The Walkthrough Blog

A blog about storytelling and show writing as it relates to theme parks, museums, attractions, exhibits and other kinds of creative experiences. Written by Roby Brown. Contact him at [email protected]

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The Force Band will be a revolutionary way to control your Sphero connected toy, but, does this kind of technology have a place in themed entertainment? How would gesture control enhance the guest experience? Watch to see four ways this could be used.

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The Walkthrough Project #1

It’s the moment you’ve been waiting for! The Walkthrough Project #1 is a family dark ride called “Time Warped”. Watch as storytelling, context clues and a solid, repeated theme add up to a memorable attraction. You can read the full written treatment here . Enjoy. 

Love to hear your thoughts about the video. Fling'em to me here . 

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Say aloha to a new feature on The Walkthrough Blog! 

The Walkthrough Project will explore storytelling through different forms of themed entertainment experiences. The first project will be coming very soon. Check out the video and stay tuned!

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Notes of Thanks - The 2014 TEA Summit and Thea Awards Weekend

NOTE – While the main purpose of The Walkthrough Blog is to focus on themed entertainment storytelling, I wanted to put down my thoughts on the recent TEA Summit. Nobody likes blog posts that are just the author rambling on about something personal. This is one of those blogs posts (No… don’t go…) I believe there’s something for everyone to come away with here. Trust me. 

When you let a bunch of theme park students, pros and fans dress up in tuxes and gowns, you can bet there will be selfies. Lots, and lots of selfies.

Selfies!

Pictures of people taking selfies! 

(Photos courtesy of Martin Palicki, Arielle Rassell and me). 

I spent last weekend mere steps away from the gates to the Happiest Place on Earth. The annual TEA Summit and Thea Awards were held at the Disneyland Resort. The TEA, the Themed Entertainment Association, is made up of people hailing from a very unique tribe – they design, build and construct theme parks (among other kinds of themed entertainment experiences).

The TEA Summit is two days of master classes and case studies. The Thea Awards are, in essence, the Oscars or Emmy awards for the industry. There are speeches, awards, dance numbers, fire alarms and booze - All the ingredients of an enjoyable night.

After the awards show, it was onto the selfie show. Pics of industry big wigs mugging with college students filled iPhones and Twitter feeds. Snapped photos were shared around the Disneyland Hotel. And while it was fun to mug for the camera, my favorite moments of the weekend weren't the ones captured in a snapshot. They were the quiet off-camera moments that changed my life.

Too often, we think of “life-changing events”  as big moments or announcements  - weddings, births, deaths, job changes or ending of 86-year World Series droughts. Yet, we often overlook the small moments.

These are tiny things - things that a casual observer would glance at and overlook as nothing more than chatter. Small acts of kindness can shift someone’s life. You don’t always need a 30-yard run. Moving inches is just as significant.

Waddles and Mousie are plush animals that my sons, Casey and Kieran give me when I travel so they can "be with me" as I travel.

My weekend at the TEA Summit and Thea Awards were full of these life-changing small moments. I’m pretty sure that most of the people I shared them with hardly recognized them, or thought nothing of them.

This blog post is to thank them for these moments.

How often do we thank those that have an impact on our lives? It seems rare that we tell people that we value their contributions and kindness. We’re so busy wanting something that taking a moment to send appreciation seems quaint, or sadly, dated.

It was a TED Talk by Drew Dudely that tuned me into the fact that I should be thanking those people that have impacted me. I’m a first-time manager in my job, and I’ve tried to be the boss I’ve never really had. That involves giving credit and saying thanks. It’s small, but something that I feel is important.

These small moments made my weekend at the TEA Summit and Thea Awards. I shared them with seasoned pros and young students that are the future of the themed entertainment world.

So, in no particular order, here are some nods to people that impacted me this past weekend.

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First, to the people I didn’t get to spend much time with – Brad Shelton, Ken Saba, Kile Ozier, Devin Flanigan, Michael Libby, Sasha Bailyn - Missing out on quality time with each of you was a serious oversight. It was great to briefly chat with each of you, and I hope we can get some quality time soon. 

Todd McCurdy, Joanna Del Moral, Melissa Ruminot - We shared some great food as well as a fantastic view of the Disneyland fireworks high above Catal. We had selfies, chats and sat speechless in the presence of a master storyteller. Thanks for the great company. Here’s to spending more time together at future events.

Kathy Oliver - Thank you for trusting an unknown e-mailer to deliver your show reel. I was glad to use my editing skills to make a small contribution to the TEA Summit. It’s my first contribution to the themed entertainment industry, but hopefully not my last.

Arielle Rassel - To my Theme Park Prom “Date”. I was really glad to meet such a smart and talented young woman. You’re wise beyond your years, and it’s only a matter of time before the industry discovers your creativity. I was glad you realised that sitting around the fire listening to Joe Rhode was as valuable to your career as any networking opportunity. Maybe our career paths will let us collaborate, and what a ruckus we’ll stir up!

                                      With Arielle.Note the socks.

MK Haley - My fellow Bostonain. I’m sure it was either curiosity or pitty that made you approach the guy snapping pictures of stuffed animals. Thank you for spending Friday with me, allowing me to pick your brain about the industry -- but more importantly, letting me observe your leadership and guidance with the TEA Next Gen attendees. I’ve never been a mentor, but hope to help students out in some capacity. You do it so well, that it was a great lesson to observe.

Dave Cobb - The big gay Jedi Master Creative Director to my Padawan Show Writer. From our very first meeting, you’ve treated me like an industry professional. You’ve helped me see the theme park world thru the eyes of an industry insider, rather than a fan. Your guidance is invaluable and you quietly make me strive me to be a great show writer (and to dress better).

Al Cross - What can I say? Your presence made me make the most of this conference. It was more than simple things -- introductions to MK and notes to meet people --  It was your selfless interest and belief in me. I’m confident in my ability, but knowing someone thinks I “have it”, was the fuel that carried me to make the most of my time in Anaheim. Your long-distance mentorship is invaluable. Thank you.  

Joe Fox - I feel terrible that we didn’t I hang out more… drinks at Sam’s or maybe a park visit. It was fun to get to know you offline thru dinner at Catal and other hallway conversations. You’re a smart guy, and I’m thrilled to know you. Thanks, and here’s hoping for new adventures!

Stefan Lawrence - I blame you for my stubborn belief that I can make it. I’m not brave enough to toss everything away and move cross-country, but nobody gets in the same way twice. I admire you, not necessarily for just how you made the leap and landed safely, but how you serve as an ambassador for the TEA and mentor for students and anyone interested in the industry.Thank you. Stefan Rules!! Yeah, I went there. 

Gary Blumenstein - Thank you for allowing an aspiring show writer the chance to chat with you. I admit it was a little intimidating to chat with you. You’ve worked on some of my favorite attractions. But putting those aside, you are genuine, warm and kind.  Please e-mail me the Harry Potter secrets. 

                                 With Dave Cobb and Alex Krikes

Alex Krikes - I’m in awe of your ability to dream up and draw attractions concepts with ease. You may be a few years away from entering the industry, but you’re well on your way to making the most out of your college life. You really inspire me to make the most of my “idle time” with quick notes or dreams. As I said, I look forward to presenting you the Buzz Price Lifetime Achievement Award.

Emily Harley - I was absolutely thrilled to meet a young student interested in show writing. It takes confidence in your craft to hand out cards asking people to “Trust The Writer”. Us writers can be an introverted bunch, but I see that’s not your case. Make the most of college and eventually, you’ll find role where people will trust you to write great things.

Joe Rohde - It was quite humbling to be sitting next to a master storyteller after the Thea awards. It was also quite surreal to be sipping a Kungaloosh next to the person behind The Adventurer’s Club. You’ve been on amazing journeys, more than I’ll ever do in my lifetime. I admire your Disney work, but your pursuit of a life full of stories to share is truly inspiring. Thank you for your few hours worth of time that I’ll never forget.

