One of the real strengths of Yorkshire Scare Grounds is the sheer variety of sensory effects employed throughout the path. The custom soundscapes are extraordinary, with unusual musical arrangements for each area and some ingenious layering of many sound sources to build ambiance. “Nightshade”, for instance, mixes the sounds of insects with the soundtrack itself, making a more disturbing audio environment where you can imagine the plants taking over. “House of Bourbon” entices you within its hotel with cheerful Southern music before progressively transitioning into incantatory beats that echo voodoo traditions as you venture further into the bayou. Scenic design is a real combination, mirroring the nature of the experience as a single trail connecting more fully realized interior areas with less heavily themed transitional zones.
Numerous interiors share a similar underlying construction year on year, but the yearly thematic overlays bring them to life with substantial detail. “Old Mercy” hospital was effective with use of scent with antiseptic fragrances adding to its clinical atmosphere and an accurately disgusting bathroom visual providing a rather unpleasant sensory shocker. In “House of Bourbon”, the beads suspended across doorways provide both a tactile component and that characteristic clickety-clack sound as you pass through them. Also, in “Bourbon”, the classic pneumatic lift adds violent movement, while spray effects in “Nightshade” even resulted in a torrent of water directly to the face (yes, you will get wet here)! Fog tunnels add further range, and the usage of smoke, illumination, and dark was particularly successful this year.
In the reproduction of old London’s streets and shops for “Body Stitchers”, one performer appeared to vanish into the smoke, whilst another, located in a tunnel with a large fan behind him in “Mutation”, evaporated into a strobe effect. Although these moments were in different sections of the trail, they were magnificently accomplished, showing how unpretentious effects can be truly excellent when timed well.
The trail also makes excellent use of its physical set and props to bring its horrors into the world. The hallway at the end of the bayou in “Bourbon”, with clashing thunder, flashing lightning, and strobes blinking through the windows, felt sincerely like being caught in a thunderstorm. There was a strikingly greater reliance on lighting and complete darkness this year, with both used to confuse you and conceal what might be lurking ahead. Animatronics in “Old Mercy”, with shuddering bodies on beds and inside cages, brought its group of dismembered people to disturbing life.
Most rooms are thickly populated with props serving each environment in feeling lived- (or died)-in. Skulls were prevalent in the “Bourbon” within the hotel, while the “Stitchers” coffin room allowed prudently arranged scenery to reinforce the theme. We felt we had a rich sensory experience here, and while the scenic quality differs between the more fully realized interiors and the connecting zones, there is a profusion of creativity on display, and some of the most chilling moments on the trails come from the clever integration of relatively simple effects.
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