TP2000
Well-Known Member
The magic is in the details! :lol:
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Early reviews for TLM ride?
- Thread starter td1129
- Start date
The magic is in the details! :lol:
Wow, just watched the video of the ride; I'm not usually a fan of Disney using "copy and paste" on rides, but I hope they don't change a thing for the Magic Kingdom, except the Ice Cream hair.
I love the huge discussions I've seen about it, it's funny. But seeing it in the ride, I ave to agree that it's kind of weird looking. The other "flowing" hair is amazing though, and so is Scuttle!
Was kind of hoping for a giant Ursula battle scene, but I guess it's just not that kind of ride. Great new dark ride though. It's nice to see them still putting work into those still!:king:
I love the huge discussions I've seen about it, it's funny. But seeing it in the ride, I ave to agree that it's kind of weird looking. The other "flowing" hair is amazing though, and so is Scuttle!
Was kind of hoping for a giant Ursula battle scene, but I guess it's just not that kind of ride. Great new dark ride though. It's nice to see them still putting work into those still!:king:
MerlinTheGoat
Well-Known Member
Just came across this pic, looks like concept art for the old Paris version rumored back years ago. It's what was missing in this newer version, shame they couldn't do something like it-
TP2000
Well-Known Member
Just came across this pic, looks like concept art for the old Paris version rumored back years ago. It's what was missing in this newer version, shame they couldn't do something like it-
Uh... That wouldn't just give the kids nightmares back at the hotel, it would send them into several years of therapy. :lol:
TP2000
Well-Known Member
They've been playing Disneyland summer commercials hyping Mermaid a lot starting this holiday weekend in SoCal; on all four networks, the Dodger channel, KTLA, etc.
Here's the Soundsational Summer Commercial that hypes Mermaid the most. Star Tours has its own separate campaign with different commercials, this is just the one for Mermaid and the new Soundsational Parade. Enjoy! http://www.youtube.com/watch?v=SWLmDZJ6Tpw&feature=youtu.be
mikemietlicki
Member
Really?
That dumb dancing turtle that does the same dance in every scene doesn't bother anybody but me? I'm more worried about cut-and-paste throughout the same ride.
Have a magical day!
M
That dumb dancing turtle that does the same dance in every scene doesn't bother anybody but me? I'm more worried about cut-and-paste throughout the same ride.
Have a magical day!
M
SleepingMonk
Well-Known Member
You mean Captain Morgan turtle?
AndyMagic
Well-Known Member
I work in the movie industry and I assure you, it is the opposite of what you are describing here. Hollywood downplays budgets to give the impression of profitability when the film doesn't exactly live up to expectations. Speculation of what exactly the budget was on blockbusters by insiders almost always exceeds what was reported directly by the studio. Disney is known for overspending on both films and rides. (Tangled cost over $200 million.) The fact that Little Mermaid cost so much isn't surprising given how much was blown on Everest, Midway Mania and all the other recent additions. Why is it Universal seems to get so much bang for the buck when they open attractions? The reported budget on Transformers is $100 million and it's supposed to be Spider-Man on steroids. Revenge of the Mummy cost $65 million and it's one of the most popular and loved rides in the park. I agree that it's time Disney cleans house and examines how it does business.
Buried20KLeague
Well-Known Member
You mean Captain Morgan turtle?
Now that's funny, right there. And I know funny.
AEfx
Well-Known Member
Just came across this pic, looks like concept art for the old Paris version rumored back years ago. It's what was missing in this newer version, shame they couldn't do something like it-
Oh, if only Disney would be that daring...
aladdin2007
Well-Known Member
Yep would have been a grand new version peter pans flight style, and something to compete with harry potter in a sense.
dweezil78
Well-Known Member
Finally got to ride TLM yesterday at the AP preview. I've been more or less defending it based on what I've seen so far, but after taking it for a ride I'm pretty lukewarm on the whole thing. It's not bad but also far from great. I really enjoyed the smaller, more intimate scenes during the ride but something was just way off with the big "Under the Sea" room.
