WEBVTT - The Science of Haunted Houses

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<v Speaker 1>Welcome to Stuff to Blow Your Mind from how Stuff

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<v Speaker 1>Works dot com. Hey you welcome to Stuff to Blow

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<v Speaker 1>your Mind. My name is Robert Lamb and I'm Julie Douglas.

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<v Speaker 1>What's your earliest memory of a haunted house? Uh? Not

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<v Speaker 1>not a real haunted house where actual ghosts are supposedly

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<v Speaker 1>running around. We've talked about that's sort of thing in

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<v Speaker 1>the past, But I'm talking about haunted attractions. Place where

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<v Speaker 1>you go up, you buy your ticket, you run through

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<v Speaker 1>the haunted attraction. Various scary things happen, You encounter tab

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<v Speaker 1>blaws that are frightening, people jump out at you, there's smoke,

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<v Speaker 1>there's light, their smell, and you leave screaming and giggling.

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<v Speaker 1>My childhood home, really you grew up in a haunted No,

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<v Speaker 1>but my dad loves Halloween, and so as as a

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<v Speaker 1>tenderhearted five year old, I remember going up to my

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<v Speaker 1>house and seeing that it had been transformed into a graveyard.

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<v Speaker 1>And my dad had because he were to the university,

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<v Speaker 1>and so he went to the department there and got

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<v Speaker 1>the you know, whole makeup thing and aged himself and

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<v Speaker 1>looked like he was like the grave keeper dude. And

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<v Speaker 1>then he also projected the pit and the pendulum on

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<v Speaker 1>the side of the house. Okay that the old film,

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<v Speaker 1>Yeah yeah, with the blade coming down slowly and you know, wow,

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<v Speaker 1>he went all out, he did. So that is my

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<v Speaker 1>first impression of what haunted house might be like. Okay,

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<v Speaker 1>you I think my earliest. I mean, my family always

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<v Speaker 1>made a big deal out of Halloween as well, but

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<v Speaker 1>I don't think we ever really set up a haunted

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<v Speaker 1>house per se. But I do remember when we were

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<v Speaker 1>living in rural Tennessee. Uh, my church group would go

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<v Speaker 1>every year to see this thing that was called scare Mare,

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<v Speaker 1>which we us kids are often referred to as prayer

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<v Speaker 1>Mere because the gimmick was you come to this little

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<v Speaker 1>rural church out in the middle of nowhere and they

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<v Speaker 1>put on this haunted house every year and you go

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<v Speaker 1>through it and it's one of these these fundamentalist Christian

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<v Speaker 1>haunted houses that that each room shows you that the

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<v Speaker 1>perils of a sin uh and you know, this is

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<v Speaker 1>what's gonna happen if you if you drink, this is

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<v Speaker 1>what's gonna happen if you listen to bad music, and

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<v Speaker 1>all the type of stuff you can you can imagine.

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<v Speaker 1>And then at the end they empty you out into

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<v Speaker 1>a tent where a preacher sermonizes to you for what

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<v Speaker 1>felt like an hour or two and that was the

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<v Speaker 1>end of it. That was the prayer mayor portion of it.

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<v Speaker 1>And it was, you know, it was cheaply done, and

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<v Speaker 1>a lot of it was kind of it was very

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<v Speaker 1>heavy handed even at that age, but they were still

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<v Speaker 1>using some of the elements of haunted houses that everyone

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<v Speaker 1>is kind of used to that everybody does a chainless chainsaw,

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<v Speaker 1>a dude in a mask, somebody with blood on them,

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<v Speaker 1>someone jumping out at you out of the dark, that

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<v Speaker 1>kind of thing. It's only really been since i moved

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<v Speaker 1>to Atlanta as an adult that I've gotten to really

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<v Speaker 1>experience a high grade, professional haunted attraction where they really

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<v Speaker 1>throw everything together and just wallop all your senses with

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<v Speaker 1>with frightful images, frightful sounds, frightful smell, etcetera. And I'm

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<v Speaker 1>talking about the nether World Haunted house right Another World

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<v Speaker 1>is I think one of the probably most esteemed haunted

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<v Speaker 1>houses in the United States and is a fine, fine example,

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<v Speaker 1>and we'll talk a little bit more about that. But

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<v Speaker 1>I did want to say that the church, the sort

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<v Speaker 1>of Churchill haunted houses. Forgive my punt art for the

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<v Speaker 1>genesis of the modern haunted house, because that's actually how

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<v Speaker 1>haunted houses start as a charity event. But right now

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<v Speaker 1>we have in the US over two thousand haunted attractions

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<v Speaker 1>that charge admission, about a thousand charity attractions, and three

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<v Speaker 1>hundred amusement parts that have various haunted houses. Um. And

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<v Speaker 1>I wanted to point this out because I did not

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<v Speaker 1>realize this that the average person will show out about

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<v Speaker 1>seventy two dollars on decorations, costumes, and candy for Halloween,

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<v Speaker 1>and total Halloween spending was six point eight six billion,

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<v Speaker 1>second only to Christmas in Christmas decorations. So Halloween obviously

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<v Speaker 1>is a big deal in our psyche, and uh, haunted

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<v Speaker 1>houses I think are the catalyst of it all. Yeah,

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<v Speaker 1>and and and then always gives me such a it's

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<v Speaker 1>such a big deal. It's always a big deal to me.

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<v Speaker 1>But it's such a big financial deal. Then why is

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<v Speaker 1>Thanksgiving Christmas? Why aren'ty always trying to to wean in

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<v Speaker 1>on it and get and show up in October and

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<v Speaker 1>steal some of the spotlight from from Halloween because they're like, hey,

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<v Speaker 1>as long as you as you are dropping some dime

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<v Speaker 1>on decorations. Why don't you pick up a nice little

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<v Speaker 1>Santa Claus. Yeah, and I'm also off for let's start

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<v Speaker 1>Halween in September. I kind of started in March, so

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<v Speaker 1>I was gonna say, like in December. Yeah. Um. But

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<v Speaker 1>as you point out, Another World is a great example.

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<v Speaker 1>It's been in the business for sixteen years and it's

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<v Speaker 1>created by movie professionals Ben Armstrong and Billy Messina. Messina

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<v Speaker 1>did ffex on Franken Hooker and I think one of

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<v Speaker 1>the basket Case movies. To give you horror fans a

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<v Speaker 1>little perspective. Uh, they use original storytelling, so they don't

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<v Speaker 1>rely on Hollywood's stereotypes like Freddie or Jason. They have

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<v Speaker 1>thousands of effects. They create custom props, makeup masks and monsters.

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<v Speaker 1>They have a ton of puppetry as well, uh, animatronics,

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<v Speaker 1>and they have more than one hundred nether spawn, which

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<v Speaker 1>are their actors, some of whom are stunt actors. And

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<v Speaker 1>uh some of these actors are actually professional feeder actors

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<v Speaker 1>and some have day jobs. And this year they have

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<v Speaker 1>actual Beauty pageant winner Mrs Georgia, who transforms herself into

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<v Speaker 1>a ghoul. So you really do see people of all

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<v Speaker 1>different stripes joining in on this. So for this episode,

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<v Speaker 1>we we thought, all right, we're going to do an

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<v Speaker 1>episode on the science of hunted houses, we should both

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<v Speaker 1>go to another world and actually check it out for reals,

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<v Speaker 1>you know. And uh, and so I went out. I

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<v Speaker 1>checked it out, I went through the attraction. I talked

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<v Speaker 1>to Ben, one of the owners and operators and the

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<v Speaker 1>minds behind all of this. And then you went a

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<v Speaker 1>few days later and you checked out the behind the

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<v Speaker 1>scenes stuff, So we kind of we kind of double

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<v Speaker 1>teamed it. I kind of got the user end of

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<v Speaker 1>it and you've got the behind the scenes. Yeah, it

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<v Speaker 1>was really cool. Got to see what it looks like

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<v Speaker 1>about an hour before the door is open, and it

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<v Speaker 1>really is like putting on a large scale theatrical production

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<v Speaker 1>every single night. Um, and we'll talk a little bit

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<v Speaker 1>more about the different elements, but it was amazing to

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<v Speaker 1>see all the actors getting into their costumes and I

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<v Speaker 1>think they've got seven different makeup artists. They've got a

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<v Speaker 1>room full of masks, which is amazing to see. So

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<v Speaker 1>the eight year old in me was extremely excited to

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<v Speaker 1>be able to go behind the scenes and go through

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<v Speaker 1>the maze and kind of see it in the partial daylight.

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<v Speaker 1>Oh nice. We attended to grab a mask and sort

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<v Speaker 1>of hang out. I was actually I wasn't. Then I

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<v Speaker 1>kind of got that vibe of like, you know what,

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<v Speaker 1>that there are actors here doing that. You don't need

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<v Speaker 1>to dive in here and try to scare people. Right. Well,

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<v Speaker 1>when I was there, I got a few quotes from Ben,

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<v Speaker 1>so I thought we'd kick things off here and sprinkle

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<v Speaker 1>a few other quotes throughout. But here is Ben's answer

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<v Speaker 1>when I asked him, why, as humans do we like

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<v Speaker 1>to be afraid? I think when you feel fear, it's

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<v Speaker 1>a really up primitive instruct you know, when you're the

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<v Speaker 1>hunter or the hunter. It's a huge surge of a

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<v Speaker 1>journaline and people really enjoy that feeling of terror when

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<v Speaker 1>they know it's safe. I think you're really scared and

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<v Speaker 1>you think you're really gonna die. It's a bad, sickening feeling.

