white paper – Thinkwell

Location-based Entertainment in a Post-COVID-19 World

Craig Hanna

As people consider what the future of location-based entertainment in a post-coronavirus world looks like, owners and operators of theme parks, entertainment venues, and family entertainment centers consider how they will run their businesses in whatever version of the “new normal” we will have.

This white paper was written in collaboration with Cynthia Sharpe, Principal Cultural Attractions, and Dave Cobb, Principal Creative Development.

Please note: This list is not exhaustive. It doesn’t take into consideration what is needed from an employee/cast member/staff standpoint (such as ensuring employees are virus-free before entering the workplace). It does not consider an obvious primary option for operators in a post-COVID-19 world, what we call, “pass to play.” In this (very short) version of this white paper, all visitors would be required to show they had been vaccinated for COVID-19. How this verification would be done so it would be clearly legitimate, easy to view for the park employee, and easy to provide for the guest remains to be seen. (In China, residents there use an app with a QR code that is scanned at the door to verify identity and travel of the individual at most shops, restaurants, and office buildings.)

Here are seven areas for owners/operators to consider when reopening their parks and projects. This is what it’ll take to get open again–for now, not forever–and it’ll require more staff with fewer guests, a proposition that may be hard to swallow.

1. Ticketing, Entry, Security & Park Capacity

Park capacity will be a huge concern in a post-coronavirus world. Crowds on a scale typically seen in the mega parks on both coasts and internationally will need to be adjusted to allow for social distancing. While many theme parks and some larger museums have had success at shifting guests to ticketing in advance via an app or website, many smaller institutions have online ticketing rates at under 10% of all tickets sold.

Not only must physical ticketing, including changing protocols and equipment to support the health and safety of front-line staff, be addressed, but venues will also need to evaluate and potentially redesign their online ticketing experience and platforms to reduce friction and encourage uptake.

In addition to the typical “mag and bag” security (running personal items through a scanner and people through another), security might also need instant forehead temperature scanners to ensure guests are healthy. Guests may need to also wear face masks throughout their visit. Parkwide and abundant hand sanitizer stations–similar to those seen on cruise ships but even more plentiful and obvious–will be necessary.

2. Queues

Near-continuous and visually obvious cleaning of queue railings will be necessary regardless of what methodology is used for attraction queues. With pulsed queues, guests would be given a specific time to return, whether that’s via an app, staggered entry paper ticket, or text message.

When the guest arrives at the attraction they are let in and then they make their way to the load area (either bypassing the queue theming and show areas altogether or allowing for guests to “explore” show-heavy queues).

3. Rides & Attractions

Social distancing will need to happen in rides as well. Ride vehicles may need to be loaded with empty vehicles between guests, while coaster trains will need to consider empty rows and seats between riders, and all vehicles will need extra time to have seats and touchable surfaces sanitized before boarding. These factors alone will greatly reduce the THRC of rides and attractions, which will have a ripple effect up to the original consideration of the overall park capacity.

4. Interactives

In a post-COVID-19 world, a heavy reliance on touch-based interactive screens is a thing of the past. There simply aren’t enough staffers to constantly be wiping down touchscreens between uses, so these interactives will need to be removed, covered, or modified. (Thinkwell Studio Montréal is developing two initiatives to deal with this issue. The first is a gesture-based retrofit that allows guests to interact with touchscreen-based digital displays, eliminating the need for touching a surface at all. The second initiative is called interactive mirroring. It puts the interactive on a guests’ mobile device, allowing them to touch their own device to input to the interactive. Both of these solutions are retrofits to many interactive stations in museums, theme parks, and other applications.)

Beyond touch screens, this is a real opportunity to consider more holistic, universal-design based approaches to interactivity, from how they can more meaningfully leverage machine learning, gesture-based inputs, and voice commands to the material choices themselves. Interactivity isn’t done for, but we’ll see the next big push forward in its design and use.

5. VR Goggles & 3D Glasses

Will people want a device, like a virtual reality goggle set and headgear at all so close to their eyes, noses, and mouths after the world goes back to some form of normal? Even with obvious cleaning, that puts the technology and the multi-use headgear and goggles uncomfortably close to the guests’ faces. What will happen with VR in public spaces?

