InPark Magazine Issue #102: Operators and designers

issue 102, summer 2024 inparkmagazine.com

Reflections on Mr. Su Zhigang

Industry leaders celebrate the accomplishments of Chimelong’s founder and leader

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Industry news News from Alterface and Malahi

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Let’s go Dutch interview by Martin Palicki IAAPA Expo Europe prepares to take its fall trade show to Amsterdam

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IPM Travelogue: SEA Expo by Martin Palicki Publisher Martin Palicki checks out the Saudi show promising to deliver big for the future of KSA

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Mini golf makeover by Martin Palicki Holovis introduces new levels of gamification and technology with 360Golf

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Reflections of Mr. Su Zhigang by Bob Rogers Industry professionals share their experiences with Chimelong Founder Mr. Su Zhigang

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Brainstorming, blueprints and buildings interview by Martin Palicki Jora Vision’s Jan Maarten de Raad speaks to the unique challenges of designing and building attractions for themed entertainment

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Seven secrets behind SpongeBob’s Crazy Carnival Ride by Joe Kleiman Sally Dark Rides brings controlled chaos to the Vegas Strip

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Celebration of lights by Keith Miller Utopia Worldwide creates new World of Light parade for Lotte World’s 35th Anniversary

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Lights! Media! Action! by James Careless Digital Projection and Modulo Pi bring technical power to Puy du Fou’s latest award-winning production, Le Mime et I’Étoile

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issue 102, summer 2024

People power

InPark Magazine (ISSN 15531767) is published by Martin Chronicles Publishing, LLC. 2349 E Ohio Ave. Milwaukee, WI 53207, USA. Shipping address: 2349 E Ohio Ave. Milwaukee, WI 53207, USA. Phone: +1-262-4127107. Printing by Johnson Press of America.

Contents © 2024 InPark Magazine. All rights reserved.

Nothing in the magazine may be reproduced or used in any manner without the prior written permission of the magazine. InPark Magazine is not responsible for unsolicited manuscripts, photographs or illustrations.

Such material must be accompanied by a selfaddressed and stamped envelope to be returned.

Postmaster: Send address changes to InPark Magazine 2349 E Ohio Ave. Milwaukee, WI 53207, USA. Subscriptions are available annually for $45 per year ($70 international).

Opinions expressed in editorial matter are not necessarily those of InPark Magazine or its publishers, Martin Chronicles Publishing, LLC.

Martin Palicki, Publisher

I

recently took my parents to the Wisconsin Dells for a little family getaway. (Who can resist a genuine Wisconsin supper club?) My dad wanted to go to one of the themed entertainment experiences there, and I was all too happy to share a bit of “my world” with them.

The technical aspects of the experience were great! It was everything its marketing had promised it to be, and my parents and I walked away happy our time was well spent.

All three of us couldn’t help but comment afterwards that even though the core experience was positive, the employees that sold and took our tickets, took us through the pre-show and to our seats, could not have been more disinterested in their jobs. None of them were ostensibly rude or inconsiderate; it just was very clear that they each were there to collect a paycheck, didn’t particularly care what our individual experiences were like, and generally seemed like they were anxious for their next break.

Without a doubt, hiring amazing ambassadors for your brand and experience is tremendously difficult, especially in the current labor market. But savvy operators know that a themed experience, no matter how impressive it inherently is, will never be better than its weakest employee.

Though we as an industry tend to highlight the latest and greatest technology that helps define spectacular experiences, we don’t spend nearly as much time making sure that the folks who provide the operational power are adequately supported for their roles.

On the flip side, we don’t often enough congratulate the people who do provide that amazing guest experience. When Star Wars: Galactic Starcuiser opened - even with its impressive gameplay and tech prowess - I commented in my review on the people-power of the experience, and the fundamental role actors and crew played in making the attraction operate effectively.

More than some algorithm that tracks people’s interests and spending patterns, front line employees, performers, operators, etc. are the ones who can most directly impact an operation’s bottom line, encouraging repeat visitation by creating positive experiences that people want to enjoy again and again.

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

Joe Kleiman, Senior Correspondent

ON THE COVER Mr. Su Zhigang poses with the TEA Thea Award he was recently honored with for Lifetime Achievement.

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

Follow on Instagram @JalekAvant

team & contributors PUBLISHER Martin Palicki

SENIOR CORRESPONDENT Joe Kleiman

EDITORIAL ADVISOR Judith Rubin

NEWS EDITOR Jordan Zauha

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CONTRIBUTORS James Careless Keith Miller Bob Rogers

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

Alterface takes Cadbury Chocolate Quest to new heights

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he new Cadbury Chocolate Quest ride at Cadbury World near Birmingham, U.K., takes budding chocolate makers on a fun, interactive journey to source the ingredients to make a Cadbury Dairy Milk bar. “Part of ambitious plans for Cadbury World, the new ride is an opportunity for guests to enjoy a whole new chocolatey experience, with even more fun along the way,” said Tim Waters, Regional Director, Merlin Entertainments. “We’re excited for our guests to discover what’s in store at our attraction this year.”

Working from Merlin Entertainments’ initial design, Alterface helped refine the project; assumed project management responsibilities; coordinated and subcontracted suppliers for media, lighting, audio and the ride system; ensured the ride adhered to gameplay and interactivity standards; and powered the ride and its effects through their Salto™ show control technology. Benjamin Walravens, Alterface show producer, emphasized the importance of the joint approach: “We worked directly with Theodore Papadopoulos from Merlin Magic Making, who came to us with the concept design. Theo was in direct contact with Mondelez International, who owns the Cadbury brand, and made sure that what we proposed was approved by all stakeholders.

Merlin Entertainments and Mondelez were great partners, making sure that the final design met their expectations, whilst giving us room for creativity.”

Scent, wind, heat and other special effects in the ride are in play through six interactive scenes. Nine trackless and specially designed ETF Multi Mover cars provide a throughput of 600 guests per hour.

Guided and encouraged by the beloved Cadbury character Freddo and his team of Cadbury Buttons monkeys, riders use “Cadbury Collectors” to gather cocoa pods 6

and milk and eventually combine them to create a delicious Cadbury treat. “As it happens, Freddo was a perfect match for the storytelling part of the ride, and his team of Buttons monkey friends were just what we needed to bring some fun and mischief to the scene,” said Walravens. “The animators from 1050 studio created the monkeys to be the cutest and funniest characters I’ve worked with so far.”

Beyond the entertainment and educational aspects, the ride also makes a statement about inclusivity. “Inclusivity is integral to the Cadbury identity and we worked very closely with Merlin Entertainments on this,” said Louis Vanhomwegen, Alterface project manager. “There are special armrests on some seats to allow easier access, one of the cars is a new design compatible with wheelchairs, and subtitles are on all of the screens so that those with hearing difficulties can fully participate in the adventure.” The wheelchair car is something truly unique, specially designed and integrated in the ride.”

Assigned by Merlin Entertainments to liaise with Alterface on the project, Malique Williams of WT Partnership emphasized the challenges of creating a compelling adventure in a relatively small space while the overall park remained in operation.

“Alterface brought the ride to life with its lighting, music and screen design,” he said.

“Guests have an interactive experience well suited to the story we are trying to portray: how to make your perfect Cadbury Dairy Milk chocolate bar!”

Bringing any plan from the drawing board to opening day involves a team of artistic and technical specialists. “Creating a great interactive dark ride is very much like making delicious chocolate,” said Stephane Battaille, CEO of Alterface. “You begin with a recipe or a design, recruit top quality chocolatiers or vendors, add the best inparkmagazine.com

Photo courtesy of Merlin Entertainments

possible ingredients, whether cacao beans and milk or interactive technologies, special effects and trackless cars.” In this case, he said, Alterface assembled a team of all stars and together have created a delicious new experience for attraction guests.

To date, Alterface has completed more than two dozen projects with Merlin Entertainments with more to open soon.

“Working with Merlin Entertainments and our other clients, our efforts are always driven by the story and the passion of the entire team,” said Battaille. “Cadbury Chocolate Quest once again demonstrates how a compelling story and great teamwork results in amazing attractions.” •

Malahi signs multiple strategic partnerships at SEA Expo 2024 In a continued effort to expand its reach and provide entertainment experiences to a wider audience, Malahi, operator of a diverse network of amusement attractions across the Kingdom of Saudi Arabia, has announced the signing of seven strategic partnerships during its participation at the Saudi Entertainment and Amusement (SEA) Expo, held at Riyadh Front Exhibition & Conference Center from May 7-9, 2024.

In an agreement with ROSHN Group, a real estate development subsidiary of the Public Investment Fund, Malahi has

secured the rights to expand its operations within ROSHN Front, a commercial and entertainment development. As well as Malahi’s partnership with Telfaz 11 Studios – which intends to leverage the intellectual property of Sattar: Return of the Legendary Five, the highest-grossing Saudi film of all time – this collaboration will enable Malahi to incorporate the film’s characters and storylines into its diverse range of experiences, creating immersive attractions for visitors of all ages.

Photo courtesy of Malahi

On an international level, Malahi has signed a memorandum of understanding with Funlandia Play Systems and Jinma Rides to enhance children’s entertainment for younger visitors, providing them with safe, engaging, and developmentally appropriate play experiences.

The company has already invested over 200 million riyals ($53.3 million) in the industry, and this figure is expected to double in the next two years in line with the expansion strategy.

Furthermore “Remote,” one of Malahi’s brands, currently enhances operational efficiency, sustainability, and provides a seamless user experience. Guests enjoy their favorite games without the hassle of waiting in line for payments or for an attendant, creating a smoother experience for guests. •

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The expo also witnessed partnerships with Samahaniyah Company and Riyadh Gallery, prominent real estate developers in Riyadh, to establish entertainment centers within their respective properties: collaborations that will further expand Malahi’s footprint in the city, providing residents with access to entertainment options.

