Thursday, December 31, 2015

Library of London: A Classics Adventure


Happy New Years Eve! One more post before the New Year with an all new, all original attraction!

This post will detail an original attraction that I have designed for the UK Pavilion in EPCOT. If you have seen my EPCOT expansion plan before, you will have already gotten a quick description of this attraction. If not, you click here to go over to that post to look around my vision of a new EPCOT.

As part of my mission for my expanded EPCOT, I wanted to have an attraction in each and every pavilion, so the UK needed something. Luckily there was a pretty good sized plot on the south side of the back square that was always meant for an attraction. So location was not an issue with this project.

But more importantly, I wanted the elements of each pavilion to better focus on the culture and historical contributions of each region to the world. I am a big proponent for no Disney characters in World Showcase. I'm actually pretty ok with them in most other situations within reason, but not in World Showcase, because of its intended cultural diversity, mature tone, and focus on representing the reality of the world outside the parks. It isn't just another backlot to fill with animated characters and IPs, it has a more noble purpose of education and globalization. So, I set these standards to myself when approaching this attraction.

The best way to describe how I thought about what stories should be told in the attractions of World Showcase is that I aimed to demonstrate the significance of the contribution each pavilion has made to global culture. Easier in some cases than others, but for the UK, I had some great options.

Among some other possible topics, I came to realize that British Literature is a huge topic that has obvious impact (even if just by defining a high school literature class). This was a theme I saw alot of potential in, most notably because I could draw on literally centuries of defined characters and settings to have immediate emotional connections. And since they are literary characters, not visual, there is no real required look or style, so the characters could be manipulated to align into a common visual language. Plus many of the stories are in the public domain, so it would be completely reasonable for them to be used in an attraction. Its almost like the perfect way around my previous no characters statement: gets the benefit of previous knowledge and emotional connection with a character and represents the true identity of the country without being out of place or a misplaced animated property.

So I had a general theme and a few ideas about how to formulate a collection of British Lit highlights into a dark ride. I also took a bit of inspiration from some other well regarded Disney attractions when it came to the overarching plot that contains the scenes.

So now, I'll begin the walk through, starting outside in the square.



The charming square at the rear of the UK pavilion is completed with new buildings on the south and west side, replacing the gazebo, which is moved just east, to the garden behind the existing retail building. Just barely visible from the main promenade of the pavilion, the full extent of the new addition is only visible once you round the bend in the road heading towards the square. The building on the west, straight ahead from this road, is a double level Georgian style museum facade, matching the style and time period of the rowhouses on the north side of the square (If you are not aware, Georgian here refers to a popular architectural style from the time of King George, not the state). The brick and stone facade takes inspiration and some detailing from Sir John Soane's Museum, though is not a replica. Trees behind the small building continue to attempt to block the event center beyond.

To the left of the museum however, is the main building of the expansion, also a somewhat Georgian style facade, but much more detailed and ornate. The design is reminiscent of the real London Library in Westminster, though again, not an exact replica. Steps lead up the three oversized entrance doors, and bronze lions, modeled on those at Trafalgar Square, sit on the stone plinths. Plaques identify the building as the Library of London at Regency Square, which is the name of the square in the pavilion. Four or five trees sit around the main facade, between the square and the main building, forming a small shady garden, filled with flowers and hedges. 



The entrance is not through the main doors however. To the right of the facade is an outdoor section of queue through the exterior garden, with ornate wrought iron handrails. The queues begin at a stone plinth with a bronze attraction title plaque and wait times. The fastpass+ and standby queues have multiple switchbacks through the garden before approaching the side door of the main facade.



Inside we are immediately in the formal Statue Lobby of the museum. The closed main doors are to our left while a marble pedestal on our right holds a brass statue of an unidentified man holding an open book in the air triumphantly. Above, a domed classical ceiling mural shows a beautiful blue spiral pattern that fades into pictures from a variety of British Literature classics. An ornate floor to ceiling bookcase forms the rear and side walls of the tall space. The fastpass continues into a room labeled "South Stacks" while the standby line turns back to the "North Stacks".

The north room holds two sets of switchbacks nestled into tall full height bookcases, filled with books, statues, and mysterious objects. The first clues to the mythology of the library are in this room, and some of the objects are labeled as being significant items from famous books, such as Sherlock's violin. The queue passes back through the lobby and into the south room.




This main room of the queue is far more filled than the previous, as it has a second floor mezzanine on the opposite side of the door and a staircase in the very center. It also has more strange objects and a more disorganized feel. The ceiling is also even taller here, and the bookcases fade into the darkness, as if its infinitely large. The two queues pass by a non-accessible switchback staircase up to the second floor before passing into the next room. Here is another staircase, though now there is a flight going both up to the mezzanine and a flight going down to a darkened floor below. The back wall of the room is filled with paintings of all different sizes instead of books like every other wall. The paintings all show scenes from British literature in a variety of styles. At the end of this room, the fastpass and standby queues are merged. During high crowds, this merged line can then turn left and out to a covered overflow queue. If not, the merged line turns right, and back between two tall bookcases towards the load room.




We reach another door, this time labeled "Private Collection Stacks". Of course, we enter and the queue turns into one final dark room of books, except now with a row of book cart vehicles running through the middle of the room. You are distributed to one of eight rows, each with three guests. Four vehicles load together for each load cycle. The book cart vehicles are wood cars with brass details and are meant to look like very aged library carts. The floors of both rows are flush with the load and each seat has an individual lapbar.

The vehicles follow a standard busbar track but the upper seating portion can rotate 360 degrees on the tracked base. The vehicles also have a surround sound audio system.

After load and seat check, the group of four vehicles move forward, under an opening in the bookcase wall and towards a door in another wall. Through the door, we enter the Private Collection and the mysteries of this special library. Immediately through the door, we see the reason we have made it this far with no trouble: a deeply sleeping security guard, oblivious to our passing. We also see the main character of our adventure: a light brown library cat named Eliot.

Similar to Albert in Mystic Manor, the inclusion of a recognizable animal as the main character is an attempt to bring a recurring element into an attraction based on mostly disconnected scenes. Additionally, the animals are highly personified and characterized so as to be identified with and thus serve as stand-ins for the experiences we can only have inside the car. So here, I used a highly animated brown cat that will follow the story with us and represent our actions and reactions to the events of the scenes. 

Back to the ride. We pass the sleeping cat and guard, but Eliot is awoken as we pass, curiously looking at us. The cars turn the corner and rotate right to face aisles of books, which seem to go on forever. These endless bookcases are somewhat like the endless corridor in the Haunted Mansion by using a mirror and layers of scrim. The private collection is larger than we anticipated. Eliot (in projected form) runs across one of the aisles as we pass. We turn back to the left towards a projected set extension of a long and wide hallway, bookcases on either side and orate light fixtures spaced to provide just enough light, but not much. It appears as if this is our path. 

Projections that extend the sets past the buildable scale are used frequently in this attraction. To make the library really feel endless, we have to see more than just the real sets that are 5-10 feet away. These projected scenes blend into real set pieces to make them appear real. 

Just as fast as we see this hallway, we turn away to see a large wrought iron gate that has been swung open. A brass sign on the door says "Special Library Collection - Do Not Enter". Again, our car passes through the gate and down the narrow book aisle. Now things begin happening as the music swells. The books around us begin to shake and sparks of energy pass over them randomly (by power of projection mapping). Ahead of us, the stone fireplace begins to grown larger and larger as we accelerate towards it. The fire falls away to reveal a rear projected swirling blue vortex behind the growing fireplace. Its as if we are being pulled into it. By the fireplace, Eliot stands on a reading chair, trying to hold on. We spin out in a puff of smoke and rotate 180 degrees to a projection surface where we see the vortex filling our vision, as if we have been sucked in. Eliot and various books fly by. 

