issue 83, september 2020 inparkmagazine.com
Polin creates something clearly different for waterparks Coaster Fun
Theme Park Storytelling
Two intertwined roller coasters open in Germany
Five lessons from a large-scale academic study covering 60 different parks around the world
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issue 83, september 2020
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Inside Action League
Meet the press The IPM editors interview one other, round two
16 Alterface’s novel mix of tournament, interactive
Engineering the aquarium EXP helps create the new St. Louis Aquarium by Daniel Christman & Brandon Lemonier
18 WhiteWater offers scalable options to parks
Photo booth serendipity Innovative FOTO kiosks help visitors preserve the memory with minimal risk • by Judith Rubin
24 Vekoma opens two intertwining roller coasters in
I can see clearly now
10 Polin’s new Glassy product adds transparent
charm to a new waterpark • by Joe Kleiman Transitions 2020
14 Nathan Jones & Christine Kerr • by Martin Palicki & Judith Rubin
gaming and motion • by Martin Palicki Planning for 2021
getting ready for next season • by Martin Palicki Forged in steel, tempered by imagination Germany • by Martin Palicki Theme park storytelling
26 Five lessons from my large-scale study • by Carissa Baker, Ph.D. Festival of licensing
30 Anna Knight discusses the 2020 Festival of Licensing • by Judith Rubin
COVER:
Polin’s Glassy slide utilizes a new proprietary composite technology to create a clear slide for Candyland waterpark at the Vogue Hotel Bodrum in Bodrum, Turkey. Photo courtesy of Polin Waterparks
team & contributors PUBLISHER Martin Palicki
DESIGN Martin Palicki
EDITOR Judith Rubin
CONTRIBUTORS Carissa Baker, Ph.D. Daniel Christman Brandon Lemonier
NEWS EDITOR Joe Kleiman
InPark Magazine (ISSN 1553-1767) is published by Martin Chronicles Publishing, LLC. 2349 E Ohio Ave. Milwaukee, WI 53207, USA. Shipping address: 2349 E Ohio Ave. Milwaukee, WI 53207, USA. Phone: +1-262-412-7107. Printing by Johnson Press of America. Contents © 2020 InPark Magazine. All rights reserved. Nothing in the magazine may be reproduced or used in any manner without the prior written permission of the magazine. InPark Magazine is not responsible for unsolicited manuscripts, photographs or illustrations. Such material must be accompanied by a self-adressed and stamped envelope to be returned. Postmaster: Send address changes to InPark Magazine 2349 E Ohio Ave. Milwaukee, WI 53207, USA. Subscriptions are available annually for $45 per year ($70 international). Opinions expressed in editorial matter are not necessarily those of InPark Magazine or its publishers, Martin Chronicles Publishing, LLC.
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Meet the press
Learn what drives the InPark editorial inner circle in our second installment of this four-part series Joe Kleiman, news editor
Martin Palicki, publisher
Question from Judith Rubin
Question from Joe Kleiman
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I’ve been asked a few times over the years what the difference is between my blogging and what I write for a publication such as InPark. The three same words keep coming up - “editorial oversight” and “vetting.” There are a lot of websites mainstream media and trades among them - that publish rumors, because rumors mean impressions and impressions mean ad sales. We’re not about that. People respect us because we’re a great B2B resource. They read us because we’re reliable. When we wanted to find out when California’s theme parks might reopen, we spoke with the Governor’s office and two state agencies. We went to California’s only open theme park and interviewed their spokesperson. For our readers, that’s important. Vendors working with these parks need to know these things. So we go to the source, instead of repeating a rumor from a rumor site that repeated it from yet another rumor site. That would be a disservice to our core readership.
My experience at Six Flags cemented my love for the industry. Anyone who has worked in a park knows how magical the environment can be - especially when the park is empty early in the morning or late at night. At the end of the day I would purposefully take the long route out of the park just so I could walk along the wooden bridges over the Yankee Clipper’s (flume ride) pond. Creaky boards, flickering lamps, period colonial music, the unique smell of that chlorinated water – it may sound goofy to some, but if you love theme parks, you’ll know exactly what I’m talking about.
hat is the value of a media outlet such as InPark in the age of rampant social media?
Judith Rubin, editor Question from Martin Palicki
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ublic relations is also a specialty of yours. How should people or companies successfully market themselves with so many options and an expanding social media world?
hat did you learn about the industry working at Six Flags?
I was lucky to work at Six Flags Great America when workers all sported themed costumes, background music fit the lands and theming was detailed. While I miss those days, I also understand that times change and businesses have to evolve. Six Flags is a great example of a company that has had its fair share of ups and downs and has successfully reinvented itself. That’s a big lesson, and it has certainly been applicable to our media outlet – especially this year! I think we already overuse the term “pivot” but it’s pretty accurate. Maintain core values and identity – your grounding – but be willing to turn in the direction things are headed. Collectively we are still figuring out what that looks like for the industry, but we are committed to helping communicate that as we discover and forge a path forward.
With so many online platforms it’s easy to create a bubble where it appears that you’ve got a lot of exposure, but you’re really just talking to yourself. Not only does this give illusory results, it fosters a loss of objectivity. If you don’t really know how the world would receive your story outside of your bubble, you can’t know whether you are telling it effectively. A responsible industry publicist will take the time to understand your specialty and ask questions to help bring out the important points and identify target markets, so that media outlets will recognize its value to their own audiences and share it. That’s how you break out of your bubble. Good PR isn’t just hitting “Send.” And don’t fall into the gush trap. You don’t value gushy, subjective articles from others, so don’t make an exception for your own company’s stories. Be meaningful, clear, accurate and to the point.
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Engineering the aquarium EXP helps create the new St. Louis Aquarium by Daniel Christman, Vice President I EXP I Brandon Lemonier, Principal I EXP
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quariums are fascinating. They have their own unique and distinguishing characteristics, aquatic specifics and hidden stories. Visitors to aquariums are mesmerized by marine life and their designed environments. For our part at EXP - as mechanical, electrical and plumbing (MEP) engineers - we are fascinated by constructing the building systems of aquariums to host the animals and protect their safety outside their natural habitat.
Part of a downtown revival In January 2020, the St. Louis Aquarium at Union Station opened to the public as the centerpiece of a $187 million family entertainment complex at the historic train terminal. St. Louis Union Station began train operations in 1894; in the early 1900s was one of the busiest passenger terminals in the country, and ceased train operations in 1978. It now joins a number of celebrated developments expanding and upgrading the leisure options in downtown St. Louis - including the St. Louis Arch, the National Blues Museum and Ballpark Village. St. Louis based Lodging Hospitality Management (LHM) acquired and has been renovating the Union Station property for several years; in 2014 its indoor projection mapping show, the Grand Hall Experience, was recognized with a TEA Thea Award.
Due to the pandemic, the new St. Louis Aquarium was obliged to temporarily close in early 2020, as were many venues around the country, but re-opened in June and is currently operating with timed ticketing and new protocols in place. Designed by PGAV Destinations, the new, 120,000-squarefoot St. Louis Aquarium is home to more than 13,000 animals and celebrates regional history and local river culture. PGAV Destinations designed the new Aquarium to celebrate St. Louis’s past and present, showcasing the city’s global impact via the nearby Missouri and Mississippi Rivers. Visually rooting the visitor experience at the Aquarium in early train travel, the journey transports visitors to the Mississippi to learn more about the animals found in St. Louis, then heads downriver to see unique creatures from around the world’s waterways and oceans. A simulated train ride takes guests to the confluence of the Mississippi and Missouri rivers narrated by St. Louis native and celebrated actor John Goodman.
