Loom Digital, the Bristol-based digital marketing agency, is celebrating 17 years in business with the launch of ClearThread™, a new flagship model for how the agency builds digital growth strategies for its clients.
Founded in 2009, Loom Digital has grown from a small team into a full-service digital agency working across paid media, organic search, content and data. ClearThread™ formalises an approach the agency has been refining for years: understanding the full complexity of a client’s business before building a single, connected strategy across every channel.
The model is built around four stages: Complexity Mapping, where Loom analyses a client’s business, audiences and digital landscape in detail; ClearThread™ Strategy, where those findings are translated into one coherent plan; Marketing System, where an experienced team activates that strategy across the right channel mix; and Simplified Reporting, which ties performance back to commercial outcomes rather than channel-level metrics alone.
“Marketing in 2026 is a tangle of evolving audiences, AI and fragmented user journeys. In our 17 years at Loom, we’ve learned to lean into that tangle. We developed the ClearThread™ model specifically to solve these challenges, because our team excels at untangling the toughest briefs and making real positive change for our clients.” Karen Pearce, Managing Director, Loom Digital
The agency says the launch reflects a wider shift it has seen in the businesses it works with, many of which operate across multiple audiences, markets or channels and have struggled to keep marketing activity joined up as a result.
“ClearThread™ isn’t about a single project. It’s about the calibre of client we can now serve. Most of our clients stay with us for more than two years, some for over a decade, because our method works. This model gives us the framework to bring that thinking to bigger, more complex businesses.” Tommy Pearson, Head of Growth, Loom Digital
Loom Digital reports an industry-leading client NPS score of 80 against an industry average of 39, and says 80% of its clients partner with the agency for more than two years, with some relationships spanning over a decade.
The launch coincides with changes and promotions within the team. Head of Multi-Channel Strategy, Daniel Waller joins the Senior leadership team and has been closely involved in shaping ClearThread™ and will lead its delivery across the agency’s client accounts.
The agency has grown its team significantly over the last 12 months, with six new hires joining across paid media, SEO and GEO and Account Management: Alex Andreev (Senior Paid Media Manager), Hollie McGuire (Paid Media Manager), Dan Shadwell (Paid Media Manager), Thaneya Chishty (Paid Media Manager), Hannah Bowers (Strategic Account Manager), and Joe Caley, who joins as Head of SEO & GEO. Loom has also welcomed Jeremy Hayward as board advisor who brings 35 years experience in the financial marketing sector.
“Seventeen years in, the thing I’m proudest of is the calibre of people who want to build their careers here. Promoting from within and bringing in specialists at the same time, tells you where the agency is now and where it’s heading. Joe Caley’s appointment as Head of SEO & GEO comes at a pivotal moment. AI is changing how people search and how businesses get found. We want our clients ahead of that change.” Nikki Ellison, Founder, Loom Digital
Bristol/London/Amsterdam – March 26, 2026
Following a significant growth year within its PR & Comms division, Diva Agency today announces the launch of a new Creator and Community engagement team, to lead on fan engagement and influencer marketing strategy for its portfolio of entertainment clients. The new division will service the agency’s global games and entertainment client base and will form a strategic bridge between its high performing creative and communications teams.
Officially launching in March 2026, the team will be headed up by Creator and Community Director, Charlotte Willis.
Charlotte has worked at Diva for over six years, with roles across both comms and creative divisions, and has headed up influencer activity at the agency for the past year, growing the influencer business by 300% in 2025.
“Launching this new division is the next step after a standout year of growth for our PR and Comms business” said Charlotte. “I’m so excited to build on that momentum, ensuring authenticity and creativity remain at the heart of how we connect with creators and communities.”
Diva’s new team will help entertainment IP to find their audience, build communities, and engage fans where they hang out, across deeply engaged online niches.
Diva CEO and Co-Founder, Suzy Barnes said of the new offering: “As creator channels increasingly occupy the space previously owned by traditional media, and the attention economy becomes ever more competitive, influencer partnerships are an increasingly central part of the marketing mix, delivering access to deeply niche audiences and driving the best ROI for brands.
