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ON THE COVER
Hiccup's Wing Gliders careens through How to Train Your DragonIsle of Berk at Universal Epic Universe. InPark's coverage shares all the facts and feels for the new park.
Page 22
Is Vegas a canary in the coal mine?
Martin PublisherPalicki,
The Las Vegas Convention and Visitors Authority reported a 11.3% decline in visitors to Las Vegas year-over-year for the month of June 2025. It continues a trend of negative numbers for every month in 2025, averaging out to a net loss of 7.3%.
Interestingly, gambling revenues were up 3.53% for the month, though year-to-date those numbers are still slightly down compared to 2024. Reasons for the decline depend on who you're asking. Nevada’s Attorney General blames illegal online gaming for eating into gambling profits while others cite the city’s retreat from being a low-cost vacation spot. Some point to a decrease in Canadian tourists.
More importantly, is this a warning for the attractions industry of rough economic times to come? With the TEA Global Index report for 2025 still roughly a year from being published (2024 figures are due to be released by early October), we can only piece together what little data we have, including the Vegas visitor stats.
The second quarter report from Six Flags doesn’t offer much hope. Attendance was down 9% with a net loss of $100 million. It’s important to note the period ends in June, before the peak summer months. In fact, preliminary July numbers for Six Flags show a 1% increase in attendance, though a roughly 3% decrease in net revenues for the month compared to the same period in 2024.
In contrast, United Parks & Resorts, the owner of SeaWorld and Busch Gardens parks, reported a 0.8% increase in attendance for the second quarter, with a noted boost for their Orlando parks. However, revenue and net income decreased 1.5% and 12.1%, respectively, in Q2.
Both operators cite extreme weather as obstacles to growth, though perhaps there are larger issues at play, including reduced inbound international travel to the U.S. and general uncertainty about the economy. Whatever the reason, it is concerning to have major destinations like Vegas and Orlando –along with regional operator Six Flags – all reporting essentially flat or downward movement.
Whether these numbers represent a temporary dip or are in fact representative of a larger trend remains to be seen, and the effects might also be limited to North America. We won’t really know for certain until more reports are released and operators start to gather at the fall industry trade shows and start sharing anecdotes from the season.
What is more knowable at this point is that we are in a period of uncertainty, which can create changes in behavior for consumers, operators and suppliers. The good news is we’ve been in this position before – as recently as five years ago. If there’s one lesson we learned from the pandemic downturn, it’s that the facilities that continued to reinvest during the slower years rebounded the quickest – wise advice and a glimmer of hope for even the gloomiest of statistical reports.
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
Adora English
Gabrielle Russon
DESIGN
Martin Palicki
EDITORIAL ASSISTANCE
Jordan Zauha
Photo by Universal Orlando Resort
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Industry News
InPark News highlights new projects and products in the industry. To include your news item in print, contact news@inparkmagazine.com.
Alterface appoints three new leaders in the U.S., China, and Korea, affirming the company’s strategic global expansion
Interactive technology solutions provider Alterface is significantly boosting its international presence with three key business development appointments across the United States, Greater China, and Korea. The expansion reinforces Alterface's leadership in interactivity, seamlessly blending creative design and technology to craft meaningful experiences for global audiences. The initiative strengthens the company’s presence in these vital markets, fosters local partnerships, and advances its vision of delivering personalized, immersive, and accessible interactive attractions worldwide. To lead these efforts, Alterface welcomes Mattheis Carley in the U.S., Yvonne Yi in China, and Joseph Kim in Korea. Yvonne and Joseph operate under the leadership of Etienne Ducrot, who oversees business development and operations across the Asia-Pacific region.
This strategic expansion is driven by the understanding that local expertise is essential for fostering local growth. By working with leaders in these regions, Alterface is deepening its understanding of specific market needs and cultural nuances, which will help cultivate long-term relationships with clients worldwide. As Stéphane Battaille, CEO of Alterface, states, "Having dedicated local teams with cultural understanding is critical to supporting Alterface’s growth strategy in these regions.”
In the U.S., Alterface is developing the expanding FEC market, positioning
smaller attractions such as Moviemax (a compact, transportable interactive cinema adventure), Paint (a creative interactive station for virtual artistry), and Action League (a competitive tournament-style attraction with dynamic rotation). Leveraging its unique expertise in interactivity, Alterface now offers a new Interactive Concept Design service to deliver cohesive and flawless experiences. At the same time, the company is developing the market for Wander applications, targeting master planners, designers, integrators, and operators who seek to create a new generation of immersive and personalized experiences. Wander is Alterface’s software-based solution that transforms themed venues into interactive, dynamic adventures, allowing thousands of visitors to play simultaneously with content that changes based on their actions.
For Greater China, Alterface is focused on increasing brand awareness and developing strong relationships with local partners, government agencies and stateowned companies. The emphasis will be on a range of attractions, including Family Entertainment Centers (FECs), Location-Based Entertainment (LBE) venues and theme parks. Similarly, in Korea the goal is to expand the market for Alterface's full suite of innovative products for themed attractions and entertainment facilities across the region.
Yvonne Yi
Based in Shenzhen, Business Development Manager Yvonne Yi brings comprehensive experience in supply chain management, business development, sales and marketing, and company operations.
"I am excited to increase Alterface's brand awareness in China and work with government agencies and state-owned companies to bring our interactive attractions to a wider audience," she says.
Joseph Kim
Representing Alterface as Business Development Manager in Korea is Joseph Kim. "My goal is to develop the Korean market for Alterface, bringing our innovative mix
New Alterface team members Mattheis Carley, Yvonne Yi and Joseph Kim
of creativity and technology to FECs, LBEs, and large theme parks," confirms Kim.
Mattheis
Carley
Based in the U.S., Mattheis Carley is Alterface’s Partnership Director. He has over 15 years of experience in themed entertainment, with a background that includes creating location-based experiences for film franchises in 17 countries. His expertise will be leveraged to build strong partnerships and showcase Alterface’s interactive concept design and prototyping services. Mattheis will help clients create immersive, storydriven attractions, with a specific focus on expanding into the growing FEC and LBE markets.
"I am honored to represent our incredibly talented team at Alterface," says Carley. "Our technology has many applications beyond turnkey dark rides, and I am excited to help owners and operators explore the possibilities."
Positioning for global success
Alterface acknowledges a key trend towards smaller attractions and personalized experiences in these regions, and the
company is innovating by developing relevant technologies and creative concepts.
The new appointees will collaborate closely with Alterface’s Asia and Europe offices to ensure seamless integration with the company’s global strategy while addressing local market needs. Alterface currently maintains a strong presence in Asia with an office in Shenzhen for marketing and sales, a technical center in Hong Kong, and a main sales office in Singapore. In the U.S., a sales center is located in Madison, Wisconsin.
“Alterface is entering an exciting new chapter of growth,” concludes Battaille. “By expanding our presence in key regions, we are ensuring we stay close to our partners and audiences around the world. This strategic move allows us to better understand local needs and deliver more meaningful, immersive experiences everywhere.”
The new team members will be present at upcoming industry events, including IAAPA Expo (Orlando). •
View from the top
Atlantis Dubai’s Sascha Triemer on the Middle East's waterpark market interview by
Martin Palicki
ascha Triemer is the General Manager & Vice President of Marine & Waterpark at Atlantis Dubai, overseeing Aquaventure World, the marine and waterpark destination at the top of Palm Jumeirah. Since taking on the role in 2020, Sascha has been at the forefront of the resort’s most ambitious expansions and innovations. In March 2021, Sascha led the successful launch of Trident Tower, making Aquaventure the largest waterpark in the world. His leadership has continued to push boundaries, ensuring seamless guest experiences through operational excellence and strategic innovation.
Before stepping into marine and entertainment operations, Sascha built a distinguished career in food & beverage, beginning as Executive Chef on the Atlantis pre-opening team. He was later promoted to Vice President of Culinary (2013) and then Vice President of Food & Beverage (2017), where he managed 31 outlets and a team of over 1,100 employees.
In his current role, Sascha leads a multidisciplinary team overseeing all marine and waterpark departments, delivering exceptional guest experiences that combine adventure, education, and world-class service. We asked Sascha for the latest on what has made Atlantis Dubai and Aquaventure so successful, as well as what’s to come.
How do you feel the overall waterpark market in Dubai/UAE is doing?
The waterpark scene here is in fantastic shape. Dubai has firmly established itself as a global leader in leisure and entertainment, and the constant drive to innovate keeps visitors coming back for more. Competition is strong, which is a good thing. It pushes all of us to deliver better experiences, higher safety standards, more creativity, and special events that keep the market vibrant all year-round.
Atlantis Dubai is very popular for many reasons, including its waterpark, Aquaventure. What do you attribute that popularity to?
Aquaventure isn’t just a waterpark; it’s an aquatic theme park experience. We have more than 105 slides, attractions, and experiences, from record-breaking rides to marine animal encounters, plus a kilometer of private beach. Whether you’re here for adrenaline or relaxation, there’s something for everyone, and it’s all part of the iconic Atlantis resort.
Aquaventure holds the Guinness World Records™ title for the Most Slides in a Waterpark. We’re constantly introducing new
Above: Guests enjoy great views and water-soaked thrills in the expansive Aquaventure World at Atlantis Dubai. All photos courtesy of Atlantis Dubai.
experiences like Dolphin Paddle and Dolphin Kayak, as well as educational programs such as Dolphin and Shark Specialist encounters. Our annual passes have become hugely popular with residents and repeat visitors, giving them unlimited access to the park all year-round and making Aquaventure part of their lifestyle.