The design process Our team at EXP was proud to have joined PGAV Destinations in this achievement, having provided the MEP, fire protection and low voltage design services for this renovation of historic Union Station.
The St. Louis Aquarium at Union Station - Photo courtesy of EXP
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We joined PGAV’s team early in the design process and were briefed on the story envisioned and the historical elements to dictate the structure of the new experience. We brought our prior experience on other world-class animal and aquatic attractions, including Georgia Aquarium, Ripley Entertainment and SeaWorld. When people think of aquariums, we certainly hope they do not think about fire protection, mechanical, electrical or plumbing systems. Mostly invisible to the guest, these are integral services to ensure their protection and the protection of the marine species housed in the facility. Our teams have gained a strong foothold in the industry as MEP leaders. This role is our home base, where we excel for our clients and deliver world-class solutions. As a multidisciplinary engineering firm with over 3,500 employees across North America, 75 of whom are dedicated to entertainment, we know our way around an aquarium and MEP systems are foundational elements to the success of a project, whether an aquarium, theme park or other visitor attraction. Our role is to deliver these services to enhance the end-goal – the guest experience. No one wants a “fishy” situation.
One million gallons At the St. Louis Aquarium at Union Station, the MEP systems and fire protection required more intricacy than a typical building project – and resulted in a large, complex scope. For the St. Louis Aquarium, we would be responsible for systems that managed more than one million gallons of water.
With every highly themed environment we work in, a big part of our role is to support the story. Sometimes we support the story by playing an active part where our systems are front and center. More often, we best support the story by integrating our systems into theming and rockwork. In the new aquarium, our close relationship with PGAV Destinations helped to establish a ‘hide and seek’ of systems and ensure we were up-to-code with every element. In addition, the combined expertise supported triple checking the minimal risk to aquatic life. Aquariums are fascinating design achievements. They are the combination of interacting MEP systems, aquatic life support systems, multidisciplinary design and construction achievements and creativity. The St. Louis Aquarium puts versatility and innovation on full display, along with 13,000 animals. We were extremely proud to have been on the team to make this come to life. • • • About EXP With a mission to understand, innovate, partner and deliver, EXP provides engineering, architecture, design and consulting services to the world’s built and natural environments. Today, thousands of EXP professionals across North America provide the passion and experience needed to deliver successful projects around the world. For more information, visit www.exp.com.
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Photo booth serendipity Innovative FOTO kiosks help visitors preserve the memory with minimal contact risk by Judith Rubin
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ttractions are doing their best to reopen - and then stay open - to safely receive, serve and entertain visitors in today’s altered environment. Due to changes wrought by the pandemic, some aspects of the guest experience have suddenly lost their application or relevance. Operators have been experimenting with new products and technologies, site configurations and other solutions. But some things have kept their currency and not had to change - such as the tried-andtrue, guest-operated photo booth. The humble photo booth (or not-sohumble, depending on the technology investment made by the operator) remains a classic element of a day at the park, museum or zoo. In today’s changed world it has retained and arguably increased its utility and value for guests and operators alike.
DNP photo kiosks can place guests in a variety of environments with ease. All photos by DNP
Taking and posing for souvenir photos, whether solo or with friends or family, is an inherent part of the guest experience at an attraction. In addition to the fun of the experience itself, visitors gain a shareable takeaway and the option to order additional, high-quality prints. Preserving the memory of the day or the visit in photos is as essential as ever, if not more so, as outings with family and friends have become more novel and important. Yet photo opportunities are more restricted due to social distancing requirements and protective measures for guests and staff. You can’t get close to characters; you can’t get close to photographers. But you and your group can use the photo booth or kiosk to capture the moment, the feeling and the sense of place. Innovative FOTO, a leader in the field, reports that its customized photo booths and kiosks are getting ample use in zoos, aquariums, museums, science centers, theme parks, retail venues and various small attractions in the US that have resumed operations in recent months [see sidebar for a partial list]. Call it serendipity. Innovative FOTO reports that their photo booths, supported by a whole-product business model, are showing themselves an excellent fit with the needs of attractions and their guests today - whether the traditional style booth, the
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fancy PGS greenscreen kiosk or the company’s new, freestanding kiosk with Background Segmentation technology, installed in August 2020 at the Texas State Aquarium. Being freestanding and compact, the kiosk can be installed in high-traffic areas; the technology allows guests to select a custom background and apply a custom filter, with no need for an actual greenscreen or to enter a confined space. All models, according to Innovative FOTO Director of Sales Ed Stewart, are fully guest-operated with no need for staff contact, and branded to the venue. “Our in-house graphics department works closely with each client to customize the look of each booth or kiosk and the photo backdrop choices,” said Stewart. The units are also fully monitored and serviced by the company’s maintenance fleet, which is 300 strong in the US. “They are all connected wirelessly, so that software upgrades can be handled from the home office and real-time information is transmitted to the service techs,” said Stewart. Maintenance also includes a regular, 19-step deep cleaning process, and the design of the kiosks makes it simple for operators to clean regularly through the day, Stewart explained. Some venues own their units outright, but most opt for a lease arrangement. Guests can print photos immediately as the booths are integrated with DNP printers utilizing dye sublimation technology, a non-smudging, dry technique that diffuses dye onto paper and
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Photos in action A partial list of venues currently open for business with existing Innovative FOTO photo booths or kiosks: Six Flags Great Adventure - Jackson, NJ Kennywood Park - West Mifflin, PA Busch Gardens Tampa Bay - Tampa, FL Pacific Park - Santa Monica, CA Downtown Aquarium - Denver, CO Texas State Aquarium - Corpus Christi, TX Ed Stewart, DNP
Blue Zoo Aquarium - Spokane, WA
produces a long-lasting matte or glossy print. Access to view and download the photos to save, share online and to order additional, high-quality prints is provided to each user with a code to input at blababooth.com (recently updated to streamline and improve the user experience). This part of the process is also completely handled by Innovative FOTO. As to the enduring value of souvenir photo prints in a digital age, those professional, custom prints from vacations, staycations and special occasions may well be the only physical photos on display in many households nowadays. (If you are over a certain age, you may have noticed that the collection in your photo album ended suddenly in the 1990s. If you are younger, your photos may live entirely on devices and social media streams.) Even in these economically challenging times, Stewart reports that some Innovative FOTO customers are finding it worthwhile to expand their photo booth offerings. Photo booth technology is a relatively inexpensive way for operators to reinvest in their property and catch the notice of visitors. “We’ve been working with partners on getting booths in new locations for them, or upgrading existing booths, with an understanding of their current needs and situation,” he said. “Some attractions are doing exceptionally well in these times. Booths located outdoors have more wear and tear. And a new or upgraded photo booth can tie into and help draw attention to a new attraction or feature at the venue. It can also be updated with the seasons and holidays.” • • •
Oklahoma Aquarium - Jenks, OK Denver Zoo - Denver, CO Franklin Park Zoo - Boston, MA Jacksonville Zoo - Jacksonville, FL Stone Zoo - Stoneham, MA Space Center Houston - Houston, TX Museum of Science - Oklahoma City, OK International Spy Museum - Washington, DC St. Louis Science Center - St. Louis, MO Harbor Walk - Destin, FL The Gulf Orange Beach - Orange Beach, AL Rainforest Café – Grapevine, TX
About Innovative FOTO Innovative FOTO was founded in 1995 and is the largest full-service designer, manufacturer, operator and distributor of digital imaging photo kiosks in the United States, with over 2,000 booths in North America. The company supports thousands of booths at a variety of venues worldwide, yielding nearly 30 million interactions annually. Innovative FOTO merged with DNP Imagingcomm America Corporation (DNP IAM) in 2020. For more information, please visit https://www. innovativefoto.com/. inparkmagazine.com
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I can see clearly now
Polin’s new Glassy product adds transparent charm to a resort’s new waterpark by Joe Kleiman
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n the shores of the Gulf of Gökova sits the city of Bodrum. The town is one of Turkey’s major tourist destinations, with its combination of historic sites, pristine beaches, and welcoming hospitality. Bodrum plays an important role in Turkey’s $40 billion tourism economy. According to the Bodrum Hotelier’s Association, foreign tourists flock to the city from throughout Europe, primarily from the UK, Germany, The Netherlands, Ukraine, Russia, and Poland. These foreign travelers supplement an already robust domestic tourism comprised of both overnight vacationers and day trippers, and help fill vacancies during off-peak times.
