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Lore and Stories given to rides: A benefit or a detriment?

Trooper Looper

Trooper Looper

TS Member
As the title says, what does everyone here think of lore and stories given to rides? Do you think they add to the experience or not?

Personally, it depends on the type of attraction and if the theming for the ride was the main priority ove rthe actual story. I think stories work great on walk through attractions and Madhouses, but roller coasters? Not as well and pretty unnecessary most of the time.

Let me know your opinions of this subject below.
 
I love a fantastical, other worldly story or theme, something that is obviously fictional or based on a kernel of history or legend, like Hex. Vampire is another great one, even in its current much depleted incarnation, the fun fantasy spooky theme adds so much.

I am growing to hate backstories and themes that want to insinuate a real world place, often militarily and/or secretive, and especially the fake conspiracy theory type marketing as used by The Swarm which Towers have trotted out recently too. It's just embarrassing and adds nothing.
 
I’m not personally fussed about long winded back stories and ‘lore’ when it comes to theme park attractions.

Lots of places seem to do it these days though - EP for example seem to have very detailed back stories for their attractions linked to the Adventurer Club of Europe.

However as long as I can get enough of a feel for the theme of the attraction from the visual cues when I am at the park to understand what is going on then the fact it might have a potential long winded back story that isn’t immediately obvious doesn’t bother me. It means I can enjoy the attraction on the surface level and those that enjoy more detail can find it if they want.

Where it can become a problem is if the attraction doesn’t make sense if you don’t know the detailed info behind it, I generally don’t have the attention span or interest for that.
 
I am a self-confessed theming fan girl! I definitely fell in love with the whimsical, fantastical escapism of parks at a very young age before I fell in love with the rides as I grew; It really elevates the experience for me, especially when there's a clear narrative.

Whilst The Swarm is my favourite UK coaster, much like @pluk I wish that more themes would be explored besides military/cult/conspiracy - I need some wild eccentricity in my life! 😂
 
Just give me some nice theming and a good solid ride. I’m not bothered about backstory or making the dots join up between various rides. Sometimes all you need is just a fun idea and have it executed well.

Look at Kondaa for example. It’s story is basically prehistoric dudes hunt a giant reptile and then its baby grows to up hunt them. But it’s told very simply and effectively by just a couple of cave paintings on the wall and a modestly themed plaza outside.
 
These are some really interesting takes here everyone. I agree that military stuff or things trying to link itself to the real world are not my cuppa, the only military-esque theme I like is from 1996...

The Institute of Metaphysical Research, part of The Haunting at Drayton ManorScreenshot_20240424-103229_YouTube.jpg

It's pretty self aware with the cheesy and exaggerated actors in the preshow, and the ripoff Ghostbusters logo, but it never takes itself seriously and, and yet its still very engaging and fun, something the Phalanx and the Swarm both lack personally, as both of those try to be taken very seriously and have a deep story behind them.

As for storytelling and lore in rides, I've noticed it's quite split at alton towers with people (mostly diehard fans) either loving it or not being found of it, and I most likely land in the latter. I just hope one day Towers announces a new ride and it won't have some lore or big story behind it, just give me some good, consistent, and a unique theme, and I'm happy. Show, don't tell. Though I dread to think what the lore fans will think of such a ride if the park ever made one.

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I'm not saying storytelling is bad, but when creatives and Theme Parks priorities them over actual good quality and unique Theming, it then becomes an issue personally. There's nothing wrong with having both narrative heavy and narrative free attractions coexist in the same park.
 
I definitely like backstory, but it can sometimes be an issue if it is too detailed and long-winded.
 
Depends on the ride and how well it's done. Disney and Universal have the money from their own IP's to enhance or tell current established stories. The story and lore already exists, so they aim is to physically immerse you in it. Sometimes, like with coasters, it doesn't tell you the story at all. It's assumed that it's established beforehand, and these rides are thematically judged on how well they depict them rather than actually telling them. It's a way of experiencing a story rather than explaining it.

That's different for an operator like Merlin. They don't have the cash or century old catalogue of IP's to immerse you properly. So they need to design rides and think of a decent excuse of why they look that way through the quality of the theming itself rather than actually spoon feeding it to you. The looser the better or it becomes silly.

Even Disney and Universal can get this wrong. Rock 'n Rollercoaster works better for me if Aerosmolith just turn up for the hell of it, here's a limo themed train have fun, but the explanation of being late for a gig becomes tacky. I adore Back to Future and I loved the Universal ride, but even at 10 years old, having watched the movies, trying to explain why we're back in the Delorean felt silly and jumped the shark.

So I guess it's what drives what, how it's told, and which attraction it relates to really. Coasters should definitely be designed around layout and immersion first, story second. A queue line video or audio, and/or a pre-show can enhance a coaster if they're used as theme enhancers. Different kettle of fish if they're used as substitute for theming quality or an excuse for a theme.
 