Events are also a big part of our calendar, such as extended hours with Sunset Saturdays, our annual Aquaventure After Dark party, and special one-off moments like last year’s Guinness World Records™ Tour, where we set a new title for the Most Nationalities on a Waterslide in One Hour, with 90 nationalities participating.
Does the waterpark drive stays at the hotel? Or does the hotel increase visitation to the waterpark?
It’s a two-way street. For many families, the waterpark is a deciding factor when booking a stay especially since in-house guests enjoy complimentary access throughout their visit. At the same time, the hotel’s reputation attracts guests who then discover Aquaventure as a world-class destination. Together, they create a combination that’s hard to beat, staying at one of the world’s most famous resorts while enjoying the world’s largest waterpark.
What are some current trends in waterpark operations?
Guests are looking for more than just a ride; they want a complete, personalized experience. We’ve seen growing demand for luxury options, which is why we introduced premium cabanas that offer privacy, comfort, and dedicated service. There’s also strong uptake for our AquaXpress fast-track passes, as guests want to maximize their time and enjoy more attractions.
Another clear trend is that visitors are combining multiple experiences into a single day, like riding our slides, meeting dolphins at Dolphin Bay, taking in the views from the Dubai Balloon, and then unwinding on the beach. It’s about curating a full-day adventure that blends thrills, relaxation, and memorable moments.
Why do you think the waterparks in Dubai have seen more success than the theme parks so far?
In many ways, theme parks and waterparks in Dubai are quite similar in terms of appeal, and it often comes down to the personal preference of the guest. The main distinction is that waterparks enjoy a slight advantage due to Dubai’s climate, which allows people to enjoy them almost year-round, even during the
peak summer months when the cooling element of water makes the experience more comfortable.
Can you talk about any investments in the park that are coming soon?
Aquaventure World is part of a larger vision to deliver the ultimate aquatic theme park experience. One of our major upcoming projects is the relaunch of The Lost Chambers Aquarium. We’re transforming it into a world-class attraction that combines cutting-edge technology, interactive elements, and edutainment with our fascinating live animal exhibits.
Guests will experience redesigned spaces with greater visual impact, immersive features such as LED walls, holographic screens, and projection mapping, as well as interactive gamification and new hands-on encounters with marine life. We’re also introducing live mermaid shows, a magical addition for families, and enhancing storytelling to inspire both curiosity and conservation. With over 65,000 marine animals across 22 themed exhibits, this relaunch will offer a multi-sensory journey unlike anything else in the region, blending reality with fantasy. •
Sascha Triemer, General Manager & Vice President, Marine & Waterpark, Atlantis, The Palm
The forefront of interactivity
Alterface’s new Interactive Concept Design service blends creativity and technology to craft exceptional guest experiences interview by Martin Palicki
With decades of experience creating interactive attractions, Alterface recently launched a new stand-alone service: Interactive Concept Design. Intended to be utilized by anyone with an idea for a new attraction (operator, designer, manufacturer, etc.), the service provides expert insight on how best to integrate interactivity into an immersive attraction, based on the parameters of the project. InPark spoke with Alterface CEO Stéphane Battaille and Creative Director Laurence Beckers for more information on current trends in interactivity and for more details on how the new service works.
What trends you are seeing now in interactive attractions?
Stéphane Battaille: Two trends I see right now are an increased push for more throughput and a focus on personalization of the experience. Naturally, operators want more throughput to increase revenue, and personalization draws people into an experience and helps them feel that their own actions have a meaningful impact on the environment. These two things can often be at odds with one another. Personalization typically requires more time and resources – which often reduce throughput. It’s possible, of course, to create personalized group experiences. It requires more planning and being intentional in design.
Why are interactive attractions important for the themed entertainment industry?
SB: Interactivity engages the audience in the experience. It brings people into the world that is in front of them and engages them in the experience. Interactivity makes the experience more memorable for the guest while the operator benefits from more repeat visitation. As designers, it means we have to be experts at many kinds of interactivity, for many kinds of experiences.
How do you approach interactivity?
Laurence Beckers: I like to think of interactivity more as a medium and the different ways it can bring people into the story. It’s about how you involve the visitors in your story and how it can use all the senses and emotions of the visitors to engage with the attraction. We also think interactivity is best approached when it can be used to bring people together, rather than isolating guests. Interactivity paired with social connection is the best outcome.
SB: Traditionally, people often think of a device and targetbased dark ride. At Alterface, we are continuously developing new interactive methods other than shooting. While that can
work well in some situations, it typically does not allow for much variety in the experience. We have developed alternate tools such as a flashlight or paintbrush that breaks free from specific targets, enabling new types of gameplay and offering guests different ways to interact with the story and environment.
Does the concept of interactivity change if you are thinking of a walk-through attraction versus a ride?
SB: Walk-through attractions allow a whole new world of interactive experiences. Geolocation, for example, enables guests to create meaningful interactions with the environment without requiring them to take deliberate or active steps. Simply by moving through the space, they can influence elements around them. This allows for more natural and intuitive engagement. Additional technologies can allow guests to take and move objects to create different effects. It’s a completely different level of experience and immersion. We think this is a sweet spot for attractions in the future, particularly those midrange LBE facilities that are larger than a FEC but smaller than a theme park.
LB: There is one big difference in addition to what Stéphane said. In a dark ride the vehicle puts the guest where we want them to be. In a walk-through we have to give the guest motivation to move where we want them. It really means we have to create and utilize a lot of tricks to encourage people to move, by giving them an understanding of their goal and where to be at the right time.
SB: It is important to remember that the same things don’t work for everyone. We are constantly thinking about ways to engage different types of people. That part takes a great deal of knowledge and specialization, which we at Alterface have spent years developing.
What role is there for performers to enhance interactivity in an attraction?
SB: Human interaction is perhaps the strongest link you can provide, and it can be further enhanced by technology. A performer can be given a digital tool – often hidden – that gives
them information about each guest which they can then use to personalize their interaction with each guest. It can truly be magical and the guest starts to feel that the entire world around them is reacting to who they are and what they are doing.
LB: A great example of this is our Wander technology, which fully integrates ways for performers to interact directly with guests into the experience. The system essentially tracks what the guest has done or achieved in an experience, and that information can be transmitted to a performer to help them have an informed interaction with the guest. It’s an extremely high level of interactivity.
Tell me about your Interactive Concept Design service.
SB: Many of our clients come to us and ask how they can create the best experience possible for their guests. We’ve identified key parameters such as storyline, meaningfulness, capacity, group experience, type of ride/attraction and target audience that we work within to help develop a unique plan for each attraction. This is specialized knowledge we have acquired through decades of experience. We advise the client on how to create the best user experience within the identified constraints for the best outcome.
At the beginning we have so many variables and by adjusting all of them we are able to converge on a valuable concept that can be used and discussed with other designers or integrators to make sure the core of the experience is properly thought out. Then it can be detailed and given to other people who can do the décor and design. In essence, we help the owner craft the meaning of the experience itself.
LB: Interactive Concept Design is a stand-alone service intended to be used at the very beginning of the creation of an attraction. All the technology and design of an attraction should be in the service of the story, meaning and goals of the attraction. Working through the parameters will help inform the owners, designers and integrators as they play their parts in creating the attraction. For example, understanding the target age group will likely impact the ideal technology used for interactivity. The process is user-centric and focused on the visitors and the experience we are building for them.
How much of it is technology consultation versus creative design?
LB: For me it is a blend of both, and it follows three steps:
1) We develop the creative core and ideas.
2) We define the experience of the guests.
3) We determine which technology supports the previous steps and works within the specified budget.
We then deliver the concept design with the information from all three steps. Alterface is not just about the technology or only the creative ideas; we are about bringing both together and making them work together.
Laurence Beckers
Stéphane Battaille
SB: There is a huge advantage in having tech and creative inhouse teams realize that both elements have to blend together. It’s important for engineers to understand that the goal is a user experience and for the creative team to understand we cannot create outside the boundaries of the technology. Ideas need to percolate between the two to help both teams understand what is possible and how they can work together more effectively.
Where does budget fit into the process?
SB: Both the guest experience and the budget are realities that constantly tug at one another and should be addressed from the very beginning of an attraction. This is especially important when new components or technologies are involved. Defining the core experience and the budget help to remove a lot of the natural tension between finance and creative teams. It’s much easier – and cheaper – to figure that out at the beginning than during the project itself.
LB: Ultimately, the customer can feel more confident in knowing what they are going to buy. It helps to clarify the end project and saves time and cost.
Does this replace the services of traditional attraction design firms?
SB: Absolutely not! I want to stress that this is a stand-alone service, and it does not replace the need for outside attraction design companies. We focus on what the experience goals are with the client and help develop the concept. They then take that concept to a design firm to build out the rest of the plan. It also does not mean they have to use Alterface for the technology. Of course, we hope that they do, but it is not a requirement.
Also, this service is available to anyone who is creating an experience. That means it might be not just operators, but also designers, integrators or maybe even manufacturers who would benefit from Interactive Concept Design. •
For more information on Alterface's new Interactive Concept Design Service, visit alterface.com. A birds-eye sketch of how interactivity might be integrated into an attraction.
