Theme Park Musing #2

What’s your take on the frozen ride at epcot?

I actually like the Frozen ride at Epcot, especially considering they had to adapt an existing ride track to a completely different kind of story. The animatronics are jaw-dropping, it does a good job at capturing some of the feelings and emotions and beats of the movie (and songs) while still being original enough to offer some novelty. In short, it gets right pretty much everything Mermaid gets wrong. There are some bits of weirdness since its an overlay. The backwards portion, and final drop are somewhat unmotivated and the lift hill being the “climb” to the mountain is a good idea that feels a little forced. And a viking longboat is probably not the vehicle you’d have chosen if you were designing from scratch. But those are pretty minor issues, what they deliver in a fun experience overshadows their lack of narrative necessity – perhaps largely because the bones of the previous ride layout beats were well constructed to begin with. And I love that they combined load and unload to give 2 new scenes, and that new scene post drop. Definitely a stroke of brilliance there. In short, it’s probably one of the best D tickets around.

My issues with the attraction all come from a more aerial perspective. For starters it was downright idiotic to give a property as popular as Frozen to a ride with as limited a capacity and small a queue space as Maelstrom. That ride was designed as like a D ticket in the freaking 80s. Frozen could easily eat up the capacity of Universe of Energy and Flight of Passage combined for the next decade. So that was a dumb, shortsighted move presumably motivated by a desire to make it happen as fast and cheap as possible. Or perhaps it was brilliant move, factoring in what Epcot will look like in 2030. I don’t know if I want to give the company that much credit though.

And speaking of that other elephant in the room, there’s the question of whether the ride belongs in Epcot at all. While the course of events that led to its placement in Epcot sort of make sense (it was the park most in need of a new addition at the time, and MK-the logical choice, needs an attendance boost like Joe Rohde needs a bigger earring.) from a creative standpoint it’s definitely problematic. I honestly don’t know where I stand. Thematically, it doesn’t belong in the Epcot of 1982. That was a park focused on adults, on the world, on real life, on culture, on humanity, on education and high-brow entertainment. But Disney has been running away from that Epcot since 1982, arguably even since Walt died, resulting in the schizophrenic park we have today. If Disney has recognized it doesn’t have the desire, or courage, to pursue that (which I think it finally has – the alternatives to reinforce the Disney brand as it stands today are just too tempting to the underlying business) then perhaps it has realized it’s better if Epcot was something different altogether. The Disney of today is a different company than of yesterday, focused much more on cultivating its brand through the use of specific properties and sub-brands rather than more vague ethereal notions of a certain type and quality of experience. Epcot transitions from being about the real world and the places within to the Disney world and the things that happen there. The countries within World Showcase are the backdrop for your own adventures with the characters that reside there or near there instead of being about the countries themselves. And futureworld instead of being about humanity’s optimism about the future and the faith in our ingenuity to solve the problems of the world, is again turned more into a backdrop of just “the future, technology, and such”. The structure of the park, once deeply embedded with its meaning becomes more of a plot device to tell the stories they want to tell. In some respects, perhaps this a better option, considering that the ideals of the original Epcot were always tainted by the pressures of the corporate influence that were necessary to get it built and stay operating. Although, ironically Disney is probably now better positioned than at any time in its past to create that original vision without need of corporate sponsors. And Disney’s current target audience is likely not nearly as interesting in edutainment, learning on vacation, or having a high-brow experience. I am, but I’m also the person that listens to a couple dozen hours of NPR a week and is currently reading Carl Jung. I’d argue that Disney (and theme parks in general) are shooting themselves in the foot in the long run by narrowing the audience they target to such a narrow range, are narrowing the world-changing potential of what themed entertainment can be, but god that is a discussion for another day. Anyway….

Frozen absolutely fits in that Epcot, the new one that is being developed before our eyes. With Ratatouille in France, Poppins in the UK, Aladdin in Morocco, Guardians of the Galaxy and Mission:Space in Futureworld – yes it totally fits. For better or worse, it’s the direction Epcot has been unconsciously headed in for a long, long time from the moment characters started meeting and greeting there. And given that it’s been happening unconsciously already, I’d much rather them start consciously shaping it that way so it’ll at least have the hand of a unifying voice again.

So yeah that’s a lot more than you asked, but you asked me.

Why is Mermaid so Bad?

In the last major essay on this blog I discussed an attraction that is commonly held to be one of the best dark rides ever made, Pirates of the Caribbean, and examined some of the techniques used that make it work so well. Today, I’d like to swing the pendulum in the opposite direction and look at one of the more ‘meh’ examples of dark ride design in the Disney library.

