5 Key Ideas for your Next Big Attraction Investment

kids at 3d cinema

Today smart theme park and attractions operators are using narrow selection criteria when deciding on the next investment in their venue.

by Joseph Joy, Director, Strategic Accounts, Triotech joseph joy triotech

We are just a few days away from IAAPA, the biggest event in the global attractions industry bringing together over 1000 exhibitors from 40 countries and close to 30,000 visitors.

It’s a time to reconnect with colleagues, share and learn best practices and evaluate new attractions amongst the abundance of choices.

A big reason to visit for many attendees is re-investment in their venue. Gone are the days when an amusement park was a collection of arcade games, a Ferris wheel, some coasters and themed carnival rides. Smart operators know that guests are expecting more from out of home entertainment. The following five criteria are key in their decisions.

1. Indoor Attractions – As operators continue to expand their programing with seasonal events they seek attractions that guest will enjoy no matter what the weather is like. An indoor attraction can always be in operation, delivering a better ROI than a ride that needs good weather.

Girl with Cast of Iron Reef

2. Experiences for the Whole Family – Families are a park’s most profitable guests. Having a programming mix that brings cross-generational families together to create shared memories is a powerful draw to tap this customer segment. This is especially important for regional parks seeking to drive repeat visitation from a local market.

3. Ride Re-Marketability – Simulators, 4D cinemas and Dark Rides fit within the above two criteria, but the real juice is the ability to support seasonal program overlays like Halloween and Christmas or a complete refresh after five years without a large capital expenditure. Think of the investment as a media-based platform that will provide flexibility and marketing opportunities over a long period of time. This translates to an excellent return on assets.

4. Social Gaming – Interactivity with social gaming is a powerful component to creating amazing experiences amongst family and friends. That, coupled with the competitive desire of improving your score, drives repeat rides and return visitations to your venue.kids driving in rain at legoland Case in point is the video game companies now licensing their IP to tap into location-based experiences.

5. Level of Investment – With the evolution of technology and the continual robustness of hardware, interactive attractions are requiring a lower level of investment. You can now incorporate a signature digital dark ride at less than half the cost of a big coaster and it will have broader appeal to your guests, over more visits to your venues and over a longer time.

Following these five criteria will help you shortlist the best possible options for new attractions for today’s consumers. Smart operators know that commercial success is based on what your guests want now and what will appeal to them in the years to come.

So what are you planning to add to your venue next year? Which company is on your “must see” list at IAAPA this year? Please share your thoughts in the comments below.

Interactive Dark Rides – The Next Really BIG Console

The video game industry is moving their content to a much bigger console – interactive digital dark rides in amusement parks.

children shooting guns in a dark ride by triotech

This trend is the intersection between video game companies expanding their brands’ reach while at the same time, amusement park operators are developing dark ride attractions that feature social gaming as core to the guest experience.

by Joseph Joy, Director, Strategic Accounts, Triotech joseph joy triotech

The initial successful results of Ubisoft’s 3D dark ride “Raving Rabbids: Travel in Time” for at Futuroscope in France is credited with driving attendance up by 20%. This has propelled recent announcements from Nintendo and Electronic Arts. Ubisoft meanwhile has announced plans for a complete “next generation” theme park based on their rich stable of successful franchises to open in Malaysia in 2020.

The development of amusement park attractions is part of a bigger media strategy for video game companies. They are also leveraging their game IP into movies and television. Four years ago Ubisoft created a motion pictures division, which resulted in co-producing the “Rabbid Invasion” television show with Nickelodeon, which is now in its second season in France. In 2016, they will release “Assassin’s Creed: The Movie” based on that successful video game property.

Interactive digital dark rides used to be the exclusive domain of Disney and Universal with rides branded with “Spiderman”, “Toy Story” and “Transformers”. Now regional parks like Six Flags, Cedar Fair and Parques Reunidos are embracing dark rides since technology has made the attractions financially viable.

There are three main drivers underlying this trend. Firstly, the attractions are indoors and thus not weather dependent. Secondly, digital content can be switched out seasonally. A case in point is Wonder Mountain’s Guardian at Canada’s Wonderland where Triotech supplied two distinct contents for the same ride. This essentially gives the park two attractions in one single ride. Thirdly, these experiences appeal to whole family experiences. A dark ride based on a video game IP ticks off each one of these boxes except perhaps the wide family appeal which obviously differs for each IP.