Bob Coker - While I tease you too much about your late arrival (A flight 2014 reference...get it..) into the themed entertainment industry, your journey quietly inspires me everyday. There’s a reason to wake up, spend time on samples and never quit. Thanks for seeing me as a slightly younger (sorry...can’t help it) and equally hungry version of yourself. 

Brent Young - Feedback is vital for any creative career. Finding someone that takes a few moments to give that feedback is equally important. Thanks for providing me with input and ideas on making my work shine.

Doug Barnes - Thanks for being an ear as I aired out those internal doubts that us creatives keep bottled up. It’s rare that I find someone that’s in the same boat. Inside, yet looking in, if that makes sense. Realise that your podcast is an invaluable tool for people trying to get into the industry. It’s really an extension of your warmth as a person. Your work is your way “in” as well.

TEA NextGen - Ashley Spedding, Colt Sammons, Casey Ging, Jessica Liang -  and everyone else in the program that I chatted with but overlooked your name - WOW. This may make me sound old, but it’s great to see “Today’s Youth” interested in the industry. Your portfolios and experiences are impressive. Gathering with industry pros is an incredibly smart move, and it will pay off soon.

There’s something to be said about dozens of people in the themed entertainment industry having an impact on me during the TEA weekend. Theme parks and themed entertainment as a whole are about experiences. Creative people connect to guests thru our artistic skills. Themed entertainment pros connect to each other thru this common thread. I was glad to be learning and laughing from these people during my days in Anaheim. It is my tribe.

The glamor and fun of the TEA Summit and Thea Awards will fade as we drift back into our worlds of deadlines and client pitches. It’s hard to meet good people, knowing that it may be months before I see them again. The least I could do was share my thanks for their company during my Anaheim visit.

Thanks.

                               Joe Rohde storytime at Trader Sam's

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Sparks in the Process - The Imagination Project - Part Two

Thanks to Jonathan Plant for his postcard scans and photos. 

  There’s an irony about being stumped over an attraction that’s all about imagination.

The creative process is, for the most part, something intangible. We can hold brainstorming or blue sky meetings, where the goal is imaginative ideas and big thinking. We celebrate those moments where it flows and the idea hits you. Then there are the dark, lonely moments when nothing happens. You follow paths that go nowhere. The page and the mind seem to be on empty for eternity.

You give up. Step away. And then, out of nowhere, BOOM.. the idea hits. 

This is the process of imagining. More than just something people in creative fields, this is how humans come up with solutions. It’s frustrating, isolating and ultimately rewarding. As it turns out, this process is the key to my “Journey into Imagination” redo.  

But before we get to where I am, let’s look at how I got here. Oh, and if you’re new here, take a look at the first blog post about "The Imagination Project”. 

PART TWO

In every part of of my writing work - screenplays, ads, attraction samples - I always start with a theme. It provides a starting point AND a goal. It’s something to ground the process in, and serves as a way to make sure every single word supports the theme.

For this project, the theme grew from the answer to the question = “What is imagination”? I went with this: 

Imagination is the process in which we come up with new ideas. 

Certainly not a revelation, but it’s important to get some kind of definition down when you’re designing something based on a thought, rather than an established intellectual property. 

The process of imagination. Ah. There must be something in there. And damn, if the Sherman Brothers didn’t NAIL it with - “One Little Spark”. 

The spark. The “ah ha” moment where something exciting hits you. I’d argue that this is the most powerful moment of the creative process. And, by saying creative, I’m not talking about people in creative industries. More on that in a moment. 

THEME -  THE SPARK OF A NEW IDEA IGNITES OUR IMAGINATION

With the theme in place, I brainstormed ways of how guests might experience this “spark”.

From the beginning, I set out to see if I could make this attraction into a narrative, relatable journey. One where guests could not only interact with it, but control the journey. Going down that route, it led me to a place that placed the guests as the centers of attention. They WERE sparks. 

This process evolved into Journey into Imagination Inc.  As the story goes, Dreamfinder and Figment had opened a company or service that helped people be more creative. Taking cues from Cranium Command and Adventure Thru Inner Space (IM-AG-IN-A-TION! IM-AG-IN-A-TON!)  guests were recruits or “S.P.A.R.K.S.” that would be sent into different people’s minds/brains/thoughts and help them solve a creative problem. 

The idea was to ride in special cars that featured guns, much like those you’d find on Buzz or Men in Black Alien Attack . But instead of guns that earned points, they would allow the guests to change/interact/plot the course of the attraction. For example, imagine your cart rolls into a white room... blank walls all around. The guns were called SPARKlers (clever eh? I know). With your SPARKler, you’d shoot towards the wall and WOOSH... you could paint the wall. This would happen in every room, and each room would have variables that could change. In other show scenes, you’d create a vehicle or compose a song. The key show scenes would all work like this way. 

For the most part, Journey Into Imagination Inc. had enough elements where, if fully fleshed out,  it could have been something interesting. Maybe there IS something there, but I stopped pursuing it for a few reasons...

---- While guests would be interacting with the attraction, they really wouldn’t be crafting the experience. Dark rides consist of show scenes that are made to be repeated over and over again. They can’t have widely variable options. 

--- All of my ideas for the show scenes lead towards tangible, creative and artistic pursuits. Musician. Designer. Artist. Imagination isn’t just for creative people. I was having trouble coming up with non-creative examples. 

--- “Imagination Inc.” It was really putting the cart before the horse. I’ll admit to being a huge fan of attraction story lines that involve fake companies (Star Tours, Mission: Space, Alien Encounter and even my own Jungle Cruise). As fun as those story lines are, they’re nothing without an attraction that seamlessly integrates the need for the “company” storyline. If I wasn’t sold on how the actual journey took place, then the fictitious company was pointless. 

--- Capacity. Most of these show scenes would involve stopping the ride in a Toy Story Midway Mania-style. If the attraction was 100% video screen, then great! However, I aimed for having physical sets and animatronics in this attraction. Stopping and resetting show scenes would have reduced capacity. 

-- Emotion. This was probably the biggest reason I ditched this idea. I didn’t see any warmth to this narrative. Nothing that we could emotionally connect to revealed itself. We’d go on, shoot at some things, have fun, but as we exited... what would we be taking away from it? Epcot (for all the faults the internet is happy to point out) exists to enlighten, educate and entertain thru themed experiences. “Journey into Imagination Inc.” felt like a monotonous shooting gallery. 

Exploring the wrong path is a necessary part of the creative process. But it wasn’t for naught. I still believed that there was something inside the idea of a “spark”. I wanted guests to understand how powerful that moment of inspiration was. How it was a driver behind imagination. Could guests EXPERIENCE the “Spark” without being the spark itself?  

At a loss for ideas, I turned to a list that I turned to when I needed advertising ideas - 

- Look at something different/New perspective

- Mash up (Mix/Combine)

- New combination of old elements

- Experiment

- Seek Inspiration

- Blue Sky

- Play Pretend

- Step Away From it. 

As I looked at the list, I noticed that these were every abstract ideas that could be told very visually. New Perspective? Like, a room where the ceiling was the floor? New combination? Mashing up prehistoric animals as in “The Croods”? 

Sparks happened. Fast. They resulted in the new BIG IDEA for my “Journey Into Imagination” reboot. 

THE PROCESS OF SPARKING YOUR IMAGINATION 

A visual journey into the process of sparking your imagination. Learn how to spark your imagination... everyday! The Epcot Guidebook description isn’t quite there, but SOMETHING is. 

The attraction would take these abstract examples and display them in a literal, tangible and fun form. 

For the most part, I wanted to steer clear of the abstract nature of the original Journey. But since imagination itself is abstract, it seems like a straight narrative couldn’t and shouldn’t contain it. Not everything needs a narrative. Other EPCOT attractions Universe of Energy, The Seas with Nemo and Spaceship Earth do without an A-B-C structured story. 

