with clients to identify their objectives and develop an effective storyline can vary tremendously. “We understand our client’s brand, key messages, and other objectives and craft a story that will resonate with guests. It guides the space that guests walk through, the sounds, the music, the things they do and the way they feel. Story is a key driver of design,” said Carol Breeze, Lead Designer, Story Experience. The visioning process is her favorite part of a project. “At the start, there is a cloud of ideas, thoughts and strategies swirling around the room,” she explained. “Most exciting, there comes this moment when it all comes together. When everyone in the room sees the vision clearly. Before you know it, we are running hard to make that vision become real.”

Guest Journey Guides, story-maps and emotional diagrams are written or rendered scene by scene, providing breakdowns of what the guest does, what they see, what they walk through, how they feel, and what they hear throughout their visit. “We use these documents to craft all of the moments of an experience, from the big emotional flows to the smallest details that really resonate with guests,” she explained. Layouts,

Above: Pushed to create a connection between being in the St. Louis Union Train Station and being in an aquarium, PGAV tied the two together through an emotional journey that carries visitors from local waters down the Mississippi River and right through to the ocean depths. Credit: PGAV

spacing, and opportunities to connect and explore are all designed to offer variable paths for each visitor. The documents help organize team members’ thoughts and allow anyone coming on to a project to quickly get up to speed.

Echoes of history: The 1904 World’s Fair exhibit

The Missouri History Museum in St. Louis decided to reimagine and bring a 21st-century perspective to its exhibit about the 1904 World’s Fair. “The challenge is always how to create the possibility for unrepeatable moments,” said A.D. Gladu, Creative Writer. “Moments that connect guests with a story in a unique and everchanging manner.” While the museum has a large collection of documents and artifacts relating to the Fair, they wanted to create greater emotional connections to the human stories of the event and its impact on history. The museum tackled part of this storytelling through a documentary video shown in the exhibit. PGAV Destinations wrote, directed, and produced the video. “The museum gave us four people with different perspectives to interview about how the fair affected their lives and their families,” she said. “It was a palette of humanity, a breathtaking array of individuals who are all passionate and have so much to share.” Before the cameras rolled, Gladu researched each person, learned about their interests and history, and brainstormed potential storylines to connect the four individuals to each other and to the Fair and museum. However, she walked into the interviews with an open mind, giving the participants time to breathe, room to express themselves, and space for the conversation to flow and enrich the content. Now part of the new exhibit, the resulting 20-minute video transports guests through the emotional echoes of events that happened so long ago.

One of those interviewed was the great-granddaughter of a young worker at the Fair who was part of the U.S. Pensionado Program (Act 854 of 1903), which brought 100 Filipino

students to the U.S. in 1904, the first year the program was active. “Choices made by the Fair’s founders, in concert with the U.S. government, dramatically affected the next four generations of her family,” Gladu said. “Illuminating their 120-year journey to the present and how the 1904 World’s Fair continues to affect people’s lives offers museum visitors a real chance to connect with history at a human level.”

Rails and reefs: Connected narratives at St. Louis Aquarium at Union Station Journeys are often the story arc in many of the firm’s projects. Designed by PGAV Destinations, the St. Louis Aquarium is housed in the National Historic Landmark train shed at St. Louis Union Station, which originally opened in 1894 as the biggest and busiest train terminal in the nation. “How do you create a connection between the reality of being in a train station and the experience of being in an aquarium,” Justin Stichter, Vice President, asked. “Trains and fish don’t intuitively correlate, so this presented a unique design challenge for our team. The journey we crafted with our client allowed us to present the animals in an interesting way and leverage the rich history of the Aquarium’s setting.”

For Stichter, a compelling narrative or storyline is a subset of and driver for any designed experience. “A great guest experience is like composing or blocking choreography,” he said. “There should be slow and fast movements, small variations and dynamic changes, all to keep the guest interested and engaged. We think about moving guests through time and space by way of our narrative.” When approaching a design problem, identifying the end goals and the needed emotional arcs is essential to crafting the delivery. For an aquarium that would be located in a historic train station, it was important to touch on the historical significance of the station and its function in America’s westward expansion and opening horizons.

Dave Cooperstein, Senior Creative Designer

Justin Stichter, Vice President Tyson Baker, Interior Designer A.D. Gladu, Creative Writer

Amanda Yates, Director of Brand Experience

Carol Breeze, Lead Designer, Story Experience

Tom Marschner, PGAV Vice President

Essential to the entire process is the development of the Guest Journey Guide, which directs the project toward the desired end. In addition to specific theming directions, such a document can sketch critical moments, the wow moments if you will, and the essence of the experience. “For this aquarium, we developed a fantastical entry experience that transported guests from the Historic Union Station to the banks of the Mississippi and Missouri Rivers,” he said. “Visitors plunge into the river, get face to gills with thousands of species, and explore the cavernous depths of the open ocean. Their journey follows our story from trains to fish, each exhibit along the way another chapter to be experienced.”

Crafting the perfect bite at Piccolo Buco

Promising a taste of Rome’s Best Pizza without the travel, Piccolo Buco restaurant in Oak Brook, Illinois, offers more than vicarious travel to Italy with its authentic cuisine and décor. “We tell stories through physical space,” said Interior Designer Tyson Baker. “We begin with understanding a brand’s history and story – then work toward creating authentic spaces and environments that will authentically connect the client’s passion and story to the guests.” In this case, Cooper’s Hawk restaurant founder Tim McEnery first met Chef Luca Issa and experienced his wonderful pizza in the tiny Piccolo Buco Roma restaurant steps from the Trevi Fountain. Simple ingredients atop an extraordinary, tall crust that was crisp on the outside yet cloud-like at the center convinced McEnery to work with Issa and bring this delight to America.

“Finding a way to create the sense of a small, hole-in-the-wall pizza place in Rome to a much larger facility in a location just outside Chicago was the challenge,” said Amanda Yates, Director

of Brand Experience. “This story required a number of steps, of beats, to create the proper ambience, to give the sense of a small, intimate place.” Due to the significant size difference between the U.S. restaurant and its Italian counterpart, a recessed entryway provides guests a sense of comfort as they enter. Interior tile and furnishings are all evocative of Piccolo Buco Roma. Two-top tables populate the room, providing flexibility and, more importantly, a sense of intimacy. An open kitchen lets diners in on the action while classic Roman images with humorous American touches grace the walls. And don’t forget the crust – so delicate, so special, it is cut at the table with scissors, just as in the original Roman restaurant. “Each piece of the whole story contributes to the final impression,” Baker said. “The American restaurant uses the same ingredients, the same type of flour and tomatoes, offers the same two types of olive oil, one for dipping, the other for drizzling. Every detail is aimed at transporting diners, if only for a few hours, to an authentic taste of Italy.”

