So, You Want to be an Imagineer Season 14: Greatest Hits (Official Hub Thread)

TheOriginalTiki

Well-Known Member
Original Poster
I'm going to be posting reviews one by one over the next couple nights. Very sorry for this slow response, it's been incredibly busy the last few days and will continue to be busy thanks to having two main recap shows I have to do with the channel. Alas MEW and I will be doing a podcast going over all the HHN projects on Thursday for some additional feedback.

@kmbmw777's Tartarus Takeover - Very interesting concept for a Scarezone, which I acknowledge is probably the trickiest requirement to pull off out of the three categories you could of worked on. I would have liked a bit more detail for some of the story elements here but I really like the set pieces, specifically the "feast". The old man begging for ancient currency is also a great touch. Very good out of left field choice for a non-IP Scarezone and something that's bound to bring activity to one of the park's most desolate areas. I'd also like to commend KMB for going the extra mile helping the team organize things this round. He continues to be a big dark horse presence in the season and one of the few serious contenders to Basketbuddy for the win this season (but alas as Joker's exit demonstrates, anything can happen and this season continues to be very unpredictable.)

Creativity: 9/10
Realism: 8/10
Detail: 7/10
Presentation: 7/10
Total: 31/40
 

MANEATINGWREATH

Well-Known Member
We do have a podcast coming soon (it is in the process of editing), so in the meantime, here are our three nominees for elimination:

@Magic Feather
@Pionmycake
@mickeyfan5534

Since no Team Leader was elected this round, Tiki and I had to step in and select the two remaining nominees. Remember, Pi was automatically nominated by the power of Walt's Vault. Expect PM's soon enough.
 

DisneyManOne

Well-Known Member
Sorry if this is a little late, but here is our newest concept...
--------------------------------------------------------------------------------------------------------------------------
Team Goelz presents...
The Great Broadway Ride

Marquee_zpsjc1wvxjp.png
Theater is so much more than just song and dance. More than just a medium to tell stories. It is a touchstone of art and human expression. From Shakespeare to one man shows to the West End to original plays put on by 5 year olds for their parents. Theater is a part of being human. This ride is dedicated to one of the greatest outlets for theater: Broadway!

Taking inspiration from the Great Movie Ride. The Great Broadway Ride will feature a collection of some of Broadway's most amazing moments. A live host (as well as multiple live actors throughout the attractiom) will help the ride to come alive.

Our guide will be an intern at the new theater. We are audience members and he/she is welcoming us to the first performance in the new Webber Theater, but she/he doesn't quite get what the big deal about theater is (it's just a job for him/her). Well, she/he gets swept away on a magical tour through the wonders of Broadway and we are along for the ride! Together we all learn what the theater truly is and what makes it so important!

~The Queue~ @Magic Feather
image-jpeg.199784

Guests will first enter the showbuilding covered by the façade of the Palace theater, which is proudly displaying the marquee of "The Great Broadway Ride: A Brilliant Journey through the Stage", where "West Side Story" is displayed in the sample image above. Upon entry, guests will find themselves in a marvelous foyer with 24 ft tall ceilings, where a magnificent chandelier hangs down, before proceeding past the main theater entrance, behind the concession stand, into the backstage corridors.

While wandering through this seemingly endless labrynith of gray walls and black doors, guests will see some very interesting things. On doors labeled "Star Dressing Room", guests can hear the stars themselves feuding with managers over the phone. When passing by the electrical room, guests may hear the haphazard wiring of props, that can create some startled reactions as portrayed by electrical voices.

Upon cutting through the prop department, holding some iconic props, such as puppets from the Lion King, and the costuming department with wigs and outfits, such as Tracy Turnblad's wig or The Phantom's mask, guests will find themselves (via the box office) in the main lobby where they started, where they will enter the main theater. Here, guests will find elaborately placed LPS vehicles, designed to look like rows of seats, where they will be swept behind the main stages curtain into the adventure of a lifetime!
Vehicle_zpsixtdjcj3.png

Rushing in from a backstage door is a young man or woman who will serve as our host. "Hi, everyone! Sorry I'm late. Anyways, um, welcome to The Great Broadway Ride. I'm (name) and I'll be your guide. Um, is there anything I'm forgetting...oh yes. Make sure there's no eating, drinking, smoking or flash pictures throughout our journey, and make sure you keep your hands, arms, feet and legs inside the vehicle. Okay, I think that's everything. Let's go!" With that, our ride vehicle takes off underneath a glittering marquee on a journey through some of Broadway's greatest shows.

"Like I said, folks", our guide states, "my name is (name) and I'll be your guide on this journey through the world of Broadway. But, um, just between you and me...I really don't know much about this theater nonsense. I've never just been interested in Broadway. I mean, what is Broadway about anyways? It's just a bunch of people singing and dancing."

~"I Want" Medley~ @mickeyfan5534

The host's thoughts are interrupted by a scoff and Eliza Doolittle shows up before our eyes. "It's not jus' some singin' and dancin'! Theata's about findin' dreams! Makin' the ones who lurve ya proud!" she yells as we journey into the home of a street rat.

Part 1: Aladdin (Proud of Your Boy)
latest

Tell me that I've been a louse and a loafer
You won't get a fight here no ma'am
Say I'm a goldbrick, a goof off, no good
That couldn't be all that I am
Water flows under the bridge, let it pass, let it flow
There's no good reason that you should believe me
Not yet, I know but
Someday and soon
I'll make you proud of your boy
Though I can't make myself taller
Or smarter or handsome or wise
I'll do my best, what else can I do ?
Since I wasn't born perfect like Dad or you
Mom, I will try to
Try hard to make you
Proud of your boy

Eliza appears again, "An' wouldn't ya know it? Dreams always come true. We jus' need to put a little effor' inta them. Then we'll fin' our corna of the sky!" We then find ourself in a dark room with a single spotlight on Pippin.

Part 2: Pippin (Corner of the Sky)
54ae0b417eddb_-_elle-pippin-corner-of-the-sky-de.jpg

Everything has its season
Everything has its time
Show me a reason and I'll soon show you a rhyme
Cats fit on the windowsill
Children fit in the snow
Why do I feel I don't fit in anywhere I go?
Rivers belong where they can ramble
Eagles belong where they can fly
I've got to be where my spirit can run free
Got to find my corner of the sky

Eliza appears once more, holding a bouquet of flowers. "See what I mean? We all want somethin' out of this bloody life. Wot? You think a shabby ol' flower-girl ain't got dreams? Well, I do!"

All I want is a room somewhere
Far away from the cold night air
With one enormous chair
Oh, wouldn't it be loverly?
Lots of chocolate for me to eat
Lots of coal makin' lots of heat
Warm face, warm hands, warm feet
Oh, wouldn't it be loverly?
Oh, so loverly sittin' abso-bloomin'-lutely still
I would never budge till spring crept over me windowsill
Someone's head resting on my knee
Warm and handsome as he can be
Who takes good care of me
Oh, wouldn't it be loverly?
Loverly
Loverly
Wouldn't it be loverly?

"Got it? Now, off ya go! Ya gotta see more o' this!" She waves at us as our host looks at us in befuddlement. "What just happened?" they ask, as we continue deeper into the theatre. "Things seem kind of funny here."

~Comedy~ @Snoopy

"Excuse me, sir!" says a voice coming from the side. "Who, me?" replies our guide. "Yes, you!" Elder Price from The Book of Mormon pops out. "I hear you've been having some trouble adapting to the musical theater life. Well, I'll have you know there's a lot more to it than you believe. Musicals have the power to move you, to change your life! For example, my musical is about the joy of spiritual awakenings... are you familiar with the Book of Mormon?" "Um..." Price begins to sing.

