Universal Epic Universe: A Giant Leap Forward for Theme Parks
We recap the worldbuilding, characters, and rides of Epic Universe: a giant leap forward for theme parks and the next step in innovation.
When Universal Epic Universe opened in Orlando, Florida, last week, it was not only the first major theme park to debut in the United States in 24 years, it marked a major shift forward in what a grand scale in-person entertainment experience can be. Spanning five new “lands” across 750 acres — the Universal Monsters’ themed Dark Universe, Super Nintendo World, How To Train Your Dragon — Isle of Berk, The Wizarding World of Harry Potter — Ministry of Magic, and the Celestial Park entry point — this isn’t just a big park, it lives up to its moniker of epic with its level of immersion, interactivity, and yes, rides.
For context, I grew up a theme park kid in Orlando. Raised pretty much in the shadow of Cinderella’s Castle at Walt Disney World, I remember being a youngster in 1990 seeing eye popping billboards of Ghostbusters, King Kong, and E.T. promising the arrival of Universal Studios Florida where guests were invited to not only ride the movies, but to live them. I have remained a theme park kid, and theme park professional, covering the development and openings of new attractions throughout the years.
In addition to chasing the newest advancement in rollercoasters or 3D technology, I’ve always pursued that idea of living the movies. Even as I grew older, I craved the ability to play pretend, and disappear for a stretch within these worlds of make-believe.
Epic has come the closest to achieving this of anything I’ve experienced thus far. After attending the media preview and grand opening celebration, logging about 20 hours in the park—riding every attraction, meeting-and-greeting as many characters as possible, trying all the food and drinks, and spending about a week processing the experience—here are a few arenas where Epic Universe has taken the crown on the American theme park scene.
Revamped Worldbuilding
What converts a one-time theme park visitor to a devotee who never quite gets enough? It’s the experience beyond the attractions alone, and the dedication to worldbuilding.
For instance, I love going to Walt Disney World, even though I’ve been a thousand times, and I’m content just to walk around, grab a drink and bite, and soak it all in. I am a roller coaster and attraction nut, but what keeps me engaged is the overall energy of the place.
Disney has, for me, traditionally been more of the theme park destination where I can show up and enjoy a day regardless of wait times for attractions. Honestly, Disney has just felt … nicer, and more fully realized. Whereas Universal Orlando, encompassing the parks Universal Studios and Islands of Adventure, has been the place I go to, rather than hang around at. It has always been the spot for great thrill rides, but I’ve never really wanted to “live” there.
There was a glimmer of hope when The Wizarding World of Harry Potter lands opened, first with the Hogsmeade area at Islands in 2010, then Diagon Alley in 2014 at Studios. It was close to the idea of a theme park world where I could lose myself in a story. But it still wasn’t quite there.
As a response to the challenge thrown down by Wizarding World, Disney promised immersiveness at Star Wars: Galaxy’s Edge in both Walt Disney World, and Disneyland.
The experiment started strong, with cast members dedicated to greetings of “Bright Suns!”; the rowdy vibe within Oga’s Cantina; the in-world merchandise. Over time things have been watered down. These days, the bartenders aren’t even allowed to cheer to the “Una Duey Dee” drinking song, and the “story” of Blackspire Outpost on the planet of Batuu has been all but abandoned. It has remained my favorite themed land, but some of the magic is gone. (In fact, the best example thus far where I felt lost in a fictional world was my two days aboard the tragically short-lived Star Wars: Galactic Starcruiser hotel. RIP.)
Epic Universe has now upped the stakes.
There is electricity in the air at Epic, or perhaps more appropriately: It’s alive.
From the moment I passed through each of the land’s elaborate portals, everything on the other side (and in the rest of the theme park) seemed to fade away. They all struck me as independent with their own special vibe.