Malahi stated its plans to expand in 15 new locations over the next two years.

The expansion will commence with the establishment of new branches of its “Wanos” brand within Joy Avenue and Riyadh Gallery.

The Difference Your Guests Will Feel.

Let’s go Dutch IAAPA Expo Europe prepares to take its fall trade show to Amsterdam interview by Martin Palicki

• Information about industry scholarships for students • Insights about the attractions industry • A guided tour of the show floor OR career advice

A

• Networking lunch • Job fair

fter a successful event in Vienna, Austria, in 2023, IAAPA Expo Europe is scheduled to take place in Amsterdam September 23-27, 2024. We spoke with Peter van der Schans, Vice President and Executive Director, IAAPA EMEA, about the region, plans for the show and more.

What is your analysis of the attractions market in the EMEA region?

Our quarterly outlook survey indicated that the market is currently stable and balanced. There is optimism for the future, but with a healthy dose of caution. Staffing concerns appear to be past their peak, but approximately 50% of our members say they are still experiencing problems on this issue. Other cautionary factors are mostly external, including inflation, high interest rates and geopolitical tensions.

In terms of investment we still see a big impact from the Middle East. With the opening of Meryal waterpark in Qatar, the construction of many SEVEN (Saudi Entertainment Ventures) facilities, Six Flags Qiddiya City and Aquarabia in Saudi Arabia, we see an unparalleled wave of investments in that region while investments in Europe remain at a stable level.

With IAAPA Expo only a few months away, what defines IAAPA Expo Europe as unique for the industry?

While IAAPA Expo in Orlando is bigger in scale and is our flagship Expo, IAAPA Expo Europe is specifically tailored for the EMEA audience. We adapt education topics, speakers and offer an in-person networking reception specifically for our European peers. This year we are proud to unveil the largest show floor in IAAPA Expo Europe’s history.

What lessons were learned from last year’s show in Vienna?

IAAPA Expo Europe 2023 in Vienna introduced some new elements that we are excited to bring to Amsterdam. Attendees really enjoyed the short-form EDUTalks presented at the Innovation Stage. This open learning area is making a return in 2024 with new, timely topics. Each day will have a different focus:

• Day 1: Sustainability • Day 2: Trends • Day 3: Youth and Student Speakers

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Following its success in Vienna, we will have a dedicated networking and education track on Thursday specifically for students, the future of our industry. We call it Explore a Career in the Attractions Industry, and it will include the following elements:

workshop with LinkedIn

Students will be offered free entry to the expo for that day.

What new offerings can attendees expect this year?

Our education experiences will be more extensive and varied than ever before. We will offer IAAPA Safety Institute – a more streamlined version of Safety Day – designed to educate participants on safety basics, aimed at entry level professionals.

The IAAPA Institute for Attractions Professionals (IAP) will be back for the first time since 2019. It will take place the weekend before Expo, offering specialized sessions catered to different experience levels and sets of knowledge. The program is designed to accelerate understanding of the attractions industry and its key business indicators.

Other new and changed events include:

• Science Centers and Edutainment Day (Monday, September 23)

• Sustainability Day (Monday September 23) – this year the event will have a more in-depth and interactive focus

• Tech Forum at Breda University of Applied Sciences (Friday, September 27)

What sort of networking opportunities can attendees expect?

Every year we feature a signature networking event – the Opening Reception. This year, the reception takes place on Tuesday, September 24 and will be hosted by Strandzuid, a waterside restaurant at the back of RAI Amsterdam. The venue offers outdoor seating with views of Beatrixpark, while serving a variety of international dishes, hors d’oeuvres, and drinks.

We expect over 1,000 industry peers to celebrate this annual industry gathering.

New in 2024, we will be hosting eight networking receptions specifically catered to various markets, including waterparks, indoor entertainment, food and beverage, zoos and aquariums, science centers, museums, and more. Our goal is to facilitate networking among more peers from the same sector, enabling an exchange of knowledge and ideas specific for our region.

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Will there be opportunities to experience some of the many visitor attractions in Amsterdam?

Building on our learnings from Host City Days, we will again give attendees the opportunity to get insights from and visit host city attractions. We will offer a series of events called Amsterdam EDUTour with three different tracks to offer insights for all attraction types. They will take place on Wednesday, September 25.

Peter van der Schans, Vice President and Executive Director of IAAPA EMEA Photo courtesy of IAAPA

Among the events coming up we have IAAPA Presents in Germany and France, IAAPA and AAVEA (African Association of Visitor Experiences and Attractions) Africa Summit in South Africa, IAAPA Indoor Entertainment Summit in Italy and IAAPA Middle East Trade Summit in Saudi Arabia.

You can view the IAAPA EMEA events at IAAPA.org/EMEA.

IAAPA also brings industry together online during IAAPA Live Chats which are video calls for specific audiences designed around timely discussions, knowledge sharing and industry support.

• Amsterdam EDUTour: Culture and Art • Amsterdam EDUTour: F&B • Amsterdam EDUTour: City Experiences In what ways is IAAPA helping the European industry to connect outside of the Expo?

IAAPA offers a variety of in-person events. Expos are the large-scale events while IAAPA Summits, Presents, Meetups and Forums usually take one or two days and are designed to help create connections and educate. These shorter events also take place in different locations across the EMEA region.

IAAPA offers Marketplace – our online marketplace directory, where members can connect with each other from anywhere in the world. IAAPA.org/Marketplace Finally, IAAPA Honors will be hosted in Germany’s EuropaPark in 2025. This will be the first time that the prestigious Brass Ring Awards will be hosted in our region and we look forward to that fantastic event next year. •

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IPM Travelogue: SEA Expo Publisher Martin Palicki checks out the Saudi show promising to deliver big for the future of KSA

by Martin Palicki

W

ith the clock continuing to advance on the Saudi Vision 2030 plan, all eyes were on the Saudi Entertainment and Attractions (SEA) Expo, held in Riyadh in the Kingdom of Saudi Arabia (KSA) May 7-9, 2024. Movement advances on many fronts. Six Flags Qiddiya City is expected to open in 2025, while neighboring waterpark Aquarabia was just formally announced; Dragon Ball theme park should be going to tender soon. Unfortunately, the BBC also recently reported that lethal force is being used to clear out communities in the way of NEOM’s The Line project.

It was upon this backdrop that the expo opened with high expectations to be even bigger and better than the previous year. By initial accounts - and my own feelings - the show indeed surpassed the 2023 version. A larger trade show floor, shared with the Saudi Light and Sound (SLS) Expo, hosted new exhibitors and more attendees, with reports from vendors indicating meetings with clients and buyers were happening throughout the week.

My week began by having a lovely dinner at Najd Village with Legacy Entertainement’s Eric Carnagey and Taylor Jeffs.

Featuring traditional Saudi dishes served while you lounge on beautiful carpets, Najd Village is theming, culture and food all wrapped up in one. As first-time exhibitors at SEA Expo, Eric and Taylor later reported the event a worthwhile investment, with several local projects in development.

The first day of the show began with the Themed Entertainment Association’s (TEA) EMEA division hosting a luncheon, sponsored by Top Notch Engineering Consultants and Cundall. For me, the event was like a reunion, having not seen many TEA folks since November’s IAAPA Expo. There were also many new faces I had the pleasure of meeting, including Brian Andrelczyk, who recently signed on with EXP to direct their new KSA office.

Expo organizers also presented a robust education summit across two show floor theaters, one on the SEA side and one on the SLS side, although topics appropriate for themed entertainment were programmed for both venues. The format was predominantly panel-based, marketed as “Think Tank” sessions. While many of the sessions I attended were interesting, I hope organizers (and volunteers!) explore

Above: Attendees to SEA Expo listen to one of the education sessions during the event. All photos by the author.

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continue to be fast. While the money is flowing, he said, there will continue to be a short timeframe for delivery. When the money stops flowing, then there will be a slower pace. Remember Dubai of 2007, he said, when the funding was turned off like a faucet. That will happen here too, at some point.

TEA EMEA Board members at the SEA Expo lunch mixer they organized.

different session types (TED-style talks, roundtables, etc.) as well as expand the pool of speakers. There was a fair amount of overlap from 2023’s roster. Of course, a lot of that depends on new industry professionals being willing to take the time to put together presentations.

Neil Dwyer (Six Flags Qiddiya City) moderated a panel with Damien Latham (SEVEN) and Majed Aleid (Ministry of Investment, Saudi Arabia). According to Aleid, in order to seek entertainment, Saudis tend to leave the country.

Currently, citizens spend about 3-4% on leisure, and the government’s focus on entertainment is aimed at moving that up to 6%, capturing more of that money within the Kingdom. He also indicated the government’s investment plan is working, with private companies clamoring to get a spot during Riyadh Season events. Aleid said that only 10% of Riyadh Season is government supported and the rest comes from private investment.

Although much of the focus has been on destination projects within the country, KSA is also investing in pop-up events that can easily be exported to other countries, bringing Saudi culture, events and attractions to new places. Latham said that’s one reason why SEVEN has been focused on creating home-grown IP that can be used to create an appetite for characters and experiences outside of KSA. Aleid closed by saying one of the Vision 2030 targets is to have 150 million visitors. About 30-40 million of that will be religious tourism, and KSA hopes to capture a good portion of those visitors for cultural and entertainment experiences as well.

