InPark Magazine issue #106: Expo 2025 Osaka, Projects in Asia, and more!
The industry is coming together to share ideas, exchange expertise, and shape the future. From the enlightening educational talks to the enormous show floor featuring a huge breadth of innovative products – it’s time to supercharge your career and your business.
6 Industry news News from Alterface and Huitt-Zollars
8 Illuminating creativity interview by Becci Knowles
Luoman’s acquisition of Holovis is a game changer for immersive experiences
11 Sustainable thrills interview by Becci Knowles
Maurer Rides' B Corp certification accelerates the industry's path to a greener future
14 An accurate forecast by Andrew Friedenthal
The new “How We Know the Weather” exhibit at the U.S. Space & Rocket Center unites powerhouse teams from the design, technology and weather industries
18 Inside Expo 2025 by Martin Palicki, Tina Kreitlow & Paul Williams
Osaka, Kansai, Japan hosts the World’s Fair, bringing together people from around the world to experience food, culture, architecture and technology
24 Ein Prosit! by Becci Knowles
The Bavarian Inn Lodge grows from legacy resort to year-round destination with a new 170,000-square-foot waterpark and family fun center
28 A battle at sea between good and evil by Joe Kleiman VinWonders Nha Trang adds “Rise of the Ocean Princess” nightly stunt show thanks to Renaissance Entertainment and TechFulcrum
32 Connecting hearts and ROI interview by Becci Knowles
How RWS Global approaches the creation of globally successful destination experiences
36 The story you tell by Annie Quaile Building a career in themed entertainment
39 Gilroy Gardens at 25 by Joe Kleiman
Inspiring young minds for a quarter century
42 Sliding into Shanghai interview by Martin Palicki
As the industry prepares to return to China for IAAPA Expo Asia, ProSlide examines highlights and trends from APAC waterparks
46 Exploring "The Source" by Martin Palicki
The Wilderness Resort in Wisconsin Dells partners with Moment Factory to develop a new world-class visitor attraction, Aquavia Lumina
53 InPark Market Report: Ticketing
53 Introduction & ticketing trends by Martin Palicki
54 Integrated software solutions and the Hattiesburg Zoo by Andrew Friedenthal
57 News from around the world of ticketing
53 That's the Tixera; interview with Semnox's Leinad Borman interview by Martin Palicki
61 A multifaceted gem of a projector interview by Martin Palicki
Chistie’s new Sapphire brings together the best of both RGB pure laser and laser phosphor projection technologies
Postmaster: Send address changes to InPark Magazine 2349 E Ohio Ave. Milwaukee, WI 53207, USA. Subscriptions are available annually on our website ($35 USA / $50 international). Opinions expressed in editorial matter are not necessarily those of InPark Magazine or its publishers, Martin Chronicles Publishing, LLC.
ON THE COVER
Expo 2025 Osaka’s defining feature is The Grand Ring, which encircles the expo site and provides views of the pavilions and surrounding bay area. Shown here from atop The Grand Ring are the France, USA and Philippines pavilions
Page 18
Hope for a brighter tomorrow Martin PublisherPalicki,
I’mwriting as I return from my media preview of Universal Epic Universe in Orlando, Florida. Simply put, the park is stunning. Because of production deadlines, InPark’s main coverage of Epic Universe will appear in our next issue. But I had just enough time to share some initial thoughts with you here.
So much thought and care has been put into everything – from overall concept design to individual shows and attractions. And the amount of technology built into the park is unrivaled.
But honestly my biggest takeaway from the week is hope. I have been open about my recent concerns for the industry as well as the global economy, largely thanks to the instability inflicted by our own government here in the United States. While I still have those concerns, the opening of Epic Universe provides a much-needed shot of optimism for me – and, it seems, the thousands of people who have dedicated their lives to creating magical and engaging visitor experiences both in Central Florida and around the world.
Expo 2025 Osaka is another bright spot on the landscape, and our coverage of that event in this issue highlights some of the best pavilions and experiences to be had there. Although Expo and Epic are different in many ways, they both seem to share a common purpose of inspiring a passion for exploration (both the world as we know it and the celestial universe!). Additionally, I think they both want guests to engage in a more thoughtful way with their experiences. Guests are referred to as “travelers” once inside Epic’s central Celestial Park and inspirational quotes are inscribed around the park and attractions. It’s fun, of course, but it’s also refreshingly cerebral.
Obviously, I cannot predict the future of the industry, but I am hopeful that an amazing new park like Epic Universe helps create an additional surge of interest and investment in themed entertainment. In turn, that should further encourage and reward the professionals and companies that bring these experiences into existence. And what could be better than that?
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
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 served as news editor at InPark Magazine starting in 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
EDITORIAL ADVISOR
Judith Rubin
SENIOR CORRESPONDENT
Joe Kleiman
NEWS EDITOR
Jordan Zauha
CONTRIBUTORS
Andrew Friedenthal
Becci Knowles
Tina Kreitlow
Annie Quaile
Paul Williams
DESIGN
Keaton Jadwin
EDITORIAL ASSISTANCE
Jordan Zauha
Photo by Paul Williams
Laun SPIKE ® ASM
Set Records, Overcome Limits
GIANT-8-LOOP - RIDE THE IMPOSSIBLE
The standing figure eight is a ride element that coaster designers have been dreaming about for decades. With Spike ASM technology, this dream is now a reality. The ride figure is a big wow effect and it is hard to believe that it is rideable. Thanks to the latest technology and innovative design, you glide through fascinating loops and twists that give you the feeling of unlimited freedom.
Industry News
InPark News highlights new projects and products in the industry. To include your news item in print, contact news@inparkmagazine.com.
Alterface powers interactive fun for the new SpongeBob’s Crazy Carnival Ride in Türkiye!
Now open at The Land of Legends in Antalya, Türkiye, SpongeBob's Crazy Carnival Ride marks another successful collaboration between Alterface, a leader in interactive experiences and immersive entertainment, and Sally Dark Rides, renowned creators of engaging dark ride attractions. The ride, having launched at Circus Circus Hotel & Casino Las Vegas, made its international premiere at The Land of Legends' newly opened Nickelodeon Land on March 1, 2025.
Built around a beloved IP, SpongeBob's Crazy Carnival Ride is a joyful adventure that promises an unforgettable family experience. The ride’s humor and character-driven storytelling, paired with intuitive and entertaining gameplay, make it a true gem for guests of all ages, immersing them in the whimsical world of Bikini Bottom and allowing them to become active participants in the SpongeBob story.
The attraction, designed and manufactured by Sally Dark Rides, invites guests to step into Mr. Krabs's zany carnival, where SpongeBob, Patrick, and the rest of the gang are using a shipment of Krabby Patty ingredients for midway games while attempting to keep Plankton at bay. Leveraging its proven expertise in interactive systems, Alterface provided
the cutting-edge shooting system and responsive show control, ensuring a seamless and engaging experience for riders.
This integration of storytelling and interactive gameplay was a core objective for the ride, with Alterface's technology playing a crucial role in achieving this balance. Instead of a traditional shooting gun, riders are equipped with a wand-like Zapper. This deliberate choice offers an intuitive interface, allowing riders to fully engage in the fun and contribute directly to the unfolding story powered by Alterface's technology.
Alterface has a strong track record of blending popular intellectual property with sophisticated interactive tech to create truly immersive rides, as seen in its work with Sally Dark Rides on the successful Justice League series of attractions. SpongeBob's Crazy Carnival Ride builds on this tradition, offering a deep and captivating experience that goes beyond traditional dark rides by actively involving guests in the narrative through responsive gameplay.
"We are thrilled to continue our long-standing partnership with Sally Dark Rides," said Stéphane Battaille, CEO of Alterface. "Our collaboration on SpongeBob's Crazy Carnival Ride exemplifies our shared commitment to creating immersive and memorable attractions."
The ride utilizes ETF's trackless Mystic Mover system, guiding guests through six interactive scenes filled with 2D media and physical targets. Alterface’s technology places riders in the center of the story by triggering and modifying sound, media, animatronics, and special effects in real time – based on each vehicle’s precise position.
SpongeBob's Crazy Carnival Ride at The Land of Legends in Türkiye
“The interactive elements are perfectly aligned, creating an energetic and dynamic experience. Our system allows players to become the central protagonists, as the story is directly driven by their actions,” said Battaille. “Additionally, Sally Dark Rides did an incredible job bringing the unmistakable humor of the SpongeBob series to life through a storyline and gameplay that are easy to understand, fast-paced, and packed with fun.”
Throughout the ride, at each of the brightly themed game stations, high-resolution laser projectors bring the midway action to life. Additionally, Alterface’s technology allows players to activate targets on non-projection surfaces, including multiple physical props along the ride course and a giant LED screen in the final scene that stretches nearly from floor to ceiling. This incorporation of different media formats (including five animatronic figures) along with Alterface’s versatile technology creates a fully immersive environment. At the very end of the ride, a “Hall of Fame” feature showcases player scores, adding a competitive edge and encouraging repeat visits.
SpongeBob's Crazy Carnival Ride has been captivating guests at The Land of Legends with its immersive storytelling, advanced technology and interactive gaming since its opening.
“As a huge SpongeBob fan, I absolutely love this attraction!” said Battaille. “It feels like stepping into Bikini Bottom and being part of an episode from the series. We are excited to continue this successful partnership with Sally Dark Rides and we hope that it will lead to many more SpongeBob rides worldwide.” •
Huitt-Zollars welcomes Andrew (Andy) Fastman, AIA, NCARB, LEED AP BD+C, as a Senior Vice President and Commercial Practice Area Leader
Huitt-Zollars is pleased to announce Andrew (Andy) Fastman, AIA, NCARB, LEED AP BD+C, has joined as a Senior Vice President and Commercial Practice Area Leader. In this role, he will lead the firm’s commercial business sector which includes themed entertainment, destination entertainment, and largescale commercial projects.
With over 25 years of experience, Andy brings a wealth of expertise in driving business development initiatives and orchestrating strategic solutions. Throughout his career, Andy
has demonstrated his commitment to innovative design solutions and a deep understanding of the intricacies of the commercial market sector.
Prior to joining Huitt-Zollars, Andy worked for a national integrated design firm where he served as Associate Principal and Project Director focused on Destination Entertainment. During his tenure, he developed studiospecific and overall corporate strategic vision, managed annual studio revenue projections, and executed complex, large-scale themed buildings and adaptive reuse projects. Andy was also instrumental in founding and participated in leading the Summer Intern Cohort program across all U.S. office locations. He forged strategic partnerships with consulting disciplines and vendors to enhance business development endeavors.
Andy is actively involved with the Themed Entertainment Association (TEA), where he serves on the Western North America Division Board of Directors and chairs the Education Committee. His contributions to TEA include organizing webinars and conferences that focus on leveraging technology and sustainability in themed entertainment.
For the last decade, Andy has taught at Otis College of Art and Design in the Environmental Design program, focusing on fabrication, furniture design, and the Senior Show installation. These didactic endeavors, coupled with his TEA NextGen and NCARB Licensing Advisor interactions and activities, illustrate his commitment in facilitating the transition from academia to professional practice.
Andy received his Master of Architecture from the University of California, Los Angeles, and his Bachelor of Science in Architecture from Georgia Institute of Technology. He is a registered architect in the state of California. •
Andrew Fastman
Illuminating creativity
Luoman’s acquisition of Holovis is a game changer for immersive experiences interview by
Becci Knowles
WhenStuart Hetherington founded Holovis in 2003 along with Joe Jurado, it was the classic tech startup story. Starting small, Holovis quickly established roots in the dome and projection cave environments. The company soon expanded and evolved, focusing on incorporating and adapting new technologies into immersive experiences, with pioneering applications of AR, VR, projection mapping and more. The company also grew geographically. In addition to its headquarters in the U.K., Holovis opened offices in Orlando, Shanghai and Abu Dhabi. Now, 20+ years later, Holovis is recognized in the industry for its innovative approach and delivery of complex AV and interactive installations worldwide.
In 2021, Holovis entered into a partnership with Shanghai Luoman Lighting Technologies Inc., an urban lighting design and integration company established in China since 1999. The agreement allowed Holovis easier access to the Chinese market and provided Luoman the opportunity to expand into the leisure and entertainment sectors.
Luoman announced the acquisition of Holovis in 2024, transforming Luoman into a major international player in entertainment technologies while building on the global reputation and client list Holovis has established.
InPark asked CEO Stuart Hetherington to delve into the details of this game-changing acquisition and what it signals for the future of immersive experiences.
What are the benefits of being part of the Luoman Lighting group?
With the architectural and outdoor lighting solutions from the Luoman teams now being part of our portfolio, we have significantly expanded our turnkey capabilities and offerings to both new and existing clients. The Holovis and Luoman teams can also share resources, capabilities, and experience – not just in China, but globally.
Additionally, we are jointly working on several confidential development projects to take immersive experiences and attractions to the next level using XR technology for the creation of unique immersive storytelling solutions, and these will be announced in due course.
Above: Holovis helped create the LEGO Factory Adventure Ride for LEGOLAND New York. Now, Holovis and Luoman are in a strong position to address the evolving opportunities in the entertainment and experiential sector in China and beyond. All photos courtesy of Holovis.
Stuart Hetherington, CEO, Holovis
How will your role and the overall leadership structure of Holovis change?
One of the essential aspects of a successful acquisition is to maintain stability and continuity in both businesses while leveraging the synergies and expertise from both companies and their executives for mutual gain, something that we worked very hard on throughout the process. We spent nearly three years working in partnership with Luoman under a joint venture before deciding to go ahead with the acquisition, to prove the relationship and the operating requirements of both businesses. Since the acquisition, there has been no change in the core leadership and operations of Holovis, with our VP team continuing to drive the daily operations and strategy of the business under my leadership as CEO of Holovis, and with the full support of the Luoman team and its CEO, Claire Sun.
What exciting new developments or projects can we expect to see from the combined teams of Holovis and Luoman?
How is the company growing as a result of the acquisition?
Luoman has a significant client base across China, the Far East, and the Middle East. Holovis has operated in China for the past 12 years and also has a notable presence in other themed entertainment hot spots, including the United States, Western Europe and the Middle East. We are investing in the further expansion of the group, with an initial focus on our latest offices and expanding team in Saudi Arabia, and in our innovation and development programs to create some unique solutions and products to enhance our offerings and portfolio. This puts Holovis and Luoman in a strong position to address the evolving entertainment and experiential sector in China and the opportunities we see, as well as globally with both existing and new clients.
What are the key strategic priorities for Holovis in the Chinese market?
While we already have a large team, innovation, and demo center set up in Shanghai, our priorities are to continue to grow the multidisciplined team and skillsets locally, as these are needed to deliver major ongoing and future projects in China, while also using these resources to support our wider operations and projects in other countries. We are also investing in dedicated software and game development teams and strategic partnerships in China to support our global operations.
We are already seeing the major benefits in the coming together of both companies, with major new joint projects being won in the Middle East that require Holovis's core immersive, complex AV, and attractions design capabilities, as well as major packages of work for the Luoman team in designing and delivering all lighting aspects of the projects.
We have also just signed several turnkey projects in both China and Europe that will be co-invested in by the group as joint owner-operators and in partnership with several major IP owners who are licensing their IP to these specific projects. This is a very exciting position for Holovis and Luoman to be in, and we’re thrilled to be taking the business into new ventures and even greater opportunities where we are investing in the unique experiences and attractions we will be building alongside our other partners. •
Becci Knowles is a U.K.-based writer and editor with 20 years’ experience in trade and consumer press. Becci’s first taste of the themed attractions industry came in 2015 with a visit to Gothenberg, Sweden, for IAAPA to support the Park World and GlobalAmusements & Play team. She went on to edit Park World from 2018-2022 before deciding to go freelance, making the move into travel and lifestyle before returning to the visitor attractions industry for InPark.