We continue sideways through an open blackout door into an projection room and stop once all four vehicles are in the room. As we moved into the scene, the sound of rushing wind has overpowered our senses. It then stops with a thud as we stop, and from the darkness, we begin to see a projected scene of the library filled with books flying into their places on the shelves. Eliot suddenly lands on a chair in a panic along with stacks of books all around. At the same time, energy sparks wave over the books, startling the cat, and transforming the stacks of books into real live figures. Just as this begins, the door to the next room opens and we start sliding away and rotate to the left.

Through the door, we first see a bookcase on the right, waving with energy, as the first tease of this new world. We rotate left to the first real scene, Romeo and Juliet. This begins the bulk of the attraction, scenes of different books come to life. The entirety of the sets through the ride are built of books and bookcases, but formed into scenes appropriate for the scene. It is as if the books have rebuilt the library into scenes from their books. Juliet is standing on a balcony of books, above the longing Romeo. Books are textured to approximate a detailed stone wall, and ivy grows up the side. This is the first example of the introduction of Eliot to this adventure. Instead of noticing Romeo below, Juliet is petting the cat upon the balcony ledge, frustrating Romeo below to no end. 

We turn around the corner, passing a wall of books and then a set extension of characters from other Shakespeare works interacting, such as Antony, Cleopatra, Bottom, and Puck. In all cases through the ride, the literary characters are aware of themselves as characters and know characters in their own novels, but have no knowledge of characters from other works. They are interested to explore the new worlds of the library however. We continue and pass Hamlet standing among the books, holding a skull and attempting to recite his famous line. Eliot sitting next to him however apparently makes him sneeze, interrupting his line time after time.

We pass under two book arches and into the next time period. Immediately we see an extremely oversized man on the floor, surrounded by dozens of tiny Lilliputian figures, holding him down and threatening with tiny spears. This is Gulliver's Travels. Eliot on the mans chest hisses at their advances and bats away one brave Lilliputian climbing up. Behind is a set extension projection of an aisle of books, with more Lilliputians climbing up the walls. We rotate to a projection surface of a wall of books. Quickly it begins to snow in the projection, supplemented by practical soap snow above us. The books then blow away in a gust of wind and snow, showing darkness as we continue through a low opened door into the next period.

The next scene is the largest and requires our set of vehicles to momentarily stop for a show scene. We are in A Christmas Carol, and have entered Scrooge's bedroom in the moment that the ghost of Marley has arrived. Scrooge sits cowered in his chair while the cat watches from the mantle, trembling. Scrooges large curtained four poster bed just to the right. The ghost is a large oversized figure that hovers just off the ground and is both physically animated and supplemented with projection mapping to look ghostly and intimidating. After his message, the vehicles continue moving right so that the four poster bed blocks Scrooge and the light goes out on Marley. We then see a projection of the shadow of Scrooge and the cat jumping into the bed and then immediately being visited by the next ghost in a flash of light. On the right wall, we see a projection if their shadows flying away, hand in hand.

We are moving backwards away from this scene, and pass under two book arches and rotate left to the next scene. It is especially dark and lightning periodically flashes. A dark arched tunnel is ahead of us, but a projection surface at the back of it shows a dimly lit library hallway. Low fog lingers in the tunnel and a menacing and misshapen shadowy figure stumbles by through the mist. It is Mr. Hyde. The cat stands in front of the tunnel, alarmed by the environment. Just past the tunnel is a set of three windows in the bookcase wall, and as we pass, we see the shadow of the figure transform into a man as it walks behind the windows. The car turns right to finally see a figure of Dr. Jeckyll, in his lab, standing by rows of vials of formula and a painting of himself. When the lightning flashes, both his eyes and his painting transform into Hyde.

We leave the darkness and pass through another opening in the book wall and see The Time Traveler sitting at his Time Machine. The invention is an ornate Victorian one-seat vehicle, with plenty of dials and levers and lights. Eliot is sitting on the edge, trying to jump off just as the Machine begins to levitate and glow with bright flashes of light.

We rotate left to a projection surface where we see an extension of a long library hallway. In the center, the Time Machine repeatedly appears and disappears in a flash of light, each time bringing back new characters of objects from different popular books. This is also a chance for some randomness and repeatability. There could be a large variety of characters that appear here. Some suggestions: The Mad Hatter and Alice, Frankenstein, Dracula and a swarm of bats, The Ghost of Christmas Present and Future, Shere Kahn, Long John Silver, The Invisible Man, Aliens from The War of the Worlds, Hercule Poirot and Hastings, and Captain Hook the Crocodile. It appears as if it is chaos in the library now that the multitudes of characters that have been discovered are coming together.

We rotate right 180 degrees to a penultimate scene with one of the most famous yet to be seen characters. Sherlock Holmes and Watson stand on the left side of the scene with a set extension projection at the rear, showing the library in chaos with characters all over the place. Characters are exploring and interacting and therefore changing their stories in flashes of energy. Sherlock, the ever observant, remarks to Watson that this chaos could destroy the Libraries Collection and that this all started when we, pointing to Eliot, entered. Watson wonders how it can be solved, prompting Sherlock to suggest the obvious solution. We have to leave the Library Special Collection. They point us away and we swiftly pass into the next room. A bookcase blends into a set extension projection, showing the books again alight with energy and Sherlock bidding us farewell. We move backwards and through the open Special Collections gate, which is on our left, and rotate 180 degrees to the last scene. An opening in the book wall shows a bookcase perpendicular to us that runs into a set extension projection that continues the bookcase. As we pass, characters are sucked into the wall in flashes of blue sparks. We turn right one last time to see the still sleeping guard and Eliot looking relieved.

We turn left out to the unload area. We pass under two more bookcases above as we hold and then slowly approach the unload station. Eliot sits there purring as we exit.

We walk down a hallway from the station that is filled with paintings of characters from British Literature. Except now, some things are changed, some more subtly than others. We turn right into the retail for the attraction, which is in the museum building on the west of the square.

The rest of the museum building holds a small British Gallery, with interactive, fun, and informative exhibits on each of the countries of the region.

So there is the complete text of the walkthrough.



Now that I have described my vision, three quick notes. First how I selected the main works to be in the ride. I specifically wanted well known stories that had characters that could have a recognizable visual. Pride and Prejudice wouldn't be as recognizable as Romeo and Juliet. I also wanted to not do stories that had become Disney films, so no Peter Pan, Alice, or Jungle Book. I felt it might be too much conflict between the animated visual style and the attraction style. Last, I tried to select an example from different time periods, and actually managed to place them in chronological order in the attraction. Plenty of other characters could be featured as background elements. 

Second, all the human figures in the attraction are realistically portrayed while Eliot is a bit more exaggerated, though not quite a caricature of a cat. This is mostly so that the cat is more recognizable in the attraction and so that it doesn't feel as strange for it to be as highly personified. Plus, makes for better merchandising, which is obviously important now.

Last, the actual mythology of the ride and specifically how I hinted it but didn't explain it. That was on purpose. In the same way that Haunted Mansion doesn't really explain the reason for the ghosts, I didn't want to burden the ride with over explanation or detail as to why this was happening. I just wanted it to be a simple environmental experience that makes an enjoyable ride.

"Mysterious library comes to life when guests accidentally enter a closed off special collection. As more and more characters come to life, chaos takes over the library, threatening to rewrite the classics." No unnecessary complicated backstory or logic to why. 



So now that you have read the entire attraction synopsis, I have an extra surprise. 

I decided to try to made a animated video of the entire attraction.