A successful dark ride is all about balancing the familiar story, the immersive ride and challenge/reward game play loops. Like any IP, park operators are looking for stories and characters that are familiar to their guests. The “Mario” franchised was launched in 1981 assassins creed character by ubisoftand has sold over 500 million copies. When Universal Studio opens Nintendo-themed rides and character appearances it will appeal to several generation of players and park goers.

Not all video games have this type of reach to support a theme park visitation strategy. It’s no coincidence that Cedar Fair’s “Mass Effect”-themed attraction is going in at California’s Great Adventure in the heart of Silicon Valley. Observers have commented that this particular IP has a narrower “gamer-focused” target market but can provide a good fit with the park’s client base.

As video game companies continue to execute their bigger media strategy you will see more application of their IP in attractions where it aligns with park operators’ business strategy of driving new visitors, especially families, providing experiences that boost repeat visits and extend stay for improved “in park” spend.

Dollywood New Rides, Attractions and Expansions Table

Dollywood Lightening Rodd wooden rollercoaster

Dollywood recently announced the addition of the $22 million Lightening Rod wooden roller coaster, scheduled to open in 2016. The press release announced that the “world’s fastest wood coaster and the world’s first launching wood coaster” would be arriving soon.

This particular release had me wondering about the other expansions Dollywood has gone through over the years and how this $22 million compared with the other additions and I produced the table below.

FYI, the official website for Dollywood made generating this data was a dream. Not only does this site offer the following material, “Theme Park Expansion” (http://bit.ly/1Jvn8cF), but with the fact sheets and press releases I was able to fill in the missing data.

Click on the table below to view a larger version:

Dollywood Ride Table Tracy Kahaner

A Decade Later: Novelty-Based Design and the Big Bear Alpine Zoo

A Decade Later: Novelty-Based Design and the Big Bear Alpine ZooAfter nearly ten years of partnership, we’ve finally buttoned up the construction drawings for the little zoo that could: Big Bear Alpine Zoo, the most challenging ‘easy’ project I’ve seen.

A small, simple project doesn’t always mean small and simple for the designers. While a lot of the challenges related to our having to develop details for exhibits on a smaller budget (relatively) than we’ve ever had before, most of the challenge was brought upon ourselves. For we could not just build a typical zoo. Oh no. We chose to use this blank slate to develop something new, thoughtful, and perhaps, innovative.

About ten years ago, I wrote a little white paper on what I thought would be the next iteration of zoo design—moving beyond immersion. My optimistic, idealistic (and somewhat naïve) younger self developed a theory called ‘novelty-based design.’ I asserted that instead of focusing on creating spaces for visitors and animals that simply look and sound similar (as in landscape immersion); that instead of relying on cultural artifacts and stories to ‘transport’ guests to another place, we should instead focus on creating connections between visitors and animals. That we should, more importantly, focus on creating novel environments for visitors and animals. We should build exhibits based on enrichment—for both animals and visitors. That every visit will be different; that every day for the animal should be different.

Over the past few years, exhibit design has begun to shift toward this. We’ve seen the zoo community embrace the concept of trails that allow animals access to new exhibit spaces; flex yards that allow rotation of species throughout the day; training panels and dedicated demonstration spaces on exhibit. These elements are becoming as ubiquitous as landscape immersion itself. Moreover, many zoos have shifted away from landscape immersion as they opt to spend their limited dollars on novelty-based approaches, rather than set dressings.

And that brings me back to Big Bear. We had eight million dollars. To build an entirely new zoo. On five acres. An entire zoo.

Again, an entire zoo on five acres for $8 million. It was a challenge.

PGAV Destinations Big Bear Alpine Zoo

Originally, a decade ago, when we began with a bigger site and a bigger budget, we had integrated stories of culture and history with the physical organization of the zoo. Most of the zoo’s animals were native to the San Bernardino Mountains where the zoo resides, so our organisation was not based on zoo-geography, but on historical time periods–and the relationship these animals had with humans. We were going to showcase the Gold Rush with a mine and elaborate processing facility while telling the story of the impact early prospectors had on native wildlife, like grizzly bears. We were going to highlight a Native American tribe, the Serrano, by telling the stories of their animal legends. We were using native landscape immersion through the lens of time, rather than place. It was a clever concept.

But then the project changed. We moved sites, our budget tightened. Again, and again.  Until we reached 2015, and the project was under design, in earnest. And, under the new limitations and constraints, we were inspired to rethink our approach.

What is the greatest story to be told about Big Bear Alpine Zoo?  It’s the great work they do there, every day, to save native wildlife on their native lands, and to provide lifelong homes to those unfortunate individuals that could not be released.

