Efteling ~ World of Wonders

[TheSorcerersApprentice]

High and dry or be soaked...

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It will become home to ‘Apenstreken’ (Monkey Tricks), which is shaped in the form of an Asian floating market. Actual floating markets are where goods are sold from boats and floating stands. Originating in times and places where water transport played an important role in daily life, most floating markets operating today mainly serve as tourist attractions. These markets are known for their boat-riding vendors, the bustling energy, delicious smells and of course, bomb food. Riders board one of 12 boats which move around a track though the set. Riders must shoot at other boats or at specific targets that trigger automated effects in the ride’s floating market scenery. They can receive fire from up to 80 other water guns located around the course. The ride is an ideal family attraction despite the restriction that Guests under 120 centimetres must be accompanied by an adult who is 14 years or older. Within the attraction’s queue, we learn that the floating market is, just like Station de Oost, infested with monkeys causing trouble. They seem to be stealing and pulling tricks on merchants and Guests.

The ride’s track is 110 meters long and has no height differences. However, the track may be extended by 50 meters on sunnier days as the show building will allow for both indoor and outdoor portions of the attraction. Guests approach the market through a Longhouse-type marquee that is reminiscent of South-East Asian architecture. It holds its attraction logo and colorful flags hang underneath. Several monkeys seem to already have trashed the sign and around the area, products seem to have been scattered and monkey feet are printed into the surrounding tiling. The exterior queue is flanked by late 19th Century posters advertising tourist information about the floating market and its notorious cheeky monkeys. Guests are then ushered into a covered and elevated queue, which consists of wooden bridges passing through the floating market-themed scenery where monkeys are causing chaos and vendors are trying to sell their goods to you through both physical as well as screen effects.

After passing one of the stalls, Guests might notice that a few monkeys have completely taken control over one of the stalls, where they seem to be fighting over a fancy scarf. Then at one point they will reach the loading dock, which appears peaceful. Here the Guests will board their very own Rueau Mard, a Thai-style gondola. The boat is a rowing boat like the gondola in Venice, but instead of having a flat hull, the Thai-style gondola has a round hull. It is a dugout boat made from Ironwood. The boat has a set of water guns equipped on each side of the gondola and a big umbrella in the middle. During your voyage, you will be able to relax and enjoy the view, or throw yourself into battle as the boat slowly cruises along the green and bustling atmosphere of the community, passing markets and fishing villages. Be sure to be ahead of hitting the monkeys with your water guns, before they soak you!

Pitted against the other teams of players, the gondolas proceed into the bustling market itself. Entering the market, the water guns turn on, allowing Guests to point them at various objects activating different characters and objects to come to life. Several monkeys pop out of unexpected hideouts, while other objects simply pop out from underneath wooden panels and benches. Turning into the next scene, a vendor can be seen searching for monkey with a banana to lure it, monkeys can be heard giggling from an unseen location. In another corner a monkey hides from an older woman whom he stands right behind. She is holding a broom as if she is about to sweep one of these troublemakers into the water. Pulling into the hub, Guests find several boat vendors along the sides, vendors are searching for monkeys underneath their selling tables. A monkey can be found stuck in a jam between a line of laundry and a roof above and the arms of another monkey, trying to pull him back, while yet another smaller nervous monkey walks back and forth in the hope to catch the nearly falling monkey. Guests pass another scene in which a monkey hides behind a door, followed by an angry vendor yelling at Guests if they activate an effect in which a stack of his products falls down.

Even some of the homes seem to have been infested as monkeys are seen hiding in objects such as beds and wardrobes. A monkey is seen standing in the center of a dark alley, a smart vendor mysteriously appears behind him with a net. However, another monkey pops out from a hole in the panels beneath the other monkey, hoisting him into the air. Entering a floating restaurant, Guests find a chef busy at work while monkeys pop in and out of several different take-out boxes. Several delicious smells fill the air as South-East Asian food is seen thrown around by the monkeys. After tagging several more monkeys, one can see how a vendor is pushed into the water with a loud splash. A baby monkey is seen playing with some garbage, unaware that a vendor is directly behind her, raising a butterfly net. However, aiming at the targets, reveals the monkey parents dunking a bucket of water over the sneaky vendor. In another scene a nearly capsized gondola is hosted by a group of monkeys playing with the products aboard. One holds an umbrella proudly up in the air, while another has found its inner artist with paint and brush, the next is trying to figure out a mysterious map and the last tries on different hats.

A secret storage is not even safe from the clutches of these rascals as they are seen opening various crates, throwing around fragile objects and even getting in contact with live animals and insects. One even seems to have gotten himself in a tough battle with a dangerous snake, but a target triggers an effect that distracts the snake with a musical monkey playing a tune on his flute. Throughout the ride several sets will be left open, allowing teams to battle one another or challenge Guests on the water banks, who are geared up with water guns as well. Around the area, monkeys will be spitting water at Guests who are both on and off-ride. The gondolas soon return to the loading dock, leaving Guests with a high risk of having become totally soaked during their ride. Luckily, ‘Hua Hei Stomerij’ (Dry Cleaner)allows Guests to dry off in themed pods that use gusts of wind. Once they have fully exited the attraction, they wander through ‘Het Markthuis van Batavia’, a store infested with monkeys as well. Here they can find various merchandise items related to ‘Apenstreken’ and its surroundings.

The Pagode is an eye-catching attraction for anyone heading towards Kaatsheuvel. The temple on the lifting arm can be seen from a great distance above the treetops, on the edge of the skyline. The attraction also leaves a significant mark on the horizon in the Efteling itself. The Pagode can be discovered in the background from many different locations within the park. To the right of a cascading hill where the temple rests on a recess in the ground, is the entrance where you will enter the queue under the sign with the attraction’s name. It leads through a number of meanders to a double turnstile. Here visitors are split into two groups, one for the left half of the temple, and one for the right half. Behind this, the first checkpoint of the attraction can be found in a small themed building. From here one operates the Pagoda and maintains contact with the attraction’s second checkpoint, at the top of the temple. The Pagoda is therefore continuously manned by two staff members. The temple building is built on a conical steel frame, finished with aluminum and polyester decoration elements, for which the architecture of South-East Asian Pagodas has been a great source of inspiration. The temple is decorated in a special color scheme of green, burgundy red, orange and ivory and has an abundance of details.

The tympanums in particular – the vertical and triangular panels directly above the visitor’s gallery – give the building its graceful appearance. The lever arm is richly decorated in arabesque. Once boarded, the visitors are taken to a height of 45 meters at a leisurely pace. There, the platform rotates once on its axis, alternating left and right for each ride, before starting the descent again after about five minutes. This gives every visitor to the Pagoda the opportunity to oversee the entire park, with eye-catchers such as the palace garden roof of Symbolica, the Spookslot, Baron 1898, Fata Morgana, Raveleijn, Vogel Rok, the Efteling Hotel and the complete course of the Gondoletta. During the Aquanura show, the highest jets of water can be seen above the trees. More information about the things visitors can see from the Pagoda can be found on information panels inside the balustrade. If you look outside the park boundaries, you can see cities such as 's-Hertogenbosch, Tilburg and Breda on a sunny day. Staff can often report starting forest fires at this height in the adjacent national park De Loonse en Drunense Duinen. After the descent, visitors can get off on the opposite side of the temple from where they entered the attraction.

With white sand, black plastic, blue stones and willow branches, a large ‘eye’ is located in the nearby garden, which, especially when view from the flying temple, seems to stare up remarkably. Near the eye, the following text can be read on a sign with an inverted Japanese flag as the background:

‘’Voor u waakt ‘Het Beschermend Oog’, een amulet uit Japan

Het siert de Pagode met veel elan

Gaat u gerust bij dit amulet te rade

Het waakt over het goede en beschermt tegen het kwade’’



(In front of you rests ‘The Eye of Protection’, an amulet from Japan

It adorns the Pagoda with a lot of grace

Feel free to consult this amulet

It watches over the good and protects against evil.)​

Staring eyes are known from different cultures as a frightening or protective talisman. However, it is not a very strongly supported element in Japanese culture. Behind the Eye of Protection is also a traditional Japanese gate or torii, thus emphasizing the status of shrine or special spiritual place. All in all, a curious display.

Toko Pagode is an oriental catering point at the Pagode. The range consists of rice and noodles with various sauces that are heated by microwave. At the foot of the flying temple called Pagode we find the catering point in the same Thai style. It has an exotic theme, with deep red and green tones and all kinds of ornaments. There is also a turret on the roof, although it is a lot more sober than its big brother on the roof of the Pagoda itself. Toko Pagode’s offerings range from noodles, fried rice and rice, followed by a choice of spicy sauces and toppings. These are put together in a square take-out box that is heated in one of the microwaves in the back wall. They also sell prawn crackers, soft drinks and packaged ice cream.

 

[Suchomimus]

This gives every visitor to the Pagoda the opportunity to oversee the entire park, with eye-catchers such as the Python

Is this like with Pegasus where the old name was given to a new attraction?

 

[TheSorcerersApprentice]

On the Road and to Spaces Beyond...

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In the corner that currently hosts Vogel Rok and the Panorama Restaurant, Guests will be wandering off into a turn-of-the-19th Century steam-punk version of European metropoles like Paris, Brussels, Berlin, and Vienna. Here retrofuturistic technology inspired by industrial steam-powered machinery is combined with European art nouveau architecture, characterized by undulating, curving forms inspired by lilies, vines, flower stems, and other natural forms. The area is set up somewhat similar to Place de Remy at Walt Disney Studios Parc, with two attractions and one restaurant being displayed in this theme. The largest icon in the area will be marked by a large observatory, looking out into the heavens, smoke emitting from it every few minutes. White steam rises from the street. A revolutionary space machine majestically spirals into the depths of the galaxy. In the distance, the pounding of machines sounds. This is ‘Maansprong’, a high-speed indoor rollercoaster taking Guests on a voyage to the moon in Professor Lind’s rocket in search of the cow that jumped over the moon. Professor Lind is an inventor and scientist fascinated by space after hearing the nursery rhyme Hey diddle diddle, answering his suspicions about where his lost cow has gone. He once grew up on a farm and has since taken his family along to the bigger city where he came in contact with other scientists and new equipment. That’s why the Observatory might look somewhat out of place within the European Metropole environment, but it seemingly blends in with the overarching Art Nouveau theme.

Guests enter the Observatory and are ushered into the inside queue known as the Stellar Way, an open walkway where Guests can have a look at the coaster itself and see trains during their journey in space. Then they reach the Victorian chambers of Professor Lind’s observatory, where they discover the plans and drawings of a rocket that will send us on a journey to the moon in search of the famous cow that jumped over the moon, according to the nursery rhyme ‘Hey diddle diddle’. They then board the ride vehicles, called ‘Moontrains’, made out of copper and bronze, in a Victorian-themed station with hanging patriotic flags, galactic maps, and barrels of energy laid out on the sides of the embarkation platform. The trains are taken through a tunnel into the Launch Pipe. As the blast-off occurs, trains are suddenly launched out of the Pipe and into the Observatory. The space travel starts with riders passing through a field of asteroids and nearly coming into collision with one. Unfortunately, the trains enter a huge asteroid field and they spin out of control. The vehicle makes a small descent, makes a 180-degree turn, and dives into the deep end and directly into two loops. Afterward they narrowly avoid being swallowed by a black hole, which extracts everything in space along its way.

After escaping the dangers of this natural phenomenon, the trains pass through an opening in a large asteroid. This is immediately followed by a smooth turn to the right. The train then shoots into two corkscrews and then shoots right into a helix. They then spin through another asteroid field leading them to climb a lift with a projection of the moon at the top. On top of the moon itself, we find the famous cow that jumped over it with a smiling face. The cow lets out a loud moo and we can see it holding a flag post, claiming the first steps on the moon. The trains then head back to Earth while passing through another asteroid field. Riders see bolts of light and light rays around the train as it heats up while re-entering Earth’s atmosphere. The trains pass through a steampunk farm where the rocket is de-accelerated to reduce the speed as they safely return to the station. Before they do so, they pass by Professor Lind and his cow who are proudly celebrated by other farm animals:

‘’Hey diddle diddle, the cat and the fiddle,
The cow jumped over the moon.
The little dog laughed to see such fun
And the dish ran away with the spoon!’’​

To its right, we find the Grand Café de Globetrotter. Here, a local that once traveled the world in a zeppelin has now opened an exciting new dining location. From the Alps to the empire of the Aztecs, from Mongolia to Madagascar, Madame Cordelia Tartuffe has learned new and fascinating methods into the most extraordinary recipes, making friends and receiving honors everywhere she went. Upon returning home to Europe, Tartuffe determined that she would share her love and knowledge of food with the world. She set about building the Grand Café de Globetrotter, an enchanting 19th Century themed, Steampunk-inspired dining establishment with a fascinating art nouveau façade of towering smokestacks blowing off steam and glass-covered terraces, and an interior with intriguing gadgets and gizmos.

The Grand Café is complete with two-level dining, a gift shop, and a dessert bar. It features a menu with a wide variety of dishes originating from places all over and sometimes with a little steampunk twist to it – from all-day brunch, crepes, and quiches, unique takes on classic steak, seafood, and pasta entrees, gourmet burgers, sandwiches, salads and more. Once you enter, you will find that the peculiar aesthetic and gastronomic cuisines brilliantly enhance the dining experience. The delightfully quirky world of food wonder with gadgets and gizmos is a crowd-pleaser and almost one of a kind. The interior reminds Guests of Grand Cafes in London, Paris, Brussels, and such, with strong Art-Nouveau features throughout. The walls are decorated with classical ornaments as well as many hints to Tartuffe and her backstory from traveling around the world in her zeppelin. Throughout, silver and copper pipes, as well as other Industrial mechanics can be seen enhancing the building’s technology.