The same holds true for 3D glasses. With as many attractions installed around the world that rely on 3D, operators need to consider single-use wrapped 3D glasses as expendables. If more than one 3D attraction exists at a park or complex, selling or giving guests a single pair of reusable glasses at the front gate that visitors keep with them would be ideal.

6. Parades, Spectaculars, & Shows

As some parks consider canceling parades, shows, and fireworks spectaculars due to the density of guests for such presentations, there might be ways to allow these things to continue. First, the peak daily in-park capacity comes into consideration again. Group sizes for these entertainments will be different than they used to be, so that will be one element to reduce some concern. Still, what is to keep people apart?

Just look to Japan for one possible solution. When visitors to theme parks in Japan want to see a parade and hold their place in line they put down a towel or blanket they brought with them, then run off to go on a ride or grab a bite to eat (more on eating in the next category). These spots are respected by all guests. Imagine if park staff taped off areas for groups—each appropriately distanced—to create spaces for guests to view parades or nighttime spectaculars. It would require guests to respect those partitions, but it would allow for the parade or spectacular to continue.

For live shows where seating is provided, social distancing is easier by simply putting a cover over seats, closing entire rows, and asking guests to put 2-4 seats between them and the next group. Loading times will need to be extended in order to ensure proper compliance with the plan. Using shows as a way to manage crowds and provide a “pressure valve” remains important.

7. Dining & Shopping

The capacity of shops and restaurants will need to be regulated to ensure social distancing. Marking tables as “out of service” will be required, or simply removing tables and chairs to open up space between diners could be considered as well. Self-service dining (buffets, salad bars, and “fixin’s” stations) will need to be shut for now. Order in advance systems, like those already found in some Disney parks, would help both with reducing time in lines as well as allowing spacing between guests.

Throughout parks, from the main gate to shops and restaurants, a touchless payment solution—like Apple/Google Pay, contactless chips in credit cards that are the standard in many countries outside of the U.S.—will need to be installed and adapted to avoid keypads, card-swiping/insertion, or signing receipts.

With all the considerations to employee and guest safety needed to make a park or entertainment complex safe (both physically and in the minds of the paying public), a lot will need to be done to prepare for reopening in a post-coronavirus world.

Of course, all of these suggestions require the guest to be an active participant in the plans and to willingly comply with these modified operational expectations. Even with all of these challenges and hurdles, we know that location-based social entertainment is going to be more important than ever for our own wellbeing and to help heal our communities. It’s become clear in the past several weeks how beloved these places are and how much we crave social experience.

If you would like to contact Thinkwell to help in your post COVID-19 plans, please contact us.

White Paper | Intellectual Properties and the Branded Experience

Andrea Yoo

Thinkwell’s 2015 Guest Experience Trend Report Focuses on Consumer Trends in Location-Based Entertainment Infused with Intellectual Properties

The recent surge in popularity of intellectual properties (IP) appearing in everything from theme parks and attractions to merchandise and museums had us at Thinkwell wondering whether this phenomenon will be an enduring profit generator for IP owners and the operators of entertainment and education venues. Does the presence of an IP lend credibility, trustworthiness, and value to a venue and would consumers be willing to visit this venue more often? Especially as more location-based entertainment (LBE) venues start to incorporate IPs, would visitors spend more money and time on their experiences and should IP owners start to license their properties more heavily to explore that possibility?

The 2015 Thinkwell Guest Experience Trend Report was created to answer questions like those. For the past two years, Thinkwell has published Guest Experience Trend Reports that investigated the behavior of guests as they explored theme parks and museums and how technology could be utilized to enhance or improve their visits. For the 2015 Guest Experience Trend Report, Thinkwell examined not only the behavior of guests as they navigated experiences, but also the reasoning behind deciding to go and make purchases at LBE venues.
Thinkwell had a nationwide survey conducted that polled over 1,000 adults with children to analyze their spending choices at family-friendly LBEs, specifically family entertainment centers, children’s museums, aquariums & zoos, and restaurants. The goal of the survey was to determine whether families would be inclined to visit one of those venues more often and spend more money on purchases if they were completely infused with a specific IP from a major motion picture, television show, video game, or book.