A new vision: Columbus Zoo and North America Trek North America, the oldest region within Columbus Zoo and Aquarium, needed a refresh. Over the years, the region slowly became a pass-through as guests rushed past the black bear habitat or missed the river otters on their way to the zoo’s newer, more modern regions. PGAV and the Columbus Zoo envisioned a new story for the space that encourages guests to take their time and learn about the amazing native animals. “The zoo wants to build empathy and understanding for each species, encouraging guests to learn about the animals’ unique roles in this native habitat,” said Tom Marschner, PGAV Vice President. North America Trek emerged, an animal-filled road

Above: Replacing a passageway between old habitats and worn graphics at the Columbus Zoo, PGAV is creating the new, highly themed North America Trek experience. The animal-filled “road trip” starts with local species and then begins to work its way across the continent, offering nature-inspired encounters with the zoo’s collection. Credit: PGAV

trip starting locally in Columbus and taking guests through the diverse continent. Phase I of the region introduces visitors to local river otters, followed by various North American songbird locations, then changing direction south to witness Mexican Wolves, and finally heading to the West Coast to connect with black bears.” Phase II will continue the journey, heading north for encounters with the elusive lynx and other creatures.

“From the beginning of the project, PGAV worked closely with the zoo to determine their goals. We discussed what elements were must-haves for the habitats to ensure an enriching and diverse environment. For the guests, we agreed on what emotions to evoke, what we want them to feel, what we want them to experience, and what knowledge we want them to walk away learning. We also wanted to make sure that guests are well-informed about the many great conservation efforts in which the Columbus Zoo actively participates.” Deeper dives were made into creating a sense of adventure or introducing new surprises via physical views or fun information to keep the guests engaged. “We conceptualize how these different messages work their way into the overall experience,” said Marschner. “How do we lay the pieces out over a plan and blend animal environments with interpretive displays and hands-on activities? These are the required beats to achieve the full story.”

Each animal habitat is created to replicate the natural surroundings of the animal’s native habitat. It encourages natural behaviors from animals, contributing to their

wellbeing, and has the added benefit of heavily supporting the overarching story. “River otters will swim and play in the local Ohio River’s familiar waters, rocks, foliage and colors. Mexican wolves live in a drier, Southwest environment with a much warmer palette, which is portrayed in the habitats,” Marschner explained. “Each habitat’s theming has to feel as natural as possible; each transition has to make sense for the visitors. Each habitat provides another chapter in the overarching story of nature’s amazing diversity and why these species need to be protected.”

Transporting through time and space:

National Air and Space Museum

As the National Air and Space Museum undergoes renovations, PGAV Destinations is enhancing the visitor experience and creating immersive connections between exhibit halls. “At a museum filled with so many iconic artifacts, it is really about telling the human stories behind the objects,” said Cooperstein. “Exploring the stories that resonate with people and forge emotional connections to the displays is rewarding.”

The first phase of the project opened at the end of 2022 and includes media screens strategically positioned at the threshold to the major galleries to orient and attract visitors. “Our project’s scope is to infuse the spaces between the exhibit galleries with immersive content,” explained Cooperstein. “These stories in these spaces are interwoven and illustrate how aviation and spaceflight have changed the world and each of our lives.” Presented on media screens, graphic panels and exhibits in the hallways, the stories relate to a specific zone of

Exploring the human stories behind artifacts big and small at the National Air and Space Museum, PGAV forges connections with visitors. This T-38 jet is brought to life through the story of Jackie Cochran, the female pilot who set eight world speed records in this particular plane. Credit: Smithsonian’s National Air and Space Museum

the museum—Barron Hilton Pioneers of Flight, Kenneth C. Griffin Exploring the Planets, and Boeing Milestones of Flight Hall. The exhibits are distinct but thematically linked, knitting together the museum’s overarching narrative.

An epic tale of connection:

SeaWorld Yas Island, Abu Dhabi

PGAV Destinations was tapped to create United Parks & Resorts and Miral’s indoor park in the Middle East, recently crowned the world’s largest indoor marine life theme park by Guinness World Records. “The theme for SeaWorld Abu Dhabi was that there is One Ocean. We are all connected to the ocean, and the ocean connects all of us,” Breeze said. “Abu Dhabi has a rich maritime history, so that is where we started to weave this story together.” The team created a story map that took the One Ocean theme and touched on a number of different, related narratives. From the smallest interpretive graphic to the 360o Hypersphere simulator, from the 15 rides and interactive experiences to the One Epic Ocean show, every element in the park’s eight realms touches on the theme, telling a global story of connection and interdependence.

The park’s smallest realm, MicroOcean, an underwater playground where small is big, is Cooperstein’s favorite. “It’s incredibly enchanting. There is no other realm like it in the park,” he says. “You step through the Shrinkerator and get smaller and smaller, right down to the plankton level.” Everything around you is overscaled, and the games, adventures, experiments and rides all cleave to the core story of the realm: that small things in the ocean have just as much impact as big things.

The park’s five guest levels and over 2 million square feet are packed with exhibits and places to explore like Endless Ocean, the largest multi-species marine life aquarium in the region,

Above: At the very heart of SeaWorld Abu Dhabi, the One Epic Ocean show informs, connects and intrigues visitors with its 360o presentation and its portals to the other realms of the park and the Animal Care Center. The immensity of the world’s oceans is reflected within the giant theater space while emphasizing each visitor’s personal role in protecting this critical environment.

Below: MicroOcean creates an inviting space for kids and families to explore and play together. Photos Credit: PGAV

an Animal Care Center, fine dining, a tropical bird habitat, opportunities to feed sea lions, rays, and more. At SeaWorld Abu Dhabi, the One Ocean story unfolds on both intimate and grand scales, in giant theaters and through rides and interactive scenes. Guests can return again and again, exploring the park and enjoying its story in new ways and sequences each time.

Story beats and success

Collaborating with each client to fully understand their needs and story is foundational at PGAV Destinations. What emerges from these early efforts establishes the framework for the key storyline and, ultimately, the entire undertaking. “Every project has a lot of hands and hearts pulling it together,” said Breeze. “What is wonderful to me as a storyteller is developing a story map with the client at the beginning, then turning it over to our team of creative, imaginative people who take it, run with it and bring it to life.”

Ensuring that every attraction and park remains fresh and new for visit after visit, PGAV Destinations builds flexibility into every experience. “Each project has its story beats,” said Yates. “The emotional ups and downs, the sudden reveals and surprises. We map these beats to understand their impact, their relationship to and potential within the flow of the overarching storyline. We structure the beats to allow for adaptation and improvisation on the part of the guest, which makes each journey within the park new and exciting.”

All these moments, these story beats, contribute to an exceptional guest experience, but they serve a broader purpose. Stichter elaborates, “The story creates an experience that touches guests, potentially transforming them. This engagement empowers guests to actively participate in the story, effectively becoming characters within the narrative.” These transformations often lead to action—whether it’s guests returning to the attraction, sharing their experiences with others, or increasing per capita spending. These actions can even spark social change. “If a guest is sufficiently moved to adopt conservation practices at home, the story has transcended its initial purpose of creating a cohesive experience. Storytelling provides designers with a foundation, but it transcends the ‘once upon a time’ tales,” he said. “It serves to preserve culture, stimulate imagination, foster connections, promote understanding, and inspire change.” •

Gene Jeffers, former TEA Executive Director (20012013), is currently serving as a Board member for the Greater San Gabriel Pomona Valleys American Red Cross. He writes in a variety of genres. Based in Pasadena, Gene and his wife Carol (also a writer) look forward to traveling and spending more time with their two daughters, son-in-law and three grandchildren.

