1 00:00:03,800 --> 00:00:06,680 Speaker 1: Welcome to Stuff to Blow Your Mind from how Stuff 2 00:00:06,680 --> 00:00:13,840 Speaker 1: Works dot com. Hey you welcome to Stuff to Blow 3 00:00:13,880 --> 00:00:16,360 Speaker 1: your Mind. My name is Robert Lamb and I'm Julie Douglas. 4 00:00:16,640 --> 00:00:20,840 Speaker 1: What's your earliest memory of a haunted house? Uh? Not 5 00:00:20,840 --> 00:00:23,560 Speaker 1: not a real haunted house where actual ghosts are supposedly 6 00:00:23,720 --> 00:00:25,880 Speaker 1: running around. We've talked about that's sort of thing in 7 00:00:25,880 --> 00:00:28,920 Speaker 1: the past, But I'm talking about haunted attractions. Place where 8 00:00:28,960 --> 00:00:31,080 Speaker 1: you go up, you buy your ticket, you run through 9 00:00:31,080 --> 00:00:35,400 Speaker 1: the haunted attraction. Various scary things happen, You encounter tab 10 00:00:35,400 --> 00:00:38,520 Speaker 1: blaws that are frightening, people jump out at you, there's smoke, 11 00:00:38,640 --> 00:00:42,120 Speaker 1: there's light, their smell, and you leave screaming and giggling. 12 00:00:42,800 --> 00:00:46,479 Speaker 1: My childhood home, really you grew up in a haunted No, 13 00:00:46,640 --> 00:00:50,239 Speaker 1: but my dad loves Halloween, and so as as a 14 00:00:50,280 --> 00:00:53,880 Speaker 1: tenderhearted five year old, I remember going up to my 15 00:00:54,000 --> 00:00:57,240 Speaker 1: house and seeing that it had been transformed into a graveyard. 16 00:00:57,840 --> 00:01:00,640 Speaker 1: And my dad had because he were to the university, 17 00:01:00,680 --> 00:01:02,560 Speaker 1: and so he went to the department there and got 18 00:01:02,600 --> 00:01:05,920 Speaker 1: the you know, whole makeup thing and aged himself and 19 00:01:06,000 --> 00:01:08,800 Speaker 1: looked like he was like the grave keeper dude. And 20 00:01:08,840 --> 00:01:11,200 Speaker 1: then he also projected the pit and the pendulum on 21 00:01:11,240 --> 00:01:13,880 Speaker 1: the side of the house. Okay that the old film, 22 00:01:14,080 --> 00:01:18,000 Speaker 1: Yeah yeah, with the blade coming down slowly and you know, wow, 23 00:01:18,040 --> 00:01:20,880 Speaker 1: he went all out, he did. So that is my 24 00:01:20,959 --> 00:01:25,120 Speaker 1: first impression of what haunted house might be like. Okay, 25 00:01:25,360 --> 00:01:28,320 Speaker 1: you I think my earliest. I mean, my family always 26 00:01:28,319 --> 00:01:30,080 Speaker 1: made a big deal out of Halloween as well, but 27 00:01:30,080 --> 00:01:31,800 Speaker 1: I don't think we ever really set up a haunted 28 00:01:31,840 --> 00:01:35,520 Speaker 1: house per se. But I do remember when we were 29 00:01:35,560 --> 00:01:40,080 Speaker 1: living in rural Tennessee. Uh, my church group would go 30 00:01:40,200 --> 00:01:42,720 Speaker 1: every year to see this thing that was called scare Mare, 31 00:01:43,200 --> 00:01:46,120 Speaker 1: which we us kids are often referred to as prayer 32 00:01:46,160 --> 00:01:49,800 Speaker 1: Mere because the gimmick was you come to this little 33 00:01:49,880 --> 00:01:52,040 Speaker 1: rural church out in the middle of nowhere and they 34 00:01:52,040 --> 00:01:54,400 Speaker 1: put on this haunted house every year and you go 35 00:01:54,520 --> 00:01:58,000 Speaker 1: through it and it's one of these these fundamentalist Christian 36 00:01:58,440 --> 00:02:01,640 Speaker 1: haunted houses that that each room shows you that the 37 00:02:01,680 --> 00:02:04,480 Speaker 1: perils of a sin uh and you know, this is 38 00:02:04,480 --> 00:02:06,480 Speaker 1: what's gonna happen if you if you drink, this is 39 00:02:06,520 --> 00:02:08,520 Speaker 1: what's gonna happen if you listen to bad music, and 40 00:02:08,600 --> 00:02:11,200 Speaker 1: all the type of stuff you can you can imagine. 41 00:02:11,400 --> 00:02:13,960 Speaker 1: And then at the end they empty you out into 42 00:02:13,960 --> 00:02:18,720 Speaker 1: a tent where a preacher sermonizes to you for what 43 00:02:18,919 --> 00:02:21,920 Speaker 1: felt like an hour or two and that was the 44 00:02:22,000 --> 00:02:24,360 Speaker 1: end of it. That was the prayer mayor portion of it. 45 00:02:24,400 --> 00:02:27,399 Speaker 1: And it was, you know, it was cheaply done, and 46 00:02:27,600 --> 00:02:29,200 Speaker 1: a lot of it was kind of it was very 47 00:02:29,200 --> 00:02:31,360 Speaker 1: heavy handed even at that age, but they were still 48 00:02:31,440 --> 00:02:33,960 Speaker 1: using some of the elements of haunted houses that everyone 49 00:02:34,120 --> 00:02:36,880 Speaker 1: is kind of used to that everybody does a chainless chainsaw, 50 00:02:36,960 --> 00:02:39,600 Speaker 1: a dude in a mask, somebody with blood on them, 51 00:02:39,720 --> 00:02:41,920 Speaker 1: someone jumping out at you out of the dark, that 52 00:02:42,000 --> 00:02:44,880 Speaker 1: kind of thing. It's only really been since i moved 53 00:02:44,919 --> 00:02:47,480 Speaker 1: to Atlanta as an adult that I've gotten to really 54 00:02:47,680 --> 00:02:52,760 Speaker 1: experience a high grade, professional haunted attraction where they really 55 00:02:52,800 --> 00:02:56,639 Speaker 1: throw everything together and just wallop all your senses with 56 00:02:57,120 --> 00:03:01,280 Speaker 1: with frightful images, frightful sounds, frightful smell, etcetera. And I'm 57 00:03:01,280 --> 00:03:04,520 Speaker 1: talking about the nether World Haunted house right Another World 58 00:03:04,720 --> 00:03:08,600 Speaker 1: is I think one of the probably most esteemed haunted 59 00:03:08,639 --> 00:03:12,480 Speaker 1: houses in the United States and is a fine, fine example, 60 00:03:12,520 --> 00:03:14,080 Speaker 1: and we'll talk a little bit more about that. But 61 00:03:14,160 --> 00:03:16,520 Speaker 1: I did want to say that the church, the sort 62 00:03:16,560 --> 00:03:19,440 Speaker 1: of Churchill haunted houses. Forgive my punt art for the 63 00:03:19,480 --> 00:03:23,799 Speaker 1: genesis of the modern haunted house, because that's actually how 64 00:03:23,880 --> 00:03:27,320 Speaker 1: haunted houses start as a charity event. But right now 65 00:03:27,360 --> 00:03:31,040 Speaker 1: we have in the US over two thousand haunted attractions 66 00:03:31,040 --> 00:03:35,000 Speaker 1: that charge admission, about a thousand charity attractions, and three 67 00:03:35,080 --> 00:03:39,440 Speaker 1: hundred amusement parts that have various haunted houses. Um. And 68 00:03:39,480 --> 00:03:41,280 Speaker 1: I wanted to point this out because I did not 69 00:03:41,360 --> 00:03:44,440 Speaker 1: realize this that the average person will show out about 70 00:03:44,560 --> 00:03:48,520 Speaker 1: seventy two dollars on decorations, costumes, and candy for Halloween, 71 00:03:49,040 --> 00:03:52,760 Speaker 1: and total Halloween spending was six point eight six billion, 72 00:03:53,120 --> 00:03:57,880 Speaker 1: second only to Christmas in Christmas decorations. So Halloween obviously 73 00:03:57,960 --> 00:04:01,160 Speaker 1: is a big deal in our psyche, and uh, haunted 74 00:04:01,200 --> 00:04:04,560 Speaker 1: houses I think are the catalyst of it all. Yeah, 75 00:04:04,600 --> 00:04:06,240 Speaker 1: and and and then always gives me such a it's 76 00:04:06,240 --> 00:04:07,680 Speaker 1: such a big deal. It's always a big deal to me. 77 00:04:07,680 --> 00:04:09,720 Speaker 1: But it's such a big financial deal. Then why is 78 00:04:09,760 --> 00:04:12,440 Speaker 1: Thanksgiving Christmas? Why aren'ty always trying to to wean in 79 00:04:12,520 --> 00:04:14,480 Speaker 1: on it and get and show up in October and 80 00:04:14,880 --> 00:04:17,719 Speaker 1: steal some of the spotlight from from Halloween because they're like, hey, 81 00:04:17,720 --> 00:04:20,440 Speaker 1: as long as you as you are dropping some dime 82 00:04:20,520 --> 00:04:22,560 Speaker 1: on decorations. Why don't you pick up a nice little 83 00:04:22,560 --> 00:04:25,160 Speaker 1: Santa Claus. Yeah, and I'm also off for let's start 84 00:04:25,200 --> 00:04:28,880 Speaker 1: Halween in September. I kind of started in March, so 85 00:04:28,920 --> 00:04:32,479 Speaker 1: I was gonna say, like in December. Yeah. Um. But 86 00:04:32,560 --> 00:04:35,279 Speaker 1: as you point out, Another World is a great example. 87 00:04:35,320 --> 00:04:38,640 Speaker 1: It's been in the business for sixteen years and it's 88 00:04:38,680 --> 00:04:43,679 Speaker 1: created by movie professionals Ben Armstrong and Billy Messina. Messina 89 00:04:43,760 --> 00:04:47,520 Speaker 1: did ffex on Franken Hooker and I think one of 90 00:04:47,520 --> 00:04:49,880 Speaker 1: the basket Case movies. To give you horror fans a 91 00:04:49,880 --> 00:04:54,239 Speaker 1: little perspective. Uh, they use original storytelling, so they don't 92 00:04:54,240 --> 00:04:58,800 Speaker 1: rely on Hollywood's stereotypes like Freddie or Jason. They have 93 00:04:58,960 --> 00:05:03,840 Speaker 1: thousands of effects. They create custom props, makeup masks and monsters. 