During the blooloop Festival of Innovation 2025, Little Lion Entertainment’s Tom Lionetti-Maguire was joined by Sony’s Jeffrey Godsick and Matthew Palmer of BRITE Management.
Together, they discussed innovation in the Game On space, exploring the importance of intellectual property and nostalgia within gaming FECs, as well as whether LBEs and FECs pose a threat to theme parks. They also shared their insights into emerging trends.
This session was sponsored by Arcade Arena, part of the Little Lion Entertainment Group.
Innovation in gaming: meet the experts
As founder of Little Lion Entertainment and creator of Arcade Arena, Tom Lionetti-Maguire is passionate about all aspects of the leisure and entertainment industry. Lionetti-Maguire was recognised in the 2023 blooloop 50 awards in the Immersive category, and was named in The Sunday Times 100 Entrepreneurs of the Year 2019.
As executive vice president, global partnerships, brand management, and head of LBE at Sony Pictures Entertainment, Jeffrey Godsick is in charge of the studio’s ongoing global development and expansion of its major brands, such as Hotel Transylvania, Ghostbusters, Jumanji, Charlie’s Angels, and Men in Black, and creates opportunities for the brands beyond the theatre releases.
His remit includes long-term global branding initiatives for the studio’s tentpoles, international promotions strategies for films, the Motion Picture Group’s VR initiatives, and LBE projects such as theme parks and attractions.
Matthew Palmer is an award-winning executive with 25 years of experience in entertainment, technology, and hospitality. He manages marketing, sales, and branding for BRITE Management, which creates immersive experiences that connect guests with iconic brands through unique experiences that increase brand awareness, affinity, and loyalty.
Palmer’s experience includes leadership positions at Disney, Nickelodeon, Discovery, Blue Man Group, Demand Media, and Exclusive Resorts. He has also served as a consultant on projects worldwide, including the Mahanakhon Skywalk, Dubai Parks & Resorts, Paisley Park, and OWA.
Regional differences
To kick off the session on innovation in gaming, Lionetti-Maguire asks the panellists if they have seen a difference between the immersive attraction industry in the United States and mainland Europe and the UK, noting that London often seems to be the epicentre or starting ground for new experiences.
Palmer says: “The hunger and excitement for immersive entertainment are ubiquitous globally. I think all audiences are excited about it.
“People like to be absorbed and get out of the digital world a bit. I don’t perceive a huge difference. I think that if you look at other parts of the world, whether it’s Europe or the UAE, the audiences are all very similar. Still, there may be programmatic elements that differ culturally or based on religion, or simply in how they operate.”
Godsick agrees, adding: “That hunger for experiences, for social interaction, for competitive social interaction, is growing tremendously.” Plus, if something is limited time only, whether it’s the Taylor Swift tour or the Friends exhibition, that’s driving people in a big way.
“People do want and are craving the need to experience different things. And especially Gen Z and millennials—they will save money for those experiences much more than they will spend on material items.”
The rising cost of living has had an impact on the industry, says Godsick. The LBE world also has to contend with the fact that in-home entertainment is becoming increasingly sophisticated:
“In the location-based business, we need people to go out to the locations. The comfort of being home with streaming services, with gaming, etc., combined with the fact that they don’t have as much money to spend, is affecting our business; we have to consider that, I think, in everything we do.”
The rise of IP in LBE
One of the most significant shifts in the LBE space in recent years has been the growing availability and strategic use of intellectual property.
“Working with IP opens doors to people who recognise it, but also allows us to reinvent it and work with it in unique ways that extend the franchise,” says Palmer. “People’s appetite to do more in an FE space, FEC space, or an LBE space, when they’re tied to really strong IP, is much more motivational than just generic IP that has been out there for years.
“Before this, it’s all about: get into the go-kart and go around the track five times. But if it’s Mario Kart, that’s a whole different ball game. You’re creating worlds that people haven’t seen before. IP has opened the doors to the LBE industry in unique ways.
“It fell strongly and most succinctly on the destination resort markets—Orlando, LA—you know, where they could afford that IP and build out a Harry Potter world, creating those spaces and paying those fees. Now we’re seeing it start to proliferate down at the LBE. We’re raising the experiential impact and what it’s like, and it’s coming up to a theme park level at an LBE space.
“I think people recognise that, and they’re seeing the value in going and spending that time in these venues.”
IP is more than marketing
Lionetti-Maguire asks whether IP should be considered more than just marketing, whether it’s becoming a tangible extension of the cinematic worlds we already know, describing these attractions as something deeply physical and emotional—something a customer can feel, touch, and build a personal connection with, not unlike how they might relate to characters or stories from film and TV.
Godsick says:
“There are people who want to know every single thing about something, and there are people who are more casual participants of a particular IP. But in general, we see IP of interest across the board. We know it can elevate things, and we see that in a variety of examples.”