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Candyland and the integrated resort model Over the millennia, Bodrum has been the home of a number of significant landmarks. It was built upon the site of the Greek town of Halicarnassus, birthplace of the historian Herodotus, and home of the Tomb of King Mausolus (from which the term “mausoleum” is derived), one of the Seven Wonders of the Ancient World. In the 15th Century, Knights Hospitaller constructed the Castle of St. Peter at the water’s edge. The small town within the castle’s fortifications would grow to become the modern city of Bodrum.
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Five kilometers outside Bodrum sits the village of Torba. Lush forests of pine and olive trees dot the hillsides, providing a breathtaking backdrop to Torba’s luxury beachside resorts. In 2020, one of these resorts, the Vogue Hotel Bodrum, opened an entertainment center called Candyland to expand its offerings to family guests. With this expansion the Vogue Hotel Bodrum reflects a continuing and successful trend among hotel and attraction operators worldwide: the diversification of offerings that make properties into fully integrated resorts, catering to overnight guests as well as day visitors and even accommodating business groups and conferences. Whether from the standpoint of hospitality or entertainment, regular reinvestment and expansion helps keep guests coming back year after year and expands the property’s market potential and destination status. Entertainment operators benefit by adding a second or even a third gated attraction, giving guests more activity options and encouraging them to turn a day visit into a multi-day affair, which leads to an increased need for on-premises lodging. Likewise, hospitality operators find that investing in a leisure option such as a high-quality waterpark or other leisure option enriches the guest experience and differentiates the resort from its competition while promoting longer stays and increased guest spending.
The Candyland complex features a small amusement park and 5D cinema, but its centerpiece is its waterpark, with 25 slides provided by Polin Waterparks. Among these are the awardwinning King Cobra, and a new wonder of the waterpark industry – the world’s first fully transparent composite waterslide, the Looping Rocket. Called Glassy, Polin’s new transparent composite is the result of a two-year R&D effort. In 2018, the product was officially previewed at a number of industry trade shows, including the IAAPA Expo in Orlando.
Composite creativity Founded in 1976 by architect Enver Pakiş the Polin Group is a leading innovator in developing and manufacturing composite materials. It began by serving the construction industry and in 1989 the company began manufacturing composites for the European waterpark sector. Serving multiple business sectors fuels innovative thinking, and Polin is able to apply what it learns from one space to another. Innovations in the attractions industry often happen with a creative new use of materials and technologies that originated in other fields. By 2006, Polin had begun applying specialty techniques, such as light-resin transfer molding (LRTM), typically used in industries such as automotive, aviation, and spacecraft, to its pioneering R&D work in waterslides, to the benefit of its clients and the industry. The newly adapted procedure allowed
ABOVE & OPPOSITE: Polin’s Looping Rocket, created with their clear composite Glassy, is now open at Candyland park at Vogue Hotel Bodrum. All photos courtesy of Polin.
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for symmetrically perfect parts on slides that were lighter, yet stronger than their traditional composite counterparts. By the end of the year, the company had converted its entire waterslide manufacturing operation to LRTM. A key part of Polin’s success remains its research into new ways to manufacture composite materials. In 2018, Polin was designated as a Research & Development Centre by the Turkish government, affirming that the company’s R&D operations are consistent with government standards for safety. More than fifty engineers are on staff developing new uses and construction methods for composites. Meanwhile, the company’s Polin Composites division remains one of the top manufacturers in Europe for aerospace, construction, automotive, hotels, transportation, wind energy, and, yes, waterslides.
The fiber of transparency Some background and technological detail helps convey the significance of what Polin has achieved with Glassy, and why Ali Cansun, Director of R&D at Polin says, “Glassy will make a dynamic difference in the industry.” Polin traditionally uses a process called Resin Transfer Molding (RTM) to create waterslides. Once molds are created for a slide piece, the shiny outer layer containing the slide’s color is sprayed onto the mold and dried. This is done to both the top and bottom molds. Next a sheet of white fiberglass fabric is placed on top of the mold. This fiberglass layer is what provides
strength for the slide. The top and bottom molds are clamped together and filled with a resin composite. A vacuum pulls the liquid resin through the mold, which is then left to cure. Once finished, the molds are released and the slide piece is ready for finishing and assembly. This is an efficient and effective way of producing opaque slides, but something more was needed to go transparent and maintain the same high quality. For years, there have been two ways to manufacture see-through slides. The first and most common method involves colorful translucent composites, where the strength-to-thickness ratio in the manufacturing process allows for a semi-transparent portion of the slide. This allows light to shine through and illuminate the translucent composite but does not provide a fully clear slide. Sliders (people riding the slide) can see light coming through the slide and observers can see shadowy shapes moving through the slide, but not much more. For fully transparent slides the industry has generally relied on acrylic tubes. However, unlike fiberglass, acrylic has a much lower fracture toughness. To compensate, acrylic parts are often thicker, resulting in a much heavier slide part. Because of this extra weight, additional cost and added maintenance, acrylic often is found in limited markets, such as where slides traverse an aquarium or aboard cruise ships. More often than not, these factors result in only partial use of acrylic in the overall slide construction.
Sunlight streams through Polin’s Looping Rocket waterslide constructed with their clear Glassy composite.
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The slide includes different levels of transparency throughout the ride.
Polin has developed a third solution to what it calls “the Holy Grail” of waterslides – completely transparent composites. The Glassy transparent material has a reflective index where the resin and the fiber of the composite are nearly the same. This allows the fiber to disappear from view. This “invisible” fiber gives an extra toughness to prevent fracture. Another differentiating factor between acrylic and Glassy involves the connection between different ride segments. Acrylic slide parts do not have any connection flanges and therefore require special steel flanges and insulation materials during assembly. Glassy, on the other hand, uses its own connection flanges made from the same material as the Glassy slide. This results in a completely unobstructed view down the slide, inside and out. From a maintenance standpoint, Glassy proves friendly to park operators. According to Polin, through the use of special additives and coatings, Glassy has a higher resistance to wear from sunlight and chlorine than the competition’s composite and acrylic products. Polin’s R&D division has also developed special repair techniques which will fix most damage to the Glassy slide in a short period of time.