Not far off, on the location that currently hosts ‘Het Kleuterhof’ (Toddler’s Court), Guests will find the new rendition of ‘D’oude Tufferbaan’, an attraction in which visitors drive in classic yet weirdly enhanced automobiles over a typically Dutch, Belgian or French countryside. There are eighteen vehicles on the track, namely a classic car and an old-fashioned pick-up truck. The cars each seat four people. They are made of polyester in different colors and each has been specifically decorated by Efteling in the queueline’s steampunk auto garage. This is reflected in the inscription with company logos, and attributes on the back, and a reference can also be deciphered from the number plate. During the ride, music from Rene Merkelbach can be heard in the vehicles and the engine makes a roaring and simmering sound. The vehicle also makes slight jerking movements. It has three buttons to sound the horn – on both handlebars and one in the back – which sounds like a short shrill horn. In principle, the drive takes just under four minutes and takes visitors past all kinds of lawns, flower beds, hills, and fairly randomly scattered agricultural implements(with a little retro-futuristic touch, of course!). The cars do not drive at a constant speed. The various interactive elements along the track are driven past more slowly to let visitors honk their horns and see the effect.

After leaving the station building, you take a few bends on the route that leads through the greenery. At about one-third of the way you drive past a farm shed, after which you encounter some android hares on the roadside. Then you return via a loop past the station building through this shed, which is full of dusty stuff. Here you will also find a large wooden thresher; on the machine are some chickens that you can activate with your horn. You cross a bridge and take a very wide 180-degree bend between high beech hedges and then take the same bridge again. Then near the shed, you will come across a peculiar car. It is clearly stranded here, given the track on the roadside and the smoke development near the vehicle, and there are also chickens on this that you can get moving. Soon afterward you will also come across a farm cart with milk cans and more of these animals on it. At the end of the ride, you drive twice through a steampunk farmhouse, taken over by chickens, followed by a long loop right at this new art-nouveau steampunk square. In the middle of the large loop is a scarecrow on which chickens have nested. After having completed the course, the cars return to the platform, where a park employee lets the visitors alight.

 

[TheSorcerersApprentice]

Is this like with Pegasus where the old name was given to a new attraction?

Oops actually a typo, was thinking of the actual view right now! thanks for pointing it out though

 

[TheSorcerersApprentice]

Travel Around the World with Jokie and Jet...

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Carnaval Festival is a dark ride in Reizenrijk. In the attraction, you sit in a cart that transports visitors through the Omnimover system through the building, where cheerful party scenes from different cultures around the world are portrayed by means of music, colorful sets and about 400 dolls. Guests will access the attraction through a new Carnaval Festival Square. In the center of the square we can find ‘Jokies Ballonvaarders’ (Jokie’s Balloon Drifters), in which Guests ride in colorful air balloons depicting world flags around a central fountain on which Jokie and his little friend Jet are seen atop of the globe, from which water gracefully falls down. The queue for Jokies Ballonvaarders will be an interactive playground themed to Jokie, Jet and all their friends around the world, in a similar way to what Disney does for their Dumbo the Flying Elephant attraction at Walt Disney World. The line at the attraction is covered by a confetti-colored canopy circling around the spinner.

The Carnaval Festival show building will be completely re-done in the style of its nearby shop, ‘Jokies Wereld’. The façade will be a moving and seemingly wooden cut-board made in which various scenes of the attraction as well as worldwide landmarks are represented. The attraction can be entered through a gate under a large red cloth that bears the name in white letters in the elegant Brush Script font. Above it, a red Jokie de Prrretneus, the festival master of the Festival, and a huge head with red nose, top hat and bow, hold the cloth. Every now and then the purple bird Jet comes out of the top hat. Party jester Jokie and bird friend Jet will be seen often throughout the attraction. Immediately to the right of the gate is the exit, a door under a small awning with the inscription ‘Confetti!’, the name of the attraction’s exit photo shop.

Once you enter the gate you enter the covered waiting area with meandering. Guests will be transported into postcards of different countries and continents such as the Netherlands, Italy, Hawaii, Great Britain, China, Egypt, Austria and Africa. Confetti-colored dots fill out the walls and colored lights create a true festival inside. The space is lit by groups of bulbs with two eyes and a protruding red nose glued to them that hang down from the ceiling. The ceiling is dark blue with multi-colored spots. A large screen hangs on the wall on which Jokie and Jet entertain Guests with dances and facts from around the world. The queue itself will be somewhat reminiscent of Tokyo Disneyland’s new It's A Small World queue space with set pieces in postcard style spread along the queue’s route. At the end of the queue is an old polaroid camera set. At the back of the device you can look into the cabinet, where an animation can be viewed of Carnaval Festival characters dancing along in the camera’s view. After entering a staircase, we enter the loading station. It is round in shape and illuminated by large tubular lamps, clockwise in the colors of the flags of Switzerland, Antarctica, France, Mexico, Belgium, Great Britain, Japan, China, Austria and Italy. Rainbow lights ‘flow’ from top to bottom. There is also a large picture of Jokie and Jet in a hot air balloon. You can descend back to the turntable with a staircase fitted with colored LED strips. Here are a number of staff members who point you to a Festival Gondola. On the outside of the turntable is a checkpoint from which the attraction can be operated and the ride monitored by means of camera images. The 118 gondolas come in green, blue, purple and red and all have Jokie’s face on the back.

The ride is split into different scenes, in which twenty four countries are portrayed through typical, cliched features and changes in the arrangements of the music. A ride takes about 15 minutes. The first scene depicts the homeland: The Netherlands. Harmony de Kwakers, a choir of frogs can be seen on the left side of the track. In the background you can discover fish in the water and to the right of this a huge doll with windmill blades on its nose in the shape of tulips. Here is also Jokie, with the Dutch tricolor flag complete with orange pennant. He is accompanied by his friend Jet. The gondola turns to the right here, revealing a Dutch fisherman’s décor, including a man who gets beaten with the rolling pin and a mayor with chain of office, top hat and a flag. In the back a fisherman who has just brought in a good catch with his nets.

The cart moves around a stage where costumed couples swerve in circles and a huge figure in a peasant smock stands in the middle. Several heads and musical instruments can be found on his body. Every now and then Jet sticks out of the tuba. The cart then turns in the opposite direction. It now offers a view of a scene on a farm. There is a huge scarecrow with several small birds with bowler hats. In addition, Jokie and Jet on an orange high bike, while Jokie has a watering can in hand. Further on, a cow with milk can, a pig with a straw hat, a merry-go-round full of vegetables, a haystack with two sneak peeks and a farmer who scatters grain for his chickens. At the top left is a figure that parodies Brussels Manneken Pis. The gondola makes a slight turn to the left. The walls are covered with mirrors and colored spheres hang in the air. Jokie sits on a fountain with Jet, with around them a number of floating Belgian flags and bags of fries; in front a few figures stand towards the Guests, including one with a brush moustache, camera and a hat with an image of the Walloon rooster.

Then a smaller scene of the Riviera, representing Monaco is passed by. Cheerfully attired figures revolve around a large sun and we see the Monaco coast line in the background. Then we arrive in Paris, where the Moulin Rouge, scantily clad dancers dancing the cancan and a brasserie can be seen in a red-lit décor. Waiters rush across the terrace here. Customers wait patiently at their tables. On the street, a vendor offers us flowers and a French police offer stands next to a striped-suit crook with a ball on a chain. We see a large painter with brush and palette and two smaller draftsmen on the left. From one of the windows of the tall buildings in the background we find Jokie with blinking hearts above his head; he exchanges love letters with Jet. Jet flies over Buckingham Palace. After the arrangements were given a French approach in the previous scene, for example through the use of the accordion, we hear the same neutral theme in Great Britain as in the Netherlands. There are some London scenes on the wall and we see Jet planning to take the tube. Above it hangs Jokie who is a pilot in a propeller plane with a roaring engine. He is pulling the Union Jack. The Queen’s guards, two-faced, guard the gold-tipped gates of Buckingham Palace. Behind the gates you can see cheerfully hopping tourists. Two sentries on horseback pass by in the corner tower. After London there is a small room reserved for Scotland where a bagpiper knows how to blow the ride’s tune.

Arriving in Germany, a clarinet player takes over the music. More musicality comes from the static image of a violinist called Straus and on a balcony a choir of five boys dressed as sailors are singing; maybe it’s the Wiener Sangerknaben. These are small references to Austria. In the foreground is an Oktoberfest going on, which leads us to conclude that we are in the state of Bavaria. Jokie just arrives in his Volkswagen car, balancing precariously on a ledge, with the German flag next to him. Further on, a few monks with beer mugs in hand dance through large blue castle towers who also like a beer. The Gondolas then turn to a view of a Swedish harbor town, slightly reminiscent of cities like Stockholm, Malmo and Goteborg. Here we see a Viking ship has just docked and some red noses are performing Opera. A reference to Norway features a painter capturing the Scream standing next to a typical Opera viking woman. A reference to Denmark features a mermaid on a rock waving at passing Guests. The music has slightly changed to a Viking horn rendition of the tune. Next we enter a beautiful garden holding fountains and statues. In the background we see the sights of the Acropolis shining on its hill. Jokie and Jet are seen as fountains in the center, around which several philosophers are observing the Greek Opa dancers. The music has changed to a clear Sirtaki type rendition. On the far right of the scene, a man on a donkey can be seen hanging his glass under a wine barrel(a reference to Dionysus, the god of wine and celebration) .

Then, after the gondola has turned a semicircle around its axis, we arrive in Switzerland. We see the white mountain peaks look just as cheerful as the figures that dance around here. Among the partygoers we see winter sport enthusiasts and a Saint Bernard dog. On the highest mountain peak, a snowman is fishing for Jokie; Jet makes the descent by using the Swiss flag as a parachute. Again the gondola makes a turn back so that we have a view of a scene lit in pink, around which we move in 180-degrees. The German version of the music has changed into an Italian one, where violins and the mandolin are used and the well-known ‘O Sole Mio’ tune can be heard. There is a balloon and straw hat seller. Jokie is on a Vespa with Jet in the sidecar. On the back, he has a picnic basket from which all kinds of things fly out. A little further we see an Italian making an anxious attempt to prevent the tower of Pisa from falling over. In the back of the scene we see the outline of Venice, with a gondolier and a cardinal on the Rialto Bridge. In the background, St. Mark’s Campanile can be seen, amid domes, turrets and a colonnade. Also, in the Italy scene are clowns, a lute player, a figure with a dotted cone over his head and two carabinieri who watch the scene closely, their feet happily tapping to the beat of the music.

The gondola rides through the mouth of a dragon and that’s how we arrive from Europe in Asia. The theme changes to the Asian version, banners with the Japanese flag and characters hang above us and three Japanese Noh stage masks can be seen along the wall. When the gondola turns to the right, three Japanese people welcome us with a polite greeting, which is drowned out by a gong. This is followed by geishas on a walkway and sumo wrestlers, in front of which we meet Jokie in a rickshaw with Jet on the back. We then see an Indonesian temple in front of which two dancers perform a traditional dance. We then move into a Wayang doll theatre, where one of the figures is Jokie joining along in the play. On the walls we see various Indonesian masks. In a dark, deep and large scene with large characters in the slightly curved background, there is a huge dragon with moving neck and large luminous eyes; this is China. Surrounding the dragon in this rocky area are Chinese carnaval celebrants with spinning plates on sticks. On the side in a niche are some photographing Chinese dolls.

 

[TheSorcerersApprentice]

Get to know different cultures and party among red-nosed figures...

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We then enter under a red arch, leading us into a Moscow Square where a ‘Moskau’ type rendition of the theme is played. Russian soldiers dance their typical Squat dance while other women perform ballet. A few Babuschka’s are baking bread, standing from tall to short.The music has become neutral again and as the gondola moves along the wall of the building to the left we get to see Antarctica. There are polar bears, an ice-selling walrus, Eskimos, pirates and Jokie drives a sleigh pulled by penguins. He is carrying the flag of the state of Antarctica. Jet caught a fish while flying. A projection of swirling snowflakes and the sound of a bitter wind complete the picture. Then the cart spins on its axis, revealing that we are driving down a slope into a Sphynx with a red nose. We have transported from the coldest hideaway to the scorching heat of the Egyptian desert. While we enter the temple which has hieroglyphs on its walls, our eyes are directed to the ceiling. We meet a number of characters staring down from boobytraps opening and closing. In one sits a camel, in another sits Jokie, one reveals a mummy with a red nose and the last one shows Jet wearing a Pharaoh outfit.

In Morocco we can see Jokie and Jet swirling around on a floating carpet over a bustling marketplace, where a belly dancer can be seen performing. Vendors yell at gondolas, trying to sell their products and even a snake is being charmed by a flute rendition of the attraction’s tune. With sounds of African instruments such as drums and balafon, and bird sounds, the gondola rotates so that we get to see the South-African scene. First we pass a real waterfall with a large purple bird, which whistles its own tune. Then comes a part in which we see various figures, dressed in traditional South-African fabrics and with martial attributes such as spears and shields, flanked by two trees equipped with eyes. On the right is another figure and on the branch of it someone in sporty clothes. Jokie is also in between with two spears in his hand, behind it is another green bird. Every now and then all the human figures drive away when the immense gorilla in the back of the set lowers his spider on a string. On the corner, a statue sticks its tongue out at us. We are then led into India, where we hear a Bollywood version of the theme music. A miniature Taj Mahal surrounded by colorful flowers sits in the back while Indian dancers perform a modern Indian dance along the icon’s pond. Jokie can be seen with a red face as he tries some spicy Indian food.