94 00:05:04,360 --> 00:05:07,440 Speaker 1: They have a ton of puppetry as well, uh, animatronics, 95 00:05:07,560 --> 00:05:11,120 Speaker 1: and they have more than one hundred nether spawn, which 96 00:05:11,120 --> 00:05:14,960 Speaker 1: are their actors, some of whom are stunt actors. And 97 00:05:15,160 --> 00:05:17,839 Speaker 1: uh some of these actors are actually professional feeder actors 98 00:05:17,839 --> 00:05:21,400 Speaker 1: and some have day jobs. And this year they have 99 00:05:21,520 --> 00:05:26,200 Speaker 1: actual Beauty pageant winner Mrs Georgia, who transforms herself into 100 00:05:26,240 --> 00:05:28,360 Speaker 1: a ghoul. So you really do see people of all 101 00:05:28,440 --> 00:05:31,200 Speaker 1: different stripes joining in on this. So for this episode, 102 00:05:31,200 --> 00:05:32,400 Speaker 1: we we thought, all right, we're going to do an 103 00:05:32,400 --> 00:05:34,919 Speaker 1: episode on the science of hunted houses, we should both 104 00:05:34,960 --> 00:05:38,680 Speaker 1: go to another world and actually check it out for reals, 105 00:05:38,839 --> 00:05:41,000 Speaker 1: you know. And uh, and so I went out. I 106 00:05:41,279 --> 00:05:44,239 Speaker 1: checked it out, I went through the attraction. I talked 107 00:05:44,320 --> 00:05:47,800 Speaker 1: to Ben, one of the owners and operators and the 108 00:05:47,920 --> 00:05:51,040 Speaker 1: minds behind all of this. And then you went a 109 00:05:51,080 --> 00:05:53,200 Speaker 1: few days later and you checked out the behind the 110 00:05:53,200 --> 00:05:55,880 Speaker 1: scenes stuff, So we kind of we kind of double 111 00:05:55,920 --> 00:05:57,719 Speaker 1: teamed it. I kind of got the user end of 112 00:05:57,720 --> 00:05:59,480 Speaker 1: it and you've got the behind the scenes. Yeah, it 113 00:05:59,520 --> 00:06:01,080 Speaker 1: was really cool. Got to see what it looks like 114 00:06:01,080 --> 00:06:03,000 Speaker 1: about an hour before the door is open, and it 115 00:06:03,080 --> 00:06:06,080 Speaker 1: really is like putting on a large scale theatrical production 116 00:06:06,160 --> 00:06:08,480 Speaker 1: every single night. Um, and we'll talk a little bit 117 00:06:08,480 --> 00:06:11,839 Speaker 1: more about the different elements, but it was amazing to 118 00:06:11,839 --> 00:06:14,320 Speaker 1: see all the actors getting into their costumes and I 119 00:06:14,360 --> 00:06:17,760 Speaker 1: think they've got seven different makeup artists. They've got a 120 00:06:17,880 --> 00:06:21,760 Speaker 1: room full of masks, which is amazing to see. So 121 00:06:22,160 --> 00:06:24,480 Speaker 1: the eight year old in me was extremely excited to 122 00:06:24,520 --> 00:06:26,760 Speaker 1: be able to go behind the scenes and go through 123 00:06:26,800 --> 00:06:29,520 Speaker 1: the maze and kind of see it in the partial daylight. 124 00:06:29,800 --> 00:06:32,000 Speaker 1: Oh nice. We attended to grab a mask and sort 125 00:06:32,000 --> 00:06:35,120 Speaker 1: of hang out. I was actually I wasn't. Then I 126 00:06:35,240 --> 00:06:36,960 Speaker 1: kind of got that vibe of like, you know what, 127 00:06:37,279 --> 00:06:39,200 Speaker 1: that there are actors here doing that. You don't need 128 00:06:39,240 --> 00:06:42,040 Speaker 1: to dive in here and try to scare people. Right. Well, 129 00:06:42,160 --> 00:06:44,159 Speaker 1: when I was there, I got a few quotes from Ben, 130 00:06:44,320 --> 00:06:46,120 Speaker 1: so I thought we'd kick things off here and sprinkle 131 00:06:46,120 --> 00:06:49,159 Speaker 1: a few other quotes throughout. But here is Ben's answer 132 00:06:49,200 --> 00:06:52,680 Speaker 1: when I asked him, why, as humans do we like 133 00:06:52,760 --> 00:06:57,120 Speaker 1: to be afraid? I think when you feel fear, it's 134 00:06:57,160 --> 00:06:59,840 Speaker 1: a really up primitive instruct you know, when you're the 135 00:07:00,040 --> 00:07:02,280 Speaker 1: hunter or the hunter. It's a huge surge of a 136 00:07:02,360 --> 00:07:06,000 Speaker 1: journaline and people really enjoy that feeling of terror when 137 00:07:06,040 --> 00:07:08,599 Speaker 1: they know it's safe. I think you're really scared and 138 00:07:08,680 --> 00:07:11,920 Speaker 1: you think you're really gonna die. It's a bad, sickening feeling. 139 00:07:11,920 --> 00:07:14,400 Speaker 1: But when you get shocked and scared and then you 140 00:07:14,440 --> 00:07:17,360 Speaker 1: can laugh about it, it's so you floor feeling everyone phrase. 141 00:07:18,360 --> 00:07:20,120 Speaker 1: So that was some fun interview material to get there 142 00:07:20,120 --> 00:07:22,240 Speaker 1: because you can hear some of the craziness in the background. 143 00:07:22,480 --> 00:07:25,280 Speaker 1: Because it's right outside side another world on a very 144 00:07:25,320 --> 00:07:30,200 Speaker 1: busy night. There's their chainsaws, they're screaming, there's laughter. I mean, 145 00:07:30,200 --> 00:07:33,240 Speaker 1: it's it's just a pretty awesome place to be. And 146 00:07:33,280 --> 00:07:35,320 Speaker 1: I think that what he's talking about and what you 147 00:07:35,400 --> 00:07:37,440 Speaker 1: just described to in terms of people really having fun 148 00:07:37,520 --> 00:07:41,200 Speaker 1: with it, is directly pointing to the benign violation theory, 149 00:07:41,200 --> 00:07:43,680 Speaker 1: which we've talked about before, right when we've talked about, 150 00:07:43,760 --> 00:07:46,200 Speaker 1: especially in our episode on laughter and humor and where 151 00:07:46,200 --> 00:07:48,200 Speaker 1: that comes from. I believe we call that episode Funny 152 00:07:48,280 --> 00:07:51,160 Speaker 1: or Die. We've dragged this idea out a number of times, 153 00:07:51,160 --> 00:07:53,680 Speaker 1: you know, the whole Uh, savor tooth tiger jumps out 154 00:07:53,720 --> 00:07:56,560 Speaker 1: at you and attacks you. Uh, you're dead right, But 155 00:07:56,600 --> 00:07:58,680 Speaker 1: if something else jumps out of you, you're gonna react 156 00:07:58,760 --> 00:08:01,280 Speaker 1: like it's a savor tooth and then it's not ha ha, 157 00:08:01,520 --> 00:08:04,400 Speaker 1: you laugh. That's the signal that I thought I was 158 00:08:04,400 --> 00:08:07,840 Speaker 1: gonna die, but not really. So this was the first 159 00:08:07,840 --> 00:08:11,240 Speaker 1: time I'd gone through a haunted attraction and in certainly 160 00:08:11,240 --> 00:08:14,440 Speaker 1: another world following that episode that we did. So I 161 00:08:14,480 --> 00:08:17,560 Speaker 1: was thinking about benign violation the whole time, and sure enough, 162 00:08:17,600 --> 00:08:19,960 Speaker 1: I'm seeing it certainly in everybody around me, but even 163 00:08:19,960 --> 00:08:23,240 Speaker 1: in myself. You know, I'm scared, I'm falling on the 164 00:08:23,280 --> 00:08:25,120 Speaker 1: floor because something jumped out of me from the side, 165 00:08:25,160 --> 00:08:27,560 Speaker 1: and then I'm laughing. Yeah, And I mean it's a 166 00:08:27,560 --> 00:08:30,320 Speaker 1: cathartic experience, right, I mean, there's no secret why we 167 00:08:30,960 --> 00:08:33,880 Speaker 1: want this and why we seek out this experience because 168 00:08:33,920 --> 00:08:36,000 Speaker 1: it really we are sort of built for that safe 169 00:08:36,040 --> 00:08:39,880 Speaker 1: tooth tiger, right. So um, it's kind of nice to 170 00:08:39,880 --> 00:08:43,280 Speaker 1: be able to exercise that in a safe place. And 171 00:08:43,320 --> 00:08:45,960 Speaker 1: also I wanted to say that Ben Armstrong had really 172 00:08:46,000 --> 00:08:49,400 Speaker 1: talked about how important safety is and haunted houses, and 173 00:08:49,800 --> 00:08:52,720 Speaker 1: this is a fine example. They have, you know, something 174 00:08:52,760 --> 00:08:56,520 Speaker 1: like thirty two surveillance cameras. They've thought of every single 175 00:08:56,640 --> 00:09:00,360 Speaker 1: safety aspect. When duty cops there on secure, you're ready, 176 00:09:00,800 --> 00:09:02,360 Speaker 1: you have to wait in a line before you go in, 177 00:09:02,480 --> 00:09:04,160 Speaker 1: and there's a lot of fun stuff going on with 178 00:09:04,240 --> 00:09:06,400 Speaker 1: you know, people and costumes kind of scaring you. But 179 00:09:06,440 --> 00:09:09,839 Speaker 1: then the the the security is there as well. I 180 00:09:09,840 --> 00:09:11,920 Speaker 1: imagine that they can kind of scope out who could 181 00:09:11,920 --> 00:09:14,880 Speaker 1: potentially be a troublemaker when they go in, because you know, 182 00:09:15,360 --> 00:09:16,640 Speaker 1: you should be there for a good time. If you're 183 00:09:16,640 --> 00:09:18,600 Speaker 1: there to start trouble, you're the wrong place. Yeah, if 184 00:09:18,600 --> 00:09:20,199 Speaker 1: you just did a couple of shots at Yaga my 185 00:09:20,280 --> 00:09:22,640 Speaker 1: start and went through that, that could be trouble um 186 00:09:22,679 --> 00:09:24,120 Speaker 1: and they are on the lookout for that. But I 187 00:09:24,160 --> 00:09:26,080 Speaker 1: wanted to talk a little bit about the Haunted House 188 00:09:26,160 --> 00:09:29,800 Speaker 1: layout itself. Yes, you were not given a map when 189 00:09:29,800 --> 00:09:32,040 Speaker 1: you show up, because that's part of it. It's kind 190 00:09:32,040 --> 00:09:35,480 Speaker 1: of a labyrinth that you lose yourself in for a 191 00:09:35,520 --> 00:09:38,160 Speaker 1: few minutes, right, and they want to disorient you, so 192 00:09:38,200 --> 00:09:41,560 Speaker 1: obviously they have um built it so that they can 193 00:09:41,800 --> 00:09:44,400 Speaker 1: disordento you to the best of their abilities, and they 194 00:09:44,480 --> 00:09:47,600 Speaker 1: use what they call sixty degree walls or six sided 195 00:09:47,679 --> 00:09:50,559 