90


You all know the Bible
Is made of Testaments old and new.
You've been told it's just those two parts,
Or only one, if you're a Jew.
But what if I were to tell you
There's a FRESH third part out there?
That was found by a HIP new prophet
Who had a little...
Donny Osmond flair?


"Well that's great sir, but we must be going." says our guide. Price continues.

Have you heard of the
All-American Prophet?
The blonde-haired,
Blue-eyed voice of God!
He didn't come from the Middle East
Like those other holy men!
No, God's favorite prophet was...
All-American!


"Don't listen to that charlatan. All-American Prophet, indeed!" The vehicle moves forward and Max Bialystok from The Producers steps out. "Musicals are about change, all right! Wonderful, glorious change, pouring out from paying customer's pockets! Fortune, fame, that's how you turn your life around, that's how you make things better. You just need the right scheme: the worst director, the worst script, the worst actors, I'm telling you gaming the system is easy! What do you say?" "Well, I don't know..." Max begins to sing.

TheProducers28.jpg


Oh ye of little faith.
What did Lewis say to Clark
When everything looked bleak?
What did Sir Edmund say to Tenzing
As they struggled toward Everest's peak?
What did Washington say to his troops
As they crossed the Delaware
I'm sure you're well aware...


"Um..."

We can do it, we can do it
We can do it, me and you
We can do it, we can do it
We can make our dreams come true
Hi, producer: yes, producer
I mean you, sir, go beserk!
We can do it, we can do it
And I know it's gonna work


"I'll have to turn you down there, sorry." "Good for you." says another voice, as the vehicle continues on. "Fame isn't always a good thing." Our vehicle appears to be entering a building, and it is in fact the Little Shop of Horrors. The man speaking is revealed to be Seymour, sitting next to Audrey II. "I didn't always think that way, though." He starts reminiscing...

3be137644f6f7987a2b8331c020ee223.jpg


Sudden changes surround me
Lady luck came and found me
Thanks a million for making the magic you do

Thanks to you, sweet petunia
Mushnik's taken a junior
And someday when I own this whole shop
I'll remember I owe it to you


"Of course that all changed, and sometimes it's not for the better. But through my musical I can hopefully help convey that..." Just then Audrey II begins to sing.

Audrey II: Feed me!
Seymour: Does it have to be human?
Audrey II: Feed me!
Seymour: Does it have to be mine?
Audrey II: Feed me!
Seymour: Where am I supposed to get it?
Audrey II: Feed me, Seymour
Feed me all night long
That's right, boy!
You can do it
Feed me, Seymour
Feed me all night long [laugh]
'Cause if you feed me Seymour
I can grow up big and strong


"I don't have that much more blood to give, Audrey!" They suddenly turn to the audience.

Both: If you want a rationale
It isn't very hard to see, no, no, no
Stop and think it over pal
Those guys sure look like plant food to me
Those guys sure look like plant food to me
Those guys sure look like plant food to me...


"I don't like where this is heading." says our guide, as we make our way into the horror medley.

~Horror~ @DisneyManOne

"Ah, you've found out the hard way, I see...musicals are nothing but horror."
So says a voice in the darkness. "Who said that?" our host asks. Silence. Our vehicle stops. Then, a shrieking factory whistle reveals the sinister face of Sweeney Todd, standing outside his barbershop. "I did. I am Mr. Sweeney Todd, and I'm here to say that musicals are living nightmares. Just take mine for example. In my show, I'm driven insane by my for vengeance against those who wronged me, and I let my insanity grow so much so, that I declare vengeance not only those who wronged me...but vengeance on the world! After all..."
vlcsnap-24908.png

We all deserve to die!
Tell you why, sirs and madams, tell you why
Because the lives of the wicked should be made brief
For the rest of us, death will be a relief
We all deserve to die!

Suddenly, Sweeney starts threatening some of the guests with his gruesome razor.

All right! You sir! How about a shave?
Come and visit your good friend Sweeney!
You, sir? Two, sir? Welcome to the grave!
I will have vengeance!
I will have salvation!
Who, sir? You, sir? No one's in the chair!
Come on, come on! Sweeney's waiting!
I want you bleeders!
You, sir! Anybody? Gentlemen, now don't be shy!
Not one man, no, nor ten men, nor a hundred can assuage me
I will have you!

As Sweeney maniacally cackles, our tour guide hastens to drive us out of Fleet Street as fast as possible. It's not smooth sailing, though, as a familiar six-chord progression fills our ears. Look up--it's the Phantom, standing atop a chandelier!
"Don't forget about me", he croons. "I'm the Phantom of the Opera, and in my show, I rule over the Paris Opera House with an iron fist, and those who do not give in to my demands face the consenquence..."
latest

You will curse the day you did not do
All that the Phantom asked of you!

As we head past, we hear a frightening crash from behind us--the chandelier has dropped!

~Love~ @mickeyfan5534

In the wake of the Phantom's destruction, we find ourselves in a completely dark room. Our host looks around in fear as we arrive in a dark room. "What's going on?" he shouts as a spotlight shines on Belle and the Prince. "There's no need to worry!" Belle calls to our guide. "Broadway is more about comedy and horror. The greatest love stories ever told have been told on the stage as well," the Prince says. "Even from the start," they say at the same time.

Part 1: Oklahoma

Curley:
Heeey! If there's anyone out around this yard who can hear my voice
I want jist want fer you to know that Laurey Williams is my girl!
Laurey:
Curly!
Curley:
Aha!
An' she's jist got me to ask her to marry me!
Laurey:
They'll hear us all the way to Catoosie!
Curley:
Let people say we're say we're in love!
Who keers whut happens now.
Laurey:
Jist keep yer hand in mine
Your hand feel so grand in mine
Curley:
Let people say we're in love.
Laurey and Curley:
Starlight looks swell on us
Let the stars beam from above!
Who keers if they tell on us!
Let people say we're in love!


Part 2: Waitress
"Well that's all fine and dandy," the host responds. "But ew. Is it all really that sappy?" The Prince lets out a laugh and shakes his head. "Just watch. Love can be just as real as true life."

Dr. Pomatter:
I could find the whole meaning of life in those sad eyes
They've seen things that you never quite say but I hear
Come out of hiding I'm right here beside you
And I'll stay there as long as you let me
Because you matter to me
Simple and plain and not much to ask from somebody
You matter to me
I promise you do, you
You matter too
I promise you do you'll see
You matter to me
Jenna:
It's addictive the minute you let yourself think
The things that I say just might matter to someone
All of this time I've been keeping my mind on the running away
And for the first time I think I'd consider the stay
Because you matter to me
Simple and plain and not much to ask from somebody
You matter to me
I promise you do, you
You matter too
I promise you do you'll see
You matter to me

Part 3: Rent
"But it isn't always happy," Belle states. "What do you mean?" the host asks. "Sometimes love doesn't always go as we plan. And sometimes, that can lead to such sadness," Belle responds

Collins:
Live in my house, I'll be your shelter
Just pay me back
With one thousand kisses
Be my lover and I'll cover you, yeah
Open your door, I'll be your tenant
Don't got much baggage, to lay at your feet
But sweet kisses, I've got to spare
I'll be there and I'll cover you, Oh woah
I think they meant it
When they said you can't buy love
Now I know you can rent it
A new lease you are my love
One life, all my life
I've longed to discover
Something as true as this is, Yeah
So with a thousand sweet kisses
If you're cold and you're lonely
With a thousand sweet kisses
You've got one nickel only
With a thousand sweet kisses
When you're worn out and tired
With a thousand sweet kisses
When your heart has expired
Oh lover, I'll cover you.