We then end up Down Under where a few outback rangers are throwing around boomerangs as Koalas and Kangaroos curiously witness the celebrations. Jokie and Jet can be seen sticking out of a Kangaroo’s pouch. A didgeridoo rendition of the tune is played during the scene. The Gondolas swirl into a North American pinewood valley where we see a few typical Canadian mounties, as well as inuits and native Americans dancing around a totem pole with noses blinking in different patterns. A moose can be seen joining in with the fun. The normal version of the music is heard here. We then hear tropical sounds, as the music is now performed by maracas, trumpets and the Hawaiian guitar and the first notes of ‘La Cuccaracha’ can be heard. Under a large sombrero, several Mexicans sit on a donkey, who happily play the song on their guitars. We then pass by a scene similar to the Monaco scene, but with three spinning layers of festive characters, representing the carnival in Rio de Janeiro. The music switches into a Brazilian Carnival version and we see the city of Rio and its coastline in the back.

The gondola turns on its axis and we see three ladies in reed skirts under a thatched roof, and Jokie on a surfboard doing the Hula dance and carrying the flag of the state of Hawaii. A figure with a Polynesian mask drums along to the beat of the music. Jet announces that the action photo will be taken soon. The action photo is taken from an oversized camera with a bird. After the photo is taken with a click, we can better see the last scene of the joyful ride. In a large carousel, with a huge figure with multiple faces in the middle, a crown and a scepter in hand, several figures wave us goodbye. One after the other we see a Dutchman (Groeten aan de Buren), a Frenchman eating a baguette (Au Revoir), a Belgian (Tot Ziens), a German Girl (Auf Wiedersehen), a Japanese (with Japanese characters describing the word bye), a Hawaiian hula girl (Aloha), a Mexican with a guitar and Jokie and Jet. Strings of light hang from the ceiling.

We arrive again at the entry disc, where we are alerted by a luminous sign on which side we can get out. Via the wooden stairs we reach the small shop Confetti!. It is located directly at the bottom of the stairs that form the exit and its main purpose is to sell the photos taken during the ride. There are two cash registers with behind them the screens that show the photos. In addition to action shots, some of the attraction’s most popular souvenirs are also sold here, such as Jokie and Jet plush toys in various sizes and the Jokie song CD. Refreshments are also sold, such as chilled soft drinks, hand fruit and candy that you can tap yourself. Via the exit we can return to the Carnaval Festival Square. Here, we can also decide to visit ‘Jokies Wereld’, the larger Carnaval Festival shop, now worked into the new façade of the attraction. Upon entering, you will immediately notice the playful shape of the store with bended cabinets and weird shapes leading you through the various sections. A hefty Jokie figure welcomes visitors to the front of the shop with bird friend Jet circling his head beneath a circle of red tasseled drapes.

In the room, low shelves are placed in different formations. They are executed in primary colors, which focus on the young target group. The shelves are decorated in an unmistakable Carnaval Festival style. The red noses often come back. To the right of the entrance is a media corner with a TV that plays episodes of the TV series and where the Jokie books are for sale. The cash register is located on the left. A simple game has been placed against the back wall. On a blue background, green panels are attached in the shape of the continents on a world map, depicting Carnival Festival figures with a red light as a nose. The lights alternately flash across the panel and when one of the lights stays lit it's the job of the person at the world map desk to press the correct button. If all goes well, the Carnival Festival theme will sound briefly with cheers. If the answer is wrong, the same theme sounds, but played more slowly, like a real loser's tune. The button for the correct answer also lights up.

 

[MickeyMouse10]

I’d love to see it during the fall season. I’m not sure how the weather is in the Netherlands compared to where I live, but that’s my favorite time of the year. What's not to love? Scary decorations, Candy, Costumes and Candy... oh and more Candy.

 

[TheSorcerersApprentice]

Follow in the footsteps of the famous Gulliver and join him on his big adventures...

​

‘Gullivers Reizen’ (Gulliver’s Travels), based on the book of the same name by Jonathan Swift, is the next major addition to ‘Reizenrijk’. The extensive project once again represents an extremely ambitious undertaking, but one with which Efteling has managed to amass world fame. The new attraction, which has been in development for more than four years, takes visitors on a journey through Gulliver. A typical English village square has arisen in Travel Realm. Due to the presence of the characteristic English architecture, the authentic use of materials and the cozy appearance, the visitor here feels like they are in old England. On the edge of the square is the entrance to the attraction through the front door of Gulliver's chic mansion. Visitors arrive at the boarding station via a system of queues that runs through the house. Here they can board the boats that will take them through the attraction, after which the adventure begins.

‘’Gulliver is a Doctor Married Surgeon with children, Native to Nottinghamshire. He will make four journeys in which he will live incredible and interesting adventures. In each of them, you will land on a different island, where you will meet four specific civilizations. These will make you think and question everything about your life every time you return to England.

first trip

In May 1699, Gulliver embarks on his maiden voyage, which involves boarding the Antelope. After a brisk storm, the ship sinks and Gulliver has to swim tirelessly to search for solid ground. After navigating rough waters, he manages to reach the shore, where he falls asleep due to the enormous effort. The main character wakes up tied up and surrounded by little people: the inhabitants of Lilliput.

The next day, Gulliver meets the Emperor of the island, with whom he sympathizes and gains trust. It is easy for him to adapt; quickly learn the new language and use it. The doctor came to like the emperor so much that... he decides to release him, but the admiral (whom he was not friends with) sabotages everything so that the giant's emancipation is subject to certain conditions, preventing him from being allowed to go home.

As time goes on, a war breaks out between the Lilliputians and the Brobdingnang Kingdom. —Even with small residents. At the cost of his large size, Gulliver conquers the enemy fleet and earns him an honorary title. After refusing to turn Brobdingnag into a Lilliput colony, Gulliver will jump between the sides until he is able to recover a boat of his size with which to escape and return to England.

second trip

Gulliver decides to embark on a new journey, this time in adventure. Once again, a storm causes the ship to lose course and strand on the island of Brobdingnag. There, everyone observes a gigantic person, who makes the crew flee in panic, while Gulliver runs towards a field.

There, 22-foot-tall farmer catches Gulliver to display as a circus attraction. He arranges to take him to the Queen, who immediately demands to stay with him as a pet. Being in the palace, Gulliver will endure many dangers due to his miniscule size. Thanks to an incredible escape, he will manage to reach the sea, only to be rescued later by an English fleet.

third trip

Gulliver decides to travel again. This time the ship will be attacked by pirates and while fleeing will end up in an unknown land. Gulliver is traveling through the area, when suddenly a large shadow covers him, when he looks to the sky, he finds a floating island above him. After asking for help, some men throw a rope and manage to climb on it.



This mysterious island was called: Laputa, in this community everything is managed through music and mathematics. Soon Gulliver grows tired of this strange community and asks to return to Earth, where he visits Balnibarbi for a few days. Finally, he decides to return to England, first via Glubbdubdrib where he visits a magician, alongside the immortal beings called Struldbrugs.

fourth journey

After a time of boredom, he decides to return to sea, this time as captain of the ship. Shortly after sailing, a crew mutiny resulted in Gulliver being stranded on an island. There he will meet two different civilizations: the Yahoos and the Houyhnhnms, the latter being the ones who rule the territory.

Yahoos are people who live in the wild, always filthy and also untrustworthy. For its part, the houyhnhnms are talking horses, very intelligent and acting on the basis of absolute reason. Gulliver fits this civilization perfectly, and every day his distaste for the human race grows; although he is eventually - against his will - sent back to England.’’

The boat exits the station and passes Gulliver’s home village in England. Everyone in the village wishes Gulliver and his pet dog Edward a safe journey. Just before entering a tunnel, we pass by a lighthouse. The keeper of the lighthouse ominously warns us for a heavy storm ahead. After passing through the tunnel, the boat takes you into a ‘rainstorm’, past mermaids blowing a mysterious yet enchanting tune on their trumpets with some light mist rain to add to the effect. On the left is Gulliver’s broken ship which has been destroyed by the storm. After a shipwreck, the visitors and Gulliver wash ashore at the mini-city of Lilliput with its tiny inhabitants, the Lilliputians. This will feature moving miniature sets, somewhat similar to the park’s Diorama. A lighter and softer rendition of the ride’s theme is played. Rounding a corner however, we find Gulliver has been tied up to the ground by the little people, who are negotiating with Gulliver. Edward suspiciously looks at the happening, but anxiously backs up as soon as the small men swing at him. After this, together with Gulliver, you will visit the strongly contrasting second part of the ride, in which you enter the land of the giants.

A louder and deeper version of the theme song is played. We find ourselves in a room of treasures to find Gulliver and Edward facing a giant queen trying to guard the treasure. Instead of taking the treasure, Gulliver befriends the giant queen. In the next room, the Giant holds Gulliver and Edward in his hand as he guides them through the land of the giants. The scale of the gigantic animatronics used in the immense scenes of this second part is unprecedented in the world to this day. The oversized sets will be out of this world and will bring to life an eccentric world. The Giant gives the gold to Gulliver and sends him and his dog on their way. The next room has pirates attacking Gulliver on his ship. Gulliver tries to stop them but ends up on a small remote island. In the third part of the ride, the visitor and Gulliver visit a large flying island whose inhabitants have devoted their entire lives to science. As we pass over the sea, we see the flying island in the distance, nearing slowly.

At one point, the shadow passes over our boats and we are hoisted to its surface by a lift hill. During the lift hill, we see Gulliver and Edward getting pulled up by a rope. In this scene in which we find ourselves in a hyper-modern community which is mostly revolved around mathematics and music. Shapes of mathematical symbols, numbers, letters and musical notes can be traced back in the background sets. Its’ inhabitants can be seen studying, philosophizing, analyzing and solving formulas and research complications. A futuristic version of the theme is played during the scene. Gulliver and Edward sit bored in a corner causing us to move on into the next scene which is the fourth part. Gulliver descends down, the boats make a small descent. During the descent, we see rocks being through down from Laputa. Gulliver ends up in Balnibarbi, where the ruins are brought to society through the blind pursuit of science. Great resources and manpower can be seen getting employed on researching preposterous schemes such as extracting sunbeams from cucumbers, softening marble for use in pillows and learning how to mix paint by smell.

We pass through a port and go through a passage. Here we find ourselves on a short side-trip to the island of Glubbdubrdrib. Gulliver is seen in a mysterious magician’s dwelling, a majestic cave-opening. He evokes the spirits of past historical figures such as Descartes, Homer, Aristotle and Julius Caesar. After meeting the struldbugs, old immortal people we move on into the fifth and final part. They end up stranded on an island where horses with human qualities live, the Houyhnhms , but also the native Yahoos who are more human-like. Gulliver ends up befriending these the filthy and untrustworthy humans in the jungle. He helps them calm down by playing drums with them. Of course, we recognize the ride’s theme in their drumming. Gulliver moves on to meet the Houyhnhms who perform very human activities. An orchestral and more sophisticated version of the theme is played here. Gulliver grows very fond of them and joins them for a tea party, until he is requested to return to England. Having arrived safely home, Gulliver takes the treasures and everything else that has been given to him from his journey and he shares it with his village. Everyone celebrates his safe return as the ride ends. A festive rendition of the attraction’s theme is played during the scene.

Ton van de Vens designs for Gullivers Reizen are brought to life in a breath-taking way. For this, the boundaries of the technical service and the design department have once again been pushed a long way. The animatronics have improved considerably since Fata Morgana and the sets are provided with a multitude of details. But the attraction also distinguishes itself from the ride system. The transport system provided by Intamin consists of a series of boats that, unlike those of Fata Morgana, lie loose on the track. This principle is further elaborated here by the principle of different layers. The feeling of the various action moments that Gulliver experiences is thus enhanced by means of the thrill effect. The attraction features music composed by Ruud Bos. For the first time, it uses a full symphony orchestra for its performance. With Gulliver's Travels, Efteling shows that it is a worthy opponent for the great rival Disney. After all, the attraction is larger and more overwhelming than its showpiece Pirates of the Caribbean. Of course, English delicacies have also been thought of in the English-themed area. At Ye Olde Inn you can taste Gulliver's food after his travels and some typical English dinner options such as Fish and Chips, as well as Pies, all-day English Breakfast, and the Giant Burger. The restaurant itself will be reminiscent of England’s many pubs and inns and will be hosted within a beautiful white cottage, slightly overgrown in vines. In addition, you can buy a nice souvenir at the Gullivers souvenir shop. It is held within a typical village shop, where Gulliver has stored many of his finds from when he was traveling to far-off lands.

I’d love to see it during the fall season. I’m not sure how the weather is in the Netherlands compared to where I live, but that’s my favorite time of the year. What's not to love? Scary decorations, Candy, Costumes and Candy... oh and more Candy.

It's mostly rainy and windy, but we definitely have the typical fall colors in the trees, which is perfect for Efteling's year-round experience; every season offers something different. Efteling has not had any special Halloween events or decorations so far, but I'm planning on introducing some sort of Autumn Festival for the park. Definitely do agree about those good aspects, so it's a must for the park.

 

[Suchomimus]

Gulliver grows very fond of them and joins them for a tea party, until he is requested to return to England. Having arrived safely home, Sindbad takes the treasures

Erm, Apprentice?

 

[itsy bitsy spider]

It's mostly rainy and windy, but we definitely have the typical fall colors in the trees, which is perfect for Efteling's year-round experience; every season offers something different. Efteling has not had any special Halloween events or decorations so far, but I'm planning on introducing some sort of Autumn Festival for the park. Definitely do agree about those good aspects, so it's a must for the park.

Giving what the atmosphere looks like, their Halloween events could be pretty fricking scary. Gnomes already freak me out just in everyday life. Picture how scary they could be if Gnomes were eating people. Also "The Brothers Grimm" fairytales would fit in nicely as well.