Another session with Ghassan M. Assi (Trampo Extreme) and Louis Alfieri (Raven Sun Creative) on the blending of design, technology and storytelling brought out one of the more memorable comments of the week. In response to a question from an audience member about the downsides of rushing projects in KSA, Assi said the speed of work will

When that happens is anyone’s guess, although it seems reasonable to expect that with Expo 2030 secured for Riyadh, projects will continue full throttle for at least the next six years. As Assi put it, referencing the session’s focus, the current break-neck speed is a story of its own – a story of a country rising to meet the expectation of a Vision 2030.

This year also afforded more opportunities for exploration outside of the exhibit hall. After the second night I traveled with Mason Schmitz (P+A Projects) to Boulevard City for a special event at the new WWE Experience. Hosted by TAIT and Blue Telescope, guests were invited to explore the attraction after enjoying refreshments and a rousing welcome from Amin Rashmani (TAIT) and Trent Oliver (Blue Telescope).

While some of the memorabilia displays will appeal primarily to WWE fans, the two main experiences are accessible and enjoyable for those without a strong interest in professional wrestling.

The Undertaker’s Graveyard Escape puts a small group of guests in a large, highly themed cemetery with a series of puzzles that need to be solved in eight minutes. Once all are completed, guests solve one final puzzle Inside The Undertaker’s Graveyard on The Undertaker’s Escape at WWE Experience Mausoleum to earn their escape. The games range in complexity, and while some of the challenges required help from the attendants, the experience was fun and well executed.

After a bit of hemming and hawing, Mason and I decided to try the other main attraction: Become a Superstar. Even nonwrestling fans are familiar with the dramatic and over-the-top entrances staged by the WWE superstars. Never one to shy away from a feather boa or leather jacket, I approached a large

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touch screen to input my new wrestler name and pick music and theme packages. Once those were selected, I was off to costuming. An assortment of everything from shiny capes to spiky wigs was available, and after a few minutes in front of the mirror, I was ready for my debut. An attraction attendant gave me the quick rundown: I’d have (what seemed at that moment an agonizing) 22 seconds to round the corner on the stage and proceed down the ramp to my waiting fans, all while my selected music blared, cheers echoed through the hall, lights flashed and bursts of CO2 framed my entrance.

Naturally, I had a whole plan. As “The Scribe” I whipped out my pen and notebook (never far away on work trips) and scribbled out victory over my future opponents, all while trying to appear super-sporty. The 22 seconds were over in a flash and I have to admit it was really fun! In talking with Trent about Blue Telescope’s work on the Superstar experience, I confessed that I was reluctant to try it but so happy that I did. She mentioned that during normal operation, guests can purchase a video of their WWE debut. Or they can watch it in 4K on screens near the attraction that replay it for all to see.

After the final evening of SEA Expo, I returned to Boulevard City with longtime industry colleague and friend Julien Causeret (CRYSTAL) to try out one of the other major attractions there: House of Hype. As soon as we arrived I was reminded of one of the week’s panelists who suggested that the guest experience really begins when they go to buy a ticket.

Our experience started out rocky. The ticketing experience is convoluted. Tickets are not available for sale in person at the site. We had to download an app that is used for many Saudi attractions, then purchase the tickets, then go over to a kiosk, scan our ticket QR codes (the first kiosk didn’t work so we had to try another kiosk), get our wristbands, have our tickets scanned again by a worker, and then we could go in. To be fair, a very kind and courteous employee helped guide us through the process, but it seemed unnecessarily complicated and timeconsuming.

The actual experience seemed reminiscent of Meow Wolf Las Vegas, particularly the fake grocery store items available for sale. Most of the rooms were some permutation of projection

Publisher Martin Palicki at Diriyah

mapping, LED lighting, mirrors, or all three together. A cohesive storyline wasn’t obvious to me – it seemed more like a collection of unconnected art pieces. At the same time, there were possibly a few narrative threads. After journeying through a city streetscape, a few rooms later we were suddenly in a back alley. Interspersed throughout were tiny shops selling packaged food items and small souvenirs.

The main disappointment was that all the interactive elements were not working. One employee informed us of this fact in the second room of the experience, but all the interactives in the Hyperarcade at the end of the attraction were also inoperable.

Hopefully this was only a temporary problem.

Although the whole experience felt a bit disjointed, it seemed like a relatively good use of time, and a decent value for the cost (~$25). It was a nice artsy end to a week full of business.

On my final day in Riyadh I ventured out to Diriyah – and I have to say it helped me to better understand the country’s plan for merging entertainment, culture and history together in KSA. As a UNESCO World Heritage site, Diriyah showcases the first Saudi state and highlights the cultural underpinnings of Saudi Arabia. It also offers a sense of luxury and refinement with the adjacent Bujairi Terrace selection of restaurants, all perfectly positioned to take in views of the ruins across the Wadi valley.

While wayfinding was a bit complicated, staff were readily available and very helpful with directions. Museum exhibits were largely static, but the way they were integrated into the ruins was decidedly dynamic and, more importantly, interesting.

I visited in the late afternoon, and while initially there were very few other tourists there, by the time I left, just after sunset, the area was coming alive, both with lighting and local families enjoying a night out. Unfortunately, I was not able to stay for the projection-mapped show on the walls of the ruins, but I imagine the experience provides an informative and entertaining nightcap to a distinctly Saudi experience. •

Publisher Martin Palicki with CRYSTAL’s Julien Causeret in House of Hype

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Mini golf makeover Holovis introduces new levels of gamification and technology with 360Golf

by Martin Palicki

C

apitalizing on a booming experience economy and a strong desire for nostalgia, design and technology creator Holovis has recently introduced a new take on the classic mini golf.

360Golf takes the essential elements of putting play and adds on new layers of gamification, while introducing technology to make the experience even more guest friendly. We spoke with Holovis marketing manager Ben Fry for more information on how the system works and where interested operators can get a sneak peek.

What was the inspiration and origin of 360Golf?

Competitive socializing is one of the biggest trends in the industry right now.

Venues in city centers are becoming more available, with operators looking to fill them with exciting high ROI ventures.

At the same time, visitors are prioritizing spending towards experiences with friends and families, rather than material goods.

layers of gamification and interest to traditional mini golf design. This led us to develop 360Golf.

What have been the main draws and benefits of 360Golf ’s automatic scoring?

Venues no longer need to keep a stock of pencils and paper – reducing both waste and cost. For players, it allows them to be able to focus on the game without having to worry about tracking scores and doing the math! They can just enjoy the time with their friends and family and let the 360Golf system calculate everything for them.

The benefits go deeper than just automatic stroke counting.

360Golf also introduces our concept of SuperShots.

In addition to the traditional method of keeping score SuperShots allows players to earn bonus points and advantages in the game.

Ben Fry Generally, this space is dominated by low-tech options. But we felt there was an opportunity for the unique blend of technology and experience that we specialize in at Holovis. We always look for ways to reinvent guest experiences in a way that is exciting and innovative – and mini golf was the perfect activity for a technological makeover.

We identified a couple of ways to achieve this. First, we focused on automatic stroke counting, taking away the need for guests to carry troublesome score cards and removing that barrier from their experience. Second, we knew we wanted to add more

How are the bonus points integrated into the traditional scoring system?

We wanted to transform the game into an experience that was more than simply counting strokes. We wanted to integrate gamification, elements of skill, and in some instances, even chance. With 360Golf it isn’t the fewest strokes that wins the game – it’s who has the most points!

Of course, stroke count still matters. A hole-in-one earns 50 points. Each successive stroke reduces that point total bit by bit. Then there are the SuperShots. These are unique harder-to-hit shots that, when successful, award the player

Above: Themed holes bring a level of intrigue to traditional mini golf. All photos courtesy Holovis

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We find the system is incredibly robust with problems occurring at a very low rate. The system also monitors general wear-and-tear and notifies operators if a part is reaching the end of its expected life and needs replacement, contributing to low disruption rates.

What kind of designs are available?

Golf360 by Holovis combines fun mini golf holes with bonus SuperShots.

an extra 20 or 30 points. Some SuperShots incorporate an element of chance – such as a large wheel that spins and awards points depending on where it lands. In certain cases there are even penalties where a player can lose points for missing the SuperShot. We created a “true or false” hole, where players are posed a question and must putt into the correct hole to answer and avoid losing points. These bonus games are customizable for each course. Some clients want a course that remains close to the traditional mini golf experience, while others like a course that is very point dependent – 360Golf is flexible enough to provide both.

Describe the technology and how it works.

Scorekeeping is powered by our proprietary HoloTrac technology which matches each ball to a player. When a player places the ball on a tee, the system recognizes the action. It then tracks each hit, triggering sensors to track SuperShots points or penalties. Once the player putts the ball into the hole, sensors in the cup tell the system the turn is over and calculates the player’s score.

What are the staffing needs for 360Golf?

Our automated registration and ball dispenser units are selfservice, which means no staff are required to start a game. Balls are automatically collected at the end. Since venues don’t need to hand out pencils and paper or give out and collect balls, 360Golf can essentially run on its own. Furthermore, we work with the client to integrate the system into their payment or booking platform in a way that suits their venue and makes sure the guest experience flows seamlessly with the rest of their facility.

How does the system handle problems?

Our 360Golf product comes with the option to use our proprietary DeepSmarts system, an integrated data and insights platform providing the operator with live information on the operation. It will flag emerging issues as soon as they happen, preventing guest complaints or delayed discovery by staff. The system provides the operator with an error code to identify any problems, as well as instructions on how to troubleshoot the situation. We find this resolves 90% of issues. We also offer remote support for trickier problems.

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We are currently taking orders for our standard 9-hole course which will be available for delivery soon. A lot of clients appreciate the convenience of an off-the-shelf course design, so we’ve perfected the best designs for this course. Options for shorter or longer courses will be available, as well as a selection of designs to choose from for a more bespoke experience. We can also completely customize a course to match a facility’s theme and environment.

