Also with this project, getting the proportions of everything right was a real challenge with transforming things from a 2D cartoon into 3D and into elements that people can get in and out of, such as the car ride. “Not every park can do it,” he continued. “Certain
products work in certain places. A lot of the success is in the subtle and subliminal elements. An immersive experience is what you want but there are many challenges to what you can and can’t do, such as in this case no-one actually sitting on a pig and only having one Peppa figure on display (on top of the Baloon Ride). One of the toughest things in this case was to keep it simple as Peppa Pig is a simple cartoon. “You also have to listen to the operator very carefully as to
how to do things and how they would like to do things. You have to work much closer with the operator when creating an area such as Peppa Pig World. We always consider these
“Some things have to be a compromise and an
acceptable compromise for all parties,” commented ARC’s Coen Nieuwenstein. “As far as the rides are concerned, on the boat ride in Peppa Pig World, for example, there had to be slight changes to what’s in the cartoon to accommodate people getting in and out of the boats.” The rides chosen include those that match the modes of
transport featured in the cartoon, while capacity was also a key issue for each one. “We also had to ensure that adults could ride with
children on all the rides,” Nieuwenstein noted, while Matthews added, “and as far as ride placement was concerned we had to consider aspects such as not putting one near the meerkats as they wouldn’t have come out for viewing by visitors for six months, until they got used to what had been put next to them. These issues and the solutions to them always come up in brainstorming sessions we have when planning a project like this and which are so important for such themed areas.” And Nieuwenstein expands on the choice of rides at
Peppa Pig World. “When we did Thomas Land at Drayton Manor it was a
rides driven design whereas at Paultons we started with the layout and experience and added the rides after that,” he revealed. “But we also learn from each project on how best to approach things. There was also the point at Drayton Manor that the rides in Thomas Land were replacing previously operated children’s rides, while those at Paultons were for a completely new area. But in both cases the rides chosen complement the other rides elsewhere in the park.” At Paultons it was also a case of the park wanting to
work with particular manufacturers, Mancey explained, while Nieuwenstein added: “It’s important for the IP owner to have the right choice of rides from the right manufacturer too. They obviously don’t want to be associated with poor
things a team effort and that is vital to the success of the project. And the more you do the more you learn but you also have gut feelings on some aspects and how they will work. “For example, here we have added some pebbles to
the walls around the balloon ride and pillars on the games building, but these elements are not in the original cartoon so we had to design them as we thought they would look and get it passed by E One. Understandably the licence holder wants everything to be as near to a perfect replication of the original as possible, although they obviously appreciate there has to be some leeway with various elements.”
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