Related:  The Major New Theme Park Rides for 2011 / Thrilling Coasters, Family Rides, New Shows and Attractions Coming to Six Flags Parks Across North America in 2012  / "And the bigger one is called a Giant Leonopterix" : Theme Park Designers on the Disney / Avatar News  / Blooloop News and Facts

Capital Spending: 9% of revenue:

• Asset Maintenance 25%
• In-Park 15%
• New rides and attractions 60%

Of this "Innovation Capex" :

“We will continue investing in our future

• Innovation centered on guests
• Combination of coasters, events, shows, and rides
• No “catch-up” spending required
• 5-year plan in place"

“We are bringing new attractions to every Six Flags park every year,” said Jim Reid-Anderson, Chairman, President and CEO when announcing plans for 2012. “This season’s guest satisfaction scores are the highest in our history, and we want to continue that momentum by offering a combination of family-friendly fare and thrill rides for guests of all ages to enjoy.”

 Highlights of the 2012 line up are set out below: 

Image and video:

Kind courtesy Six Flags

SUPERMAN Ultimate Flight, will debut at Six Flags Discovery Kingdom in Spring 2012 as the tallest inversion west of the Mississippi and the park's first DC-themed attraction. 

"AVATAR is a uniquely powerful franchise that has global appeal with audiences of all ages," said
Thomas O. Staggs, Chairman, Walt Disney Parks and Resorts yesterday.   (see : Disney, Fox and James Cameron to Bring AVATAR to Life at Disney Parks) Whilst AVATAR was undoubtedly successful as an event and as a piece of business, it could be argued that it was less so as a film, a special effects triumph but a rather mundane narrative.

In my opinion it was a brilliant piece of film making, and the plot and characters, though perhaps perfunctory, were always going to be secondary to the astonishing world of Pandora. It is the unique visuals and of course the promise of sequels to come that will propel the franchise to further continued success and  with Disney sprinkling their magic the theme park rides and experience will undoubtedly be ground breaking. We spoke to some leading theme park creatives to see what they thought...

Dave Cobb, Sr. Creative Director at Thinkwell Design & Production:

"At first glance, it may look like an odd fit to put AVATAR into Disney’s Animal Kingdom park – “isn’t that a sci-fi movie?” seems to be a common question. However, AK was always intended to have a section with mythical animals: "Beastly Kingdom" was an abandoned land concept with unicorns and dragons. Replace that with Pandora’s creatures and glowing bioluminescent environments, and you have some truly amazing creative potential. AVATAR was both a metaphor for ecology and an eye-popping, cutting-edge spectacle -- both of which would fit perfectly in Animal Kingdom. I can’t wait to fly on an Ikran amongst the floating mountains!" 

Brent Young, Owner CCO Super 78:

“This development is proof positive that the theme park arms race is on and Disney’s going head-to-head with Universal’s Wizarding World of Harry Potter.  There’s no other reason for Disney to shoehorn an Avatar attraction into a park they’ve spent 14 years positioning as an animal park, because the minute the new experience opens, it becomes the Avatar theme park, upstaging the Animal Kingdom brand.  The better play would be to leverage the new Marvel relationship and blend it with Avatar to create a new park that’s more appropriate for the more adult themes those brands represent – Disney’s Sci-Fi Kingdom.” 

Norm Elder, President/CEO at Norman J.T. Elder & Associates, Inc.: 

"Avatar is a terrific content "fit" for Disney on many levels.  First, it is certainly the most vivid and convincing creation of a fantasy world ever seen in the history of motion pictures.  It immerses you in a thoroughly compelling world, imagined and crafted with a depth of detail that is amazing.  And it conveys multiple profound, challenging messages via an archetypal story designed for mass appeal....for those "eight to eighty," as James Cameron said. And the Disney organization has the creative talent and financial horsepower to bring the story to life experientially and emotionally.  Blending their multi-dimensional story-telling talents with those of James Cameron can only result in experiences never before presented in themed entertainment environments." 

Amelia Ulmer, Business Development at Mousetrappe, Inc.:

"This is an exciting announcement for the themed entertainment industry.  James Cameron pushed 3D visuals to a mind-blowing new level and Avatar has raised the audience’s expectations for in-theater immersion.  Of course, we’ve all been lost in the story of a film before, but together we “went to” Pandora.

What an exciting challenge for Disney to push the boundaries of immersive storytelling and technical execution that will transport park goers into a touchable Pandora.

It is an intriguing and compelling concept to join the immersive natural environment of Disney’s Animal Kingdom with James Cameron’s otherworldly vision of nature and environment.   I can’t wait to experience it."

Dave Goodman, CEO at Goodman Experiences LLC :

"I think the addition of "Avatar" to the Disney family of theme parks is a brilliant choice. With close to 3 billion dollars in revenue worldwide, the film clearly captured the imaginations of a global audience.
The race to obtain recognizable intellectual property that can propel immediate revenue growth within a larger brand like Disney, Universal, (or now SeaWorld), is getting more and more competitive.

