SEGA Joypolis, Decks Building, Permanent attraction
Odaiba, Tokyo, is an artificial island that is home to some of the city's many prominent shopping malls and leisure attractions. A hotspot for tourism, domestic and international, the island is always bustling with activity and pulls in visitors not just for shopping but to its many attractions such as Madame Tussaud's Tokyo (sadly, lacking the “SCREAM” section familiar to visitors to the London, Las Vegas, New York or Hong Kong sites), the LEGOland Discovery Centre, and SEGA Joypolis.
Joypolis is a moderately sized indoor amusement park filled with many small rides, a 3D cinema, and a whole section devoted to Sonic the Hedgehog-themed carnival games. It also plays host to two small scare attractions, commonly known as obake yashiki (お化け屋敷) or “ghost house” in Japan.
Entry to the Joypolis itself is 800JPY, with each attraction having an additional cost – on a rechargeable ticket via QR code – or the site also offers unlimited passports for 3900JPY – 2400JPY for adults, depending on time of entry; the attraction is open to 22:00, with last entry at 21:15. Non-Japanese visitors are offered a 300JPY discount to entry upon presentation of a valid passport.
However, both scare attractions onsite are unable to offer non-Japanese language support. The staff of Joypolis warn foreign visitors of this, so the obake yashikis here are reviewed from the assumption that visitors will be without an understanding of the native language.
The Room of Living Dolls: Blue Fear
With a forlorn industrial-looking exterior, we find the “Room of Living Dolls” on the top floor of the park. The façade is dotted with paper blessings and information on the attraction in Japanese. Rules, however, are also given in English and with pictorial help – the expected exclusions of those sensitive to strobe lighting or with heart problems, etc. are included along with the usual no recording and photography or touching of the cast are clear. A small shrine-like alcove with a delicate-looking china doll gives us a hint of the inside.
The staff are engaging and helpful and we are admitted, after a short wait, in small groups. Just prior to entering the attraction proper, we are taken through a brief prayer ritual to get us into the mood before our guide gives us a display of a hyper-energetic but brief tribal-like dance. The laughter of native visitors tells English speakers that this is to be a somewhat light-hearted affair. Led into a dark chamber, our previously chipper chaperone gives a sinister narration before snapping suddenly back into the friendly nature we are accustomed to. This is a frequent occurrence during our time with them and never fails to amuse. The importance of the narration is somewhat lost on us, but the delivery hints of spirits and perhaps possession.
We are then taken through a pitch black corridor and into the Room itself; around a long table are 6 (or possibly 8 – memory fails) high-backed heavy wooden seats with arm rests. Upon the table rests a bloodied kama (small sickle), some ceremonial ornaments and bloodied handprints. The walls are adorned with high shelves, upon which sit countless dolls of slightly differing sizes, all traditionally dressed and with vacant, staring faces. At the far-end head of the table is a grotesque female mannequin, strapped into a chair with glowing eyes and a bizarre, lit-up cavity in the centre of her chest. We take our places in our seats and put on our provided headphones as the action begins.
The experience will be very familiar to any visitors of similar technology-based seated attractions; the London and Edinburgh Dungeons' Sweeney Todd/Burke & Hare sections, respectively, work in much the same fashion; we are plunged into total darkness and treated to an audio-led story – with the headphones allowing the impression of voices/sounds coming from desired directions or right at our ear, accompanied with air cannons and vibrations through the seat where desired.
Sadly, but as warned, the story is mainly lost to us without Japanese, though we may roughly understand as we hear a ornery cleaner regale us with the story of Yuriko and her possessed and murderous dolls before her apparent death. It is - it seems - Yuriko who sits, cardiovascularly challenged, at the head of our table.
The room is well dressed – with dolls always being sinister – but the effects of the blood and the mannequin are, unfortunately, unrealistic. The technology used, though interesting, does little more than slightly surprise, but it must be said that the anticipation of the next physical effect – along with the complete blackness – does make us uncomfortable. The real strength of the experience lies in the story – and a good ghost story can unsettle anyone. So, the best of this attraction will go over the heads of us if we do not understand Japanese. This is not a fault; we are given ample notice of this before choosing to enter. However, the quality of the playback could be improved as it is too apparent that we are listening to a recording.
It is, perhaps, a lower octane scare attraction and credit is due to the concept of it being a traditional ghost story with special effects rather than a typical theatrical experience, and also due to the cast who commit themselves will full gusto to their delivery of the story whilst keeping the attraction running. Admission to this attraction is 500JPY or included in the Joypolis passport and lasts around 10-12 minutes in total.
The 45th Story – Invitation to Death
Next to the Room of Living Dolls is The 45th Story. A school-themed scare attraction, we face the back of a classroom, complete with chalkboard, as we go to queue. Again adorned with warnings and rules, we are attended by cast members in Japanese high-school uniforms. We are led – in small groups, though this visit was solo – into a dark classroom, where we take our seats and the story is delivered to us by our actor.
