The air in the Jungle Zone was cold enough to make every breath visible, but that didn't slow the pace. The hum of diesel engines and the clank of steel echoed across the empty park. Today was the day Serpent's Run would finally break the skyline.
Lucas stood just inside the service gate, watching as the crane operator eased the first golden support into the air. The crew guided it with steady hands, manoeuvring the long column into place over its waiting footer. Bolts slid through the flanges, wrenches turned, and within minutes the first piece of the coaster stood firmly anchored.
More supports followed, each lifted from a neatly arranged line along the access road. The winter sunlight caught on the metallic gold paint, making them flash briefly against the grey sky.
A flatbed truck rumbled into position nearby, its cargo wrapped in protective foam. Workers peeled it back to reveal the deep forest green track, fresh from the overspray shop. The colour seemed almost black until a beam of sunlight brought out its rich green hue.
> [System Notification]
Vertical construction phase in progress.
Estimated track completion: late March 2017.
Lucas walked closer to where the first section was being prepared. Two short pieces of track had been laid out, ready to connect to the newly placed supports. A welder's torch flared briefly as the crew secured the base plates. Then, with the crane's help, the first track piece rose into the air and slid neatly into position.
From the midway, the change was immediate — a flash of green steel now arched above the construction walls, hinting at the ride to come. Even from here, Lucas could already picture the train launching out of the temple gate, diving into that first series of turns.
By the end of the day, three support clusters and two short track sections were in place. It was only a fraction of the full ride, but it was enough to mark a turning point: Serpent's Run was no longer just plans and renderings. It was real steel, rising from the ground.
Lucas lingered for a moment longer before heading back toward the entrance. His calendar was already marked — in a few days, he'd be on the road. Not for coaster construction this time, but for something entirely different: gathering ideas for the park's future indoor darkride.
The idea for Elysion Park's first indoor darkride had been sitting in Lucas's mind for months — a blank page waiting for a story. The system could handle the construction, just like it had for Serpent's Run, but Lucas knew that the soul of the ride had to come from somewhere real.
He didn't want to copy another park's attraction, but he also didn't want to design in a vacuum. The only way to get it right was to see the best in person — rides where story, scenery, and motion blended into one seamless experience.
So, in the quiet months while the park was closed and Serpent's Run was still just steel and bolts, Lucas planned a circuit through some of Europe's most renowned parks. This week would be the first leg: four parks in eight days. Each stop would teach him something different.
The frost on the car's windshield had barely melted when Lucas turned into the Efteling's parking lot. Even in the muted light of a February morning, the park's entrance — with its sweeping, almost cathedral-like roof — felt inviting. Families bundled in scarves and gloves hurried toward the gates, and somewhere in the distance, the faint melody of the park's entrance music carried on the cold air.
For Lucas, today wasn't about simply enjoying the rides. This was reconnaissance — an attempt to soak in the kind of storytelling and detail that could inspire Elysion Park's own indoor darkride project. The system could deliver construction crews and budgets, but inspiration… that had to be gathered in person.
---
Fata Morgana – A Journey Through the Forbidden City
He started here deliberately. The ride's exterior — a sprawling fortress with domes and minarets — already told a story before he'd stepped inside. As the boat slid silently into the darkness, Lucas found himself leaning forward, not to enjoy the scenes as a guest, but to dissect them.
The market square felt alive, every animatronic moving just enough to suggest ongoing life. The lighting was warm here, inviting. Further in, the oppressive dungeons used cooler tones, shadows pooling in corners. Lucas mentally noted how this shift made riders feel the change in tone without a single word being spoken.
He scribbled in his notebook:
Scene pacing: gradual build from curiosity → tension → climax → resolution.
Sound layering: ambient noises + distant music, never just one source.
---
Symbolica – The Art of Surprise
The trackless ride vehicles glided into the Hall of Mirrors, and Lucas could feel himself smiling despite the chill outside. Here, the transitions between scenes were seamless — no abrupt cuts, no long black corridors to hide resets. Every turn revealed something new, often unexpected.
He was struck by the use of verticality: scenes above and below eye level, forcing riders to look around and notice details.
Another note:
Multiple sightlines keep riders engaged.
Vehicle movement matches story beats (slowing for emotional moments, spinning for surprises).
---
Observations Over Lunch
At a quiet corner table in the Wapen van Raveleijn, Lucas pulled out his phone and snapped a few discreet photos of the sketches he'd made. The system didn't react — this wasn't a purchase or a plan, just ideas. Still, he could imagine how these concepts might fit into Elysion Park's entrance area.
He imagined a darkride where guests started in calm wonder, only for mystery and tension to slowly creep in. Where the ride system itself could participate in the storytelling — maybe a trackless vehicle that could turn suddenly, or slow dramatically before a reveal.
---
Droomvlucht – The Power of Atmosphere
By late afternoon, with the winter sun low in the sky, Lucas made his way to Droomvlucht. The dreamy, floating transitions, the scent of flowers in the air, the way each scene felt like it existed beyond the ride path — it was all part of the illusion.
The key takeaway here wasn't about technology at all. It was about mood.
If the guests left a ride feeling something, they'd remember it far longer than the technical details.
---
As the park's closing music began to play and the crowds streamed toward the exit, Lucas lingered near the pond at the front. The Efteling had a way of making even a winter's day feel magical.
Back in his car, he glanced at his notes again. There were no final decisions yet, but the day had been productive. One park down, three more to go — and each would bring its own kind of inspiration.
> [System Reminder]
Serpent's Run construction progress: supports 15% complete.
Next milestone: first major track section to be installed next week.
Lucas smiled faintly. The work back home wasn't slowing down — and neither was he
The motorway unfurled toward Brühl under a pale winter sky. Lucas pulled off the autobahn and into the car park, breath misting as he crossed to the entrance. He wasn't here for coasters — today was about dark rides.
Maus au Chocolat came first. Even in the queue, every prop, wall texture, and sound pointed at the story. Inside, the ride's playful interactivity kept energy high without drowning the sets. He noted: use tech to serve scenes, not replace them; layer sight gags and details so repeat rides pay off.
Then Feng Ju Palace: simpler motion, richer mood. Fog, light, and timing stretched the space, making it feel larger than it is. Another note: atmosphere can outshine budget; give each scene breathing room.
Back at the car, heater ticking on, Lucas flipped through quick sketches: a pre-show that sets tone, a first act that invites wonder, a mid-ride shift to mystery, and a finale that resolves without rushing. No purchases, no emails — just ideas to feed the system later.
He closed the notebook, started the engine, and pulled out of the lot. The inspiration was there; the shape of Elysion Park's future dark ride was beginning to form.