Showing posts with label Attraction Concept. Show all posts
Showing posts with label Attraction Concept. Show all posts

Tuesday, August 28, 2018

The Great Hall Dining Room and Weasleys' Castle Tours

And this month we are back with a pair of new exciting attraction/restaurant plans, for the first time not for a Disney park but for The Wizarding World of Harry Potter.

In my Islands of Adventure plan from last year, I proposed removing Dragons Challenge and using the space for two new Harry Potter attractions, a Forbidden Forest dark ride and a castle tour dark ride. I also proposed a Great Hall Dining experience adjacent to the castle. Now a year later, part of that is really happening. A Forbidden Forest family coaster will open at some point next year. So I decided that it would be fun to design my concept for the other parts of my plan.

So this post comes with two parts: a restaurant concept for The Great Hall Dining Room and an attraction concept for Weasleys' Castle Tours.



First the restaurant. I believe that this idea is not original. I remember hearing on a Jim Hill podcast that this was part of the expansion plan at some point in the past. I guess there are reasons that it has not happened yet, but the idea always stuck with me.

In the Islands of Adventure plan, the only place that I could fit the restaurant is to the left side of the castle, with the entrance by the greenhouse area. There are a couple obvious problems that I had to solve. Capacity will always be an issue for something that will be this popular. The Great Hall is a defined size, so you can't just oversize it to fit more tables. So I decided that two identical Great Hall Dining Rooms was a necessity. Also, the geographical relationship of where the restaurant was placed and the visible castle was a problem. You can't walk into the Great Hall at ground level while looking up at the force perspective Great Hall on the cliff above. But this was an easy solve because luckily magical transportation is a thing here. So I knew that the Floo Network was going to have to be incorporated into the experience to get guests up to the castle.

So with those problems solved, this is the story and experience of the restaurant. Guests enter the greenhouse-adjacent dungeon storerooms that are used to store the produce grown for use in the castle. Guests check in and wait in the dungeon area before their group is called. Then your party enters into a side room, where there is a large fireplace. A short preshow style introduction is given by a student of Hogwarts and then the group travels by the Floo Network up to the castle. The fireplace opens and special effects give it a magical green glow, leading guests through the fireplace and into another room on the other side. There they are greeted by another student that will lead them up to the Great Hall. Follow along on on the dashed path in the plan below. 

At this point, the hallway splits left and right to lead to the pair of dining rooms. It is very important to keep the illusion that there is only one hall, so they are completely separated from this point and each actually have their own set of bathrooms so that guests do not accidentally go back to the wrong Hall if they were to go during their meal. The student guides the group around the corner and up a staircase or elevator to the Entrance Hall of the castle.

At this point they are led through the main doors and into the Great Hall to be seated. The seating is obviously communal at the four long sets of tables. The food is served family style both for efficiency and because that best aligns with the story experience of eating in the Great Hall. When you are seated, bread and drinks are already on the table, and student servers bring out the rest of the courses during your meal. So in the actual story, the food magically appears on the table, but that seems a little impossible. But I do imagine that it would be possible for a little magic during the serving process of at least one course, with some kind of trick serving bowl to make the food seem like it has just appeared. In reality, the food comes from the kitchens below the hall, rides up a pair of service elevators between the halls, and is served by a team of waiter-students.

During the dining experience, there would also be periodic entertainment on the stage at the head of the hall. Every half hour or so, there would be a short musical performance by the Hogwarts orchestra and choir after a introduction and welcome by a staff member. The entertainment cast would alternate back and forth between the two halls during the night and their dressing rooms and prep spaces are adjacent to the kitchens below.

After your party is finished with the meal, they exit back through the Entrance Hall, down the stair, and through an exit hallway that includes another fireplace.

The total capacity would be 672 seats at one time. Assuming an average of an hour turnaround for each seat (lower than average because of the family style menu) and about a 10 hour serving day (11am to 9pm) that is just over 6,500 seats per day, which I believe is a higher capacity that Be Our Guest Restaurant. 



The other plan is for one of the attractions I proposed to replace Dragons Challenge. The idea was for a very family friendly traditional dark ride, something absolutely everyone could go on. At first I thought that the setting would have to be in Hogsmeade since that is where the attraction entrance would be, but then I realized that there are many magical means to quickly go somewhere else, so I had a lot of possibilities. I also always thought that it would be fun to see more of the castle in a practical setting, not just screens.

So that led me to decide that this attraction would be a dark ride tour through the more interesting spaces of the castle. Unlike the official tour given in Forbidden Journey, this would be an unofficial tour run by the Weasley twins in order to show guests the "real" Hogwarts. As the few that know all the secret tunnels into the castle, they are operating their tour out of the office directly above one of the most secret tunnels, which just so happens to be the Hogsmeade office of the Quibbler. 

The entrance and queue leads through the tabloid offices, passing the work desks, the storage of unsold issues, and their mini museum of bizarre artifacts and memorabilia. The queue then leads into the rocky tunnels at the back of the office and the load/unload space of the attraction. The dark ride is an omnimover style system with shell style vehicles that each seat 3. 

The attraction starts by entering the main tunnel to the castle, which is dark and windy and has a never ending branch leading off of it. Then we emerge out through a opening behind a painting into the actual castle. We are in a side hall by the moving stairs and at then end of the hall is the Weasley twins welcoming us to the castle, by form of peppers ghost musion projection. We are told that we are there unnoficially, so keep a watch out for any one looking official and to keep on the path they set. They will follow along with us to show us the best of Hogwarts. We continue to hear their narration through the rest of the tour from speakers in our vehicle.

The track then leads us into the Grand Staircase, where one of the legs above us is moving back and forth and the dozens of paintings on the walls are all moving and talking. The stairs fade into darkness and floating candles above us. We then pass through a fireplace and travel by Floo Network up to the Trophy Room of the castle, which is filled with the treasures and trophies. The Weasleys' narration tells us about some of the most unique items in the room, particularly those won by their friends. Outside of the Trophy Room is the Armoury hall, which features a corridor of talking suits of armor. That leads into the Hospital Wing, which holds a couple sick students and a great view of the sunset out the windows. The Weasley twins tell us of some of their most notable injuries at this point.

The path then takes us down a hall of magically animated tapestries that show the history of Hogwarts and then we continue into the Library. We pass rows of bookcases and desks, where books are magically floating around and students are studying. After exiting the Library, we pass through a dark hallway that is inhabited by the ghosts of the castle floating above us, talking to us and pointing out that we really are not supposed to be in this area of the castle. We continue on and are lead into the Transfiguration Classroom, where the Weasley twins are at the head of the classroom giving us a magic demonstration. The birds in cages around the room are constantly changing into comical objects in time with the spells.

The last set of rooms leads us out of the classroom and down a hall that includes a overlook over the rest of the castle and the forbidden forest at twilight. The Weasleys then tell us that they have saved the most important room for last. We turn and enter the room of requirement for the Weasleys, which is actually their joke test and storage room. The Room is full of tables of products and jokes, including many that are in the process of being tested, creating a dynamic room of flashing lights, smoke, smells, and movement. We finally pass through another fireplace and find ourselves in the Entrance Hall by the staircase, where the Weasleys are again found standing on the upper stairs. They thank us for coming to the castle and try to sell us some of their products one more time before we finally head back to Hogsmeade. We move down a hall, back through the painting, down the tunnel, and then find ourselves back at the unload space.

