How character development can elevate your guest experiences

Great character development creates more opportunities for storytelling in projects across different industries.

Any story needs characters, and in good stories, they are well-thought and well-designed. They present the story through their actions, emotions, motivations and own faith. Whether we root for them or want them to lose the fight, we care for their journey. That is, if there are enough reasons for us to care. The characters live the story we follow; therefore, a flat character also reflects a flat story. Or the opposite, an exciting string of events in a narrative emerges from the motivations and aspirations of the characters.

But not only movies, theatre or fictional books benefit from good character development. This process became more common in themed entertainment, now also in cultural attractions and museums, marketing and branding. There are many advantages of adding characters to a guest or customer experience applying good practices for creating character dynamics. 

What is character development?

Character development is a practice for creating fictional characters, or sometimes recreating historical characters, with depth in personality, human traits and emotional complexity. A writer can add human attributes even to the most imaginary creatures, such as alien beings or talking teapots. It makes them much more relatable to the audience.

This process differs from character design which covers their style and visual aspect. Character development looks inside their mind and considers their origins, motivations, beliefs etc. The goal is to make them relatable and memorable and give them the power to direct the narrative from within. Therefore writers create characters that evolve with the plot line and overcome challenges and obstacles. Often, their motivations derive from a backstory. The challenge or the conflict of the story often brings out the character’s true personality, not least creating a powerful dynamic in the story. Their values and core identity define the way a character overcomes challenges. In great stories, all these elements are not coincidental but well-thought and designed to build up the plot’s resolution.

Why is character development important for other industries than entertainment?

With the rise of storytelling as a discipline for creating better customer or guest experiences, characters take a new role beyond the traditional mascot. In retail, for example, mascots have been important in creating memorable brands, standing out on packages or in funny commercials. Often these characters don’t present much depth, playing only one role, that of a mascot.

Brands are now telling stories not only about themselves but about their customers. Adding relatable characters who move these stories creates a better connection with the audience.  Character building and application differentiate from industry to industry, and their role can take a different form depending on strategy and goals.

Character development for theme parks

A fantastic thing about theme parks is that we often get to meet beloved characters. Disney Parks host some of the most famous Disney characters who are always happy to take selfies with guests. What happens when a theme park doesn’t have a library of characters to pick from? They have to come up with some. Character building for themed parks or even singular themed attractions creates opportunities for good storytelling, outstanding guest experience design and merchandising. Often, the merchandise becomes a manifestation of the memories made in the park. Good character development helps us create those memories.

Another advantage of adopting this process is to add life to a theme park. Sometimes theme park design is like story world building. Along with the different zones, visual design and events, this story world must also have characters. In the development process, we define how this character will act in the world we are building for the park.

During one of our workshops with the Jesperhus park in Denmark, a new character emerged – Dr Træls. He is a villain-like character created for more dynamic stories with the fun and drama involved in villain crises. Dr Træls is greedy, doesn’t like animals and is always up to no good. His name, translated from Danish, means something like “irritating” or “annoying”. This antagonist character created opportunities for building new experiences and expanding the narratives. Today he even got his own attraction in the park, which says how much the guests like him.

Character development for museums

In museums, we mostly meet historical characters who have influenced our culture and history. Sometimes exhibitions have characters recreated from historical figures we know something about and can help tell the story better. One of the most recent examples is how the National Museum of Denmark is using advanced technology to create a 3D avatar for the girl Egtvedpigen from the Bronze Age, discovered in her oak coffin 101 years ago. Now the 16-18 y.o. girl will have a digital avatar with a voice and real human mimicry.

In some cases, museums present stories of entire social groups or processes. To tell the story of the masses can be difficult, so exhibition directors sometimes use fictional characters that embody the story’s message. This way, they transform information presentation into storytelling, often from a first-person point of view.

Take, for instance, an exhibition that represents the modernisation of peasants in France in the 19th century. To understand this process from the peasants’ point of view, we follow a farmer named Pierre. He tells us how his village changed with the construction of a railroad nearby and how some of his neighbours started moving closer to the city. Seeing history through Pierre’s eyes, we can see the impact of modernisation on people. Numbers and data become stories. Pierre’s challenges and how his life changes make us more empathetic towards this character and anchor the story better in our minds. Perhaps some of us find similarities with modern challenges we encounter in our lives. With character development, Pierre receives a backstory and a path through the story – if he is not happy about the new railroad, then we must know why. He has motivations and aspirations, so we feel bad for him if he can’t accomplish them.

