Theme Parks and Immersion Scott A. Lukas. November 19, 2015

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2 Theme Parks and Immersion Scott A. Lukas November 19, 2015

3 Theme Parks and Immersion Learning Objectives 1 : Focus on the reasons that immersion is such an important factor in theme parks and themed environments. Learning Objectives 2 : Develop understandings of how place-making can be created in theme parks and themed environments. Learning Objectives 3 : Appreciate the ways in which immersion can be offered to guests in theme parks and themed environments. Dennis Severs House, London An example of sensory immersion of the guest.

4 Background I gained important insights about guests and guest immersion while working as a Training Coordinator at Six Flags AstroWorld (Houston, Texas). I have also worked as a consultant to the themed and immersive spaces industry. And I have written a number of books that focus on theme parks, themed spaces, and immersion.

5 What Is Immersion? The etymology of immersion is related to Latin words that mean in, plunge, and dip, and when these meanings are applied to a consumer space, we see that a space that is immersive is one that goes beyond the superficial and instead engages the guest in varying levels of depth and experience. Immersion may be defined as the state of being deeply engaged in an activity, situation, or place. For any themed or consumer space, immersion is a necessary quality of space that may guarantee greater engagement and enjoyment of the guest. Gardens by the Bay, Singapore. An example of sensory immersion of the guest.

6 Immersion and Catharsis The example of cave art shows us why immersion has always been a part of human experience and consciousness. The cave art of caves like Lascaux and many other sites may be called the world s first example of immersion. The desire for the guest to get wrapped up in a themed or consumer space is not a new trend. In fact, we may reflect back to Aristotle and his idea of catharsis and realize that people whether reading poetry, watching drama, or seeing a movie have always enjoyed the opportunity to suspend their disbelief and connect with characters, situations, and events in some creative, artistic, or fictional form such that they feel moved deeply, even changed by the whole enterprise. Lascaux II The replica cave art space in France. Catharsis = the act or process of releasing a strong emotion, especially by expressing it in an art form.

7 Limitations and Challenges Achieving the effects of catharsis within a themed or immersive space is not an easy undertaking. The designer of a space does not have the luxury of lengthy backstory, exposition, and all of the time elements that allow a novelist to create meaningful connections with readers. Very often, in a space or attraction, the time given to make that connection with the guest is much shorter. As well, there are the obvious limitations of capital, technology, and other material matters that could make the dreams of designers a reality. Pirates of the Caribbean A theme park ride that effectively uses immersion within a relatively short timeframe. Time (balance of immersive potentials and considerations like queuing, revenue, etc.)

8 Immersive Foundations We see that there are a number of foundations that are present in many contemporary themed and consumer spaces that provide a most basic level of engagement of the guest with the space. The form of a space what could be called its genre provides some degree of immersive potential. A first-time visitor to a cruise ship, for example, may spend the first few hours aboard gawking at and reflecting on the spaces of the ship including the very fact that he or she is on a cruise ship. Because of the space s form, each will have unique opportunities (and challenges) in terms of guest immersion. The Venetian, Las Vegas. A space of charm and immersion. Cerritos Millennium Library A space of surprise.

9 Immersive Foundations Bikini Berlin (Berlin, Germany) A shopping mall that is branded and conceptual in nature. The brand entailed within a space also allows for immersive invite. Popular outdoor enthusiast stores like REI connote in the products, services, and experiences that they offer a certain sense of excitement that the guest may enjoy. Brand foundations, as in the case of Disney theme parks, provide a wealth of opportunities for guest immersion values, expectations, backstory, etc. Polaroid Fotobar, Las Vegas.

10 Immersive Foundations The social components of a space also allow for often intense feelings of immersion on the part of guests. Contemporary nightclubs, sporting venues, and casinos utilize the social elements of space to keep guests wrapped up in them. Being around others often keeps the excitement about a space going. Fremont Street, Las Vegas. A space in which social interaction among people adds to the fun. Entrance, World Expo Milan, The challenges of crowds in space.

11 Immersive Foundations The technology of a space also allows for exciting feelings of immersion on the part of guests. Of course, immersive technology is limited by capital and budget. Germany Pavilion, World Expo Milan The innovative Seedbook was a fascinating feature of the Germany pavilion. Technology for technology s sake versus technology that helps tell a story.

12 The Guest and Immersion Here are a few ideas that may speak to the ultimate desire to authentically immerse guests within a space. Consider Differences: No matter how similar one guest seems to the next one, each guest brings her or his own level of backstory to the space that is being visited. A veteran, for example, will have a much different experience when visiting a space that narrates or expresses some aspect of warfare in human history as compared to someone who hasn t experienced war. The Blitz Experience, Imperial War Museum, London. Of course, it would be nearly impossible to consider all sides or viewpoints when designing an immersive space, but it is at least worth considering different angles and perspectives when telling a story in a space. Another option is to leave the meanings within a space more open and thus allowing different guests to arrive at different understandings of that space.

13 The Guest and Immersion Don t Underestimate the Guest s Knowledge or Experience: One shouldn t assume that the typical guest is looking for good, uncomplicated, and superficial time while visiting the given space. In fact, more and more guests are desirous of experiences, stories, and activities within spaces that speak to their intelligence, knowledge, and cultural backgrounds. Immersive experiences, like those of an alternate reality game, may place greater demands on the guest. Such demands may actually increase the levels of connection that the guest feels with the space. Museum of Jurassic Technology (California) Korea Pavilion (World The Expo guest 2015) can be in on it.