“When it comes to games IP in particular, building your own community in the pre launch window is essential to help games teams form direct, early relationships with their future fanbase, allowing them to gain early feedback which can even inform the game build itself.”
“By combining our thinking around community building to include creator partnerships and organic influencer outreach, we can help accelerate community engagement in a way that makes fans feel like they are part of the journey and part of the culture,” adds Barnes.
“Charlotte has been essential in building our PR department from the outset,” says Rick Sloof, PR & Comms Director at Diva Agency.
“Early success in securing major wins with the likes of Disney, Gearbox, Arc Games, Zynga, Wargaming and PlanetPlay proved that she was ready to lead the new team, and put our approach to community and influencer marketing in the spotlight.”
ABOUT DIVA AGENCY
Diva is the UK’s leading gaming specialist creative agency. Founded in 2007, the agency client roster includes some of the biggest publishers, games and entertainment brands in the world, including Activision, Sony PlayStation, Square Enix, Bandai Namco, Ubisoft, Netflix, Bethesda, Creative Assembly, Secret Mode and Devolver Digital.
Immersive Ideas Founder Sarah Morris explores how ‘immersive’ emerged as a practice and methodology, not just a passing trend, but a cultural shift shaped by decades of experimentation.
The word immersive is now everywhere in the live experience industry. It appears across theatre, exhibitions, themed entertainment, festivals, brand activations, and cultural events. Yet its widespread use often obscures the fact that immersive is not a new idea, nor a shallow one. It is a term with a long, contested, and deeply theatrical history, and much much more than just a buzz word.
Immersive did not begin as a marketing label. It emerged through artistic experimentation, theoretical debate, and a growing dissatisfaction with distance between audiences and performance. While many disciplines have contributed to immersive practice, it was actually theatre that crystallised immersive as a cultural movement, articulated its values, and pushed it into the mainstream consciousness.
This article traces the history of immersive practice across theatre and live experience, arguing that immersive is not defined by technology or format, but by a convergence of artistic integrity, world building, audience journey and agency, story, performance, and theatrical design.
Immersion existed long before immersive had a name.
Before immersive became a recognised practice, performance was already concerned with how audiences enter a world rather than simply observe it. Classical theatre traditions were built around proximity, ritual, and shared focus. Greek tragedy used architecture, chorus, rhythm, and repetition to draw audiences into a collective emotional state. Medieval mystery plays moved through streets and civic spaces, embedding story into daily life and collapsing the distance between performance and reality.
Theatre scholar Dr Emma Cole notes that immersion has “intrigued humanity since antiquity,” pointing to the long standing human fascination with belief, illusion, and participation.
The impulse behind immersive work, the desire to step inside a story, to feel present within it, predates any contemporary terminology.
What emerges here is immersive as a practice not a label, it relies on trust, belief, and the willingness of audiences to enter into a world together. These principles sit at the heart of even the most mainstream immersive work today.
Although immersive thinking exists across many disciplines, it was theatre that transformed immersion from a design technique into a cultural force.
Experimental practitioners rejected the safety of the proscenium and began designing worlds audiences had to enter physically and psychologically. Immersion in theatre was never about comfort. It was about proximity, vulnerability, and consequence.
This is why immersive theatre became a movement, rather than simply a style. It was accompanied by critical writing, artistic intent, and cultural debate. Theatre gave immersion its intellectual backbone.
Alongside theatrical experimentation, theme parks and attractions had been developing immersive environments for decades. Dark rides, walkthrough attractions, and themed lands relied on coherent world building, scenic design, sound, smell, pacing, and audience flow to sustain belief.
Attractions understood something fundamental early on. Immersion depends on consistency. Worlds must operate according to internal logic. Set building, sightlines, operational choreography, and performance all reinforce narrative integrity.
What distinguishes attractions is scale, repeatability, and operational discipline and in contrast what distinguishes theatre is intent, intimacy, and liveness.
The most powerful immersive experiences today draw from both traditions, blending theatrical meaning with the spatial intelligence of attractions design.
The term immersive theatre enters academic discourse in the early 2000s as scholars attempt to name practices that resisted existing categories such as site specific, promenade, or participatory theatre, and naturally around a decade later, marketing terminology.
Dr Gareth White defines immersion as a perceptual and psychological state shaped by spatial orientation and attention.
