Epic Attractions Unveiled: Wizards, Dragons, and Female Power in Universal’s New Park!

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According to Anisha Vyas, assistant director of projects at Universal Creative, there’s nothing quite like what they’re working on for the new Wizarding World attraction at Universal Epic Universe. She explains that it’s incredibly unified, but unlike anything they’ve tackled previously.

Vyas was discussing the new Harry Potter and the Battle at the Ministry ride, a novel immersive attraction at Universal Orlando Resorts. However, she could have been referring to the entirety of the newly developed park, spread across a 750-acre area, which includes five distinct zones: The Wizarding World of Harry Potter – Ministry of Magic, How to Train Your Dragon – Isle of Berk, Dark Universe, Super Nintendo World, and Celestial Park. Each zone promises significant breakthroughs in theme park design, technology, and hospitality, ranging from architectural innovations to cutting-edge attraction tech to enhanced guest services.

Gabriela Lander, director of architecture and engineering design at Universal Creative, explains that it’s comparable to a city because parts of it are accessible to the public while others aren’t. With over 100 venues, there are small towns that don’t even have that many homes.

The unique and advanced experience is created through a diverse team spanning various disciplines, including engineers, architects, musicians, and costume designers. Despite tackling our most extensive project yet, the overall size of the task requires an equally expansive team to match. As Vyas explains, “the scale of what we’re constructing surpasses anything we’ve done before, and consequently, so does the magnitude of the work, necessitating a larger team.” Remarkably, at Universal Creative, these teams are predominantly female-led, as highlighted by Kim Gritzer, creative director at Universal Creative, who notes this is unusual within the industry.

Vyas points out that during their entire professional journey, this is the greatest number of women holding leadership positions in fields like technology, creativity, construction, and architecture. Katy Pacitti, an experienced industry figure and assistant director, executive producer for Isle of Berk, echoes this sentiment, noting that for many years, she was often the sole female presence in meetings.

In Universal Creative, some teams, such as that led by Maggie Baker, senior manager of costume and wardrobe design, are predominantly made up of women. Other teams, like that of Gina Scheraldi, show director for Celestial Park, have a good number of women integrated within their ranks and have had the opportunity to collaborate on major projects with their mentors.

In this endeavor, we’ve built a remarkable support network consisting of both women and everyone else, all striving to ensure Victoria [Frankenstein] became the most authentic character possible, as Frances Franceschi, the production designer for Dark Universe’s Monsters Unchained: The Frankenstein Experiment, explains. This shared commitment to the storyline has been a truly empowering experience due to the unwavering support it provided.

In my own words, I’d say, “I feel secure in this setting where I can truly be me – a woman, a Latina, a mother of two, a wife, and a daughter. It’s not just about having backing, but it’s about having the freedom to flourish and integrate all aspects of my identity.

Pacitti from Universal Creative’s diverse team believes that a superior product clearly demonstrates this,” he says. “Moreover, I take pleasure in guiding the younger females, ensuring they discover and use their own voices.

A group of ten ladies from the creative team at Universal, responsible for crafting Epic Universe, share tantalizing insights into the construction methods used to create elements within four distinct realms of our latest theme park, part of the Universal Destinations & Experiences collection.

How to Train Your Dragon – Isle of Berk

In a conversation with The Hollywood Reporter, Pacitti states, “Among the four primary IP universes, we are the most expansive. If you remove the major attractions, you could accommodate the remaining two worlds within ours. A portion of this size is due to the presence of two large bodies of water.

According to Pacitti, the architecture of Isle of Berk, as depicted in DreamWorks Animation’s billion-dollar franchise, offers visitors a sense of being in a vibrant and dynamic living space. This immersive experience is a result of a joint effort between Universal Creative and the studio, where Isle of Berk not only replicates but also extends the world of “How to Train Your Dragon”. Unlike real-world structures that need to withstand large crowds or extreme weather conditions, this animated realm doesn’t require infrastructure capable of accommodating 5,000 guests per hour or withstanding hurricane-force winds.

The process encompasses incorporating both familiar elements and new additions. As Camille Coladonato, senior media producer for Isle of Berk and Celestial Park, explains, “We utilize such a large portion of the film’s impressive soundtrack music, but we also have unique components.” In her view, “What could be more fitting and engaging than a Viking band?” Furthermore, Pacitti adds that it means “broadening certain aspects that DreamWorks might not have explored, like those we don’t usually see,” including an element inspired by a drawing of one of the franchise’s main characters, Astrid.

As a devoted fan, I’d put it this way:

“Berk doesn’t have any stores, but luckily for us, we own all of DreamWorks’ assets! Though you might not remember seeing our Hiccup’s Sweet Shop in the movies, it was something that DreamWorks created, so we’re bringing it to life. We also have benches inspired by sketches from the third film. There was a minuscule, low-resolution image of Astrid sitting on a dragon-carved bench that resembled a Natter Dragon in the original drawings. Excitedly, we decided to craft not only the Natter, but also a Gronkle and sheep!

