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Care Bears Experience by Katapult and Cloudco Entertainment
International themed attraction design company, Katapult, has partnered with children’s entertainment studio, Cloudco Entertainment, to create a new Care Bears™ family entertainment centre concept.
The attraction is a ticketed play cafe experience where guests can explore a range of themed zones, before enjoying a super sweet Care Bears treat. Aimed at the ever-growing ‘tweens’ market who love cute, sweet, and colorful, it’s a place where caring is cool and sharing amplifies the experience.
The Care Bears Experience by Katapult and Cloudco Entertainment
Care Bears, which recently celebrated its 40th birthday, has millions of fans across 120+ territories. The brand’s strength was demonstrated recently in License
Global’s “The Leading Licensees” 2023 report, where industry insiders voted Care Bears the number-three top new license signed last year. Popularity has surged since the launch of TV programme Care Bears: Unlock the Magic in 2019 – airing across multiple channels, including its own YouTube channel. Katapult and Cloudco Entertainment are now seeking project partners to license and deliver the visitor experience in key markets.
Katapult Chief Creative Officer Phil Higgins

Katapult Chief Creative Officer Phil Higgins

Speaking about the Experience, Katapult’s Chief Creative Officer Phil Higgins, said: “The new family entertainment centre has been designed to create a memorable, fun, and heartfelt experience where guests can indulge in the most delicious sweet treats. As fans of Care Bears ourselves, we are excited to take this concept to market to interested operators, investors, and real estate owners around the world.”

Cloudco Entertainment’s International Licensing Director Charlotte Payne added: “We’re delighted to have worked with Katapult to create this ready-to-go family entertainment centre concept, bringing the heartwarming world of Care Bears to life in an immersive and enchanting experience for fans of all ages.”
The launch of the Experience follows a successful 2023 for Care Bears, which saw three new activations open across Asia. A pop-up experience in Hong Kong’s Langham Place Mall has welcomed 2,000 visitors per day since November, with the store averaging even higher numbers on the weekend. The location also quickly surpassed its revenue goal.
Meanwhile, cafe activations in Seoul (South Korea) and Bangkok (Thailand) continue to thrive in the region. Seoul’s Care Bears themed Baskin and Robbins store, has become the number one performing location across 1800 stores across South Korea.
Interested parties can hear more about the opportunity from Katapult and Cloudco Entertainment teams at key industry events this summer. Katapult will be at IAAPA Latin America and Saudi Entertainment and Amusement Expo, while Cloudco will be in attendance at Licensing Expo Las Vegas. Both will be attending IAAPA Europe in Amsterdam.

Our guest is show control engineer, Linda Alcorn.

Linda is a groundbreaking Theme Park show control engineer with over 40 years of experience bringing some of our favorite experiences to life. Linda, the first female electronic engineer at WED, played a pivotal role in shaping iconic projects like EPCOT and pavilions in Canada, France, and China. Her journey continued at Disney Studio in Burbank, supporting EXPO ’86 projects, and later contributing to the initial design and installation teams of Disney-MGM Studios, Euro Disney, and Animal Kingdom. She was named a TEA Master in 2020.

Show hosts: Mel McGowan & Freddy Martin

Show design & production: Barry R. Hill

Theme music composed by Rob Watson, closing music by the Lost Dogs.

Give us a shoutout on iTunes; we love the attention, and browse www.themedattraction.com for even more on the attractions industry. Thanks for listening!

Registration now open for 2024 Themed Attraction Student Showcase

  • Each submission will receive constructive feedback
  • Your work will be reviewed by season industry professionals who are there to help you!
  • Compete for “best in show” and other awards!

Registration Dates

Registration Opens: February 20th, 2024
Zoom call to meet panelists and answer questions: First week of April
Submission Portal opens: April 15th, 2024
Submission Portal closes April 30th, 2024 at midnight Pacific
Panelist scoring and feedback begins May 1st-15th
Showcase Results posted May 20th

Feedback sessions to be scheduled in June (T.B.D.)

Questions and Answers

What format of projects can be submitted?

The student showcase is a “big tent”. Because there are 140 different job disciplines associated with themed entertainment there are very few limitations in terms of content. For example, if you are a good illustrator and just want to display your drawings, this would be perfectly acceptable.

Can it be something from another Themed Entertainment student competition?

Yes!

Can it be an event that our TEA club put on? (Haunted house, escape room, etc.?)

Yes. Feel free to showcase an escape room or a club project. Be sure to describe the experience and the process you went through to reach the final product. The more you can lead the panelists through your thought process, the better!

What should the quality of my submission be?

In terms of quality, it’s always advisable to put up a completed project rather than one still in progress.

What should the viability of my submission be?

Some projects are “simply for fun” produced with the intention of never being built. That’s okay if you state this from the outset. However, it is also beneficial to think about the real-world application of your idea. Your idea will be awarded points on the upstream and downstream viability of the project. In other words, how does your project fit within the overall scope of an entire project or operation?  For example, if it’s a theme park ride, have you thought about ride capacity, queue area, retail, food and beverage, and egress?  Submissions with thought given to real-world requirements will be favored.

How will my project be scored?

Your project will be scored from 1-5 by each panelist assigned to your project. This scoring rubric will then be totaled and weighted (based on various factors) and awards will be finalized. More importantly, you will be given many comments.

All submissions scored based on the below criteria:

Novelty, Storytelling, Narrative, Operations, Upstream / Downstream (recognizing how your work fits into the broader context throughout the process and how it affects those you will work with.)

This year every score will be weighted based on your class and team. Freshmen will have a slight advantage against seniors, individuals will have a slight edge against teams, for example.

Which iteration should be used for a project of many different iterations?

Answer: “Show the finished product and then talk about the process you went through to make it work.” – Scott Ault

“Storyboard your process” – Greg Andrade

“Highlight the experience component so it’s not just an exercise in tech for tech’s sake.  For example, highlight a narrative treatment on the communications device, and give an example of how communications can be for a good guest experience.” – Mark Amos

Can I submit more than one project?

Yes, but try to respect the panelists’ time as much as possible by limiting your entries. If we get too many entries, we reserve the right to limit them.

Can you submit something that was submitted for a competition, but wasn’t under specific coursework?

Yes! We are a big tent.

Can AI be used?

As long as it is properly attributed. Don’t submit an AI image if you’re trying to market yourself as an illustrator. In other words, don’t use AI to replace the skill set you are asking to be evaluated upon.” – Mk Haley

“List your prompts.” – Chris Stapleton

How “themed-attraction-y” does my project need to be? For example, a video game someone developed, a prop someone designed, or a story they wrote
Can these all be related enough to the topic to be submitted? What is the limit?

We are a themed entertainment-oriented site. There is wide latitude for your work because there are many different disciplines in this industry. In general, you should tailor your project to the type of career you are pursuing.

Academic Advisory Council

  • Dr. Jesse Kamm, IAAPA Academic Symposium / PMP / Licensed General Contractor 
  • Peter Weishar – Professor University of Central Florida / TEA  Eastern North America Board member / TEA Academic Society
  • Christian Rogers – Associate Professor Computer / Themed Attraction Design & Motion Design IU / PUI – (Indiana University-Purdue University, Indianapolis)
  • Jamie DeRuyter – Faculty Entertainment Design / Ringling College of Art + Design
  • MK Haley, University of Texas, Austin

Faculty wishing to participate in your program, please contact us at themedattraction.com.

Registration Period and Project Instructions

Individuals and teams wishing to participate 1) Must register by creating a profile at themedattraction.com and 2) Submit a registration form here.

    Select Your Level of Experience. Please select highest level attained by the most senior person on your team.

    Recognizing decades of leadership and expertise, the independent strategy, design and production company has named Carmel Lewis President, unleashing a new era of experiential imagination, innovation, and leadership at BRC

     

    LOS ANGELES–(BUSINESS WIRE)–Bob Rogers, Chairman and CEO of BRC Imagination Arts (BRC), a global experiential planning and design firm, has announced that Carmel Lewis, a 23-year company veteran, has assumed the role of President. This appointment underscores BRC’s commitment to independent creativity and reinforces its dedication to delivering world leading experiential creative and business solutions for a wide range of clients and international audiences. As the industry undergoes significant shifts, Lewis brings a new perspective to the forefront. Her leadership will be instrumental in navigating the challenges and opportunities posed by industry trends, securing BRC’s position as a formidable creative force in the marketplace.

    “BRC is and has always been an experiential planning and design firm dedicated to translating brand and cultural stories into transformative, human experiences that also drive measurable impact and economic growth for our clients,” says Bob Rogers, CEO

    Previously Executive Vice President and Executive Producer, Lewis has touched nearly every function during her tenure at BRC, with responsibility for creative and design management, production, business affairs, and project development. Lewis’s leadership style embodies the principles of servant leadership, fostering a culture that supports collaboration, empathy, and the personal and professional development of team members in service of the company’s mission and collective whole.

    Lewis’s notable projects span the brand, luxury, cultural, entertainment, and sports sectors and include top attractions and destinations around the world for clients like Johnnie Walker, Las Vegas Raiders, NASA, The Coca-Cola Company, Ford Motor Company, The Rock and Roll Hall of Fame Museum, Absolut, The Grand Ole Opry, Google, Guinness, Climate Pledge Arena, and Jameson Irish Whisky, among others. Her work has been recognized by numerous global awards organizations for creative and technical excellence.

    Originally from Memphis, TN, Lewis grew up near Washington, DC. As the child of a US Government civil servant, she spent years of her childhood deployed with her family in Europe and the United Kingdom, a defining experience that is the foundation of her passion for people, places, and their stories. Lewis holds a Bachelor of Science degree in theatre production from Towson University in Maryland, and has a background in advertising, post-production, and theatre.

    “I am truly humbled to serve this team in this role for BRC, a place that has been near the center of my world and my heart for many years,” says Lewis. “The accomplishments we’ve celebrated are a testament to our collective dedication and innovative spirit, proving that true success lies in the practice of continuous improvement and embracing change.”

    Since Bob Rogers founded BRC over 40 years ago, he has cultivated an incredible team that continues to redefine the industry. “BRC is and has always been an experiential planning and design firm dedicated to translating brand and cultural stories into transformative, human experiences that also drive measurable impact and economic growth for our clients,” said Rogers. “We have remained an industry leader because we pride ourselves in our ability to not just adapt but lead an evolving world, and there is not a doubt in my mind that Carmel is the best person to guide BRC into the exciting future ahead.”

     

    To learn more about BRC Imagination Arts, visit brcweb.com.

    For all media inquiries and/or interview requests, please contact Maya Guice at mguice@brcweb.com.

    ABOUT BRC IMAGINATION ARTS

    BRC Imagination Arts is a global experiential planning and design firm that translates brand and cultural stories into transformative, human experiences. For over 40 years, BRC has stood on the front lines, helping our clients build more meaningful, enduring relationships with audiences around the globe.

    BRC’s unique body of work has earned over 500 awards for some of the most respected and acclaimed brand destinations in the world including Johnnie Walker Princes Street, the Grand Ole Opry, Las Vegas Raiders Allegiant Stadium Tours, Jameson Distillery Bow St., the Rock and Roll Hall of Fame, The Henry Ford, Guinness Storehouse, World of Coca-Cola, Lincoln Presidential Library and Museum, NASA Kennedy Space Center and more.

    ted, part of RWS Global, Announces New Partnership with Luxury Cruise Line Cunard

    As It Launches RWS Global Studios London

    NORTHAMPTON, UK – ted, part of RWS Global, recently announced a four-year partnership with Cunard, elevating and modernizing onboard entertainment for the luxury cruise line. Through this collaboration, ted will produce and manage a custom-created performance venue, the Bright Lights Society, onboard Cunard’s newest ship, Queen Anne. ted is providing music & media, show production, AV & technical, costume design & build, talent casting & recruitment and daily operations for a variety of captivating immersive experiences within the Bright Lights Society venue.

    Launching with the ship in May 2024, Bright Lights Society will be a must-see entertainment venue onboard Queen Anne, transporting guests into multiple different worlds with an enticing array of daytime and night-time entertainment experiences. Industry-leading technology, fascinating visual elements, top-tier talent and unique food and beverage will transform the space into different scenes, curated for each show.

    Created exclusively for Cunard, the experiences within the lounge will include a burlesque cabaret performance, a seductive cinematic production and a full sensory experience encapsulating smell, taste, feel, sound and light. Guests can step into an ongoing story over the course of their cruise, navigating the overall narrative as they choose. Food and beverage activations, VIP experiences and high-end merchandise tie-ins will amplify the level of luxury visitors expect from the world’s most iconic luxury cruise line, while positioning Cunard as an innovator in immersive entertainment.

    As part of overseeing all creative production and operations, ted will recruit, cast and manage performers for Cunard, including leading an international audition tour. In addition, RWS Global Studios London will serve as the exclusive rehearsal space for Cunard’s entertainment program. ted recently launched RWS Global Studios London, building on the established success of RWS Global Studios in New York City, to support its expansive talent and client base across the theatre, cruise, park and resort industries and support the growing demand for entertainment experiences in the UK and Europe-Middle East. The 1,000-square-meter facility features four mirrored dance halls, two vocal studios and a host of amenities to facilitate seamless auditions, rehearsals, meetings and commercial projects.

    “We are eager to bring engaging entertainment offerings to Cunard’s clientele,” says Tarrah Vedder, EVP of Global Sea Production. “Our exciting new collaboration, leveraging the best of both our brands, will enhance the entertainment experience for guests who have become accustomed to the offerings of the well-respected Cunard name, leaving attendees filled with new insight and inspiration. Our new, state-of-the-art RWS Global Studios London facility is the perfect place to kick off that partnership.”

    “We are thrilled to provide world class talent to a world class luxury cruise line, while at the same time celebrating the launch of RWS Global Studios London,” said Ryan Saab, SVP of Talent Casting & Recruitment at RWS Global. “This audition and rehearsal studio will help ensure that our clients’ productions are of the quality their visitors have come to expect, while attracting an expansive talent pool from across the UK, Europe-Middle East and beyond.”

    Katie McAlister, President of Cunard, said: “We are absolutely thrilled to be partnering with the team at ted to bring Bright Lights Society to life for guests sailing aboard Queen Anne. This collaboration will ensure that our guests will have an opportunity to encounter some exceptional talent throughout their voyage with us.”

    RWS Global Studios London is located at 157 Clarence Ave, Northampton NN2 6NY. Cunard auditions will take place on 23 January 2024. For more information, visit https://www.rwsglobal.com/auditions-gigs.

    ORLANDO, FL (November 30, 2023) —   IDEAS, The Orlando-based brand and experience design firm – is building on a 20-year history of creating branded immersive experiences around the world. From new, imaginative destinations to better healthcare, IDEAS is poised to grow its abilities to innovate the future of storytelling with two new announcements.

    In an exciting new partnership, IDEAS is joining The Summit, along with Swagger Agency and Marketeering Group. The Summit offers a fresh approach to branding, marketing, and experience design, providing comprehensive solutions through the integration of content, digital, and physical portfolios.  Projects are driven by market intelligence, with a focus on creating, producing, and activating best-in-class audience and customer engagement.

    To help lead the next phase of growth, IDEAS is also proud to welcome Michael Yager to the team. Mike brings with him over 20 years of industry experience in experiential design, with a focus on exhibit development and immersive entertainment. His impressive portfolio includes work for prestigious clients such as The Walt Disney Company, Boeing, The Coca-Cola Company, Herschend Family Entertainment and a slate of international clients.

    Former Disney executive Bob Allen, IDEAS founder and Chief Storytelling Officer, shared his enthusiasm: “This is the most significant opportunity to deepen our brand performance solution since we formed the company in 2001. We know the power of true collaboration and the teams that comprise The Summit offer a new level of creative alliance, complementing our opportunity to excel in merging the art of storytelling with market-driven insights. Mike’s expertise in keeping a master designer’s eye on the balance between powerful stories and show delivery systems sets him apart as an industry leader. He also ups our design game and adds seasoned executive leadership continuity.”

    Having created more than 3,500 brands and experiences around the globe, IDEAS specializes in leveraging research insights through a unique design process to immerse guests in a brand’s story. Those clients represent multiple verticals in the destination entertainment industry including theme parks, cruise lines, zoos, aquariums and science centers as well as worldwide engagements in workforce development, healthcare, aerospace and technology.

    IDEAS recently completed work as the primary experience design team for The Florida Aquarium’s new “Morph’d” exhibit-a playful introduction to animals with extraordinary adaptations and the design of “The Florida Family Road Trip”, an interactive on-ride game for long term client ICON Park . Also in Florida, IDEAS is working with Brevard Zoo to expand its brand system and with long-term social branding clients “One Lagoon” and Healthy West Orange. IDEAS international destination work includes full experience design responsibility for Bahia Urbana Park-a harborside retail, dining and entertainment destination in San Juan Puerto Rico, Space Base California, envisioned as a new genre of enriched destination exploration and STEM learning, and experience design planning for Havensight Mall in St. Thomas USVI and the Port Authority of Aruba.

    The Summit founder, Jarred King, sees growth potential noting, “ Integrating with The Summit and bringing a major talent like Mike on board, IDEAS is better positioned than ever to offer its clients an extended range of transformative brand and experience design solutions. This partnership is set to provide clients with broader and deeper options for brand, experience, and marketing innovation.”

    Mike Yager expressed his excitement for joining IDEAS, adding “I have a long history – over 20 years – of collaborating with IDEAS as both a strategic partner and creative resource. This feels a lot like coming home. I could not be more excited for the opportunity to work with this team on a daily basis!”

     

    About IDEAS

    IDEAS is a unique brand and experience design firm with over 20 years of success delivering and activating powerful brands, unique destinations, and imaginative audience engagement around the world.

    Building on our Disney roots, we’ve specialized in combining the power of skillful storytelling with insight gained through market research to ensure our custom designed solutions resonate with audiences and deliver against meaningful performance metrics from new places to play to better ways to heal.

    We are playful innovators, collaborating with our clients from concept creation to “opening day” and beyond, while creating passionate brand advocates by delivering exceptional experience.

     

    About Swagger Agency

    Swagger is a creative agency that drives customer engagement through strategic brand activations driven by customer insights, market analysis, and digital experience design.

    Our aim is to identify key insights that will help us understand what drives and motivates customers to engage, purchase, and stay loyal to the brand.

    By focusing on their needs and preferences, we can create a more personalized and engaging experience that fosters a deeper connection between the brand and its customers.

     

    About Marketeering Group

    Using strategic and impact-driven SEO implementation, Marketeering Group ensures that businesses stay not just visible but influential in the online landscape.

    That’s why we’re committed to providing clients with comprehensive marketing solutions that are tailored to their goals and ideal customers, creating measurable return on investment.

    We’re guides and partners, creating hand-crafted strategies for search-driven digital marketing solutions that dynamically adjust to business realities and striving to break new ground with our strategies, services, and solutions. Our norm is a perpetual state of evolution.

     

    For Press Inquiries Contact:

    Jarred King

    https://www.summitfirms.com/

    jking@summitfirms.com

    Sub Sea Systems and SottoStudios have joined forces to create the “perfect storm” of leading-edge attraction design

    Jim Mayfield, President & CEO of California-based Sub Sea Systems and Eddie Sotto, founder and President of SottoStudios, announce their collaboration to bring state-of-the-art “submersible” storytelling and innovation to the growing water theme park industry.

    Sub Sea Systems is one of the world’s leading designers of groundbreaking, innovative, immersive, and interactive products, and programs for the marine tourism industry. The renowned SottoStudios is a multi-disciplinary studio that has created and produced breakthrough experiences for many of the world’s most cherished brands and noted private individuals. While varied in their areas of expertise, both companies share the same proven drive for innovation and creativity and will apply that drive to expand Aquaticar into new realms of entertainment and gamification.

    Sub Sea Systems is a family-owned business specializing in world’s first products and facility concept designs for the tourism and attractions industry. With a history in design and fabrication of custom submersible and semi-submersible vessels, Sub Sea applies innovation and proven engineering to create extraordinary aquatic experiences. Its products include: SeaTREK helmet diving, Aquaticar underwater ride, SolarCat solar-electric catamaran, DIVR+ virtual reality snorkeling, Kaimana underwater gaming arena and Dive Bell XR motion simulator ride.

    Come See Us LIVE at IAAPA 2023

    This quick episode gives you all the details of our LIVE Episode Recordings during IAAPA!

    Come visit the Storyland Studios Booth #1373 at 11am on Tuesday, Wednesday & Thursday (11/14-17) to listen in on LIVE recordings of the Themed Attraction Podcast.

    Jeffrey Burton – Former WED Imagineer: Tuesday 11/14 @ 11AM

    Linda Alcorn McBride – Former WDI Imagineer & Disney’s first female engineer: Wednesday 11/15 @ 11AM

    John Wood – President of Sally Dark Rides: Thursday 11/16 @ 11AM

     

    Our guest is Architect and Theme Park Master Planner, Jeff Damron.

    Jeff is a 30+ year veteran of themed entertainment and destination design providing his expertise as an architect, designer and master planner in theme park projects, hotels, resorts, casinos, and many other mixed-use projects where people can live, work and play. Most recently he came on board as one of Mel’s Storylanders as the Senior VP of Architecture, Master Planning and Design.

    Connect with Jeff Damron at StorylandStudios.com and on LinkedIn.

    Show hosts: Mel McGowan & Freddy Martin

    Show design & production: Barry R. Hill

    Theme music composed by Rob Watson, closing music by the Lost Dogs.

    Give us a shoutout on iTunes; we love the attention, and browse www.themedattraction.com for even more on the attractions industry. Thanks for listening!

    The 6th Annual Themed Experience and Attractions Academic Symposium is coming on Friday, November 17th, 2023 to the Orange County Convention Center.

    TEAAS 2023 is the only academic event that brings together academic scholarship on themed experiences and attractions in an exciting one-day symposium featuring presentations from a variety of academic fields. This year’s Symposium theme, “The Multiverse of Theming: Understanding Themed Attractions Across Dimensions,” promotes and reflects the multiple perspectives, disciplines, and worlds through which our understandings of theming and attractions experience is situated.

    This year’s Symposium will feature a full program of original academic research in themed experience and attractions, a poster-paper networking lunch, keynote speakers, and morning and afternoon coffee.

    The event is presented by the Themed Experience and Attractions Academic Society with generous partner level support from IAAPA, as well as support from the School of Business at Farmingdale State College(SUNY), and ThemedAttraction.com.

    Register Now

    The theme of this year’s Symposium is “The Multiverse of Theming: Understanding Themed Attractions Across Dimensions,” and will feature presentations and posters on the latest academic research on themed experience and attractions ranging over a wide array of topics, including attractions design and engineering, themed narrative and storytelling, management and operations, guest experience, and more. You can view the full agenda online here.

    Early bird Symposium ticket price is $60. All tickets will include the full day of presentations, keynote speakers, a poster-paper networking lunch, and morning and afternoon coffee. Tickets to the IAAPA Expo are not required to attend the TEAAS 2023.

    For the past six years, industry veterans have gathered to hear industry leaders speak about the role that faith plays in their lives. Past events have included leaders like Sea World CEO Joel Manby, former Disney Imagineers Theron Skees and Dave Durham. Last year the event featured former Sea World chief creative officer Anthony Esparza.