The results, while not entirely surprising, confirmed that families are indeed willing to spend more on an experience at an LBE if it featured a specific intellectual property. What was surprising however was that the results showed respondents would be less willing to spend an increased amount of money or time at an IP-specific educational experience versus an IP-specific entertainment experience.
Most respondents still preferred authentic and traditional experiences at children’s museums and didn’t necessarily feel that adding an IP would increase the value of the educational experience. Even at zoos and aquariums, which toe the line between education and entertainment, a smaller percentage of respondents stated they would pay more for things like annual memberships, merchandise, and souvenirs at an IP-specific location. But when going out for fun at family entertainment centers however, a much larger segment of respondents stated that they would be willing to spend more money and time on an IP-specific experience.

Entertainment Versus Educational Experiences
An astonishing 76% of the survey respondents stated that they would enjoy the experience at a family entertainment center more if it were infused with a recognizable IP from a motion picture, television show, video game, cartoon, or book. More than 62% of respondents also said they would be willing to spend more money on food, souvenirs, and merchandise if they included characters or imagery from a favorite IP. Not only did respondents claim that they would be willing to spend more money at a family entertainment center if it was IP-specific, 72% also stated they would visit more often than if it was a generic LBE venue.

Though an impressive 61% of respondents also stated they would visit a children’s museum more often if there were exhibits based around a child’s favorite IP, only half of respondents stated they would be willing to pay more for an annual membership, merchandise, or souvenirs despite having IP-specific elements at the museum. In a more traditional educational institution, respondents did not feel that having IP-specific exhibits added any value or incentive to visit the venue more often, nor were they inclined to spend more money on purchases there.

Even at a zoo or aquarium, which blends education and entertainment, only little more than half of respondents stated they would want to visit more often if there were IP-specific exhibits. Because respondents claimed that the primary reason they visit a zoo or aquarium is to spend time together as a family and not to see new or existing exhibits, having IP-specific overlays would not be a compelling enough reason for visitors to visit more often or purchase more merchandise or souvenirs.

While the previous three LBEs might be reserved for special occasions or weekend activities, 76% of respondents stated that eating out at a restaurant is a normal weekly activity. If an IP-themed restaurant was an option in addition to casual chain restaurants, fast food restaurants, and neighborhood restaurants, a majority of respondents stated that it would be a logical choice for their families when eating out. Particularly since a kid-friendly atmosphere was the most important factor for families in choosing a restaurant, having an IP-specific environment would please kids and parents alike, with Disney™, Star Wars™, and Harry Potter™ being popular IPs for influencing families on their themed restaurant choices.

The Why and Why Not
The study conclusively revealed that respondents would indeed be willing to visit an IP-specific LBE venue more often and spend more money on these experiences. But what were the motivating factors for these preferences? Based on 1,032 open-ended answers, the respondents who were more likely to prefer an IP-specific LBE stated that the experiences would be “more fun,” “make the kids happy,” and “make the experience more special.” These respondents felt that seeing recognizable or familiar characters and elements would be a treat for the kids and would be far more entertaining that visiting a generic LBE.
For the respondents that did not feel more inclined to visit an IP-specific LBE, cost was the biggest deciding factor against choosing these experiences over generic ones. These respondents did not feel that an IP-infused experience added any value for the implied increased cost, nor did they feel that the quality of the environment, food, merchandise, or souvenirs would be any better at an IP-specific LBE. Other consistent responses were that an IP would make the experience “too commercial,” “trendy,” and “distracting” so that families wouldn’t be able to fully enjoy their time at an IP-specific LBE.

The Value of Intellectual Properties
After examining the survey responses, the 2015 Thinkwell Guest Experience Trend Report concludes that IP owners can absolutely benefit from licensing and infusing their IPs into family entertainment centers, children’s museums, zoos & aquariums, and restaurants. Respondents were generally positive about wanting to experience IP-specific LBEs and were willing to pay more money and spend more time at these venues. So to answer our initial question about whether extending an IP could be an enduring profit generator, the study confirms that there is a demand for it and IP owners should invest in meeting that demand.
“Thinkwell has believed in the power of an intellectual property in attracting and retaining guests since the very beginning of the company,” said Craig Hanna, Thinkwell’s Chief Creative Officer. “This study highlights that the value of blockbuster brands and IP is only getting stronger, even in an increasingly crowded market, and that the public’s thirst for IP hasn’t been quenched yet.