As a captivated fan, I’d rephrase it like this:

In my perspective, dragons in this world transcend ordinary elements. Pacitti playfully interacts with motionless creatures, while dragon tails sway gracefully, Scuttleclaw among them. The animated figures include sheep and a colossal, stunning head of Valka’s Stormcutter Cloudjumper at home. A full-sized Grump in the Forge breathes fire, and a Snow Wraith exhales mist. With the world now undergoing internal rehearsals, the appearances of Toothless, his offspring, and the Night Lights have been highly anticipated. Moreover, there are massive dragon drones that fly around.

As a gamer immersed in the world of ‘Berk’, I can assure you that the Night Lights aren’t your typical pets or circus acts. Instead, they embody an organic and natural feel, enhanced by their playful and mischievous nature, as hinted in ‘How to Train Your Dragon: Homecoming’ and the closing scenes of the third movie. It’s not about a spectacle with drones; it’s more like living in a dragon-inhabited world, where you might just spot one soaring overhead.

Berk isn’t just about Viking village life in the 8th century or training dragons; it’s a destination where enjoyment comes from active participation. As Pacitti explains, it’s all about “earning your fun.” You’ve got activities like the Viking Training camp, which caters to kids as young as toddlers. There’s also Hiccup’s Wing Gliders, one of six attractions, a coaster that once traveled around the globe but now slices through it. According to Pacitti, when you see the coaster passing under the bridge and skimming the lagoon, creating a misty spray, it brings the whole experience alive. “It’s truly dynamic,” he adds.

Dark Universe

We’re going to breathe life into one of the earliest original female protagonists using this well-known [Classic Monsters] brand, which seems almost unrealistic,” says Franceschi. “It’s gratifying to know that women were involved in every step of Victoria’s creation, from her initial conceptualization to the finalization of her character design.” Designed for Dark Universe’s thrilling ride, Monsters Unchained: The Frankenstein Experiment, Dr. Victoria Frankenstein — much like today’s world — is rooted in a philosophy of revitalizing the past. A relative of Victor Frankenstein, Victoria endeavors to capture and explore some of horror’s most renowned beasts.

Following the classic tale of Victor Frankenstein and his monster, visitors at the park will explore the manor, witnessing various creatures – a blend of moving, stationary, visual, and media-based entities – as well as logs and chalkboards filled with research while waiting in line. Once inside the catacombs, riders will take a ride on Victoria’s guidance system, an old device that she has modernized with Igor’s assistance.

According to Franceschi, while the basic ride system is something most visitors are accustomed to, it’s been significantly enhanced, including the themed vehicles. He describes the motion as highly dynamic, stating that you maintain a steady speed, but this isn’t noticeable due to the way the attraction rotates.

The system might seem more familiar, but what truly captivates is the central charm: the lifelike animated monsters that challenge the norms in this field. As Franceschi points out, “It’s one thing to express a creative desire like ‘I want people to see Frankenstein walk.’ It’s another to bring that idea to life.” Historically, animatronics have been bulky due to their mechanical components and motors. However, we’ve managed to keep a reasonable scale. Not every monster needed to be nine feet tall; some are five, four, or seven feet. Yet, each monster is its own distinct character, so we engineered technology that suited the size of each specific creature.

Baker hinted that fans would certainly not be disappointed as he’s been working on updating the appearances of the monsters in the ride and expanding the overall setting, moving away from the 1930s aesthetic towards something more contemporary and trendy,” (or)

“Baker playfully suggested that fans would indeed get to see their favorites. He has been working on modernizing the looks of the monsters in the ride as well as the broader world, giving it a more fashion-forward feel,” (or)

“Baker mischievously hinted that fans won’t be let down since he’s been revamping the designs of the monsters in the ride and the surrounding environment, making it less 1930s and more contemporary,” (or)

“In a teasing manner, Baker promised that fans would definitely see their favorites. He has been working on refreshing the designs of the monsters in the ride and expanding the world beyond its 1930s style, giving it a modern twist and making it more fashionable.

The interaction between visitors and characters, as well as their surroundings due to special effects, significantly impacts the overall attraction encounter. For instance, if one of our figures is near fire, we strive to create a sensation of heat. Similarly, when there’s an explosion around a figure, we aim to make it feel real. It’s all about how the environment and our creatures react based on where guests are seated in the vehicle and their proximity to these elements. Moreover, the show environments within the ride are designed so vast and immersive that each seat offers a unique vantage point of the experience.

