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What Disneyland's "awkward transitions" teach us about signaling changes with physical cues

Cory Doctorow — Sat, 24 Nov 2012 14:15:54 +0000

On Passport to Dreams Old and New, FoxxFur continues her unbroken record for highlighting insightful, deep design truths by examining the minutae of the design and evolution of the Disney theme parks. In the current post, "The Awkward Transitions of Disneyland!", she looks at the way that the designers of Disneyland managed their space-constraints when butting up one themed area against another (comparing this with the much more spacious, and relaxed, transitions in Walt Disney World). By reconstructing the history of these transitions, she's able to reconstruct the history of the theory and practice of using physical cues to signal mood-transitions in built environments.

I seriously can't wait for FoxxFur to write a book about this stuff some day.

Disneyland built things where it could, and so very often buildings are dropped down perfunctorily, only very rarely placed to achieve any specific pictorial effect. Depending on where you are, there can be three levels of themed design occurring around you on different registers. This makes Disneyland visually dense while retaining a somewhat prosaic thematic effect. This is what people mean when they say Disneyland is charming: it's a massive pile of ideas slammed down, one atop the other, with very little room to spare. This means that it's very common to find areas where one kind of texture or surface treatment just ends because it collides with another. This is what I mean when I say Disneyland is naive....
...What you're seeing here more closely resembles a movie set than a theme park - which makes perfect sense since this is the first theme park and it was built by Hollywood craftsmen. Harper Goff designed sets for Warner's Midsummer Night's Dream and Casablanca. Marvin Davis worked for 20th Century Fox. The key concept in film production design is the ability of the camera to exclude certain objects from view; Disneyland's early scenery resembles a movie lot more than a modern theme park. It would be several years before WED Enterprises learned how to design for the human eye instead of the camera eye.

The Awkward Transitions of Disneyland!

Snow White rides, secret pockets of theme-park horror

Cory Doctorow — Thu, 28 Jun 2012 17:14:39 +0000

The always, always, always fantastic Passport to Dreams Old and New blog traces the history of the Snow White rides at the Disney parks around the world, with an emphasis on the horror motifs in the original film and how they made their way into the rides, only to be removed (and re-added) at various times throughout the years. The Snow White ride in Florida's Magic Kingdom was just shut down, and is due to be replaced by a roller-coaster. As Passport's Foxxfur notes, rollercoasters are nice, "...but will it satisfy on the level of the scary old dark ride?"

One remarkable aspect of Snow White's Adventures is how well it used very simple animation and motion gags to enormous effect: by concentrating on heavy atmosphere in place of constant character vignettes, nothing ever seemed crude or like it moved less than it should have. Many of the Witch's sudden appearances resulted entirely from the perspective of riders moving through the scenes; the figures themselves were often static props. Several, such as the crocodile logs which "chased" the cars in the Forest, could only ever be seen by a small number of riders. Additionally, even more than most "ghost train" style rides, the track layout here created a lot of the character of the ride; as seen above, it's obvious how the bus bar was laid in such a way to force cars to "leap" out of the way of each new threat, especially in the last third of the ride as the pursuit is really on. Few dark rides have ever been paced as tightly.
What is apparent is that at a certain point the ride simply abandoned even the abbreviated version of the narrative logic of its first half: even allowing for a certain degree of artistic license compressing the transformation of the Witch into the throne room scene, the ride was following the film up to a point: the wishing well, the transformation, making the poison apple, embarking on the boat through the woods, the arrival at the dwarfs' cottage. But the moment the cottage is breached the ride simply throws out the rule book more thoroughly than any other Disney attraction, building on riffs on abstract memories of moments from the film until the Witch literally goes on a murdeous rampage and kills you.
What do you do with a ride like that? In Fantasyland? Mere steps away from Cinderella Castle, with a facade that suggests something far cuddlier than what it is, which is even more of a comfortless horror fest than The Haunted Mansion? Snow White's Adventures and Rolly Crump's brilliant, adjacent Mr. Toad's Wild Ride held down the fort for nearly twenty years as strange, subversive pockets of irrationality and nightmare logic in Disney's orderly theme park world.

In a happy coincidence, the Long Forgotten Haunted Mansion blog has a new post tracing the connections between the Mansion and Snow White.