Character development for brands

Character building gives brand messages a voice and human attributes. Not to confuse with personas in marketing, which are mostly customer oriented, based on demographics, psychographics and buyer behaviour. Characters in marketing can be used to appeal to the target audience and represent the company values as an extension of a brand. They can be an independent entity that as a person reacts to events, celebrates successes, overcomes challenges and makes connections with others. Here is where character development comes into play. It helps us understand how this new character will react to one or another situation. Designing its personality is also suitable for evaluating its fit with the brand. They have the potential to become timeless, evolving together with the target audience.

A brand character can also be abstract, not a figure with visual attributes, but rather a set of guidelines which represent the brand personality. This character can also be developed with a set of values, motivations and goals. It gives the brand a voice and a stand, making it more complex, like a human who connects to customers on a deeper level.

(See the article we have on Brand Story)

What makes a well-thought character?

As mentioned above, character development is, in a way, personality development for someone who doesn’t exist, but we want to make it real. Therefore, a great character also has flaws; they may doubt themselves or lack confidence. They are memorable through their personality and reaction to the events that come their way. They are relatable not only through age or context but through motivations and challenges. They transform through the story encouraging the audience to grow together with them. Their story doesn’t end with the awaited achievements because a great character is defined not by their context but by their inner journey.

Dynamic in groups of characters

Imagine Luke Skywalker without Darth Vader or Frodo Baggins without Sauron. It is a bit difficult to break these famous heroes and villains apart. A great story needs contrast which is brought forward through relationships between protagonists and antagonists. A villain with a good reason behind their action makes an interesting character to follow and even empathises with. It is worth mentioning that an antagonist can also be an abstract concept, such as the personal struggles of the main character.

Secondary characters, despite the term “secondary” are immensely helpful in supporting the story. They support our protagonists, helping them achieve their goals. They can be a great comedic relief or even oppositional.

If possible, having a character set helps tell the story from more points of view and create guest experiences. Referring to our Dr Træls example, bringing a villain into a park for children, where before we could meet cute animals, proves successful for adding dynamics to the story. Even smaller children understand that.

Character development can sometimes be costly and come with risks. Therefore good planning and well-structured, strategic development can help not only meet but exceed expectations.

Characters can add a lot of fun to a guest experience, becoming our adventure companion and making us see their world closer. They can help us immerse ourselves in the story and follow the journey with more excitement and anticipation.

How will your next character help you tell your story?

There is no such thing as a singular brand story

Learn what a brand story is and how multiple narratives form and evolve as part of a storyverse

Most probably, you have heard before that a brand is like a person. It has traits that we might like or not; it takes action and has a voice. Strategically, it’s a good move to give brands personalities. It makes them more relatable, dynamic and changeable. As such, a brand narrative is not a static structure — it branches out into different storylines with new developments. The new roles of the audience with their increased influence and agency make it more difficult to control these narratives. However, there are ways to embrace this process and make sure it doesn’t stray away from our branding goals.

What is a brand story?

Traditionally when people say “brand story”, many times, they refer to “brand history”. On company websites, we usually find a description of how a brand evolved from the foundation to the present day. Especially for brands with a long legacy, this is an excellent way to present it. For some, their history is an essential element of the brand — like Disney or LEGO. They value their history because it is also strongly connected to generations of customers who knew and loved their products.

Staying focused too much on the past can be a trap, however. We miss some of the important events that shape the brand narrative today by only talking about history, and not the story we are shaping now and in the immediate future. It’s good to remember where we came from, but it’s more important to understand where we stand today. Therefore, a brand story is much more than history or even present events. It reflects values, actions, contribution, relatability, passion and more. And the main carrier of this story is the customer, or as we call it, the audience.

Since it is so integrated with the organisation’s external world, the narrative evolves with new circumstances like customer behaviour changes or social issues. External events can greatly impact a brand narrative in a good or a negative way. According to Statista, in 2019, 60% of consumers in the United States stated that their purchases were influenced by the brand’s stand on societal issues.

Why is there no such thing as a singular brand story?

Considering elements like slogans, labels, tone of voice, mission statements and so forth, a brand is a conversion of these in the audience’s perception. Without customers, guests, and users, there wouldn’t really be a brand narrative. It is not just created for them, but with, and sometimes, by them. With the variety of markets, and contexts — personal and general, it would be impossible to keep a consistent, singular brand narrative. Therefore, a brand is what it is, depending on the environment and the audience’s perception.