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World’s Fair update

Expo 2025 Osaka races ahead; Serbia and Saudi Arabia prepare to host

by Jim Ogul

Expo 2025 Osaka, Kansai opens April 13, 2025 for its six-month run. The event will be held on Yumeshima Island at the western end of Osaka City. The attendance forecast is 28 million visits. The theme is “Designing Future Society for Our Lives,” with the subthemes “Saving Lives, Empowering Lives, and Connecting Lives.” Some 160 countries and regions and nine international organizations had confirmed participation in the expo as reported by Japan’s Foreign Ministry earlier this year.

Type A building challenges

The Expo has faced its share of unique challenges. Recently the organizer shifted its target date for the completion of “Type A” pavilions (those built by overseas participants) from July to October because of delays in construction work due to high material and labor costs.

In view of the construction challenges, instead of building “Type A” pavilions at least three participating nations opted to rent space from the Expo organizers instead, while another 36 are moving ahead with building plans and have selected contractors.

Japan plans to spend up to ¥235 billion ($1.6 billion) for constructing the expo venue, with the cost to be split among the central government, the Osaka Prefectural Government and the Osaka Municipal Government, and the business community. In comparison, the UAE spent $7 billion for Expo 2020 Dubai.

The U.S. steps up for Osaka

The U.S. has a federal appropriation for its pavilion at Osaka 2025 – at last, after far too many years without. The last time funding for a U.S. Pavilion was covered by Congress was at Expo 1988 in Brisbane, Australia. During the 36-year federal funding gap that followed, the U.S. did exhibit at a number of expos. The pavilions were paid for by raising private sector donations, an approach that was plagued with problems.

After going out for bids, in July 2023 the U.S. Department of State announced the selection of ES Global to design and construct the USA Pavilion at Expo 2025 Osaka. ES Global

is a global firm that specializes in the design, specification, management, assembly, and dismantling of temporary structures and installations for cultural projects. They are partnering with Trahan Architects and BRC Imagination Arts to design and construct the USA Pavilion. The project will also receive support from project management group Alchemy International.

The USA Pavilion theme “Imagine” encourages visitors to visualize themselves in the United States as the country supports advances in sustainability, space exploration, education, and entrepreneurship.

Expo 2027 Belgrade Belgrade, Serbia, will host a Specialized Expo for three months in 2027. Following its election to host status during the 172nd General Assembly of the Bureau International des Exhibitions (BIE) in June 2023, Serbia now enters a phase that will see the formalization of its Expo project. Organized under the theme, “Play for Humanity: Sport and Music for All,” Expo 2027 Belgrade is hoping to welcome 120 countries and 10 international organizations between May 15 and August 15, 2027.

As part of the process, recently the Ambassador of Serbia to France, H.E. Ana Hrustanović, presented Serbia’s Recognition Dossier to BIE Secretary General, Dimitri S. Kerkentzes.

Concept for USA Pavilion exterior at night for the Osaka 2025 Worlds Fair. Image: Trahan Architects (with permission of U.S. Embassy in Japan)

According to the BIE, the Recognition Dossier must provide a detailed plan for the implementation of the Expo, including operational dates, legislative and financial measures, the Expo site Master Plan, the conditions for international participation and legacy plans.

The Dossier will be reviewed by the BIE Secretariat and Member States in order to prepare for the formal recognition of Expo 2027 Belgrade by the General Assembly. Following the recognition, Serbia can begin Expo preparations in earnest and will be able to invite international participants via diplomatic channels.

Expo 2030 Riyadh

Ten years on from the success of Expo 2020 Dubai, which attained its attendance goals of more than 24 million, we can look forward to another major World Expo in the Middle East: Riyadh 2030.

On November 28, 2023, during the 173rd General Assembly of the BIE, the BIE Member States elected Saudi Arabia as host country of World Expo 2030. Saudi Arabia intends to host its World Expo in Riyadh, October 1, 2030-March 31, 2031. Its theme is “The Era of Change: Together for a Foresighted Tomorrow.”

Following the election, Saudi Arabia continues to work with the BIE to formalize the Expo project by submitting a Registration Dossier that will need to be approved by the BIE General Assembly. •

Since retiring from the US State Department in 2011 after a 30+ year career in world expos, James Ogul (jogul@comcast.net) has remained on the scene in an advisory and consulting role. He writes regularly for InPark Magazine about world’s fairs. See his free online book, Tales From the Expo.

Concept for Expo 2027 Belgrade. Credit: BIE/Serbia Ministry of Finance

Aerial concept for Expo 2030 Riyadh. Image: BIE/Riyadh Expo 2030

Concept for Expo 2030 Riyadh. Image: BIE/Riyadh Expo 2030

Aerial concept for Expo 2027 Belgrade. Image: BIE/Serbia Ministry of Finance

A new destination takes shape in Vietnam

ECA2 provides multimedia spectacle to Sun Group’s Sunset Town on the shores of Phu Quoc island

by Joe Kleiman

On

the

southern

edge of Vietnam’s Phu Quoc island sits the Sunset Town inspired by Italian culture and landscape, an amalgamation of highlights from throughout the European nation – a clocktower reminiscent of the one in St. Mark’s Square of Venice, the ruins of Pompeii, and an erupting fountain resembling Mt. Vesuvius. In the center sits a replica of the famous Roman Colosseum, which doubles as the station for the world’s longest triple cable gondola, conveying guests to an adjacent island with a waterpark and wooden roller coaster.

“We built Sunset Town here,” says Sean LE, Head of Business Development of Sun Group, which developed the residential, resort, retail and dining destination, “because the climate is very similar here to the Mediterranean. Our chairman fell in love with the coastal Italian towns on his visit. When he

saw that, he came back to Vietnam and visited the island and thought, ‘This is it. This would be a good place to do something like this, to bring the outside world to Vietnam.’”

The Kiss Bridge

The romance of Italy is prevalent throughout Sunset Town, most noticeably with the Kiss Bridge, which encircles Sunset Town’s bay. Designed by Italian architect Marco Casamonti, the central portion of the bridge abruptly ends in two termini intended to resemble the finger of God bringing life by touching Adam’s finger in Michelangelo’s famous Sistine Chapel fresco. Across a 30-centimeter gap at the bridge’s center, lovers can reach out to each other and kiss. Once a year, on January 1, the sun sets perfectly within the two separated central portions of the bridge.

To tell the story of the Kiss Bridge, Sun World, Sun Group’s entertainment division, employed the services of ECA2, a Paris-based designer of nighttime spectacles and events. The company is famous for its global events, such as the Millennium Celebration at the Eiffel Tower, the annual New Year’s Eve celebrations at Dubai’s Burj Khalifa, Nigeria’s Centenary Celebration, and National Day Celebration in the Kingdom of Saudi Arabia. ECA2 has also developed a number of prominent nighttime spectacles, primarily throughout Asia, including Wings of Time (Sentosa Island, Singapore), The Big-O Show (originally created for Expo 2012 Yeosu in South Korea), and recently, The Legend of Pangu (Lanzhou, China). The company’s experience in a variety of international tourist markets made it an ideal partner for Sun Group in developing a centerpiece show for Sunset Town.

