I think like Florida's Pirates, the WDW version of Small World is seen as the weakest for several reasons, but having now been on all of them, I actually like it best, strange as that may sound. There's probably some nostalgia bias to that and my personal preference for not having Disney characters in it, but I thought this version could be given some credit for its own merits. Plus it's the only one you can look at from a Pizza restaurant, and I think that's kind of neat.
Much of this comes from the exterior. The tournament tent front does not compare in any way to the expansive topiary gardens and layered palace with the train running behind it. I won't debate otherwise, but I think it's important to think about how the open space beneath the tent is what allows you to see into the ride and appreciate the load area as you walk by. This was a common theme with the Fantasyland dark rides as well, which allowed you to see the cars go by these beautifully rendered not-quite-3D murals that sometimes had animated embellishments. In the case of Small World, the multi-coloured wall was augmented by blinking lights and the fountains in front, which gave movement to an otherwise flat space. It wasn't comparable to California's exterior, but it never was meant to be. While the effort in 2005 to bring the clocktower to Florida wasn't unsuccessful, I think it was a case of just trying to make something that was unique to Florida more like the original Disneyland (a common theme with WDI at the time). I also don't think the lengthily trip the boats take in Disneyland just to get in and out of the show building would work in Florida, or the uncovered, outdoor queue, that on a hot Southern California day is not very pleasant. Point being, the exterior, queue and load work well for the space they were built, unglamorous as it may seem, and not without functional purpose or even their own charm.
Another significance of this version was that it was the last to be art directed by Mary Blair herself and it wasn't just a copy of the original once you go inside. Besides the flooded space with guiderails replacing the fiberglass flume, every scene was restaged with added details (like Don Quixote) to take advantage of the new layout. Many sets and figures are much closer to eye level vs being on elevated platforms, which makes them easier to see from the boats, especially for small children. There's more space between vignettes, making them easier to read and more distinct, and more examples of going through scenes instead of past them. The elephant you sail under while leaving the Africa is a good example of this (in general I think this room may be the best example of how much the staging was improved. You don't have everything on one side, there's things to look at in every direction, and the space feels larger too). Florida, wonderfully, still has the Rainforest scene as well. Done with the simplest of effects (also used for a "waterfall" in Snow White's original load area) but all the more charming for it. It's also self contained so that your eyes can focus on it too instead of being lost in a clutter of competing elements (a problem I have with subsequent versions and revisions to other Small Worlds).
Tokyo's version, once you get into the boats and past the initial run, is a copy of Florida, except now with the Disney characters added. It found a way to use Disneyland's exterior clock tower and have it fit into that corner of Fantasyland, but that would look out of place in Fantasyland West at WDW, which is (or was) a great alpine village that indirectly set a standard for both EPCOT's Germany and Disneyland's 1983 redo of Fantasyland. Tokyo's version used to have a food court next to it, but I don't know if it had windows looking into the ride like at WDW. IMO adding more stuff into the existing tableaus (like characters) doesn't add to the experience.
Disneyland Paris has a nice version of the ride. I won't begrudge anyone for liking it better, or even thinking it's the best version, but I don't think it accurately reflects Mary Blair's style. There's recycled doll designs and iconography, but most of the scenic backdrops and flats are new and very different from her designs. Much more literal and detailed in their representations of trees and landmarks and so forth. While Paris tries to replicate the grand, outdoor exterior of California, the decision to have much of the flume and load area covered, makes it hard to see once you line up and get into the boats. It's actually best viewed from a distance.
Hong Kong is much like the original, but replaces the outdoor garden part with an indoor queue and load area. It has a larger Asia section and a ending that will look familiar to anyone who's been to WDW.
Perhaps the most enduring element of Florida's Small World is its finale. A wonderfully kinetic carnival, augmented by trim lights that's been the basis for every Small World since. In its own way, it's just as iconic as the clock tower facade. I think the best part of Tokyo's ride is the ending, which is just the WDW version in perfect condition, illustrating how good it was. I do think if WDW's version was as good condition it would be even more appreciated. There's certainly a lot to like as is IMO.
