Halloween Horror Nights 33 (UOR) - Speculation & Rumors

[SeventyOne]

My problem with the Fanta bar is just more in the terms of confusion of why it’s there rather than the how.

My problem with it is Fanta is a horrible mixer. I suspect the drinks here will make the ones at 1990s Pleasure Island look dry and sophisticated.

I do like your idea of theming bars as much as snack stands. Even low-budget Howl-O-Scream at least does that.

As for your second point, I hear you. I think @GA-MBIT nailed it with their post above -- "all of the original house concepts are kinda basic, really vague, or take the ideas in directions that I don't personally vibe with." I don't necessarily agree with the latter element, but I do agree that the titles and extremely limited descriptions are disappointingly ambiguous (and the crappy art this year doesn't help, either). For all we know, all of these houses will be hits -- I certainly hope so! -- but I get why they aren't garnering a whole lot of excitement relative to prior years.

And also repetitive. Sinema a direct sequel, and seemingly a rehash of that Amazon Women on the Moon/UHF style of house. Bloodline sounds like a spiritual and literal sequel to Bride and Monsters Collide. Major Sweets a continuation of a zone 2 years ago. Monstrous' elevator pitch--mythological monsters from Latin America--sounds a lot like Chupacabra. Ditto Goblins and Dueling Dragons. As I've discussed in the past, the newness of HHN, and the fact if you miss a house you'll never see it again, has always been a selling point of the event, setting it apart from its competitors. Any one of these houses could be HotY, even decade, but they come in lacking a common selling point of houses in the past. In 2023, I'd never seen a house based on the Crossroads legend, and I knew going in I'll likely never see one again. That adds a certain thrill.

 

[Viator]

My problem with it is Fanta is a horrible mixer. I suspect the drinks here will make the ones at 1990s Pleasure Island look dry and sophisticated.

I do like your idea of theming bars as much as snack stands. Even low-budget Howl-O-Scream at least does that.

As someone who takes their caffinated daydreams with the great Dr. Pepper (and as someone who has never tasted Fanta) I guess I don't have a say in the drink, but I do stand by that Orlando should be striving for the quality that Hollywood has placed in the past 3 years with their bars.

I am sure @Clive can correct me; but they seem really popular and help draw people away from the houses while offering fun and interesting incentives with the ability to gear the bars to be specific for the clientele that Hollywood attracts. Orlando should've been doing the "Themed" bar game for a while now; and I am surprised to see them moving potentially backwards with the Fanta Bar (atleast in quality).

 

[Boodini]

I’m not as hyped as I am normally but I know I’ll have a fantastic time all the same. However I feel like this is the first year where I feel more intrigued by the year coming (in which we know nothing) before I even attend the one we have. Just typing this reminds me to stop and smell the flowers sometimes haha.

 

[kingmantis]

It's funny how much this year reminds me of 2017; marketing/icon weirdness, weaker IP slate (complete with tons of Blumhouse), high concept originals that didn't really excite anyone before the event. We get to talk about corn again this year!

I think a lot of the conversation around the event was muted back then as well, but who would have guessed a pitch as simple as scarecrows would give us one of the best houses that has ever been at the event? Keeping expectations in check for now, but it's my first time back in three years so I'm ready to have fun regardless.

That said, I took a break because the crowds were getting to be overwhelming and based on the conversations over the past few years it's only gotten worse? I wonder if there's been a buildup of frustration over crowds/operations, and if the IPs aren't exciting enough it causes a snapback effect this year. Wishful thinking, but I'd prefer to be less hyped if it also meant more reasonable crowds when I finally go mid-September.

 

[Parkscope Joe]

I am sure @Clive can correct me; but they seem really popular and help draw people away from the houses while offering fun and interesting incentives with the ability to gear the bars to be specific for the clientele that Hollywood attracts.

It takes alway maybe a few dozen people. Most are in and out for a drink on the way to somewhere.

 

[Midnight Detective]

OK, but make fangs out of the logo with blood and guts or something gory. Then have Fanta girls dressed like the shot girls at Howl O Scream, with shots!

100% hard agree. Also I miss the Jello Shot IV bags

HHN 30 was a 4/6 splt

For the first time since 2022, lol

Your honor, in my clients defense he DID phrase "how long has it been" as a question so you legally have to let him off the hook for stupidity

 

[Kichkinet85]

100% hard agree. Also I miss the Jello Shot IV bags


Your honor, in my clients defense he DID phrase "how long has it been" as a question so you legally have to let him off the hook for stupidity

For the first time in how long and I answered HHN 31 was the answer.

 

[Legacy]

I’m just fascinated at the fan anticipation of this year, considering how drastically different it would have likely been if Universal had actually secured Five Nights.

One house would have been an immense difference. So much of the mediocrity would be getting glossed over.