“We have a couple of attractions based on Jumanji with Merlin, and one of them is at Gardaland in Italy. There are three Jumanji-themed rooms that they can sell for 35 to 40% more, and they’re sold out three months in advance.
“That’s the power of a beloved IP. People want to experience it in ways that go beyond the screen or the page. It’s a different kind of immersion.”
He points out that this kind of emotional investment is part of why IP continues to drive industry decisions at the highest level:
“When Disney paid billions for 20th Century Fox, or Pixar, Lucasfilm, Marvel—it wasn’t just to make new content. It was to feed an entire pipeline of experiences. So yes, we continue to see IP as a major, major motivator.”
Innovation in gaming: are LBE experiences becoming a challenge to theme parks?
As immersive experiences expand beyond traditional theme parks into urban centres and high streets—seen in ventures like Meow Wolf’s installations on city outskirts—Lionetti-Maguire asks: are these LBE experiences becoming a real challenge to theme parks?
Absolutely,” says Parker. “Look at what Universal is doing right now—they’re experimenting with Halloween Horror Nights as an extension in Las Vegas, recognising there’s a void. The LBE market sits between regional destinations and primary theme parks, and that market doesn’t really exist yet.
“We’re creating it right now, which is exciting. But the big players see us as taking away opportunities. Universal’s new project, for example, is a regional park, and Disney will likely lean more into that space.”
Family-focused brands also have a role in driving this emerging market:
“Our partners like Hasbro and Crayola are heritage brands, and with our recent opening of Planet Play School in New Jersey, we’re creating nostalgic yet fresh experiences for families. Kids may not be familiar with these brands, but parents have strong memories. It’s about bringing families together across generations, with entertainment that resonates on multiple levels.”
Crucially, LBEs offer something that theme parks can’t always provide: economic and geographic accessibility.
“Travelling to Orlando is now a bucket-list event—not something families can do every year. The cost and logistics are challenging. LBEs elevate the market to fill that void, offering high-quality entertainment locally. What used to be an annual trip to a theme park can now be a more frequent, accessible experience for both kids and adults.”
Emerging trends
At a more accessible price point, LBE experiences become something people can enjoy multiple times a year.
While the LBE industry isn’t exactly new, it seems that many smaller, innovative players are emerging. At a macro level, it seems inevitable that bigger companies will start acquiring these smaller innovators. But what recent examples of innovation have caught the LBE and gaming industry’s attention, both in the US and internationally, asks Lionetti-Maguire?
Palmer points to the powerful fusion of technology and experience as a major driver:
“For me, it’s all about marrying technology with the experience. Take something like the Van Gogh immersive projected art—how do you layer that into VR or create new, hands-on experiences that feel unique? There’s still plenty of work to do, especially in bringing social gamification into these experiences.”
“At BRITE, we’re launching a Nerf action experience next year in New Jersey and Pigeon Forge, partnering with Hasbro. That brand spans a huge demographic—from kids to adults—who all love it. It’s one thing to create an in-person experience, but the real opportunity is extending that digitally. How do we gamify it and encourage sharing?
“Imagine an app where players get content, compete on leaderboards, and even participate in competitions across multiple Nerf locations.
“That kind of digital engagement not only excites guests but also helps marketers and operators keep people coming back. Repeat visits are always a challenge, but with the right technology layered in, we believe it can do wonders for the right brands.”
New tech
When asked about exciting trends on the horizon, Godsick shares a thoughtful perspective on the unique moment the industry is in:
“One thing that stands out is how people are still willing to invest significant money to experiment and carve out new paths. It’s not just about whether things pencil out financially, but about innovation.
“Technologies like Sphere, or ABBA Voyage, which, interestingly, is selling out every night in the UK despite clubs struggling, show how important immersive tech experiences have become.”
“The UK, in fact, is leading in many of these areas.”
He then makes a key distinction between immersive experiences created by artists and scientists, like teamLab or Meow Wolf, and those built around established IPs:
“These kinds of experiences are driven by art and science, not commercial IP. That makes them very different — they’re about artistic expression. We have much to learn from how they create their own IP and worlds. Technologies like dome projections are staggering, and we’ll see much more of this.”
Digital vs. physical
Godsick also emphasises the importance of balancing obvious technology with subtle, seamless tech:
“Some technology is visible, but some is so subtle you might not even realise it’s technology, like interactions triggered by something you’re wearing. It feels more genuine, almost analogue in a way. We’re exploring digital ways to transform the same physical space into multiple attractions without tearing it apart.”
On the evolving role of digital connection beyond the physical experience, he adds:
“This digital layer lets you maintain a relationship with guests after they leave, which is crucial. Whether through gamification—creating characters, earning power-ups to use on return visits—it’s about repeat engagement. That ongoing connection is key to the future, driving guests back again and again.”