Why is now a good time for attractions owners to invest in 360Golf?

While many guests are looking for the next big thing, there is a strong element of nostalgia at play in the attractions industry – and guests are familiar with mini golf because it is an all-time classic that has never gone out of style. What we’ve done with 360Golf is to blend that nostalgia and familiarity with our nextgeneration technology to provide an experience that, while familiar, has a modern and exciting twist to it.

Where can guests experience 360Golf right now?

We have two venues open in the U.K. – at Level X Glasgow and Middlesborough, as well as a course on Norwegian Cruise Line’s Prima and Viva ships. We are currently working on over 20 other courses that will be opening throughout the world starting in the summer of 2024 – including the largest, most elaborate course designs we’ve ever done. We’ll be posting about these on our social media and website as they open, so keep an eye out for this exciting news!

Also, we are excited to announce that we will be bringing 360Golf to IAAPA Expo in November, where attendees will be able to experience the full guest journey, including a demo hole. We will also be attending IAAPA Expo Europe in Amsterdam, where the team will be chatting everything golf along with a small demonstration.

We are extremely proud of the courses we’ve designed and built ourselves. Now, we are looking for partner companies who would like to incorporate our 360Golf technology into their own designs. We offer the option to purchase the technology that powers 360Golf – the tees, cups, operating system, registration and dispensers, etc. – which can either be retrofitted to existing golf systems or incorporated into designs from other golf companies. We believe 360Golf is the future of mini golf for FECs and other venues, so we’re excited to share the technology and collaborate with some fantastic partners to make this happen. • To learn more, visit 360golf.com.

inparkmagazine.com

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Reflections on Mr. Su Zhigang Industry professionals share their experiences with Chimelong Founder Mr. Su Zhigang

by Bob Rogers with Beth Chang, Charlotte Huggins, Monty Lunde, Roland Mack, Ron Miziker, Jennie Nevin, and Rick Rothschild

A

fter 35 years of amazing achievements within China, the entire world has begun to recognize and honor Mr. Su as one of the rising stars of the world’s theme park and themed resort industry. In recognition of his ongoing visionary creation of the Chimelong family of resorts and attractions, Mr. Su was this year’s recipient of the Themed Entertainment Association’s Buzz Price Thea Award for a Lifetime of Distinguished Achievements. To introduce Mr. Su to InPark readers, Martin Palicki and I have asked several top industry leaders to join me in providing a few words presenting their perspective on this world-class achiever and how he continues to lead us, thrill us, amaze us and make us smile.

- Bob Rogers

Mr. Su shares his acceptance speech after receiving the Buzz Price Thea Award for a Lifetime of Distinguished Achievements at the 2024 TEA Thea Awards Gala. All photos courtesy Chimelong

• Six major theme parks (with more on the way) • The most visited waterpark in the world • A family of hotels with over 10,000 rooms (and more

The Thea Award Lifetime Achievements recipient

Bob Rogers (2007 Buzz Price Thea Award for a Lifetime of Distinguished Achievements recipient)

coming)

• Three grand circus shows • The Chimelong Spaceship, a giant indoor theme park

The Buzz Price Thea Award – Recognizing a Lifetime of Distinguished Achievements is perhaps the most important Thea Award given each year.

It was the very first Thea Award ever given. All other Thea Awards grew from this one.

Every year a subcommittee consisting only of past recipients of the Lifetime Award meets multiple times and reviews many dozens of highly qualified candidates for this award. For the 2024 cycle, I served as Chairman of that subcommittee. 2024’s recipient was approved unanimously at all three stages of our rigorous and lengthy selection process.

He was born in China, the son of a humble farmer. At an early age he started a one-man business. He built that into a restaurant, then a hotel and from there he has built an incredibly popular and diverse empire of fun that includes:

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that is over 700 yards (650 meters) long

Today he is recognized as the leading force of the themed entertainment industry in China. He is the Chairman and Founder of the Chimelong Group. His friends and business associates affectionately and respectfully address him as Mr. Su instead of Mr. Su Zhigang.

Mr. Su is the owner and operator of these parks and resorts, but he is also the creative leader of his company. He is a Lifetime Achiever who has won our hearts with his unique personal story and earned our deep respect with his personal, direct, hands-on creative leadership, not just within China, but throughout our industry.

Bob Rogers Founder, CEO & Chairman BRC Imagination Arts

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and manages a family business with a focus on quality, consistency, and customer service. During our visit to Zhuhai, he graciously invited us to his private residence, where we had the pleasure of meeting his parents. It was a legendary evening. He is an incredible host, anticipating our every desire. I was particularly touched by the fact that he displayed a photo of my father and himself in his office, taken during his visit to Europa-Park. Even the next generation gets along splendidly; our sons share a warm friendship.

Mack Rides has been involved from the inception of Ocean Kingdom in Zhuhai, which is recognized for its top-tier theming. We provided many attractions, but my personal favorite is the rafting ride. Like Mr. Su, Ocean Kingdom is truly a gem.

Roland Mack Managing Partner Europa-Park GmbH & Co Mack KG

The market leader Beth Chang

From my role as a market analyst at AECOM based in Hong Kong, I have seen firsthand how Mr. Su has impacted the hospitality market in the region. Mr. Su is a pioneer in China’s themed entertainment industry, from the first safari park that he built back in 1997. He is sensitive to what the market wants, and he’s willing to take a risk and try it.

Mr. Su has steadily expanded the Chimelong Resort-Zhuhai since its opening.

Importantly, Mr. Su pays attention to the quality of his attractions. As researchers, we note that he purchases stateof-the-art rides and equipment. He also continues to improve and reinvest in his attractions, growing them into major destinations. The latest development, Chimelong Spaceship park, opened in September 2023 and is already receiving additional investment. It’s really this pursuit of quality that makes Chimelong’s parks stand out from the crowd.

The family-first man

Roland Mack (2023 Buzz Price Thea Award for a Lifetime of Distinguished Achievements recipient)

I fondly recall my first encounter with Mr. Su during his visit to Europa-Park. I often reminisce about how, after a jovial evening, he even performed a headstand in my office.

He built his company from the ground up, turning it into a toptier corporation. This feat was only achievable through immense emotional investment, dedication, creativity, hard work, and courage.

Undoubtedly, a key factor in his success is his profound commitment to family. He has brought to life a family park

What’s also impressive is how Mr. Su single-handedly built up his own brand. I think he sees Chimelong as a national destination and not just a regional attraction. Different from other brands, Mr. Su refrained from expanding rapidly into other markets. Instead, he has focused on developing in the region that he is most familiar with, within the province of Guangdong.

Finally, for many years Mr. Su has actively participated in international associations and is a strong supporter of TEA. We see that he wants to learn best practices both domestically and internationally, the latest technologies, and international standards of operation. This commitment to continued learning and growth has served to benefit all of Mr. Su’s endeavors.

Beth Chang Executive Director - Economics AECOM

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The personal connector

Monty Lunde (TEA Founder and 1996 Buzz Price Thea Award for a Lifetime of Distinguished Achievements recipient)

Chimelong Ocean Kingdom celebrates in 2024 with fireworks and a drone show.

Mr. Su is a self-made entrepreneur who continues to impress our industry with the originality and scale of his theme parks and resorts. He has employed hundreds of themed entertainment professionals and companies around the world, many of whom are considered the best at their craft. Working directly with these leaders, Mr. Su oversees the design and creation of all major features in his parks and hotels.

Mr. Su is unique in his value of personal connections. One might easily assume that the Chimelong founder would be detached from the day-to-day creation and development of his many endeavors. To the contrary, Mr. Su holds personal connection above all else and his effort to maintain that connection with individuals is unwavering. His genuine personal connection to suppliers, vendors, creatives and producers is key to making his visions a reality.

That personal connection extends to his audience as well.

He works to maintain his connection to them by walking his parks, talking with staff, and watching guests enjoy their visit.

In every sense of the word, the themed entertainment industry is richer as a result of Mr. Su’s insistence on bigger, better and more amazing in everything he touches.

Monty Lunde Founder, CEO & President Technifex

Chimelong Water Park is dramatically lit at night.

The enthusiastic businessman Ron Miziker (2015 Buzz Price Thea Award for a Lifetime of Distinguished Achievements recipient)

Years ago, while installing an attraction in Studio City in Macau, I noticed this large, fantastic structure across the bay and wondered what it was. I was told that it was an extravagant theme park built by a relative newcomer to the industry. Curious (and thinking there may be a business opportunity), I asked around and was referred to a contact at Chimelong. I called and, after explaining a bit about myself, was surprised to be offered a meeting at Chimelong headquarters.

Upon arrival I was nicely greeted and asked to wait for my session with the company founder. “Just call him Mr. Su,” they told me.

The Chimelong Spaceship opened recently as one of the largest indoor theme parks in the world.

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Mr. Su was a bundle of energy talking about his plans. He jumped up and gestured for me to follow as he led me around inparkmagazine.com

the room full of project drawings. He was eager to share with me everything he was doing. I was so impressed with both his projects and enthusiasm. When finished, he shook my hand at least six times and with his arm around my shoulder, like an old friend, he led me to the door saying that his assistant would go with me to make a deal about a new parade he wanted that had to be special. Most importantly, he said he would be the person I would be working with through project development.

True to his word, Mr. Su worked closely with me and my team through the opening of the parade. Throughout that project – and others that followed to this day – I refer to Mr. Su as the “Walt Disney of China.” It’s a title I believe Mr. Su deserves for the quantity and quality of what he has accomplished in the industry over such a short period of time.