Part 4: Cinderella
The host slightly sobs, before clearing their throat. "What else?" they ask. "How does this get worse?" they ask. Belle shakes her head. "The romance isn't always sad," she states. "Indeed, sometimes we can see the story of two falling in love at first sight."
Cinderella6601.jpg

Cinderella:
Ten minutes ago I met you,
And we murmured our "how-do-you-do's"!
I wanted to ring out the bells,
And fling out my arms,
And to sing out the news!
The Prince:
I have found her!
Cinderella:
I have found him!
The Prince and Cinderella:
In the arms of my love I'm flying
Over mountain and meadow and glen,
And I like it so well that for all I can tell
I may never come down again!
I may never come down to earth again!


Part 5: Into the Woods
"So romance in Broadway can be happy or sad? Real or sappy?" the host asks, as Belle smiles. "Indeed. And it can even be found just as you think you've lost it."
hqdefault.jpg

The Baker and the Baker's Wife:
We've changed.
We're strangers.
I'm meeting you in the woods.
Who minds
What dangers?
I know we'll get past the woods.
And once we're past,
Lets' hope the changes last
Beyond woods,
Beyond witches and slippers and hoods,
Just the two of us-
Beyond lies,
Safe at home with out beautiful prize,
Just the few of us.
It takes trust.
It takes just
A bit more
And we're done.
We want four,
We had none.
We've got three.
We need one.
It takes two.


Part 6: Little Shop of Horrors
"Or," the prince adds. "Romance can happen with a sudden realization after a long time."

Seymour:
Tell me this feeling
Lasts til forever
Tell me the bad times
are clean, washed away
Audrey:
Please understand that it's
Still strange and frightenin'
For losers like i've been
It's so hard to say...
Suddenly Seymour
Seymour:
Suddenly Seymour
Audrey:
He purified me
Seymour:
(He purified you)
Audrey:
Suddenly Seymour
Seymour:
Suddenly Seymour
Audrey:
Showed me I can
Seymour:
Yes you can!
Audrey and Seymour:
Learn how to be more
Audrey:
The girl that's inside me
Seymour:
With sweet understanding
Audrey:
With sweet understanding
Seymour and Audrey:
Sweet understanding
Seymour's my (your) man!


The host looks amazed with these couples. "But what else? What other romance can be found on Broadway?" The Prince responds by pointing to the next room. "Let us show you! There's real magic to be found on Broadway"

Disney on Broadway Showstopper
"Magic is found every night on Broadway," the voice of the Prince says as a flying carpet drops down. "You can even go on a magic carpet ride."

Jasmine:
Unbelievable sights
Indescribable feeling
Soaring, tumbling, freewheeling
Through an endless diamond sky
A whole new world
Both:
(Aladdin) Don't you dare close your eyes
(Jasmine) A hundred thousand things to see
(Aladdin) Hold your breath - it gets better
(Jasmine) I'm like a shooting star
I've come so far
I can't go back to where I used to be
(Aladdin) A whole new world
(Jasmine) Every turn a surprise
(Aladdin) With new horizons to pursue
(Jasmine) Every moment red-letter
I'll chase them anywhere
There's time to spare
Let me share this whole new world with you

"Or find that you don't need to speak to fall in love," Belle's voice as lights come up on animatronics Ariel and Eric.

Prince Eric:
A dance is like a conversation
Except your lips don't ever need to part
And once you've begun
You speak as one
Cheek to cheek
Toe to toe
Heart to heart
Dancing is a language that is felt instead of heard
But it says much more than language ever could
And ev'ry little step
Ev'ry single step
Is one step closer...
To being understood

"And, the magic can be bittersweet and strange as we find that even a monster can find love," the Prince says as lights come up on him and Belle.

Belle/Prince:
Two lives have begun now
Two hearts become one now
One passion, one dream
One thing forever true
I love you!
Choir:
Certain as the sun
Rising in the east
Tale as old as time
Song as old as rhyme
Beauty and the Beast.
Tale as old as time
Song as old as rhyme
Beauty and the Beast.
Ah!


"So you see? Magic truly can be found on Broadway," Belle says as they wave to the vehicles departing. "I get it! I think I finally get it! The theater is about emotion! Love, fear, joy! It is a celebration and exploration of the emotions that make us human! It's about a celebration of happiness and magic! That's what theater is!"

~Rebellion~ @Pionmycake and @Basketbuddy101

"It's even more than that." Another voice says. A person dressed as Alexander Hamilton from Hamilton steps out and walks along with the vehicles. "Its about freedom, expression, being true to who you are inside and what you truly believe. Theater is rebellion."

As he is talking the surroundings transition to become the Wizard's palace in Emerald City from Wicked as the music starts to rise. An animatronic Elphaba on the left side of the track sings to us an excerpt from defying gravity as Hamilton walks through as an observer and discreetly crosses a bridge to the other side of the tracks while we focus on Elphaba.

Rebellion Medley Pt. 1 Defying Gravity
wicked-defying-gravity-small.gif

" I'm through accepting limits
'cause someone says they're so
Some things I cannot change
But till I try, I'll never know!
Too long I've been afraid of
Losing love I guess I've lost
Well, if that's love
It comes at much too high a cost!
I'd sooner buy
Defying gravity
Kiss me goodbye
I'm defying gravity
And you can't pull me down"


Hamilton talks again as we pass from Oz to France and by the barricade from Les Mis and the music transitions to the next song as multiple (mostly pretty simple) animatronics sing the rousing song after Hamilton says, "It is seeing what is wrong and unjust and fighting back through art and expression."

Rebellion Medley Pt. 2 Can You hear the People Sing
images

" Do you hear the people sing?
Singing the songs of angry men?
It is the music of the people
Who will not be slaves again!
When the beating of your heart
Echoes the beating of the drums
There is a life about to start
When tomorrow comes!

Will you join in our crusade?
Who will be strong and stand with me?
Somewhere beyond the barricade
Is there a world you long to see?"


Hamilton then walks to take center stage as we enter the big Show Stopper scene for Hamilton. "Theater is the place for anyone to Rise Up. It is a place where even orphan immigrants can make a difference. It is the place for revolution! And I am not throwing away my shot."
Hamilton%20Scene_zpsfjf4cr8h.jpg


The vehicle continues into the dwelling place of revolutionary, manumission abolitionists. At first, the stage is in complete darkness, save for the left corner near the stairs, where a spotlight is shining on none other than Aaron Burr, who is presented in full animatronic form. Three other vehicles then enter the scene. The vehicles align themselves in an arch shape around Aaron Burr, who looks into the distance, pondering. He looks away toward the center of the stage. Our guide proceeds to talk to the animatronic. "Pardon me, are you Aaron Burr, sir?" our guide asks, chuckling. A disembodied voice exclaims, "Well if it ain't the prodigy of Princeton College!" Another voice says "Aaron Burr! Give us a verse, drop some knowledge." Burr shakes his head and laughs. "Good luck with that, you're taking a stand. You spit, I'ma sit, we'll see where we land." The same disembodied voice exclaims "Burr, the revolution's imminent. What do you stall for?" at which point the spotlight shifts to Alexander Hamilton, who is standing at the center of the stage. "If you stand for nothing Burr, what'll you fall for?" He asks. Suddenly, three spotlights shine in sequence on John Laurens, Hercules Mulligan, and Marquis de Lafayette, who inquire "Who are you?"