Inspired by this message, we realised our job on this project was not to create thematic immersion. It was to help the zoo best do their work, and to showcase this work for guests to clearly see. To inspire them to support the zoo’s mission. To inspire them to be conservationists themselves.

So we tossed the design and started from scratch.

A Decade Later: Novelty-Based Design and the Big Bear Alpine ZooThe new zoo is based entirely on the animals. It is divided into three zones based on the animals’ natural behaviors and instincts: Explorers, Climbers, and Roamers.

The Explorers zone is characterised by black bears, raccoons, and ravens; highly inquisitive, intelligent, active animals that especially enjoy interaction with keepers and the public, tend to be especially trainable, and usually need extra enrichment.

The Climbers are a bit more straight-forward; those animals that prefer to perch up high, surveying their surroundings. Big cats and birds represent the Climbers.

The Roamers are those animals that are typically terrestrial and spend a lot of time walking, either in search of food or in defense of territory. Wolves, grizzly bears, coyotes and deer are included here.

Beyond that, Big Bear’s collection is ever-evolving and often unpredictable in nature.  Since the zoo is a collection of non-releasable wildlife, some animals have special needs, while others have developed unique relationships to each other that you wouldn’t normally expect. So the zoo needed flexibility. Extreme flexibility.

Because of this, one of the major design elements of the zoo is the ability to open individual exhibits into each other to offer the keepers the opportunity to expand exhibits as needed, or divide larger exhibits as the collection grows. For the Climbers, exhibits feature specialised panels that are removable—not just transfer doors—that allow the flexibility to be much greater than just a small opening. This is important as social groupings of birds here may include some flighted and some non-flighted animals. Several connected exhibits will allow flighted birds the ability to spread their wings for short flights.

The Roamers’ exhibits feature unique permeable barriers—sometimes called creeps—that allow small animals to move between exhibits, but prevent larger ones from following. This Huckleberry Big Bear Alpine Zoois especially useful for animals like wolves, who really enjoy exploring and running. With these specialised creeps, keepers will be able to allow the wolves access into the grizzly exhibit, while the grizzlies are in their habitat, allowing the wolves to have a means of escape–and temporarily enlarged habitats. The same can occur between the coyote and badger exhibits.

The Explorers’ exhibits feature multiple demonstration opportunities: a large training panel resides in the black bear exhibit; windows allow visitors to peek into back of house holding for the bears where enrichment may occur; enrichment rooms exist for raccoons, crows, and ravens where keepers can easily set up specialty enrichment for guests to watch up-close.  Additionally, a specially designed flex yard exists that can be used by any of the Explorers’ animals, from crows to black bears.

These and many other special features of the zoo would not have been designed had we approached this project as we originally intended.  Forcing ourselves to start over, change perspective, think with fresh eyes—design with novelty—was crucial to the evolution of this—and every—new zoo and zoo exhibit.

I challenge you to design with novelty.  Let’s see where it will take us.

Is Parques Reunidos really for sale?

Parques Reunidos Mirabilandia

How many times have you come across an article stating that Parques Reunidos is for sale?

I’ve seen several in the past few months. Granted, the articles often qualify the assertion with “sources say”, but it seems like everyone wants to be the first to report if and when the sale happens.

After each announcement is released I go and check the Arle Capital Partners website (http://www.arle.com/) to try to determine the validity.  I go to the Arle site because it accurately reported the following releases:

  • Parques Reunidos: Palace Entertainment signs Strategic Cooperation Agreement with DreamEast, 21 May 2015;
  • Parques Reunidos Full Year Results 2014, 16 April 2015; and
  • Parques Reunidos Group acquires Faunia Animal Park in Madrid, 08 Apr 2015

I have taken the liberty of posting three key pages from Candover Investments plc 2014 annual report which makes interesting reading.

(Note: The relationship between Arle and Candover is described by Candover as follows: “Our investment portfolio of 5 companies is managed by Arle Capital Partners, an independent private equity partnership formed via a buyout of Candover Partners.”)

I would be interested to hear any observations you might have.

candover annual report pg 10candover annual report pg 12candover annual report pg 14


Real Experiences Will Remain Digital Proof

Real experiences will remain digital proofThanks firstly to my good friend Jean-Paul Haenen at Kwan Leisure for drawing attention to a piece by Bloomberg Online columnist, Justin Fox, entitled ‘Theme parks will not be digitised’ where Fox notes that “for the world’s entertainment giants, this is a time of fear and doubt”, with the inexorable rise in digital forces that have decimated the publishing and recorded music businesses now starting to keith thomas petersham groupcause shivers ithe TV and Film industry too.