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<v Speaker 1>But when you get shocked and scared and then you

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<v Speaker 1>can laugh about it, it's so you floor feeling everyone phrase.

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<v Speaker 1>So that was some fun interview material to get there

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<v Speaker 1>because you can hear some of the craziness in the background.

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<v Speaker 1>Because it's right outside side another world on a very

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<v Speaker 1>busy night. There's their chainsaws, they're screaming, there's laughter. I mean,

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<v Speaker 1>it's it's just a pretty awesome place to be. And

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<v Speaker 1>I think that what he's talking about and what you

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<v Speaker 1>just described to in terms of people really having fun

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<v Speaker 1>with it, is directly pointing to the benign violation theory,

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<v Speaker 1>which we've talked about before, right when we've talked about,

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<v Speaker 1>especially in our episode on laughter and humor and where

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<v Speaker 1>that comes from. I believe we call that episode Funny

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<v Speaker 1>or Die. We've dragged this idea out a number of times,

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<v Speaker 1>you know, the whole Uh, savor tooth tiger jumps out

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<v Speaker 1>at you and attacks you. Uh, you're dead right, But

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<v Speaker 1>if something else jumps out of you, you're gonna react

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<v Speaker 1>like it's a savor tooth and then it's not ha ha,

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<v Speaker 1>you laugh. That's the signal that I thought I was

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<v Speaker 1>gonna die, but not really. So this was the first

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<v Speaker 1>time I'd gone through a haunted attraction and in certainly

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<v Speaker 1>another world following that episode that we did. So I

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<v Speaker 1>was thinking about benign violation the whole time, and sure enough,

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<v Speaker 1>I'm seeing it certainly in everybody around me, but even

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<v Speaker 1>in myself. You know, I'm scared, I'm falling on the

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<v Speaker 1>floor because something jumped out of me from the side,

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<v Speaker 1>and then I'm laughing. Yeah, And I mean it's a

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<v Speaker 1>cathartic experience, right, I mean, there's no secret why we

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<v Speaker 1>want this and why we seek out this experience because

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<v Speaker 1>it really we are sort of built for that safe

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<v Speaker 1>tooth tiger, right. So um, it's kind of nice to

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<v Speaker 1>be able to exercise that in a safe place. And

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<v Speaker 1>also I wanted to say that Ben Armstrong had really

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<v Speaker 1>talked about how important safety is and haunted houses, and

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<v Speaker 1>this is a fine example. They have, you know, something

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<v Speaker 1>like thirty two surveillance cameras. They've thought of every single

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<v Speaker 1>safety aspect. When duty cops there on secure, you're ready,

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<v Speaker 1>you have to wait in a line before you go in,

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<v Speaker 1>and there's a lot of fun stuff going on with

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<v Speaker 1>you know, people and costumes kind of scaring you. But

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<v Speaker 1>then the the the security is there as well. I

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<v Speaker 1>imagine that they can kind of scope out who could

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<v Speaker 1>potentially be a troublemaker when they go in, because you know,

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<v Speaker 1>you should be there for a good time. If you're

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<v Speaker 1>there to start trouble, you're the wrong place. Yeah, if

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<v Speaker 1>you just did a couple of shots at Yaga my

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<v Speaker 1>start and went through that, that could be trouble um

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<v Speaker 1>and they are on the lookout for that. But I

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<v Speaker 1>wanted to talk a little bit about the Haunted House

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<v Speaker 1>layout itself. Yes, you were not given a map when

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<v Speaker 1>you show up, because that's part of it. It's kind

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<v Speaker 1>of a labyrinth that you lose yourself in for a

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<v Speaker 1>few minutes, right, and they want to disorient you, so

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<v Speaker 1>obviously they have um built it so that they can

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<v Speaker 1>disordento you to the best of their abilities, and they

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<v Speaker 1>use what they call sixty degree walls or six sided

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<v Speaker 1>rooms to do this, and also ninety degree walls, and

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<v Speaker 1>the ninety degree walls are really try to get you

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<v Speaker 1>more through the maze itself. UM, but the sixty degree

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<v Speaker 1>walls the six sided rooms are really cool because they

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<v Speaker 1>have lots of corners to hide actors in what they

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<v Speaker 1>call scares, and it's easier to disorientate or disorient customers

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<v Speaker 1>and create mazes, and then it gives a different feeling

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<v Speaker 1>um of more familiar construction. And we talked about this

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<v Speaker 1>a little bit in our last podcast about maps in

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<v Speaker 1>our configuration of neurons and how they really like the

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<v Speaker 1>X Y access the horizontal on the vertical not so

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<v Speaker 1>much something coming at you diagonally, and they're going diagonal

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<v Speaker 1>on all of these rooms. We're not used to dealing

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<v Speaker 1>with those rooms. I mean, no matter how crazy the

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<v Speaker 1>architecture in your house is, chances are you're still dealing

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<v Speaker 1>with square or maybe in some cases rounded structures. Right.

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<v Speaker 1>So when they're thinking about the set design of this already,

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<v Speaker 1>they've kept this in mind, this sort of natural scare

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<v Speaker 1>tactics of coming at you from diagonals and from all

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<v Speaker 1>different places. Um. And then they have something called scare

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<v Speaker 1>forward and through put. And this is sort of like

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<v Speaker 1>more on the business side, because through put is the

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<v Speaker 1>rate of people that go through the haunt, and it

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<v Speaker 1>helps to keep lines a little bit lower and keeps

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<v Speaker 1>multiple groups from crashing into each other. Yeah, I mean,

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<v Speaker 1>because not a very straightforward and boring but essential business level.

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<v Speaker 1>You need x number of people to go through there

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<v Speaker 1>at a certain rate if you're gonna make money, and

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<v Speaker 1>if you don't, because if you're not making money doing this,

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<v Speaker 1>I mean, all right, it's all fun and games, but

0:11:14.800 --> 0:11:17.880
<v Speaker 1>but it's not a business. And really, you know, a

0:11:18.240 --> 0:11:20.680
<v Speaker 1>delightfully twisted way. You kind of have to think of

0:11:20.720 --> 0:11:24.560
<v Speaker 1>a haunted attraction like a slaughter house. You have a

0:11:24.559 --> 0:11:27.720
<v Speaker 1>bunch of cattle and you need to steer them through

0:11:27.760 --> 0:11:31.520
<v Speaker 1>the attraction at a certain rate without any hiccups. You

0:11:31.520 --> 0:11:33.880
<v Speaker 1>need to keep them moving. You don't except, of course,

0:11:33.920 --> 0:11:35.640
<v Speaker 1>you don't want the cows to freak out. You want

0:11:35.640 --> 0:11:38.520
<v Speaker 1>the humans to freak out, but to a point. And

0:11:38.520 --> 0:11:40.760
<v Speaker 1>then if the freak out goes a little a little

0:11:40.800 --> 0:11:42.600
<v Speaker 1>too far, then you need to be able to remove

0:11:42.640 --> 0:11:45.240
<v Speaker 1>them so that the flow can keep going. And if

0:11:45.280 --> 0:11:47.680
<v Speaker 1>you are someone who is going to go through a

0:11:47.800 --> 0:11:50.280
<v Speaker 1>haunted house and you've got a little bit of scarity pants,

0:11:50.400 --> 0:11:52.719
<v Speaker 1>here is a tip. You will want to stay at

0:11:52.720 --> 0:11:55.280
<v Speaker 1>the front. And I know that sounds counterintuitive. I know

0:11:55.559 --> 0:11:58.200
<v Speaker 1>that's that's because this is the thing every year my

0:11:58.240 --> 0:11:59.560
<v Speaker 1>wife and I did do this when when we go

0:11:59.559 --> 0:12:01.600
<v Speaker 1>to another world, we're like, yes, we're gonna get up

0:12:01.600 --> 0:12:03.600
<v Speaker 1>there at the front. Were the brave ones. We love

0:12:03.640 --> 0:12:05.800
<v Speaker 1>this stuff. Let's do it. And then we indever, Let mean,

0:12:05.840 --> 0:12:08.520
<v Speaker 1>we still get you know, the Jesus scared out of us,

0:12:08.840 --> 0:12:11.120
<v Speaker 1>but we'll inevitably find ourselves in the situation where we

0:12:11.200 --> 0:12:13.520
<v Speaker 1>arrive a little too early, and then we spot the

0:12:13.520 --> 0:12:15.959
<v Speaker 1>monster in the corner, just standing there waiting to get

0:12:15.960 --> 0:12:17.880
<v Speaker 1>the people behind us, and we're kind of like, jump

0:12:17.920 --> 0:12:20.840
<v Speaker 1>out of me, I want it, man, We'll see. That's

0:12:20.840 --> 0:12:24.120
<v Speaker 1>the whole strategy. It's called scare forward. And what they're

0:12:24.160 --> 0:12:26.600
<v Speaker 1>doing is that they're they're really going at the sides

0:12:26.640 --> 0:12:28.200
<v Speaker 1>of the group and the back of the group because

0:12:28.240 --> 0:12:31.440
<v Speaker 1>the idea is again to get that through put out

0:12:31.480 --> 0:12:35.040
<v Speaker 1>there and to push the group forward. So if you

0:12:35.080 --> 0:12:37.200
<v Speaker 1>are in the front, you're probably not going to get

0:12:37.960 --> 0:12:40.400
<v Speaker 1>you know, an actor or a google or a monster

0:12:40.559 --> 0:12:42.840
<v Speaker 1>two inches in front of your face like someone in

0:12:42.840 --> 0:12:44.800
<v Speaker 1>the sides or the back of the group would. So

0:12:44.840 --> 0:12:47.760
<v Speaker 1>they're hurting you. They're essentially you're being herded by monsters

0:12:47.800 --> 0:12:51.600
<v Speaker 1>through a slaughterhouse. It's true, you are, and um, you know,

0:12:51.600 --> 0:12:53.559
<v Speaker 1>we should mention this is probably obvious, but there are

0:12:53.559 --> 0:12:58.640
<v Speaker 1>bunches of scare pockets throughout that maze, so little alcoves

0:12:58.640 --> 0:13:00.960
<v Speaker 1>and again that's why the six sided rooms are so helpful,

0:13:01.000 --> 0:13:04.840
<v Speaker 1>because this corner's helped to hide people. Uh, and they

0:13:04.840 --> 0:13:07.760
<v Speaker 1>have a number of interesting ways to hide people. A

0:13:07.800 --> 0:13:10.120
<v Speaker 1>lot of hiding in plain site. Is it a statute

0:13:10.240 --> 0:13:12.240
<v Speaker 1>is it a person? I can't tell unless it moves,

0:13:12.800 --> 0:13:14.720
<v Speaker 1>or there'll be something that looks like a person and

0:13:14.760 --> 0:13:17.040
<v Speaker 1>you're you're watching it like all right, buddy, I'm onto you.