The architectural and outdoor lighting solutions from the Luoman teams are now part of the Holovis portfolio.
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Sustainable thrills
Maurer Rides' B Corp certification accelerates the industry's path to a greener future interview
by Becci Knowles
Maurer Rides CEO Jörg Beutler discusses the company’s vision for a sustainable future and its unique achievement as a roller coaster manufacturer having earned the prestigious B Corp certification.
For nearly a century and a half, Maurer Rides has been a driving force in engineering and manufacturing. Founded in Munich, Germany, in 1876, the company has evolved from its origins to become a global leader in the design and production of roller coasters and transport systems. Today, Maurer Rides has over 1,000 employees and operates six production sites around the world.
Maurer's journey into the amusement industry began in 1993 with the acquisition of the roller coaster operations of Bayrische Hütten Stahl (BHS)/Anton Schwarzkopf. This significant and strategic expansion brought with it a rich legacy of roller coaster design and technology. To sharpen its focus on the roller coaster market, Maurer established the subsidiary Maurer Rides GmbH in 2003, which now functions as a specialized and independent entity within the Maurer Group.
Maurer Rides has consistently pioneered the development of influential technologies within the roller coaster industry. A prime example is the introduction of the Maurer X-Car in 2004, an innovative system for inverted rides without shoulder restraints that changed the rider experience. The company has also developed the XTRAC multi-body simulation package for designing innovative track figures and the Maurer XBEND method for precise, three-dimensional bending of track tubes.
More recently, Maurer Rides unveiled the Spike drive technology, considered a transformative advancement for developing and manufacturing of roller coasters as well as other rail-bound transport systems. The Spike ASM (Adaptive Spike Motor) drive unit is touted for exceptional power density and for enabling “unprecedented” acceleration and versatile track designs, making it possible to surpass prior energy and gravity constraints, thereby elevating the thrill factor while also enhancing the sustainability of operations.
In a landmark move that reaffirms its commitment to a sustainable future, Maurer Rides has now become the first roller coaster manufacturer worldwide to earn the prestigious B Corp certification.
Awarded by B Lab, a global nonprofit that measures a company’s social and environmental impact, B Corp certification recognizes companies that meet the highest standards of social responsibility, environmental sustainability, transparency, and corporate governance. With only around 100 B Corps in Germany altogether, Maurer Rides is part of an exclusive group.
Maurer Rides' BOLT coaster captures the essence of sustainable entertainment. With its B Corp certification, Maurer Rides is proving high-speed excitement and environmental responsibility can coexist. All photos courtesy of Maurer Rides.
Maurer Rides CEO Jörg Beutler
What key factors drove Maurer Rides to pursue B Corp certification, and why was this the right moment for your company to take this step?
We've been interested in sustainability for a long time, and it's something I'm also interested in on a personal level. We started by doing a big analysis of how sustainable we are and wrote a long report about it that met the standards of the Global Reporting Initiative, or GRI. We did all of this with our own staff and didn't use any external consultants. But we wanted to make sure we were on the right track, so we asked for external certification. We decided that B Corp was the best fit as it's a general certification that's open to all industries. Getting the certification was a logical next step for us, but it took a lot of effort.
B Corp certification validates ethical conduct and social responsibility as well as sustainability. Does partnering with a B Corp certified manufacturer help other industry members move toward those goals?
Yes. Although supply chain legislation in Europe has been somewhat watered down, all companies are called upon to question and verify the sustainability status of their suppliers as part of their own sustainability efforts. Working with certified suppliers is rated much higher in this respect. In addition, the park operators can be sure that certified suppliers have all the data necessary to assess the sustainability of their products, such as the carbon footprint or the energy consumption of the roller coasters over their life cycle.
Ethical business conduct and social responsibility are key factors for sustainable business. I am sure that it will become increasingly important for theme parks to pay attention to how these areas are covered by their suppliers.
We see ourselves as pioneers of sustainable engagement in our industry. In doing so, we hope to give the movement a boost. We believe it is our responsibility to live up to this challenge
and continue to be a leader in this area. We expect our customers to put pressure on suppliers to insist on high standards. B Corp certification is good preparation.
Can you provide specific examples of how Maurer Rides plans to reduce its environmental footprint?
Of course, we are constantly working to reduce the energy consumed in the manufacture of our products. We also optimize the energy requirements of our products. It is more difficult to reduce the carbon footprint of our suppliers. For example, the carbon footprint of steel production is currently very high, and we have few alternatives for this material.
What we can do is assess the amount of recycled steel in our suppliers' steel production and monitor the market for the availability of green steel, which will become increasingly available in the future.
Tell us about changes made within the company to help meet the high standards required for B Corp certification.
We have continued to raise our standards, particularly in the environmental area. The development of various policies, such as the Code of Conduct, the Responsible Business Policy and the Whistleblower Policy, has also helped us make progress in the government sector. We already had a high standard in the social area, but we still have some weaknesses, for example, in finding enough female employees to ensure a more balanced ratio.
I hope that sustainability efforts and related certifications will increasingly become the standard in our industry. Getting involved early on is not only important in this respect but can also lead to more sustainable and therefore more futureoriented products from a broader perspective.
What other initiatives or innovations is Maurer Rides pursuing to enhance sustainability in the amusement park sector?
One focus is the increasing consideration of energy efficiency and reducing the carbon footprint when building new roller coasters. We are also keeping an eye on life cycle costs and are working on interesting concepts in this area as well.
B Corp certification is consistent with our values, practices and products. We believe that our Spike drive systems are a particularly energy-efficient and sustainable technology. With the introduction of the Spike ASM Launch, this technology is now available for roller coaster trains and high-capacity requirements. And new Spike products are in the pipeline that will be a great addition to the many facets of roller coasters. •
Maurer Rides' innovative Spike drive technology powers attractions like the Desmo Race at Mirabilandia, offering thrilling experiences with enhanced sustainability.
bringing the adventure to life
Engineering, design and construction-phase services for unforgettable guest experiences.
An accurate forecast
The new “How We Know the Weather” exhibit at the U.S. Space & Rocket Center unites powerhouse teams from the design, technology and weather industries
by Andrew Friedenthal
We perhaps take for granted the ability to turn on the television or navigate to a website and receive a reasonably accurate forecast for what the weather is going to be tomorrow. Weather is inherently unpredictable, but somehow experts have managed to figure out a way to predict it.
But what actually allows us to do that? The short answer is tons of data. The longer answer involves Bob Baron, founder, president, and CEO of the Baron Critical Weather Institute, a nonprofit organization dedicated to critical weather information-sharing across the state of Alabama. Baron is the driving force behind “How We Know the Weather” at the U.S. Space & Rocket Center in Huntsville, Alabama – an immersive new museum exhibit that explores and explains the science of weather.
“The focus of the Institute has been to bring world class instrumentation in support of public safety, educational outreach, and economic development,” explains Baron. This was the motivation for Baron to develop the exhibit, with a goal of helping both children and adults learn about the importance of meteorology. Baron found a host for the exhibit in the Rocket Center, which was looking to revitalize its campus in the post-COVID landscape and had 2,500 square feet of space available.
With a vision and a venue, Baron began to assemble a dedicated team – headed by design-build firm Design Force and AV/ technology consultants TechFulcrum. Together, the team faced the challenge of taking all of the massive amounts of information behind weather prediction systems and turning that into an engaging exhibit that allows visitors to experience the science – and data – of weather prediction for themselves.
Commanding the data
The Baron Institute selected Design Force, in part because of the company's history of working with the Rocket Center and
other prominent institutions. For this project, however, Design Force worked with the team at the Baron Critical Weather Institute, rather than the Rocket Center itself.
Design Force owner Phillip Sowder brought TechFulcrum onto the project, having worked with their team before on multiple collaborations. The partners applied their complementary skillsets, with Design Force addressing the creative elements and TechFulcrum designing a technology package to support the narrative experience. “Design Force is a fantastic creative partner,” says TechFulcrum founder and CEO Scott Arnold. “Their ability to blend aesthetic sensibility, storytelling, and attention to the practicalities of installing and operating an exhibit make our job – and the project owner’s job – much easier.”
The newly assembled team approached the project with an expectation of precision. “Because this is scientifically oriented, we had to make sure that everything was extremely accurate,” explains Baron. His for-profit company, Baron Weather, provided much of the information Design Force and TechFulcrum were tasked with interpreting. Kim Grantham, Vice President of Marketing for Baron Weather, was responsible for sourcing Baron Weather software, data, and resources to support several exhibit areas. “We were the beneficiaries of data contributions from NASA and NOAA as well,” adds Kathi Tew, chief operating officer and chief financial officer at the Baron Institute.
In fact, the amount of data the exhibit would be receiving and synthesizing rivaled or even exceeded that of actual weather prediction centers. “We knew the exhibit would be unique in having a live feed from both the polar orbiting satellite and the geostationary satellite, as well as worldwide lightning and radar information,” explains Baron. “We understood from the start that the data going into that exhibit would be massive, highquality and state of the art.”
Kathi Tew, COO/CFO, Baron Critical Weather Institute
Christian Lozano, Experience Designer/ Developer, TechFulcrum
Phillip Sowder, Owner, Design Force
Scott Arnold, Founder/CEO, TechFulcrum
Bob Baron, Founder/ President/CEO, Baron Critical Weather Institute
The team was then faced with the task of taking all that data, combining it with complicated information from expert scientists, and creating a multilayered experience that provided both information and excitement for visitors with varying levels of interest. “We had the challenge of having a treasure trove of digital data, but very little of it existed as tangible, easily understandable content,” explains Sowder. “We had to balance everything out to make it fun for everyone and also make it visually appealing.”
The solution was to create a series of stations that combine interpretive graphics, digital displays, and hands-on interactivity, combined with several key immersive experiences that ensure the message of the exhibit is fully absorbed by visitors.
Adding to the complexity, much of the data being sourced by the exhibits would come from live feeds such as the Baron Weather Lynx visualization software that translates live weather information into engaging and easy-to-understand graphics presented on the large Weather Command LED screen.
“One of the tricky parts was to take the story points we wanted to cover and figure out how to pair them with live data streams that, like the weather, can be unpredictable sometimes,” says Arnold. “We couldn’t have accomplished this without the help and efforts of Kim Grantham and the team at Baron Weather.”
Exploring the space
The entranceway to the exhibit, known as the “solarium,” houses a three-dimensional recreation of the sun that uses actual imagery taken of the celestial body. “We wanted to take high-resolution satellite imagery of the sun and create a compelling story that encouraged guests to explore further,” says Arnold.
Developing the display was a technical and creative challenge. The solarium’s “sun” is a large dome protruding out towards guests from a flat, black, shiny background. Images of the sun’s surface are rear-projected onto the dome (and, to create the sun’s corona, onto the semi-transparent background surface) - a process that TechFulcrum had perfected in a past project where they created a three-dimensional eyeball. Arnold wanted to use this particular solution rather than creating the sun out of a full sphere, because it was important to show the undulating, bubbling nature of the sun’s surface, which could only be accomplished by projecting onto the dome from behind.
Contrasting with the black background, from a distance this sun appears to be floating in mid-air, and closer up it shows off the details of its surface that are key to understanding the importance of this celestial body. “It’s a great draw to pull you in, but it’s also a way to talk more about how the sun impacts weather on Earth,” says Arnold.
Touchscreens on the wall to either side of the sun provide an interactive way for visitors to learn more about it, and how data from satellites informs the images they’re seeing on the dome, including the constant motion and rotation of celestial gases and occasional eruptions of plasma.
From there, guests enter the exhibit’s main room that features more than 30 interactive displays, including touchscreens and hands-on models. One offers guests the ability to see static electricity in action with a long-haired wig. Another highlights the pattern wind makes over moving tiles. Each display is independent, allowing guests to visit whatever stations they are drawn to, and in any order.
How We Know the Weather Exhibit (Opening Day). Photo by Emily Riddle (U.S. Space & Rocket Center)
Nearly all of the displays incorporate the data that Baron, NASA, and NOAA provide, with many showing live data feeds of weather phenomena from around the planet. “All this amazing data is really what powers a lot of this experience,” says Arnold. “When guests look at an explanation of ground-based lightning detection, they're seeing live incoming data of ground-based lightning detection from around the world.”
Nestled in a far corner of the room is another show-stopper that, though less reliant on live data, is an example of a tactical experience designed to appeal to visitors in a more visceral manner: a recreation of a tornado.
Visitors enter a simulated storm shelter and see a TV playing, only to find the broadcast interrupted by a tornado warning. Two digital display “windows” (which Theory Studios helped to create) on the side walls show what’s happening outside as the tornado forms and passes by. Safe within the shelter, visitors watch as the lights flicker in time with thunder and lightning (before blacking out entirely) and feel the rumbling of the storm thanks to bassheavy sound design by Dan Newman that goes along with the visuals. The sonic effects are created by low-end transducers placed in the wall and benches, a low-frequency sub-woofer for the storm effects, and midrange overhead speakers for the rest of the audio fill.
The popular experience offers a high throughput – a three-minute experience with one minute of loading/unloading, cycling automatically during operating hours.
The long-term forecast is good!
Although the solarium and the tornado shelter may be the biggest hits with younger visitors, the entire exhibit is already proving quite popular. Sowder recalls that he was installing an update to one exhibit when a child came up to him just to proclaim, “This is my favorite area at the Rocket Center!”
Sowder credits that reaction to the successful collaboration between the Baron Institute, Design Force, and TechFulcrum: “The team makes everything successful, and the end result is that the public really loves the exhibit.”
What’s more, the Rocket Center plans to deploy the exhibit as a part of other offerings that the center provides, including use in Space Camp programming to showcase both the benefits of satellite technology and the importance of accurate weather prediction for aviation.
“Museums have this rare chance to shape how people feel about science,” says TechFulcrum experience designer/developer Christian Lozano. “And when you make it tactile, honest, immersive, and impressive, it sticks.”
“How We Know the Weather” is open now at the U.S. Space & Rocket Center. •
Andrew Friedenthal has a Ph.D in comic books – well, American Studies – and now works as a writer in the themed entertainment industry, basically living the dream of his 11-year-old self. With a body of work encompassing plays, screenplays, arts criticism, journalism, academic books, articles, and plenty of copywriting and content marketing, he is obsessed with getting to the heart of any story, regardless of format. Though based out of Austin,TX, where he lives with his wife and daughter, his New York heritage ensures he will always stand “on line” at a theme park, not “in line.”
Examples of the exhibit's interpretive graphics and data feeds. Near real-time data helps create many of the displays in the exhibit. Photo courtesy of Steve Babin
Entranced visitors admiring the solarium
Photo courtesy of Jeff White
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Inside Expo 2025
Osaka, Kansai, Japan hosts the World’s Fair, bringing together people from around the world to experience food, culture, architecture and technology
by Martin Palicki
Expo 2025, officially known as the World Expo 2025, debuted on Yumeshima Island in Osaka, Kansai, Japan, on April 13, 2025. The event runs through October 13, 2025, and features the theme “Designing Future Society for Our Lives.” Over 150 countries and regions are participating in Expo, with over 28 million visitors expected over the six-month run.
Expo 2025 Osaka builds on nearly 200 years of world’s fairs and marks a return to Osaka as a host site. Expo ’70 welcomed over 64 million visitors to Osaka with the theme “Progress and Harmony for Mankind.”