In this thrilling dark ride, the lighting will enhance the overall atmosphere, making it more electrifying. Within the attraction, the lighting will function not just as illumination but as a character in itself, building suspense and revealing both characters and environments dramatically. On the outside, visual cues like flickering, pulsating lights will suggest that Dr. Victoria is conducting experiments within the Frankenstein Manor. As the world’s lighting fluctuates, it will gradually concentrate at the manor’s tallest spire, hinting at the mysterious activities taking place inside.

After exiting the attraction, visitors can enjoy encounters with characters, ride the Curse of the Werewolf roller coaster, and dine at various monster- and dark-themed eateries. The Burning Blade, complete with a real flaming windmill, aligns thematically with the ride, while Das Stakehaus, a restaurant themed around vampires, promises an especially immersive experience, even down to its silverware.

Sueann Cotanche, vice president of food and beverage at Epic Universe, explains that by ‘immersing’ you, she means everything from the utensils and dishes to the napkins will be part of this,” says Sueann Cotanche. In our universe, the cutlery is black, the plateware is extremely dark and well-worn, and the napkins aren’t your usual white – they’re a deep red.

The Wizarding World of Harry Potter – Ministry of Magic

In partnership with Warner Bros. and The Blair Partnership, Universal Epic Universe’s extension of The Wizarding World of Harry Potter, Ministry of Magic, is set to provide a unique, fresh experience featuring the attraction “Harry Potter and the Battle at the Ministry.” This captivating ride will center around characters Dolores Umbridge and her former house-elf Higgledy, with actress Imelda Staunton reprising her role for the ride after more than a decade since the franchise ended. Her performance was recorded at Warner Bros. Studios Leavesden.

In the costume department, we had a designer who worked on the movie. When he fitted her with the costume, she changed dramatically right away, as Gritzer remembers. During filming, we provided her with lines to deliver and we practiced together. However, she added certain elements of her own, and she was actively engaged in setting up scenes.

In the upcoming attraction, Battle at the Ministry, characters such as Ron, Harry, and Hermoine will be supported by sophisticated visual effects. Initially, a captivating animated character named Higgledy will make an appearance, during the queue experience in Umbridge’s office. Later on, throughout the adventure, Higgledy will show up several times in various forms and manners, assisting Harry, Ron, and Hermione in their pursuit of justice against Umbridge. The team has done an exceptional job of breathing life into each character in unique ways.

The scaled-down replica queue offers a journey through time, transitioning park visitors from a 1920’s Parisian theme featuring Le Cirque Arcanus magic show and Butterbeer crêpes, to the 1990s Ministry of Magic via the Métro-Floo system.

Or,

The oversized queue simulation transports visitors from a 1920’s Parisian theme with its magical beasts show Le Cirque Arcanus and Butterbeer crêpes, to the 1990’s Ministry of Magic using the Métro-Floo system.

Or,

The life-sized queue experience takes you on a time trip, moving parkgoers from the magical beasts show Le Cirque Arcanus and Butterbeer crêpes in the 1920’s Parisian theme to the Ministry of Magic in the 1990’s, all through the Métro-Floo system.

Vyas explains, “You’ll find a row of fireplaces, and once you cast the Floo spell, you’ll encounter a quick puff – let’s call it green smoke for simplicity – before passing through a short tunnel. This process repeats, and voila! You arrive at the Ministry. There are numerous unique areas and hidden references, along with plenty of amusing, eye-catching surprises in that queue.

The queue will offer visitors an opportunity to delve into hidden facets of the Ministry of Magic, some of which may or may not have been showcased on screen. This exploration will be enhanced by a more refined aesthetic compared to the rustic charm of Diagon Alley, Hogsmeade, and Hogwarts Castle attractions, as stated by Gritzer. The Ministry’s interior spaces, such as the Hall of Ministers, adorned with magical portraits engaged in discussions about Umbridge’s trial and their personal viewpoints, will be among these hidden gems. Notable characters like Pius Thickness and Millicent Bagnold, who served as minister in the ’80s and bears a striking resemblance to Joan Collins, will also be featured.

Through a unique perspective, we delve into the Auror headquarters, offering insights into how they link clues and apprehend Death Eaters. Furthermore, we catch a peek inside Umbridge’s office, which is an over-the-top pink space adorned with numerous cats. Gritzer playfully hints at this exploration. Additionally, Vyas mentions that while there are familiar elements from the films, there will also be fresh architectural designs and even aspects related to Fantastic Beasts that are yet to be discovered.

The queue isn’t just half the fun, though. As Gritzer explains about the ride, “Nothing like this has ever been in a ministry lift shaft before.” In the movies, you might notice that the lifts move erratically, and that’s exactly what we do here. Utilizing many of the same designers from Hagrid’s Magical Creatures Motorbike Adventure, an attraction both Vyas and Gritzer were involved in, Epic offers a captivating mix of nostalgia and adventure that will enrich and expand the cinematic and park experiences within the Harry Potter universe.

