the value of great photo opportunities for attraction operators
by Norman J. Kahn
THIS ARTICLE ORIGINALLY APPEARED IN INPARK MAGAZINE ISSUE #41, 2012
ABOVE: This promotional photo of Old Hong Kong Street at Ocean Park Hong Kong showcases the many different photo opportunities available in this section of the park. Photo courtesy of Ocean Park.
Ever since I first started in the theme park business I knew pictures were a big deal. Back in the 80’s when I worked part time at Universal Studios Hollywood as a merchandise cashier we all knew that pictures were BIG business. The top selling location for merchandise was the Kodak film booth at the main lobby entrance for the Backlot Tour. Back then, people would load up on as much film as they could, so when they came across Lucille Ball or Alfred Hitchcock walking on the back lot as they rode by in their vehicle, they were ready to snap that shot.
Now, people have no need to buy film. An entire line of revenue vanished and theme parks have learned to adapt accordingly. As a result, the idea of “monetizing” photos is a challenge for theme park operators all over the globe. The iPhone and Android have replaced Kodak, and people happily click away as many shots as they can to catch whatever they can. Savvy theme park operators are now providing photo opportunities as a form of enhanced entertainment, and it is working to great success.
Author Norman J. Kahn poses for a photo in a rickshaw at Ocean Park Hong Kong.Photo courtesy of Norman J. Kahn.
On a recent trip to see one of our clients, Ocean Park Hong Kong, I saw one of the most vivid examples of how creating superior photo opportunities for your guest can not only enhance core entertainment value, but can also allow you to take “ownership” of your location and exploit not only its present, but also its past. Ocean Park’s 40,000 square foot “Old Hong Kong” area is filled with sentimental and vintage settings and offers an immersive experience of culture, history, and tasty delicacies. Old Hong Kong showcases the streetscape and spirit of Hong Kong between the ’50s and ’70s from various perspectives, including a replica of Star Ferry Pier’s clock tower, a manually retrofitted heritage tramcar and rows of classic “tong lau”style apartment buildings. Guests can even sample more than 70 local street foods and beverages to enjoy the flavor of old Hong Kong.
While taking a historic look at Hong Kong is a great idea for a tourist destination such as Ocean Park, the attraction’s pure genius lies in its ability to get those iPhones and Androids out and clicking. These photo ops not only provide great memories for the visitors, they allow these visitors to instantly share their experience with family and friends on their social networks. I experienced this first hand as my 10 year old son jumped at every opportunity to ham it up for the camera. From the Rickshaw ride, to the labor of carrying heavy baskets on a pole, to getting water from the communal tap, he enjoyed every minute of it, and our family members 6,000 miles away in Los Angeles also got to instantly share in our experience, as we were both texting and emailing our photos away!
We call this first step in the photo opportunity process, “socializing” the opportunity. When a guest texts or emails their photo to their friends and other contacts in their social network, they are “socializing” the experience.
The author’s son poses for a photo at Ocean Park Hong Kong that was instantly sent to family and friends halfway around the world. Photo courtesy of Norman J. Kahn.
We are working on enhancing the guest experience for another one of our clients, and one of their main goals is to not only improve the guest experience but to find additional sources of revenue. One of our solutions is to try and convert this “socialization” of the photos into “monetization.” We have begun to experiment with creating photo opportunities that also include a QR bar scan code. When the guest snaps their pic, they can also scan this code, which takes them to a custom designed interface portal where they can do the following things: 1) upload their photo to Facebook, Twitter, Pinterest, email, or other social networks as appropriate, 2) enter their photo to “win a contest” for their pic, 3) get a 10% off coupon or free dessert at an in-park dining location, or 4) get a discount or free item for purchasing merchandise today. These last two items are intended to monetize the photo opportunity, and they provide not only additional revenue opportunities, but they
are trackable and measurable for purposes of determining impact.
While these ideas are just being experimented with now, in the future the truly integrated photo opportunity will continue to evolve and provide much more than just a picture. In fact, they can provide so much more to sophisticated operators, the old adage “A picture is worth 1,000 words” may need to be updated to “A picture provides 1,000 opportunities.” • • •
Norman Kahn is an award-winning producer who has spent the last 25 years designing, producing and operating large-scale attractions for theme parks and special venues for clients around the globe including Universal Studios, Warner Bros., Paramount Parks, and Six Flags. His most recent projects include “Symbio” a new nighttime spectacular multi media attraction at Ocean Park in Hong Kong, and events for the Olympics and Live Nation Entertainment. He is CEO of Utopia Entertainment located in Los Angeles, California.
Revelations from Asian-American themed entertainment creatives
by Judith Rubin
THIS ARTICLE ORIGINALLY APPEARED IN INPARK MAGAZINE ISSUE #41, 2012.
How is the attractions industry being reinvented as the Asian market continues to flourish? What are the important cultural signposts? IPM co-editor Judith Rubin spoke to Sywa Sung, a designer and Harriet Cheng, a project manager. Their observations are as enriching as their cross-cultural backgrounds and experience.
SYWA SUNG
“Westerners need to try as hard as they can to not think like Westerners, and inhabit the minds of the people in the countries they are thinking of establishing projects in, or working with.”
Sywa Sung (www.sywa.net) is a freelance art director, conceptual designer & illustrator recently contracted to Walt Disney Imagineering. He has provided design services to numerous leading design companies in the attractions and film industries, including Pixar Animation Studios, Jack Rouse Associates, The Hettema Group, Thinkwell Group and BRC Imagination Arts. He has guest lectured on design and culture to the USC Annenberg Getty Award Fellowship.
You’re an Asian-Canadian, the child of immigrant parents. You’re based in Los Angeles but you grew up in Canada. What languages do you speak?
English, French, and a little Italian. I spoke Cantonese fluently as a child, but lost most of it when I started school. I am left with basic oral comprehension and enough spoken Cantonese to order food at a restaurant. My father is from Hong Kong and my mother is from the Canton region around Hong Kong. As a born and bred native of Montreal, I do not consider myself the ultimate expert on the intricacies of Asian perceptions, but I do have some insight given my upbringing. Foreigners like myself probably have a unique insight into American culture as outsiders looking in. We are probably more objective — like the Bob Hope phenomenon.
The Bob Hope phenomenon?
Bob Hope – in that he was foreign born (UK) yet became an American cultural icon. As more contemporary examples, Shania Twain and Celine Dion have also become American music icons – yet are Canadians whose work becomes the culture. There was a kind of parallel vibe for me when I was working as the attraction art director relating to Batman for the Warner Bros. Abu Dhabi project. For me – a Canadian – getting to work with and interpret a globally synonymous American icon for a foreign audience was a thrill.
Growing up, were you encouraged to assimilate – to leave off speaking Cantonese?
Not at all. Integration and high functioning were the goals. To let go of one’s original roots was not the intention. Canada is sometimes described as a “salad” as opposed to America’s “melting pot.” I have found that nothing really melts together in reality. I will never be able to walk into a room and not have people think of my ethnicity. Sometimes I am reminded of that fact in rather jarring ways.
Do people expect you to be an instant expert on all things Oriental?
Yes! But I am of both worlds, so I can interpret for each side. That’s the unique space I think I occupy. And being Canadian plays a big part of it too. Canada is multi-cultural, and that is celebrated.
What are some things your “outsider” viewpoint helps alert you to in your work?
I am always aware of how American culture may or may not be perceived by non-Americans. Americans frequently take it for granted that everyone loves everything from America, and for the same reasons. That’s not always the case in either respect.
There is sometimes the assumption that people abroad will automatically love an American intellectual property (IP). But not every IP is going to have American qualities that appeal internationally. Here’s an example from when I worked at Sony Development [in the 1990s]. One of the attractions created and brought to Japan was “Where The Wild Things Are” based on Maurice Sendak’s beloved American children’s book. It was beautifully done and true to the book [the attraction first appeared at the original Sony Metreon in San Francisco]. “Wild Things” being American and popular in America led to some assumptions that the Japanese would also love it. It ended up not working there.
