During the Innovation in Creative Technology session at the blooloop Festival of Innovation 2025, our expert panel discussed the importance of interactivity, personalisation, and the rise of data-driven decision-making.
Led by Jon Tozer, vice president of global delivery at Holovis, with Pearl Verzosa, executive director of marketing and customer experience at Area15; Matt Usi, technical manager of experiences at Netflix; and Neil Lewin, owner at Semantic, the session also touched on challenges such as balancing innovation with operational efficiency and ensuring seamless guest experiences.
Meet the creative technology experts
Jon Tozer has worked with major companies in the industry, including Universal Destinations and Experiences and Merlin Entertainments. A chartered engineer, he started as a design engineer at Holovis, a leading experience designer, over eight years ago and has led key projects for attractions worldwide.
He is responsible for continuously enhancing the way Holovis systems and projects are delivered, not only to ensure that the team and clients are always satisfied but also to guarantee that visitors have the best experience possible at the intersection of technology and narrative.
Pearl Verzosa is a strategic marketing expert with over 25 years of experience in entertainment, hospitality, retail, and marketing technology. She has extensive experience in product management and brand strategy, having led large-scale marketing projects at innovative and disruptive organisations.
At Area15, Verzosa leads the development and implementation of marketing strategies, brand management, customer support, and e-commerce. She collaborates with various divisions to convey Area15’s story. Previously, she worked in marketing and product management, gaining experience in trend analysis, marketing technology, event planning, and digital marketing.
Matt Usi focuses on developing creative technology for interactive experiences in immersive entertainment and museum/educational design.
Before joining Netflix, he worked at Universal Creative and Walt Disney Imagineering in special effects and technical roles. Usi contributed to projects like Super Nintendo World in Osaka, Universal’s Volcano Bay, and attractions at Tokyo Disneyland, including Peter Pan’s Flight.
Neil Lewin founded Semantic, a company that designs and optimises websites for visitor attractions worldwide. The company helps clients increase reach and revenue through custom websites, strategic support, and the new LOOP platform.
Lewin has worked on websites for major companies in the UK and worldwide, including Merlin Entertainments, The Dungeons, Yorkshire Wildlife Park, The National Space Centre, Twycross Zoo, and Crystal Maze.
Immersive experiences from Netflix
Netflix is rapidly expanding in the location-based entertainment (LBE) space. Talking about some of the experiences the team has brought to life and how creative technology plays a role in those experiences, Usi said:
“At Netflix, we’re always looking for new technologies that allow our viewers and guests to fully immerse themselves in their favourite shows. We want to create experiences that go beyond the screen—where fans can actively engage with the stories they love and even influence their outcomes.”
A great example of this is Squid Game: The Trials, currently running in New York. To capture the suspense and excitement of the series, the creators leaned into gaming technology, particularly in how choice plays a role. Just like in a video game, players in the experience can make decisions—some that lead to success and others that don’t. If a player chooses not to follow directions, for example, they may not succeed in their task or could even be eliminated from the game.
“To make this possible, we integrated passive and active sensing technology, which tracks players’ progression and strategy in real-time. This allows us to dynamically adjust the experience based on their reactions and choices, making every journey unique. As this field grows, I think we’ll see even more ways to personalise and adapt immersive experiences, giving fans even greater agency over the stories they step into.”
Innovation at Area15
Area15 serves as a home for experiences that push the boundaries of immersive entertainment. It collaborates with innovators like Meow Wolf, as well as Illuminarium, which features stunning projection mapping, haptics, and immersive audio. “Next year, we’re also excited to welcome Universal Horror Unleashed,” said Verzosa.
On the creative tech side, Superplastic’s Dopeameme, which recently launched, is using RFID technology in a unique way—tracking participants’ engagement so that the happier they are throughout the experience, the more they receive from the game itself.
“Internally, we’re developing our own micro-attractions, including deep interactive experiences like Vortex Rover, where guests can build a robot and a mobile scavenger hunt that guides visitors through the story of Area15’s origins.