We leave our vehicle, exit the tunnels and walk down a hall into a new retail space. There are 5 new small retail spaces in this addition that are all themed to various magical businesses, forming a back street to the existing Hogsmeade.



I had a lot of fun working on these two Harry Potter additions but I am also really excited for what is actually happening in this area next year. Looks like a really great attraction that the park really needs. 

So that is it for this month. There are two other concepts I am currently working on, so I will make sure to get one of them finished for next month. Hoping it will be another big attraction I am working on, but it is pretty ambitious so I may end up behind schedule. So check twitter for any updates and thanks for reading!


Monday, February 26, 2018

Balloon Simulator Attraction

The post this month is an attraction concept that I am really excited about, and if you've been around my projects for a while, one you have seen a version of before.

This is I think my third full version of my idea for a balloon simulator attraction. Think Soarin, but with a hot air balloon and inside a 360 degree screen, showing panoramic views over some kind of landscape.

I've had this idea for so long that I really don't even know where it came from. I guess just wanting to make my own unique version of the so common flight simulators. But one of the reasons that I stick with it is because the idea of a 360 degree experience is interesting to me and I think could solve some of the problems of current flight simulators: that if you look exactly where you are supposed to, its a perfect experience, but once you see the edges of the screen, your pulled out of the flight.

The idea has been the same all along, but the mechanics of the ride system changes with each version. Though I am not an engineer, I like problem solving through how a ride system like this could work.

I have designed this as just the generic ride system for now, not as a specific attraction. However, I included this attraction in my Worlds of Exploration 3rd Gate for Disneyland as a hot air balloon safari, and in the past used it for a Australian Outback ride in previous Animal Kingdom plans. It will likely return to my next Animal Kingdom in some form. In all the cases I have imagined it, it has been for landscape based flying experiences.



So I'll start with the layout of the building. I've designed it with 3 theaters in one building, but I guess it really could be modified for whatever amount is needed. The main attraction building is 80' wide, 245' long, and something like 55' tall. That doesn't really include queue or exit space, I imagine that would be customized to each version use of the attraction.

In this concept, you load on one floor level, called the 2nd level above, and unload on the level below. How the necessary stairs/ramps/elevators would work to move guests up or down before or after the ride is also outside of this building. I have it drawn as just an entry on the second level and an exit on the first level.

After the queue, guests enter the main showbulding portion down a hall, with one line for Fastpass+ and one for standby. At the end, guests are distributed to two preshow holding rooms. The one on the left serves two theaters, the one straight ahead serves the third. It would be possible to do a 4 theater version of this as more of a square building, two theaters and one preshow on each side of the center hall.

The left side room would reload twice as frequently as the other room, since it serves two theaters, so guests in the second room would have twice as long a preshow. So there could be some kind of passive introduction to the subject of the attraction that could last a variable time and then the actual preshow content before your room moves on to the next step in the attraction.

Out of the preshow room, the group of guests are grouped onto numbers in four single file lines, split into two halves with a railing. Here would be the final preshow and the safety instructions. The the doors at the end of the room open and markings on the floor lead around the bend into the main theater. Guests walk across an elevated gangplank platform to the balloon platform in the center of the theater. Above the seating, through what appears to be a round opening in the ceiling, guests can see the bottom of the giant balloon above, tied to the seating platform with a series of ropes and cables meant to look authentic.



The actual theater "vehicle" has three stadium seating rows split into half with aisles on either side. The far left and right of the four numbered lines lead to the front row on either side, and the other two lines feed to the second and third rows. Guests sit and strap in with a seatbelt like Soarin and then the attraction begins. The balloon theater rises up from the gangplank and up and out of that opening in the ceiling and into the sky. The trick is that the theater has not yet moved. To end the attraction, the theater descends 10' and rejoins the gangplank at the lower level to exit. Guests then leave out a pair of doors to an exit hallway and then leave the building. The attraction then resets for the next group of guests.



Now how the theater actually works. Follow along with the animation.


There are three moving pieces to each theater. The "gangplank" loading platform, the seating platform, and the projection dome. Each are independent but synchronize to create the illusion that you are flying up and away.

The moving seating platform also includes a small portion of fake balloon above the guests to frame the view of the screen. It visually merges with another stationary continuing section of fake balloon above that, which actually holds some of the projectors. The other projectors are below the seating platform.

The attraction load begins with the dome elevated and the load platform aligned with the seating. Then in synchronization, they both descend and the projections begin on the lowering dome, making it feel like you are actually going up. Both move up and down along 4 large "column" structures, so the system is in a way freestanding and independent of the building.

Once the dome is lowered into place, it should fill the full field of view of guests in the vehicle. The front row may be able to see above and below if they try hard, but with the average view, you are fully in the immersive dome.

There could also be some environmental effects in the attraction, like smells, wind, or light mist, all coming from the fake balloon canopy above.

The seating platform at the center can move slightly up and down during the attraction to simulate flight movement, and then can descend 10' on scissor lifts to unload on the lower floor. It can also rotate to add to the sensation of movement.

After unloading, the whole system moves 10' back up to reset and the attraction cycle begins again.



Each theater seats 62 guests per cycle. There could potentially be 8 cycles an hour, which I believe is the same amount as Soarin. So that means about a 4.5 minute ride and 3 minutes load and unload, again basically the same as Soarin. 

So each theater gets through 496 guests an hour and the total project moves 1,488 guests an hour. Not bad. Better than 2 theater Soarin, slightly less than the 3 theater version. If it needed to be a people eating E ticket, it could be modified to 4 or more theaters easily.



That is it for this ride system concept. This is the third big ride system that I've worked out and I really like it, even if its a little different than the architecture style stuff I normally do. It also lets me play around with Blender, which is a fun challenge every time. 

Not sure what will be up next month, but hopefully soon I will be ready to post my plan for my redesign of Hollywood Studios, or whatever it is called by then. 

Thanks for reading and check back next month for something brand new! 

Monday, May 15, 2017

Disneyland's Tomorrowland: A New Vision



Tomorrowland is my favorite land in the castle style parks. Actually, let me rephrase that and be more honest. Tomorrowland is my favorite by potential of the theme. In actual practice, it has some issues that keep it from being the top. The issue that stands out to me, present in every single Tomorrowland/Discoveryland, is that there is just too much contradiction present from years of IP additions and a lack of singular vision. It may be Tomorrowland, but it does not reflect Tomorrow. As has been said many times before, building the future is hard in comparison to lands that predominately look to the past, so it is to an extent understandable. But that doesn't mean there can't be another try at it. 

So this plan, which is elaborated from the expansion plans I proposed for Disneyland last year, is my attempt at completely starting over with the land and developing a new identity for Tomorrowland, just like has been attempted in real life a couple times before. 

Instead of aliens and sci-fi or looking to the past, I decided to follow the model of what I see as the most successful attempt at building the future: EPCOT, with a particular focus on space. I wanted to follow a realistic but optimistic guiding principle of building a better future, even as we travel to new frontiers. 

I really see this as the most clear fulfillment of the original purpose of the land. The core childhood fantasy that defined the world of tomorrow has always been the fantasy of becoming an astronaut and going to space. This is the land where we look to the future and to the stars, always optimistic for a better tomorrow. So that was my core philosophy and guiding principle for the following design.