The vehicles split up and begin to circle around the four characters, who are capable of such motions as bobbing their heads, bending their knees to the music, and syncing their lips to the music itself, forming realistic mouth movements. For the entirety of the sequence, the vehicles will spin around the stage, much like the characters in the actual production do. Naturally, the animatronics will remain stationary, but given their fluid movements, and the fact that guests will be spinning around the entire stage, the entire 'My Shot' sequence will be one of the more memorable segments in the entire attraction. After the gang finishes the song, complete with Hamilton raising his hand into the air, the lights will go out, and the vehicles will, one by one, begin to make their way out of the scene via a gap in the back wall behind Hamilton, Laurens, Lafayette, and Mulligan. As the vehicles proceed through the backdoor, they will find that King George himself is standing on one of the wooden staircases nearby, his kingly outfit sparkling even in the dim conditions of the theater. "You'll be back…dah dah dah dat dah, dah dah dah dah day ah dah, dah dah dah dah dahhhhya dahhhh."

~Hope~ @DisneyManOne

Leaving Hamilton and his revolutionaries behind, we find ourselves in another dark room. "So, that's Broadway...I never knew it could be like that. And to think I looked down upon it. Is there any other way to go from here?" "There always is", a voice says. An actor, dressed as Mufasa from The Lion King appears before the tour guide. "Broadway is always there to provide a message of hope and optimism for the future. Come, let me show you..."

We first come across Joe, from one of the first musicals, Show Boat. "Broadway is seeing the everlasting hope that someday, the pain and misery will stop..."
hqdefault.jpg


Ol' Man River, that Ol' Man River
He must know somethin', but don't say nothin'
He just keeps rolling along.
You and me, we sweat and strain
Body all aching and racked with pain
Tote that barge, lift that bale
Get a little drunk, and you land in jail
I get weary, and sick of tryin'
I'm tired of livin', and scared of dyin'
But Ol' Man River, he just keeps rolling along.


From there, we find a scene from Carousel. Here, the ingenue Julie Jordan sits, weeping over the body of her deceased lover, Billy Bigelow. Her cousin, Nettie, stands nearby. "Broadway is finding the courage to face life head-on, no matter what comes along..."
b480868337f143b832c5769b9317348a.jpg


When you walk through a storm, hold your head up high
And don't be afraid of the dark
At the end of the storm is a golden sky
And the sweet silver song of a lark
Walk on through the wind, walk on through the rain
Though your dreams be tossed and blown
Walk on, walk on, with hope in your heart
And you'll never walk alone
You'll never walk alone


As the scene goes dark, Mufasa's voice is heard again: "Broadway is a beacon of hope for many people. Through its inspired characters and plots, we leave the theater believing in ourselves more than ever. We leave ready to take that step and go forth to find our place in the circle of life..."

Nants ingonyama bagithi baba (Sithi umm ingonyama)
Nants ingonyama bagithi baba (Sithi umm ingonyama)
Siyo Nqoba
Ingonyama


Lights up to reveal an animatronic recreation of "The Circle of Life" from The Lion King. Mufasa, Sarabi and Rafiki stand atop Pride Rock as the animals below worship their newborn king.
circle_of_life._photo_by_brinkhoff-mogenburg.jpg

It's the circle of life
And it moves us all
Through despair and hope
Through faith and love
Till we find our place
On the path unwinding
In the circle
The circle of life


~Finale~ @Magic Feather


Upon entering the final room, guests will be surrounded by a single velvet curtain, as our intern says, "Wow! Who knew the theater meant so much!" A bell rings. "Oh! That's my cue!"

Our guide disappears behind a curtain as the curtain rises to surround us with animatronic forms of some of the characters we have encountered ,dressed in gold. as they begin singing "One" from A Chorus Line. Our guide soon appears from behind one of the mirrors serving as a backdrop as he/she is referenced as the one. Mirrors surround all walks to give the effect of many more animatronics than there are.
acl_gold1.jpg

After a second chorus, our guide rejoins our vehicle, before the curtain falls, as the guide's outfit serves as our only reminder of the spectacle that just occurred. We then re-enter the original theater we loaded in, as our guide disappears through a backstage door, after wishing us a fond farewell.
 

MANEATINGWREATH

Well-Known Member
Hello, all! Ironically, I just got back from the current National Tour of Into the Woods.

Given I have to be up for my flight to Germany first thing in the morning, I will post a shortened review shortly and wait for Tiki to announce the results of the elimination and the next project. I would do so myself, but I really should get some sleep before I don't sleep at all... Whether the results will occur tonight or tomorrow remains to be seen. So far, I'm loving what I'm seeing and can't wait to see what y'all have in store for this old theater nerd.

From tomorrow through April 25th, don't expect to hear much from me. I will have wifi in the hotels, but I will be sightseeing and performing throughout the entirety of each day. I might post hear and then, but don't count on my current consistency. :) I'll be back to finish out the season soon enough.
 

MANEATINGWREATH

Well-Known Member
Okay, this is a tough one.

To start, the best part about the project was easily from Hamilton onward, alongside the design and concept art for the ride vehicle. That being said, the rest of the project seemed to be lacking in consistency in detail and tone, particularly in earlier portions. I might have skipped over something in my reading, but it didn't seem like there was any backdrop or setting to most of the scenes which is something the Great Movie Ride succeeds in. It felt like we were riding around in a dark showroom and bumping into different characters who would sing a song and point us to the next character. Then there were great elements like the Horror segment and Hamilton that felt immersive and similar to the mega dark rides of yore with full-blown settings and characters. Again, maybe my tired eyes missed something... Please, correct me if I'm wrong, I don't want to seem ignorant, haha.

Likewise, there were a lot of great ideas and inclusions here...maybe a few too many. I know that GMR is long, but this was really long. If anything, at least combine characters and scenes into one massive, immersive scene. Also, I would have liked to have seen more interactivity with the host. I like the idea of him being an intern at the theater, so seeing that storyline play out throughout the attraction would have been an added bonus. Kudos for the inclusion of "One" as your finale.

I'm going to finish this off on a positive note. This might not be my favorite project of the season, or any season for that matter, but I am proud of how far you have come and how successful the teamwork has been for this round. This season has been nothing short of spectacular, and I look forward to seeing how and who makes it to the coveted Final Two. I'll be back on April 25th. Cheers.

Total Score: 40/50
 

TheOriginalTiki

Well-Known Member
Original Poster
Wonderful work as always with this project. It's truly going to make this elimination the most painful yet. First, some feedback. For the most part I think the scenes flowed really well and there was a great sense of transitioning from genre to genre. The project goes a great job encapsulating the different genres and sub-genres of musicals and why they work so well together. I especially loved the Little Shop transitional into the horror genre and then the reprise from Little Shop later on. Definitely a gutsy risk that paid off there.

Both Book of Mormon and Hamilton were handled very well. While "Hello" or "I Believe" probably would have been higher priorities for me as a song choice, I give you props for including a lavish number that truly shows off the spectacle of the piece. Hamilton was definitely a highlight and a really fine tuned showstopper. Love King George hurrying you along at the end.

Besides the inevitable great Basketbuddy concept art, I feel like presentation could be a bit better here. You DEFINITELY could have used some reference videos to the songs and perhaps a few more photos to spice things up. Mostly it's the lack of providing video that really hurt this one as the song lyrics posted just served to clutter up the post. Would have been much more efficient to just link to the actual song. I know it sounds like a nitpick but it was a hurdle I had to overcome in reading the project.