Much of this comes from the exterior. The tournament tent front does not compare in any way to the expansive topiary gardens and layered palace with the train running behind it. I won't debate otherwise, but I think it's important to think about how the open space beneath the tent is what allows you to see into the ride and appreciate the load area as you walk by. This was a common theme with the Fantasyland dark rides as well, which allowed you to see the cars go by these beautifully rendered not-quite-3D murals that sometimes had animated embellishments. In the case of Small World, the multi-coloured wall was augmented by blinking lights and the fountains in front, which gave movement to an otherwise flat space. It wasn't comparable to California's exterior, but it never was meant to be. While the effort in 2005 to bring the clocktower to Florida wasn't unsuccessful, I think it was a case of just trying to make something that was unique to Florida more like the original Disneyland (a common theme with WDI at the time). I also don't think the lengthily trip the boats take in Disneyland just to get in and out of the show building would work in Florida, or the uncovered, outdoor queue, that on a hot Southern California day is not very pleasant. Point being, the exterior, queue and load work well for the space they were built, unglamorous as it may seem, and not without functional purpose or even their own charm.
Another significance of this version was that it was the last to be art directed by Mary Blair herself and it wasn't just a copy of the original once you go inside. Besides the flooded space with guiderails replacing the fiberglass flume, every scene was restaged with added details (like Don Quixote) to take advantage of the new layout. Many sets and figures are much closer to eye level vs being on elevated platforms, which makes them easier to see from the boats, especially for small children. There's more space between vignettes, making them easier to read and more distinct, and more examples of going through scenes instead of past them. The elephant you sail under while leaving the Africa is a good example of this (in general I think this room may be the best example of how much the staging was improved. You don't have everything on one side, there's things to look at in every direction, and the space feels larger too). Florida, wonderfully, still has the Rainforest scene as well. Done with the simplest of effects (also used for a "waterfall" in Snow White's original load area) but all the more charming for it. It's also self contained so that your eyes can focus on it too instead of being lost in a clutter of competing elements (a problem I have with subsequent versions and revisions to other Small Worlds).
Tokyo's version, once you get into the boats and past the initial run, is a copy of Florida, except now with the Disney characters added. It found a way to use Disneyland's exterior clock tower and have it fit into that corner of Fantasyland, but that would look out of place in Fantasyland West at WDW, which is (or was) a great alpine village that indirectly set a standard for both EPCOT's Germany and Disneyland's 1983 redo of Fantasyland. Tokyo's version used to have a food court next to it, but I don't know if it had windows looking into the ride like at WDW. IMO adding more stuff into the existing tableaus (like characters) doesn't add to the experience.
Disneyland Paris has a nice version of the ride. I won't begrudge anyone for liking it better, or even thinking it's the best version, but I don't think it accurately reflects Mary Blair's style. There's recycled doll designs and iconography, but most of the scenic backdrops and flats are new and very different from her designs. Much more literal and detailed in their representations of trees and landmarks and so forth. While Paris tries to replicate the grand, outdoor exterior of California, the decision to have much of the flume and load area covered, makes it hard to see once you line up and get into the boats. It's actually best viewed from a distance.
Hong Kong is much like the original, but replaces the outdoor garden part with an indoor queue and load area. It has a larger Asia section and a ending that will look familiar to anyone who's been to WDW.
Perhaps the most enduring element of Florida's Small World is its finale. A wonderfully kinetic carnival, augmented by trim lights that's been the basis for every Small World since. In its own way, it's just as iconic as the clock tower facade. I think the best part of Tokyo's ride is the ending, which is just the WDW version in perfect condition, illustrating how good it was. I do think if WDW's version was as good condition it would be even more appreciated. There's certainly a lot to like as is IMO.
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