By Keith Thomas, Petersham Group.

One reaction to this has been the move by such companies to mitigate these effects by moving into Disney’s territory and buying into the location-based entertainment sector as illustrated powerfully by Comcast’s decision to spend $1.5 billion on a majority stake in the Universal Studios Japan theme park, the company’s biggest-ever overseas acquisition.

At Disney, meanwhile, theme parks continue to account for a third of all revenue with theme park operating income up 16 percent in the nine months ending June 27. Just as Universal has benefitted from the dramatic effect of the Wizarding World of Harry Potter at Universal Studios Florida (Universal’s theme park operating cash flow was up 48.9 percent in the first half of this year), Disney no doubt expect similarly great things from their new Star Wars attractions when they come on stream. Certainly, the abilities of these companies to stretch their IPs across all channels is legendary and a lesson for all operators.

Meanwhile, Merlin Entertainments continues its expansion with the Lego brand at the heart of its drive, as well as a great focus on properties with high public recognition such as Madame Tussauds.

Real experiences will remain digital proofSince emerging from bankruptcy in 2011, stocks in Six Flags have out-performed the market but they too benefit from the characters that they license from Time-Warner (who were their owners of course from 1993 to 1998).

To slightly paraphrase a key point in Fox’s article, the companies that have been doing well lately are in the business of creating magical, branded experiences that people are willing to pay a huge premium for, rather than those just in the roller-coaster business.

My own experience is that at every level of the industry, whether theme parks, midway attractions or local attractions, it is infectious, memorable and most of all, real experiences that have the most resilience in the face of digital and in-home entertainment. Digital technology plays a vital role in allowing us to push the boundaries of what we can do in our industry but in most successful concepts, its part of the package, not the main feature.

So, whether it’s riding the latest coaster at Disney, completing a quest at Boda Borg, encountering sting rays at a Sea Life Centre or conquering a climbing wall at a Clip ‘n Climb, I’m with the ‘giants’ and I believe that entertainment businesses centred on great quality, real experiences will remain digital proof.

Disneyland Through The Decades

Disneyland Through The DecadesTake a spin through this interactive map and see the changes Disneyland has experienced over the years.

A short time ago, I came across a fantastic find: “Disney by the Decade” Interactive map on The Orange Country Register’s website.  I was so wowed with the data that I included the link as a post in Blooloop’s Linkedin Group and now I have dedicated a Blog to this find.

The interactive map begins with “Opening Day 1955 and takes you through “Present Day 2015”.  As an FYI, the site is often slow to load, but be patient, it is definitely worth the wait.  Please keep clicking the mouse on the map for opening day 1955 and wait until the full illustration appears. You can then enlarge the map to make viewing easier. After doing so, you should see white balloons with each ride and attraction linked to a corresponding number (i.e. Opening Day has 47).  Clicking on the number will take you to the detail of the ride, such as this for number 45 – Circarama:

“Circarama, a film projection system developed by Disney’s Imagineers, used 11-16mm film projectors to provide a 360 degree views.  The first film showed at the attraction in Tomorrowland was ‘A Tour of the West.’  That film was replace(d) in 1960, with the first version of  ‘America the Beautiful.’  A new system, Circlevision 360, which used 9 – 35 mm film projectors, upgraded the system in 1967, with another version of ‘America the Beautiful.’  “

Now look at Present Day 2015 and notice the list of 87 rides and attractions.

Enjoy …

Orange Country Register’s Disney Decade interactive map

Disney’s Citizenship Performance Summary – Think Creatively

Disney Citizenship Performance Summary - Think Creatively

I’ve been looking at Disney’s Citizenship 2014 Performance Summary , concentrating on its commitment to “Inspire Others” through four key initiatives: Live healthier, Think creatively, Conserve Nature and Strengthen Communities. “Citizenship isn’t just a responsibility we have as a corporation,” says the report. “It is an opportunity to connect with and inspire others.”

In this, my second of four blogs, I’ll be continuing to look at Disney’s vision, targets and performance to find out what they are promising and what they have already achieved. They certainly have the clout and the resources to make an impact. And, where Disney leads, others will surely follow.

