Why my journey as a theme park professional led me to academia
by Chaz Moneypenny
In any career, there comes a moment when you realize it’s time to seek out new challenges – not because the work has lost its appeal, but because the desire to grow compels you to explore new horizons. After eight years as a creative director of attractions for Universal Studios Japan – where I built incredible teams, forged unforgettable relationships, and produced some of the most rewarding work of my life – I found myself at such a crossroads. It wasn’t about leaving behind what I loved, but about finding new ways to ignite the spark that had fueled my creativity for so long.
Throughout my career, I’ve been fortunate to work with some of the most iconic names in themed entertainment. I began as an intern with Walt Disney Imagineering R&D, where I honed my skills in writing and experimenting with interactive experiences. My work with Marvel caught the eye of none other than Stan Lee, who brought me on as his assistant and ghostwriter. From there, I moved into writing toys-to-life video games for both Marvel and Star Wars properties. When that chapter closed, a call from former Imagineer and mentor Steve Tatham sent me halfway around the world to Universal Studios Japan, where I had the privilege of writing and directing over 24 attractions and experiences.
The past few years have been transformative, not just for me, but for many of us in the industry. As the world paused and reflected, so did I. The realization hit that I wanted to contribute more broadly to the industry – not just to a single park, but to the entire field of themed entertainment. And so, when the opportunity to transition into academia presented itself, I saw it not as a departure, but as an evolution.
For over a decade, I’ve been at the forefront of creating immersive worlds that captivate and inspire. But this isn’t the end of that journey – far from it. My decision to take on a visiting professorship at the University of Central Florida’s Themed Experience program is about expandingmy role within the industry, not stepping away from it. It’s about contributing in new ways, not just to a single project, but to the future of themed entertainment as a whole.
A good master is always a student
Forget the proverbial retreat into the quiet halls of academia. This move is about learning through the process of teaching. If there’s one thing I’ve gleaned from my time working with next-generation technologies and pioneering new forms of storytelling, it’s that there are no best practices for the unknown. When you’re working with technology that was just invented this morning, you’re in uncharted territory.
My role at UCF is not to impart static knowledge from dusty textbooks, but to engage with students in a dynamic exchange of ideas. I aim to bring the spirit of voluntary, collaborative play that I fostered in creative sessions with world-renowned licensors and artists into the classroom. This is where we push the limits of creative thinking, venture into the silly, and often find creative gold.
Breaking the berm: From industry to academia
The most valuable insights I bring to the classroom come not from theory, but from the frontlines of the industry. Take, for instance, the challenge of motivating a VR guest to turn their head. In VR, the guest has complete control of where they look, unlike a passive TV viewer. The challenge is similar to what I learned from Stan Lee during my time writing comics – how to craft a page turn that compels the reader to move forward. In VR, I apply the same principles to entice guests to explore their virtual environment, asking dramatic questions that engage their curiosity.
This is just one example of the practical applications I plan to introduce to my students. They’ll learn to build their own “toolkits” of creative solutions, designed to tackle the challenges of next-gen technology and multicultural storytelling. Having managed teams across various cultures and entertained audiences worldwide, I’ve honed the art of crafting “primal” stories – narratives that resonate with what is most human in all of us, transcending language and cultural barriers.
Shaking the bottle: Embracing change and innovation
I have always believed in the power of shaking the bottle when life feels too settled. This opportunity allows me to infuse my career with new energy, perspective, and joy. Peter Weishar, who changed my life as my dean and professor at the Savannah College of Art and Design, played a pivotal role in this decision. Since 2018, Peter, who now serves as Director of Themed Experience at UCF, has been instrumental in establishing UCF’s themed experience MS and MFA degrees, the first of their kind at a public university. His personal request to help nurture the program he created came at the perfect time, as I was deciding between freelance, consulting, or another venture. His vision, coupled with my desire to see the industry through fresh eyes and identify a new way to contribute, made the decision clear.
Preparing the next generation for the future of themed entertainment
The industry is at a crossroads, facing two conflicting trends. On one hand, the price and exclusivity of world-class experiences are rising, creating a higher barrier to entry. On the other hand, there’s a democratization of experiences through location-based activations, pop-ups, and similar offerings. The primal desire for experiential stories is driving these trends, and the market is finding ways to bring these experiences to more people.
Technology, especially AI, is rapidly changing the landscape. That’s why my goal is to prepare students to navigate this evolving industry by equipping them with a toolkit of fundamental, creative problem-solving approaches that can be applied to any medium. Just as in a real toolkit, not every tool is right for every job, but with the right variation, students will have a reliable starting point for every challenge they face.
The impact of teaching and the joy of anonymous creative work
I want my students to understand that I was once just like them – wondering if my talents and ambitions were fool’s errands. I want them to see that what one person can do, another can do. Moreover, I want to instill in them the value of anonymous creative work. I spent years as Stan Lee’s ghostwriter, signing “Stan Lee” at the end of some of my best work. That experience taught me the freedom that comes from focusing on the day- to-day, impactful, intrinsically rewarding work, rather than the ego-driven need for credit.
My hope is that my students will leave my classes with a deep understanding of creative problem- solving – skills that will serve them well on day one of their first job. I don’t want them to be strategic learners, doing just enough to get a grade. I want them to leave with a quiet confidence, fostered through genuine curiosity and earned success.
To be continued…
This is not the end of my career, but rather a new chapter in a story that’s still being written. At 40 years old, I’ve found a powerful way to expand my contributions to the legacy of themed entertainment. My impact on the industry will now be multiplied through the students I teach – each one a ripple in the pond, to mix metaphors, carrying forward the lessons they’ve learned.
So, as they say at the end of my favorite Japanese TV show,
「つづく。。。」[1] •
Chaz Moneypenny worked at Universal Studios Japan for over seven years, beginning as a lead writer/producer and making his way to creative director. His credits also include Walt Disney Imagineering, Stan Lee’s POW! Entertainment, and JRA. This summer, Chaz began his time at UCF as a Visiting Instructor for the Themed Experience graduate program.
[1] Romaji: tsudzuku…; English translation: “to be continued…”