The massive set consists of four pools of seawater with three monumental arches, containing lighting, sound, and water elements, towering overhead. Each of these arches represents a portal connecting Earth to other worlds. The main arch is 30 meters high and 65 meters wide, with the two rear arches being slightly smaller to fit within sightlines. The architecture of the set is so massive that it can be seen for miles around and fits perfectly within the Italian theme of Sunset Town. Guests watch the 30-minute show, which runs nightly, within a 5,000seat amphitheater, the largest ever for a permanent spectacle from ECA2. “Every seat is going to give a different experience,” shares Jean-Christophe Canizares, the company’s Chairman and CEO. “In the middle, you’ll see the center of the set

perfectly, with much action happening through your peripheral view. At the front, you’re close to the actors and the show becomes more personal. At the back you can also see action taking place farther back and on the top of the portals. And it also matters if you sit in the middle, left or right, because those result in different experiences too.”

A Universal Story

Over the eight-year course of development of the show, called Kiss of the Sea, the storyline changed multiple times, ultimately settling on a tale of love traversing time and space. The Kiss Bridge’s architecture is reminiscent of a flock of birds, an element of the traditional Vietnamese tale, two celestial lovers banished by an angry god to opposite sides of the universe, only to reunite once a year when the birds flocked together to create a bridge in the heavens. Kiss of the Sea is based on this tale, but gives it a modern science fiction twist and a much more universal feel. It centers around five main characters – an Earth boy and his Phu Quoc dog, a girl from the center of the galaxy, accompanied by her sidekick space dugong, and an evil villain intent on destroying all he encounters.

Charline Munnier, artistic director on the show, shares that “many different components of the production helped to inform story development. ECA2 designed a huge arch to represent a black hole, so I built a story around this architectural element, which I thought of more as a vortex. Each part of the story had to reflect the links between here and the other side of the galaxy. And each of the characters had to

Julie Cugurno, Director of Operations, ECA2

Emmanuelle Charotte, Global Business Development Manager, ECA2

Jean-Christophe Canizares, CEO and Chairman, ECA2

Aurélien Bouvier, Technical Direcor, ECA2

Gabrielle Chuyu Tan, Head of Creative Direction, Sun Group

Charline Munnier, Artistic Director, ECA2

link symbolically to a natural element – for example, our villain is connected to fire – which ties into various special effects in the show.”

In addition to catering to Vietnamese travelers, Phu Quoc has become an international destination for visitors from Korea, Japan, China, and Europe, primarily Russia. Gabrielle Chuyu Tan, Head of Creative Direction for Sun Group points out, “There are Vietnamese stylings in the show, but we also want the show to have an international flavor. For instance, the figures in the show are designed in the style of shadow puppets, paying tribute to Vietnamese shadow puppetry, but it has also taken inspiration from great modern French animation films. The young man, who is the main character in the show, is introduced wearing a Vietnamese conical hat, but that is soon lost to reveal his modern hair style. He’s on a beach, but it could be a beach anywhere. He has a dog, because dogs are common in Phu Quoc, but dogs are also everywhere else in the world. And the girl’s sidekick is a dugong, which can be seen around Phu Quoc and Vietnam, but dugongs are also found in many of the world’s oceans.”

Kiss of the Sea is the second permanent ECA2 production to employ an extensive live cast, following The Fountain of Dreams in Wuyishan, China. In Phu Quoc, over fifty dancers and acrobats from around the world help bring the show to life. While the show had its grand opening on January 20, 2024, its soft opening took place almost a year earlier, with a purely technical version of the show. According to Emmanuelle

The set comprises three portals, perfectly framing the center of the Kiss Bridge. Photo: Joe Kleiman

The portals appear as an archeological monument, situated on an island in Sunset Town’s harbor. Extensive support facilities for the show are underneath the structures and the grandstand.

Photo: Joe Kleiman

Theatrical lighting, lasers, and waterjets supplement the show’s media and live performers, creating a robust canvas. Photo: ECA2 / Ralph Larmann

and makeup are designed to withstand

Charotte, who manages global business development for ECA2, “We made some minor changes to the animation for the permanent version of the show, to slow down the pace at points and take into account that we now had live performances as part of the canvas.”

A Hidden Fortress

The show extends to the edge of the architecture, as water falls off the edges of the raised set, giving the impression of waterfalls cascading off an island. Beneath the entrance hall, grandstand, and set are a series of corridors and support facilities, including pump rooms, control racks, dressing rooms, and an extensive studio for the dancers and acrobats to rehearse and work out. Above them, the main set consists of a stage with trampolines. Dancers enter and exit through panels that open at the base of the first arch, or portal. Above those panels are the loudspeakers for the show, built on scaffolding within each side of the portal structure itself.

Julie Cugurno, ECA2’s director of operations, shares, “Working on international projects, we have to take a lot into consideration. We have to look at it from a cultural and artistic point of view, we have to work closely with the client to ensure we’re true to the culture and their vision. Then of course, there’s the technical part, where we try to source as many elements as possible locally, which meant that we sourced as much as we could from Vietnam, but even those materials and items needed to be shipped because Phu Quoc is an island. We wanted to be energy efficient and as sustainable as possible, so

Natural saltwater is used throughout the production, including the stage, cascading screen, and dancing waterjets above the portals, all routed through an enormous pump room under the set.

we use seawater instead of using the potable water from the island’s municipal supply.”

The venue features two projection rooms. The first is located above the grandstand, where eleven Barco UDM 4K projectors are mounted at various angles to map onto the portal structures and water jets spraying above the portals. The second is in the rear of the set, behind the third portal and is used to project onto water curtains.

“The main screen is the largest cascade screen® ever constructed, measuring over 1,000 square meters,” says Aurélien Bouvier, ECA2’s technical director. In one pivotal scene, the show’s villain reaches out from the main portal, with part of his image projected from the rear of the set on the cascade screen and his hands grasping the portal, projected from above the grandstand, with the two images perfectly blended.

Adjacent to the grandstand projection room is the control room with the primary racks and control system, developed in-house by ECA2 and built upon Medialon show control technology. According to the integrators, who trained the local permanent crew on operation, this system allows for quick alterations should something need to be changed last minute. The variability allows for changes in lighting cues should a performance not involve the full cast. It also allows for individual effects, such as fire or lasers to be removed from a showing, with the remaining effects continuing as programmed.

Photo: Joe Kleiman

Costumes

the properties of saltwater. Photo: Joe Kleiman

Through a blended combination of front projection on the arch and rear projection on the cascade screen, the show’s villain reaches out of the portal. Photo: ECA2 / Ralph Larmann

Beneath the portals lie a stage and a catwalk linking the two sides of the main arch. Water levels can be adjusted to submerge the catwalk when desired. The set is versatile and was designed to also function as a multipurpose venue. Fountains, cascade screens, projections, and lighting are all available to enhance other types of presentations. The facility has already hosted a fashion show and a Bollywood-themed wedding.

Elements

During Kiss of the Sea, a myriad of effects take place supplementing the projected images and live performers, including fire bursts, lasers, and giant dancing water jets above the portals, which become an extension of the screen during parts of the show.