“Ultimately, as Matt mentioned, it’s all about transforming spectators into participants—shifting people from simply observing to actively shaping their own journey. The future of immersive entertainment lies in making each guest the hero of their own narrative.”
Telling attractions’ stories online
On the supplier side, Semantic helps to bring attractions to life online and tell their stories in a compelling way. “Over the past few years, we’ve seen a shift—websites are no longer just digital brochures or simple ticket-selling tools. Instead, they’ve become an integral part of the overall guest experience,” said Lewin.
Semantic’s goal is to ensure that attractions are showcased in a way that highlights their unique value and resonates with guests even before they buy a ticket. “But with technology evolving so quickly, it’s becoming increasingly difficult for attraction owners and marketers to keep up. That’s why we developed a platform that allows attractions to get online quickly with fast, visually engaging websites built on technically sound best practices.
“These sites can be tailored to match an attraction’s branding while giving marketers the flexibility to bring their stories to life through dynamic content, interactive maps, timelines, and other immersive elements.”
Ultimately, a website is often the first touchpoint a guest has with an experience—it’s the shop window that draws them in.
“By treating it as an essential part of the guest journey, we can not only build excitement and engagement but also make it seamless for visitors to purchase tickets, upgrade their experience, and maximise revenue for the attraction.”
Emerging trends in creative technology
Moving on to talk about emerging trends, Usi said he is excited about the integration of gaming into attractions.
“This spans everything from walkthrough experiences and museums to massive theme park rides. What makes this so compelling is the ability to give guests real control over their environments—just like in a video game. Imagine influencing a ride vehicle’s movement, triggering special effects, or even changing the outcome of an experience based on your choices.
“The idea of making every ride feel unique, where no two journeys are exactly the same, is something we’re only beginning to explore. As technology advances, we’ll see even more ways to bring that ultimate sense of agency to guests, borrowing mechanics that gamers already know and love.”
Another fascinating area of innovation is food tech, he added. “We’ve long used scent, visuals, and special effects to immerse guests in themed worlds—but what about taste? Imagine being able to try food from mythical worlds or flavours inspired by fictional creatures.”
With developments like 3D food printing, creators are now starting to explore how taste can transport people just as powerfully as any other sense. This technology has the potential to revolutionise themed dining.
Building on this, Verzosa said: “At Area15, we’re all about crafting experiences that engage every sense—sight, sound, touch, taste, and beyond. A great example is our restaurant, The Beast, where we offer food experiences that go far beyond a typical meal.
“This ties into what Matt was saying about gaming and interactivity. Coming from the video game industry myself, I’ve seen firsthand how gamification, streaming, and social play have shaped entertainment. But now, people aren’t just looking to play from home—they want to step into immersive environments and experience these worlds alongside both their friends and total strangers.”
Artificial intelligence
One big creative technology trend that can’t be ignored is artificial intelligence (AI).
“AI and large language models are just starting to make their way into the attractions industry, and we’re seeing adoption at different speeds,” said Lewin.
“Right now, a lot of the impact is in content generation—drafting website copy, concept art, and even analysing large datasets. One area I find particularly interesting is using AI for competitive analysis. With tools like ChatGPT now able to browse the web, businesses can compare themselves against competitors, identify gaps, and refine their strategies accordingly.”
One major shift is the move from transactional guest relationships to more relational ones. Attractions are no longer just about ‘pay once, visit, and leave’—it’s about storytelling, purpose, and engagement beyond the visit.
“This is especially relevant for wildlife parks, heritage sites, and nonprofit attractions, where telling the story behind the brand can encourage repeat visits, deeper connections, and even donations.”
Another big focus is diversifying revenue streams. “Rather than relying solely on ticket sales, attractions can introduce high-value VIP experiences, recurring memberships, and digital content strategies to keep guests engaged year-round. It’s about creating ongoing value rather than a one-time transaction.”