 

[TheSorcerersApprentice]

Giving what the atmosphere looks like, their Halloween events could be pretty fricking scary. Gnomes already freak me out just in everyday life. Picture how scary they could be if Gnomes were eating people. Also "The Brothers Grimm" fairytales would fit in nicely as well.

definitely agree. personally have always seen other parks like Universal and also European parks like Europapark, Port Aventura, Walibi Holland etc do more extreme halloween events and imagined what it would be like if Efteling had something similar with themes like you mentioned, but also Flying Dutchman, Haunted Castle, Villa Volta etc. could serve as great areas to expand on during that season. I do however believe that Efteling's general audience lies more with families, so I'm still somewhat figuring out how to translate that well with combining it with the scarier elements.

Additionally, I would like to inform you guys about another exciting update that Efteling has released about the future of its' 'Spookslot' attraction. The current attraction will be leaving after this summer season and with that I mean it will be comppetely bulldozed. In its' place a new attraction under the name 'Danse Macabre' (a hint at its current theme and theme song)will presumably open in 2024, though nothing has yet been released about its' ride-system or additional storyline.

They've just released a teaser video of the attraction along with a piece of concept art showing the entrance and the facade of the new attraction. It shows a scary graveyard, along with a haunted castle in the back and a path that leads towards a rickety old coach house. In the foreground we see a dark black cat; perhaps a character that will play a bigger role in the ride. Along with the black cat the names of two characters are zoomed in on in the teaser. Perhaps these two will be expanding the characters of the violist and maybe a ghost maestro? I'm especially excited about this decision because of the forward-thinking strategy that it is inspired by. Spookslot is a classic Efteling experience that represents a large part of the park's history, especially in terms of its past technological development and rising attention to detail. That means that getting rid of the attraction is an extreme scar on the park. However, as Tokyo Disneyland has recently announced its decision to remove its current iteration of Space Mountain and re-build a brand new modern version of the attraction, I believe and trust that the park has decided to continue the old ride's legacy through taking old elements and re-constructing familiarities into a more modern impressive experience. I personally believe that this is something to look forward to, although I do believe that that mostly applies to attractions that have a level of intertwinedness with the park's history and/or have a ride system that somehow has become inefficient, outdated, impopular or unable to be refurbished. I do still believe that not every attraction has to be overly modern and technologically advanced, and that somehow attractions' classic elements should be treasured, but in some cases i'm very much excited to see how they'll bring certain attractions into the next generation. Moreover, I'm especially curious about the development of this attraction because of the likeliness of it becoming some sort of dark-ride, which is something I've always been dreaming of. Anyways, I wanted to share that I added the concept art that the park released to the post of Spookslot(which for now I want to keep as its title, although I do like the idea of naming it Dance Macabre a lot; it makes it more universally understandable) and would like to share the teaser video that they've posted today.

​

Finally, there will be no post today on further developments of my personal vision of the park today unfortunately. I'm currently working on another surprise post that *spoiler alert* features the introduction to another new realm of the park, which is inspired by both existing concepts/elements that can be currently found in the park as well as completely new ideas. I hope to get some time around soon to finish and then I'll post it as soon as possible. Hope you're all liking it so far, open to suggestions

 

[TheSorcerersApprentice]

Find out where it all started in 1952...

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Our next post will be the introduction to the park’s other new realm, titled ‘Oudrijk’ or Old Realm. Old Realm will transport Guests back to a romanticized turn-of-the 20th-Century Dutch city inspired by the drawings and works of Anton Pieck. Therefore, the current area that hosts ‘Anton Pieckplein’, as well as pieces of the staff entrance and ‘De Speelweide’ will be completely re-constructed into a more expansive and detailed version of Anton Pieck’s imaginary worlds. The area will be dedicated to Dutch nostalgia, linking back to various historic elements from the 19th and 20th Century. Additionally, the area represents classic old nursery rhymes, poems and stories that were told from generation to generation. Lining up the sidewalls of the park will be a new mountainous range with various buildings, such as cozy little cottages as well as old castle ruins will be constructed to form as scenery for the area. This will be very much reminiscent of the miniature diorama sets, but will also be inspired by classic Limburg scenery and other drawings by Anton Pieck. The mountain range will enhance a forced-perspective effect to make it seem as if buildings, as well as the mountains themselves, are taller and larger than they actually are. With the mountain range comes a new route for the Efteling Steam Trains that will wind through the area in a more dynamic way that reminds us of a life-size Diorama set.

Guests enter the area from Travel Realm through an old Dutch city port that poses as the transition into this bygone era version of a bustling Dutch cityscape. This gateway will be known as ‘De Muzikantenpoort’ (Musicians’ Gate), because it is adorned by two static figures of Pieck-ish musicians. We see classic Dutch architecture worked into the wooden and stone buildings, along with interesting details such as the stepped gables on the facades. Other features include gas-lit street lights, traditional city canals as well as playful spires, towers, fountains and other elements that will immerse you into a weirdly-familiar world. The two figures wear the same clothes, namely a red coat with gold buttons, blue shorts and a black top hat. One figure plays a lute, the other wields a trumpet. Past this gate lies a network of streets, squares, alleyways and channels that intertwine and lead towards various shops, dining options, interactive elements and attractions. On our left, one of the first attractions of the area which is home to a Museum, dedicated to the park's history and legacy.

The Efteling Museum is a museum about the history of the Efteling, located in the on Anton Pieckplein. The museum consists of three exhibition rooms, including the so-called 'Wonder Depot' with a permanent collection and one room with an annually changing exhibition. Former Efteling employees sometimes host and host the event. The museum can be entered from two sides, and if the courtyard is open, even from three. The main entrance is on the square with the water pump, in the building with a harlequin figure on its façade. This figure carries a banner with the inscription of the Museum on it, on the green canopy below it reads:

‘’In den Bonte Versamelingh’’

(In the variegated collection)​

In the tradition of the park, the Efteling Museum carries its own fairytale with it. It is about Toon and Bets, a couple who lived in the Efteling for years. Toon worked in the park, while Bets was the collector who took all the things in her bag. Her bag was a very special one, in which she could secretly hide everything she could find. This meant that a space had to be built behind the box bed, where all things could be stored. But Bet's passion for collecting took too great. That's how it happened that at a certain point Toon couldn't stand it anymore. He wanted to hide all things out of sight and therefore built the Wonder Depot for Bets, a secret place where everything was safely stored. One day Bets did not return from her daily walk through the Fairytale Forest, only her handbag was found there. Toon decided to make the entire collection public, so that all Efteling visitors could enjoy it and experience how the years have passed at Efteling. In the windows to the left of the entrance ‘De Wonderbaarlijke Tas van Bets’ (Bets’ Wonder Hand Bag) is displayed on a plate in the shape of a shield, held by a hand from the plate. Above that is the saying:

‘’Hoe klein of groot het ook was,

Het paste allemaal in deze tas…’’

(No matter how big or small it was,

It all fit in this bag…)​

In addition, a pamphlet has been attached to the window on which the story of Toon and Bets can be read. Once inside you are in the middle of a lovely little living room. On the left a small stove is burning and the labelled pots with tea bags and coffee beans are neatly organized on the shelves, while on the right a television set from the past commands attention. The device shows old TV fragments from the Efteling history, including the fragment of Ton van de Ven, often quoted in publications, who is allowed to tell Willem Duys about his ‘Haunted Castle’ plans and commercials in the eighties. When the device switches itself off, the radio starts playing in the corner of the room and we can listen to radio fragments, speeches at important events and the old Efteling song. In addition to the television and radio, there are also two glass display cabinets with all kinds of Efteling clippings and souvenirs. Mostly figurines, pins, teaspoons, tiles, but also some material from the cupboards of the museum’s predecessor, the Cabinet of Curiosities can be found within.

Through the swing doors through the box bed of Toon and Bets, we end up in a dark, intimate space. This is used for the various exhibitions that change every one or several seasons. For most exhibitions, large panels and information boards are hung on the walls and video fragments can be viewed at the back of the room, which are projected onto the wall by a beamer. In the front corner we find a permanent display cabinet, in which the attributes that match the exhibition can be seen. In the room next door, various sketches and design drawings by various Efteling designers are framed on the walls. Small signs next to the drawings provide information about what it should represent. From the ceiling, small spots shine their warm light over the frames on the walls. In the middle of the space are tow low cupboards with cubic glass domes. It contains objects with a theme. For example, LP records, brochures and photo booths and attributes from the catering industry have been on display. Visitors at the magic table between the display cases and the Wonder Depot is the 'Tovertafel' (Magic Table), an interactive map full of history on a multi-touch screen. Visitors can tap and move objects on a map of the World of Efteling. Many elements on the map are animated: all visible vehicles of open-air attractions move.

Parchment rolls are depicted at attractions and fairy tales. Once tapped, the parchment opens and allows you to scroll through facts and data, as well as a collection of old photos, construction photos and design drawings. There are three rings on the map that can be moved across the screen. The video ring shows a movie clip when placed over an icon that needs to be found first. Sound fragments can be discovered with the audio ring. The time ring indicates the location of an attraction that is no longer in the park. The opened parchments can be tapped away again, but the three rings are always on the screen. The Wonder Depot is the third room of the Efteling Museum and can be reached by following the route mentioned above or via the back of the museum, where the name is indicated in large letters on a sign. Whoever enters through the back sees a rhyme against a wooden wall, which is the back of a display cabinet:

‘’Een greep uit het ‘assortiment’

Wees welkom in het Wonder Depot.

Al wat u hier aanschouwen mag,

Heeft een wondermooi verleden.

’t Werd stevig voor u opgepoetst,

Want ‘t had soms flink geleden.

Oud-medewerkers zijn uw gastheer,

Dat is met goede reden.

Hun liefde voor de Efteling,

Leeft verder tot op heden.’’


(A selection from the ‘assortment’

Welcome to the Wonder Depot.

All that you may behold here,

Has a wonderful past.

It was thoroughly polished for you,

Because it had sometimes suffered a lot.

Former employees are your hosts,

That’s for good reason.

Their love for the Efteling,

Lives on to this day.)​

In this space, we find the things that Bets is said to have hidden behind the museum. In showcases, on shelves on the walls, on cupboards and shelves and even on the ceiling, we see an enormous collection of things that once served as part of the Efteling, such as old plates, molds and statues. The interior does resemble a cabinet of curiosities. The design and the name are based on what is called an open depot in the museum world: the display of objects from the breadth of the collection without necessarily giving a theme or much context and explanation. This makes the space a good contrast and a good addition to the two previous thematically arranged spaces and offers the possibility to simply place fun or interesting objects together without necessarily having to be related to one another. Against an empty wall of the Wonder Depot stands the Automated Informer, also known as Talking Map; a large map, with narration with flashing lights, used in the park from 1961 to 1974. In 2007 and 2017 the floor plan was thoroughly restored. Four languages can be chosen, with the Dutch text recorded by Wieteke van Dort and the German version recorded by Ton van de Ven.

On the left at the back of the Wonder Depot are two closed doors, behind which is another room with all kinds of Efteling knick knacks. This space, which is not accessible to visitors, contains a lot of signs, a large control box for the Spookslot and a large audio track device. The rear part serves as a restoration studio, where there is a workbench, paint and other building materials. There are two large display cases in the Wonder Depot, the first of which consists of a large cabinet with several shelves. The shelves are filled with some ornaments and a number of authentic objects, including the milkmaid plate, a frog from the Frog Fountain on the Carnival Festival Square and the mirror-on-the-wall plate from the old Fairytale Museum. The second display case is directly opposite and consists of three cabinets, two of which are completely filled by a mannequin with old-fashioned staff clothing. The middle cabinet consists of a number of shelves, on which some old-fashioned audio tracks and other devices can be seen. There is also a beautiful mouse statue under a bell jar that was a gift from Euro Disney in 1993 when it won the Applause Award (in 1992); the original head of the wolf including old technique; the old witch from Hansel and Gretel, the old Kindervreugd statues and various smaller ornaments. Above the display cases are a large number of authentic statues and larger objects. Hanging from the ceiling is a crocodile from Fata Morgana and a service bicycle from announcer Kees Wartenberg.

To the right of the second display case is a smaller bell-shaped display case. This was placed in 2007 to contain a miniature steam carousel, a nice piece of home crafts that had little to do with the Efteling. The miniature disappeared in 2011, random objects have been displayed in the display case ever since. The right wall of the Wonder Depot consists of shelves with all kinds of heads and hands of Efteling figures. Several molds and casts of well-known figures from the park can be found here - some in old and clearly used condition, others undamaged for re-molding. The bottom shelf runs into a small podium, with larger attributes on it: a black-bearded Fakir, a 'bare' animatronic from Fata Morgana, an elf, an old-fashioned boat, three animals from the animal mill, the original mold of Baby Gijs, the door gnome. from the Kabouterboom and an unpainted version of Kogeloog. Below the podium where the larger attributes are displayed is an illustrated timeline of the history of the park, similar to the timeline that appears as a poster for the book Are we there yet? sat, but with the addition of the five years since the book's release.

On the north side of the building, the Efteling Museum has a courtyard, walled on two sides so that it is separated from Anton Pieckplein. In 2008 this courtyard was first accessible to the regular visitor during the exhibition 50 years 'The Gardener and the Fakir'‎ and various tulip varieties were exhibited here. Since then, on sunny days in spring and summer, the museum's emergency doors have often been opened to give access to the courtyard, where many flowers still stand amid wood chips and a fountain ornament. Within the courtyard, information about the park’s gardening styles and techniques will be exhibited and showcased from throughout its 70 year old cumulation of gardening knowledge. There are also some bistro tables. These offer Guests a scenic and slightly hidden way of enjoying the scenery as well as relax for a bit.