    This year the trend continues with Herschend Enterprises chair Chris Herschend. Chris will speak about contagious giving and his role as Herschend’s chair of the board of directors. This free event includes a breakfast and is generally a great way to network with like-minded individuals in the attractions industry.

    In addition to his role at Herschend, Chris Herschend is active in several industry and community circles, including IAAPA, where he is a member of the Applause Board of Governors and has served on numerous committees and advisory boards; Passion City Church (Atlanta); and is an active speaker and thought leader on family business governance and strategy. Current and past affiliations include serving as Executive in Residence at the John L. Ward Center for Family Enterprises at Kellogg, as an independent director of E. Ritter & Company, as a Trustee of the Ida and Cason Callaway Foundation, as Chair of the Board of Trustees of Whitefield Academy, and as chair of the YPO (Young Presidents Organization) Global Family Business Network.

    Chris’ career experience outside Herschend includes The Coca-Cola Company, Cox Communications, and the direct investment arm of a private family office. Chris earned his BA from Emory University and later returned for his MBA at Emory’s Goizueta Business School.

    Date: Thursday, November 16, 2023

    Time: 8:30am to 10:30am

    Location: Orange County Convention Center – North Hall

    Room: N320ABCD

    RSVP: https://www.eventbrite.com/e/2023-prayer-breakfast-networking-event-tickets-730949057307?aff=oddtdtcreator

    Event Sponsors: Herschend Enterprises, Storyland Studios, PSX-Inc., and Unclaimed Baggage

    About Herschend Enterprises
    Herschend Enterprises is recognized as the world’s largest family-owned themed attractions company. Its 12,000+ employees collectively entertain 15 million annual guests at more than two dozen family entertainment brands across North America including Dollywood® Parks & Resorts, Silver Dollar City Attractions®, Kentucky Kingdom®, Wild Adventures®, Vancouver Aquarium®, Adventure Aquarium®, Newport Aquarium®, Callaway Resort & Gardens®, The Harlem Globetrotters®, Splash & Bubbles®, Chuggington®, and Pink Adventure Tours®.

    Katapult has become the world’s first themed attraction design company to be awarded the coveted B Corp Certification, for its high standards for social and environmental impact.

    Speaking on the announcement, Co-Founder and CEO of Katapult, Dawn Foote said, “We are incredibly proud to be part of the B Corp community of businesses that are a force for good and that we are leading from the front in our exciting leisure and attractions industry – helping to drive forward greater positive impact for society and the environment.”


    The Katapult leadership team (from left to right): Robbie Jones (Insights Director), Cathrin Winsor (Projects Director), Kelly Herrick (Strategy Director), Andy Sinclair-Harris (Creative Director), Dawn Foote (CEO & Co Founder) , Phil Higgins (CCO & Co Founder).

    “It has long been our mission to ensure the work we do changes the lives of all stakeholders, as well as our clients and 50 million visitors that experience our work every single year. We believe in bringing people together to connect, to create things responsibly, sustainably and for everyone – while making room to make a positive community impact and doing good in the world. To become B Corp certified is testament to the team’s ongoing efforts to make this mission happen.”

    B Corp Certification is a designation that a business is meeting high standards of verified performance, accountability, and transparency on factors from employee benefits and charitable giving to supply chain practices and input materials. In order to achieve certification, a company must: 

    • Demonstrate high social and environmental performance by achieving a B Impact Assessment score of 80 or above and passing our risk review. Multinational corporations must also meet baseline requirement standards. 
    • Make a legal commitment by changing their corporate governance structure to be accountable to all stakeholders, not just shareholders, and achieve benefit corporation status if available in their jurisdiction. 
    • Exhibit transparency by allowing information about their performance measured against B Lab’s standards to be publicly available on their B Corp profile on B Lab’s website.  

    As part of the certification process, Katapult was scored highly for their contributions to its employees’ financial security, health, wellness and safety, economic impact on its community, and its positive impact on air and the climate.

    Our guests are David and Valeria Beaudry of Beaudry Interactive.

    This dynamic duo of dynamic experiences have developed the technology to bring to life in voice and personality some of our most beloved walk-around characters in parks today, including that tallest of yellow friends, Big Bird. They were honored with a TEA Thea Award for this technology which is making authentic interactive environments a reality in parks and experiences worldwide.

    Connect with David and Valeria at binteractive.com and on LinkedIn.

    Show hosts: Mel McGowan & Freddy Martin

    Show design & production: Barry R. Hill

    Theme music composed by Rob Watson, closing music by the Lost Dogs.

    Give us a shoutout on iTunes; we love the attention, and browse www.themedattraction.com for even more on the attractions industry. Thanks for listening!

    Matt Dawson as Vice President of Business Development

    Dawson & Other Key Hires Reflect Expansive Growth of JRA

    Cincinnati, Ohio – October 10, 2023 – JRA, part of RWS Global and headquartered in Cincinnati, Ohio, USA, has announced the hiring of former FORREC executive Matt Dawson as its new Vice President of Business Development. Dawson’s appointment comes as the experience design studio enjoys one of the most ambitious years in its 35-year history under the leadership of new Executive Vice President, Mark Amos.

    In his previous role as Vice President of Business Development at global experience design company FORREC, Dawson served on the executive team responsible for setting corporate priorities, managing risk and monitoring the financial wellbeing and growth of the corporation. He also set the strategic direction for FORREC’s client relations and led a 12-person team to pursue new business development efforts across North America, South America, Europe, the Middle East and Asia. Prior to his VP appointment, Dawson served as FORREC’s Senior Director of Visitor Attractions, managing client relations with such revered cultural institutions as Science North, Mandai Singapore Zoo and the Panama Canal Authority. A sought-after thought leader, Dawson has been a featured speaker at conferences worldwide and has contributed content to dozens of industry articles.

    Earlier in his career, Dawson channeled his Master of Architecture degree and his interest in museums into a variety of planning, design and creative direction roles, first at Lord Cultural Resources and then managing large capital projects at Art Gallery of Ontario, the Musical Instrument Museum and the Crystal Bridges Museum of American Art. He looks forward to leveraging his two decades of design and business development expertise in his new role at JRA.

    “I’ve always been passionate about storytelling and creating authentic experiences, and JRA’s track record of doing both is what drew me to the studio,” said Dawson. “The brand reputation, growth potential and deep bench of talent at JRA are unique in this industry, and I look forward to sharing JRA’s story with clients and collaborators around the world.

    “Matt could not be arriving at a more perfect time,” said Amos. “With the leisure market hungry for new experiences, we at JRA set a strategic growth plan in motion to expand our reach into new verticals and regions while deepening our relationships in existing ones. With his architecture and business development background, Matt is uniquely positioned to execute this plan and position us for global success.”

    That success trajectory is already underway, as JRA has opened multiple cultural and attraction projects in the first three quarters of 2023 with over a dozen actively in the pipeline. Recent openings include the National Corvette Museum’s McMichael Family Education Gallery, the complete renovation of Louisville Slugger Museum, ExpERIEnce Children’s Museum, The Ozark Mill, Kings Island Adventure Port, View Boston, the Hasbro City FEC in Mexico City and highly acclaimed Cincinnati Black Music Walk of Fame. JRA’s ongoing collaborations with Original X Productions continued their journeys on three continents, with The FRIENDS™ Experience traveling to Detroit, Long Beach, Birmingham (UK), Melbourne (Australia) and Amsterdam and Harry Potter: Magic at Play! successfully completing its debut engagement in Chicago.

    Projects in development include leisure, sport, cultural and brand destinations on land in the United States, Saudi Arabia, the United Arab Emirates, China and Kuwait as well as at sea with some of the world’s largest cruise operators.

    To support these projects, Amos has added industry veteran Sevak Petrosian and former Walt Disney Imagineering production designer Trent Taylor to JRA’s creative team:

    · As JRA’s Assistant Vice President, Environments, Sevak Petrosian brings over 30 years’ experience in what he calls Production Experience Architecture, where placemaking meets experiential design. He began his professional career as an interior designer in Iran and received his master’s degree in urban design and architecture in Armenia. Further educational pursuits brought Petrosian to the United States, where he has since worked with such industry leading companies as Universal Creative and Paramount Parks. Petrosian was hired by Walt Disney Imagineering to master plan Shanghai Disneyland’s Treasure Cove area as well as the Thea Award-winning ride Pirates of the Caribbean: Battle for Sunken Treasure. Previous work with JRA includes master planning for The Land of Legends Resort’s Theme Park and Aqualand in Antalya, Turkey.

    · Creative Director, Trent Taylor is a proven leader of multidisciplinary teams that has leant his design, show production and art direction talents to some of the most high-profile projects in the world. In his most recent role as Senior Producer/Project Manager at brand experience creative firm Advent, Taylor led a team of 20 writers, designers and producers and managed over $20 million in show budgets across multiple projects as part of over $800 million in total project scope. During his tenure at Walt Disney Imagineering as Associate Production Designer, Taylor’s credits included The Making of The Hall of Presidents, Ratatouille’s Adventure, the transformation of EPCOT, the Na’vi River Journey and Millennium Falcon: Smuggler’s Run.

    “Matt, Sevak and Trent have proven track records not only as great creators and innovators but also as exceptional team leaders,” added Amos. “I know they will inspire our existing team to push creative boundaries, explore new techniques and technologies and dream even bigger. With these three on board, plus the combined skill set of our planners, designers and project managers, I’m thrilled at the possibilities of what we can create together in the months and years ahead.”

    Amos, Dawson and other members of the RWS Global team will be at IAAPA Expo (Booth 1067) November 13-17. Dawson will also be at the International Museum Construction Congress in Antwerp, Belgium November 5-7. To make an appointment, contact newbusiness@experiencejra.com.

     

    ABOUT JRA:

    Founded in 1987, and now part of RWS Global, JRA is an internationally recognized, award-winning team of next-level creators who transform imaginary worlds into real live moments for the ultimate guest experience. JRA’s team prides itself on designing vividly but responsibly, creating destinations that are not only beautiful and memorable, but also operationally successful. That is why JRA is a trusted creative force that brings to life attractions, exhibits and other immersive environments, captivating visitors on land and at sea. Services include master planning, writing & content development, experience planning & design, executive media production, graphic design, art direction and project management & fabrication.

    For over 35 years, JRA has been creating extraordinary destinations for an impressive roster of clients and brands including Cedar Fair, Children’s Museum of Atlanta, Cincinnati’s Black Music Walk of Fame, The Coca-Cola Company, Ferrari World Abu Dhabi, Google, Hasbro, LEGOLAND, Lionsgate, MSC Cruises, National Comedy Center, NBC Universal, Science Centre Singapore, SONY, The FRIENDS™ Experience by Original X Productions, Tencent, Toyota, Universal Studios Florida, View Boston, Warner Bros. and more.

     

    LEGENDS 2023 PANEL AT IAAPA EXPO: UNIVERSAL BEIJING RESORT –

    THE UNTOLD STORY OF TRIUMPH OVER TRYING TIMES; COVID, LOCKDOWNS, QUARANTINES, AND MORE

    Theme and guests announced for the Legends 2023 Panel at IAAPA EXPO, Orlando

    ORLANDO, FLORIDA (October 10, 2023) — Each year for 26 years, the Legends Panel at IAAPA EXPO, moderated and curated by Bob Rogers, Founder & Chairman of BRC Imagination Arts, has shared the otherwise-lost wisdom and methods of the industry’s great achievers, in a way that helps tomorrow’s creative leaders shape the future.

    On November 15 the Legends 2023 Panel will explore the valuable lessons, tools and strategies that enabled Universal Beijing Resort to open in spite of Covid quarantines, lockdowns and more. From ground breaking to ribbon cutting, UBR overcame one unusual challenge after another, with ingenuity, creative problem solving, leadership and grit. Three amazing Legends share insights, strategies, and lessons of a lifetime – lessons that you can soon be applying to your own work. The Legends 2023 panel includes:

    Bob Rogers is the Founder & Chairman of BRC Imagination Arts; Moderator and Curator of The Legends Panel. For Epcot, Rogers wrote and produced the original Impressions du France, still playing at Epcot’s French Pavilion, plus two generations of post shows for the GM Pavilion including Bird & the Robot. Rogers has been inducted into the IAAPA Hall of Fame and is a Thea Lifetime Achievement recipient and has two
    Oscar Nominations. Rogers’ first industry job was as a magician in the Magic Shop at Disneyland.

    Tom Mehrmann, was the President and General Manager for Universal Beijing Resort during it’s development. For UBR, Tom worked with Universal Creative, the Chinese government and the Chinese partners to develop the strategies and teams that would operate the park. Today he is the President and Chief Operating Officer of Universal Destinations and Experiences, Pacific Rim. Previously, Tom was CEO of Ocean Park where, for 13 astonishing years, he successfully fought back and won, staying ahead of the newly arrived Disney Hong Kong. He is also the author of Taming the Mouse, in which he shares the invaluable management and leadership practices instrumental to his successes competing and winning against Disney in Hong Kong.

    Sylvia Hase is the President of Hasbas Entertainment. Sylvia has been the creator and producer of an impressive body of award-winning, world-class events and live shows across the United States, Asia, Europe and South America. At UBR she was the creative force that adapted How to Train Your Dragon from film into the Thea-Award Winning stage spectacular, Untrainable – The How to Train Your Dragon Stage Spectacular, including the script, music, choreography and special effects. She also lead the creative development and production of the park’s daily Universal on Parade, featuring themed floats, characters, and performers based on Universal’s Despicable Me/Minions, Shrek, Madagascar, and Kung Fu Panda franchises.

    Mike Hightower, is the now retired President of Universal Creative. Michael was named President of Universal Creative after 26 years with Universal Parks & Resorts (UPR.) He oversaw all aspects of planning, design, and creation of Universal theme parks, resorts, CityWalk venues, and new ventures worldwide. He has championed projects worldwide from concept through opening in the U.S., Japan, Singapore, Spain, Dubai, and China. In his prior role as Senior Vice President, Mr. Hightower was responsible for the delivery of UPR’s largest property to date, Universal Beijing Resort. Prior to his career at Universal Parks & Resorts, Hightower was an engineering project manager in the aerospace/defense contracting industry.

    ABOUT BRC IMAGINATION ARTS

    Bob Rogers is the Founder and CEO of BRC Imagination Arts, a global strategy, design, and production company that translates brand and cultural stories into transformative, human experiences. For 40 years,
    BRC has stood on the front lines, helping brand homes, cultural attractions, and museums build more meaningful, enduring relationships with audiences around the globe. BRC’s unique body of work has earned
    over 450 awards for some of the most respected and acclaimed brand destinations in the world including Johnnie Walker Princes Street, the Grand Ole Opry, Amorepacific’s Storygarden , Jameson Distillery Bow St.,
    the Rock and Roll Hall of Fame, Ford Rouge Factory Tour, Guinness Storehouse, World of Coca-Cola, NASA Kennedy Space Center and more.

    About IAAPA

    IAAPA is a diverse and dynamic community of global attractions professionals. As the largest international trade association for permanently located attractions, IAAPA unifies the attractions community, connects people to learn and grow together, and strives to promote the highest professional standards for excellence and safety around the world.

    Founded in 1918, IAAPA represents leading industry attractions and supplier companies, consultants, and individual members from more than 100 countries. Members include professionals from amusement parks, theme parks, attractions, water parks, resorts, family entertainment centers, zoos, aquariums, science centers, museums, cruise lines, manufacturers, and suppliers. The association’s global headquarters and North America office are in Orlando, Florida, U.S. IAAPA also maintains offices in Brussels, Belgium; Hong Kong, China; Shanghai, China; Mexico City, Mexico. Additional information is available at IAAPA.org and through IAAPA’s social media channels: @IAAPAHQ #IAAPA

    PASSENGER 28: Walt Disney Animation director (“Oliver & Company,” “The Prince & the Pauper”), Walt Disney Imagineer (“Mickey’s PhilharMagic,” “Gran Fiesta Starring the Three Caballeros”), and fine artist (Panama Canal Expansion, Shanghai Disneyland, Disney Cruise Lines”), George Scribner!
    Renaissance artist George Scribner lives three distinct lives: traditional animator and former Walt Disney Animation director, responsible for the classic “Oliver & Company,” Walt Disney Imagineering attraction director, whose projects include “Mickey’s PhilharMagic” worldwide, the Magic Lamp Theater at Tokyo Disneyland, and “Gran Fiesta Starring the Three Caballeros” inside Epcot’s Mexico Pavilion, and fine artist extraordinaire, who from 2007 to 2016 documented in breathtaking oil paintings the expansion of the Panama Canal (his place of birth), the construction of Shanghai Disneyland, and now the Disney Cruise Lines. Plan now to join us as George boards our time machine for an unforgettable journey through his fascinating career, including stops for leading the story and concept designs for Disney’s “The Lion King,” and “Fantasia 2000,” and working for legendary animators Chuck Jones and Hanna-Barbera!
    Link to register:

    Boomers Parks announces today that eight of its Family Entertainment Centers (FEC) and Water Parks have achieved the Certified Autism Center™ (CAC) designation, accredited by the International Board of Credentialing and Continuing Education Standards (IBCCES). This milestone sets a new standard, as Boomers Parks becomes the first family of FECs to earn this certification at every location across California, Florida, and New Jersey.

    To attain the CAC designation, Boomers Parks has dedicated itself to ensuring that 80% of their guest-facing staff have undergone comprehensive, evidence-based training, which includes perspectives of autistic individuals. Moreover, IBCCES conducted onsite assessments of Boomers Parks attractions, including Boomers Santa Maria, Modesto, Los Angeles, Livermore, Irvine, Boca Raton, as well as Big Kahuna’s in New Jersey and Florida to provide recommendations and sensory guides, all aimed at further enhancing the overall guest experience.

    “Boomers Parks places a strong emphasis on accessibility and inclusion within our core values. Our approach is rooted in genuine compassion for all our guests, with the goal of ensuring that everyone feels genuinely welcomed and well-accommodated,” shared Tim Murphy, CEO of Boomers Parks.

    Many autistic and sensory-sensitive individuals may find it challenging to visit new places or plan family trips due to a lack of staff understanding, the potential for sensory overload, and the need for flexible options or accommodations. In response to this need, IBCCES created training and certification programs specifically for attractions, theme parks, hotels, and other entertainment centers to ensure all families and individuals can have fun and make lasting memories. With 1 in 6 people having a sensory need or sensitivity and 1 in 36 children being diagnosed with autism in the US (CDC), the need for more trained entertainment and recreation options for this community and their families is at an all-time high.

    As Certified Autism Centers™, Boomers Parks and Big Kahuna’s Water Parks will provide:

    • Trained, helpful, front-line team members equipped to better assist autistic and sensory sensitive guests and help them enjoy their time at FEC as well as Big Kahuna’s lifeguards, who have received position-specific training to enhance safety and communication around the water at Big Kahunas;

    • Sensory guides for every area that provide insight into how the game or area may be affected by each of the five senses to make it easier for individuals and families to plan activities that align with their needs and accommodations available on each location’s website;

    • Designated low sensory areas to allow patrons with sensory sensitivities to take a break and relax in a less stimulating environment;

    • Additional accessibility information will be available on each FEC’s website soon.

    San Diego, California – Sept 21, 2023 – Four winners were announced at the annual Surf Park Summit event held in San Diego this past weekend. The event, hosted by Surf Park Central, is the premier event for surf park developers, operators, and industry professionals and took place September 18th – 20th, 2023.

    Held annually as the Summit, this years award ceremony recognized the outstanding achievements of companies and individuals in the surf park industry, celebrating excellence that ultimately contribute to the growth and success of the industry.

    This year’s awards honored the leaders and visionaries who are driving innovation and progression in the surf park industry in the areas of Sustainability, Innovation, Democratizing Access, and Leadership and were open to any companies and individuals representing existing surf park developments, owners, operators, designers, technology manufacturers, and industry suppliers.

    AWARD CATEGORIES & WINNERS:

    This year’s awards were measured against the following criteria in each of the following four categories:

    Sustainability & Positive Impact  This category recognizes the efforts of those who are contributing to the creation of environmentally conscious surf parks, reducing their carbon footprint, and implementing sustainable practices in their operations. Additionally, the category celebrates the impact of these surf parks on their local communities as they work towards building a sustainable future for the surfing community.

    FINALISTS: The Wave; EpicSurf; STOKE; Sustainable Surf

    WINNER: STOKE

    Innovation  The Innovation award applauds those individuals and organizations who are driving this industry forward through their innovative ideas and practices.

    This category is meant to recognize those who are shaping the future of the surf park industry by continuously exploring new possibilities and striving for excellence in all aspects of technological development, enhancing the guest experience, and operating practices.

    FINALISTS: Wavegarden; Surf Lakes; Flowstate

    WINNER:  Flowstate

    Democratization & Accessibility  The category recognizes the importance of inclusivity in the surfing community and celebrates those who are working towards making the sport accessible to everyone, helping to remove the barriers that have traditionally made it difficult for individuals from landlocked regions or marginalized communities to participate in the sport. This category celebrates the surf parks that prioritize accessibility by providing affordable, safe, and inclusive facilities that cater to diverse populations.

    FINALISTS: Skudin Surf; URBNSurf; Unit Surf at Wellenbezwingen

    WINNER: Skudin Surf

    Leadership  The Summit Leadership Award celebrates an individual in  the surf park industry who has demonstrated a vision, passion, and innovation that has led to exceptional contributions towards advancing the development and growth of the industry. This award acknowledges this individual’s ability to inspire others and to drive change through their visionary ideas and relentless pursuit of excellence.

    HONORARY DESIGNATIONS:  Damon Tudor of URBNSurf;  Sean Young of Wavegarden

    WINNER:   Tom Loch of Surf Loch

    Surf Park Central congratulates all of the 2023 finalists and winners!

    ABOUT SURF PARK SUMMIT

    Surf Park Summit is the world’s leading symposium and networking event dedicated exclusively to promoting the development and growth of the surf park industry. The Summit event brings together top minds from around the world including surf park and surf pool developers, investors, operators and suppliers, as well as academics and world-class champion athletes to discuss the future of surf and surf destinations beyond the ocean. Surf Park Summit is sponsored by Surf Park Central.

    ABOUT SURF PARK CENTRAL

    Surf Park Central was founded in 2012 by John Luff, a successful surf park developer and industry expert, and Dr. Jess Ponting, a Professor of Sustainable Surfing Tourism from San Diego State University, with a mission to accelerate the successful growth of surf parks. In September 2013, Surf Park Central hosted the first ever Surf Park Summit in Laguna Beach, California.  SURF PARK CENTRAL’S MISSION is to educate, connect, and build a community amongst those who are serious about making waves in order to foster and promote the sus

    For more  information on Surf Park Central and Surf Park Summit, visit www.surfparkcentral.com.

    FRIDAY SEPTEMBER 22ND at 12PM PST!

    PASSENGER 28: Industry icon, Thea Lifetime Achievement Award Recipient, Professor at Columbia University’s Graduate School of the Arts, tutor of 3rd grade reading at an underserved inner-city school, and the founder and namesake of Cincinnati’s JRA , part of RWS Global, Dr. Jack Rouse.
     