Under the Sea: Journey of the Little Mermaid, and in California, The Little Mermaid ~ Ariel’s Undersea Adventure are the long awaited ride adaptations of the classic 1989 animated musical that debuted as part of Florida’s new Fantasyland in 2012 and the revamped California Adventure in 2011. From here on I’ll just refer to them as ‘Mermaid’. For the purposes of this analysis I’ll be focusing mostly on the ride portion of the experiences as these are nearly identical between both coasts. The rides debuted to much fanfare from the Disney PR machine but have had a decidedly negative to, at best, ambivalent reaction among the fan and theme park community. To be clear, the rides are still of high quality and feature some dazzlingly technology, especially when compared to competitors, and many guests still find the experience enjoyable enough. But, I think it is fair to say that for a movie as iconic and beloved as The Little Mermaid the attraction that resulted, even for a ‘C’ or ‘D’ ticket experience as intended, feels underwhelming, and moreover, just off. Even simple dark rides like Peter Pan and Mr. Toad give better experiences. What is it?

Continue reading “Why is Mermaid so Bad?”

Why is Pirates so Good?

Theme park fans are an interesting bunch of people. We consist of everything from blue collar vacationers, hipster theatre auteurs, oh-so-serious designers, cosplaying character seekers, internet attached reporters, teenage thrill seekers, retired day-trippers, and every combination in between. And in this diverse group debates rage on pretty often  around themes of what themed entertainment should be, who it should target, and what its ambitions should be. Entertainment? Thrills? Inspiration? Escape? Community? Fun? It’s interesting that in a world that caters itself to so many different niches of preference, that one attraction comes up again and again as a shining example of common ambition. Seemingly almost everyone continually agrees that the original Pirates of the Caribbean at Disneyland is one of, if not the, best themed attractions ever built. So what makes Pirates so great? Why does it work so well? 

Well, of course no discussion about the excellence of Pirates would be complete without taking a moment to state an obvious reason; the ride is a showcase of technical and artistic perfection. The set and lighting design is wonderful and detailed, the sculpture worthy of galleries, the sound design multilayered, the building comfortably cool, and the acoustics better than even many attractions and theaters built today. Those features are foundational to creating any truly great entertainment experience. It’s tempting to say that that is the reason Pirates always stands out: the scale of the sets, and quantity of animatronics, duration of the ride, effectiveness of the effects, and the overall detail create an immersive environment that just really excels. And while all of that certainly plays a role, I think the idea that lavishness alone creates amazing attractions is a bit of a myopic conclusion: one that seems to be playing an increasing role in the design of new attractions and even more in their publicity. The idea that absurdly grand environments and obsessively detailed story are what make something immersive is true, but is also a limited understanding of the word ‘immersion’.

  See, ‘immersion’ has become somewhat of a buzzword in the popular lexicon – being used to describe everything from the upcoming Star Wars land and groundbreaking theatrical experiments to cell phones screens and restaurant menus. Even in the theme park world, the word can be overused and find generic meaning. Even when it is used to describe experiences that genuinely transport, this is often achieved narratively, architecturally, or with details, props, and backstory. And while there is no doubt that those techniques are crucial they also only get Pirates halfway to being the flagship that it is. So much more comes from the design of the attraction structure itself and the way it immerses the rider into those environments and story. Pirates chooses to immerse you viscerally and emotionally in the way the experience unfolds. It uses the physical space and the progression of that space to affect techniques of hypnosis and patterns of dreams to immerse experientially, not just thematically. And that focus on the experiential story of the audience itself is what makes all the difference.

Continue reading “Why is Pirates so Good?”

Jolly Holiday – Cherry Tree Lane Build Progress

A goal I have had for a while is to concept model most of the Jolly Holiday attraction, especially the queue. Considering I basically have no 3d modeling experience, this should be quite the adventure. That’s sort of the intent really – to use it as an exercise in learning modeling. And today I have reached the first goalpost on that journey having, I think, finished the first big set piece of the queue. 

This is the house of Admiral Boom and functions as one of the main focal points of the queue. I’m pretty happy with how it’s turned out and especially once the rest of everything is build it’ll be exactly what it needs to be. I’m also quite happy I was able to work in some forced perspective while I was building it. As always I love feedback.

I probably won’t post too many updates on this project, as I think it’ll function as incentive for me to complete it all so I can share the final product in one big go, so if this website becomes quieter than it already is – that’s likely why. Thanks for reading as always,

Pandora: The World of Avatar Review

One of the great benefits about the intersection between having a summer birthday, being an only child, and belonging to a family that lives in Orlando is there’s always ample reason to come down and visit the brand new attractions that open every summer. And that’s how I got to experience Pandora this past weekend.

Where to begin. As about a million bloggers have already stated, the land is fantastic. It’s detailed, beautiful, and pretty much defines what a modern immersive environment should be. It’s flaws are relatively minor and easily overlooked. My only regret of visiting was that I didn’t have more time to more fully absorb it and experience it at night.  I’m going to break the land down into its individual parts and address each. So let’s get started.  Continue reading “Pandora: The World of Avatar Review”

On theme and the future

Before today’s Presentation gets underway I just want to throw out some thoughts about Epcot.

Future World was never about the future or technology or science fiction but about Humanity, our interactions with each other and the world, and the history and future history of ourselves.

World showcase was never just about being a world tour of architecture and food. It was about Humanity and our cultures – a giant expansion of the premise in It’s a Small World, outlining a hope for respect, celebration, and curiosity regarding our differences.