Dr Josephine Machon emphasises embodiment and audience journey.
Language evolves because practice evolves. Immersive is not a perfect word, but it is a useful one. It sets expectations. It signals intent. It allows different disciplines to speak to one another.
To quote Joe Lycett, “not everything is immersive” But that does not invalidate the term. Language evolves alongside practice. Immersion exists on a spectrum, the word will continue to stretch as the work itself stretches.
Anger at the word immersive often masks discomfort with its popularity. But popularity does not negate legitimacy. It confirms cultural relevance. Don’t call something immersive just to sell tickets, but don’t be trapped by terminology either.
As Cambridge Dictionary quotes “IMMERSIVE – seeming to surround the audience, player, etc. so that they feel completely involved in something”
Language in the arts shifts as practice shifts, and as work needs to be communicated, words spread when they are needed.
For many audiences, immersive theatre became culturally legible through the work of Punchdrunk. Their productions introduced large scale environments, fragmented narratives, and audiences who moved freely through performance worlds rather than sitting passively in front of them. Theatre became the vehicle that carried Immersive into the mainstream.
Punchdrunk did not invent immersive theatre. They would be the first to acknowledge that. In fact, they now more often describe their work as site-responsive rather than immersive. What they did do was translate experimental practice into a form that captured public imagination at scale.
Immersive became something audiences could recognise, seek out, and pay for. Theatre made immersive visible.
Alongside this sat a rich ecosystem of UK companies making immersive, interactive, and participatory work throughout the 2000s, long before immersive became a mainstream label. You Me Bum Bum Train, Shunt, Les Enfants Terribles, Secret Cinema, Coney, DifferenceEngine, CoLab Theatre, Apocalypse Events, dreamthinkspeak, Blast Theory, Uninvited Guests, Third Angel, Improbable, Rotozaza, Invisible Circus, Lab Collective, Dank Parish, and many others were already experimenting with audience agency, world building, participation, and non theatrical space, this is also where a lot of the current practitioner (including myself) who have gone on to make more commercial experiences cut their teeth.
This list is far from exhaustive. It exists as a reminder that immersive practice is not new. It is rooted in decades of experimentation, often happening in warehouses, abandoned buildings, churches, shops, offices, basements, and outdoor sites, almost never on a traditional stage. These pioneers laid the groundwork for everything that followed.
In contrast to those early days, immersive experiences now operates at scale. Ticketing platforms have reported sharp rises in demand, with Eventbrite recording an 83 percent increase in searches for immersive experiences year on year, and DesignMyNight reporting an 88 percent rise in interest. The global immersive entertainment market has been valued at £98 billion – The Independent, pointing to sustained public appetite rather than fleeting novelty.
With that growth comes friction. The word immersive is now used widely, sometimes loosely, and sometimes badly. Misuse can be damaging, not because the term itself lacks meaning, but because poor delivery erodes audience trust and undervalues the craft behind the work.
The much publicised failed Wonka experience is a useful example. It was marketed as immersive because that was the intention. Tickets sold for a reason. Audiences wanted to believe in the promise. The failure was not the ambition, nor the terminology, but the absence of expertise, structure, and understanding needed to deliver immersive in practice.
The risk to the industry is not that immersive is used too broadly. Projection mapped digital art in a gallery space has every right to call itself immersive. So do theatre, live events, attractions, and hybrid digital worlds. The real risk is the wrong people making the work without the skills, experience, or long term practice required to support it.
Immersive is not the problem. Inexpert delivery is, or the work being created without intent as a money grab, but this shouldn’t tarnish the industry or the word immersive.
And The Stage rightly observed that “the term immersive has been maligned and misinterpreted but it is still the word under which some of the most exciting theatre is being made.”
Immersive went mainstream because people wanted it. The responsibility now is to make it well.
Immersive is not a genre. It is a methodology.
At its core, immersive practice brings together artistic integrity, world building, audience journey, story, performance, theatrical design, and craft-led making. Sometimes this is supported by advanced technology, sometimes it is entirely analogue. When these elements align with intention, immersion is not applied, it emerges.