Through the Forest: Snow White's Adventures

Print your own MAPO stickers, declare your goods to be of bespoke Disney manufacture

Cory Doctorow — Thu, 07 Jun 2012 03:48:01 +0000

FoxxFur at Passport to Dreams Old and New has created a PDF template for printing out your own MAPO stickers. MAPO (MAry POppins) is the Disney division responsible for fabricating many of the limited and one-off mechanisms and infrastructural gubbins that make up the Disney Parks' underpinnings, and each of their products ships with a MAPO sticker proclaiming its origin. These stickers are highly sought-after souvenirs, especially among cast-members (employees) at the parks. FoxxFur's template can be used to produce your own stickers and add them to things that need a little exotic back-story.

MAPO manufactured basically everything that ended up in Disneyland or Walt Disney World between 1964 and 1990 - they must have printed these things out by a thousands because they're stuck to props, motors, figures, power junction boxes, chain lifts and practically everything else you can think of in the World's Fair attractions, Pirates of the Caribbean, Haunted Mansion, Space Mountain, Horizons, and dozens of others.
As you can imagine, MAPO stickers are prized possessions amongst cast members, who are apt to peel the nearest one off the first available prop. The backstages of Mansion and Pirates are full of tiny rectangles of less-aged areas where MAPO stickers have absconded the premises. Here's mine. It's direct off the actuator frame for Herbert Hoover, which was being thrown away:
The problem is that as time goes by and the gap between the shuttering of MAPO and our own age widens, these stickers are becoming increasingly uncommon and most of the good ones have already been thrown out - attached to props in, say, Mr. Toad's Wild Ride - or gone home with Cast Members with an eye for history. This is problematic in that these stickers represent Disney history - Disney history that's vanishing out the Utilidor exit year by year.

Made in Glendale

Deep design analysis of Walt Disney World's lighting fixtures

Cory Doctorow — Wed, 21 Mar 2012 20:00:29 +0000

FoxxFur, the brilliant, pseudonymous design critic and scholar of Disney themeparks, is back again, with the first post in a series of long analyses of the use of lighting fixtures in the design of Walt Disney World's Magic Kingdom park. FoxxFur matches the attention-to-detail of the original Imagineers, unearthing a design sensibility that is incredibly subtle, and making a strong case that this subtlety isn't wasted -- rather, it all contributes to an overall sense of consistency and immersion that is the secret of the Disney park success.

One of the best light poles in the entire park, these tall lamps manage to represent Main Street, Adventureland and the Hub all at once. They span the bridge leading from the Crystal Palace to the gateway to Adventureland.
The Hub features much more utilitarian lamps overall, very similar to those seen outside the train station amidst the turnstiles. I think these were selected to create a garden-like atmosphere throughout the Hub, which benefits in Florida greatly from her meandering waterways, sloping lawns, and expansive flowerbeds, recalling the European gardens which inspired Disneyland. Their frosted globes link the entry area, Main Street, and the Hub in a single unified organically flowing movement.
Our tall lamps, above, are unique and occur only at the Crystal Palace bridge. While their tall shape mimics the castle and their frosted globes remind us of Main Street, notice the details of leaves, fronds, and lion heads - hinting at what will be seen nearby in Adventureland.

All the Lights of the Kingdom: Part One

Claude Coats, the background artist who made the Haunted Mansion feel infinite

Cory Doctorow — Sat, 31 Dec 2011 06:42:58 +0000

Long Forgotten, the world-beatingly insightful blog on the history and design of the Haunted Mansion rides at Disneyland, Walt Disney World and other parks, has a new lavishly illustrated post up, this one on the contribution of background artist Claude Coats. HBG2, the site's author, makes a compelling case for Coats' draftsmanship and sense of depth and detail being the clinching element of the Mansion's design, the thing that makes it seem so much bigger and realer than it has any right to be. I once read FoxxFur, the blogger at the equally awesome Passport2Dreams Old and New describe the Mansion as a series of scenes in a giant, empty box (contrasting with the Pirates of the Caribbean, which is really a series of towns and scenes that fill the whole ride-space -- but the Mansion feels like it goes on and on, like you could jump out of your vehicle and get lost in its depths.