As you continue reading this post, it might be valuable to have some background music. So here's a playlist with a couple of tracks I put together that fit the style I imagine for the land. 



Before getting to the actual design, I want to start with the varied sources of inspiration.

One of the biggest inspirations for the subject, the tone, and the style of the land comes from the above series of NASA posters which show our universe as a series of travel destinations. These are so well designed and optimistic, suggesting a time where the universe is accessible and a part of human society. I like that idea for Tomorrowland. Specifically, I am using The Grand Tour to suggest the setting of the land. This Tomorrowland is a space travel station on Earth that is celebrating the alignment of the planets for the Grand Tour and inviting us guests to learn about and ultimately travel to space.

The next primary inspiration, like I mentioned, is EPCOT from the early years. The inspiration is less of the style but absolutely the tone and specifically the Horizons attraction. The realistic hard science approach of EPCOT stands is opposition to the fantasy style of many of the existing Tomorrowlands, but I am confident it could work. Especially because of the success of so many space science movies over the last few years. If entertaining, real science doesn't drive people away. So EPCOT and its attractions are a big element here. More on that later.

And finally, I have to mention the Tomorrowland movie. Though I don't reference it explicitly in the design of the land, again the style and philosophy are a big factor. Getting architecture specific, that means that the highly organic architecture of Santiago Calatrava is present in the inspiration imagery. Overall, the idea is clean and white, organic and sweeping, dense but open, and monumentally impressive. 



Now to the overall concept of the design.

Like mentioned, this is a futuristic space travel station on Earth where the optimistic ideals of space travel are idealized. There is no overly complicated story or definite setting besides the general theme of the future.

The land is divided into three districts. Future Tech at the entrance to the land, Future Life to the north of the land, and Future Frontiers to the south of the land. At the center, forming the thematic core of the land is a new Horizons attraction, which ties the ideas of the three districts together into a single concept.

The significant element of the renovation that needs to be mentioned first is the addition of a second level to the land in the form of an organic sweeping walkway that connects many of the existing buildings. There's a couple reasons for this addition. Logistically, existing Tomorrowland is tight and when it is crowded, it's not fun. The second level, and the decision to place some of the attraction entrances on the second level, is an attempt to spread some of the crowds. But aesthetically, I think there is something interesting about the visual density and kinetic value of two levels of pathways. There is density, but organized density, and the visual of guests walking above or below you suggests there is more to be seen. The upper level has a staircase and elevator tower on either end for access.





Future Tech is focused on how technology creates a better future and includes both real life and slightly fantastical examples of the cutting edge of science and technology.

This district starts at The Hub. The Astro Orbiter is removed from the front of the land and moved back to the central tower. So to replace it is a new fountain, called the Fountain of the Worlds, sitting at the same spot as the original Clock of the World. Behind, the Peoplemover track is adjusted. The central run is removed to allow for better crowd flow and the second level addition, but the track is adjusted to cut straight across the path from building to building, so it is still able to be a kinetically dynamic entrance element to the land. Ahead, the second level and the exterior glass elevator tower is visible. There are staircase access points in both the buildings on the left and right, where new occupiable second levels are constructed.

The Future Tech district has four attractions. To the left is a replacement for Buzz Lightyear, which does not fit in the theme. To the right is a replacement for Star Tours, which also does not fit theme. And above on the second level is the entrance to the new Peoplemover and the relocated Astro Orbiter.

Replacing Buzz is a dark ride based on Big Hero 6, which I believe has the same positive science and technology philosophy as my idea for the land. Like I have said before, I am not opposed to IPs if used properly. in my opinion, Big Hero 6 fits the setting and tone of the land, so it's perfectly ok here. The dark ride uses the same track and similar omnimover vehicles for a tour through the Big Hero group technology workshop, set up like the lab scene in the film. We tour through a series of labs, guided by Baymax, where each of the team members demonstrates some kind of futuristic technology they are working on, created with practical interactive effects. Things like electromagnetic levitation, high tech robotics, laser technology, and of course microbots are demonstrated in a fun and entertaining way. The main lab scene is open to both the accessible second level above, where the staircase comes down to the ground level of the lab, and a large curtain wall looking out to the main pathway. I want the crazy technology lab setting, filled with movie robots and lasers and experiments to be highly visible.

Across the main path is the replacement for Star Tours. Ideally, it should close as soon as Star Wars Land opens and the new attraction will retain the simulator system. To reflect the Future Tech concept, the new attraction shows the future of transportation in the form of an ultra high speed public transport train that gives a tour of the future world of tomorrow. The exterior is redressed as a transit station, with locations and times tickering by on update boards. The glass curtain wall looks into the waiting room queue with an exposed upper level mezzanine.


The trip take us through first the immediate area of Tomorrowland, expanding the scope of the land, and then high speed jumps across the country and world, showing us what could be the world of Tomorrow, like a version of London where a rocket dwarfs Big Ben. This is a little inspired by the dynamic train trip in the Tomorrowland movie and therefore passes some similar visions before expanding around the world. It could be possible to have multiple different itineraries just like the current version.

The upper level to the waiting room is the queue for the Peoplemover, reinforcing the transit theme of the building. The Peoplemover follows the same track, minus the central section that I already mentioned. It goes counterclockwise around the land, looking into many of the attractions and explaining the Districts organization and overall theme of the land.

The Astro Orbiter is now up on the upper level in its original position, and its queue is on the middle level below it. There is a new elevator tower built adjacent as well.



Next, the Future Life District is actually just existing attractions and locations in a new grouping. The concept of the district is the future of life on Earth, showing a high tech civilization that better lives on and with the natural world.

First, Nemo is removed from the Subs. The new attraction retains the subs and infrastructure, but now is dressed as high tech research vessels that explores life underwater while on a trip to SeaBase Pacific, an underwater futuristic community. The trip includes exotic fish, encounters with a whale and a giant squid, and ultimately a trip through the futuristic world of civilization underwater, passing by other high tech water crafts and divers. It utilizes the same screen technology as the existing version, plus more sets and limited real figures in SeaBase Pacific. Back outside, there is also a bridge built over the corner of the lagoon to resolve another bottleneck and allow for cool visual connections into the lagoon.

The Autopia is slightly shortened and there is an additional indoor scene built, but it is essentially the same. The Monorail is also rerouted slightly to stay out of Fantasyland. Both of these moves were done to open up an expansion plot for Fantasyland. The Train is also in this area, and also gets a bit of change. Maybe controversially, I propose the complete removal of the Grand Canyon Scene, to be replaced with a scene that shows a diorama of a vista over an expansive and active Tomorrowland. Showing a large and busy city, the view would include ships and Monorails and cars flying by, both physically and projected. The style would be clean, bright, and optimistic, like the rest of the land. The transition between this scene and the next has the train pass through a series of strobing laser fields, to suggest some kind of teleportation into the past of the next scene. The Primeval World show scene would get a thorough refurbishment to update the figures and effects to act as a fitting and thrilling finale to the Grand Tour.

Last for this area, the Tomorrowland Terrace is renamed and the covered area is expanded into a new organic based restaurant. Reflecting foods grown on earth, the new menu would be an attempt at something healthier and more diverse. Just to the south, by the Astro Orbiter, is an outdoor garden area, showing many of these Earth grown foods.