Management seems to be searching for the "sure thing" during these challenging economic times. It seems to me that Iger and Staggs have found what most would consider a "sure thing".
That being said, the execution of such a strong property like "Avatar" is always a challenge and for some possibly a concern.

There is no doubt in my mind that the team at Walt Disney Imagineering and Entertainment will find the right methods, (attractions, live shows, atmosphere entertainment, merchandise etc), to properly showcase the essence of the film in ways that reach their Guests.

It will be interesting to see how they execute the content and even more importantly, how they tell the story itself and create a positive emotional response...one that can fit well with both Disney's core conceit and the overall message in "Avatar". 

William Gorgensen, Board Member at TEA European & Middle Eastern Division:

"There came a point after the loss of Frank Wells when the developers took over the reins of WDI and the focus shifted from innovation to acquisition.  This was the period that started with non-Disney brands such as Planet Hollywood, Rain Forest Cafe, House of Blues, etc. were included into Disney locations.  Some of these were successful, some not and even some of the more successful ones were not necessarily up to the design, story or level of quality that we had been told was the Disney trademark.

I see this bonding with Avatar much in the same light.  I realize it was a big film in terms of technology and box office but the story was a bit mundane ( Dances with Wolves is often alluded to).  Although there are two more films in the pipeline, the 3D craze is slowing tremendously and the capture method is in use more and more so, in order for this franchise to be one on which to hang a number of multimillion dollar theme parks, they have to be much better than the original.  If not, the franchise will die and it might take the parks with them.  This is not an IP like Indiana Jones, Star Trek or Star Wars consisting of multiple films, some good, some bad, which allow the IP to take a hit off and on and still survive.  This is only one film and, in industry standards, a dated one.  Personally, I would have like to have seen an innovative addition coming from the WDI brain trust rather than one where an outside idea is brought in and a Disney name is put on it but, who knows?  Maybe it will work."

Al Cross, Vice President PGAV Destinations :

"Star Wars and Indiana Jones proved Disney’s ability to adapt non-Disney properties into theme park experiences. So, on the surface there’s no reason to doubt that Avatar will succeed. I can imagine a rich, wildly themed environment, and ride concepts are already jumping out of my brain. What I hope for is an approach that engages the real (earthly) animals who are the genuine heart of Animal Kingdom. And while that’s easy to say, merging a story about another planet, with its own imaginary wildlife, into the story of our planet, its wildlife and its future … and still meet the expectations of the theme park guest … well, now, that’s a tall order. It sounds like fun. I wish I could be involved."

David Willrich, Managing Director, DJ Willrich Ltd. :

I am intrigued that Disney do not feel that they have enough of their own IP to have to dive down this path. Whilst I can understand the concept of AVATAR being a good fit in Animal Kingdom, I don't see it integrating well into the other parks around the world. Having said that, they have a great opportunity and excuse to go as high-tech as Imagineering can muster up the budget for!

In my view the all time best Theme Park attraction is Spider Man, in Universal's Island of Adventure and I have to confess that I was disappointed to not have replaced this with Harry Potter in the same park. With AVATAR, Disney certainly have a theme that can both take on and deliver the worlds best Theme Park attraction.........

Image:WALT DISNEY PARKS AND RESORTS WORLDWIDE CAMERON & IGER Groundbreaking filmmaker James Cameron and Bob Iger, CEO of The Walt Disney Company, share their collaborative vision for bringing the incredible world of AVATAR to life in Disney parks.(PRNewsFoto/Walt Disney Parks and Resorts Worldwide, Scott Brinegar) BURBANK, CA UNITED STATES

Related:  Themed Design: When Less is More  /  Smaller Company, Better Life - Nick Farmer's Business Odyssey /  Total ticketing booked at BeWILDerwood with Open Frontiers /  UK Theme Parks Going Green

We were first treated to a guide of the park by CEO and owner Tom Blofeld (below, second from right). Tweed jacketed and charming, Tom is an Englishman straight from central casting and is as unique as his park. Whilst not a Theme Park in the traditional sense - "no machines" says Tom  - BeWILDerwood is nonetheless highly themed.

Based in a wooded swamp, visitors are presented with a variety of wooden swings, zip wires, bridges and climbing frames which are dotted around the site, but these, whilst of impressive and worthy construction are not what makes the park tick. The USP is in The Boggles.

Blofeld has written a number of children's books which depict a fantastic world of talking hippos, handbag clutching crocodiles and swamp dwelling pixie-like creatures ("Boggles") which are set within the confines of the park. These literary creations are the key to the park's success. With the help of leading themed designer Nick Farmer of Farmer Attractions Development, they have been integrated into the theme park experience in an ingenious way and the Boggles appear to be living throughout the park. There are houses in the trees, cooking pots and walkways between the little villages and trees sport foot-high half open doors.