What has changed in recent years is scale, support, and reach. Immersive is no longer operating at the margins. It is now underpinned by formal funding streams and strategic investment, including national initiatives such as Immersive Arts UK, alongside long established public funders like Arts Council Engand. This has enabled artists and companies to develop original IP, experiment, tour, build sustainably, and take creative risks that would previously have been inaccessible.
At the same time, rapid advances in technology have expanded what immersive can be. Spatial audio, real time engines, mixed reality, projection mapping, responsive environments, and networked digital platforms have allowed immersive work to exist beyond physical sites, opening up digital and hybrid spaces that are participatory, persistent, and globally connected. Audiences can now step into worlds that live online, overlap with physical environments, or evolve over time, often at a fraction of the cost of traditional large scale builds.
Alongside funding and technology sits a growing professional ecosystem. Communities such as The Immersive Experience Network and World Experience Organisation have helped formalise knowledge sharing, advocacy, skills development, and international collaboration. This matters as it creates clearer career pathways, supports freelancers and small studios, and continues to generate new roles across design, production, performance, fabrication, engineering, and digital development.
The question is not whether a term is used imperfectly, but whether the work behind it is intentional, crafted, and coherent, when it does it remains a meaningful way to describe work rooted in world building, audience journey, and lived experience rather than novelty alone. We may never all agree on the terminology, but the trajectory is clear: immersive is a practice and what it describes is real, growing, and here to stay.
This is not a phase. It is a movement.
Immersive Experience Network: IEN Summit 2024
Immersive Ideas Ltd is not a name we arrived at casually. We own it because we have spent over a decade living and breathing the work that defines it, in it’s simplest form putting audiences inside experiences, not just in front of them.
Our practice has been built through making immersive work across theatre, live events, festivals, attractions, brands, and experiential environments, long before the term became widely used. Through this we have learned what immersive actually demands when real people are present, moving through space, making choices, trusting the world around them, and responding in real time.
Our skills come from doing the work. From testing audience behaviour, designing and building spaces that have to hold together under pressure, and making creative decisions that balance emotion, logistics, safety, scale, budget, and meaning.
We understand immersive because we have built it, broken it, refined it, and built it again, often in the strangest of spaces, often under tight constraints of budget, time, and circumstance.
Our past experience has given us a strong instinct for emotional logic, clear audience journey, and the subtle mechanics of trust. We know what audiences want, what clients and collaborators need, and how to design experiences that feel generous, coherent, and alive. This kind of thinking only comes from long term, hands on immersive practice.
We use the word immersive with care because it accurately describes the work we specialise in – If a project is not immersive in nature, in some form or another, it is probably not the right fit for us, and that clarity is deliberate and honest.
If you want to work with people who understand where immersive practice comes from and where it can go next, we would genuinely love to talk.
You can explore more writing on immersive practice, world building, and immersive experience design on our website, or get in touch to discuss a project, collaboration, or commission.
Immersive is not about pulling audiences in. It is about building worlds, spaces, attractions, and live experiences that earn belief, establish trust, and reward curiosity.
When we say at Immersive Ideas Ltd “we make reality sweat” we really do mean it!
In November 2024, Emma Rose, Centre Manager at the University of Bristol‘s Bristol Centre for Supercomputing (BriCS), asked us to film the arrival of four shipping containers to a building site. This was no ordinary cargo, but the heart of the UK’s fastest AI supercomputer – the £225 million Isambard-AI.
At the mercy of snowy weather and construction logistics, we scheduled a 3 day window to get the shots we needed. Keen to add value and variety for the client, we filmed from the ground and the air. We also set up a portable edit suite in an office in the neighbouring National Composites Centre for fast turnaround edits for social media.
Day one, the snow fell, the camera people filmed, the editor edited and we had a nice 20 second piece to be published on socials on the same day that one of the four containers was craned into place. We even managed a shot of a snowman. Day two, the sun shone and the remaining containers were installed. Day three, we cancelled the final day shoot and instead, back in the office, finished the fast and furious 45 secs story of the build socials piece. Hats off to our in-house editor Nick O’Leary for a top job.
When the University of Bristol posted this film, it outperformed all other content on their social channels within the last 12 months. RESULT!