So I wanted to try this out for a while with a few projects but this one seemed to be a good choice since it was original. This is a very rough animatic of the ride, with very little detail but just the general massing. It shows the general vision of the environment and how the vehicle would move, but again, is rough. The Sketchup flythrough animation is not precise and is pretty jumpy, but that is ok for something like this. And materials are general and it is obviously missing the projections and environmental effects.

Eliot and the animatronic figures are included as translucent scale figures. The white walls are projection surfaces. Notes on the screen describe which scene we are in. Reference the text again if necessary to fill in the details.





And thats it! If you liked the attraction concept or the video let me know in the comments below.

Also, as I said last week, leave me suggestions for what kind of projects you want to see more of. Be as specific or general as you want, and I might decide to put it in my schedule for this next year!

Thanks for reading!


Sunday, December 20, 2015

Disneyland Trip Report and Ideas!

This time, were going to talk Disneyland.

Last week, I made my first trip to Disneyland and spent nearly 5 days at the parks. I knew going in that it was widely considered to be the best resort but I was still a little surprised at just how amazing and superior it was to any other theme park I’ve visited.

In general terms, almost every attraction, land and restaurant at Disneyland is better than its Disney World counterpart. There are exceptions, which I will note along with the true highlights of the resort. I also know a lot of readers here are most familiar with Disneyland Paris, so I’ll give comparisons there too when appropriate. So Ill go through each park land by land with some thoughts that are part trip report, part design ideas, and wrap up with some overall comments.





Disneyland is just about the perfect park. The history is all around you and its age has allowed it to evolve and improve into a practically flawless park. I don’t think that is a crazy or unheard of statement. If there is any major problem with the park, it is predominately not the attractions or design, but the crowd flow and infrastructure, which is being stressed by the ever growing crowds. I’ll come back to this issue as we go.





Main Street is smaller in total proportion, but really doesn’t seem like it. The scale seems natural. That’s going to be a common observation of this park. The proportions and scales all seem innately correct and perfect, making a much more naturally charming park. The castle is smaller, but now that I have seen it in person, suddenly Cinderella’s Castle in Orlando looks too big. Same with the Main Street Buildings. The scale feels like it is what it was always meant to be. I also very much appreciate that this Main Street still has divided shops that sell unique-ish items. So much better than the endless Emporiums of Orlando and Paris.

Main Street also has some great attractions that don’t get a lot of mention. I specifically mean Great Moments with Mr. Lincoln and the Main Street Vehicles. Lincoln’s actual show is well put together and impressive, but the better part is the preshow rooms filled with Disneyland art, a large model of opening day Disneyland, and the adjacent Disney Gallery store, filled with incredible art for sale. I liked these spaces because they demonstrated the real history and evolution of the parks, something that Disneyland is much more willing to acknowledge than the other resorts. The Main Street Vehicles were also fantastic for their kinetic contributions. There were always multiple vehicles on the street throughout the day, and it really made it feel like a real lively city. I’m a fan of any transportation based ride, and these are among the best, even if often overlooked. These are the kinds of little un-obvious attractions that separate an amusement parks from a themed space like Disneyland.














I was never able to see the Main Street Bypasses that were opened earlier this year, but I can see how they are needed. Main Street was a little narrow and was difficult to travel at peak times. As crowds grow, those bypasses may become more important, and maybe a permanent arcade like Paris one at least one side might be a better solution.

Last for Main Street, I’ve got to say that big trees are a nice change. The tree density throughout the park adds more than you could ever expect, especially in Fantasyland, where both Orlando and Paris are lacking in full grown forest.






Adventureland was probably my favorite land and I don’t feel the need to change much of anything because it is complete as it is. Classic Tiki Room with a Dole Whip, the Jungle (or Jingle) Cruise, and the Treehouse, even if with Tarzan, are all great attractions. The jungle vegetation was incredibly dense and convincing and really made you forget you were in a city.

I found new appreciation for the Tiki Room while watching others during the show. To me and other knowledgeable in theme parks, the Tiki Room may be a little basic and unexciting compared to more modern attractions. But to the average guest, the singing birds and plants were something they had never seen and captured their interest. Kids and adults sat amazed at the songs above. Maybe everything doesn’t need to be exciting and technological. Also, I had the pleasure of having Tiki Maynard as the Cast Member host, and that was quite a show (look him up if you don’t know who he is).








The Tarzan overlay to the Treehouse also wasn’t as bad as expected. Even though it was an animated property outside of Fantasyland, which I normally oppose on principle, it perfectly fit into the tone of the land and was not a thematic contradiction or distraction from the environment. Maybe my animated property philosophy needs reconsideration.

And now I get to the Indiana Jones Adventure. This is the best theme park attraction I have ever experienced. Spiderman at IOA is a close second. Indiana Jones is a total attraction from queue to end. One of the best queues I have seen, a fully themed environment (even the disabled elevators were fully themed), an innovative ride system, and a super detailed attraction interior. The main room filled with flames was the highlight, and I especially liked it because of the visibility of multiple vehicles at the same time and the kinetic action all around. Even with the last third of the attraction in weird darkness and flat blacklight paint, this attraction was an incredibly fun ride. I rode it three times, and could do for even more. A refurb to reimagine those last dark rooms could really elevate this even higher.






Next, Frontierland was good but lighter on content that the other comparable parks, and it will only get smaller with Star Wars. Big Thunder is the same as Orlando and lesser than Paris, but still good as the primary element of this land. 






The best part of Frontierland though is the river and all its traffic. Just like in every other case that I have already mentioned, moving elements make this land feel alive and much larger than it is. I hope that this is not too affected when the changes come next year. 






New Orleans Square is next, and another land that could never need any changes. Pirates is a classic, the land is immersive, the food is great, and it has fantastic atmosphere. I only had two problems. First, I wish I could have seen the original Haunted Mansion, not Haunted Mansion Holiday, even though this is one of the attractions that many consider to be better at Disney World. The Holiday version was entertaining, but I think I would have enjoyed the original more.







The other problem with this land is crowd flow. This land appeared to have the narrowest walkways and the most bottleneck points, so it became chaotic to get through the land. Specifically, the path past Haunted Mansion towards Critter Country was nearly impossible. This might be a challenge to fix, but I think it needs to happen. Crowds are growing, and it’s becoming miserable and nearly dangerous to move through some of these areas. The intersections with Adventureland and New Orleans Square was also bad because of the entrance to Pirates.


So therefore, I never made it to Critter Country, so I don’t have much a comment. I wasn’t upset by this, because it was too cold to ride Splash Mountain and I wasn’t interested in Winnie the Pooh. I passed it by train at least. I do hope that pathways can be reconfigured so that this area is no longer as isolated.







Going back to Fantasyland. This was a large land with a lot of good and classic attractions. I didn’t anticipate how lush and spread out this land was compared to the other Fantasylands I have seen. It was as sprawling as Paris but a fully grown forest, which made so big of an environmental difference. It also meant each little area couldn’t see the rest of the land, which kept the reveal of a sight like the Small World façade really controlled and more effective.





I got to ride some classic dark rides that I had never seen before, such as Toad, and ride familiar favorites like Snow White. My favorite of the five however was Alice in Wonderland, just because of how unique it was with the outdoor section. It was also fascinating to see the evolution of the dark ride, from the painted flats in Toad, to full sets in Pinnochio, and then new projection aided environments in Alice. I only wish that the projection face figures had actually made their way into the dark rides.

The problem with Fantasyland is just like those before. Its pathways cause a lot of congestion, but specifically at Parade time. The main cross path from Fantasyland to Tomorrowland intersects the parade path and causes traffic chaos with people trying to get from the left to the right side of the park. This might be a place to look into a traffic flow solution. I also think Fantasyland could do with an expansion of one or two more rides, possibly in place of the Fantasyland Theater or into Toontown.