Ron Miziker Owner (retired) Miziker Entertainment

Bermuda Storm at Chimelong Spaceship, the 2024 recipient of the Thea Award for Outstanding Achievement - Attraction.

The industry champion Jennie Nevin

My journey with Mr. Su began during my tenure as the Chief Executive of the Themed Entertainment Association (TEA). When I joined, the organization was full of dedicated volunteers, talented members, popular tentpole events and a full calendar of regional activities. But it was also in need of an expanded global footprint.

Chimelong Hengqin Bay Hotel is spectacularly illuminated at night.

I flew to China for IAAPA Expo Asia and met with Mr. Su and his team to share my vision for the future of TEA. He did not hesitate and jumped in to support our efforts right away. This pivotal moment in our relationship marked the beginning of a transformative partnership. Mr. Su’s unwavering dedication and Chimelong’s influence in the travel and tourism industry played a key role in supporting TEA’s global footprint.

Chimelong’s participation, encouraged by Mr. Su, not only helped expand TEA’s profile on the global stage, but it also showcased his own commitment to the industry, which he has continued to value ever since.

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Mr. Su brainstorms with John Kasman (second from left), Mike Konzen (second from right) and Jeff Havlik (far right) from PGAV Destinations at Chimelong Spaceship.

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The History of Mr. Su Born in 1958, Mr. Su Zhigang left school at the age of 14 to start his own business delivering pork to restaurants and hotels by riding his bicycle. Through this job, Mr. Su learned from others how to operate restaurants and hotels. This inspired him to open his own restaurant in 1989 which quickly gained recognition in Guangzhou and marked the official start of Chimelong Group.

In 1994, Mr. Su took his first trip abroad. In Thailand, Singapore, South Africa and the United States he visited many major zoos, theme parks, and visitor attractions. The trip helped Mr. Su realize the potential for themed entertainment back in China.

Mr. Su visited Safari World Bangkok in Thailand in 1994.

Mr. Su then began working on his first attraction and in 1997 he opened Chimelong Safari Park to the public.

After the initial success of Chimelong Safari Park, Mr. Su launched a grand circus and a safari-themed hotel.

He later added Chimelong Paradise and Chimelong Water Park to the lineup, incorporating advanced amusement rides and new attractions in the world of themed entertainment. He ultimately built the Chimelong Resort-Guangzhou into one of the first 5A-class tourist destinations in China – a distinction awarded by the Chinese government for the highest level of world-class attractions.

Mr. Su then set his sights on creating a marine-themed park. During the financial crisis of 2008, he turned his attention to Hengqin Island, Zhuhai, near Hong Kong and Macau. In 2014 Chimelong Resort-Zhuhai opened to include Chimelong Ocean Kingdom and Chimelong Hengqin Bay Hotel.

Mr. Su and Mrs. Su at their first restaurant in 1989

Mr. Su’s plans for the future are expansive. 2024 marks the 10th anniversary of the Chimelong ResortZhuhai, and he has begun to plan additional phases of development for the property. 2024 is also the 35th anniversary of the establishment of Chimelong Group, and additional plans for Chimelong Resort-Guangzhou are brewing. The first phase of Chimelong ResortQingyuan is also set to open later this year.

Though it has been 27 years since Chimelong’s first theme park opened, Mr. Su still considers himself a new recruit in the cultural travel industry. As such he surrounds himself with knowledgeable people and learns from those with experience.

“I love brainstorming and discussing ideas with different experts, cooperating with the world’s top teams and applying world-class standards to Chimelong,” says Mr. Su. “Many of the top experts are my old friends. I have learned from these professionals for decades, and they have always been my role models!”

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Mr. Su started his career delivering pork to restaurants on bicycle, and later this motorbike.

Mr. Su with past recipients of the Buzz Price Award

Mr. Su’s remarkable contributions to the industry and his support to the TEA at large serve as a testament to his enduring legacy as a visionary leader. As I reflect on our journey together, I am filled with gratitude for the profound impact Mr. Su has had on our community. He exemplifies the true essence of vision, leadership, and support.

Jennie Nevin Executive Director, Business Development & Communications ASM Global Los Angeles Equestrian Center

The dreamer and doer Rick Rothschild

I’ve enjoyed a rewarding working relationship with Mr. Su over the past seven years on several projects. It is a relationship that has grown into a valued friendship along the way. Mr. Su exhibits a true passion and vision for themed entertainment matched by his complete dedication to bringing quality experiences to his audience. These traits are appreciated, respected and valued in our industry worldwide.

Mr. Su has always reached for making each guest experience – whether within a park, in an attraction or welcomed to a hotel – something engaging, unique and memorable.

The opportunity to work directly with Mr. Su, helping fulfill a few of his thousands of dreams, has been truly special. He has always been one to push for the next level – sometimes the near impossible – while always supporting the means and methods necessary to achieve the dream with impassioned leadership and respect for the entire team.

Rick Rothschild Founder and Chief Creative Officer FAR OUT! Creative Direction

The skillful communicator Charlotte Huggins

I have found that working around the globe (as many of us do) allows a unique opportunity to observe. In multi-language meetings there are wonderful interstitial moments when the interpreter translates what I or my colleagues have said, then listens to and translates the host’s response. Although I am not able to understand the verbal communication, I have the joy of quietly observing the expressions, movements, and other nonverbal signals of my hosts. In my many decades of international travel, no one is more interesting and downright fun to observe than Mr. Su Zhigang.

Mr. Su carefully listens to the translation; often gives a quiet, thoughtful pause; and then ramps up with passion and a fiery energy that expresses as much in his actions as in words. His gestures say, “More is more!” and his intonation clearly lets us know what he wants his audiences to feel during the project in discussion. As the idiom says, “Actions speak louder than words.” Mr. Su’s actions are bold, passionate, and inspiring.

There are none better than Mr. Su at embodying the greatness that comes from blazing one’s own trail, pursuing what others deem impossible. He is one of the greatest people I have ever had the pleasure to know and work for. He pursues his vision with energy and action, and in so doing, provides opportunities that challenge us all to be great.

Charlotte Huggins CEO Miziker Entertainment •••

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Emerald Park invested over 30 million euros ($32.2 million) in creating the deeply immersive land of Tír na nÓg.

All photos courtesy Jora Vision

Brainstorming, blueprints and buildings Jora Vision’s Jan Maarten de Raad speaks to the unique challenges of designing and building attractions for themed entertainment interview by Martin Palicki From small family parks and niche museums to large corporate theme park chains, design-build projects can be as simple as one small exhibit or as large as an entire themed land. Rarely do companies find themselves comfortable working across this spectrum. But for Jora Vision CEO Jan Maarten de Raad, it’s not a problem. He sees his company, headquartered in the Netherlands, as unique in the marketplace, capable of adjusting to fit nearly every situation. InPark Publisher Martin Palicki spoke with de Raad about Jora Vision’s recent work, new products, and plans for the future.

First, talk about Jora Vision’s capabilities.

It’s always a challenge to communicate the enormous range of our work. To start with, we combine design and build.

We employ architects, illustrators and designers but also

have painters, shapers and woodworkers on our team. We like to say that Jora Vision offers brainstorms, blueprints and buildings – all under one roof.

Our clients come from across the entertainment industry. We mostly work for theme parks, zoos and tourist attractions, as Jan Maarten de Raad well as museums and family entertainment centers. We work on projects all around the world and of varying sizes. We can refresh an old carousel horse or design a complete world-class resort with multiple parks and hotels (and everything in between).

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Jora Vision’s design process, from sketch to build, for Sweet Valley at Energylandia park in Poland.

The advantage of this variety in projects is that we always understand the whole picture. When doing theming right, everything is intertwined. Even if a client asks us only to create signage, we understand what role the signs play in the overall experience. Even with our 35+ years in the industry, we often surprise clients when they realize the breadth of our capabilities.

Lastly, we notice that upgrading existing experiences is a sound way to keep attractions interesting. Sometimes we can refresh a whole ride, just by adding a few smart elements. From a sustainability viewpoint, this is also great, since it prevents older rides from being shut down and replaced completely.

We are adept at refurbishment and see more requests like this coming in.

You work on projects all over the world, but recently you’ve done a lot of projects in Europe. Tell us about your current take on the European market.

Ultimately, it all comes down to increased competition in the European market and the need to offer something unforgettable and unique.

In Europe, we have seen a steady rise of quality theming and storytelling. Not only are the number of attractions increasing; existing experiences have been focused on enhancing their product in order to draw people from further away. This increases the competition between attractions.

What sort of design process do you employ when working with parks?

To draw a crowd, storytelling, immersion and theming are critical. For example, we helped Emerald Park create the theming strategy of their new Tír na nÓg zone. They invested over 30 million euros ($32.2 million) in making this deeply immersive land, even though they are the only theme park in Ireland. They still see value in adding detailed and vivid theming.

Parallel to having a theming strategy, having a master plan becomes increasingly important. Parks no longer add rides and props one at a time but make thorough plans that span years. We help regional parks like Särkänniemi in Finland with a comprehensive master plan and implement it step-by-step over multiple seasons. This way we help create a consistent atmosphere, even for parks that do not have the budget to develop a whole area at once.

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Some industry outsiders think our process starts with sketches.

For example, with the Dutch park Bommelwereld we made an intricate bird’s-eye illustration. But even before such a drawing starts, we go through a large amount of prep work.

It starts with the bigger picture. We figure out where the development fits in the masterplan of the park and its goals.

Our project strategy director, Pieter Cornelis, helps us to compile data to validate the assumptions of the client. What capacity should the rides have? How many parking spots and toilets are needed? What are the requirements for the back of house? And, most importantly, are the financials adequate? All of this informs our initial designs.