    Jack Rouse rides a motorcycle, holds a Ph.D., founded the musical theater program at the University of Cincinnati, ran live entertainment for Kings Island, founded JRA (Jack Rouse Associates), created award winning experiences around the globe, sold JRA, and now teaches at Columbia University in New York. And that’s just the beginning! Set your favorite timepiece now to experience the energy, creativity, and leader amongst leaders that is the co-founder and namesake of one of our industry’s most prolific experiential design firms!
    Click here to register!

    https://www.eventbrite.com/e/zeitgeist-presents-the-spirit-of-the-time-zoomcast-with-jack-rouse-tickets-715191676557?aff=oddtdtcreator

    This year at IAAPA Europe Expo in Vienna, international themed attraction design company Katapult, will be showcasing their themed resort design expertise. For over 10 years, the UK-based team has worked on both new-build and existing themed resort projects, helping to bring a magical guest experience to destinations around the world.

    As well as designing memorable hotel guest suites, the team has also worked to create inclusive water parks, themed restaurants, play areas and communal spaces across themed resorts and villages. Led by former Disney Imagineer Andy Sinclair-Harris, the design team is currently working on new IP-based themed resort design projects.

    Speaking on the live projects in the studio, CEO & Co-Founder Dawn Foote said, “The confidential resort projects we’re working on are incredibly exciting. For us, our clients, and of course the future guests, these resorts will create a game changing experience that will set the tone for future resorts.”

    “We’ve built a team capable of delivering resort projects, alongside the amazing work we do for theme parks, family entertainment centres and visitor attractions worldwide. Led by our Creative Director, former Disney Imagineer, Andy Sinclair Harris, we have a strong design team, with experience in creating destinations with both magic and practicality in mind.”

    While in Vienna, Katapult’s Co-Founders Dawn and Phil will also be showcasing some of the recently completed themed attraction projects – including a theme park expansion project with UK attraction, ROARR!. The new park expansion features the theme park’s first ever rides.

    They will also be sharing further details of their collaboration with Aardman Studios on the attraction concept, The World of Aardman. The turnkey concept launched at IAAPA Asia, features a studio experience, interactive elements, themed cafe, experiential retail and memory making opportunities with guest’s favourite characters – including Morph, Wallace and Gromit and Shaun the Sheep.

    Vienna will also be the chance to discuss with Katapult their recent project with The LEGO® Group and Merlin Entertainments. LEGO® Creative Club will become a brand new area across new openings globally, after the successful launch at the pilot location in Brussels. Guests are encouraged to explore their imagination with a new play experience at the LEGO® Discovery Centre.

    Both Dawn and Phil will be on the Katapult booth (B-1232). Meetings can be arranged by sending Katapult a message, or, sending a direct LinkedIn message to Dawn or Phil today.

    Please join us Friday August 25th at 12pm PST! 
    PASSENGER 26: Thirty-three year veteran of Universal Destinations & Experiences who served as creative lead on dozens of groundbreaking parks and attractions, including Universal’s Islands of Adventure, The Wizarding World of Harry Potter Hogsmeade and Diagon Alley, and the upcoming Universal’s Epic Universe, Dale Mason.
    And the extra portion that goes on Eventbrite:
    Dale Mason is often referred to as “the Tony Baxter of Universal.” He is a creative visionary in his own right who has played a significant role in transforming Universal from a regional studio tour to an owner/operator of world-class immersive experiences around the globe featuring attractions that push the boundaries of storytelling and technology. Set your timepieces now to be there as Dale boards the time machine and takes us back to experience first hand how his talents, skills, and intuition resulted in some of the most beloved and successful parks, rides, and shows on the planet today!

    What’s behind your favorite regional park attractions? Rick Bastrup, forty-year veteran of the theme park industry, reveals all in his new book Adventures of a Theme Park Designer.

    Very few park-goers realize how their favorite rides and attractions actually got there—they just know they love ’em and miss them terribly when they’re gone. So how do these projects come about? Rick Bastrup pulls back the curtain and explains the process from initial concept to finished installation—and the challenges faced along the way. Fans of Phantom Theater and Adventure Express at Kings Island, Grand Canyon Rapids and Backlot Movie Tour at MGM Grand Adventures, Yosemite Sam at Six Flags Over Texas, and so many others will enjoy the never-before-seen stories and over 240 pieces of concept art and photographs Rick has pulled from the vaults. Adventures of a Theme Park Designer features a foreword by Gary Slade, owner and publisher of Amusement Today.

     

     

    Rick Bastrup, President of R & R Creative Amusement Designs, Inc. is a writer, designer, art director, producer, and project manager. Over the last forty years his company has designed and produced some of the most innovative and iconic rides, parks, and attractions in the theme park business.

    Adventures of a Theme Park Designer releases September 8th in beautiful hardback. Pre-order now exclusively on rivershorepress.com. Review copies available.

     

    Contact:
    Barry R. Hill
    barry@rivershorecreative.com

     

     

    FOR IMMEDIATE RELEASE–

    Kile Ozier, an admired leader in the themed entertainment industry, has finally put to paper the techniques and philosophies behind his decades of show and spectacle production in his new book Creative Catalyst: Empowering Experience Design Teams From Ideation to Production. Prodded by colleagues to spell out how he works his magic, Kile shares his Five Tenets of Experience Creation, discussing how to assemble and lead creative teams and build experiences that connect story to audience.

     

     

    From the back cover:

    FROM THEMED ENTERTAINMENT TO BUSINESS BEYOND THE BERM, anyone leading creative teams will benefit from Kile’s extensive expertise. For more than thirty years, Ozier has created and delivered experiences of massive spectacle and unique intimacy in stadium and theatre, theme park and ballroom—all inspiring audiences to cheer, to weep, and sometimes to write checks! Gathering teams, forces, and resources from all over the world, “The Guy” builds storytelling experiences that give fresh resonance to legacy and ensure powerful, emotional connections between story and audience. Creative Catalyst walks us tangibly through the steps from concept to opening, learning ways to inspire creativity and production at every turn—and have fun along the way!

    “Kile Ozier has written the best book I’ve read on collaboration and project management in this industry.”

    —Peter Weishar, Director of Themed Experience Graduate Programs, University of Central Florida

    “Kile has articulately laid out very actionable steps for any team involved in the creation and execution of experience design projects to follow on the path from concept to installation and operation.”

    —Mk Haley, Arts & Entertainment Technology, University of Texas-Austin, Formerly Walt Disney Imagineering

    “This is great news for live event producers, experience designers, themed entertainment professionals, curious collaborators, leaders of humans, and everyone in between. By sharing his vast knowledge and fascinating experiences in this book, Kile has created a valuable guide for those open to admitting there’s always more to learn.”

    —Chris Grap, VP Experiential, Mall of America

    For book information and ordering go to rivershorepress.com.

    Creative Catalyst ships late summer. Review copies available.

    Contact:
    Barry R. Hill
    barry@rivershorecreative.com
    rivershorepress.com

    Best In Show

    Ayong & the Magic Stone – Heriot-Watt University Dubai

    
    
    		

    Best In Category 1

    Master Planning / Area Development & Place Making

    Ayong & the Magic Stone – Heriot-Watt University Dubai

    
    
    		

    Best In Category 2

    Use of Technology, Ride & Show Systems

    Time Loop – University at Buffalo

    Best In Category 3

    Storytelling, Show Writing & Guest Experience

    Lost Spirits – Savannah College of Art & Design

    Best In Category 4

    Concept Art, Computer Graphics & Illustration

    Candysmith Forge – University of Central Florida

    Best in Category 5 – Overall Runner Up

    Innovation

    HEAR: Happily Ever After Revenge – University of Central Florida

    
    
    		

    PASSENGER 25 – Part II: Forty-seven-year Disney Imagineer, Disney Legend, Thea Lifetime Achievement recipient, and Main Street Window honoree responsible for creating some of Disney’s most beloved parks and attractions, Tony Baxter.

    How do you time travel to all of the milestone moments in Tony Baxter‘s nearly five-decade career in one hour?

    You don’t.

    Join us on July 14th as we continue our journey with the most famous theme park and attraction designer in the world in a special two-hour adventure full of untold stories and infinite wisdom!

    Register to here to join us at 12pm PST on Friday July 14th!

    https://www.eventbrite.com/e/zeitgeist-presents-the-spirit-of-the-time-with-tony-baxter-part-ii-tickets-665595894237

    International themed attraction company Katapult and award-winning animation studio Aardman, are set to launch a new themed attraction concept featuring the studio’s much-loved characters.

    The World of Aardman’ is a hands-on, fun visitor attraction concept that aims to empower creative talent in every guest. The turnkey concept features a studio experience, interactive elements, themed cafe, experiential retail, and memory making opportunities with the guest’s favourite characters.

    Designed to suit pre-existing retail mall units and indoor destinations, the attraction also has the ability to showcase exclusive seasonal activities and product launches, as well as tying in with promotional activities as part of Aardman’s studio slate.

    Speaking on the announcement, Aardman’s Head of Attractions & Live Experiences Ngaio Harding-Hill, said: “We’re delighted to bring to market a truly unique and authentic Aardman experience, alongside Katapult. From Shaun the Sheep to Wallace and Gromit, our characters are globally recognised and beloved. The opportunity to bring our fans closer to their favourite IPs is what we want to achieve with this visitor attraction.”

    “We are really excited to be launching ‘The World of Aardman’ in Singapore at IAAPA Expo Asia, where we will also be sharing more insights with delegates on the design and operations of the attraction.”

    Co-Founder and CEO of Katapult, Dawn Foote, said: “It’s been a pleasure to both collaborate and create this exciting project with Aardman. We both share the ambition to inspire people through creativity and Ngaio and myself welcome conversations with interested parties during the Expo in June.”

    Katapult and Aardman will be at the Experience UK booth at IAAPA Expo Asia 2023 between 13-16 June. For more updates, visit katapult.co.uk/aardman

     

    CONCEPT

    In an imagined world where the gods and religions of old were allowed to progress to the modern day, X-VOTO is Blade Runner meets Neil Gaiman’s American Gods meets speakeasy – neo-pagan neon-noir episodic automat experiences that are contemporary temples to different deities. Utilizing mythology as a modular overlay to promote cultural appreciation within a gamified, transient, speakeasy environment set in and around major metropolitan areas, X-VOTO is a series of pop-up immersive themed restaurants that seek to provide any curious and intrepid adult with a chance to transcend the norm, even if only for a few hours.

     

    GUERILLA MARKETING

    Gamification and interaction with X-VOTO begins with the guerilla marketing campaign. Votive shrines, posters, and graffiti that reflect the chosen deity will be scattered throughout the city and surrounding metro area several weeks prior to the event. 

     

    Down a secluded street or alley, a passerby may notice a tableau like a small shrine. Amidst the candles are a QR code and spray cans, tempting passersby to pick one up and try their hand at street art. But these are no ordinary spray cans – the base cylinder falls away to reveal a small sculpted jaguar key attached to the cap. Inside the can is an invitation to download an app and enter a story.

    The Spray Can Keys, uniquely crafted to reflect the visiting deity, will be incorporated into the marketing shrines and are meant to be taken by adventurous early adaptors. For those that come later, QR codes adjacent to the tableaus will allow the curious to connect with the app.

    INTRO TO THE APP

    The app is the first step in the immersive narrative, purposefully not revealing that this is for a themed experience, instead only offering the description of “Traveling Speakeasy Temples” devoted to mythological deities. Next it invites users to join in the experience to become a Demigod, earning points towards prizes and exclusive events by using a “Custom AR Graffiti Tag”.

     

    Users are prompted to create their own Graffiti Tag as a symbolic logo and then non-destructively “tag” via AR anywhere they like. The tag is then embedded with a geolocation feature that remembers where it is to properly reproduce its location and orientation for future users that come to view the graffiti. App users can ‘Like’, or, as it is called in the X-VOTO app, “Worship” the tag as a sign of appreciation. The more Worshipers, the more points the initial tagger gets towards rewards and exclusive experiences.

     

    After earning the requisite number of points, users will be sent an invitation, or be “Summoned”, to join a deity at a Reliquary, as each individual pop-up restaurant is called, that is coming to a city near them. Reliquaries are set in or near major cities, temporarily occupying vacant spaces to create a sense of surprise and transformation of an ordinary place to an extraordinary experience while playing on the allure of transience. This particular invite is to a Reliquary temple coming to Miami devoted to the Waterlily Jaguar, a prominent Mayan deity. Once a reservation is made, Worshipers, as the guests to the Reliquaries are called, will be introduced to the Oracle of Delphi, a combination AI and live chat concierge that will guide guests through the experience as there are no staff members to interact with – ever.

     

    ARRIVAL

    Prior to their arrival, the user creating the reservation would need to enter the names and phone numbers of those in their party, or “Congregation” as X-VOTO calls them, prompting everyone to download the app and report any allergies, dietary restrictions or other accommodations they may need to have an enjoyable experience. This way that Congregation’s particular booth would be modified to accommodate a wheelchair prior to their arrival if need be or guests with allergies will be alerted to which menu items would not be suitable to them.

    Once checked in to confirm everyone is physically present, Congregations wait outside of the building under the covered walkway. Each Congregation is summoned individually to enter with an Entrance Code. The doors to the building are locked with a magnetic clamp spanning the handles of the double doors. The unique Entrance Code is typed into a keypad on the clamp and the lock releases. Though the doors are secured via magnetic lock from the outside, if pressure were applied to the inside of the door, the lock immediately disengages to promote an easy escape in case of emergency.

     

    CHECK-IN

    Worshipers entering the Reliquary are greeted by a large central arched doorway flanked on either side by three Basins set between a pair of glowing neon columns.­ Following the last prompt received by Delphi, the Congregation approaches a Basin. 

     

    Messages appear to mystically float up through the water of the Basin, and each member of the Congregation is instructed to select the type of blessing they would like to receive from the Waterlily Jaguar. 

     

    They are then issued the corresponding Milagros bracelet containing an RFID chip. Delphi then sends the Worshipers a message to link their Milagros with their app in order to earn points, or blessings, and use the bracelet as a means of payment.

     

    After the Congregation have all received their Milagros and while they wait to enter, Delphi encourages them to use this time to link their Milagros with their app. The Congregation is then summoned with other groups to proceed through the double doors in the center of the room.

    Depending on which of the hinged doors behind the large central niche doors open, Worshipers will be directed down a dark hallway to the left (if the right hinged door opens and acts as a barrier, forcing guests to turn left) or right (if the left hinged door opens, blocking the left hallway) into one of two PreShow rooms. A projection mapped animation of a graffiti Oracle of Delphi welcomes Worshipers to the Waterlily Jaguar’s Reliquary. Delphi introduces the Waterlily Jaguar and his place in Mayan mythology as a god of transformation and rebirth who rose like the Sun to walk the earth during the day and set every evening, braving the dangers of the Underworld at night.

    Delphi then introduces the Congregations to their main quest: earning the blessings of the Waterlily Jaguar. Worshipers are to gather Votive Objects, earning them through games and puzzles scattered around the temple. The more Votive Objects to offer the deity at the end of the night, the more points they will accrue and the greater the blessing they will receive.

     

    ENTERING THE RELIQUARY

    Proceeding from the preshow into the main body of the temple, Worshipers are greeted by an undulating water pattern on the floor cast by gobos set above the illuminated lily pads hanging from the ceiling which have a semi-translucent center rimmed with LED neon strips. Each circular booth boasts a semi-transparent curtain draped above it, making them look like a row of columns receding into the space, culminating at a large niche housing a statue of the Waterlily Jaguar. Several columns are topped with giant glowing waterlily capitals, and all of the booth bases are enrobed in a bas relief of traditional Mayan waterlily illustrations – creating the illusion that the entire space is an underwater temple.

     

    Delphi guides the Congregations to their seats via an in-app message. She instructs each individual Congregation to proceed to the booth glowing with their assigned color.

    BOOTHS & CENOTES

    When all of the members of the Congregation are detected in the booth thanks to the Milagros’ RFID chips, the aquatic centerpiece, or Cenote, comes to life. The Cenote introduces itself as a deep sinkhole or cave filled with water that is common throughout Mesoamerica and is considered to be the sacred gateway to the Underworld by many ancient pre-Columbian cultures, particularly the Maya. Concealed beneath a thin layer of water is a screen designed to deliver messages to guests in the animated form of text scrawled across ancient relics and Votive Objects that float up from the depths of the Cenote. 

     

    After it’s introduction, a chat option with the Cenote appears in the app. Worshipers can text questions to the Cenote, as they can still do with Delphi, to learn more about the menu, ask where the bathrooms are, inquire about the history of the Maya and anything else they may need during their time in the Reliquary.

     

    Just a few Congregations at a time are summoned to proceed to the automat to select their food.

     

    OFFERINGS SHRINE AUTOMAT

    Because there are no visible staff and the experience is meant to be a choose-your-own-adventure, guests select their food from a colonnade of column-shaped automats, similar to a temperature controlled vending machine. Worshipers scan the QR code in the upper right corner of their chosen compartment to get the nutritional and pricing information of that item, then hold the RFID in their Milagros bracelet up to the long panel button beneath the QR code to the right of their desired dish in order to pay. After removing their choice from the open cabinet, the door will close, and the next item in line will be pushed forward to the first position behind the door, just as items move forward in a traditional vending machine once an object is dispensed. All menu items will be small plates prepared by a local chef who is of the culture of the deity.

     

    GRAFFITI WALL & RELIQUARY IDOL

    Surrounding the 12’ high neon niche featuring the statue of the Waterlily Jaguar is the interactive Graffiti Wall that allows Worshipers to use fake spray cans to create digital graffiti using projection mapping technology. A limited color palette that reflects that particular Reliquary and helps unify the disparate artworks is available with two colors, namely at this temple a blood-maroon and metallic gold, that are exclusive to those who found a Spray Can Key. Guests can create as many graffiti works as they like, layering over previous artwork just like in real life street art.

     

    In the center of the Graffiti Wall and at the central terminus of the colonnade of booths, stands The Idol. UV markers are available to draw on, tag, tattoo and otherwise adorn the sculpture, which Worshipers have 360° access to by walking around the glowing platform the Idol rests on. The niche emits a soft glow, making the UV markings appear luminous. The Idol is the actual reliquary in the Reliquary, containing a piece of the deity that is only revealed under a specially activated blacklight. In this case, it is the spiral eye of the Waterlily Jaguar, iconographically marking him as a resident of the Underworld.

     

    COLLECTING OFFERINGS

    After Worshipers return to their booths and have enjoyed their tapas, they receive another prompt from their Cenote reminding them to explore the Reliquary and collect Votive Objects to ensure they earn the favor of the Waterlily Jaguar.

     

    The two Ancillary Chambers on either side of the Offerings Shrine automat room contain nearly all of the puzzles and games. The Enlightened Action symbol of the hand with an eye radiating light in its palm marks the location of an interactive game element. Within each of these symbols is an RFID chip that recognizes the specific RFID in the Milagros of the user and activates the game or puzzle, beginning any sound, visual or Milagros vibration sequence associated with that task. That activity is then linked to the Worshiper so they may receive the appropriate amount of points or Votive Objects in their app upon completion. 

     

    EXCLUSIVE EXPERIENCES

    If Worshipers earn a large amount of points through completing AR Graffiti Tags prior to arrival, solving a significant number of puzzles or games in the Reliquary, spending money on a sizable quantity of menu items or a combination of those activities, they can earn an invitation to the Inner Sanctum, home to X-VOTO’s Exclusive Experiences. Inside the Inner sanctum are three levels of exclusivity, access to which is predicated on earned points. 

     

    The Tier One Exclusive Experience includes professional local Tattoo Artists to give free tattoos of the line illustrations of the Milagros available at that Reliquary. (Original drawings of the Milagros and graffiti with images sourced from Pinterest)

    In Tier Two, a professional graffiti artist will teach Worshipers some basic tips to making graffiti-style art using professional paint markers as there is likely not proper ventilation for spray paint. Worshipers can then contribute to a giant canvas painted by the artist that will later be auctioned off on the X-VOTO app with all proceeds going to a charity related to that particular Reliquary’s deity.

    In the third and final level of the Inner Sanctum is a live fortune teller from the culture of the deity that will perform a reading in the traditional style of that culture. 

     

     

    DEPARTURE CEREMONY

    The time has come to give your offerings to the Waterlily Jaguar. Worshipers’ Milagros buzz and the receive a text from Delphi that their 3-hour stay at the Reliquary is almost up and they must return to their Cenote for the Departure Ceremony. Prompted to open the new Departure Ceremony button in the app, an AR image of the Worshiper’s first Votive Offering will appear on the table outside of the Cenote, and they must flick each offering into the water. 

     

    The Waterlily Jaguar calculates the worthiness of each Worshiper and sends his prediction for that person’s future along with his blessing. The members of the Congregation proceed one by one until everyone has received their personal message from the Waterlily Jaguar.

    Worshipers receive a personalized thank you text from Delphi that also includes a map of where to find the exit, which is at the opposite end of the temple from where they came in. The overhead lighting and gobos creating the moving water effect on the floor will all be dimmed except for the path leading out of the Reliquary.

     

     

    BEHIND THE MAGIC

    The masterplan and setup are to scale and set in an actual venue: 100 NW 25th St UNIT 105, Miami, FL 33127. The diagonal lines indicate the back of house area where food is stored, but likely not prepared as this is a temporary space in an a-typical building.

     

    A key component of X-VOTO is that it is an ephemeral, limited time engagement. Its modular furniture and props support the pop-up business model by making transportation and set up relatively easy for transient staff and creating a greater sense of urgency for customers to experience it. The furniture and props must adapt to fit any space and be customizable to fit any theme. My original furniture design consists of four unique pieces that can be combined into an endless array of seating arrangements. As their typical arrangement will be booths that are meant to mimic columns, the contour of the seating was designed to look like an inverted base of a column.

    The furniture pieces are aligned with magnets and secured by braces that lock the bases of the two abutting segments together.

     

     

    OTHER TECHNICAL INNOVATIONS

     

    LONGEVITY

    Looking to the future, two other deities and locations were selected for Reliquaries that would take place around the same time as the Waterlily Jaguar Reliquary in Miami.

    The New York City location is The 1896,211-215 Ingraham Street, Brooklyn, NY 11237 a quintessential 19th century Industrial Revolution era factory with slight dystopian dilapidation support the X-VOTO narrative.

    Loki, the infamous trickster of Norse mythology, is the chosen deity for the New York Reliquary. The aesthetic for Loki will be combining ropes and knots into sinuous forms reminiscent of the flowing carvings typical of Viking archeology and Celtic Knots. According to ledged, Loki invented the first net, and some scholars believe his name may mean “spider” or “weaver” which all ties in with the idea that Loki was a weaver of tall tales, lies, and deception meant to trap the unsuspecting. 

     

    (Original sketch of Loki with moodboard of images sourced from Pinterest) 

    (Original sketches of Fenrir and Jörmungandr design elements with images sourced from The 1896’s website)

    (Moodboard of images sourced from Pinterest) 

    (Images sourced from the Millwork’s website)

    The Los Angeles Reliquary will be devoted to Inari, or Inari Ōkami, Japanese Shinto goddess of fertility, agriculture, and worldly success. Her chosen location is the Millwick, 800 E 4th Pl, Los Angeles, CA 90013. Inari’s Reliquary will continue this sense of duality by combining ancient Japanese materials and imagery with an anime cyberpunk overlay, basically combining Kyoto with Tokyo.