Toontown is another land I did not spend much time in because of crowds and cold. Plus I wasn’t interested in the Meet and Greets or houses, so I just made a quick walk through the land to see the architecture. It seems to be a perfectly nice and well themed land that fulfills its purpose. If needed for expansion, I don’t think it would be a big loss, but if it survives, it works as a solid land in the park.






Last, we move onto the land with the most problems, but the currently most popular attraction of the resort. Tomorrowland has some good parts, but a lot of things that need adjustment and the potential for three or four or more new attractions. Whereas the rest of the lands in the park seem to have this innate history and resolved masterplan and organization, Tomorrowland feels messy and temporary. I don’t want to be harsh, it is a good land at times, but is far behind Paris, the best version of this type of land, and Orlando, where there is a bit more organization. So I’m going to try to do a lot to this land.







I should also talk about the Star Wars stuff too, specifically Hyperspace Mountain. Wow that was cool and is a great example for the draw of a Star Wars attraction. It consistently had the longest lines and I never heard someone come off it disappointed. A permanent, well themed Star Wars land is needed fast. And now that I have seen The Force Awakens, I see a lot of potential and am very excited for where the these lands are going. I’m also very glad for the decision to let Star Wars create its own land and not overlay Tomorrowland.





Now across the Resort, we come to California Adventure. I followed the expansions closely and was excited to see what exactly this park had become. I was happily surprised by the total park experience and really enjoyed my short time there. I say short because even with the additions, I still could feel that this park hasn’t reached its potential. The new additions were noticeably great but revealed just how much more work is needed to the unchanged areas. Paradise Pier and parts of Hollywood need help next. Still, a relatively solid park that is far better than Disney Studios Paris and a bit ahead of Hollywood Studios. Also, I should say that there are much less traffic flow issues here, likely because it was designed as a modern park with wide pathways and no real bottlenecks.






Buena Vista Street is a very well designed entrance to the park and a good companion to Main Street. I really enjoy the architecture and tone of this time period, so I always knew I would like this street. Again, it was nice to have the kinetics of the working Red Car Trolley and the various performing groups. Somehow my entrances were timed so that I saw Five and Dime perform about 6 times over a day and a half.







One strange comment about the land. I had the opportunity to talk to a design professional and brought up how nice this land was. He mentioned that the land actually looks a lot like many of the large outdoor malls in southern California, like the Grove. The owner of the malls was a fan of Disneyland and themed architecture, so his malls ended up being Main Street-esque with a turn of the century Hollywood theme. And now, Buena Vista Street was designed with the same theme, so consequently looks like a local mall. How odd.






On to Hollywoodland, which has some really great parts and some great potential for new additions. First, I love the architecture of the main street, even with the fake street end mural. Next, I love the Aladdin Musical and it is a crime that were losing it for more Frozen. Last, this version of the Animation building is by far the best, especially because of the central room with the projected montages.



Besides those things, this land has a lot of room for future change, mostly in the northern backlot style area. Monsters Inc. is a fairly good ride that can stay if thematically appropriate, but besides that, there is a lot of room here and three or four large soundstage showbuildings for additions. I think this half of the land is the prime spot for the next major addition to the resort.







A Bug’s Land, right between Hollywood and Carsland is another nicely themed but low substance land. I understand its purpose was a speedy addition of kid friendly rides to the thrill heavy park. I was actually surprised at how nice and thorough the theming was, especially at night when the land glows. Even so, this is a land that I would not have a problem with losing for the sake of expansion to another land.







Carsland was highly anticipated and is obviously the high point of the park, as it was always the most crowded. I’m not sure how I felt about the land though. I might have built it up too much and it couldn’t have delivered. That doesn’t mean its not good. The street was faithfully recreated from the movie and really detailed and clever. The rockwork was breathtaking and looked impossible. Radiator Springs Racers was fun, even if short, and had the most impressive and source accurate animatronic figures I have ever seen (specifically Mater – wow). But it still felt lacking as a total themed environment. Maybe my best comment is that I distinctly heard many say “wow, it looks just like the movie,” meaning its always going to just be a derivative from the source movie, not a land with its own life.





The exception here is when the neon comes on and the sun goes down. Then there is a whole new life to the land, and it is much more kinetic, engaging, and interesting. Again, I don’t want to be overly critical. It’s a good land and a great ride, but not a great headlining land that it is built up to be.






Paradise Pier is the other land that has some flaws and potential to grow. The only real problem here is that it is still mostly carnival style rides that are not as unique as the rest of the park. Toy Story is a good addition, and California Screamin is a fantastic coaster, but the land could use one or two more non-spinner attractions. Expansion may be possible underneath the coaster or on the west side, by the spinner rides.



Another interesting observation in this land is based on Toy Story Midway Mania and The Little Mermaid dark ride. Both of these are clones with attractions in Orlando and were both developed for both resorts at the same time. Interestingly, both attractions were far better in California and seemed to fit their surroundings infinitely better. Toy Story is themed as a Midway game and set right in the middle of a Midway. Mr. Potato Head is designed as a barker and here is actually placed as a barker. Little Mermaid was designed as a basic but charming C or D ticket dark ride with a façade and queue that doesn’t oversell it as the centerpiece of a huge expansion. It’s almost like these attractions were designed for Disneyland and then just cloned over to Orlando and stuck in where they fit the closest.





Last land, Grizzly Peak and the surrounding areas are a really cool and really environmental land, again because of the trees and landscaping. Trees and density are lacking in the rest of the park, but they make this land. One problem here is the lack of attractions since there are really only two of them, one when it is too cold for rafting, and then zero since Soarin is a direct clone. This could do with another attraction to flesh out the national park environment. However, I don’t believe there is much room.





Now that I’ve talked through both parks quickly, I have some final comments comparing the resorts.

First, I have to mention the food. Disneyland food, from snacks and counter service to table service, blows Disney World and Paris food away. It is shocking how much better and how much more variety there is. Burgers and chicken are not required to be on every menu apparently. Standout meals were the sundried tomato and pesto chicken pasta at Paradise Pizza and Pasta, and the ribs in Flo’s V8 Café. Both were counter service, served on real plates, and reasonably priced. Table service was great too. I ate at Café Orleans and Carthay Circle and both were great food for a theme park setting.

Another interesting comparison is the crowd distribution in the resort. So I visited during a very busy time, not quite as bad as it will be at Christmas, but pretty bad. But the actual queue times were not as bad as an average day at Disney World. From what I can tell, this is both because there are significantly more attractions to spread crowds, and less attractions that use Fastpass, which usually always makes lines longer. This made a much better park experience and it really makes sense. More rides equals shorter lines, and this is one of Disneylands best strengths.

Last, the quality of the rides are almost universally better at Disneyland. The rides are usually longer, like Pirates and Small World, have more detailed sets and special effects, like Space Mountain and Buzz, and better maintained, like many of the classic dark rides. Also, like I mentioned, modern clones seem to make more sense there than at other resorts. The only exception to this rule is Tower of Terror, which lacks a 4th dimension room, and Haunted Mansion, which is shorter and less maintained.

Shows, including both the nighttime entertainment and the traditional performances, are also much better. Part of this is just because many shows are relatively new for the 60th and are often refreshed. Mickey and the Magical Map was superior to any Orlando or Paris show just because there was actually a cast of multiple live singers and a musician, instead of just one or two. Aladdin was full Broadway quality and overshadowed any other theme park performance. The street entertainment was varied and impressive. Both World of Colors were technically impressive and pretty good with content. Fantasmic had better scenes, was much closer and more intimate, and an overall more impressive experience. And last, Paint the Night was a truly modern response to the classic light parade typology. (I never saw Disneyland Forever, so no comment there. It was cancelled every night I tried to see it, or 4 of the 5 nights I was there.)