I must admit I’m intimidated by tacking this in an abstract manor. I LOVE the structure that narrative creates. I understand how to create a queue that looks like a airplane hanger, theater or ancient temple. How do create the queue for something intangible? Never mind the queue, how do I pay off the theme with show scenes and a ride system. And what of Figment and Dreamfinder? Where are they in this, if at all? 

My idea bag is empty. Time to get some sparks flying. 

What do you guys and gals thing? 

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Imagination.

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The Imagination Project

Revamp. 

For fanatical theme park fans, there is no word they dread more than this one. 

It’s funny how we become attached to attractions and rides. We spend hours debating which version is “better”. These are fabricated experiences, brought to life with plastic, metal, wires, thematic lighting and recorded voices. As fake as these experiences are, they derive emotional responses. We build happy memories around them. We weave ourselves into these experiences so tightly that the thought of altering them in any way wrecks us. 

One of the most infamous, and unpopular, Disney revamps was Epcot’s ‘Journey Into Imagination’. The original version featured Dreamfinder, and his pal Figment. This duo traveled the universe, collecting items that sparked the imagination. The attraction took us into the DreamPort, a magical and surreal (some might say trippy) place of imagination. If you haven’t see it, or want to relive it, take a look at this video -

The revamped version (now titled ‘Journey into Your Imagination’) banished Figment, Dreamfinder, and the memorable song “One Little Spark”. Negative public reaction caused Disney to retool it into ‘Journey Into Imagination with Figment’. The change quelled some of the furor, but the damage was irreversible by that point.  

I rode the original ‘Journey Into Imagination’ during my formable years, so my attachment to Figment is fairly strong. Yet, as time goes on and I start to think about attractions as a ‘professional’, I see its many flaws. It was delightful, yet confusing. As other Future World attractions received facelifts, ‘Journey’ felt left behind. 

Revamps happen. And I’m going to take a shot at revamping “Journey Into Imagination”. 

This revamp is going to be more of a paper revamp. It’s a writing exercise for a writing sample. Logic dictates that it would be wiser for me to work on original concepts  Yet, the more I dwelled on this imaginary assignment, the more the idea ignited my, well, imagination. Since a career at Walt Disney Imagineering doesn’t appear to be in the cards for me any time soon, this is the only shot I’d have at tinkering with one of my all time favorite attractions. 

As a layer of this imaginary revamp, I’ve decided to make this a transparent effort thru this blog. This is a blog about storytelling in themed attractions, so it’s a fun offshoot of this project. Too often my writing samples end up on my portfolio site. By going ‘public’ with this, I hope to create a dialogue and discussion. I’m not sure if I’ll post incomplete works or thoughts, but they’ll be some sharing and hopefully, conversation. Yes, I hope to hear from you fine reader. Put on the thinking caps folks, and speak up at any time. 

-THE PROCESS-

Ideally, you’ll be reading a scene-by-scene description of this new attraction. But, we can’t get there without getting the lay of the land. While this is a project ‘for fun’, it’s important to give the process a practical approach. While the sky’s the limit, I started by grounding my thoughts in what needs to be overcome. 

Challenges

The difficulty of creating a new version of this attraction begins with the conceit of the attraction itself - Imagination. 

I can’t point at something and say it’s imagination. I can point out the RESULT of imagination. Imagination is an ability that takes place inside our heads. We each approach it different. We’re journeying into something completely abstract. Many of the original Epcot attractions gave you visible examples of the pavilion’s theme. World of Motion - A history of transportation! The Land - Vertically grown lettuce! Well, you get it. 

To its credit, Journey into YOUR Imagination made an attempt to make “imagination” tangible or, at the very least, something we could visualize or understand. We were exposed to Sound, Sight, Color, Gravity and Connection labs, all in an effort to rejuvenate or recharge our “imaginations”. 

It’s the difficulty of demonstrating imagination that really draws me to this revamp. Both versions of this attraction took different approaches to explaining or defining imagination. The original version gave us a whimsical, abstract take, while the newer ones a more ‘relatable’ one (the scientific “Institute” approach). I haven’t quite circled my approach, but I think a combination of the Whimsical and Relatable takes of imagination may be a key. 

-GUIDING POINTS-

You don’t throw out the baby with the bathwater in a revamp. There are always elements or themes that carry over from version to version. My Journey Into Imagination will be no different. The challenge lies in identifying WHAT should carry over and HOW it’s incorporated (if at all) into the new version. What are ‘Journey’s’ KEY elements. Why did we love it?

I’ve narrowed down three elements that I’ll aim to include in my redo. 

Creative Assets

The three things most associated with ‘Journey into Imagination’ are Figment, Dreamfinder and the song One Little Spark. These are signature elements, and it would be crazy to walk away from them. Yet, they all must have a distinct NEED to be there. Yes, Disney Fans will love it, but most people have no connection to Dreamfinder and Figment. I see this as a way to not only re-introduce but EVOLVE these characters. The same thing for the song. Is it moved to the background, or does it become the driving narrative again? I think most of this relies on the grand concept (explaining imagination). 

Ride System

Do you build an attraction around a ride system, or does the concept dictate what kind of ride system is used? ‘Journey’ works well as a dark ride, so a track (or new fangled) trackless system is definitely up for consideration. Still, knowing that dark rides are evolving into “interactive” attractions, its work exploring if this ‘Journey’ can be interactive. 

Deciding to create an interactive attraction will come as the concept is developed. The challenge comes into making it part of the narrative story. Most interactive dark rides are shooting galleries (Men in Black, Buzz Lightyear). This got me thinking...

How do we EVOLVE the shooting-gallery dark ride concept? Not every experience demands a gun. Can we move away from weaponry and points into something where guests “create” the experience using something attached to their vehicle? 

Warmth

It’s easy to point to the whimsical nature of the attraction - the jolly Dreamfinder - the playful Figment, and call “Journey into Imagination” a kids ride. I happen to think of it as a very mature attraction that dared to tackle an abstract concept thru humor. It was a very warm attraction, one that made us feel welcomed and safe. By safe, I mean that it let us embrace wonder, creativity and playfulness. Contrast that with the newer incarnations, which trade whimsey and safety for an industrial setting. In “Version 2”, guests are treaded like test subjects - informed that they LACK imagination. Putting Figment and “One Little Spark” back into the attraction was a step in the right direction, but you still feel disconnected 

If there’s one thing that I want to bring into this imaginary revamp, it’s the warmth of the original Journey. It let people, adults and kids, indulge in dreams, creative expression and permission to think differently. 

NEXT STEPS

So, now I’m off to brainstorm. My favorite pen and trusty Moleskine await. I’ll be back soon, with more to share. Thanks for taking this journey with me.  Who knows what this experience will spark. 

[thewalkthroughblog]

A Dash of MagicBand - How A Wristband Will Change Attractions

A theme park designer and a chef have something interesting in common - neither of them uses anything new. 

Ready to shove everything from “Harry Potter and the Forbidden Journey” to “Horizons” in my face to point out those never-before seen effects and ride systems?  Toss a Tom Colicchio or Bobby Flay gift card in my face, and push me over to their culinary creations? 

Yes, theme parks around the globe are constantly introducing new and innovative e-tickets attractions, exhibits and other themed experiences. Chefs are constantly pushing themselves to create dishes that wow diners. Are these “new” experiences? Definitely.  

If we look closer at HOW chefs and theme park designers create their attractions or dishes, you’ll find they start at the same place - using ingredients that already exist. 

Chefs use ingredients in different and unique ways to create a new dish. Theme parks using existing technology in different ways to create a new experience.  

Looking at HOW something can be used differently leads to innovation in the culinary arts and theme parks. We’re not using anything new - we’re just taking something that’s already there and applying it differently. New comes in how you use what you have.  

There’s a thrilling moment when you see an invention or an ingredient that opens up possibilities.  