0:13:17.360 --> 0:13:19.839
<v Speaker 1>And then bam, werewolf jumps out at you from the corner,

0:13:20.040 --> 0:13:21.600
<v Speaker 1>and which is really cool. We'll talk a little bit

0:13:21.600 --> 0:13:24.640
<v Speaker 1>more about camouflage and a little bit um, but let's

0:13:24.640 --> 0:13:26.840
<v Speaker 1>take a quick break in when we get back, we

0:13:26.880 --> 0:13:35.320
<v Speaker 1>will talk about modes of manual manipulation. Hey, you, we're back.

0:13:35.320 --> 0:13:37.720
<v Speaker 1>We're talking about the science of haunted houses, of course,

0:13:37.800 --> 0:13:40.480
<v Speaker 1>as in haunted attractions. And I'll mention this again but

0:13:40.559 --> 0:13:42.839
<v Speaker 1>if you want to check out Another World online and

0:13:42.880 --> 0:13:46.760
<v Speaker 1>see their cool website, go to www dot fear world

0:13:46.960 --> 0:13:49.560
<v Speaker 1>dot com and you can see all sorts of clips

0:13:49.559 --> 0:13:53.040
<v Speaker 1>and images and some wonderful write ups about their attractions. Yeah,

0:13:53.080 --> 0:13:55.560
<v Speaker 1>and they are doing an excellent job, I have to

0:13:55.600 --> 0:13:59.600
<v Speaker 1>say of manual manipulation. In other words, taking our five

0:13:59.640 --> 0:14:01.840
<v Speaker 1>cents is and and of course you could argue that

0:14:01.840 --> 0:14:04.240
<v Speaker 1>we have many more than five senses, but there's main

0:14:04.320 --> 0:14:08.520
<v Speaker 1>five senses in manipulating them through all sorts of things

0:14:08.559 --> 0:14:12.920
<v Speaker 1>like our site in our orientation, yeah, sight orientation. This

0:14:12.960 --> 0:14:14.320
<v Speaker 1>is kind of like I guess in a way the

0:14:14.360 --> 0:14:16.679
<v Speaker 1>obvious one, but but some of the subtler ways they

0:14:16.720 --> 0:14:19.120
<v Speaker 1>do it may surprise you. I mean on a very

0:14:19.160 --> 0:14:23.040
<v Speaker 1>basic level. Yes, you're walking through these dimly lit corridors

0:14:23.160 --> 0:14:26.240
<v Speaker 1>and things are happening, and a lot of like especially

0:14:26.240 --> 0:14:28.040
<v Speaker 1>in other world, a lot of stuff is happening. You're

0:14:28.200 --> 0:14:31.200
<v Speaker 1>you're distracted by little details, say like some sort of

0:14:31.240 --> 0:14:34.240
<v Speaker 1>a ghastly frame and a picture on the wall that

0:14:34.280 --> 0:14:36.600
<v Speaker 1>seems to be watching you, some sort of holographic bit

0:14:36.640 --> 0:14:40.560
<v Speaker 1>of art here, actual skeletons just I mean, they do

0:14:40.600 --> 0:14:42.960
<v Speaker 1>a wonderful job just on the layout of the place.

0:14:43.400 --> 0:14:45.240
<v Speaker 1>So you're looking at that kind of stuff, But then

0:14:45.280 --> 0:14:49.680
<v Speaker 1>there there's also other visual things, lights, lasers, moving fog,

0:14:49.880 --> 0:14:55.080
<v Speaker 1>moving monsters, and it all creates this chorus of confusion. Yeah,

0:14:55.120 --> 0:14:57.760
<v Speaker 1>And of course the lack of light is is the hallmark,

0:14:57.960 --> 0:14:59.600
<v Speaker 1>and the reason for that is because if you're plunge

0:14:59.600 --> 0:15:02.160
<v Speaker 1>into tote old darkness, then you're not quite sure what's

0:15:02.200 --> 0:15:04.000
<v Speaker 1>going on. And so there are different parts of the

0:15:04.040 --> 0:15:06.720
<v Speaker 1>Haunt that are that are darker than others. But I

0:15:06.760 --> 0:15:09.200
<v Speaker 1>did want to just give a quick overview of our

0:15:09.240 --> 0:15:11.160
<v Speaker 1>site that of course we have rods and cones in

0:15:11.160 --> 0:15:14.560
<v Speaker 1>our eyes. Cone cells perceive color in bright light, and

0:15:14.640 --> 0:15:17.640
<v Speaker 1>rod cells perceived black and white images and work best

0:15:17.720 --> 0:15:22.120
<v Speaker 1>and low light. So who has something called rhodopsin And

0:15:22.200 --> 0:15:25.080
<v Speaker 1>rhodoption is a chemical that's found in the rods, and

0:15:25.120 --> 0:15:28.200
<v Speaker 1>rhodoption is really key to the ability to see during

0:15:28.240 --> 0:15:31.360
<v Speaker 1>the night. And it's the chemical that rods used to

0:15:31.400 --> 0:15:34.640
<v Speaker 1>absorb photons and perceived light. And when a molecule of

0:15:34.800 --> 0:15:38.360
<v Speaker 1>rhodoption absorbs a photon, it splits into a retinal and

0:15:38.440 --> 0:15:42.440
<v Speaker 1>an option molecule. This is important because these later recombine

0:15:43.080 --> 0:15:46.440
<v Speaker 1>naturally back into redoption at a fixed rate, but the

0:15:46.480 --> 0:15:49.360
<v Speaker 1>recombination is very slow. So the reason I'm pointing this

0:15:49.400 --> 0:15:51.600
<v Speaker 1>out is because when you expose your your eyes to

0:15:51.680 --> 0:15:54.800
<v Speaker 1>bright light, all the roodoption breaks down into this retinal

0:15:54.840 --> 0:15:56.800
<v Speaker 1>and option, and then if you turn off the lights

0:15:56.800 --> 0:15:58.680
<v Speaker 1>and try to see in the dark, you cannot because

0:15:58.680 --> 0:16:01.080
<v Speaker 1>it has to try to recombine line. And that's one

0:16:01.080 --> 0:16:04.200
<v Speaker 1>of the disorienting effects of playing with a light in

0:16:04.240 --> 0:16:07.840
<v Speaker 1>a haunted house. And here's a fun fact. Okay, the

0:16:07.880 --> 0:16:11.280
<v Speaker 1>retinal used in the eye is derived from vitamin A.

0:16:11.600 --> 0:16:13.920
<v Speaker 1>So if a person's diet is low in vitamin A,

0:16:14.120 --> 0:16:16.640
<v Speaker 1>there's not enough retinal and the rods, and therefore there's

0:16:16.640 --> 0:16:19.760
<v Speaker 1>not enough reduction. So people who lack vitamin A often

0:16:19.920 --> 0:16:22.560
<v Speaker 1>suffer from night blindness. Okay, so if you you want

0:16:22.600 --> 0:16:25.480
<v Speaker 1>to really be on to be prepared for your venture

0:16:25.280 --> 0:16:27.760
<v Speaker 1>through the haunted house, you want to bone up on

0:16:27.800 --> 0:16:29.600
<v Speaker 1>your vitamin you want to just stuck up on that

0:16:29.680 --> 0:16:31.600
<v Speaker 1>vitamin A. But I thought that was interesting. I mean,

0:16:31.600 --> 0:16:34.120
<v Speaker 1>that's also like great because I know I'll be driving

0:16:34.680 --> 0:16:37.720
<v Speaker 1>at night occasionally when I can't help but drive at night,

0:16:38.040 --> 0:16:40.040
<v Speaker 1>and and I feel like I can't see anything. So

0:16:40.200 --> 0:16:42.240
<v Speaker 1>maybe next time I need a bone up on the vitamins.