A good example of this phenomenon is Airbnb. Many customers know it as a platform for renting someone else’s apartment or house for a short-term vacation stay. Those who have great interaction with local hosts would experience what Airbnb aims as a brand — discovering local culture by meeting with locals and staying in their homes. However, if we take cities like Barcelona or San Francisco, the locals themselves see Airbnb as a driver of rent prices in their area. In their perception, this company is a disruptor of their local environment and not a promoter. The narrative is more complex than the marketing tagline.

The internal brand is an important part of the core story as well. The employees and creators live this story every day and add a special dimension to it. Therefore their relationship with the core narrative can make an immense difference in how the audience sees the brand. According to an Accenture report, 65% of consumers are influenced by the values and beliefs of senior executives and employees.

What makes a brand storyverse?

The first signals companies send into the world, such as the brand message or mission, are the building blocks of their core brand story. This would be the Big Bang, after which, the brand story universe (or storyverse) starts to expand. Narratives form on various channels, communities, among customers, competition and partners — they all contribute to this brand story universe.

In the storytelling realm, a story universe is multiple narratives that share one world. As creators, we add elements to this world that bind these narratives together. It makes our work more interesting, engaging and authentic to the audience. Those binding elements can be a consistent voice across brand channels, staying true to adopted values, the brand ambassadors, communities and so forth. GoPro, for example, has an extraordinary community of creators worldwide. They all share a passion for adventurous photography and filmmaking. The GoPro Sponsorship initiative equips creators with gear and empowers them to tell stories. This way, various brand stories live within this community — each experience with the product is not really focused on the product but on the adventure of capturing exciting views and actions. The audience is now taking storytelling into their own hands and takes it further than the curated channels. It reaches into groups of athletes, filmmakers, artists and more.

The process described above is continuous. Brand managers have to closely observe it, learn from it, and work with it. It doesnt’ mean that they have no control over brand development — obviously, they do, they should, it’s their job. But we are saying that the storyverse goes beyond the initiatives that come from within the organisation. The complete picture is created by a multitude of players.

What is audience-centric storytelling and what does it mean for brand strategies?

One of the most influential players, if not the most powerful, is the audience — the people who receive the marketing messages and experience the brand. Good storytelling is an efficient way to reach the minds and hearts of the audience. Hence, brand storytelling and experiential marketing are strategically applied by many organisations.

Audience-centric storytelling puts the audience in the centre of the action. They are the ones who drive the events and influence their outcomes. Many companies have moved from just presenting who they are to putting the spotlight on the customer and showing how they can change the world. This shift has also changed the role of the audience, making it a writer of the brand narrative. According to an Edelman report, 63% of their respondents aged 18-to-34 trust what an influencer says about a brand more than what the brand says about itself in advertising.

Why can anybody become a brand story guardian?

A brand story guardian is the one who keeps an eye on this living process. They are not necessarily a brand manager or marketing specialist. This role can belong to leaders, ambassadors, designers, creators, on-site staff etc. Their task is to observe and learn how new narratives form and what their impact is on the story universe. They have the power and authority to influence this universe themselves. Organisations should encourage these guardians to be more involved by genuinely making them e a part of the story and its creation. Leaders must understand that such creation of brand narratives doesn’t only rely on the marketing department.

The living brand storyverse

A brand story is a living organism. When we create a narrative and think That’s it! That’s my brand story!; we ignore influences that can be opportunities to grow or possibilities to misguide our audience. Therefore, a core brand story takes new directions following events that happen within the organisation and outside. It’s good practice to observe this process and learn from it to be able to take action at the right moment and in the right place. Staying authentic ensures a stronger connection with the audience and invites them to become a part of the core narrative.

The Power of Mobile Storytelling

As we are approaching the spring and summer season for tourism and leisure, we gathered a few insights into mobile-based experience design focusing on storytelling. These guidelines are drawn from some of our current observations into the industry and destination development trends. 

Why Mobile Storytelling?

As of February 2022, 57.38% of all internet traffic happened on mobile phones. (gs.statcounter.com) These statistical trends drive companies to find means to fit the best way possible on the smaller screens. Therefore, it is not big news that various businesses prioritise mobile-friendly content.

With accelerated digitalisation, we encounter more mobile solutions for various customer experience touchpoints – from bookings to ticketing, guided tours etc. Customers are more familiar with this approach and increasingly expect to have digital, mobile alternatives. They understand the digital language better; they see it as a communication medium and an entertainment source.