I think there’s a balance to be struck with backstories, personally.

I feel that a bit of a backstory is nice and helps to set the scene, but I think backstories can sometimes be a bit of overkill. I think trying to explain away absolutely everything that’s in the area or absolutely everything that happens on the ride with in-depth “lore” isn’t necessarily needed, but I feel that a bit of basic scene-setting and exposition is nice.

Contrary to popular belief, I actually don’t think that rides like Swarm and Nemesis Reborn do go overboard with the exposition and backstory. There’s a bit of storytelling there to set the scene, but I don’t think either ride goes to the point of overkill in terms of explaining everything; there’s plenty left unexplained.

I think if you go too in-depth with some ridiculously elaborate backstory that’s taken very seriously, it opens you up to lots of questions and plot holes. I’d prefer backstories, on the in-park product at least, to be kept relatively simple to understand and not too tedious in terms of delivery.

However, I support a small amount of “telling” to set the scene at a basic level, and I don’t think that storytelling without any “telling” is necessarily always the best approach. If there’s not enough theming on the ground to support the story, I think that no “telling” at all can make the theme unclear.
 
Depends how integral knowing the full backstory is to the enjoyment of the ride itself.

And how that backstory is then explained to guests.

Therefore as often as it benefits a ride it can add nothing or be detrimental. Oz'Iris comes to mind as a coaster with some backstory that is kind of explained through the indoor queue but it doesn't really add nor detract from the ride. The Hyperia "story" is an example of something completely pointless due to the distinct lack of themeing.

What doesn't help is people seemingly obsessed with lore being important. That's not just a coaster fandom issue though.
 
I suppose the best way I can describe the difference between keeping things loose and intriguing with thematics would be using the example of Forbidden Valley. Now let's park aside my dislike for all this secret sinister military organisation nonsense and go full on with it.

You walk in to the area and the entrance signage just says 'Forbidden Valley' with either veins, rocks, or something made by protestors (currently just has an X Sector style entrance that quite literally patronisingly states that it's a 'Phalanx Facility'). Immediately gives out the impression that something is not right. Something is wrong, because there's clearly a military presence but they don't seem that much in control.

The Sub Terra building, the food outlets, and the blade op cabin are in keeping with the new shop and arcade by design, only they're covered in tenticles and are starting to look damaged (currently just gloss black paint over original buildings with clinical Leek Signs on them). Like they were put there by an organisation that claims to be in control and maintains that even though it doesn't look that way (currently so glossy and clean that they feel they need to try to explain otherwise to you).

Sub Terra exists on its own as a standalone only and the queue line videos are altered to give the impression that they predate any incident and remove all references to 'The Phalanx' and explanation as to who they actually are (currently "we are the Phalanx and we're authorised by national governments...." blah blah blah. But we decided to also include bits where things started going wrong in our carefully produced introductory video to you, and show clear pieces of tenticles on flat bed trucks?). Sub Terra hosts don't speak much, they're not in control in reality remember?

The helicopter and eggs remain the same, only you can't hear audible announcements from it, just static and screams for help (no need to question the eggs, the guy in the body armour stood next to them isn't saying anything, he's not pretend something isn't wrong). The signage on the food outlets is wonky and bent. There's a hint of hippy protests around the area, maybe some graffiti here and there giving little away from those "Nemesis have feelings too" lot. Blade's entrance sign is designed in such a way that suggests it's been un-affectionately nicknamed that by someone, but it's never explained who and Blade itself remains with no explanation (currently just the old sign painted gloss black).

Then you see Nemesis itself, which hits you as the very reason things are like they are. The crappy gun is succumbing to tenticles (currently looks like it was made by Fisher Price). The track colour matches the red and charcoal aesthetic of the monster, probably heavier on the red. Red water thunders into the pit (I refuse to believe it's impossible to do this), or failing that, I dunno, maybe Nemesis hit a spring or a water main or something. Don't care, no reason to explain. Just looks cool.

No shipping container or nonsense announcements, just a damaged lab with a track piece made to look like an extension of the monster smashing in to it, appearing to come out of the ground (currently just a piece of B&M track led by a shipping container with a piece of camouflage netting on the end with audio announcements desperately trying to explain it all to you). Wreckage of civilisation and a struggle litter the queue line, maybe the odd banner/graffiti/hints of unexplained sabotage from the hippy protestors, jobs a good'un. No need to name organisations, no need to explain how things went wrong (it's a bloody gert alien monster smashing out of the ground for heavens sake), no need to spray the long number from John Wardely's bank card on anything.