Speaker 1: rooms to do this, and also ninety degree walls, and 196 00:09:50,800 --> 00:09:52,960 Speaker 1: the ninety degree walls are really try to get you 197 00:09:53,000 --> 00:09:56,839 Speaker 1: more through the maze itself. UM, but the sixty degree 198 00:09:56,880 --> 00:09:58,720 Speaker 1: walls the six sided rooms are really cool because they 199 00:09:58,720 --> 00:10:01,080 Speaker 1: have lots of corners to hide actors in what they 200 00:10:01,120 --> 00:10:05,680 Speaker 1: call scares, and it's easier to disorientate or disorient customers 201 00:10:05,679 --> 00:10:08,400 Speaker 1: and create mazes, and then it gives a different feeling 202 00:10:08,720 --> 00:10:12,400 Speaker 1: um of more familiar construction. And we talked about this 203 00:10:12,440 --> 00:10:15,200 Speaker 1: a little bit in our last podcast about maps in 204 00:10:15,200 --> 00:10:17,840 Speaker 1: our configuration of neurons and how they really like the 205 00:10:18,080 --> 00:10:21,160 Speaker 1: X Y access the horizontal on the vertical not so 206 00:10:21,240 --> 00:10:24,640 Speaker 1: much something coming at you diagonally, and they're going diagonal 207 00:10:24,679 --> 00:10:27,120 Speaker 1: on all of these rooms. We're not used to dealing 208 00:10:27,120 --> 00:10:29,720 Speaker 1: with those rooms. I mean, no matter how crazy the 209 00:10:29,840 --> 00:10:32,920 Speaker 1: architecture in your house is, chances are you're still dealing 210 00:10:33,000 --> 00:10:37,079 Speaker 1: with square or maybe in some cases rounded structures. Right. 211 00:10:37,120 --> 00:10:39,360 Speaker 1: So when they're thinking about the set design of this already, 212 00:10:39,400 --> 00:10:41,880 Speaker 1: they've kept this in mind, this sort of natural scare 213 00:10:41,920 --> 00:10:44,640 Speaker 1: tactics of coming at you from diagonals and from all 214 00:10:44,679 --> 00:10:47,960 Speaker 1: different places. Um. And then they have something called scare 215 00:10:48,080 --> 00:10:51,200 Speaker 1: forward and through put. And this is sort of like 216 00:10:51,280 --> 00:10:53,480 Speaker 1: more on the business side, because through put is the 217 00:10:53,600 --> 00:10:55,520 Speaker 1: rate of people that go through the haunt, and it 218 00:10:55,559 --> 00:10:58,640 Speaker 1: helps to keep lines a little bit lower and keeps 219 00:10:58,720 --> 00:11:01,000 Speaker 1: multiple groups from crashing into each other. Yeah, I mean, 220 00:11:01,000 --> 00:11:05,800 Speaker 1: because not a very straightforward and boring but essential business level. 221 00:11:06,320 --> 00:11:08,280 Speaker 1: You need x number of people to go through there 222 00:11:08,760 --> 00:11:10,680 Speaker 1: at a certain rate if you're gonna make money, and 223 00:11:10,679 --> 00:11:12,719 Speaker 1: if you don't, because if you're not making money doing this, 224 00:11:12,880 --> 00:11:14,800 Speaker 1: I mean, all right, it's all fun and games, but 225 00:11:14,800 --> 00:11:17,880 Speaker 1: but it's not a business. And really, you know, a 226 00:11:18,240 --> 00:11:20,680 Speaker 1: delightfully twisted way. You kind of have to think of 227 00:11:20,720 --> 00:11:24,560 Speaker 1: a haunted attraction like a slaughter house. You have a 228 00:11:24,559 --> 00:11:27,720 Speaker 1: bunch of cattle and you need to steer them through 229 00:11:27,760 --> 00:11:31,520 Speaker 1: the attraction at a certain rate without any hiccups. You 230 00:11:31,520 --> 00:11:33,880 Speaker 1: need to keep them moving. You don't except, of course, 231 00:11:33,920 --> 00:11:35,640 Speaker 1: you don't want the cows to freak out. You want 232 00:11:35,640 --> 00:11:38,520 Speaker 1: the humans to freak out, but to a point. And 233 00:11:38,520 --> 00:11:40,760 Speaker 1: then if the freak out goes a little a little 234 00:11:40,800 --> 00:11:42,600 Speaker 1: too far, then you need to be able to remove 235 00:11:42,640 --> 00:11:45,240 Speaker 1: them so that the flow can keep going. And if 236 00:11:45,280 --> 00:11:47,680 Speaker 1: you are someone who is going to go through a 237 00:11:47,800 --> 00:11:50,280 Speaker 1: haunted house and you've got a little bit of scarity pants, 238 00:11:50,400 --> 00:11:52,719 Speaker 1: here is a tip. You will want to stay at 239 00:11:52,720 --> 00:11:55,280 Speaker 1: the front. And I know that sounds counterintuitive. I know 240 00:11:55,559 --> 00:11:58,200 Speaker 1: that's that's because this is the thing every year my 241 00:11:58,240 --> 00:11:59,560 Speaker 1: wife and I did do this when when we go 242 00:11:59,559 --> 00:12:01,600 Speaker 1: to another world, we're like, yes, we're gonna get up 243 00:12:01,600 --> 00:12:03,600 Speaker 1: there at the front. Were the brave ones. We love 244 00:12:03,640 --> 00:12:05,800 Speaker 1: this stuff. Let's do it. And then we indever, Let mean, 245 00:12:05,840 --> 00:12:08,520 Speaker 1: we still get you know, the Jesus scared out of us, 246 00:12:08,840 --> 00:12:11,120 Speaker 1: but we'll inevitably find ourselves in the situation where we 247 00:12:11,200 --> 00:12:13,520 Speaker 1: arrive a little too early, and then we spot the 248 00:12:13,520 --> 00:12:15,959 Speaker 1: monster in the corner, just standing there waiting to get 249 00:12:15,960 --> 00:12:17,880 Speaker 1: the people behind us, and we're kind of like, jump 250 00:12:17,920 --> 00:12:20,840 Speaker 1: out of me, I want it, man, We'll see. That's 251 00:12:20,840 --> 00:12:24,120 Speaker 1: the whole strategy. It's called scare forward. And what they're 252 00:12:24,160 --> 00:12:26,600 Speaker 1: doing is that they're they're really going at the sides 253 00:12:26,640 --> 00:12:28,200 Speaker 1: of the group and the back of the group because 254 00:12:28,240 --> 00:12:31,440 Speaker 1: the idea is again to get that through put out 255 00:12:31,480 --> 00:12:35,040 Speaker 1: there and to push the group forward. So if you 256 00:12:35,080 --> 00:12:37,200 Speaker 1: are in the front, you're probably not going to get 257 00:12:37,960 --> 00:12:40,400 Speaker 1: you know, an actor or a google or a monster 258 00:12:40,559 --> 00:12:42,840 Speaker 1: two inches in front of your face like someone in 259 00:12:42,840 --> 00:12:44,800 Speaker 1: the sides or the back of the group would. So 260 00:12:44,840 --> 00:12:47,760 Speaker 1: they're hurting you. They're essentially you're being herded by monsters 261 00:12:47,800 --> 00:12:51,600 Speaker 1: through a slaughterhouse. It's true, you are, and um, you know, 262 00:12:51,600 --> 00:12:53,559 Speaker 1: we should mention this is probably obvious, but there are 263 00:12:53,559 --> 00:12:58,640 Speaker 1: bunches of scare pockets throughout that maze, so little alcoves 264 00:12:58,640 --> 00:13:00,960 Speaker 1: and again that's why the six sided rooms are so helpful, 265 00:13:01,000 --> 00:13:04,840 Speaker 1: because this corner's helped to hide people. Uh, and they 266 00:13:04,840 --> 00:13:07,760 Speaker 1: have a number of interesting ways to hide people. A 267 00:13:07,800 --> 00:13:10,120 Speaker 1: lot of hiding in plain site. Is it a statute 268 00:13:10,240 --> 00:13:12,240 Speaker 1: is it a person? I can't tell unless it moves, 269 00:13:12,800 --> 00:13:14,720 Speaker 1: or there'll be something that looks like a person and 270 00:13:14,760 --> 00:13:17,040 Speaker 1: you're you're watching it like all right, buddy, I'm onto you. 271 00:13:17,360 --> 00:13:19,839 Speaker 1: And then bam, werewolf jumps out at you from the corner, 272 00:13:20,040 --> 00:13:21,600 Speaker 1: and which is really cool. We'll talk a little bit 273 00:13:21,600 --> 00:13:24,640 Speaker 1: more about camouflage and a little bit um, but let's 274 00:13:24,640 --> 00:13:26,840 Speaker 1: take a quick break in when we get back, we 275 00:13:26,880 --> 00:13:35,320 Speaker 1: will talk about modes of manual manipulation. Hey, you, we're back. 276 00:13:35,320 --> 00:13:37,720 Speaker 1: We're talking about the science of haunted houses, of course, 277 00:13:37,800 --> 00:13:40,480 Speaker 1: as in haunted attractions. And I'll mention this again but 278 00:13:40,559 --> 00:13:42,839 Speaker 1: if you want to check out Another World online and 279 00:13:42,880 --> 00:13:46,760 Speaker 1: see their cool website, go to www dot fear world 280 00:13:46,960 --> 00:13:49,560 Speaker 1: dot com and you can see all sorts of clips 281 00:13:49,559 --> 00:13:53,040 Speaker 1: and images and some wonderful write ups about their attractions. Yeah, 282 00:13:53,080 --> 00:13:55,560 Speaker 1: and they are doing an excellent job, I have to 283 00:13:55,600 --> 00:13:59,600 Speaker 1: say of manual manipulation. In other words, taking our five 284 00:13:59,640 --> 00:14:01,840 Speaker 1: cents is and and of course you could argue that 285 00:14:01,840 --> 00:14:04,240 Speaker 1: we have many more than five senses, but there's main 286 00:14:04,320 --> 00:14:08,520 Speaker 1: five senses in manipulating them through all sorts of things 287 00:14:08,559 --> 00:14:12,920 Speaker 1: like our site in our orientation, yeah, sight orientation. This 288 00:14:12,960 --> 00:14:14,320 Speaker 1: is kind of like I guess in a way the 289 00:14:14,360 --> 00:14:16,679 Speaker 1: obvious one, but but some of the subtler ways they 290 00:14:16,720 --> 00:14:19,120 Speaker 1: do it may surprise you. I mean on a very 291 00:14:19,160 --> 00:14:23,040 Speaker 1: basic level. Yes, you're walking through these dimly lit corridors 292 00:14:23,160 --> 00:14:26,240 Speaker 1: and things are happening, and a lot of like especially 293 00:14:26,240 --> 00:14:28,040 Speaker 1: in other world, a lot of stuff is happening. You're 294 00:14:28,200 --> 00:14:31,200 Speaker 1: you're distracted by little details, say like some sort of 295 00:14:31,240 --> 00:14:34,240 Speaker 1: a ghastly frame and a picture on the wall that 296 00:14:34,280 --> 00:14:36,600 Speaker 1: seems to be watching you, some sort of holographic bit 297 00:14:36,640 --> 00:14:40,560 Speaker 1: of art here, actual skeletons just I mean, they do 298 00:14:40,600 --> 00:14:42,960 Speaker 1: a wonderful job just on the layout of the place. 