Frank-ophile
Alcorn McBride’s new distributor carries deep ties to
by Gabrielle Russon
Frank Ruisch can roll up his sleeves to show off the tattoo of an Alcorn McBride V16X show controller on his upper arm. “See? The V16X show controller is really that good!” says Ruisch. Earlier in 2025, he became Alcorn McBride’s Channel Partner and Reseller in the European Union and the United Kingdom, distributing Alcorn’s technology across the themed entertainment industry.
Ruisch, in case you couldn’t tell, is all in on Alcorn McBride. He is the ultimate brand ambassador after discovering and using the products at theme parks for over 20 years. Growing up in The Netherlands, 17-year-old Ruisch’s first summer job was performing as Bugs Bunny at Six Flags Holland (now the Compagnie des Alpes park Walibi Holland). He dressed in the famous cartoon rabbit costume – ears included – working in the entertainment department, but even by that point, he was already a whiz in sound design.
Ruisch remembered tagging along with his dad who sold AV systems for discotheques in Europe during his childhood. “I knew how lights were supposed to look and how audio was supposed to sound at a very young age,” he says. “I took all that info in subconsciously.”
themed entertainment
He also had a natural knack for precision and learned that timing was everything. Those were lessons he picked up when he started ballroom dancing at age 8 and then began playing drums at 12 (something he still does to this day in a rock band).
So when the Dutch theme park decided to expand their Halloween event in 2004 the 17-year-old began moonlighting as a sound designer and special effects assistant at the park’s haunted house. With a trusting manager, absolute freedom and a tiny budget, Ruisch was able to tinker, explore and learn. Still employed as Bugs Bunny, he squeezed in time at the end of his regular shift in the haunted house.
Ruisch was scrappy and self-driven. Though he picked up technical skills on the job, his curiosity pushed him further, so he turned to the internet to learn more. He became a whiz kid and quickly learned how to use sound to build emotional tension, crafting soundtracks with elements like a pulsing heartbeat that subtly raised a guest’s fear response - intense enough to thrill, but not so overpowering that it drowned out the screams of guests further ahead in the haunted maze.
At the time, Halloween was still a novelty in The Netherlands, an undeniably American holiday just starting to gain
traction, so Ruisch’s work felt fresh and groundbreaking. The park’s haunted house, with its innovative sound design and programming, was cutting-edge and an instant hit. His reward? More responsibility. He soon traded in his Bugs Bunny ears for roles in larger entertainment productions, contributing to everything from fireworks finales and scare zones to park shows and, of course, more haunted houses. “There was no education or roadmap for any of this. I just figured it out as I went and kept at it until it worked,” Ruisch says. “That’s what I’m known for.”
Frank meets Alcorn McBride Ruisch, who attended the Dutch college Sound & Vision, returned to the theme park for an internship in 2005. His task was to program a synchronized launch sequence for the Superman roller coaster. The effect had been broken for years, so the 18-year-old installed and programmed new LED lighting, along with new audio and show control systems. The project marked a career-changing moment for Ruisch as it was when he first discovered Alcorn McBride, the Orlando-based company that’s developed a niche in creating, engineering and manufacturing show control, audio and video equipment.
Unaware where Orlando even was, Ruisch researched “show control” and realized Alcorn McBride’s products were the answer. He bought a used Alcorn McBride DMX Machine on eBay and paired it with a well-worn Alcorn McBride MP3 Machine he found on a shelf at work. He pored over the show control course manual until everything worked reliably for the
launch. It was magic. After years, the attraction effects were fully functional once again. The alarm rang out and strobe lights pulsed to build excitement as riders launched forward on the ride. From that moment on, Ruisch was hooked on Alcorn McBride: “That's the point I knew this is what I want to do.”
Alcorn McBride’s technology worked seamlessly to help him elevate theme park experiences for guests. “At first I frequently tried to make ends meet with laptop computers,” he says. “But once I found Alcorn McBride, that was it for the laptops. Alcorn’s products always work. You don't have to wonder if you have the latest system update."
Frank makes moves
By 2011 Ruisch was ready to start out on his own. He left his job at the park and started his own company AV SyncWorks, dealing almost exclusively with Alcorn McBride products. As a freelancer, he still handled Walibi Holland's AV projects and also gained the freedom to explore other arenas. He composed soundtracks, did show control, ride syncing, special effects and show programming for experiences across Europe.
One particularly complex project was the remastering and reprogramming of audio for Efteling’s iconic Carnaval Festival dark ride, in collaboration with the park’s Creative Engineer, Bram van Sprang. A key challenge was updating the system so that, in the event of an unexpected ride stop, the music would seamlessly transition to a short finale no matter where guests were in the ride or song. Once the ride resumed, a “conductor”
Above: Frank Ruisch mixes the soundtrack for the "Us vs You" haunted attraction at Walibi Holland. Opposite: Frank's appreciation for Alcorn McBride products started decades ago. All photos courtesy of Frank Ruisch/Alcorn McBride
cue (“1-2-3-4”) would bring the music back in right on beat.
“That was a crazy thing to execute,” Ruisch says. “I had to map hundreds of cue points and produce matching audio files with multiple endings, each tailored to the ride’s various musical motifs. The programming tree was incredibly complex.”
Over in North America, Ruisch composed the soundtracks and did full AV for SeaWorld Orlando’s haunted houses at Howl-o-Scream. Once again, Ruisch credits Alcorn McBride for helping save the day. SeaWorld’s large lighting controller at the park was too complex and overkill for the haunted houses, Ruisch said. He drove over to meet Mike Polder, Alcorn McBride’s longtime head of tech support, who is known for keeping stockpiles of old equipment on hand, Ruisch says. The two made a deal: a six-pack of Guinness in exchange for a trusted old DMX Machine. The agreement saved Ruisch three extra days of programming and learning a new lighting console.
All in with Alcorn
When the theme park industry was shut down during the pandemic and work dried up, Ruisch’s relationship with Alcorn McBride only strengthened. The company had connected him with Birket Engineering for work at Universal Studios Singapore in 2021. Ruisch did the control system retrofit and the reprogramming of Alcorn McBride systems on the Shrek 4-D Adventure show and Lights, Camera, Action! special effects show.
Having Alcorn McBride’s help during the financial crisis as the industry shut down moved Ruisch and forever impacted him. “It’s kind of my second family,” he says of his relationship with Alcorn McBride, and a big part of the reason he got the V16X show controller tattooed on his arm following the Singapore work.
Post-COVID, Ruisch’s business has continued to evolve. He rebranded his company Thematic Development, and more recently took on the new role with Alcorn. He is more than just a distributor for Alcorn McBride products in Europe and the United Kingdom. He provides training on the company’s latest X Series product line, including an AVIXA-certified class on WinScript Live 6 programming software. Additionally, Ruisch, who is opening an office in Wageningen in The Netherlands, will also be attending IAAPA Expo in Orlando to represent Alcorn McBride and reintroduce himself to the industry.
Above: Through his company Thematic Development, Frank has incorporated Alcorn's products into projects around the world, including the Road Rage attraction at Trans Studio Bali.
Below: Rob Hoefakker (Immersive Systems Specialist, Thematic Development), Frank Ruisch and Devin Flannery outside ISE 2025.
For Alcorn McBride, bringing Ruisch’s company on as a Partner made sense. His years of experience with the product lines and immense knowledge of show control, media playback, and system integration were undeniable. “He knows it instantly - better than some of our employees,” says Devin Flannery, Alcorn McBride’s Solutions Architect. “He grew up in it.”
Clients easily connect with Ruisch, whose high energy and charisma are complemented by his experience in the field, Flannery says. Ruisch’s European roots also come into play. “He understands the market and the European players. The industry there is currently undergoing a renaissance of sorts, with more technically advanced projects that benefit from Alcorn McBride products. Having Ruisch on the team helps bridge the gaps between the client, the project and the products,” Flannery says.
“The vernacular is different, and the expectations aren't always the same as they are here in America,” Flannery continues. “We couldn’t ask for a better Alcorn McBride ambassador. Frank understands the market, he swears by our products and he has an incredible amount of frontline knowledge. He is not only an asset for us, but also for our clients who can benefit from his years of experience.”
To meet Ruisch in person, schedule a meeting with him during IAAPA Expo by visiting thematicdevelopment.com/contact, emailing info@thematicdevelopment.com, or stopping by the Alcorn McBride booth (#1869).
Gabrielle Russon is a freelance journalist who lives in Orlando. She previously covered the business of theme parks for the Orlando Sentinel, earning several statewide and regional honors for her coverage over theme park injuries, the economic challenges facing theme park workers and the pandemic’s impact on the tourism industry. A Michigan native, she is a Michigan State University graduate and has worked at the Sarasota Herald-Tribune, the Toledo Blade, the Kalamazoo Gazette and the Elkhart Truth during her newspaper career. In her spare time, she loves visiting Orlando’s theme parks and running marathons.
Frank's tattoo of the Alcorn McBride V16X is a one-of-a-kind piece of art and indicative of his passion for the AV industry.