“We like to approach our shows from a different perspective,” says Canizares. “When we add a special element to a show, it is in support of the story. Fire is not here just to be fire, or an explosion. Instead, it shows that something menacing is coming or it represents the anger of the bad guy. We also like to use effects in unusual ways. Sometimes we will activate a fountain without lighting in order to have the spray linger in the air as an additional element that helps build the story and complements other effects in the show.”

Naturally, water plays a central role in the show. The decision was made to use natural seawater, which is piped in from the adjacent Gulf of Thailand, as a sustainable alternative to fresh water, which requires consistent filtration and treatment.

The intake pipe is laid in a fixed position above the seabed to ensure sand and other ocean floor elements are prevented from entering the show’s water system, where they could cause damage to the equipment and even the performers. The set, costumes, and fixtures were all designed with saltwater in mind and the performers wear special makeup imported from France that is resistant to seawater. Each of the show’s four pools can easily be emptied or refilled within 20 minutes.

The grand finale of the show brings all the performers on stage with all effects at full impact. The villain is banished, the dog and the dugong who valiantly fought him together become friends for life, and the boy meets the girl from the other side of the galaxy on the Kiss Bridge, where they kiss for the first time across the bridge’s central gap.

The development of the show employed over 300 members of the ECA2 and Sun Group teams. “There were different artistic and technical teams working together between the two companies,” shares Cugurno. “Sun Group also has a dedicated creative team that we worked closely with during the development stage, long before on-site production began.”

“This production is all about love,” says Sun Group’s Gabrielle Chuyu Tan. “The boy and the girl are in love, the animals are in love, couples are in love on the Kiss Bridge. Sunset Town is about love. And this show has been a tremendous and fulfilling labor of love.” •

Flying into the future

something of a novelty in its own right, in the long run it is content that will drive repeat visitation. With media-based attractions, it’s natural for content to evolve from being entertainment driven to incorporating educational messaging, which can enhance their value to the local community while

Leading flying theater supplier and media producer Brogent sees great potential in expanding the library of content available for these unique venues. “Flying theaters can not only showcase breathtaking films promoting tourism, but they can also encompass aspects such as culture, geography, and environmental awareness,” says Brogent’s Marketing & Sales Director Stefan Rothaug. And while the network continues to grow, the market is far from saturated. “With over 200 flying theaters around the world, and new ones being built every year, there’s a growing network of facilities interested in new and dynamic media content that both educates and inspires.”

Specialty cinema takes off

Because flying theaters combine the immersion of the giant screen with a ride system that simulates flight, the content has tended to match that concept, providing an experience of hang gliding over beautiful landscapes, albeit often custom-created for each location.

Pursuit, which owns and/or operates multiple flying theaters in locations around the world, has produced a custom film for each new location, following this typical format. In recent years, Pursuit has begun to offer multiple films at each location. For example, guests at FlyOver Las Vegas now have the option of seeing the Las Vegas film, one about Iceland or another about the Canadian Rockies. Digital libraries allow films to be rotated easily and quickly, while encouraging repeat rides and extending length-of-stay.

Brogent has worked with Pursuit and other operators on dozens of flying theater installations and saw firsthand this need for additional content. “We have a strong passion for and deep expertise in flying theaters,” says Rothaug. “Brogent employs a team of specialists working on all the aspects of flying theaters from mechanical motion to video production, playback and audio mixing. We are uniquely positioned to produce specialty content that capitalizes on the flying theater format.”

Above: Brogent Chairman Mr. C. H. Ouyang experiences “Soaring Earth: Episode 1 - Africa.” All photos courtesy Brogent

Mr. C. H. Ouyang

Tell us about Brogent’s motivation for creating the Soaring Earth series.

We feel a sense of urgency surrounding issues of global warming and climate change and aim to achieve multiple goals. We hope to document the Earth’s full range of beauty for people worldwide to experience. We also want to foster a love for the Earth and promote sustainable living by showcasing its beauty. Flying theaters can open a new window to experience the world, achieving the dual purpose of entertainment and environmental education.

What can people expect to see in Episode I –Africa?

Our first film captures the wonders of Africa that are on the verge of disappearing, such as the Nile River, Mount Kilimanjaro, the Okavango Delta, as well as the Great Migration of animals. In addition to focusing on local landscapes and culture, the Soaring Earth series also covers natural disasters like volcanoes and tsunamis, providing viewers with insights and awareness on the realities of nature through the viewing experience.

How will the film be different for flying theaters versus 4D theaters?

Ultimately, the film will be the same. The flying theater provides the most immersive experience, especially when riding within an LED dome. Guests will see a high quality and lifelike 10K image while feeling the gentle breeze of the flight, the mist from waterfalls, and even scents. The 4D cinema provides its own kind of immersion with an array of in-theater effects. Having the film available to both kinds

of facilities extends the series to many more venues such as theme parks, zoos, museums, aquariums, and shopping malls.

Do you expect operators will show the entire series in order?

Each film will stand alone. While we think the emotions that come with seeing our beautiful world in this great format will inspire operators to want to show all of the films, we suggest selecting the episodes that really resonate with the guests in each market.

How does this type of content compare to traditional branded IP?

We are strong believers in IP and have produced movies based on Attack on Titan and Ghost in the Shell. Many of our rides around the world are running other IP-based films, but we also believe that the beauty of our planet Earth is timeless and will resonate with a wide audience. If you think about it, the flying theater was really developed for exactly this kind of content.

What is your approach to sourcing material for the films?

Every film is a combination of many sources, including drones, helicopters and CGI. We try to utilize helicopter live action shots as much as possible to provide an authentic connection to our beautiful planet.

Are you anticipating good market response to the conservation messaging?

We believe that through this unique form of edutainment, people can appreciate the beauty of the Earth without feeling pressured and still develop a love for the planet. Based on our experience, flying theater experiences rich in educational content are particularly popular among families. We are not concerned that such experiences will lack appeal to the public. On the contrary, people are more likely to bring their families and friends to experience it together. •

Inside Soaring Earth with Brogent’s Stefan Rothaug

Stefan Rothaug

Soaring Earth: Episode I – Africa, premiered on April 22, 2024 in Taiwan.

From vendor to creator

Brogent’s entry into the international flying theater market began in 2013 with the i-Ride system, first installed at Canada Place in Vancouver. Over the ensuing 11 years Brogent has expanded its line to three different flying theater systems and a selection of other rides and simulators. Brogent also began developing content for flying theaters in 2014, through a partnership with Japanese publishing company Kodansha. The result was the launch of the very first Attack on Titan film for flying theaters. In 2017 Brogent installed a flying theater in their headquarters that is open to the public and features their own film Fly High Over Taiwan.

Brogent is now launching the first in a series of 12 films called Soaring Earth, available for distribution to flying theaters and 4D cinemas around the world. The first film, Episode I – Africa, debuted April 22 in Taiwan.

The initial decision to shoot the Soaring Earth series came from Mr. C.H. Ouyang, chairman of Brogent Technologies. Accustomed to traveling the world, his global explorations were halted by the Covid pandemic. During that period, Ouyang discovered the book 100 Places to Go Before They Disappear by Co+Life, and was motivated to bring a similar message to both flying and 4D theaters.