Since then, in collaboration with new BriCS Communications Manager Emily Coles, we have returned to the NCC site on numerous occasions to film key moments in the installation, typically shooting video and stills at the same time. The drone has been up for a wider view. We’ve shot stills of the key movers and shakers from Hewlett Packard Enterprises and BriCS boss Simon McIntosh-Smith and in March filmed the installation of the actual computer itself, now sitting snugly in a data centre constructed from the shipping containers.
We’ve also workshopped and scripted upcoming Hero and About Us films, which we’ll shoot once the scaffolding is down later in the summer, and attended the Isambard Day conference, with supercomputer experts from around the world, to immerse ourselves in the world of AI and its fascinating use cases, which was great for originating loads of new content ideas to suggest to the client.
All in all, it’s been a fantastic project so far and the perfect fit for us as science and tech content producers who feel personally invested in promoting our region’s innovators and pioneers. Our video production agency has grown from 3 to 7 staff over the last 18 months – meaning we have the capacity to rapidly deploy on jobs both large – like a video strategy for a suite of films, or small – such as sending out a lone videographer for a ‘quick and dirty’ social reel.
This project has also helped to push the boundaries in terms of our shooting and editing style with the high energy final build films (60 sec and 90 secs versions) complete with hyperlapses, super fast cuts and a number of more conventional edits for web headers and conference films. Shout out to Lobster Pictures Ltd. for their timelapses of the whole build from empty car park to finished supercomputer and to Oakland Construction Ltd. for accommodating our film crews.
Thanks to the Isambard-AI team of Emily Coles, Emma Rose and Simon McIntosh-Smith from BriCS and good luck for the big launch of Isambard-AI in a couple of weeks!
Web developers, digital innovators and tech professionals are gearing up for the sixth annual Umbraco Spark innovation conference, returning to Bristol this spring at We The Curious on Friday 20 March 2026. Organised by Bristol digital agency Gibe Digital, the event has become a fixture for developers from across the UK and Europe to share insights, ideas and practical knowledge around the open‑source Umbraco CMS and broader .NET ecosystem
Speaking about the conference, Steve Temple, Technical Director and Co‑founder of Gibe Digital, describes Spark as “a calendar highlight” that brings together “so many talented developers from the amazing Umbraco community.” Steve adds that the event leaves attendees “feeling inspired, armed with fresh knowledge to take your Umbraco projects to the next level.”
This year’s programme features a single main track of deep‑dive technical talks, practical demos and forward‑thinking sessions on topics such as load‑balancing for scalable apps, Umbraco Search, next‑generation back‑office features, and experimenting with AI‑driven accessibility tools.
Schedule Highlights:
Thursday, 19 March – The day before the main conference kicks off with a full-day Hackathon & Package Jam for the community, followed by a pre-party at a local game bar with ping pong, bowling, karaoke, food and drinks.
Friday, 20 March – A Harbour Run at 7 AM starts the day, followed by registration with coffee and pastries. The main track runs 9 AM–5:30PM, featuring technical talks, lightning sessions and demos. The Package Awards celebrate standout contributions, and the day wraps up with an after-party. Attendees also benefit from lunch, refreshments, a free cloakroom, and quiet/multi-faith rooms to support wellbeing.
Tickets & Pricing: Standard tickets cost £150 + VAT, available until the end of February or until sold out. Grab your ticket here.
Umbraco Spark continues to cement Bristol’s status as a hub for creative tech events — combining local community energy with the global expertise of the Umbraco ecosystem.
If you’re working towards B Corp certification (or re-certifying soon), you’ve probably noticed that Climate Action is now a mandatory part of the certification process.
B Lab’s updated B Corp standards (first launched in April 2025, with a clarified v2.1 update in August 2025) replace the old points-based model: there’s now minimum requirements across seven Impact Topics, including Climate Action. The requirements vary depending on organisation size, but the foundations are the same.
This article is here to take you through the requirements step-by-step. We will lay out the practical building blocks you need, so that you can respond confidently, build a plan you can stand behind, and avoid last-minute scrambling.
Under the new standards:
B Lab organises the Climate Action topic in two ways:
You don’t need to know the codes inside-out, but it helps to understand why B Corp now expects more than good intentions.