World’s Fairs have a long connection to the attractions industry, contributing such inventions as the Ferris Wheel (Chicago, 1893) and even played a key role for the development of future theme park attractions for none other than Walt Disney (New York, 1964). More recently, many suppliers to parks and attractions also lend their expertise to expo pavilions, which often emulate small theme park attractions.
InPark has been a leader in reporting on Expos and has extensively covered the selection and development of Osaka for the 2025 fair, thanks in large part to the work of our own World’s Fair Editor, Jim Ogul and our former Editor Judith Rubin.
Osaka marks my third World’s Fair, having attended Shanghai (2010) and Dubai (2020) previously. I visited Expo 2025 Osaka shortly after its opening along with Tina Kreitlow and Paul Williams. We also covered Expo 2020 Dubai together through several articles and podcasts. Although we experienced nearly everything together, our responses and reactions were different. Some of Tina and Paul’s thoughts are captured in sidebars to this main article. What follows is my take on the experience, and recommendations for fellow industry professionals planning to visit.
-M.P.
Above: The Grand Ring is Expo 2025 Osaka’s iconic elevated structure that encircles the Expo site. Built using traditional Japanese construction methods, only a portion of the ring is scheduled to remain after Expo concludes. Photo by Tina Kreitlow.
The reviewer’s dilemma
There was much discussion in our group about whether it is fair to compare Expo 2025 to Expo 2020 Dubai. The amount of money invested, the sheer size and scale, and the added year of preparation the pandemic afforded to the delayed Expo 2020 seem to make for an uneven playing field. But I don’t see how one can NOT make the comparison – particularly in relation to core experience metrics: Did I have fun? Did I learn something? Did I try something new?
On these questions, and on other fronts, I feel Expo 2025 Osaka underperforms. To be fair, elements of Expo 2025 are brilliant. The Grand Ring is iconic. Much of the architecture is stunning. The welcoming and kindness of the Japanese hosts is notable. Many individual pavilions and experiences shine (more on that later). But there were key elements of the overall experience that left me feeling disappointed. I departed feeling not nearly as enthusiastic about Expo as I felt after Dubai.
Under-designed and over-engineered
The simplicity of Dubai’s three-petal design made sense to me. Each petal represented one of that event’s sub-themes, with a major theme pavilion serving as a focal point and anchor. In Osaka, The Grand Ring is the event’s defining feature, but pavilions seem somewhat randomly placed both inside and outside the ring, with little cohesion between areas. The Future Life Zone, for example, is located on a narrow strip far away from the central Ring, while The Future of Life pavilion is located in the center of the expo site with other “Signature Pavilions.” A glitchy Expo map app didn’t make things any easier.
Restaurants – outside of Japanese-style food halls – were difficult to access. One of the pleasures of Expo is enjoying different cuisines, but restaurants in many countries were only available with advanced booking or an unreasonably long wait.
However, by far the single most discouraging element was the over-engineered and unnecessarily complicated pavilion reservation system. First, a couple of notes: As of this writing, Expo organizers continue to tweak and adjust the reservation system, so it appears to be a work in progress. Also, as media
we were effectively treated like staff, and as such didn’t have actual tickets, which means we could not access many of the reservation systems. Even among those that we could access there was no uniformity. Some required online booking (often involving a lottery), others offered a QR code onsite to waitlist for entry. At least one required in-person reservations. Some pavilions allowed stand-by queuing only at certain times of the day while others advertised their “no reservation required” status as a badge of honor. Several pavilion operators told us they quickly abandoned the reservation system shortly after opening in order to simplify the process and give everyone the chance to visit, even if it meant standing in a longer line. But the inconsistencies of the system, the reliance on extensive pre-planning and a need for a little bit of luck were major negatives. The net effect was one of discouragement and defeat – we ended up abandoning efforts to visit every pavilion we had planned to see. Although certainly noble in intent, the reservation system proved too difficult to access and manage, turning what ought to be a fun experience into a chore.
Pondering pavilions
Despite these flaws, several pavilions really stood out as must-see experiences. A special thank you to Christian Lachel of BRC Imagination Arts for helping us out with a starting guide.
Brazil: Brazil’s pavilion went all in on artistic expression and experience – and I loved every minute of it. Most people will walk quickly through the main experience, but it’s worthwhile to sit and take in the whole show. While the interpretation is up for grabs, there’s a definite narrative arc and a Brazilian samba at the end that makes you want to get up and dance.
Canada: This clever integration of AR into the experience starts with guests being handed tablets and welcomed into a giant room full of fabricated icebergs. Viewing each iceberg through the tablet showcases a different area of Canada. The level of detail in the AR animations is exquisite, with plenty of Easter eggs and subtle nods to Canada’s history. The technology and implementation help make Canada’s pavilion a leader in interactive experiences at Expo.
Brazil’s pavilion centers around a special, artistic experience that lasts nearly 15 minutes. Photo by Paul Williams.
Guests use tablets equipped with AR technology to scan icebergs and unveil people, places and things associated with areas around Canada. Photo by Tina Kreitlow.
People make all the difference
by Tina Kreitlow
Going to Expo 2025 Osaka, Kansai, is an opportunity to immerse yourself in the gracious culture of Japan. As a first-time visitor to the country, I found the people to be kind, helpful, considerate and full of life. Few places in the world take this level of pride in attention to detail and making sure visitors have what they need for an enjoyable visit. Experiencing Japan is a key part of experiencing Expo.
On the Expo grounds, there are many ways to evaluate and sort the country pavilions, but it soon became clear to me that there were essentially two groups: those with native country staff and those who utilized local Japanese workers as pavilion guides and greeters.
While the Japanese teams were gracious and had exuberant enthusiasm for their adopted countries, for me the experience was lacking that personal connection. Brazil, for example, offered an entertaining pavilion that was well designed and executed, but I missed the ability to connect with actual Brazilians and talk about their country, their hometowns and their life experiences. The passion and storytelling of their people was absent.
Comparatively, I resonated more with pavilions like Indonesia, Kuwait and the USA. Each was exceptionally designed to showcase their countries, but the added benefit of native staff made all the difference. In Indonesia, I commented on how beautiful the flowers and trees were. A worker shared that the staff arrive early each morning to wipe down and care for the indigenous plants so they continue to look as they do back home.
While touring and eating lunch in Kuwait we experienced people who eagerly shared about their country, wanting to ensure guests left with an understanding of their culture.
The USA pavilion is not only staffed with 80 U.S. youth ambassadors but also features an artist-in-residence series that brings American performers to Expo audiences. The result in each of the three pavilions is an experience that is authentic, engaging and memorable.
While Expo pavilions are frequently recognized for their unique architecture, technology showcases or experience design, the people within the pavilion are really the ones that can make the biggest difference or create a lasting impact for visitors. In my opinion, one of the most valuable elements of Expo is the bringing together of people from around the world with common goals and missions, eager to share and learn from one another. The more countries – and the more people from those countries – that participate makes a richer experience for everyone.
The Future of Life pavilion raised interesting questions on the use of AI and androids, culminating in an unusual performance of robotic creatures. Photo by Paul Williams.
Larger pavilions, such as host country Japan, often utilize stunning architecture to help convey a message and encourage visitors to explore within. Photo by Tina Kreitlow.
The Grand Ring is a grand landmark by
Paul Williams
World Expos are celebrations of international culture, innovation and collaboration to solve global challenges. They include individual national perspectives on a central theme, but like the Olympics and other major international events, Expos allow the host nation to imprint its own unique viewpoint on the entire event.
Expo 2025 in Osaka Kansai, Japan, certainly achieves this with its most distinguishing feature: The Grand Ring, designed by architect Sou Fujimoto.
Inspired by the theme “Unity in Diversity” and constructed with techniques used in Japanese temples and shrines, The Grand Ring encircles the event site with what has been certified by Guinness World Records as the world’s “largest wooden architectural structure.” The massive framework will undoubtedly make a lasting memory for many visitors. Elegantly simple with clean sightlines from all angles, the Ring is imposing with its 20-meter maximum height and 2-kilometer circumference while also being understated with its simple cedar, cypress and pine materials and natural landscaping. To me, the Ring evokes the Hinomaru, or “ball of the sun,” in the Japanese national flag. As the main boundary for Expo activities, it is filled with the intense energy of thousands of daily visitors and the fire of human imagination.
While Expo 2025 does not have a central gathering and connecting place (such as Al Wasl Plaza at Expo 2020 Dubai), the Ring connects the site from the outside in and back with multiple access points. A brisk 45-minute walk along the Ring’s Skywalk allows visitors to survey the entire Expo site with a bird'seye view of the unique pavilion architecture as well as the Osaka skyline and Osaka Bay. Conversely, the Ring can be seen from many and often unexpected ground-level vantage points. With the constant movement of strolling attendees along the Skywalk, it provides a dynamic visual pulse that quietly energizes the Expo campus. That pulse turned into a drumbeat on May 11, 2025 as over 12,000 musicians used the Skywalk to form the world’s largest marching band, setting yet another world record for Expo 2025 and uniting the event through sight, space and harmonious sound.
The Grand Ring may leave lasting impressions, but it’s not expected to remain, and in fact was designed to be easily disassembled. Current plans call for a small section to be preserved as part of future redevelopment of Yumeshima Island after the Expo ends on October 13, 2025.
The Kuwait pavilion featured an assortment of experiences, including multimedia shows, interactive play areas, a meditation room, and a huge domed theater presentation. Photo by Paul Williams.
The USA pavilion builds to an immersive space launch experience before parading guests past fragments of a moon rock. Photo by Paul Williams.
Future of Life: Billed as a creative exploration into how robots and AI will be further integrated into our lives in the future, the pavilion features a host of projection mapping technology and animatronics, with the added bonus of cute, bouncing robots. The show finale presents one vision of a future 1,000 years away. It’s decidedly artistic, very entertaining, and more than a little bit unnerving.
Japan: While the country’s 2020 pavilion was one of the highlights of Expo, their offering this year focuses less on showmanship and more on meaningful technology. The pavilion is beautiful and houses a journey that takes guests through three areas highlighting cycles of nature. A focus on the benefits of algae showcases how nature can offer solutions to problems we create.
Kuwait: The Kuwait pavilion presents a collection of visitor experiences designed to appeal to a wide variety of guests with a fun pre-show, interactive stations, kids play area (including a slide), a quiet reflection room, and an impressively huge domed theater show. The experience provides a multifaceted view of Kuwaiti life and history, with just the right blend of media, tech and whimsy.
Under the Midnight Rainbow show: Presented nightly on the waterfront, this show (produced by ECA2) brings together fountains, projection, lasers, fire and music to tell a story about all living creatures, air and water. Select performances are followed by a drone show in the sky above.
USA: InPark has extensively covered the USA pavilion, with notable experience design firm BRC Imagination Arts helping craft the guest experience inside. InPark’s own World’s Fair Editor Jim Ogul also provided consulting for the pavilion. The result is a well-orchestrated story of American ingenuity, culminating in a simulated blast-off into space. There’s even a catchy theme song and cute mascot. All 50 states are represented in the media within the pavilion – and not just the largest cities in each state. Perhaps most importantly, even with large queues the facility is designed with throughput in mind and the line moves quickly. The majority of the time, presentations are in Japanese, but English shows are scheduled regularly.
Women’s Pavilion: With a building façade repurposed from the Japan pavilion at Expo 2020 Dubai, the Women’s Pavilion builds on Japan’s impressive showing there with an engaging and immersive presentation. Guests follow one of three women’s stories before joining together to examine how women are represented and treated around the world. It’s a thought-provoking and well-executed experience. •
At the Indonesia pavilion, native plants surround works of art representative of the country and its inhabitants.
Photo by Tina Kreitlow
Some pavilions, like Spain, were designed to be viewed from above on The Grand Ring. Photo by Paul Williams
The Women's Pavilion recycled part of the exterior of Japan's pavilion from Expo 2020 Dubai. Photo by Tina Kreitlow
Experiences Elevating
Ein Prosit!
With a nod to German heritage, Michael Keller Zehnder takes the Bavarian Inn Lodge from legacy resort to year-round destination with a new 170,000-square-foot waterpark and family fun center
by Becci Knowles
The Bavarian Inn, a Zehnder family legacy since 1950 in Frankenmuth, Michigan, has dramatically broadened its offerings with the new Bavarian Blast Waterpark and additional family entertainment attractions. (A little background: As a top tourist destination, Frankenmuth is a quaint, family-friendly city located about 100 miles north of Detroit and is known for its German heritage and classic Bavarian architecture.)
Now under the leadership of fourth-generation owner Michael Keller Zehnder, the Bavarian Inn Lodge has added this 170,000-square-foot attraction to its already extensive indoor amenities. The waterpark boasts 16 water slides, diverse water play areas for all ages and what’s billed as Michigan’s only swim-up adult bar. This expansion is a strategic move to widen the resort's appeal and provide a unique guest experience, transforming it into a year-round destination.
The Bavarian Blast Waterpark is designed to immerse guests in a Bavarian-themed festival atmosphere, extending the resort's established brand of hospitality into its new entertainment arm. The park features a three-story castle, anchoring the immersive theme with its grand scale and traditional Bavarian architectural style, and an open-air roofing system that maximizes natural light, creating a bright and inviting outdoor ambience, even within an indoor setting. The design choice of the latter not only enhances the guest experience but also contributes to energy efficiency by reducing the need for artificial lighting during daylight hours.
Two key players in the waterpark sector, Aquatic Development Group (ADG) and WhiteWater, collaborated on the project, bringing their specialized expertise to the table. ADG served as the waterpark concept developer, wave equipment supplier and overall park specialty builder, responsible for the overall design
The Bavarian Inn has added Bavarian Blast Waterpark, a 170,000-square-foot attraction to its already extensive indoor amenities. All photos courtesy of The Bavarian Inn.
and functionality of the park, while WhiteWater designed, engineered, and installed the park's 16 new water attractions, ensuring a mix of thrills and family-friendly fun.
A feature-rich experience
A highlight of the park, designed by ADG, is the three-stage show featuring the resort's mascot, Willy the Dragon. This interactive entertainment feature captures the spirit of a Bavarian festival, with Willy sounding the alpenhorn before a water blast dramatically signals the arrival of waves in the main wave pool. This integration of live entertainment with the water attractions creates a dynamic and memorable experience for visitors of all ages.
Global creative company Adirondack Studios provided creative design, sampling and mockups, fabrication and installation services for the whimsical characters and environments located throughout the waterpark, including fiberglass characters, aluminum animals, animal water sculptures, brightly colored Bavarian-style birdhouses, and the theming of a two-story castle backdrop to the park’s wave pool.
“Our goal was to provide a variety of experiences for our guests that catered to their many senses, thus creating lasting memories to cherish for generations,” says Zehnder, adding that Adirondack was brought on board following a recommendation by ADG.
Getting it right from the start
Ray Lauenstein, Director of Business Development at ADG, explains that the company’s role in the project began with “taking the owner’s initial ideas and aspirations for Bavarian Blast and fleshing them out into a comprehensive and actionable final concept plan.” This involved a “specialty design-build” approach, including detailed architectural and engineering design of all pools and their water circulation systems. The scope of work included strategically integrating the 16 water slides provided by WhiteWater to optimize guest flow and visual appeal, as well as master-planning operational logistics and back-of-house infrastructure.
Lauenstein emphasizes the complexity of the project, highlighting the need for detailed coordination between guestfacing attractions and essential back-of-house infrastructure. “What you don't see is truly half the battle,” he says. "It's all the complex underground work and the sophisticated back-ofhouse systems.”