299 00:14:43,400 --> 00:14:45,240 Speaker 1: So you're looking at that kind of stuff, But then 300 00:14:45,280 --> 00:14:49,680 Speaker 1: there there's also other visual things, lights, lasers, moving fog, 301 00:14:49,880 --> 00:14:55,080 Speaker 1: moving monsters, and it all creates this chorus of confusion. Yeah, 302 00:14:55,120 --> 00:14:57,760 Speaker 1: And of course the lack of light is is the hallmark, 303 00:14:57,960 --> 00:14:59,600 Speaker 1: and the reason for that is because if you're plunge 304 00:14:59,600 --> 00:15:02,160 Speaker 1: into tote old darkness, then you're not quite sure what's 305 00:15:02,200 --> 00:15:04,000 Speaker 1: going on. And so there are different parts of the 306 00:15:04,040 --> 00:15:06,720 Speaker 1: Haunt that are that are darker than others. But I 307 00:15:06,760 --> 00:15:09,200 Speaker 1: did want to just give a quick overview of our 308 00:15:09,240 --> 00:15:11,160 Speaker 1: site that of course we have rods and cones in 309 00:15:11,160 --> 00:15:14,560 Speaker 1: our eyes. Cone cells perceive color in bright light, and 310 00:15:14,640 --> 00:15:17,640 Speaker 1: rod cells perceived black and white images and work best 311 00:15:17,720 --> 00:15:22,120 Speaker 1: and low light. So who has something called rhodopsin And 312 00:15:22,200 --> 00:15:25,080 Speaker 1: rhodoption is a chemical that's found in the rods, and 313 00:15:25,120 --> 00:15:28,200 Speaker 1: rhodoption is really key to the ability to see during 314 00:15:28,240 --> 00:15:31,360 Speaker 1: the night. And it's the chemical that rods used to 315 00:15:31,400 --> 00:15:34,640 Speaker 1: absorb photons and perceived light. And when a molecule of 316 00:15:34,800 --> 00:15:38,360 Speaker 1: rhodoption absorbs a photon, it splits into a retinal and 317 00:15:38,440 --> 00:15:42,440 Speaker 1: an option molecule. This is important because these later recombine 318 00:15:43,080 --> 00:15:46,440 Speaker 1: naturally back into redoption at a fixed rate, but the 319 00:15:46,480 --> 00:15:49,360 Speaker 1: recombination is very slow. So the reason I'm pointing this 320 00:15:49,400 --> 00:15:51,600 Speaker 1: out is because when you expose your your eyes to 321 00:15:51,680 --> 00:15:54,800 Speaker 1: bright light, all the roodoption breaks down into this retinal 322 00:15:54,840 --> 00:15:56,800 Speaker 1: and option, and then if you turn off the lights 323 00:15:56,800 --> 00:15:58,680 Speaker 1: and try to see in the dark, you cannot because 324 00:15:58,680 --> 00:16:01,080 Speaker 1: it has to try to recombine line. And that's one 325 00:16:01,080 --> 00:16:04,200 Speaker 1: of the disorienting effects of playing with a light in 326 00:16:04,240 --> 00:16:07,840 Speaker 1: a haunted house. And here's a fun fact. Okay, the 327 00:16:07,880 --> 00:16:11,280 Speaker 1: retinal used in the eye is derived from vitamin A. 328 00:16:11,600 --> 00:16:13,920 Speaker 1: So if a person's diet is low in vitamin A, 329 00:16:14,120 --> 00:16:16,640 Speaker 1: there's not enough retinal and the rods, and therefore there's 330 00:16:16,640 --> 00:16:19,760 Speaker 1: not enough reduction. So people who lack vitamin A often 331 00:16:19,920 --> 00:16:22,560 Speaker 1: suffer from night blindness. Okay, so if you you want 332 00:16:22,600 --> 00:16:25,480 Speaker 1: to really be on to be prepared for your venture 333 00:16:25,280 --> 00:16:27,760 Speaker 1: through the haunted house, you want to bone up on 334 00:16:27,800 --> 00:16:29,600 Speaker 1: your vitamin you want to just stuck up on that 335 00:16:29,680 --> 00:16:31,600 Speaker 1: vitamin A. But I thought that was interesting. I mean, 336 00:16:31,600 --> 00:16:34,120 Speaker 1: that's also like great because I know I'll be driving 337 00:16:34,680 --> 00:16:37,720 Speaker 1: at night occasionally when I can't help but drive at night, 338 00:16:38,040 --> 00:16:40,040 Speaker 1: and and I feel like I can't see anything. So 339 00:16:40,200 --> 00:16:42,240 Speaker 1: maybe next time I need a bone up on the vitamins. 340 00:16:42,320 --> 00:16:44,760 Speaker 1: There you go, There you go before you drive, before 341 00:16:44,800 --> 00:16:46,960 Speaker 1: you go into a haunted house, and drive into a 342 00:16:47,000 --> 00:16:50,239 Speaker 1: haunted house. Yeah, yeah, which is an entirely different attraction 343 00:16:51,200 --> 00:16:54,800 Speaker 1: from the future. But there's also different ways that can 344 00:16:54,800 --> 00:16:58,680 Speaker 1: manipulate your eyesight. And I saw one um example of 345 00:16:58,680 --> 00:17:02,840 Speaker 1: this online from a past another world um year. But 346 00:17:02,920 --> 00:17:06,320 Speaker 1: they had a room that was covered in illuminated dots, 347 00:17:06,840 --> 00:17:10,000 Speaker 1: So everywhere you look there's just dots, and you could 348 00:17:10,040 --> 00:17:12,560 Speaker 1: not see the edges, you could not see anything. And 349 00:17:12,600 --> 00:17:15,840 Speaker 1: I thought, well, that's fascinating because that's really like obscuring 350 00:17:15,840 --> 00:17:19,200 Speaker 1: your ability to actually pinpoint your orientation, which is so 351 00:17:19,280 --> 00:17:22,560 Speaker 1: important and allow you to have sort of a fixed 352 00:17:22,760 --> 00:17:25,919 Speaker 1: established place in the room. And it's really frightening to 353 00:17:25,960 --> 00:17:28,760 Speaker 1: even watch the clip of someone coming at you with 354 00:17:28,920 --> 00:17:31,800 Speaker 1: dots on, of course, because they're they're melding into the background, 355 00:17:31,960 --> 00:17:33,320 Speaker 1: you know, I do you know you mentioned this to 356 00:17:33,320 --> 00:17:35,120 Speaker 1: me yesterday and I'm like, I don't remember the dots, 357 00:17:35,160 --> 00:17:38,080 Speaker 1: but now I do. Think I went through the attraction 358 00:17:38,160 --> 00:17:40,520 Speaker 1: the year that they had the dots, because suddenly there's 359 00:17:40,520 --> 00:17:42,640 Speaker 1: a person that's covered with dots coming at you as well, 360 00:17:42,720 --> 00:17:45,440 Speaker 1: and that kind of course throws you off balance, as 361 00:17:45,520 --> 00:17:48,440 Speaker 1: does their use of sound. Yeah, there is a lot 362 00:17:48,480 --> 00:17:50,240 Speaker 1: of noise going on in the haunted house, and those 363 00:17:50,240 --> 00:17:51,680 Speaker 1: clip and the clips that we played, you could certainly 364 00:17:51,720 --> 00:17:53,679 Speaker 1: hear the outdoor noise and on the inside you have 365 00:17:54,080 --> 00:17:58,480 Speaker 1: creepy music, you have loud noises coming from elsewhere in 366 00:17:58,520 --> 00:18:02,719 Speaker 1: the hunt. A course, you're hearing chainless chainsaws rearing up. 367 00:18:02,760 --> 00:18:04,960 Speaker 1: I mean, that's a staple. There's just no getting around 368 00:18:05,040 --> 00:18:07,720 Speaker 1: it when it comes to chain saw usage at a 369 00:18:07,720 --> 00:18:10,760 Speaker 1: haunted attraction, And it's all just creating this cacophony. But 370 00:18:10,800 --> 00:18:13,000 Speaker 1: then there they're also these kind of moments of not 371 00:18:13,119 --> 00:18:16,080 Speaker 1: quite silence, because you're not gonna get really silence. It's 372 00:18:16,080 --> 00:18:19,320 Speaker 1: not a really sound proof environment, but they'll be like 373 00:18:19,359 --> 00:18:22,080 Speaker 1: a calmn, I guess before the noise comes out of 374 00:18:22,080 --> 00:18:25,200 Speaker 1: your specifically like an air gun or or an airhorn 375 00:18:25,520 --> 00:18:28,080 Speaker 1: going off right next to your head. You know. Thinking 376 00:18:28,119 --> 00:18:30,680 Speaker 1: about the sensitivity of our ears, because we talked about 377 00:18:30,720 --> 00:18:33,320 Speaker 1: this and the Ignoble podcast, and we talked about how 378 00:18:33,359 --> 00:18:36,760 Speaker 1: if you're hearing is delayed, if you hear yourself talking, 379 00:18:36,800 --> 00:18:39,480 Speaker 1: it's delayed just a fraction of a second. That can 380 00:18:39,560 --> 00:18:41,960 Speaker 1: just change everything in the machinery in the way that 381 00:18:42,000 --> 00:18:46,119 Speaker 1: you perceive sound. And um, it made me think about 382 00:18:46,160 --> 00:18:49,439 Speaker 1: the fact that your your ear is really important in 383 00:18:49,560 --> 00:18:53,399 Speaker 1: actually detecting the gravitational field as well and giving you 384 00:18:53,480 --> 00:18:55,360 Speaker 1: a sense of orientation. So when you have all these 385 00:18:55,359 --> 00:18:57,720 Speaker 1: different elements of sound coming at you, that can really 386 00:18:57,720 --> 00:19:01,800 Speaker 1: disturb um your sense of where you are. And I 387 00:19:01,840 --> 00:19:04,760 Speaker 1: was also thinking about something called the butt kicker that 388 00:19:04,840 --> 00:19:07,280 Speaker 1: they use. I love the name of it. It actually 389 00:19:07,359 --> 00:19:10,800 Speaker 1: vibrates the floor. Oh yes, yes, okay. And also in 390 00:19:10,840 --> 00:19:12,560 Speaker 1: the other world, when I was talking to you, Ben. 391 00:19:12,640 --> 00:19:16,760 Speaker 1: He said, they've experimented with sub sonic frequencies, but they 392 00:19:16,800 --> 00:19:18,680 Speaker 1: decided not to use them because they have some odd 393 00:19:18,720 --> 00:19:21,600 Speaker 1: effects on people. Okay, change them in the Monster's that 394 00:19:21,680 --> 00:19:24,280 Speaker 1: kind of thing exactly, you start to grow hair everywhere. 