0:16:42.320 --> 0:16:44.760
<v Speaker 1>There you go, There you go before you drive, before

0:16:44.800 --> 0:16:46.960
<v Speaker 1>you go into a haunted house, and drive into a

0:16:47.000 --> 0:16:50.239
<v Speaker 1>haunted house. Yeah, yeah, which is an entirely different attraction

0:16:51.200 --> 0:16:54.800
<v Speaker 1>from the future. But there's also different ways that can

0:16:54.800 --> 0:16:58.680
<v Speaker 1>manipulate your eyesight. And I saw one um example of

0:16:58.680 --> 0:17:02.840
<v Speaker 1>this online from a past another world um year. But

0:17:02.920 --> 0:17:06.320
<v Speaker 1>they had a room that was covered in illuminated dots,

0:17:06.840 --> 0:17:10.000
<v Speaker 1>So everywhere you look there's just dots, and you could

0:17:10.040 --> 0:17:12.560
<v Speaker 1>not see the edges, you could not see anything. And

0:17:12.600 --> 0:17:15.840
<v Speaker 1>I thought, well, that's fascinating because that's really like obscuring

0:17:15.840 --> 0:17:19.200
<v Speaker 1>your ability to actually pinpoint your orientation, which is so

0:17:19.280 --> 0:17:22.560
<v Speaker 1>important and allow you to have sort of a fixed

0:17:22.760 --> 0:17:25.919
<v Speaker 1>established place in the room. And it's really frightening to

0:17:25.960 --> 0:17:28.760
<v Speaker 1>even watch the clip of someone coming at you with

0:17:28.920 --> 0:17:31.800
<v Speaker 1>dots on, of course, because they're they're melding into the background,

0:17:31.960 --> 0:17:33.320
<v Speaker 1>you know, I do you know you mentioned this to

0:17:33.320 --> 0:17:35.120
<v Speaker 1>me yesterday and I'm like, I don't remember the dots,

0:17:35.160 --> 0:17:38.080
<v Speaker 1>but now I do. Think I went through the attraction

0:17:38.160 --> 0:17:40.520
<v Speaker 1>the year that they had the dots, because suddenly there's

0:17:40.520 --> 0:17:42.640
<v Speaker 1>a person that's covered with dots coming at you as well,

0:17:42.720 --> 0:17:45.440
<v Speaker 1>and that kind of course throws you off balance, as

0:17:45.520 --> 0:17:48.440
<v Speaker 1>does their use of sound. Yeah, there is a lot

0:17:48.480 --> 0:17:50.240
<v Speaker 1>of noise going on in the haunted house, and those

0:17:50.240 --> 0:17:51.680
<v Speaker 1>clip and the clips that we played, you could certainly

0:17:51.720 --> 0:17:53.679
<v Speaker 1>hear the outdoor noise and on the inside you have

0:17:54.080 --> 0:17:58.480
<v Speaker 1>creepy music, you have loud noises coming from elsewhere in

0:17:58.520 --> 0:18:02.719
<v Speaker 1>the hunt. A course, you're hearing chainless chainsaws rearing up.

0:18:02.760 --> 0:18:04.960
<v Speaker 1>I mean, that's a staple. There's just no getting around

0:18:05.040 --> 0:18:07.720
<v Speaker 1>it when it comes to chain saw usage at a

0:18:07.720 --> 0:18:10.760
<v Speaker 1>haunted attraction, And it's all just creating this cacophony. But

0:18:10.800 --> 0:18:13.000
<v Speaker 1>then there they're also these kind of moments of not

0:18:13.119 --> 0:18:16.080
<v Speaker 1>quite silence, because you're not gonna get really silence. It's

0:18:16.080 --> 0:18:19.320
<v Speaker 1>not a really sound proof environment, but they'll be like

0:18:19.359 --> 0:18:22.080
<v Speaker 1>a calmn, I guess before the noise comes out of

0:18:22.080 --> 0:18:25.200
<v Speaker 1>your specifically like an air gun or or an airhorn

0:18:25.520 --> 0:18:28.080
<v Speaker 1>going off right next to your head. You know. Thinking

0:18:28.119 --> 0:18:30.680
<v Speaker 1>about the sensitivity of our ears, because we talked about

0:18:30.720 --> 0:18:33.320
<v Speaker 1>this and the Ignoble podcast, and we talked about how

0:18:33.359 --> 0:18:36.760
<v Speaker 1>if you're hearing is delayed, if you hear yourself talking,

0:18:36.800 --> 0:18:39.480
<v Speaker 1>it's delayed just a fraction of a second. That can

0:18:39.560 --> 0:18:41.960
<v Speaker 1>just change everything in the machinery in the way that

0:18:42.000 --> 0:18:46.119
<v Speaker 1>you perceive sound. And um, it made me think about

0:18:46.160 --> 0:18:49.439
<v Speaker 1>the fact that your your ear is really important in

0:18:49.560 --> 0:18:53.399
<v Speaker 1>actually detecting the gravitational field as well and giving you

0:18:53.480 --> 0:18:55.360
<v Speaker 1>a sense of orientation. So when you have all these

0:18:55.359 --> 0:18:57.720
<v Speaker 1>different elements of sound coming at you, that can really

0:18:57.720 --> 0:19:01.800
<v Speaker 1>disturb um your sense of where you are. And I

0:19:01.840 --> 0:19:04.760
<v Speaker 1>was also thinking about something called the butt kicker that

0:19:04.840 --> 0:19:07.280
<v Speaker 1>they use. I love the name of it. It actually

0:19:07.359 --> 0:19:10.800
<v Speaker 1>vibrates the floor. Oh yes, yes, okay. And also in

0:19:10.840 --> 0:19:12.560
<v Speaker 1>the other world, when I was talking to you, Ben.

0:19:12.640 --> 0:19:16.760
<v Speaker 1>He said, they've experimented with sub sonic frequencies, but they

0:19:16.800 --> 0:19:18.680
<v Speaker 1>decided not to use them because they have some odd

0:19:18.720 --> 0:19:21.600
<v Speaker 1>effects on people. Okay, change them in the Monster's that

0:19:21.680 --> 0:19:24.280
<v Speaker 1>kind of thing exactly, you start to grow hair everywhere.

0:19:24.359 --> 0:19:27.560
<v Speaker 1>It's it's it's not pretty. They definitely play with your

0:19:27.560 --> 0:19:31.639
<v Speaker 1>balance a lot. They're they're squishy floors. There's their floors

0:19:31.680 --> 0:19:34.920
<v Speaker 1>that feel uneven. There's there's kind of a metal bridge

0:19:34.920 --> 0:19:38.480
<v Speaker 1>over actual water that's shaky, to say nothing of the

0:19:38.680 --> 0:19:42.680
<v Speaker 1>solid bridge that goes through a spinning cylinder. That old

0:19:42.720 --> 0:19:45.560
<v Speaker 1>effect is uh that always gets because that just throws

0:19:45.560 --> 0:19:48.080
<v Speaker 1>your balance off completely because the surface you're walking around

0:19:48.119 --> 0:19:51.120
<v Speaker 1>isn't moving, but visually you're seeing the room spin. So

0:19:51.240 --> 0:19:53.440
<v Speaker 1>you react as if the room is spending and you're

0:19:53.440 --> 0:19:56.080
<v Speaker 1>reaching out right. And then of course you get another element.

0:19:56.080 --> 0:19:57.560
<v Speaker 1>You're trying to feel your way through the room, but

0:19:57.600 --> 0:20:00.520
<v Speaker 1>then you're feeling creepy crawley things. The sense of touch

0:20:00.600 --> 0:20:03.800
<v Speaker 1>is really important, and I wanted to point out to

0:20:03.960 --> 0:20:07.240
<v Speaker 1>that the animatronics Another World spray a lot of air

0:20:07.280 --> 0:20:10.880
<v Speaker 1>and water at YouTube. Yes, you're suddenly you're missed by stuff,

0:20:11.000 --> 0:20:14.199
<v Speaker 1>and if that's combined with some other sense elements that

0:20:14.200 --> 0:20:15.480
<v Speaker 1>we'll get to in a second. Then it can be

0:20:15.520 --> 0:20:17.720
<v Speaker 1>really disturbing because you're like, ah, that thing just threw

0:20:17.800 --> 0:20:19.680
<v Speaker 1>up on me, what is this leaking? I mean, we

0:20:19.720 --> 0:20:22.879
<v Speaker 1>can't have the response anyway if something gets honest it's wet,

0:20:23.600 --> 0:20:28.600
<v Speaker 1>because sure, maybe it's raining, but it could be urine. Yeah, exactly.

0:20:28.680 --> 0:20:31.080
<v Speaker 1>And actually they do have a bathroom. Uh did you

0:20:31.119 --> 0:20:33.439
<v Speaker 1>go through the bathroom area? Oh, yeah, where they have

0:20:33.480 --> 0:20:36.600
<v Speaker 1>the toilet plucked from my dreams, from my nightmares. It's

0:20:36.600 --> 0:20:40.240
<v Speaker 1>a toilet that is covered an excrement and yeah, and

0:20:40.240 --> 0:20:42.600
<v Speaker 1>they've got little bits of rice that come up from

0:20:42.640 --> 0:20:45.160
<v Speaker 1>the ceiling from I think it's like a air duct

0:20:45.200 --> 0:20:48.680
<v Speaker 1>or something. They rearrange that toilet every year. So one

0:20:48.760 --> 0:20:50.960
<v Speaker 1>year in particular, one of the earlier years I went.

0:20:51.240 --> 0:20:54.959
<v Speaker 1>You had to crawl through a tunnel and when you

0:20:54.960 --> 0:20:57.080
<v Speaker 1>emerge on the other side, you emerge right in front

0:20:57.080 --> 0:21:00.720
<v Speaker 1>of that foul toilet. Yes, again, plucked plucked from my nightmares.