Mobile storytelling – a method to deliver a story experience to an audience at the tip of their fingers.

Functionality and entertainment

Destinations, theme parks, touristic attractions often choose this approach as an added layer of the on-location activities. Among other things, they offer mobile guided tours, treasure hunts, navigation. With a non-linear structure, the visitors can also explore these journeys on their terms, which brings them into an explorer mode. Non-linear journeys also meet the guests’ need for coordinating their plans independently.

The flexibility of the mobile device allows us to span a guest’s journey on multiple locations and at the same time still be able to track their movement and actions.

Mobile storytelling has been on the themed entertainment landscape for a while. With the rise of social media platforms, it has become part of the marketing language. With more accessible advanced technologies like artificial intelligence, 5G, augmented reality, mobile-based experiences are rising to new interactivity, engagement, and business interest levels. Recently, we have been involved with an increasing number of projects focusing on on-location mobile experiences, which shows an evolving trend. A common purpose of these projects is to deliver engaging journeys while increasing visitor flow and retention.

Using the advantages of the space is what sets apart one product from another.

Micro Experiences

A concept that helps us create an authentic mobile storytelling product is designing Micro Experiences, which deeply connect the overall narrative to the chosen locations. Klaus Sommer Paulsen describes the concept more in-depth in his book Integrated Storytelling by Design. When we work with projects like that, we think story-first and technology-second. In the end, it’s all about creating memories. For example, we first research the place, find and define the grand narrative, break it apart into unique smaller stories for each section of our journey. Afterwards, we match the narrative with the best fitting mobile feature available to complete our experience.

The core of a unique experience is the remarkable story, which becomes part of the audience narrative, resulting in memorable moments.

The authenticity of a place can’t be replicated, even though the framework of the mobile solution can be.

Predictions for 2022 in the Leisure Industry

In this article, we underline some of our predictions for 2022 for the attractions industry, but not only.

The year 2022 seems to be a good opportunity to summarise and implement the lessons learned in the previous year. We have experienced changes in our ordinary ways of working, travelling, learning, creating, and collaborating. The new habits and skills that we learned along the way set the road to a continuous journey in reshaping our world.

Hybrid experiences will have a more common presence in themed spaces, cultural institutions, and retail.

The term “hybrid experience” is most certainly not a new one; we have been working with it for many years. However, the concept of this term is gaining new dimensions, especially with the expansion of the “metaverse” and its rising accessibility. Technologies like artificial intelligence, virtual and augmented reality will be more present. As customers own more goods in virtual forms like NFTs and cryptocurrency, they will expect to have more integrated experiences that combine their physical world and digital assets. They will also wish to switch between these two mediums seamlessly.

Creating a sense of public safety will become an advantage for those who succeed to do so.

As more attractions reopen and return to their usual schedules, we assume that they will continue to keep some of the pandemic safety measures for a while. The sense of safety, supported by transparent communication between guests and employees, will become another factor that drives guest experiences.

Employer branding will evolve at a new level, including openness for hybrid work.

The Great Resignation, also called The Big Quit, which is predicted to slow down in 2022, has raised many questions concerning employee experience. Undoubtedly remuneration has been a significant cause; however other factors included lack of communication, work environment, unwillingness from the employer to adopt a hybrid work approach. An elevated employer experience will embrace an extended brand narrative that also covers the employee narrative; it will implement more transparent, cross-departmental communication, deep listening, and hybrid work. 

Highly immersive live experiences will lead the competition for guests’ time.

Creating unique visitor experiences with immersive design has been a leading approach in the theme park industry, as well as in retail and museums and cultural heritage. Combining excellent storytelling with spatial design and technology integration, we see the year 2022 producing some of the most remarkable immersive experiences.

We’re expecting to see brilliant examples in the long-awaited Studio Ghibli Park, due to open in Japan later this year, or the Guardians of the Galaxy: Cosmic Rewind opening this summer at Disney’s Epcot theme park.

Establishing a creative strategy

How often do you jump to the creative stage of a project, skipping strategy, planning, and even research? We all can be honest and say that we did it at least once. Undoubtedly, creative processes allow us to be free in our thinking, explore new dimensions and design something new. At the same time, we need a direction for this process if we have an objective for what we intend to build.