      Photo: Disney

You’ve obviously heard of Disney’s “Next-Gen” initiative - FastPass Plus and MagicBand. As Disney describes it, the MagicBand serves as a guest’s room key, park admission, FastPass holder, PhotoPress card and payment account. With a swipe, you can enter the park, enter your room, enter the wildest ride in the wilderness or enter into a sugar coma thanks to a spending spree at the Candy Palace. 

This is the killer ingredient that will change how we interact and experience theme park attractions forever. 

Track the history Disney parks (and all theme parks that followed) and you’ll see a distinct shift in the role that the guest plays in the storytelling. In the early years of Disneyland, the majority of attractions were passive dark rides. We’d experience the stories of Peter Pan, Snow White and Mr. Toad. There was no attempt to make us part of the experience. 

The next wave of attractions brought the guests into the experience. Storylines were shifted to involve us as participants, rather than bystanders. Characters in the Haunted Mansion and Pirates of the Caribbean addressed us. As involved as we are, there is still a disconnect. While we’re constantly acknowledged, the experience isn’t all that personal. Optimus Prime will always need help - it doesn’t matter who’s in the seat.  

Humans enjoy personalization and customization. Brands know this. Take how Starbucks announces YOUR name, and YOUR drink. They crafted that double latte just for you. You’re not a number (like McDonalds), you’re an individual. 

Most of us have already experienced personalized attractions. One of the earliest examples is ‘E.T. Adventure’ at Universal Studios. After giving your name to an attendant, you’d hear E.T. thanking you by name at the end of the attraction. Recently, attractions like ‘Turtle Talk with Crush’ and ‘Monsters Inc. Laugh Factory’ have audience participation.  

MagicBand opens up a world of possibilities for personalizing attractions. If we start to think about the kinds of information that can be stored on the band (beyond admission, credit cards and fast passes) we can think of ways to create true personalization on attractions and experiences. 

---  For a shooting game, a character could address a person with “great shooting there Danny” or “Keep trying Danny”. By creating a way for the guest’s weapon to sync with the MagicBand, guests could receive personalized acknowledgment of their accuracy. 

--- If the bands evolve into a wearable park accessory, the bands could track people’s activity and improvement on shooting games and such. Guests will be rewarded with Power Ups or improved weapons. 

--- Attractions featuring live performers could call on specific people either by name, or “Is there anyone from Plaistow, New Hampshire in the audience”? These kinds of encounters should be opt-in, but for people willing to be surprised, it could lead to a deeper experience.  

-- Disney is already experimenting with talking characters. Imagine the “magic” of a little girl’s experience with Mickey will be as addresses her by name, thanks her for visiting from her hometown, and wishes her a happy birthday. The same could be done with anyone from Darth Vader to Jack Sparrow. 

-- Much like people proposing marriage on the JumboTron, guests could pay a premium price to have a birthday, anniversary or other message “magically” appear on a sidewalk, sign or other location (no... not the castle or Spaceship Earth. Please). 

-- Small surprises could happen when any guest wearing a MagicBand walks by a water fountain, picture frame, light post or topiary. 

The all-in-one access that MagicBand promises isn’t all that new. Walt Disney World guests have been using one card for their hotel, passes and purchases for years. You could say it’s like wearing a magnetic strip around your wrist. Still, there is some high-tech work going into something that offers all of that as well as online FastPass access. The “data tracking” ability of these bands has made the rounds on chat boards, and should definitely be scrutinized for those people that don’t want to give Disney the kinds of information it’s asking for. 

What’s exciting about MagicBand is the possibilities for interaction and involvement in the guest experience. Guests can be part of an attraction’s story, and possibly, change the ending. In moving from passive to participant-based storytelling, we’re acknowledging the guest’s involvement. Magic Band is the sprinkling of cinnamon that will make the experience a whole lot sweeter. 

[thewalkthroughblog]

Photo Opportunities - Enhancing theme park experiences thru smartphone cameras.

A sucker for character greetings? Yes. Yes I am. 

Poor postcards. They had a good run. 

It used to be that the square pieces of thin cardboard were the preferred way of sharing those “Wish you were here” moments at theme parks. What better way to make someone jealous than through tales of fun and frocking in your handwriting. 

The cell phone camera made postcards an item of nostalgia rather than a vital vacation piece. Why write about your good times when you can instantly upload your memories as they happen? Saving postage has never been so fun. 

Through photos and video, we can capture little Billy’s first ride on Big Thunder Mountain. Within moments, the pictures and video captured during that thrilling experience can be shared. As disposable cameras collect dust on shelves, people are easily capturing precious moments with their phones on the go. 

Taping your experience on an attraction isn’t new, and not really a bad idea. If people hadn’t brought their super 8 cameras to Disneyland circa 1960, then we wouldn’t be able to witness attractions from Disneyland’s past. Without people filming Adventure Thru Innerspace, the journey thru the Mighty Microscope would have been lost to time. Now, it’s on YouTube forever. 

On the other end of that, how may people watch what they’ve captured? Does anyone watch fireworks displays, stage shows or any other performance again?  We’re caught up in a wave of preserving and sharing that we can sometimes forget to experience our vacations. 

As I looked out over the Shamu Stadium crowd last week, I was stunned to see so many cameras, smartphones and iPads steadily capturing the leaping killer whales. Part of me felt a little sad. As an addicted iPhone user, I look forward to shutting off my phone and letting the experience soak in. Recording every single experience seems silly. I seemed to be in the minority that day. 

The theme park industry has embraced the photo culture. Take, for example, the ever-present photo takers. Why let a stranger mess up your photo when this name-tagged gentlemen will do a top notch job? You can’t pass a picture-perfect opportunity without seeing those photographers. The magic continues when you pick up your snapshots, as Disney’s Photopass lets you “plus” your photos with characters. Your Nikon can’t do that. 

Note the proper Space Ranger stance. 

Pictures in front of the castle are great, but we go to these theme parks to experience thrills. Sure enough, cameras have found their way inside attractions. You can’t exit an e-ticket attraction without having the option to buy a photo of your trip. While this has created a sub-genre of photo taking all its own (Ahem: “Flash Mountain”), these trends will continue with each new park or attraction built. Park photographers and on-ride photos have let theme parks profit on photo taking. Boatloads of cash pours in from the completely free act of snapping a picture. 

While theme parks have found a way to cash in on photos, they’re yet to solve the riddle of ride-along videos. You can “ride” almost any attraction, thanks to the hundreds of ride videos on YouTube. Their intent is good, but they can miss the mark.  These attractions were designed to be experienced. There was no thought for these set pieces to be ready for their close ups. Even the steadiest hand can’t capture every detail. Also, theme park management isn’t thrilled you’re taping the ride either. Who’s to say you won’t drop your camera and have it bang into the face of a fellow rider? 

There are lists of reasons, both operational and financial, why parks would prefer that you keep your phone in your pocket. However, they can’t turn a blind eye to what’s happening either. Technology has always influenced theme park design, from the ride vehicles to the ticket scanners. 

Now, it may be time for theme park owners and designers to EMBRACE and INCORPORATE camera phone usage in attractions and shows. There are questions to ask - Can we introduce story lines that encourage and reward you for taking pictures or video? Also, can parks make money by taking a book from the practice of videotaping ride-thrus?

ON-BOARD VIDEOS - 

The appeal of the end of ride on-board photo is seeing ourselves laughing/crying/panicking/goofing off. Would people be willing to pay a premium for a high-quality on-board video that captures their experience as it happens? 

Imagine roller coaster cars imbedded with two tiny cameras. One faces the front (the ride), the other at the seating area. These on-board cameras would capture A) a high-quality (well, only as jerky as our experience will allow) POV of our experience and B) film our charming faces as we laugh, scream and giggle our way through. 