Within Dark Universe, I believed I entered an eerie old monster movie, but with a soundtrack by Danny Elfman. In Super Nintendo World, I was surrounded by colors and the sensation of being sucked Jumanji-style into a video game. Then I traveled back in time to a world I never knew, filled with magic in 1920s Paris. My colleague summed up Isle of Berk best by saying it was like they were dropped into someone’s vibrant D&D campaign.
There seems to be a new level of world building on display, and assuming it’s kept up, Epic commits to the bit of a lively universe and exciting playground.
Character Interactions
Dark Universe
The exceptional level of character interactivity within these lands adds such an unquantifiable amount of fun, and repeatability, to Epic. And the figures I encountered weren’t just posing for a photo or walking by, but pausing to actively engage.
In Dark Universe, I had extended conversations with the Invisible Man, Ygor, a few of the monster-hunting Hounds, and a mysterious violin player. You can also meet Frankenstein’s Monster and the Bride. (This Frank is not the original one, and the Bride is more his friend, according to an updated, cohesive canon at Dark Universe. But I digress.)
The back-and-forth was jaw dropping as these characters offered clues about the secrets of the Darkmoor, the village setting. They were also quick-witted, funny, and importantly, never broke character. Talk to Griffin the Invisible Man, and heap compliments on him, and he’ll eat it up. But if you act snarky, or get demanding, he might become snappy, or ask if you’re done requesting him to perform. He even dismissed me at one point for cracking too many invisible puns.
Meanwhile, one of the Hounds I encountered was Gregor the Guardian. At the Burning Blade Tavern, he regaled me with stories of slaying a werewolf. He told me about how monster-hunting has terrible benefits, unless the rest of the hunting party doesn’t survive, and he didn’t need to split the reward. Next he showed off his facial battle scars from a monster attack, and I showed him my own — caused when Mary Ellen Moffit broke my heart. He also expressed concern about my colleague rocking a werewolf hat/mask until I allayed his fears that she was just undercover. Actually, every experience I had at the Burning Blade was phenomenal. It is a lived-in tavern, decorated with monster trophies and old paintings of battles with supernatural forces, and I just didn’t want to leave it. Truly, next time I visit, I’ll be spending two hours here just hanging out.
Then there’s Ygor, the true heart of Dark Universe (though Frankenstein’s Monster might be the abby-normal brain of the place). Following my transformation at the Monster Makeup Experience, I ran into Victoria Frankenstein’s assistant, where he wondered who had done my monster stitches. He suggested he could have done better with less obvious wounds. He then launched himself into the bushes because it looked like a branch was attacking my camera person. Ygor is not only the heart of Dark Universe, he might be a burgeoning rockstar based on the social media love he’s been generating.
Ministry of Magic
The aurors (a.k.a. wizard cops) at the Ministry of Magic, set in 1920s Paris during the Fantastic Beasts films, are similarly a treat to speak with as they look for shady characters up to magical misdeeds. Jazz performers take to the streets (with an interactable cuddly puffskein creature). A trio of students — from Beauxbatons Academy of Magic, and exchange students from Hogwarts and Ilvermorny Schools of Witchcraft and Wizardry — carry the Monster Book of Monsters. Ask the right questions, and they might let you take a peek inside it. And the coolest new interaction experience in the Ministry of Magic is the ability to personally interact with talking portraits, which is a first for any of the Wizarding Worlds.
Plus, aspiring sorcerers can test out their spellcasting, using an interactive Wizarding World wand — and they can pick up a new one at wandmaker’s Cosme Acajor rather fancy Baguettes Magique — to discover magical mysteries and even stir up activity with fantastic beasts, like a thieving niffler.
Isle of Berk
Over at Isle of Berk, guests might be teased and roasted by the snotty viking characters Ruffnut and Tuffnut, and can pick up some Dragon-training history by Gobber the Belch. But there are literal dragons all around the land. These are not only of the animatronic variety, but interactive, robotic dragons. There are two wee little dragon pups, which are in reality Boston Dynamics’ robo-dogs transformed into the fantastical creatures, as well as the opportunity for a meet-and-greet with a very large Toothless.