Finally, data-driven decision-making is becoming more critical than ever:
“With changes in cookie policies, attractions need to rely more on first-party data—building their own data warehouses and using tools like surveys, heat maps, and user testing to identify weaknesses and optimise experiences.
“The key is turning that data into actionable insights that improve both the digital and in-person guest journey. Technology is evolving rapidly, and the attractions industry has a huge opportunity to use AI, storytelling, and data to deepen guest relationships and create more immersive, personalised experiences.”
Creative technology as a tool for storytelling
Holovis sees technology as a toolbox for storytelling—it enhances the narrative, but the story itself always comes first, said Tozer:
“The goal is to use tech to create bigger, better, and more immersive experiences without letting it dictate the direction. Being too tech-led can sometimes lead to great decisions, but it can also lead to missteps if the technology isn’t in service of the overall experience.”
The most successful attractions tend to be the ones that lead with storytelling. Guests connect more deeply when they understand the ‘why’ behind an experience—not just what it does, but what it makes them feel.
The best marketing strategies blend both elements. A strong narrative makes an experience memorable and emotionally engaging, while technology enhances immersion and interactivity.
“It ultimately comes down to unique value propositions—a balance of both story and technology,” said Lewin. “The story has to come first, but when you have innovative tech behind it, it can elevate the experience and make it even more compelling online.”
The key is finding that competitive edge through creative technology while ensuring it serves the narrative rather than leading it.
“What’s exciting is that a lot of this cutting-edge tech is becoming more cost-effective and easier to implement. At the same time, guest expectations are evolving. People are used to seamless, high-quality digital experiences in their daily lives, so they naturally expect that level of sophistication in the attractions they visit.”
The challenge and opportunity for the industry is figuring out how to translate those rising expectations into the on-the-day experience. “It’s not just about having impressive tech; it’s about using it to create moments that feel intuitive, immersive, and unforgettable.”
Tech vs. story
Does the technology drive the story, or vice versa? For Area15, it is a mix of both, said Verzosa:
“Sometimes the story drives the technology and other times; technology opens up new ways to tell a story. One of the biggest trends we’re seeing is the rise of IP-driven experiences. Companies like Netflix, Fever, Marvel, and others are creating large-scale immersive attractions tied to beloved franchises. A great example is the Wicked experience, which launches alongside the new movie.”
With IP-based attractions, guest expectations are incredibly high, especially among superfans. If they know and love a world, they expect an experience that truly does it justice. Get it right, and you deepen their connection to the brand. Get it wrong, and you risk losing that audience.
On the other side, original content offers an element of surprise and delight—giving guests something completely new that sparks the imagination. “For us, the balance is key: offering both the familiarity of a well-known IP and the excitement of something unexpected. It’s about creating those ‘wow’ moments where people walk away saying, ‘You have to go there—it’s like nothing you’ve ever seen before.’
“A great example is Superplastic’s Dopeameme, where a character-driven brand is evolving into a physical experience for the first time. Then there’s Felix & Paul Studios’ Interstellar Arc, a massive, epic attraction that many guests won’t have seen before.”
The magic happens when guests can experience both in one visit—something familiar that resonates with them, alongside something entirely new that expands their imagination.
Creative technology should be seamless
“I would love to say that guests are coming for the tech, but I don’t think that’s it,” said Verzosa. “I think they’re coming for the experience, and they want the tech to be as seamless as possible. They almost want it to be like picking up their phone and using it—it’s not difficult to understand, so they can just get straight to the point and enjoy themselves.”
When they get to try something for the first time, like a VR headset, for example, if they’re from a household that doesn’t have one, it opens their eyes to a new technology.
“But the notion that tech is going to drive someone to our building? I don’t think that’s quite it. It’s more about a place where you can unlock your imagination. It’s something curious—people want to see what it is when they get there and try these new things. And that’s important to us. That’s also why we love working with IP companies. They bring the story and the familiarity of things people already know.
“For example, with the Army of the Dead VR experience, people come because they know the story. For the upcoming John Wick experience, fans are coming because they know the story. And then when they’re there, what happens is kind of the magic of the experience itself.”