     

     

     

     

    Thank you for your time and critiques!

     

    Devon Lee

    Themed Entertainment MFA

     

    “World’s most famous theme park designer” will board the time machine to travel back through career highlights and discuss the closing of his Splash Mountain attractions in California and Florida at 12pm PST on Friday, June 16, 2023

    Pasadena, CA – The world’s preeminent experiential design agency, Zeitgeist Design & Production, will launch its third season and 25th episode of its “Spirit of the Time Zoomcast” with time-travel passenger Tony Baxter — internationally recognized as “the world’s most famous theme park designer.”

    Begun on April 30, 2021 and hosted by industry veterans and Zeitgeist executives Ryan Harmon and Joe Lanzisero, the popular live online video interview show offers a sneak peek behind the themes, moving its audience without a ride system each month by inviting one incredibly talented immersive entertainment industry colleague aboard the company’s time machine for a journey through milestone moments in that individual’s life and career in an attempt to unravel the mystery of what makes a guest experience timely, yet timeless.

    Past passengers aboard the time machine include Disney icon Joe Rohde, Universal Creative co-founder Bob Ward, pop culture artist Shag, creative leader Phil Hettema, and three of the “Women of Imagineering:” Peggie Fariss, Tori McCullough, and Beckie Bishop.

    Once archived only as video on the Zeitgeist website and YouTube channel, the entertaining and educational hour-long zoomcast that appeals to fans of theme parks, Disney, Universal, and immersive entertainment is now available as an audio-only podcast on all popular podcast apps, including Apple Podcasts, Audible, Spotify, and Google Podcasts. Viewing and listening is always free.

    On Friday, June 16, 2023, at noon PST, The Spirit of the Time Zoomcast will kick-off its third season of production and 25th episode with Disney Legend, TEA Lifetime Achievement Award Recipient, and Main Street Window honoree, Tony Baxter. Celebrated worldwide for his nearly five decades at Walt Disney Imagineering and for spearheading such beloved parks and attractions as Disneyland Paris (overall creative direction), Indiana Jones & the Temple of the Forbidden Eye, Big Thunder Mountain Railroad, Journey into Imagination, Disneyland’s New Fantasyland, Finding Nemo Submarine Voyage, and Splash Mountain, Baxter is a creative force instantly recognizable for his bushy mustache and flannel-over-t-shirt style, which is often emulated by his fans at Disney’s bi-annual D23 Expo.

    “We are thrilled that our longtime friend and colleague Tony Baxter has finally agreed to embark on a time travel journey with us,” says Zeitgeist founder and co-host Ryan Harmon. “Tony was born to be a theme park designer; it’s in his heart, it’s in his soul – he just intuitively knows what works and what doesn’t; what audiences will respond to; and how to tell immersive stories like few since Walt Disney, himself. Even I’m counting down until June 16th!”

    “Our live online interviews recognize superstars like Tony Baxter, while also documenting and sharing a real insider’s view of how entertainment experiences take shape, from concept to reality” adds co-host Joe Lanzisero. “So many of our past passengers have referenced Tony as a mentor and an inspiration, so now we’ll get to hear the tales from the Disney trenches from the man, himself!”

    “Set your clocks now for an hour of stimulating conversation and Q&A with one of the world’s most creative people,” adds the show’s on-air co-producer Beckie Kiefer. “The Spirit of the Time Zoomcast offers a little bit of time travel, a little bit of immersive entertainment history, and a whole lot of fun!”

    The Spirit of the Time Zoomcast can be found at www.zeitgeist-usa.com/zoomcast and on the Zeitgeist Design & Production YouTube Channel. Search “Zeitgeist’s Spirit of the Time” on your favorite Podcast app.

    # # #

    About Zeitgeist Design + Production

    Founded in Pasadena, CA by 36-year themed entertainment industry veteran Ryan Harmon in 2011, Zeitgeist Design + Production tells the tales of some of the world’s most successful brands, intellectual properties, and historical accounts through the creation of UX-IRL — User eXperiences In Real Life, including innovative immersive entertainment, brand experiences, experiential retail and marketing, interactive and multimedia experiences, and more. From the initial creative vision and strategy, to master planning and design, to turnkey production solutions, Zeitgeist Design + Production team members have conceived, designed, and built over $12 billion in successful and beloved guest experiences worldwide for clients including, Walt Disney Imagineering, Disney Cruise Lines, Chimelong Group, Universal Creative, BBC Worldwide, Saudi SEVEN, Hersheypark, Dollywood, and many more.

    For more information, please visit www.zeitgeist-usa.com.

    https://www.eventbrite.com/e/zeitgeist-presents-the-spirit-of-the-time-with-tony-baxter-tickets-650441386697

    CONTACT 

    Beckie Kiefer

    917.575.2456

    beckie@zeitgeist-usa.com                         

    Zeitgeist Design + Production

    739 E. Walnut St., Suite 200

    Pasadena, CA 91101

    In partnership with Cognizant and Macy’s, the Star Lounge is a research and human-centered driven concept for the future of retail experiences for department stores. As “The Top Golf of Retail,” our experience brings the fitting room experience to the center stage of retail, allowing for “stars” to socialize with their friends while owning their personalized styles in an engaging and authentic space. Other group members include Uzoma Offor, Kyle Krummenacker, and Evan Lee.

    Note: Seen below are parts of the project I worked on:

     

    The Problem

    With e-commerce and metaverse shopping on the rise and a decrease in in-store retail sales, our group was tasked with how to make the retail experience more immersive and personal for the next generation of shoppers.
    The Star Lounge is our concept to help bring Generation Z and Alpha back into the physical store experience, while also leveraging e-commerce technology.
    Check out the process below to learn more about how the Star Lounge came to be!

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

    Own Your Style at The Star Lounge! 

    Watch Below!

    Our concepts and stories are backed by weeks of human-centered research, data, testing, and feedback. Below is our research process.

    Qualitative Research

    Research showed that retail experiences like Ikea, Nike, Starbucks, and Apple were leading the way in in-store retail experiences. My team went to visit these stores to better understand why these companies were successful, and Macy’s was not as successful.  We also visited Macy’s. My job was to document our ethnographic study, take notes on our observations, and interview employees about their experience working at the store.
     
    Logos credit to respected companies.

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

    Quantitative Data

    While qualitative studies allow for our group to better understand people’s emotions, quantitative information, analyzing statistics and data allows me to understand where the market is now and where it is headed. My job was to document key data findings and look for trends in the market. 

    Literature and Article Reviews

    Throughout this process,I also broke down 20 themed experience locationsand read multiple experience design books (some of which are found below), which is resulting in a literature review. As of now, the literature has resulted in five core principles of themed experience design: emotional connection, social community, personalization, engagement, and play.
    In addition, multiple documents were read on retail experience design. This included some sent from Joe Pine, author of The Experience Economy,to better understand how to bring retail into the experience economy.

    Stakeholders

    Stakeholders were identified to determine who would all play a part in the experience.

    Customers

    • Browsers
    • In-Person Shoppers
    • Online/Pickup Shoppers

    Employees

    • Front Line
    • Backline
    • Security Staff
    • Executive/Managers/Business Owners
    • Suppliers/Vendors

    Artifacts

    • Checkout Counters
    • Price Checkers
    • Screens
    • Escalators/Elevators
    • Computers/Tablets
    • Signs/QR Codes

    Activities

    • Passive
      • Walking Around/Browsing
      • Looking at the phone
      • Waiting in Line
      • Waiting for friends/other shoppers
      • Taking an escalator/elevator
    • Active
      • Looking for help or an Employee
      • Talking to Employees
      • Searching for a product
      • Comparing Products
      • Trying on Clothes/Products
      • Checking Price

    Finishing

      • Checking out
      • Scanning Items
      • Paying for merchandise
      • Signing up for the rewards program

    Journey Map as of Now

    Based on our research, our group created this map on Figma to walk through the current in-store experience actions, some of the problems that occurred, and how people felt through each action. We found that most problems were during the in-store experience.

    The Problem

    Shopping in the big box stores is not engaging or fun and does not attract younger audiences. Department stores are viewed by young audiences as places for the older generations.

    Insights

    Following all the research, our group found three main insights. I helped pinpoint the first two insights and the third was by Kyle.

    Insight 1

    • Macy’s lacks a clear brand identity
      • In-store branding and layout are inconsistent
      • Advertises “owning your own style” but had no mention of this message in their stores
      • When most people think “Macy’s”, they think of the parade, not the store.

    Insight 2

    • The store environment should provide a personalized and engaging experience to create a community within the store
      • This includes employees being easily accessible and personable
      • The store should be well-lit with natural light wherever possible
      • Avoid choice fatigue

    Insight 3

    • Technology should be seamlessly integrated into the shopping experience
      • Employees were untrained in existing technology
      • New technologies were hidden and placed randomly throughout the store
      • Working closely with the group, we documented all of our observations and begin organizing our observations into categories.

    Story Development

    Based on Macy’s Mission, a new story was crafted around the emotions Macy’s wants to convey to their guest. These three emotions are feeling unique, celebrated, and special. Our concepts have to make one feel these emotions. The emotions were driven by the theme of “Own Your Style.” In order for one to “Own Your Style,” the whole experiential story is around one being able to design and create their personal style through mico-themes along the way. This process is similar to the human-centered design process that Stanford created.
    If people can participate in the experience by co-creating their experience, then they will be more engaged, feel authentic in their style, and will be able to play within the space.
    I was responsible for breaking down the brand, developing this story, and the diagram below.

    Experiential Development

    Aspirational Journey Map

    Knowing the in-store experience was where the most problems were, the group developed an aspirational journey map on Figma to think about what the ideal experience could look like for the whole store.

    Ideation/Blue Sky

    Together, our group came up with multiple ideas that could be found within this new experience. We thought of ideas from bringing the Macy’s Thanksgiving Day Parade indoors, to having a giant playground inside, to a dinosaur helper, Metaverse technology integration, and so much more. All of us helped document these ideas in Figma.I helped organize ideas based on themes, broke those ideas down into similar themes, and then added questions about the concepts. 

     

     

     

     

     

     

    Sketches

    Multiple sketches were developed by drawing many ideas out. Some of my sketches are shown below.The group then pinned the concepts on a board, and we had college students vote on the concepts they would like. In addition, we received feedback from industry professionals. Based on the feedback, we decided to focus on the fitting room experience to enhance it.

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

    Ideation Presentation

    Evan and I presented our concepts to multiple “Generation Z” college students about our ideations from all of our group members.I explained everything from concepts using NFTs and Digital Twin Avatars to vending machine concepts.

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

    Concepts

    Multiple concepts and edits were made for what the fitting room should look like. Some of my quick concept sketches can be found below.

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

    Layout Testing

    We began testing the space layout, how people moved through the space, and how people would begin to interact with the space. In addition, we developed a testing plan. I moved around the boards to understand how large the space is and tried different lengths and took lots of pictures.

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

    Testing and Feedback

    Over the course of two weeks, we had 20 people come in and test the space. We used a projector to create the environment and watched how people moved our “styles” (paper) into the space. We were trying to understand how they would react to the space. We learned that they did not know where to put their clothes, what some of the “buttons” did, and how to operate the door. More testing was done because of this. I was responsible for setting up the display, documenting the testing, and the survey design.

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

    3D Modeling

    Store Layout

    One of our group members, Evan, created a model of the whole space in Rhino. This was the first rendering of what the inside space could look like. 80% of the store space became the fitting room experience. I helped provide ideas on how to lay out the space in a circular manner.

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

    Fitting Room

    The fitting room was also modeled in Rhino. I was responsible for editing the design based on testing feedback. This feedback included bringing the seating area outside the room into the room, changing the size of the environmental screen, and adding tables into the seating area. After Evan made edits to the 3D model and set up some of the models in Keyshot, I edited the materials, lighting, virtual camera, and added some of the models to create these renders. I also added people from Maximo as well.

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

    Animated Video

    I began the animated video by writing multiple script outlines. Then, I wrote it out and revised it multiple times. I then timed how long each segment would take, and organized the videos needed into separate folders. I then applied and downloaded different character animations from Maximo. I placed these characters in the scene, edited the camera angle and path, and changed the lighting when neededI then animated this entire video in Keyshot. It took over 72 hours to render and complete. I then edited the clips together in iMovie. Welcome to the Star Lounge!

    In order to prepare for our final presentations, our group participate in a class presentation, where we practiced pitching our concept, explained the research insights, and the concept development from testing and revisions.

     

    Created by Brendan Assaf- recent Entertainment Design Graduate from Ringling College

    Special thanks to Ross Osterman, Colt Sammons, Joe Lanzisero, Kevin Primm, Jamie Deruyter, Seongwoo Nam, Greg Randle, Chelsea Bruner, Nadine + Jamie Assaf, Meg and Cait, and Hailey Bair

     

    Made with Revit, Maya, Autocad, Unreal Engine, Sketchup, Substance Painter, Zbrush, Enscape, Adobe Photoshop, Procreate, Adobe Illustrator, Adobe Premier Pro, and GarageBand

    A 3 part “spirit lifting” adventure through a haunted adventurer’s mansion.

    Archibald Ashburn was a world-renowned paranormal investigator, adventurer, historian, wildlife expert, inventor, and traveller. His research and inventions on the topic of the macabre and unexplained around the globe was unparalleled, and his home and style were equally as eclectic. He was the foremost expert of all things mysteries around the globe– until he became one. No one knows what happened to Archibald Ashburn. Long ago, he mysteriously vanished… but maybe you can find out on a tour of his home!

    The newly reopened Ashburn Manor invites guests to take a preservation tour of the home and Archibald’s collection of mysteries. However, the first ever tour group- YOUR tour group- accidentally awakens Archibald Ashburn’s ghost, and he has no memory of his prior life or, more importantly, the cause of his mysterious disappearance. That’s why he’ll need your help! Board your utility cart and journey with Archibald through his mysterious and eclectic home as you search for clues to uncover the truth of Archibald’s death.

    PART 1: DARK RIDE ATTRACTION

           After making your way through the grounds of the manor and entering the library, your tour group will accidentally awaken Archibald Ashburn’s ghost, who will be commandeering your tour and turning it into an “investigation-expedition”. He’ll request that you meet him in the manor’s garage, where he’s used his newfound ghostly powers to turn utility carts into ride vehicles that seat six riders at a time. (The ETF Xperience Mover trackless ride vehicle) From there, you’ll accompany Archibald as you scour the mansion for clues about the mystery of his dissappearance on a fun filled “spirit lifting” adventure full of mysterious and spooky surprises.

    Prepare to discover the truth behind The Marvelous Mysteries of Ashburn Manor:

    Special thanks to Sophie Ruiz for Voice acting assistance

    PART 2: INTERACTIVE POST-SHOW

    Following the ride, you’ll be able to have free rein over the mansion, exploring any room you see fit! But be prepared, Archibald’s friends from the attraction have been scattered in rooms around the mansion, and they’ll need your help in order to return to their respective afterlives.

           As you exit the attraction, you’ll enter the attraction, you’ll enter the Grand Foyer of the mansion, where all of the rooms are connected. Here, you’ll have the ability to interact with members of the Ashburn Manor preservation society, explore the various rooms of the mansion, shop at ghostly gifts, or even grab a bite to eat and a cocktail or two (more on that in Part 3!).

    Should you decide to explore the rooms of the mansion, you can expect to find one of Archibald’s friends waiting for your help in one of six rooms including the library, the music hall, the conservatory, the cartography room, the observatory, and the art gallery. They’ve each chosen a room that reflects their personal heritage and occupation, and these traits will impact the task you help them with (the type of game played) in each room.

     

    For example, in the Cartography Room you’ll find Angelica, a Mexican Adelita cartographer, who’s spirit guide dog has run off and is missing in the room. You’ll have to use the maps round the walls to play hide n’ seek with the spirit dog, helping Angelica to get her guide back. Similarly, in the music hall you might find Seamus, a sailor from the shores of Ireland whose lost his tune. You’ll need to mime conducting to get the instruments in the room to play his favorite sea shanty and help him get back on his feet (or sea legs, more accurately)

     

     

    While these interactives both continue to engage guests in the story and let them explore a haunted house as they see fit, they also help to teach guests about the beauty of diversity and how each culture around the world offers a unique heritage. This theme of diversity and cultural celebration is one of the cornerstones of Ashburn Manor, and is integral to all parts of the story and each experience.

    However, great care went into ensuring that these interactives are not only respectful and appropriate, but tell authentic stories based on personal experience. In order to ensure that these games and these characters had that same level of personal authenticity, a level I could never supply without experiencing that heritage myself, I called upon international students at Ringling College to share their experiences and stories with me. With their guidance, we researched and created a cast of characters that not only respectfully portray these cultures, but also represent these cultures in ways the students specifically asked to be represented.

    Overall, the post show experience of Ashburn Manor givesyou the freedom to explore and interact with ghosts within a haunted house as you please, all while building upon the existing attraction story and, more importantly, sharing unique perspectives and backgrounds from people around the world to help celebrate the beauty of cultural diversity on our planet.

     

    PART 3: SPIRITS OF THE WORLD

    AR BAR AND LOUNGE

    Did all that mystery solving, exploring, and playing make you thirsty? No worries, step right up to Spirits of the World, a speakeasy located within Ashburn Manor, where guests can sample food and cocktail flavors from around the world–and beyond the grave too. Spirits of the World is located in Ashburn Manor’s cataloging room, where Archibald sorts through any gifts he’s been given by his friends before he displays them in his mansion. Coincidentally, this is also where he stores any liquor he’s been given, and members of the preservation society have taken it upon themselves to convert the room into a speakeasy with internationally inspired cocktails and food.

     

     

    Archibald’s ghost is in on the fun too! So he’s decided to share some cocktail recipes from his otherworldly menu –  a series of drinks created entirely by ghosts. When you order off of the otherworldly menu, your drink comes with a bonus: the spirit of a cryptid unleashed in the bar! Each cocktail corresponds to a particular country or culture, and when ordered, they’ll release a mythical beast from that country or culture. For example, if a guest orders a Puerto Rican Pina Colada, they may set loose the spirit of the Chupacabra in the car.

     

     

    However, when these beasts are summoned they can’t be seen immediately. You’ll need to use a Phantomagnifying glass, an invention of Archibald’s, to see the spirits. Designed specifically to view invisible ghosts, the Phantomagnifying glass will glow whenever a new spirit enters the bar. Then, an indicator in the glass will show you where to look to see it. From there, you’ll have to look for movements around the bar where something might be causing chaos, then the Phantomagnifying glass will reveal the beast.

     

                   Despite the 3-part nature of the experience, The Marvelous Mysteries of Ashburn Manor can be enjoyed in any order due to multiple entrances and exits for guests to choose from.

     

    TECHNICAL ASPECTS:

    The Marvelous Mysteries of Ashburn Manor utilizes a variety of different technologies and effects. From musion-tech pepper’s ghost effects to personalized AR devices, lots of thought went into the technical feasibility and build-ability of Ashburn Manor. Listed below are highlights of a technical design intent package explaining how these effects/interactives might be realized.

    Overview

    Expanding upon concepts from J. R. R. Tolkien’s essay “On Fairy-Stories,” Return from Faerie is a narrative escape game that sees players recruit the five Sages- each associated with a different storytelling medium: film, video game, theatre, music, and print. Players travel across five kingdoms to convince the Sages to return from the Realm of Faerie and face the Darkness that has overtaken their home world. Return from Faerie invites guests to solve puzzles, search for clues, and perform a bit of magic, all while examining the role that storytelling media has played in their own lives. Its story acts as an allegory for storytelling’s ability to equip, empower, and inspire people to face the hardships of life long after their engagement with storytelling media.

    This multimedia experience completed its premiere run from April 5 – April 8, 2023 in the A200 performance space of the Lee Norvelle Theatre and Drama Center at Indiana University Bloomington.

    Return from Faerie involves the work of 30 students in creative, technical, and managerial roles. At Indiana University Bloomington, there is no course, club, or program dedicated specifically to the full production of creative projects within themed entertainment, despite the fact that there are professional opportunities in themed entertainment for students of all academic backgrounds. This project provides an opportunity for students to apply their skills to portfolio entries within a themed entertainment environment.

    Project Mission: To design, produce, and run an experimental Escape Game experience that is driven by narrative and engages with the following media: Theatre, Film, Video Game, Music, and Print.

    Core Goals:

    • Consideration of Scope
    • Experimentalism
    • Engagement with Multimedia
    • Collaboration
    • Mutually Informed Narrative and Mechanics

     

    The Guest Experience

    0. Sign-Up Survey

    Unbeknownst to guests, their narrative journey in the Realm of Faerie began with the sign-up survey which accompanied ticket sales. In the survey, we included a section devoted to questions related to the guest’s media consumption, framing Return from Faerie as a conduit to explore the relationships between humans, storytelling media, and the “real world” early on. Among a few decoy inquiries, we asked guests to provide quotes from storytelling media that helped them through a difficult time, inspired them to take action, or allowed them to move forward in their life. We used this information to customize the Core Moment of the production- the Return- for each and every individual guest.

    1. Check-In

    At the check-in desk, the House Manager facilitated two key tasks:

    1. Specialized Tags: Each guest received a specialized name tag with markings that conveyed key information to the live actor within the room, including how guests would be divided among the three tracks within the room and how guests should be ordered for the Return.
    2. Rules: Inside the room, all interactions and instructions were delivered in-character and in-lore. Some rules, particularly those regarding safety and behavioral protocols, needed to be explained plainly to guests so that their understanding would be unhindered by showy language. Therefore, the House Manager shared these rules in an explicit manner before guests entered the room.

    Supporting Materials:
    Rules and Expectations
    House Management Protocols

     

    2. Pre-Show

    Upon entering the Realm of Faerie, guests found themselves in the Kingdom of Thespia, greeted by the friendly and eccentric Sage of Theatre, portrayed by a live actor. The Sage began with an opening monologue that laid the foundation for Return from Faerie‘s allegorical story: The guests’ Homeland (allegorical for the “real world”) has been ravaged by Darkness (the trials and difficulties of reality, both internal and external). The power to defeat the Darkness lies with the Figments- the only thing that can be taken to the Homeland from the Realm of Faerie. The needed Figments are safeguarded by the other Sages, each presiding over one of Faerie’s kingdoms: Ludona, Cinemor, Melodica, and Libera. In order to return to the Homeland and face the Darkness, the guests would first need to obtain more Figments from the other Sages.

    After setting the narrative groundwork, the Sage divided guests into pairs of two (pre-determined by each guest’s name tag) and assigned each pair a different Kingdom to explore over the next 50 minutes. At this point, the guests’ experiences split into 3 distinct tracks.

    Supporting Materials:
    Pre-Show Script
    Performance Guide

     

     

    3. Core Puzzles

    Branching out from Thespia, the Kingdoms of Melodica, Ludona, and Cinemor each played host to a pair of guests, who pursued a distinct, narratively-driven puzzle track that was unique to those of the other two Kingdoms yet in service of the same overall goal.