B Lab assigns company size by workers (FTEs) or revenue, whichever is higher.
Most digital agencies will fall into small or medium, but it’s worth checking early, because the ‘large’ path has a meaningful jump in requirements.
You can read B Lab’s guidance on company size categories here.
Quick takeaway:
For small & medium businesses, the standards are clear on the Year 0 deliverable: publish a Climate Action Plan that ‘commits to supporting the global ambition to limit global warming to 1.5 degrees’.
In practice, a strong plan is usually made up of the same few components (and this is where agencies can keep it simple and credible):
You’ll need to draft a plan you’re happy to share publicly.
Here’s the awkward part of the new standards for small & medium organisations:
B Corp doesn’t mandate a full Scope 1-3 footprint at Year 0, but it does expect you to demonstrate and publish progress by Year 3. Some argue it can be tricky to decide which reduction actions are relevant, and make measurable progress, without first building a baseline footprint and identifying hotspots.
That’s why some B Corps opt to measure emissions, even when it isn’t strictly required. A full Scope 1-3 footprint is widely considered the most credible way to understand emissions, prioritise reductions, and report progress in a way that stands up to scrutiny (from B Lab and those outside of the world of B Corp, like your clients).
For agencies, getting to a sensible baseline usually means pulling together data like:
The goal isn’t perfect data, but a structured, GHG-Protocol-aligned view of your emissions, so you can pick sensible reduction actions that prioritise high impact areas, demonstrate progress in terms of CO2e, and talk about your plan and progress with confidence.
For Large B Corps, Climate Action becomes a structured, multi-year compliance journey.
Before Year 0 (i.e. right from the start), large companies must already have the basics of credible carbon reporting in place:
By year 3, the focus shifts from just reporting to formal decarbonisation commitments and planning:
So Year 3 is about moving from ‘we measure’ to ‘we have a governed, accountable plan to cut emissions.’
By Year 5, he emphasis is on delivery and accountability:
So in simple terms:
Year 0 – Measure and verify
Year 3 – Set science-based targets and create a transition plan
Year 5 – Prove the plan is working and report progress publicly
B Corp explicitly recognises public disclosure as a website page or report accessible without logins/paywalls. A lot of the stress around B Corp, and climate reporting more broadly, comes from the feeling that you need to create carbon reports as a one-off for separate use cases. From B Corp, to public sector reporting, to client requests, it can feel like you’re being asked for a lot of different things when it comes to carbon.
In reality, the underlying data is the same, with slight changes in reporting format. Keeping your data and reports in one shareable place means it’s easily accessible, whether that’s for B Corp submissions, bid teams, or new business questionnaires.
A great example is a simple public Climate Action page. Set it up to be accessed through a consistent URL on your website that you keep up to date on an annual basis.
Handled well, carbon reporting can be more than a B Corp checkbox. It can help agencies stay eligible for opportunities, and build trust with values-led clients.
The key is to do it without overclaiming. A few principles worth following:
If your agency is aiming for B Corp under the new standards, your next steps are:
Seedling helps growing teams translate the new B Corp requirements into a clear, credible, Climate Action Plan (and the measurement behind it), without creating unnecessary workload for busy teams. If you want to see what a completed Climate Action Plan looks like, our in-depth B Corp guidance includes a complete example – take a look here.
“Seedling have been the ultimate professionals and have created a system that is easy to use, so now I have the knowledge to make informed decisions in line with our B Corp status.” – Sian Eddy, Head of Ops @ Modern B2B Agency
Jurassic Park is often cited for its technical innovation or iconic moments, but its real influence runs deeper. Long before immersive experiences became the buzz word we know today, the film demonstrated how to build a world audiences could fully step into, understand, and believe in. For creatives, designers, and producers, Jurassic Park functions as a near perfect case study in experience architecture.
One of the film’s greatest strengths is how clearly it establishes its internal logic. Before the dinosaurs appear, the audience is oriented.
We are shown how the park operates, how guests move through it, what is automated, what is controlled, and where the boundaries lie.
This mirrors best practice in immersive experiences. Audiences need orientation before participation. Clear rules do not limit immersion, they enable it. When people understand how a world works, they relax into it. When those rules later fail, the impact is emotional rather than confusing.