In my personal opinion and observation, what was not realized is that Mickey Mouse and other such characters fit within the “cute” and rounded aesthetic that Japanese love, which is already in their culture. The Wild Things, on the other hand, are visually rough-hewn characters with a lot of grit and sharp teeth. That is not to the Japanese taste, so they appeared ugly and scary to them. The mother’s behavior is also different from Asian parenting – a traditional Asian parent would never allow Max to leave the dinner table without eating first. Max’s behavior as a child is very disobedient, which would be considered shameful and embarrassing of the mother, and Max’s behavior unacceptable.
To export concepts or stories to other countries and cultures without doing detailed homework can be a costly mistake.
What do Westerners need to pay attention to as the industry grows in Asia?
Westerners need to try as hard as they can to not think like Westerners, and to inhabit the minds of the people in the countries they are thinking of establishing projects in, or working with. Being a good houseguest, as it were. It is their country, and we are only invited guests. We shouldn’t go in and start rearranging their furniture or telling them how things would be better if they did things our way. You wouldn’t be welcome very long doing that. Eat their food, seek it out, and learn to like it.
When it comes to conceiving attractions, how does one follow the practice of being a good houseguest, so to speak?
We need to listen to their wants and desires, and not to impose our own tastes on them. If they love Bollywood, but don’t care that much about superheroes, give them Bollywood attractions and don’t force superheroes on them. Being a good designer is being able to inhabit your client’s mind, and bring out what they want. All too often, their tastes are not taken seriously enough. They are paying us to provide them what they want, not what we want.
What should Westerners be paying attention to culturally, in that regard?
In the Middle East, and India, we need to pay much closer attention to what Bollywood has going on, and to gain an appreciation for it. Anime in animation and comics must also be taken much more seriously. It is a huge cultural influence in Asia – yet it is considered an exotic side dish here, when in fact it should be influencing attraction design. There is more love and brand awareness of many Anime titles in Asia than for many beloved American IP’s there. We also need to appreciate that Anime storytelling is distinctive. They mix genres much more than we do. You can have a drama-comedy-vampirelove story all in one.
I have seen American Caucasian Anime fans singing Anime karaoke word-for-word in Japanese. Do they know how to speak Japanese? Probably not.
Of course American films are popular and have great reach globally. Disney is obviously a huge influence on the industry. As a generator of IP, it is the gold standard. But one walk around Anime Expo or the show floor at Comic-Con – or a browse through the Bollywood video section of an Indian video store – reveals the huge potential of many other sources – many of which, I must reiterate, are more popular abroad than American IP’s. The industry needs to be more aware of this. If not, other design firms in other countries will outmaneuver us here.
If we want to be relevant, and continue to push the edge, we need to dare to learn more, and more importantly, understand other people and cultures. We live in a global economy, and soon a global culture, whether people are prepared or not. We need to think 10-25 years ahead.
HARRIET CHENG
“In America, we believe that ‘Story is King.’ But when you partner with a different culture, the willingness to execute that vision is not always there.”
Harriet Cheng is currently project manager for IWitness at the USC Shoah Foundation Institute and producer/project Manager at Playground Digital Technologies. She previously worked as project coordinator, Shanghai Disneyland at Walt Disney Imagineering Creative Entertainment. She is firstgeneration Chinese-American, grew up in the US and is fluent in Cantonese and English.
Tell us about your current projects.
With Playground Digital Technologies, I am creating exhibits for the National Museum for the United States Army, a new museum opening in 2015 in Fort Belvoir, Virginia. For the USC Shoah Foundation, I’m creating content for and managing the development of an educational website using materials from the collection. The online education field is exploding right now. That is why I am there – I try to stay ahead of the curve.
How does project management or coordination in the East differ from what the industry’s used to in the West?
I think the biggest difference is the balance between project management (money) and the creative. The Chinese don’t inherently believe that better creative leads to better experiences, and thus, one should not spend money on it – unlike the Japanese, where the experience is paramount and they spend for it!
That’s a huge difference from the storytelling emphasis of the industry in the US and Europe. Here in America, we do believe that “Story is King.” Certainly, that is the case with Disney.
But when you partner with a different culture, the willingness to execute that vision is not always there. With the Japanese, they believed it – Universal Studios Japan and Tokyo Disney Sea are both winner parks. Whereas the Chinese close down parks every day because most of them are thrill ride parks that contain no magic or wonder for kids to love.
Then a stronger story core is needed to earn repeat business?
Well, that’s what we in the West believe. Look at Harry Potter. It blew the doors off Universal’s numbers because the story is so loved. I believe that the Chinese are really a very practical culture. They don’t have a lot of cultural belief in the magic of childhood, the gifts of imagination, and having fun. It is a culture built upon hard work and survival, not daydreaming.
Do you think the growth of the middle class will promote more ‘daydreaming’?
The middle class do not feel very secure in China, or America, either, for that matter. So, in China, where the culture dictates that you save money and don’t spend on idle things, I’m not sure that the parks will get repeat business. For example, Hong Kong Disney depends mostly on tourists, not the local population. Contrast that to Disneyland, where the majority of their business is local customers.
In America, you can become anything. You can start as an “Okie from Muskogee” and turn into Brad Pitt or Carrie Underwood. That is unheard of and undo-able in China. There are far fewer dreamers. When was the last time we had a Chinese performer, or character, or property have that kind of success here? Jackie Chan? No one is making theme parks out of him.
Can you give an example of a Chinese theme park that is achieving a higher standard?
One such park is Happy Valley in Shenzhen. It is an OCT park. The OCT chain spends money on items with no inherent ROI, like landscaping and theming. In America, we talk about “experience” which to us, includes all those intangibles. But the Chinese say, “the grass is not a ride, no one pays to see grass.”
You don’t go to a theme park to bootstrap, though. A theme park visit is an escape from daily life. And there is the crux of the culture clash. Escape? The practical, Chinese attitude is, “Your life is what it is. We can go to this park for a fun time today, but don’t ever believe this is real life.”
The Chinese don’t promote creativity, and in theme park development, there’s much cost cutting. It can be frustrating. As in any business, if you just tell the production teams what the real budget is at first, then they can design to that; not design to something that was never there. Then you get death by a thousand paper cuts.
Then, if allowed to, Western optimism and the concept of the guest experience may greatly benefit theme park development in China?
When society encourages you to be anything you want to be, the creativity is huge. • • •
the opportunities and challenges for waterparks in China
by Dan Martin
THIS ARTICLE ORIGINALLY APPEARED IN INPARK MAGAZINE ISSUE #41, 2012.
“Compared to Western facilities, Chinese waterparks are developed quickly and cheaply with government assistance, operate with an inexpensive workforce at twice the actual capacity of Western waterparks, and serve a population in which up to six adults are saving up to send the family’s one child to a waterpark. The parks can’t charge the equivalent of US $30 to $40 per person – but they don’t need to.”
China has accepted whole new categories of Western leisure facilities at a breakneck speed. High value attractions went in first: golf courses, theme parks and in Macau, casinos. Three leading industry figures – Don McCrary of Dreamparks International, David Bogdonov of WhiteWater West, and Jeff Mayer of Bassenian Lagoni – all believe waterparks will lead the next wave.
There are several systemic distinctions between China and the West that will make a difference for developing waterparks in China. China has been what might be called a “command economy.” Although it is changing over time, everyone would agree that the Chinese government is responsible for directly creating economic activity, including housing and jobs. Five-year plans, backed by government money, guide how the government expects to do this.
In the US, while Americans tend to blame the government if there is a falloff in adequate housing and jobs, they expect the private sector to provide them and generally resist the concept of anything like the Chinese five-year-plans. The level of government involvement directly impacts waterpark development in China. If you want to develop a waterpark, you may find it necessary to build housing as part of the project.