14 The Guest and Immersion Immersion Isn t Always Positive: Many powerful museums and interpretive centers have illustrated the important point that the emotions that connect guests to spaces and all that they entail do not have to be positive ones. Dark tourism and the desire of guests to experience immersion at dark, disturbing, and existential levels illustrate the need to consider all options and emotional potentials when designing or updating a space. Garden of Exile Jewish Museum Berlin. The use of pitch and perspective creates an uncomfortable experience for the guest.

15 The Guest and Immersion Immersion Can Be Conceptual: Immersion does not have to follow what could become predictable patterns for example, an overreliance on theming in some cases. Instead, we may begin to think of immersion using the notions of conceptual art which requires guests to extend their enjoyment of an immersive space to conceptual and cognitive levels. Brazil Pavilion, World Expo Milan The net structure served as metaphor and concept.

16 The Guest and Immersion Immersion Can Be Supplemented: Many immersive spaces are now places in which mobile and off-site experiences may add to the levels of guest immersion. This facet of immersion suggests a lifespace integration. The Social Media Tree (Changi Airport, Singapore) Japan Pavilion App Expo 2015 (Milan)

17 Lifespace Connecting: Time Space Meaning Experience Immersion Then: When the guest left the theme park, the immersion was over. Immersion Now: When the guest leaves the theme park, the immersion may continue.

18 Keys to Immersion The Insider s View: Cultural anthropologists often refer to the emic or insider s perspective. This is the view of culture and everyday life as a person from the culture that the anthropologist is studying would view it. Most anthropologists would agree that the emic perspective is gained through years and years of living among the people in that culture what they also call immersion. Slovakia Pavilion, World Expo Milan The question what is each guest s experience of a space or attraction like? This is actually a very complicated issue.

19 Keys to Immersion Theming: Theming is perhaps the most evocative design approach of the contemporary leisure world. Theming relies on a familiar and memorable theme or story such as the Wild West to offer the guest a sense of an other, fantasy world. Theming has great potential for immersive effects because of its ability to create and maintain an entire world. Cars Land, Disney California Adventure The recently re-themed Cars Land is a marvel of theming.

20 Keys to Immersion Storytelling: Many spaces rely on the use of storytelling or narrative development to connect guests with the space. Like theming, storytelling is an effective means by which to achieve the suspension of disbelief within the guest. Effective and well thought-out storytelling offers some of the greatest immersive potential within a space for the fact that it may reaffirm for the guest why he or she is there and, ultimately, why he or she cares about what is happening within that space. Germany Pavilion, World Expo Milan The use of characters as part of the pavilion experience helps to express the story to the guest.

21 Keys to Immersion Design Focus: Theming and storytelling remind us of the importance of maintaining a clear design focus in any space. When considering how to immerse the guest, as Mies van der Rohe said, God is in the details. A venue or space within it need not be all things. It should be a space that reflects the advantages of details, precision, and a clearly honed vision of what the space is intended to do for the guest. Slow Food Pavilion, World Expo Milan The pavilion demonstrates a subtle, minimalist, and appropriate approach to immersive design.

22 Keys to Immersion Connectors and Transitions: Successful themed spaces like Disney s Animal Kingdom create immersion at very high levels because they pay close attention to the overarching ways that may be used to connect one attraction or space to the next. Whether forms of material culture, technology, techniques of storytelling, or other means, designers may benefit by considering the connectors and transitions that link the parts of the space to the whole (holism). Disney s Animal Kingdom the use of effective transitions between attractions and themed areas.

23 Keys to Immersion Willingness to Change: As the guest changes, so too the space. Such a motto reminds us that spaces that were once exciting and exhilarating to the guest will only become tired and boring for the guest the next day. Competition and innovation within all sectors of the entertainment, media, and leisure industries should inspire the designers and operators of spaces to constantly assess and reinvent their spaces. Disneyland will never be completed. It will continue to grow as long as there is imagination left in the world. Walt Disney

24 Keys to Immersion The Guest s Purpose: To be successful, contemporary themed and immersive design must clearly focus on the needs of the guest, perhaps asking, What does the guest really desire when they visit my space? Though the designer does not have to read the work of philosophers, he or she might benefit by thinking through the most intimate, even existential needs of the guest. Youtube Channel An opportunity to consider themed and immersive spaces from a guest s-eye view.

25 The Guest s Role in Immersion Most professionals within the themed and immersive entertainment industries are very familiar with the close and meaningful connections that develop between guests and workers within consumer spaces. During my time in the theme park industry, my coworkers and I became accustomed to creating and maintaining relationships with guests that went beyond the traditional expectations of the service industry. In many cases, the deep ethos of love that Kevin Roberts (Lovemarks) spoke of was present in the ways in which we went beyond the expectations of the guest. A mutual sense of care that is reflected in such examples of workers and guests deeply caring about the spaces which they inhabit suggests a final and powerful aspect of immersion.

26 The Guest, Designer, and Operator Today, there is the greater possibility of collaborative immersive spaces that take into account the needs, wishes, and desires of the designer, operator, and guest alike. The work on participatory, collaborative, and convergent media is an inspiration for immersive spaces.

27 The Guest s Role in Immersion We may begin to think of the nature of themed and immersive spaces through the sense of dialogue. While designers think up the designs schemes, attractions, technologies and other aspects of consumer spaces, the guests have a key role to play. They are not simply consumers in immersive spaces, rather, they are active participants in the themes, stories, events, and situations that unfold while they are in those spaces. In such a world, immersion is a shared undertaking as a sort of story that unfolds over time. Immersion is never an easy undertaking, but this is why it is an art. United Arab Emirates Pavilion, World Expo Milan

28 Thank you! Questions or comments?