Coats was one of the artists Walt pulled out of the studio to work on Disneyland as it neared completion. He had studied architecture as well as painting, and he seemed a natural pick for designing the interiors of dark rides, starting with Mr. Toad's Wild Ride. Among other things, Coats had a knack for squeezing an amazing amount of ride into a ridiculously small space. He and Ken Anderson must be given the lion's share of credit for Toad. The precise extent of Coats's contributions to the other two 1955 originals, Snow White and Peter Pan, is less clear, but there seems to be little doubt that he participated. Later dark rides in which he was heavily involved include Alice in Wonderland and Adventure Thru Inner Space (which was practically all Coats; notice that there are no characters in ATIS)...
Besides the sheer scale, another difference in this work was the mixture of 2D and 3D. Coats was now doing background paintings with bulges, a sort of bas-relief. He quickly showed himself a master of this technique. This Peter Pan shot is modern (hat tip Daveland), but it preserves the illusioneering Coats and Anderson pioneered at Disney, layering shallow, three-dimensional models against flat paintings...
Every time you feel that strange urge to wander into the labyrinthian depths of the Haunted Mansion and be lost (the pull is especially strong in the first half), that's Claude Coats the background painter, leaving your very self to supply the missing character cell.

We tend to think of immersive environments (especially the Disney ones) as being all about the robotics, character design, sound and ride systems, but the backgrounds are what really make the experience.

Long-Forgotten: Claude Coats: The Art of Deception and the Deception of Art

Tiki Room resurgent

Cory Doctorow — Mon, 15 Aug 2011 17:45:09 +0000

FoxxFurr, my favorite design writer and the Disney parks' most insightful critic welcomes back the restored Tiki Room at Walt Disney World, and puts it into its larger context: "It's snappy with a fighting weight and it's appropriate for a show that can lag deadly for modern audiences. I saw it four times today and not once with a variety of audiences did someone walk out. What I did see was looks of wonder and awe..."

Theory and practice of queue design

Cory Doctorow — Fri, 10 Dec 2010 17:22:45 +0000

Passport to Dreams's FoxxFur continues to write the most fascinating, erudite, insightful material about dark ride and theme-park design I've ever read; her latest post is about the new queue area for the Pooh ride at Walt Disney World, used as a jumping-off point for a fascinating essay on the theory and practice of queue design:

Disney's main innovation and departure in 1955 was to replace the traditional "back wall" with, in fact, no wall and a beautifully designed manufactured landscape. Trompe l'oeil becomes terrain, the "scenic switchback". The earliest example of this may be the Jungle Cruise, but I think the most beautiful one is the Matterhorn Bobsleds, which is an exciting, fascinating wait in line by virtue of... yodeling music and manufactered rocks.
But for all that, honestly, we don't think of Disney's best queues as being plain switchbacks, even if they secretly are. If we cut the roof off the Florida Pirates of the Caribbean queue and look in, we'll see that the switchbacks are unpredictable because they wrap behind walls and around scenes, they're actually pretty much just like what still graces the front of Snow White's Scary Adventures (see below). Even the beautifully linear Space Mountain and Indiana Jones Adventure queues eventually reach switchback areas, just not immediately or obviously. These queues, the "secret switchbacks", are a later innovation on the part of Disney and are what is generally thought of as the "themed queue", atmospheric treks which set up some component of place or atmosphere, indicators of an advanced state of themed design. In the context of Disney-designed attractions, this mode was more or less invented for the Florida Pirates of the Caribbean, although Disney did not always use it for every attraction. Big Thunder Mountain Railroad, for example, is more or less a simple "scenic switchback" queue, at least in the original design of the attraction (built in Florida in 1979).

The Third Queue

Walt Disney World's Haunted Mansion: stupendous essay - Boing Boing

Gate guarded McMansion suburb in Walt Disney World

Cory Doctorow — Wed, 23 Jun 2010 03:37:59 +0000

Disney is building a bunch of multi-million-dollar McMansions in a gate-guarded suburb on the grounds of Walt Disney World. It's the latest in a series of urbanist experiments stretching back to the original vision Walt had for the Florida property -- the Experimental Prototype Community of Tomorrow, or EPCOT.

For absolutely the best-ever writing on the subject of urbanism and Disney, see FoxxFur's brilliant The Lake Buena Vista Story: Part One, Part Two, Part Three, Part Four

The Golf Resort Disney unveils Golden Oak luxury homes, offering a chance to live in the Walt Disney World resort (Thanks, Ricky!)