As the housing is developed, you are able to build your waterpark. (There are curious, but not direct, parallels with US waterpark hotels that sold condos to fund development, and in golf communities, where the inducement to buy a residence is the coming golf course.) When you build a Chinese waterpark, there are, by any Western standards, an astonishing number of workers on site. Instead of a five man western crew with equipment, there are 50 Chinese workers with tools. In other words, the developer provides jobs. To make sure that this all goes to plan, the government is involved in every project every step of the way. There is no external regulatory entity as in the US.
In fact, even after development, the government owns the land and, by extension, the improvements. This creates a hurry-up atmosphere that contributes to projects being built as quickly as possible, so the developer can start operating and generating a cash flow to start paying taxes to the government as soon as possible. The haste helps the government create jobs by further expanding the workforce needed on-site to accelerate construction.
China’s five-year-plans have been targeted toward creating manufacturing capacity (jobs) for many cycles, but the recent stabilization of the population at 1.3 billion has allowed an easing of pressure. Most important to our industry, the current five-year plan includes government support for leisure facilities. David Bogdonov of WhiteWater West points out that now “local governments are asking for recreation facilities to be built by real estate developers in exchange for land in real estate developments.”
The differences don’t stop there. The famous one-child rule has created a remarkable set of demographics. That one child is at the bottom of a family tree that includes two parents and four grandparents – an extended household of up to seven people (assuming that grandparents live close by or watch the child) with only one child. Western households typically have twice the number of children as that same Chinese family tree, and Western grandparents are often less involved (partly because they are likely to have multiple grandchildren).
In the West, there is widespread concern that the middle class is evaporating. It’s simpler in China – there isn’t much of a middle class. In 2006, Chinese sociologist Zhou Xiaozheng said, “China’s current success is built on 300 million people taking advantage of 1 billion cheap laborers.” Even today that’s not far off the mark. Approximately 320 million Chinese, about 25% of the population, live in households with incomes at or above that found in most Western countries. This is close to the number of people (330 million) living in the US, but as pointed out, with fewer children. At the same time, hundreds of millions of Chinese have household incomes far less than would in the West be considered candidates for attending a waterpark. The average poor family in China earns less than $5,000 US per year.
The result could be that we have a market in China where waterparks get built for the 320 million, and the billion go unserved. But that won’t happen – not in China. Construction and operating labor is cheap in China and the government, in its five-year plan, is backing more leisure facilities. (There is to some extent a parallel in the West as there are many hundreds of municipal or government owned and operated aquatic centers.) Project economics, in China, are structured to make it work for many.
“Cultural norms also make a big difference in the design and operation of leisure destinations,” says Jeff Mayer, Director of International Planning for Bassenian Lagoni, who has been working on tourism projects in China for the last ten years. Mayer observes, “With a history of living in densely populated mega-cities, the Chinese seem to be less concerned about personal space than do more self-conscious Westerners.” A Western waterpark that holds 3,000 will, in China, comfortably hold 7,000.
On the surface, this presents revenue benefits, but it also strains infrastructure and increases the importance of maintenance and safety. Unfortunately, many of the early water filtration systems installed in China were designed to Western standards, while receiving twice or more the user load. Parks that are willing to invest in highest quality mechanical/filtration systems – and get the ratio right – will be the most successful. Like many emerging economies, China has public maintenance issues. There are also frequent water quality issues in China. Mayer advises, “If you are going to develop a project in China that has water in it, you better have a very good aquatic engineer on your team.”
While it’s hard to miss water quality issues, Don McCrary of Dreamparks International notes that the Chinese government and the CSCI (the Chinese equivalent of the US’s ASTM) are adamant about safety. Following some ride accidents they began to send inspection teams to foreign factories operated by vendors for assurance that materials and fabrication practices were safe. This rigorous approach is continuing.
Compared to Western facilities, Chinese waterparks are developed quickly and cheaply with government assistance, operate with an inexpensive workforce at twice the actual capacity of Western waterparks, and serve a population in which up to six adults are saving up to send the family’s one child to a waterpark. The parks can’t charge the equivalent of US $30 to $40 per person – but they don’t need to.
The leveling off of the population and the country’s economic ascent have made all this possible. Projections by the UN and US show that the Chinese population has leveled off at 1.3 billion, will stay at that level through 2050 before starting a gradual decline, and possibly drop below a billion in 2080. However, in that time, the population will age considerably. The number of children 0-15, the broad target market for water experiences, has been on a steady decline – from approximately 346 million in 1990 to 253 million in 2010, a level that is projected to remain for several decades. This is still more than four times the size of the same age group in the US. In time, the Chinese population is expected to become more evenly distributed by age group.
The leveling out of the age groups and the ratio of children to adults impact the mix of attractions in a Chinese waterpark. Mayer has worked with leading cultural anthropologists on multiple tourism projects in China and has learned that “Culturally, water is very important in China. It is seen as a luxury to have access to clean water, and running water, in particular, elicits a vivid association with the continuity of life.”
David Bogdonov, of WhiteWater West, agrees. He points out that there is a strong tradition of spa and hot springs participation in China. This meshes well with the waterpark industry and has been integrated into WhiteWater’s waterpark designs across China.
Don McCrary notes that South Korea has already been down this path. There, early waterparks were very Western, but now they mix traditional spa and modern thrilling water experiences. McCrary, who is currently working on three projects in China, notes that waterparks that incorporate the tradition of spa and hot springs provide an opportunity for the multigeneration Chinese family to get wet and have fun. However, he notes that Western groups are typically retained for their excellence in “Western style” facilities – which is what their clients really want.
According to Bogdonov, China’s waterpark wave really began with “the success of Chimelong waterpark. It opened its doors in 2007 and immediately rose to the third most highly attended waterpark in the world after the two Disney parks in Orlando.” Chimelong has traditional Chinese aspects but leads with a very strong Western waterpark ride package.
The current market response is to go big. Bogdonov says that the emphasis has been on the larger parks in the largest cities. “Given the size of the urban areas in China, developers are usually focused on providing high capacity parks. The Chimelong Park in Guangzhou and Beijing Longmenzhen each have peak-day attendance in excess of 35,000.”
In addition to providing deeper markets, the largest cities have many income-qualified households that own cars, better enabling them to get to the parks. However, while China has become the largest car market in the world, ownership is still well below that of Western countries. All this is not good news for China’s vast rural population. For them, waterparks are likely to be a thing of dreams for at least a generation.
With its enormous population of children – even if 75% are in low-income households – China will be a good candidate for a trend we have experienced in the US – water, water everywhere – from flow riders and slides on cruise ships and water play areas in zoos, to play fountains in public parks. While the public recreation movement in China is nascent, it may emphasize water play as a way to encourage the healthy active lifestyle that many local level Chinese government units seem to encourage and demand in exchange for development rights.
As in the US, existing theme parks in China can be expected to add waterparks. The shake-out in the Chinese theme park industry increases the likelihood that some less-than-successful theme parks will add waterparks as a way towards recovery. Adding a second park allows operators to increase capacity at a lower incremental cost.
Mayer, McCrary, and Bogdonov all believe that this adds up to extraordinary opportunities for every facet of the visitor attractions industry. Westerners just need to be smart and thoughtful about crafting experiences that resonate with Chinese culture, respond to governmental concerns, and address the rapid evolution of its infrastructure. • • •
Dan is a Managing Principal at Market & Feasibility Advisors. His rich portfolio includes retail and hospitality feasibility, museums, zoos, theme parks, water parks, resorts, aquariums, and more in 30 states and provinces across North America and in Asia and the Middle East.
EDITOR’S NOTE: THIS ARTICLE ORIGINALLY APPEARED IN INPARK MAGAZINE ISSUE #41, 2012. SINCE ITS ORIGINAL PUBLICATION, GARY GODDARD ENTERTAINMENT HAS CHANGED ITS NAME TO LEGACY ENTERTAINMENT AND IS UNDER NEW MANAGEMENT.