As we exit the attraction, we catch a preview of our on-board ride. We clearly see mom giggling and sister screaming in terror. With a $15 payment and an e-mail address, we have that video in a sharable file format. In just a few clicks, we can upload it to Facebook or Twitter, where it becomes a watchable “commercial” for everyone to see. 

IN-EXPERIENCE PHOTO TAKING  - 

For starters, I’m not suggesting we encourage people take pictures in e-ticket attractions. Personally, if there’s an over the shoulder restraint, my iPhone is in my pocket. 

A safe and thematic way for picture taking would be in the queue. As we wind through endless switchbacks, we’d find places for us to step inside a “Most Wanted” or “Now Starring” poster. These are not too dissimilar from the “Place your head thru the hole” photo ops of old. A Toy Story photo location at Disney’s Hollywood Studios has this very kind of set up. Seeing this, or other spontaneous photo ops would encourage clicks, creating yet another branded photo to share. 

Say cheese. 

Another way would be to make a game out of snapping pictures. Imagine a Phineas and Ferb attraction pre-show where guests were told to be on the look out for Dr. Doofenshmirtz . The evil Doctor pops in and out of various places around the pre-show. The first person to take a picture and show it to the host becomes an Honorary O.W.C.A (The Organization Without A Cool Acronym) Agent. 

Walt Disney World is already using this idea in its ‘Sorcerers of the Magic Kingdom’ interactive game. Kids are given cards which activate videos that appear inside the windows along Main Street U.S.A.  Much like a QR code, could parks develop apps that perform similar actions when a guest snaps a picture? Imagine taking a picture of one of the Haunted Mansion portraits. While the photo on the wall looks non-threatening, the image that appears on the phone reveals the true ghoulish picture. 

This idea of guests taking photos to interact with experiences ties in to the attraction industry’s emphasis on guests are co-creators of the experience. We’re starting to develop ideas where guests are no-longer just part of the story... they’re influencing it. 

Taking pictures is a personal endeavor. We frame the picture as we want, so it can best  reflect on our experiences.  As phones are becoming an extension of ourselves ( very much like wands choosing their wizards) it’s only a matter of time before these devices extend into our theme park experiences beyond photos. 

Through still and moving pictures, we’re able to capture or fun-filled adventures at theme parks. How much or how little we choose to video or photograph is up to the individual visitor. As these devices become our primary way to record our memories, there are possibilities for them to enhance or deliver magical memories as well. Theme parks can look at the revenue or storytelling possibilities that these devices have introduced. Yet, it must be done cautiously. The ability to take photos must not be more important than the storytelling. 

In the end, we must always have an experience worth bragging about. 

[thewalkthroughblog]

When Attractions Go Wrong

Your feet creep along the foreboding cobblestone floor of a mysterious temple. The last remains of sunlight dance across pictures etched into the temple’s stone walls. Judging by the scenes depicted on its walls, this forbidden temple isn’t a forgiving place. 

Seeing that dozens of other adventurers bravely board huge transport vehicles doesn’t ease your nerves. As your jeep spits and sputters out of the loading station, you see something from the corner of your eye. An ominous picture of a large statue with its eyes covered by a bandana. Folklore, or a warning sign? 

The thought is jerked from your head as your vehicle makes a swift turn into a passage way with three possible exits. You gulp as your vehicle is mysteriously drawn to the door that’s strangely illuminated by an unseen source. 

WOOSH... the massive doors fly open, and you find yourself surrounded by huge murals depicting scenes of tremendous wealth. Their awe-inspiring power distracts you from the ominous statue, the same one we just saw, watching us. This one doesn’t have covered eyes. Maybe you weren’t supposed to look at it. A thunderous supernatural rumble shakes your soul. Then, an otherworldly voice boasts - “Foolish infidels. You looked into my eyes. Now your path lead to the gates of doom.” 

No matter how many people try to safely navigate The Temple Of The Forbidden Eye, something goes wrong. It always does. 

                  A much, much younger Roby and the man with the hat. 

For a place that bills itself as The Happiest Place On Earth, Disneyland features a surprising amount of attractions that have danger, peril and death as a centerpiece of the storytelling. Indiana Jones, Haunted Mansion and Pirates are the first that comes to mind. Yet, look in Fantasyland where Mr. Toad’s Wild Ride goes as far as KILLING YOU AND SENDING YOU TO HELL. 

Peril for the sake of pleasure is an experience that plays out in theme parks all over the world. While each of these experiences uses different characters, technology and special effects, more often than not they all use the same storyline to drive our journey. 

Something goes wrong (we’ll use SGW in this post) is a narrative that acts as a way for guests/riders to experience a thrilling situation that they wouldn’t normally get themselves into. We don’t WANT to face perilous situations in our lives, yet when we visit them parks, we WANT to scream our lungs off as we drop 13 stories. 

Who among us would purposefully set foot in a run down elevator prone to being taken over by supernatural forces? Anyone? 

SGW lets attraction designers play off this reality by creating stories and settings that don’t invite us into danger, then use forces outside of our control to throw us into chaos. You see this narrative being played out in almost every thrill attraction past and present. 

Harry Potter and the Forbidden Journey - Starts as a casual visit to Hogwarts until SGW , allowing Dementors to pursue us during our journey. 

Expedition Everest - Your mining train zips through the Forbidden Mountain until SGW and the train plummets backwards and you eventually come face-to-face with the illusive Yeti. 

Earthquake - Starts as a normal everyday ride on the San Francisco BART until... well, you can probably figure it out. 

Attraction writers, producers and designers are constantly dreaming up new ways to thrill us. Technology allows us to hang people over IMAX screens and whip guests around on giant robotic arms. Theming, design and special effects help designers immerse us in realism. So, why do these thrills repeatedly use the SGW storyline? 

My guess is audience familiarity. 

Modern immersive attractions borrow their storytelling devices from movies. Remember, the first Imagineers were filmmakers. They created linear story through scripts and storyboards.

SGW mirrors the modern film structure. In film terminology, characters deal with an ‘Inciting Incident’, a major event that spins their life in a new and unexpected direction. 

In ‘Batman Begins’ - Bruce Wayne’s parents are murdered. In ‘WALL-E’ - EVE lands on Earth. SGW thrusts riders into a new and unexpected situation. Sure, we expect thrills on attractions with height restrictions and health warnings. SGW allows designers a way into thrills that’s familiar to today’s audiences. 

Also, SGW allows theme parks to create a cohesive theme that isn’t completely geared towards thrills. The exterior queues of thrill attractions barely hint at what awaits. This deliberate choice allows for harmony between lands, as well as storytelling. Could you have a gruesome alien-covered queue for Alien Encounter (R.I.P.) just steps away from serene Main Street U.S.A. ? 

SGW is the storytelling shift that lets attraction designers plant thrills alongside cute and cuddly. It’s how we can get people to voluntarily experience an encounter with a T-1000 killing machine moments after having our picture taken with a lovable Minion. 

You can’t argue with the success of the SGW storytelling angle. But, just like any other popular Hollywood story, repeating the same note invites redundancy and boredom.  

There is a purity to experiencing a film for the first time. The excitement of watching something unexpected unfold. Does a second, third or fourth viewing of your favorite offer the same kind of thrills? Probably not. You know the boulder is coming and you know when the shark jumps out of the water.

Theme park attractions are not built for the first experience, but for the 9th, 10th or 100th repeat ride. The SGW storyline can significantly wear down the freshness of the experience. The original Star Tours attraction faced this problem. From 1987 to 2010, millions of visitors made the trip to Endor. Yet, every single one of them was greeted by Captain Rex who was STILL making his first flight aboard the Starspeeder 3000. Experiencing this same scenario for over 15 years got to be tiresome. 

Repeatability is key to keeping an attraction running. If nobody finds the attraction compelling, its closed (See: Back To The Future). For attractions with SGW story lines, we’re telling stories that can become worn or ignored due to repeat performance. 

Now, we EXPECT things to go wrong in our thrill attractions. As attractions become more immersive, perhaps we should create equally engaging story lines. 