Epic arrives
Above: Guests take in the decrepit splendor of The Burning Blade Tavern within Dark Universe. Opposite: Celestial Park welcomes visitors fo Universal Epic Universe with lush gardens and water features. All photos, unless otherwise noted, by Universal Orlando Resort
InPark Publisher Martin Palicki explores the FACTS and the FEELS of Universal Epic Universe
by Martin Palicki
The Facts
May 22, 2025, marked the debut of Universal Orlando Resort’s fourth gate, forever changing not only the company’s footprint in Orlando but also the Central Florida attraction market and the larger theme park industry. Universal Epic Universe covers 110 acres and reportedly cost around $7 billion to build. Announced in 2019, construction was paused and the opening delayed due to the COVID-19 pandemic.
The park features five themed lands, most of which are themed to popular IPs: Celestial Park, Super Nintendo World, Dark Universe, The Wizarding World of Harry Potter - Ministry of Magic, and How to Train Your Dragon - Isle of Berk.
Celestial Park
Running the length of the park, Celestial Park is the central hub of Epic Universe. Most guests enter through the main gate and proceed under the Chronos, a kinetic tower that serves as the park’s icon and main portal of entry. At the opposite end of the land sits the towering Universal Helios Grand Hotel. Universal’s long-standing partnership with Loews continues with this new property, which features premium accommodations, a private
See EPIC: The Facts on page 24
The FEELS
By the time I walked under the looming Chronos portal into Universal Epic Universe, anticipation for the moment had been building for years. By that point nearly everything about the park had been revealed. But no matter what you read or watch about a new experience, nothing can ever prepare you for the feeling of being there.
For me, that moment stirred feelings of grandeur – not just awe for the size of the Chronos structure, but in the sense that something truly special had been created in this space.
Sometimes, that feeling is absent. Those are the projects that have no soul – typically where brands are hurriedly slapped on an experience. But Epic Universe has soul and gravitas, thanks to the many designers whose love for the project is reflected throughout the park.
It is evident in every detail in every land and in the story that the park is built upon - manifested through design, art and architecture. It’s in the carefully chosen words inscribed above each portal. It’s even in the core concept of portals that define
See EPIC: The FEELS on page 28
EPIC: The Facts
park entrance for hotel guests, and a rooftop bar and restaurant with stunning views of Epic Universe.
Though the land serves as a connector between each of the other themed zones, it also offers its own assortment of restaurants, retail, and three attractions. Astronomica is a small kids splash pad area surrounded by larger pools and fountains. Constellation Carousel takes a new spin on the classic merrygo-round with a variety of choreographed movements and songs. Finally, Stardust Racers is a dual-tracked launched roller coaster that races two trains alongside one another, at times playfully dancing together along the track.
Super Nintendo World
A partnership between Universal and Nintendo brings IP from the gaming platform to its own land, nearly identical to areas at Universal Studios Hollywood and Universal Studios Japan. The Epic Universe version is the largest of the three and includes the same three attractions that can be found in the Japan iteration. The largest area is devoted to Mario, with the interactive AR dark ride Mario Kart: Bowser’s Challenge being the main attraction. The slower Omnimover-style ride Yoshi’s Adventure takes guests through indoor and (mostly) outdoor scenes from the world of Mario. Guests who purchase Power-Up Bands can use them throughout the land to complete challenges and earn coins, stamps and keys to advance to new levels, all while keeping track of their progress through the resort’s official app
Donkey Kong Country sits at the back part of the land and is home to Mine-Cart Madness, a roller coaster designed to make it appear like the coaster car is running off the track rails, thanks to the actual vertical track being hidden beneath the decorative track.
Although the entire park has many elevated food options, Super Nintendo World has a good share of unique dining, including Toadstool Cafe, with its assortment of Mario-themed cuisine, and The Bubbly Barrel, offering the Donkey Kong-themed DK Crush Float, which includes banana and pineapple soft serve.
Dark Universe
When it was announced, the prospect of an entire land themed to Universal Classic Monsters thrilled horror fans. The actual implementation of Darkmoor Village fulfilled those hopes, with an eerie atmosphere omnipresent throughout the land. Monsters Unchained: The Frankenstein Experiment, one of the park’s signature attractions, calls Dark Universe home. The ride tells the story of Dr. Frankenstein’s descendent, Dr. Victoria Frankenstein, who has rounded up a cadre of monsters who naturally cause a bit of chaos. The ride utilizes the next generation of Kuka arm vehicles first debuted in the Harry Potter and the Forbidden Journey attraction at Universal Islands of Adventure.
Curse of the Werewolf provides a spinning launch coaster for the land that, while brief, provides a thrill, particularly during the planned rollback sequence. Be sure to look up to not miss any of the Werewolf characters!
Hiccup's Wing Gliders is a fun family roller coaster found in How to Train Your Dragon - Isle of Berk.
The entrance to Le Cirque Arcanus sits prominently in The Wizarding World of Harry Potter - Ministry of Magic
While the Chronos is the park’s main icon, almost as recognizable is the blackened windmill that periodically bursts into flames atop The Burning Blade Tavern in Dark Universe. Inside, drink concoctions of the creepy kind await (blood-) thirsty guests.
The Wizarding World of Harry Potter – Ministry of Magic
As the third land themed to the Harry Potter franchise at Universal Orlando, Ministry of Magic has big shoes to fill. The land is themed to 1920s Paris, one of the settings from the Fantastic Beasts film franchise. The land’s Le Cirque Arcanus stage show lives in the world of Fantastic Beasts, treating guests to a special-effect-laden performance, both in the pre-show and in the main theater.
Harry Potter and the Battle at the Ministry features the park’s most complex ride system. Guests board “elevators” that can travel in any direction in the Ministry. Although vehicles travel along a singular track, media and motion simulation gives the effect of traveling up and down, back and forth. Guests first arrive at the Ministry of Magic thanks to the Floo Network, a series of fireplaces guests enter in a puff of green smoke and emerge from in the middle of the Ministry. The cavernous hallway guests enter in the Ministry is impressive in scale and detail, as is the entirety of the ride.
As in the other Potter-themed lands, wands available for purchase allow guests to magically interact with items and displays. A second generation of wands was recently released,
allowing for even more spells to be cast, with haptic and lighting feedback integrated into the wands.
How to Train Your Dragon - Isle of Berk
As the largest of the IP-based lands, Isle of Berk also features the greatest number of attractions. Hiccup’s Wing Gliders is a family launch roller coaster with clever theming and a ride course that traverses most of the land. Dragon Racer’s Rally takes guests high in the air for a dragon-eye’s view of the park. Fyre Drill is a slow-moving boat ride that encourages guests to hit targets with sprayers and avoid getting splashed back. Viking Training Camp offers a kids play area with a variety of activities for young ones to explore.
The Untrainable Dragon is the second stage show in the park, full of high-tech special effects, live music and, as one might expect, a giant flying dragon that soars gracefully above the crowd.
Finally, this part of the park has an impressive share of animatronic characters that populate the land, some in permanent spots and others that roam around. Additionally, drone dragons periodically fly through the sky above, creating an additional level of immersion for this impressively themed land. •
Many areas of Epic Universe, such as Constellation Carousel in Celestial Park, are transformed at night by colorful lighting. Photo by Martin Palicki
Stardust Racers are easily Epic Universe's most thrilling roller coasters.
EPIC: The FEELS
the boundaries of each land as well as the transition in and out, reinforcing a totality of immersion.
So, yes, I felt inspired visiting Epic Universe.
That’s not to say it was perfect. Concerns about shade and operational reliability of some attractions are valid – but those things will resolve themselves, either naturally or through additional investment.
Drawn to IP
Aside from Celestial Park, Epic Universe has assigned IP to each of its lands: Harry Potter, How to Train Your Dragon, Nintendo and Universal Classic Monsters. Each of the lands are wonderful in their own right, but I sometimes wonder if IP is always the best choice. Of the four, Dark Universe comes closest to a brand-free land – built around the idea of horror and monsters. The fictional village of Darkmoor doesn’t exist outside of Epic Universe; it is original IP that I was immediately drawn to. It just feels different than all the other lands. Admittedly, I’m not particularly familiar with any of the park’s other IPs. That already probably puts me in the minority, and I recognize that.
I’m equally drawn to Celestial Park, with its atmospheric music and original backstory, which can be absorbed just by being in
the land. In contrast, Isle of Berk and Super Nintendo World, while both visually stunning with great attractions, left me feeling a bit like I didn’t belong in them, precisely because I’m not familiar with the IP. Whereas in Celestial Park the details feel like clues to the story, in other lands they feel more like insider winks to those already in the know.
That being said, it's still clear that each land is well designed, entertaining and stacked with great attractions. I just wonder about an Alternate (Epic) Universe where each portal opened not to a specific brand but to an essence of an idea, to a place or concept in time (real or not). What might that look like, and how much fun it would be to explore that place?
Entertainment steals the show
Much focus has been placed on the park’s major rides – and for good reason. The technical and artistic masterpieces that are Monsters Unchained and Harry Potter and the Battle at the Ministry are impressive. It’s also no small feat that the park opened with five roller coasters (counting Stardust Racers as two - which I do). How many theme parks invest that much capital in coasters on day one? That alone is impressive. What makes it even better is that the rides are all fun.
But I think the secret stars of Epic Universe are the two stage shows: Le Cirque Arcanus and The Untrainable Dragon. Le Cirque Arcanus starts with a cleverly designed queue winding through a never-ending circus tent, ending in a short pre-show full of tricks and special effects. The main performance features
The Chronos functions as the park's main icon and entrance/exit, as seen here on the media preview evening.