Gary Goddard talks about creating great international attractions interview
Designer/producer Gary Goddard, CEO and founder of Gary Goddard Entertainment, expanding now under the umbrella of The Goddard Group, has a long list of credits in international theme parks, theater, casinos and resorts. He’s been very active in Asia over the past 10 years or so; recent high-profile projects include the The Galaxy Macau, the 2,800 room, two billion dollar mega resort casino which opened in May of 2011. He is currently designing another mega resort casino in Macau, as well as creating a theme park and destination resort in Moscow.
What are the real hotbeds of activity on the international themed entertainment market?
Right now we find a lot going on in Macau, China, and India. Casino projects (with entertainment attractions) continue to pop up there and pretty much all over Asia, including the Philippines, Vietnam, and Japan. Everyone wants a chance to share in the revenues that can be earned from gaming.
What developments are thriving?
There are two extremes: Either (1) the smaller stand-alone attractions (such as the Merlin array of products) that are located in high density urban centers, or (2) the larger destination resorts. Also, water parks remain pretty strong in most markets as long as they are sized right for the location.
The City of Wonders project features a boutique garden theme park set within a larger urban development.
What is happening in China, in particular?
It’s a boomtown at the moment with a high number of projects being developed, designed, built and so on. The best of them will survive and prosper. That’s my biggest concern with the clients we do business with – conveying a longterm perspective. You are building to compete and to “win” over many years. Also, most Chinese developers and owners don’t really know the industry and it’s important for them to take the time necessary to thoroughly vet the firms they engage to create attractions for them. If they say “we can do it all,” make sure they can actually deliver on that statement.
Do you see a trend of integrating themed entertainment with residential properties?
Yes, to some degree. This has manifested in China, and I think the Indian market will want something along these lines as well.
Tell us a little about your experience in the gaming market, which seems to be an increasingly strong area for you.
With my background going back to several Las Vegas projects – the Caesars Palace expansion master planning, The Venetian conceptual design and the planning for the original MGM – plus interiors for and attractions for the original Sydney Harbor Casino (aka “Star City”) in Sydney, Australia., and most recently, the concept and master planning of the Galaxy Macau, we have a unique understanding of how to combine gaming, hospitality, food & beverage, retail, and entertainment into a completely integrated experience, and the creation of iconic visitor destinations that become magnets for guests. Along those lines, stay tuned for details of an unprecedented, new project in Macau that will be announced soon, that I assure you will become the new #1 destination there.
What are some standout differences – and preferences – between East and West when it comes to theme park projects?
Mainly gastronomic – the East and West have very different tastes when it comes to food, as some park operators have learned the hard way. In terms of entertainment, it seems that people in East and West share the same desire for a mix of thrills, fun, scares, and wonders. I do think that designers and developers alike should give more attention to the role landscaping plays – this is especially underappreciated in the East. But having said that, it’s more than just landscaping – it’s the creation of unique immersive spaces that engage the emotion of the guests. Easy to understand intellectually, but much more difficult to execute in reality. Audiences in the East love big effects shows when done right.
How do you think IP can be protected in countries like China?
This is a major subject that needs to be addressed by our industry. After looking into it following a bad experience, I have come to the conclusion that there are insufficient avenues of legal recourse for resolving IP disputes in China and some other Asian countries. On the other hand, we have had some very positive working relationships. It seems, the more closely the owners or developers are tied to the central government, the more respectful of rights, and of rule of law they are. The short answer is: Proceed at your own risk.
The 513-foot Ring of Harmony is currently under construction at Shenfu New Town in northeast China.
What project out there right now do you think has the most potential to be a “game changer” for the Asian market?
There is reason to think that Disney is about to deliver something truly astounding in Shanghai. I certainly look forward to a dynamic new theme park experience in there and I truly want to be filled with wonder again with a major Disney project operating on all engines. And, speaking from personal experience having worked closely with James Cameron as co-creator and director/ producer on the revolutionary Terminator 2/3D, I look forward to seeing Disney’s collaboration with him on AVATAR. I think this will be something truly unique, exciting, dynamic and wondrous, and I am quite sure any AVATAR land or park will make its way to Shanghai and/or Hong Kong. Of course I have to mention that the GALAXY MACAU was called a “game changer” by Macau Business Magazine and is generally credited with setting a new approach to design for the Cotai Strip – and I like to think that some of our newer projects still in development – in several different countries – will also take their place as game-changers for the entire industry. For me, the excitement is in creating new and never-before-experienced attractions and resorts.
Your Asian portfolio continues to expand. Why are projects continually coming to GG from Asia?
I think it’s our reputation for quality in terms of design and execution. And our track record of having designed projects that actually get built. We have been very busy in our first ten years as The Goddard Group – with more than a dozen projects around the world actually being built and open in that time. Currently we’ve another five projects in various stages of construction with openings planned in 2013, 2014, and 2015. All of our projects have been successful in terms of numbers, and visually iconic in a way that increases attendance. We have worked hard to become the “go to guys” for making large and small projects a reality throughout China and Asia.
What do you think is the “next big thing” people don’t yet know about in Asia?
Well, I do know the answer to that, but you don’t think I am going to let the cat out of the bag here do you? That’s the kind of information that leads to new projects. So for now, I’ll respectfully decline to answer. • • •
New York, NY, USA; London, UK (May 30, 2012) /PRWEB/ — Hard Case Crime, the award-winning line of pulp-styled crime novels published by Titan Books, today announced it will publish JOYLAND, a new novel by Stephen King, in June 2013. Set in a small-town North Carolina amusement park in 1973, JOYLAND tells the story of the summer in which college student Devin Jones comes to work as a carny and confronts the legacy of a vicious murder, the fate of a dying child, and the ways both will change his life forever. JOYLAND is a brand-new book and has never previously been published. One of the most beloved storytellers of all time, Stephen King is the world’s best-selling novelist, with more than 300 million books in print.
Called “the best new American publisher to appear in the last decade” by Neal Pollack in The Stranger, Hard Case Crime revives the storytelling and visual style of the pulp paperbacks of the 1940s, 50s, and 60s. The line features an exciting mix of lost pulp masterpieces from some of the most acclaimed crime writers of all time and gripping new novels from the next generation of great hardboiled authors, all with new painted covers in the grand pulp style. Authors range from modern-day bestsellers such as Pete Hamill, Donald E. Westlake, Lawrence Block and Ed McBain to Golden Age stars like Mickey Spillane (creator of “Mike Hammer”), Erle Stanley Gardner (creator of “Perry Mason”), Wade Miller (author of Touch of Evil), and Cornell Woolrich (author of Rear Window).
Stephen King commented, “I love crime, I love mysteries, and I love ghosts. That combo made Hard Case Crime the perfect venue for this book, which is one of my favorites. I also loved the paperbacks I grew up with as a kid, and for that reason, we’re going to hold off on e-publishing this one for the time being. Joyland will be coming out in paperback, and folks who want to read it will have to buy the actual book.”
King’s previous Hard Case Crime novel, The Colorado Kid, became a national bestseller and inspired the television series “Haven,” now going into its third season on SyFy.
“Joyland is a breathtaking, beautiful, heartbreaking book,” said Charles Ardai, Edgar- and Shamus Award-winning editor of Hard Case Crime. “It’s a whodunit, it’s a carny novel, it’s a story about growing up and growing old, and about those who don’t get to do either because death comes for them before their time. Even the most hardboiled readers will find themselves moved. When I finished it, I sent a note saying, ‘Goddamn it, Steve, you made me cry.’”
Nick Landau, Titan Publisher, added: “Stephen King is one of the fiction greats, and I am tremendously proud and excited to be publishing a brand-new book of his under the Hard Case Crime imprint.”
JOYLAND will feature new painted cover art by the legendary Robert McGinnis, the artist behind the posters for the original Sean Connery James Bond movies and “Breakfast At Tiffany’s,” and by Glen Orbik, the painter of more than a dozen of Hard Case Crime’s most popular covers, including the cover for The Colorado Kid.