Creative possibilities These characteristics open up new possibilities for how Glassy can inspire new things in design - for waterslides and, we imagine,
beyond waterslides - in ways that Polin’s internal teams and other industry creatives will discover and utilize in months and years to come. Dark rides? Haunted houses? Ride vehicles? Observation attractions? Immersive experiences? Polin is a company that has grown, adapted and diversified to succeed over nearly a half-century, from its beginnings as a manufacturer of composites for the construction industry to a pioneer and leader in the international attractions industry. In addition to designing and building rides, the company also offers wave pools and spray parks, and designs and operates aquariums and safari parks. For those who don’t have internal design teams, Polin has in-house creative facilities. Polin Design Studio works with clientele to suit their budget and location. Polin Attractions creates vehicle-based waterborne adventures. Through Polin Game Technologies, the company provides high-tech, waterbased interactive gaming and VR waterslides. As Sohret Pakis, Polin’s Director of Marketing and Communication, says, “Guests mostly want something to get their hearts pumping a bit, interactive experiences to share with one another, and fun themed attractions that make their day more interesting.” We look forward to seeing how the industry and its creatives embrace Glassy. We know it’s going to be interesting. • • •
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Transitions 2020 Industry professionals exploring new outlets interviews by Martin Palicki & Judith Rubin
Nathan Jones Attractions man
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ith a substantial track record at both WhiteWater and Vekoma, Nathan Jones recently took the COO role at CAVU Designwerks. CAVU’s specialty is in designing and engineering new immersive ride systems. CEO Peter Schnabel heads up the company, based in British Columbia, Canada. Visit cavudw.com. What led you to this opportunity at CAVU Designwerks? I have known Peter Schnabel for many years and always had a healthy respect for his contributions to the industry. Peter has consistently delivered on attractions that have helped shaped a generation of rides and attractions and helped introduce and integrate new technologies. I wanted to be part of the team at CAVU pursuing those exciting and ambitious goals.
In what direction is CAVU heading and how will you help achieve that vision?
Tell us about your new role and responsibilities. My primary focus will be on the operations of the company. I will ensure we deliver on contracts from signing through commissioning and completion. The complexity and integration of CAVU’s attractions requires a rigorous, process-driven implementation involving contributions from a multidisciplinary team. Our customers expect projects to be on-time and onbudget and I will be working with the team to ensure that. How has your previous experience prepared you for this position? I have been fortunate enough to work for two preeminent companies in the industry: WhiteWater and Vekoma. My experience with highly engineered attractions at both organizations laid the foundation for me to come in and really hit the ground running with that foundational knowledge in hand at CAVU. Additionally, my participation on the International Board for the Themed Entertainment Association has allowed me to interact with industry leaders including operators, suppliers, and specifiers. It has helped me better understand how international leaders conduct business. Who or what things have inspired you in your career? Before the ribbon cutting and grand opening of any attraction there is a hardworking, dedicated team of professionals that
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come together to turn the seemingly impossible into something that is real. Leading and being part of such diverse teams has defined my passion for the industry. These teams and their members, many of whom have become lifelong friends, have inspired me to continually seek out organizations that have a winning combination of cutting-edge portfolios and passionate employees who love coming to work every day.
Pushing the boundary of what is possible with dark rides, flying theaters, and other high-tech attractions has CAVU uniquely positioned to deliver on their ever-expanding portfolio of attractions. Ultimately, the goal is to produce an unforgettable, fun experience for the audience. Combining just the right amount of technology, motion, content, and storytelling into one package is where CAVU really excels and being able to deliver on those experiences is where I will be focusing much of my time. How are you and CAVU approaching business during the pandemic and how are you planning for the post-pandemic market? Like most businesses we have adjusted our business model and reacted to the current global environment. We want to be cognizant of how much change many of our customers and colleagues have had to deal with in such a short time. To alleviate some of those pressures we have rolled out our Bluesky Services as part of our way to remain connected with our clients. We are offering two distinct services: A Creative Charrette includes a technical brainstorming session on new products or attractions moderated by CAVU. Our Engineering Think Tank is a complimentary engineering consultation and design service for a product or attraction. These services provide the opportunity to engage with our Engineering team to brainstorm technically on a new or existing product/project. •
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Christine Kerr Operations, design and beyond
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hristine Kerr started off her themed entertainment career on the operations side, working for Canada’s Wonderland, CN Tower, and LEGOLAND (Windsor and California). After helping with the design for LEGOLAND projects, she moved to the creative side as Vice President for Toronto-based BaAM Productions. After nearly two decades at BaAM, she recently made the move to focus on her own business, Kerr Creative Company. Tell us what it’s like to transition from a larger company to a sole proprietorship. I gave BaAM more than two months’ notice so had time to close out certain things, pass on others and complete most projects. I actually remained on contract with BaAM as an Executive Producer for a year after my VP role ended. This allowed me to continue to work on a few projects that were not finished by my departure day and really helped make this a smooth transition. I highly recommend this as a way to ease out of a long-term role (18.5 years in my case). It helped make BaAM comfortable that things would be fine without me. How would you summarize Kerr Creative Company? Kerr Creative has existed since my husband Matt began working as a writer and director in the industry back in the late 1990s. We have now incorporated as Kerr Creative Company Limited and brought my skills into the business as an Executive Producer and Project Leader (Project Director/Manager). Where do you see the company in terms of its place on a project team and in the project process? I act as owner’s rep and bring together project teams. Sometimes I advise and guide those new to the industry through a project’s development and into operations. Matt and I work together to lead creative development for event and entertainment projects. How does this change your role in terms of how you serve the industry and pursue professional fulfillment? My work through Kerr Creative allows me to use all of my experience and apply it to new projects – leading creative development and production for events and entertainment or attraction development from site selection through design, construction and into operations. It’s wonderful to be able to share a client’s journey of discovery as their project comes to life.
Gardens. It includes a live show featuring a troupe of performers who are based at a beautiful Birthday Clubhouse and activate celebration events throughout the park. We brought together a team of industry experts to bring the celebration to life with scenery and décor including an eco-friendly approach to a birthday card made up of fence panels that guests will be able to sign and the park will use for future installations. The party has unfortunately been delayed until 2021 as Gilroy Gardens will not open this year. But we’ll need a party more than ever when they do re-open! I have also been working with Little Canada, a new attraction opening in late 2020 in downtown Toronto. I’ve been project managing the guest experience, working with the architect/ experience designer and supporting the guest operations team as they prepare to open this brand-new, indoor attraction that will occupy 45,000 square feet. Have your years as a leader in the Themed Entertainment Association influenced the way you think about the industry and conduct business? Definitely! My work with TEA has made me highly aware of the incredible people and resource pool I’m connected to. During my time with BaAM we always tried to bring those resources into our projects whenever possible and now I enjoy introducing new clients to the amazingly skilled and talented people I know. It actually feels a bit like a super-power… •
InPark 杂 志 订 阅 网
Please tell us about some current projects. We have been working with Gilroy Gardens [California] to executive produce their 20th birthday celebration – a summerlong event that brings “The Best Birthday Party Ever” to the inparkmagazine.com
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An artist rendering for the gaming arena of Action League - All photos courtedy of Alterface
Inside Action League, The Interactive Revolution Alterface’s unique mix of tournament, interactive gaming and motion interview by Martin Palicki
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once on the ride they duel against one another, in three to five different scenarios.
Tell us about the Action League guest experience.
Screens are installed around the arena and the ride system will shuffle the teams in the rotation phase, and then remain stationary during the shooting phase. Each shooting phase contains one game and two teams compete against each other per screen, using the shooting devices on their vehicle. Each game takes around 30 seconds. After that short duel, the vehicles move around for the next round of competition. The rotation and shooting phases will alternate until each team has played against every other team, and the final winner can be announced!
lterface recently introduced its latest ride, ‘Action League,” offered as a turnkey attraction. This new interactive attraction pits multiple teams against each other while utilizing a dynamic multi-axis rotation system to provide physical thrills. Etienne Sainton, Product Manager of Alterface, answers questions about the new offering.