So in just about every way, Disneyland is a better resort.





So I immensely enjoyed both parks and don’t think there is a huge amount of things that need to be changed. That doesn’t mean I’m not going to try. I will be starting on a site plan soon, and will work on it through the next weeks and months until I am happy with it.

For Disneyland, the main focuses are going to be infrastructure and traffic flow changes throughout the park, a complete reworking of Tomorrowland, and smaller additions in Fantasyland, Frontierland, and maybe Critter Country. For Tomorrowland, a new consistent story and theme will be an important first step. I would like to start it out original, without an IP basis, but there are one or two IPs that I think could have a place in this land, specifically Tron, one of my favorite fallbacks.

DCA needs more work, but doesn’t need any infrastructure changes. The main addition I want to bring to DCA is a more structured park identity that explains and supports the existing lands and suggests more additions. For instance, I want to restructure the existing lands as manifestations of the California spirits of adventure, creation, and fun (as in Grizzly Peak, Hollywood and Cars Land and Marvel, and Paradise Pier). So with this new identity, I am going to look into moderate additions in Grizzly Peak and Paradise Pier to flesh out their themes, and major additions of Marvel and Pixar and possibly more to the creation areas. This park has a lot of potential that I look forward to figuring out.
 
Im excited to start work on this resort and excited to share my ideas later this year. I’ll keep you updated as I put it together.



In the meantime, I’m still working on a new post for an original attraction in EPCOT to be posted sometime in the next few weeks. And then next year, we will continue with a new post a month.

As I am putting together my schedule for posts, I want to hear what kinds of projects you want to see. I have a few posts started, including attractions based on Indiana Jones, UP, The Incredibles, and Tangled, but want your suggestions. Original attractions? Overlays? Park expansions? New Parks? Any particular properties? Let me know in the comments, and I will take your ideas into consideration. 


Friday, November 20, 2015

Frozen in Disneyland Paris

UPDATE: Today, June 21st, the first real Frozen attraction opened in EPCOT, so now that I have seen that attraction, I have some additional comments and ideas to add into this post. A few things have changed, which I will note as I go.



Another month, another post. This is going to be a good one.

So first I have to be honest. This post was meant for December and there was going to be a different November post. But that one needs more work and this one was ready. So easy switch, even though it throws off the seasonal theme. Oops.

So earlier this year, I posted my plan for Disneyland Paris, which included a large Frozen expansion north of Fantasyland. This is that expansion.



Before the plan, I want to start with some Frozen commentary. So there is no way you can deny that Frozen in the parks has gotten a little over-saturated yet underdeveloped. Now three full years out from the most popular Disney animated movie of recent memory, we still don't have a high quality attraction. Just parties, shows, meet and greets, and merchandise that have taken over whole parks. What we have gotten was good, but not as great as possible. We have gotten quantity over quality, which unfortunately works most of the time.

Even if we have been Frozen overloaded, its hard to deny that Frozen's quality and success warrant proper representation in the parks with a modern, fully themed attraction. That looks like its going to start changing with Maelstrom/Frozen coming soon and the large Tokyo land, so hopefully, once those happen things will balance out and we will have a more manageable Frozen presence in the parks. My approach was to give Frozen a landmark status presence in the park.



This expansion plan is the response to this need for Disneyland Paris, so it was important to me for the expansion to be of  substantial size and quality and in a properly themed setting.



Based on the thematic distribution of the park and the available land, I decided to place this major expansion to the north of Fantasyland, outside of the train tracks. The whimsical gardens and architecture of the land make a suitable transition to the separated area. The Fantasyland train station and meet and greet building in front of it are removed and rebuilt with the Arendelle style as an entry way to the land: steep pitched roofs with hand carved detailing, octagonal towers with wide overhang roofs, and a blue and brown color scheme. Guests can either go through the building to get to the land or along a path to the left and under the train tracks. There is also an entry from the Storybook Land area.

Guests passing through the train station building exit the other side to find the gate of the palace. There are also small retail locations on the ground floor. The access to the train station above is by the side doors of the building, which lead to grand stairs up to the platform. One side is entrance and the other is exit.

Through the open palace gate is the main square of Arendelle, with two large fountains and the steeply pitched grand entrance to the palace. The southwest corner tower is the entrance from the pathway around the train station. The attraction entrance is on the right of the main doors, the exit on the left, and the entrance to a sit down restaurant is at the northwest tower. A gate in the west wall leads to backstage and a gate in the east wall leads to the village retail area and the Storybook area. This retail area is the village of Arendelle, so has more rustic facades hiding a large shop.

The elements of the land are basically in one giant building behind the palace and village facades. From right to left, these elements are the retail location, the attraction and queue, the post show skating rink, and the restaurant.



I will start with the attraction. The queue entrance is to the right of the main façade and enters a regal side hall that looks into the main hall. The queues immediately turn left and back outside under an overhang and then back inside into a side building. After switchbacks it turns back towards the main hall. All of the interior spaces of the queue that are set in the palace are richly themed and dressed with tapestries, paintings, and royal fixtures. The queue in the hall curves around the royal seal on the marble floor and then deeper into the palace. Fastpass then turns right towards the stables of the palace, standby turns left for more time in the palace. The standby queue passes through the library, with tall ceiling height bookcases on the walls and in the middle of the room. On the southmost wall of the space, there is a large feature bookcase and a set of bookstands with large open books along the queue. The open books are projection mapped to show a storybook style version of the events of the movie. The queue eventually makes it back towards the stable area of the queue.

This space is much rougher and more rustic with exposed wood beams and stacks of boxes and barrels and hay around the queue. There are also windows that look out into the loading room, which is meant to be outdoors. The two queues are merged and then sent outside to the load platform. We find ourselves in a snowy forest with twinkling stars above. Ahead is a load platform where sleighs are dispatched. Four sleighs load at one time, each seating 8 guests. After loading and seat check, the set of sleighs move forward and through a large pitched roof wooden tunnel, like a gate.

Quickly before moving forward, I want to mention the thought process behind the story here. There is a lot of criticism for book report dark rides, and this is not one of those. However, I still knew I had some crucial moments from the film that needed to be visited. So I staged this as a post movie trip back to the Ice Palace, where Elsa still likes to retreat to escape from the palace. Anna leads the trip and visits some of the same locations as the film in the same order, but it is not simply a retelling of the film but an exploration of the environment. (Update: this is basically exactly what Frozen Ever After ended up doing, so I feel good with that choice now.)

Back to the ride. Once we pass through the tunnel and see a projection of the city in the near distance. We turn the corner and pass through the forest to a large projection surface. As we approach, a sleigh comes out of the forest with Anna driving. She tells us that she is glad to run into us, and that she is on her way up to the North Mountain to bring back Elsa and we can follow along. These first scenes are projection, but then the ride transitions to physical figures along the way. (Update: My original thought to make these projection was because I figured Disney would try to minimize animatronics. Apparently that is not the case, as there are more figures than I expected in Frozen Ever After. So this scene could be replaced with a physical Anna figure instead of projection.)