Since its debut in 2004, Hard Case Crime has been the subject of enthusiastic coverage by a wide range of publications including The New York Times, USA Today, Time, Playboy, U.S. News & World Report, BusinessWeek, The Los Angeles Times, The Chicago Sun-Times, The Houston Chronicle, New York magazine, the New York Post and Daily News, Salon, Reader’s Digest, Parade and USA Weekend, as well as numerous other magazines, newspapers, and online media outlets. The Chicago Sun-Times wrote, “Hard Case Crime is doing a wonderful job publishing both classic and contemporary ‘pulp’ novels in a crisp new format with beautiful, period-style covers. These modern ‘penny dreadfuls’ are worth every dime.” Playboy praised Hard Case Crime’s “lost masterpieces,” writing “They put to shame the work of modern mystery writers whose plots rely on cell phones and terrorists.” And the Philadelphia City Paper wrote, “Tired of overblown, doorstop-sized thrillers…? You’ve come to the right place. Hard Case novels are as spare and as honest as a sock in the jaw.”
Other upcoming Hard Case Crime titles include The Cocktail Waitress, a never-before-published novel by James M. Cain, author of The Postman Always Rings Twice, Mildred Pierce, and Double Indemnity, and an epic first novel called The Twenty-Year Death by Ariel S. Winter that has won advance raves from authors such as Peter Straub, James Frey, Alice Sebold, John Banville, David Morrell and Stephen King.
About Hard Case Crime Founded in 2004 by award-winning novelists Charles Ardai and Max Phillips, Hard Case Crime has been nominated for or won numerous honors since its inception including the Edgar, the Shamus, the Anthony, the Barry, and the Spinetingler Award. The series’ books have been adapted for television and film, with two features currently in development at Universal Pictures and the TV series “Haven” going into its third season this fall on SyFy. Hard Case Crime is published through a collaboration between Winterfall LLC and Titan Publishing Group.
About Titan Publishing Group Titan Publishing Group is an independently owned publishing company, established in 1981, comprising three divisions: Titan Books, Titan Magazines/Comics and Titan Merchandise. Titan Books, recently nominated as Independent Publisher of the Year 2011, has a rapidly growing fiction list encompassing original fiction and reissues, primarily in the areas of science fiction, fantasy, horror, steampunk and crime. Recent crime and thriller acquisitions include Mickey Spillane and Max Allan Collins’ all-new Mike Hammer novels, the Matt Helm series by Donald Hamilton and the entire backlist of the Queen of Spy Writers, Helen MacInnes. Titan Books also has an extensive line of media and pop culture-related non-fiction, graphic novels, art and music books. The company is based at offices in London, but operates worldwide, with sales and distribution in the US and Canada being handled by Random House. http://www.titanbooks.com
Kissimmee, FL, USA (May 31, 2012) /PRWEB/ — Roller coaster enthusiasts will have a chance to ride coasters for charity again this year at the Fourth Annual Coasting For Kids event held Sunday, June 10 at 11 Cedar Fair Entertainment Company amusement parks across North America. This marathon roller coaster event will help raise funds for Give Kids The World Village (GKTW), a Central Florida non-profit “storybook” resort that provides cost-free, weeklong vacations to children with life-threatening illnesses and their families.
More than 350 amusement park roller coaster fans have signed up to participate in the event, which offers complimentary admission to any Cedar Fair theme park in exchange for a $25 registration fee and a minimum fundraising donation of $75. Participants will also receive a limited edition 2012 Coasting For Kids t-shirt and VIP access to each park’s signature thrill ride. Featured rides include the legendary Magnum XL-200 and Gemini roller coasters at Cedar Point, Jaguar at Knott’s Berry Farm, Steel Force at Dorney Park, Intimidator 305 at Kings Dominion and many more. Each park will also offer additional event perks unique to their location. Both the registration fee and the raised donations from the riders will help GKTW continue its 26-year mission of providing magical memories to children with life-threatening illnesses and their families. Riders are encouraged to reach out to their families, friends and communities to support them in this fundraising effort for GKTW.
“Families, particularly children, are the driving force behind all of Cedar Fair’s parks,” said Annie Zelm, spokeswoman for Cedar Point, Cedar Fair’s flagship park. “Our rides and attractions give them a rare opportunity to escape the stresses of everyday life, and our partnership with Give Kids The World Village helps make that possible for families who need a day of fun more than ever. We are proud of our parks’ combined efforts to raise funds so these deserving families can look forward to a vacation they’ll treasure for years.”
“We are thrilled to partner with Cedar Fair Entertainment Company on Coasting For Kids for the fourth consecutive year,” said GKTW President Pamela Landwirth. “Through the dedication and generosity of Cedar Fair and hundreds of amazing coaster enthusiasts, Give Kids The World will be able to continuing creating the happiness that inspires hope for thousands of children from around the world.”
Coasting For Kids will take place at Cedar Point (Ohio); Kings Island (Ohio); Canada’s Wonderland (Ontario, Canada); Dorney Park (Pa.); Valleyfair (Minn.); Michigan’s Adventure (Mich.); Kings Dominion (Va.); Carowinds (N.C.); Worlds of Fun (Mo.); Knott’s Berry Farm (Calif.); and California’s Great America (Calif.).
For more information and to register to participate in Coasting For Kids, visit coastingforkids.org. Space at each park is limited. To learn more about how this fundraiser will make a difference in the life of a child, please visit givekidstheworld.org.
Cedar Fair Entertainment Company Cedar Fair Entertainment Company is a publicly traded partnership headquartered in Sandusky, Ohio. The Company, which owns and operates 11 amusement parks, six outdoor water parks, one indoor water park and five hotels, is one of the largest regional amusement park operators in the world. Its parks are located in Ohio, California, North Carolina, Virginia / District of Columbia, Pennsylvania, Minnesota, Missouri, Michigan, and Toronto, Ontario. Cedar Fair also operates the Gilroy Gardens Family Theme Park in Gilroy, California under a management contract. Cedar Fair’s flagship park, Cedar Point, has been consistently voted the “Best Amusement Park in the World” in a prestigious annual poll conducted by Amusement Today newspaper.
About Give Kids The World: Recognized as the highest rated charity in America by personal finance site MainStreet, and also reported by MSN Money, Give Kids The World Village (GKTW) is a 70-acre, non-profit resort in Central Florida that creates magical memories for children with life-threatening illnesses and their families. GKTW provides accommodations at its whimsical resort, donated attractions tickets, meals and more for a weeklong, cost-free fantasy vacation. With the help of many generous individuals, corporations and partnering wish-granting organizations, Give Kids The World has welcomed more than 115,000 families from all 50 states and more than 70 countries. For more information about GKTW and its mission, visit givekidstheworld.org.
Weymouth, UK (May 30, 2012) /PRWEB UK/ — The Seafront Land Train has been a popular feature of the Weymouth sea front for 15 years. With the land train SEA LIFE can now provide visitors with the perfect link between their two attractions in the town; the new Weymouth SEA LIFE Tower, a 53 meter high observation tower that gives a panoramic 360 degree view of the resort and coastline, and the Weymouth SEA LIFE Adventure Park, located over a mile away in Lodmoor Country Park.
On taking delivery of the vehicle, SEA LIFE General Manager Craig Dunkerley saw that the vehicle was in urgent need of repairs and a facelift. With barely eight weeks to get the job turned round, Hollyer Projects were brought in to get the land train in shape before the start of the season. Dunkerley says, “I’ve known Richard Hollyer for 10 years. He’s reliable and trustworthy and very creative. He can take a project, understand what the business needs and just go with it.”
After the necessary mechanical repairs, the land train was vinyl-wrapped, a process which gives a superb colourful shiny finish which is very durable without using paint. Hollyer Projects commissioned Matthew Ringland to design the stunning artwork for the land train. This is a skilled job as the designs must be laid out very carefully for the vinyl wrapping process.