The attraction runs like a tournament where each team competes against the others until a final winning team is determined. The whole concept has been designed around that idea. For example, the show is set up as a stadium or arena, with the action all in one large room. The queue surrounds the ride area so guests in line can watch the action below and cheer riders on as they progress in the queue. The effect is to create a high-paced, energetic environment. Guests are separated into teams and
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Are there different modes of gameplay? As this is a fast-paced tournament it is very important that during the shooting phases the visitors are playing an intense game. So we will always have an easy-to-use shooting device and a lot
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of interaction on the screens. Each game will have a different theme and different role, but always the same gameplay. The full experience has been tailored to match the concept of real-world competition. But it is also possible to change the content to have media related to an IP, or to calibrate it for a particular age group such as young children or teenagers. While the gameplay will not change, the whole feeling and the games themselves will change. Do all players get to play all rounds, whether or not they are winning? Every team plays the same number of matches! The tournament is not using a “bracket” style of competition, but a “pools” system. This means that every duel will give a team the chance to score points and gain places in the ranking. Of course, the final duels will feel more important to some teams (a chance to be the winner, or not rank last), so the content will ramp up in intensity from one round to the next. The games themselves become more intense each time, and the music and lighting will reflect that.
a total of 36 players and throughput up to 500 people per hour. There is built-in flexibility to this: operators can change the number of shooting phases to adjust throughput, allowing more visitors at busy moments or giving more time to players during quiet periods. Where did the inspiration for the attraction come from? Based on our experience with interactive rides and feedback from the market, we decided to develop this new tournament formula. We wanted to add another layer of competition to traditional interactive dark rides. We also wanted to add some thrilling motion sequences between the gaming elements. It is our belief that the most popular interactive attractions are either strongly story-based (for example Basilisk) or “game” based (for example Maus Au Chocolat or Popcorn Revenge). Our company is focused on both. We continue to work on innovations for story-based attractions, as well as strong alternatives for shooting attractions (which Action League is designed to be) employing elements that are inherent to amusement parks: motion and group entertainment. Is there IP for the attraction?
Even those not in competition for first place will enjoy their gaming experience. Everyone will board and depart the experience at the same time. How many players does Action League accommodate? It’s a scalable attraction. The largest format accommodates 72 players across 12 teams in vehicles seating six people each, which results in an impressive 1,000 persons per hour throughput. The standard format hosts six teams of six people per vehicle, with
The media content can vary, including existing IP or customdeveloped characters. Alterface delivers the ride as turnkey solution, but we work with the client to create an attraction that fits their specific needs. Where can people experience Action League? We already have multiple customers interested and we hope to give a definite answer to this question by the end of the year. • • •
Vehicles compete against one another in a series of shooting challenges.
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Guests enjoy a ride on Solar Vortex at Adventure Island, a WhiteWater Double Tailspin slide upgraded with Aqualucents. Photo courtesy of Adventure Island Tampa Bay
Planning for 2021
WhiteWater offers scalable options to parks getting ready for next season by Martin Palicki
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s many waterparks around the world finish up this most unusual pandemic season of 2020, attention is being turned to 2021 and planning for capital expenditures. How operators are approaching next year varies greatly depending on a variety of factors, including their location and size.
Knowing that most parks will be coming off a slower year and budgets are being scrutinized, WhiteWater aims to help by providing practical solutions that can help parks attract customers back next season. Their team has identified three areas operators can invest in:
David Bogdonov of WhiteWater, a leading supplier of waterpark rides as well as “dry rides,” predicts most venues will spend in different ways for the coming year. As VP of Business Development for WhiteWater, Bodgonov has worked with small municipal pools, regional water playgrounds and huge themed waterparks. “I expect parks will focus on renewing and upgrading their infrastructure,” says Bogdonov. “On the customer-facing side, they might be looking at small investments that can enhance existing attractions to make them seem like new.”
• making a bigger experiential impact with what already exists by improving and enhancing looks • adding new experiences to existing attractions • adding attractions that can be scaled up over time as budgets allow
WhiteWater’s EVP Sales for the Americas Andrew Mowatt agrees. “Many properties are improving both visual and creature comforts for guests and also making changes for better physical distancing, providing a park experience more conducive to returning guests.”
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Here are some suggestions offered for each approach.
Transforming with light, color changes, and new effects Sometimes the attraction just needs to be presented in a different light, literally. Existing attractions using WhiteWater’s 32” AquaTube or 54” Giant AquaTube slides can go from opaque to translucent with
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Sharing knowledge in the reopening process
Life Floor installed at Trailhead Park Splash Park in Winter Haven, FL
an AquaLucent upgrade. Sections of the original opaque slide are removed and replaced with the new AquaLucent pieces that include colorful translucent patterns and shapes, allowing light to shine through into the slide. The experience for the rider is psychedelic, and the AquaLucent shapes can be customized for the park. “Parks can market the AquaLucent as an upgraded ride experience for guests, who will view it almost like a new attraction,” says Bogdonov. SeaWorld Parks & Resorts recently added AquaLucent slides to two of their parks. Solar Vortex at Adventure Island (Tampa, FL) and Tonga Twister at Aquatica (San Antonio, TX) are Tailspin slides upgraded with custom AquaLucent patterns that enhance the theme of the areas in each park. “A panoply of light and color surround you as you go through the slide,” says Director of Global Marketing and Strategy at WhiteWater Una de Boer. “It’s quite beautiful and a completely different experience – it feels even faster than normal.” It is also possible to change the color of a slide with WhiteWater’s resurfacing service, making it look and feel brand new. Existing slides and AquaPlay attractions can be updated with a new color scheme, a re-gelling of the fiberglass, or additional theming. “Sometimes a simple refresh can make an existing element look like a new structure altogether,” says Mowatt. Extended operating hours - into the evening - is prompting operators to think about lighting attractions in ways they
With many years of experience on the waterpark operations side, Franceen Gonzales, Executive Vice President, Business Development at WhiteWater, understands how waterparks work and relied on that community to help guide others through reopening. “If anyone knows how to deal with germ mitigation, it’s waterpark operators,” she says. “We deal with proximity issues and water quality on a daily basis. As I began to speak with our clients and my colleagues in the industry, I listened to them and asked myself ‘How can we help one another?’” One solution WhiteWater developed was to create reopening guidelines for WhiteWater attractions. Reopening Gonzales’ team worked Solutions for internally to develop a Water Parks document that worked hand in hand with guidelines from CDC, IAAPA, WWA, EPA, and others. Though it was intended for WhiteWater attractions, it was appropriate for all types of operators. A Co l la bo ra t io n Be twee n :
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The guidelines were helpful for the industry at large, especially as operators and suppliers alike were struggling with the implications of new health regulations on their business. WhiteWater’s outreach showcased some of the best elements of the industry: coming together to support each other and problem solve in times of crisis. “We sent that resource to all of our clients, as well as to any other operator that wanted it, even if they didn’t have any WhiteWater product. People saw us as a resource and we hope it helped facilities understand there is a path to reopening safely,” says Gonzales. In terms of advice for the future, Gonzales sums it up best: “What I’ve learned from the cycle of ups and downs in the business is that you have to look forward and plan for the future, but also don’t forget to look back and use what you’ve learned to plan for the next challenging period. People just want to be done with COVID, but now is exactly the time to examine how you responded, think about what you would have done differently, and get that on paper so you have a guide for your business on how to handle similar problems in the future.” •
Resurfacing a slide can make an attraction look new again.
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may not have considered before. Because of reduced capacity requirements, many are looking at ways to cycle more people through the park, including a longer operating day accommodating two shifts of guests. “We see parks experimenting with lighting effects,” adds de Boer. “Typhoon Texas and Chimelong spring to mind as great examples how they have put the spotlight on star slides to attract attention.”
Adding to the experience Parks with existing 54” slides can be retrofitted for WhiteWater’s Slideboarding gaming technology (2017 recipient of a TEA Thea Award for Technology). This next-generation version of Slideboarding utilizes easy-to-maintain innertubes rather than boards and features a simplified playing experience which is a quicker and easier install for the park.