 

[TheSorcerersApprentice]

Indulge yourself in the smells, flavors, and stories of yesterday...

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Facing the Museum from the Muzikantenpoort is ‘Den Suykerbuyk’ (The Sugar Belly), an ice cream and waffle parlor where a wide range of snacks and hot and cold drinks are for sale. Warm waffles are sold here all year round; ice cream is also sold in warmer periods and on busy days in spring and autumn. It is themed both inside and out in the cozy old-Dutch style of Anton Pieck’s drawings and the range also fits in seamlessly with this: warm waffles with cherries and a large number of types of ice cream in freshly baked cones will all evoke the nostalgic sense that these images represent. In front of the building is a terrace, shielded from the square with low walls with flower boxes and a fountain on which the stack of the donkey, the dog, the cat and the rooster from the Town Musicians of Bremen are depicted, standing on each other’s backs, as they do in the fairy tale to appear much larger as a whole. The pose in which the animals stand is an iconic one: a well-known statue at Bremen Town Hall, cast in bronze by sculptor Gerhard Marcks in 1953, shows the animals in a similar position. Here, the statues are made out of polyester and polychrome. The donkey is grey, the dog brown, the cat ruddy and the rooster has naturalistic variegated colors with his head up in a crowing position. The statue stands on a pedestal that forms the center of a round fountain basin. The column has four metal mouths from which the water flows are lower on the lower ring of the column of masonry ice stones. In summer a trick is installed in the pedestal, which sprays unsuspecting Guests with water at unexpected moments.

‘’Once upon a time there was an old donkey who in his entire life had worked for a miller. With joy, he had carried thousands of bags of grain and flour, but today the work fell heavy on his shoulders. The miller said: ‘Donkey, tomorrow I will have to let bring you away and replace you with a fresh, young donkey!’ ‘Oh, really?’, the donkey thought. ‘You must have had your head get hit by the mill’s blades! You know what? I will leave to Bremen to become a towns musician. I have always wanted to make music for the people there.’ When he had walked for a while already, the donkey met a brown hunter dog who lay panting next to the road. ‘What happened to you?’ the donkey asked. ‘I must flee,’ the dog answered. ‘I have become too old to chase hares in the fields and forests. Now my owner wants to get rid of me, but I luckily got away in time.’ ‘What a disgrace, such an owner!’ yelled the donkey. ‘That’s a shame for a dog like you! Go with me to Bremen and become a Town musician with me.’ ‘That sounds fun’ the dog barked happily and together they continued the journey. Not much later they saw a black cat sitting unhappily along the road. ‘Say, mr. moustache your smile is turned upside down. Is something wrong?’ the donkey asked. ‘I had to flee my home’, said the cat. ‘I had a wonderful life, but now that I’m too old to chase mice, my owner wants me out!’ ‘What a shame for a cat like you!’ said the donkey. ‘Where do I go now?’ said the cat in a sad voice. ‘I would rather purr and lay safely in front of my fireplace.’ ‘Don’t be so down! Cats can make beautiful music at night, right?’, brayed the donkey enthusiastically. ‘Join us on our way to Bremen. With us three we will make a great orchestra!’ The cat joined them and enthusiastically, the three continued their journey. Just a bit ahead sat a brightly coloured rooster crowing on the fence of a large farm. The donkey said to him: ‘You crow as if your life depends on it. What is wrong, my friend?’ ‘Kukelekuu… I heard the farmer’s wife say that she is having Guests over for dinner tomorrow. Now she wants to have me in the soup. And that after to so many loyal years to them. So now I crow as loudly as I can, for as long as I can…’ ‘Why won’t you join us?’ said the donkey. ‘A good singer like you would be of good use! With us, you’ll be the first in front!’ The four of them continued they continued their journey and sang a happy song:

‘We zijn wel oud, maar niet versleten

Een ezel, een hond, een kat en een haan

En wie het vraagt die mag het weten:

Wij kunnen samen de wereld aan!’

(We may be old, but not rusted

A donkey, a dog, a cat and a rooster

And who asks may know

Together we can face the world!)

Bremen appeared to be further away than they initially had thought. In a dark forest, they stopped over to rest for the night. ‘We will have to make the best of it,’ said the cat as he nestled himself on a tree branch. The rooster who said a bit higher up in the same tree crowed: ‘Kukeleku, look over there! I see light, just ahead there in the woods! There is a little house over there, guys!’ ‘Who knows, we might even find some food there,’ barked the dog. ‘I would love a good meal right now.’ And the donkey said ‘What would the place serve tonight? Let’s go!’ They walked towards the light and within no time, they arrived at a little cottage in the woods. The donkey carefully took a glimpse inside. ‘Oops, looks like it’s a rovers den!’ he whispered to the others. ‘I see three of them inside. They are drinking and the table is full with delicious food. I see sausages and corn cobs and delicious brown bread.’ ‘That would be amazing for us,’ said the rooster, ‘but how do we take on them?’ ‘We will scare them,’ said the donkey. ‘I have got an idea!’ He explained his plan to the others and not much later the dog jumped on his back. After his turn, the cat jumped on the back of the dog and the rooster flew on top of the cat. And so they formed a tower of animals. ‘Musicians, ready?’ whispered the donkey. ‘One, twee, three… now!’ And then they brayed, barked, meowed and crowed as loudly as they could together. The donkey took a run and crashed him and his friends into the window and inside the cottage. Bang! Clang! Hundreds of glass pieces shattered around the room. The three bandits got the scare of a lifetime from the noise and from the large, mysterious figure entering through the window. Tripping over one another, they stumbled and fled outside as quickly as they could; they thought it must have been some horrible forest spirit. The four friends sat down at the table and enjoyed the left-over food. ‘That was not a bad performance,’ said the donkey, ‘for a beginning orchestra!’ They all laughed and took another sip of their lemonade. After their meal, they started to feel how tired they really were. They each found a comfortable spot to sleep. The rooster under the roof, the cat at the warm fireplace and the dog at the door. The donkey looked for a spot outside the house near a dunghill, which he was used to. They quickly fell asleep. In the meantime, the three bandits had caught their breathe. The headman said: ‘I don’t know what that just was, but the light in our house is going out right now.’ He pointed to one of his men. ‘You! Go and have a look what is going on there.’ ‘Me, I… eh M-Me?’ stuttered the bandit. ‘W-w-wouldn’t that be something more for him?’ he pointed at the other bandit. ‘Oh no! I can’t see very well in the dark, you see?’ he quickly replied. ‘And I can see very well!’ mumbled the headman. ‘I see that you two are of no use to me!’ That’s why he stealthily sneaked towards the house and headed inside. Everything seemed quiet. When he tried to turn on some lights, he saw the fiery eyes of the cat, which glowed in the nightly darkness. The headman thought that it had been burning coals and held a match close to it. The cat didn’t understand what was happening, the cat growled viciously and scratched the headman in his face. Oops, that headman got the scare of a lifetime! He quickly ran to the door but stepped on the sleeping dog’s tail. He bit the headman in his leg! ‘Ouch, ouch!’ yelled the headman and he limped outside. There stood the donkey ready to give him a strong kick with his tough hooves. The rooster woke up from all the noise and crowed: ‘Kukeleku! Kukeleku!’, while the bandit ran away from the property. As quickly as he could he ran towards his other men and while trying to catch his breathe told them: ‘You can’t get me inside that haunted house anymore! There lives a horrible witch who scratches your face with her long nails. In front of the door stands a man who stabbed me in my leg. And outside the house stands a black monster who hit me with a bat!’ ‘Brrrr!’ the two others shivered with fear. ‘And if that wasn’t enough already, I heard the forest spirit screaming from the top of the house! ‘Kill him! Kill him!’ it yelled. Now men, let’s make sure we get out of here!’ After that the bandits were never seen again and the house accommodated so well to the Bremen Town Musicians that they decided to never leave. And the donkey said: ‘And they lived happily…ever….after.’ ’’​

The façade has two pairs of French doors, the right pair, under a bell gable, positioned slightly more forward to create a somewhat L-shaped interior. The façade sign features a portly old man with owl glasses who eats both waffles and ice cream. Entering, we see robust wooden tables on both sides, as well as in the corner to the left. The interior is sleekly painted in Pieck colours, and the floor is tiled with a black and white block pattern. On a ledge above the panelling are electric candlesticks, and above the walls are papered. The counter consists of the ice cream display case, a checkout point on the left and the waffle maker on the right. High in the interior can be found ‘Jantje-Kontantje’ (Johnny Cash): a figure designed by Anton Pieck in 1955 who indicates that you cannot buy on the credit with the saying”

‘’Die hier wil borgen komt morgen

Vandaag is t’ een dag dat ik niet borgen mag.’’


(Who wants to guarantee here will come tomorrow

Today is a day that I can’t guarantee.​

Just on the corner is a charming tower with a copper spire in the shape of an onion. The top floor of the tower is panelled with green-stained wood, in which there are two windows. The lower floor is plastered, with a protruding, man-sized viewing cabinet with a clock gable, two turrets and a window in front of it. Above this viewing window hangs a round sign under which we can find a small attraction, the little blacksmith, with the text:

‘’Al wat er achter deez deuren zit, dat is… ‘het geheim van den smid’’

(All what hides behind these doors, that is… ‘the blacksmith’s secret)​

From a distance, the machine draws attention by regularly emitting the sound of a hammer blow on an anvil. The workshop of said blacksmith behind the viewing window is closed off by two green wooden doors with wrought iron fittings. Against the payment of one euro, two doors swing open and we see a diligent blacksmith forging. We see an older man, with a balding head and a band of gray hair. He wears a green shirt, red apron and clogs. He strikes his anvil on a piece of iron. It is surrounded by, among other things, a hearth, a forge with tools and coals, a bookshelf with two books, a cupboard, and a table with a pot full of nails and two more books on i.t to the left behind him is a passage to a staircase that leads up. There are two small paintings: a church tower and the ruined façade of the Haunted Castle. The little black smith is completely driven by a so-called chair, a series of discs, each with its own shape that provides movement. After a while, the doors close again and the machine ejects a golden ball with a pin in it.

Unlike the other machines in the park, the little Blacksmith has its own line of ejected pins: the so-called Blacksmith Series. The pins all have the same basic design: an arched window with a golden background and the text Efteling at the bottom. Within the arch is a Pieck-ish Efteling figure or building such as the Goose Maid, August or Prikkebeen. The figure is always elaborated in the style of a colored woodcut, in line with the illustration style that Pieck used in Grimm’s Fairytales. These pins are exclusively available here. Since the Blacksmith randomly ejects the pins, this is an extra dimension for the pin collector. ‘De Smulpaap’ (The Big Gourmand) is part of a corner placed, contiguous and high-Pieckerian row of facades that start at the tower of the little Blacksmith. Smulpaap is a fairly spacious building, built in Pieck tones, located directly against a long city wall. Pillar-supported arches give the fairly large building a relatively intimate character, while behind the counters, there is a wealth of space available for staff and frying equipment. The building has a fairly symmetrical set-up: in the middle there is a slightly advanced counter, with the painting of the hungry gourmand originally designed by Anton Pieck on the façade. After the counter we can go to the left or right, where the cash registers are located, after which it is immediately transferred to the issue counters. There is also a spacious automatic, which also has a series of hatches under the roof. Around the Smulpaap is a large outdoor terrace that is partly lit with authentic gas lamps.

An attractive and covered indoor dining option known as ‘Den Olycke Tweelingh’ (The Frolicking Twins), a classic old apple wine pub reminiscent of old Dutch, Belgian and German pubs. The name refers to the swaddled twins of Mother Gijs, who sit in her chair opposite this terrace. The twins including a distinctive bib and baby hat, are on the facade sign. Mother sits in a robust chair with its back against a house that serves as a container space. She is wearing a green dress and a lace cap with a wave motif on the brim. There is a smile on her face. In her arms she carries the two swaddled babies whining for paper. Mother herself does not speak or suck trash. The floor at her feet consists of a black and white tile pattern. The seating area inside consists of two parts that can be opened independently. The most important part is the right part, opposite Mother Gijs, on which the nameplate is also located. Here we find long wooden tables for snacking.

You can also sit at the wide wooden windowsill of the open windows that give a view of Oudrijk. Panels in Pieck colors and decoration hang on the wall, with candlesticks with electric candle lighting on them. The space is further lit with lanterns hanging from the beamed ceiling. The ‘Piet de Smeerpoets’ sign hangs prominently in the middle of this ceiling. For those who can't sleep because of hunger, the room even has a small indoor vending machine. Piet is depicted on the sign as a somewhat dishevelled little man, hair tousled, a red checked blouse, blue shorts and brown knee socks that are open at the knees. Piet eats from a sandwich at a red picnic table that is strewn with garbage, and on the floor it is also full of peels, trash, wads and empty cups. In the left corner is an empty wicker waste basket. Above his head is a ribbon with his name on it. The first lines of the verse are on his left, the last lines on his right. The verse reads:

‘’Piet smijt alles in het rond,

Papier en schillen op de grond,

Alsof geen prullemand bestond


Foei, zegt ieder die dat ziet

Wat ben jij een smeerpoets Piet!

Zo iets doet men immers niet!!!’’

(Piet throws everything all around,

Paper and peel on the ground,

As if no trash bin ever existed.



Bad boy, everyone says who sees

What a greaser you are clean Piet!