Last time, I examined their “Live Healthier” initiative and the impact it is already having, not just on consumers, but on the formidable food industry.  As Disney says of itself: “Our assets and our reach provide us with an opportunity to inspire audiences everywhere to join us in taking action and caring for the world we share.

Disney Citizenship Performance Summary - Think CreativelyThe Need for Nurture

So, where does their “Think Creatively” initiative fit in? It’s clearly not unreasonable that the world’s most successful creative powerhouse should want to inspire creativity in others.  But, to what end?  According to their blurb, the intention is to: “Nurture creative thinking
skills to inspire kids to create the future they imagine.”

So, is there a need for nurture? Are children less creative than they used to be? Well, apparently so, according to a study carried out in 2011 by Kyung-Hee Kim, an educational psychologist at the College of William and Mary and author of a paper entitled “The Creativity Crisis.”  She studied around 300,000 creativity tests going back to the 1970s and found that American children are now “less emotionally expressive, less energetic, less talkative and verbally expressive, less humorous, less imaginative, less unconventional, less lively and passionate, less perceptive, less apt to connect seemingly irrelevant things, less synthesizing, and less likely to see things from a different angle.”  She noted that the biggest downturn was in children’s ability to take an idea and expand on it in a novel way.

Her findings seem to contradict the view that our children are better educated than ever with records numbers remaining in full-time education for longer. However, experts say that, although in IQ tests children appear to improve their performance year on year, in creativity tests the opposite is true.

So, why are our children less creative than we are? And, will their children be even less so?

Some of the reasons cited are the results-driven ethos in primary schools which leaves no room for creativity and the decline in imaginative play which is generally blamed on the amount of time children spend on passive activities such as video gaming and watching TV.

Disney’s Citizenship Performance Summary – Think CreativelyOthers suggest that our culture of “over-parenting” makes children less likely to problem solve and learn through experience. How can you learn to make decisions for yourself if your parents make all of them for you?

Many people also believe that children, and more particularly teenagers, are under more pressure than ever from their peers to conform. A new survey conducted by Stagecoach Theatre Arts Schools and BulliesOut found that 90% of parents believe their children are under pressure to “fit in” at school.

CEO of BulliesOut, Linda James: “In 2015 there is more pressure than ever before to fit in and we strongly believe this could be a factor in bullying and self-esteem issues in children.

“We should encourage children and young people to build supportive and inclusive peer groups that recognise and value individuality.”

If children are not allowed to be different, they won’t have the confidence to think differently.

Measuring creativity is often done by taking a Torrance test. Created in the 1950s by Professor E. Paul Torrance, the tests are made up of a series of creativity tasks. Answers are neither right nor wrong. To do well, you need to demonstrate a combination of divergent thinking – approaching the problem in an original way and convergent thinking ie. bringing your ideas together to create the best solution.

Interestingly, the children in Torrance’s original test group of 400 who performed the best creatively went on to be entrepreneurs, inventors, college presidents, authors, doctors, diplomats and software developers.

Indeed, a recent IBM poll of 1,500 CEOs cited creativity as the No. 1 “leadership competency” of the future.

So, Disney has clearly recognised a need which they are certainly well-placed to fulfill. Who better to engage children with problem solving, critical thinking and self-expression than a brand that has been built on creativity and one that children worldwide already have a strong connection to?  Disney is classless, ageless and the appeal of its characters spans ethnic and financial groups. If anyone can reach kids both in and outside the classroom, surely it’s Disney.

So, what have they been up to?

In June 2014, Disney Interactive launched Citizen Kid, an initiative that celebrates kids who accomplish amazing things and encourages all children to believe in themselves and their potential. When researching this piece, I was utterly gripped by the story of Mo, who designs bow ties. Not only has he turned his passion into a successful business, “Mo’s Bows”, he also raises money to help others less fortunate go to summer camp. A classic Disney feelgood story, if ever there was one.

In July 2014, Disney joined up with Boys & Girls Clubs of America, funding a six-week creativity learning programme which was designed to plug the summer “learning gap”. 260 clubs were part of the scheme which benefited 8,500 children.

Their Disney Musicals in Schools targeted 56 schools across the US, reaching 4000 children.

Disney Citizenship Performance Summary - Think CreativelyPerhaps one of the most interesting initiatives is Star Wars: Force for Change, a Disney and Lucasfilm project, in collaboration with Bad Robot. The purpose is to find creative solutions to some of the world’s biggest challenges. According to Disney, the initial campaign raised more than $4 million for UNICEF’s Innovation Labs and programs, which will “help build and scale ideas and inventions that will improve children’s lives around the world.”