Though the wood seems alive with this community of magical creatures we never actually see them, they are "unseen characters". Whilst this is an ancient dramatic device (Greek tragedies relied heavily upon events taking place off stage , think also of Romeo and Juliet’s Rosaline and Frasier’s sister-in-law Maris) this is surely unique in the theme park business. The impression created by these unseen characters is so persuasive it is easy to imagine that the introduction of animatronic characters, however neatly done, might serve to shatter the delicate illusion.

BeWILDerwood was opened in 2007 by Tom with help of his old school friend Simon Egan, neither of whom had any previous experience in the attractions industry yet it has proved an idiosyncratic and popular attraction, succeeding both because of and despite its location. The site is swampland, part of the network of marsh and woodland making up the Norfolk Broads and makes an ideal location for the magical story-lead experience. On the other hand, no focus group or feasibility study would have supported the notion of a theme park in such a sparsely populated region of the country. Bart Dohmen (left) reckoned the nearest motorway to the park was in The Netherlands.

Squarely aimed at younger children and families, The park's visitors are A to Bs, there is very little litter and , interestingly, 70% find the theme park through word of mouth as opposed to 30% via the park's more traditional marketing efforts. This is the reverse of most theme parks and implies that the middle class mums of Norfolk have a secret they like to share.

We then heard from Bart from BRC Imagination Arts and Thinkwell Design’s Michael Finney (left), who explained why a number of their projects had been successfully nominated for the THEA Awards (the TEA’s annual awards for themed entertainment projects- BeWILDerwood is a notable past award winner). Bart gave an overview of Hollandarama and The Heineken Experience – “It was about the customer not the brand” – and Michael talked us through (oxymoronic) Ski Dubai and the more recent Grand Opening of the Wizarding World of Harry Potter.

Phil Hartley (PHA Ltd.) discussed Alton Tower’s Charlie and the Great Glass Elevator Experience, the video for which, outside of the elevator ride and in 2D, looked like the LSD trips once described so vividly by John Lennon. It struck me that in this industry any one project demands the talents of many different people and companies and that this sense of collaboration is what lies at the heart of the TEA.

Phil and David Willrich from leading audiovisual specialist DJ Willrich Ltd. then detailed the process involved in getting European and Middle Eastern projects considered by the THEA awards committee and ways to maximise the chances of impressing the judges.  A good video is vital as not all the entrants actually receive a visit from a member of the judging panel.

Finally, with the tea celebrating an important milestone, we were given handfuls of 20th anniversary TEA badges (soon to be kicking up a storm on eBay) and delighted in a couple of sultry models ( N. Farmer & P. Hartley) showcasing the new TEA branded designer jackets.

Thanks go to our generous hosts, Tom and Simon at BeWILDerwood and to the indefatigable Phil Hartley and David and Lynn Willrich for their hard work in organising the event.

By  Mikkel Sonne

Related: Mikkel Sonne launches Hello! Concept Design For All Types of Themed Experiences / The Foundation of Attraction Success is a Four-Legged Stool

Samsung and Bloomingdales have introduced scent marketing in some of their stores. Even companies like Burger King and Vodafone have signature brand colognes, and chances are that your local petrol station may have its own signature scent. But in the attractions industry, an industry rooted in storytelling and emotion, it’s surprising that the use of scents often is overlooked.

The science is all there. The part of the brain that processes scent is the same part that processes memory and emotion—they are physically connected. The smell of clove suddenly reminds me of Christmas and the smell of patchouli of my mother. It’s not oversentimentality, it’s science

As designers we pay careful attention to each detail—the colors, the layout, the graphics, the font on safety signage. We tweak each line. We carefully curate the soundtrack. Yet smell, the sense that scientifically takes us straight to emotion, is generally not top of mind.

I perceive scents as colors—invisible colors if you will—that act in the same way as painting a room in swirly red and white stripes. Wouldn’t adding the smell of peppermint or cotton candy take it to the next level? It transports you into the story and embeds the experience in your memory. It transforms the room from being merely a room into an experience. An experience to remember.

I can cite the research that carefully incorporating scent has been shown to increase consumer spending (it really is out there). But the fact remains that scent is intangible, it’s invisible and sadly, often ignored.

It’s also a powerful tool. It’s a shortcut to connect in the brain to a positive experience. It surpasses all other brain processes and goes straight to emotion. That is how scent can embed memories and experiences. Remember that damp smell when entering The Haunted Mansion or the subtle smell of chlorine water in Pirates of the Caribbean? Scent transforms you to another dimension of the story telling.

It’s also how, for the remainder of that day, every time I caught a whiff of my cologne it wasn’t the smell of cedar or vetiver that caught my attention—it was the recollection of the good-smelling accident that morning.

Image: Mikkel Sonne