He describes the intricate web of decisions, such as balancing the desire to enhance the guest experience with the practicalities of engineering and maintenance. In addition to the three-story tower, swim-up bar, and the wave pool show are other unique points of interest, such as at the mezzanine
level where the mat racer water slide ends, providing a focal point as well as potential for future food and beverage options. ADG also worked to incorporate the resort’s branding into the park through thematic touches such as custom-designed lily pads.
WhiteWater wows with slide portfolio
WhiteWater's contribution centered on creating a varied and engaging experience so that there would be something for every visitor to Bavarian Blast. Onno Meeter, President of Water Parks at WhiteWater, described a slide package that includes themed options for younger visitors, high-thrill experiences for adrenaline seekers, a family raft ride that encourages group participation, and interactive slides that deliver a sense of friendly competition.
WhiteWater created a varied and engaging range of slide experiences so that there would be something for every visitor to Bavarian Blast.
Meeter highlights the inclusion of a family raft ride, “specifically designed for groups to experience together, fostering a strong sense of shared adventure and camaraderie,” as well as the exhilarating competing slides, such as the Parallel Pursuit, where riders race head-to-head. These types of slides not only provide excitement but also create opportunities for social interaction and shared memories.
WhiteWater also brought its thematic design expertise to the project, working closely with ADG to ensure the slides complement the Bavarian theme. Meeter explains that the company offers a unique slide customization process called veiling, which involves applying specialized visual treatments directly onto the slide's surface to enhance a narrative – in this case, one slide with butterfly patterns and another with goldfish. This attention to detail extends the theming beyond the park's architecture and into the attractions themselves.
Several slides also feature WhiteWater’s AquaLucent effects, an innovative finish technology that adds an element of light and movement for greater visual stimulation and excitement. These effects were selected for adding to the park's overall atmosphere of fun and festivity. Says Zehnder, the AquaLucents “dramatically enhance the overall guest experience by introducing vibrant and dynamic bursts of color along the ride paths.”
Collaboration is key
The success of Bavarian Blast was the result of effective collaboration between project owner Zehnder and the external teams of ADG and WhiteWater, each contributing their unique
Ray Lauenstein
The kids play area reflects the park’s Bavarian theme and is integrated with other design elements.
expertise to the project. The Bavarian Inn Lodge’s German heritage was a key consideration throughout the project, influencing the design and theming of every aspect of the waterpark.
Meeter credits ADG's expertise in managing complex and integrated projects, highlighting its ability to translate the client's vision into reality. He also acknowledges the vital role of Adirondack Studios in bringing the authentic Bavarian theme to life throughout the waterpark, contributing to the immersive environment that sets Bavarian Blast apart.
In parallel, Lauenstein emphasizes the importance of robust project management to ensure that different teams work in coordination. “Different teams can easily end up operating in relative isolation,” he explains, “which can lead to conflicts, duplicated efforts, and inefficiencies.” ADG made a concerted effort to foster open communication and ensure that all stakeholders considered the interconnectedness of the various project elements from the initial conceptual design stages. This proactive approach to project management was crucial in overcoming the challenges inherent in such a large-scale development.
Navigating unique challenges
Like any project, Bavarian Blast presented several challenges, including coordinating indoor and outdoor construction, integrating complex water systems with slide structures, and adhering to the client's vision and budget.
Lauenstein points out that integrating indoor and outdoor components was a key challenge, particularly ensuring that the water slides and pools that transitioned between these two environments were properly sealed to prevent air leaks, crucial in Michigan's harsh winters.
Highlighting ADG’s role in navigating the owner’s vision, Lauenstein explains that the Zehnder family had a very clear idea of what they wanted to achieve, and fitting all those desired elements into the available space required innovative solutions. The children's play area proved challenging to integrate with other design elements. Lauenstein recounts that the initial plans for the area went through revisions "nine or ten times” because of spatial conflicts with other features, such as building access and the location of the hot tub spa. To overcome this, ADG “called time out” and brought in fresh perspectives, ultimately leading to a solution that satisfied the owner's requirements and worked within the park's layout. “It was good to have Michael push us on that one and to have WhiteWater maintain flexibility,” Lauenstein says.
Close collaboration between ADG and WhiteWater extended from master planning to on-site installation and commissioning, with the teams working together to ensure correct and safe slide installation and seamless integration with pool structures and water systems. This communication was vital for maintaining the project schedule and meeting safety and guest satisfaction standards. Speaking separately, Lauenstein and Meeter tell me that positive relationships and mutual trust facilitated problem-solving and communication throughout the project.
Lauenstein is keen to emphasize ADG’s ongoing partnership with the Bavarian Inn's Zehnder family. “For us at ADG, it’s not simply a matter of constructing the park and then walking away,” he says. “We deeply understand the significant long-term investment that the esteemed Bavarian Inn resort has made in this ambitious project, and we firmly aim to be a supportive and reliable partner throughout the entire operational lifecycle of the waterpark.” This includes operational check-ins and a responsive service department, ensuring the success and enjoyment of Bavarian Blast for years to come. •
A battle at sea between good and evil
VinWonders Nha Trang adds “Rise of the Ocean Princess” nightly stunt show thanks to Renaissance Entertainment and TechFulcrum by Joe
Kleiman
“Rise of the Ocean Princess” is a show that successfully combines live actors and stunt performers, projection through multiple mediums, a powerful score, lighting and atmospheric effects, and pyrotechnics – all on the open ocean.
Anchoring the newest addition to VinPearl Nha Trang resort, on Vietnam’s eastern shore, is a stunt show performed nightly on the open sea, “Rise of the Ocean Princess.” The show is a featured attraction of VinPearl Harbour, a new shopping and dining district with three distinct zones: Monaco, Fontville, and Indochine.
The new VinPearl Harbour complements the resort’s five luxury hotels, championship golf course and VinWonders Nha Trang amusement park which includes a theme park, largescale aquarium, and waterpark.
VinPearl Nha Trang resort was developed by VinPearl Group on Hon Tre Island in Nha Trang Bay and is accessible only by aerial gondola or high-speed boat. The area was historically a government and religious center that has transformed over the past few decades into one of Vietnam’s dynamic resort destinations. It draws an international clientele, with many of its guests from Russia and Germany.
The concept and team come together
“The client knew they wanted a stunt show,” says Renaissance Entertainment CEO Jon Binkowski, who was creative director on “Rise of the Ocean Princess,” working alongside the
VinWonders internal creative design team. “They did their due diligence in looking at various shows throughout the world.” They were particularly impressed by “The Bourne Stuntacular” at Universal Studios Florida, according to Binkowski. “They recognized they wanted something with that kind of power, scale, and production value.”
The Bourne show, which had replaced the long running Terminator 2: 3D, received high industry honors as a 2021 recipient of the TEA Thea Award for Outstanding Achievement – Live Action Spectacular. Renaissance worked as an extension of the Universal Entertainment and Universal Creative teams on the project, with the Thea Awards Program crediting Binkowski as Creative Director and his business partner Lisa Enos Smith as Executive Producer.
“VinWonders approached us,” says Binkowski. “They wanted a waterfront show that would provide the same kind of punch, but at a more modest price point.” This would help make the most of both the natural and human assets available to stay within their budget.
Scott Arnold and his firm TechFulcrum were the perfect partners for Renaissance to manage technical direction and
Jon Binkowski, CEO and Creative Director, Renaissance Entertainment
Lisa Enos Smith, Executive Producer, Renaissance Entertainment
design for audio, video, lighting, and overall show control. “Enlisting Scott was a no-brainer,” says Binkowski. “We’ve worked together for over 30 years and know one another’s thought processes well. TechFulcrum was right there with us as we were conceiving the design of Bourne!” Rounding out the technical team were special effects designers/fabricators Technifex, lighting designer Chris Werner, sound designer Dan Newman, and TechFulcrum’s in-house video designer, Roger Bates.
Renaissance also turned to writer Stephen DeWoody, director Tito Enriquez, producer Lyn Lin, associate producer Zoe Lau, costume designer Ann Closs-Farley, props designer Adam Milicevic and sound designer and composer Gareth Prosser.
Through resourcefulness and creative thinking, Binkowski and Arnold were instrumental in delivering a high caliber stunt experience at a moderate cost, tying into IP of the resort’s existing dark ride and spectacles.
“This was our first project in Vietnam,” shares Arnold. “The first project in a country is always the most challenging. We’ve worked in China, but China and Vietnam are two different cultures. Some things are handled the same, but some are handled very differently. There’s a lot of learning on the go.”
Arnold and his team were able to acquire some of the technical elements from Vietnam, while others had to be imported. “Running out to the store for material or supplies was not always the easiest task,” Arnold says. “We ended up making friends with people who could get us the things we needed.”
New roles for existing characters
From the outset, VinPearl’s creative team knew which storyline they wanted for the show – that of The Ocean Princess from the tale of Princess Tata, whose characters appear multiple times in the park: as live action characters, during a nighttime spectacular, and in a dark ride designed by Jora Vision. “The story of Tata is a simple one, which translates well to the stage show,” says Binkowski, “She is a princess of light who battles a princess of darkness.” Since the live performers varied slightly in appearance depending on who was portraying the character, Binkowski used the animatronics in the dark ride as a standardized template for designing the characters in the show.
Scott Arnold, Founder/CEO, TechFulcrum
According to VinWonders, through the characters of Tata World, “‘Rise of the Ocean Princess’ unfolds a tale of courage, rivalry, and the eternal struggle between light and darkness, offering audiences an unforgettable journey into the depths of imagination.”
Finding the right venue
The overall design and build process was rather quick, with the entire project taking less than a year from design to opening. “It’s a simple show,” says Binkowski. “We had two main characters, the townspeople, and then the supporting cast for each of the two princesses. It all takes place on water, and, really, the only set pieces were the two towers on either side of the stage. The entire story is told through a small cast, stunt actors, projections and effects.” The basic, good-versus-evil storyline plays well to a broad international demographic.
The designers originally considered placing the show in the dive show arena. “It was a protected area, with no waves or tides,” says Binkowski. We couldn’t include fast moving jet skis or flyboarders.”
The team then started looking at spots along the shoreline. Arnold says: “At first we had this really long and narrow grandstand, but we needed to work within their space, so it was condensed to about a 1,000-person seating area – which is small – but it also places everyone closer to the action and makes it more intimate.”
The aforementioned towers also experienced a design change. In an early iteration, they were simply dive towers with metal stairs. As more effects were added, they took on a more solid nature. Scott Heineman, scenic designer and art director for Renaissance Entertainment, created a design that supports the show’s speakers and lighting, while also housing environmental effects, such as bubbles and flames, and still functions as a platform for high divers. The overall goal was to make the towers blend organically with the surrounding architecture as well as the show, rather than appear as an equipment platform.
“Execution of items like the towers is frequently challenging,” says Arnold. “The client is responsible for building the towers to meet the designer’s specifications. Some of the things we ask for are outside the normal realm of what the client is used to, because of the specialized nature of our business. Add to
that the safety elements required for the divers, and a simple tower suddenly becomes much more complex. Because we had to rely heavily on the client and their construction teams – and it is different than traditional construction – we worked to help guide them through the process.”
Sound and fury
Another challenge arose when the client decided to enlarge the venue after substantial construction was complete, and the audio equipment was being installed per the original design. “We were able to adjust what we had in order to make it work,” says Arnold. “It’s a pretty traditional audio system, consisting of left and right front speakers with subwoofers. We added front fill speakers on the stage, which are disguised as tie-off points for boats.”
For the music, Binkowski wanted to provide a highenergy score while minimizing cost. He accomplished this by arranging for a special licensing agreement with the distribution company Extreme Music that represents the duo Two Steps from Hell, well-known for composing music for movie trailers, including the Harry Potter and Pirates of the Caribbean franchises. “Extreme Music gave VinWonders a deal to use specific Two Steps songs and created a sequence for them,” Binkowski explains. “VinWonders has the rights to this sequence in perpetuity and it can only be used for this show.”
The two princesses (in media) were cast in Los Angeles and filmed on green screens at A Very Good Space in Van Nuys.
Binkowski and Smith then approached their friends at Theory Studios to add animation. The Ocean Princess, the princess of good and light, appears in a pearl floating offstage. Her image on the spherical screen is projected from a single Christie Crimson 3DLP laser projector. “We considered using multiple projectors and blending the image,” Arnold explains. “But we were happy to avoid that. Eliminating blending simplified the process and makes it easier to ensure consistent show quality over time.”
The dark princess appears on an LED screen floating in the water. “We were able to do something cool with that,” says Binkowski. “After we filmed the actor, we added animation where she transforms into a ferocious dragon.”
Piecing together the components for the floating screen required elaborate teamwork, collaboration and problemsolving. “The LED screen has a supporting structure,” explains Arnold. “The barge it rests on was purchased from China and shipped in pieces in a cargo container and assembled on site. Then everything was built on top of it. The support frame for the LED tiles was built from Vietnamese materials. We needed something that was sound and would not deteriorate quickly. It was not as clear-cut to source materials and build in Vietnam, so we had to be much more nimble than normal. This was true for all show elements. Jet skis, for example, needed a particular kind of fiberglass resin – and that was driven to Nha Trang from a completely different part of the country. The end result is fantastic and would not have happened without all our partners working together.”
Add H20
The corrosive nature of sea water demands proper execution of technical design and installation of AV equipment, housing, and supports for a project of this kind. There are safety issues as well. TechFulcrum and its staff have decades of experience working on projects for cruise ships and major marine animal parks, such as SeaWorld and Chimelong. According to Arnold, marine park environments tend to be harder on the equipment, which also includes electrical boxes and show action equipment, because artificial salt water uses a different chemical composition than natural sea water, which makes it more corrosive to electronics. With Nha Trang, natural sea water became part of the show.
At the front of the stage, fountains spurt into the air. There are also high-pressure hoses that the heroes use to push the villains off the stage. Binkowski says, “The fountains are special saltwater units designed and fabricated by Technifex. We use fresh water for the air and water bursts on the towers, so that it doesn’t cause any irritation on the cast or the audience if the water hits them. For the hoses, we’re hitting stunt actors in wetsuits, so it’s natural salt water.”
Stunts were coordinated by Australia’s H20 Events company lead by Jack Ellison, which had also worked with Renaissance and TechFulcrum on a nighttime show at Chimelong Ocean Kingdom. “VinWonders has had stunt shows before,” says Binkowski, “but this is the first time they’ve had one with jet skis and flyboards involved.”
The show’s master control system, programmed by TechFulcrum, interacts with a number of system controllers, with most of the show running off time code. Pyrotechnics are launched wirelessly via a FireOne firing system. Additionally, QSC Q-SYS functions as both the Show Control system (for non-life safety elements) and as the audio DSP.
The stunts and the pyrotechnics take place in a natural tidal saltwater environment that is in a public waterway. “Fishing boats can come through the area,” says Arnold. “We always
have to know when to pull back and what has to stop. We’re always keeping an eye on waves and the wind being too strong.” Binkowski added “I can’t express strongly enough how tough it is to do a show on the open ocean dealing with salt, tidal fluctuations, battering waves and changing winds. It is to the credit of our entire team, as well as out client, that we were able to create a safe, exciting show that is able to work in relative harmony with Mother Nature!”