Photo by Martin Palicki
stage rigging and equipment rivaling (and even exceeding in some instances) Broadway productions. It’s essentially a magic show, wrapped in a Fantastic Beasts envelope, and stuffed with continuous moments of awe.
The Untrainable Dragon also dazzles in its set design, technical backbone and live performances. When the dragon flies over the audience, even the biggest naysayer can’t help but be caught up in the moment and in these giant pieces of machinery bringing art to life, right above their head.
Finally, I have to give credit to the design behind Constellation Carousel. While a New York Times reviewer called it “skippable” I think it’s another one of the sleeper hits in the park. As our industry matures it becomes harder to reinvent classics. Universal plussed the big drop boat ride with Jurassic Park. Disney reimagined the freefall ride with Tower of Terror. While Constellation Carousel isn’t as big or flashy as those examples, it really is a charming example of rethinking what a ride can be. For starters, not every ride is the same – and the turntable doesn’t always spin in the same direction! Small things, perhaps, but they make for a delightful remake of a classic carousel. The fact that the animals on the ride are illuminated by stars that correspond with their constellation is icing on the cake.
The lasting impact of Epic Universal Epic Universe had a lot of challenges in its development, including a global pandemic that stopped
construction for nearly a year. The teams at Universal Creative, the scores of contractors, and the leaders at Comcast deserve immense credit for persevering in the project and continuing to invest in their Florida property.
Many would agree that the industry needs this boost right now. As park attendance levels only recently began returning to prepandemic numbers (and even then, not uniformly), a new wave of global tourism disruptions, tariff wars and overall economic uncertainty (particularly in the U.S.) are causing concern for the industry.
But Epic Universe is providing a much-needed jolt to the marketplace, already spurring its competitors in Central Florida to double down on their own investment and expansion plans, which is needed to support the industry and provide new reasons for guests to keep returning. As we’ve seen time and time again, the investments large parks make in new technologies and concepts does trickle down to the smaller parks, impacting all the industry players.
Without a doubt, Universal did exactly that in Epic Universe, developing new types of rides, shows and attractions, raising the bar not only for customer-facing technology, but also for systems behind the scenes. The dividends for those investments will be forthcoming for Universal, park visitors, and the entire industry for years to come. •
Epic Universe's two theatrical shows, including Le Cirque Arcanus, bring high-tech theatrics to the stage for every performance.
Darkmoor VIllage, part of Dark Universe, exudes eerie atmosphere at all times of day, but especially at night.
On the issue of tariffs…
Industry leaders respond to Trump’s evolving and uncertain tariff situation
Edited by Martin Palicki
The uncertainty caused by the Trump Administration’s strategy of implementing, pausing and changing tariffs for various countries and products around the world has led to a great deal of confusion across the business community. While the United States is by no means the only provider of entertainment and attractions, it remains a pivotal player in the ecosystem of themed entertainment. Early this spring, we approached a select group of both suppliers and operators around the world for their take on the tariff situation. We asked each of them if they are currently being impacted by the tariffs, if they expect future disruption, and how they are dealing with the changing situation.
Since we started collecting responses, the issue of tariffs has been overshadowed by other stories in the news cycle, and to some extent markets have calmed. Still, the issue remains salient for many businesses in our industry. Below are the responses we received, edited for space and clarity, and presented in alphabetical order by company.
-Martin Palicki
Bartholomew, Charles Lewis 'Bart', courtesy of Hennepin County Library, Public Domain
Michael Marko, Director of Contracts & Administration and Adrian Magowan, Director of Production, Adirondack Studios (ADKS)
Our supply chain for durable goods and materials is experiencing volatility in pricing due to the lack of clarity in proposed tariffs. To address this uncertainty, suppliers have communicated that pricing will be subject to change based on the results of new legislation. We convey this information to our clients and collaborate with them to mitigate the costs where possible. Additionally, potential tariffs affect material availability as supply chains tighten in anticipation of cost increases.
If a highly specialized material or item is not currently fabricated in the USA, finding an alternate U.S.-based supplier can be challenging. These products are often tied to either client specifications or government regulations. For projects in early development, our designers are able to offer alternate material and product solutions.
Our goal is to be transparent with all parties in finding ways to mitigate the budget, schedule and design challenges. ADKS is a global company headquartered in the U.S. Our dedication is and has always been to support our home country and the countries in which we operate. We will continue to provide concierge-level service while finding ways to operate within the boundaries of fair margins.
Steve Birket, President, Birket Engineering
Known tariff increases result in an increase in cost of goods and can negatively affect availability. The threat of unknown future tariffs increase uncertainty in estimates and proposals and in the ability to confidently perform a service at a given price. A buyer trades their money for the seller’s product or service. When expectations are understood and met, everyone wins. The greater the uncertainty, the more likely either the buyer’s or the seller’s expectations will not be met, and someone comes out the loser.
The business risk associated with the impact of unknown future tariffs must be identified as part of every negotiation. The risk has a dollar value and somebody has to pay for it. Ignore this risk at your peril.
Stefan Rothaug, Director of Sales & Marketing, Brogent Technologies
At present, the impact of the new tariff policies on Brogent is manageable. Brogent’s long-term commitment to global market diversification, combined with a broad portfolio of high-margin products and diverse services, has effectively mitigated our exposure to any single geographic region. Notably, the U.S. market accounted for only 4% of Brogent’s total revenue in 2023 and just 1% in 2024. As a result, our strong presence in regions such as the Middle East and Asia, where opportunities continue to grow, further reduces our reliance on tariff-sensitive markets.
While persistently high tariffs may increase cost sensitivity among themed entertainment operators, we believe their impact on people's pursuit of leisure is limited, especially when compared to the ban on human interaction during the COVID-19 period. Looking at historical market patterns such as those during periods of financial crisis, the global leisure and tourism sector has proven to be resilient, with limited longterm downside.
Geoff Thatcher, Founder & Chief Creative Officer, Creative Principals
We are a creative firm. While we know some of our production partners are dealing with issues related to LED screens coming from China, for example, our company has not been impacted by tariffs.
Compared to AI and how it’s changing both how we create and the experience we create, we see the tariffs as a blip. For us, it’s AI that is disrupting the way we work.
Philip Hernandez, CEO, Gantom
When the recent tariffs on Chinese imports were announced, they weren't just a headline for us – they represented a potential bankruptcy event. For context, we manufacture the world’s smallest intelligent fixtures, which illuminate theme parks worldwide. In one recent instance, we had to inform a client that an $11,000 order would now cost nearly $40,000 due to tariff increases. In another case, we narrowly avoided financial catastrophe when our importer warned us about changing regulations, prompting us to split a shipment – saving us from a $30,000 tariff bill on components valued at only $20,000.
Like many manufacturers, we have staff in both the U.S. and China – and we ship components back and forth throughout the manufacturing process. Meaning, the tariffs hit us twice –once on components going to China and once on the fixtures coming back to the U.S.
For small manufacturers like us without massive cash reserves or stockpiles, these aren't just cost increases – they're existential threats. The irony isn't lost on me that policies ostensibly designed to strengthen American manufacturing are pushing us to consider moving more operations out of the U.S. rather than bringing production home. Our capital will go towards establishing warehouses outside the U.S. to maintain prices worldwide. With the strong dollar, our current prices were already tough for international clients – any additional tariffs would kill our international market.
The reality is that even if we wanted to manufacture domestically (which we've explored extensively), we face insurmountable challenges:
1. Finding appropriately skilled assembly workers has proven nearly impossible.
2. The setup time for new manufacturing would take years.
3. The cost structure would require multiple U.S. workers to replace one overseas position.
4. Key personnel can't relocate to oversee quality.
Warren
Kong, Principal, Lightswitch
The cost of lighting equipment is wildly unpredictable as often every part of the light - even if it is assembled and manufactured in the USA - comes from another country. As a result, we have been raising our cost estimates to account for this unpredictability.
Andreas Andersen, CEO, Liseberg Group
We are being impacted not directly, but indirectly. For example, we are located in one of the largest industrial hubs in Scandinavia. If/when the European car industry is impacted, it will have a vast impact on the economic outlook for the region – and thereby customer purchasing power.
The unfortunate reality is the situation is almost impossible to forecast. Like many other companies, we can work with different scenarios – but the uncertainty is substantial. However, as we are not an exporting company, most impacts will be indirect (e.g., possible recession, stagflation, etc.).
Seth Cover, CEO, Mycotoo, Inc.
The tarifs are certainly having an impact on all markets. We have multiple projects in the production and fabrication phase with openings in the United States later this year and in the first quarter of 2026. These projects have specialty vendors and equipment sourced from China, Europe, and Canada. The cost estimates were determined before the tariffs were implemented. As a result, there is currently uncertainty on final pricing. We are actively working with our clients to find alternative sources where we can. Additionally, all our project budgets are built with contingencies to ensure that we are always prepared for any unexpended overages.
None of us has a crystal ball, but we do know that developers are more likely to invest when markets are stable. If policy remains in flux, this may cause some developers to take a waitand-see approach. Projects that have been in the pipeline may be considered cost prohibitive, causing some developers to potentially cancel projects, or, at best, put them on hold.
Fundamentally, the uncertainty in tariffs remains a material risk to planning and executing projects, locally and globally. With these constraints and risks in mind, it is prudent to proceed with cautious but steady hands. As creators and project managers, Mycotoo has a great track record of calmly navigating disruptions and uncertainties in our industry.