Jurassic Park earns its chaos because it first earns its structure.
The arrival sequence, the branding, the orientation film, the guided tour vehicles. This is onboarding in its purest form. The park reassures its guests that they are safe, looked after, and part of a carefully designed experience.
Experience design relies on the same mechanism. Audiences need to know what kind of experience they are entering, how they are expected to behave, and what level of risk or participation is involved. Without this, surprise becomes anxiety rather than engagement.
Jurassic Park understands that trust must be built before it can be broken.
A common misconception in immersive work is that closeness equals immersion. Jurassic Park proves the opposite. The audience is rarely placed in direct danger. Instead, tension is created through perspective. Watching from inside the car, behind glass, under the fence.
The film controls audience position with precision. This is exactly how immersive experiences maintain emotional intensity without overwhelming participants. Immersion is about relationship to events, not physical distance from them.
The science in Jurassic Park is famously flawed, yet the film remains emotionally convincing. That is because its characters behave like people and its consequences feel earned.
Immersive experiences do not need realism. They need emotional logic. Audiences will accept extraordinary premises if the world responds to them honestly and consistently.
At its heart, Jurassic Park is a cautionary tale about creation without accountability. The ability to build something spectacular does not absolve the creator of responsibility for its impact.
This is a vital lesson for immersive practitioners. Immersion amplifies emotion, vulnerability, and trust. With that comes a duty of care. Designing worlds is not just a creative act, it is an ethical one.
Universal
Jurassic Park matters because it is not just a blueprint for brilliant world building, it is also a quietly terrifying dystopia for the future of live experiences and attractions if we get complacent.
Strip away the dinosaurs and you are left with something uncomfortably familiar. A premium attraction driven by scale, automation, branding, efficiency, and spectacle. Guests are processed, reassured, and managed. Human complexity is treated as an inconvenience. Risk is assumed to be solvable by systems. Sound familiar? If not, spend five minutes in a badly designed immersive experience where no one quite knows what is allowed, where the exit is, or who is actually in charge.
Jurassic Park shows us what happens when experience design prioritises control over care, throughput over trust, and innovation over responsibility. It is the logical end point of the thinking that bigger, faster, smarter, more immersive is always better. The joke, of course, is that this is exactly how people get eaten by raptors.
For immersive creators, this is the real takeaway. World building is not neutral. Immersion magnifies everything, emotion, fear, delight, confusion, vulnerability. The more convincing the world, the greater the responsibility of the people who build it. Consent, clarity, pacing, agency, and safe failure are not nice extras. They are the difference between magic and meltdown.
This is where thoughtful immersive design matters. Not just how impressive something looks, but how it behaves under pressure. What happens when things go wrong. How audiences are supported, not managed. How trust is earned, not assumed.
At Bristol based Immersive Ideas Experience Agency, this is exactly where we focus our work. We design experiences that respect audiences, honour story, and understand the emotional mechanics of participation. We build worlds that feel alive because they are coherent, human, and accountable. Not theme parks with better tech, but experiences with purpose, care, and consequence baked in from the start.
Jurassic Park endures because it understood something the industry still occasionally forgets. Just because you can build it, does not mean you should build it that way.
And if the future of live experiences ever starts to feel a bit too much like a glossy orientation film promising everything is completely safe, while the fences quietly hum in the background, that is probably the moment to pause, step back, and rethink the design.
By ChatGPT
In November 2025, Epoch published its first flagship report titled ‘Understanding AI: A Deep Dive into Large Language Models‘. You can view the report and a recording of the webinar here. What follows is a summary of this report, written by ChatGPT using our CRAFT prompting framework. We hope it’s helpful.
Epoch’s latest flagship report breaks down the fast-moving world of Large Language Models (LLMs) and what they mean for marketers today. It’s a practical, human-centred guide that explains how these systems work, where they’re useful, where they’re risky, and how professionals can stay ahead as AI becomes woven into every part of our working lives.
1. What LLMs Actually Are
LLMs are essentially very advanced predictive text engines. They’re trained on huge amounts of online text, learning patterns between words so they can predict what should come next in a sentence. They don’t “think” — they calculate probabilities. And because they’re probabilistic, the same prompt may give slightly different answers each time.