The final district, Future Frontiers, is all about space travel, and is centered on the existing Space Mountain.

The 3D theater at the base of Space Mountain is removed and replaced with a better entrance way to Space Mountain, a new attraction, and a new post show area for the two attractions. Anchored by a giant modern 45' rocket (reminiscent of the original one from Tomorrowland), guests enter a new space flight concourse, where they can turn left to enter the existing queue system of Space Mountain, or go straight to enter the new attraction, Mission: Mars. The right leads to the post show from both attractions, which expands into the Starcade.

Mission: Mars is new iteration of the space flight simulator attraction, combing elements of Mission: Space and the original Mission to Mars. The attraction is based in a theater in the round underneath a spherical projection dome, but the theater is not stationary. The attraction uses a custom motion base system and has two identical theaters. The round theater seating platform is on a full motion base and can rotate and slightly pitch in both directions under the seamless projection dome.The entire base can also rotate along one horizontal axis 30° forward and 15° backward. The seats also recline to about 10 degrees so that you have a great view looking up into the dome. The diagrams below explain this a bit better.





This motion would allow for some slightly realistic show action to coordinate with the rocket flight and trip through space. Guests launch from the Tomorrowland Spaceport, stop off at a massive Space Station, showing life in space, and then rocket on to Mars and land at a station right above the Red Planet. The spinning motion of the theater during launch would simulate minor g forces of launch and flight, and the pitch would be able to simulate some interesting floating through space, disorienting your true gravity. Here's a video showing how the theater could move.



The post show from both attractions would be set in a Space Station and feature astronaut games and panoramas looking out to the alien world.

Rocket Rods Pizza Port next door is renamed and redressed to fit in with the Space Port look and theme.



Finally, the attraction at the center between the three districts is a new version of Horizons that ties themes from all three areas together into one vision of the future. Occupying the entirety of the former carousel building, it can be a pretty large attraction. The entrance is on the upper level, and on the lower level, there is a small home of the future style walk through, where you get to actually step into one of the sets along the ride path.



That describes the complete attraction vision for the land. But text doesn't really convey the visual style that I have in mind. So I decided to built it. The whole land. That's why this post took extra long. Enjoy the design below, ending with a pretty exciting flythrough of the land.












So that is my Tomorrowland. I am really happy with it and hope you do too. 

Let me know what you think! And I would really appreciate any kind of sharing! 



Tomorrowland Architecture Image Credits
1. The Octopian
2. All Ears
3. Disney by Mark
4. and 5. Google Maps

Tomorrow World Transit Image Credits
1. Daily Mail
2. Londontopia
3. Futuristic News



Tuesday, January 10, 2017

The Indiana Jones Adventure: Lost City of the Gods






The year is 1937, soon after the events of Raiders of the Lost Ark. Inspired by his recent successes, Doctor Indiana Jones has been brought to the city of Rome to unearth a long lost ancient temple, buried layers deep in the catacombs and caves below the historical city. Legend has that the temple is part of the first Roman city and may hold artifacts thought to be lost to history as well as the grand treasure of the international Roman Empire. He is not the first to attempt this search, but his skills and experience may just make him the most successful.

Indiana Jones and his team have come to a Basilica on the edge of the city, long thought to mark the entrance to the lost realm. They have excavated the ruins below the 12th century church to uncover the mysterious remains of an earlier 4th century church. But there is still more to explore, as the team has opened up a tunnel into the complex catacomb system below, stretching miles under the roads and buildings of Rome. The Lost City has been well hidden. That brings our reason for being here. As his archaeology students, he is sending us out in teams to explore the diverging paths and find the trail to the ultimate goal. We ride on specially built amphibious vehicles, allowing us to float through the underground rivers until we need to venture onto the rough and rocky land. Indy himself left in the team just ahead of us, so if we run into trouble, he is just a radio call away.

Of course on our adventure, that is exactly what happens as we quickly find an un-mapped temple, disturb a Roman protector spirit, and are swept away into the dark depths and dangerous traps of the Lost City. With Indy's help, we escape by going deeper into the mysterious darkness and, after a few more unexpected adventures, ultimately find the rumored treasure room before being swept away one final time and back to the safety of the ruins we began in, triumphant in our search, though it was a little more adventurous that expected.



This proposed attraction for the Disney Studios Paris Park is something I have been thinking about and working on for a few years actually. The first version was for Hollywood Studios Park and had a South American temple theme. For this park, I shifted to the Roman theme because I wanted to give some variety from the typical Indiana Jones jungle setting. It was also directly inspired by a church that I visited when I visited Rome a few years ago. The Basilica of San Clemente al Laterano is exactly what I described, a Middle Age Church built on top of a 4th century church, built on top of Roman ruins that include what is believed to be a small ancient Roman temple. I also visited some of the catacombs on the outskirts of the city and the extensive catacombs of Paris, inspiring this combined setting. They all felt exactly like places Indiana Jones would explore.

The creative innovation that has kept me drawn to this project has always been the ride system. Originally, I faced the option of bringing Indiana Jones into a hypothetical park plan by copying the existing ride or doing something new. Even though the original is in my opinion the best ride I've ever been on, I felt like I couldn't just copy something that was 22 years old. I wanted to try something new and to top the adventure and immersion of the original.

I quickly decided on trying something similar to the EMVs but doing it in water and including a flume element. This ended up making the most sense as a water coaster with a motion capable vehicle. I am no engineer, but after studying a lot of examples, I think what I have makes sense. The benefit of this system would be a huge variety of ride experiences in one vehicle. The attraction can have guests float calmly through a river, speed through choppy water (simulated with the motion capabilities), drive onto rough land and encounter obstacles, race along traditional coaster track elements, and fall down a controlled and smooth flume drop. That's like combining a few good rides into one great ride. This potential is what made me excited to keep working on this ride over a long development period. I'll give some more specifics about the vehicle later down the post.



I'll start by walking us through the queue and then the plan of the attraction.



The land is an authentic early century Roman streetscape, centered around a church, with a park like area across the road, bordered by high ancient Roman stone walls. The road leading from the Hub to the Church and entrance to the attraction is basically all themed retail. There is a street style Pizzeria, a high class Italian restaurant, and two other attractions. One is a family friendly exploration zone through a church and its catacombs and caves, built under the park berm, and the other is a special effects and animatronics show in the local Museum, featuring Dr. Jones collection of mystical artifacts that somehow come to life. The main church and its obelisk are the focus and the center of the land. It has a Baroque facade, similar to Santa Susanna below, but much smaller, and a bit less ornate to fit in the theme park scale.

Santa Susanna Facade
Notre Dame Architecture Library
San Clemente Basilica Interior
Michael Foley

The entrance to the actual attraction is to the right, where there is a truck unloading  pile of crates and barrels, all apparently Indy's equipment. There is also one of the amphibious vehicles on the back of a flatbed. The boxes hold the marquee for the attraction and form the start of the queues that then lead into the side door of the church. Follow along the queue on the plans below.