We can start to find alternatives to SGW by looking to older attractions. This particular one with 999 happy haunts comes to mind. 

                                Brotherly love meets the afterlife. 

The Haunted Mansion has a narrative template that can be used to great effect on any thrill ride. You could make a case for the stretching portraits room to be the SGW. Yet, can something go wrong in a place that wasn’t right to begin with? 

Part of the appeal of Haunted Mansion lies in that we know that things aren’t right going in. Even the name itself perfectly sets the expectations. Haunted Mansion. We’d never enter a haunted house, but enter this one willingly. We want spooks, and there’s a strange appeal of knowing what you’re getting into. From an overall visual appeal, every Haunted Mansion has an air of charm and decadence, completely tying into the rest of the park. It wouldn’t look that out of place when viewed from Main Street U.S.A., would it? 

Nothing goes wrong in the Haunted Mansion because nothing is ‘right’ to begin with. It works. Haunted Mansion has more of a suggested narrative than a beginning/middle/end storyline. It’s “nothing is right model” is something that can be replicated in almost any attraction. 

Instead of SGW, perhaps we need to set our attraction stories in places that aren’t right. Embrace the chaos instead of manufacturing it. Maybe it’s necessary for attraction design to step back from the film model of attraction storytelling and embrace non-linear narratives that still deliver thrills? 

As long as we’re embracing new technology, let’s embrace new storylines for immersive themed attractions. Put guests in the middle of the danger right away. Set up the thrills before people even enter the queue, then pay off what they’re expecting to happen. No need for a twist.   

The journey to creating new narratives isn’t as treacherous as the mythical temples we create. If we’re going to continue to ask riders to enter our experiences, then we should be the ones taking those treacherous first steps into unexplored areas. 

[thewalkthroughblog]

Extreme Narratives - Storytelling at 65 mph.

Sometimes a dark ride isn’t enough. 

In our instant-status update world, people want things fast. For theme park thrill seekers, only a 200 foot climb that leads to an intense sequence of loops and corkscrews will do. As mush as I love immersive themed experiences, I’m truly a coaster geek. Singing multi-cultural dolls are neat, but it can't compare to the sensation of 3Gs smashing your skin. 

Roller coasters have been theme park staples long before theme parks existed. They first appeared in early amusement and beach resort parks, and were nothing more than  thrill rides. Disneyland’s opening in 1955 presented the theme-dormant amusement park industry with the concept of storytelling. Dark rides had been done before, but never with an attempt to tell a story. 

Walt Disney set the (safety) bar for themed coaters high when the Matterhorn Bobsleds were introduced in 1959. While this was not only the first steel tubular track roller coaster ever built, it was also one of (if not the first) attempts to theme a roller coaster. 

The Matterhorn introduced a storyline into the coaster experience. Climb aboard a bobsled and dash down the side of the famous Swiss mountain. Breakthrough in execution and design, it also set the tone for every themed coaster that came after it. Big Thunder Mountain, Space Mountain and Expedition Everest all spring from the DNA of the Matterhorn. 

                The wildest ride in the wilderness didn't thrill Casey. 

Over the years, coasters developed into thrill machines that couldn’t be contained in a fake facade. Coaster companies built big, bad, fast, huge experiences that are hard to theme with intricate show scenes. Many themed coasters have a narrative, but not a complete story. What's going on in Space Mountain? At the same time, Rock n Roller Coaster Starring Aerosmith presents a defined storyline (Get to the concert). 

It’s this point - Narrative Story vs. Pure Thrills - that this post explores. Is it acceptable to simply drop the belief that guests should be 100% immersed in a “story” if it clashes with the thrill-centric nature of the new breed of extreme roller coasters? 

In my mind, storytelling on an extreme coater takes a different mindset than storytelling a coaster that can be themed (Big Thunder). The idea of creating a completely immersive experience isn’t possible. Instead, we must tell the most immersive NARRATIVE possible. The track can’t hinder the storytelling, so let it help tell it. Coasters are able to speed up, slow down, stop and even change directions at almost any point. It can be freeing and well used in storytelling. 

Successfully merging narrative with an extreme coaster relies on many elements. Each one must complement each other and support the storytelling experience. 

Location and Landscape

Busch Gardens Williamsburg was originally known as Busch Gardens: The Old Country. The European theming is present everywhere, from attractions to a good old fashioned Biergarten. Rather than lands, there are European hamlets. This allows the coasters to reflect their lands, continuing the steady narrative theme. 

Heading into Rhineland Germany, the land it resembles is ski resort in the german alps. Here, you'll find Alpengeist awaits. The coaster’s chair lift theme is appropriate for its location. 

Octoberfest in Barvarian Germany, takes a different approach. While not as seamless as Alpengeist, Verbolten is a drive thru the Black Forest. The attraction uses the Autobahn as its storytelling device and incorporates it into the Barvarain look and feel. 

Where you place an extreme coaster is vital to the overall success of storytelling the coaster. By placing them in distinctively themed lands, you get a sense of the narrative of both coasters before setting foot into the queue. Taking every opportunity to set the story in motion is important, and location and landscape play a large role in it. 

Name 

The name of a coaster sets the tone for the experience. What kind of ride do you think The Beast or Millennium Force is ? Certainly not for the faint of heart, those names reflect the personalities of the coasters. 

You don’t need to see the layout to understand the menace that is Alpengeist. You can probably get that Alpen has something to do with mountains. But geist? Sounds a little like ghost, perhaps? Alpengeist means “Ghost of the Alps” in German. The Autobahn themed - Verbolten takes its name from the German word “verboten” which means “Forbidden”. It’s just menacing enough to create a sense of foreboding. The right name is a key piece of the narrative. 

Logo

Setting the proper tone can heighten the anticipation of the ride while clueing riders into the story of the coaster. Logos, from Coke to Starbucks, are meant to convey a sense of something. Joy. Ease. So forth. 

Coaster logos can help set up the story by giving you a sense of the thrills and place. While not a themed coaster, Desperado’s logo is a fantastic example of a logo that sets the entire narrative and experience in motion. 

The logo plays off the attraction’s 209 foot drop by, not only featuring long, bold typeface, but incorporating the ride's signature drop. Notice the clouds that rest on the type, further indicating how high this coaster is. Without laying eyes on the actual coater, the Desperado logo gives you an idea of the sheer height and thrills that await. It’s telling you the attractions’ story before you see it.  

Paint and Car Theming

Some theme park designers will indicate that the sight of a large steel structure towering over a theme park is a bad move. The term ‘theme park’ indicates that the attractions, restaurants, landscaping and even employee costumes all tie into creating some out of world experience. Large unexplained towers = bad show. 

Rather than apologizing for this inevitable dilemma, smart coaster builders attempt to make the track part of the story. The easiest way is through an appropriate paint scheme. Alpengeist features a cool blue track, playing off the ski lift theme of the attraction. Other coasters, like Superman Ultimate Flight , use the hero’s signature colors of red, blue and yellow. You can’t hide the tracks, like in enclosed attractions. Themed painting, at the very least, attempts to create a cohesive experience. 

Ride vehicles can immerse riders in to the attraction’s narrative. Think of the jeeps in the Indiana Jones Adventure. Coasters can work the same way. Alpengeist plays into the ski lift theme further by placing paris of skis into the sides of the cars. The Rock N Roller Coaster Featuring Aerosmith features cars that are designed to look like limousines. A roller coaster’s narrative works best when riders can touch and feel elements that immerse them into the story. Themed coaster cars close that gap.

Queue/Station

When large coasters are intent on telling a narrative, the queue is the prime storytelling device. It’s here, where riders spend the majority of their time, that designers set up the backstory using audio, visual and environmental elements. 

Perhaps the best example of a themed roller coaster queue is Expedition Everest. Found in Disney’s Animal Kingdom, the coaster takes you into the Forbidden Mountain for a close encounter with the infamous Yeti.