    Each Kingdom featured a Core Puzzle, which facilitated direct interaction with the Kingdom’s associated medium, and several satellite puzzles, which spun off of and fed back into the Core Puzzle. Completion of each Kingdom’s Core Puzzle granted access to a storybook page and the Figment guarded by the Sage of that Kingdom.

     

    MELODICA

    Storytelling Medium: Music

    Sage: The Sage of Music was represented by a voice featured in Melodica’s Core Puzzle. She personified storytelling media’s ability to foster Inspiration.

    Core Puzzle: Melodica’s Core Puzzle was an audio puzzle that incorporated vertical adaptive music, a game design technique that allows music to adapt to the player’s actions and other in-game factors. Solving puzzles granted guests access to Orbs, which, when pressed, activated a victory chime and added a new instrument to the background music. The final Orb added the Sage of Music’s melody, her lyrics containing the clue to Melodica’s final chest. The gradual building of the Sage’s Song over time worked both to deliver regular hits of reward-based satisfaction and to slowly shift the ambience of the space to a more lively tone over time.

    Production: Melodica’s vertical adaptive music relied on integration between a cue system connected to the Orbs (which were pressure-sensitive buttons) and QLab, a multimedia playback software that routed sound to the speakers around the room. All parts for the Sage’s Song were first created in composition software then recorded by live musicians. The Music Supervisor and Puzzle Designer worked closely together to ensure the musicality and functionality of the puzzle worked in tandem.

     

    Supporting Materials:
    Melodica Puzzle Breakdown
    Sheet Music
    The Sage’s Song (see below)

     

     

    LUDONA

    Storytelling Medium: Video Games

    Sage: The Sage of Games was represented by a pixellated character sprite within Ludona’s Core Puzzle. He personified storytelling media’s ability to impart Purpose.

    Core Puzzle: Ludona’s Core Puzzle was a 2D platforming video game taking place in the Sage of Games’ Palace, which guests had to traverse in search of the Sage. Using RFID, guests transferred magical gemstones found in the physical world into the digital game, wherein the gems would become power-ups granting the player avatar new in-game abilities. These in-game abilities allowed guests to explore new areas of the Palace and access information that would aid them in solving more of the physical world’s puzzles, which in turn allowed guests to access more gems to be scanned into the game, creating a symbiotic dialogue between the physical and digital realms.

    Production: The Ludona Game was created in Unity, making use of the PhidgetRFID Read-Write 1024_0B for RFID integration. All digital assets for the game were created, not sourced. Game asset artists collaborated with Return from Faerie‘s costume, scenic, and lighting designers to preserve and complement the narrative crafted by their designs in the physical world.

    Supporting Materials:
    Ludona Puzzle Breakdown
    Game Script
    Game Beat Breakdown
    Debug for MacOS or Windows (press 1, 2, and 3 to simulate RFID scans)

     

     

    CINEMOR

    Storytelling Medium: Film

    Sage: The Sage of Cinema was represented by an on-screen actor in a short film featured in the Core Puzzle. She personified storytelling media’s ability to provide Comfort.

    Core Puzzle: Cinemor’s Core Puzzle involved a short film starring the Sage of Cinema. Insistent that she would never return to the Homeland, the Sage changed the ending of the film, hiding the true ending somewhere in her study. The Sage’s Vizier cast a spell that caused the Sage’s furniture (real props in the physical world) to reveal information about how to find the deleted scenes. Using hints from the furniture and visual information conveyed in the short film, guests restored the deleted scenes, wherein the Sage comes to see why she must leave the comforts of Faerie and face the Homeland she left behind.

    Production: Character work, blocking, and filming took place over the course of two days. The Sage’s Film was shot on iPhone, using compatible tripods and microphones. Post-production made use of the Adobe Creative Suite. We burned the film and deleted scenes onto DVD-R discs, which were used as props. One of the greatest intricacies of the process was serving the needs of both the puzzle structure, which required certain visual information to be conveyed through the film, and the narrative development, which directly contributed to Return from Faerie‘s broader storytelling message, while maintaining a reasonable runtime.

    Supporting Materials:
    Cinemor Puzzle Breakdown
    Film Script
    Shot-by-Shot (Film Order or Edit Order)
    The Sage’s Film (see below)

     

     

    MEANWHILE…

    While guests worked on puzzles, the Sage of Theatre utilized the hub-and-spoke floor plan to travel from kingdom to kingdom, offering hints and aid when necessary. The Sage always delivered hints in-character and frequently drew upon the lore of the Kingdoms and Sages in their delivery. Between cycles, the actor would briefly check our run crew’s Discord channel, which provided key updates on guest difficulties, sentiments, and need for intervention from run crew members watching the camera surveillance feeds. This update feed allowed the actor to be informed, effective, and efficient with the guests’ time while juggling three separate groups working through three unique puzzle structures- which was no easy task!

    Examples:

    4. Coming Together

    At the 50-minute mark (or earlier if all groups managed to recover their Figments), the Sage of Theatre called guests to reconvene in the Kingdom of Thespia.

    Reunited, the guests engaged in an improvised moment of celebration, if all pairs found Figments, or hope, if some Figments were left behind. Even a group with a perfect success rate would have only 5 Figments (2 from the interactive pre-show and 3 from the other Kingdoms). In either case, the Sage would speculate that what the group found might be enough to face the Darkness, but perhaps they’d find something more in the final kingdom.

    With Figments and storybook pages in hand, guests ventured to the Kingdom of Libera at the edge of the realm for a final puzzle, left by the Sage of Pages.

    LIBERA

    Storytelling Medium: Print

    Sage: The Sage of Pages appeared only as text and illustration. Her story, chronicled in the storybook, mirrors the journey of the guests.

    Puzzle: For their final puzzle, guests combined the storybook pages found in the other kingdoms with an additional page hidden in Libera to complete a storybook. Referring to a cipher hidden on a note from the Sage of Pages, guests used the storybook’s page numbers and decorative drop capitals to determine a final 6-digit code. Guests used the code to unlock the Sage’s Chest, in which they found the final Figment. This puzzle was simple in concept yet satisfying in execution due to the incorporation of the storybook pages well-earned by guests in the other Kingdoms. The moment also acted as a social reunion for the guests, who had otherwise been separated throughout the experience. In our feedback form, guests viewed the moment favorably, with one guest describing it as “celebratory,” while others noted that it made all of the pairs’ contributions feel important.

     

    Production: We specifically designed the final puzzle to be completed in fewer than 10 minutes with a 100% success rate. Furthermore, Libera acted as a contingency for Figment allocation. If guests had not completed all three of the prior Kingdoms, they would still earn the equivalent total number of Figments by completing Libera’s puzzle. The Sage of Theatre set these Figments, along with any un-obtained storybook pages, moments before calling guests back to Thespia. Through this method, we guaranteed that all 6 guests would have a Figment for the upcoming finale- the Core Moment of the experience in which the Figments played a key role- while still imparting the feeling that the ending was earned, not given out of pity. Furthermore, the contingency allowed guests to feel positive and accomplished going into the Core Moment. In most escape rooms, guests either escape victoriously or spend their last moments in a state of failure, sometimes feeling discouraged at their inability to complete not only the puzzles but also the narrative at hand. Instead, all of our guests ended their puzzle solving journey on a high note, which left them primed to feel positively about the narrative finale to come.

    Supporting Materials:
    Storybook Pages
    Note and Cipher

    5. The Return

    With the last of the Figments found, the Sage of Theatre gathered guests and delivered a closing monologue, which tied up narrative threads from the guests’ journey in preparation for the Return. As the Sage spoke in front of the gateway to the Homeland, they bestowed each guest with a Figment and explained how the Figments would be used to battle the Darkness.

    Finally, the Sage of Theatre opened the gateway to the Homeland and surrendered control of the narrative to the guests, who crossed over to find a central module surrounded by unending Darkness. As instructed, guests activated their Figments one-by-one, installing them into the Homeland’s central module. With each guest’s installation, a new Figment illuminated the space, and the music swelled, accompanied by a spoken quote- not just any quote, but a quote that previously encouraged that particular guest at a time they felt they needed encouragement the most: the quote submitted by that guest in the sign-up survey.

    Some laughed aloud while others stood silent, deep in thought. Some shed tears while others shared smiles with their companions. Some gasped in realization, while others stood flabbergasted, forgetfully wondering how their most intimate inspiration could have possibly been known.

    But all listened and saw, as a Figment of inspiration from their own journeys in storytelling media brought light back to the Homeland, driving away the Darkness metaphorically and literally, reminding them in heart-tugging light and sound of the moments when the same words had saved them before.

    At this point they realized… the purpose of the Realm of Faerie- the world of storytelling media- was never to escape reality. It was to allow us to Return to reality… inspired and empowered to face its challenges.

    After each Figment was installed, the theme of Return from Faerie grew from the swelling music, accompanied by a flurry of other quotes from storytelling media (which were submitted by our production team), delivered in surround sound and complimented by shifting, colorful lights. At the melody’s climax, the music drew back for one last quote:

    As the music ended and light was restored, the doors opened, inviting guests to go forth into the Homeland boldly, inspired and empowered by renewed appreciation for the stories they held most dear.

     

     

    Production: In response to advice received at the 2022 IAAPA Expo’s “Immersive Theatre in Location-Based Entertainment” panel from Lacy Campbell, creative director at The Bezark Company, the Return was isolated as the Core Moment of the production early on. All subsequent design choices were made in service of its success. Quotes submitted by guests in the sign-up survey were compiled by our Dramaturg, who created a dramaturgy packet providing context for each quote and its source material. Voice actors utilized the packet to inform the delivery of their lines at recording sessions with the Narrative Designer and Sound Technician, who provided additional direction. Music for the Return made use of both recorded and synthesized instrumentation. The Composer and Narrative Designer worked closely to create a theme that would surrender attention to guests’ quotes before growing into a triumphant and nostalgic ballad worthy of the Darkness’ defeat. Our Sound Technician integrated music files into QLab, which allowed guests to experience the moment in complete, ground-rumbling surround sound. Quote progression was covertly cued by the Sage of Theatre, who had the best viewpoint of the guests’ actions.

    Supporting Materials:
    Closing Monologue
    The Return (see below)

     

     

    Reception, Statistics, and Awards

    In our feedback form, guests described Return from Faerie as:

    75% of feedback form participants indicated that Return from Faerie challenged their ideas about what an escape game is or could be.
    95% of previous escape game participants said Return from Faerie was “notably unique” to other escape games.
    The most frequently commented sentiment was the desire to replay and see the other Kingdoms.

     

    Return from Faerie is the recipient of:

    • The Hutton Honors College IMP Capstone Award
    • The IMP Outstanding Senior Project Award
    • Second Place for Creative Endeavors at the IU College of Arts + Sciences Connect Challenge
    • Nomination for the Provost’s Award for Undergraduate Research and Creative Activity

     

    Innovation Statement

    Great innovations in storytelling can begin in small places- a black box theater, an indie film festival, or an undergrad student’s dorm room. From the beginning, Return from Faerie was designed within the means of a student-produced project with a limited run rather than the means of a commercial escape game business. While these means begot a smaller production value in terms of scenic immersion, they opened avenues of creativity regarding innovative thinking that left guests calling the experience “immersive,” “engaging,” and “beautiful” even without the most elaborate, visually immersive set design.

    Return from Faerie accomplished 2 Key Innovations:

    1. High Replayability

    It is highly uncommon for escape games to be deemed “replayable.” However, due to Return from Faerie’s specific structure regarding the three asymmetrical tracks, several players indicated they would play again to see the other Kingdoms. In fact, the ability to see the other Kingdoms was the most frequently made comment on our feedback form. The fact that so many guests indicated their desire to re-play the room to experience a different Kingdom indicates the ability to double and even triple the revenue a single escape experience could draw from a single guest. Return from Faerie’s pioneering design shows that the incorporation of asymmetrical gameplay into escape games could have incredible implications for revenue and customer return rate.

    2. Customized Narrative Experience via Embedded, Guest-Generated Content

    Player-specific customization to the degree that Return from Faerie achieved is uncommon among escape games, if not unheard of. Return from Faerie proves the potential of narratively embedded, guest-generated content in escape games, evidenced by the words used by guests to describe the experience: “inspirational,” “moving,” and “uplifting.” While words such as these may be regularly applied to theme park experiences and other offerings in themed entertainment, escape games are rarely, if ever, described in this manner. Return from Faerie succeeds in showing that escape games can be more than just interactive and immersive fun; they can also be impactful, touching, and intimate storytelling experiences.

     

    Process & Additional Materials

    If you’re interested in learning more about Return from Faerie‘s production process, please take a look at this Drive folder containing:

    • Management Documents
    • Schedules & Gantt Charts
    • Media Deliverables
    • Grant Proposals
    • Process Photos
    • A Reflection on Faerie’s challenges, successes, and opportunities for improvement, written by the Producing Creative Director.

    Spoiler: One of our biggest challenges was the need to reset and strike from our performance space every day!

    Interested in learning more about our story’s origins? Take a look at this excerpt from our first Design Conference. Although lengthy, this excerpt gets to the heart of Return from Faerie‘s intimate storytelling and showcases our early intention to create an experience that feels highly personal and touching for each individual guest.

     

     

    Collaborators

    Mitchell Black – Producing Creative Director; Puzzle Designer; Narrative Designer
    Kaitlyn Brake – Actor (Film)
    Haley Burgh – Vocalist
    Josh Catanzaro – Music Supervisor; Composer; Pianist
    Josh Church – Programmer
    Blessing Culver – Storybook Artist
    Mia Donald – House Manager; Actor (Voice)
    River Epperson – Dramaturg
    Kylie Fulton – Game Environment Artist
    Ethan Goldblatt – Actor (Voice)
    Alexys Hatch – Actor (Voice)
    Jordan Hawthorn – Scenic Designer; Carpenter; Actor (Film)
    Paully Hawthorn – Lighting Designer; Electrician; Acting Coach; Actor (Film, Voice)
    Matthew Hayden – Assistant Puzzle Designer
    El Hendricks – Actor (Live)
    Kevin Hosek – Run Crew; Actor (Voice)
    Julia Johnson – Harpist
    Quinn Larkin – Actor (Film)
    Lui Luangkhot – Percussionist
    Adam Mohrs – Run Crew
    Marco Molldrem – Actor (Voice)
    Adam Morrow – Run Crew
    Leah Mueller – Actor (Film)
    Reece Needham – Audio Technician; Electrician
    Bec Pawlowski – Costume Designer
    Isaac Scheller – Recording Technician
    Preston Seiter – Game Asset Artist
    Lilah Senibaldi – Flutist
    Orlando Shassberger – Actor (Voice)
    Connor Swain – Cellist
    Natalie Wells – Recording Assistant
    Trish Hausmann – Faculty Advisor

    This is a graduate-level team Student Showcase submission. Team Members are listed at the end of the article.

     

    UF students delivered professional-level scares on a collegiate budget


    Video above by Avery Lotz

     

    Swamp Haunters, a student-lead haunted house design team, premiered its first full-scale haunted house at the University of Florida this past April. Dubbed Crimson Carnival, this 1,200 square foot haunted house featured seven rooms, thirteen live actors, two animatronics, special effects, and a level of detail that matches other regional haunts around Florida. Crimson Carnival had a final budget of $6000 granted from its parent club Gator TPED, with sponsors and donations effectively doubling that budget in terms of equipment, props, and catering. This project took two years from bluesky design to closing night, and the team spent a total of 124 hours over 10 weekends fabricating walls and props at one of the member’s apartments.

    Crimson Carnival ran for three nights and was attended by 507 guests, with highly favorable reviews. Common comments included to expand the haunt, charge more for the haunt, and bring it back for Halloween proper. Twenty percent of guests even said that the quality of the haunt matched Halloween Horror Nights, the biggest haunted house event in the state. Swamp Haunters plans to bring back Crimson Carnival in the fall, using the lessons learned from this first event to deliver a more polished, seamless product in Halloween proper. 

     

    Crimson Carnival Walkthrough POV – Vlogger reactions can be found here

     

    Guests line up for the haunt as the Dracula head entrance looms in front of them

     

    Scene 1 is a carnival grounds that establishes the aesthetic via carnival booths and the big top

     

    Our funhouse scene features blacklight paint and a mirror misdirect (pictured here)

     

    The VIP lounge serves as an energetic narrative climax to the haunt

     

    In this Themed Attraction Showcase submission, we will be diving into how this project came into fruition and highlighting several elements we are proud of. The following sections are in relative order of completion, but many of them overlapped with each other in order to use our team’s time and energy more efficiently.

     

    CONCEPT DESIGN

    Blue Sky Phase

    The haunted house project that would eventually become Crimson Carnival started in Fall 2021. The team spent that semester visiting haunts and discussing which direction to take in terms of theme, narrative, and characters. They narrowed it down to two concepts: a carnival featuring Hot Dracula. Spring 2022 was spent fleshing out this conceptual house, including designing scenes, creating concept art, and drafting a layout that would fit UF’s Architecture Atrium. Below is a collection of images that showcases the work this team accomplished by the end of Spring 2022.

    Top: Attraction layout localized to atrium; Carnival Alleyway concept art

    Bottom: Carnival Tent Meeting concept art; Feasting Grounds concept art

     

    Attraction Development

    Now knowing the direction they are going in, this team reconvenied in Fall 2022 with several new members joining for the start of the school year. This new expanded team had an early brainstorming session to build upon previous work:

    Virtual whiteboards used for brainstorming

     

    With all of these ideas on the board, the team then started combining and polishing all of these ideas into a single attraction. The initial plan was to just build the final four rooms of the Atrium layout, and Gator TPED was able to provide us a $4700 budget for the project. However, after taking a census of the experience and manpower of this new team, it was decided that a full-scale house would be possible with this budget. In order to start economizing the attraction to fit this constraint, a new layout and beat sheet (attached below) was necessary. Number of walls was used as an indicator of cost, and rooms were designed on a four-by-four foot grid to make future fabrication easier. This layout was also set inside a Black Box theater on campus instead of the Architecture Atrium.

     

    Beat sheet used to pitch the layout: UF Haunted House Beat Sheet v1

     

    Left: Revision 1 of the haunt floorplan, localized to the black box theater. Right: Sketch of the mirror gag in Scene 7

     

     

    As the layout kept interating to make it more efficient and effective, a subsect of the design team started creating moodboards and effect proposals for the rooms in the Black Box layout. Ownership of individual rooms were given to members to work on outside of meetings. When the team would reconvene, each member would then go over their work, pitch ideas, and get feedback (and praise) on their proposals. These meetings also allowed for captains to ensure each room works in harmony with its neighboring rooms, creating effective transitions between visually-distinct scenes. This work continued until the end of December, where this sub-team went through a gate meeting to run their work by both the rest of the haunt team and to get feedback from a haunt professional. Once this meeting happened and ideas were signed off on, the creative intent of the haunt was locked from further iteration.

     

    Slide deck used for Gate Meeting: HHDT Design Review

    Concept art created for the Gate Meeting

     

    Just because creative intent was locked does not mean that the haunt did not change after Gate. As the team got denied from certain locations, the attraction layout changed to become localized to the new best-case-scenario. The layout also changed to get the wall count from 83 to 50, as wall materials were the team’s main budgetary constraint. Once we got a “Yes” from the Gator Band Field to host the haunt, the layout moved from AutoCAD to Rhino in order to better draft a bill of materials to order.

    Layout localized to the basement of an on-campus dorm building

     

    Rhino model of final layout. This layout is localized to the Gator Band field and is the final location of the haunt.

     

    ANIMATRONIC DESIGN AND FABRICATION

    A key component to the haunt was the creation of an animatronic. Because Gator TPED is funded through UF’s Mechanical and Aerospace Engineering department, this haunt needed to incorporate and highlight mechanical engineering principles. Swamp Haunters’ solution to this requirement was a jack-in-the-box animatronic:

     

    This animatronic, named Razzmatazz, is constructed from a wooden frame and articulates using off-the-shelf door hinges and slew bearings. A FrightProps PicoBoo Plus controls the four pneumatic cylinders that actuate the head, arms, and torso. The body is given shape via chicken wire and an oversized costume pinned in the back, and the head is a standard clown mask on a foam craft store head. The box was donated by House on the Hill, a home haunt that happened to put on a carnival haunt the prior fall. Razzmatazz is designed to pop out above guests, so the hands swung down to an elevation of seven feet above the ground. This was to ensure that the figure stays out of the guest envelope while conveying a grabbing action, and startled several patrons that fell to the floor.

    The animatronic was designed in Fall 2022, in tandem with the creative deliverable mentioned above. Once the team decided on a jack-in-the-box, the first task was to determine the main mechanism for popping the torso out of the box. While a few ideas were thrown around, the team landed on a pivot system to avoid putting excess weight on the torso cylinder. The team also decided not to incorporate a lid to the animatronic in order to use one less function and remove one more failure point. The next step of the process is to determine the geometry of the torso motion in relation to the attachment points within the box. This was done by making a 2D paper cutout of the animatronic skeleton, pinned together via thumbtacks. The motion of the body from rest to standing was able to be visualized, and was used as the basis of the Rhino model of Razzmatazz. This Rhino model became the basis of the construction documents used to fabricate Razzmatazz’s mechanics.

     

     

    WALL AND PROP FABRICATION

    Carpentry

    By the time Razzmatazz was complete, the team had gotten more comfortable working with power tools and utilizing the suboptimal build space (an apartment complex). The team was able to split up into different groups to work in tandem with each other. Younger members were able to fabricate simpler props, like carnival booths and mannequins, while more experienced members worked on more complex wall panels, like the drop panel and crooked doorways. Roughly halfway through Spring 2023, the teams switched complexities: the experienced members started designing and fabricating the stages, big top, and facade, while the rest of the team created a jig and an assembly line to efficiently make the majority of the wall system.

       

     

    Painting

    Once the majority of the walls and props were constructed, the elements were covered in multiple coats of paint. The base coat had a fire retardant mixed in as a paint additive to ensure the haunt met NFPA requirements and provided a solid base color that the rest of the themed finish can be applied to. The majority of the paint, including all of the base coat, was sourced for free from the Alachua County Hazard Waste disposal. This facility takes leftover paint and offers it to the community for reuse, so members checked in often to see what colors were available at that time.

    A wide variety of painting techniques were used, including washes, stamps, splatters, spray paint templates, and distressing. This team used a paint-by-numbers system, where one member would section off the wall with tape and other members would fill in certain areas with color. Wall management became a factor in this stage, as the team had to keep track of which walls were completed and which walls run continuous with others. While the bulk of the color was painted on at the apartment, most of the final touches were applied on-side, after the walls were installed. This was to ensure continuity between wall panels and to allow gravity to play a role in distressing to make it seem more natural.

     

     

     

    Installation

    Once the team got access to the band field, a U-Haul was rented to move all of the walls and props to the event site. Walls were arranged by scene and were stored in the approximate area they would occupy. Two teams then started branching out from a determined origin point to screw all the walls together. Plastic sheeting was also laid out over the haunt floor in order to catch paint droplets when detailing the walls.