Theme Park Master Planning

Andrea Yoo

Master planning for a theme park involves many elements of the theme park master plan effort. Land use planning, infrastructure development, site development (grading, etc.), traffic and circulation are all traditional components of theme park master planning. Specific to theme parks, theme park master planning includes program development to determine a projection of how many people will visit the park per year, during the peak month and peak day, and how many people will be instantaneously in the park on that peak day. Those projections are done in conjunction with operational consultants, economic feasibility consultants, architects, park planners and the creative team. On top of all that, the theme park master plan includes a matrix of attractions that comprise the total ride, show and attraction mix for the park. There are expansion zones for future development. There is facility programming that informs how many restrooms, ticket windows, retail venues and food and beverage outlets will need to be built in order to provide adequate services for all those visitors. These elements make up the traditional theme park master plan.

Thinkwell provides theme park master planning, integrated resort master planning, master planning for mixed-use projects and other types of projects that include location-based entertainment and/or education components. To be specific, Thinkwell goes beyond traditional theme park master planning and includes a new set of disciplines Thinkwell finds lacking elsewhere in the development of theme park master plans. Thinkwell includes in our theme park master planning efforts what we call Content Master Planning and Guest Experience Master Planning.

Content Master Planning is a new way to look at traditional theme park planning. Content Master Planning looks at not only the physical layout and programmatic aspects of a project, but also takes into consideration and pays particular attention to how that experience unfolds for a guest from the moment they pass through the project threshold until they complete their experience. Content Master Planning considers how the physical environment helps convey the story being told to the guests and how each element of the Experience Design – attractions, live shows, rides as well as food & beverage and retail – integrate into that storytelling and how the experience and story unfolds for a guest as they move from place to place within a project.

Much more than the mere placement of buildings, uses and guest flow, Content Master Planning and Guest Experience Master Planning takes all elements of the guest’s experience into consideration and looks at how each of these elements symbiotically relate to one another for the purposes of storytelling. It’s part of Thinkwell’s Environmental Storytelling® approach. It becomes a richer, more textured and meaningful experience for the guest when projects are approached and developed in this manner.
Thinkwell works with traditional architectural firms on the details: land-use planning, infrastructure development, traffic and circulation, etc. And Thinkwell works with economic feasibility and operations firms & consultants as a team to formulate a program and operational and business philosophies. Thinkwell’s approach leads us to unique creative solutions and business solutions as well. By considering how the guest’s experience unfolds as well as the strategic and business goals of our clients, we problem solve new ways to deal with traditional businesses, new ways of exploring guest experience that offers new possibilities, new ways to connect with audiences and new competitively advantageous project approaches.

The holistic nature of the theme park master plan – every aspect of the project can affect the next – is complex. These complexities are only exacerbated by the additional rigors of Environmental Storytelling, Guest Experience Master Planning and Content Master Planning. Layering each of those planning elements onto the theme park master planning process ensures additional effort, creative visioning, planning and thought go into each design. This is why Thinkwell’s theme park master plans are a dramatic improvement over many other’s theme park master plans. Very few projects in the world can boast they deliver Environmental Storytelling with Content Master Planning and the added richness and fullness of experience Guest Experience Master Planning brings to the project.

Here’s a simple example: A guest walks into a land of Park A. Ahead is a dark ride, themed as a haunted house. The exterior of the ride projects the theme outward with precariously hanging shutters, broken windows and chipped paint. It may be Victorian in setting. Adjacent to the haunted house the guest visiting Park A finds a hamburger stand, also Victorian in theming. Further away, a retail outlet sells t-shirts emblazoned with Park A’s logo and the park’s mascot.

Park B, developed by Thinkwell utilizing their proprietary planning disciplines of Content Master Planning, Environmental Storytelling and Guest Experience Master Planning offers similar components but in an entirely unique context: As the guest walks into the land of Park B, each element presented before the guest reinforces the next. The architecture, interior design and propping actually work to subliminally tell the fictional backstory of the zone, supporting the theme and storytelling found within the haunted dark ride. The lands themselves speak volumes to the guest: each area offers visual clues about the background context for the environment, while character graphics, signage, audio and performers enhance the storytelling. From one linear meter into the land to the next, each element of what the guest sees, hears and feels tells them more about the story unfolding in front of them. Yes, this takes more work. More planning. More design. More forethought in the development of the park. But these theme park master planning disciplines and techniques are what set apart the run-of-the-mill
from the world class.