Noticeable from afar, the use of fireworks – designed by Skylighter Fireworks of Australia – is good for word of mouth. “We did that not only to increase guest length of stay at the retail and dining complex, but we wanted something that can be seen from across the water that would entice people staying on the mainland to visit the island,” explains Binkowski. All pyrotechnics are initiated from the water. In addition to pyro launching in the air from barges, the show also features it streaming from jet skis and from the boots and backs of flyboarders high in the air, who also manually spin a giant rope full of pyro, creating a spiral effect. “You get a lot more intensity from pyro emanating from a person or a jet ski close up than you do by shooting a six-inch shell a football field away,” says Binkowski.
A unique experience
“This show gave us a chance to do things we haven’t done elsewhere,” says Binkowski. “The pearl interacting with the LED screen on the barge plays with the audience due to the smaller arena. Shooting pyro off the jet skis and the flyboarders was a first for this market.”
For many in Vietnam, such a show will be a first. For overseas tourists, it will be unique in its setting on the open ocean, interacting with the waves and tides.
“Introducing audiences to something they haven’t experienced before is so much fun and very rewarding,” says Binkowski. “And seeing the smiles on the faces of the international visitors shows me we’ve succeeded.” •
Jet skis with trailing pyrotechnics circle the evil princess, displayed on an LED screen, in the open bay.
Connecting hearts and ROI
How RWS Global approaches the creation of globally successful destination experiences
IPM exclusive interview by Becci Knowles
AsRWS Global continues its international expansion into location-based entertainment (LBE) experiences in Asia, marked by the November 2024 launch of its new Shanghai headquarters, the leadership of both Veronica Hart, Chief Growth Officer, and Mark Amos, EVP, Creative Design & Client Relations, is proving instrumental. Their combined vision is driving the company's growth, which also includes new offices in Orlando and the Kingdom of Saudi Arabia. This expansion builds upon RWS Global's established presence in New York City, Cincinnati, London, and Sydney, supported by dedicated full-service rehearsal spaces at RWS Studios in New York City and the United Kingdom.
With their award-winning global talent, RWS Global integrates intellectual property (IP) partnerships with world-class brands to produce unique immersive entertainment. Here, we delve into the core of RWS Global's approach to destination design, guided by Veronica's strategic growth initiatives and Mark's creative expertise.
What emerging trends are you seeing in the global market, and how is RWS adapting and innovating to meet these new demands?
Veronica Hart (VH): We see a rising demand to have turnkey offerings across fully integrated entertainment and sports experiences, including in fast-growing markets such as China and KSA. To meet this demand, we’re laser focused on delivering an unmatched, guest-first journey through ideation, creative design and operational execution on a global scale. As we grow, we can thoughtfully leverage our headquarters and divisional expertise and drive partnerships across destination design, live entertainment, immersive experiences and retail and merchandise. It’s critical to have offices and key RWS Global team members where our clients and projects are. We have also
RWS Global partners with the world's biggest brands and entertainment providers to vision and execute IP-driven attractions, stage shows, exhibits and immersive experiences. Shown here is the new Indianapolis Motor Speedway Museum. All photos courtesy of RWS Global.
Veronica Hart
invested in proprietary technology like PV4, our content playback system that we developed for venues, attractions and events as well as Harmony Helper, a tool for our performers.
What unique advantages does your company’s international network provide to your clients when approaching destination design projects?
Mark Amos (MA): The RWS Global destination design division (formerly JRA) has been a prominent force for projects in the Middle East and Asia for well over a decade, and it continues to expand. This growth, supported by the opening of our new office in Shanghai, reflects our ongoing commitment to create, design and produce entertainment projects globally. This coverage isn’t exclusive to destination design, as our integrated live entertainment, sports and operations teams are also represented around the world.
For our clients and projects, it’s the experience we’ve gained in these regions regarding processes, code requirements, design standards, etc. Our investment in pursuing this knowledge and our ability to leverage it on behalf of our clients for their projects are why we’ve been successful in these markets. Listening first, learning and adapting set us apart and have contributed to our growth and stability in foreign markets around the globe, especially in the Middle East and Asia markets.
Could you elaborate on the key principles and philosophies that guide RWS Global's approach to creating compelling guest experiences?
MA: It breaks down into three major categories: the client and IP relationships, creative excellence and creative delivery. Our client and brand relationships are critical for clear communication, exceeding expectations and being able to understand how to deliver success. We’re partners with their interests in mind, focused on delivering their vision, using our experience and processes. We custom build each of our project teams so that they can best support our client team and their project(s).
Our company’s international growth translates to great strategic benefits for our clients and project teams. For starters, someone is always online, providing 24-hour accessibility in nearly any department. With our resources being closer geographically, we can often accommodate the differences in time zones, be available quicker for in-person connections and save money on travel costs. This also extends to the relationship with our clients and the project output, as our local teams can support comprehensive cultural and demographic sensitivities, ensuring we always align with the guest and client expectations.
As noted, your global destination design division grew out of JRA, which RWS Global acquired in 2021. Tell us more about how you’re building on JRA’s substantial legacy within the industry.
MA: Keith James (former JRA President and current RWS Global Chairman, destination design) has been a pioneer for the industry and for JRA in expanding into the global markets we now service as RWS Global. With a robust portfolio of projects and great client teams, it’s a legacy we’ve advanced with pride. Not all conversations are project specific. Sometimes we’re just a resource to guide and connect with other teams. It’s critical that we are stewards of the industry with our legacy and experience.
Creative excellence starts with the story. The story is key, and we have committed to deliver storytelling content and experiences for projects regardless of scale, budget and complexity. It’s what drives success and repeat visitation. Creative delivery supports the execution of all the previous communications and creative development. Creativity extends to all facets of our work, including design production, creative problem solving in project management and implementation. We ensure the vision for each project is executed in space, with the right people and the right scheme for successful operations.
The company works across a variety of sectors. How does experience in one inform and enrich your approach to the others?
MA: The range of projects we serve benefits our clients who work across multiple sectors, but also our team and their growth and development. All creative and design RWS Global team members work on a variety of projects even if they have a specialization. This allows them to learn the unique attributes that are core to those individual project types and carry
Mark Amos
Bluey x CAMP experience, designed, produced, cast and operated by RWS Global
them forward to enhance and grow the capabilities of others. For example, in children’s museums, ASTM requirements and channeling the guest vantage point of a child are critical for alignment of accessibility, safety, education and repeatability. These learned attributes can carry in and serve our clients with more opportunities when working on FECs or theme parks – providing more enrichment and a broader accessible range of compliance. In our cruise ship projects, we’re often limited in space, having to support various programming capabilities. This leads to challenges with facility limitations like power usage and Wi-Fi. Taking these lessons into our work on temporary and pop-up experiences allows us to support more metric-driven throughput and lower facility impacts, which saves on budget, making for more successful ventures.
Please tell us about some exemplary recent or upcoming projects.
MA: I’m excited to say that we have several projects in our current pipeline that showcase our global nature and cross-utilization of our amazing team around the globe. Unfortunately, most of these are confidential until the projects are announced. That said, our ability to bring live entertainment, gamification systems and state-of-the-art ride systems will showcase the collaboration between disciplines and departments while maintaining the creative continuity, highlighting the benefit of having all these services within one agency.
The recently reopened Indianapolis Motor Speedway Museum is a good example of the beginnings of this type of cross-utilization effort. Scriptwriters and AVC (Audio Video Control) designers in our U.K. office collaborated with our lighting designers and creative team members in our U.S. headquarters to provide seamless integration of creative and technical services. The more of these projects we deliver, the better we get at developing the right balance to support our local clients, anywhere.
How do you ensure that projects involving IP and branding are engaging across various cultural contexts?
VH: We specialize in adapting global brands thoughtfully for local audiences, respecting cultural nuances while delivering emotional resonance. RWS Global partners with the world's biggest brands and entertainment providers to vision and execute IP-driven attractions, stage shows, exhibits and immersive experiences.
Our in-house creative and production teams collaborate seamlessly with IP owners to extend their brand narratives into fully immersive destinations, combining storytelling, theatricality and technical excellence customized for each market appropriate for the scale of the project. Across our sports business, we work to ensure we are celebrating fandom and elevating the experience.
On a personal note, having worked on world-renowned entertainment brands throughout my career and as Chair of the Board for Licensing International, I am passionate about developing experiences that put the guest first and bring brands to life.
As Chief Growth Officer, you have a keen eye on the future. What are RWS Global's strategic priorities for the continued growth and expansion in the global market?
VH: Across the board, I prioritize strategic partnerships and turnkey delivery where it’s efficient and our divisional expertise on projects big and small, from ideation through operations, helping clients diversify revenue and drive guest engagement.
Our expansion across key markets has been a massive priority for me and RWS Global, as illustrated by the opening of our Orlando office, as well as our strategic partnership with Max Matching in China and the office in Shanghai we opened last year. Now that we’re also opening an office in Riyadh, we can continue to mature and build our destination design, live entertainment, immersive experiences and retail and merchandise business.
In the U.S. and Europe, strategic priorities include expanding our presence across more attractions and sports sectors and continuing to expand live entertainment and sports in Asia. •
View Boston, master planned, designed and implemented by RWS Global
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The story you tell
Building a career in themed entertainment
by Annie Quaile
After 25 years in the entertainment industry – spanning theme parks, live events, high-profile launches, and everything in between – I have learned a thing or two about what it takes to build a career in themed entertainment. I have sat in nearly every seat; from entry-level assistant, mid-level project manager, executive consultant, and educator. I have built teams, written job descriptions, and coached individuals through growth and sometimes hard exits. I have overseen program launches, led the creation of a leadership academy, developed curriculum, and guided thousands of students into careers that have shaped the magic we all love. And yet, if you asked me if I am qualified to give career advice, my honest answer would be, “Probably not any more than you are.”
Themed entertainment is one of the most complex and nuanced industries out there. It’s not just rides and costumes, it is a high-functioning, collaborative dance between business strategy, storytelling, engineering, technology, consumer psychology, and creative design. We create experiences that transport people to galaxies far, far away, or drop them straight into the middle of a dragon’s fiery breath, sometimes literally. To pull off something like that, you need more than passion. You need a strong foundation, real experience, and a touch of calculated pixie dust.
That foundation often comes through education. What I have seen is that the individuals who thrive in this industry are the ones who understand how to weave together knowledge from multiple disciplines. The ones who have studied the science behind storytelling, the math behind mechanics, and the psychology behind guest experience. The ones who have had the chance to fail safely, learn deeply, and connect with mentors who have already walked the path. That’s what higher education offers – not just theory, but immersion.
In fact, one of the greatest values of a strong educational program is access. Students are often taught by professionals who have spent decades building attractions, managing creative pipelines, and navigating the everchanging landscape of entertainment. These are the same people who know how to turn a fantastical concept into a functioning, safe, and breathtaking reality. And, let’s be
honest – there is a lot of science and math behind that magic. Higher education helps creatives demystify those skills and gives technical thinkers a window into the emotional core of an experience. It creates hybrid thinkers, which is something this industry increasingly needs.
My own career pivot led me on an unexpected road into higher education. After years on the road, I sought more balance and found purpose in teaching the next generation of magic makers. Over 12 years, I transitioned from professor to academic leader. I shaped curriculum, taught countless courses, and worked alongside industry professionals to ensure that what is taught in classrooms mirrors and advances what is needed in the field. In recent years, I have taken that a step further by bridging the gap between education and industry, collaborating directly with hiring managers and companies to align talent development with real-world needs.
We live in a time where employers are looking for unicorns: individuals with cross-disciplinary experience, creative insight, and the ability to navigate the fast-moving, everevolving world of entertainment. That’s a tall order, and one not easily met through job experience alone. Higher education gives you the space to become that unicorn.
Once that foundation is set, experience is what sets you apart. The most valuable team players I have worked with had winding career paths that spanned roles, industries,
Annie Quaile
and disciplines. They bring a unique set of skills and perspectives that those with linear trajectories often do not. Give these people an impossible task and not only will they say yes, but they’ll also suggest how to make it better. So, how do you become that person? Say yes to projects and opportunities that challenge your limits. Step outside your comfort zone. That may mean ignoring imposter syndrome, leaning in, and speaking up, even when it is easier to stay quiet.
Once you have collected those experiences, the final touch is that calculated pixie dust. Remember the unicorn that everyone is trying to hire? Here’s a little secret: you are the unicorn. We all are unicorns. The magic lies in how you tell your story. That pixie dust is your ability to connect the dots and help others see how your unique journey, whether it started in retail and led to live events or began in construction and ended in animal training, fits their needs. It is not about having the perfect path – it is about making that path make sense to them and the role you are seeking. Your job is to match your story to their job description, drawing clear connections rather than hoping others find them for you.
So whether you're just starting out, rebooting your career, or figuring out how to stand out in a saturated market – know this: you are not alone. The job market isn’t easy, and the path isn’t always clear. And if you’re still unsure whether you are qualified? You are. You just need to gather the right tools to build the future you want.
Because here's the truth: there is no singular or linear path in this industry. Whether you are fresh out of school, midcareer and stuck, or seeking a pivot into something entirely new, themed entertainment doesn't ask for a perfect resume. It asks for curiosity, resilience, and a deep understanding that making magic is anything but a simple, straight line. •
Annie Quaile is an Emmy-nominated producer and project manager with over 25 years of experience in themed entertainment, live events, and arts education. She has worked for major brands like Universal Parks & Resorts and FedEx, has previously led academic programs at Full Sail University, and currently serves as Assistant Director of Industry and Alumni Engagement at SCAD, bringing together industry and education to support the next generation of creative professionals.
World’s be st interactive SYSTEMS
Gilroy Gardens at 25
Inspiring young minds for a quarter century
by Joe Kleiman
Halfway between San Jose, the heart of Silicon Valley, and Monterey, California, sits the small town of Gilroy. With a population of just under 60,000 and an agricultural history, Gilroy is known as the “Garlic Capital of the World.”
The town has embraced the garlic theme with festivals and events beloved by locals and visitors alike and added a fullfledged theme park in 2001. Anthropomorphic garlic cloves feature as the mascots of Gilroy Gardens Family Theme Park, where they appear as costumed characters always ready to give a hug or pose for photos. This year, the agricultureand horticulture-themed park is celebrating its 25th year. Throughout the grounds, guests will find pavilions with photos from the past, a time capsule to be opened on the 50th anniversary, and a scale model of the park’s original proposed entrance and attractions from its development phase.
Aesthetically, Gilroy Gardens is very much the same as it appeared when it first opened, with many of the same retail and dining outlets and rides still in place. Yet, it is so well maintained by the 501(c)(3) nonprofit organization that operates it under a lease from the City of Gilroy, that it appears as a new venue to first-time visitors while returning guests experience the comfort of familiarity. The fact that only a few new attractions have been added over the years is a testament to the park’s evergreen, multigenerational impact for its audience and the community.
Gardens have always played a key role at Gilroy Gardens, with the rides and attractions seamlessly blended in. There are spinning rides themed to local agricultural crops (artichokes and garlic), a car ride that features two different tracks (one themed to 1920s cars and the other to sports cars
The Bonfante Railroad circles the park and travels through a greenhouse. The train pays tribute to the arrival of the Central Pacific Railroad in the region in the 1860s, which revolutionized transport of agricultural goods. All photos courtesy of Gilroy Gardens.
from the 1950s), and a giant greenhouse with monarch butterfly gardens through which not only the train travels, but a monorail as well.
“Twenty-five years ago, parents first brought their children here to Gilroy Gardens,” says Dan Harney, Chairman of the Board of Gilroy Gardens, “Later, as teenagers, those same children started working here at the park, becoming ride operators and working in our stores and restaurants. And now, 25 years later, they’re adults and parents bringing their own children to Gilroy Gardens.”