The story of innovation
Usi agreed, citing the example of a World’s Fair:
“When you went to a World’s Fair, it was this amazing array of new technology, innovation, and things you hadn’t seen before. And when you go there, it’s so new and novel that you have to be the first person to try it. That’s why I think it can be both—the technology could be a centrepiece around an experience.
“As entertainment design has gotten more formalised, we’re told that technology should drive the story, and for the most part, that rings true. But can the advancement of creative technology itself be the story? Think of something like Spaceship Earth—this wonderful attraction that everyone holds dear to their heart. It’s about the innovation of humankind and how we’ve progressed over the years.”
“Or think about a roller coaster. It’s the culmination of engineering marvels, taking people on an exciting ride. You go to that roller coaster because it’s a brand-new one, something you’ve never seen or ridden before.
“I think that needs to be celebrated a little bit. It’s going to attract people who just want to ride it because they’ve never seen anything like it before.”
Ultimately, guests want to be thrilled. They want to experience something that ignites all their senses and really delivers on the emotions of wish fulfilment—‘I’ve never seen this before, I want to try it. I’ve never ridden this before, I want to ride that.’
“And that’s really the adoption of technology—the evolution of technology because it’s going to be required for us to deliver those experiences.”
Finding a balance
Tozer questioned if there is a formula when it comes to the balance of story and technology.
“For me, it’s very much that we approach projects with fresh eyes,” replied Usi. “We’re looking at the pieces—technology, special effects, illusions—pulling from different areas to really tell the story. That is the overall guiding principle behind it: we want to have an environment that is tailored and helps drive the guest’s imagination forward.
“Do we want to showcase the technology and make it known to everyone because it’s involved in the story? Is it sci-fi, something where that takes centre stage? Or is it something where we’re trying to replicate nature? Are we trying to replicate the elements where you’re not supposed to see the technology, but you use all the other senses to give that feeling that you are standing in a forest, that you are swimming in the ocean?”
Verzosa brought in the example of LED screens:
“They’re everywhere now. I live in a city where I see the Sphere every single morning on my drive to work. But in some cases, you almost don’t even notice that they’re there, especially throughout some of the resorts here.
“We utilise LED screens, not only for promotional purposes but also for the environment. If you walk into our 360 projection room, it’s purely environmental. It may shift very subtly to make it feel like the room has gone from day to night, or however your normal day would look like, but within four walls.
“If you can do it gracefully, there’s a start, a middle, and an end, but ideally, a memory of it. And that memory stays for a long time, along with the feeling and emotion that comes from it—that’s our goal.”
Creative technology & the pre-visit experience
Part of this is preparing the guests for the journey they are about to have, which is where the website comes in.
“If I can get the guests prepared for the journey right by using the website—by giving them the right information ahead of time, then by the time they come here, we know who they are, where they belong, and what they need to do, and that creates a flawless experience for them,” says Verzosa.
“Then afterwards, we say hello. Two days later, we drop off whatever the character is that they experienced, give them another clue for their next adventure or their return. It’s so critical that the website gives them as much information to get them ready for it, but without divulging what they’re actually going to experience.”
Lewin said: “We have quite a lot of that with clients, where you debate, ‘How much of the experience do you show on the website before they go? Does it give away all the surprises and that kind of thing?’ But in reality, 90%+ of guests will be on their mobile, so you can’t replicate that big, immersive experience on a tiny little mobile phone screen.
“Normally, we advise clients to put as much out there as possible to get them excited about the experience. Obviously, you want to hold off on the surprises and things, but ultimately, it’s about showcasing the attraction so that customers can see it’s worth paying for.
“It’s all about reassuring the guests right the way through. And we look at how can we blend the online and offline experience a bit more as well. That’s a trend we’re exploring at the moment too.”
The post-visit experience
The post-visit experience is also becoming more important, and the website can play a key role here too:
“Normally, they’ll need a reason to return,” said Lewin. “Whether that’s because you’re putting out new content quite often, or you’ve emailed them special offers and new kinds of experiences and ideas to get them back to the site.”