After all, you don’t do something like that!!!)​

The text is in capitals in a hand-painted Anton Pieck font. The first letter of each line is in a larger capital and colored in red , only the last sentence is completely in red, with the last two words also underlined. The figure of Piet has its origins in the book Piet de Smeerpoets from 1848, the Dutch translation of the German Struwwelpeter, a famous children’s picture book by Heinrich Hoffmann. The book also led to the general spread in the Netherlands of the word ‘smeerpoets’ (for an unclean person). The Peter from Struwwelpeter refused to cut his nails and comb his hair for a year. This gives him nails of twenty centimetres long and a huge head of hair. But no more. Also in the Dutch translation it doesn’t get any dirtier than long nails and ditto hair. The story is described by means of a poem in which the Efteling version clearly finds its inspiration:

‘’Ziet hier Piet den Smeerpoets staan!

Ziet dien viezen knaap eens aan!

Hij wou van zijn vingertippen,

Zich geen nagels laten knippen

Sedert zeker wel een jaar;

Ongekamd bleef ook zijn haar.

‘Foei!’ roept ieder die hem ziet,

‘Wat zijt gij een smeerpoets, Piet!’ ’’

(See Piet den Smeerpoets here!

Look at that dirty boy over there!

He wanted of his fingertips,

To get his nail cut, not a bit

For at least a year;

His hair also remained unkempt.

‘Bad boy!’ yells everyone who sees him,

‘What a greaser you are, Piet!’)​

The second room is slightly smaller and is accessible through two round arch doors at the rear of the first room or through a private entrance from the outside. Because of the appearance of a short tower with two small turrets against it, this is called the tower room. Unlike the room on the right, the room has closed windows and round tables with bistro chairs have been placed inside. ‘Spiegeltje, Spiegeltje…’ (Mirror, Mirror…) is located in a low octagonal building in Oudrijk with a bell gable next to ‘Den Olycke Tweeling’ containing the entrance. The exterior with its beige façade connects with the surroundings. The shop windows feature a range of fancy dresses and suits displayed. We also notice reproductions of various historical clothing design drawings for the park and entertainment, by Anton Pieck and Ton van de Ven, among others. To the left and right of the entrance are two small display cases with the English inscriptions ‘costumes’ and ‘dresses’. Via a red carpet and a small porch we enter one large, round room. The checkout counter is on the left. On the right in the room a sideboard with an antique sewing machine from the Lewenstein brand.

At the back are two fitting rooms with a small stage in front on which you can show your new outfit. Large background images have been installed in the fitting rooms for which you can photograph yourself. In between is the door to a small warehouse. On the middle column is a make-up table with mirror and on the opposite side the Magic Mirror in which you can virtually try on clothes. At the top center of the ceiling are all kinds of clothing from Efteling entertainment, which are not for sale. Around the edges of the ceiling are shelves with all kinds of sewing accessories as well as hats and hat boxes. The store mainly sells children's costumes from the Souza brand from Sint Oedenrode, but also from other suppliers such as Veneziano and its own Efteling label, including the dress of snow princess Jelka. In addition to the clothing, accessories are available such as fairy wings and various jewelry. A few non-clothing items are also sold at the cash register, including Photo Booklets. In addition to measuring clothing, it is also possible to have your face painted.

 

[TheSorcerersApprentice]

Come One, Come All

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Expanding toward the backstage employee area behind the current Travel Realm, Guests will wander off into an Anton Pieck-inspired circus ground. Circus Variete C. Robinson as inspired by old Anton Pieck artwork has come to town in Old Realm and provides Guests with new exciting adventures for all ages to enjoy. Filled with bright colors, circus posters, and lively music, you will really feel like you just stepped into the golden age of the circus. As you enter this sub-area, don’t forget to look down at the pavement – the circus animals and performers have left behind their footprints and the elephants even dropped a few peanut shells. As you enter this sub-area, you’ll be greeted by a fountain in the center depicting the Circus Ringmaster, Carel Robinson, and his crew of circus performers (and animals!). On your left, you will find the Grand Chapiteau Restaurant. Inside this tent complete, the atmosphere breathes pure nostalgia through plush, tinsel, and chandeliers that provide a fairytale circus experience. Guests can chow down on crowd-pleasers like fried chicken, pizza, cheeseburgers, and salads, all while surrounded by nostalgic circus acts that are performed above them. Don’t forget to gaze up above and wave to those passing by on the area’s rollercoaster, Circus Balance, as it circles around the big top.

To enter the queue for Circus Balance, Guests pass through a gate that is decorated with red curtains and ornate gold details. Above the ride marquee that can be found centrally above the ride entrance, a small animatronic figure lures Guests closer and closer to the attraction. From here, we pass through the gate and enter a smaller circus tent where we pass by the various backstage quarters of the circus performers, filled with posters, pictures, attributes, and costumes. The first room we pass through is the Circus Strong Man’s quarter where we see heavy weights and different types of gym attributes. His bed seems to be partly collapsed; he might need a better bed. Guests can pose in front of distorting mirrors that will make them seem stronger than before or interact with the various weights as well. Next, we enter the sword swallower’s room, where we see a variety of sharp objects hung out on the walls. Additionally, a rotating aim hangs on the wall and through advanced technology, Guests will be able to try their aim and throw knives at it; from time to time the wheel makes funny noises activated by hitting a target (‘Ouch!’, ‘Oof’, ‘Ai ai ai!’). Then, we pass through the Bearded Lady’s Boudoir, an ornate salon where several wigs and beards are hung out. Within her vanity mirror, Guests will notice that their faces have gone through a strange metamorphosis; They have grown a fancy hairy beard! Following is the Fortune Teller’s Quarter, where a magic glowing ball reveals mysterious messages for Guests on a central table. Tarot cards, a divination cup, candelabra (that magically lights itself from time to time), as well as various other mystic objects and books can be found around her room.

‘Komt dat zien, komt dat zien!

Circus Variete is gearriveerd en heeft een spectaculaire nieuwe show voorbereid, met uzelf als de grote ster als het ware!

Bent u er klaar voor om zelf de hoogte in te trekken en de wonderen der acrobatiek te wagen? Dan bent u precies op de juiste plek!

Oh, maar u ziet er al uit als een ervaren acrobaat! Maakt u zich maar geen zorgen over uw talenten, het plaatje zegt al genoeg! Kom snel, kom snel, want we zullen u opleiden tot een waar een circustalent!’

(Come all, come one!

Circus Variete has arrived and has prepared a spectacular new show with you as the grand star!

Are you ready to take on the height and brave enough to perform the wonders of acrobatics yourself? Then you’re exactly in the right place!

Oh, but you already look like an experienced acrobat! Don’t you worry about your talents, the image says enough here! Come quick, come quick, as we will train you to become a true circus talent!)​

The Clown Quarters follow, where various gags await us. Guests will be able to interact with various objects, such as fart pillows, water-spraying flowers, a jack-in-the-box, throw pies at masks in an interactive game or play music with the clown horn organ. Next, we enter the Magician’s Atelier, where Guests see various artifacts and objects related to his magic show; cards, dice, a classic big box, a bed of spikes, a cage holding white doves, etc. Guests will be able to pull rabbits out of magic hats, pull out an infinite line of colorful handkerchiefs out of the magician’s coat sleeve, and even make objects levitate by using a wand. We then pass through a corridor of doors, where various other circus act rooms can be found. Each door has a name on it and is themed to the specific artist. Behind some of the doors, we hear interesting noises; Marie Clodette, the circus’ plate act seems to drop her plates once in a while, while Madame La Wouffe can be heard training with her dog act, etc. At the end of the corridor, we are led into the acrobat quarters. Here we pass by various acrobat attributes, like cudgels, lamps, vases, bowls, instruments, juggle cones, jars, poles, etc. Guests will notice that a series of wires and ropes are suspended from the ceiling’s sides where the Circus acrobats train for their act. Here, we find out the plans for them to use a new piece of the show in which they will be launched from a cannon to perform their stunts through various drawings and concept posters.

From here, we are led to the loading dock where red curtains dress the room, as well as lights that illuminate the dark space. Across the waiting area, various posters are hung out of the various acrobatic performers. A train with 7 cars, each seating 2 across in a single row, and thus a total of 14 riders per train approaches and invites us to take a seat. The vehicle will be dressed in red, gold, and blue, almost representing an ornate nostalgic circus tent itself. The ride will be a launched steel family coaster produced by Mack Rides, similar to Slinky Dog Dash at Walt Disney World’s Hollywood Studios. The train leaves the loading dock and passes through a dark tunnel where various spotlights move around, as an exciting drum roll is heard. We move up a lift hill and above us we see various figures performing acrobatic stunts above us; abvaller, hochrad, a pass, etc. From here, we drop down through a tunnel leading outside, hit a left turn, and go over a smaller airtime hill. The train races over the circus grounds, passing over the wires and ropes that are suspended around the area and zipping over the roofs of circus tents. Guests then dip down into another smaller circus tent, where a ringmaster figure announces the Guests as his newest act as the train halts for a short moment. A circus cannon, somewhat similar to the Columbiad cannon, is built into the sides of the track. Riders are launched through a series of colourful hoops as the train passes the action-photo cameras, which take photos of the Guests.

The train makes its way through various turns, airtime hills, and then turns left. Guests go through a series of bunny hills and another turn. Along the way, riders can spot more scenery around the circus grounds as well as nearly miss limited-motion figures and set-pieces of various circus performers and acts. Seems as if the performance is not without chaos. We zip through the Grand Chapiteau Restaurant and circle around the top and pass over several smaller circus tents around the area, before hitting the final brake run where we spot a pyramid of acrobats that are applauding us for our bravery. Following this, the train goes back inside and returns to the station, where riders exit the ride. As we pass through the exit corridors we pass by screens that portray an applauding audience and then pass by the action-photo building, in which the photos are edited into vintage circus posters, as if they’re actually the circus’ next highlight act. Nearby, Guests will find ‘De Bonte Pakwagen’ (The Variegated Baggage Wagon), which is a shop decorated as a typical Circus Baggage Wagon, filled with circus equipment, properties, trunks, etc. Here, you will be able to find circus-related merchandise, themed to the Circus Variete.

Besides the Circus Balance Coaster, Guests will find that there are several smaller spinner attractions around the area as well. ‘De Circus Menagerie Carousel’ (The Circus Menagerie Carousel) is a carousel on which Guests will be able to board various circus animals, like tigers, zebras, horses, bears, seals, etc. The carousel is dressed as a colourful animal wagon and features murals of the various animal acts of the circus. The music comes from a Carl Frei organ, which plays nostalgic circus tunes. The diameter of the carousel is around 11 meters. A pennant is attached to each pole around the mill with the name and coat of arms of the Dutch places where supposedly the circus has been. Guests will hear an Appel (a signal from the dresseur or animal trainer that the animals must gather) as the ride begins. They will then enjoy a parade of the circus animals going around in circles and enjoy the view of the circus grounds. Another attraction is ‘Koenraad Kogelstoot’s Kogelzweef’, which will be a whirligig-type ride that features Guests in sixteen two-person seats, suspended from chains at some height from a decorated circus turntable. In the middle of the attraction, Guests will find a figure of Koenraad Kogelstoot, the circus’ strong man. As the ride begins it will feel as if Guests are lifted and swung around by the strong man. From here they will enjoy a view over the circus grounds. As the speed increases, the passengers wave further and further out. The last spinner attraction is ‘De Vlindermolen’ (The Butterfly Mill), which is a small covered caterpillar track. The attraction consists of a carousel with 20 carts that drive over an undulating course.

Each trolley offers space for two adults or an adult with two children and has a metal bracket that can be closed. With a caterpillar track, a high speed can be reached, so that occupants are pressed against each other by centrifugal force, but this variant is a lot smaller and therefore not nearly as fast. The ride is therefore mainly for small children. On the pole in the middle of the mill hangs a statue of Mr. Prikkebeen (Mr. Prickle Leg): a man with a top hat who tries to catch butterflies with his landing net that ‘fly’ a few centimeters in front of his net. Mr. Prikkebeen will be introduced as part of the circus crew, performing an act with butterflies. The side panels of the carts are decoratively painted like butterfly wings. The ride takes place under a 16-sided roof which is decorated with butterfly figures flying around, with a wooden arch between every two corners and a decorative panel on the edge of the roof. Small light bulbs shine on the inside of the arch construction, as befits a real nostalgic fairground attraction. Around the attraction is a decorative fence. At the entrance hangs a panel with a saying,

‘Elke dag rent Prikkebeen​

Springend door de velden heen​

Vlinders vangen met zijn net​

Is zijn allergrootste pret!’


(Every day Prickle Leg is running

Jumping through the fields

Catching butterflies with his net

Is his biggest joy!)

The last small tent in the corner of the Circus Grounds features a circus show, Circus Variete. Guests will be seated in a circular tribune. The show starts with an Efteling employee, the trash man, who despite his nice work in the Efteling, would prefer to join the circus. The circus ringmaster doesn’t want to hear anything about this and thinks the trash man is an annoying little man, not suitable for the show. This is also apparent during the circus performance, which is enacted through various acts throughout the story. The trash man manages to mess up all the acts, but that is precisely why he is asked to join the circus family as a clown at the end of the show. The show doesn’t feature any animals, but rather focuses on physical acts inspired by the various characters that are represented on posters and in the queue for Circus Balance. The show has a capacity of housing 350 Guests every performance and is performed multiple times a day.

 

[Goofy Ninja]

Coolio, The coaster reminds of the Space Mountain in Paris. But with an awesome circus theme to it.

 

[TheSorcerersApprentice]

Don't get tricked by the Sneaky Fox...