The queue itself is an attraction. Virtually every corner is themed with authentic props from mountaineering gear to genuine Nepal artifacts. As you wander past prayer flags gently blowing in the wind, you enter the queue and are thrust into the story. The lengthy queue resembles an Asian town, ticket office,  monastery and a yeti museum. It’s here where artifacts of less-successful supposed encounters with the Yeti are on display. 

There are no overhead monitors featuring a host that explains the narrative while also (conveniently) explains important safely information.  Many times, these devices lay out the goal (i.e. get to Endor). You’re never directly told what the story is on Expedition Everest. But through visual storytelling, you pick up the idea that the yeti is out there, and you definitely don’t want to meet him. 

System 

The days of merely sitting in a roller coaster car are long gone. Today, your options are anything from standing above the track or dangling along the sides as your seat spins. Coaster systems are more dynamic, which can lend itself to storytelling. Two coasters use this principal with amazing effectiveness.  

Sitting down and strapping into your seat on Superman - Ultimate Flight (same name, different ride), you’d wouldn’t notice much out of the ordinary. Suddenly, your seat retracts towards the overhead track. Instead of looking at the seats in front of you, you’re staring straight down.  

As you roll suspended underneath the track above, it gives riders the sensation of flight. You can’t help but raise your arms and pretend you’re flying like the Man of Steel himself. 

A Sea World Coaster takes the same idea of flight and applies it to the sea. Just as mantas swoop and glide through the water, riders on Manta experience the same sensations. It’s the same ride system as Superman - Ultimate Flight, just with an appropriate sea-worthy narrative. The best kinds of themed storytelling make us a  a participant in the experience, rather than just an observer. These kinds of coasters give us thrills and narrative. 

Extreme coaster riders aren’t looking to leave reality behind and step into a fully immersive world. They want fast thrills. No matter what intellectual property you theme the coster after, people go for the sensation of loops and corkscrews. This doesn’t give permission for all narrative attempts at coasters to be abandoned. Instead, make every attempt to have every element, from location to logo, work together to support a cohesive narrative.

Close the storytelling loop, and make sure your coaster’s loops are unforgettable. Those principals will thrill riders that are seeking storytelling while roaring at 65 miles per hour. 

[thewalkthroughblog]

Hunting For Story On Kilimanjaro Safaris

What makes an attraction great?

Is it how animatronic dinosaurs and a Spielberg blockbuster can turn an oversized flume ride into Jurassic Park : The Ride ? Or, is it how lush detailing and extensive theming turn a roller coaster into Big Thunder Mountain Railroad ? This is a big discussion, but let me lay out my thinking like this: 

Ride + Technology + Theming + Storytelling = Great Attraction. 

This appears to be the magic formula that gets people queuing up for 3 hour wait times and showers the attraction with industry acclaim. They don’t build E-Ticket experiences without these elements. But, what happens when the storytelling is the LEAST compelling part of the equation? Can a multi-million dollar attraction fall flat if the story isn’t compelling enough to drive the experience? 

I say yes. One particular attraction comes to mind. If you read the title of this post, then you know what it is. 

If you’ve visited Disney’s Animal Kingdom, then you’ve probably taken a ride through Harambe Wildlife Preserve aboard Kilimanjaro Safaris Expedition. One of the park’s signature attractions, it brings you out onto an African savannah where elephants, ostriches and dozens of other majestic animals roam free (or as far as the invisible fences will let them). 

                                 Tours departing every minute. 

Disney’s Animal Kingdom was envisioned as a place were guests could discover animals... real, ancient and imagined. While you can come face to face with a dinosaur or yeti, the park is themed around the real world issue of animal conservation. As you enjoy your fun day, Disney wants to remind you that this is a place of respect and understanding of all animals. 

Kilimanjaro Safaris, with its up-close encounters with live animals, is the perfect attraction to feature an animal conservation storyline. Since the senseless killing of animals is a very real problem in Africa, you can understand why a poaching storyline was written into the attraction. 

The storyline works like this: While on safari, your vehicle driver is in radio contact with Wilson, the game warden. Suddenly, news breaks that poachers have captured two elephants, Big Red and Little Red. We zoom through busted gates and past the poacher’s camp in an effort to drive the poachers towards Wilson’s trap. In the final scene, we see Little Red safe and sound as a gun touting Cast Member retains the poacher’s jeep. 

The original version of the attraction really tried to drive home the seriousness of poaching by having the safari vehicle encounter a (fake) slaughtered corpse of Big Red.  As you can probably imagine, the sight of a dead Dumbo didn’t go over well with parents and children. Since Dead Red was only shown during Cast Previews, his appearance was brief, and the storyline was changed. Over time, the poaching storyline was reduced to its bare bones (zing) before finally being removed in April of this year.

Kilimanjaro Safaris is an E-Ticket attraction that lacks Disney’s signature stellar storytelling. It’s got nothing to do with the finale. For me, the attraction’s story problems started at the beginning of the journey, and continued through to the end.

(At this point Joe Rhode, the lead Imagineer at Disney’s Animal Kingdom is seeing to it that I never work for WDI. Don’t take this personal Mr. Rhode. I’m here to love.)

Solid attraction storytelling blends visual narratives with sounds that enforce what we’re seeing. Kilimanjaro Safaris doesn’t offer enough visual references and elements, leaving the majority of the narrative resting on what we hear. 

                                        Hook Em' Horns!

In order to follow the story, you need to understand English. Every audio touchpoint, from the pre-show video, to the driver’s conversation with Wilson, is in English. This is a problem for the non-english speaking visitors or children under 10. If you can’t understand English, then the entire storyline vanishes and it becomes a safari ride with real animals that ends with a fake elephant in the back of a truck. Also, with enough visual stimuli to look at, you may just ignore the narration, just like you do to the flight attendant's instructions before take off. The story elements become white noise. 

Compare that experience with a trip on Peter Pan’s Flight. If you were to remove the dialogue from that attraction, you’d still be able figure out what’s going on from looking at the show scenes. The Darlings see Peter Pan - They fly across London - The travel past the moon to a new land - There’s a villain with a hook - The kids are taken prisoner - Peter rescues them - They fly home. Yes, it helps if you’ve familiar with the story or the movie. But, it’s the simplest form of theme park storytelling around, and it works perfectly. 

I was on the opposite end of the language problem during my visit to Tokyo Disney Sea. I was looking forward to 20,000 Leagues Under The Sea. It's one of my favorite movies. It features an incredible queue and sophisticated attractions system. I didn’t understand a single thing the japanese-speaking Captain Nemo said. Bummer? Sure. But I got what was going on through the visuals and experiences. The squid grabbed our sub and shook us. Nemo retaliated with electric shocks. I got it. Kilimanjaro Safaris weights too heavily on the ears. 

A strong attraction tells its story straight through - from the time you board your vehicle to the time you exit. Much like a movie. Act I is the set up. Act II is the complications. Act III ties things up. In the case of Kilimanjaro Safaris, Act I (the beginning) doesn’t carry through on the narrative set up in the queue. Act II (the savannah) hardly mentions the story. Act III rushes through to a conclusion that’s not really supported in either of the previous two acts. 

Once we head out in our vehicles, we get the poaching story set up through a brief radio conversation. After that, we get no poaching show scenes until about half way though the savannah. By that time, we’re too involved with our cameras. 

              Not all hippos wiggle their ears and blow bubbles.  

The safari part of the attraction is a breathtaking piece of design and execution. It’s amazing to think that Disney took swampland and imported every single animal, bush, tree and blade of grass. As impressive as it is, there’s nothing visual in this area that re-enforces the poaching story. This works the opposite of the Jungle Cruise, where there's a show scene that re-enforces the story every few feet. 