The overall trend is going to be more around hyper-personalisation…customising the stories and the experience to each guest and demographic and then bringing in post-visit moments of delight
That ties back into telling the stories better and showcasing the reasons for attractions existing in a more immersive way online.
“I think the overall trend is going to be more around hyper-personalisation. So, tying back to what we were talking about at the beginning—customising the stories and the experience to each guest and demographic and then bringing in post-visit moments of delight. Those unexpected little surprises where it’s like, ‘Oh, cool. Well, they’ve sent me this offer,’ or ‘They’ve sent me this extra little bonus package to share with my friends,’ or something like that.
“Those moments of unexpected joy that you can try and incorporate into all your communications will be pretty key.”
Challenges in bringing in creative technology
The panel then moved on to discuss challenges in implementing creative technology.
“Our biggest challenge is balancing constant innovation and embracing new tech with keeping operations and day-to-day tasks up to date,” said Lewin.
“You can go too far into the innovative side, and then the day-to-day tasks drop off. Even for us as a web agency, it’s moving so fast. It’s parallel to attractions and leisure brands, especially in places like Vegas, where there’s an arms race of tech, and everyone’s trying to out-tech each other.
The challenge is keeping up with enough new tech to stay ahead while also ensuring the foundation is updated and adapted:
“We’re always weighing the impact versus the return and how much effort it takes. We review the ROI versus how easy it is to roll back. With our Loop platform, we’re well positioned to capitalise on new tech and keep it fresh and up to date, which is great.”
As far as tech is concerned, Verzosa said that, in addition to the challenge of finding a balance so it’s not overwhelming to the guest, they also need to ensure that guests are familiar with the tech.
“In Vegas, because we’re such a large tourism city, some people have never tried things like goggles, and that affects throughput. When they don’t know how to use it or adjust their point of view, that slows things down.
“We have to be very careful with how quickly we expect guests to move through an experience if they’re not familiar with the tech.”
“For us, a challenge is teaching operators how to maintain the tech,” added Tozer. “We spend so much time designing it, integrating it, commissioning it, and bringing it online. But the tech is so advanced now that the standard operator might struggle.”
Innovation is key
Use also spoke about the risk of the themed entertainment industry becoming a monoculture:
“We really need to focus on the innovation of what’s next. Themed entertainment has always been a tastemaker, an influencer of what the rest of the world wants to see. If you think about the very beginnings of our industry, all these ideas came from somewhere else—they came from the automotive industry, the aerospace industry, and even robotics.
“These were all things that had a necessity behind them, driven by people wanting to try something new.”
“Looking outwards and then bringing those innovations inwards took the combined efforts of talented people who could look at something and say, ‘I know how to use that,’ or ‘I know how to misuse that.’ That’s where innovation comes from.
To mitigate the risk of becoming that monoculture, the industry needs new voices and ideas to come in. “That could be outside of our industry as well. Visitors and guests expect something new and novel every time they invest in coming to see these attractions or participate in their web and mobile journeys.
“We need to go out there, embrace the unknown, and find the next big thing that will set us on a path to something truly spectacular in the future.”
Watch this space
As we head into 2025, there are some truly incredible projects launching across the industry, building on innovative new creative technology. “We’re all fortunate to be involved in some of the biggest and most exciting developments, whether in theme parks, immersive experiences, or next-generation attractions,” said Tozer.
“The integration of creative technology into these experiences is advancing at an incredible pace, making this an exciting time for both creators and guests. One project we’re particularly thrilled about is our 360 Golf product. We’re eager to continue bringing it to market and expanding its reach.
“It’s shaping up to be a big year for the industry, and we all have an important role to play in driving innovation and delivering unforgettable experiences. The future of immersive entertainment is brighter than ever, and we’re just getting started.”
The post Personalisation & shared experiences: innovation in creative technology appeared first on Blooloop.