The land train has three carriages, each of which has a different theme: the train engine and first carriage have an underwater aquarium theme based on the SEA LIFE Adventure Park; the second carriage has images of the Weymouth SEA LIFE Tower and the third promotes the independent attractions at the Lodmoor Country Park, a 350 acre park incorporating a nature reserve, family attractions and a green gym.
Hollyer Projects completed the work by the deadline of 31st March and the result is a vibrant new land train in time for the Olympic sailing events hosted in Weymouth this summer.
The Seafront Land Train runs daily until 31st October along the Weymouth Esplanade promenade between the Town Centre and the Weymouth Sea Life Adventure Park. The 10-15 minute journey will be extended from 22nd June to link to the new Weymouth Sea Life Tower. The train has a capacity of 18 adults or 24 children per carriage, providing a total capacity of 52 adults allowing for the wheelchair ramp on the last carriage. Prices for a one way trip are £1.50 with no charge for children under three.
About Hollyer Projects Following a sculptural grounding in the 80s, Richard Hollyer was employed by Merlin Studios (formerly Tussauds Group Studios) for nearly 18 years. He finally became one of the Studio’s project managers in 2003, delivering increasingly complex projects for the ever-growing portfolio of Merlin attractions.
Hollyer Projects manage creative installations from start to finish, providing a personal service, which includes project management, design, theme work and signage. Richard is always keen to meet with clients at the earliest opportunity to discuss their requirement and to offer ideas and possible solutions for achieving their ultimate objective.
About SEA LIFE SEA LIFE, part of MERLIN ENTERTAINMENTS, is the world’s biggest aquarium brand with more than 10 million visitors a year and over 30 superb attractions in Europe, USA and Asia Pacific. MERLIN ENTERTAINMENTS is the leading name in location-based, family entertainment, and has seen the most successful and dynamic growth of any company in the sector over the last five years to become Europe’s Number 1 and the world’s second-largest visitor attraction operator.
FUNA’s organic expansion leads to a significant Asian presence
by Dawn Allcot
This article originally appeared in InPark Magazine issue #41, 2012
Is FUNA International aiming to take over the world? One thing is certain: the global technology solutions provider, headquartered in Emden, Germany, has a solid, international business plan that secures its future in the theme park and attraction market segments on land and at sea.
This 40-year-old technology solutions provider excels in many areas. FUNA is a design, integration, engineering and consulting firm for a variety of systems, “from airports to wind turbines and everything in between,” as the company’s website states.
With more than 245 skilled professionals based in 14 locations in 10 countries worldwide, it’s not a stretch to say the company is like one of the theme park attractions it has designed, using technological “magic” to appear to be in many different places at the same time. Science fiction author and futurist Arthur C. Clarke posited, “Any sufficiently advanced technology is indistinguishable from magic.”
“Sufficiently advanced technology,” along with a solid business plan and the resources to implement that plan, is exactly what’s taken FUNA to the top of its industry — er, industries.
Brian Paiva, vice president of business development & strategic planning for FUNA International, explains the plan concisely, his voice taking on the tone of a person who knows the goal and knows how to accomplish it, too. “We are establishing ourselves in multiple unrelated, niche markets with significant growth potential in order to mitigate risk, and leveraging that presence to expand into the next market.”
In this case, the next market is China or, as Paiva is quick to clarify, “all of Asia, with a particular focus on China.” The scheduled opening of the 963-acre Shanghai Disney Resort for 2015 has sparked interest in theme parks and attractions across the region. According to the United Nations World Tourism Organization, China is poised to overtake France and Spain as the world’s main tourist destination by 2020.
Not an organization to miss a big opportunity, FUNA has established a local presence in Shanghai and is currently working on a number of sizable theme park and attraction projects in Asia. Paiva says the details of the projects are confidential, but the clients are household names in entertainment across the world.
FUNA’s parent company set up shop in China in 1997, with a state-of-the-art fabrication house constructed in Taizhou in 1998. Located some three hours from Shanghai by car, the facility provides FUNA with access to a local ISO 9001:200-certified facility with 150 local Chinese employees for engineering, CAD, fabrication, testing and logistics of Asian projects. The facility, which was expanded in 2008, includes 4,800 square meters of fabrication space and 1,500 square meters of office space, along with 1,000 square meters of space available for future expansion.
Paiva says, “Being part of a much larger corporate group, we have a lot of resources – both capital and human – at our disposal that most companies wouldn’t have, to accomplish the types of things only a large company would be able to do. It might take a smaller company years to get to this stage, and we’re fortunate that we can do it right now.”
These resources include on-staff Chinese designers, engineers, fabricators and technicians. This access to a highly-skilled Asian workforce helps FUNA compete against local counterparts. “The Thaizou facility is kept very clean and organized,” Paiva says. “It would be clear to a visitor that this is a well-managed fabrication facility.” A further competitive point is its local status – allowing developers to comply with government-mandated requirements for local content (i.e. Chinese-supplied products and services).
Another advantage is FUNA’s decades-long experience as an international firm. Managing projects long distance, hiring local labor, and dealing with the permit process in other countries while maintaining consistency of product and quality are nothing new for this company. FUNA also knows the need to anticipate and solve the challenges of understanding the demands of consumers in other countries, the cultural differences and the variations in expectations when it comes to an entertainment experience.
The luxurious Amber Theater on Royal Caribbean’s Oasis of the Seas was designed by
FUNA and showcases a variety of performances and events during every cruise.
Photo courtesy of Royal Caribbean.
Scott Arnold, Design Manager of FUNA’s design consultancy group says, “There’s an interesting cultural mix that has to be taken into consideration, and that’s true whether you’re going to Germany, Spain, the Middle East or Asia. It’s not as simple as picking up an Orlando theme park, for instance, and putting it somewhere else.”
He cites several examples – including the layout of a theme park, how park guests wait in queue, how long they’re willing to wait, and what they expect to see while in line – as just a few of the minor differences. While the technology used to accomplish the end result anywhere in the world might be similar, the guest experience is different. “We don’t touch on cultural issues to the extent that theme park and attraction designers do, but you do have to be culturally sensitive,” Arnold says. “The companies that understand and embrace these issues are the ones that thrive.”
While seeking to grow the number of Asian companies in its clientele, FUNA is already serving an existing client base in the East. “A lot of our clients in the West are expanding to facilities in China,” explains Arnold. He notes that having offices and fabrication plants in both the East and West makes it easier to work with clients who likewise have a global presence. “It’s a natural fit, when we’re working with companies from the West who are also expanding into the East. Our teams in the U.S. or in Europe work together, while our teams in Asia connect,” he says.
Growth: Organically, and by Acquisition
The new Shanghai facility could be classified as part of FUNA’s “organic” expansion. Paiva says the company’s strategic growth initiative includes a mix of “organic growth and growth by acquisition.” The acquisition phase began in 2007, when FUNA GmbH Nachrichtentechnik merged with Teledimensions International Inc. (TDI) to create FUNA International GmbH (“FUNA.”)
Three years ago, FUNA acquired Advanced New Technologies (ANT), a renowned provider of technology solutions, from communications to themed entertainment to IT and safety systems, for superyachts. In 2009 and 2010, respectively, FUNA International supplied audiovisual systems integration, engineering, and technical design for most of the 50+ venues on Royal Caribbean International’s Oasis of the Seas and Allure of the Seas – world’s largest cruise ships.
In 2010, FUNA acquired West Palm Beach [Florida]-based ShowSys, an audiovisual integrator with extensive expertise and an existing client base in the theme park, attractions and cruise ship markets, and creators of ShowVue theme park operations software. “ShowSys is a good example of the type of team we look for, with diversified experience working on multiple projects. ShowSys would be celebrating its 10th anniversary this year if not for the acquisition,” Paiva said.