Because, really, I feel like that’s the bigger issue. For so long (at least five years), hype about one or two IPs has (I think) glossed over a formulaic blase, corporateness about the event as the whole. The sterile branding of the Peacock Bar didn’t matter, because David S. Pumpkins was there. The repetitive disappointment of Monsters could be ignored because TLOU was finally there. The CROWDS and prices that were (theoretically) operational unsustainable could be suffered through because HHN had IPs no one else had. But there problems were always there… and actually getting worse.

Now, though, the changes and cuts and corporate-ness of the event is continuing, but the key IP(s) that shields those changes from pushback isn’t there. Plus, suddenly, Six Flags has some of the same IPs Universal gets? My stars!

It’s just interesting to watch as an observer.

 

[Midnight Detective]

For the first time in how long and I answered HHN 31 was the answer.

Oh yeah no I saw I was completely off remembering the split. Whoops

The repetitive disappointment of Monsters

I don't disagree with anything you said other than I'd argue that Monsters has done more to help the event for reoccurring guests than any other property in the past 5 or so years. They've got zero pregame hype but they're so consistently strong that I'm always excited to see it on the lineup.

 

[Killer Klown]

I’m just fascinated at the fan anticipation of this year, considering how drastically different it would have likely been if Universal had actually secured Five Nights.

One house would have been an immense difference. So much of the mediocrity would be getting glossed over.

Because, really, I feel like that’s the bigger issue. For so long (at least five years), hype about one or two IPs has (I think) glossed over a formulaic blase, corporateness about the event as the whole. The sterile branding of the Peacock Bar didn’t matter, because David S. Pumpkins was there. The repetitive disappointment of Monsters could be ignored because TLOU was finally there. The CROWDS and prices that were (theoretically) operational unsustainable could be suffered through because HHN had IPs no one else had. But there problems were always there… and actually getting worse.

Now, though, the changes and cuts and corporate-ness of the event is continuing, but the key IP(s) that shields those changes from pushback isn’t there. Plus, suddenly, Six Flags has some of the same IPs Universal gets? My stars!

It’s just interesting to watch as an observer.

One thing I’ve definitely picked up on is that no matter how much we all as the “diehards” of HHN love to play the “I go for the original houses/the original houses are always better” game, the IP houses for the year absolutely do matter for the event’s overall hype and perception. No matter how much we all may try and deny it.

 

[Clive]

One thing I’ve definitely picked up on is that no matter how much we all as the “diehards” of HHN love to play the “I go for the original houses/the original houses are always better” game, the IP houses for the year absolutely do matter for the event’s overall hype and perception. No matter how much we all may try and deny it.

They're front and center, getting the most emphasis in marketing. As a fan or even a casual HHN consumer, you have to seek out the original stuff (icons, original houses). The IPs seek you out through billboards, print ads, digital ads, TV commercials, and so on.

Universal is trying to push Ghostbusters, A Quiet Place, and Insidious as their heavyweights. The problem is we've seen Ghostbusters and Insidious before; Ghostbusters is tied to a movie that did fine but didn't set the world on fire (though I'm personally intrigued by the house), while Insidious feels a bit old hat despite getting a sequel with the original stars last year.

A Quiet Place, try as Paramount might, just isn't taking as a broader franchise that sells merch and supports numerous derivative works. It does well at the box office (Day One did great!), but that's about it.

It's quite the whiplash coming from last year's heavyweights -- The Last of Us, Chucky, and Stranger Things 4. Five Nights, for all the talk of its demographic, would've changed the conversation around this year in a major way.

 

[jarmor]

What's so different between having a sponsored bar and having an IP house?

 

[ReelJustice]

The repetitive disappointment

No where is this more obvious than the copy/paste every year in the New York zone where there is always a stage and the same props in the exact same locations with the only difference being the "theme".

What's so different between having a sponsored bar and having an IP house?

Big difference. However, Fanta isn't the problem per se, it's the execution.

 

[Midnight Detective]

What's so different between having a sponsored bar and having an IP house?

All I ask is the return of the Rune Bar in a new hidden unmarked location.

 

[Killer Klown]

They're front and center, getting the most emphasis in marketing. As a fan or even a casual HHN consumer, you have to seek out the original stuff (icons, original houses). The IPs seek you out through billboards, print ads, digital ads, TV commercials, and so on.

Universal is trying to push Ghostbusters, A Quiet Place, and Insidious as their heavyweights. The problem is we've seen Ghostbusters and Insidious before; Ghostbusters is tied to a movie that did fine but didn't set the world on fire (though I'm personally intrigued by the house), while Insidious feels a bit old hat despite getting a sequel with the original stars last year.

A Quiet Place, try as Paramount might, just isn't taking as a broader franchise that sells merch and supports numerous derivative works. It does well at the box office (Day One did great!), but that's about it.

It's quite the whiplash coming from last year's heavyweights -- The Last of Us, Chucky, and Stranger Things 4. Five Nights, for all the talk of its demographic, would've changed the conversation around this year in a major way.

