What can we expect from what he looks like?

A new universal theme park near Bedford – the first in Europe – was announced with a fanfare earlier this week.

Located to be opened in 2031, the construction must start on the 476 acres site (1.9 km2), where the attractions are likely to present James Bond, Paddington and the Lord of the Rings.

But to decide on the number of loops to include on a coast, to ensure that even the trees mix transparently with the design of a region, the construction of a dream world is a meticulous task.

To find out which planning is behind the thrills and what kind of things we could expect when the new universal park finally arrives, BBC News has spoken to certain roller coaster experts.

Of course, all good themed park needs good rides – but maybe it is an understatement to say that it is a major challenge.

Although “at least two or three emblematic rides” are necessary, these must not necessarily be the fastest, the highest or the most innovative to stand out, explains Andy Sinclair-Harris, creative director at Katapult, who designed attractions for towers like Legoland and Alton.

“What is more important is the depth of narration,” he said, so that you are fully immersed in the experience of the ride.

A good example, explains Robbie Jones, director of information at Katapult, is a Russian mountain on the theme of Harry Potter called Hagrid’s Magical Creatures Motorbike Adventure, located at the Wizard World of Harry Potter in Orlando Resort of Universal. The runners are seated in replicas of the Hagrid motorcycle and the zoom through the recreation of parameters of the series of popular films.

“There is nothing particularly new or absolutely incredible in this walk, except that he tells an incredibly good story,” he adds.

If the rumors that there will be a return to the future of Back To The Future in Universal’s Uk Venture is true, those who ensure that the time machine is included, he said.

During the brainstorming phase of building a complex, rides are often “developed as narrative tools” in a “gender or a specific world”, explains Joseph Bright, CEO of Scruffy Dog, which provides creative project management for themed parks.

Although an emblematic conduct can help “anchor” an area of ​​a park, it has never been developed in isolation “- rather” cohesion is critical (and) each element … must serve the broader history “.

Dennis Speigel, founder of International theme Park Services, says that Meticleous Planning goes to the most immersive rides.

He adds that the size of a russian mountain is partly dictated by the number of guests that its designers hope to get on board – “between 1,500 and 2,000 the hour” in popular parks.

Usually, this means a cabotian of more than 3,000 feet (914 m) long, with the first drop “somewhere in the 150 -foot (45 m)” beach.

Mr. Speigel says that if a mountain to come at six Qiddiya flags in Saudi Arabia should break records when he sends runners to accelerate to more than 150 MPH (240 km / h) around the slopes, most of the acquired mountains today reach between 70 and 90 MPH (110-145 km / h) on their first drop.

Once the largest rides are planned, the themed parks designers consider what he describes as “flat walks”, which are addressed to cheaper crowds in search of thrills.

“It is your little rides that take people around and around, like a merry-go-round or a monster,” he said. “(These are) routes that can often be purchased on the shelf from a manufacturer.”

When you walk in a theme park, you probably think of the rides you are going to do – but you might think less of how you get there.

During the design phase, you must let your imagination are unleashed, explains Mr. Sinclair-Harris. “The budget is one thing, but when you have these first initial discussions, you should not be tempered by anything,” he said.

The “story” of your park is crucial, he adds. “It is knowing the story, the characters and being faithful to this world.”

Discussions on potential driving dimensions and manufacturers soon follow, as well as a master’s plan, which configures how attractions, tracks and equipment are all in space. This often determines the duration of the people’s queues.

The design by an artist of the British universal park represents a huge lake in the middle of what seems to be different theme areas. Far from being just pretty, this can allow crowds to surpass themselves in several unknown journeys around one.

Alton Towers also has a lake. The Vlogger of the themed park and Fanatic Charlotte Branford – known as Diary of A Rollercoaster Girl – thinks that this other visitors often choose to go to the left (with a wicker stroll), or just around it (to the smiler). She heads at the back of the park to try to avoid the crowd.

At the rear of the parks designed in this way, you will often find a show with fixed hours “to try to prevent people from running at the back of the park to go to a great attraction,” explains Justin Garvanovic, founder of the European Croaster Club race, which was involved in Russian mountains.

“Without realizing it, they are trying to get you almost what they want you to do when you are in the park.”

Another proven provision is the “hub and spoken” often seen in Disneyland stations, explains Mr. Sinclair-Harris.

“In a sense, you have this central gathering point … like the Château du Magic Kingdom … with different lands like the shelves on a wheel, radiant.”

The new Epic Universe theme park from Universal to Orlando will follow a version of this – allowing you to venture into different lands through portals.

Thus, the stories behind the roller coasters are linked to the history of the layout of the theme park itself.

Then come the final touch – to maintain your feeling of being in a futuristic or fantastic world while you are there.

Trees, artificial rock or even other buildings are often used to obscure unsightly but necessary objects, says Mr. Sinclair-Harris. “If you are in an incredible world with castles and dragons, see a telephone post withdraw you from this story”.

Even the playful audio, the scent of a park and queues are taken into account because they “play a role in this illusion”, explains Mr. Bright.

As Mr. Garvanovic says, “there are tons of subtle things in the background” in a well thought out theme park.

The sign of success, perhaps, is when you barely notice it.