Lastly, just a few suggestions for other musicals that could have been included. Spamalot would have been a natural for the comedy section, as would Avenue Q. Kind of surprised RENT didn't make the final cut. Spring Awakening would have worked well with the romance section and also the rebellion section, maybe even could have worked as a transitioning piece. Of course these are are personal taste things. If anything I think there were a few too many scenes so I really have no business suggesting stuff to add to it :p

Creativity: 8/10 Solid selection of musicals and great flow of scenes.
Realism: 7/10 Definitely skeptical about having a CM for each of the fairly small vehicles.
Detail: 9/10
Presentation: 7/10 Video would have been greatly appreciated.
Team Work: 7/10 While the finished product turned out really good, there definitely wasn't as much brainstorming here going on as in previous merge projects.
Total: 38/50

And now for the elimination. This one really saddens me, and it's probably the toughest of the season. I'll go through the cast one by one to build suspense. First of all, the Walt's Vault did not have a negative effect on Pi, as he is safe. Meaning it's between Magic Feather and Mickeyfan5534. By a vote of five to two...I'm sorry @mickeyfan5534, you have been eliminated from So, You Want to be an Imagineer and will be joining MHarrington and JokersWild as the third member of the jury.

This vote result has caused a slight change in the elimination process going forward. Here will be the schedule.
48 Hours before projects are due: Nominees are announced
24 Hours before projects are due: Votes are sent out

I feel like this will give nominees a fighting chance to make a real impact on the team before the vote begins. I apologize to Mickeyfan for not implementing this rule sooner, as he truly made some fantastic contributions to this project. He's been fairly under the radar for a lot of the post-merge gameplay though, which is the bigger factor that I speculate led to the vote result. At any rate Mickeyfan, this was a great run for you and I'm sad to see you go.

With that in mind let's get to...

Project Eleven: You're Tearing Me Apart, Tiki!
tumblr_nolsdiDh511sipaulo1_500.gif

Based on TheOrginalTiki's "Tommy's Planet" project from Season Twelve

It's finally time to get to perhaps the most anticipated project of the entire season. This project was based on a concept I came up with during a Blue Sky Project in season twelve. It was a MEGA E Ticket attraction based on the beloved cult classic "The Room"...which was located on the moon. Something that's actually relevant to the narrative of Tommy Wisseau if you read The Disaster Artist. Anywho, this project is very simple. You must design two E - Ticket attractions, one for a Disney park, the other for a Universal park. Naturally, they must be based off of TERRIBLE, critically panned films from the respective companies. I absolutely cannot wait to see the results! Good luck to the final six, and congrats on making it this far. You're on the cusp of making it to the semi-finals, so play your heart out if you want to make it to the end-game :) This project is due Friday, April 21st.

As a reminder, Basketbuddy is still in possession of a Diamond PoMVP, as is DisneyManOne in addition to receiving the regular PoMVP during this last round. Magic Feather has the key to Walt's Vault, and we await her decision on rather or not to open it.
 

mickeyfan5534

Well-Known Member
I feel like this will give nominees a fighting chance to make a real impact on the team before the vote begins. I apologize to Mickeyfan for not implementing this rule sooner, as he truly made some fantastic contributions to this project. He's been fairly under the radar for a lot of the post-merge gameplay though, which is the bigger factor that I speculate led to the vote result. At any rate Mickeyfan, this was a great run for you and I'm sad to see you go.
It was an honor to compete. Things just got away from me. Finals, study abroad, two jobs, and this was just too much to handle. I'm glad to at least go out on a high note. Pun intended.
 

TheOriginalTiki

Well-Known Member
Original Poster
Totally forgot about Walt's Vault for the round! For opening Walt's Vault this round, @Magic Feather basically has the exact OPPOSITE affect that Pi got last round (goes to show the unpredictability of the vault, haha ;) ) Feather has received a "Fastpass" into the next round meaning she cannot be nominated for elimination.

As for the rest of you...I've retired the "Team Leader" position since it's been getting really hard to get teams to decide on one plus I figure it'd be less of a burden on the judges to name nominees rather than the contestants especially because were so deep into the season and everyone left is a major contender for the win. With that in mind, I'll be announcing the two nominees for this round late tomorrow night and will send out the voting ballots 24 hours later, giving the two nominees time to make an impression on the voting players. I'll be basing the nominees off not only the amount of posts you have in the brainstorming thread, but also the quality of the posts and how far the ideas have gone into the finished product thus far.
 

TheOriginalTiki

Well-Known Member
Original Poster
Alright, this nomination process has been truly difficult and filled with technicalities worked into the game mechanics, so bare with me. Looking over the thread, the actual nominees would have been...@Basketbuddy101 and @DisneyManOne. Of course, this posses some...complications due to Basketbuddy and DisneyMan both being in possession of the Diamond PoMVP. With that in mind, I'm pulling both of them OFF of the nomination block.

By opening the Vault and getting the Fastpass, Magic Feather is also safe. I just went through the brainstorming thread from last project to determine that Pi put in a majority of the work and therefore gets this round's regular PoMVP...He is safe. Therefore for the first time in SYWTBAI history, we have nominated decided entirely by default. Snoopy and KMB are the only two people valid to be nominated. This is an especially weird situation considering Snoopy and KMB have been two of the biggest contributors this past round and would not have been nominated under any other circumstance.

Instead of a vote, I'm going to issue a challenge that the two of you must complete by the deadline of this project. It's very simple...design a C Ticket attraction based on a terrible movie. Either for Disney or Universe. Grading will be done exclusively by myself under the usual grading rubric with the exception of team work, lowest scoring of the two goes home in a historic moment in the game's history no matter how it shakes out.
 

kmbmw777

Well-Known Member
Based on the critical failure at 48%

the_great_gatsby_movie-wide.jpg

Jay Gatsby’s Race Through New York


Chapter One: Backround
In my younger and more vulnerable years, my father gave me some advice that I’ve been turning over in my mind ever since. “Whenever you feel like criticizing any one,” he told me, “just remember that all the people in this world haven’t had the advantages that you’ve had.”

I couldn’t forget that advice. In consequence, I’m inclined to reserve all judgments, a habit that has opened up many curious natures to me and also made me the victim of not a few veteran bores. But when James Fallon left the Race for New York attraction, I flipped. “What the bloody heck! We’ve been working on this for years. He can’t just do that!”

“Well, he can and he did,” my boss said sadly. “Universal has cut the budget to this project drastically. ”

“What can we do? These were great ideas.”

“Universal gave us three days to pitch a replacement IP or this project is cut. They know how bad this looks to the press. The press believes that Fallon left the ride because it was bad. Thus, Universal wants something completely new to replace it.”

I looked at my notes and threw them on the ground. I guess I am not as tolerant as I thought. Only Fallon, the man who stole my brain child, was exempt from my reaction — Fallon, who now represented everything for which I have an unaffected scorn.

I rolled my wheelchair over to the computer, too mad to cry, and mouthed “The American Dream is dead.” Suddenly inspiration sparked. Gatsby was the perfect IP for a race through New York attraction. But how…

“How easily can we get the rights to the DiCaprio version of Gatsby?”

My boss looked at me, “Genius!”

My name is Kevin Baxter. I work for Universal Creative. And this is how I saved the dream.


Chapter Two: Ride System

“Universal got the rights from Warner Bros. Also, Tobey MaGuire agreed to film the audio for the ride!”

“Amazing!” I proclaimed.

“However, they stand by their statement. They want an entirely new ride system and experience.”

“Frickity Frack!” I yelled.

The process after the IP proposal was rough. I can not lie about it. Everyone suspects himself of at least one of the cardinal virtues, and this is mine: I am one of the few honest people that I have ever known. The company probably wants me to say that this went down amazing or such. It didn’t. After several long meetings with me yelling at the execs about allowing us to keep the ride system, it didn’t work.