     

     

    OPERATIONS

    Pre-Show Duties

    Call time for all staff (actors and crew) was 90 minutes before showtime, which is when food for actors would arrive. Makeup team would start their work as soon as the first person finished, since it took around an hour for the team to finish. Maintenance techs would walk through the haunt and note any aspects that need to be fixed before opening. Wind was a big issue for this location, and would often knock around props and tear up the mirror paper. Stage Managers would check in and move actors if last-minute emergencies come up, and give notes based on the previous night’s feedback.

    Thirty minutes before showtime, the entire group would meet and get hyped for the night’s festivities. The actors would break off to go warm up, and the front-of-house staff would meet to go over position expectations and be warned of any media presence that night. The gate to the premises would open exactly at 7:30 PM with a small ceremony from the queue actors, but the attraction itself would not open until the stage managers gave the all-clear to the ticket taker.

     

    During the Show

    Throughout the night, each actor got two five-minute breaks during the course of the night. While an actor was on break, a swing would take their spot in the house. Crimson Carnival used two swings: one dressed as a carnie and one as a vampire. Once these swings moved through all positions, they would get their own five minute break. This break schedule was overseen by two stage managers and two assistants, who were also in charge of actor needs, safety, and experience.

    The Front-of-House area was designed to make guest flow as seamless as possible. As patrons walk in, they are greeted by a queue attendant who would check if they had valid tickets for the night. If they did not, they would be directed to a guest service area with staff that would help walk them through ticket purchases. Once guests have a ticket, they were allowed into the queue area. At the end of this line, the ticket taker would scan the ticket and pulse groups. This timing between groups changed over the course of the night to maintain a healthy queue wait time. At the end of the experience, a staff member would ask guests if they would like to fill out an exit survey.

    All crew and stage managers kept in contact with each other via radio. This radio also had an alarm function that was to be used in case an E-Stop was needed.

     

    Post-Show Ritual

    Each night, the event ran until 10:30 PM. This was when the queue was closed, and the haunt allowed for patrons already in line to go through the house and end the night. Once the queue was empty, the staff would do their “last run of the night” and walk through the house, applauding all the actors for a great show. The night would end with a small meeting before actors took up their makeup and left, and the leadership team would meet after that to go over issues, highlight positive experiences, and skim through the exit survey results. This allowed them to collect notes and action items to implement for the next event night.

     

    ABOUT SWAMP HAUNTERS

    Swamp Haunters, a Gator TPED design team, is the first and only team at the University of Florida that brings together students across different disciplines to create and operate a haunt attraction completely from scratch. Through their involvement with Swamp Haunters, our members get hands-on experience designing, constructing, implementing, and running a themed entertainment experience without leaving UF’s campus. These students develop their teamwork, professional communication, and leadership abilities, whilst gaining the unique opportunity to network in the themed entertainment industry.

    Moving into the future, Swamp Haunters has restructured its team hierarchy to better capture its scope moving forward. Taking inspiration from other regional haunts around Florida, design captains now each oversee several different team leads, who in turn oversee the development of specific elements of the haunt. Now that the team has a better grasp of every single deliverable necessary to build and operate a haunt, Swamp Haunters hopes to better address its crunch and scope loss issues and create a better product moving forward.

    Swamp Haunters plans to return in Fall 2023. If you are interested in attending Crimson Carnival, please reach out to us at: swamphaunters@gmail.com

     

    Swamp Haunters Team:

    Leadership: Andrew Long, Josh Kesten, Kayla Mys, Josiah Evaristo, Shannon Brixner, Hanna Staruk, Jake Blumberg, Ivan Saldarriaga

    Members: Ambar Aballo-Ruiz, Amber Collins, Douglas De Sousa, Eliana Gosiker, Elliot Myers, Ethan Willis, Grace Watts, Katie East, Mack Fritz, Parker Loftin, Reilly VanderNeut, Tyler Grace Krupa, Zack Dayeh

    Actors: Amanda Jones, Cola Graham, Connor Haley, Eugene Gurary, Grant Oberle, Ian Anderson, Jariel Evaristo, Jazmine Sandoval, Josiah Acevedo, Kyra Kramer, Luke Ortega, Michael Evans, Miles Levitan, Sofia Hueller, Ziad El-Rady

    Grimm's Enchanted Kingdom - SCAD

    Grimm’s Enchanted Kingdom: a magical destination based on the stories of the Brother Grimm

    Individual Entry: Edellaine Legawa

    Graduate Student: MFA in Themed Entertainment Design (SCAD)

    This project can also be found in: GRIMM’S ENCHANTED KINGDOM

    The theme of the park is morals of life similar to the message of each Grimm’s fairytale stories. The message that the guests will walk out with is that the journey to a happy ending doesn’t always go through happy moments, the dark ones make them memorable. The vibe of the park will be spooky yet magical.

    By: Alex Tylor, Colin Phillips, Kewalin Lerdprapapong (Mint)

    Overview of Operation 3’s World

    Our world, Operation 3 is a kitchen sink style land design. The story is about 3 distinct factions who were living in separate parts of their own country, Clade. They came together when one of the factions discover a precious material, and they are now on the brink of war to have control over this material.

    Each faction has 3 classes of infantry – agents, the James Bond suave type, Officers who are closer to soldiers or policemen, and investigators, who are a cross between hackers and detectives.

    Our goal is for guests to experience what it’s like to be a spy – we want to recreate the 1950s film noir style, but a touch of vibrancy has been added due to the emergence of new technology. Our land will teach guests about respecting cultures and traditions, as well as healthy competition. 

    Guests will leave feeling accomplished like they have participated in something bigger than themselves through collaboration, completing quests, and participating in the attractions.

     

     

    The project was aimed at implementing a gadget in the setting of Costa Rica’s museums. We focused our project on the Museo de los Niños. The project was consulted and worked with permission of the museum.

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    Thanks for reading!

     

    The Team

     

    Olman Arias Valverde

    Linkedin: linkedin.com/in/olmansei

    Portfolio: olmansei.myportfolio.com

     

     

    Maria José Murillo Rodríguez

    Linkedin: linkedin.com/in/maria-jose-murillo

    Portfolio: maria-jose-murillo-portfolio.webflow.io

     

    Gabriel Núñez Rojas

    Linkedin: linkedin.com/in/gabonunez/

    Portfolio: gabonunezrojas.myportfolio.com

     

     

    Yordi Ramírez Gamboa

    Linkedin: linkedin.com/in/yordir11

     

     

     

    Background

    Distant Paradise was a group project for the Introduction to Themed Entertainment Design Class at IUPUI. Having backgrounds in design, art and engineering, together we were able to collaborate in creating a land for a theme park.

    Members:

     

    Story

    Sometime in the past, 80B (Bob), a space explorer was on his way back to the space base to report back from exploration duty. However, his rocket ship unexpectedly experienced some failures. Despite all his efforts to keep the rocket going, he was forced to make an emergency landing on a strange forest planet. Stranded, his only option to get rescued was to explore the strange new world in order to find a communication signal. During 80B’s exploration, he wrote down his discoveries and left them behind, in hopes of informing future explorers. Thanks to 80B, we know that there once was a thriving alien resort close to his impact site. The now-defunct resort is currently preserved by 80B’s space exploration mates.

     

    Theme

    In the science fiction land, guests are meant to feel confused, transcendent and unfamiliar in an otherworldy environment. There, they will discover the explorative spirit within themselves; life is full of adventure. Eventually, when they leave the land, we want guests to think that greed destroys all and eventually, everything returns to nature.

     

    Distant Paradise Land Concept Art

    Concept art for Distant Paradise. 3D modeled in Blender, composited in Adobe Photoshop. Some elements generated using Midjourney.

     

    Guest Experience

    When guests step into this distant paradise, they are transported to the space base — the final pit stop before starting their adventure. Surrounded by hi-tech structures and instruments, guests can find all the necessities one can need such as food, equipment and, of course, restrooms. Past the space base, guests explore in the footsteps of 80B into a mysterious forest. In the middle of the land, guests can navigate through a maze filled with 80B’s notes before encountering his rocket ship. To the left of the maze, guests can take a boat tour and discover everything that this distant paradise has to offer. Further into the forest, guests can find an alien hotel where they can experience an attraction, and also a restaurant where their tastebuds will dance to the out-of-this-world recipes found in the hotel’s old cookbooks.

     

    Quick Service Restaurant Concept Art Distant Paradise

    Concept art for the quick service restaurant at the space base. 3D modeled in Blender, menu images generated using Midjourney.

     

    Solar Spice Menu Distant Paradise

    Menu design concept for the restaurant adjacent to the alien hotel attraction. Designed using Adobe Photoshop, Illustrator and Indesign.

     

    Taste & Smell

    We wanted to have some food options that relate to the story (like 80B’s potato salad and astronaut food) but still have the food be fun and taste good. Thefirst menu is a little fancier and the second menu is more grab-n-go. For the smells in our land, the space base has more of a fresh and new smell, like a new car smell. We chose that because it’s full of new futuristic technology and imagined that’s similar to how it would smell since the area is also very clean. It makes a good contrast to the area that the hub goes into as well since it’s a forest. The forest would have a lot of smells naturally like from the dirt and lake, but we might still have slight basic “foresty” smells sent through machines. For the “abandoned” hotel, it would have some nice floral sents in since it used to be part of a fancy resort, but it’s still supposed to be abandoned. So while you get hints of nice/fancy smells that clue you into its past, the hotel would still mostly smell old and dusty.

    Sustainability

    In order for guests to enjoy this themed land for years to come, we have several initiatives to maintain its upkeep and to do our part for the environment.

    1. Dining: In order to reduce waste, we have opted to use glass dinnerware, not just in our restaurant, but also at our QSR as well. At the QSR, once guests are finished with their meal, guests can simply return their wares to dedicated return windows.
    2. Recycling: Recycling bins will be distributed across the themed land.
    3. Digitalization: This is extremely important for streamlining systems and processes while working with maximum and up-to-date information. Additionally, it eliminates unnecessary waste.
    4. Green energy: We utilize green energy to reduce carbon emissions.

     

    Technology Use

    In order to fully immerse guests in the Distant Paradise, there are several pieces of technology that we would like to use.

    • Space base area
      • Roaming robots/animatronics
      • Smoke machines
    • Forest area
      • Fog and smoke machines
      • Blacklight lighting (bioluminescent simulation)
    • Hotel area
      • Projectors for projection mapping (nighttime shows)
    • All areas
      • Hidden speakers, lights and fans

     

    Thank You!

    Original slide deck: DistantParadiseSlideDeck

    Distant Planet sound mood board: DistantPlanetSoundMoodBoard

    Story treatment: DistantPlanetStoryTreatment

    Land layout document: Distant Land Layout

    Tian Tang Dim Sum [天堂点心]

    Created by Isabel Li, Katherine Arcinue, Katherine Tan

    Affiliation: Claremont Colleges (All Second-Year Students)

    Themed Entertainment Association @ 5Cs

    Tian Tang Dim Sum is an interactive three-part indoor attraction that allows guests to build community through food, performances, and adventures in an RPG-styled traditional Chinese setting. 

    Inspired by rural, pastoral 8-bit RPG games, we decided to adapt the aesthetic to a more East Asian setting, focusing on a dim sum restaurant run by nature spirits to promote peace and community.

    This large attraction would hypothetically be set in the indoor wing of a mall, ideally with access to a glass ceiling that allows natural light to define the atmosphere. The indoor setting allows the interactive quest, in particular, to be better controlled within the technology-heavy environment.

    Links to Deliverables:

    Tian Tang Dim Sum Written Treatment

    Tian Tang Dim Sum Pitch Deck

    Part I: Dim Sum Dining

    We chose dim sum as our primary cuisine due to its significant emphasis on community, particularly with the culture of sharing a dish on a circular table (passed around with a Lazy Susan). Because of its small portions, eating dim sum encourages active communication with others sitting at the same table.

    Part II: Performances

    Part III: Forest Quests

    A Technology Concept to Increase User Experience for Disabled Guests

     

    Introduction:

    My name is Stacia Meconiates, I’m finishing up a master’s at Arizona State University in Interdisciplinary Digital Media Composition, and I have Ehlers-Danlos Syndrome. This genetic condition affects how my body creates collagen, and leads to frequent pain, joint dislocations, heart issues, and difficulty in standing for long periods of time. You can imagine that these symptoms make visiting and riding theme park rides difficult, so I frequently utilize an Electric Conveyance Vehicle (ECV) while out at a theme park. While I deeply appreciate how far theme parks have come in terms of accessibility, there are aspects I feel like are still lacking. The two largest difficulties I notice as both a guest and an interactivity maker being pre-ride elements and the ability to interact with those elements as a disabled person, and the interactivity surrounding RFID bracelets that have begun to be rolled out at certain parks. I believe that certain aspects of both these issues can be solved by adding gyroscopic sensors to the bracelets.

     

    Recognizing the problem and drafting a solution:

    I have been to two parks in the last year that utilize RFID bracelets, one in Florida and one in California. In both instances there were interactive statues, and there were interactive statues in both that I personally could not interact with due to disability. There were two categories these un-interactable statues fell into: the first being ones my ECV could not get close enough to, and the second being ones where my range of motion was not adequate to activate the statue. These experiences followed me home from both parks, and deeply influenced my thesis work. I decided to use a MEMS gyroscopic sensor device to create an adaptive user controlled experience that can work off of the user’s personal range of motion.

     

    A screenshot of the main Max project used in the implementation of my user controlled range of motion device

    A screenshot of the main Max project used in the implementation of my user controlled range of motion device

     

    To perform this project I bought a nine-axis gyro device called a Mugic. This device was created by a musician named Mari Kimura to encourage electro-acoustic performance. I decided to attach the device to the wearer via an crocheted armband and program it in a software called MaxMSP. The device is able to send data from the yaw (x), pitch (y), and roll (rotation) axes. I use this data to track the range of motion the user is showcasing, and have those motions trigger various effects.

     

    An example of the Mugic device coded to work for dancer Valkyrie Yao. In this example the Y axis controls pitch and triggers sound files, the X axis controls waveform, and the rotation controls volume.

     

    How to expand the use of gyro sensors to increase disabled guests’ experience:

    The Themed Attraction Industry could use this technology in a variety of fields, from guest experience to having performers trigger audio and visual effects from their motions. The gyro technology is small enough to be worked into an RFID bracelet without increasing its bulk too substantially, and could allow for greater interaction by disabled guests. This would allow for guests with limited ranges of motion, such as people with cerebral palsy, to be able to ‘wave’ to a statue to the degree they can move. For guests with chronic pain, being able to limit the amount of movement we do is one of the key ways to conserve energy we need for the high energy event that going to a theme park is. Implementing these sorts of upgrades to the currently available RFID bracelets would mean that no longer do I have to put myself into a greater degree of pain to interact with character statues or other interactive statue elements.

     

    These gyro RFID bands can also be worked into existing pre-ride elements. Some pre-ride elements in certain lines are inaccessible if you are seated; either by height or how the housing is built and angled. Having currently inaccessible pre-ride elements be retrofitted with RFID receivers that are able to pick up movement from users would increase the experience not only for disabled guests, but would also add a greater level of interactivity for the general population. An example would be for a guest ‘slapping’ their hand down near a drum they cannot reach from their ECV triggering a drum sound from the nearby instrument. I’m sure that smaller guests can also experience issues with interactive pre-ride elements that could be mitigated by including gyro and increased RFID usage. By including gyro accessibility in pre-ride elements a park is able to gain not only a higher rate of satisfaction from disabled guests, but also increase the total amount of guests that are able to experience and interact with certain pre-ride elements of the ride experience. This sort of technology can easy increase the ‘wonder’ surrounding a ride.

     

    Other Considerations

    Another avenue this technology can be used in is by the park performers in shows, parades, and performer-guest interactions. As showcased in the video above, dance and motion can be used to trigger and control any sound needed. In my video the performer is generating all of the sounds heard, but gyro devices can be easily sewn into clothing and costumes and used to activate specific audio and lighting events. Having a thunderclap sound when a performer raises both hands up, or having a quick downward motion be used to dim the lights, are two examples that quickly come to mind. These sorts of effects being triggered by a performer in a show would allow for the audio visual engineer to have the space and focus to program and execute more involved AV effects. This sort of gyro integration will allow for greater malleability for performances, and can be integrated into direct performer-guest interactions. Imagine a character being able to trigger lighting sewn into their costume by sweeping their arms out, wowing the child at the table the character is visiting. Or for a character placed above guests to be able to control their voice projection simply by twisting their arm, adding a level of minute control and showmanship.

     

    Conclusion:

    The Themed Attraction industry is evolving to be more accessible for disabled guests. One of the unique challenges of introducing new technologies is seeing how certain populations interact with what you’ve created, and then base improvements off of their experiences. I believe that the incorporation of gyroscopic MEMS sensors in RFID bracelets currently being used by certain parks will greatly increase the opportunities that disabled populations will be able to interact with audio and visual elements throughout the parks.

     

    Team:

    Stacia Meconiates (Masters): Project creator, coder, crocheter, and owner of terrible collagen

    Team Members

    • Lori Kipp: Set and Theming Engineer, responsible for set design, puppet design, fabrication, puppeteering, art direction
    • Tsai-Yen (Cleo) Ko: Software Engineer, responsible for show programming, A/V programming, hardware installation, digital puppeteering
    • Ivy Liu: Art Engineer, responsible for concept art, storyboarding, graphic design, video production, prop fabrication
    • Nolan O’Keefe: Hardware Engineer and Producer, responsible for puzzle design, construction, fabrication, electrical engineering, scheduling, budgeting
    • Katherine (Kat) Wheeler: Narrative Engineer and Assistant Producer, responsible for show writing, directing rehearsals, development blogs, scenic painting
    • Louise Cutter: Assistant Set Designer, responsible for set drawings, set dressing, scenic painting, puppeteering

    Overview

    Return of the Dragon was an immersive walkthrough attraction created by a team of five graduate students and one undergraduate assistant for a one night installation at the Carnegie Mellon Entertainment Technology Center Fall Festival. Our attraction brought together RFID-based interactives, a tactile puzzle, a large-scale dragon puppet, and a complex A/V system to transport our guests into the mystical realm of Eigenrac and give them the power to bring dragons and magic back to the realm. 

    Our guests visited our attraction as part of the ETC Fall Festival, a yearly tradition that serves as a showcase of student work throughout the semester. Festival is the most highly attended departmental event, with guests ranging from children and families to industry professionals. As this year’s only project given a full 14 week, 36-credit-hour course solely dedicated to creating a Festival experience, we knew our attraction would have to be immersive, memorable, and fun, and take full advantage of the physical space we were given. We owe our success to thorough planning, interdisciplinary teamwork, and keeping storytelling central to all our decisions.

    Experience and Story Walkthrough

    Queue

    “It is just as it has been foretold. Perhaps you will succeed where so many have failed; perhaps you will help us repair the bonds of magic!”

    Our experience began with a queue in the hallway outside our room, where a queue attendant delivered a spiel to each group of 3-6 guests. The guests learned from this spieler that they are elemental mages– one of them connected to fire magic, one to water magic, and one to air magic. They received dragon scales of a fire, water, and air dragon, preserved for ages by the Elemental Guild, through the spieler’s sleight of hand.

     

    Preshow

    “We believe you, the new mages, can use the dragon scales of old to channel anew the power of the elements.”

    In the next zone, guests were greeted with our pre-show video, a two and a half minute introduction to the magical realm of Eigenrac, the dragons that once freely roamed, and the power they have to repair the broken bond between dragons and mages. Watch our video below.

    Tutorial

    “Out of the darkness, a flame! The bonds of magic are being rewoven even now.”

     

    Next, the guests walked into a cave towards the entrance of the Dragon Temple, to learn how to harness the power of the elements of fire, water and air, under the tutelage of an Elemental Guild member. They tapped their scales on the Elemental Guild’s sigil to activate each respective element- a fire cauldron, a fan, and a fountain, for fire, air, and water. Since each dragon scale will only awaken one of the elements, guests had to collaborate with each other, and trust in each other’s magical abilities.

    Puzzle

    “If you are worthy, the eggs will know
    And once again let power grow…”

    The guests enter into the Dragon Temple, an ancient stone structure built to house the most precious magical artifacts. For hundreds of years, three dragon eggs have remained here, preserved in stasis, locked away from any dark mages who wish them harm, and guarded by a Temple Mage. A stone wheel and Elemental Guild sigil serve as a lock for their three cages. And a riddle acts as a key.

    Each egg corresponds to one of the elements, and is kept in stasis using the magic of another element. The guests must turn the wheel to point towards the egg’s element, then tap the scale corresponding to the magic it needs to revive it. For example, the fire egg needs air to breathe, so the guests would turn the wheel to the fire magic symbol, then tap the air magic dragon scale.

    When all three eggs are revived, the cages are unlocked, and just in time, for the mother dragon in the temple’s inner sanctum awaits.

    Dragon Encounter

    “After all this time? Magical harmony in the realm of Eigenrac?”

    The Temple Mage guides the guests down the dark hall to the Inner Sanctum, where the dragon has been summoned.

    As the guests file into the room, the dragon sees them carrying her eggs, and her grief and fear turns to rage. Her eyes change from their mournful blue color to a deep red. With a roar, she breathes red smoke at the guests.

    Now is the guests’ chance to repair the bonds of magic. They move to the nest, and one by one place the eggs in it. As a light and music show plays, the mother dragon realizes that these new mages are righting the wrongs of those who came before.

    With her eggs returned to her, she finally feels safe, and allows guests to pet her and take photos.

    They have done it! The new Elemental Mages restored the harmony and trust between dragons and mages, so dragons can return to Eigenrac! The mother dragon gives her own scales to the guests, so they can stay in touch with magic throughout their travels. Finally at peace, her family reunited, she allows herself to drop into a peaceful slumber as the guests exit.

    Post Show

    “Oh my stars… for the first time in millennia, newly chosen mages, trusted with Dragon Scales!”

    At the end of the show, the guests receive dragon scales and miniature dragon eggs from the mother dragon. These are not merely a keepsake, however. Throughout the building, we turned three unused offices into post-show interactive stations. When guests tap their keepsake scales on the Elemental Sigil, one of three videos plays: the three baby dragons hatching, learning to use their elemental magic, and flying with their mother. These also served to advertise our main experience, with signage indicating to start the adventure at our room number.

    Design and Planning

    Show Writing

    After narrowing down from over 20 ideas at the start of the semester, we developed the fantasy realm of Eigenrac and the story of rebuilding trust from initial pitch slideshows, to treatments, to scripts, to our final narrative product, a show bible. This document, provided for our actors, contained all scripts, a glossary of worldbuilding terms, and answers to questions guests may have.

    Our actors had the freedom to improvise in response to guest actions, and we rehearsed many different possible guest situations with them. We found that guests sometimes needed help understanding how to use our tangible interactives, and sometimes needed stalling while waiting for the group in the next zone to move on, and planned for both of these events. We also found that we needed to account for circumstances where tech problems necessitated a manual override by an actor, and added that information into our operations plan.

    View our entire story bible here.

    We ended up with three roles to be shared throughout the night by seven actors: the Entryway Mage manning the queue, the Tutorial Mage guiding guests through the pre-show and tutorial scenes, and the Temple Mage guiding guests through the puzzle and dragon encounter.