395 00:19:24,359 --> 00:19:27,560 Speaker 1: It's it's it's not pretty. They definitely play with your 396 00:19:27,560 --> 00:19:31,639 Speaker 1: balance a lot. They're they're squishy floors. There's their floors 397 00:19:31,680 --> 00:19:34,920 Speaker 1: that feel uneven. There's there's kind of a metal bridge 398 00:19:34,920 --> 00:19:38,480 Speaker 1: over actual water that's shaky, to say nothing of the 399 00:19:38,680 --> 00:19:42,680 Speaker 1: solid bridge that goes through a spinning cylinder. That old 400 00:19:42,720 --> 00:19:45,560 Speaker 1: effect is uh that always gets because that just throws 401 00:19:45,560 --> 00:19:48,080 Speaker 1: your balance off completely because the surface you're walking around 402 00:19:48,119 --> 00:19:51,120 Speaker 1: isn't moving, but visually you're seeing the room spin. So 403 00:19:51,240 --> 00:19:53,440 Speaker 1: you react as if the room is spending and you're 404 00:19:53,440 --> 00:19:56,080 Speaker 1: reaching out right. And then of course you get another element. 405 00:19:56,080 --> 00:19:57,560 Speaker 1: You're trying to feel your way through the room, but 406 00:19:57,600 --> 00:20:00,520 Speaker 1: then you're feeling creepy crawley things. The sense of touch 407 00:20:00,600 --> 00:20:03,800 Speaker 1: is really important, and I wanted to point out to 408 00:20:03,960 --> 00:20:07,240 Speaker 1: that the animatronics Another World spray a lot of air 409 00:20:07,280 --> 00:20:10,880 Speaker 1: and water at YouTube. Yes, you're suddenly you're missed by stuff, 410 00:20:11,000 --> 00:20:14,199 Speaker 1: and if that's combined with some other sense elements that 411 00:20:14,200 --> 00:20:15,480 Speaker 1: we'll get to in a second. Then it can be 412 00:20:15,520 --> 00:20:17,720 Speaker 1: really disturbing because you're like, ah, that thing just threw 413 00:20:17,800 --> 00:20:19,680 Speaker 1: up on me, what is this leaking? I mean, we 414 00:20:19,720 --> 00:20:22,879 Speaker 1: can't have the response anyway if something gets honest it's wet, 415 00:20:23,600 --> 00:20:28,600 Speaker 1: because sure, maybe it's raining, but it could be urine. Yeah, exactly. 416 00:20:28,680 --> 00:20:31,080 Speaker 1: And actually they do have a bathroom. Uh did you 417 00:20:31,119 --> 00:20:33,439 Speaker 1: go through the bathroom area? Oh, yeah, where they have 418 00:20:33,480 --> 00:20:36,600 Speaker 1: the toilet plucked from my dreams, from my nightmares. It's 419 00:20:36,600 --> 00:20:40,240 Speaker 1: a toilet that is covered an excrement and yeah, and 420 00:20:40,240 --> 00:20:42,600 Speaker 1: they've got little bits of rice that come up from 421 00:20:42,640 --> 00:20:45,160 Speaker 1: the ceiling from I think it's like a air duct 422 00:20:45,200 --> 00:20:48,680 Speaker 1: or something. They rearrange that toilet every year. So one 423 00:20:48,760 --> 00:20:50,960 Speaker 1: year in particular, one of the earlier years I went. 424 00:20:51,240 --> 00:20:54,959 Speaker 1: You had to crawl through a tunnel and when you 425 00:20:54,960 --> 00:20:57,080 Speaker 1: emerge on the other side, you emerge right in front 426 00:20:57,080 --> 00:21:00,720 Speaker 1: of that foul toilet. Yes, again, plucked plucked from my nightmares. 427 00:21:01,320 --> 00:21:03,480 Speaker 1: But again you're that's the sense of touch that you're feeling, 428 00:21:03,560 --> 00:21:06,400 Speaker 1: and we take it for granted, but it's really effective 429 00:21:06,440 --> 00:21:09,480 Speaker 1: because it's exciting. The five different types of nerve endings 430 00:21:09,480 --> 00:21:13,280 Speaker 1: in your skin that govern sensitivity, heat, cold, pain, and 431 00:21:13,320 --> 00:21:16,880 Speaker 1: pressure and itch. So when you are going past those 432 00:21:17,000 --> 00:21:19,840 Speaker 1: dangling tentacles, your body is trying to figure out what 433 00:21:19,920 --> 00:21:23,760 Speaker 1: exactly it is. Is it a threat? And it's important 434 00:21:23,760 --> 00:21:26,240 Speaker 1: to mention on this touch business though, when we're talking 435 00:21:26,240 --> 00:21:30,520 Speaker 1: about the reception this touch this, I'm checking my finger here. Um. 436 00:21:30,600 --> 00:21:33,960 Speaker 1: One of the big rules of any haunted attraction, professional 437 00:21:34,040 --> 00:21:36,159 Speaker 1: or even just semi professional, it's it's kind of the 438 00:21:36,160 --> 00:21:39,080 Speaker 1: reverse of a gentleman's club. The monsters do not touch 439 00:21:39,520 --> 00:21:42,360 Speaker 1: anyone that works that's coming through the attraction. The monsters 440 00:21:42,400 --> 00:21:44,080 Speaker 1: will not touch you. They may come close to you, 441 00:21:44,440 --> 00:21:46,439 Speaker 1: they may sort they jump out at you, but they 442 00:21:46,440 --> 00:21:47,960 Speaker 1: are not going to grab you. They're not going to 443 00:21:48,240 --> 00:21:50,639 Speaker 1: reach out and mess your hair up or anything. Now. 444 00:21:50,720 --> 00:21:53,119 Speaker 1: I actually got to get behind one of the animatronics too, 445 00:21:53,320 --> 00:21:56,719 Speaker 1: and um, it kind of manipulate it to see to 446 00:21:56,800 --> 00:21:59,520 Speaker 1: the point where it goes past someone or or come 447 00:21:59,640 --> 00:22:01,679 Speaker 1: forward to someone. It was pretty cool. Like the big 448 00:22:01,720 --> 00:22:04,920 Speaker 1: grabbers grabbers. Yeah, now I have been grabbed by those. 449 00:22:04,960 --> 00:22:07,240 Speaker 1: But then but then again, it's not a person grabbing you. 450 00:22:07,480 --> 00:22:10,600 Speaker 1: It's a large inflatable puppet grabbing you. So it's it's 451 00:22:10,640 --> 00:22:14,000 Speaker 1: a different thing and it's soft. Yeah, but even though 452 00:22:14,000 --> 00:22:16,199 Speaker 1: the monsters cannot touch you, lots of things touch you 453 00:22:16,320 --> 00:22:18,560 Speaker 1: in this particular hunt, right, the actors will not touch you, 454 00:22:18,600 --> 00:22:22,160 Speaker 1: but the other things, like tentacles, I feel like they 455 00:22:22,160 --> 00:22:26,439 Speaker 1: were baby dolls on strings. There were. They were large, 456 00:22:26,480 --> 00:22:29,840 Speaker 1: inflatable black substances. So you're you feel like you're squeezing 457 00:22:29,880 --> 00:22:35,280 Speaker 1: your way out of the belly of some humendous leviathan. Yes, 458 00:22:35,320 --> 00:22:37,680 Speaker 1: which plays to our fear of small spaces, are in 459 00:22:37,720 --> 00:22:40,440 Speaker 1: close spaces and custrophobia. They warn the heck out of 460 00:22:40,480 --> 00:22:42,919 Speaker 1: you before you go into it. It's certainly not a 461 00:22:42,920 --> 00:22:46,280 Speaker 1: place for the claustrophobic, for someone who is affected by 462 00:22:46,480 --> 00:22:49,320 Speaker 1: strobe lights or or anything of that nature. Now, one 463 00:22:49,359 --> 00:22:51,439 Speaker 1: of the walls that you kind of have to shimmy 464 00:22:51,520 --> 00:22:54,600 Speaker 1: through actually does push back. So if someone were having 465 00:22:54,720 --> 00:22:57,200 Speaker 1: a problem with that and they can shut it down 466 00:22:57,240 --> 00:22:59,040 Speaker 1: at a moment's notice, Yeah, I think you move that 467 00:22:59,119 --> 00:23:01,840 Speaker 1: wall straight act so um and actually I think that 468 00:23:01,880 --> 00:23:04,199 Speaker 1: you yourself could do you just push it, But it 469 00:23:04,280 --> 00:23:06,120 Speaker 1: looks like as though you know you have to show 470 00:23:06,240 --> 00:23:09,959 Speaker 1: me through this little um bit of room here. So 471 00:23:10,040 --> 00:23:12,600 Speaker 1: I did want to mention that probably one of the 472 00:23:12,640 --> 00:23:15,399 Speaker 1: most grotesque aspects for me, at least when I was 473 00:23:15,440 --> 00:23:21,520 Speaker 1: going through the Haunted house was the smells. Yeah, the smell. 