Circus trees
The origins of Gilroy Gardens date back to the 1940s. In 1942, what is now known as Highway 17 opened between San Jose and Santa Cruz (home of the famous boardwalk amusement park). A number of roadside attractions popped up along the route through the Santa Cruz Mountains, including the Tree Circus in Scotts Valley, opened in 1947.
This attraction was the home of the “circus trees,” created by Swedish-American artist Axel Erlandson. Erlandson applied unique pruning and grafting methods to create
intricate patterns with the trees’ trunks, including some that resembled baskets, interlacing (which he called “needle and thread”) and a tree with an archway made of twin trunks, able to cross over a pathway.
In 1977, the property was sold and was scheduled to be bulldozed. Some of the trees that didn’t survive made their way to a number of art museums and even to the 2005 World Expo in Aichi, Japan. Two dozen of the remaining living trees eventually found their way into the hands of local grocery store owner Michael Bonfante. He placed the trees on display at his nursery, Tree Haven, eventually converting the space into the family theme park originally named Bonfante Gardens (now Gilroy Gardens), with the Circus Trees being a key attraction planted throughout the property.
The story of the original Tree Circus being paved over for a parking lot is told through song at a new Gilroy Gardens show, “25 Years: A Musical Celebration.” The show celebrates four key components of Gilroy Gardens: the circus trees, the railroad that provides a grand circle tour of the park, the water play area, and the gardens.
Education is a foundation
A major foundation of the park is its commitment to education. Attractions not only highlight plants, but pay tribute to the local region as well. Quicksilver Express is a family terrain roller coaster that pays tribute to the mining history of the Santa Cruz Mountains. Interpretive exhibits can be found throughout the extensive queue explaining the history of the local mining industry and some of the individual mines in the local area.
One of the park’s more recent additions is the Green Barn, opened in 2015. The barn (which is painted green) is named to evoke environmental awareness. Inside are a story reading area, an art studio, and the Nature Exchange, where guests can swap items they find in the natural world. The Green Barn is at the core of the park’s
Young park guests wear garlic hats, celebrating Gilroy’s role as “Garlic Capital of the World.”
Water Oasis Lagoon was added to the park in 2014, featuring Brave the Bucket, a water play structure full of slides, water jets, and a tipping bucket. Interpretive signage in the area designed by BaAM Productions teaches guests about pollution and water conservation.
STEAM (science, technology, engineering, art, math) initiatives, with school groups visiting throughout the year, including the park’s specially scheduled Natural Science Days.
“Over the years, BaAM Productions has been a close collaborator, working with Gilroy Gardens Family Theme Park on several projects to enhance the guest experience and integrate learning in unique ways,” shares Aimee Roy, Senior Director of Marketing and Communications at BaAM.
“Together we’ve created immersive experiences, such as Water Oasis Lagoon, a water play area that promotes themes like water conservation – as well as the Green Barn, an interactive education center where young guests can explore, create, and discover nature in an exciting hands-on way. Projects like these have supported and enhanced the park’s educational mission, while creating an engaging experience for young people to learn – and have plenty of fun!”
Signature events
Throughout the year, Gilroy Gardens plays host to a number of signature events. For summer 2025, the park is introducing Cherry Jubilee, featuring cherry-infused food offerings, an open air roller rink, interactive educational activities teaching about the cherry harvest, and other cherry-themed activities and characters.
Returning offerings include Carnival Nights, running from July through September, which allows guests to experience the park at night within a carnival atmosphere. Halloween and Christmas are also big at the park, with “The Great Big BOO!” and “North Pole Nights.”
“Happy 25th Anniversary to this truly special place!” says Patrick Roberge, President of PRP, which has produced both “The Great Big BOO!” and “The Magic of Santa,” the park’s Christmas holiday musical show. “On behalf of PRP and Wondersee Entertainment, we are proud to be longtime partners with Gilroy Gardens. When it comes to Halloween and holiday celebrations, no one does it better for families than Gilroy Gardens. We’re honored that our characters and shows are part of the magic each year. Congratulations on this milestone anniversary – we can’t wait to see what the next 25 years will bring!”
Gilroy Gardens is a testament to how a park can play a key role in the community, through education of children, employment, and the promotion of tourism dollars, with 93% of guests coming from outside Gilroy. Most importantly, it is a place where parents and children can come, enjoy nature, learn about the region, and just have fun – generation after generation. •
Sliding into Shanghai
As the industry prepares to return to China for IAAPA Expo Asia, ProSlide examines highlights and trends for APAC waterparks
interview by Martin Palicki
Waterparks in the Asia-Pacific (APAC) region experienced rapid growth during the 2010s. After a pandemic-related slowdown, the parks are back, reinvesting and expanding. Though China has long been the dominant player in the market, new hot spots are emerging, including Vietnam. Water attractions manufacturer ProSlide has played an important role in the recovery and recently opened four projects in the region: Sầm Sơn and Hà Nam in Vietnam, as well as OCT Yueqing Maya (scheduled to open summer of 2025) and an expansion at Chimelong Water Park, both located in China.
We asked two ProSlide leaders for their takes on the region, and what makes these new projects notable. Steve Avery is ProSlide’s Vice President of Business Development and focuses on Vietnam and Southeast Asia. Ray Smegal is ProSlide’s Chief Commercial Officer and specializes in the Chinese market.
What are some of the trends for waterparks in the APAC region, and Vietnam in particular?
Steve Avery (SA): There are industry trends and water ride trends. On the industry side, waterparks are increasingly becoming anchors within larger mixeduse developments with attractions
designed to appeal to both domestic and international guests. We also see parks investing more in immersive theming and storylines to elevate the guest experience. When designing these parks and attractions, we consider the theme and storyline first – often turning to local folklore and traditional architecture for inspiration. Parks in the region are also moving towards more night operations and incorporating live entertainment in their parks.
In Vietnam, we are seeing more parks move to year-round operations as well as the addition of more indoor waterparks. Larger, mixed-use developments and resorts are expanding, often anchored by waterparks, theme parks and FECs. For example, Hà Nam is a 1,000-hectare development that includes a waterpark, cultural and historical exhibits, commercial, residential, as well as a theme park. There is a growing middle class in Vietnam with a younger population, so both parks and water rides are being designed with a focus on the multigenerational family dynamic.
On the water ride side, we are seeing a trend for larger and more state-of-the-art water coasters like our ProSlide Dueling RocketBLAST, as well as competitive racing rides like our RallyRACER. And we can’t forget the kids! We’re seeing a lot more focus and investment in kids’ attractions. When China first started building parks they seemed to focus on the large attractions, and now the established parks are creating smaller versions of the big rides for kids to experience.
Above: Chimelong Water Park received the first HydroMAGNETIC MAMMOTH LIM coaster with a flat launch, providing unparalleled acceleration and speed. All photos courtesy of ProSlide.
Steve Avery
Talk about your work on Sầm Sơn park and what makes it notable.
SA: Sầm Sơn was initially designed to open all at once, but due to the pandemic it was split into three phases. Phase One launched in June 2024, and we helped bring Phase Two to life in April 2025.
What sets this park apart is the sheer scale and ambition behind its ride offering. Sầm Sơn is designed to appeal to local and regional guests who come to the area by the millions to enjoy the beaches. It does not currently have a big international draw. So, we knew a broad suite of water rides and compelling theming were needed to drive demand. They really have one of the most impressive collections of ProSlide attractions spread across each phase.
Sầm Sơn’s look and feel are inspired by the “Birth of Earth and Water,” with architecture, landscaping, and ride design reflecting this legend and nature’s balance.
Among its marquee attractions are the region’s tallest TornadoWAVE 60 and BehemothBOWL 60, plus the region’s first KIDZ TornadoWAVE and PowerRIVER Generation 2. The Phase Two launch added even more excitement, with a MammothBLAST, Dueling PIPEline, two FreeFALLs, and two exhilarating SkyBOX features for the park’s most daring guests.
Hà Nam is going to be Vietnam’s first nighttime waterpark. How do you design for that?
SA: When you know a park will operate at night from the start, you design pathways, walkways and trees so that guests can navigate them safely and easily at night. We include more clear or translucent fiberglass for the slides (which allows more light to enter inside the ride) so guests can anticipate the drops and turns along with thematic lighting for the exteriors. We can also incorporate LED lighting inside the slide that can change with the beat of the music. Experiencing a waterpark at night is a very unique experience as compared to traditional daytime operations. Night operations provide a unique opportunity to incorporate thematic lighting into the design which dramatically elevates the park experience at night. For Hà Nam, we worked hand in hand with the park’s design team and our channel partners to come up with the final solution that really must be experienced in person.
Hà Nam has a cultural component. Can you talk about how you integrated that into the attractions?
SA: The park is based on the cultural tradition of water puppets that is popular in the region. They shared the theme and storyline with us early on so we were able to design the colors for all the rides to fit within that theme. Each ride complex has a unique color and style to it, from the roof all the way down to the ground. Our RideHouse 600 is heavily themed to incorporate the characters of the water puppet
show, including the legendary Chú Tễu narrator character. We see the color and theming across the entire suite of rides, which spans more than 10 complexes, including the PowerRIVER Generation 2, Dueling RocketBLAST, BehemothBOWL 60 and TORNADO 60, and OctopusRACER. Essentially, the park developed a custom IP based on the history and folklore of the town of Hà Nam. It’s really stunning.
What does the future hold for the waterpark market in Vietnam?
SA: Vietnam's waterpark market represents one of the most competitive landscapes in the APAC region, which forces operators to continuously create unique experiences for their guests. Over the next five to 10 years, I expect Vietnam will continue pushing boundaries and challenging us as manufacturers to exceed expectations while constantly innovating to keep pace with growing demand.
We're already seeing increasingly technologically advanced parks throughout Vietnam and the broader APAC region. There's a new era of opportunity emerging as Vietnam rises on the global stage, and ProSlide is positioned to continue supporting their ambitious vision.
What sets Vietnam apart in the regional market is their sophisticated understanding that world-class waterparks require more than just great water rides. Vietnamese operators recognize that exceptional guest experiences demand safety, excellent theming/storylines, customer service, thoughtful landscaping with natural vegetation, quality food and beverage offerings, and impeccable cleanliness standards. This approach to park development is what's driving Vietnam's leadership position in the market and creating such exciting opportunities for continued growth and innovation.
Speaking of China, you have two projects opening there: an expansion at Chimelong Water Park and the grand opening of OCT Yueqing Maya. Share with us your perspective on the Chinese waterpark market today.
Ray Smegal (RS): The Chinese market slowed down during the pandemic, so I think we are now entering a great and promising phase of their rebound. Last year we saw big attendance numbers in parks, so I anticipate a great summer season for China.
Ray Smegal
Looking at Chimelong, there are several “firsts” at this installation. Can you talk about what those are and why they are important in the Chinese market?
RS: China is one of the most futuristic cultures in the world. It’s a market that craves innovation. For Chimelong it was important that they had highly marketable firsts that also provided exceptional experiences and added capacity. This expansion
includes the world’s first Family HIVE (HIVE 35). We also installed the first HydroMAGNETIC MAMMOTH LIM coaster with a flat launch. The acceleration and the speed are amazing. Finally, we built our first Double TORNADO 60. Chimelong has had a TORNADO 60 for nearly 20 years and it’s the most popular ride in the park, so they said, “Let’s add two more!”
Chimelong Water Park is the most attended waterpark in the world [based on the 2023 AECOM Theme Index]. How did you address capacity for such a popular waterpark?
RS: We are fortunate that Mr. Su [Chimelong Group chairman/founder] and the Chimelong team take capacity issues very seriously. It was a big discussion during the design phase, particularly with the HydroMAGNETIC MAMMOTH family coaster. Capacity was designed into the ride from the beginning. China has strict regulations about dispatch intervals and raft spacing, so a lot of planning went into maximizing the potential throughput. The coaster has 10 rafts in operation simultaneously and three rafts being boosted – also simultaneously – up various hills. It’s a complex attraction, but the technology behind the HydroMAGNETIC system has matured and is incredibly reliable.
Turning to OCT Yueqing Maya, can you talk about the project’s delay?
RS: The pandemic paused several projects, which were also impacted by China’s financial and real estate crises. OCT Happy Valley group is a premier operator of waterparks in China. They emerged from the setbacks quite strong and we were very lucky to stay close to them during that period. Essentially, the project was put on pause. We are excited to be back and helping open this new park.
How important is theming in the Chinese market?
RS: Theming is a central component of Chinese waterparks and helps differentiate them from one another. Both OCT and Chimelong honor Chinese culture and develop themes that are approachable and fun, while remaining unique.
They also are very intentional about the orientation of rides and how they fit into the overall landscape. For example, at Chimelong, the HydroMAGNETIC coaster was originally to be built low to the ground for easier access, but during the design process the decision was made to raise it 15-20 meters and position it above this beautiful forest. It is iconic, eye-catching and it absolutely fits into the space and the park. •
The expansion at Chimelong Water Park includes the world’s first Family HIVE (HIVE 35) and ProSlide’s first double TORNADO 60.
Exploring “The Source”
The Wilderness Resort in Wisconsin Dells partners with Moment Factory to develop a new world-class visitor attraction, Aquavia Lumina
by Martin Palicki
On October 11, 2024, the Wilderness Resort in Wisconsin Dells, Wisconsin, opened Aquavia Lumina, An Enchanted Night Walk through a Canyon of Wonders. The walk-through attraction is the 21st Lumina Enchanted Night Walk created by Moment Factory, and the second permanent installation of the series in the United States, following Astra Lumina (2022) at Anakeesta in Gatlinburg, Tennessee (another Astra Lumina has traveled around the United States and is currently presented as a permanent installation in Australia).
The attraction takes about one hour to experience. Visitors first encounter a guide in the form of a spirit animal deer who helps them search for “The Source” of water, an element critical for the success of the Wisconsin Dells –the self-proclaimed waterpark capital of the world.
As with all the Lumina Enchanted Night Walks, lighting, special effects, projection and a custom soundtrack create the unique environment guests explore. The attraction’s location in and around a small natural canyon on the property makes it special. The Wilderness Resort and Moment Factory both sought to highlight nature’s beauty, and in doing so opened up a portion of the resort previously inaccessible to guests. “Aquavia Lumina provides Wilderness another signature attraction that separates us from other area resorts,” says Wilderness Resort Assistant General Manager Brandon Schindler. “However, it is open to the public and not just our resort guests. We feel Aquavia Lumina is so special and so unique to this area that it needs to be shared with anyone who wants to experience its magic.” •
Above: Aquavia Lumina opened at the Wilderness Resort in Wisconsin Dells, Wisconsin, on October 11, 2024. It is the 21st Lumina Enchanted Night Walk created by Moment Factory. All photos courtesy of Wilderness Resort.
Guests are accompanied throughout the journey by a deer, a spirit animal native to the Wisconsin Dells region that joins visitors on a quest to find "The Source" of water. The deer appears throughout the journey in various projections and media.
Above: One of the unique elements of Aquavia Lumina is an interactive feature where guests wave their arms as if conducting a choir. Animated versions of the Stonians respond to the waving by singing in chorus, blending in with the soundtrack of the attraction. It’s an element of whimsy and fun that helps guests engage with the content in a different way.
The feature also inspired the musical composer to record several folk songs by the Stonians that play in the Welcome area of the attraction.
Left: According to Wilderness Resort Assistant General Manager Brandon Schindler, feedback has been overwhelmingly positive and even driven repeat visitation to the resort: “We’ve had guests finish the walk with tears streaming down their faces from how moved they felt throughout their journey. Many have commented that this was the highlight of their entire trip to the Dells and unlike anything they’ve ever seen before.”