Inside the church, the queues turn right and proceed down the right aisle, past the empty church, and then through more doors and into the next room. The church interior is again similar to a Baroque church, like the interior of San Clemente, but again much smaller and less detailed, instead just giving the impression of an ornate church. The queue barely spends any time inside the space, because I think it works better for it to just be a quick image, and it felt more right to leave it as an open space. The queues then enter a kind of Church museum gallery, which is something I saw in multiple churches in Rome. The queues wind around display cases and paintings, all appearing to be very old and special. Then they pass down a gallery hall where there are large paintings about the history of Rome, setting up the story about the current church being built on top of an older church and Roman ruins below. The queues cross a hallway, with a window to the light on the left, and enter the small library research room. Book cases on every wall frame a large desk, where Doctor Jones has apparently been working. Books on the desk are open to historical maps and drawings of the cave system, and notes describe his plan of exploration. The table in the middle of the room holds a large paper map that he has drawn on, and sketches for the ride vehicle. 


San Clemente Basilica Diagram
Valerio b. cosentino

Sant'Ivo alla Sapien Cloister
Promich


Back across the hallway, we exit the building to the ground level of the church cloister. The cloister is an enclosed courtyard with covered colonnades on all sides. We walk along the exterior of the grassy center courtyard, looking up at the empty second level balcony and the sky above before reentering the building, into Indy's work room. Boxes and crates are on our right and we begin to hear the audio narration that instructs us of our job here. In the next room, there are two blackboards, one with a chalk map and had written directions to us, the archaeological volunteers, and the other with a flickery black and white video reel, showing off the brand new vehicles that we will be riding, also doubling as the safety instructions. The projector is perilously stacked on barrels and boxes in the middle of the room and a gramophone sits on a footlocker to the side. We finally reach the point that we will descend, by stair or elevator. The queues lead down the staircase, turn, and then descend into the dark and damp ruins.


Under San Clemente Basilica
Holly Hayes
Under San Clemente Basilica
Holly Hayes

Mithraeum Under San Clemente Basilica
Allie Caulfield

The queues turn left and weave between hefty rough stone pylons, what appear to be remnants of a structure from the past, some kind of chapel maybe. The rubble have begun to take over though, and through some gaps we can see the river beyond with ride vehicles swiftly passing. Imagine the setting like the picture above, but a little more disheveled and damp, like an active archaeological site. We pass through a lowered tunnel, and look down into an enclosed pit to our left where there is an ancient stone Roman altar in the process of being excavated, like the one above. The tunnel opens up into the main room of this lower queue, the historical church, where there are more thick stone supports holding up the shallowly arched roof. This is an impressive space. The queues weave between the pylons and piles of rubble and then reach the front of the room, where a cross vault spans over the river loading and unloading area. There are two loading docks to the left that load simultaneously and then both vehicles move up to two seat check stations. They then dispatch individually into a cave opening and the attraction beyond.



Back to the vehicle. It is a very detailed and complicated ride vehicle that seats 16 total. As for the look, it's easier to just let you look at the image collection below.



The main body is surrounded by a padded float and the tops of the non functional wheels just peek above the water line. The back holds a random assortment of boxes and supplies as well as extra tires. Each of the 4 rows has a storage bucket in front of them, which has a waterproof seal. The sections above show the mechanics of the system below the water. 

The standard coaster track starts below water and a pretty standard chassis frame rides on that track. On this chassis is a 360 degree turntable which supports the lower half of the motion vehicle. This component is basically a basin with high walls on all sides, with all the mechanical equipment to create the motion sunk in the basin. The high side walls are able to slot into the vehicle above, so that the tops are actually above the water level, keeping the mechanical equipment out of the water. A bellow gasket along the high walls connects to the upper vehicle and helps to keep the water out of the lower vehicle basin. The upper vehicle, the show portion of the vehicle, then sits on top and overhangs the rest of the components below to hide them in the dark water. Guests actually ride above the water through the whole ride but the vehicle has enough bulk that this is not apparent. 

Again, I am not an engineer, but I think this works and can provide a good amount of ride profile elements. It can pitch and roll from the upper motion components and the entire body can rotate 360 degrees as needed. Here's two video clips of this in action, animated and rendered in Blender.




This shows a rough approximation of the vehicle simulating swift rapids, the most active of the motions required in the attraction. 



Back to the ride.



The vehicle launches from the seat check station and enters a dark cave opening. Even though the vehicle is able to move smoothly through the water since it is on a coaster track, the motion systems can give it a little bounce and rock as we pull away to make it more authentic. The dark cave is lit by just a trail of lanterns hanging from the stone, leading us right. As we enter, we get a radio call from Indy, telling us that were set to explore the upper river system while his group is in the lower catacombs. After we turn right, we encounter a shallow waterfall that we approach and then drive up. It is still dark, so we can't really see our path ahead. We can just tell from the sound, the mist, and the motion, that we are climbing a rough slope. On this drive up, Indy give us our final instructions: look for a temple at the mouth of a twin waterfall and let him know if we get into any trouble. At the top, we drop back into the river and begin our peaceful float exploration. At first, these are just normal catacombs, or as normal as catacombs can be. Rocky tunnels guide the river and portions of the walls are lined with bones to create intricate patterns and structures. We turn a bend and continue through these mood setting scenes. 

But ahead we can see a set of Doric columns, standing proud in the water, reaching the high rocky ceiling. We float towards them, and notice that a waterfall sits on either side of the path. We turn to see the full temple, a grid of the same columns and a stone altar facade on the left side. We have found it. But before we can do anything, a flame erupts from the torches at the altar and a spirit voice warns us that we have made it too close to the lost temple. To our right, the water quickly bubbles and a geyser shoots off, causing us to speed up as we get away. The water around us is getting violent and we are rocking a lot now, of course simulated by the vehicle. As we race out of there, the vehicle and track actually rise up just enough so that the vehicle is completely out of the water, so that it can create more drastic motions without the resistence of the water. We are swept away and pass a projection surface on our right that seamlessly joins the cave set, showing a huge flood swiftly approaching us. 

We out of control float left and enter a projection tunnel setup. The vehicle moves along between the two surfaces, which show the catacombs beyond engulfed in fire and being destroyed by the quickly rising tides. The vehicle spins and rolls like it is caught in rapids, rotating a full 360 degrees out of control. Controlled water splashes and mist adds to the effect. Another smaller boat zooms by, with Indy on board, telling us that we really found some trouble, and that we need to escape to the lower catacombs with him. We bank around a left turn and plunge down a slope in darkness to the level below, splashing down in the base of the quiet river. We escaped, for now. 

At the bottom of the falls, we see the boat Indy was on, crashed into the rocks. We turn the corner and leave the river, roughly driving up onto land. As soon as we are up, we get another radio message from Indy, saying he is clearing the path ahead, but watch out for traps that he missed. We begin slowly driving through the caves, over a lot of rough terrain simulated with the motion vehicle. Quickly, the first trap comes at us from the left, as a huge column topples directly in our ride path, forcing us to swerve out of the way just in time. A second comes from the right, forcing us to speed away around the corner, but we immediately face a huge swinging hammer in front of us, stopping us in our tracks and then stuttering as we time our race through the path. A second of the swings is permanently propped up on the side, suggesting Indy already encountered that one. To the right is a nook of skulls and bones around a pit of lava, with a small fireball erupting just as we pass. We swerve left into a narrow path, where we quickly feel darts shooting past us. Air jets simulate the feeling and prop effect darts pop out of the side walls. We make it through the tunnel and see Indy at the end, standing on a a few small crushed stone balls. We slow and pause as he congratulates us for making it through the traps, but complains that we had to cause so much trouble. He points us on, and we speed around the corner and enter the largest space of the attraction.