“Crisis is a place where you call upon courage, intelligence and collaboration. You see so much talent in times of crisis. I saw so many great things from parks in such a short period of time.”
-Franceen Gonzales
“Slideboarding initially tracked user scores via a player profile, but the new version is more of a walk-up-and-play attraction,” says Bogdonov. This has the added benefit of removing the touchscreen interface associated with the original attraction.
Existing splashpads or play structures can be given a visual makeover by adding the Life Floor system. A patented, durable foam-like flooring material provides a safe surface for guests to play on. Although intended primarily as a safety-enhancing technology, the product also serves to help define a space. The Courtyard Marriott Anaheim recently added Life Floor to its outdoor waterpark. “It was a small investment that really brightened up the space,” says Bogdonov.
“Adding a Slideboarding overlay to an existing slide is an easy way to create buzz for a new experience,” says Bogdonov. Of course, Slideboarding can be added to a new slide just as easily. [For more information on how Slideboarding works, see “Changing the waterpark game,” InPark Magazine issue #59.]
According to de Boer, Life Floor is currently the only aquatic flooring system that complies with new NSF50 safety protocols in the US. “Additionally, operators can expect to recoup their investment through a reduction in slip and fall claims within only a few years,” she says.
Aqualucents in Solar Vortex allow sunlight to shine through colorful, themed shapes, creating a specialized ride expereince. Photo courtesy of Adventure Island Tampa Bay
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AquaForms is a fresh take on the common waterplay structure that is modular and can be modified over time. All photos courtesy of WhiteWater, escept where otherwise noted.
Building a new experience For those parks not ready to build a huge new AquaPlay structure, WhiteWater recently introduced AquaForms, a streamlined alternative to its AquaPlay product. AquaPlay is traditionally made of a painted galvanized carbon steel structure. It frequently is adorned with heavily themed elements and waterslides. AquaForms is a smaller stainless-steel version, scalable and streamlined. The flexible design allows park operators to add sections over time to expand the play structure as guests return
to the park. Although the modular system is more standardized, it can still be themed to fit into any park. According to WhiteWater, while AquaPlay requires a completely flat floor, AquaForms are designed to be able to handle a slightly variable surface. Each footing has adjustable rings to account for nearly 7” of slope across the structure, meaning an expensive level foundation is not required. “For the operator, AquaForms uses monopole supports and clear panel barriers, making the structure much easier to see and monitor, designed with reduced lifeguards in mind to safely staff the play area,” says de Boer.
Technology at play In addition to making physical improvements to a park, investing in technology can also help entice guests back into parks. WhiteWater’s software and technology suite, Vantage, can provide ways to create safe experiences for guests that also instill confidence. Designed and implemented long before the pandemic, Vantage’s architecture provides solutions for parks seeking to manage social distancing and contact tracing requirements. Every guest that enters the park is associated with a unique identifier, tying a wrist band to an app on their phone. As they arrive and check-in at the park, guests can answer a health and safety questionnaire on their phone. Staff will be able to manage attendance in real-time, knowing who entered and who exited.
Features such as Dynamic Crowd Control will ensure that areas within the park stay within prescribed density management guidelines, and Virtual Wait Times can help avoid overcrowding in queue lines. Parents can also easily plan their day at the park in advance, and while they are there, know where their kids are at all times. “This gives guests a level of security and confidence and is an obvious way parks can show they are taking COVID precautions seriously,” says de Boer. “Vantage also offers the flexibility of being scalable,” says deBoer. “Parks do not need to buy a complete system. Instead, they can activate whichever modules they need for now, and add on to the system later as time and budgets allow.” •
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Some parks may be looking to add a completely new attraction, but have a limited space available, a short timeline, a limited budget, or all of the above. WhiteWater works with the client to create the attraction that best fits their needs. There is a lot of communication back-and-forth between the park and WhiteWater: updating plans, revising pricing, sharing schematics, and more. For clients that are working in a limited timeframe, WhiteWater has assembled packages of popular slide complexes that exist in a small footprint and within a specified budget. Each package includes much of the information that a client typically would ask for: foundation layout, mechanical schematics, electrical sketches, scope of work specifications, construction timeline, detailed drawings and concept videos. Each package includes Rough Order of Magnitude installation pricing.
Follow Me Falls at Island H2O Live! waterpark in Kissimmee, Florida is WhiteWater’s Blasterango slide.
“These are individual slide towers we can make available in a very tight timeframe,” says Bogdonov. The pre-designed towers are available with various configurations and include all the costs and parameters. “Because a lot of the project development work is already done, we can deliver them for opening next year at a competitive price point.” Each tower consists of one or two slides that are popular with WhiteWater’s customers. Examples include: • BLASTERANGO combines the roller coaster-style Master Blaster and a Boomerango element, which provides moments of weightlessness. • HEADRUSH is a 32” AquaTube racing mat ride where riders use mats and slide head-first down to the bottom. It has an extremely compact footprint and includes some AquaLucent sections. • The TAILSPIN and KALEIDOSCOPE tower includes two slides. The first features drops with a tight turn radius in an
“We recognize there is a market for having some unique rides that are ready to go when the client is able to make a decision.”
-David Bogdonov
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open bowl for added thrills. The other is a family raft ride featuring AquaLucent. This tower requires a raft conveyor. Each slide uses existing molds, further accelerating production time. “These are tried and true rides - exciting and thrilling attractions that have great marketability,” adds Bogdonov. “Our goal is to make the decision-making process easier for the client. All of our normal safety engineering and planning applies to these rides as well,” explains Bogdonov. “We are expecting that clients may want to make some changes to these packages too, but this provides a lot of answers and information right upfront for them.” Whether it’s plussing current rides or investing in new scalable attractions, operators have plenty of options for reaching out to their customer base and enticing them to return to their park. “Over the years the model of annual reinvestment into a park has proven to be effective and guests look forward to returning to see what is new each year,” explains Mowatt. “We think these options are ideal ways to maintain that appeal for guests without breaking the bank.” “Next year is going to be better,” adds de Boer, “and WhiteWater will be there continuing to provide the solutions that best fit park operators’ needs.” • • • For a limited time, visit whitewaterservice.com to register for a special discount on WhiteWater’s refurbishment services and parts.
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Forged in steel, tempered by imagination Vekoma opens two new intertwining roller coasters in Germany interview by Martin Palicki
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nown for a variety of high-profile coaster installations around the world, Vekoma has quietly been innovating and planning their next generation of rides. We asked Vekoma’s Peter van Bilsen (Executive Vice President Sales & Marketing) and Benjamin Bloemendaal (Unit Manager Concepts Engineering) about their latest offerings.
“Volldampf ” (“Full Steam Ahead”) is a Family Boomerang Coaster and “Hals-über-Kopf ” (“Head over Heels”) is a Suspended Thrill Coaster. The two coasters feature a unique intertwined layout, crossing each other several times. Both rides have exclusive theming that has been created in cooperation with Erlebnispark Tripsdrill to reflect regional culture.
How is Vekoma addressing business in the pandemic?
Tell us more about the rides.
Peter van Bilsen: Vekoma is working together with its clients preparing for the post-COVID-19 era. We are operating as normal as much as possible, following the guidelines of the authorities. Where travel and restrictions permit, the assembly and installation of new rides and attractions continues. What rides are you working on currently?
Peter van Bilsen: The Family Boomerang is designed in the style of a 19th Century steam locomotive, inspired by the famous Swabian folk song, “Auf de Schwäbische Eisenbahne” (“On the Swabian Railway”). The train seats 20 people. On a track length of about 500 meters and speeds up to 60 km/h, passengers are taken through a break turn, camelback and twisted camelback, S-curve and a curved stall up to a height of 22 meters.