THE VISION BEHIND AQUAVIA LUMINA
Mathieu Grainger, Producer at Moment Factory – the company behind the concept and design of Aquavia Lumina – helped realize the immersive Night Walk experience at The Wilderness Hotel & Golf Resort, a 600-acre Wisconsin Dells integrated family-friendly property that features eight waterparks. We asked him about the attraction’s development and comparison to other events the company produces.
How did your partnership with Wilderness come together to create Aquavia Lumina?
The first talk with Wilderness happened in 2021 as they were looking to diversify the types of attractions they offer at their resorts. They had a visionary approach to things and a clear path forward. They really got to know us at Moment Factory and our Lumina Enchanted Night Walks, visiting our installations in North America. By the time we were ready to confirm the project, we had a good relationship, clear expectations and a shared vision.
After we had started on Aquavia Lumina, they asked us to also help develop the Kaleidoscope Kavern at Wilderness at the Smokies in Tennessee (an immersive multimedia lazy river attraction). Our teams worked on both projects simultaneously, with Kaleidoscope Kavern opening in 2024.
What was the inspiration for the Aquavia Lumina story?
The site and location of the resort itself was our inspiration. When we started designing the experience, we had two possible locations but were inspired by exploring the small canyon located between buildings of the resort that had been previously inaccessible to guests.
It made sense to develop a theme around water considering the waterpark centric nature of Wilderness Resort, being in the waterpark capital of the world, and in a location that was literally carved out of water. Additionally, the owner, Tim Gantz, shared with the team how central water was to him. So it was just clear that the story had to revolve around water. Also there are deer living everywhere in the Wisconsin Dells, so the notion of using the deer as our guide and water as "The Source" made so much sense to the creative team.
How does your team prepare for a new project in an area you are unfamiliar with?
The first steps are an initiation process where we get to know the client and business, starting with an onsite visit. We develop recommendations and then bring a team in to visit the area and get to know the local people. We want to get a good sense of what the community is about. We continue to visit during different times of year to understand different traffic and guest patterns.
We can typically create a Lumina in 12-16 months, but this took a bit longer because of the complexities of working in the canyon. We had to get approval to be in the canyon from both the Wisconsin Department of Natural Resources and the Village of Lake Delton, while planning for potential flooding situations.
Please share some of the unique challenges and opportunities of this particular installation.
We knew from the beginning that the canyon would dictate the path, and that to make the experience long enough we needed to encompass the length of the canyon from top to bottom. As soon as we decided the storyworld would be about searching for “The Source,” a legendary spring said to transform nature with the magic of water, it only made sense that the path should lead upstream. We were aware that the upper level of the path would allow guests to see down into the show scenes in the canyon. We planted more greenery that will grow and help obscure that over time, but we actually wanted little peek-a-boo moments where guests could get glimpses of what was to come.
Secondly, we had to exercise caution concerning power distribution and keeping everything safe and dry. We kept all control nodes out of the canyon to minimize loss if there were a major flood. The site really is unique – even hanging lighting and moving equipment up and down the canyon was challenging, especially since seamless multimedia integration is always a priority for us. But the result is spectacular and really makes you appreciate the natural beauty that has always been there. The show
is owned by the Wilderness Resort, but in many ways it really belongs to the community, Lake Delton and the Dells area.
This installation seems to broaden the range of possible locations for Night Walk attractions.
Yes. The Aquavia Lumina canyon proved that we can explore less typical outdoor spaces. In recent years we have expanded our Night Walk offering to urban parks and botanical gardens. As an example, Light Cycles, an experience that transforms existing outdoor locations into nighttime immersive art destinations, has come to life in Australia, the USA, Italy, the U.K., Japan – in the country’s oldest botanical garden, the Kyoto Botanical Garden – and most recently in Chile’s capital city, Santiago. In addition to conservatories and greenhouses we also are looking at ski resorts and other large hotel and leisure facilities.
At the heart of it all we are always looking for the most beautiful natural canvas. It has always been about highlighting nature – she tends to be the star of our show – and is what differentiates our portfolio. In contrast to indoor experiences where you often have to create everything, we use sound, light and story to accentuate nature and elicit emotion in our guests. We can do that anywhere that is naturally beautiful. •
Left and Above: The defining element of Aquavia Lumina is the natural canyon that guests first walk above before descending into. The landscape is a key feature of the Wisconsin Dells area and the attraction allows guests to enjoy it from a different perspective. The successful development and deployment of the experience was the result of a powerful collaboration between the Wilderness Resort and Moment Factory. “We discovered Moment Factory at IAAPA Expo in Orlando a few years ago,” explains Schindler. “We took interest in their Lumina projects, visited and explored a number of them, and ultimately decided to make use of their talents and the natural beauty of our canyon here in Wisconsin Dells with our own signature Lumina Night Walk.
Above: Creating an experience in and around a canyon provided several challenges for Moment Factory [see “The vision behind Aquavia Lumina” sidebar]. Overcoming the challenges, the team created an engaging attraction that highlights the amazing elements of nature. “Moment Factory was a tremendous partner on this project,” says Schindler. “The level of collaboration and communication from the idea phase through to opening night and beyond was outstanding. Their team was incredible in taking a piece of a forested canyon and re-imagining it into this gorgeous story world for visitors to experience.”
Below: The natural, textured walls of the canyon provide an interesting surface for projection mapping. Several media-based scenes throughout the walk help set the narrative arc and provide context for the many LED lighting, laser and sound scenes visitors encounter along the path.
Welcome
to the inaugural InPark Market Report. This special section is designed to provide focus on one particular area of our industry, with news and articles from leaders in the field. Our first focus is on ticketing.
For years, parks and attractions have been at the forefront of innovative ticketing technologies that enhance the guest experience and streamline operations. In many ways, the pandemic accelerated this movement, with both guests and operators becoming interested in remote, digital interaction.
Here are some recent trends to consider when evaluating ticketing systems:
Going mobile
Smartphones are everywhere, and attractions are taking advantage of that by encouraging mobile-centric transactions, allowing guests to purchase tickets, receive updates, and access promotions directly from their personal devices. Benefits include reduced wait times and simplified entry procedures for guests.
Going cashless
RFID wristbands, QR codes, and digital cards enable simplified cashless transactions throughout a facility. In addition to being fast, cashless systems allow operators to track spending, and parents can set up limited accounts for their kids to access on their own.
Dynamic pricing
For years the industry has been moving towards dynamic pricing, allowing adjustments to ticket prices based on demand and other factors. With the goal of incentivizing visitation during slower periods, the technology is not without its critics. Nevertheless, the adoption of dynamic pricing models is increasing as operators see benefits in its ability to maximize revenue.
Virtual queues
With many options for implementation, virtual queues seek to reduce the amount of time guests wait in attraction lines, potentially freeing them up to shop and spend more elsewhere in the facility. Initially introduced as paper-based systems, most options have moved to mobile devices. Some operators charge extra for this service while others include it as part of their offering to all guests.
Big data
Many attractions are seeing the benefits of integrated ecosystems where point-of-sale (POS), ticketing, and other operational systems work seamlessly together. Designed to increase operational efficiency, the information it provides to operators can help them make decisions on staffing and planning while offering insights into guest behavior. It can also provide an avenue for operators to offer a more personalized experience for guests.
AI integration
The relatively recent integration of artificial intelligence (AI) into operating systems allows attractions to offer tailored recommendations and targeted promotions, potentially increasing their fan base and offering a deeper relationship between their brand and guests. •
Photos courtesy of Hattiesburg Zoo (top) and Semnox (bottom)
Integrated software solutions and customercentric culture
Hattiesburg Zoo modernizes operations with new, flexible platform from Connect&GO
by Andrew Friedenthal
Integrated attractions technology company Connect&GO has built their success on delivering innovative software solutions with a unique, customer-focused methodology that places each client at the center of a totally individualized process.
“We don’t see ourselves as just a tech provider – we see ourselves as part of the guest experience,” says CEO Dominic Gagnon. “Like our clients, we’re in the business of relationships. Attraction operators focus on creating unforgettable moments for their guests, and we bring that same mindset to our work with them. That shared focus on people over platforms is what sets us apart.”
One of the ways the company implements this philosophy is by assigning a dedicated customer success manager, who shepherds each client through the entire implementation cycle, from assessing their needs to launching and maintaining their software. Additionally, Connect&GO recently launched a Customer Advisory Board specifically to provide a space for clients to talk about their needs and struggles, with an eye towards sharing knowledge and learning about potential solutions.
Hattiesburg Zoo’s new Attraction Management System
Case-in-point: Hattiesburg Zoo in Hattiesburg, Mississippi. The facility is a multi-gated attraction, combining traditional zoo environments, family rides, a high-ropes adventure course
and the waterpark Serengeti Springs. Now celebrating their 75th anniversary, the zoo reached out to Connect&GO to help modernize their operations and technology systems.
Hattiesburg Zoo opted for Connect&GO to deploy their flexible Attraction Management System, a modular platform that connects guest-facing and back-end touchpoints to create a seamless experience both for guests and managers [see sidebar].
“The successful rollout at Hattiesburg Zoo and Serengeti Springs shows how technology, when designed hand-in-hand with those on the front lines, can create unforgettable guest experiences while giving teams the control, clarity, and confidence they need to thrive,” says Stéphanie Dionne, a Connect&GO customer success manager.
Stéphanie Dionne
The customer success manager works directly with the client through the different phases of their project and relationship. “The Attraction Management System isn’t just built for attractions – it’s built with them,” says Dionne, who functions as a primary point of contact with Hattiesburg Zoo.
Above: An up-close encounter with a goat at the petting zoo. Photo courtesy of Hattiesburg Zoo
Customizing the platform to the client’s needs
Dionne was on-site at the Hattiesburg Zoo during the project’s implementation and onboarding phase, working closely with the zoo’s Demetric Kelly, director of guest services and retail, and Salem Bunkheila, director of operations. The process began with several months of weekly virtual checkins, where Dionne listened closely to Kelly and Bunkheila to fully understand the zoo’s needs and concerns, and translated their insights and requirements into the specific technological solutions offered by Connect&GO. “We had the opportunity to build a strong bond,” says Dionne. A critical part of her role is ensuring the Connect&GO technology becomes an integral part of a customer’s operations. “We're there to allow the clients to better understand the platform, to make sure that we gather all of their feedback, and to help them make the most out of the platform,” she says. “Demetric and Salem are very detail-oriented. There was a lot for us to learn, both visual and operational. They are also both very proud of their park and facility. We wanted to provide a system that would deliver exactly what was needed, and enhance that pride.”
Attraction Management System
Hattiesburg Zoo launched Connect&GO’s Attraction Management System earlier this year. Designed on real-world insights from operators and the day-to-day challenges they face, the platform brings together everything modern parks need in order to deliver seamless, engaging, and efficient operations, including:
• Cashless payments with pre-loaded funds, enabling quick, contactless payments throughout the park to reduce wait times and improve convenience.
• An interactive park map simplifies reservations of premium products such as cabanas and parking spots and displays availability in real time.
• A virtual wallet that stores all guest essentials (including tickets, entitlements, and information for cashless payment) in a single QR code or RFID wristband, with no app download required.
• Personalized e-commerce tools, enabling the zoo to deliver targeted offers based on guest behavior and preferences, including rewarding loyal visitors.
• Advanced access control that manages entry to the park as well as access to upcharged attractions like the carousel, train, and ropes course, helping to optimize guest flow, maintain safety protocols, and provide a more customized experience.
• Centralized data and reporting with all the operational data consolidated into one real-time dashboard that enables smarter business decisions, improved resource planning and more personalized engagement strategies.
For more details on the installation and operations at Hattiesburg Zoo, visit bit.ly/4kayzAh to get an in-depth look at how the project came together.
Post-launch, Connect&GO remains involved with their clients, with the customer success manager serving as a point of contact who is aware of the client’s history and goals. In practice, this means the Connect&GO customer success manager works with the client to map out a success plan. For example, Dionne
Demetric Kelly
Connect&GO's Attraction Management System provides on-thego functionality for guests. Image courtesy of Connect&GO
An example of Connect&GO's wristband technology customized for the zoo. Image courtesy of Connect&GO
met with the Hattiesburg Zoo team to map out their main objectives for the coming year and to determine what key factors will make their next season successful.
Whether a client’s objectives are financial, operational, or based on some other specific goal, this success plan helps chart a path that allows the client to get the most benefit out of their Connect&GO platform.
The Customer Advisory Board
Another client resource is the Customer Advisory Board that Connect&GO recently launched, bringing together industry leaders from across North America and Europe to discuss challenges and share knowledge.
“The Customer Advisory Board is a new initiative that’s managed within our customer experience department,” Dionne says. “The goal is to bring together clients to share and learn from one another.” Among these clients is the Hattiesburg Zoo, with Demetric Kelly serving as a Board Member.
In an industry where everyone is busy concentrating on their park’s operation, it is often difficult for professionals to keep in touch with other experts in the field. “We wanted to give them that space,” Dionne notes, “and the opportunity to meet those other experts and talk about their challenges, their wins, and industry trends. They are able to share and learn from one another in a low-stress, virtual environment.”
As host, Connect&GO gains valuable insights into what challenges their clients are facing and identifies ways that they can help implement solutions through their suite
of products. “It’s critical for us to be aligned with their constantly evolving needs as well as the realities of the industry,” says Dionne.
The Customer Advisory Board allows Connect&GO to make sure that their plans for the future are actively meeting their client’s needs. “There’s a sense of validation when we see that some of the challenges our customers need to overcome are things that we’re already planning to integrate into future solutions,” she says.
As with Connect&GO’s implementation at the Hattiesburg Zoo, the Customer Advisory Board is just one piece of the company’s larger goal to foster a tight-knit working relationship that benefits both organizations. “We’re there in a professional capacity,” says Dionne, “but we know our clients are extremely passionate people who love the industry and frequently feel it has become a part of their DNA. We want to be a part of that too.”
Both the customer success manager role and Connect&GO’s Customer Advisory Board’s existence fit into a broader mission that is near and dear to the technology provider: helping place that technology into the wider themed entertainment industry as a tool of engagement on multiple levels. “We’re not just a software supplier; we really see ourselves as a piece of the whole ecosystem of the attraction industry,” Dionne explains. “Just as the client is at the center of our business, we think Connect&GO is central to the entire attraction experience, both for operators and guests.”
You can learn more about Connect&GO at www. connectngo.com and about the Hattiesburg Zoo and Serengeti Springs at hattiesburgzoo.com. •
Feeding a giraffe at the Hattiesburg Zoo Photo courtesy of Hattiesburg Zoo
RECENT NEWS IN THE WORLD OF TICKETING
Semnox powers seamless guest experiences at Dubai’s new Loco Bear Entertainment Center Dubai, UAE – Loco Bear, Dubai’s latest indoor family entertainment destination in Al Quoz 2, has partnered with Semnox Solutions to implement a fully integrated venue management system that simplifies operations and elevates the guest experience.
At 70,000 square feet, Loco Bear features an exciting mix of attractions for guests of all ages, including a trampoline park, two laser tag arenas, wall climbing, soft play zones, a six-lane interactive bowling alley with HYPER BOWLING – the first of its kind in the UAE, virtual darts, arcade games, birthday rooms, and the city’s first glow-in-the-dark SLIME UNIVERSE. The venue also features the two-story Loco Lounge café for guests to relax and refuel.