You completely lose all sense of atmosphere in that part of the ride and it really pulls you out of the experience in an abrupt way. The best analogy I can make is it feels like you're going from Pirates of the Caribbean (though nowhere near as detailed) to It's a Small World. You start off completely surrounded/immersed rock work in a cave type setting... and then BAM, you're in a huge open bright room with lights/ceiling exposed and a ton of overly plastic look singing plastic-y animatronics of varying quality that are complete with exposed supports much like you'd see on IASW. And then after that, you go right back to the more intimate setting again.
It's not that I have a problem with an IASW style show. It's just that the weird blend of both styles really threw me off. It's a very inconsistent experience. Full disclosure -- I had no problem with Ariel's hair.
Ursula was also fantastic and great to finally see up close. Probably the best animatronic I've ever seen.
If I had to compare TLM with the Monsters Inc. ride I'd give the win to Monster's Inc. hands down. The show scenes in that one are more interesting, more elaborate, and overall just more complete. Plus there are some fun Imagineering tricks throughout. There may not be quite as many animatronics and those that are in there may be fairly basic, but I just think it's a more consistent ride throughout and does a better job of putting you in their world.
Bottom line -- TLM is at least worthy of checking out once. The line moves fast and there are some cool scenes throughout. But in the end, it's just a fun little dark ride with some high points and some low. By the time the Cars land opens I'm sure it will be a walk-on much like Monsters Inc. usually is.
You completely lose all sense of atmosphere in that part of the ride and it really pulls you out of the experience in an abrupt way. The best analogy I can make is it feels like you're going from Pirates of the Caribbean (though nowhere near as detailed) to It's a Small World. You start off completely surrounded/immersed rock work in a cave type setting... and then BAM, you're in a huge open bright room with lights/ceiling exposed and a ton of overly plastic look singing plastic-y animatronics of varying quality that are complete with exposed supports much like you'd see on IASW. And then after that, you go right back to the more intimate setting again.
It's not that I have a problem with an IASW style show. It's just that the weird blend of both styles really threw me off. It's a very inconsistent experience. Full disclosure -- I had no problem with Ariel's hair.
Ursula was also fantastic and great to finally see up close. Probably the best animatronic I've ever seen. If I had to compare TLM with the Monsters Inc. ride I'd give the win to Monster's Inc. hands down. The show scenes in that one are more interesting, more elaborate, and overall just more complete. Plus there are some fun Imagineering tricks throughout. There may not be quite as many animatronics and those that are in there may be fairly basic, but I just think it's a more consistent ride throughout and does a better job of putting you in their world.
Bottom line -- TLM is at least worthy of checking out once. The line moves fast and there are some cool scenes throughout. But in the end, it's just a fun little dark ride with some high points and some low. By the time the Cars land opens I'm sure it will be a walk-on much like Monsters Inc. usually is.
Barring any late changes, the MK version is identical apart from the exterior facade and queue.
Gift shop
whylightbulb
Well-Known Member
I have written about this issue in several of my previous posts so I'll try not to repeat myself.
Having worked for both WDI and Universal Creative I can answer your last question. WDI is made up of several layers of management and numerous useless job slots that each have to justify their existence. UC has some of that but not nearly as much. So not only does the company (and every paying theme park customer) have to pay for these jobs but they also have to subsidize the money these useless workers spend to justify their jobs at the expense of better quality attractions.
One example off the top of my head involved a mid-level mangager that had no business getting involved in any creative decisions. He decided that the color of some rockwork was off and had several new mockups ordered, costing thousands of dollars in manhours and materials, just so he could say he chose the new colors. In the end I believe one color was changed a slight shade that perhaps .0001% of the population would be able to identify. Believe me this is just one small example of a massive problem at WDI. The meetings, lunches, expense accounts and all the manhours wasted could be reduced significantly to result in a higher quality product since that money would be redirected toward the actual attraction.