474 00:23:22,320 --> 00:23:24,880 Speaker 1: I asked Ben if he could give me a couple 475 00:23:24,920 --> 00:23:27,959 Speaker 1: of examples of what they use, because of course, this 476 00:23:28,040 --> 00:23:31,480 Speaker 1: is a huge mode of manipulation when it comes to 477 00:23:31,520 --> 00:23:36,240 Speaker 1: us humans, and it's you and Ben Armstrong. You're in 478 00:23:36,280 --> 00:23:38,760 Speaker 1: the middle of nether world prior to it opening. We 479 00:23:38,840 --> 00:23:41,000 Speaker 1: go through the back where to this little room where 480 00:23:41,000 --> 00:23:43,240 Speaker 1: he shows me where he's got all these sents that 481 00:23:43,320 --> 00:23:46,680 Speaker 1: he can spray to freshen up, as he says, place. Um. 482 00:23:46,760 --> 00:23:52,640 Speaker 1: He also had some devices that continuously emit orders. But um. Basically, 483 00:23:52,640 --> 00:23:56,760 Speaker 1: he showed me a couple of his select odors and 484 00:23:57,200 --> 00:24:01,960 Speaker 1: they were swamp, mildew, rotting vegetation, which I said, all 485 00:24:02,000 --> 00:24:03,640 Speaker 1: of them. I said, Oh, that's that's not too bad. 486 00:24:03,760 --> 00:24:05,879 Speaker 1: That's you know, I can live with that. And then 487 00:24:05,880 --> 00:24:08,720 Speaker 1: he kind of went and he sprayed the hospital smell, 488 00:24:09,119 --> 00:24:11,360 Speaker 1: and then I went, that's the worst, because it really 489 00:24:11,400 --> 00:24:13,040 Speaker 1: does kind of get under your skin a little bit. 490 00:24:13,640 --> 00:24:15,639 Speaker 1: And he said, oh, you think that's the worst. And 491 00:24:15,840 --> 00:24:18,960 Speaker 1: that is when he doused the entire hall in a 492 00:24:19,000 --> 00:24:23,760 Speaker 1: big spray of what is called circus animal and that 493 00:24:23,840 --> 00:24:27,560 Speaker 1: sounds lovely, right, great, yeah, and you and you were like, 494 00:24:27,600 --> 00:24:29,760 Speaker 1: I used to working at a big deal exactly. I 495 00:24:29,760 --> 00:24:31,800 Speaker 1: was like, I can take that. What hit me in 496 00:24:31,840 --> 00:24:34,800 Speaker 1: the face smelled like the anal glance of an elephant. 497 00:24:35,200 --> 00:24:37,720 Speaker 1: It was probably the worst smell I've ever smelled in 498 00:24:37,720 --> 00:24:40,560 Speaker 1: my life. Now, of course he doesn't humigate the place 499 00:24:40,600 --> 00:24:43,000 Speaker 1: with that, but he just puts it in certain pockets 500 00:24:43,080 --> 00:24:44,879 Speaker 1: and it gets to mellow a little bit. So I 501 00:24:44,960 --> 00:24:48,639 Speaker 1: really had the more pungent experience. And it is still 502 00:24:48,680 --> 00:24:52,879 Speaker 1: in my car and on my clothes and on my handbage. 503 00:24:54,080 --> 00:24:57,399 Speaker 1: You held your handbag up for various co workers to 504 00:24:57,440 --> 00:25:00,639 Speaker 1: smell this morning and I didn't wretched. So we I 505 00:25:00,680 --> 00:25:02,640 Speaker 1: may need to get a new computer bag, but we'll see. 506 00:25:02,880 --> 00:25:04,760 Speaker 1: But that is a huge part of it, because you know, 507 00:25:04,800 --> 00:25:06,280 Speaker 1: one of the things I noticed is that when I 508 00:25:06,440 --> 00:25:09,720 Speaker 1: smell that, the receptors on my tongue even were activated 509 00:25:09,840 --> 00:25:12,160 Speaker 1: because I felt like it was in my mouth. And 510 00:25:12,320 --> 00:25:14,200 Speaker 1: we have talked about this before that this is a 511 00:25:14,280 --> 00:25:16,440 Speaker 1: huge warning system for our bodies that when we smell 512 00:25:16,480 --> 00:25:20,200 Speaker 1: something that's disgusting or we taste it, we automatically recoil 513 00:25:20,320 --> 00:25:22,880 Speaker 1: and our bodies tell us that there's something dangerous because 514 00:25:22,920 --> 00:25:25,760 Speaker 1: it could be something putrid, something poisonous, something that's going 515 00:25:25,800 --> 00:25:28,600 Speaker 1: to harmless in some way. And so the brain is saying, 516 00:25:28,720 --> 00:25:31,480 Speaker 1: be wary of this. You can look into it, but 517 00:25:31,640 --> 00:25:34,080 Speaker 1: know that it might kill you. And certainly we can 518 00:25:34,160 --> 00:25:38,520 Speaker 1: grow accustomed to many foul odors. Is our brain gives 519 00:25:38,600 --> 00:25:40,159 Speaker 1: us that chance to all right, check it out, and 520 00:25:40,200 --> 00:25:43,120 Speaker 1: if you're comfortable with it, then we'll will allow you 521 00:25:43,200 --> 00:25:45,920 Speaker 1: to not register it as much. But certainly you're not 522 00:25:45,960 --> 00:25:48,199 Speaker 1: gonna have at that kind of time as you make 523 00:25:48,240 --> 00:25:51,639 Speaker 1: your way through hunted attraction to grow accustomed to circus animals. No, 524 00:25:51,960 --> 00:25:54,480 Speaker 1: you're not. You're just gonna like quoa. That's that's problematic. 525 00:25:54,680 --> 00:25:56,560 Speaker 1: My body is telling me there's a problem here. So 526 00:25:56,640 --> 00:25:58,040 Speaker 1: I thought that's kind of cool how they set the 527 00:25:58,040 --> 00:26:01,879 Speaker 1: stage there in terms of how are manually manipulating your senses, 528 00:26:02,200 --> 00:26:06,160 Speaker 1: but also they are psychologically manipulating. And this begins, uh 529 00:26:06,200 --> 00:26:08,840 Speaker 1: at the very moment that you park your car and 530 00:26:08,880 --> 00:26:11,000 Speaker 1: you get out of it. For some of us, it 531 00:26:11,000 --> 00:26:13,080 Speaker 1: actually begins before you get there. I have to say, 532 00:26:13,119 --> 00:26:16,240 Speaker 1: because not everyone goes to the trouble of reading the 533 00:26:16,320 --> 00:26:18,800 Speaker 1: text on the website. But they do an awesome job 534 00:26:18,880 --> 00:26:21,600 Speaker 1: every year. Just give you a little taste. There too, 535 00:26:21,960 --> 00:26:24,920 Speaker 1: haunts each year at another world. This year it's Banshees 536 00:26:24,960 --> 00:26:28,320 Speaker 1: and the high on Banshees. The cell is the ancient 537 00:26:28,400 --> 00:26:31,040 Speaker 1: evil city of Ys has risen from the ocean off 538 00:26:31,040 --> 00:26:34,000 Speaker 1: the coast of Ireland, bringing with it a plague of Banshees. 539 00:26:34,080 --> 00:26:37,679 Speaker 1: These foul islets winged monstrosities feed on the darknergery of 540 00:26:37,720 --> 00:26:41,560 Speaker 1: dying humans, seeking battlefields and natural disasters where life hangs 541 00:26:41,600 --> 00:26:44,680 Speaker 1: in the balance. And then the Hive is really good 542 00:26:44,880 --> 00:26:47,840 Speaker 1: because the cell On that is, during the height of 543 00:26:47,880 --> 00:26:51,600 Speaker 1: the Cold War in nineteen sixty two, Robert Willington Hughes, 544 00:26:51,640 --> 00:26:54,919 Speaker 1: a filthy rich genetics researcher, sealed up his staff and 545 00:26:55,040 --> 00:27:00,439 Speaker 1: followers in an underground bunker called the Hive. So so 546 00:27:00,520 --> 00:27:01,680 Speaker 1: if you if you do like me, and you go 547 00:27:01,720 --> 00:27:03,080 Speaker 1: to the website first you get that in your hand, 548 00:27:03,080 --> 00:27:07,160 Speaker 1: you're like, all right, giant insects, irish myths and Banshees. 549 00:27:07,160 --> 00:27:09,040 Speaker 1: I can get into that. And then when you get there, 550 00:27:09,880 --> 00:27:12,479 Speaker 1: you get your ticket, you get in line, and the 551 00:27:12,480 --> 00:27:15,119 Speaker 1: monsters are prowling the parking lot. That's all right, And 552 00:27:15,160 --> 00:27:18,280 Speaker 1: so they're beginning to tell that story that you are 553 00:27:18,359 --> 00:27:20,960 Speaker 1: in fear or you're in danger, and you should be 554 00:27:21,080 --> 00:27:23,199 Speaker 1: fearful of what's about to happen. And what I think 555 00:27:23,320 --> 00:27:25,480 Speaker 1: is so interesting about frightening narratives, and we've talked about 556 00:27:25,480 --> 00:27:28,320 Speaker 1: this with children too, is that it's it's kind of 557 00:27:28,440 --> 00:27:30,080 Speaker 1: playing to this knowledge that at the end of the 558 00:27:30,160 --> 00:27:34,119 Speaker 1: day we're all pretty much doomed. Life is fleeting, and 559 00:27:34,200 --> 00:27:37,600 Speaker 1: yet you get to go through this exercise and storytelling 560 00:27:37,680 --> 00:27:40,520 Speaker 1: and come out on the other end. Now, one of 561 00:27:40,560 --> 00:27:42,480 Speaker 1: the things that I think is really great that they 562 00:27:42,480 --> 00:27:47,080 Speaker 1: do is misdirection. This has a huge psychological impact. Yes, 563 00:27:47,200 --> 00:27:50,720 Speaker 1: And actually I asked Ben I'm strong about misdirection when 564 00:27:50,760 --> 00:27:53,040 Speaker 1: I went out to the Haunted Attraction, and this is 565 00:27:53,080 --> 00:27:55,920 Speaker 1: what he had to say. Everything in here is very 566 00:27:56,000 --> 00:27:59,359 Speaker 1: much like Slide of Man. You want to create a 567 00:27:59,400 --> 00:28:02,199 Speaker 1: strong role, a sound effect to draw their attention than 568 00:28:02,200 --> 00:28:05,440 Speaker 1: the creature can strike. You have to strike from multiple directions. 569 00:28:05,520 --> 00:28:09,720 Speaker 1: We use things like camouflage suits or mirrors or darkness 570 00:28:09,800 --> 00:28:12,960 Speaker 1: or special lighting tricks to conceal the actor. Sometimes the 571 00:28:13,000 --> 00:28:15,000 Speaker 1: actors who have been in plain slide is the statue. 572 00:28:15,040 --> 00:28:18,560 Speaker 1: Sometimes they're invisible in the environment so it's all about 573 00:28:18,800 --> 00:28:23,480 Speaker 1: confusing you with visuals, with sounds, with everything anything we 574 00:28:23,520 --> 00:28:27,399 Speaker 1: can employ to keep you, you know, unaware of the 575 00:28:27,480 --> 00:28:29,480 Speaker 1: environments with the actually strike, that's what we're gonna do. 576 00:28:30,440 --> 00:28:32,399 Speaker 1: So yeah, it's kind of like a card trick. It 577 00:28:32,560 --> 00:28:35,400 Speaker 1: is a look over here because I'm doing something else 578 00:28:35,480 --> 00:28:38,960 Speaker 1: over here. Be distracted by this grand movement because there's 579 00:28:38,960 --> 00:28:41,840 Speaker 1: something sneaking up behind you. Uh, and it has the 580 00:28:41,960 --> 00:28:44,880 Speaker 1: eyes of a monster something else they use as camouflage. 