This double level space that we have opened into features a 180 degree hemispherical screen ahead of us, blending into real rockwork on the edges. In front of the screen is a set of tall Roman columns, matching the curve of the screen. Between the center columns is a ledge a section of real rockwork, holding a few pieces of glistening gold and glowing stones. We are driving on a rock "bridge" over water on either side, gently bubbling. As we enter and approach the center of the room, we see projected Indy climbing the rock wall between two of the columns, trying to get to the treasure at the center. As he approaches, the room suddenly is overtaken again by the protector spirit, causing the bubbling water to begin flaming, and a column of steam shoots up in front of center columns. An abstract face appears on the steam, warning us to abandon our search. Indy jumps away just before all the walls begin to crumble, and one of the columns actually starts to crumble and tilt towards us, threatening to crush us. Through this whole scene, we have been slowly moving along the curved track, but the vehicle has always pointed forwards, so we are now really facing backwards. Just as the rock walls begins to fall, we start to slip away backwards and then go down a small dip backwards into the darkness.

We then go through a small coaster portion of the adventure. Still backwards, we zoom around curves through the cave pillars. Then, while we go around a larger curve, we rotate back to forward and continue speeding along the only path we can see. Indy is yelling at us to follow the light, which we can see ahead to the right. But we slam to a stop in a dead end cave, with light flooding to us from above. We are seemingly stuck, but then we start to rumble and shake and then shoot straight up in a cloud of steam and mist as we ride the hidden geyser. We come to a stop at the top and slide out into one last river, but this river is much lighter and more peaceful. We turn the corner and we can immediately see well preserved Roman architecture and a pile of treasure and artifacts. Included are various international objects representing the reach of the Roman empire. As we turn the corner, the water starts to move more swiftly and we begin to float away faster. Suddenly we hear the rush of a waterfall and know what is about to happen. We are quickly drawn forward, turn a corner, and drop down a tall flume and splashdown in a catacomb lit by Indy's lanterns. We peacefully float around the corner through caves and find the final room, the ruins of the original church we found, where Indy stands surrounded by a limited selection of the treasure we found. He says something about managing to get some of the most important pieces out of the lost city and thanks us for out help.

We continue through a final cave opening, through a vehicle holding area, and back into the load/unload room we started in. We unload, walk up a stair case or use an elevator, and exit into a gift shop on the edge of the cloister we passed through earlier, completing the experience.



The only technical detail past the vehicles to point out is the vehicle maintenance bay on the lower level, just past load, which uses a sliding track switch to get vehicles there. It needs to be on the lower level because it should be adjacent to load and the control booths, but this is also a problem because this is the underground level of the attraction. The vehicles also need to be able to leave the building, so there is an included vehicle elevator adjacent to the maintenance bay. The maintenance bay track ends with a sliding platform that can be loaded onto the elevator and rolled out of the building to some kind of transport truck.



And that completes the design I have put together for this attraction!

Even though I designed this specifically for the Roman setting in my Disney Studios Paris plan, I've thought about how this could be cloned to a variety of settings pretty easily. For instance, if this were to be replicated for Hollywood Studios with a Mayan theme, it could use basically the same ride building with altered set dressings and a unique queue and load building. It could even be altered to have a different exterior flume drop because the drop is located at the front edge of the show building section of the attraction. Just cut what I have at the wall between the final drop and the first lift, turn the drop to be exterior, add on a separate queue and load building, and change the architecture of the temple scenes to Mayan ruins. Then it is a different experience and story. It reuses the technical system and layout, but is unique enough to be a different attraction.



So let me know what you think about this attraction concept! Also, let me know what you think about the new look. And make sure to follow on twitter to keep up with what's coming next. 

Monday, October 24, 2016

UP UP and AWAY Attraction Plan

This week I have an attraction plan that was actually completed a few years ago and that I have been holding in reserve. This is my design for a suspended dark ride based on UP to be located in a new South America land in Animal Kingdom. The post for that park is here.



Set after the movie, guests are given the opportunity to take a tour of the jungles around Paradise Falls, led by the Wilderness Explorers group. As a project to gain a badge, the group of explorers has constructed a fleet of balloon vehicles for our adventure filled trip.



The queue begins in the jungle near the house and leads to a meandering switchback queue through the brush where the Wilderness Explorers have set up camp, passing seemingly occupied tents. Interactive noises and shadows in the tents lend to the illusion of life. Both the Fastpass+ and Standby queues then lead into the rockwork caves. The queues pass through their workshops where they have been building exploration balloons, which we will be riding on our journey through the jungle. We pass boxes of parts, spools of rope, and tanks of helium along the way. We find their work table with the blueprints for the vehicle and then a finished vehicle prototype before we round the corner and reach the load area. There is a projection effect of an opening in the rockwork where we can see the balloon periodically sail by, filled with Wilderness Explorers.


The wicker and metal exploration balloons are two rows seating 2 or 3 in each row and are suspended from a large clump of “balloons” which cover the track above. I wanted to make this more than a traditional suspended dark ride, so I attempted to emulate a “trackless” ride in a suspended dark ride form. To create that effect, the darkride has two separate tracks that pass through the scenes in completely different ways. The vehicles on each track are identical but mirrored, cantilevering out from each track by 1’ towards the center. At load and unload, the two tracks sit parallel and 2’ apart so that the vehicles suspended from each track form a straight line. The tracks also come together for two track switches, where large overhead turntables send the vehicles to the backstage maintenance bays.

Guests load on their exploration balloon vehicle and float out into the jungle. We start out in search of Kevin, but first find Doug and the rest of the dogs that live in the Jungle. Doug sits up on a rock perch to the right of the two tracks, talking to us as we float by, while the other dogs are at ground level around the track. Farther ahead, we discover Kevin standing on his own rock formation, squawking at us. We float past and into a cave, which is where the first track switch is located. This is the remnants of Muntz’s cave, evident by a perpective projection of Muntz’s dirigible to the right side of the track, making the cave seem much larger than it is. On the ground, Muntz’s equipment and furniture are scattered. We float out of the cave and right over a lagoon, with gushing waterfalls to our left and right, threatening to splash us but just missing. We turn and pass through a rocky opening, and see another floating balloon ahead of us, with Carl and Russell inside. We float around it, while they wave goodbye to us and wish us a good trip back to the camp. We float ahead, passing Kevin and Doug again, and enter another cave, where the second track switch is located. We turn left, and arrive at the unload station. Guests exit the vehicle and walk through the small gift shop before making it back out to the house.

Guests are able to freely explore the house before or after their ride. Russell and Carl could also do meet and greets outside the house during the day.

This would be similar to the attraction I am currently proposing in my third gate design for the Disneyland Resort, set in a similar South America rainforest.



So as I said, this is an older plan, about 4 years old actually, that I have saved back. I didn't want to make you wait another week without a new post, especially because I know that I will not have one next week, so now was the time to use it. I may have 1 or 2 more old attraction plans that I could share in future gaps, but I hope that will not happen soon. I'll be back in two weeks with something new, and hopefully soon, an update on the state and future of the blog. 

Monday, September 26, 2016

Disneyland Fantasyland Expansion Plan: Frozen Ever After and A Tangled Tale

This post will be hopefully the first of multiple detailed plans based on the Disneyland Resort expansion I just completed.