“We don’t want you to just copy the past ideas. Gatsby deserves it’s own -” the execs started.

"Can't repeat the past?" I cried incredulously. "Why of course you can"

Finally, a brilliant idea struck my ride. A bouncing convertible drove guests through a dark ride.

1927-cadillac-lesalle-convertible.jpg


The car could be built so that the wheels remained on the track, but the actual vehicle could bounce around. Genius. Engineer Vox El told me that it was definitely possible.

The vehicle would also have onboard speakers to play all of the audio for the ride.

Great now the system was finished. But what about the ride itself?


Chapter Three: Ride Overview

new-york-1920s-empire-state-building-construction.jpg

I could bore you all with countless details of how hard we worked to design the ride. The trouble we had building Leo’s robot, etc. But that is not fun.

What’s fun is this. Drive through New York. Tobey Maguire narrating as Nick Carraway. Hear Gatsby mentioned all over. End in Gatsby’s Party with big reveal to Jay Gatsby himself. Bam.

First off, I can not express how amazing it was to work with Tobey. He actually suggested the backstory of the ride to me. Nick Carraway is going on a drive through New York with a chauffeur of Gatsby, who, complimentary of Gatsby, wants to give Nick a grand tour of the new city before Nick and Gatsby meet. Perfect, right?

In a way, I am glad we started from scratch. Life starts all over again when it gets crisp in the fall.

On opening night, I got to ride the ride for the first time. Let me just say. It was incredible.


Chapter Four: The Ride
gatsby art.png

Dark Blue is Loading/Unloading
Red is Tom and Daisy's house
Orange is Wilson's Garage and Facade
Purple is Times Square
Brown is the Bar
Medium Blue is Gatsby
Light Blue is Party Facade
Brown/Grey lines is enterance/exit queue



The first thought that blew my breath away was the exterior of the building. Gatsby’s manor sat painted on the wall of the show building. The outside queue took guests through the grounds of Gatsby and Nick’s houses and into the cute house of Nick Carraway. In the grounds, beautiful wildlife hid all of the surrounding areas. Finally, the guests ended in the garage of Nick and we boarded our vehicles.

b31f1d07614430edcd6f861ddb93c26b--jay-gatsby-gatsby-style.jpg

The painting on the showbuilding

Nick-Carraways-cottage-Great-Gatsby.jpg

Nick’s house

Nick’s garage is coincidently more like an indoor street with a garage door only on one side. The garage is lined with heavy machinery and pipes. When we board our car, the intercom projects a conversation.

“Hey Mr. Gatsby,” says the voice of Tobey MaGuire.

“I am not Mr. Gatsby, I am merely his chauffeur,” says the voice of an old man. Oddly, we used the voice of Kiefer Sutherland from Designated Survivor, who is not an old man at all.

“Would it be a problem if we brought along some friends from work for Gatsby’s tour of New York,” Nick/Tobey asked.

“I don’t see why not,” said the unnamed chauffeur.

The garage door in front of us opens and we speed out into the lawn of Gatsby's manor. Fake plants line the road, but the fog is thick, not allowing us to see far to the actual manor.

Our vehicle turns multiple directions and bounces as to simulate distance, which I found worked. Genius.

Our car actually speeds forwards and stops in front of a large house. The house is red with white columns and has a large green lawn. “Hey! I know this house! Tom and Daisy Buchanan live here,” says Nick.

1-item7.size.0.0.great-gatsby-movie-set-design-06-buchanan-mansion-exterior_660_440_100.jpg


“Interesting,” the unnamed chauffeur. “I was told to say this piece of real estate is a fine example of the architecture of those who have wealth from their family name. It demonstrates the family traditional style of Victorian -”

Nick interrupts him, “Hey that's Daisy in the window up there!” Louder. “Hey, Daisy! We’re going on a tour of New York sponsored by Gatsby!”

“Gatsby, what Gatsby?” This voiceover uses the direct quote from the movie, and a silhouette in the second-floor window moves.

“That’s quite enough of that,” the chauffeur says and speeds off into the darkness of the night.

Another stationary twist and turn scene while Nick describes his role as a stockbroker.

We stop in front of a garage in the countryside. A billboard with eyeballs stands to the right. The surrounding area is foggy, but the buildings look cheap and dirty. Tom Buchanan can be seen inside the garage talking something over with a lady. Only their silhouettes are shown in the window, but the events are narrated by Nick.

GreatGatsby_046Pyxurz.jpg

2000


“Tom, what the hell are you doing out here?” Nick yells.

“Why… nothing at all,” Tom yells back. His silhouette is slapped in the window and our vehicle races off to another stationary twist and turn scene.

We arrive in downtown New York where Nick narrates, “Ah. New York 1920. The Parties are Wilder. The Pace is Faster. The Shows are Broader. The Buildings are Higher. The Morals are looser and the Liquor is cheaper. Gotta love New York.” The affect of Times Square is created using a giant screen, which uses much of the rides budget. We drive on a street perpendicular to Times Square.

“Amen to that,” the chauffeur says.

After the giant scene of Times Square, the car continues along the same street and drives by a bar where several people are discussing Jay Gatsby and his questionable past.

‘I heard he was a cousin to the Kaiser.’

“I heard that he was an American Double Agent.”

“I heard he sailed the Seven Seas and stole his treasure from pirates.”

“I heard he can kill a man.”

Nick comments at them and says, “How do you know all this?”

“Rumors fly around, kid. But if you don’t believe me head to his party.”

“I shall!”

630-gatsby-misspelling-jpg_164927.jpg


Our driver drives to the last stationary twist and turn sequence and we arrive at the doors to Gatsby's manor. The chauffeur honks the horn and we drive into the mansion via a tunnel and into the main party, where we drive around a circular loop.

The-Great-Gatsby-party.jpg


People are everywhere and Nick goes around asking, “Are you, Gatsby?” “Can you direct me to Gatsby?” Met with only shrugs, drunken laughter, or “No”s. Our vehicle comes to a stop at the other side of the loop. Above where we entered, a figure of Leonardo DiCaprio’s Gatsby stands, holding his glass. “I’m Gatsby.” plays through our vehicle's audio system.

Our car speeds up, and out of a side entrance into Gatsby’s garage where we deboard. As we exit the ride, we walk briefly back through the grounds of Gatsby manor before arriving back at the Studios. A small cart outside of the ride sells Gatsby merchandise like t-shirts and watches.


Chapter Five: Conclusion

I must say I am pretty proud of my creation.

Jimmy Fallon was at the launch of the ride. “Great job on the ride, Kev,” he said. (He knew me as I worked with him on that other ride…)

I punched him square in the face and walked off. “The American Dream can be reborn without your help.”
jimmy_fallon_tonight_show.jpg
 
Last edited:

Snoopy

Well-Known Member
Vanilla Ice presents The Cool As Ice Rapsperience: The Ride

As done in the style of an early 2000s Jim Hill/Al Lutz behind-the-scenes expose, and with apologies to both of them.

Good morning, everybody! How was your weekend? I spent most of mine doing yard work and helping out tourists who took wrong turns down my street... spring on Cape Cod, gotta love it. In between all that though, I did have a chance to answer one of you guys’ questions, and boy, is our topic today a doozy.

Hi Snoopy,

I have to say, an attraction that’s always fascinated me was the Vanilla Ice dark ride that Universal Orlando kept open LONG after Vanilla Ice faded out. I think it was almost a decade or something. I went on it once and it was so weird. Would you mind telling me what happened there?