The lines to meet the famous dragon were long, but worthwhile because guests can approach him, slowly, and allow him to have a sniff before they are allowed to pet and scritch the cuddly guy as he purrs. It is a joy-inducing encounter where you don’t even question the special effects behind the moment — because you’re friggin’ petting a dragon!
Easter Eggs, Secrets, and Details Galore
Beyond the character interactions, what lends to Epic’s immersiveness is the attention to detail.
Although it is present in Super Nintendo World, where I felt lost within a video game, this is especially true for Dark Universe, Berk, and Potter. In Dark Universe, there are endless nods to the Universal Monster movies. There’s the portrait of mad scientist Dr. Pretorius within his descendants’ Scientific Oddities shop, where homunculi hide in the rafters. Footprints on the ground document the horrifying change from man into werewolf.
There are even graveyard statues that pay homage to the monster films, including one honoring the little girl Maria — killed by Frankenstein’s creation in the 1931 movie. And there’s an emerging trend to leave a flower at her grave. The fact that the statue itself was found by Creative Director Brandon Kleyla, and he said on social media he always hoped guests would bring flowers, highlights that there appears to be a lot of love from fellow fans in the creation of this park.
Along with the tall, seemingly true-to-scale buildings populating the Parisian landscape in the Ministry of Magic, artwork, shops, and signage all make one feel embedded in this realm while also paying dividends to eagle-eyed fans.
Overall, the intrepid explorer’s curiosity, and patience, is rewarded at every turn in Epic. Pause to listen to an argument between competing voices behind the doors of Dr. H. Jekyll Apotheker at Dark Universe, and one might learn of a secret drink order for the tavern. Fans who recall that the Sorcerer’s Stone was hidden in Paris in the 1920s might be able to discover it in the Ministry of Magic (maybe around, say, the Le Gobelet Noir).
The theming extends to the restaurant options, where, for instance, Dracula’s familiars operate Das Stakehaus, surrounded by vampire artwork and slain vampiric ancestors — and serve up food that never contains garlic.
Even Epic’s lavatories are something to behold. Super Nintendo World’s are themed with plumber pipes, underwater imagery and music; Isle of Berk’s has artistic viking murals; Ministry of Magic’s is old-timey with classy Parisian decor; Dark Universe’s “toiletten” begins with splattered blood silhouettes at the entrance, and is gothic-inspired inside with black toilets, moody lighting, and a dearth of mirrors (because Dracula doesn’t need to be outed as a vamp while counting to number two).
The Rides
Monsters Unchained
With 11 rides throughout Epic, there’s plenty of thrills to occupy two days of a visit. But the highlight is, without a doubt, Monsters Unchained: The Frankenstein Experiment in the Dark Universe land.
The storyline of Monsters Unchained revolves around Dr. Victoria Frankenstein, the great-great-granddaughter of Henry. In a pre-show we get more of the story as we encounter a Victoria animatronic with a very convincing projected face, and a towering (and walking?!) Frankenstein’s Monster animatronic — which is a groundbreaking piece of tech.
Though she’s our protagonist, that Frankenstein family obsession runs in her blood, and Victoria sounds slightly unhinged as she boasts she’s learned how to capture, control, and even tame the Universal Classic Monsters. Or so she thinks. While her studies into the original monster Frank appears successful, with the new version appearing tame and friendly, her hubris gets the best of her as she attempts to do the same with Wolfman, Mummy, Creature from the Black Lagoon, and monster boss Dracula, and his brides. Drac escapes and unleashes the other baddies. As all hell breaks loose, Victoria, Frank, and assistant Ygor attempt to stop the rampage. And the visitor to Darkmoor is unfortunate enough to be a willing attendee to the experiment when it goes horribly awry.
