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A roller coaster transports guests into a theme park. Sharp curves, vertical drops, and an abrupt speed change take passengers on a thrill ride based on an animated series and graphic novel by award-winning author Terry John Barto.
Written initially, a beam of multi-color light transports the lead characters into Miniature City in a flash. The procedure is detailed and demonstrated here in The Ride, engulfing the participant.
In STERLING's room, guests find a hidden nook that begins a passage to a long corridor. They pass through a majestic door and enter a murky room. We hear WORDROW MONGER, the custodian and a double talker. The sound of keys jingling, a complicated switch popping, crackling. Wordrow mumbles.
Evince. A curtain of light exposes an enormous cavern. Cue music that tinkles and sparkles, linked with pin spots crisscrossing in every possible direction, and splashes of light reflect on mounds of jewels.
After sixteen counts to take it all in, a wind brush glides through the space. The lighting gently sweeps in the same direction and nudges the visitor's focus toward a mining cart teetering at the edge of a twisted, broken track. The loading area is displayed in this location. The rider puts on a mining helmet that has a flashlight attached with a sensor programmed to turn it on during portions of the ride. Then, they board a mining cart.
Whoosh! The cart takes off, and the rider encounters swift swirls and extreme turns. Sections of the ride go dark, and the helmet illuminates a hard-edged flashlight stream that, of course, moves with the heads of each person—giving everyone their own experience and a chance to participate in the action. The "dark rooms" could serve as a transition as the tracks ascend and be filled with mirrored disco balls, the miniature city they are heading towards, and roads slathered with fluorescent paint colors.
The mining cart gains momentum, and suddenly, the music changes, and a jolt thrusts the rider into a virtual slow motion. Surrounding images and mapping coincide with a simulation effect to give the sense that they are flying through the air and shrinking in size. The surrounding area grows more extensive to help with the "transformation" into action figure proportions.
Then, they cascade down a steep hill through thick fog that, when it clears, reveals Figure Nation. ADAPTOR, a primary character in the series, greets the passengers and sends them into the new theme park.
An excellent example of a theme park land from the graphic novel is Comicopia, a 2D comic book world with a distinctly different art technique. Guests will encounter the Golden Age of comic books—an old, dot matrix printed-looking style with mid-20th-century architecture, vehicles, and technology.
Explorers will enter fantastical realms in the section known as the Courtyard of Doors. Through a door in chapter one of the graphic novel, the reader sees a dead, magical location. But as a result of the storyline, that world becomes alive, with rainbows, unicorns, and fairies—like My Little Pony meets Chronicles of Narnia. This story transition will occur in the theme park as visitors walk through the land.
The oversized buildings create a ratio equal to that of an action figure in Figure Nation. Each individual is immersed in the diorama shown in the animated series and video game.
The areas in Figure Nation will take visitors on new adventures: Destiny, Monstrocity, Paintball Park, Paradise Island, Rock Gardens, and Screenland (or Reel Magic).
WGAw registration: 2238707
Terry John Barto is an award-winning author and screenwriter. His story is being adapted for an animated feature film at arx anima, an international studio in Vienna, Frankfurt, Madrid, and Gran Canaria.
He is an accomplished creative director and show director with consistent professional results. AEA, SAG-AFTRA, SDC
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