-Joey1234


Well certainly, Joey. I have to admit it’s always fascinated me too. In fact when I had a chance to talk to some Universal creatives a few years back who had worked on the initial 1991 expansion of Universal Studios Florida, it was one of the topics that seemingly all of them wanted to talk about when it was brought up. They all had different opinions on where it went wrong, and hearing them talk about it you could tell that they themselves seemed a little baffled by the end result.

It’s an interesting story, and one that I’m all too happy to be able to share with you folks; if nothing else, it’s a good way to get my mind off of housework for a little bit. So, have you grabbed a cup of Main Street Starbucks coffee? Got your Joeffrey’s donut and some fresh-squeezed OJ? Great, then let’s get going.

===========

An attraction like Vanilla Ice presents The Cool As Ice Rapsperience: The Ride doesn’t happen by accident, so to really understand what went wrong here then we’re going to need some context. The opening of Universal Studios Florida in the summer of 1990 could charitably be described as a bit of a fiasco. Rides were breaking down left and right, attractions weren’t finished in time and negative press began to hound the place. These problems persisted in the months that followed and had Universal executives understandably sweating bullets - they had spent an estimated $500 million on the place and nothing seemed to be going right. And so they immediately launched a “reset”, which consisted of giving away thousands of dollars worth of free passes and millions of dollars allocated for expansion plans.

This “second chance” was an opportunity that they did not want to waste, but all the same didn’t have the budget for major enhancements. So they tasked Universal Creative with coming up with cheap but workable fixes, which led to things like The Blues Brothers Show and How to Make a Mega Movie Deal (and a fun fact for you Halloween Horror Nights fans, the first iteration of that event was born out of this expansion). With the exception of Back to the Future: The Ride which had already been under construction, there were no new rides that were being added as a part of this fix. This concerned quite a few people within Universal, since almost half of the parks rides were either down for permanent fixes or only seasonally operating due to mechanical problems.

51h8JxfWhIL.jpg

Copyright Universal Pictures. All rights reserved.

This is where our attraction today comes in. If you can believe it, it was born out of a conversation that Vanilla Ice had with a certain Universal executive after an impromptu visit to Universal Studios Hollywood during the filming of the infamous 1991 flop Cool As Ice. He’d mentioned to the unnamed executive how cool it would be to have his film be featured as part of the park’s storied Studio Tour, similar to the Jaws and King Kong portions of the attraction.

This got the wheels in the head of the studio boss moving. While there were no plans to update the Tour, he could certainly accommodate Van Winkle’s desire in another way. Florida needed rides after all, and weren’t most of the original attractions there just stand-alone versions of Hollywood’s Tour scenes anyway?

If this sounds strange to you, remember that this is a Billboard chart-topping artist who the studio had plans on working with for a good while into the future, and a presence in the parks would help cement that relationship. And besides, Disney had a great relationship with Michael Jackson following Captain EO, why couldn’t Universal have their own version of that? So that afternoon a few phone calls were made, over the weekend a contract was written up and by Monday it was signed - an attraction in Florida based on the upcoming Cool As Ice, with an option to expand it to Hollywood in the future.

Vanilla-Ice-Cool-As-Ice-Hat.jpg

Robert Matthew Van Winkle, aka
Vanilla Ice, from "Cool As Ice".
Copyright Universal Pictures. All rights reserved.

Sounds great, right? Unfortunately, the theme park designers weren’t made aware of the deal until after it was signed.

And these designers, to hear them tell it, were already being spread pretty thin with the other Universal expansion projects. The parameters they had to work with (the new attractions had to be inexpensive but a draw, easily placed, short development time) were small to begin with, and now they had an actual ride to build on top of the shows.

To make matters worse, when it was discovered that there was no money to make the attraction any bigger than a C-ticket then it was decreed that this new Vanilla Ice attraction would be a dark ride, similar to the E.T. Adventure. And the Universal creatives only had a few months to design, build, test and open it, because Cool As Ice was set to be released the following October. And make no mistake, the ride WOULD open in October to coincide with the films debut; the executives had been burned with enough bad press about the opening push-backs of other major Orlando attractions to put up with another humiliation like that. This time wouldn't be like those attractions, this time would be different.

Keep in mind the theme park designers were told all this in April.

So a new attraction thrown on the small team’s development pile on top of other projects, low budget, had to be completed in less than seven months, needed to be based on a movie that was not only unreleased but that the creatives were only vaguely familiar with. You all with me so far? Good, because here’s where things get a bit complicated.

os-pictures-universal-orlando-grand-opening-20150605

Universal Studios Florida on opening day.
Photo taken by Bobby Corker.

Vanilla Ice had certain… requests for this attraction. Namely, the guests needed to ride on the motorcycle that he rode in the film, doing “bada**” things. The ride would end at a huge Vanilla Ice concert, all the while his music would play throughout the attraction. An audio animatronic version of himself would pop up at random points and spout off movie quotes at the guests.

The executives in turn had their own requests. The ride needed to feature characters from the Cool As Ice film. It needed to be a “huge draw”. It needed to end in a gift shop. It needed to feature Vanilla Ice songs also featured in the film. And, most importantly, it had to be done on a budget.

Keep in mind that, with all this talk of film accuracy, the theme park developers had no idea what Cool As Ice was about. They were only ever given certain plot details, some of which were from older drafts of the script. The film makers were afraid of leaks and wanted to keep certain elements a surprise (though what those elements were I don’t think anybody really knows), and that included withholding information about the production.

And so, with the demands lined up, a timeline to do the project and vague ideas as to how to do it, our brave creatives set out to accomplish a rather Herculean effort. Could they do it? Well anybody who’s been on the attraction will tell you that they could not, but in fairness to them it was an uphill battle from the beginning.

First of all, the name. “Vanilla Ice presents The Cool As Ice Rapsperince: The Ride” is a horrible thing to call an attraction, and all of the creatives I spoke with agreed. “Originally it was just going to be Cool As Ice: The Ride” said one, as so many other Universal attractions are called. “But the executives really wanted to hammer in the fact that it was Vanilla Ice, so ‘Vanilla Ice presents’ was added to the front.” The “Rapsperience” part was born out of a compromise: during production the title became Vanilla Ice presents The Cool As Ice Experience, and after a fashion Experience became X-Perience to showcase how hip and modern the attraction was.

“Keep in mind that this was an on-the-cheap dark ride, not some E-ticket experience, and none of us were happy calling it that” said another, “While some higher-ups wanted to make it X-Perience, other thought it would be too similar to ESPN’s X-Games, while one actually thought it alluded to something inappropriate. So we just kind of relented and threw ‘rap’ in the front so no one would argue the point after that.” And of course since it was 1991 and rap music was mostly new to the mainstream, “The Ride” was thrown in at the end to tell people exactly what it was. “An awful, messy title for an awful, messy attraction.”

5f1795d9a8b6b5e20b8c53f80ae9e222.jpg

Copyright Universal Studios Florida. All rights reserved.
Now that they had the title, the creatives needed a starting point. That came easy enough - as Universal Studios Florida’s first dark ride E.T. Adventure was their version of Peter Pan’s Flight, they could just base this new attraction on another Fantasyland ride. “By default it was Toad” said one designer, referring to the classic Mr. Toad's Wild Ride attraction that entertained guests at the Magic Kingdom from 1971 to 1998. “We couldn’t do Snow White since that was the ‘scary’ one, so we went with the crazy one. It made more sense.”

What didn’t make sense to the creatives was how the attraction was supposed to progress. “Again, none of us had seen Cool As Ice or really knew anything about it. We only had a character list, a song list and a vague idea of the plot.”