The poaching story gets a visual marker at about twenty-two minutes in where you see a bused gate where the intruders ‘broke in’. This is the “Something goes wrong” approach that most E-tickets use to leap into the thrills (You wouldn’t willingly go into a potentially dangerous/thrilling situation, would you?). Here, the sudden shift from slow-moving safari to fast paced chase ride feels disjointed. 

The last problem, and probably my biggest beef with the attraction, is how the climactic finale is handled. As we race through the gates, supposedly driving the poachers into the warden’s trap, we hear the radio crackle with updates. Success! Wilson informs us that they poachers drove right into the trap. We drive up and sure enough, there are the poachers. Trapped. 

After twenty minutes of being fed the poaching storyline, the finale is something we’re not directly involved in and don’t even see happen. We WANT to see the victorious moment. Let’s put it another way -  In the original ‘Star Wars’, instead of seeing the Death Star blow up, what if Lucas cut back to Leia and C3-PO on Yavin and we only HEAR the space station explode. Letdown, right? Kilimanjaro Safaris ends in pretty much the same fashion. After all that involvement and investment, there’s simply no pay off. 

For it’s faults, the poaching/conservation storyline is well-intentioned. It just tried too hard and wasn’t executed as well as it could have been. With the poaching story gone, Kilimanjaro Safaris is just a guided “photo safari” with no apparent story. 

Creating a storyline that works on Kilimanjaro Safaris requires a tale that can be told through the entire experience. We need to see visual reminders throughout the attraction, even during the serene experience on the savannah. Like a movie, everything we experience needs to build to an exciting climatic moment or reveal at the end. 

Finding the right storyline is tricky. You could just call it a day by throwing Timon, Pumbaa or Mickey into the mix. However, you run the risk of diminishing the experience to one of almost parody. Can you appreciate these beautiful animals while being fed fart jokes from Nathan Lane? Probably not. 

                    Nice guy, but not the addition Kilimanjaro Safaris needs.

The key to a great storyline would be one that stays true to the culture and people of Africa, yet allows Disney some creative license to weave its Imagineering magic. 

Solution? I’d go with mythical African beasts or creatures.  

Much like ‘Expedition Everest' Kilimanjaro Safaris would have a ‘mythical villain’. A quick Google of mythical African beasts finds some nice candidates. There's the dragon-like Ninki Nanka or the fierce Rompo. The mythical creature's story would be weaved into the queue, setting up the entire experience. Our driver would tell us the tale of this  mythical creature, known to spend time in environments just like ours. But, don’t worry, nobody has seen one. 

However, during the tour, we see evidence that something dangerous may be out there. A slashed tree-trunk, a large footprint, maybe even a mysterious roar. Then, a closed off road forces us down a detour, where we come face to face with the creature. We feel it’s breath. It shakes our vehicle. Thankfully, our driver breaks free of the beast’s clutches, and we speed back to safety. 

The soon to be added ‘Avatar’ land at Disney’s Animal Kingdom, gives some creative license to add a mythical twist to the park’s signature attraction. At the same time, the myth approach adds a layer of cultural significance to the experience. It’s already a man-made safari in the middle of central Florida. You wouldn’t be making a ‘real’ experience ‘fake’ by adding in a large animatronic figure. 

When it’s all said and done, the best storyline that could be added to Kilimanjaro Safaris is the one that’s able to be told visually throughout the experience. No special effects or thrills necessary. Spend as much money as you want on the technology, but tell the story in the simplest, most effective way possible, regardless of what language is spoken. 

Nail the story. Make it great. It’s what makes the two minutes of thrills worth the three-hour wait.

[thewalkthroughblog]

Welcome To The Walkthrough

The phone call would come in an hour or so before the park closed. It was usually a spontaneous event. The idea was to keep it small, but once the word was out, plenty of people jumped on board. You couldn’t blame them. For attractions Cast Members at Disneyland, it was a dream trip. 

The lead would take the call, wrap up some business, hang up, and then announce: 

“Walk through tonight on Mansion if anyone wants to go.” 

Disneyland isn’t always the Happiest Place On Earth. For Cast Members working an 8-hour shift, keeping the magic going could be exhausting.The walkthrough changed things. After a shift of telling stale jokes to foreign tourists, it was an experience that you didn’t mind being a part of. 

As soon as the last guest was escorted out of Adventureland, we’d scurry over, newly purchased Kodak Disposable Camera’s in hand (this was 1999-2001) and get ready for an experience no paying guest would ever have. 

                          Your author gets campy in the Jungle Cruise.

Walkthroughs were a close and intimate look at these world-famous attractions. It was pulling back the curtain of the magic and seeing how the wizards ran things. There was plenty of tomfoolery too. We’d climb into the outstretched fingers of Mara inside the Temple of the Forbidden Eye. We’d see just how stubborn that key-holding dog is when we threw ourselves into the Pirates of the Caribbean jail. They were rare and unforgettable moments. People would pay thousands of dollars for the opportunity to walk among the Haunted Mansion’s singing busts. I was getting paid $8.25! When it was over, you knew  you’d experienced a rare treat. A closeness to something that was bigger than yourself. 

My time as an attractions Cast Member at Disneyland was special. I worked on Jungle Cruise, Pirates of the Caribbean and the Enchanted Tiki Room -- iconic Disney attractions. I loved working on them because they were my favorites. They let me be part of the bigger picture; the thing Disney parks do better than almost anyone else: 

Storytelling. I was part of what makes these attractions unique. 

The Jungle Cruise skippers aren’t idol parts, checking seat belts and hitting buttons. They’re part of the experience. It’s these narratives that entice us and make the experiences something more than being a ‘ride’. The storytelling of attractions isn’t always apparent, but it’s there. In the old Star Tours, it was very clear what the story was : “We’re going to Endor.” 

                                                        Scalawags.

The same can’t be said of Pirates of the Caribbean. There is no defined journey. But, there is clearly a narrative at work as you move from caves with the skeletal remains of pirates to seeing them in their wicked ways. The transition hallway provides a connection. The damp and misty atmosphere implies that you’re traveling back in time to see what scandalous activities led to their demise. The story doesn’t have to be overt, but there is a conscious effort to have one present during your experience. 

These walkthroughs were chances to step into the stories, examine them and be a part of them. This blog, The Walkthrough, is just that. An examination of storytelling as it relates to theme parks, museums and other kinds of immersive creative experiences. This isn’t a Disney blog. While they may have pioneered storytelling attractions, they’re not the only ones doing it. We’re seeing other theme park corporations, local theme parks, water parks, exhibits, zoos and museums starting to show a more conscious effort to implement story lines.  

Since my interest (and ambition) is on show writing, The Walkthrough will explore topics with the emphasis on crafting the story. How do we include or incorporate a narrative or non-linear storyline that heightens the experience? How can the writer bring a story into focus amidst the thematic, budgetary and practical hurdles that each project has. Why do some attraction stories work while others miss their mark.  

This isn’t to say we’ll disregard design, art, engineering, planning, architecture or the literally hundreds of other disciplines that go into creative experiences. The show writer is no more the most important person on a team than the set designer who paints a mural, to the fabricators that bring the rock work to life. That said, my interest and expertise comes in putting words on the page. I’m going to stick with that, and apologize in advance if I ever seem like I’m dismissing another piece of the puzzle. 

While I’m just a guy trying to wedge himself into the themed entertainment industry, I hope this blog becomes something for anyone that’s interested in themed attractions. Industry pros to fanboys (and gals) are welcome to read and chime in. While many people may see a non-industry pro writing about the industry as un-professional, know that I’ve had lots of writing experience, from screenplays to ad copywriting. Both of those professions require the same disciplines and challenges when it comes to storytelling and writing. And, I’m a consumer of theme parks, movies, animation, zoos, all kinds of engaging exhibits and shows. I love storytelling, and I hope you do too. 

Welcome to The Walkthrough. Grab your camera. Let’s have some fun. 

                                               Everybody, sing along!

Posted Sept 4, 2012