To manage this wide range of offerings, Loco Bear turned to Semnox’s Parafait suite of solutions. The implementation includes an integrated point-of-sale system, website, online ticketing and package sales, birthday and attraction booking modules, and RFID-based game readers for arcade management and access control.
Connect&GO announces industryfirst AI-powered dynamic pricing built with operators, for operators Montreal, Canada – In a move that puts power back in the hands of attraction operators, Connect&GO has started beta testing the industry’s first-ever AI-Powered Dynamic Pricing system – designed not just for operators, but with them.
Connect&GO’s AI-powered pricing engine is built right into the same platform that already runs the entire attraction. No thirdparty tools, no extra integrations, and no mystery errors. Unlike traditional dynamic pricing systems, Connect&GO’s approach includes a price management interface that allows operators to override the AI pricing at any time. This ensures the perfect balance between automation and control, empowering teams to adapt to special circumstances, or a special event.
Connect&GO’s AI-powered pricing engine is trained using your park’s own data. It learns from two years of historical attendance, ticket pricing, and purchase patterns to understand the unique rhythm of your operation. Whether your crowds surge during a heatwave or dip on cloudy weekdays, the AI knows how to respond – because it’s learned from your history. This isn’t shared intelligence. Your model is yours alone. Your data stays private, never used to train other parks’ systems.
Gateway Ticketing Systems announces the launch of Galaxy 8: A next-generation ticketing & admission control platform
Gilbertsville, PA - Gateway Ticketing Systems®, a leader in ticketing, admission control, and revenue-generating solutions for the attractions industry, is thrilled to announce the launch of Galaxy 8 – a transformative evolution in ticketing and admission control.
With a modern, user-friendly interface and powerful new capabilities, Galaxy 8 streamlines operations for new and experienced users, making ticketing, sales, and guest engagement more seamless.
Designed with Microsoft’s Fluent Design 2, Galaxy 8 delivers a sleek, contemporary interface inspired by Windows 11, making it easier to use, train, and navigate. But beyond aesthetics, it introduces cutting-edge functionality that enhances efficiency, security, and revenue generation.
Morey’s Piers partners with RocketRez for cloud-based solutions
RocketRez, provider of cloud-based management solutions for tours and attractions, announced a new partnership with Morey’s Piers. Located in Wildwood, New Jersey, and family owned and operated since 1969, Morey’s Piers has delighted millions of guests with its boardwalk amusement parks, waterparks, and oceanfront experiences for over five decades. RocketRez will collaborate with Morey’s Piers to further enhance its operations and guest engagement through ticketing, communication, and analytics solutions.
Qiddiya
City elevates guest experience with accesso® Horizon
Orlando, FL – accesso Technology Group, a technology solutions provider to leisure, entertainment and cultural markets, announced it has been selected as the guest experience technology provider for the Qiddiya giga-project in Saudi Arabia.
Located southwest of Riyadh, Qiddiya City is set to become the crown jewel of entertainment, sports, and cultural experiences within the Kingdom, spanning over 300 square kilometers. As a key driver of Saudi Vision 2030, Qiddiya will make a major contribution to the diversification of the country’s economy and entertainment, sport and cultural sectors. accesso will implement its accesso Horizon across Qiddiya’s diverse portfolio of attractions, including the highly anticipated Six Flags Qiddiya and Aquarabia. •
That’s the Tixera
Semnox’s Leinad Borman shares both operator and supplier perspectives in relation to ticketing trends, the future of Point-of-Sale (POS) technology and the Tixera platform
interview by Martin Palicki
According to Leinad Borman, Sales Partner – Parks, for Semnox Americas, “Evaluating and selecting ticketing and operations systems is a daunting task.” She knows this from experience. Prior to joining the Semnox team, she spent over 20 years on the operations side, including roles at Palace Entertainment and Apex Parks Group. Her unique perspectives from both the operator and vendor sides give her insight into the special challenges faced by theme parks, waterparks and other large attractions when seeking ticketing and POS systems that meet their unique needs. InPark asked Borman about Semnox’s Tixera platform as well as other trends and technologies impacting the marketplace.
What makes Semnox products unique?
Ultimately, every system has pros and cons, features you like and options you long for. As a former operator, I understand the struggle and stress that goes into selecting a system. What makes Semnox different are our core values, and that starts with our customers coming first in all of our plans. We’re not in the business of selling systems; we’re in the business of providing a solution that will enhance your location and empower you with the tools needed to continue growing.
How is Tixera optimized for theme parks and waterparks?
Semnox’s Tixera platform is an all-in-one solution built on the module premise. This allows for flexibility in implementation, which is a frequent concern for larger parks and attractions. While we can run all aspects of a park location, we can also come in and focus solely on admission sales if a location is, for instance, satisfied with their current F&B system. This also makes it possible to plan a strategic rollout over time which often can ease the struggle of training staff for the season along with training everyone on a location-wide new platform.
Can you give us an example of a successful integration of Tixera in a park setting?
We recently deployed Tixera at Jenkinson’s Boardwalk and Casino Pier in New Jersey. Both locations were done in a phased rollout which allowed for implementation and training to begin during their quieter off-season time. We converted their arcades in early winter, then returned to install and assist with their ride park opening in early spring. Visits in April ensured their midway games were ready for the season. And we’ll be on-site for the opening of their waterpark, Breakwater Beach, this summer.
Tixera is used in parks around the world. How do you handle localization, language preferences, and different compliance needs across regions?
Having offices around the world (including in Europe, the USA, the UAE, China and India) helps us stay abreast with varying regional and compliance needs. Our developers have spent a lot of time ensuring the Tixera software has the capability to accommodate language preferences by including many default languages but also includes functionality for the regional teams to work with their clients to add or edit as needed. Because we focus on building strong client relationships, our clients work closely with us to ensure we’re also kept up to date on changing needs.
Cashless is quickly becoming an industry norm, but some facilities still want to accept cash. How do you handle that?
Cash acceptance is always an available option for operators. Our Form of Payment options are configurable by device. Our POS stations can run with or without a cash drawer; our kiosks can come with or without bill acceptors. In parks that want to be primarily cashless, we’re still seeing them set up one POS to accept cash at a Guest Service booth and a bank of cashaccepting kiosks at the front. Then clients are utilizing our location-based currency system within the location so guests can spend the value from their cards or wristbands throughout the location.
What are some of the potential challenges with moving to an integrated multi-channel ticketing solution like Tixera? I have been reviewing and implementing systems for close to 20 years now, and the challenge I see most often is attempting to implement everything all at once. Systems come with lots of bells and whistles and sometimes those distract from first focusing on the critical components needed for day-to-day operation. We work closely with locations to evaluate the implementation plan that will be most effective for their unique situation. Each location is unique, and it is important to acknowledge that. We spend time meeting with the different departments; plan training based on strategic factors; visit before, during, and
after implementation; and continue touch base sessions after go-live to plan the expanded use of the system.
What are some of the current trends in ticketing?
The biggest trend continues to be selfservice options for guests. We meet regularly with our current clients for feedback as well as study trends emerging in various markets.
Recently we’ve deployed outdoor-rated kiosks, so clients can now place units in more locations throughout their facility. Our latest software package also includes the ability for guests to convert cards from a legacy system to a new Semnox RFID card on their own, when a client has decided to switch operating platforms.
How do you encourage clients to evaluate systems?
I always tell potential clients to start first by creating a list of their top 10 critical system needs in order to keep their business operating. Make sure as you navigate through that you stay true to that list. After you’ve narrowed things down to a few system options, then discuss the additional options and “would like to have” features. Every system is unique with different features, so it’s critical to make sure you go back to your list and compare your options.
What kind of scalability does Tixera offer for parks that are expanding or adding new attractions or locations?
Because Tixera is built in a modular manner, it is easy for us to grow and change with location. Hardware devices for new attractions or revenue centers are simple to add to an existing platform. With our Cloud/On-Premises Server solution, it is easy to add additional locations that can then be managed independently or from a Corporate standpoint. We have many multilocation chains already in our client portfolio.
How does Tixera use guest data and analytics to improve the in-park experience and increase return visits?
This is a tricky question. The Semnox Tixera platform has many attributes that it can collect, collate and report on. But increasing return visits comes down to what the operator is going to do with that information in order to achieve their goal. We’ve developed options for our SmartFun App to keep guests engaged with a location, along with tools for clients to use in
the app to keep guests connected to it. Our goal is to provide the tools for our clients to help them process, interpret and understand all the raw data our systems collect, so that they can build the best guest experiences.
Along these lines, we also have several platform options available for Season Pass, Membership or Loyalty Programs. An example of one would be our Recurring Billing program that allows locations to sell Season Passes Online or at the location for a low monthly rate. With Tixera, it is easy to manage guest profiles, ever-changing payment methods, configure varying payment programs and offer great passholder benefits.
How do you support parks in handling high guest volumes during peak seasons or special events?
There are different functions that we’ve built from real-time monitoring backed by our 24/7 support teams across the globe to allow for bulk activations of event cards or wristbands. Part of our evaluation and implementation process includes discussing those historical peak times or, for first-time operators, those anticipated high volume events. Through those discussions we then walk through different server options to assist with volume needs, staffing pitfalls they’ve seen in the past, and whether or not a client would like a member of the Tixera team to be on-site during those special times. We work to be more than a software provider, so a partnership in success mentality is the path we choose to follow.
How do you see AI or machine learning (ML) shaping the future of ticketing in this space?
AI and ML are set to play a transformative role in the future, and it's an area Tixera is actively exploring. Right now, we’re still strategizing on how this part of technology will best suit our clients. We see immense potential for AI/ML to enhance various aspects.
From a customer experience standpoint, AI can enable hyperpersonalized recommendations, dynamic pricing models based on demand patterns, and intelligent queue management, better resource planning, and more revenue opportunities through data-driven insights. So yes, AI is very much on our radar, and we’re carefully evaluating how best to harness it to drive smarter, more agile ticketing solutions for the future. •
Semnox's self-service kiosks at Jenkinson's Boardwalk. Photo courtesy of Semnox
A multifaceted gem of a projector
Christie’s new Sapphire brings together the best of both RGB pure laser and laser phosphor projection technologies
interview by Martin Palicki
Recognizing a critical need within the themed entertainment market, Christie launched their new Sapphire projector at ISE 2025 in Barcelona last February. The new unit is a hybrid projector, bringing together the best features of both laser phosphor and RGB pure laser systems to provide maximum versatility for themed entertainment applications. We asked Larry Paul, Christie’s Executive Director of Technology and Custom Solutions, for more details on how Sapphire fits into their suite of products.
Where did the inspiration for Sapphire come from?
Christie creates solutions that solve our customers’ problems, and we know that the creative landscape is constantly evolving. With that understanding, we recognized an opportunity to provide a new solution that would help our customers stay competitive in the marketplace.
Larry Paul
Our clients were looking for a projection solution with color comb 3D and rear projection capabilities, and technology that could be implemented in silver screen 3D applications – all important for dark rides and media-based attractions. These were the primary inspirations for developing the Sapphire 4K40-RGBH, the world's first true high-brightness hybrid RGB pure laser and laser phosphor projector.
We wanted to set new performance benchmarks with Sapphire to exceed the capabilities of lamp-based and laser phosphor projectors. For example, we partnered with Infitec to develop an all-new 3D glasses technology that maximizes the broad color spectrum of Sapphire’s unique hybrid illumination technology, which we developed specifically for this projector.
Can you go into more detail on what specific features make Sapphire an ideal match for dark rides and media-based attractions?
The answer really boils down to 3D applications and color. Some of the most immersive dark rides use 3D technologies to captivate their guests but require a broader color palette for more natural-looking visuals. While silver screen polarized 3D may be appropriate or ideal for non-blended applications, installations that use blended projectors or short-throw lenses to create a larger, seamless canvas are challenging or impossible to do with a silver screen. This is when color comb 3D is an ideal solution.
Color comb 3D is essentially a much more advanced version of the old-fashioned blue and red lens 3D glasses. Two projectors emit slightly different wavelengths of red, green and blue colors with optical filters combing out the different wavelengths for each eye, resulting in a superior stereoscopic image.
Sapphire features an exclusive Infitec 3D color comb option. With a left-eye projector and a right-eye projector, a Christie Intelligent Filter Holder in each, and Infitec 3D glasses
The Christie Sapphire 4K40-RGBH is a hybrid projector that combines laser phosphor and RGB pure laser. All photos courtesy of Christie.
exclusively designed for Sapphire, the projector is automatically configured to project passive 3D content onto any surface. Paired with color perceived as DCI-P3, the result is brighter, more immersive experiences on attractions that surpass polarized 3D.
Additionally, Sapphire offers 25,000 hours to 50% brightness for the RGB pure laser system, and 20,000 hours to 50% brightness for the dual laser phosphor system.
You mentioned Sapphire’s benefits for 3D applications. Is it also beneficial for 2D projection?
Sapphire is the recommended choice in a few instances. It’s the optimal projector for high brightness 2D applications when the screen surface is prone to speckle, such as rear projection applications, and if you’re using a silver screen for 2D or 3D.
Sapphire's broad color spectrum reproduces a DCI-P3+ color space, making it a superior choice for customers or projects that require a laser phosphor illuminated projector.
What other environments might be a good match for Sapphire?
Sapphire is also ideal for visualization displays like a CAVE or powerwall, as well as for customers who need immersive displays in simulation environments, including automotive and aerospace design, scientific visualization and simulation, government defense, and many other immersive 2D and 3D applications.
What are the benefits of a hybrid system?
An RGB pure laser illumination system has red, green, and blue lasers that enable the broadest color spectrum, allowing users to see more color than any other projection technology. Christie is a pioneer of RGB pure laser illumination, and we started deploying RGB illuminated projectors over 12 years ago.
In comparison, while laser phosphor illumination produces a broader spectrum of light, a typical laser phosphor illumination system is limited in its ability to reproduce color. However, it’s a very reliable light source with maximum screen compatibility.
Christie saw this as an opportunity to combine the best of both RGB pure laser and laser phosphor. We added dual phosphor disks and the technology needed to achieve DCI-P3 color, color comb 3D, and superior low speckle performance.
In practical situations, this means that for operators with existing attractions, Sapphire is a great option for replacing older lamp-based projectors for 2D and 3D applications. The combination of laser phosphor and RGB pure laser makes Sapphire versatile enough to work in just about any projection environment and screen setup. As mentioned before, it also provides superior 3D color comb projection, silver screen polarized 3D, along with better reliability, a longer lifespan, and dramatically better color and brightness than lamp-based products. It also uses the same Christie ILS4 lenses as Boxer 4K30, D4K40-RGB, and Griffyn Series.
Of course, all of these reasons make it a good choice for new attractions as well.
We frequently talk about the color gamut with you. Can you share more on how Sapphire stacks up in these areas?
High brightness, 3D, high frame rates, and color are all part of what enable designers to create engaging, entertaining, and immersive experiences for their guests.
Color is an especially key component. Sapphire achieves the DCI-P3 color space, surpassing the Rec. 709 color gamut of laser phosphor and lamp-based projectors, due to its hybrid illumination system. For context, DCI-P3 is the standard for cinema. It has more greens and reds than the Rec. 709 color space and reproduces more realistic and lifelike colors on screen.
Are there any other features we didn’t talk about that designers and integrators should know about?
The Christie Sapphire 4K40-RGBH adds a new solution to our product portfolio, enabling our customers to unleash their creativity and create the entertaining and enjoyable experiences they expect when they visit an attraction or immerse themselves in a virtual environment. •
The Christie Sapphire was first debuted at ISE in Barcelona, Spain, in February 2025.