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Though the origin of our next attraction’s theme is somewhat mysterious, its impact on Dutch culture is undoubtedly strong. ‘Van den Vos Reynaerde’ (Reynard the Fox) is a collection of allegorical fables from the Middle Ages that exists in many variations. The Dutch variation is a collection made up of rhymed verses. The stories tell of Reynard, a sort of anti-hero and trickster figure that deceives the other animals in the kingdom. Although the original version features the Fox as a sly, amoral, cowardly, and self-seeking character, he is still seen as a sympathetic hero, whose cunning is simply a necessity for survival and part of his nature. In the end, the Fox curiously manages to get away from his unfortunate, yet self-caused fate of the death penalty at the King’s Court. He tells the King of a treasure and a betrayal in his kingdom. In return for the location of the treasure, Reynard is set free and is allowed to go on a pilgrimage to seek forgiveness for his sins. Only after a long time of searching does the King realizes that he is now a victim of one of his tricks. The stories themselves are written in a satirical way about contemporary human society, chivalry, aristocracy, and religious institutions.

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In the story, all characters are represented by animals and their specific characteristics. The medieval aristocracy is portrayed as a group of animals with King Nobel the Lion as the Head of the group. Important vassals are Bruun the Bear, Tybert the Cat, Isengrim the Wolf, and Grimbeert the Badger. Each of them is tricked by bad personality traits like gluttony, greed, and credulity. Other characters are also portrayed negatively to portray other social groups. An example of this is Bellijn the Ram who represents the kingdom’s head pastor who breaks his promise of remaining unmarried and pacifist, while the other villagers are seen as cruel and cowardly. Moreover, the story makes fun of the judicial system in the Middle Ages shown by how easily King Nobel is convinced to drop the charges against Reynard in exchange for the location of the treasure. Though Reynard is obviously not a saint as seen by his actions, he manages to create a sort of sympathy in that he cares for his family and clearly tricks those with bad personality traits by learning them a lesson (though quite tough ones!). Even though the original version is quite cruel, it could easily omit these segments and change them into a somewhat more family-friendly version for Efteling’s selection of stories.

‘One day around Pentecost, King Nobel would hold a large court of law to make a judgment of crimes in his kingdom. All the animals in the kingdom had joined, except for one, sneaky Reinaert the Fox, who apparently had tormented several animals with his dastardly tricks. He had mocked Isegrim the Wolf and his wife, he also had stolen the sausage from Courtois the Dog and eaten the chickens of Botsaert the Pork. Grimbeert the Badger, however, was the only one who would defend his cousin Fox and tells the king that Reinaert has started living as a hermit and abstains from eating meat nowadays. But then, Cantecleer the Rooster arrives at the Court, with his daughters who are now featherless. ‘Oh dear King, look what the Fox has done now! My daughters look terrible, this will not do!’, crowed the Rooster in his bright feather coat. Yes, Reinaert had taken so many stretches that King Nobel had no choice but to take the complaints seriously and thus asked Bruun the Bear to take him to the court. So Bruun went on his way to Malpertuus Castle where Reinaert, also known as Reintje lived. Once he arrived, he called out to Reintje and said, ‘Oh lord, oh my friend, open the doors! I come as a saint of the King and challenge you to the court where you are expected to pay for your crimes.’ Reintje heard this and quickly tried to come up with a ruse. With a friendly grin, he went to Bruun and said: ‘Good day, my friend! I’d like to come with you, but I’m feeling such an ache in my stomach.’ ‘Oh, but whatever is the matter with your stomach?’, asked the Bear. ‘Honey’, answered Reintje. ‘Normally I don’t eat that, but I was so hungry!’ Bruun’s mouth started to water immediately when he heard about the honey and asked if Reintje might have some for him too. ‘Of course!’, said Reintje and he took Bruun to the garden of carpenter Lampert. There was a split tree filled with delicious honey. ‘Stick your head into this and you’ll find the most delicious honey in the land’, Reintje said. Bruun, who was unaware of any harm, did exactly that and got stuck immediately. Reintje laughed at him and fled back to his castle. Roaring in pain and with the greatest possible effort, Bruun pulled his head out of the tree trunk, but his feet remained stuck. The noise quickly reached carpenter Lampert who encountered the bear in his backyard. Out of fear, he quickly called the villagers together who would hit the bear with all sorts of objects, thinking he was out to eat the smaller animals. Luckily, Bruun could free himself just in time, but hurt his paw during his escape. Despite that, Bruun angrily returned to the King’s Court. When the King heard the whole story of the Bear, he was furious and promised to avenge him. He now sent Tybert the Cat to pick up Reintje. When Tybert arrived at Malpertuus and reported his message, Reintje offered him to go to a place filled with delicious mice. ‘That’ll do you good, my friend!’ He brought the Cat to the Pastor’s Shed. In the wall of the Shed, Reintje had made a hole to easily snatch a chicken away to still his hunger. The pastor knew about his missing chickens and had set a trap. When Tybert the Cat slipped through the hole in search of delicious mice, he became trapped instead of Reintje. Tybert begged the Fox to help him out, but Reintje laughed at him and fled the scene. When the pastor came inside his shed and saw his prisoner, he thought that it was Reinaert. He quickly gathered his servicemen and together they would handle the thief. Luckily, Tybert could escape the trap in time, but he hurt his eye in the process. When the King heard the story of the Cat, he again felt furious and now sent Grimbeert the Badger to pick up Reintje. Wonder over wonder, Grimbeert managed to get Reintje to the King’s Court and advised him to commit his crimes and ask for forgiveness. At the Court, the prosecutors await the Fox. On the spot, all the accusations were read out. It didn’t look good for Reintje as the gallows were made ready for his punishment. But when Reintje asks for some last words and starts talking about the great treasure in Flanders, the King suddenly becomes mild. In exchange for the treasure, Reintje would be graced. Belijn the Ram and Cuwaert the Hare would come with him to find the treasure. Once arrived at Malpertuus, Reintje scared Cuwaert away by telling him he would be a great option for dinner and led the Ram through a Fox Den that would supposedly lead to the treasure. Instead, the tunnel dropped him into a patch of stinging nettle. Belijn returned to the King and told him what had happened. The King was now extremely angered by the Fox and his dastardly deeds, thus he ordered for him to be taken out of his castle by force, but Reintje was a smart talker. And in no time he had convinced the King that Bellijn was guilty of going after the money for himself and killing Cuwaert. Reintje devises a new ruse: he tells the king that Izegrim, Bellijn, Bruun, and Tybert have plotted a conspiracy against the king and have hidden the treasure of which only he knew the location. Nobel and his court fall for it and go in search of the non-existent treasure, imprisoning the aforementioned animals, while Reinaert manages to flee on the pretext that he is going on a pilgrimage. The sneaky fox seems to have gotten away with his tricks! It would take months for the King to realize that he himself has been tricked, but it’s far too late now to ever catch Reinaert again, as he has fled into the wilderness, back to his family and with the many treasures that he was gifted for his pilgrimage.’

‘Van den Vos Reynaerde’ will be a log flume ride with dark ride scenes. The ride takes place in an intricately complicated designed show building that is made out of a selection of medieval buildings from the Netherlands and Belgium, surrounded by dykes, trees, hills, and bushes. Guests enter the queue in front of the main drop viewing area, which is made out of an odd castle façade built on a hill. Every few minutes, a log emerges from a fox den that is dug into the hill and drops down through another hole, dodging a patch of stinging nettle. The queue winds past the ride’s marquee into the main entrance where we wind past several animal homes of King Nobel’s animal kingdom. Various silhouettes inside these houses reveal that the animals are all gossiping about the tricks and dastardly deeds that Reinaert has committed. It is here that Guests get a clear introduction to the characters from the story’s universe through various signs throughout the queue, which winds past the various animal homes until it reaches the loading area. Along the way toward the loading area, Guests will find that paper proclamations are hung out around, announcing the invitation by King Nobel for a royal court of Justice; everyone is invited. The loading area itself will be indoors and dressed as a calm rural ‘polder’ stream through which logs slowly drift by. A wooden windmill next to the stream controls the stream, by pumping water forward. Riders board eight passenger logs, seated two by two.

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The log departs the loading area, turns to the right, and ascends a small conveyer-type lift before floating gently through scenery designed to evoke the feeling of a serene river flowing through a Dutch countryside landscape. The farm homes and aged farm equipment of various animal characters are incorporated into the landscape, along with an instrumental soundtrack emanating from hidden speakers along the waterway. We see various animatronic figures of animals preparing to head to the Castle, where King Nobel is holding his court day. All of these animals will be dressed in human clothing inspired by the Medieval period in Europe. The log slowly nears a Castle structure, whose wooden gates slowly open. We then reach another lift hill used to haul cargo into the castle. We see Rhino Guards turning a gear to hoist us in and at the top, we reach a show scene where the Animals from the kingdom have gathered around King Nobel and her Queen, who are seated in their thrones. Among the animals are species from around the world, such as squirrels, panthers, goats, bunnies, and ostriches (again all wearing human costumes originating from the medieval period. They all seem to be complaining about Reynard the Fox.

Isegrim the Wolf: ‘Koning Nobel, ik kom met mijn klacht bij u want Reinaert heeft me zoveel leed berokkend. (King Nobel, I come here with my complaint, because Reynard has caused me so much suffering.)

Other animals: Leed heeft ‘ie ons allemaal berokkend, sire! (He has caused us all suffering, sire!)

King Nobel: ‘Laat horen, wat is jullie klacht?’ (Let us hear it then, what is your complaint?)

Animals: ‘Klacht? Klachten, sire! Die sluwe vos heeft ons zoveel aangedaan! Te veel om op te sommen. (Complaint? Complaints, sire! That sneaky fox has caused us so much! Too much to sum up.)

King Nobel: ‘Een voorbeeld, graag.’ (An example, please.)

Isegrim the Wolf: ‘Hij heeft mijn vrouw en mij bespot!’ (He made fun of my wife and I!)

Courtois the Dog: ‘En van mij heeft hij een saucisson gestolen!’ (And he has stolen my saucisson (French for sausage; Courtois is supposedly a posh French poodle)!)

Botsaert the Pork: ‘Hij heeft mijn kippen gegraaid. Meer dan eens!’ (He snatched my chickens. More than once!)

Courtois the Dog: ‘Die vos, sire, mon roif, moet worden gestraft!’ (That fox, sire, mon roif(My king with a bark worked into the pronunciation), has to be punished!)

Isegrim the Wolf: ‘Hangen moet ‘ie!’ (He has to hang for this!)

Animals: ‘Aan de galg moet hij bengelen!’ (He must dangle from the gallows!)​

The log passes by a figure of Grimbeert the Badger on the left who tries to calm the animals in the Court Hall and defends Reynard.

Grimbeert the Badger: ‘Niet zo snel, heren. Ach mijn arme oom Reinaert. Iedereen beschuldigt en belastert hem. Net nu hij zijn leven heeft gebeterd. Het vlees heeft hij afgezworen, en is nu vegetarier. Hij bedelt langs de straten en leeft van wat hij als aalmoes krijgt. Mijn arme oom.’ (Not so fast, gentlemen. Oh, my poor uncle Reynard. Everyone is accusing and defaming him. Just when he has bettered his life. He has renounced from eating meat, and is now vegetarian. He’s panhandling in the streets and lives off of what he receives as alms. My poor uncle.)​

Suddenly a door swings open, bumping into Grimbeert. The sound of a rooster crowing and sad music resounds. It is Cantecleer the Rooster, who reveals that his daughters’ feathers have been stolen by the sneaky fox. The daughters have covered themselves up with curtains and drapes to avoid being pinkishly naked.

Cantecleer the Rooster: ‘Sire, dit is ongehoord! Het was Reinaert, Hoogheid. Reinaert heeft de veren van m’n dochters gestolen! Dit is toch geen gezicht zo!’ (Sire, this is unacceptable! It was Reynard, Highness. Reynard has stolen the feathers of my daughters! This simply won’t do!)​

We hear the loud murmuring of the animals in shock. The log turns a corner and we see how King Nobel orders for him to appear in front of the Court. He orders Bruun the Bear to get him. A figure of Bruun in a salute appears near the Castle gate before the log exits. He says,

‘Ik ken zijn sluwe vossenstreken wel. Vrees niet, koning, straks staat hij voor uw troon.’

( I already know of his cunning fox tricks. Fear not, my king, he will be facing your throne soon.)​

We exit the castle and drop down into the forest. On the right side of the log, a figure of Reynard rises from the bushes holding a sort of horn. He lets out a sneaky grin, signifying that he has overheard all the commotion in King Nobel’s Castle. As we pass by, he dugs down again, preparing his next monkeyshine. The log continues to drift through the forest and makes a turn to the left. Here, we see how Reynard fakes his stomach aches while directing Bruun to a log filled with delicious honey. In the background we see a Beaver Den, belonging to Lampert the Beaver carpenter.

Bruun the Bear: ‘Ik kan niet wachten, ik duik er meteen in!’ (I can’t wait, I’ll dive right into it!)

Reinaert the Fox: ‘Laat het je smaken, Bruun. Steek je kop er maar helemaal in. En smullen maar!’’ (Let it be a delight for you, Bruun. Stick your whole head into it. And enjoy!)

We see how the Bruun figure sticks his head into it, but suddenly seems to be stuck.

Bruun the Bear: ‘Au, au, ik zit vast! Help, help, help!’ (Ouch, ouch, I’m stuck! Help, help, help)​

The log dives into a tunnel and we hear that Reynard has shouted out to Lampert and the villagers who have all taken an attribute to hit with and are giving Bruun who looks unrecognizable inside the log and covered in honey (portrayed by more shadows on the wall). Within the tunnel, we can see how Bruun sees imaginary bees flying around him as he is now covered in wounds, bandages, and bumps from getting hit.

Lampert the Beaver: ‘Een monster, een monster! Hij zit vast in de boom. Hij gaat ervan lusten!’ (A monster, a monster! He’s stuck in the tree log. This will teach him!)​

We exit the tunnel and see a figure of Reynard, laughing around the corner.