We continue through the dark forest, seeing first seeing the menacing eyes of wolves in the underbrush and then seeing a projection of Anna’s sleigh racing through the trees. We exit the forest and turn to find Wandering Oaken’s Trading Post. We see projections in the windows of the happenings inside. Across the path is an Anna figure, talking to us about the dangers of the forest. A projection surface shows her sleigh and reindeer sitting in the clearing. We then continue into the barn next to the Trading Post. Inside the dark wooden barn we meet Sven, eating hay, and then Kristoff standing next to his sleigh and greeting us, singing about reindeer. We exit again and out to the frozen crystal forest, with icicles hanging around us. Olaf and Anna are to the right, greeting us and trying to figure out the directions to find Elsa. (Update: this would be a good place for a copy of that totally amazing walking Olaf animatronic, standing on a snowbank to the right of the track. The scene could work with just Olaf, no Anna too if the figure is dynamic enough.) The forest transitions to the snowy rockwork of the mountain and again we see Anna, Olaf, and Sven saying that we are here. Sven repeatedly tries to bite off Olaf’s nose while Anna celebrates.

Now we have reached Elsa’s Ice Palace, the highlight of the ride and the main musical location. Couldn’t leave out Let it Go. The rockwork transitions to highly geometric ice walls that first enclose us and then open up to an important scene. To the right of the track is the transforming Ice Tower, which, in time with the music, magically grows bigger and grander as we pass by. We turn after it has reached its full height and pass right through the middle. Above us, we see the grand ice chandelier growing and pulsing in time. We exit the other side and turn to finally see Elsa wielding her powers and making it snow. Anna calls out to her, saying she is needed back at home, and we then exit the icy walls and back out to the snowy rockwork.

Ok back to describe how this scene works. This growing Ice Tower is my favorite part of the ride and one of my favorite designs overall. Its best to reference the elevations below, showing the start and end point of the growth. The effect is made with both mechanical actions and projection mapping. The main physical element is the top crown of the tower, which can raise up 8’. It sits outside the permanent center of the tower and has a blackout curtain above, so it appears as if the entire tower grows while just the top rises around the stationary center. The middle balcony does the same thing. It rises just 2’ up along the central tower. The handrails of the balcony also rise up out of the balcony as it raises, as if they are growing up. On the top crown, two geometric protrusions come out as it raises to add geometric complexity to the tower. Last, pointed arches slide out in the framed “windows” of both levels. Each side of the arches slide out horizontally from the side to form the completed shape. All of these movements would be supplemented with projection mapping to add icy texture and more changing detail on the facades. The entire change would happen in about 10-15 seconds so that each of the 4 cars can see the process. The changes only happen on this south side of the tower, while the other north side is permanently in its finished state.



Now inside the tower, there is another effect. An angled scrim is positioned above us which is a projection surface. The ice chandelier is projected here. Above the scrim is a physical set of an arched vault which is faintly lit and seen through the scrim. The projected chandelier grows below the real vault. Between the projection, the actual set, and lighting effects, the view above transitions from an empty vault to a grand ice chandelier. (Update: or, it could just be fiber optic effects like in Frozen Ever After. That looks pretty good too.) On the other side of the tower is the main Elsa figure, who conjures the snow and ice with fluid waves of her arms.

Back to the attraction. We leave the Ice Palace, and around the corner is the whole group in physical form, Anna, Elsa, Kristoff, Sven, and Olaf talking about going back to the palace and thanking us. We leave through a rockwork arch back into the load/unload room. We continue through the forest past a final scene of physical Sven and Olaf interacting and talking to us. Around the corner is unload and the spur to the maintenance bay. Behind the unload station is an extremely large window looking into the palace, specifically the Great Hall which is now being used for ice skating.

Guests exit the unload area and enter back into the palace and directly into the Great Hall to see the skating activity. Like the start of the movie, Elsa has made an indoor rink and invited us to join. The skating floor is over 6000 sq ft so should have a healthy capacity. Based on past skating attractions in parks, this would be an extra cost attraction. There is a small queue the leads to a payment and skates desk and a seating area to put on skates. Guests would have a half hour skate session with a new group of skaters every 10 minutes. There would also be Photopass photographer on the ice to capture pictures of skaters. Every 10 minutes, there will be an indoor snow flurry, accompanied by lighting and projections on the walls to bring winter indoors. Next to the Hall is the first retail location, which is where the pictures could be viewed. This post show area exits to another hall that leads back towards the exit to the main square. Restrooms and a side entrance to the restaurant area also located here.



The restaurant main entrance is in the main square, through a first open vault tower and down a hall to a second larger space. The rooms radiating from here are the dining areas. Tables sit under wooden beams and draped fabric sails. Anna and Elsa visit during dinner and have a photo spot in the large entry space. In the city square, Olaf has a meet and greet and there are also a few themed merchandise carts.

Back out of the square, the village resembles the area from the film and is entirely retail. The main building on the north side has multiple facades but is one large space. The buildings to the south are restrooms and an outdoor retail pavilion. The existing Casey Jr. Train passes through the show building, which is now an Ice Cave finale to the ride.



I think that covers everything. I think Frozen needs a high quality themed experience like this, and I hope that what really happens is even better. 

Comment with any questions or your thoughts about what kind of experiences Frozen should have in the parks! Thanks for reading!


Monday, October 26, 2015

Halloween at DHS and Halloween Town

Happy (early) Halloween!

The series about the Sydney Resort is over, and now we are back to regular posts based on the existing parks. Each month, there will be one more comprehensive post detailing a new attraction or maybe park expansion. I have plans for some good stuff coming up.

And for this month, October, I thought Halloween was the perfect theme.

I have previously mentioned my ideas for a new Halloween retheme and special event for the park currently known as Disney Hollywood Studios, so this post gets more indepth with that concept. It is a long post with alot of text, but I think a pretty cool concept.



So first: why Halloween and why this park?

Halloween has become likely the biggest special event season for theme parks due to the success of Halloween Horror Nights, Not So Scary, and the like. Covering both ultra scary and family friendly, these events are huge draws to parks. Disney has the family event covered and Universal has the adults. I see this as an opportunity to create a new event that covers the group in between.

From what I know, Disney has wanted to start up another event like this at DHS for years but for some reason it never has happened. The Villains events from the past few years probably didn't help. The limited content of these parties were great, but needed more. So this is my plan for that bigger event. To cover the demographic between the two main events, as well as those that go to HHNs of course, I have imagined this as an event based around a series of houses and attraction overlays that are not so much scary as startling. No gore, no death, but still suspenseful and scary to some, and entertaining and well designed for all.

The placement is DHS is fairly obvious because it is a more grown up park and its movie property basis lends itself to the event.

Also, I wanted to make this more than just a paid event and wanted to throw in some permanent theming and changes to the park for day guests, so this plan starts with some attractions overlays as well as other major additions.

So now an overview of the design. Note that this is all based on my design of the park expansion, not what was announced at D23. So there are some inconsistencies, most notably with the event theater that was built between my first design and now.



There are two elements to my plan for the park: the regular day time components and the special night time hard ticket event. First the day time event.

The below drawing diagramatically show the locations of every element in this plan.




Hollywood Boulevard is decorated to the season, as well as Sunset Boulevard, where the decor is based more on fall than Halloween. Toontown is also decorated with more whimsical Halloween decorations, like oversized spiderwebs. No other lands get permanent decorations, because that would break theme and time period for most of them.

Attraction overlays are are selected by how easy it would be to install the overlay, as in which attractions would be closed the shortest amount of time. I don't want to have any significant closures, and no closure is the best option. With this, I selected attractions that are primarily film so the transitions could happen over a few days or a night. They are shown with red outline on the diagram.

So the daytime overlays for the season are the Tower of Terror, Toy Story Mania, MuppetVision, and Toontalk.

For Tower of Terror, the exterior and lobby are redressed for a Halloween Party that never happened. New minor changes are made to the storyline and the projections through the ride are changed to reflect the Halloween party story. New lighting effects in the drop shafts are also added just to give a new experience.

In Toy Story Mania, the games are all changed for a new Halloween theme as well as some season specific props in the queue and loading area. This I believe was an original promise of the attraction, and I am a little surprised this has never happened before.