After that, concept design starts and plans become more specific. Ideas are elaborated and mood boards or first illustrations are made. Then we go into schematic design and work out all the details.

inparkmagazine.com

You have a great track record of working with family-owned and smaller municipal parks. What sorts of needs do they have compared to some of the larger regional parks?

No two clients are the same, but in general these parks are more directly involved in the creative process. Often, the owners have great ideas of what they want to achieve. Still, they might not have a background in design. This means we can help them in getting their ideas formulated, setting the scope and making it fit within their budget.

Smaller teams have limited capacity for extensive approval rounds. We can limit these and quickly work towards a final design, thus saving time and cost. We might draw a proposed building directly after a concept meeting, instead of getting deep into detailed design options. This typically differs from what bigger organizations want. A design department of a corporate-owned park might have a strict process for deliverables, while being less attached to specific creative ideas.

Both ways have their benefits, and we love them just the same.

You just worked on Europa-Park’s new roller coaster, Voltron. What was your involvement there?

This is an excellent example of a production-only job. EuropaPark asked us to build kinetic sculptures and props for their new coaster. You can see our work both on the ride and in the queue. We built a wall of giant shutters that rotate open to show the coaster launch sequence. Nearby, a giant prop called “the connector” moves as guests in the queue walk by.

Outside, we fabricated giant turbines, one of which cycles a high-speed stream of water inside it. We had to make smart choices to produce elements that last a long time with minimal maintenance. I believe our craftspeople did a tremendous job, so even in 20 years, this will look like new.

Bommelwereld, currently under development in the Netherlands, is a creation from Jora Vision’s studios.

You are working on Bommelwereld, an indoor theme park under construction in the Netherlands expected to open in 2026. Tell us about your role in this project and how it is progressing.

It’s rare to see a theme park built from scratch, especially in the Netherlands. Working with a renowned IP makes it even better.

Ollie B. Bommel, a beloved aristocratic bear from a Dutch comic, holds an iconic status in Dutch cultural history. We are delighted we were there from the start to help with the master planning and the design of the park. Translating the unique artistic style of the comics to a themed environment has been a treat for our designers.

Jora Vision created massive moving prop pieces for Europa-Park’s new Voltron roller coaster queue.

Construction has been going on for some time, and although we were originally only contracted as a designer, we are also called on to provide creative direction. The first rides are being installed, and we can’t wait until the theming comes in.

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Right: Jora Vision has helped regional parks like Särkänniemi in Finland with a comprehensive master plan and implemented it step-by-step over multiple seasons.

You started a new product line centered around mini golf concepts. Tell us why you decided to develop these products.

There is a current trend of hybrid concepts.

Theme parks add competitive socializing to their activities, while FECs are adding a layer of extensive theming and experience. Themed F&B is increasing, and people are now able to experience exceptional immersion during a night out without having to travel to a major theme park. This is why we introduced RemarkaBall, which is tech-infused mini golf.

We spice up the regular mini golf concept by adding unique skill games to the mix, such as table football or a challenging marble track.

It might seem like a weird choice for a company like ours, but from our background in detailed theming, mini golf courses have always been in our wheelhouse. We even received the first Thea Award for a mini golf course (The Forgotten Mine in Molenheide, Belgium).

After introducing RemarkaBall, we also received requests for more traditional mini golf courses. To cater to those clients, we added CustomizaBall to the mix. Here we design bespoke mini golf concepts, such as a tailormade course on the deck of a cruise ship.

What other projects do you have in the works?

We are like a Swiss Army knife in our industry and our projects reflect that. In addition to Bommelwereld Park, we are working on parks around the world, including the master planning of a park in India and the development of Särkänniemi park. Outside of theme parks we are working on a playground for a zoo and an interactive tourist experience.

We are creating multiple (yet to be announced) dark rides, such as the one in Six Flags Qiddiya City. In our production halls you can find parade floats, towers of beautiful signs and handmade mini golf courses. Our clients prefer us to keep the details confidential, so I can’t give you anything more specific than this. But there are some beautiful projects coming up.

And if someone is in need of a versatile company like Jora Vision, we still have some space to take on something new in the coming period. Feel free to visit us online or send an email at request@joravision.com. • 28

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EXPO EUROPE 2024

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REGISTER NOW Hosted in Amsterdam, Netherlands, a city with an unparalleled range of attractions, is your opportunity to learn and network with peers in the leisure and amusement industry.

EDUCATION: 23–27 SEPT. SHOW FLOOR: 24–26 SEPT. IAAPA.org/IAAPAExpoEurope @IAAPAEMEA | #IAAPAExpos

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Exhibits at Museum of Illusions Las Vegas include a mix of both optical tricks and technology-enhanced experiences

Seven secrets behind SpongeBob’s Crazy Carnival Ride Sally Dark Rides brings controlled chaos to the Vegas Strip

by Joe Kleiman

L

as Vegas is a city integrated with water. It was founded because of the Las Vegas Springs and is kept alive by the Colorado River. Throughout its history, Las Vegas resorts have been themed to tropical islands, featured live sea creatures, sported giant fountains, and even presented two competing pirate stunt shows at two different properties (simultaneously).

Now, Vegas visitors can dive into a new water-themed adventure at a carnival taking place under the sea, a collaboration between Sally Dark Rides, Paramount LocationBased Entertainment & Experiences, Nickelodeon, and Circus Circus Las Vegas.

SpongeBob’s Crazy Carnival Ride is a $6 million interactive dark ride located at the Circus Circus Resort, separate from the existing Adventuredome theme park and carnival midway. The attraction’s storyline begins in the queue where it’s discovered that instead of balls and rings needed to play carnival games, crates have arrived with ingredients for the mysterious “Krabby Patty” burger. Undeterred, SpongeBob and Patrick set out to make the carnival a hit, substituting Krabby Patty ingredients at each of the game stations. Along for the ride is Plankton, SpongeBob’s archnemesis, in his never-ending quest to obtain the Krabby Patty formula.

John Wood

Rich Hill

John Wood, Sally Chairman and President, and Rich Hill, the company’s Chief Creative Officer, both integral to the attraction’s development, shared with InPark seven secrets behind the ground-breaking new attraction.

1. For a high level of authenticity, the original voice actors reprised their roles from the hit television show.

Creating a successful SpongeBob attraction, especially one that would be the first dark ride for the franchise, required remaining faithful to the brand – its characters, stylizations,

Above: An animatronic SpongeBob grills Krabby Patties between scenes. All photos courtesy Sally Dark Rides

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The queue provides both story background and gameplay instruction.

The attraction’s faux ticket booth features easter eggs related to the production and to Las Vegas.

Mr. Krabs, owner of the Krusty Krab restaurant, plays carnival barker via an animatronic figure at the attraction’s entrance.

and humor. According to Hill, “We used the five core characters in the attraction, and each character was voiced by the original talent. That was very important to me, being a fan of the show.”

The first of those characters appears outside the attraction.

An animatronic Mr. Krabs, owner of the Krusty Krab restaurant, acts as barker, inviting passersby into the carnival to play various games of chance. Inside the attraction, guests encounter Squidward, Plankton, Patrick, and SpongeBob. All but Patrick appear in both on-screen media and as animatronic figures.

“We’ve become experts at handling IP-based attractions,” says Wood. “We had an excellent amount of respect in our working relationship with Paramount and Nickelodeon on this attraction. They reviewed all the scripts and character renditions. Our design team worked closely with them to ensure authenticity and IP compliance.”

“The partnership and collaboration we shared with Sally Dark Rides and Circus Circus has been truly remarkable,” said Marie Marks, SVP, Themed Entertainment, Paramount.

“From the very beginning we knew we were creating something special.”

2. Scents of cotton candy and grilled meats envelop guests during the ride.

“Our first major integration of scent into an attraction was thirty years ago at the Six Flags Power Plant in Baltimore,” shares Wood. “We delivered twenty different smells in the Power Plant’s Sensorium 4D theater. Scent can be a powerful addition. People aren’t expecting it, but they notice it and they talk about it.” At SpongeBob’s Crazy Carnival Ride the vehicles pass a cotton candy machine and a grill, with the appropriate smells emanating.

Since the attraction is designed to be built in multiple locations (including one scheduled to open later in 2024 at Land of Legends in Antalya, Türkiye) there’s also opportunity for more immersive tweaks to the attraction. SpongeBob and Squidward animatronics will include eye movement to track the vehicle. “This is going to be an important feature when they’re delivering their lines – they’ll be speaking directly to you, instead of just looking in one direction like a mannequin,” says Hill.

Wands are used for hitting targets at each of the carnival games.

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3. The attraction utilizes a carnival Zapper in order to more closely align with the attraction story.

The ride is very much story driven, and an objective for the designers was to match

The lighting secrets of SpongeBob’s dark ride For Lightswitch’s Warren Kong, lighting designer for SpongeBob’s Crazy Carnival Ride, lighting and color became both a pleasure and a challenge.

Real physics models are used in how each food item interacts with the games.

Throughout the ride, various shades of light were used to illuminate posters along the wall, creating not only a sense of being underwater, but giving the posters a three-dimensional, almost animated feel. “We switch between dull colors and vibrant colors, and, as we do that,” Kong shares, “it makes the whole poster come alive.”

Warren Kong, Principal, Lightswitch.