The book showcases locations that are being impacted by climate change, which is precisely what Ouyang and Brogent hope to achieve with the film series. “Everyone should have the chance to witness the Earth’s finest beauty,” states Ouyang.

To achieve Brogent’s goal of combining entertainment with education, the series will include preshows that feature interactive digital previews, allowing guests to gain a preliminary understanding of the cultural ecology and historical changes behind the landscapes featured in the film. After the experience, further information is available about each of the filming locations.

The films will not include text or dialogue, making them ideal for international distribution. “We want people everywhere to experience the beauty of the Earth’s ecology through the engaging experience of flying, ultimately fostering a love for the planet,” explains Rothaug.

Africa was chosen for the first film because so much of the continent remains a mystery to many travelers. “Like a lot of people, I mostly think of Africa as vast savannahs, but in preparing for the film I was reminded that Africa also boasts waterfalls, volcanoes, lakes, jungles, and more,” says Ouyang. “Africa’s landscape is far more diverse and spectacular than most people realize.”

The next two films in the series are already in production, with planning underway for more. According to Rothaug, each film will have two versions, one around five minutes in length and another closer to nine minutes. Films will be optimized for both domed flying theater screens as well in a more traditional configuration for 4D theater screens, making the series available for wider distribution. Brogent’s team of engineers will program the ride system and effects for each venue, and the series will also be available for facilities that do not utilize Brogent hardware.

Theaters in the U.S., Mexico and China have already expressed interest in the series, and Brogent plans to roll out the films to two Taiwan venues owned and operated by the company.

Though Soaring Earth is focused on conservation, Brogent sees the flying theater as a platform for many different kinds of messages in the near future. “Films tailored to Earth’s landscapes are a natural fit for flying theaters,” says Rothaug, “but we also envision content based on everything from Japanese anime to molecular biology. There’s no reason we can’t use this type of attraction to ‘fly into’ art or cellular structures. Now that we have a solid network of venues, the content potential is unlimited.” •

Four 8K cameras captured the high resolution needed for the film. Brogent’s film crew worked with local people to capture both the landscapes and cultures of Africa.

Fantastical fare

Hasbro’s F&B recipe for LBE suggests tasty ROI interview by Tammie Richards

At MONOPOLY Lifesized’s The Top Hat Restaurant & Bar, the ever-popular board game’s famed “Water Works” property is also the name for a delicious plate of fish & chips, while the Millionaire’s Cheesecake includes candy MONOPOLY Money on top.

Around the world, location-based entertainment (LBE), driven by popular Intellectual Properties (IP), expands the ways fans and visitors can interact with their favorite brands, stories and characters. Here, we explore the culinary aspect of these attractions. A memorable dining experience can leave a lasting impression, and for industry leader Hasbro, it’s been a core strategy for successful LBE development.

Hasbro has developed food-focused fun tied to several of its iconic franchises, including MONOPOLY, TRANSFORMERS, PEPPA PIG, MY LITTLE PONY and more. Matt Proulx, Senior Vice President of Global Experiences, Partnerships and Music for Hasbro, shared the company vision of promoting family togetherness by combining play and dining in exciting new ways.

Why is branded food and beverage so important to the guest experience at Hasbro’s LBE venues around the world?

At Hasbro, our mission is to entertain and connect generations of fans through the wonder of storytelling and exhilaration of play. This extends past traditional areas like toys and games, and acts as a guiding principle as we meet fans where they are with new touchpoints to engage with their favorite brands. We know that enjoying food and drink is pivotal to social gatherings, whether it’s a family meal at home or dining out with friends, so it became clear that investing in dining experiences would enhance that goal and strengthen our LBE strategy. Food and fun just go together.

Additionally, F&B (food & beverage) allows us to expand each unique world we are creating for our brands. A great example of this is The Top Hat Restaurant & Bar at MONOPOLY

Matt Proulx

Millionaire’s Cheesecake includes candy MONOPOLY money on top. All photos courtesy Hasbro

Lifesized. With locations currently open in London and Riyadh, this dining experience is connected to an immersive, physical version of the family favorite board game, and features brand-inspired food dishes, cocktails and mocktails. The fun, playful atmosphere of this competitive social gaming experience flows into both the dining style and culinary offerings, which are focused on shareables and variety. The F&B environment encourages mindful group interactions while drumming up friendly competition and building anticipation for the main attraction.

How do you determine the best F&B approach for each LBE?

The key is in underscoring the central, social role of food and beverage in our lives, and how you apply that knowledge as the mechanism to bring people together within the experience. Ultimately, you have to know your fan base and the nuances of the region where you’re opening an experience.

We’ve applied two different business models to meet the needs of our fans.

The Top Hat Restaurant & Bar (UK and Saudi Arabia) integrates F&B into a larger branded experience. People are drawn in by the interactive game play, and then extend their stay by visiting the restaurant.

Other Hasbro IP lend themselves to standalone “eatertainment” dining experiences. TRANSFORMERS: The Ark (Hong Kong) is an elevated QSR (quickservice restaurant) at its core. Food is the main attraction, enhanced by a highly themed environment that includes a cinematic battle sequence. Following the traditional model, guests exit into retail. The whole unit works together cohesively for repeatability.

The PEPPA PIG Play Café (China) is designed for what I call the “Toddler Plus” age group, known for not being able to sit still for long. Our concept allows kids to run off and play, enjoying a fun experience surrounded by their favorite characters. After exploring ball pits and climb-and-play structures, kids can join their family at a table with waitstaff and enjoy a full-service, high quality meal together.

Dining at TRANSFORMERS The Ark Restaurant features an iconic cinematic battle sequence.

You must consider local F&B modifications to be successful. The types of toppings used and how food is served varies around the world.

PEPPA PIG Play Café in China lets kids enjoy a fun play experience, surrounded by their favorite characters.

The young adult market calls for more of a social entertainment dining experience. That can include gamification and other fun ways to gather with friends and enjoy activities fully centered around food and beverages, often adult beverages.

What tools do you rely on to determine the best options for guests?

We are committed to being the best in the business at understanding our fans, so we’ve invested in advanced analytics to identify consumer preferences and regional demographics. Such insights, coupled with actual consumer impressions, form the building blocks that help us create the best possible attractions.

Many of our successes come from personal experiences. When it came to brainstorming our food service approach for PEPPA PIG Play Cafés, I leaned on my own background as a parent. My wife and I love food and going out to enjoy nice places, but it seemed impossible for us to even consider a two-hour meal outing when we had young children. We use that kind of insider insight to help address such challenges and create solutions – providing delicious food in a kid-friendly environment.

How does social media impact LBE food design?

Social media sits at the epicenter of all we are doing with LBE, and it is key to living in an experience economy. Social media posts carry social currency across both personal and professional networks.

With live experiences, you don’t want to reveal everything to guests before they arrive. But working with F&B is different. Visual appeal is everything, and we want guests to share photos of their dining experience with their networks, enticing more people to visit.

How does Hasbro use food to encourage repeat visits?

Repeat visits are essential for success. We always incorporate seasonal elements for special treat themes. Limited time beverages provide incentives. Seasonality also encourages guests to try new F&B offerings before they’re gone.