U.S. and around the world, we're navigating a complex trade environment. Many of the products we manufacture and deliver into the U.S. come from countries that are now affected by U.S. tariffs – some more significantly than others. In turn, we're also seeing counter-tariffs from other nations, which further complicates international supply coming from the U.S.
It is important to note that these tariffs are paid by Americans, and the costs are inevitably felt by our clients. These developments are having a tangible effect on waterparks in the U.S., not just on manufacturers like us, but also on developers and operators. We understand the pressure this puts on our clients, and we are committed to helping them navigate it.
These tariffs drive up the cost of goods coming into the U.S., which has a negative impact on Americans. This in turn drives up the cost of capital projects, increases the price of waterpark equipment, and can also negatively impact operations and maintenance costs. Ultimately, this could lead to fewer projects breaking ground or forcing parks to raise admission prices, something we all want to avoid.
Right now, we’re working together with our clients to minimize the impact of tariffs, because protecting their budgets helps them maintain guest affordability. We are listening closely and acting quickly because we understand how much our clients are juggling behind the scenes. We’re fortunate to have strong, collaborative partnerships and a diverse global supply chain. We’re actively leveraging that diversity to source from regions that aren’t affected or are more favorably aligned with current trade agreements.
Looking ahead, we’re doubling down on that strategy. We’re continuing to invest in supply chain diversification and tailoring our approach to each individual project, matching sourcing plans to trade realities, using local suppliers where we can, and optimizing for stability. This way, we’re not just reacting - we’re staying ahead of disruption and doing right by our clients. Our goal is to stay one step ahead to support our clients with transparency, empathy, and resilience.
That said, we don’t expect this to be a long-term issue; tariffs are rarely sustainable in the long run, and they are ultimately not beneficial for consumers or global trade.
Massimiliano Freddi, Founder & CEO, Wonderwood
Our sourcing is primarily from Italian and other EU-based companies, and since we operate as a facility without engaging in exports, we haven't experienced any direct impact so far. However, in discussions with EU manufacturers – particularly in Italy, which is a key player among manufacturer/supplier members – there’s a growing concern about potential long-term repercussions. Several of these companies are already reporting a noticeable decline in orders from the U.S., which could signal broader challenges ahead.•
Greg White, COO, ProSlide Technology
ProSlide, and many of our clients, are being impacted by the tariffs. As a global company with active projects across the
Ghost Boat reimagined
Moment Factory joined forces with Dells Boat Tours for a major multimedia transformation of the classic Wisconsin Dells fright attraction interview by Martin Palicki
Thoughperhaps best known in the attractions world for its multitude of waterparks, the Wisconsin Dells offers vast natural appeal as well. Carved out of sandstone as glaciers melted thousands of years ago, the landscape is picturesque and serene.
Coldwater Canyon is one of these scenic destinations in the Dells that hosted tourists from the 1940s-1970s. Dells Boat Tours® featured the canyon for several decades as one of three exclusive shore landings on their Upper Dells tour, and later expanded their scenic tour offerings with Original Wisconsin Ducks® (amphibious vehicles), Jet Boat Adventures and a Sunset Dinner Cruise. In 2010, the Dells Boat Tours team decided to reopen Coldwater Canyon for a new haunted nighttime experience, and Ghost Boat was added to their portfolio.
The first iteration of the haunted attraction was themed to an 1800s settlement. In 2023, Dells Boat Tours felt it was time to reinvent the experience and upgrade the technology. At that time, Moment Factory was working with the nearby Wilderness Resort on developing Aquavia Lumina [See InPark issue #106]. The Ghost Boat crew reached out to Moment Factory, who were excited to take on the project.
Just in time for summer 2025, the revamped seasonal attraction reopened with an entirely new storyline, a vastly enhanced AV package, new media and scenic props that will surprise both new and returning guests.
The experience starts with approximately 75 guests boarding a boat for a short ride to Coldwater Canyon landing, recently reopened for tours after having been shuttered for decades. The boat captain invites the passengers on a night ride that might not go as planned, and an eerie atmosphere sets the stage for the story and hints at the sinister forces that lie ahead.
Once on land, guests find the canyon frozen in time, with signage, audio, and scenery reflecting a mid-century aesthetic. As they approach the canyon, they notice something mysterious has happened to another tour boat, and they proceed single file into the passage. Along the pathway, unsettling encounters and sinister surprises await, brought to life by live actors through a combination of physical and digital elements, featuring dynamic lighting, eerie video projections, timed "scare moments," and immersive spatial audio.
At the end of the canyon the entire group is gathered while projections on the canyon walls help clarify what kind of sinister creature has been causing all the problems. Small groups are then sent back down through the canyon, which has been transformed through lighting, audio and talented scare actors. After (hopefully) escaping unscathed, guests board a boat for the return trip.
For more information on the attraction upgrade, InPark spoke with Moment Factory’s Virginie Valastro, Producer on the project, and Emil Bertalot, Communications Director for
Above: Ghost Boat in the Wisconsin Dells takes guests to an abandoned shore landing where something terrible has happened to another tour boat. All photos courtesy of Dells Boat Tours.
Dells Boat Tours. Virginie Valastro joined Moment Factory over seven years ago, after accumulating more than 25 years of experience in the entertainment industry. She has explored many facets of storytelling across television, film, animation, multimedia, and web, working as a production manager, line producer, and producer. Emil Bertalot started his career in the Dells while a college student, driving one of the Original Wisconsin Ducks. He continued with the company in several roles and assisting in many projects, including developing the first iteration of Ghost Boat.
Virginie Valastro, Producer, Moment Factory
What was your scope of work?
Initially our scope was to work with the existing storyline and enhance specific zones within the experience. As we talked more with their team, we brought more ideas to the table and they were excited. It evolved into a big brainstorm of ideas which led us to not only change the storyline but also incorporate multimedia throughout the path.
What was the experience like when you started the project?
The bones of the experience were solid, the scare actors were great and the flow of the experience worked. The challenge
was more on the operational behind-the-scenes side. Workers would have to turn lights on and off manually and none of the systems were connected. We all thought there were plenty of opportunities to enhance the technology, choreograph lighting and audio scenes and utilize more multimedia.
How did your two teams work together?
Our teams were truly integrated throughout the ideation, development and production process. Emil has been a creative director there for over 30 years. He helped create the original attraction and he was a huge part of this update. From our perspective, this was perfect because there are many advantages to having people who know the site as well as the audience. We handled the creative and technical equipment while they took care of all the scenic and prop elements (though we did provide guidance and suggestions). It really was a two-way street where everyone was open to input.
What operational tech package did you provide them?
We didn’t want the technology to add a burden on their teams or require a technical director every night, so we developed a programming timeline on an off-the-shelf software system that simplifies the operational process. A guide at the end of each group can trigger everything through the simple operational system. Additionally, the system is flexible and the guides can easily adjust controls based on group size and the number of groups.
Scare actors equipped with "scare actor kits" that activate lighting and sound jump out of canyon crevices to terrify unsuspecting guests.
Virginie Valastro Producer Moment Factory
What were some of the challenges of the project?
One of the constraints we quickly noticed was the canyon is very tight in many spaces and that sometimes can create a brief bottleneck of guests on the journey into the canyon. As such, we needed to be mindful to not trigger scares too often so as not to spoil it for people behind. For the return journey out of the canyon, guests are pulsed in small groups so this is less of an issue, but we still rely heavily on media, lighting, sound and scare actors to create a different, much scarier experience going out versus going in.
This is your first foray into haunt. How did you prepare for this project?
Our in-house experts include major haunted attraction fans and their knowledge contributed greatly to the project. They brought deep expertise in haunt design and a great understanding of how important illusion and timing are. The whole team, including me, has plenty of experience with our nighttime attractions, so we were able to bring a lot of that know-how into this project too.
How did you approach this project differently from other projects?
For scare experiences, timing is critical. Most of our other projects run on loops, so it was important for us to understand how to trigger effects precisely. We developed a solution we called “scare actor kits.” We created 11 of these kits that the actors could trigger with a button or foot pedal at the right moment. The scare kits utilize bright lighting and loud sounds to accentuate the actor’s movements and provide the perfect fright.
Where do you think you will take this experience in haunt?
We would love to collaborate on more projects in this area. This is a true example of how multimedia is the perfect ally to horror, showing that any environment can be transformed into an emotionally captivating immersive experience, helping to reimagine the potential of night-based offerings and boost regional tourism in meaningful ways.
Emil Bertalot, Communications Director, Dells Boat Tours
Why did you feel the need to bring in another company to help with the project?
The original Ghost Boat was developed by an internal team that I was a part of, and based on its success, I'd say we did pretty well with that first iteration. But we’re not wired to rest on our laurels; we want to give our guests the best possible experience, and we’re always open to fresh ways of doing that, whether those ideas are generated internally or externally. Moment Factory was able to help us take things to that next level. We provided them with our goals and a broad vision, and they added layers of innovative technology, blended with exceptional creativity and storytelling. That’s a rare combination of skills to find, and their talents are on full display with the reimagined Ghost Boat. The whole project is a testament to great collaboration between two teams who were very passionate about creating a unique and amazing final product.
Emil Bertalot Communications Director Dells Boat Tours
Lighting from Moment Factory accentuates the natural features of the canyon, creating an eerie environment for Ghost Boat guests.