Reinaert the Fox: ‘Wat is er Bruun? Is de honing je niet bekomen? Heb je krampen? Arme Bruun, hahaha!’ (What’s wrong, Bruun? Wasn’t the honey good for you? Do you have an ache now? Poor Bruun, hahaha!)​

We are now back in the forest landscape where we see Reynard in a hammock swinging calmly back and forth, humming a tune. It seems to have become slightly darker, we are nearing the evening now. Behind him in the bushes, Tybert the Cat appears as the second one to attempt to get him to Nobel’s Castle.

Tybert the Cat: ‘Een goede avond, beste Reinaert. (Good evening, dear Reynard)

Reinaert the Fox: ‘Ook een goeie avond, beste Tybert. Welk goed nieuws brengt jou hier? (Good evening to you too, dear Tybert. What good news has brought you here?)

Tybert the Cat: ‘Goed nieuws? Niet voor jou. Koning Nobel is in alle staten om wat je Bruun hebt aangedaan. Ik kom je halen om met mij mee naar het Hof te gaan.’ (Good news? Nothing for you. King Nobel is outraged by what harm you’ve caused to Bruun. I’ve been sent to come and get you to go to the Royal Court.)

Reinaert the Fox: ‘Oh, maar het wordt al laat hoor, mijn vriend. Wat dacht je ervan om een lekker muisje te snoepen voordat we naar het Hof gaan. In de schuur van de pastoor heerst tegenwoordig een heuse muizenplaag!’ (Oh, but it is already getting late, my dear friend. What would you say about catching some delicious mice before we go to the Castle. The pastor has a true mouse plague in his shed nowadays!)

Tybert the Cat: ‘Muisjes?! Die ik wel. Breng me erheen, Reinaert, en ik zal je eeuwig dankbaar zijn. Zo’n festijn wil ik niet missen!’ (Mice?! I love those. Bring me there, Reynard, and I will be forever grateful. Such a feast is not to be missed!)

Reinaert the Fox: ‘Kom maar mee, Tybert. Ik laat het je tonen! Daarginds op de heuvel.’ (Come with me, Tybert. I’ll show you! Up there on the hill.)​

The log climbs another lift hill, up an actual green hill. On top of the hill, we find a wooden shed, and not too far lies a rectory. Again, we see figures of Reynard and Tybert. Tybert looks somewhat doubtful about whether he should trust Reynard, who suspiciously tells him to go through a hole that he’s made in the wall of the shed. We hear the sounds of mice coming from inside.

Reinaert the Fox: ‘Stil we zijn er. Ik hoor de muizen al piepen. Kruip hier door dat gat, Tybert.’ (Quiet, we are here. I hear the mice squeaking already. Crawl through this hole here, Tybert.)

Tybert the Cat: ‘Door dat gat? Is dat wel veilig?’ (Through this hole? Is that safe?)

Reinaert the Fox: ‘Ik heb het zelf gemaakt. Zo veilig als wat. Je hebt toch geen schrik? Ben je bang van muizen? Toe kruip erin. Ik houd de wacht.’ (I made it myself. It’s as safe as it can be. You’re not afraid right? Afraid of mice? Go, crawl into it. I’ll stay here on watch)​

Once the log enters the shed, the sounds of mice and chickens take over. We see multiple chickens sitting on sticks, somewhat surprised by our entry. Then, out of nowhere, a lot of noise occurs, lights flash, and the log drops down past a door that opens with the Belijn the Ram, and under Tybert who is stuck in a snare that the pastor, Belijn had set up for Reynard the chicken thief.

Tybert the Cat: ‘Ai, au, oei, een strik ! Ik zit vast, help, Reinaert! (Ai, ouch, oof, a snare! I’m stuck, help, Reynard!)

Belijn the Ram: ‘Daar zit de kippendief! Sla erop los!’ (There’s the chicken thief! Hit him!)​

We exit the shed and pass by another figure Reynard who is now laughing on the floor.

Reinaert the Fox: ‘O Tybert, zijn ze lekker? Zing jij altijd zo mooi bij het eten? Hahaha.’ (O Tybert, do they taste good? Do you always sing so beautifully while eating? Hahaha.)​

We pass through the countryside landscape again and now pass by Grimbeert who is talking to Hermelien, Reynard’s wife. Behind her, we see several small foxes anxiously looking at us and Grimbeert; Reynard, and Hermelien’s children.

Hermelien the Fox: ‘Neef Grimbeert! Wat ben ik blij om je te zien.’ (Cousin Grimbeert! How happy I am to see you.)

Grimbeert the Badger: ‘Hermelien, ik heb helaas geen reden om blij te zijn. Koning Nobel heeft me gestuurd om Reinaert naar het hof te brengen. Hij zit goed in de problemen. Als hij zich niet verdedigd, zal Nobel jullie huis met de grond gelijk maken. Jullie zouden voer voor de wormen worden…’ (Hermelien, unfortunately I have no reason to be happy. King Nobel has sent me to bring Reynard to the Royal Court. He’s in big trouble. If he doesn’t defend himself, Nobel will destroy your house. You will all be worm food…)

Hermelien: ‘Och hemel! Dat ‘ie zich maar niet laat doen. Dat ‘ie zich maar verdedigd als de slimste advocaat. De kinderen hebben je nodig, mijn liefste.’ (Oh, dear! Don’t let that happen. I hope he defends himself as the smartest attorney. The children need you, my love)​

The log drifts onto a Castle Square, where animals have gathered once again. King Nobel and his Queen again are seated on thrones. The animals around the square seem to be murmuring about what is happening. Reynard is kneeling on the ground, begging for forgiveness from the Royal Couple.

Reinaert the Fox: ‘Koning, hier staat uw trouwste onderdaan. Ik smeek God, de allerhoogste, dat Hij je gezondheid en een lang leve moge geven.’ (King, here stands your most loyal subject. I beg God, the highest power, that He grants you good health and a long life)

King Nobel: ‘Genoeg gevlei, Reinaert. Laat horen wat je te zeggen hebt. (Enough flattering, Reynard. Let’s hear what you have to say.)

Reinaert the Fox: ‘Ik ben eerlijk en onderdanig, sire. ‘k Heb steeds uw wet nageleefd. Maar ik zie hier velen, die u bedriegen, die u beliegen, die veinzen. Het zijn laffe kwezels, kwakers zijn het en stomme ezels!’ (I am honest and loyal, sire. I have always followed your ruling hand. But I see many here that betray you, lie to you, who feign. They are cowardly bigots, quakers and dumb donkeys!)

King Nobel: ‘Genoeg gesproken, jij loze vos! Firapeel, lees de beschuldiging voor!’ (Enough talking, you empty fox! Firapeel, read the complaints out loud!)​

We pass by a figure that blows on a trumpet and reads out the complaint. After him, we see Courtois, Cantecleer, and Isegrim again who each jump out and add their complaint.

Firapeel the Monkey: ‘De vos, Reinaert genaamd, heeft de koninklijke gezanten verwond en schade toegebracht.’ (The fox, named Reynard, has wounded the Royal envoys and caused them suffering.)

Courtois the Dog: ‘En mijn saucisson gestolen!’ (And stole my saucisson!)

Cantecleer the Rooster: ‘Mijn dochters hun veren geroofd!’ (Robbed my daughters of their feathers!)

Isegrim the Wolf: ‘Mijn vrouw bespot!’ (Made a fool out of my wife!)

Firapeel the Monkey: ‘Het vonnis luidt: De vos moet hangen!’ (The verdict is: that the Fox must hang!)

Animals: ‘DE VOS MOET HANGEN ! DE VOS MOET HANGEN !’ (THE FOX MUST HANG! THE FOX MUST HANG!)​

The log exits the square and turns a corner to where Nobel, his queen, and a Rhino guard named Hersinde are standing next to the gallows. Reinaert stands on a wooden platform awaiting his unfortunate fate.

King Nobel: ‘Nu zul je hangen voor je schurkendaden, vos!’ (Now you will hang for your crimes, fox!)

Reinaert the Fox: ‘Koning Nobel, wacht nog even. Ik heb allen, veel misdaan, maar dat is nu eenmaal vossenaard. Isegrim, die de galg nu voor mij plant, heeft mij – naar wolvenaard – nog meer kwaad gedaan! Mij het eten uit de bek geroofd! Gelukkig bezit ik een grote schat, zodat ik nooit om eten verlegen zat. (King Nobel, wait just for a bit. I have caused all of them so much pain, but that’s just fox nature. Isegrim, who is preparing the gallows for me right now, has caused me – according to wolf nature – much more suffering! He has robbed the food out of my mouth! Luckily, I’m in the possession of a treasure so that I was never scarce of food.)

Queen Nobel: ‘Schat, hoor je dat: Een schat!’ (Honey, do you hear that: A treasure!)

King Nobel: ‘Een schat? Hoe kom jij aan die schat? (A treasure? How did you get this treasure?)

Reinaert: ‘De schat van Vlaanderen. Ken je die niet? Ik heb die lang geleden gevonden. Ik kan u hem wel brengen, Majesteit. Maar in ruil daarvoor moet ik wel in leven kunnen blijven. (The treasure of Flanders. Do you not know it? I have found it long ago. I can bring it to you, Majesty. But I would have to be alive to do so.

King Nobel: ‘Goed dan. Cuwaert, Belijn! Jullie zullen met Reinaert meegaan om de schat te vinden.​

Cuwaert the Hare and Belijn the Ram jump up from the sides and immediately yell, ‘Yes, sire!’. The log then exits the city, and moves back into the forest. Here we see Reinaert scaring off Cuwaert first. Through a physical set and projections, we see the Hare running off into the distance. We then near the last lift hill. Above the lift hill, we can see the construction of Castle Malpertuus, which is also what Guests see outside in the front viewing area. Under it, the log passes through a Fox Den that should lead to the treasure. Reinaert stands next to the opening at the bottom of the Fox Den.

Reinaert the Fox: ‘Hier, door dit hol. Aan het einde van de tunnel ligt de schat, rijkdom zal u ten dele vallen!’ (Here, through this hole. At the end of the tunnel, riches will be yours!)​

The mood turns slightly ominous as the logs begin climbing up the final and longer conveyer belt. Shortly before, the attraction’s climactic drop, Belijn the Ram can be seen alongside the hill.

Belijn the Ram: ‘Weet je zeker dat het hier is? Ik ben er bijna. Oh, die schat zal mij rijk maken! De koning zal vast niet merken als ik wat voor mezelf neem, ha ha.’ (Are you sure it’s here? I’m almost there. Oh, that treasure wil make me rich! The king surely won’t notice if I take some for myself, ha ha.)​

Riders are then sent down the final drop into the patch of stinging nettle, mimicking Reynard’s trick to send Belijn down the Fox Den. An on-ride photo is taken as the log begins to fall, and it can be purchased after disembarking from the ride. From the top of the hill, riders looking toward the splashdown point will notice a full pond of water ahead of them. The log then ‘dives’ underwater into an underground runout. An indoor segment follows the drop, after which the logs make a final entry into a section of the show building. Here we find out that Reynard has told King Nobel that Belijn, Tybert, Bruun, and Isengrim have all plotted against the King. We see them in prison (almost similar to Pirates of the Caribbean’s jail scene). We then see King Nobel and his subjects searching around the forest for the treasure, waving at Reynard who has packed his things and is waving with his family. The sneaky fox has gotten away with his tricks and can now take care of his family.

Queen: ‘Wat heb je dat toch goed gedaan, Reinaert! Je hebt de kroon beschermd en jezelf bewezen. We zijn je voor eeuwig dankbaar, vooral als we de schat vinden.’ (Oh you did a great job, Reinaert! You have protected and the crown and proven yourself. We are forever grateful, especially once we find the treasure.)

King Nobel: ‘Ik, Koning Nobel, schenk Reinaert, omwille van zijn trouw aan ons, de vrijeheid! Ga nu, maar. Ga met Gods zegen!’ (I, King Nobel, offer you Reynard, in name of your loyalty, your freedom back!. Go now. Go with God’s blessing!)

Reinaert the Fox: ‘Sire, en u majesteit zullen wij eeuwig dankbaar zijn. En jullie allen, bidt samen met ons. Dank u voor uw geschenken. Rome zal ons verlossen van onze zondes. Vaarwel!’ (Sire, and you, your Majesty, we will be forever grateful. And you all, pray together with us. Thank you for your gifts. Rome will release us of our sins. Farewell!)

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Before the return to the loading area, riders are given a preview of their picture and are told the ending of the story, of how the King eventually found out that he himself had been tricked and never found the treasure. Of how Reynard lived happily with his family in the wild. After disembarking from the log, riders enter the photo station, where our on-ride photos are worked into medieval wanted posters. From here, we finally will be able to exit the attraction. I'd imagine the ride to be somewhat like Splash Mountain, but with scenes more on the scale of Pirates of the Caribbean.

 

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The queue will be set both outdoors and indoors winding through the excavation site of the temple with hints and details revealing more of the backstory and what to expect of the experience. An energetic mariachi number plays as we wait in line and learn about the mischievous ancient idols that come to life. These are believed to be demi-gods causing chaos on Guests’ expedition. The building itself has a circular main building holding the loading dock for the attraction. It is inspired by the 600 year old adobe-architecture that Chimu-natives used their city Chan Chan in modern day Peru with smeared sun-dried loam. Two large monolithic atlantes or ‘warriors’ inspired by the Toltecs and the fictional Miraflora culture guard the temple. A large stone piranha-monster marks the entrance to the temple. The temple will be graced in earth tones and bright colors inspired by pottery from Central and Southern American cultures. Inside, we are brought to the rafting dock of the Society.

So, this is the entrance to the ride?