Consistent quality in your menus builds trust for return dining, but you also need ongoing innovation with culinary experiences to keep things fresh.

Does local food culture play a role in food design for staying true to brand, internationally?

Absolutely! We adapt our menus to wherever we are. The menu at The Top Hat Restaurant & Bar in London is different from the one in Riyadh, which will be different than the menus we will offer in other locations.

You always need to consider local modifications to be successful. For instance, we know Hong Kong customers enjoy a good burger. But the types of toppings used and how that burger is served vary from elsewhere around the world. That being said, certain things work across the board regardless of where you are, like ice cream.

Even from a branded cocktails perspective, we approach recipes from a carefully nuanced position with every element designed to appeal to the population in each region.

Regarding the development process, are LBE concepts created first and then a home is found for them, or the other way around?

Both. We’re currently exploring concepts in the F&B space that we are very excited about - some of them adult-targeted, some of them familytargeted – and we’re thrilled at the potential of what they may hold for Hasbro, given the power of our brands. But we’re also approached by entrepreneurs in different parts of the

Adults yearn for social entertainment dining experiences, with gamification and fun centered on themed food, mocktails and cocktails.

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One epic year out

When it opens in 2025, Epic Universe will be a game changer for Universal Orlando

by Gabrielle Russon

Epic Universe, Orlando’s first theme park built from the ground up in a quarter century, is nearly one year away from opening, with some predicting that Universal Orlando’s new park will revolutionize the industry and raise the bar for the region’s destination theme parks.

Built on 750 acres near the Orange County Convention Center, Epic Universe will be the largest U.S. park in Universal’s global portfolio. The addition of Epic – with five themed lands, more than 50 experiences and three hotels – doubles the size of the current Universal Orlando Resort. Park construction was delayed by the COVID-19 pandemic, but the company has stated Epic Universe is on track to open in 2025.

“Our vision is a big one. We want to create a level of experience that frankly forever changes the theme park landscape as you know it today,” said then-Universal Parks and Resorts CEO Tom Williams when unveiling the project in 2019.

Epic Universe’s themed lands hinge on popular intellectual property that already has a strong track record at the box office and Universal’s other parks. The lands are themed to The Wizarding World of Harry Potter, Super Nintendo World, and How to Train Your Dragon, as well as a reimagined look at Universal’s classic monsters called the Dark Universe.

For fans, that means visiting the Ministry of Magic, feeling like you are in a giant video game, soaring high with dragons and also keeping your wits in an ominous, monster-filled experience starring Dr. Victoria Frankenstein.

The fifth land, Celestial Park, is the heart of Epic Universe. Celestial Park offers three attractions, including a dual-launch roller coaster called Starfall Racers. But what sets Celestial Park apart is the landscape. The digital renderings show a path through gardens with lush trees and waterways.

Universal Epic Universe – Front Gate. All photos courtesy Universal Orlando

“It’s where we put the park back into theme park,” said Mark Woodbury, Chairman and CEO of Universal Destinations and Experiences, in a video released in January introducing the property.

So far, Universal’s publicity on Epic Universe has been mostly limited to that January video and artist renderings, which created a buzz on social media and in the theme park community. The video was watched nearly two million times in six weeks.

“We went to the fans and we asked them, and the answer was pretty compelling. Give us more of your great storytelling, more of the immersive environments and do it in the most visceral manner possible,” Woodbury said in the video. “The idea was to bring you to these worlds you couldn’t otherwise possibly imagine. To do that, we wanted to create a mechanism that allows you to be transported into another world and it starts at the very entrance of the park itself.”

The green space at Epic Universe is unique, said Bill Zanetti, an instructor at the Rosen College of Hospitality Management at the University of Central Florida, who teaches about theme park design and management.

“To see that many waterfalls, and that many trees and gardens surrounding a beautiful path – we haven’t seen that in a long time in the parks,” said Zanetti. “That’s something where the trees will get bigger and the whole area will get more beautiful as time goes on. I think that will be incredible.”

Map of the Epic Universe’s five lands

Universal Helios Grand Hotel

Universal Epic Universe – Celestial Park – Park Arrival

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Universal Epic Universe – Celestial Park

What also sets Epic Universe apart is in how it has been designed to host special events as Universal seeks to tap into business at the Orange County Convention Center. A record breaking 1.57 million people attended OCCC’s 172 events during the 2022-23 fiscal year, according to Visit Orlando.

“The park is built so that you can come into one land and not the whole park,” said then-NBCUniversal CEO Jeff Shell during the UBS Global Conference in 2022, presumably

indicating that individual lands could be rented out for private functions by multiple groups at the same time. Shell called getting into the nighttime convention business “an interesting experiment for us.”

Visit Orlando CEO Casandra Matej said the park is “amplifying Orlando’s appeal for group meetings and conventions.”

“As Orlando gears up to unveil Epic Universe in 2025, our tourism landscape enters an exciting new chapter,” Matej said.

Beyond the theme park rides, Universal is building three new hotels. Universal Stella Nova and Universal Terra Luna resorts will be next to Epic Universe while the 500-room Universal Helios Grand Hotel will be “integrated into the park like no other theme park in the world,” Woodbury said.

Company leaders say Epic Universe is poised to elevate Universal Orlando Resort into a weeklong destination for guests. Zanetti agrees. “A lot of people will now look at Universal and think, ‘I could just spend a week here without hesitation,’” he said.

All that bolsters Orlando’s reputation as vacation capital of the world. “Epic Universe is a game changer. It will create a whole new level of theme park entertainment that should help Orange County remain the number one tourist destination in North America,” Orange County Mayor Jerry Demings said. •

Gabrielle Russon is a freelance journalist who lives in Orlando. She previously covered the business of theme parks for the Orlando Sentinel, earning several statewide and regional honors for her coverage over theme park injuries, the economic challenges facing theme park workers and the pandemic’s impact on the tourism industry. A Michigan native, she is a Michigan State University graduate and has worked at the Sarasota Herald-Tribune, the Toledo Blade, the Kalamazoo Gazette and the Elkhart Truth during her newspaper career. In her spare time, she loves visiting Orlando’s theme parks and running marathons.

Epic Universe’s Celestial Park will feature three new attractions.

The Wizarding World of Harry Potter – Ministry of Magic portal

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The expanding immersive space

How Moment Factory redefines the magic of thematic multimedia experiences interview

by Martin Palicki

From modest beginnings in Montreal, Moment Factory has evolved into one of the world’s leading immersive experience design companies. With an exceptional roster of clients that includes Disney, Madonna, Universal Studios, Billie Eilish, Changi Airport, Notre-Dame Basilica of Montreal, Microsoft, Sony and more, Moment Factory has developed experiences and environments that have reached people around the globe.

The company has expanded in ways it never anticipated. Moment Factory’s Lumina Night Walk series, for example, started as a single project in Québec just over ten years ago, and today boasts over 20 installations across multiple continents.

Honored by Fast Company as one of the world’s “Most Innovative Companies,” Moment Factory has flourished

precisely because it has continued to explore new technologies and creative techniques to enhance and redefine immersive visitor experiences. InPark spoke with Moment Factory’s Stéphane Raymond, Executive DirectorProduction & Custom Experiences to learn more about the company’s recent projects and plans for future innovation.