    Storyboarding

    We created a storyboard for the entire experience, as well as a more detailed storyboard for our pre- and post-show videos. Click through our storyboards below.

    Throughput and Operations

    Each group of guests was between 3 and 6 people, and our experience length averaged at 10 minutes. We could accommodate three groups at any one time: one in the pre-show/tutorial zone, one in the puzzle zone, and one in the dragon encounter zone. Each zone was timed to take up a slightly longer amount of time than the next, to prevent bottlenecks and allow for our actors to reset the effects. Our zones were separated by a pipe and drape system, allowing us to hang A/V elements from the pipes.

    To allow for an actor to manually reset the puzzle and lock the eggs back in their cages, the role of Temple Mage was played simultaneously by two actors, who cycled through the puzzle and dragon encounter zones with a single group of guests. Several actors were trained for multiple roles, based on several actors’ other time commitments at the festival.

    Overall, our planned maximum throughput was calculated at 54 guests/hour, or 216 guests over the four-hour festival.

    Show Control

    We used Unity to create two completely separate show control programs– one to control the overall environmental lights, tutorial space, and the dragon show, and the other to manage the puzzle. We anticipated the possibility of needing to manually restart the puzzle, since it involved the most guest interaction, so it runs on a separate PC. In the below photo, the screen on the right is using the main show control program, the middle screen is viewing the puppeteering webcams, and the left screen is a laptop remoting into the standalone puzzle program PC.

    Interactives

     

    The magic tapping interaction was created with Phidget-compatible RFID tags hidden inside the dragon scales, and Phidget RFID antennas hidden inside laser-cut hardboard boxes. All Phidgets were integrated with our show control programs.

    The puzzle combined the RFID-based interaction with reed switches, activated by magnets on the back of the wheel.

    When solved, the puzzle would activate a light and sound show, and unlock the solenoid locks hidden within each egg cage.

    To help our actors reset the zones after each group, we created “reset scales” they could tap on any of the hardboard boxes to return the tutorial or puzzle to the starting state.

    Our post-show interactives used MFRC522 RFIDs hidden in our keepsake dragon scales, and Raspberry Pi RFID antennas hidden inside the laser-cut boxes to control the videos. We used this system for the post-show to keep costs down for hundreds of giveaway scales.

    A/V Hardware

    Fire, water, and air each corresponded to a primary color of light, allowing the lighting to serve as visual feedback when a scale was tapped for each element. In the dragon encounter, the lights mounted in the dragon’s horns and eyes served to convey her emotional state. When the eggs were returned to her nest, each egg activated the corresponding color in her eyes and horns for a moment. At the end of the encounter, her lights cycled through the entire visible spectrum, symbolizing her feeling of gratitude and the harmony in the realm that guests were able to achieve.

    We composed an original soundtrack for the experience. A D Major chord is heard both when the puzzle is solved, and each note within it is heard when an egg is returned to the nest, providing continuity through the experience for the three eggs.

    Our lighting, sound, projection, and other A/V elements are shown here on this map.

    Puppet Design

    The dragon was designed as a crystal dragon, based on concept art and a 3D model.

    Our puppet incorporated a physical puppeteer, who wore the puppet on a harness and controlled its mouth, eye, and neck movement, and a digital puppeteer, who controlled the lights, sounds, and fog machine. Both puppeteers were hidden behind drapes in our command center.

    The goal of our puppet was to create a climactic moment with a strong sense of emotional realism. To accomplish this, the puppet’s movement had to be dynamic– and that meant the puppet had to be lightweight to prevent fatigue. She is primarily made of cardboard and PVC pipe, with liquid latex for texturing, thin plastic horns, decorative iridescent cellophone, foam teeth and eyelids, and laser cut acrylic for the eye mechanism. Her total weight of 15 pounds was light enough to suspend the harness from our pipe and drape system, taking most of the weight off the puppeteer and allowing the dragon’s neck to appear to move more dramatically.

    We used three webcams in the dragon room to help the puppeteers see without being seen, so the digital puppeteer could trigger effects at the right moment, and the physical puppeteer could look directly at guests.

    Props and Costumes

    We created a wide variety of props and costumes for our experience, such as dragon eggs, the eggs’ nest, cages for the eggs, and miscellaneous set dressing. We also sewed costumes for our actors.

    Results

    “That dragon was not an animatronic puppet to me.”

    After so much planning, we fabricated our props and set, created costumes and videos, installed all tech elements, composed a soundtrack, and ran playtests with over 50 people.

    On the night of the festival, our anticipated challenges relating to throughput and operations were well accounted for. Every guest who got in our queue line was able to experience our attraction, and we never had a wait of over 20 minutes. We hosted 171 guests over the four hours, or 43 guests/hour– 79% of our planned maximum guests. 72 parties participated in our post-show interactives– likely more than 72 individual guests, since most ETC festival attendees are in groups.

    Guest feedback was extremely positive. We saw guests advertising our experience for us through word of mouth, and several groups of repeat guests waited in our line twice to see the dragon again.

    The impact of our experience on the rest of the ETC Fall Festival was very positive as well. Our post-show stations encouraged exploration throughout the whole building, and the word-of-mouth generated by our experience helped create a feeling of excitement and wonder for the festival. Since this festival was the first one held in person since the start of the COVID-19 pandemic, we were especially proud of this intangible effect. We hope that the bar we set for ETC Festival attractions remains high, and that future student teams can use the lessons we learned about creating an immersive world for a one-night experience.

    Special Thanks

    Thanks to our volunteer actors: Louise Cutter, Martina Saldamarco, Sarah Colquhoun, Joey Perrino, Derek Williams, Marie Leung, Yukti Gupte.

    Special thanks to our alumni consultants, who did not complete work on this project but provided invaluable advice and feedback: Christine Barnes and Danielle Holstine.

    Special thanks to our ETC faculty instructors, Shirley Saldamarco and Ruth Comley, our faculty consultant, Dave Culyba, and all the CMU IT and Fire Safety employees who helped ensure that our event ran smoothly.

    Team Members: 

    Daniel Ruiz – Graduate

    Queue:  Guests leave behind a small Viking village in medieval Scandinavia and enter the long home of the village’s oldest member and keeper of Viking history. Passing along weapons, paintings, clothing, and pieces of armory brought back from past battles as Nordic war tunes made from woodwind instruments fill the air.A fire pit at the center of the house, where meat hangs to cook, provides some light as the guests walk to the back.

    Scene One/Pre-Show: Waiting in the back is Unleog the Storykeeper, an older man with greasy long silver hair, dirt on his skin, scars along his arms, and a cloak made of fur wrapped around him to keep him warm during the harsh winters. His eyes are glossed, telling the guests of his blindness, but those in the village know although he cannot see he still knows all. “Ahh, visitors,” he begins “come to hear the story of Odin?” Behind him, a large framed painting of some kind of battle begins to move as Unleog speaks. “The All-Father was the god of many things, including the God of War. Many stories over the years have proven his godliness but among them all, the story of Ivar Modig has been told the most…” Unleog continues to explain who Ivar is and what he was famed for as the painting behind him continued to move and change its artwork based on his spoken words “But let me not just say his story with words,” he gives a slight smile as thunder claps outside the home “ah Thor speaks…exit my home and you will find ships waiting for you along the water’s edge, journey down and you will experience the tale of Ivar Modig, the Viking who protected Earth by saving Heaven.”

    Scene Two/Load: The guests walk out of the back of the long home and make their way to a water bank where smaller-scaled Viking warships rock awaiting their boarding. Shipmates help the guests to their seats and once boarded, a loud horn is blown. From the sides of the ship, oars begin to rise and move causing the ship to begin its journey down the river. Fog hides the path ahead and a strong deep voice begins to echo around “Have you come to hear the tale of the Vikings?” A raven flies above the ship “and how one among them saved both Midgard and Asgard alike.” The fog begins to clear and on the shores of the river the raven calls out catching the attention of the guests aboard. They notice the bird sitting on the shoulder of an older man, his head hung low, with war-torn clothing and a large branch to help keep his balance. He lifts his head as the ship reaches past him, covering his left eye with a gold metal patch that twinkles. Odin. “But be warned, for the journey that lies ahead is filled with dangers around every corner.”

    Scene Three: Down the river the ship leads to the mouth of a cave, dark and damp the guests onboard are filled with both confusion and curiosity. Quickly, bright lights come on and a pastel landscape made up of hills and long homes, filled with tinny Viking puppets, appears as they begin to sing an obnoxious little tune. The cringe-worthy scene goes on, puppets continue to sing and dance, and the guests know they won’t be able to keep the irritable tune from getting stuck in their heads. “The Life of a Viking, the Wonderful Life of a Viking….” Just as the guests think the children’s style song couldn’t get any more annoying and the puppets any creepier, a bright flash appears followed by the sound of an explosion and pieces of puppets flying everywhere as crazed Vikings come in shouting, waving their weapons in the air.

    Scene Four: Safely making their way out of the exploding invasion, and semi-glad that the song is now over, the guests find themselves in the middle of a full-on Viking Invasion of an English settlement. Vikings and English warriors fight, as tents and English flags burn all around. The guests begin to question if they are safe on the ship, but in the middle Odin hides in plain sight reassuring their ship is protected from any dangers. Arrows are shot in the air as lightning crackles in the sky above, the Vikings shout with great spits knowing the Gods are on their side.

    Scene Five: Soft music from wind instruments slowly play as the ship continues its way down the water and transitions from an invasion to an aftermath. Vikings drink pints of mead, as some lay on the ground from having a little too much of it. A few flirt with spared English women, and large animals sit over a fire roasting, as Odin watches from afar. “Look just over near the great fire, there you will find Ivar Modig.” Standing just where the guests were told, a tall man with muscular features, a great beard, and long brown hair with a few strands tied in braids to match his beard, wears a mix of battle armor and animal skin just as others sit around him to praise in their victory. “Today,” he announces, “is a grand victory not just for us, not just for our people, but for Asgard as well!” The crowd cheers “and tomorrow we begin our voyage home to rejoin with our families and celebrate together!” The guests on the ship share a sense of pride with the Vikings, excited to see where the journey will continue…which currently is the inside of Ivar’s sleeping tent where Ivar is, well, sleeping. Instantly, however, the little light provided is snuffed out and all around the voices of three different women begin to speak in unison. “Ivar Modig,” they announce, “you begin your journey home, but unknown to you there will be no one left to go to,” they cackle in evil, “the Gods will not be able to help you, and soon all the realms will fall.” Within the darkness three figures of smoke appear, two on either side of the guests and the other floating above, revealing who has been speaking in the dark, Volvas, Norse Witches. The ship passes through the one at the front, “at the hands of Surtr, the first of the fire giants to emerge from the realm of fire” loud banging of war drums begins to play as flames ignite along the edges of the water, the guests can feel the heat on their skin but are too preoccupied to notice as in front of them in the sky a giant constellation forms to reveal the figure of a monstrous entity with horns on their head and claws for hands. Surtr. The Volvas’ laughs echo once more as once again the lights go out and slowly torches come back to life, a breathless Modig sits up in his cot within his tent awoken by the nightmare everyone experienced.

    Scene Six: Just outside of the tent smoke from dying fires whisps in the air, some Vikings gather weapons and battle souvenirs as the ship, on which they came, prepares to set sail.  The ship’s long wooden frame resembles the body of a fierce dragon, with the head carved at the bow detailed with a split tongue sticking out from its mouth. Shields mount the sides of the ship while one single, yet immensely large sail drops down, painted with red and white stripes. Modig shouts “Forward.” Alongside the guests the Viking ship begins to go down the open waters, giving the guests a sense of inclusion with the Vikings. Down the sea, the opening of a mountain cavern appears, fog and darkness looming from within, but with no way around the only way is through. Both Guests and Modig’s ships continue on, the fog slowly surrounding the vessels, an eerie feeling climbing over the guests. Echoing within the mountains laughter from the Volvas. “Come to see his rise?” One of them appears standing on a cliff. “His body of heat, his eyes of fury,” another appears. “And soon all that will be left will be nothing but ash and ruin,” the last Volva appears. “Weapons at the ready,” Modig calls from his ship. “Now rise, rise Sutr, RISE,” all thee in unison shout and instantly the Earth begins to rumble, the oceans waves hit the side of the ships with great ferocity some guests begin to worry they might flip over. From the mountain peaks cracks begin to open as molten lava escapes and slides down the mountain side. From one side of the mountain it seems as though two eyes are slowly opening, awakening from a deep slumber, its piercing golden gaze made up of pure heat stares right as the ships as Surtr begins to come alive. “ODIN HEAR MY PRAYER,” Modig shouts and soon everything goes dark and silent.

    Scene Seven: “Odin but I am a humble warrior, chief, and great leader in battle. Modig’s words are spoken in the darkness. The guests ship continues on and it seems that they have made their way onto Modig’s ship as one singular point of light points at him, one knee on the ground, battle axe on his side for balance. “Odin hear my call, your help with that of the Gods of Asgard is needed on this day.” For a moment it seems as though Modig’s words are only being heard by those near him, that is until another point of light appears. Odin steps forth with a cape made of gold, a breastplate of bronze, and a deep black raven on his shoulder. “My boy,” he begins, “It is you alone who must defeat Surtr.” Odin continues to explain who the fiery giant is and how it is Surtr who will bring the end to all 9 realms and begin the dawn of Ragnarök. “It was the God Frery who was destined to defeat the giant but foolishly went into battle weaponless and thus was slain,” Odin explains “But you must take his weapon, the sword of Frery, and stop Surtr before he destroys the 9 realms, take the sword, and prevent Ragnarök. One fatal blow with it and the giant’s inferno will die out.”

    Scene Eight: Light appears again, Odin is gone, and the guests are beside the ship again. In front, however, a monstrous giant stands before them with horns of iron, a beard of lava, and skin made of volcanic rock. Surtr roars and the guests shake in anticipation of Modig to do as Odin said. Arrows fly from the ship, but barely damage the giant, in fact, it seems to only tickle him as he laughs in a cocky manner. Roaring, the monster slashes its molten blade down, pushing the water to thrust the guest’s ship forward and through the giant’s legs. The ship spins to face the giant who turns around and is ready for a second blow. In the water, Vikings who fell off the side of their ship swim away for safety or towards their ship to fight back. Modig jumps to the port of his ship, sword in hand “Surtr,” he shouts, “this may be your beginning, but it is also your end!” The guest’s eyes widen as they watch Modig jump, sword forward, and land right at the giant’s chest. Instantly the heat in the air begins to cool, as Modig slides down the middle of the Surtr, holding on to the sword as it cuts open a deep gash in the middle of the giant’s body.

    Scene Nine: Its cold body now lies in the middle of the ocean, its molten lava begining to cool, its eyes are closed as its rocky structure now creates a new mountain range. The guests watch as Modig stands near the giant’s once-furious face and plants the sword on the ground. “Thank the Gods, Thank Odin.” A raven appears and flies around the guests, they watch to see it land on Odin’s shoulder who stands tall and now seems a few feet taller. He nods graciously and leads a gentle hand toward a set of golden doors which seemed to have appeared out of nowhere. The doors open, and a bright light shines through as angelic music slowly comes to life.

    Scene 10: “Welcome,” Odin speaks with a voice that is so loud it can be heard for miles, “to Asgard.” As the guest’s eyes adjust from the sudden brightness, they widen at the beauty surrounding them. Doves fly around and gardens are made up of some of the most colorful trees with waterfalls coming from the sky. Marbled and gold buildings float around, as Gods and Goddesses seem to float on around Asgard. The ship passes through an archway of statues of some of the more prominent gods from Odin and Thor to Frigg and Balder. Guests point at Valkyries who sit guard on their winged horses, who nod at the guests as they pass. The water which carries the ship flickers and shimmers as it changes colors from red and orange, yellow and green, and even blue and indigo. Up ahead a group made of a few Gods and Goddess stand watching as the guests get closer. They wave as the ship passes by and out through another set of golden doors where the guests are coming back to where they started, the village where Unleog lives. “Now that you know the story of Modig and have seen the heavens yourself,” Odin stands at the edge of the waters but as the ship passes his shape changes and it revealed he and Unleog are the same person “Pass along the story, and who knows maybe the Gods will be needing your help.”

    Unload: We leave Unleog behind and return to the village where the guests are assisted off their ship and led back to explore more of the Viking’s stories.

    Peter Rabbit’s Secret Garden

    is an innovative edutainment resort designed for guests across all age groups. This contemporary adaptation of Beatrix Potter’s classic story has been reimagined by designers Beryl Wang, Lucas Carbone, and Tarana Pahlajani.

     

    (A video display for the clearer slides and a PDF file are attached in the end)

    Premise: In this narrative, the beloved character Peter Rabbit and his companions take charge of the newly vacant garden, following the departure of its former owner, Mr. McGregor. After much planning and development, Peter Rabbit has at last decided to reveal his masterpiece to the world. As a cherished friend of Peter Rabbit, you are cordially invited to discover this enchanting hidden realm. Prepare yourself for an unparalleled journey into the wondrous world of Peter Rabbit’s Secret Garden. 

     

    Pre-Check in Experience: In addition to the hotel services, our resort features three distinct day-to-day activities designed to enrich your stay. These activities include

    1. Adventure, where guests can partake in thrilling outdoor pursuits;

    2.Garden, which caters to those who appreciate tranquil strolls in beautifully landscaped grounds;

    3. Underground, a unique dining experience designed for those intrigued by subterranean exploration. 

     

    Booking Application: To accommodate the diverse needs and interests of our guests, our hotel has developed a specialized booking application. This intuitive platform enables travelers to efficiently plan their days ahead of time and choose activities that align with their unique preferences.  

    Upon arrival, guests are warmly greeted at the front desk by an ensemble of costumed characters exemplifying the hotel’s whimsical atmosphere. Characters include Peter Rabbit, Squirrel Timmy, Benjamin Bunny, Old Brown Owl, Diggory Mole, and Jeremy Fisher the Frog – all ready to welcome visitors and ensure a memorable stay. 

     

     

    Hotel Layout and Exploration: Upon entering the main community garden area, visitors are immediately captivated by the central dome. This impressive grassy structure features glass windows, providing onlookers with a glimpse into the subterranean burrow cafe situated below. Scattered throughout the garden, guests will encounter animatronic statues of Peter Rabbit and his companions. To delve deeper into the backstory of these iconic characters, visitors are encouraged to utilize the accompanying app. As guests explore the app and learn more about these beloved creatures, they will also uncover that their individual treehouse accommodations have been tailored to emulate each character’s specific habitat. 

     

    Treehouse Room Types: Guests have the privilege to choose from adiverse selection of room types, each inspired by the beloved animal characters from this classic tale. The exclusive Peter Rabbit’s Burrow Room offers a subterranean experience, featuring burrow windows and an ingeniously crafted slide designed to resemble tree roots. Additionally, a unique burrow tunnel can be found on the first floor of the treehouse. Furthermore, we provide rooms in tribute to Squirrel Timmy and Owl Brown, incorporating corresponding elements for an authentic ambiance. 

    The Squirrel Timmy inspired room includes a floating bridge and tree-skin climbing facilities to emulate a squirrel’s natural habitat. Meanwhile, Owl Brown’s room is enhanced with a treetop zipline, skillfully mimicking an owl’s flight through the sky. This artistic approach ensures our guests enjoy a truly immersive and unforgettable stay. 

     

    Adventure, Garden and Underground Activities: Guests can indulge in the thrilling experience of ziplining or enjoy the novelty of dining at our distinctive Burrow Café. We invite you to immerse yourself in the meticulously designed community garden area, which features various terraced fields facing the center dome area. The landscape is characterized by steep slopes adorned with carefully cultivated farming plants. Different plants are planted according to which tree house they are surrounded by. Concluding their adventure, guests will arrive at a unique green-pepper shaped shed, which serves as an impressive ending stand for their exploration. Our aim is to provide a dynamic and exceptional experience that balances excitement with the natural beauty of our surroundings. 

     

    Garden Activities: The distinctive feature of our resort’s gardening activities is the Rabbit Herbal Tea Boiling event. This engaging experience allows guests to transform Rabbit ‘Tobacco’ Lavender into a delectable beverage or an appealing dessert, which can be savored later at the Burrow Cafe. Undoubtedly, children can consume organic carrots, along with various fruits and vegetables, which they can harvest from the garden in the Underground Burrow Cafe. Our innovative farm-to-table system is designed as a recreational game that educates participants on the harvesting process. Guests can earn points throughout the activity, which can be redeemed for a special gift at our resort’s gift shop in accordance with their harvest achievements. 

     

    Burrow Café : Upon passing by the unique, carrot-shaped shed, guests find themselves immersed in the exceptional Burrow Cafe – an unparalleled subterranean dining experience. Inspired by the charming world of Peter Rabbit, the cafe offers visitors an opportunity to savor their meal within the comforts of the iconic character’s habitat. 

    Discover an alternative and exciting method to enter the subterranean realm, just as Peter and his companions do, via the burrow! The burrow slides are accessible to all age groups, offering a unique avenue to descend towards the café. Within this underground environment, children are encouraged to investigate the intricate burrow system while interacting with fellow explorers. During their journey, they may encounter various small creatures such as moles or rabbits, further enhancing their immersive experience. 

    Inside, exquisite cave walls are seamlessly blended with rustic details, culminating in a warm and inviting atmosphere. As patrons enter this whimsical establishment, they are greeted by live musical performances taking place on a central stage.  

    Accommodations for seating in the Burrow Cafe cater to various preferences – individuals seeking solitude, groups desiring shared spaces, and those who require more private arrangements enjoying their back space. 

     

     

    Room Descriptions : At the conclusion of the day, guests are invited to retire and rejuvenate in their distinctive accommodations. Peter Rabbit’s Burrow provides an engaging and immersive experience for its visitors, featuring ingeniously designed root-inspired slides and a comfortable onion-shaped pillow. Further enhancing the ambiance, the space is embellished with a tasteful ceiling fixture of dried lavender. It pays homage to Peter’s mother Josephine’s former livelihood making tabacos and brewing lavender tea. The refined aesthetic and thoughtful details seamlessly blend comfort with sophistication for a truly memorable encounter.  

    On the other hand, Uncle Owl’s Nest provides a welcoming and comfortable environment, reminiscent of Peter Rabbit’s friend Old Brown Owl’s charming abode. Featuring a nest-shaped bed and a miniature slide designed for children, this room encapsulates the essence of rustic coziness. 

     

    👇A Video Showcasing all of the Slides!

     

    👇A PDF File Showcasing all of the Slides!

    PeterRabbit’sSecretGarden

    Created by Paige Billian – Purdue/IUPUI Junior

    The Story Brief:

    Like so many juggernauts of yesteryear, here at Susurrus Inc, in our heyday, we were one of the most innovative publishing houses and print shops. We made only the most creative designs and marketing for our brilliant clients, printing their writing right here in the heart of our company’s state of the art print bay.

    But, like all those old giants, we flew too close to the sun. We over-expanded and in this economy? We couldn’t keep going. So, now our new management has arrived to restructure us all with their “innovative” new physical forms, budget cuts and dark rituals.

    They will save us, right?

