the.dreamfinder
Well-Known Member
Fast Company has weighed in with a longform piece of its own on MM+. This is the most critical piece on MM+ after two very glowing write ups in Fortune and Wired. I only say critical because of the context the article exists in. What I'm trying to say is this article is the best of a terrible bunch. There are some interesting notes on Imagineering's resistance to it, even having Joe Rohde go on the record criticizing it and downplaying its use for Avatar land, and nasty internal politics between Orlando and Burbank. However, the main issue I see with the article is the authors initial interest in the ballooning cost of NGE only to drop the topic and not dig deeper. When given the opportunity, he fails to ask Staggs tough questions as he goes on to claim it came in under budget which is quite hard to believe given what we know.
http://www.fastcompany.com/3044283/the-messy-business-of-reinventing-happiness?partner=rss#!
http://www.fastcompany.com/3044283/the-messy-business-of-reinventing-happiness?partner=rss#!
Thanks to brands like ESPN and Pixar, much of Disney is known for a creative approach to business. Not the Parks division. "The rest of Disney is younger, more progressive—risk takers—but [Parks] is not," explains one former high-level company leader with strong ties to NGE. "It’s built to be industrial and resilient, for consistency and volume; it’s not built for change." Arguably, the division’s core competency isn’t creativity, but turning creativity into a predictable operation. While the parks do regularly introduce new rides, the division is intent on preserving the spirit of Disney’s tradition, the rickety nostalgia of rides like It’s a Small World, which has barely changed since its debut at the 1964 New York World’s Fair. "If it ain’t broke, don’t fix it": That’s how multiple company sources describe the division’s ethos.
Every corporate rule-breaker has to figure out a strategy to combat naysayers, the keepers of these traditional flames. The rebels of NGE knew that secrecy was critical if they were to build out the vision without interference from the broader organization. "Parks has tried big, transformational efforts before, but most failed because the culture killed them," the former high-level leader says. That’s partly why the NGE team went outside the company for help. Padgett, who led the development of the MagicBand, brought on third-party partners, including designers from the storied San Francisco firm Frog, who signed on in mid-2009.
There was much for naysayers to fault, starting with costs. For example, the earliest bill-of-materials estimate for the MagicBand was $35, 87,000% more expensive than the 4-cent paper tickets Disney historically relied on
Insiders say the Frog team found the internal struggles withering. They faced opposition from a powerful corporate force: Disney’s Imagineers. ... The Frog industrial-design team really ed off the Imagineers, stepping all over their toes and fighting turf battles," explains one insider. The Imagineers pushed back; at one point, multiple sources confirm, they demanded the individual résumés of each Frog designer assigned to the project, a move that some perceived as a personal attack.
The tussle over digital access points, where customers would use their MagicBands to enter each ride, was typical of the dysfunction between Frog and Imagineering. Frog envisioned a waist-high stand featuring the outline of Mickey Mouse’s head, with a MagicBand reader embedded. The idea was to help guests understand how to interact with the device, by touching "Mickey to Mickey," since the MagicBand would also feature the Mouse icon. If the access point’s Mickey glowed green once a guest touched it with a MagicBand, the guest could enter the ride; if it turned blue, that meant the guest required assistance from a cast member.
Imagineers argued that the uniformity of the access points would disrupt the spirit of their uniquely stylized attractions. For example, seeing Mickey’s face on every post would be disconcerting, since there were wide swaths of the park that had nothing to do with the Mouse at all. Ditto for those waist-high digital posts; what business did something looking like a shiny modern mailbox have in the foreground of a medieval castle? The Imagineers preferred designs that would be immersed in the theme of each Disney World ride: futuristic ones for Tomorrowland, Wild West–style ones in Frontierland, and so forth. Their preferences reflected their deepest goal, which is to protect the sanctity of children’s imaginations as they engage with real-life fairy tales at the park. Says veteran Imagineer Joe Rohde, "If I’m supposed to be living with fairies, fairies don’t have iPhones or MagicBands."
Members of the Disney board visited as well, with the exception of Steve Jobs, whose cancer was worsening. Sources say that, despite not seeing MyMagic+ in person, he pledged his support. "I love what you guys are doing," he is said to have conveyed to the group. "You won’t get everything right, but doing what you’ve been doing and believing that will remain the model for the next 20 years is also not right."
The NGE team presented so many different concepts to the Disney leadership that some wondered if their aim was simply to wow top leaders with the long-term potential of NGE through whiz-bang features. There was, for instance, Padgett’s concept for reengineering the airport arrival and departure experience. A team started designing a plastic cart for the guest’s luggage, so compact that it would fit through a special Disney x-ray machine without forcing passengers to separate and throw suitcases and backpacks on the conveyer belt. It was a sort of TSA PreCheck for baggage, which would seamlessly be transported straight to a guest’s hotel room. The team began discussing ways to reengineer airport x-ray machines, and Padgett even organized a meeting with TSA officials. "That project itself cost probably close to $500,000," says a source familiar with the concept work. "And I honestly don’t know: Was it real? Or was it just theater?"
As this dynamic played out[referring to infighting between various divisions in P&R], the company turned to outside software consultancies, all feasting on Disney's resources for the project, which one partner describes as a "cash cow." (According to a knowledgeable source, Accenture billed over $100 million for its role in developing MyMagic+.) Says a leader of one of these project consultancies, "We were basically chartered as a shadow organization [to the IT group], like a backup plan in case hits the fan."
Imagineer Joe Rohde, who sports a tribal-style earring that weighs down his left ear, speaks eloquently about the pros and cons of MyMagic+. We meet over a model of Avatar Land, the movie-inspired Disney World extension set to open in 2017. He tells me the Imagineers are trying to hit that sweet spot where the technology stays "subconscious," because he doesn’t want to see "switching behavior"—he waves his wrist around in front of his face—"in between the human and the experience."
I ask where MyMagic+ will influence Avatar Land, and Rohde turns my attention to the model, which is the size of three Ping-Pong tables. He swirls his finger around a tiny section. This little spot is where MyMagic+ will be put to use, in "the most intensive, interactive moments." What about the area’s two big attractions? "Less so," he adds.
What excites the Imagineers about Avatar Land? The robotics prototypes they’ve built, which they think represent the next generation of animatronics. MyMagic+ is just a tool that Imagineers tell me they don’t want to force on visitors. "We don’t want to say, ‘Hey, guest, go around and tap with your MagicBand to cause something magical to happen,’ " Vaughn says. "We never want to do it just because we can."