What was the process of working with Moment Factory?
It was very collaborative. Initially we thought Moment Factory would enhance the attraction, adding new tech to a few existing scenes. We gave them a tour of the site, shared how the attraction operates and let them know we were completely open to their ideas – and they had plenty! As we worked together more, the ideas kept flowing back and forth, and we realized the potential for something bigger, a complete reimagining. They pitched us the story of the abandoned canyon tour that was reopening, a missing boat and the idea that something very bad had happened there. As they made their presentation we were all nodding our heads, realizing “Yeah, this is it!”
How did the experience change from the previous version?
In the canyon there was only rudimentary lighting and sound effects, no music soundtrack. The journey through the canyon was dimly lit to aid the scares, but it was so dark you never appreciated the sheer scale of what you were walking through. There was no change in the experience walking up and back down through the passage, other than higher intensity by the scare actors on the way out. But the canyon isn't just a setting; it's essentially a character in the story, and we never took full advantage of that. Now, with strategic lighting zones, sound effects and a powerful music score, the canyon has distinct moods, a personality that shifts from unnerving to terrifying. We're leaning into the imposing strength of the canyon itself.
At the top of the canyon where guests turned around there were a few buildings themed to the original scenario, an abandoned settlement from the 1800s. We re-skinned all of those and added new props to reflect the new "shore landing abruptly abandoned in 1950" storyline and aesthetic. The older version did a projection in that space too, but it was very rudimentary.
Essentially the natural elements of the setting and the flow of guests are all the same, but what we did with them to intensify the experience, and how we tied it all together with the story, is dramatically, drastically different. The lighting and audio effects alone are a significant upgrade to what was there before.
Did you consider adding animatronics or other scare systems?
We considered it, and it might happen in the future becausespoiler alert - Ghost Boat isn’t done! We look at this as a kind of living attraction that is going to continue to grow and evolve through the years. There is some Moment Factory tech that we deliberately held off on incorporating, with an eye towards adding it in the future. In terms of complementary props,
like animatronics, we're open to it but also cautious about it –anything we add would have to be incredibly weather resistant. So there are challenges to integrating that type of technology in the canyon.
How do you think the new Ghost Boat fits into the larger Wisconsin Dells attraction landscape?
It carves out a very unique niche. Wisconsin Dells became a visitor mecca because of the amazing natural scenery along this ten-mile stretch of the Wisconsin River, and there are attractions that cater to that - boat tours and duck tours. As the area grew in popularity, entrepreneurs applied their ingenuity to new attractions that explored a variety of themes. So there are two sides to Wisconsin Dells, the natural and the man-made. But throughout the Dells' history, there have been visionaries that have figured out ways to bring both sides together, and I give Dan Gavinski (Ghost Boat's owner) a lot of credit for being one of them. He has an appreciation and reverence for the history and the beauty here, and also the imagination to see how it can be paired and enhanced, made even bigger and better, with thoughtful and strategic application of technology. That's what happened with Ghost Boat. A 300-million-year-old canyon, seamlessly blended with the latest tech to create something that's both naturally spectacular and utterly terrifying. It's a completely unique experience. And not just for Wisconsin Dells; an attraction like this doesn't exist anywhere else in the world.
So from that perspective, what we did here with Moment Factory absolutely fits into this tradition and legacy of Wisconsin Dells. I think our team, the Moment Factory team, and the larger attractions community here all share the same ethos: If we are going to do something, we are going to do it the right way and do justice to the total experience. That has been our secret to success. •
For more information, visit dellsghostboat.com.
Moment Factory's fog and lighting design draws attention to the natural beauty of the canyon, but also changes during the experience to create more sinister scenery.
Legacy in action
Paying it forward to invest in our industry
by Adora English, University of Central Florida
This November, the industry’s top global talent will gather in Orlando at the IAAPA (International Association of Amusement Parks and Attractions) Expo to reinvigorate, inspire, and connect with colleagues from around the world at every stage of their careers. There are the been-there-done-that industry veterans, along with the wide-eyed rookies who are discovering this electric conference - an immersive experience itself! Dotted throughout are the interns, students, and early career attendees who dream of a viable career in themed entertainment and of a “celebrity sighting” of one of their industry idols.
Each aspiring attendee is a future stitch in the industry quilt. They bring unique experiences and ideas that will help our industry continue to evolve and grow exponentially. You can spot the range of experience with a quick glance at the name badges and level of swagger as they crisscross from booth to session and back again.
When do the veterans and the rookies intermingle? Only when the industry veterans can spare a few minutes to meet the next gen, hear their ideas, and get to know what the future might hold.
This is when the magic happens.
These spontaneous exchanges serve as catalysts for industrywide transformation. As ideas are exchanged and connections forged, relationships begin to develop, allowing each to embrace next-gen innovation and adaptability. This spirit of shared inspiration underpins an industry in constant evolution.
The “who-did-you-see” word of mouth on the conference floor spreads like wildfire, giving a social glow to the veteran pro as they become known as “approachable.” Conversely, those who walk quickly past the rookie or avoid eye contact completely as they speed to their next meeting may miss out on the most valuable encounters of the day.
The University of Central Florida’s Themed Experience graduate programs are a bridge between the established pros and the industry’s rising stars. Those of us who lean into teaching and mentoring the unique skills, processes, and concepts utilized to design and produce themed experiences know what it feels like to be a beacon to inspire others. I have recently joined this program as an instructor with decades of
Adora English
producing experience and skills to share, while staying active in the field. The students are hungry to learn, and our industry is hungry for talent.
Researchers project the themed entertainment industry to grow over the next decade (Source: Grandview Research). This will require talent from many sectors to support this growth across existing and emerging markets with accelerated investments and expansion plans.
The growth curve means finding qualified candidates to staff from ideation through operations. While hiring used to be a well-defined two-lane road with clearly marked lanes, today, it is akin to a downtown L.A. super-freeway with all roads converging in a stacked spaghetti bowl at top speed- we are in an era of opportunity.
Trends in gamification, eco-conscious design, and interactive storytelling are just a few current trends, along with aggressive technological innovation and resort integrations favored by guests as they plan their buzz worthy family activities and vacations. The ongoing quest to be first-to-market will call for diverse mindsets as if the existing market were just a warmup for the growth ahead. This blend of talent will compel masters in their field to apprentice upcoming talent, ensuring skill transfer and adaptation feed the creative pipeline needed.
Welcoming young talent and those from other industries helps spread the word that a viable career in themed experiences is possible for industry professionals who think without borders.
The interns and the next-gen talent walking the IAAPA Expo floor deserve our attention and advice to take them from good to great in an industry where the bar gets higher with each opening experience.
The concept of “streakers, strollers, and scholars” has been used to describe types of visitors at an experience. Streakers zip through the experience, seeing the highlights of the event. Strollers take their time and meander through. Scholars are the superfans, the ones who stay the longest, learning as much as they can while discovering hidden gems along the way. Applying this concept to the talent needed, our goal should be to turn the industry streakers into scholars, pulling them further into the passion and magic behind the themed entertainment business. There will be plenty of opportunities to find their place among the scholars.
Anyone who has taken the time to speak with a class or mentor a colleague knows the lasting impact of a short encounter. When a handshake is currency, a conversation can inspire someone to continue to pursue their dream of one day designing, building, and opening a new themed experience.
Both the student and the professional may walk away from the encounter energized with a reminder of what led them to this business.
Taking the time to slow down, connect, and share your insights regarding how the past is shaping where the industry is heading is a significant and mutually beneficial time investment. The person you meet may have the next big idea or lead the team in an emerging area of expertise that hasn’t yet been invented.
It is a fleeting moment that matters.
If you would like to share your experience as an industry professional as a potential speaker or contributor to the UCF Themed Experience graduate programs, feel free to reach out for more information. •
Adora English is a professor with the University of Central Florida's Themed Experience program. She is a strong proponent of mentoring the next generation of industry professionals and inspiring innovation through education, savvy storytelling, and her background as a media and communications executive.
World’s be st interactive SYSTEMS
The waterpark market
Doug
Smith, Head of Sales for WhiteWater, shares info on the latest trends and issues facing the waterpark market in North America
interview by Martin Palicki
With the World Waterpark Association’s annual conference and trade show taking place October 20-23, 2025, at the Walt Disney World Resort in Orlando, Florida, InPark wanted to learn more about the current market for water attractions, particularly in North America. We spoke with Doug Smith, Head of Sales for WhiteWater, for an industry update. Doug’s career has centered on parks and attractions for decades, with the last 12 years spent in various leadership roles at WhiteWater.
Give us a snapshot of the waterpark market in North America right now.
Currently the market in North America has been primarily focused on indoor waterparks. Standalone facilities mostly cater to a regional market. Since most guests drive to the facility, they tend to be more immune to the ups and downs of tourism cycles. Additionally, year-round operations can speed up the ROI, especially for mid-to-large indoor waterparks.
We are also noticing an increasingly competitive landscape among hotels and resorts. There are more amenities offered at hotels and resorts than ever before. Historical data proves that adding a waterpark amenity can increase occupancy rates by up to 26 points. Revenue per room increases by 59%. These numbers can pay back a waterpark expansion in 2-5 years while bolstering the brand and creating a competitive edge against their competition.
Waterparks have historically had a faster ROI than theme parks. Do you think that is still the case?