Peter van Bilsen: We are happy to announce that two new Vekoma coasters have officially been opened to the public at Erlebnispark Tripsdrill in Germany!
The theming of the Suspended Thrill Coaster refers to the local heroic story of the “Sieben Schwaben” (“Seven Swabians” was one of the fairy tales collected by the Brothers Grimm).
Volldampf and Hals-über-Kopf coasters at Erlebnispark Tripsdrill in Germany.
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It was important for us to limit the amount of G-forces. Most turns and drops are around 3Gs with a max of 3.4Gs on the ride. A few airtime segments peak at around -0.4Gs. This force range makes the coaster very accessible outside the typical target group for thrill coasters, but still allows for a dynamic mix of aerobatics. The focus throughout the design is on speed and pacing – we don’t like to slow down -- and constant changes between positive and negative forces.
Peter van Bilsen
Benjamin Bloemendaal
Each individual car is designed with a shield and lance and on the back of each seat you can find a rucksack with equipment like a pan, map and blanket. This Suspended Thrill Coaster is newly developed by Vekoma. We used the latest technology with machined chassis and steering wheel bogies to create a very smooth ride with less maintenance. Two trains with ten double seats each will be running on this track, which is more than 30 meters high and features numerous inversions, airtime moments, sharp turns and twists at a top speed of 80km/hour! One final unique feature will be the glass-domed roof in the station of Volldampf where guests in the queue will be able to see the rides above them.
The new trains for the STC meet all of the latest safety standards and are ready for decades to come. Unlike any other inverted coaster, our STC is equipped with seats that can swing slightly to the side via a double redundant hinge point connected with a specially developed tuned spring-damper system. This ensures a super smooth ride experience! The ergonomic seats can be equipped with a lap bar or if the customer desires, with an “over-the-shoulder” lap bar especially designed to comfortably withstand both positive and negative G-forces. Additional damping on all running wheels improves the ride comfort even more. Peter van Bilsen: As you can see, our goal was to create an unforgettably smooth and thrilling ride experience, which we are certain will be high on the bucket list of many coaster enthusiasts around the globe. • • •
How is the Suspended Thrill Coaster different from the Suspended Looping Coaster? Peter van Bilsen: Vekoma’s Suspended Looping Coaster (SLC) has been one of our most successful coaster models, with more than 40 built all over the world since the mid-1990s. The combination of high thrill, compact footprint and great cost benefit helped make the SLC a signature coaster for many parks. As time passed, we wanted to completely overhaul the SLC and develop the next generation version of the ride, which we call the Suspended Thrill Coaster (STC). The STC was designed to fill the gap between the SFCs (Suspended Family Coasters) and SLCs (Suspended Looping Coasters) - even though the latter model is now discontinued. Creating a thrill coaster that can be enjoyed by a wide audience was key in creating both the new vehicle and the track design. Benjamin Bloemendaal: A major difference to the old generation design is how we develop and manufacture the ride. With our in-house design tool we are able to fully account for G-forces in the track design - resulting in a smooth symphony of turns, twists and inversions throughout the ride. Please tell us more about the design specifics in this upgrade. Benjamin Bloemendaal: For example, in the vehicle design process, guest containment for smaller guests was a must-have. The STC allows for different passenger heights from 1.05 m (the Tripsdrill layout) to 1.20 m depending on the layout and G-forces.
The Suspended Thrill Coaster “Hals-über-Kopf” has an exclusive theming with a regional reference. All photos courtesy of Vekoma
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The Fairytale Tree at Efteling theme park in The Netherlands - All photos courtesy of the author and her spouse
Theme park storytelling Five lessons from my large-scale study by Carissa Baker, Ph.D.
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s a child growing up in Los Angeles, I regularly visited Disneyland, Knott’s Berry Farm, and Universal Studios Hollywood. I was awed by the attractions at the parks and they left a lasting impression. What I did not understand at the time was that elements of storytelling were what so appealed to me, whether narrated or environmental. Fast forward to now, where I have two college degrees centered on stories, a Ph.D. where most of my research focused on theme park narratives, and classes I teach that emphasize the power of storytelling for great guest experiences. The stories in theme park spaces that I encountered over the years were major inspirations for my career path. One of my large-scale research projects involved determining the characteristics of theme park narratives and how they have changed over time. In my study, I examined narrative attractions at the top 60 parks (by attendance) in three main regions (USA, Europe, Asia); to compare these to an emerging market, I conducted the same analysis on the parks in the United Arab Emirates. A total of 871 attractions were studied to determine common attraction types, source material, narrative techniques,
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and technologies. Results were divided into time periods, with the early industry, the maturing industry, and the contemporary industry represented. The following points are five lessons I learned from this lengthy study:
Lesson #1: Dark rides and stage shows are powerful storytellers Attractions that tell stories range from a walkthrough with static scenes to a nighttime spectacular with projection mapping and pyrotechnics. There is good variety in theme parks globally, but the two most pervasive types of attractions are dark rides and stage shows. Many stage shows are couched in the theater tradition with overt narration and stories told through musical numbers, dance, and stunts. Shows can be small and intimate, as the ones at Disneyland’s Royal Theatre; grand, such as Romance of the Song Dynasty at Hangzhou Songcheng; or epic, like Cinéscénie at Puy du Fou. Stage shows are appealing to visitors because of their human element. Since they are often more temporary and may be held in the same venues as previous
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efforts, some parks have produced dozens of stage shows over the years, especially as new intellectual properties (IP) appear. Dark rides, a unique feature in amusement parks and themed entertainment, use motion and environmental scenes to create micro storyworlds. Some of the most compelling experiences at parks are dark rides. Whether simple or cinematic, dark rides appeal to guests’ imaginations and the desire to be inserted in a story. Dark rides might be drawn from culture, as of those in the Fantawild Oriental Heritage parks (ranging from local legends to popular epics like “Journey to the West”); important literary stories, such as rides based on One Thousand and One Nights, Peter Pan, or Alice in Wonderland; fairy tales, as in The Flying Trunk at Tivoli or Disney’s Fantasyland classics; IP such as JUSTICE LEAGUE: Battle for Metropolis at several Six Flags parks; or original stories such as Disney’s Mystic Manor, Holiday World’s Gobbler Getaway, or Six Flags Over Georgia’s Monster Mansion. Parks leverage stage shows and dark rides as powerful vehicles for storytelling experience.
Lesson #2: Setting is the most common and important narrative technique When looking at narrative techniques, I studied components like the prevalence of allusion, narrators, plot, symbolism, and other terms. Perhaps not surprising because of the theme park’s inextricable tie with space, it is setting that turned out to be the
most common, followed by scenes and visual storytelling. One of the attributes that distinguishes a theme park from other forms of entertainment is that element of movement, of physical and sensory immersion. When traversing Dollywood’s Craftsman’s Valley, a guest is a visitor to the Smoky Mountain environment and culture. The immersive and interactive theater production of Ghost Town Alive! at Knott’s Berry Farm has a fun storyline and interesting characters, but it is situated in the town of Calico and the narrative revolves around the place. Themed space is what many guests desire, as they want to live inside of a different context or world for those hours they visit. It has been especially impactful for fans who can now inhabit fantastical places such as the Wizarding World of Harry Potter at Universal Studios parks, or Pandora at Disney’s Animal Kingdom. While entertainment technologies can increasingly be brought into the home (3D, VR, drones, even projection mapping), the dimensional aspect of the theme park cannot truly be replicated.