If you ever worked with graphic design, not necessarily as a professional, you’ll recognise yourself in this example. Working with colours, typography, layers, and shapes is a process that allows us to see the product of our work immediately. However, if we don’t establish a strategy before that, our beautiful product won’t result in measurable outcomes. In effect, its message will remain unclear, and the target audience will be ignored.

The same applies to storytelling. Establishing a creative strategy for your story ensures that you hit your objectives with your audience and business. Hence, a solid foundation for your creative product could be more important than having a fully developed character or storyworld.

To help you get off the ground, consider the following questions for your creative strategy before designing your story.

• What is the PURPOSE of your storytelling?
• What VALUE will your storytelling generate and for whom?
• Who are the PEOPLE that you want to engage with?
• What is the MESSAGE in your story?
• Which CHARACTER will the story reflect?
• What type of CONNECTION do you want to create?

After you carefully write down the answers, keep them close by for your creative process. Therefore, you can always return to them and evaluate how the results of your work align with your strategy. When you add a new character, storyline or audience role, these decisions will go in the direction of fulfilling your purpose. You will attract the right audience, the message will resonate with them, they will be more open to engaging with the story, and the experiences will become more memorable.

Impressions from IAAPA Expo Europe 2021

In this issue of The Experience Economist, we are making a summary of what we have observed and learnt at IAAPA Expo Europe with relevance to storytelling. 

IAAPA Expo was an excellent opportunity to finally see old and new friends for the first time in a long while. The venue Fira Barcelona radiated with the energy of thousands of people eager to share creative ideas, look for new collaborations and “build happier worlds”. The quoted reference belongs to BoldMove, whom we joined this year as partners in BoldMove Nation. The team exhibited the Houba World and Houba City concepts and the dark ride TooMush with Smash and Reload, which were marvellously received by the public. Klaus Sommer Paulsen also presented his book “Integrated Storytelling by Design” during the daily sessions of “Meet&Greet” at the booth.

IAAPA Expo traditionally held a series of talks and presentations on various subjects – from IP management to diversity in the workplace to storytelling. The latter was often mentioned and referred to as key to creating memorable experiences and iconic attractions. And we couldn’t agree more. Themed entertainment is taking the next step in story implementation by looking at the bigger picture and reevaluating the role of storytelling. 


“What is the story we want to tell?” was a key question, making technology a medium for storytelling rather than the default starting point for guest experience design. Destinations like Liseberg in Sweden and Port Aventura in Spain presented their take on storytelling through attraction design and IP development. The trend is undoubtedly showing an increase in the value of the narrative design at the conceptual level and implementation with new technologies like artificial intelligence or mixed reality. 


The role of the guest was also a focus in one of the panel discussions. Park designers, operators and experience economists addressed the subject of the guest as a co-creator, bringing forward the role of experience design for guest involvement in story development. In that discussion, we were glad to see a parallel with the Audience Roles, part of the Integrated Storytelling methodology. The approach to bridging the guest’s narrative with the experience in a theme park or an immersive experience is what Klaus Sommer Paulsen, in detail, describes in his book “Integrated Storytelling by Design”. 


The 4-day event has left us with a positive view on the prospects of the attractions industry, with important steps taken to recover and thrive in the post-pandemic future. 

Article first published on October 21st, 2021
in The Experience Economist (AdventureLAB’s newsletter)

Author: Ecaterina Capatina (Access LinkedIn profile)
Concept developer and Brand Manager at AdventureLAB

5 areas where your brand story lives and grows

No matter what industry you are active in, you have a brand, therefore you also have a brand story. It is a continuously living and growing system that can be transformed and influenced either from within or by external factors. Either it is newly established or with some years behind, it is changing and adapting to new events from inside your organisation and outside, in the open world.

Brand creators take a variety of proactive steps to set a direction for the brand narrative. Some of those steps are experiential marketing (EXM), Corporate Social Responsibility (CSR) communication, sponsorships. These actions benefit the brand image if they reflect it properly; they also effectively tell the world about its values and goals. Based on Integrated Storytelling principles, a story is a system of Micro Stories that can independently develop, but all these influence the bigger picture. Below are 5 areas that generate these Micro Stories and expand the brand storyverse.

Visualization of the Three-Act Structure. Integrated Storytelling by Design, Klaus Sommer Paulsen, 2021, Routledge

Article first published on July 21st, 2021
in The Experience Economist (AdventureLAB’s newsletter)

Author: Ecaterina Capatina (Access LinkedIn profile)
Concept developer and Brand Manager at AdventureLAB