Absolutely. Roughly speaking, the cost of a waterpark can be in the $50 million range, where the ballpark cost of a theme park is in the $500 million range. The price of an admission ticket, however, is much closer. You don’t get 10x the revenue per ticket for the spend. This makes waterparks - or waterpark expansions - appealing.
What are some of the trends you’re seeing in new attraction development?
At WhiteWater, we have quickly adapted to the growing indoor sector with covered attractions, slide effects to increase repeat ridership, and lower guarding requirements to help with staffing challenges.
We also are seeing water coasters gaining in popularity. Since they first came out in the early 2000s, water coasters have been steadily growing, but in the last five years they have become non-negotiable for high profile parks. Additionally, the technology has only gotten better. We have developed blasters that use less water and power, climb higher, and reduce spray that can cause corrosion and waste.
There’s also a noticeable increased focus on the family market, and venue management software like Vantage is providing a platform to help parks increase per cap revenue for family groups while improving their experience (e.g., a find-myfriends feature gives parents peace of mind). The high-quality data about customers (who they are and what they do in park) helps parks determine what types of attractions they need and even how to staff more efficiently. Rides used to skew extreme with launch capsules, thrill elements, and freefall type slides. We still see the demand for these, but there is an increased need to balance out those attractions with more family experiences. Parents want to have areas where they can relax and their kids can have fun. Those types of water play areas are inexpensive and improve the guest experience at parks.
Finally, we are noticing how operators are not just looking at capital expenditures, but they are also looking at long-term operating expenditures. Operational concerns such as guarding, water requirements, and facility capacities are all much more in the forefront when discussing attraction expansions.
Doug Smith, Head of Sales, WhiteWater
We hear more about iconic attractions. Are they important for parks to have?
It is not always required to build an "icon." For example, let’s say that an amenity center for a local community puts in one waterslide. That slide, to the locals, is iconic. Zoombezi Bay at Columbus Zoo added a RainFortress 5 with a large, themed octopus. That attraction is now synonymous with that park. It is iconic. It doesn’t need to be the tallest, fastest, biggest or best. It can be thoughtfully built to be iconic for the park and provide a draw for guests to visit.
Do you feel the effects of climate change might be impacting waterpark attendance?
There are many different ways to look at this question. Summers are getting hotter and guests are flocking to waterparks because of this. Evidence of this can be found in the amount of theme park operators adding waterpark attractions, which are frequently the busiest areas of theme parks during the peak summer months. From that perspective, it is definitely something operators are taking into account, as water-based attractions and amenities are growing in comparison to traditional theme park rides.
The awareness of climate change has also heightened concern for conservation. For example, there is a critique that waterparks use a lot of water. While this is not true thanks to water treatment and recirculation systems, the industry must be cautious of this perception. A golf course uses much more water to maintain their grass on a daily and annual basis.
Also, there is more attention being paid to the impact of waterpark construction, which is why WhiteWater has
invested so heavily in our environmental footprint. We are the only waterpark company that is ISO 14001 certified, which is the framework for organizations to develop their environmental management systems.
Many are concerned about the economy in North America and beyond. What are your thoughts as it relates to the waterpark market?
As I mentioned earlier, historically speaking, slower economies can frequently be a boost for regional attractions like waterparks. When money is tighter, families will spend less on big flashy vacations and tend to focus more on regional road trips or even staycations. Waterparks are frequently well positioned to take advantage of that type of consumer behavior.
That being said, for many facilities it still can be a highly competitive environment and it’s important for them to continue to reinvest in their parks to continue to give guests a reason to keep coming back again and again.
What are some of your recent success stories?
We just helped Yas Waterworld in Abu Dhabi open a big expansion. We built a fantastic tall tower that features numerous waterslides and also integrates one of our Shoot the Chutes Water Rides attractions into the tower. It changes the complex completely and is very unique. While that water attraction has been installed in waterparks before, it has never been built into a waterslide tower. It has the effect of giving a theme park setting within a waterpark and is incredibly visually appealing.
In North America we’ve started a series of indoor waterparks that will be opening over the next two years. Bavarian Blast opened in Michigan earlier this year [See InPark issue #106, “Ein Prosit”] and seven more indoor facilities are on track to open. Only one, the Kalahari Resort in the Wisconsin Dells, is an expansion of an existing park. All the others are new buildings - some for resorts and others for local municipalities. We’ll be sharing more information about these projects soon, but it’s a clear indicator that indoor waterparks remain a popular option within North America. •
Opened earlier in 2025, Bavarian Blast Waterpark is one of many indoor waterparks WhiteWater is helping to build over the next two years. Photos courtesy of WhiteWater
A World of Limitless Potential
Step into a world where imagination meets innovation. At IAAPA Expo, every insight, interaction, and installation is designed to elevate what’s possible. Explore breakthrough technologies that revolutionize operations and unlock immersive, personalized experiences. From smarter guest journeys to sustainable design and next-gen storytelling, this is where vision becomes reality. Get ready to lead the next era of attractions.
Orlando, FL
Education: Nov. 17-20
Show Floor: Nov. 18-21
Event primer: AZA
The Association of Zoos & Aquariums holds their annual conference in Tampa, Florida, September 13-18, 2025.
interview by Martin Palicki
This year’s AZA Annual Conference takes place September 13-18, 2025, in Tampa, Florida, bringing together professionals from the zoo and aquarium communities, as well as vendors that supply and support that market. InPark will be covering the conference this year. As a preview, we spoke to Melissa Howerton, senior vice president of Member Services for AZA, for more information about the event and what attendees can expect.
For people new to the AZA Annual Conference, what are some of the highlights of the event?
The Association of Zoos and Aquariums Annual Conference is the largest, most comprehensive zoo and aquarium professional event in North America. Attending the AZA Annual Conference provides opportunities to:
• Explore ideas and best practices with more than 150 education program sessions, poster presentations, and round-table topic discussions
• Hear updates from and observe meetings of over 75 AZA Committees, SAFE, and Animal Programs
• Discover successes and lessons learned from veterans and young professionals at large and small facilities alike
• Experience new technology and services in a diverse Exhibit Hall featuring more than 150 companies and organizations showcasing their latest products
• Connect with more than 2,800 dedicated colleagues at AZAaccredited aquariums and zoos who share a common vision to protect and save species.
Why is it important for people from the themed entertainment industry to consider attending the conference?
The AZA Annual Conference was last held in Tampa in 2006. We anticipate this year’s event to be one of the largest, as there are 24 AZA-accredited members that call Florida home, including some of the largest attractions – with Disney’s Animal Kingdom and SeaWorld Orlando topping the charts. The three co-hosts are ZooTampa at Lowry Park, Busch Gardens Tampa Bay, and The Florida Aquarium.
What role does themed entertainment play in the future of zoos and aquariums?
AZA-accredited zoos and aquariums represent a diverse range of themed entertainment experiences that connect, inspire and educate visitors about the natural world around them. AZA
members include theme parks and attractions, wildlife safaris, alligator farms, and more traditional zoos and aquariums. Bringing these two worlds together aligns the mission to connect people with a world where animals thrive because all people respect, value, and conserve wildlife and wild places.
What benefits does Tampa provide for conference goers?
Tampa is unique in having three AZA-accredited members co-hosting the Annual Conference. ZooTampa, The Florida Aquarium, and Busch Gardens Tampa Bay guarantee there is something for everyone! The Florida Aquarium will open their doors to attendees for the Icebreaker event, kicking off the Annual Conference with a spectacular, Zero Waste event. And, wrapping up the week will be a double-header Zoo Days! First stop is Busch Gardens Tampa Bay with thousands of animals representing more than 200 species. The last stop brings attendees to ZooTampa at Lowry Park, where we’ll enjoy this family-friendly venue and celebrate the important conservation work they are doing. This will be the ultimate in Zoo Days!
Are there any other details about the event potential attendees should know about?
In addition to what I’ve already mentioned, there are several unique aspects that visitors should be aware of:
• AZA Silent Auction to benefit AZA Saving Animals from Extinction: The auction will take place on the exhibit hall floor on Tuesday, September 16 and Wednesday, September 17, with bids ending at 7 p.m. on Wednesday. More details and an online auction site will be available soon!
• AZA Expo LIVE: AZA Expo LIVE is an exhibit hall theater open September 16 and 17 that allows AZA exhibitors the opportunity to share programming content in the Annual Conference Exhibit Hall. AZA Expo LIVE provides 30-minute sessions that are focused, high-value LIVE marketing spots for exhibitors, sponsors, and advertisers. The theater is set for approximately 50 attendees and attendance may vary depending on the topic. AZA Expo LIVE presentations may be used for demonstrating new and existing products, technology, and services that would be of interest to attendees.
For more information on the conference, visit AZA’s website at annual.aza.org/2025.
Melissa Howerton
Engineering, design and construction-phase services for unforgettable guest experiences.
Making a Splash with World-Class Design
At THG Creative, we bring world-class stories to life, no matter the setting. DreamWorks Water Park blends beloved IP with immersive environments, delivering an indoor water park experience unlike any other. From thrilling slides to rich thematic details, our design ensures that every splash tells a story.
From concept to completion, we design and produce experiences that engage, delight, and invite guests to dive into something unforgettable.
To learn more about how THG Creative can transform your stories into immersive experiences visit thgcreative.com or connect with us at studio@thgcreative.com.