The queue of Monsters is loaded with Easter eggs as one walks through the glorious gothic environs of Frankenstein Manor — complete with grand staircase adorned with large statues — and then descend into its catacombs. There are call outs to the original Universal Monster films, such as photos of the original Frankenstein and his fiancée Elizabeth (actors Colin Clive and Mae Clarke from the 1931 film), or a portrait of Clive-as-Henry opposite the new character Victoria. There’s also an encased body of the original Frankenstein creature that’s scanned by Victoria’s modern-day tech. And throughout the mansion, we visit her fireplace den, see boxes of mysterious cargo, and watch found footage of her and her trusty Ygor hunting monsters. There’s also this really cool vampire bat containment unit scene that looks physical despite being a 3D animation. As I went deeper into the catacombs — actually teased at the entrance of the land in the form of a stone structure with a gated entrance — I encountered coffins and crypts, teeing up the monsters we’ll be encountering, and the vibe is definitely eerie.
The best part of this dark ride is getting up-close-and-personal encounters with updated designs of the classic monsters (including appearances by Lon Chaney-era Phantom of the Opera and the Hunchback of Notre Dame). The attraction utilizes a variety of effects, including incredible audio-animatronics, practical sets, and animated action sequences as the rider is propelled on a KUKA coaster arm. As opposed to, for instance, the Harry Potter and the Forbidden Journey attraction at Universal’s Islands of Adventure, which also uses a KUKA arm, the ride on Monsters is unobstructed, has more motion, and got me close enough to smell the Wolfman’s breath, while tipped on my back (thanks to the arm being attached to the bottom of the vehicle, rather than behind). Another notable element is the escape of Dracula’s brides. There’s a very cool transition between physical animatronics and screens that blew me away.
As just an added little note here which made me grin: According to the attraction’s story, Ygor is operating the ride vehicle, called the Catacombs Navigation Unit. When he switches on his controls, the vehicle transitions from moving fluidly to getting a bit janky, as if he’s still figuring out how to drive the thing.
This is more of an adventure ride than scary, but the setup is indeed creepy. There were plenty of moments I saw “behind the curtain” and witnessed the mechanical arms on the animatronics in-ride, but it wasn’t a terrible distraction. There is so much happening on Monsters Unchained that it demands repeat rides (far more than the several times I did it) in order to take it all in. It’s a feast of senses for all the monster kids out there.
Battle at the Ministry
Then there is the Harry Potter and the Battle at the Ministry attraction that zoomed me through London’s Ministry of Magic on an enchanted elevator. Though the land is set in 1920s Paris (during the Fantastic Beasts films), this attraction takes place in the 1990s, right after the Harry Potter films. On the day her trial is to take place, Voldemort lieutenant Dolores Umbridge escapes, necessitating the arrival of Harry, Ron, Hermione, and the house-elf Higgledy to save the day.
I have thoroughly enjoyed the pre-existing Hogsmeade and Diagon Alley lands at Universal. But admittedly, I wasn’t needing another Potter-themed attraction. However, Battle more than delivers. The queue itself is, ironically, worth the wait alone as guests enter the Ministry offices. What struck me as the largest, tallest, deepest indoor area I’ve seen at a theme park (yes, even bigger than the Star Destroyer reveal on Rise of the Resistance at Disney). It would be insulting to say this is like a movie set; rather, it is real, down to the marble tiles, as well as nearly infinite stretching into a sky of realistic clouds. The entire experience is expansive in scale.
On the actual ride, we zoomed through the labyrinthine depths of the Ministry where a feast of visuals endlessly flashed by. More visually engaging than the other Potter attractions, Forbidden Journey and Escape from Gringotts at Universal Orlando, this is also a smoother attraction while remaining exciting. The ride elevator — a 14-seater, two-row vehicle with safety belt restraint — is bumpy, but not in a jarring way, with a few big drops that avoid any intense stomach sensations. And the action on large-scale (and intensely vibrant) screens blends seamlessly with the huge physical sets.
The whole affair is magical. Plus, I love the new character of Higgledy, and the massive Erumpent let loose from the Department for the Regulation and Control of Magical Creatures is a most impressive animatronic.