This time will be the north Fantasyland expansion that I proposed, formed of an Indoor Arendelle area, a Frozen boat ride, and a Tangled trackless dark ride. I'll start with a walk through of the area before we enter the attractions.



The addition begins as a forest path coming from the train bridge underpass, splitting left for Frozen and straight ahead for Tangled. The area also connects to the expansion area replacing the Fantasyland Theater, where the new Peter Pan's Flight is located.

Each of the two attractions have architectural icons that we can see from this path. To the right, through the trees, guests can see a forced perspective Rapunzel's Tower in a distant cleaning, surrounded by a rockwork wall with a waterfall behind. Guests cannot get all that close to it, so it should be able to stay in perspective as being far away. The entrance to the Tangled attraction is straight ahead and the queues lead into the rockwork wall and then into an interior simulated exterior forest.

The Frozen side of the forest path, the left side, features a stone tower with a wide eight sided roof as the icon, beckoning guests to the cave path to Arendelle. The tower is covered in snow and displays banners for the kingdom, welcoming us to the Winter Festival of the newly opened city. The train station is also redressed with Arendelle inspired architecture to further tie the area together. It is not removed or replaced, but the exterior architecture is redesigned. The train station remains on the second floor while the ground floor below becomes restrooms and a gift shop that opens to the north side, holding merchandise for both properties.





Guests enter The Kingdom of Arendelle through the cave path and find a small Village facade on the left and the Palace gates on the right, which lead into the square of the Palace. The main Palace facade sits ahead, with fountains frozen into grand spirals on either side. Inside the palace is a meet and greet, which has two identical rooms. The short queue passes through the main entry hall, where a large family portrait hangs at the end of the room, into a side room, the library, and then guests are directed down a hallway to one of two rooms where both sisters are waiting.

The left corner of the square facing the palace is the entrance to the Ice Skating, and a small queue leads to a payment and skate rental desk, and then to a seating area for skaters to get ready. Small lockers are available. They then can skate for a 20-minute shift on the frozen lake in the middle of the icy forest. Occasional snow flurries fall on the skaters, and a Photopass photographer is on the ice to document guests experience.

The north corner of the square has snack carts that sell specialty cold and hot drinks, perfect for the theme, and basic snacks. The south corner has a large retail location, operated by Oaken, which can also be accessed through the tower at the exterior of the land.

In the Village facades across the way is the queue for the main attraction. The queues begin on the north side of the building and gradually slope down before entering the ground floor of the building, which is 5’ below the level of the main pathway. The queues pass through various rooms that are the shops of the city. Fastpass goes directly to the load, Standby goes up a staircase to a second floor extended queue, then back down to load. Handicap guests may use an elevator to go directly to the load platform. By the way, I did not design the upper queue, ran out of time, so it is just a blank room for now.

Guests board the large boat and then float away from the dock and into the Ice Forest, where fake trees twinkle with crystals. We pass the ice skating, and then head into a dark tunnel. We emerge into the Ice Forest and immediately see Olaf on the left, greeting us. This would be similar to the awesome walking figure in the existing ride. The trolls are ahead on the right, telling the story of the sisters, but they are found on both sides of the flume. Then on the left is a look into the dark forest where the glowing eyes of the wolves menace. We make it through however and see Anna on her sleigh on the left, greeting us. We float under an snow covered rock arch and come up upon Wandering Oaken’s Trading Post, where he stands on the porch and offers us his winter sale. In the windows, we see projections of his family in the sauna, waving. We float into the barn and meet Kristoff and Sven, and then emerge into the Crystal Forest, filled with pointed ice spikes and Olaf and Anna pointing our way to visit Elsa.

We turn and enter an Icy gateway, the entrance to Elsa Ice Palace, and then go up hill to the mountain. Above us are ornately carved ice arches. At the top, we turn left to a wall of pointed ice arches looking out over the frozen mountain landscape, just as the song begins. Through a swinging set of doors, we finally make it to Elsa’s Ice Palace. In front of us is a large automated set piece of the palace which actually grows in front of us in time to the music, as Elsa, who we see projected in the balconies, uses her powers. We then float underneath it and the huge ice chandelier above, pulsing with the music. Then we continue out of the tower and under the icy arches and to the next scene, where we see Elsa on her balcony completing the song. Then we exit the palace and finally pass Marshmallow, who pushes us down the mountain. We splash down and pass a giant model of Arendelle, snow fireworks exploding above, like in the existing attraction. Then finally we pass the group of characters once again, waving goodbye. Then unload, up a ramp, and back to the public area of Arendelle. We don't directly exit into a gift shop, but there are two nearby.




I have a scene animation created for the Ice Palace effect that I described above. The video shows 4 repeats of the growth and reset cycle. The effect is formed of multiple layers that slide upward around the central tower. The top crown slides up and the points slide out of it, the balcony slides up and the hand rail grows up from it, the inner pointed arches slide down, the stairs slide up with the balcony, the side wall grows up, and finally the rear window arches slide up in two pieces. Additionally, projections are important to the effect. The front faces of the tower and the side rear walls are projection mapped, so that crystalization textures can be added to emphasize the growth effects. Also, the projections fill in the interior space of the tower, showing the Ice Chandalier growing and Elsa walking around, using her power, and causing the tower to grow. The rear walls show views looking out on the icy mountain. The entire process takes about 15 second, begining when the doors open to enter the room, and ending right as the boat enter the interior of the tower. It then all quickly resets for the next boat. The overhead arches on the north side of the tower attempt to block the view of guests on that side of the track from really noticing this repeated transition.



Now on to Tangled.



The Tangled dark ride entrance is outside in the forest path. The queue goes through a simulated interior forest, like the ET dar ride, next to the castle walls and then gets to the load area, where guests board a trackless carriage. The 4 carriages then pass through an open door in the stone wall and into the first scene, where they circle around a platform. Rapunzel and Flynn are at the center, welcoming us to the Festival of Lights, where she will be retelling the story of the lost princess. This is my strategy to somewhat get around some of the problems of the book report dark ride. Because this is a retelling, there is license to summarize and leave out plot elements because Rapunzel is telling a new version of this story. The image below is a rough massing perspective to show the character of the scene.

We then move backwards and turn to a tunnel of projection surfaces on either side, where Rapunzel's paintings come to life with her narration. These are used to summarize and transition between scenes, allowing for quick but logical transitions between the major spaces. In these paintings, she tells us of how she came to be in the tower, and then we enter the tower itself, a large and tall circular set, where she sings “When Will My Life Begin”. We continue through the curtained portal and into scenes of “Mother Knows Best” and Rapunzel interrogating Flynn, all of which technically take place in the same room. The car rotates and shifts as it transitions to hopefully confuse and obscure where we are really going. The first of these scenes shows the dark room, with just Gothel and the Mirror, instructing the seated Rapunzel. The interrogation scene shows Flynn tied up and Rapunzel with her frying pan, agreeing to leave the tower.

Then we leave the tower and transition past paintings showing the descent from the tower. We processed into the forest, where the track splits through the woods, and passes Flynn complaining about his wanted poster, stuck on a tree. Rapunzel frolicks in the distance, in projected form. We then move into the Snuggly Duckling for the largest scene of the ride. The track again splits around a large center table where Rapunzel is standing and singing. In the corner is the Piano Playing Thug, who trades verses with Rapunzel. The highly detailed room is filled with figures singing along, including Flynn pinned to a post. The Cupid thug rotates on a wire above us as well.