0:21:01.320 --> 0:21:03.480
<v Speaker 1>But again you're that's the sense of touch that you're feeling,

0:21:03.560 --> 0:21:06.400
<v Speaker 1>and we take it for granted, but it's really effective

0:21:06.440 --> 0:21:09.480
<v Speaker 1>because it's exciting. The five different types of nerve endings

0:21:09.480 --> 0:21:13.280
<v Speaker 1>in your skin that govern sensitivity, heat, cold, pain, and

0:21:13.320 --> 0:21:16.880
<v Speaker 1>pressure and itch. So when you are going past those

0:21:17.000 --> 0:21:19.840
<v Speaker 1>dangling tentacles, your body is trying to figure out what

0:21:19.920 --> 0:21:23.760
<v Speaker 1>exactly it is. Is it a threat? And it's important

0:21:23.760 --> 0:21:26.240
<v Speaker 1>to mention on this touch business though, when we're talking

0:21:26.240 --> 0:21:30.520
<v Speaker 1>about the reception this touch this, I'm checking my finger here. Um.

0:21:30.600 --> 0:21:33.960
<v Speaker 1>One of the big rules of any haunted attraction, professional

0:21:34.040 --> 0:21:36.159
<v Speaker 1>or even just semi professional, it's it's kind of the

0:21:36.160 --> 0:21:39.080
<v Speaker 1>reverse of a gentleman's club. The monsters do not touch

0:21:39.520 --> 0:21:42.360
<v Speaker 1>anyone that works that's coming through the attraction. The monsters

0:21:42.400 --> 0:21:44.080
<v Speaker 1>will not touch you. They may come close to you,

0:21:44.440 --> 0:21:46.439
<v Speaker 1>they may sort they jump out at you, but they

0:21:46.440 --> 0:21:47.960
<v Speaker 1>are not going to grab you. They're not going to

0:21:48.240 --> 0:21:50.639
<v Speaker 1>reach out and mess your hair up or anything. Now.

0:21:50.720 --> 0:21:53.119
<v Speaker 1>I actually got to get behind one of the animatronics too,

0:21:53.320 --> 0:21:56.719
<v Speaker 1>and um, it kind of manipulate it to see to

0:21:56.800 --> 0:21:59.520
<v Speaker 1>the point where it goes past someone or or come

0:21:59.640 --> 0:22:01.679
<v Speaker 1>forward to someone. It was pretty cool. Like the big

0:22:01.720 --> 0:22:04.920
<v Speaker 1>grabbers grabbers. Yeah, now I have been grabbed by those.

0:22:04.960 --> 0:22:07.240
<v Speaker 1>But then but then again, it's not a person grabbing you.

0:22:07.480 --> 0:22:10.600
<v Speaker 1>It's a large inflatable puppet grabbing you. So it's it's

0:22:10.640 --> 0:22:14.000
<v Speaker 1>a different thing and it's soft. Yeah, but even though

0:22:14.000 --> 0:22:16.199
<v Speaker 1>the monsters cannot touch you, lots of things touch you

0:22:16.320 --> 0:22:18.560
<v Speaker 1>in this particular hunt, right, the actors will not touch you,

0:22:18.600 --> 0:22:22.160
<v Speaker 1>but the other things, like tentacles, I feel like they

0:22:22.160 --> 0:22:26.439
<v Speaker 1>were baby dolls on strings. There were. They were large,

0:22:26.480 --> 0:22:29.840
<v Speaker 1>inflatable black substances. So you're you feel like you're squeezing

0:22:29.880 --> 0:22:35.280
<v Speaker 1>your way out of the belly of some humendous leviathan. Yes,

0:22:35.320 --> 0:22:37.680
<v Speaker 1>which plays to our fear of small spaces, are in

0:22:37.720 --> 0:22:40.440
<v Speaker 1>close spaces and custrophobia. They warn the heck out of

0:22:40.480 --> 0:22:42.919
<v Speaker 1>you before you go into it. It's certainly not a

0:22:42.920 --> 0:22:46.280
<v Speaker 1>place for the claustrophobic, for someone who is affected by

0:22:46.480 --> 0:22:49.320
<v Speaker 1>strobe lights or or anything of that nature. Now, one

0:22:49.359 --> 0:22:51.439
<v Speaker 1>of the walls that you kind of have to shimmy

0:22:51.520 --> 0:22:54.600
<v Speaker 1>through actually does push back. So if someone were having

0:22:54.720 --> 0:22:57.200
<v Speaker 1>a problem with that and they can shut it down

0:22:57.240 --> 0:22:59.040
<v Speaker 1>at a moment's notice, Yeah, I think you move that

0:22:59.119 --> 0:23:01.840
<v Speaker 1>wall straight act so um and actually I think that

0:23:01.880 --> 0:23:04.199
<v Speaker 1>you yourself could do you just push it, But it

0:23:04.280 --> 0:23:06.120
<v Speaker 1>looks like as though you know you have to show

0:23:06.240 --> 0:23:09.959
<v Speaker 1>me through this little um bit of room here. So

0:23:10.040 --> 0:23:12.600
<v Speaker 1>I did want to mention that probably one of the

0:23:12.640 --> 0:23:15.399
<v Speaker 1>most grotesque aspects for me, at least when I was

0:23:15.440 --> 0:23:21.520
<v Speaker 1>going through the Haunted house was the smells. Yeah, the smell.

0:23:22.320 --> 0:23:24.880
<v Speaker 1>I asked Ben if he could give me a couple

0:23:24.920 --> 0:23:27.959
<v Speaker 1>of examples of what they use, because of course, this

0:23:28.040 --> 0:23:31.480
<v Speaker 1>is a huge mode of manipulation when it comes to

0:23:31.520 --> 0:23:36.240
<v Speaker 1>us humans, and it's you and Ben Armstrong. You're in

0:23:36.280 --> 0:23:38.760
<v Speaker 1>the middle of nether world prior to it opening. We

0:23:38.840 --> 0:23:41.000
<v Speaker 1>go through the back where to this little room where

0:23:41.000 --> 0:23:43.240
<v Speaker 1>he shows me where he's got all these sents that

0:23:43.320 --> 0:23:46.680
<v Speaker 1>he can spray to freshen up, as he says, place. Um.

0:23:46.760 --> 0:23:52.640
<v Speaker 1>He also had some devices that continuously emit orders. But um. Basically,

0:23:52.640 --> 0:23:56.760
<v Speaker 1>he showed me a couple of his select odors and

0:23:57.200 --> 0:24:01.960
<v Speaker 1>they were swamp, mildew, rotting vegetation, which I said, all

0:24:02.000 --> 0:24:03.640
<v Speaker 1>of them. I said, Oh, that's that's not too bad.

0:24:03.760 --> 0:24:05.879
<v Speaker 1>That's you know, I can live with that. And then

0:24:05.880 --> 0:24:08.720
<v Speaker 1>he kind of went and he sprayed the hospital smell,

0:24:09.119 --> 0:24:11.360
<v Speaker 1>and then I went, that's the worst, because it really

0:24:11.400 --> 0:24:13.040
<v Speaker 1>does kind of get under your skin a little bit.

0:24:13.640 --> 0:24:15.639
<v Speaker 1>And he said, oh, you think that's the worst. And

0:24:15.840 --> 0:24:18.960
<v Speaker 1>that is when he doused the entire hall in a

0:24:19.000 --> 0:24:23.760
<v Speaker 1>big spray of what is called circus animal and that

0:24:23.840 --> 0:24:27.560
<v Speaker 1>sounds lovely, right, great, yeah, and you and you were like,

0:24:27.600 --> 0:24:29.760
<v Speaker 1>I used to working at a big deal exactly. I

0:24:29.760 --> 0:24:31.800
<v Speaker 1>was like, I can take that. What hit me in

0:24:31.840 --> 0:24:34.800
<v Speaker 1>the face smelled like the anal glance of an elephant.

0:24:35.200 --> 0:24:37.720
<v Speaker 1>It was probably the worst smell I've ever smelled in

0:24:37.720 --> 0:24:40.560
<v Speaker 1>my life. Now, of course he doesn't humigate the place

0:24:40.600 --> 0:24:43.000
<v Speaker 1>with that, but he just puts it in certain pockets

0:24:43.080 --> 0:24:44.879
<v Speaker 1>and it gets to mellow a little bit. So I

0:24:44.960 --> 0:24:48.639
<v Speaker 1>really had the more pungent experience. And it is still

0:24:48.680 --> 0:24:52.879
<v Speaker 1>in my car and on my clothes and on my handbage.

0:24:54.080 --> 0:24:57.399
<v Speaker 1>You held your handbag up for various co workers to

0:24:57.440 --> 0:25:00.639
<v Speaker 1>smell this morning and I didn't wretched. So we I

0:25:00.680 --> 0:25:02.640
<v Speaker 1>may need to get a new computer bag, but we'll see.

0:25:02.880 --> 0:25:04.760
<v Speaker 1>But that is a huge part of it, because you know,

0:25:04.800 --> 0:25:06.280
<v Speaker 1>one of the things I noticed is that when I

0:25:06.440 --> 0:25:09.720
<v Speaker 1>smell that, the receptors on my tongue even were activated

0:25:09.840 --> 0:25:12.160
<v Speaker 1>because I felt like it was in my mouth. And

0:25:12.320 --> 0:25:14.200
<v Speaker 1>we have talked about this before that this is a

0:25:14.280 --> 0:25:16.440
<v Speaker 1>huge warning system for our bodies that when we smell

0:25:16.480 --> 0:25:20.200
<v Speaker 1>something that's disgusting or we taste it, we automatically recoil

0:25:20.320 --> 0:25:22.880
<v Speaker 1>and our bodies tell us that there's something dangerous because

0:25:22.920 --> 0:25:25.760
<v Speaker 1>it could be something putrid, something poisonous, something that's going

0:25:25.800 --> 0:25:28.600
<v Speaker 1>to harmless in some way. And so the brain is saying,

0:25:28.720 --> 0:25:31.480
<v Speaker 1>be wary of this. You can look into it, but

0:25:31.640 --> 0:25:34.080
<v Speaker 1>know that it might kill you. And certainly we can

0:25:34.160 --> 0:25:38.520
<v Speaker 1>grow accustomed to many foul odors. Is our brain gives

0:25:38.600 --> 0:25:40.159
<v Speaker 1>us that chance to all right, check it out, and

0:25:40.200 --> 0:25:43.120
<v Speaker 1>if you're comfortable with it, then we'll will allow you

0:25:43.200 --> 0:25:45.920
<v Speaker 1>to not register it as much. But certainly you're not

0:25:45.960 --> 0:25:48.199
<v Speaker 1>gonna have at that kind of time as you make

0:25:48.240 --> 0:25:51.639
<v Speaker 1>your way through hunted attraction to grow accustomed to circus animals. No,

0:25:51.960 --> 0:25:54.480
<v Speaker 1>you're not. You're just gonna like quoa. That's that's problematic.