Vyas explains that this attraction stands out because it incorporates numerous innovative features that haven’t been seen before. It boasts a unique ride system, stunning visual effects never attempted previously, and infrastructure elements that are unprecedented for us. In many key scenes, spectators may be left bewildered, marveling at the magic unfolding right in front of their eyes without fully grasping how it was achieved.

Celestial Park

Scheraldi, the show director, explains that Celestial Park serves as the residence of the Chronos, which creates gateways spanning time throughout Epic Universe. It’s not just a hub for these interdimensional connections; it fosters personal connections too. Here, our visitors or explorers can interact and exchange tales from their daily experiences,” says Scheraldi.

Celestial boasts several designers who contributed to the design of Islands of Adventure’s Port of Entry, skillfully blending nostalgia with contemporary elements inspired by World Fair designs and an enlarged 1850s to 1930s style. This realm is populated by Celestians, a unique group that transcends both space and time, showcasing a diverse array of clothing and costumes in colors, patterns, and textures that seamlessly merge the elegance of classic art with the liberation of space exploration and travel. As Baker explains, our goal was to develop a timeless world that didn’t appear overly futuristic; we achieved this by avoiding excessive sleekness or smoothness, as these elements can make something look too contemporary.

In this world, you’ll find 40 hours of diverse musical content, including 14 original pieces. There are also 16 different zones with background music. This place offers a sequence of sensory-linked experiences. The lagoons, adorned with more than 200 fountain jets, are complemented by fountains and water shows. Seating areas surround these features, ranging from distinctive benches with architectural and sculptural elements to dining spots offering panoramic views, such as The Atlantic, modeled after a Victorian aquarium and featuring mechanical fish that swim among the diners.

The area is filled with numerous gardens, along with Luna’s Court of the Moon and Apollo’s Court of the Sun, each embodying unique musical, color, vegetation, and material motifs inspired by mystery, adventure, and exploration. These characters serve as key elements to establish the park, just like the Chronos gateway and the Helios Grand Hotel, our first in-park hotel that’s part of a six-to-seven-year project for the theme park and resort. Jessica Iaconis, assistant director of architecture and engineering at Celestial Park, explains, “We collaborated closely with them to extend their narrative. We are essentially different chapters in the same book.

The lobby, restaurant area, and rooftop bar Helios (180 feet high with a sundial-style decoration and a star map printed on the ceiling) are accessible to all visitors at Celestial Park. The hotel’s Mediterranean-style rooms reflect the park’s cosmic theme both inside and out. Color schemes in the hotel change from warm, sunset hues of yellows and oranges on the ground floor to deep blues as you ascend, eventually turning black and gold at the rooftop. At Helios’ top, you can see Celestial Park’s changing landscape, which transitions from cool to warm tones as visitors move from Chronos towards the hotel. The colors and types of plants in this area also change based on the specific portal you’re approaching.

As guests wander off from the courts, the music will transition too, with Luna offering a more string and woodwind soundscape while Apollo plays more brass and percussion. As they approach the restaurants or portals, the music arrangements will change or become less complex, according to Coladonato. This same concept of blending will extend to the visuals of the portals as well. Their curved LED screens will reflect the dynamic energy of Celestial Park on one side, the unique character of each world on the other, and in between, stunning displays of nebulas that merge the energies of the worlds, such as the electric storms and enigmatic darkness of the Dark Universe portal.

Scholaridi mentioned that Celestial Park is set to be a trailblazer in theme park technology. One aspect that demonstrates this is the seamless integration between our light installations and water features across the entire park,” he said, adding that synchronized fountain performances will occur globally throughout the day. “We aim to illustrate the transition from day to night by creating a special event where the world visibly changes, using all our lighting, fountains, unique music, and a full spectrum of our technology.

A million individual points of light are essential for making the spectacular day-to-night spectacle possible, impacting not just the attractions themselves. The thrilling dual roller coasters, Stardust Racers, will function without a lit track during nighttime to enhance the sensation of a streaking comet and swap their daytime soundtrack with a more celestial, synth-heavy nighttime melody that evokes adventure and racing with an otherworldly feel. During the evening, riders can enjoy this unique audio experience, as well as notice a change in the music during the “celestial spin” inversion, where one coaster train flips over the other, enabling riders to gaze up and down at each other.

As per Coladonato’s explanation, the experience of riding the Constellation Carousel will intensify the sensation of floating within the Milky Way at night. This is because the circular structure lifts six feet off the ground and rotates both forwards and backwards, while moving among three smaller platforms adorned with glowing vehicles representing constellations. These vehicles shift to one of the ride’s seven unique arrangements. Coladonato expresses that the advanced technology used in this ride, along with the individualized vehicle movement, is truly exceptional and unprecedented. He also hints that the diverse genres and styles on this ride will leave everyone astounded.

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2025-03-08 21:56