Theme park master planning is part science, part art. When all the elements of the development, from the planning principals to the artistic are considered – while keeping of paramount importance every aspect of the development from the perspective of the guest – the project comes together in a harmonious, symbiotic way that is artful, meaningful and impactful.

Coney Island Astroland

Andrea Yoo

If Stillwell Avenue is the heart of Coney Island, then Astroland is the adrenaline, filling the body of visitors with thrills, excitement, and long-term memories. Astroland is first and foremost, fun. It is a collection of unique amusements, selected and designed exclusively for this place. Like Stillwell, this won’t be a recreation of the old Astroland, Luna Park or Dreamland. This is a new park with an old soul. Everything will be new, shiny, and safe, but also slightly familiar like a good friend’s child who bears a striking resemblance to the old man, but burns with youthful energy and just can’t seem to keep still.

The collection of rides will appeal to a broad audience, from the thrills of a coaster, to the huddle-up chills of a dark ride, to the safe, make-believe flat rides for the little ones. Some of these rides will be totally unique to Coney Island, designed exclusively for this location. Others will be the next generation of Coney Classics, using state-of-the-art technologies and safety features. What makes this Astroland special, is the sum of its parts and the rich environment in which they are set. The rides will be integrated into a single design vision. This won’t be a gaudy, rag-tag state fair midway comprised of generic, off-the-shelf rides. These rides will belong here and only here.

Chris Parypa Photography / Shutterstock.com

There are other aspirations to consider for Astroland. There are greenery and water features throughout the location (this is after all, a park). There will be a retractable cover over most of it to extend its operation throughout the year. The cover is in place during the winter and in inclement weather, but Astroland yearns to be outside, so the roof slides away whenever possible. A permanent circus just next door on Surf Avenue exudes its escapist personality throughout the park and provides a visual anchor on the north. The Boardwalk and the beckoning beach are accessible from the opposite side, where Astroland’s rocket shines anew. Hotels, retail, and residential spaces are a necessity that may intersect the area, but this is the amusement center first and foremost, but more importantly, it’s Coney Island’s amusement center, and it takes its responsibility seriously.

Museums & the Digital Revolution: Consumer Trends in Mobile and Interactive Technology Integration in Museums

Andrea Yoo

As museums and the visitors they attract are evolving, is this a space looking for increased digital and mobile interactivity?
Last year, Thinkwell released the company’s first Guest Experience Trend Report revealing the growing trends among Theme Park guests and their use of technology when they visit Theme Parks. Surprisingly, the results revealed that younger guests were much less concerned with mobile integration and that families and older guests primarily have an appetite for consumer-oriented mobile integration in theme parks.
This report inevitably led Thinkwell to think about this topic in relation to the company’s other specialized fields. We asked ourselves if we thought these results would carry across the various market segments in which we practice. With such high focus on technology and mobility in our lives today, are guests looking to integrate technology into their visitor experiences? Museums and the visitors they attract are evolving, so Thinkwell asked, is this a space looking for increased digital and mobile interactivity? The 2014 Trend Report honed in specifically on the current museum guest experience and visitors’ expectations and desires for such digital and mobile integration.
Thinkwell began a nationwide survey analyzing behavioral patterns in relation to guest experiences in museums. The survey reached over 1,400 museumgoers and found that 69 percent of the respondents bring mobile devices (tablets and/or smartphones) with them while visiting a museum. Of that 69 percent, a total of 73 percent used their device during their visit, most notably to take photos. Similar results were found in last year’s report on theme park mobile integration.
Though museums are using indoor GPS systems in conjunction with apps to push location-appropriate content to visitors, tailored to the exhibit they are in, Thinkwell is only seeing about 32 percent interest in such a feature. This result explains why over half of museum app users have uninstalled or not installed an app due to concerns about personal information, and 19 percent turn off the location tracking feature on their cell phones. Results show that this consumer market is not extremely eager for location-aware app advancements to enhance their in-museum experiences.
WHAT MUSEUM GUESTS LIKE
When asked to rank what they find to be the most beneficial features of museums, respondents chose as their top three: educational for me and/or my family, the ability to see real art and artifacts, and the content of the exhibits. Guests are visiting a variety of museums, from art to history to zoos and aquariums to get the personal satisfaction of bettering themselves and their families through education and learning.
The desire to see real art and artifacts contradicts a report from last year that suggested guests would be satisfied with highly accurate reproductions, as younger generations gravitate towards content and experiences, rather than originals. Our findings show that across all age demographics, guests highly value access to the authentic artifacts and art pieces available at museums, citing it as the second most important aspect of museums.
In regard to features that could improve a visitor’s experience, 42 percent would like to see more interactivity incorporated, and 40 percent of respondents feel that the use of audio related to a topic or object would be beneficial. Interestingly, a small minority of respondents would like to see an increase of adult-only extended hours and events. The interactivity guests seek is not limited to those found in digital devices. Visitors are interested in social and personal interactions that break beyond the four walls of the museums, with activities such as: after-hours events, classes and presentations from artists and subject-matter experts for children and adults, and kids crafts. They are more interested in increased human interactivity than in digital integration such as mobile apps or 3D printed, touchable objects.
On average, visitors spend a total of three hours at museums per visit. Not only do respondents ages 18-44 spend more time per visit than those ages 45 and up, they are also more likely to visit museums more often. Forty-four percent of respondents ages 18-44 visited museums 5 times or more during the past two years, while only 32 percent of those ages 45 and up did so.