581 00:28:45,120 --> 00:28:47,720 Speaker 1: And we've mentioned that before. And there's a great clip 582 00:28:48,400 --> 00:28:50,600 Speaker 1: believe it's the Travel Channel that did a bit Another 583 00:28:50,640 --> 00:28:54,520 Speaker 1: World and it shows a row of skeletons and you 584 00:28:54,560 --> 00:28:57,080 Speaker 1: can see the people are moving through and they are 585 00:28:57,160 --> 00:29:00,320 Speaker 1: perceiving this as one unit of just skeletons on the all. 586 00:29:00,600 --> 00:29:02,560 Speaker 1: But of course there's an actor who is called a 587 00:29:02,600 --> 00:29:06,000 Speaker 1: bone clone who comes jumping out at the passers by, 588 00:29:06,080 --> 00:29:09,160 Speaker 1: and again it's playing with that idea of benign violation, 589 00:29:09,520 --> 00:29:13,440 Speaker 1: but also playing with your mind's ability to perceive what 590 00:29:13,600 --> 00:29:15,600 Speaker 1: is real and what is not real. Now you know 591 00:29:15,680 --> 00:29:18,200 Speaker 1: you mentioned the bone clone jumping out. It's important to 592 00:29:18,240 --> 00:29:22,040 Speaker 1: note that another key rule that's been is big on 593 00:29:22,120 --> 00:29:24,400 Speaker 1: with his monsters, with the human human actors. Is that 594 00:29:24,520 --> 00:29:26,720 Speaker 1: you have the monster jump out at you, certainly, but 595 00:29:26,760 --> 00:29:28,880 Speaker 1: then they retreat away. Now part of that is of 596 00:29:28,920 --> 00:29:32,520 Speaker 1: course not involved not touching the person, but also you 597 00:29:32,560 --> 00:29:34,360 Speaker 1: need to get the once the shock has been made, 598 00:29:34,680 --> 00:29:37,200 Speaker 1: you don't need the person analyzing the monster even in 599 00:29:37,280 --> 00:29:41,600 Speaker 1: dim light. That's too. You know, less is more retreat, 600 00:29:41,720 --> 00:29:43,520 Speaker 1: that's true because then your brain has more time to 601 00:29:43,520 --> 00:29:46,640 Speaker 1: think about this. It's the benign part. It can bring 602 00:29:46,680 --> 00:29:48,560 Speaker 1: it down and on what was that? What was going 603 00:29:48,640 --> 00:29:51,880 Speaker 1: on there? You know, your minds still running with the questions. 604 00:29:52,120 --> 00:29:54,120 Speaker 1: And I saw that too with the bungee stunts. The 605 00:29:54,160 --> 00:29:56,360 Speaker 1: people whould come out on the bungee cords and return 606 00:29:56,440 --> 00:29:58,760 Speaker 1: down at you from above and then retracting back into 607 00:29:58,800 --> 00:30:01,400 Speaker 1: the darkness. So you talk about this fear factor, we 608 00:30:01,400 --> 00:30:04,280 Speaker 1: should probably review the old a magdala when it comes 609 00:30:04,280 --> 00:30:07,840 Speaker 1: to fear, because this is that almond shaped clump of 610 00:30:07,880 --> 00:30:12,360 Speaker 1: neurons in your brain located front and center, and it 611 00:30:12,520 --> 00:30:16,600 Speaker 1: is really vital for instantaneous emotional processing. So it's not 612 00:30:16,680 --> 00:30:19,000 Speaker 1: just for fear too, it's also for love and pleasure. 613 00:30:19,040 --> 00:30:22,400 Speaker 1: But when it comes to fear, if you have say 614 00:30:22,520 --> 00:30:25,560 Speaker 1: Freddy coming at you, you think Freddy's coming at you, 615 00:30:25,720 --> 00:30:29,080 Speaker 1: or you're another world and there's a glual coming at you. 616 00:30:29,520 --> 00:30:32,480 Speaker 1: What is happening is that you're a magdala gets juiced. 617 00:30:32,480 --> 00:30:38,000 Speaker 1: It unleashes your brain and embody energizing cocktail of hormones, 618 00:30:38,560 --> 00:30:41,000 Speaker 1: and of course while this is happening, information is also 619 00:30:41,240 --> 00:30:44,280 Speaker 1: traveling to your prefrontal cortex. This is the part of 620 00:30:44,280 --> 00:30:47,600 Speaker 1: the brain that's really responsible for a consciously evaluating danger, 621 00:30:48,200 --> 00:30:50,480 Speaker 1: and it tells you, hey, it's okay, this is just 622 00:30:50,560 --> 00:30:53,960 Speaker 1: a person in a mask. So the problem, though or 623 00:30:54,120 --> 00:30:57,000 Speaker 1: not sexually, it's not the problem is the catharsis um. 624 00:30:57,040 --> 00:31:01,480 Speaker 1: It's actually the result is that you have all of 625 00:31:01,520 --> 00:31:03,480 Speaker 1: these things going on in your body and has to 626 00:31:03,560 --> 00:31:07,720 Speaker 1: come off of that fear high. And that's again where 627 00:31:07,720 --> 00:31:11,160 Speaker 1: we're experiencing something really important in terms of acting at 628 00:31:11,160 --> 00:31:13,760 Speaker 1: our own fears or going through the process. I found 629 00:31:13,760 --> 00:31:16,640 Speaker 1: it interesting too that supposedly the whites of the eyes, 630 00:31:16,720 --> 00:31:19,320 Speaker 1: the more of the whites of the eyes that is visible, 631 00:31:19,840 --> 00:31:22,600 Speaker 1: even if the individuals wearing a mask, the more of 632 00:31:22,600 --> 00:31:25,240 Speaker 1: the amigo kicks into action, because it's like, well, someone's 633 00:31:25,280 --> 00:31:27,800 Speaker 1: coming out at me, wide eyed and crazy. I need 634 00:31:27,800 --> 00:31:31,200 Speaker 1: to respond to it. Whereas if they're you know, their 635 00:31:31,240 --> 00:31:34,400 Speaker 1: eyes are shut, then they're probably just gonna bump into you. 636 00:31:34,520 --> 00:31:36,720 Speaker 1: And if they have kind of droopy, sleepy eyes and 637 00:31:36,720 --> 00:31:39,760 Speaker 1: they're probably not that dangerous. They've actually there's been research 638 00:31:39,840 --> 00:31:42,000 Speaker 1: on this before too. I believe there's a researcher who 639 00:31:42,040 --> 00:31:44,560 Speaker 1: set up her own haunted house and did this with 640 00:31:44,600 --> 00:31:47,840 Speaker 1: her her research students and tract the white of the 641 00:31:47,840 --> 00:31:51,480 Speaker 1: eyes and the amount of fear that person perceived from 642 00:31:51,520 --> 00:31:55,400 Speaker 1: what her actors, her ghouls were communicating to the people 643 00:31:55,400 --> 00:31:57,640 Speaker 1: coming through the haunted house. All right, so here's one 644 00:31:57,640 --> 00:32:00,320 Speaker 1: more clip from Ben Armstrong where I was at talking 645 00:32:00,360 --> 00:32:02,720 Speaker 1: to him and asking him about the use of the 646 00:32:02,760 --> 00:32:06,320 Speaker 1: five senses and whether he's really hitting all five senses, 647 00:32:06,360 --> 00:32:08,800 Speaker 1: and he had to hit a pretty finances. Let's see, 648 00:32:09,240 --> 00:32:12,000 Speaker 1: you can see it, you can hear it, you can 649 00:32:12,120 --> 00:32:15,040 Speaker 1: feel it, you can smell it. We haven't had monsters 650 00:32:15,080 --> 00:32:17,920 Speaker 1: you have that you're supposed to lick. That's about it. 651 00:32:17,960 --> 00:32:20,240 Speaker 1: But you know what he gave me ideas maybe next year, 652 00:32:21,880 --> 00:32:26,400 Speaker 1: So yeah, we'll we'll probably never get lickable monsters in 653 00:32:26,520 --> 00:32:29,640 Speaker 1: the the haunted attractions, but it's it's a wonderful idea. 654 00:32:30,120 --> 00:32:33,600 Speaker 1: It is a. It's a very interactive idea, and which 655 00:32:33,640 --> 00:32:35,640 Speaker 1: kind of brings us to this idea of what the 656 00:32:35,680 --> 00:32:39,480 Speaker 1: future of haunted houses might look like one day, especially 657 00:32:39,520 --> 00:32:44,640 Speaker 1: if you melded the virtual reality technology. Yeah, to a 658 00:32:44,720 --> 00:32:47,840 Speaker 1: certain extent, you see a lot of haunted house elements 659 00:32:47,880 --> 00:32:49,560 Speaker 1: in some video games. I mean you have the whole 660 00:32:49,560 --> 00:32:54,200 Speaker 1: survival horror um genre or subgenre of games, stuff like 661 00:32:54,240 --> 00:32:58,080 Speaker 1: Resident Evil, Silent Hill Um, and then some sort of 662 00:32:58,200 --> 00:33:00,960 Speaker 1: hybrid games in recent years like head Space, which is 663 00:33:01,520 --> 00:33:04,480 Speaker 1: like a sci fi horror action but also a survival 664 00:33:04,520 --> 00:33:08,239 Speaker 1: are kind of product. And these will typically also some 665 00:33:08,280 --> 00:33:12,160 Speaker 1: of the Doom games fit into this area. You're inevitably 666 00:33:12,200 --> 00:33:15,120 Speaker 1: going through cramped hallways that are dark and dimly lit. 667 00:33:15,920 --> 00:33:18,480 Speaker 1: They'll be like a sparking fuse box on one wall, 668 00:33:18,520 --> 00:33:20,440 Speaker 1: and then something will jump out of you from the side. 669 00:33:20,920 --> 00:33:23,040 Speaker 1: They can't hit you on all the sensors, certainly, but 670 00:33:23,160 --> 00:33:25,200 Speaker 1: they can, you know, they can make the controller vibrate 671 00:33:25,200 --> 00:33:27,520 Speaker 1: in your hands. They can do stuff with with with 672 00:33:27,600 --> 00:33:29,880 Speaker 1: your site, and they can do stuff with sound, and 673 00:33:30,280 --> 00:33:32,680 Speaker 1: like I said, do a limited extent, they're experimenting with 674 00:33:32,760 --> 00:33:36,400 Speaker 1: the haunted attraction area. Yeah, And when I talked to 675 00:33:36,400 --> 00:33:38,680 Speaker 1: Ben Armstrong about this. He said that of course, as 676 00:33:38,880 --> 