Most recently, FUNA acquired MAVCO, a leading provider of integrated low voltage system solutions specializing in audio, video, lighting, public address, broadcast and security systems. “This uncorks a big opportunity for FUNA, and is the next major milestone in our company-wide strategy to strengthen our position in primary markets while diversifying into promising new markets,” Paiva said. “The combined strengths of both companies open a wide range of compelling products and services to our clients. Our complementary assets, knowledge and experience will give us increased talent and scale to better compete in the marine and landbased markets: cruise ships, superyachts, visitor attractions and theme parks. MAVCO’s track record parallels FUNA’s own accomplishments and fits well with our established growth strategy.”
MAVCO appears on the official credits list of Disney’s Star Tours – the Adventures Continue, a refresh of the original attraction and recipient of a 2012 Thea award, an honor to be added to the FUNA portfolio along with FUNA’s own position in the official credits of another 2012 Thea awardee: Animation Magic at the Animator’s Palate Restaurant aboard Disney Cruise Line’s Disney Fantasy.
Verbolten, recently opened at Busch Gardens Williamsburg, combines a thrilling roller coaster with special effects and theming to simulate an out of control ride through the
Black Forest. Graphic courtesy of Busch Gardens Williamsburg.
What’s next for FUNA? As the company dries off from its work on SeaWorld Orlando’s Shamu Show, FUNA is revving its engines to finish the integration of technology systems for Verbolten, a multi-launching steel roller coaster inspired by the Autobahn and Germany’s Black Forest, at Busch Gardens Williamsburg.
And, of course, there is a host of Asian projects yet to be revealed, with more on the horizon. Paiva does share this: “This is a long-term commitment. We are in Asia to stay. If you look at FUNA history, we don’t leave a market once we’re there. And we’re always looking for other avenues of expansion.” • • •
Dawn Allcot (dawnallcot@gmail. com) a self-proclaimed Disney fanatic and theme park junkie, has been writing about audiovisual systems integration in theme parks, retail outlets, nightclubs and other venues for more than 15 years. A full-time freelance writer, blogger and copywriter, her work has appeared in a number of trade and consumer magazines, including Sound & Communications, and Worship Facilities, and on many high profile websites.
International theme park development trends – Focus on China
By Christian Aaen, Principal/Co-Founder and Raymond E. Braun, Principal/Co-Founder – Entertainment + Culture Advisors (ECA)
This article originally appeared in InPark Magazine issue #41, 2012
The opening of Disney Shanghai in 2015 will further cement China’s strong position in the global theme park industry. Asia will continue as the primary region for future growth of the industry in terms of new theme park destination development.
At ECA we are keeping busy with numerous attraction, leisure/tourism and cultural development projects (from major theme parks to indoor urban attractions, large-scale mixed-use entertainment, cultural and tourism development to resort destination projects) throughout Asia including China, Hong Kong, Macau, Singapore, Malaysia, Thailand, and others.
For our work in Asia (in particular China) during the past 3-5 years, we have identified several key development trends that are impacting current and future industry growth in Asia:
The industry is “moving” to China/Asia – with the biggest new projects being developed in this region.
One of the fundamental development principles today is: “Don’t just build a theme park, build a destination.” This allows the development economics to be leveraged and optimized. Theme park destinations are attraction-driven, but can include hotels/ resorts, retail-dining and entertainment, cultural components, meeting/convention space, and golf/spa facilities. Appealing to a broad target market covering both tourists and residents and offering multiple things to do and see encourages repeatability and improves the economics and investment returns.
Large-scale development requires public-private partnerships (PPP). Asia is leading the way, and in particular China, as evidenced by recent significant joint- ventures such as Shanghai Disneyland and DreamWorks East (Oriental) which provide infrastructure, land and even investment for new projects.
The development of theme parks around the world has followed a typical product life cycle curve of inception, market growth, followed by stabilization (mature markets such as U.S., Europe and Japan), and then investment (reinvestment) to diversify products and developments. China is moving from the emerging stage into the key growth stage with several major projects coming up in large urban markets and tourist- oriented markets such as Shanghai, Beijing, Guangzhou, and Hengqin Island/Zhuhai. The number and quality of theme parks will increase significantly in the next 5-10 years as well as overall attendance. There are also several key up and coming second tier cities in China that will see increased entertainment development such as Chengdu, Dalian, Wuhan, Suzhou, Xi’an, Qingdao, Hangzhou, Chongqing among others.
Another distinguishing feature of development in China is that major theme park developments are often part of a real estate development strategy as evidenced by OCT Group and others combining theme parks with adjacent residential, retail and other types of development. In Shenzhen, OCT recently had a soft opening of the 1.2+ million sq ft OCT Bay lifestyle retail and entertainment destination located adjacent to its existing three parks with several indoor attraction components and a large-scale night-time spectacular show. The Chimelong Group based in Panyu, south of Guangzhou, is also setting a new standard in China with major new theme park-driven destination development projects such as its Chimelong Ocean Kingdom theme park and resort in Hengqin Island next to Zhuhai and Macau in Southern China.
We are also seeing the emergence and development of multi theme park hubs such as the Pearl River Delta (Guangzhou, Shenzhen, Zhuhai/Hengqin, Hong Kong and Macau) in Southern China; the Singapore/Southern Malaysia hub (with Universal Studios Singapore and LEGOLAND Malaysia initially); and Hainan Island, China (future potential).
Within China, we believe there are several up-and-coming theme park attraction destination hubs centered around Shanghai (Yangtze River Delta/YRD), Beijing/Tianjin (Northern China), Chengdu/Chongqing (Western China), and Southern China (Pearl River Delta/PRD) and also Hainan with the potential to emerge as not just the Hawaii of China but the Central Florida of China with multiple themed destination attractions.
The development of major new parks in the global theme park industry over the years have had significant impacts on the nature and dynamics of worldwide theme park industries, notably: Walt Disney World (Orlando, Florida, U.S.A.); Tokyo Disneyland (Japan); and Disneyland Paris (France).
We expect that the Shanghai Disneyland Resort (opening 2015) and other pipeline destination theme park projects in Southern China could have similar effects in the Chinese market. It will raise the overall quality standards in China and help transform the Chinese theme park industry as well as benefiting the leisure, tourism and cultural industries and result in positive regional and national economic impact. Disney Shanghai and other major branded theme park destinations will act as catalysts for other attraction, cultural, entertainment and tourism development in China, which will benefit the region as a whole by expanding the market and growing the overall tourism pie. • • •
Christian Aaen and Ray Braun are Co-Founders and Principals of Entertainment+ Culture Advisors (ECA) headquartered in Los Angeles (Beverly Hills), California and with a regional office in Hong Kong headedup by Janice Li, Senior Associate. ECA is an international advisory firm focused on economic and market analysis for world-class destination entertainment and cultural development projects throughout China and Asia. Email: [email protected] / [email protected]. Further information on ECA is available at www.entertainmentandculture.com.
Key Themed Entertainment Projects in China
Beijing: Multiple major theme park proposed including Monkey Kingdom, upgrading and expansion of existing parks and pipeline urban entertainment/cultural developments
Shanghai: New Shanghai Disney park will help spur additional expansion of the industry in 2015 with multiple major theme parks proposed in the region. Expansion of OCT Happy Valley (second gate)
Hangzhou: a proposed Hello Kitty Theme Park (2014/15)
Guangzhou/Shenzhen – Pearl River Delta: Large scale PRD market with strong potential as emerging multi theme park destination hub. Reinvestment and expansion of existing Chimelong Resort and OCT Parks – multiple large-scale theme parks proposed
Hengqin Island/Zhuhai: Chimelong’s upcoming Ocean Kingdom theme park and resort development with first phase opening in 2013 and thereafter with multiple parks and hotels/resorts
Macau: Multiple large-scale integrated resorts (IRs) with entertainment and attractions proposed in next 2-5 years
Hong Kong: Both Ocean Park (2012) and Hong Kong Disneyland (2013/14) are in the process of completing major expansions and new lands in their parks
Hainan Island: Several major commercial theme park projects in the planning stage from Sanya up the coast to Wencheng as well as Haikou including the Lingshui Ocean Theme Park, Hainan Aerospace Theme Park, among others (2014/15+)
Multiple Second Tier / Third Tier Cities: regional theme park development by OCT Group and other Chinese developers
Key Chinese Developers
OCT Group (Overseas Chinese Town) market leader in China for regional theme parks
Chimelong Group – expanding in Hengqin Island
FantaWild – expanding multiple locations in China
Haichang Group – expanding aquarium operators and park developer.