0:25:54.680 --> 0:25:56.560
<v Speaker 1>My body is telling me there's a problem here. So

0:25:56.640 --> 0:25:58.040
<v Speaker 1>I thought that's kind of cool how they set the

0:25:58.040 --> 0:26:01.879
<v Speaker 1>stage there in terms of how are manually manipulating your senses,

0:26:02.200 --> 0:26:06.160
<v Speaker 1>but also they are psychologically manipulating. And this begins, uh

0:26:06.200 --> 0:26:08.840
<v Speaker 1>at the very moment that you park your car and

0:26:08.880 --> 0:26:11.000
<v Speaker 1>you get out of it. For some of us, it

0:26:11.000 --> 0:26:13.080
<v Speaker 1>actually begins before you get there. I have to say,

0:26:13.119 --> 0:26:16.240
<v Speaker 1>because not everyone goes to the trouble of reading the

0:26:16.320 --> 0:26:18.800
<v Speaker 1>text on the website. But they do an awesome job

0:26:18.880 --> 0:26:21.600
<v Speaker 1>every year. Just give you a little taste. There too,

0:26:21.960 --> 0:26:24.920
<v Speaker 1>haunts each year at another world. This year it's Banshees

0:26:24.960 --> 0:26:28.320
<v Speaker 1>and the high on Banshees. The cell is the ancient

0:26:28.400 --> 0:26:31.040
<v Speaker 1>evil city of Ys has risen from the ocean off

0:26:31.040 --> 0:26:34.000
<v Speaker 1>the coast of Ireland, bringing with it a plague of Banshees.

0:26:34.080 --> 0:26:37.679
<v Speaker 1>These foul islets winged monstrosities feed on the darknergery of

0:26:37.720 --> 0:26:41.560
<v Speaker 1>dying humans, seeking battlefields and natural disasters where life hangs

0:26:41.600 --> 0:26:44.680
<v Speaker 1>in the balance. And then the Hive is really good

0:26:44.880 --> 0:26:47.840
<v Speaker 1>because the cell On that is, during the height of

0:26:47.880 --> 0:26:51.600
<v Speaker 1>the Cold War in nineteen sixty two, Robert Willington Hughes,

0:26:51.640 --> 0:26:54.919
<v Speaker 1>a filthy rich genetics researcher, sealed up his staff and

0:26:55.040 --> 0:27:00.439
<v Speaker 1>followers in an underground bunker called the Hive. So so

0:27:00.520 --> 0:27:01.680
<v Speaker 1>if you if you do like me, and you go

0:27:01.720 --> 0:27:03.080
<v Speaker 1>to the website first you get that in your hand,

0:27:03.080 --> 0:27:07.160
<v Speaker 1>you're like, all right, giant insects, irish myths and Banshees.

0:27:07.160 --> 0:27:09.040
<v Speaker 1>I can get into that. And then when you get there,

0:27:09.880 --> 0:27:12.479
<v Speaker 1>you get your ticket, you get in line, and the

0:27:12.480 --> 0:27:15.119
<v Speaker 1>monsters are prowling the parking lot. That's all right, And

0:27:15.160 --> 0:27:18.280
<v Speaker 1>so they're beginning to tell that story that you are

0:27:18.359 --> 0:27:20.960
<v Speaker 1>in fear or you're in danger, and you should be

0:27:21.080 --> 0:27:23.199
<v Speaker 1>fearful of what's about to happen. And what I think

0:27:23.320 --> 0:27:25.480
<v Speaker 1>is so interesting about frightening narratives, and we've talked about

0:27:25.480 --> 0:27:28.320
<v Speaker 1>this with children too, is that it's it's kind of

0:27:28.440 --> 0:27:30.080
<v Speaker 1>playing to this knowledge that at the end of the

0:27:30.160 --> 0:27:34.119
<v Speaker 1>day we're all pretty much doomed. Life is fleeting, and

0:27:34.200 --> 0:27:37.600
<v Speaker 1>yet you get to go through this exercise and storytelling

0:27:37.680 --> 0:27:40.520
<v Speaker 1>and come out on the other end. Now, one of

0:27:40.560 --> 0:27:42.480
<v Speaker 1>the things that I think is really great that they

0:27:42.480 --> 0:27:47.080
<v Speaker 1>do is misdirection. This has a huge psychological impact. Yes,

0:27:47.200 --> 0:27:50.720
<v Speaker 1>And actually I asked Ben I'm strong about misdirection when

0:27:50.760 --> 0:27:53.040
<v Speaker 1>I went out to the Haunted Attraction, and this is

0:27:53.080 --> 0:27:55.920
<v Speaker 1>what he had to say. Everything in here is very

0:27:56.000 --> 0:27:59.359
<v Speaker 1>much like Slide of Man. You want to create a

0:27:59.400 --> 0:28:02.199
<v Speaker 1>strong role, a sound effect to draw their attention than

0:28:02.200 --> 0:28:05.440
<v Speaker 1>the creature can strike. You have to strike from multiple directions.

0:28:05.520 --> 0:28:09.720
<v Speaker 1>We use things like camouflage suits or mirrors or darkness

0:28:09.800 --> 0:28:12.960
<v Speaker 1>or special lighting tricks to conceal the actor. Sometimes the

0:28:13.000 --> 0:28:15.000
<v Speaker 1>actors who have been in plain slide is the statue.

0:28:15.040 --> 0:28:18.560
<v Speaker 1>Sometimes they're invisible in the environment so it's all about

0:28:18.800 --> 0:28:23.480
<v Speaker 1>confusing you with visuals, with sounds, with everything anything we

0:28:23.520 --> 0:28:27.399
<v Speaker 1>can employ to keep you, you know, unaware of the

0:28:27.480 --> 0:28:29.480
<v Speaker 1>environments with the actually strike, that's what we're gonna do.

0:28:30.440 --> 0:28:32.399
<v Speaker 1>So yeah, it's kind of like a card trick. It

0:28:32.560 --> 0:28:35.400
<v Speaker 1>is a look over here because I'm doing something else

0:28:35.480 --> 0:28:38.960
<v Speaker 1>over here. Be distracted by this grand movement because there's

0:28:38.960 --> 0:28:41.840
<v Speaker 1>something sneaking up behind you. Uh, and it has the

0:28:41.960 --> 0:28:44.880
<v Speaker 1>eyes of a monster something else they use as camouflage.

0:28:45.120 --> 0:28:47.720
<v Speaker 1>And we've mentioned that before. And there's a great clip

0:28:48.400 --> 0:28:50.600
<v Speaker 1>believe it's the Travel Channel that did a bit Another

0:28:50.640 --> 0:28:54.520
<v Speaker 1>World and it shows a row of skeletons and you

0:28:54.560 --> 0:28:57.080
<v Speaker 1>can see the people are moving through and they are

0:28:57.160 --> 0:29:00.320
<v Speaker 1>perceiving this as one unit of just skeletons on the all.

0:29:00.600 --> 0:29:02.560
<v Speaker 1>But of course there's an actor who is called a

0:29:02.600 --> 0:29:06.000
<v Speaker 1>bone clone who comes jumping out at the passers by,

0:29:06.080 --> 0:29:09.160
<v Speaker 1>and again it's playing with that idea of benign violation,

0:29:09.520 --> 0:29:13.440
<v Speaker 1>but also playing with your mind's ability to perceive what

0:29:13.600 --> 0:29:15.600
<v Speaker 1>is real and what is not real. Now you know

0:29:15.680 --> 0:29:18.200
<v Speaker 1>you mentioned the bone clone jumping out. It's important to

0:29:18.240 --> 0:29:22.040
<v Speaker 1>note that another key rule that's been is big on

0:29:22.120 --> 0:29:24.400
<v Speaker 1>with his monsters, with the human human actors. Is that

0:29:24.520 --> 0:29:26.720
<v Speaker 1>you have the monster jump out at you, certainly, but

0:29:26.760 --> 0:29:28.880
<v Speaker 1>then they retreat away. Now part of that is of

0:29:28.920 --> 0:29:32.520
<v Speaker 1>course not involved not touching the person, but also you

0:29:32.560 --> 0:29:34.360
<v Speaker 1>need to get the once the shock has been made,

0:29:34.680 --> 0:29:37.200
<v Speaker 1>you don't need the person analyzing the monster even in

0:29:37.280 --> 0:29:41.600
<v Speaker 1>dim light. That's too. You know, less is more retreat,

0:29:41.720 --> 0:29:43.520
<v Speaker 1>that's true because then your brain has more time to

0:29:43.520 --> 0:29:46.640
<v Speaker 1>think about this. It's the benign part. It can bring

0:29:46.680 --> 0:29:48.560
<v Speaker 1>it down and on what was that? What was going

0:29:48.640 --> 0:29:51.880
<v Speaker 1>on there? You know, your minds still running with the questions.