WHAT MUSEUM GUESTS DO NOT LIKE
While Thinkwell had many findings in the annual Guest Experience Trend Report pointing to the positive qualities of museums, we also found that over 57 percent of visitors are highly concerned with cost of entry for museums today.
Other negative factors affecting museum visits included overcrowding and outdated content. Respondents felt strongly about having newer exhibits and special events as encouraging factors of repeat visits. Overwhelmingly however, 88 percent of respondents ranked their last museum visit as quite enjoyable or better.
Some believe that digital integration in the museum space is necessary to expand the experience both virtually and in terms of new types of physical space to engage those accustomed to interacting with a screen. However, Thinkwell’s findings reveal that the museum space is one used to escape screens and the digital world. Guests are focusing more and more on the authenticity of the art and artifacts.

MOVING FORWARD
In an increasingly interconnected and digital world that gives easy access to infinite amounts of data and information, the value and role of museums has come into question. While it’s clear that museums need to adapt to shifts in technology, guests still look to them for authority and authenticity. Digital technologies can be helpful to museums in order to supplement their content, but visitors still crave social interactions, personal enrichment and access to original, authentic objects. Custom experiences can be tailored to the individual, but guests still want those experiences to take place in a physical space with real live experts there to teach them and answer questions.
“We believe the best way to engage visitors in an experience is to have them participate in stories they can relate to and that are authentic and compelling,” said Craig Hanna, Chief Creative Officer of Thinkwell Group. “Museums are competing not only for time but also attention. Consumers can get content from their mobile devices. Museums need to do what they do best—present authentic content in a meaningful way that connects with their core constituencies—while also incorporating digital technologies to keep those experiences fresh and up to date with consumer expectations.”
“The results of the survey are fascinating and, for museums, heartening. Real stuff, real stories, real human experiences: it’s what museums do best, and it’s what visitors crave,” said Cynthia Sharpe, Senior Director of Cultural Attractions and Research for Thinkwell Group. “In conjunction with the fantastic research done by Jay Greene’s group at the University of Arkansas at the Crystal Bridges Museum of American Art regarding the value of field trips and the importance of facilitation, it bolsters the approach of using personal digital technology as a tool in the storytelling and educational arsenal. The educational and emotional impact of seeing real artifacts and experiencing great interpretation is paramount.”
Survey Respondent Demographics

Qualifying participants were United States residents over the age of 18 who had visited a museum/exhibit in the past 24 months. Of the 1,407 respondents, 42 percent were male and 58 percent were female. Nineteen percent were between the ages of 18-29; 26 percent between the ages of 30-44; 28 percent between the ages of 45-60; and 27 percent are 60 and above. Household incomes ranged between $25,000 and over $150,000. Less than 1 percent held less that a high school degree, 6 percent held only a high school degree, 29 percent had some college or an Associate degree, 40 percent had a Bachelor’s degree, and 27 percent had a Graduate degree. The survey found very little correlation, if any, between gender or location and current mobile behavior or interest in increased mobile integration for museums experiences.
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View the White Paper accompanying this infographic here.