I suspect Battle at the Ministry might be one of the best theme park attractions I’ve yet seen. It’s a study in immersion, and though Monsters Unchained is my personal favorite at Epic, this is nonetheless stunning. My only minor quibble is a nerdy continuity one, as the plot point on how we went from the 1920s to 1990s is a tad wishy-washy. I like a tight story timeline with my themed lands, but I’ll just chalk up the time travel to MetroFloo shenanigans, as well as Time Turners and a Ministry Time Room.
Stardust Racers
While Monsters Unchained was my overall favorite attraction at Epic, the Stardust Racers dueling coasters in Celestial Park may have been my biggest surprise. Maybe because it’s not associated with any classic Universal IP (even though the ride cars are “powered” by Doc Brown’s flux capacitor), and I wasn’t particularly excited about the central land within the hub-and-spoke layout. But Stardust Racers has now earned my top spot for favorite roller coaster(s).
The story behind this one is that the cosmic Celestians have captured two comets, and they have allowed us to hitch a ride on them to see which is faster. But the story really doesn’t matter so much because the focus is on the top speed of 62 mph, and the rising, falling (up to 133 feet), criss-crossing inversions and exhilarating launch of this baby. I rode both the green and yellow sides of the attraction a few times, and I can’t determine which is better, but I think yellow has a better view. Although the Jurassic Park VelociCoaster at Islands of Adventure might previously be considered the best of the bunch at Universal, Stardust has a stellar edge to it.
Mine-Cart Madness
For my second favorite coaster at Epic, I was leaning towards Hiccup’s Wing Gliders at the How to Train Your Dragon — Isle of Berk land. The attraction, on par in my opinion with Hagrid’s Magical Motorbike Adventure at Islands, is an adrenaline rush but not overly intense for the more coaster-wary crowd. I rode four times in a row, and it remains fun, even without flipping or spinning. What struck me as a concern with this one was the restraint, which got increasingly, and uncomfortably tight, throughout the ride. It became straight-up painful at one point. It should be noted that I don’t really have a big frame, and this was not due to the coaster attendants making the restraint too tight (although that has happened way too frequently in the past). I mentioned this to the operators, and they said they had heard this complaint enough to call it a known issue.
That aside, I think the real runner-up for best coaster at Epic is Mine-Cart Madness at the Donkey Kong Country zone in Super Nintendo World. What makes this coaster so noteworthy is the “boom coaster” technology that allows for the illusion of a vehicle on a track system, while the “real” track is underneath, and the vehicle is attached to a hidden arm on the side.
The result is a fun adventure where I was navigating the Golden Temple to help DK protect the golden banana — all as the mine cart launches, lifts, drops, skims across water, and jumps across seemingly broken tracks. It’s a really fun coaster; I just couldn’t get enough of it. Plus, I love how perfect it is for this particular land as I was able to live within a DK game, but in the real-world.
Final Takeaway
There is more to be said about Epic Universe than can be contained in one article write-up (and I will be discussing it further in my Talking Strange show, as well as sharing videos from the preview on the Den of Geek socials). But throughout the course of my excursion in Epic Universe, I was witness to something special, and new.
In an era where it’s a challenge to get audiences out the door and into cinemas for the latest blockbuster — because they have a pretty excellent, and customizable, viewing situation at home, with the treats they like, and only chattering loved ones to contend with — a theme park offers a unique experience that can only be fully enjoyed in person. Epic is the way forward. It’s not a success just for theme parks, but for entertainment, where a visitor can become lost within a world they love, and interact with characters from those worlds, while experiencing top-notch technology displayed right in front of them.
To put it simply, it serves up wonder in epic fashion. Or, to paraphrase that old mad scientist Dr. Pretorius from Bride of Frankenstein, welcome to a new world of gods, monsters, wizards, dragons, and Bowser-battling plumbers.
Written by
Aaron Sagers is a New York City-based journalist, author, and researcher of the weird, pursuing the cross-cultural connections of the paranormal across the globe for more…