The reason the combination of what had been designed as two separate parks worked so well is that together the two halves functioned as a singular thesis detailing the history of ourselves and where we hoped to go.

Joe Rohde has a quote about theme parks fundamentally needing to have a theme in the literary sense – a moral or idea to explore that’s at the center of all the experiences. And I think much of what we’ve seen in the theme park world in recent years, specifically Disney has been a loss or modification of that principle – whether it’s because Disney has lost sight of it or because we’re in a huge period of transition remains to be seen. I honestly think this is what made most Disney parks unique from other parks even if the company didn’t realize they were doing it.

The magic kingdom/Disneyland is about childhood and the shared myths of a country that has influenced much of the dreams of the world. Epcot was about Humanity and our interactions with each other and place in it. Animal Kingdom is about Nature and Humans relationship with it. These deep themes give the parks resonance. It’s revealing that the one park in Florida that only had a subject (movies) but no real theme, is the park that has suffered the most over the years.

The parks in Florida by all accounts have been and are heading into one of the biggest periods of change in the resort’s history, and the parks worldwide and industry have been seeing large shifts in the business model, what attractions consist of, etc. I’m not inherently opposed to change. Change is often difficult, especially when it involves the destruction of something you have fond memories of, but it can also be exciting and an opportunity. There is a trend amongst Disney fans on the internet that become aghast at almost any change and that’s not what this essay is about. As long as theme parks are viewed primarily as entertainment and not art by the public, and as long as their business model relies on people coming back, parks will always have to keep themselves fresh, deliver new experiences, and change to accommodate culture. And frankly the most interesting parks are the ones that have been around the longest and seen these changes mold their landscape over time – a completely artificial reality somehow becoming just as rich of a place as any other.

My only concern is that in this particular period of change there does seem to be the potential for that guiding principle of theme in that literary sense to be forgotten. Change in theme would be hard but forgivable and maybe even beneficial in the long term but a loss of theme results in a fundamentally different experience – a day long experience where all experiences inform each other becomes a day long hodge-podge of corporate branding and it is literally only the presence of that underlying theme, story, whatever you want to call it, that prevents that from happening.

I really am excited about the upcoming announcements and am largely confident about the future of the parks around the world. The beauty of time and history is that even when a pendulum swings too far it tends to swing back. But nevertheless these worries do run in my mind. I worry about the public perception of the company and how that ripples across generations. I worry about how certain trends in themed entertainment design create dogma that excludes other types of experiences from being created – experiences or styles that used to be central to the medium and still have utility. And I worry about the park naive enough to theme itself to all of Humanity and by so doing became a park with the most potential to do something meaningful with the tools of themed entertainment besides just entertain – that it might decide to abandon that potential in favor of an easier end.

The movies we enjoy most are those that tell us something about ourselves – that do more than than just offer fuzzy, funny characters and action sequences. If you can deliver the fuzzy, funny, the frenetic AND the deep meaning, or theme, then you have the worldwide hit. And Disney gets this. They churn out movies with that formula all the time. Here’s hoping they use it again.

Fox Hunt

This scene occurs right before the climatic projection tunnel horse race sequence. The animatronic fox “walks/runs” along the wall and then ducks behind it as the animatronic hunter and dog come along from either side and follow you around as you disorient the rider and he ends up in the pond. The interesting thing in this scene is that I think it would be cool for it all to happen in the same room – and also efficient to save on animatronics. So that’s how its rendered here. Though I’m not positive the timing would work – would have to study it further. Anyway, I’m really happy with how this image turned out.



Today, another update for the Jolly Holiday ride. Continuing to work on my digital painting skills, here’s an image of the penultimate scene of the ride. This is the first time I’ve tried modeling a scene in 3D and then painting over it – which I really enjoyed doing as a way to easily test composition. Also one of the first attempts I’ve done at doing a more painterly style and method, avoiding lifework and trying to build an image entirely with tone and color. I really like the idea of this method of working, but it’s gonna take a while to nail down. Hope you like, and as always feedback is greatly appreciated. For everything about this ongoing project you can check out the Jolly Holiday Page

Fantasy Fantasyland

I was working with a bunch of people on a fan-made Fantasyland on a Disney fan site and made up this overview and layout based on some of the ideas discussed. I can’t take complete credit for the ideas here, many people discussed them, but the layout is mostly mine and I’m really fond of it – hence my posting. 

Just a quick rundown of the image. The center of fantasyland starts of fun in the castle courtyard which is home to a flat ride or two and possibly a restaurant, some gift shops, the exit to the theater. The courtyard is elevated compared to the rest of the land. From there bridges extend out into the rest of the land – split into the Forest, London, and the countryside sort of mini-lands. Casey Jr train – a sort of WedWay runs throughout the land going above and below grade and running through most of the show buildings encountering glimpses of other rides and exclusive scenes from properties not otherwise featured in the land. 

Anyway that’s the super quick rundown, most of the rest is self explanatory. The project itself has evolved from there but I really liked this layout and selection of attractions. What do you thjnk?