Depending on how you view the purpose of Pixar land in DHS, I don't think it's too much of a stretch.
DHS = park to showcase movies and the studios that produce them
Pixar Studios = most prominent movie producing studio in the Disney Company
Pixar Land = section of DHS showcasing Pixar Studios
Toy Story = Pixar's most recognizable movie series
Doesn't seem like to much of a reach to me. :shrug: Maybe the story line doesn't fit perfectly with the park, but neither do stunt shows.
... this ride was created for Paradise Pier at DCA, and it's so obvious. It wasn't made with DHS in mind other than it being a potential clone.
Ok,
First it took me 15 minutes to decipher MILF in tomorrowland. I thought there were a lot of mothers walking around there...
2. I am sick and tired of having to clean my glasses after every show and many rides because of water being sprayed on them. Please give us an option to shut off the water.
I think the attraction sounds fun and will be a welcome addition.
As for the argument about placement, this is the now all-too-common problem with transition. When MGM opened Star Tours, it worked because you went from the movie studio onto a set, into additional detail, and then eventually into a fully immersive environment (the ride).
The problem with a lot of clones these days is that there is no longer a reference to the surrounding area. When you go through training, most guides discuss the parks in terms of camera shots. You have your closeups (an individual element of a ride), your traditional shots (the ride), and your wide shots (the surroundings as a whole). This doesn't all have to make perfect sense; it just has to fit. Where the failure comes in IMHO is when you treat these as three separate shots and don't link them like a movie.
Of course I have not ridden the attraction, but the approach to transition would be quite easy in this case. You have a Pixar studio-like building. You could easily enter the studio in production for a new Toy Story short. Then you enter a design studio where you are drawn into the short. Pick up the story with Andy's new toy and the toys wanting to try their own shot at it. Make the exit a large artist's table where you re-enter the studio.
This would be just one minor tweak that suddenly makes the transition from the Wide Shot relate to the standard shot.
Most people talk about stories in the Disney Parks. This is certainly true, but a lot of parks have stories to their rides. What makes Disney so effective is the relationship between one story and another and, more importantly, the smooth transition from one into the other so that you never (in theory) get that jarring "Now I'm somewhere else" feeling. It preserves the sense of story and connection. Again, it doesn't have to make realistic sense. It just has to fit and feel right.
Where the failure comes in IMHO is when you treat these as three separate shots and don't link them like a movie.
When you look at it that way it does fit, you're right, but let's be honest here, this ride was created for Paradise Pier at DCA, and it's so obvious. It wasn't made with DHS in mind other than it being a potential clone.
Thats what I've been saying! When you enter the Pixar Animation Studios building, you should be in a recreation of their buildings interior, and then sucked into one of the computers or something like that. That way its like their making a new movie and now your apart of it.I think the attraction sounds fun and will be a welcome addition.
As for the argument about placement, this is the now all-too-common problem with transition. When MGM opened Star Tours, it worked because you went from the movie studio onto a set, into additional detail, and then eventually into a fully immersive environment (the ride).
The problem with a lot of clones these days is that there is no longer a reference to the surrounding area. When you go through training, most guides discuss the parks in terms of camera shots. You have your closeups (an individual element of a ride), your traditional shots (the ride), and your wide shots (the surroundings as a whole). This doesn't all have to make perfect sense; it just has to fit. Where the failure comes in IMHO is when you treat these as three separate shots and don't link them like a movie.
Of course I have not ridden the attraction, but the approach to transition would be quite easy in this case. You have a Pixar studio-like building. You could easily enter the studio in production for a new Toy Story short. Then you enter a design studio where you are drawn into the short. Pick up the story with Andy's new toy and the toys wanting to try their own shot at it. Make the exit a large artist's table where you re-enter the studio.
This would be just one minor tweak that suddenly makes the transition from the Wide Shot relate to the standard shot.
Most people talk about stories in the Disney Parks. This is certainly true, but a lot of parks have stories to their rides. What makes Disney so effective is the relationship between one story and another and, more importantly, the smooth transition from one into the other so that you never (in theory) get that jarring "Now I'm somewhere else" feeling. It preserves the sense of story and connection. Again, it doesn't have to make realistic sense. It just has to fit and feel right.
When you look at it that way it does fit, you're right, but let's be honest here, this ride was created for Paradise Pier at DCA, and it's so obvious.
Great...more complaining from folks about how something isn't the way they want it to be.
Can't people just wait and see the finished product before denouncing the theming or placement??:shrug:
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