0:29:52.120 --> 0:29:54.120
<v Speaker 1>And I saw that too with the bungee stunts. The

0:29:54.160 --> 0:29:56.360
<v Speaker 1>people whould come out on the bungee cords and return

0:29:56.440 --> 0:29:58.760
<v Speaker 1>down at you from above and then retracting back into

0:29:58.800 --> 0:30:01.400
<v Speaker 1>the darkness. So you talk about this fear factor, we

0:30:01.400 --> 0:30:04.280
<v Speaker 1>should probably review the old a magdala when it comes

0:30:04.280 --> 0:30:07.840
<v Speaker 1>to fear, because this is that almond shaped clump of

0:30:07.880 --> 0:30:12.360
<v Speaker 1>neurons in your brain located front and center, and it

0:30:12.520 --> 0:30:16.600
<v Speaker 1>is really vital for instantaneous emotional processing. So it's not

0:30:16.680 --> 0:30:19.000
<v Speaker 1>just for fear too, it's also for love and pleasure.

0:30:19.040 --> 0:30:22.400
<v Speaker 1>But when it comes to fear, if you have say

0:30:22.520 --> 0:30:25.560
<v Speaker 1>Freddy coming at you, you think Freddy's coming at you,

0:30:25.720 --> 0:30:29.080
<v Speaker 1>or you're another world and there's a glual coming at you.

0:30:29.520 --> 0:30:32.480
<v Speaker 1>What is happening is that you're a magdala gets juiced.

0:30:32.480 --> 0:30:38.000
<v Speaker 1>It unleashes your brain and embody energizing cocktail of hormones,

0:30:38.560 --> 0:30:41.000
<v Speaker 1>and of course while this is happening, information is also

0:30:41.240 --> 0:30:44.280
<v Speaker 1>traveling to your prefrontal cortex. This is the part of

0:30:44.280 --> 0:30:47.600
<v Speaker 1>the brain that's really responsible for a consciously evaluating danger,

0:30:48.200 --> 0:30:50.480
<v Speaker 1>and it tells you, hey, it's okay, this is just

0:30:50.560 --> 0:30:53.960
<v Speaker 1>a person in a mask. So the problem, though or

0:30:54.120 --> 0:30:57.000
<v Speaker 1>not sexually, it's not the problem is the catharsis um.

0:30:57.040 --> 0:31:01.480
<v Speaker 1>It's actually the result is that you have all of

0:31:01.520 --> 0:31:03.480
<v Speaker 1>these things going on in your body and has to

0:31:03.560 --> 0:31:07.720
<v Speaker 1>come off of that fear high. And that's again where

0:31:07.720 --> 0:31:11.160
<v Speaker 1>we're experiencing something really important in terms of acting at

0:31:11.160 --> 0:31:13.760
<v Speaker 1>our own fears or going through the process. I found

0:31:13.760 --> 0:31:16.640
<v Speaker 1>it interesting too that supposedly the whites of the eyes,

0:31:16.720 --> 0:31:19.320
<v Speaker 1>the more of the whites of the eyes that is visible,

0:31:19.840 --> 0:31:22.600
<v Speaker 1>even if the individuals wearing a mask, the more of

0:31:22.600 --> 0:31:25.240
<v Speaker 1>the amigo kicks into action, because it's like, well, someone's

0:31:25.280 --> 0:31:27.800
<v Speaker 1>coming out at me, wide eyed and crazy. I need

0:31:27.800 --> 0:31:31.200
<v Speaker 1>to respond to it. Whereas if they're you know, their

0:31:31.240 --> 0:31:34.400
<v Speaker 1>eyes are shut, then they're probably just gonna bump into you.

0:31:34.520 --> 0:31:36.720
<v Speaker 1>And if they have kind of droopy, sleepy eyes and

0:31:36.720 --> 0:31:39.760
<v Speaker 1>they're probably not that dangerous. They've actually there's been research

0:31:39.840 --> 0:31:42.000
<v Speaker 1>on this before too. I believe there's a researcher who

0:31:42.040 --> 0:31:44.560
<v Speaker 1>set up her own haunted house and did this with

0:31:44.600 --> 0:31:47.840
<v Speaker 1>her her research students and tract the white of the

0:31:47.840 --> 0:31:51.480
<v Speaker 1>eyes and the amount of fear that person perceived from

0:31:51.520 --> 0:31:55.400
<v Speaker 1>what her actors, her ghouls were communicating to the people

0:31:55.400 --> 0:31:57.640
<v Speaker 1>coming through the haunted house. All right, so here's one

0:31:57.640 --> 0:32:00.320
<v Speaker 1>more clip from Ben Armstrong where I was at talking

0:32:00.360 --> 0:32:02.720
<v Speaker 1>to him and asking him about the use of the

0:32:02.760 --> 0:32:06.320
<v Speaker 1>five senses and whether he's really hitting all five senses,

0:32:06.360 --> 0:32:08.800
<v Speaker 1>and he had to hit a pretty finances. Let's see,

0:32:09.240 --> 0:32:12.000
<v Speaker 1>you can see it, you can hear it, you can

0:32:12.120 --> 0:32:15.040
<v Speaker 1>feel it, you can smell it. We haven't had monsters

0:32:15.080 --> 0:32:17.920
<v Speaker 1>you have that you're supposed to lick. That's about it.

0:32:17.960 --> 0:32:20.240
<v Speaker 1>But you know what he gave me ideas maybe next year,

0:32:21.880 --> 0:32:26.400
<v Speaker 1>So yeah, we'll we'll probably never get lickable monsters in

0:32:26.520 --> 0:32:29.640
<v Speaker 1>the the haunted attractions, but it's it's a wonderful idea.

0:32:30.120 --> 0:32:33.600
<v Speaker 1>It is a. It's a very interactive idea, and which

0:32:33.640 --> 0:32:35.640
<v Speaker 1>kind of brings us to this idea of what the

0:32:35.680 --> 0:32:39.480
<v Speaker 1>future of haunted houses might look like one day, especially

0:32:39.520 --> 0:32:44.640
<v Speaker 1>if you melded the virtual reality technology. Yeah, to a

0:32:44.720 --> 0:32:47.840
<v Speaker 1>certain extent, you see a lot of haunted house elements

0:32:47.880 --> 0:32:49.560
<v Speaker 1>in some video games. I mean you have the whole

0:32:49.560 --> 0:32:54.200
<v Speaker 1>survival horror um genre or subgenre of games, stuff like

0:32:54.240 --> 0:32:58.080
<v Speaker 1>Resident Evil, Silent Hill Um, and then some sort of

0:32:58.200 --> 0:33:00.960
<v Speaker 1>hybrid games in recent years like head Space, which is

0:33:01.520 --> 0:33:04.480
<v Speaker 1>like a sci fi horror action but also a survival

0:33:04.520 --> 0:33:08.239
<v Speaker 1>are kind of product. And these will typically also some

0:33:08.280 --> 0:33:12.160
<v Speaker 1>of the Doom games fit into this area. You're inevitably

0:33:12.200 --> 0:33:15.120
<v Speaker 1>going through cramped hallways that are dark and dimly lit.

0:33:15.920 --> 0:33:18.480
<v Speaker 1>They'll be like a sparking fuse box on one wall,

0:33:18.520 --> 0:33:20.440
<v Speaker 1>and then something will jump out of you from the side.

0:33:20.920 --> 0:33:23.040
<v Speaker 1>They can't hit you on all the sensors, certainly, but

0:33:23.160 --> 0:33:25.200
<v Speaker 1>they can, you know, they can make the controller vibrate

0:33:25.200 --> 0:33:27.520
<v Speaker 1>in your hands. They can do stuff with with with

0:33:27.600 --> 0:33:29.880
<v Speaker 1>your site, and they can do stuff with sound, and

0:33:30.280 --> 0:33:32.680
<v Speaker 1>like I said, do a limited extent, they're experimenting with

0:33:32.760 --> 0:33:36.400
<v Speaker 1>the haunted attraction area. Yeah, And when I talked to

0:33:36.400 --> 0:33:38.680
<v Speaker 1>Ben Armstrong about this. He said that of course, as

0:33:38.880 --> 0:33:41.280
<v Speaker 1>as different technologies come online, they'll be interested in that.