Large Chinese real estate developers are also entering the marketplace including: R&F Guangzhou, Dalian Wanda Group, China Resources (CR) Land, China Merchants (CM), and others.
Darrias Baker talks to InPark Magazine about designing for theme parks in Asia
interview by Martin Palicki
This article originally appeared in InPark Magazine issue #41, 2012
“The first IP here in China that becomes popular internationally will be agame-changer.”
Darrias Baker is an independent designer of visitor attractions, based in Los Angeles with a large clientele and body of work in Asia. He is currently Consulting Art Director and Show Designer at Fushun Dream World Theme Park. He took time out from his busy schedule overseas to share some thoughts about the industry with IPM editor Martin Palicki.
Hong Kong Village white model, Ramoji Studios, Hydrabad, India. Photo courtesy Darrias
Baker
You spend a lot of time overseas. How important is it to set up residence on location?
Keeping a presence in the country where the project is located keeps my clients happy and confident. Also they are thrilled to be a part of the design process. During the production phase, it’s essential to be onsite for all creative directors and project managers.
In regard to themed entertainment work in Asia, what are some similarities and differences from one country to another?
Relationships and respect are key in all of Asia; however, each country in Asia has different attitudes toward themed entertainment. My projects In Korea tend to be more intimate, more high tech, with expensive media and special effects. In China we tend to design larger attractions where more guests can be entertained as a large group, i.e., a large 4D theater or live shows.
Glenn Ho, Kirk Axtell and Darrias Baker at Palace Hotel and Diamond Promenade under
construction, Hotgo Park, Fushun, China. Photo courtesy Darrias Baker
Let’s focus on China for a bit. Is there a project you’ve worked on that could be regarded as quintessentially Chinese? What aspects made it so?
Yes, that would be what some people call the “OCT model” – a theme park as part of a mixed-use development in which the park is surrounded by residential, retail, and business components. Both the Floraland project I worked on in Chengdu and my current project in Fushun follow this model. Such a design must include attractions to facilitate repeat visits by local residents as well as the less frequent visits from out-of-town guests. In my current project, the first phase of production was an outdoor water park, which has great appeal to the resident population with the large theme park zones to be completed in the next phases.
Did the 2010 World Expo in Shanghai change the themed entertainment landscape and/ or outlook in China?
Yes – like the Beijing 2008 Olympic Games and the upcoming Shanghai Disney Resort, the 2010 Shanghai Expo raised the bar on entertainment design in China. Many Chinese theme parks are inspired now to compete on a global scale. Typically when we begin projects here I spend a lot of time with the clients visiting the leading international entertainment attractions.
What are key, characteristic needs expressed by Chinese developers?
The developers look for the biggest thrill for the largest audience at the smallest cost with the shortest production schedule. So it’s very important to know the client’s budget and schedule so you can campaign for the most effective entertainment concept.
You specialize in projects utilizing original intellectual property (IP). Are there still significant challenges to protecting IP in China?
It’s getting better – but my clients tend to think locally, and so they aren’t in a position to have to worry about protecting a global IP. The first IP here in China that becomes popular internationally will change all that.
Theme parks aren’t a new thing in China. But the attention on them seems to be new. Why do you think this is?
Like a lot of people in our industry, I thought there would be more world-class theme parks opening before the Beijing 2008 Olympics, but it didn’t happen. Now it’s different. Currently there are more than 100 major theme park projects being developed in China! It may have started with a move by the Chinese Government to encourage local governments to borrow for infrastructure projects under a 2008 stimulus plan. A recent ban on new theme parks projects in China has not stopped any of the ongoing projects I know of.
What projects currently out there right now are you keeping your eye on?
Obviously, the coming Shanghai Disney Resort. The huge project I’m working on here in Fushun will have two more zones opened by next year. I’m looking forward to hearing more about the Monkey Kingdom project outside Beijing, designed by Thinkwell Group. Gary Goddard Entertainment has several major projects here in China. Outside China, my friends at Lotte World in Korea keep expanding with new projects. Outside Asia, the Paramount project in Spain is really exciting. Then there are projects that may not currently exist, but I hope soon will. I would really like to hear about a new Universal Studios park somewhere. I really love working for them. I’m hoping we hear more about a new Universal Studios Theme Park and Resort in Korea, India or Russia soon.
Parade float, Floraland, Chengdu. Photo courtesy of Darrias Baker.
What are some of the risks involved in doing business internationally?
Not getting paid and broken contracts are the obvious risks. Job safety on a project site is a huge risk too. And then there’s the day when your client comes in all excited about a new type of an attraction that they’ve seen and you’ve just finished the final design details on an attraction you thought you were going to build. This can be a real risk with a client new to world-class themed entertainment.
Several big Asian projects seem to be tied to gaming resorts. But in the US, the link between gaming and themed entertainment seems inconsistent. What is your observation?
In Asia, the link is very strong. The quick return on investments in opening a gaming resort is a huge plus. Asian families typically traveling in family units will want to go someplace that enables them to visit a gaming resort and also a theme park. Unlike the US there is no stigma attached to having gaming and themed entertainment in the same location.
Is there something fundamentally different happening in Asia vs the West when it comes to themed entertainment projects? Or are they just in a different stage in the maturity cycle?
It’s a bit of both. Culture considerations aside, Asia is in different stages in the maturity cycle. Themed entertainment is still new and dynamic here, especially in China. But they are also going in different directions than the US, i.e. the gaming resorts and mixed-use developments we have talked about here.
Local contractors flank Super 78’s Brent Young and Darrias Baker at
Journey to Madagascar Crate Adventure, Universal Studios Singapore.
Photo courtesy of Darrias Baker
What project are you most proud of?
For a small project I’m most proud of, I would name the work we did on Science Discovery Center in Manila, Philippines. With a small budget we still were able to meld science and entertainment in a highly immersive, educational environment. For large world-class projects I am very proud to have contributed to the Universal Studios Singapore project.
Tell me about the hazards of working internationally.
I’m an adventurer, which drew me to the international theme park world; however, the downside is that it can be dangerous. People die building theme parks and I’ve seen a few people get seriously hurt or killed. However construction site safety standards everywhere are getting better.
Tell me about the industry group you head up called T.E.A.T.S. and what it has done for you and your international colleagues.
Years ago my fellow gypsy theme park professionals and I created a “tongue in cheek” professionals’ group we called T.E.A.T.S., which stands for Theme Entertainment Artists, Technicians, and Supervisors. When most of us are in town at the same time (which can be difficult), we will meet every six months or so at a local Mexican restaurant to socialize and trade gossip about projects and job opportunities. Now we have a T.E.A.T.S. LinkedIn Group with 224 members and a Facebook group with 281 members.
Inspecting the Krazy Kars Ride Vehicle mock up at the
factory in Italy for Storyland Adventure, Manila, Philippines
Photo courtesy of Darrias Baker
If you could explain one thing to Asian developers that would help make their projects better, what would it be?
Let your principal designers and project leads know the real budget and the real schedule so they can design to that budget and schedule. Only then can we work on getting you a bigger bang for that Dollar, Yuan, Yen, Won, Baht, Peso, Rupee, or Rupiah. • • •
For more information on Darrias and his team of international consultants please visit his web site at www.darrias.com or email him at [email protected].