Another issue that affects the quality output is the quality of the designers themselves. WDI is staffed with some extremely talented and capable designers but, unfortunately today from what I've seen, that is the exception rather than the rule. If you were to look at some of the portfolios you would scratch your head and wonder how, with all the talent out there that would love to grab a WDI job slot, these people ever made it through. Just because someone graduates from a good school or comes from a high position in another company doesn't necessarily mean they are the best out there. Like so many big companies today hiring decisions are made based on too much HR criteria and not enough on pure talent.
The problems that the foregoing lead to are evident in the final product. But the new less than talented designers are not the only problem. The senior staff in many cases do not know how to be creative when faced with a smaller budget. They can only be very creative when design challenges occur knowing that the money will be there to help. Most of them have never had to work with regional park size budgets and therefore do not think in terms of entertainment value for every dollar spent.
I realize I'm writing a lot of negative here so let me say some positive regarding WDI. There is no other organization on the face of this planet that has more potential to produce product that will amaze and delight theme park audiences. Some of the most talented people in the industry still work there. I still have faith that one day they will once again create an attraction that will astound visitors instead of leaving them with merely an acceptable impression. They have a lot of work and a lot of changes to make before that can happen.
Having said all that I'd like to point out that Universal Creative has many of its own problems. In fact I'd go so far to say that if it were not for Warner Brothers and J.K. Potter would have ended up several notches below its current quality rating. Many times when something works with Universal it is an absolute accident. Most of their design and production is outsourced and UC provides very little direction in their bid packages campared to when WDI uses vendors. That is one way UC gets away with smaller budgets but it will often times lead to muddled design and inferior product. Because UC relies on outsourcing so much and because they don't have an inhouse R&D department they are limited to what they can find with companies on their rolodex. Several harmful relationships with "favorite" companies have in many cases limited them when better options were available.
Of course I could go on and on but I think this partially answers your question.
whylightbulb
Well-Known Member
I agree except that I also think the anti-climatic finale was a major bummer.
The entire Under the Sea area (and the reuse of the less detailed animated figures from the Under The Sea area just tossed in at the last scene) as well as the finale are indeed the lowest points of the ride.
In my mind I would of liked to see the finale switched up so you have the space where that silhouette effect of them kissing area gone for an intense "Giant" Ursula scene with maybe the ship's bow going right at her or something equivalent to get the idea across with intense lighting and constant 'wind'
Then further down where the finale is now have a more prominent King Triton on the left side, that castle with the both of them waving gone and replaced with a forced perspective model boat rocking in the distance, with King Triton shining a fiber optic rainbow like beam every few seconds over our heads and arching towards the ship. He can periodically say the line "Well there is only one problem then, how much I am going to miss her" so the scene actually has substance.
Also just having the model ship going away to its horizon in the forced perspective distance would allow for the storytelling last Scuttle do not seem rushed and shoved in the corner.
In my mind I would of liked to see the finale switched up so you have the space where that silhouette effect of them kissing area gone for an intense "Giant" Ursula scene with maybe the ship's bow going right at her or something equivalent to get the idea across with intense lighting and constant 'wind'
Then further down where the finale is now have a more prominent King Triton on the left side, that castle with the both of them waving gone and replaced with a forced perspective model boat rocking in the distance, with King Triton shining a fiber optic rainbow like beam every few seconds over our heads and arching towards the ship. He can periodically say the line "Well there is only one problem then, how much I am going to miss her" so the scene actually has substance.
Also just having the model ship going away to its horizon in the forced perspective distance would allow for the storytelling last Scuttle do not seem rushed and shoved in the corner.
RSoxNo1
Well-Known Member
I have heard this from several different people (as well as variations of your paint story). Another story that I had heard was regarding Carsland - there were better projects out there. Projects that John Lasseter probably would have liked better than Carsland, but when the creatives presented them to their managers, the managers act as the filter before it gets up to John for approval. In this scenario, they assumed that John would be more apt to go for a Pixar themed area.