MuppetVision gets a new seasonal movie showing the Muppets filming a "scary" movie that doesn't go very well. Since the Muppets are currently in production for their show, it shouldn't be too hard to make a new seasonal film. I sincerely hope that Muppet Vision and the Muppet area survives the park changes coming soon.

Last, Toontalk gets a new storyline where the characters have a costume contest and tell their version of scary stories. It would have a similar tone to the current Laugh Floor and my proposed Toontalk.

In addition to the attraction overlays, a new seasonal show about the Villains is presented in the Hyperion Theater. (Rumor is that a permanent Villains show is coming soon to this theater, so this may soon be redundant.)

The last element is the biggest, and involved the most description. Inside the permanent event venue I proposed in my plan to the north of Rockin Roller Coaster (which is where the event theater is currently being built...), is a new miniland built just for the season: Halloween Town from Nightmare Before Christmas.




My design for the event space is complicated and large, so I'll go over that first. The below drawing is of just the event center without the Halloween overlay. The Halloween plan is coming father down so as not to spoil anything.

The entrance hall to the complex is off of a new trolley circle by Rockin Roller Coaster. The exterior facade is understated and continues the style of golden age Hollywood, so that it can blend in to any event use during the year. The elegant double height entry lobby branches off to Hall A to the left and Hall B straight ahead. Hall A has two stacked levels while B is just one. Hall A lower is 20' tall, upper is 35' tall, and B is 40' tall. In the entry hall is a gift shop on the left of the entrance and a kitchen and snack location to the right. There are three main public staircases up to the upper level of Hall A as well as multiple escalators and elevators. One set of each is located inside Hall A. The rear of Hall A is a service area with a large freight elevator and loading docks on the ground floor. Restrooms are located adjacent to Hall A on both floors. Additionally, there is a smaller Hall C on the second floor adjacent to Hall A that is designed to be primarily a permanent retail location.






I tried to layout the building to maximize use for different events through the year. The various Halls can serve different functions of different sizes, with Hall A upper being big enough for large presentations. The kitchen is placed so that it can serve the snack location in the entry hall or a temporary built location somewhere else in the building.

For Halloween, this building is the center of the special additions and every Hall is used. Hall B holds two houses for the night events, Hall A lower holds a special attraction, Hall A upper is Halloween Town and a house, and Hall C is a retail location.





Focusing on the daily experience, guests enter the entry hall, which is dressed as a movie theater. This is because one of the night time houses is themed to a haunted movie theater, and it has its entry and exit on the ground floor. Halloween Town begins at the top of the stairs, on the mezzanine overlooking the entryway.

On the mezzanine is a large set piece of the town gate, opening up towards the entrance doors to Hall A upper. To the left of the gate is another smaller facade that disguises the entry path to Hall C, the retail space.

Because this is a temporary seasonal instillation, the theming strategy is limited but hopefully effective. There are a limited number of set pieces, but they are large and well themed and supplemented with less detailed built ups, artificial trees, and ground treatments, such as fake grass.

Lighting and special effects are also crucial to set the tone here at the entry and inside the main hall. This space is lit as if illuminated by the moon, surround sound around the space creates the illusion of life, and lighting and projections on the back wall and suspended moon show the moody sky. The main Town Hall facade is also projection mapped so that it can change through the night.

Inside the entry doors is the main center of the Halloween Town, with the large City Hall facade and central fountain. There are 4 main elements to the city.





Starting from the right of the entry doors, the first is a snack location. A large semicircular canvas canopy is supported by faux stone and wood pillars with two large themed food carts sitting below it. Fake stone walls set pieces sit against the real walls behind the carts. Next to the canopy is a small seating area. There are more tables across the path, surrounded by a half height curved stone wall.

Next is the entrance to a new seasonal attraction that is located in the lower level of the Hall. More description about this in a second. The entrance facade is a stone building that is made of temporary themed walls on the lower section and a large suspended roof set piece above. The partial dome roof is large and iconic to draw guests to this attraction. Smoke periodically emerges from the top of the roof.

Next is the Town Hall building, which is the entrance to the maze of the land that is open during the nightly events. I also considered having this maze only open during the day but unstaffed with actors, so that it is more of a environment walkthrough that a scary maze. That is a possibility. There is no public interior of the building, just a storage space.




In front of the Town Hall is the fountain, which is functional, and the circular court defined by small low walls. There are two ministructures built into the walls that are just there for visual density and have nothing inside. Also by the circle is a large interactive character tree, like the one in the movie that talks. During the day, the tree interacts with guests.

Last, to the left of the entry doors, is the entry path to the previously mentioned retail space. By the path is a highly themed retail cart. Another small facade marks the entrance to Hall C.

Inside the retail space, the themeing consists of wall dressings, hanging lights, and lightly themed merchandise stands and tables. This is meant to be Jack's storage space for his Halloween and Christmas collection. This space would be regularly used for retail, so some of the needs, like counters and wall shelves would be built in.

Ok back to the attraction. I wanted to include something substantial in this seasonal land, so an attraction seemed like a good idea. But to be seasonal and realistic, it needed to be small and portable. So after some research, I decided on a truck bed simulator for the attraction. I based this on a model I found online that seats 28 per car, so I decided on 8 trucks for a rough hourly capacity of around 1600-1700, which is probably good for something like this.

The queue begins at the previously mentioned facade in Halloween Town and travels down a hallway toward the staircase down. We have entered Jacks workshop, where he invented the items necessary to take over Christmas. Inventions and prototypes of his flying machines hang above the queue. At the bottom of the stairs, the chain queue turns and enters a room built of temporary walls. Jack's drawings and photos cover the stone walls, leading to the final queue room, where bone chandeliers hang above.

Guests are split to one of four queues, each of which loads two simulators. When time to load, the double doors in the stone wall open, leading guests to the staircase up to the simulator. Each seat 24 total, with six rows of four and a small aisle in the center. Guests load from the back, with the screen straight ahead. The simulator and what is visible of the truck is themed as a wood and stone flying machine on a stone and metal launch pad.

After loading, Jack greets us on the screen and tell us about his new invention for a reindeerless flying sleigh, which we are going to take a ride on. The attraction take us on a medium thrill flight through the iconic locations of Halloween Town, to the forest, into Christmas Town, and back. Since its a smaller simulator, it does not have as much motion as other permanent versions.

Guests unload back down the stairs and through the door, and then move south towards a hallway that wraps back to the escalators on the north side. That then takes them back to Halloween Town.

The last information about the daily Halloween Town is that it would feature a small group of characters and entertainers, including Jack, Sally, and the Mayor, who would rotate throughout the day.

Also of note is that the land would remain through Christmas, since the property fits both just as well. The facades are redressed with Christmas decorations and fake snow, the maze is removed, the simulator gets a Christmas specific movie, and the merchandise switches to Christmas only. Projection effects on the walls make it appear as if a constant light snow is falling.




Now on to the night time Halloween event. The basic premise is that the Villains have broken out of the movies and taken over the park.

The event is composed of an entrance show, three Villain take-over zones, a special version of Fantasmic!, a closing fireworks show, special versions of three attractions, and up to five houses.

The entrance show, which takes place on the central stage, is the takeover of the park by the Villains. The villains from Disney, Pixar, and Star Wars properties emerge from the movies to take control for one night of chaos and fear.

The three Villain zones are comparable to scare zones, but less scary and more cool environments featuring the Villains from each land. These areas are light purple on the map.

The first zone is Animation Courtyard, where animated villains roam and greet guests. There are no formal meet and greet lines and the characters move freely in the area to interact. Only a few are out at any time and rotate through the night.