Absolutely! Imagine if we swapped out Insidious for Five Nights and the Nightmare on Elm Street rumors ended up being true and we got that instead of Triplets. With that we have an IP lineup of Nightmare on Elm Street, Five Nights, A Quiet Place, Ghostbusters, and the monsters. If that was our lineup we’d be having much different conversations about the event this year that’s for sure.

 

[Viator]

What's so different between having a sponsored bar and having an IP house?

Big difference. However, Fanta isn't the problem per se, it's the execution.

I'd argue the difference isn't as much of a problem; but the execution of how that sponsorship is intertwined with the event. And the concerns/opinions we have with the sponsorship with Fanta as blatant and as unincorporated with the event.

They're front and center, getting the most emphasis in marketing. As a fan or even a casual HHN consumer, you have to seek out the original stuff (icons, original houses). The IPs seek you out through billboards, print ads, digital ads, TV commercials, and so on.

Universal is trying to push Ghostbusters, A Quiet Place, and Insidious as their heavyweights. The problem is we've seen Ghostbusters and Insidious before; Ghostbusters is tied to a movie that did fine but didn't set the world on fire (though I'm personally intrigued by the house), while Insidious feels a bit old hat despite getting a sequel with the original stars last year.

A Quiet Place, try as Paramount might, just isn't taking as a broader franchise that sells merch and supports numerous derivative works. It does well at the box office (Day One did great!), but that's about it.

It's quite the whiplash coming from last year's heavyweights -- The Last of Us, Chucky, and Stranger Things 4. Five Nights, for all the talk of its demographic, would've changed the conversation around this year in a major way.

Absolutely! Imagine if we swapped out Insidious for Five Nights and the Nightmare on Elm Street rumors ended up being true and we got that instead of Triplets. With that we have an IP lineup of Nightmare on Elm Street, Five Nights, A Quiet Place, Ghostbusters, and the monsters. If that was our lineup we’d be having much different conversations about the event this year that’s for sure.

I think a big matter especially comes when looking at Hollywood. While we still have repeated IP as-well as exclusives; it's the execution and what is being done with the IP's that makes them exciting in the process (especially with the exclusive returning brands and properties).

 

[TheCodeMan95]

I'd be curious to see if, moving forward, Uni would try to avoid shoving multiple HIGH END heavy hitter IPs into one event.

For example, it's truly insane to think that last year saw Stranger Things, The Last of Us, and Chucky all at one event - when each of them could have been large enough to anchor an event on their own.

 

[GA-MBIT]

My problem with it is Fanta is a horrible mixer. I suspect the drinks here will make the ones at 1990s Pleasure Island look dry and sophisticated.

I do like your idea of theming bars as much as snack stands. Even low-budget Howl-O-Scream at least does that.



And also repetitive. Sinema a direct sequel, and seemingly a rehash of that Amazon Women on the Moon/UHF style of house. Bloodline sounds like a spiritual and literal sequel to Bride and Monsters Collide. Major Sweets a continuation of a zone 2 years ago. Monstrous' elevator pitch--mythological monsters from Latin America--sounds a lot like Chupacabra. Ditto Goblins and Dueling Dragons. As I've discussed in the past, the newness of HHN, and the fact if you miss a house you'll never see it again, has always been a selling point of the event, setting it apart from its competitors. Any one of these houses could be HotY, even decade, but they come in lacking a common selling point of houses in the past. In 2023, I'd never seen a house based on the Crossroads legend, and I knew going in I'll likely never see one again. That adds a certain thrill.

This is absolutely a part of it. Ghostbusters can be experienced during daily-ops. As Casper has alluded to, Insidious is likely to be very similar in aesthetics and tone to Exorcist: Believer last year and the Horrors of Blumhouse from 2017. The new concepts that we haven't seen before this year are A Quiet Place, The Museum, Triplets, a cost-cut lineup of zones, and a Circus-themed dance show. I just don't know what I really get out of any of that. They're all so thorougly "meh" to me, at least at the moment.

I didn't know what I was going to see when I walked into Seeds of Extinction, Graveyard Games, Weeknd, Bug House, Slaughter Sinema, The Shining, Case Files, The Darkest Deal. Those are some of my favorite house experiences, because they felt really unique and novel. I feel like I know generally what to expect this year, and while some of that is because I've just been going for a long time, I think the lineup is unfortunately stale as well.

I agree that FNaF, even if some don't like it, would just bring a ton of momentum and energy as an IP. It's another video game, which we don't get many houses based on. It's a concept that hasn't been mined for an original yet, outside of the one Schittie's Kids room in SS1. And right now, the franchise is larger than it's ever been before with the sequel movie in development, the 10th anniversary, and new games being dropped consistently. I know I would be way more pumped to experience an event with this on the roster with no other changes. It just feels like there's a hole in the lineup for the heavy-hitter house that none of the other three technically relevant IP are rising up to fill.

 

[TheCodeMan95]

Everyone: "the event would be so much better if they had FNAF!"

Scott Cawthon when Universal inquired about FNAF:

 

[Blysthon]

My Understanding SMILE would be a Better IP I mean it’s gory and violent