00:33:41,280 Speaker 1: as different technologies come online, they'll be interested in that. 677 00:33:41,320 --> 00:33:44,080 Speaker 1: But he said that core to the experience to their 678 00:33:44,120 --> 00:33:47,640 Speaker 1: haunted house is the fact that you have actors and 679 00:33:47,840 --> 00:33:52,000 Speaker 1: they are really uh sort of underscoring this play between 680 00:33:52,120 --> 00:33:55,440 Speaker 1: real and not real, and that having the actors makes 681 00:33:55,440 --> 00:33:58,479 Speaker 1: it a much more immersive experience. So even if we 682 00:33:58,480 --> 00:34:00,560 Speaker 1: were to get to the point five ten years from now, 683 00:34:00,680 --> 00:34:03,960 Speaker 1: putting Google Classes on, Google Vision on and walking through 684 00:34:03,960 --> 00:34:05,959 Speaker 1: a haunted house, you would still want to have that 685 00:34:06,120 --> 00:34:10,560 Speaker 1: live person element um because without it it's not quite 686 00:34:11,000 --> 00:34:14,000 Speaker 1: as immersive. It is interesting that you mentioned the virtual 687 00:34:14,120 --> 00:34:17,959 Speaker 1: reality augmented reality goggles and how that could be used 688 00:34:17,960 --> 00:34:21,320 Speaker 1: for haunted attraction, because you can imagine a future where 689 00:34:21,480 --> 00:34:23,680 Speaker 1: instead of going to a haunted house, you get these goggles, 690 00:34:23,680 --> 00:34:25,280 Speaker 1: you put them on, you go through your own house, 691 00:34:25,800 --> 00:34:29,920 Speaker 1: and it creates these virtual frights in the area around you. Certainly, 692 00:34:29,960 --> 00:34:35,520 Speaker 1: any of the virtual reality, dream augmentation, dream control technology 693 00:34:35,560 --> 00:34:38,719 Speaker 1: that we've discussed in previous episodes, pretty much all that 694 00:34:39,000 --> 00:34:43,760 Speaker 1: could conceivably get a horror or a haunted house twist 695 00:34:43,800 --> 00:34:46,280 Speaker 1: to it. You know, I can imagine some far future 696 00:34:46,320 --> 00:34:48,520 Speaker 1: where someone had would have the option of dialing up 697 00:34:48,520 --> 00:34:54,760 Speaker 1: a nightmare yeah, or having some sorts of um specter 698 00:34:55,600 --> 00:34:58,680 Speaker 1: projected onto contact lenses that they're wearing. So I mean, 699 00:34:58,760 --> 00:35:01,680 Speaker 1: really every day could be Halloween. Yeah, all right, So 700 00:35:01,719 --> 00:35:04,560 Speaker 1: there you go, Haunted Houses once again. Big thanks to 701 00:35:04,960 --> 00:35:07,680 Speaker 1: another World Haunted House and specifically been Armstrong for taking 702 00:35:07,680 --> 00:35:13,719 Speaker 1: the time to chat with me, to spray Julie down 703 00:35:13,960 --> 00:35:16,960 Speaker 1: with animal sense, and you know, just for sharing his 704 00:35:17,080 --> 00:35:20,839 Speaker 1: enthusiasm for Halloween and for haunted attractions with us and 705 00:35:20,880 --> 00:35:22,839 Speaker 1: with you guys. And again, if you want to check 706 00:35:22,840 --> 00:35:26,359 Speaker 1: out their website, go to www dot fear world dot 707 00:35:26,360 --> 00:35:29,880 Speaker 1: com And if you live anywhere in the Atlanta area, 708 00:35:30,200 --> 00:35:32,239 Speaker 1: go check it out. It's a great attraction and it's 709 00:35:32,440 --> 00:35:35,359 Speaker 1: open generally through all of October but then also into 710 00:35:35,440 --> 00:35:38,000 Speaker 1: the first week of November as well to get that 711 00:35:38,000 --> 00:35:40,959 Speaker 1: that Halloween hangover crowd. Yeah. I also wanted to mention 712 00:35:40,960 --> 00:35:43,719 Speaker 1: to you that Ben is really steeped in mythology and 713 00:35:43,719 --> 00:35:46,120 Speaker 1: this is what you can tell. This is an act 714 00:35:46,160 --> 00:35:49,279 Speaker 1: of love for him every single year. And I did 715 00:35:49,360 --> 00:35:52,000 Speaker 1: ask him what some of his influences are and he 716 00:35:52,000 --> 00:35:56,120 Speaker 1: talked about an economicon um as being early influences, an 717 00:35:56,120 --> 00:35:58,799 Speaker 1: alien also as a teenager, so you can you really 718 00:35:58,840 --> 00:36:02,160 Speaker 1: do see a lot of that, his worldview, his influences 719 00:36:02,520 --> 00:36:05,200 Speaker 1: in the attraction. Yeah, you mentioned Pumpkinhead when I talked 720 00:36:05,200 --> 00:36:07,560 Speaker 1: to him, he's he's not a guy who's doing it 721 00:36:08,200 --> 00:36:10,399 Speaker 1: just to make a buck. Because every year you see 722 00:36:10,440 --> 00:36:13,279 Speaker 1: haunted houses pop up in any large metropolitan area. Some 723 00:36:13,360 --> 00:36:15,280 Speaker 1: of them last years, some of them last two years. 724 00:36:15,440 --> 00:36:17,640 Speaker 1: But it's hard work. It's a year round thing that 725 00:36:17,680 --> 00:36:20,880 Speaker 1: these guys engage in. So the mere fact that these 726 00:36:20,880 --> 00:36:22,960 Speaker 1: guys have been doing it strong for sixteen years, let 727 00:36:22,960 --> 00:36:25,359 Speaker 1: you know that they're they're doing it right, and they're 728 00:36:25,360 --> 00:36:29,440 Speaker 1: doing it because they love it indeed. Yeah, alright, so 729 00:36:29,640 --> 00:36:31,520 Speaker 1: let's see. Do we have time for a listener mail 730 00:36:31,560 --> 00:36:34,640 Speaker 1: or should I send the robot away? All right, robot, 731 00:36:34,680 --> 00:36:36,040 Speaker 1: you can come here with a short one, just a 732 00:36:36,120 --> 00:36:41,120 Speaker 1: short one, all right. Here we have one from our listener, Emily. 733 00:36:41,160 --> 00:36:43,600 Speaker 1: Emily writes in this is high, Robert and Julie. I 734 00:36:43,640 --> 00:36:45,719 Speaker 1: was listening to your episode about cats, and when you 735 00:36:45,760 --> 00:36:48,600 Speaker 1: mentioned purring, it reminded me that there is a song 736 00:36:48,680 --> 00:36:51,920 Speaker 1: by Arteker called gail or d a y L. Who 737 00:36:51,960 --> 00:36:55,279 Speaker 1: knows how you pronounced any of their their tracks, which 738 00:36:55,320 --> 00:36:57,600 Speaker 1: features a sound that always makes me think of a 739 00:36:57,640 --> 00:37:01,520 Speaker 1: purring kitten. Uh So check that out. You can find 740 00:37:01,560 --> 00:37:03,719 Speaker 1: that clips of that online. D a E hell, and 741 00:37:03,719 --> 00:37:07,640 Speaker 1: it does kind of sound like a purring cat trying 742 00:37:07,640 --> 00:37:10,799 Speaker 1: to perhaps manipulate the listeners. Yeah, a little bit. Yeah, 743 00:37:10,960 --> 00:37:13,080 Speaker 1: I know I've heard some tracks where people actually throw 744 00:37:13,120 --> 00:37:15,560 Speaker 1: in purring noises before, but this isn't one. It's more 745 00:37:15,600 --> 00:37:17,600 Speaker 1: of a mechanical thing that sounds like a kitten purring. 746 00:37:18,160 --> 00:37:20,200 Speaker 1: And then we also heard from Adam. Adam writs in 747 00:37:20,360 --> 00:37:23,200 Speaker 1: and says I wanted to thank you guys through excellent 748 00:37:23,200 --> 00:37:26,200 Speaker 1: episode on the Amazing Mind of infants. As a recently 749 00:37:26,239 --> 00:37:28,880 Speaker 1: new Father nine twelve twelve, I found this topic to 750 00:37:29,000 --> 00:37:32,080 Speaker 1: be thoroughly entertaining and informative. Watching my little dude gaze 751 00:37:32,080 --> 00:37:33,960 Speaker 1: about the world won't be the same. I will be 752 00:37:34,040 --> 00:37:36,560 Speaker 1: thinking about how he is absorbing all sorts of sensory 753 00:37:36,560 --> 00:37:41,080 Speaker 1: information simultaneously wondering why a blurry alien figure keeps snuggling 754 00:37:41,120 --> 00:37:45,560 Speaker 1: hovering over him. Thanks for the magnificent episode, Adam. That's awesome. Yeah, 755 00:37:45,600 --> 00:37:48,040 Speaker 1: and he's referring to this theory that's out there. It's 756 00:37:48,040 --> 00:37:50,680 Speaker 1: a little bit wild, but that the fact that um 757 00:37:50,840 --> 00:37:54,680 Speaker 1: infants don't quite have everything sorted out in their eyesight, 758 00:37:54,800 --> 00:37:57,880 Speaker 1: that they're seeing a vision of us that would resemble 759 00:37:58,239 --> 00:38:02,840 Speaker 1: an alien. Yeah, it's pretty creating over there alright. Well, So, 760 00:38:02,920 --> 00:38:04,759 Speaker 1: if you guys would like to check in with us, 761 00:38:05,239 --> 00:38:07,160 Speaker 1: especially if you want to share your thoughts on the 762 00:38:07,160 --> 00:38:10,200 Speaker 1: science of haunted houses, haunted attractions, let us know which 763 00:38:10,200 --> 00:38:13,040 Speaker 1: ones you've really enjoyed, your earliest experience with with with them, 764 00:38:13,480 --> 00:38:16,080 Speaker 1: et cetera. Uh, get in touch with us. You can 765 00:38:16,080 --> 00:38:18,880 Speaker 1: find us on Tumbling and you can find us on Facebook. 766 00:38:19,160 --> 00:38:21,239 Speaker 1: We are stuff to blow your mind on both of those, 767 00:38:21,640 --> 00:38:23,920 Speaker 1: and you can also find us on Twitter, where we 768 00:38:24,040 --> 00:38:27,080 Speaker 1: tweet under the handle blow the Mind. And you can 769 00:38:27,080 --> 00:38:29,080 Speaker 1: also drop us a line at blew the Mind at 770 00:38:29,120 --> 00:38:38,360 Speaker 1: discovery dot com for more on this and thousands of 771 00:38:38,400 --> 00:38:45,240 Speaker 1: other topics. Is it how Stuff Works dot com