Though in Japanese, our guide does remarkably well – utilising lighting, sounds and affects – as they tell us , from the head of the class, the story of this cursed school, plagued with a vengeful spirit of a murdered student, the school is eventually ravaged with fire and the principal horribly scarred as a result. We are lectured as if in a class, including being reprimanded for not paying attention, before being led further in.
There, we are ushered into a locker – along with headphones – for the remainder of the experience. As above, we are treated to an audio-based story as we hide from said vengeful spirit as it torments us, banging lockers, tipping our hiding place over, scraping metal and threatening to find us. We are eventually pulled back upright before the door is snapped open for our escape and the end of the show. We then emerge back into the activity of the Joypolis.
The classroom is convincing and our actor extremely energetic and fully immersed in the action, but the lockers are padded board even on the outside, breaking the realism. Similarly, the headphones were somewhat battered and the audio quality needs improvement before we can completely allow ourselves to be part of the narrative. The story is well explained – and probably just about understandable to non-Japanese speakers and we don't need to understand our antagonist's words to feel the thrill of hiding from a hunter but the practical effects let this attraction down slightly.
However, as with the Room of Living Dolls, credit is definitely due to the actor with us who carries the whole attraction and, without their enthusiasm, it would be too tame and confusing an experience. Admission to The 45th Story is 600JPY and this lasts around 10 minutes, including the narration time.
Overall, both attractions do not quite match the intensity usually encountered in Japanese horror, though they do incorporate the expected vengeful spirits common in the obake yashik, but are - it must be recognised - part of a large family-friendly amusement park. It is an introductory horror that we experience, suitable for older children – The 45th Story particularly – and fills a gap that leads to the much scarier attractions we may find in Japan.
Unfortunately, the actual technology used – particularly the headphones – let them down slightly and would need upgrading to match similar attractions and it is up to the cast, who act more as guides or narrators than tormentors, to keep the enjoyment of guests up to a good standard. If in Odaiba, they are perhaps worth experiencing – especially if you understand Japanese – but there is no love lost with visiting elsewhere. However, if you wish to visit Joypolis itself and have purchased a ticket that allows you to visit the attractions inside with no extra cost, it is definitely worth your time to visit both of these experiences. Just remember to bring along your passport for the discounted entry fee.
Joypolis is a moderately sized indoor amusement park filled with many small rides, a 3D cinema, and a whole section devoted to Sonic the Hedgehog-themed carnival games. It also plays host to two small scare attractions, commonly known as obake yashiki (お化け屋敷) or “ghost house” in Japan.
Entry to the Joypolis itself is 800JPY, with each attraction having an additional cost – on a rechargeable ticket via QR code – or the site also offers unlimited passports for 3900JPY – 2400JPY for adults, depending on time of entry; the attraction is open to 22:00, with last entry at 21:15. Non-Japanese visitors are offered a 300JPY discount to entry upon presentation of a valid passport.
However, both scare attractions onsite are unable to offer non-Japanese language support. The staff of Joypolis warn foreign visitors of this, so the obake yashikis here are reviewed from the assumption that visitors will be without an understanding of the native language.
The Room of Living Dolls: Blue Fear
With a forlorn industrial-looking exterior, we find the “Room of Living Dolls” on the top floor of the park. The façade is dotted with paper blessings and information on the attraction in Japanese. Rules, however, are also given in English and with pictorial help – the expected exclusions of those sensitive to strobe lighting or with heart problems, etc. are included along with the usual no recording and photography or touching of the cast are clear. A small shrine-like alcove with a delicate-looking china doll gives us a hint of the inside.
The staff are engaging and helpful and we are admitted, after a short wait, in small groups. Just prior to entering the attraction proper, we are taken through a brief prayer ritual to get us into the mood before our guide gives us a display of a hyper-energetic but brief tribal-like dance. The laughter of native visitors tells English speakers that this is to be a somewhat light-hearted affair. Led into a dark chamber, our previously chipper chaperone gives a sinister narration before snapping suddenly back into the friendly nature we are accustomed to. This is a frequent occurrence during our time with them and never fails to amuse. The importance of the narration is somewhat lost on us, but the delivery hints of spirits and perhaps possession.
We are then taken through a pitch black corridor and into the Room itself; around a long table are 6 (or possibly 8 – memory fails) high-backed heavy wooden seats with arm rests. Upon the table rests a bloodied kama (small sickle), some ceremonial ornaments and bloodied handprints. The walls are adorned with high shelves, upon which sit countless dolls of slightly differing sizes, all traditionally dressed and with vacant, staring faces. At the far-end head of the table is a grotesque female mannequin, strapped into a chair with glowing eyes and a bizarre, lit-up cavity in the centre of her chest. We take our places in our seats and put on our provided headphones as the action begins.