Then we move under the balcony to a side room, where we see Maximus and a Guard searching for Flynn, but they have escapes out of the trapdoor by the bar to the side of the room. Mother Gothel peeks through a window to the side. We turn backwards into a transition painting room, where Rapunzel summarizes her journey into the Kingdom walls. This is themost effective use of the transition paintings, because it cuts out a solid 20-30 minutes of less important plot. Then we move into the large scene of the Lanterns on the water. We make a full revolution around the-central boat, surrounding by gently bobbing lanterns, supplemented with projections and mirrors to extend the view. We leave this room through a large swinging door and pass a view into the woods, where Mother Gothel consoles Rapunzel as Flynn sails away in a silhouetted projection through the trees.

We continue back into the tower, and circle around Rapunzel in the center, just at the moment she realizes she is the lost princess. The paintings on the tower walls and ceiling come to life just like in the film with fiber optic and projection effects. The cars move on to a series of small scenes completing the story. First, we see Gothel stabbing Flynn, just in front of the tower window, then a scene of Flynn cutting Rapunzel's hair, and then Rapunzel healing Flynn in a cloud of light. The middle scene uses an update of an old school effect to show Gothel ageing. The figure stands by the mirror, and when the hair is cut, she turns to face the mirror, but we actually see a duplicate aged figure simultaneously turning into view. The ride concludes with another storytelling scene, where Rapunzel completes her story with a happily ever after and everyone says goodbye. The cars then move back out to unload, and guests exit back out into the forest path of Fantasyland, passing a retail cart and eventually seeing the retail ahead under the train station.



This is probably the largest detail plan area I am going to develop, but I want to design many of the smaller additions I proposed. Are there any specific attractions or lands you want to see more detail on?

Thanks for reading and leave a comment!

Wednesday, February 24, 2016

A Tangled Tale

The design post for this month is another attraction that I have proposed for the Magic Kingdom based on Tangled.

I decided to make the possibly controversial decision of removing Peter Pans Flight in order to create a modern darkride that completes the already established Tangled inspired area. In my plan, I also included a new modern and relocated Peter Pans Flight, making this decision somewhat easier. Because the existing darkride is suspended, I believe it would be possible to install a double level attraction, allowing it to be a bit longer and larger than many other comparable Fantasyland rides. The façade is redesigned starting at the transition to Liberty Square to match the style of the Tangled restrooms across the path, continuing all the way around the corner. The detailed facades create an immersive mini-land for Fantasyland based on one of the most popular current stories.



Though I normally am against book report style dark rides, I felt that this was a good opporunity for a ride like this because of two factors. First, the small size of the space forces a condensed ride, so it helps to use a plot that is already known. And second, I believe there are multiple iconic songs in the film that have to be included. Without following the plot, it would be difficult to hit these big moments.



The queue begins at the armory of the town. The standby queue turns right and runs along the facades, entering the guard office and passing through storage rooms, where barrels and boxes surround the path. Each area of the queue is heavily detailed, including plenty of wanted posters. It then rejoins with the Fastpass+ queue and travels into the formal hall of the armory, with painting depicting the many successes of the royal guard and a row of ornate decorative spears in the center of the room. The two queues then merge as directed by a cast member and into the stable area, leading up to the loading area. At this split, wheelchair guests are directed straight to the unload area.

Guests board a wooden carriage-styled vehicle, seating 2 or 3 per row with two rows. The vehicle is able to rotate 360 degrees on the tracked base, like an omnimover. Guests load the vehicle on a slowly moving loading belt. The vehicles would dispatch approximately every 10 seconds, similar to the existing dark rides, but because the vehicles are larger, it would have a better capacity.

After loading and seat check, the vehicle pulls forward towards a painting of Rapunzel on the wall, beginning the telling of the story of the lost princess. The vehicle makes a u turn and begins moving slowly downhill. The ceiling above and wall to the left are painted just like Rapunzel’s art, retelling how the princess was born and subsequently disappeared, narrated by Rapunzel herself. The art comes to life with a projection effect as we pass each major element. At the bottom of the ramp, we find ourselves in the tower, with Rapunzel to our left in front of her window, singing “When Will my Life Begin.” The next few scenes take place inside the single room tower, so the rotation of the vehicle is used to misdirect where we are in the space, making it believable that everything is taking place in the tower. Rapunzels hair wraps all around the scenes, acting as borders and visual barriers while literally tying the grouping of scenes together. The vehicle turns around the corner, rotating a full 180 degree to face a second scene of Rapunzel in the tower, this time showing her longing to visit the lights and painting the lights on the tower wall. After another spin and turn, we find Mother Gothel singing “Mother Knows Best” to Rapunzel, convincing her to stay. Just on the other side of a thick curtain, the story progresses, showing Flynn Rider held captive in a chair and being interrogated by Rapunzel, and eventually agreeing to take her to the lights. We rotate right to face a stone wall, where the shadows of Flynn and Rapunzel descending down the tower are projected on a stone wall. We turn to find the forest, with physical trees augmented by projected landscapes above the brush. Flynn stands in the center, by a tree, complaining about his wanted poster while Rapunzel frolics through the projected forest between the trees. Around the bend, we see a small sign for the Snuggly Duckling, and hear the raucous music in the distance as we approach the front door.


Through the door is the largest scene of the attraction, “I've Got a Dream.” In the double height tavern, multiple thugs sit underneath the rough wood beams, listening to the Piano Playing Thug and Rapunzel alternate verses while Flynn is hung on one of the wooden columns. The Piano Thug sits of course at his piano on the stage in the corner while Rapunzel stands on a table, surrounded by singing thugs, telling us of her dream to see the lights. In the room are many of the recognizable thugs, including Gunter the interior designer, Ulf the mime, and the cupid thug, who is spinning circles overhead. We continue past Rapunzel and the bar, turning right and beginning to go uphill. Again, paintings on the ceiling tell the story of how they made it into the city. At the top, we rotate left to face animatronics of the King and Queen lifting up the first lantern as “I See the Light” begins. The vehicle moves out over simulated glistening water, through a sea of floating lanterns, and turn to face the boat holding Rapunzel and Flynn.

The lanterns of the room gently float in place and twinkle, aided by mirrors and projections to create and endless field of lights. Ahead, we ride back into the forest, where Mother Gothel reprises “Mother Knows Best”, consoling Rapunzel. Through the trees, we see a projection of Flynn sailing away on the boat. Through the next door, we are back in the tower, right at the moment that Rapunzel realizes her identity. She stands in the center of the room, looking above at the large ceiling of paintings, which come to life with fiber optics and projections, creating an effect similar to the movie. As we turn and rotate into the next room, we see Flynn confronting Gothel before turning again to an alcove, where we see the shadow of Gothel falling over and out the window. We continue on and turn to see Rapunzel and Flynn together, happily ever after. Just around the corner is unload, back at the stable, and the exit path leads to a new gift shop that is split with the new Frozen attraction next door.



I'll be back next month with another discussion post on March 9th and a design post on March 23rd! Leave a comment with what you want to see coming up soon!

And I am still working on the existing plan for Disneyland plus another major theme park that I am excited to design expansion plans for. Hopefully those will be coming up sooner than later!