Photo by Lightswitch

Physical props, such as complete Krabby Patties, complement the gameplay at each of the gaming stations.

storytelling with gameplay. “The game is fun, but it doesn’t overpower the story, and vice versa,” says Hill. Instead of utilizing a gun, Sally opted to use a wand-like device as a carnival game “Zapper,” emphasizing the attraction’s story as a series of games, rather than as a shooting gallery. “We first used the wand as a ‘Clue Collector’ for our Sesame Street attraction at PortAventura World,” says Wood. “We like it because it’s simplistic and feels like a TV or video game controller. There’s no finger fatigue on the trigger and it features a robust and reliable button. Placing the story in the carnival game setting made the connection deeper and more enjoyable to create.”

4. It’s not just a dark ride, it’s a motion simulator too!

Each of the game stations utilize 4K laser projectors to generate the game imagery. During each game, Plankton appears on screen in an attempt to steal each ingredient.

Towards the end, an animatronic Plankton appears with a fully completed Krabby Patty above his head, held in place by a robotic arm.

At this point, the attraction pivots from carnival games to an immersive simulator-based chase sequence as SpongeBob, Patrick, and the guests pursue Plankton through the undersea community of Bikini Bottom to his laboratory lair. “We use a cylindrical LED screen for the

Kong points out one particular poster effect that he’s proud of. “It’s kind of a hypnosis effect with Gary. When we add a little bit of red to it, his eyes just glow and they pierce into you, but when we switch to the dull color, it looks like Gary has moved farther back, which is really fun. We used color and light to really make the attraction come alive.”

One of the challenges Kong encountered involved canopies above the game stations, hiding the 4K projection housings. Typically, an attraction such as this would utilize closeproximity lighting around the sets, but much of the lighting was ceiling-mounted, which often involves brighter output due to the distance.

To add directed illumination close to the screens, Kong employed fixtures from Gantom Lighting, a manufacturer of special-effects lighting equipment catering to the themed attraction industry. Gantom specializes in illumination of low-light and space-constrained environments where traditional theatrical luminaires aren’t suitable.

“The flexibility of the Gantom fixtures allowed us to add lights on site within the set to get the perfect angle, while keeping those fixtures out of view of the riders,” says Kong.

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chase sequence, which we can turn completely black after the segment is completed,” says Hill. “We also utilize side-to-side motion in the vehicle and supplemental in-car audio with bass rumbles and hits. It makes for an exciting finale.”

5. In order to make a more attractive ocean floor, there’s no track for the ride.

SpongeBob’s Crazy Carnival Ride uses trackless ride vehicles for several reasons. “We’ve been using trackless vehicles for over twenty years,” says Wood. “Trackless is smarter and more flexible.” Vehicles are able to

cross over a previously traversed path, something that could not be done on a tracked course, and are able to pause in one space and linger, rather than continuously move. This allows for additional scenes to be integrated into a compact space, extending the length of the ride.

“Aesthetics also played a key role,” explains Hill. “It was important for the ride floor to look like a sandy beach bottom. A track would take that out of the experience, and out of Bikini Bottom!”

6. During gameplay, virtual food elements follow the physics of real food.

The different Krabby Patty ingredients guests use to play each of the carnival games do not move on the screens in a straight line. “It’s a little bit of a different way to approach gameplay,” points out Hill. “In order to achieve the proper arc trajectories in the game, we had to assign weight and gravity to items being thrown at targets. For example, when tossing tomatoes, you have to aim higher because they weigh more. Lighter elements like buns and onions act differently in the game engine.”

7. The ride includes Easter eggs everywhere, including SpongeBob lore and insider nods to Vegas and the production team.

Easter eggs are found throughout the attraction, in both gaming elements and physical props. SpongeBob’s pet snail Gary makes a surprise appearance in each of the games, and those who successfully hit him receive a bonus powerup. “Hitting a hidden Gary doubles your points for ten seconds,” says Hill.

Trackless vehicles allow for the ambience of the ocean bottom on the attraction floor.

One of Hill’s favorite Easter eggs plays on the fact that creator Stephen Hillenburg based the SpongeBob show on Ween’s album The Mollusk. “Not many people know that,” says Hill. “We honor that in the ring toss game, where there’s a life preserver with ‘The Mollusk’ written on it.”

The carnival’s ticket booth is loaded with Easter eggs that only the designers would recognize. A calendar on the wall is full of appointments with various members of the design and installation team. The wall also features an Employee of the Month banner with a SpongeBob pin attached. “I purchased it from a guy selling pins on Fremont Street,” says Hill. “It’s a small piece of Vegas in the attraction.”

A life preserver pays tribute to “The Mollusk,” the album that SpongeBob SquarePants is based upon.

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One Easter egg that is readily visible, but may not be recognized by even die-hard fans, is the final scene where the scores for each guest are revealed. In the style of the show, which often uses cards to tell the passage of time, the screen begins with a card that says “11 minutes later.” It’s the ultimate sarcastic SpongeBob ending to a seven-minute ride. •

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Lotty welcomes the audience into an interactive dance, while riding on the top of the Shooting Star float. Photo courtesy Lotte World

Celebration of lights Utopia Worldwide creates the new World of Light parade in recognition of Lotte World Adventure’s 35th Anniversary

by Keith Miller

W

orld of Light, the new nighttime parade spectacular celebrating Lotte World Adventure’s 35th anniversary, is full of hidden meaning. On a very literal level, it’s a celebration of illumination. Twelve floats and 65 performers are decked out from head to toe in color-changing LED lights. But there’s deeper messaging at work too. It’s a show about the diversity of our planet, and how light, as a visual representation of love, unites us all.

World of Light is not a typical theme park parade. But Lotte World Adventure (Seoul, South Korea) is also not a typical theme park. Opened in 1989, most of the park is housed inside a four-story building. Attractions are located around the perimeter of each floor. A central oval on each level is cut out, revealing an ice rink below. Positioned above the rink on the top floor is the park’s central icon, an artistic gyroscope with concentric rings that emulate a globe. World of Light takes place on this level, surrounding and interacting with the park’s central icon.

“We wanted a parade that plays off our strength as an indoor theme park, allowing the audience to see the whole parade from wherever they’re standing,” says Keehoon Kim, COO

of Lotte World. “You can only see this kind of unique parade at Lotte World, where the entire parade route is essentially a theatrical stage.”

Setting the stage To help stage this massive undertaking, Lotte World turned to Utopia Worldwide, Inc. (Burbank, California) to design and collaborate on the production. “Utopia conceived and designed everything in the parade, in consultation with Lotte Mr. Keehoon Kim World,” says Norman Kahn, Utopia Photo courtesy Lotte World Worldwide’s CEO and executive producer. “We were excited to work with the park, because they are one of the world’s best theme parks for parades.” Utopia’s scope included concept and story development, creative design for the parade including floats, lighting and costumes, producing music, show direction and choreography for the entire production, which is expected to run for a minimum of five years.

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A dancer waves on the Star Trails float while the Light of the Heart glows in the background after succeeding in throwing the best party ever! Photo courtesy Utopia Worldwide, Inc.

The 30-minute performance begins with a guardian angel, Rodette, floating in the atrium above. Well-known Lotte World characters Boonhong and Joohong then introduce the parade, which consists of six thematic units each made up of multiple floats, characters, and performers.

Norman Kahn Photo courtesy Utopia Worldwide, Inc.

Whereas a typical parade moves continuously along the route, World of Light’s procession circles around the top floor of the park. Once all the units are spread out around the oval, the floats stop moving and, as Kim indicated, the whole fourth floor becomes a stage for the show.

Of the six thematic units, the first features Boonhong and Joohong while the last showcases Lotte World mascots Lotty and Lorry. The middle four units are themed to light: Passion of the Lights, Beauty of the Light, Miracle of the Lights, and Joy of the Light. “We wanted each of the light units to reflect a region of the world, but not too specifically. We chose themes that were more emotional and ethereal, rather than geographical,” says Kahn. “Instead of the Caribbean, it’s an ocean vibe and instead of the North Pole, it has an arctic feel. Each theme connects to the attributes of a particular region.”

First to appear is Passion of the Lights, with vivid red lights, matadors, Latin dancers, and a crimson hot phoenix. Beauty of the Light features a carriage and floats embellished with flowers, lavish decorations and chandeliers. Miracle of the

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Joohong dances along on a float for the World of Light night parade. Photo courtesy Utopia Worldwide, Inc.

Lights evokes arctic glaciers, accompanied by a representation of the colorful aurora borealis. Joy of the Lights rounds out the themed zones with a ship sailing on a sea of blue over glowing sea creatures.

As the parade starts, the iconic rainbow castle comes alive with sparkling shooting stars leaving trails of rainbow light.

The parade’s star, the Queen of the Lights, leads a collection of dancers and roller skaters. The parade finishes with Lotty and Lorry riding a giant star, bringing more shining light with them. These two beginning and ending units both create Celebration of the Lights, a dazzling colorful display of stars, showing how we are joined together by light and love and happy memories.

As the parade units take their place around the route, the central icon, called the Light of the Heart, fades. “All of the parade characters and performers ask the audience to send their love in order to illuminate the icon,” Kahn reveals. “It dramatically lights up and fireworks explode around it.”

“The central icon is the symbol of Lotte World Adventure and the happiness and love it inspires,” explains Kim. “Utopia’s idea to connect floats and costumes and the music to the central icon through the love of our guests is truly inspirational.”

The idea to make the parade a celebration of lights from around the world came from the development team’s show director, Kahori Kanaya. According to Kahn, the design team wanted to give the parade an overarching theme encompassing the people and regions of the world, while being mindful of cultural sensitivities and respect. That’s how the team decided on regional terms like the ocean and arctic and connected them with conceptual themes like passion, beauty, and joy.

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The Light of the Heart glows before the show waiting for Lotty and Lorry and all their friends. Photo courtesy Utopia Worldwide, Inc.