Big monster wreaking havoc, an unnamed force appear to be doing experiments and trying to control it but are clearly failing, an unnamed hippy protest presence is felt moaning about the whole thing. Let your imagination do the explaining as to why all that is. Cool looking rollercoaster, let the aesthetics do the talking. Not bothered what it's about? Still looks cool. Are bothered what it's about? Buy the book or the comic or something from the gift shop.
 
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I think relying on a 'lore' or backstory is lazy storytelling in a theme park sense (and from my own point of view, I find it cringey).

If you walk into a theme park area, it should be quickly and easily communicated what it is trying to be (probably why things like 'Western, Pirate, Medieval etc' areas work so well in theme parks). People shouldn't have to read mountains of backstory so they can walk into an area and make sense of what is actually going on. It feels like an excuse to skimp on actual theming by pre-loading peoples imaginations with what they should be looking at.

Towers are guilty of creating a lot of backstory by what I can only assume is led by marketing, but then actual theming is sparse and poor. The Smiler being the worst culprit - try and imagine if you weren't a nerd with prior knowledge, would you actually know what story that is trying to tell?

In summary, for me, less of the convoluted nonsense, more pretty theming to look at. Although that being said, I know some people like it so if parks can do to the two things complimentary to each other then go for it.
 
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ACE at Europa-Park is a good example of a backstory which has only emerged in the last 7 years or so, but is now tied in with pretty much every new project. I believe Voletarium in 2017 was the first attraction to have the tie-in? There is so much literature about the “Club” and its “members” which you can read online, but I am of the opinion that ACE is only there if you want it to be - it’s not at all in your face and everything feels completely distinct in style anyway.
 
Like all good cinema, it remains true that it’s best to “show don’t tell”

If you can get across a detailed story visually, thematically or through audio then you should.

Long bouts of exposition to camera, or descriptive signage really isn’t great.

I think it’s great Alton are leaning into deeper lore, but not everything has to be explained. The wider “ATCU - ”Alton Towers Cinematic Universe (tm)” being a thing I think is great and can be unique, where it’s maybe lacking or can’t compete in other areas.

The idea of combining Sir Algenon, Nemesis, The Phalanx, Alton Manor, Ministry of Joy, Wickerman, Beornen, Hex, Dark Forest/Thirteen, Wraiths, Splash, ATH and the Towers into an overarching narrative could be great. Alton is at its best leaning into its sense of place, history, mystery and narrative. “All is not quite as it seems” as such…

I know it’s been said before but Nemesis closing event was an incredible piece of theatre, more of that please.
 
Ash said:
I think it’s great Alton are leaning into deeper lore, but not everything has to be explained. The wider “ATCU - ”Alton Towers Cinematic Universe (tm)” being a thing I think is great and can be unique, where it’s maybe lacking or can’t compete in other areas.

The idea of combining Sir Algenon, Nemesis, The Phalanx, Alton Manor, Ministry of Joy, Wickerman, Beornen, Hex, Dark Forest/Thirteen, Wraiths, Splash, ATH and the Towers into an overarching narrative could be great. Alton is at its best leaning into its sense of place, history, mystery and narrative. “All is not quite as it seems” as such
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I’m sure that there are a few members here who have already tied many attractions in the park together in their own personal headcanons in to a world of Easter eggs and references that only they can see.
 
I think part of the art of theme parks is their ability for environmental storytelling.

The map of a city can tell you many things about how a city developed, it is organic and how a city is structured is based on the stories we tell ourselves, whether that be with literal storybooks or even scientific data. This video on the development of New Orleans was recently of interest to me.



The difference between theme parks and cities is the ability to craft and invent stories that people will enjoy. The limitation is the boundaries of the parks themselves and the budget that they are given. You can organise the environment from planting and theming and introduce ride mechanisms that create illusions and use physical sensation to convey a story. Kinetics can also play a pivotal part in adding a sense that a space is truly lived in. It's what makes it immersive.

I was recently listening to a podcast, and they were talking about how the book Dune conveyed religious psychology so accurately, despite being sci-fi fiction far grounded from religion. The world-building was done to reflect how religions organised and developed, long before contemporary academic literature "discovered" this. Theme Parks are a medium in which we can tell stories that aren't always conveyed easily through other forms of art such as film, theatre or painting. Although, given that they are still in their relative infancy as an art form (the modern theme park still being less than 100 years old), the stories that are told are made for mass audiences to credit easily digestible 'wow' moments, simplistic morality tales that you'd expect from a Disney film, and enable people to experience some resemblance settings and cultures that aren't easily accessible for the public or represent a time that they can no longer experience.

It's why themes such as the Wild West, Steampunk and as we all know, The Apocalypse resonate so well. The Wild West areas tell the story (often very inaccurately) of a time before robust law enforcement and a stable social system. Steampunk explores the concept of positivism, as if science was the only way forward, and if it existed within a vacuum isolated from social context. Finally, as we've done to death in the UK, The Apocalypse represents the loss of social fabric and being exposed to a harsh, bleak reality which enforces a feeling of existential dread.