Disney also sponsored the 2014 World Maker Faire, a gathering of 85,000 tech enthusiasts, educators, engineers, scientists, artists, kids, and families at the New York Hall of Science.

All good stuff but is any of this enough to make a difference? Only time will tell. Obviously Disney can’t take responsibility for the creativity of an entire generation. But, at least they’re willing to try.

Images kind courtesy Disney

Is Malaysia the Orlando of Asia?

Malaysia the Orlando of Asia

When I first read the phrase ‘Malaysia, the Orlando of Asia’ referring to the Singapore-Johor corridor in a report from ECA, I was a bit surprised and thought it was maybe a bit exaggerated.

thibault paquin

by Thibault Paquin, founder of Celebrating Life, a total destination building company specializing in Asian markets.

Universal Studios Singapore and LEGOLAND Malaysia combined are attracting fewer visitors than one single theme park in Orlando.

I have been spending a lot of time in Malaysia in the past year and I thought I would look into this phrase again, from a different perspective.

And yes, I think Malaysia is probably the Orlando of Asia but not so much for the number of theme parks and their attendance – Hong Kong for example beats Malaysia big time – but because it is where the future of our industry in Asia is being shaped. Let me explain why.

Recently I was having lunch with Aaron Soo (former CEO of Sunway Lagoon), who was back in Malaysia for a few days after having opened Wanda’s first indoor movie park in Wuhan, China. We started speaking about all the good things happening in or out of Malaysia:

  • First, Galasys is on its way to revolutionizing theme park ticketing with their cloud-based “Intelligent Tourism” concept; something that has been recognized by the founder of alibaba, who recently took a stake in the company;
  • RSG, the company behind Movie Animation Park Studios, managed to signed up both DreamWorks and The Smurfs for Asia’s first animation theme park, which is about to give sleepy Ipoh a serious shake;
  • The same RSG just announced a partnership with French video game publisher Ubisoft to build in Kuala Lumpur the world’s first next gen theme park where “every guest is a player, every ride is a playground, every visit is a game”
  • Actually, theme parks in Malaysia have recently become the first stepping stone into Asia’s Location Based Entertainment (LBE) for the world’s best entertainment brands (LEGOLAND, Hello Kitty, Thomas & Friends, Nickelodeon and 20th Century Fox) and even local brands (Malaysia’s animation sensation BoBoiBoy);
  • In the aquarium world, home-grown Aquaria will be expanding in Phuket in a partnership with the Central Group; and
  • Let’s not forget some of Singapore’s biggest attractions are actually Malaysian owned: Universal Studios (Genting) and KidZania (TAR)

Is Malaysia the Orlando of Asia?

We have Genting to thank for; they really started the Malaysian family entertainment industry 40 years ago with their first resort up in Genting Highlands. They were among the first to bring to Asia concepts such as a themed hotel or a large indoor theme park with First World Plaza featuring one of Asia’s first Ripley’s Believe it or Not museums.

But maybe more importantly it’s the people. Malaysia has a great pool of people who are well trained (they have often studied overseas) and know how to run international standard theme parks. They export very well and this is why you find them in Manila, Macau and everywhere in China (it’s an easy move for Malaysian Chinese in particular). But recently Malaysia has begun to attract industry people from other countries, seduced by innovative companies such as Galasys and RSG, and you can feel the energy; it’s all happening.

If you think of Orlando as a sunny place, which is home of innovative companies such as SeaWorld Entertainment, Ripley’s and countless design studios and ride manufacturers, Malaysia could very well become the Orlando of Asia. It already has the sun and a few emerging innovative operators! It just needs more studios and suppliers.

So if you too want to shape the future of our industry in Asia, join the party and move to Malaysia, the Orlando of Asia!

More by Thibault Paquin: Theme Park Development in Malaysia and Interview with Ubisoft’s Jean De Rivières

Images courtesy 20th Century Fox World and Movie Animation Park Studios.

Center Parcs Investor Presentation Highlights

UK Center Parc resorts have issued some great statistical data

If you missed it in Blooloop News - “’Solid’ Performance by Center Parcs” – then you will find a link to this great report here:


FYI, quite often if the headline of an article doesn’t grab your attention, there typically is some key piece of data (i.e. attendance, length of day, financials, design, etc.) that I know will interest some of our readers.

Here are some examples of what you find in the presentation:

center parc investor relations presentation sep 15 key highlights


center parc investor relations presentation sep 15 capexEnjoy …