    The Presentation:

    The Description:

    Susurrus Inc. is an immersive horror alternate world exhibit, blending immersive theater and the haunted house into a corporate dystopia ruled by an alien bookworm hivemind that feeds on knowledge. Guests can choose between two different story and experience routes in the second half of the experience, with each presenting a different level of scare and way to interact with the story.  This experience is designed to be built within a vacant anchor store space at a mall, with the current physical layout intended as a hypothetical smallest area needed to present this story.

    The Visuals:

    Finale Views – First and Second Floor

    Rebellion Act 2 Ramp

    Floor Plans and Story Routes

    Full Floors and Details of white model

    A Concept Package and Scale Model by Sophie Kramer

    Portfolio: http://sophiekramerdesign.com | Ringling College of Art and Design, Rising Junior (’25)

    The Earth holds more to enjoy than meets the eye…

    Escape the urban world and join the Dryads in the heart of their sacred forest as an honored guest. Celebrate kindness to the Earth with spectacular Mediterranean-inspired cuisine, and enjoy performances of epic proportions, filled with show-stopping acrobatics, dance, and more. Explore the beauty of the natural world as it exists around us and be reminded how vital it is to protect it!

    Overview

    Designed as a part of RCAD’s course Entertainment Design I, The Feast o’ Daphnaie is a dinner theatre experience taking place in the magic, whimsical world of the dryads, inspired by the Greek spirits of the trees; the show will explore the flow of the seasons, the betrayal of the horrid Pollutants—showing the consequences of industrialization, and the power of unity

    Initial Visualization and Reference Collection

    To help convey the strong visuals I had in my head to my pitch audience, I created both mood boards and hand-drawn sketches to boost visual communication. The hand sketches were very useful in setting the tone for the experience, as well as clarifying described elements to my peers and professors.

    For the mood boards, I collected images on a dedicated Pinterest board; for these boards, I focused on finding existing textures, environments, garments, and other materials that matched my vision for the theatre environment and costumes for the Dryads and their chemical counterparts, the Pollutants.

    Additionally, I wanted the Feast o’Daphnaie to have primarily plant-based dining. While making sense thematically as food prepared by nature spirits, this experience has the opportunity to make vegetarian and vegan dining options accessible to many guests for the first time. While keeping this mindset, I was deadset on having a menu influenced by Greek food and other Mediterranean cuisines; the images I collected include dishes such as stuffed tomatoes, lemon and bean stew, roasted eggplant, spanakopita, potato moussaka, pita chip nachos, vegan gyros with Impossible meat alternatives, halloumi hand pies, and more.

     

    Establishing a Story

    From this point, I began developing a loose concept for the events of the full guest experience, from arrival to departure.

    Within my finalized pitch, I decided on having the Dryads’ portion of the show center around abstract performances depicting the changing of the seasons through different styles of dance and acrobatics. This show within the show would be interrupted by the arrival of the Pollutants that depict the effects of industrialization and ignorance towards the human impact on planet Earth, resulting in the fleeing of the Dryads; contrasting against the fluidity of the Dryads, these slithering Pollutant creatures utilize sharper and harsher styles of dance to affect their environment.

    However, this is not the end of Mother Earth. One dryad reemerges from their hiding spot on the show floor to realize that nothing will be solved by wallowing in the sadness and that we have the chance to build a better tomorrow. The other dryads begin to come back as the first brave Dryad begins to pull kids from the audience to sing and dance with them, similar to audience participation at existing shows such as the Festival of the Lion King at Disney’s Animal Kingdom.

    Once these story elements were established, I also had to factor in food service, seating, and other moving elements. To ease this process, I established a list of my main story beats and selected those I deemed to be most crucial to the experience.

    Feast o’Daphnaie Story Beats

    1. Arrival at exterior/check-in
    2. Entrance into the interior “grand entrance hall”
      1. Meeting some of the dryads
      2. Merchandise 
      3. Bar
    3. Brought to seats
    4. Food delivered by waitress dryads
    5. Start of show
      1. Welcome speech from the master of ceremonies
      2. Dryad entrance
      3. Summer (acro section)
      4. Fall (contemporary dance)
      5. Winter (ballet)
      6. Start of spring trapeze section (abrupt stop)
    6. Entrance of the pollutants/fleeing of dryads
      1. Aerial silks section
      2. Hip hop/modern dance section
      3. Chant circle with lights
    7. Blackout
    8. Spot on one dryad re-entering
      1. Speaking to floor-level guests
    9. Dance with guests to drive pollutants out
    10. Finish spring trapeze set/finale
    11. Show finish/guests leave.

     

    Storyboards

    With the selected moments from the story beats, I developed storyboards to aid in visualizing what each step of the experience could look like, from the lobby to the theatre itself.

     

    Physical Scale Model

    Once the visual look of the theatre was fully developed in sketch form, I recreated a version of it in a real-built space. I decided to construct a model of the show floor, which is truly the home of the main action of the Feast o’Daphanie experience. After I established real dimensions for the space, I converted my measurements into a 1′-0″ = 0′-1/4″ scale. The model, all hand fabricated other than the 3D printed figurines populating the model, includes a multitude of materials and fabrication techniques, including some lighting.

    Door Prop

    Additionally, I was tasked with developing a prop for the experience that would be utilized as part of an interaction with a door. For my door of choice, I selected the door that acts as the portal between the human and dryads. I modeled a digital sculpt of my door handle in Z-Brush and created a design intent document sheet with elevations and dimensions in Adobe Illustrator.

    This door pull resides in the lobby area of the show arena before you fully enter the world of the Dryads. Acting as a portal between the environments of the urban jungle and the enchanted forest floor, the door pull offers a mix of the two worlds. By giving an object so commonly associated with mundane humanity a magical element, guests are slowly drawn into the Dryads’ mythos before they’re even inside of it. The oxidized copper also allows for a hint of green to peak into the color scheme before being surrounded by rich shades of the natural world.

    Reflection

    I truly enjoyed working on this concept for my entire sophomore fall semester. It was incredibly rewarding to watch it grow from an idea in my head to a physical deliverable. Despite a Floridian hurricane and various obstacles on campus, I was able to complete this project and I will forever be proud of myself for accomplishing that. Thanks for taking the journey through the Feast o’Daphanie with me. Come visit again soon, and remember that there’s always more to the Earth than one thinks!

    It begins a while back when I wanted to do a Chinese themed ride, and I spent a lot of time and thought the best way to introduce the environment will be a Chinese take out place. It eventually turns into this. It’s not what I had in mind in the beginning, but I quite like the turn out.

     

     

    Ride Schematics

    Queue: Seafood Buffet(White Dragon Horse) > Loading : Seating area > Ride: Kitchen > Freezer Room(shared by the reastaurant and mart) > Asian Mart(Pigsy) > Resident Corridor > Antique Shop(Sand Monk) > Chinese Medicine Shop(Hsuan Tsang) > Resident Corridor > Kung Fu Academy(Monkey King)
    > Resident Corridor > Nail Salon (Whitebone Mistress) > Unloading > Souvenior Shop ( India )

     

    Ride Vehicle

    The ride vehicle is in the shape of a round Chinese table, 6 person seater with a rotating center in the middle. Rider could rotate the table at different angles, adding an interactive experience. Guest who has previously experienced the ride, could turn the table to scare their friends.

    Extra

    • Doors with EXIT sign could be used as actual safty exit for the ride.
    • There’s a storyteller wearing an Beijing Opera mask in the begining of the queue line telling the audience the back story of these legends. “Rumors has it….”
    • The weapons of the group is displayed at the Monkey’s place.
    • Each character’s shop is designed with a color scheme in mind, for example, the Sand Monk would be green.
    • The ride facade is forshadowing the shops inside.
    • Hsang Tsang is the only character that displayed as an animatronic, because he is a mortal.
    • The other characters are presented in a shadow play style, and could perform transformation tricks.

     

    I once again thanks to Nathan for this opportunity to showcase my work, otherwise I wouldn’t have the drive to finish anything. Also thanks for letting me be part of this students showcase, I probably had more experience than the students here, so I wish not to be top ranked, otherwise it wouldn’t be fair to the students.

    Time Odyssey: A Choice-Based Adventure through Time. By Josué Thur de Koos.

    Intro:

    There is a wide range of platforms that offer users the ability to enhance immersion by granting them the power to make impactful decisions with consequences within the narrative. Examples include role-playing and board games like Dungeons and Dragons, where the game master presents situations and players have multiple paths to choose from, each with different rewards or consequences. Another example is the Mass Effect saga, a video game series that allows players to shape the narrative and the path of the main character. Even movies and streaming content like Black Mirror’s Bandersnatch offer viewers the opportunity to determine the direction of the story and the protagonist’s journey.

    These experiences strive to establish an immersive environment that allows users to genuinely engage with the story and exert a tangible influence on its outcome. Theme parks, in particular, have gained immense popularity as they provide individuals with the opportunity to break away from the ordinary and immerse themselves in captivating narratives. However, it is intriguing to acknowledge that the implementation of choice-based entertainment in theme parks has not yet been fully realized. It remains an untapped potential, waiting to be unlocked… at least for now.

    Overview:

    My name is Josué Thur de Koos, and I am an architect from Quito, Ecuador. What you are about to experience is my thesis project, completed in pursuit of my Master of Science in Architectural Studies, with a concentration on themed environment integration. This project was undertaken during the fall of 2022.

    The project comprises an original story that I developed, blending together hand-drawn sketches, original renders, and digital paintings. To enhance certain visuals and aid in narrating the videos, I utilized AI tools as well. The end result is an interactive storyboard that offers you the opportunity to embark on your own chosen path, with both rewards and consequences. Without any further delay, welcome to your Time Odyssey.

     

    Your adventure begins:

     

     

     

    Decision 1:

     

    Proceed towards the city: Past: Decision 2-A   

    Proceed towards Kraken: Past: Decision 2-B  

     

    Explore the city: Future: Decision 2-A

    Proceed towards the Tree: Future: Decision 2-B

     

     

    Decision 2:

    PAST:

    Destroy Jewel: Past: Decision 3-A 

    Rescue Atlantis: Past: Decision 3-B  

     

    Rescue Atlantis: Past: Decision 3-B

    Arrest Recruits: Past: Decision 3-C 

     

     

    Future

    Rescue Creature: Future: Decision 3-A

    Take Battery: Future: Decision 3-B

     

     

    Take Jewel Fragment: Future: Decision 3-B

    Repair Jewel: Future: Decision 3-C

     

     

    Decision 3:

    Past:

     

     

     

     

    Future:

     

     

     

    Thanks!

    Thank you very much for your attention. It is my hope that you have derived as much enjoyment from this adventure as I did during its development.

     

    LinkedInhttp://www.linkedin.com/in/josue-thur-de-koos

    Contact: designsjt4@gmail.com

    Travel back to 1865 and join Marvin the Miner in a RUSH to find the lost gold of Thomas L Golden. The no good folks of Denver are on their way to claim it for themselves and take over the town, and it is up to you to work together, find the gold, and escape before it’s too late  

    Introduction:

    This year, Jalen Thomas established the Theme Park Engineering and Design Group at the Colorado School of Mines. The goal was to introduce the STEM focused school into the world of themed entertainment, providing a place where everyone is welcome to learn about the career opportunities and work on exciting projects. This spring, the group set out to accomplish a goal of creating a portable escape room in 3 months with a limited budget. The mission was to create an engaging experience that revolved around a story surrounding the school’s alternate mascot and the mining history of Golden, Colorado. With a small group of 8 students, it was very much a challenge as well as an exciting opportunity.

    The Storyline:

    The preshow video introduces the guests into the story for their upcoming experience. The guests travel back to 1865 where Marvin the Miner explains to the guests about the history of Golden, including the town’s origins surrounding Thomas L Golden, a miner that found gold in Clear Creek in 1858. Ever since then, the town flourished with settlers and pioneers from all over trying to strike it rich. The story takes a turn when Marvin reveals that Thomas Golden fled Colorado in 1860, his reason for disappearance never was truly known in history textbooks. The guests are informed that there has been rumor that Thomas left behind a sum of gold for someone that deserved it, and nobody has been able to find where it is. All that remains is Golden’s old office. Marvin needs the guest’s help as he is informed that the no-good folks of Denver believe they know the location of the gold and are on their way to Golden right now. The guests must enter Tom’s office and try and find the gold in under 30 minutes when the Denver settlers arrive. Marvin has instructed the guests that he will keep guard and give warnings when they get closer.

    Designing and Building:

    With such a small group of individuals, everybody was involved in different aspects of the project. The top focuses were Storytelling, Puzzles, and Operations. One of the biggest challenges was developing a “set” that could be transported into a classroom and built quickly, as well as be structurally supportive of guests bumping into the walls. The design also had to focus on an easy-to-follow story that would engage the guests in their 30-minute experience. Each of the puzzles was designed to support the old western theme, with many practical puzzles involving lock boxes. The room itself was designed to resemble this old time office, with maps, old mining lanterns, a fireplace, and a bookshelf.

    The puzzles are among the most important aspect of an escape room, so the team had to focus on creating simple and engaging puzzles, as well as developing an electrical and mechanical puzzle involving electronics. With a time limit of 30 minutes, the puzzles had to flow quickly as well as be able to have a room reset time under 4 minutes to allow for high guest capacity. The end product featured 7 puzzles, featuring a combination of sequential and parallel puzzles that split groups up with 2 puzzles being solved at the same time and then rejoined for the final puzzle. The puzzles combined different aspects in problem solving to engage different guest strengths. The result was a combination of elements of discovery, word and number manipulation, and pattern recognition.

    The final technical puzzle played a very important role in the escape room. The team knew they wanted the final puzzle to feature an iconic TNT plunger that when pressed down would reveal the gold. To integrate this trigger sensor with the final puzzle, the technical team created the Matrix puzzle, where the calendar dates found throughout the previous puzzles formed into a code in a 4×4 matrix, with a keypad on a revamped nightstand. The TNT plunger uses a switch to detect when the escapees have used it, and when they do, it sends a signal to the matrix. The matrix has an LED keypad for the escapees to enter their patter, which lights up the matrix on the table. If the pattern is correct and they use the plunger, they get the gold from a trapdoor controlled by a solenoid. If it is incorrect, it makes a sound to tell them to reset the plunger and try again.

    Goals and Results:

    The main goal of this project was to bring something that hasn’t been done before at this campus and to create something fun and exciting that highlights what themed entertainment is all about. As we are the first theme park designated group in Colorado, it was an exciting experience to bring a taste of this industry here. With a budget of $2000 and restrictions on purchasing through Amazon and Home Depot, it was a challenging experience to create an immersive experience that could be set up and taken down in a couple hours.

    The project was a big success with the debut at the Spring Expo. The real reward for the team was seeing the guests have fun together, with those young and old enjoying different aspects of the room. We were also invited to the Littleton High School after prom, with the queue achieving a wait time of over 4 hours. The team learned a lot from this project and will take that newfound knowledge to propel next year’s iteration to new heights.

    Behind The Scenes Video:

    Team Member List:

    Jaxon Kelly – Escape Room Lead

    Jonah Booth – Escape Room Lead

    Allie Tanner – Escape Room Lead

    Liam Homburger  – Escape Room Lead

    Grace Mills

    Grant Bostick

    Sebastian Accetta

    Taylor Wood

     

    Jalen Thomas – Mines TPED President / Advisor

    Nick Probst – Alumni Advisor

    Lauryn Ancheta – Mines TPED VP Internal Affairs / Advisor

     

    Behind the frame poster_2_final copy (3)-compressed

    Behind the Frame

    Autumn Taylor, Taylor Irwin, Jean Bachura, Sandra Lee, and Haley Burton

    Behind the Frame is an immersive art exhibit that brings guests into the world of some of New York’s most famous artists. Guests step into a three-dimensional recreation of paintings from Edward Hopper, Jean-Michael Basquiat, and Keith Haring. They are then transported to a recreation of the artist’s studio, where they can learn more about their personal history, as well as participate in interactive exhibits and become an artist themselves.

    Candlelight Frights

    Unity 3D Game by Sydney Heller

    Portfolio: sydneyheller.org  |  LinkedIn: hellersydneyn  |  University of Notre Dame, May 2023 Graduate

    Introduction

    Ghosts are haunting this apartment! The residents have enlisted your help in expelling the ghosts. You must find and light a total of 13 candles across the apartment to send the ghosts away. Be on your guard though — these phantom foes do not welcome your presence, and they will fight to maintain control of the apartment!

    Candlelight Frights

    View a demo of in-progress gameplay.

    Ready to Play Candelight Frights?

    Download the .zip project build for Windows, or keep reading to learn about my process developing this 3D game in Unity.

    (1) Task Management

    I began by breaking down the project into tasks, assigning high priority to the assignment requirements, medium priority to additional gameplay mechanics, and low priority to aesthetic and fine-tuning considerations.

    By completing only the high-priority tasks, my minimum viable product — now named Candlelight Frights — would possess at least 5 candles equipped with collider-based interactions and spread across 3 furnished rooms. The player would be able to walk from room to room, and gameplay would end after the player has collided with all 5 candles. A HUD would display how many candles the player still has to light, and the ESC key would allow the player to exit the game completely.

    With the additional execution of the medium-priority tasks, Candlelight Frights would include ghosts spawning and attacking the player, raising the stakes and adding the possibility that the player could lose the game by running out of health. This would increase the complexity of the player’s controls/interactions and the scoring shown on the HUD.

    Implementation of the low-priority tasks would enhance the mood and theme of Candlelight Frights and improve the overall experience for the player. I wanted my game to be spooky but not scary, which could be achieved through intentional choices in background music, ghost attack feedback, and strategic lighting.

    2. Task Management gif
    PROJECT REQUIREMENTS

    Create a 3D game in Unity that meets the following minimum requirements:

    • 3 or more rooms or constructed areas/environments

    • 5 props per room/area

    • Interactions for the player (fly a plane, walk and jump, drive a car)

    • 5 or more distance-based or collider-based interactions

    • Some type of scoring system on Heads Up Display (HUD)

    • Esc key ends game completely

    HIGH-PRIORITY TASKS

    ☑ Add Esc key processing

    ☑ Add the 3D fps prefab to the scene

    ☑ Configure the apartment into only the rooms I want to use

    ☑ Create HUD display

    ☑ Candles lit/unlit for each room

    ☑ Health bar

    ☑ Program HUD behavior

    ☑ Find candle asset

    ☑ Create instances of working candles (at least 5)

    MEDIUM-PRIORITY TASKS

    ☑ Instructions in World Space

    ☑ Find ghost asset

    ☑ Import ghost model into Unity

    ☑ Spawn ghost game objects

    LOW-PRIORITY TASKS

    ☑ Change typeface

    ☑ Music track

    ☑ Red overlay when attacked

    ☑ Dynamic ghost movement/attack speed

    ☑ Flickering lights outside the apartment

    ☑ Shut main apartment door and “trap” inside

    ☑ Disable Player movement when game concludes

    (2) Finding Assets

    I searched on the Unity Asset Store, Sketchfab, and Pixabay for the assets I wanted to use in Candlelight Frights.

    For the game’s environment, I wanted a modern aesthetic that would not illicit fear in full or even dim lighting. In the Unity Asset Store, I initially searched for individual furniture pieces that I could arrange together in low-fidelity rooms. However, I was lucky enough to find the model of an entire apartment complex, complete with built-in FPS controls that allowed the user to open and close doors and drawers. Next, I searched for a candle that would have an otherworldly appearance, one that would contrast with the apartment setting and illuminate beautifully in the dim lighting.

    Once I moved onto the medium-priority tasks, I looked on Sketchfab for a ghost model that I could import into Unity. The Fantasma model I chose had its own textures and materials, but I replaced them with the “glow” material used in the lights of the apartment package to achieve an illuminated. ghostly appearance in the dark.

    After establishing the gameplay mechanics, I explored music files on Pixabay that would establish a spooky yet confident energy for the player. I am easily frightened and prefer to avoid the horror genre, so my choice of Sinister Night / Halloween Trap Hip Hop Music felt very appropriate for my game.

     

    Assets Used: Apartment Kit, Modular Medieval Lanterns, Fantasma Ghost Phantom, and Sinister Night / Halloween Trap Hip Hop Music

    Unity Asset Store

    Apartment Kit and Candle assets

    Sketchfab

    Ghost asset

    Pixabay

    Background Music asset

    (3) Unity Editor

    With such a complete Apartment Kit asset, much of my work in the Unity Editor revolved around creating the HUD, placing the candles, and hiding Apartment Kit game objects in the hierarchy to minimize the processing power required. I also added instructions for the player in world space, and I adjusted the lighting levels to create a spooky ambience but still allow the player to see enough of the space around them.

    (4) Code Review

    Candlelight Frights is the only Unity 3D game I have developed, so I referenced a variety of resources including class notes, Unity documentation, and ChatGPT to script my desired game behavior. Scripts for moving the player and opening and closing doors were included in the Apartment Kit asset I found, so my focus was on the other game mechanics such as collisions, scoring, and NPCs. I ultimately created 5 scripts to control the various elements of Candlelight Frights — (1) GameController.cs, (2) DataDictionary.cs, (3) CandleController.cs, (4) GhostController.cs, and (5) GhostSpawner.cs.

    ex. ChatGPT inquiry: “In Unity C#, I want to programmatically attach a 3D Box Collider to a game object, specify its size, and set it as a Trigger.”

    Code Review - GameController.cs

    GameController.cs contains methods for starting a new game, updating the text on the HUD, checking for the game’s end conditions, and flickering the lights outside the apartment.

    Code Review - DataDictionary.cs

    DataDictionary.cs contains references to values that are referenced across multiple scripts, such as candle quantities and player health. This script also controls the visibility of the red panel that flashes when a ghost attacks the player.

    Code Review - CandleController.cs

    CandleController.cs is attached to each candle instance. This script checks if the player collides with a candle, lights the candle upon collision, and updates the candle quantities in the HUD accordingly.

    Code Review - GhostController.cs

    GhostController.cs is attached to each instance of a ghost after it is spawned by GhostSpawner.cs. This script controls ghost behavior, moving each ghost towards the player, attacking the player at regular intervals when in range of the player’s hitbox, and checking for the player’s counterattack with Spacebar input. GhostController.cs also updates the player’s health in the HUD every time a ghost attacks the player.

    Code Review - GhostSpawner.cs

    GhostSpawner.cs begins spawning instances of ghosts at random locations after the player passes through the entryway of the apartment. In this script, the ghost spawn rate is updated dynamically so ghosts spawn more frequently as the player lights more candles.

    (5) Further Development – VR

    Before I graduated from the University of Notre Dame, I worked with my professor of CDT31150 Prgrmng for Video Game Dev to adapt Candlelight Frights for virtual reality (VR). We produced a viable VR adaptation of the game in which the user can navigate using an HTC VIVE Controller trackpad instead of a keyboard’s WASD keys, and open doors and attack ghosts using the HTC VIVE Controller trigger instead of a mouse left-click and a keyboard’s spacebar, respectively. With continued access to the VR lab, I would have liked to play around with more features of VR and continue developing for extended reality.

    Thank you for taking the time to learn about my first Unity 3D game, Candlelight Frights. To view this case study on my portfolio, visit https://www.sydneyheller.org/candlelight-frights.