Given time, no doubt we will see theme parks evolve beyond the profit-driven business orientated model that gave birth to them. Not that they won't continue to exist, but someday we will see a concept of theme park emerge and become more commonplace that exists to expand the perspectives of those who visit, enabling people to get a more holistic perspective of life and live lives that are ultimately more fulfilling.

Finally, I'd like to end on an example of a community-driven immersive environment which aims to simulate a video game-like environment of a post-apocalyptic wasteland that thousands of people travel into the desert to experience. Just to give you a tiny slither of what sort of holistic immersion that theme parks could provide.

 
Theme Parks are really unique, in that unlike film, theatre, books and TV, each area and attraction generally portrays one moment in time, in one physical space, all day, every day.

And for me, that makes excessive explicit lore and backstory, and exposition and explanation, a real waste of the medium most of the time.

You have my full attention, in a massive open physical space, for hours. There is no need to tell me anything, I'm here hun, show me. If you can't show me backstory that is relevant to what's happening now, it's not worth telling me.

I'm discovering, stumbling into, an area where something is happening now. Give me clues, give me those moments of working it out myself. Let me interpret. Let my imagination fill in the gaps. Let me be "wrong".
 
Bert2theSpark said:
I think part of the art of theme parks is their ability for environmental storytelling.

The map of a city can tell you many things about how a city developed, it is organic and how a city is structured is based on the stories we tell ourselves, whether that be with literal storybooks or even scientific data. This video on the development of New Orleans was recently of interest to me.



The difference between theme parks and cities is the ability to craft and invent stories that people will enjoy. The limitation is the boundaries of the parks themselves and the budget that they are given. You can organise the environment from planting and theming and introduce ride mechanisms that create illusions and use physical sensation to convey a story. Kinetics can also play a pivotal part in adding a sense that a space is truly lived in. It's what makes it immersive.

I was recently listening to a podcast, and they were talking about how the book Dune conveyed religious psychology so accurately, despite being sci-fi fiction far grounded from religion. The world-building was done to reflect how religions organised and developed, long before contemporary academic literature "discovered" this. Theme Parks are a medium in which we can tell stories that aren't always conveyed easily through other forms of art such as film, theatre or painting. Although, given that they are still in their relative infancy as an art form (the modern theme park still being less than 100 years old), the stories that are told are made for mass audiences to credit easily digestible 'wow' moments, simplistic morality tales that you'd expect from a Disney film, and enable people to experience some resemblance settings and cultures that aren't easily accessible for the public or represent a time that they can no longer experience.

It's why themes such as the Wild West, Steampunk and as we all know, The Apocalypse resonate so well. The Wild West areas tell the story (often very inaccurately) of a time before robust law enforcement and a stable social system. Steampunk explores the concept of positivism, as if science was the only way forward, and if it existed within a vacuum isolated from social context. Finally, as we've done to death in the UK, The Apocalypse represents the loss of social fabric and being exposed to a harsh, bleak reality which enforces a feeling of existential dread.

Given time, no doubt we will see theme parks evolve beyond the profit-driven business orientated model that gave birth to them. Not that they won't continue to exist, but someday we will see a concept of theme park emerge and become more commonplace that exists to expand the perspectives of those who visit, enabling people to get a more holistic perspective of life and live lives that are ultimately more fulfilling.

Finally, I'd like to end on an example of a community-driven immersive environment which aims to simulate a video game-like environment of a post-apocalyptic wasteland that thousands of people travel into the desert to experience. Just to give you a tiny slither of what sort of holistic immersion that theme parks could provide.

Click to expand...

That's interesting because I read something very similar in regard to gaming. That's also a relatively new art form that's leant heavily on tropes because as a medium of expression there are some things that games can immerse you in that doesn't land as well in a 2-3 hour movie or book.

Although they exist in other mediums as well, gaming has done things like war, zombies/infections, mythology, and post apocalypse to death. Presumably because just watching or reading about wars, hordes of undead Zombie, seeing other worldly feats, and exploring things wears thin and looses it's impact very quickly. Whereas in a game, you're in the world, you're doing uncomfortable things, you're fighting for survival, you're finding the way out, devising a strategy, searching for clues, creating or discovering unimaginable feats for yourself.

Even they can lean too heavily on fan service and over explanation sometimes. I lean stronger towards games that tell stories, but I want to experience the story and be part of it, just like I would in a theme park. The Last of Us is an example of that. First entry told a lot of story very well, told through what you did, camera angles, the environment, and through conversations whilst doing things interlaced with well placed cut scenes. The first hour of the second game and I'm not doing anything other than holding a control stick slooowly walking between cut scenes and riding a horse around doing sod all so the characters can rabbit on and on for ages.
 
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