Lesson #3: IP has been the go-to for 60 years Stories in theme parks are drawn from various source material, from culture to history to science and technology. By far the most frequent source, however, would be intellectual property, generally novels, movies, and video games. The study shows that IP-based experiences have always been prominent. When Disneyland opened in 1955, for example, it relied on synergy with Disney movies and television shows to draw guests to the
Romance of the Song Dynasty, Hangzhou Songcheng
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Forbidden Frontier at Cedar Point
site. Sometimes a story is repeated in a theme park iteration, for instance a stage show recapping a particular film. Other times, it is a new story in that world, such as E.T. Adventure. Many times, stories from familiar properties are told with the shift that now the guest is involved in that story. Attractions may bring new audiences to a property, for instance the Arthur-themed land at Europa-Park, the Tron Lightcycle Power Run at Shanghai Disney (and soon Magic Kingdom), or Universal’s Waterworldbased shows. Attractions using IP allow for less exposition and backstory work. They draw on appealing stories that guests already know and may have an emotional connection to.
Lesson #4: A variety of storytelling techniques is best Parks are filled with stories, and the most successful parks have stories told in a number of ways. Theme parks might have explicit narrative, where the story is told to the guest through verbal or written means as in The High in the Sky Seuss Trolley Train Ride at Universal’s Islands of Adventure. They may have implicit narrative, where the story is told to the guest through visual or environmental means such as the Tree of Life Awakenings at Disney’s Animal Kingdom. Parks may also have interpretive narrative, where the meaning of a story is meant to be determined by the guest as in Efteling’s Dreamflight. In the
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same park, stories can be told through varying mediums from architecture to film, animatronics to music. Another trend has been the addition of storylines in parks that are stereotypically less concerned with storytelling. This can be with thrill rides and even roller coasters, with a few recent examples being Cobra’s Curse at Busch Gardens Tampa or Mystic Timbers and Orion at Kings Island. Variety allows guests to enjoy stories in different forms and not get fatigued, and now many smaller parks and places like museums and heritage sites employ similar techniques to stay competitive.
Lesson #5: Storytelling reflects changes in society Changes in theme park narratives over time are due to industry shifts, design paradigms, new technologies, and changes in visitor preferences. One of the crucial aspects of shifts in attraction design is because of transformations in society, some of which were also affected by technological innovation. Gamification became a part of sectors from education to themed entertainment, including interactive dark rides (such as those of Sally Dark Rides) and quests in the vein of MagiQuest at Great Wolf Lodge Resorts. Interaction, role-playing, and immersion became greater values in media in general, which trickled to themed entertainment with such experiences as Forbidden
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Frontier at Cedar Point or Evermore Park. Similarly, transmedia storytelling, or extending storylines across multiple channels and platforms (books, films, video games, etc.), became the desired way for consumers to connect to their favorite brands and IPs and gain the affordances of each media type. This has led to theme park lands (e.g. Universal’s Wizarding World of Harry Potter or Disney’s Star Wars: Galaxy’s Edge) being conceived of as extensions of synergistic storytelling across large narrative networks. The trend has encouraged parks to create transmedia extensions of their attractions, for example Europa-Park’s game and website about the Voletarium ride or Efteling’s television productions. Attractions mirror changes in society, and the industry itself can have influence on entertainment desires by continuing to raise the bar for enjoyable experiences.
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Carissa Baker (carissa.baker@knights.ucf.edu) received her Ph.D. in Texts and Technology from the University of Central Florida. Her primary research focuses on narratives in the theme park space. She presents at academic conferences or themed entertainment industry events and publishes interdisciplinary work on theme parks. Dr. Baker has taught and researched in China in addition to being a visiting scholar at Breda University of Applied Sciences in the Netherlands. She is an Assistant Professor of Theme Park and Attraction Management for the Rosen College of Hospitality Management at the University of Central Florida in Orlando, Florida.
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Through my study I learned many things, but one vital result for my work has been that storytelling is a major component of successful theme parks over time and around the world. There may be a debate about how to tell stories and what level of stories to add to attractions, but storytelling itself is widespread and central to the most impressive experiences. To stay competitive, operators employ themes and stories that engage the imaginations of guests beyond that of only thrills. They tell meaningful stories in diverse ways, and some theme park fans embrace this through remembering, recreating, or co-creating these stories at home. In the future, I will conduct this study
again to see where parks have gone and the new ways that stories will be expressed. Looking at the progress illustrated in the study, it is clear that in the future, there will be new and unexpected ways to create superb narrative experiences. I look forward to seeing what the industry delivers next! • • •
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Festival of Licensing Anna Knight of Informa Markets discusses the 2020 Festival of Licensing and the attractions industry interview by Judith Rubin
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he licensing of intellectual property (IP) is a key factor in the creation of visitor attractions today. Providing an environment for networking and business conversations that can lead to IP- and brand-centric LBE and themed entertainment projects is the Festival of Licensing, a month-long, virtual celebration of the global licensing industry running from 6-29 October. It includes regional-specific events for Europe (6-8 October), Asia (14-15 October) and the Americas (20-22 October), and closes with the global C suite Licensing Leadership Summit (28-29 October). Anna Knight, Vice President of the Global Licensing Group at event organizer Informa Markets shared information about the event and current trends. Visit www.thegloballicensinggroup.com. What kinds of trends are you currently seeing for licensing in the visitor attractions space? Would you say this was a hot spot for these opportunities? As the world attempts to adapt alongside the ongoing pandemic, we’re seeing an emerging trend amongst consumers who are looking to licensed consumer experiences and products to invoke the sense of nostalgia within them. Millennials and younger consumers are especially seeking familiar brands for support and direction during these uncertain times. Brands that carry legacy behind them have a good opportunity now to re-enter the attractions sector to connect with consumers looking to experience branded entertainment as a source of entertainment and comfort. What are some of the ways that Festival of Licensing will be a valuable forum and networking space for companies in the attractions sector? Networking is the prime component of the brand licensing ecosystem. Apart from the multitude of educational content offerings, Festival of Licensing will feature plenty of networking opportunities for professionals in the attractions sector. I highly recommend interested attendees completely fill out their Matchmaking profiles for our Festival Matchmaking Service to maximize their time at the event. What’s also brilliant about the Service is that attendees can schedule pre-planned meetings and impromptu booth drop-ins—all virtually. Moreover, we recently announced our Hasbro Happy Hours Program, which provides attendees the opportunity to engage with one another through fun activities such at the end of each ‘work day,’ including trivia, cocktail hours, and a Licensing Mask-arade Party.
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Tell us about some of the innovations designed to make the Festival of Licensing platform deliver a meaningful experience to participants in multiple regions, particularly in attractions. Virtual conferences and events have certainly lifted one barrier to entry that attendees commonly face, location. Yet, time zones can be a hindrance to many working professionals across the globe. Hence why we purposely curated specific content to cater to specific regions in their own time zone as the first step to best support and address a global licensing audience. The evolution of the event platform is something we, as the event organizers, are constantly working on with our platform provider to create and drive the attendee experience to something as close to an in-person event as we can make. For Festival of Licensing in particular we want to create a robust exhibition hall experience that one can experience at any of our in-person events. Many of our exhibitors have ties to the attractions industry such as Hasbro, Herschend Entertainment Studios, Natural History Museum, Aardman Animations, The Pokemon Company International, and ViacomCBS to name a few. Additionally, several of our Live Stage sessions will touch upon location-based experiences and how they will evolve during and post COVID-19. One particular session of interest I would recommend attendees tune into is the “Hasbro + eOne: Fueling Franchises Together” panel which will feature the Hasbro Vice President of Location Based Experiences, Matt Proulx discussing with eOne representatives on brand licensing strategies for franchise growth. •••
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