They can also be fine-tuned through human feedback, and their behaviour is shaped by parameters (like temperature, token limits, and context windows) that control creativity, length, and style.
2. The Four Types of LLMs
The report outlines a simple two-axis framework (lightweight vs. heavyweight, general vs. domain-specific), giving us four categories:
Plus, there are task-specific LLMs designed for things like transcription, translation, and summarisation.
3. How Marketers Are Using AI Today
This isn’t theoretical — 88% of marketers already use AI daily. The biggest uses cluster into four areas:
To get the most out of an LLM, Epoch recommends the CRAFT method: Context, Role, Action, Format, Tone — a simple way to turn vague prompts into sharp, useful ones.
4. Concerns and Challenges
The report doesn’t shy away from the risks. Key issues include:
But it also stresses a crucial point: AI won’t replace humans — humans who use AI will replace humans who don’t.
5. How to Think About AI
Epoch explores a set of useful mental models — from “jagged intelligence” (AI is brilliant at some things and terrible at others) to “work slop” (the coming wave of low-effort AI content). These help us develop a more balanced, realistic perspective on what AI can and can’t do.
6. The Future of LLMs
LLMs are becoming more capable across four big areas:
They’ll also increasingly live in dedicated hardware — wearables that “see” and “hear” the world.
7. The Human Skills That Will Matter More
As AI takes on structured tasks, timeless human qualities become even more valuable:
In short: AI makes the human parts of our work more important, not less.
We’re delighted to announce our third Skills Bootcamp in Virtual Production!
Starting Wednesday 17th December 2025, these fully funded courses offer an incredible opportunity to gain cutting-edge skills that are transforming the future of film and media production.
We are offering two specialist courses:
• Virtual Production with Unreal Engine
• Virtual Production with Sony VENICE 2
These bootcamps are free to learners, funded by the West of England Mayoral Combined Authority (WEMCA) and led by the University of Bristol in partnership with MARS Academy (MARS Volume), Gritty Talent, and accredited trainers in Unreal Engine and Sony VENICE 2.
Virtual production is revolutionising the screen sector by blending live action, visual effects, and real-time 3D environments into a seamless creative process.
Applications close at midnight on Wednesday 12th November 2025, please share with your wider audience.
UK digital agency, Torchbox, delivers major website transformation focused on environmental responsibility and inclusive design
Bristol, UK – 14th October 2025 – Torchbox, the digital agency behind open source content management system Wagtail, has developed a new website for World Wildlife Fund-US that demonstrates how sustainable web development practices can work hand-in-hand with improved user experience.
The project helps one of the United States’ leading conservation organisations share its critical conservation message with its nearly 10 million annual users by rebuilding its digital platform.
“Working with a conservation organisation like WWF-US meant sustainability couldn’t just be a talking point, it had to be built into every technical decision,” said Gabi Mamon, Client Partner, Torchbox. “We’ve created a platform that performs better whilst reducing its environmental impact through thoughtful technical choices at every level.”
The new platform runs on Cloudflare’s renewable energy infrastructure and employs modern web development practices, including optimised image formats, efficient content delivery networks using caching to serve all content. These improvements deliver faster page loads whilst reducing the data transfer required for the site’s 30 million annual pageviews.
Accessibility features are integrated throughout the platform, including enhanced keyboard navigation, improved colour contrast, proper semantic markup, and screen reader compatibility. The rebuild also involved thoughtfully reorganising 6,000 pages of conservation content to create clearer user journeys.
“Our website is where millions of people come to learn about global conservation and how it helps both people and nature thrive,” said WWF-US Vice President of Digital Projects Diane Querey. “It’s important that it welcomes users in a way that highlights the important role nature plays in all our lives while conveying the urgency and importance of our mission.”
The project required tight deadline management, with Torchbox working closely with WWF-US’s internal team to migrate and reorganise content whilst building new functionality.
For WWF-US, the new platform provides a foundation for long-term digital growth. The successful delivery demonstrates Torchbox’s capability to meet the complex requirements of large international charities working under demanding timescales.
Visit the new site at https://www.worldwildlife.org/
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