The experience will be very familiar to any visitors of similar technology-based seated attractions; the London and Edinburgh Dungeons' Sweeney Todd/Burke & Hare sections, respectively, work in much the same fashion; we are plunged into total darkness and treated to an audio-led story – with the headphones allowing the impression of voices/sounds coming from desired directions or right at our ear, accompanied with air cannons and vibrations through the seat where desired.
Sadly, but as warned, the story is mainly lost to us without Japanese, though we may roughly understand as we hear a ornery cleaner regale us with the story of Yuriko and her possessed and murderous dolls before her apparent death. It is - it seems - Yuriko who sits, cardiovascularly challenged, at the head of our table.
The room is well dressed – with dolls always being sinister – but the effects of the blood and the mannequin are, unfortunately, unrealistic. The technology used, though interesting, does little more than slightly surprise, but it must be said that the anticipation of the next physical effect – along with the complete blackness – does make us uncomfortable. The real strength of the experience lies in the story – and a good ghost story can unsettle anyone. So, the best of this attraction will go over the heads of us if we do not understand Japanese. This is not a fault; we are given ample notice of this before choosing to enter. However, the quality of the playback could be improved as it is too apparent that we are listening to a recording.
It is, perhaps, a lower octane scare attraction and credit is due to the concept of it being a traditional ghost story with special effects rather than a typical theatrical experience, and also due to the cast who commit themselves will full gusto to their delivery of the story whilst keeping the attraction running. Admission to this attraction is 500JPY or included in the Joypolis passport and lasts around 10-12 minutes in total.
The 45th Story – Invitation to Death
Next to the Room of Living Dolls is The 45th Story. A school-themed scare attraction, we face the back of a classroom, complete with chalkboard, as we go to queue. Again adorned with warnings and rules, we are attended by cast members in Japanese high-school uniforms. We are led – in small groups, though this visit was solo – into a dark classroom, where we take our seats and the story is delivered to us by our actor.
Though in Japanese, our guide does remarkably well – utilising lighting, sounds and affects – as they tell us , from the head of the class, the story of this cursed school, plagued with a vengeful spirit of a murdered student, the school is eventually ravaged with fire and the principal horribly scarred as a result. We are lectured as if in a class, including being reprimanded for not paying attention, before being led further in.
There, we are ushered into a locker – along with headphones – for the remainder of the experience. As above, we are treated to an audio-based story as we hide from said vengeful spirit as it torments us, banging lockers, tipping our hiding place over, scraping metal and threatening to find us. We are eventually pulled back upright before the door is snapped open for our escape and the end of the show. We then emerge back into the activity of the Joypolis.
The classroom is convincing and our actor extremely energetic and fully immersed in the action, but the lockers are padded board even on the outside, breaking the realism. Similarly, the headphones were somewhat battered and the audio quality needs improvement before we can completely allow ourselves to be part of the narrative. The story is well explained – and probably just about understandable to non-Japanese speakers and we don't need to understand our antagonist's words to feel the thrill of hiding from a hunter but the practical effects let this attraction down slightly.
However, as with the Room of Living Dolls, credit is definitely due to the actor with us who carries the whole attraction and, without their enthusiasm, it would be too tame and confusing an experience. Admission to The 45th Story is 600JPY and this lasts around 10 minutes, including the narration time.
Overall, both attractions do not quite match the intensity usually encountered in Japanese horror, though they do incorporate the expected vengeful spirits common in the obake yashik, but are - it must be recognised - part of a large family-friendly amusement park. It is an introductory horror that we experience, suitable for older children – The 45th Story particularly – and fills a gap that leads to the much scarier attractions we may find in Japan.
Unfortunately, the actual technology used – particularly the headphones – let them down slightly and would need upgrading to match similar attractions and it is up to the cast, who act more as guides or narrators than tormentors, to keep the enjoyment of guests up to a good standard. If in Odaiba, they are perhaps worth experiencing – especially if you understand Japanese – but there is no love lost with visiting elsewhere. However, if you wish to visit Joypolis itself and have purchased a ticket that allows you to visit the attractions inside with no extra cost, it is definitely worth your time to visit both of these experiences. Just remember to bring along your passport for the discounted entry fee.
|
|
|
Links to our other Japanese Reviews
You Review
Have you also visited this or any other attractions recently? - tell us what you thought here
Sega Joypolis- Room of Living Dolls - Scary
I was there in 2014 and they'd renovated the attraction. The cheesy mannequin was gone and the sound quality greatly improved. It was totally immersive.
I was there in 2014 and they'd renovated the attraction. The cheesy mannequin was gone and the sound quality greatly improved. It was totally immersive.
|
All the latest news, stories, review and gossip can be found on the ScareTOUR social media pages - the hottest Facebook and Twitter presence in the UK for Scare Attractions!
For the latest offers, exclusive discounts and more - Join the group! |
|