What sorts of new spaces are you bringing immersive environments into?

As we continue to push the boundaries of immersive design and technology, the potential for themed entertainment and immersive environments to captivate, educate, and inspire is boundless. Whether in corporate settings or bustling transportation hubs, these experiences possess the ability to transform ordinary spaces into captivating destinations, creating a sense of wonder for all who encounter them.

Above: Kaleidoscope Kavern Lazy River at Wild WaterDome indoor waterpark in Tennessee. All photos courtesy of Moment Factory

For example, drawing upon Moment Factory’s expertise in themed attractions and adapting immersive design practices across diverse industries, we undertook the transformation of the Hall of The Grand Magic Hotel in France in 2022. Employing interior design, digital content, lighting, and sound design, we crafted multimedia environments that transport guests into an immersive storyworld. Fantastical architectural effects and illusions unveil surprises for guests to discover, providing a glimpse into the showstopping moments to come.

As another recent example, Terminal 2 at Singapore Changi Airport stands as an innovative collaboration aimed at pushing boundaries for multimedia installations in airports. As a gateway to Singapore—renowned worldwide as the Garden City—the terminal blurs the boundary between nature and architecture, connecting travelers to the urban greenery that defines the city. In collaboration with Changi Airport Group and design studio Boiffils, Moment Factory created two signature installations to bring the magic of nature into the passenger experience: In the Departure Hall, a four-story digital waterfall offers outbound travelers a moment of wonder. On the airside, transit passengers can relax in an immersive garden beneath a limitless digital sky, emulating daylight and meteorological conditions in real time.

What are some of the most unusual venues you’ve worked on?

We specialize in mega canvases, enabling us to execute our projects on a variety of large, unconventional surfaces, ranging from historic landmarks and cathedrals to cutting-edge technological marvels like The Sphere in Las Vegas.

One notable endeavor is the “Ode à la vie”: Sagrada Familia in Barcelona. Marking the inaugural video mapping projection on Antoni Gaudí’s revered facade, this undertaking was truly monumental. The intricacies of the monument, characterized by highly-detailed designs, flowing curves, and irregular surfaces, presented formidable challenges in accurately mapping video content onto its exterior. It demanded innovative approaches as we ventured into unexplored territories to ensure a flawlessly immersive experience for our audience.

AURA at the Dome Les Invalides (revealed in 2023) was also an unusual and challenging venue to work with. Spanning a vast 3,500-square-meter projection area, this project merged state-of-the-art multimedia technology with the architectural and historical significance of the site, preserving its integrity while captivating the public with an unforgettable experience.

What types of stories make the most sense for creating engaging experiences?

To create engaging experiences, it’s crucial to focus on clear and concise narrative, avoiding excessive complexity that could lose the audience. Prioritizing emotional storytelling, focusing on the heart rather than the intellect, helps forge authentic and lasting connections with the audience.

A good example of this principle lies within one of our recent projects, Kaleidoscope Kavern Lazy River, which is part of the 40,000-square-foot expansion of the Wild WaterDome indoor waterpark in Tennessee. This immersive multimedia tunnel offers guests an enchanting journey through visions and soundscapes inspired by the natural beauty of the Great Smoky Mountains, featuring fireflies, starlit skies, and Tennessee’s four seasons. The straightforward storyline of this project not only significantly enhanced its impact but also facilitated multigenerational comprehension and resonated universally.

How do you keep pushing the envelope as people expect more?

Our commitment to innovation drives us to constantly hack technology. We are relentless in our pursuit of pushing the limits, seeking to uncover new creative avenues and redefine what is possible. We invest significantly in innovation. By staying at the forefront of technological advancements and fostering a culture of creativity, we ensure that our projects remain ahead of the curve.

Stéphane Raymond

The digital sky installation at Singapore Changi Airport

We strive to understand our audience better and always keep the public in mind, as our motto states, “We do it in public.” Through analysis of behaviors and preferences, as well as the tools people engage with, we tailor our innovations to resonate profoundly with the human desire to connect with one another.

We recognize the power of collaboration and cross-pollination. By bringing together diverse talents and perspectives, we ignite a spark of innovation that propels us towards even greater heights. We actively cultivate communities of practice, encouraging collaboration and the sharing of ideas. By nurturing a culture of openness and learning, we continuously enrich our creative ecosystem.

In an ever-evolving landscape where demands escalate incessantly, we embrace the challenge with fervor. It is through our unwavering commitment to pushing the boundaries that we continually strive to surpass expectations and set new benchmarks for excellence.

Let’s talk about the Lumina Night Walks. How do you keep those fresh and innovative?

We engage closely with the communities and cultures of each site, tailoring our stories to their unique ecosystems and drawing inspiration directly from the surrounding forests or locations. Additionally, leveraging a decade’s worth of audience data, we incorporate valuable insights into our new experiences, ensuring they align with the evolving preferences of visitors.

In our ongoing Lumina Night Walk series, we’ve introduced Astra Lumina, which features a narrative inspired by the universal story of the stars presented in multiple locations. This allows for easier deployment and broader accessibility to a wider spectrum of audiences. Additionally, the Astra Lumina installations can be mobile and adaptable to accommodate the seasonal needs of different sites.

Furthermore, we convene annual innovation workshops for brainstorming and creating new ideas and approaches.

Last year you also unveiled your second AURA experience in France. How did you build on/change/grow from the original installation in Montreal?

AURA Invalides, launched in September 2023, is the culmination of an ambitious technological endeavor that involved extensive 3D scanning, the development of a “digital twin” and ultimately, the seamless integration and concealing of all on-site equipment.

Moreover, considering that the first AURA at the Notre-Dame Basilica took place seven years ago, we had access to seven years worth of data, evolution, and growth, both in terms of technology and our team’s creative skills. This enabled us to enhance our tools and techniques, resulting in a refined and impactful experience within a wider and more complex architectural setting.

What about working with brands directly? How do you craft experiences for brands?

Working directly with brands has been an integral part of our journey, reflecting a dynamic shift in how brands seek to engage with their audiences and forge deeper connections.

Take, for instance, our collaboration with UNICEF USA for Heart Strings – an interactive walkthrough featuring dynamic multimedia installations that engage visitors, promote learning, and inspire support for the UNICEF cause. In this case, we have adapted the humanitarian organization’s values, mission, and initiatives into an original, multi-dimensional experience to shine a light on the world’s children, transcending borders, cultures, and languages to create a deeply moving and engaging journey for all ages.

Similarly, the upcoming launch of The Messi Experience (produced, created and designed by Primo Entertainment and Moment Factory) uses this ethos. Set to debut in Miami, this multimedia and immersive experience employs interactive elements, captivating lighting design, an original score, augmented games and projection mapping to create an unforgettable encounter with Lionel Messi, pioneering new and engaging experiences for fans worldwide.

In essence, our approach involves not just crafting experiences, but curating immersive narratives that enhance a brand’s identity and mission. Through innovation and creativity, we create storyworlds that leave lasting impressions and bring people together, fostering meaningful connections. •

inparkmagazine.com

AURA at the Dome Les Invalides

Photo Courtesy of Dig It Torrance