Describing Arcade Arena’s approach, Lionetti-Maguire says:
“We see the games arena as analogous to a video game console — it’s the platform. The games within it provide infinite repeatability, offering endless content for consumers. That’s the most important part: giving people varied experiences that keep them coming back.”
Picking up on the importance of consumer control in shaping the experience, Godsick says:
“It reminds me of why some of the earliest family entertainment centres, like bowling alleys, continue to thrive. Sure, some struggle, but generally they do well because the consumer is in full control of the experience. You might have one person who consistently rolls strikes with a perfect curve, while someone else — maybe a toddler — rolls the ball between their legs. Everyone creates the experience they want.
“Digital technology can enhance this even further by allowing consumers to customise their experience in ways that suit them best.”
The future of innovation in gaming
The discussion turns toward the future of technology and innovation in location-based experiences.
“Technology is continually improving, and we’re moving toward a world where guests might be able to change or customise their experience in real-time,” says Lionetti Maguire. “Making experiences truly bespoke while people are enjoying them, that’s a fascinating future to imagine.”
Expanding on the theme of innovation and the global nature of IP, Palmer says:
“Innovation is key, especially as IP becomes global almost instantly. While American IP has historically shaped much of the market, we’re beginning to see other IPs cross borders and influence us here.
“Another exciting area is the innovation emerging from places like Saudi Arabia, where massive investment and development are creating attractions and experiences on a scale that few others can match.”
“These innovations eventually trickle down, benefiting regional parks, LBEs, and smaller venues worldwide, shaping how we adapt in the future.”
He adds a thoughtful reflection on how younger generations perceive traditional effects:
“It’s funny — my kids recently saw a forced perspective on a backlot and had no idea what it was. To them, it just looked like something tall, but they don’t realise the artistry behind it, since they live in a digital world where such tricks seem almost obsolete.
“It’s a reminder that while technology and innovation push forward, there’s still value in blending the basics with unique digital overlays, connecting past techniques with today’s possibilities.”
“Look at Lego,” says Godsick. “Despite the rise of digital gaming, Lego is thriving more than ever. Its simplicity is timeless. Yes, they’ve added electronics and digital content, but the core experience remains strong and has even grown.
“It shows that the balance between analogue and digital, simple and complex, is ultimately key.”
Facing the challenges
Lionett-Maguire asks whether any concerns or negative trends are emerging in the LBE space. Godsick acknowledges that uncertainty remains a constant factor:
“We’re always concerned about what we don’t know. We’re continuing to learn and adapt, especially around the impact of the economy, which is forcing consumers to make different choices. Behavioural shifts are inevitable, and while we hope and believe some of them are temporary, the truth is there’s still a lot we don’t fully understand yet.”
He highlights the breadth of competition in the current landscape, not just from other LBEs but from a diverse array of content platforms and entertainment formats. “There’s incredible content being made across platforms. There’s phenomenal gaming. There are just so many options available to people now, depending on the market.”
“So yes, there are challenges—there always have been—but today they’re more complex and often new.”
Despite these hurdles, Godsick points to a fundamental human truth that continues to underpin the industry:
“People like to be together. They like doing things socially. They want to feel part of a community. Many of these location-based experiences have become modern-day town squares—meeting places where people can escape their everyday lives, step into the shoes of a favourite character, or immerse themselves in a beloved story.
“That’s something that’s always been part of who we are.”
Exploring innovation in gaming at the blooloop Festival of Innovation
Palmer agrees that uncertainty is part of the job, but so is careful observation and strategic agility. “It’s about continuing to do what we do well, while staying acutely aware of what’s happening in the marketplace.
“Coming from Universal and Disney, I pay close attention to what the big players are doing in this space. When they start to get involved more directly, that impacts the playing field. The key is to continue carving out a unique lane.”
He emphasises the importance of innovation as a differentiator, while also highlighting the fundamental challenges of marketing in an oversaturated media environment. “It’s always noisy. So, for marketers like us, the question is: how do we keep engaging people? That’s going to be an evergreen challenge.”
Another critical factor for him is localisation. “You can’t just take Nerf from New Jersey and drop it into Pigeon Forge, Tennessee, and expect the same result. The market is totally different. So we spend a lot of time thinking through how to tailor the experience—not just the marketing, but the entire guest journey—to match local expectations.”
Staffing remains an ongoing operational challenge as well. “It’s essential that we maintain a strong pipeline of talent to keep these experiences vibrant and exciting. That’ll always be part of the equation.”
Despite these challenges, Palmer remains optimistic. “The future is bright—no pun intended. There’s so much opportunity. There’s genuine consumer appetite for what we’re offering. We’re not pushing something people don’t want—we’re responding to demand. And that’s a great place to be.”