0:33:41.320 --> 0:33:44.080
<v Speaker 1>But he said that core to the experience to their

0:33:44.120 --> 0:33:47.640
<v Speaker 1>haunted house is the fact that you have actors and

0:33:47.840 --> 0:33:52.000
<v Speaker 1>they are really uh sort of underscoring this play between

0:33:52.120 --> 0:33:55.440
<v Speaker 1>real and not real, and that having the actors makes

0:33:55.440 --> 0:33:58.479
<v Speaker 1>it a much more immersive experience. So even if we

0:33:58.480 --> 0:34:00.560
<v Speaker 1>were to get to the point five ten years from now,

0:34:00.680 --> 0:34:03.960
<v Speaker 1>putting Google Classes on, Google Vision on and walking through

0:34:03.960 --> 0:34:05.959
<v Speaker 1>a haunted house, you would still want to have that

0:34:06.120 --> 0:34:10.560
<v Speaker 1>live person element um because without it it's not quite

0:34:11.000 --> 0:34:14.000
<v Speaker 1>as immersive. It is interesting that you mentioned the virtual

0:34:14.120 --> 0:34:17.959
<v Speaker 1>reality augmented reality goggles and how that could be used

0:34:17.960 --> 0:34:21.320
<v Speaker 1>for haunted attraction, because you can imagine a future where

0:34:21.480 --> 0:34:23.680
<v Speaker 1>instead of going to a haunted house, you get these goggles,

0:34:23.680 --> 0:34:25.280
<v Speaker 1>you put them on, you go through your own house,

0:34:25.800 --> 0:34:29.920
<v Speaker 1>and it creates these virtual frights in the area around you. Certainly,

0:34:29.960 --> 0:34:35.520
<v Speaker 1>any of the virtual reality, dream augmentation, dream control technology

0:34:35.560 --> 0:34:38.719
<v Speaker 1>that we've discussed in previous episodes, pretty much all that

0:34:39.000 --> 0:34:43.760
<v Speaker 1>could conceivably get a horror or a haunted house twist

0:34:43.800 --> 0:34:46.280
<v Speaker 1>to it. You know, I can imagine some far future

0:34:46.320 --> 0:34:48.520
<v Speaker 1>where someone had would have the option of dialing up

0:34:48.520 --> 0:34:54.760
<v Speaker 1>a nightmare yeah, or having some sorts of um specter

0:34:55.600 --> 0:34:58.680
<v Speaker 1>projected onto contact lenses that they're wearing. So I mean,

0:34:58.760 --> 0:35:01.680
<v Speaker 1>really every day could be Halloween. Yeah, all right, So

0:35:01.719 --> 0:35:04.560
<v Speaker 1>there you go, Haunted Houses once again. Big thanks to

0:35:04.960 --> 0:35:07.680
<v Speaker 1>another World Haunted House and specifically been Armstrong for taking

0:35:07.680 --> 0:35:13.719
<v Speaker 1>the time to chat with me, to spray Julie down

0:35:13.960 --> 0:35:16.960
<v Speaker 1>with animal sense, and you know, just for sharing his

0:35:17.080 --> 0:35:20.839
<v Speaker 1>enthusiasm for Halloween and for haunted attractions with us and

0:35:20.880 --> 0:35:22.839
<v Speaker 1>with you guys. And again, if you want to check

0:35:22.840 --> 0:35:26.359
<v Speaker 1>out their website, go to www dot fear world dot

0:35:26.360 --> 0:35:29.880
<v Speaker 1>com And if you live anywhere in the Atlanta area,

0:35:30.200 --> 0:35:32.239
<v Speaker 1>go check it out. It's a great attraction and it's

0:35:32.440 --> 0:35:35.359
<v Speaker 1>open generally through all of October but then also into

0:35:35.440 --> 0:35:38.000
<v Speaker 1>the first week of November as well to get that

0:35:38.000 --> 0:35:40.959
<v Speaker 1>that Halloween hangover crowd. Yeah. I also wanted to mention

0:35:40.960 --> 0:35:43.719
<v Speaker 1>to you that Ben is really steeped in mythology and

0:35:43.719 --> 0:35:46.120
<v Speaker 1>this is what you can tell. This is an act

0:35:46.160 --> 0:35:49.279
<v Speaker 1>of love for him every single year. And I did

0:35:49.360 --> 0:35:52.000
<v Speaker 1>ask him what some of his influences are and he

0:35:52.000 --> 0:35:56.120
<v Speaker 1>talked about an economicon um as being early influences, an

0:35:56.120 --> 0:35:58.799
<v Speaker 1>alien also as a teenager, so you can you really

0:35:58.840 --> 0:36:02.160
<v Speaker 1>do see a lot of that, his worldview, his influences

0:36:02.520 --> 0:36:05.200
<v Speaker 1>in the attraction. Yeah, you mentioned Pumpkinhead when I talked

0:36:05.200 --> 0:36:07.560
<v Speaker 1>to him, he's he's not a guy who's doing it

0:36:08.200 --> 0:36:10.399
<v Speaker 1>just to make a buck. Because every year you see

0:36:10.440 --> 0:36:13.279
<v Speaker 1>haunted houses pop up in any large metropolitan area. Some

0:36:13.360 --> 0:36:15.280
<v Speaker 1>of them last years, some of them last two years.

0:36:15.440 --> 0:36:17.640
<v Speaker 1>But it's hard work. It's a year round thing that

0:36:17.680 --> 0:36:20.880
<v Speaker 1>these guys engage in. So the mere fact that these

0:36:20.880 --> 0:36:22.960
<v Speaker 1>guys have been doing it strong for sixteen years, let

0:36:22.960 --> 0:36:25.359
<v Speaker 1>you know that they're they're doing it right, and they're

0:36:25.360 --> 0:36:29.440
<v Speaker 1>doing it because they love it indeed. Yeah, alright, so

0:36:29.640 --> 0:36:31.520
<v Speaker 1>let's see. Do we have time for a listener mail

0:36:31.560 --> 0:36:34.640
<v Speaker 1>or should I send the robot away? All right, robot,

0:36:34.680 --> 0:36:36.040
<v Speaker 1>you can come here with a short one, just a

0:36:36.120 --> 0:36:41.120
<v Speaker 1>short one, all right. Here we have one from our listener, Emily.

0:36:41.160 --> 0:36:43.600
<v Speaker 1>Emily writes in this is high, Robert and Julie. I

0:36:43.640 --> 0:36:45.719
<v Speaker 1>was listening to your episode about cats, and when you

0:36:45.760 --> 0:36:48.600
<v Speaker 1>mentioned purring, it reminded me that there is a song

0:36:48.680 --> 0:36:51.920
<v Speaker 1>by Arteker called gail or d a y L. Who

0:36:51.960 --> 0:36:55.279
<v Speaker 1>knows how you pronounced any of their their tracks, which

0:36:55.320 --> 0:36:57.600
<v Speaker 1>features a sound that always makes me think of a

0:36:57.640 --> 0:37:01.520
<v Speaker 1>purring kitten. Uh So check that out. You can find

0:37:01.560 --> 0:37:03.719
<v Speaker 1>that clips of that online. D a E hell, and

0:37:03.719 --> 0:37:07.640
<v Speaker 1>it does kind of sound like a purring cat trying

0:37:07.640 --> 0:37:10.799
<v Speaker 1>to perhaps manipulate the listeners. Yeah, a little bit. Yeah,

0:37:10.960 --> 0:37:13.080
<v Speaker 1>I know I've heard some tracks where people actually throw

0:37:13.120 --> 0:37:15.560
<v Speaker 1>in purring noises before, but this isn't one. It's more

0:37:15.600 --> 0:37:17.600
<v Speaker 1>of a mechanical thing that sounds like a kitten purring.

0:37:18.160 --> 0:37:20.200
<v Speaker 1>And then we also heard from Adam. Adam writs in

0:37:20.360 --> 0:37:23.200
<v Speaker 1>and says I wanted to thank you guys through excellent

0:37:23.200 --> 0:37:26.200
<v Speaker 1>episode on the Amazing Mind of infants. As a recently

0:37:26.239 --> 0:37:28.880
<v Speaker 1>new Father nine twelve twelve, I found this topic to

0:37:29.000 --> 0:37:32.080
<v Speaker 1>be thoroughly entertaining and informative. Watching my little dude gaze

0:37:32.080 --> 0:37:33.960
<v Speaker 1>about the world won't be the same. I will be

0:37:34.040 --> 0:37:36.560
<v Speaker 1>thinking about how he is absorbing all sorts of sensory

0:37:36.560 --> 0:37:41.080
<v Speaker 1>information simultaneously wondering why a blurry alien figure keeps snuggling

0:37:41.120 --> 0:37:45.560
<v Speaker 1>hovering over him. Thanks for the magnificent episode, Adam. That's awesome. Yeah,

0:37:45.600 --> 0:37:48.040
<v Speaker 1>and he's referring to this theory that's out there. It's

0:37:48.040 --> 0:37:50.680
<v Speaker 1>a little bit wild, but that the fact that um

0:37:50.840 --> 0:37:54.680
<v Speaker 1>infants don't quite have everything sorted out in their eyesight,

0:37:54.800 --> 0:37:57.880
<v Speaker 1>that they're seeing a vision of us that would resemble

0:37:58.239 --> 0:38:02.840
<v Speaker 1>an alien. Yeah, it's pretty creating over there alright. Well, So,

0:38:02.920 --> 0:38:04.759
<v Speaker 1>if you guys would like to check in with us,

0:38:05.239 --> 0:38:07.160
<v Speaker 1>especially if you want to share your thoughts on the

0:38:07.160 --> 0:38:10.200
<v Speaker 1>science of haunted houses, haunted attractions, let us know which

0:38:10.200 --> 0:38:13.040
<v Speaker 1>ones you've really enjoyed, your earliest experience with with with them,

0:38:13.480 --> 0:38:16.080
<v Speaker 1>et cetera. Uh, get in touch with us. You can

0:38:16.080 --> 0:38:18.880
<v Speaker 1>find us on Tumbling and you can find us on Facebook.

0:38:19.160 --> 0:38:21.239
<v Speaker 1>We are stuff to blow your mind on both of those,

0:38:21.640 --> 0:38:23.920
<v Speaker 1>and you can also find us on Twitter, where we

0:38:24.040 --> 0:38:27.080
<v Speaker 1>tweet under the handle blow the Mind. And you can

0:38:27.080 --> 0:38:29.080
<v Speaker 1>also drop us a line at blew the Mind at

0:38:29.120 --> 0:38:38.360
<v Speaker 1>discovery dot com for more on this and thousands of

0:38:38.400 --> 0:38:45.240
<v Speaker 1>other topics. Is it how Stuff Works dot com