The second is in Pixar Place and is actually three separate areas. By the Monsters Inc area is a full scale child-outbreak, filled with CDA agents and trucks, scanning spotlights, smoke, and panicked monsters. By the Incredibles is a full sized Omnidroid attack, featuring a parade float sized Omnidroid. The area near Toy Story is themed to Toy Story of Terror. Additionally, other characters roam the areas, like Zurg, Pete, and Lotso.

Last, Star Wars is overtaken by Bounty Hunters and the Sith. The villains of the galaxy are found in the main courtyard of the land and periodic street events show the arrival of Storm Trooper battalions or Darth Vader.

The special Fantasmic! is an alternate version of the show where the Villains replace Mickey from the start, and ultimately win. It features new stagings of some of the same scenes with new focus of the Villains, and ends with the dragon triumphant. I decided it would be off brand to have Mickey defeated, so instead he isn't present at all. This is entirely the dreams of the Villains.

The closing fireworks show is similar to those done in the past for Villain events, featuring fireworks shot off over the Chinese Theater. It also has some stage show elements on the central stage with the Villains regathering from their night of power and eventually being sucked back into the movies.

Three attractions have special dark versions during the event, like the daily overlays. These are purple outline and color on the diagram.

Tower of Terror, which already has a new day version, gets a more intense night version. The night version features a longer and more extreme drop sequence, a scarier projection storyline, and new effects in the 5th Dimension room including a live actor. This is now meant to be an intense ghostly experience.

Rockin Roller Coaster gets an overlay that removes the Aerosmith story and becomes a haunted coaster. The ride vehicles take a wild trip through the pitch black city, with absolutely no light inside the show building.

Dr. Jones's Warehouse gets a new darker story that takes advantage of the effects and liver performer of the experience. Now, once inside the warehouse, the spirit of one of the idols possesses the guide, leading to more chaos and no happy ending.

Last, the houses. As you have seen, the Halloween Town maze has been fully designed, and the other 4 have concepts. I will start with those. Also, I suggest 5 mazes here, but maybe the event would start smaller with 1 or 2. Or maybe 5 isn't enough. That is the kind of thing I can never plan for. These are orange, and if you zoom in, you can see the entrance and exit paths on the diagram.

The first maze starting from the right is located in a tent behind Tower of Terror. The queue starts at the circle on the path to Fantasmic and exits down the path by the Fantasmic theater. This maze is the Disney Villains maze, and takes guests through the lairs of the most famous villains. Ursula's undersea cave, Gaston's antlered pub, and Queen of Hearts hedge maze, and Dr. Faciliars voodoo shop all appears in the house. The characters are all realized as face characters with detailed makeup and costumes. This is the lightest and most family friendly of the mazes.

The next house is located in Hall B of the Event Center and is themed to the Tower of Terror. The queue begins in the gardens in front of the Hotel and leads backstage to the Hall, where a new facade for the Hollywood Tower Hotel Convention Center is built. The house takes us through the haunted halls of the building. Scenes include the lobby, art gallery, kitchen, garden, and ballroom, all fully haunted with both live performers and Haunted Mansion style special effects. The exit path goes around the Tower ends at the exit of the attraction.

The other house in Hall B is themed to classic monster cinema. The entrance and exit are both inside the entry hall of the event center, the entrance on the left, exit straight ahead. The queue leads out to a back courtyard between the Halls, where the queue is located. The line leads into the Hall and, once inside, through a large movie screen of the haunted theater. The house goes through classic monsters like Werewolves, Vampires, and Mummies. Because the classics are not Disney's, these are new versions and generalizations of the classic styles. The two houses in this Hall are both medium intensity.

Skipping the Halloween Town maze for now, the last maze is located in a tent behind Rockin Roller Coaster. The queue and exit go through the trolley gate and down the backstage path. This is an undefined theme at this point, but would be more intense than the others.

Back to the designed maze. The entrance is to the left of the Town Hall building. The queue winds around the garden behind the facade, through fake dead plants and trees and under the projected moon. It enters through a small mausoleum building, and the maze begins.

Guests pass though a few layers of curtains and turn right to enter the backstage of the Town Hall. Christmas boxes and a large tree fill the room, and on the curtain in front of us is the projection of a shadow of Jack giving out instructions for his Christmas celebration, specifically talking to Lock Shock and Barrel. The christmas lights twinkle and the smell of cookies fills the room. On the left behind the tree is the first scare point, where a citizen of Halloween Town pops up to startle us. Another actor pops out from a curtain on the right, pushing us forward.

Through a curtain, we enter a vortex tunnel, where footprints and bats spiral around us. On the left, a section of the tunnel is constricted of projection scrim and Lock Shock and Barrel are projected on it, singing "Kidnap the Sandy Claws" and occasionally popping out at us. Through a curtain at the end of the tunnel is a projection of the moonlit hill side, with their treehouse silhouetted, and with rock work blocking our view to the left. An actor dressed as Barrel pops out from the right.

Around the corner, we find a large scene of the treehouse with a cyclorama background, The path goes over a bridge and under the overhang of the house. A live Lock pops out from behind the rocks on the right, and an animatronic of Shock pops down from the above treehouse as we walk under.

Through a side door, we find ourselves inside the house. It is dark and dingey and filled with junk. This room has an assortment of cages, some filled, some not. One large cage at the first bend has a live performer that startles guests. Around the corner, we go down a narrow hallway that has large paintings on the right side, one of each of the three and a fourth of Oogie Boogie. The paintings are actually scrims and are swinging doors, so actors behind can suddenly appear behind some of them.

At the end of the hall, we find a larger room with the walking bathtub in it, which is a low movement animatronic. There are three scare points, one for each of the tree around the room. We are then led into a large metal tunnel that heads down to Oogie's lair. The tunnel narrows and winds towards a dark room, where there is a large blacklit gateway on the left and a scare point on the right, pushing us deeper towards Oogie Boogie.

The path leads into a classic mirror maze, where we have trouble finding our way through except for the black lit arrows that flicker and fade. There are two places where one way mirrors hide scare actors that can randomly appear. Everything is neon and gaming themed from this point on, including the actors. We make it out of the mirrors and into the main rooms of the lair. In the first room, a set of neon columns defines the path, and with careful placement of a mirror at the front and back, it seems as if the columns go on forever. A actor pops out between the columns.

The next room is the main game space, with stacks of die everywhere. On the left is the spinning wheel and the right is a large spikey gate, which can pop open to reveal another actor. Before turning around, we are startled by a large moving cowboy, like in the movie. An actor slides the figure forward towards the guests path. Next a neon skeleton actor pops out from around a large spike press, leading us into the main roulette wheel scene.

We walk around the wheel, surrounded by menacing playing cards, each with eyes that follow us. Before exiting, we are startled by one actor that blends into the last card. The next scene shows an animatronic Santa on a table along with Lock and Shock actors. Barrel is just around the corner to scare us to the last space.

We pass a projection wall of a spinning wheel, choosing our fate, and we go through one more curtain to find an animatronic of Oogie Boogie himself, who has a personalized remark related to the result of the wheel. We pass one more scare and go through a set of curtains again and out of the main maze space. In the last room, we again pass Christmas boxes and receive one final post maze scare from our right before we exit back to the public and down a path towards the gift shop.

This design for a maze would include 24 live actors as well as multiple behind the scenes roles to operate and maintain the lighting, projections, sound, and animatronics. On the plan of the maze, the red dots show the actor positions.

The other mazes would be of similar design and scale, though I didn't have time to design more than just this one.




Wow, done with that long, but hopefully enjoyable description.

I'm sure I didn't say everything that I meant to for this event, so if you have questions feel free to ask.

The tentative plan for next month is a new original attraction for EPCOT. Hope to see you back!