The Light of the Heart is powered by the memories of Love and Joy sent by the audience, surrounded by magical fireworks. Photo courtesy Utopia Worldwide, Inc.

Rodette flies above the audience and the Light of the Hearts introducing the parade. Photo courtesy Utopia Worldwide, Inc.

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Executing the vision Creating World of Light involved overcoming some substantial challenges. “When we started the project, we had less than 16 months to do everything – from the sketches to opening – and within a budget of 10 billion South Korean wons (about $7 million),” says Kahn. The availability and advances in LED lighting helped speed up the process and keep the team on budget. “Many of the LED technologies we implemented for the show couldn’t have been done just a few years ago,” he says.

Utopia assembled an impressive team that included Muundo Studio, Roark, Lightswitch, Winnie Mac, Audio By the Bay, and Rando Productions. “We knew we needed to bring together key industry experts in order to help execute the vision for World of Light,” says Kahn. “This project team has impressive experience in creating and producing nighttime spectaculars.”

The central unit of the Passion of the Lights features a glowing firebird and Lollipop hoop dancer hanging upside down performing a trick. Photo courtesy Utopia Worldwide, Inc.

“The Entertainment Department You Can Just Hire” Utopia has years of experience working extensively with theme parks on various entertainment projects, including long-term attractions and short-term events.

The company has also created special events for cities like Beverly Hills, Irvine, and West Hollywood.

“We’re like the entertainment department you can just hire!” says Norman Kahn, Utopia Worldwide’s CEO and executive producer. “Art direction, music, costumes, show direction, stage management, pyro, LED, flames – whatever is needed, we’ll do it.”

Kahn himself has an impressive career of design and production experience in the attractions industry, starting in 1988 as show producer/project manager for Universal Creative, followed by four years as vice president of entertainment for Universal Studios Hollywood. When he worked with Universal Studios Hollywood, the park’s Waterworld – A Live Sea War Spectacular won the “Thea Award for Outstanding Achievement - Live Show” from the Themed Entertainment Association, and Kahn says he earned a patent for its innovative stage design.

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In addition to all the lighting and special effects, music also plays a key role in World of Light. “Utopia wanted unique theme songs for each unit of the parade,” says Kim. “It dramatically expanded the musical footprint of the show and helps the audience engage with the storyline.” The team turned to renowned Japanese composer Takatsugu Muramatsu to compose the music, and Kahn says that many comments for the parade video on YouTube compliment the beauty of the music.

In choosing when to stage the parade, Kahn said the decision was easy. World of Light’s location indoors provides not only climate control for the floats, performers and guests, but also allows more precise control of lighting, sound and special effects. These benefits are more effectively used at night. It also gave the team an opportunity to turn the parade into what Kahn refers to as a “kiss goodnight” for guests in the park.

“A nighttime spectacular like this extends length of stay – a fundamental business consideration for operators,” explains Kahn. “When guests stay longer, they spend more, particularly if they stay to eat dinner in the park.”

Kim says people are, in fact, staying for the parade, and Lotte World is delighted with guest reactions to the new show: “We’ve gotten so many great responses from guests and we know that they have truly connected with the theme, story and magic of World of Light.” • Keith Miller has been mesmerized by theme parks and other attractions ever since his first visit to Walt Disney World as a child when he was afforded a visit to the utilidors beneath the Magic Kingdom. A communications major, he served as a freelance writer for Amusement Business weekly magazine for three years before writing for IAAPA’s Funworld Magazine and News Hub for 21 years, 17 of which as news editor. He’s been thrilled to have had the opportunity to travel across North America, Europe, and Asia visiting attractions and plans to spend the next few years traveling more than ever.

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The romance between the movie star and the mime brings color into an otherwise monochromatic world. © Julien Benhamou / Puy du Fou

Lights! Media! Action!

Digital Projection and Modulo Pi bring technical power to Puy du Fou’s latest award-winning production, Le Mime et l’Étoile

by James Careless

L

e Mime et l’Étoile (The Mime and the Star) is the latest innovative live action/multimedia stage show to be staged at Puy du Fou, the renowned theme park near Nantes, France. Set in 1914, the show transports the audience to a silent movie set to observe a new black-and-white silent film being produced.

The show’s main characters – Mimoza (the Mime) and Garance (the Star) – are encouraged by the film’s director to develop a real romance during production, which has the effect of bringing full color and sound to his cinematic creation.

The production is the latest in a series of award-winning shows for the park, known for their integration of technology and theming into historically-inspired storytelling. Le Mime et l’Étoile has already received multiple awards, including a Golden Ticket, IAAPA Brass Ring Award and TEA Thea Award.

According to Puy du Fou, the show is designed to mimic the effect of a tracking shot, one of cinema’s most iconic camera movements; the camera’s view (which is really the audience’s

view) follows or “tracks” the characters while they move through the world. They remain the center and focus, while the world moves around them. In this theater, as the plot advances, so does the scenery – literally!

The main set piece is a collection of Belle Epoque façades – houses and storefronts – that comprise a traditional Parisian avenue. The nearly two kilometers of façades parade across the stage throughout the 30-minute show to provide the continuous movement and “tracking shot.” In front of the track a giant treadmill hidden in the stage allows the cast of 120 to move in concert with the set.

Both the cast and impressively large set are further enhanced by content projected onto them throughout the show. Technology providers Digital Projection (video projectors) and Modulo Pi (media servers) help transform the greyscale silent film into a technicolor dream.

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Supporting the story through technology In development for years and opened in 2023, Le Mime et l’Étoile plays to a brand new 2,000seat custom-built theater. The venue integrates technology in novel ways, utilizing projection mapping, lighting, and spatialized sound, synced in real time with the movements of the sets and characters on stage.

The combination of Digital Projection’s Satellite MLS INSIGHT 4K laser projectors and Modulo Pi’s Kinetic media server made it possible for Puy du Fou to bring silent movie magic to life in Le Mime et l’Étoile, transporting guests into a dreamlike reality that embraces them from start to finish.

Above: The contrast between the black-and-white film set and colorful performers in Le Mime et L’Étoile is visually stunning. © Puy du Fou

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Four Digital Projection Satellite MLS (Modular Laser System) INSIGHT 4K laser projectors are housed at the back of the theater to anchor the show’s visuals. “The INSIGHT MLS 4K projectors have a contrast ratio of 2,000:1, a light output of up to 40,000 ISO lumens, native 4K (4096 × 2160) resolution, and offer Rec. 2020 color space,” explains Mark Wadsworth, Digital Projection Vice President of Global Marketing.

“They take advantage of the Satellite MLS format, which means the detachable projector ‘heads’ are installed at the back of the auditorium, separate from the light source, which is located 100-meters from the audience area.” This means the heat and noise generated from the light sources are not a distraction for the audience and minimizes the amount of rigging space required in the theater.

“The benefits of the MLS system are made possible by not only the separation of components but also the fiber optic cabling that is unique to Digital Projection and these models,” says Wadsworth.

Control of the show’s video content is managed by Modulo Pi’s Modulo Kinetic media server. “Puy du Fou contacted us ahead of the project to discuss the technical feasibility,” says Yannick Kohn, Modulo Pi Founder and CEO. “Achieving dynamic mapping on the massive moving set was a big challenge, but Modulo Kinetic was ideally equipped to handle it. With its 3D calibration tools and ability to communicate with the machinery moving the sets in OSC (Open Sound Control), our media server helps deliver a mapping perfectly synced with the movements of the façades on stage.”

To achieve this, Modulo Pi relies on a huge digital 3D model of the two-kilometer-long set in order to generate the media that accurately matches the moving scenery. “Importing such a 3D model into Modulo Kinetic really tested the machine’s limits, but it has proven to be successful,” says Kohn.

Since the media projection is a central element in the scenography, there is no room for failure. A second Kinetic Designer workstation and VNode server were installed to provide an automatic

backup. “If there is any problem with the main servers, the secondary units will automatically connect and become the masters so the show can go on,” says Kohn.

In addition to the challenging prospect of projection mapping onto moving sets, at various points in the production the media is treated with an old film effect, similar to thematic filters available on digital cameras. “This was achieved using Modulo Kinetic’s node-based compositing tools,” adds Kohn. “The media server provided the power and versatility required for such a demanding project.”

While tracking the moving mechanical set pieces came with its own challenges, tracking the imprecise movements of performers required another solution. Naostage’s K SYSTEM automated show control solution uses cameras and tags to track the exact location of the show’s 16 main characters in real time.

It then uses this tracking data to automatically execute lighting, audio and video effects that synchronize with the performers and set projections.

A success story

server for their show Le Dernier Panache.” That production features a rotating 2,400-seat grandstand, and Modulo Kinetic allows real-time tracking and projection on a 100-meter screen and curtains. In many ways, Le Mime et l’Étoile was the natural progression for the technology and the advanced storytelling it facilitates.

Despite the technical challenges associated with staging Le Mime et l’Étoile, the show has been playing at Puy du Fou without any major issues. “This show is very different because of the integration between the actors and technologies all working together,” said Martin de Gaillard, Puy du Fou’s Show Automation and IT Manager. “It is a fully automated system, and it’s been playing eight times a day for eight months without any technical issues.”

The technological integrations and innovations, while impressive, also serve a higher artistic purpose, according to de Gaillard. “We want people to come away with an emotional feeling and we also want it to be working like clockwork,” he says. “Without a doubt, the technology enables all of that.” •

Kohn is pleased with the project, as well as the legacy of Modulo’s partnership with the park. “Puy du Fou was the first to adopt Modulo Kinetic in 2016,” he says. “The system had just been launched, and teams from Puy du Fou trusted our media

James Careless is an award-winning freelance writer who has covered the amusement parks and attractions industry for many years.

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