The plot, for those of you who haven’t seen the film (which is probably most of you reading this), follows a rapper played by Vanilla Ice named Johnny Van Owen who drifts from town to town playing gigs. Upon arriving at the film’s setting he falls in love with an honor student named Kathy Winslow, despite disapproval from her stuck-up boyfriend and her father who happens to be in the witness protection program. After a contrived series of events that include a showdown at a construction site, Johnny wins Kathy’s heart and they ride off into the night.

“See? You say it and it’s just ridiculous. We had to make a ride off of that, and we didn’t even know that much of the plot.” What they did have though were brief character descriptions, that sometimes contradicted other information. “I’m not sure whoever wrote those up really knew that much either. The first sentence mentioned that Johnny was a rapper, and then the second sentence mentioned his bodybuilder past. I’m not even sure the character was supposed to be a bodybuilder. It said the brother character was kidnapped by Johnny to get back at the father, but I’m pretty sure that wasn’t the case in the final film. None of us knew that at the time though, so we added it in.”

And so with what they were given, the creatives had to string together an attraction within less than a month. That meant that whatever layout they used needed to be finalized within three weeks to accommodate development and construction. That began the mad dash of actually getting it done. “The reason the final attraction was a mess was because we really had no time for brainstorming and the people involved with the individual scenes weren’t communicating.”

Another recounted “I remember narrative was a big problem. Those Disney dark rides are usually first person, so we wanted to have characters in the ride interact with the guests.” The problems really hit when a consensus couldn’t be reached as to who the guests were. “At some points they were just guests, at some points they were special VIPs to the Vanilla Ice concert at the end, and at one point they were accompanying Vanilla Ice - a concept we had would be that he would hop aboard the bike and hitch a ride with the guests to the concert.” In the final version, all three narratives ended up being present.

4db81730.jpg

The Magic Kingdom's Mr. Toad's Wild Ride.
Photo taken by Mouseketeer Alison.

Basing the ride on Toad helped the time-strapped designers in other ways. Because the creatives were given what amounted to a shoestring budget, they could aesthetically afford to borrow some of that attraction’s lower-tech effects like cut-outs and strobe lights. “That was certainly a saving grace, but in the end I do think it was to the attraction’s detriment. Toad has a style to it that works, but ours just really came off as choppy.” Another disagreed. “If it had been animatronics and moving set pieces, the ride would have looked even worse and more embarrassing. The style wasn’t the problem so much as the time frame that we did the ride in.”

“I remember they day we handed it off.” recalled one creative. “A lot of us were relieved because it meant that we could focus on the other attractions for the expansion, but others like myself were not looking forward to seeing the final product. The approval process was very quick - I think they were just checking to make sure that we had met all of their requests, and after that they rubber stamped it and handed it off to the developers.”

I didn’t get a chance to speak to any developers or construction workers who built the attraction, but from what the designers tell me it was a bit of a mess. “I would get calls from the head of construction asking me rather baffled if this was really how the attraction was supposed to be set up, or if there were pages in the outline missing. I would, rather embarrassed, have to say no, that’s how it is, that’s what we came up with. It was pretty hard having to dwell on it like that when we just wanted it out of our lives, but there was no time or money for revisions beyond that. Besides, there were other attractions we had to focus on beyond the Vanilla Ice thing.”

Luckily for Universal the ride came in on time and under budget. This meant that the extra funds could go towards a strange marketing campaign, of which the original ride’s designers had nothing to do with. “They had some really strange ads. I’ll never forget one that had the father character from the film threatening guests for hanging around Vanilla Ice, saying they’d never have a chance with his daughter if they kept associating with ‘riff-raff’ or something. Then they’d show the ride and Vanilla Ice would be like ‘Forget what he thinks, let’s have some fun!’ I think it was supposed to make prospective guests seem like rebels, but it was just creepy and weird.”

jared_leto_01.jpg

The "Cool As Ice" Premiere, October 1991.
(L-R) Cuba Gooding Jr., Soleil Moon Frye, Jared Leto.
Photo by Barry King.

The attraction opened on October 18, 1991, the same day as the Cool As Ice film. “I think all of us were hoping that another attraction would be ready to open with the ride to divert some attention away, but it had the whole day to itself. And that was unfortunate, because it’s all the press focused on.”

For those of you who have never made the trek to Universal, the attraction’s queue took place in a garage. The garage was filled with numerous parts and motorbikes, showing off what the guests would soon be riding on. Following the queue into a backroom storage area, guests saw boxes of personal memorabilia, supposedly belonging to the Vanilla Ice character Van Owen. “None of us knew what were supposed to be in the boxes, maybe weights or exercise equipment? We just wanted something for the guests to look at.” Exiting the garage onto a nighttime set that looked like a city street (“We think Disney nicked that from us when doing the loading area for Rock N Roller Coaster” joked one creative) guests boarded two person seating motorbikes and proceeded into the attraction.

After entering through the front door of a bar, guests saw Vanilla Ice and his band performing “Ice Ice Baby”. “I don’t know if that was in the movie, but it was his big song and so we figured we’d show it off first.” It should be noted that Ice’s clause meant that every time he appeared he would be an animatronic figure, contrasting with the other flat cut outs, making for a rather bizarre experience. Not helping was the fact that these figures were prone to breaking down often, which usually made the 3D figures less expressive than the flat characters.

As mentioned above, another part of the clause was that Ice would spout off phrases whenever he appeared. “Hey y’all.” said the character in the bar scene. “It ain’t where you from, it’s where you at, and right now I’m here with you.” Also mentioned above, remember what I said about the designers having no idea who the guests were supposed to be? Well…

Crashing through a wall guests entered a back alley, where they found themselves getting chased by the rogue cops from the film. “We’ll get you, rapper! Tell us where Gordon is!”, Gordon being the father on the run from the cops.

michael_vlcsnap_2015_09_21_17h12m02s138.png

Michael Gross as Gordon Winslow, "Cool As Ice".
Copyright Universal Pictures. All rights reserved.

Next guests found themselves at a horse farm where they met Ice’s love interest Kathy and almost run her over. Kathy’s boyfriend shows up and blasts the guests for being “a worthless rapper and biker”.

Taking a turn guests meet up with Van Owen's posse. "Hey man, who are these people? Are you going to be ready for our concert tonight?" they ask. Rather than answering them, the bike plows through the group and knocks a few of them over.

Then guests meet up with a concert producer who offers them free tickets to Ice’s latest concert… before the guests run him over too. It should be mentioned now that Van Winkle’s character in the ride is referred to by both his character name Johnny Van Owen and as his real life stage name Vanilla Ice at different points.

After that guests end up at a construction site. The foreman yells as them to get out as they go crashing through various wood planks, cement mixers, steel beams and dirt piles. “You rotten kids!” he shouts at guests. A second Vanilla Ice figure shows up and says “People can be anything they want to be, as long as they’re willing to work. And that’s all I’ve been doing. With a little help.” Another reminder: in each individual scene, a different Vanilla Ice song is blaring from the speakers, even if it doesn’t make sense. “We weren’t sure where the music was coming from, but the contract called for Vanilla Ice music everywhere, so that’s what they got.”

Following that guests end up at Kathy’s house where Gordon opens the front door, holding a rolling pin. “You jerk Van Owen, how dare you kidnap my son!” he shouts at the guests… before getting run over as guests enter the house. After driving through a living room and knocking things over guests enter the kitchen and give Kathy’s mother Grace a scare while knocking things over there as well.

Exiting the house guests enter the backyard, and get chased by an angry dog. Crashing through a fence, guests end up on some railroad tracks and are about to get run over (“Our nod to Toad” said one designer) before Vanilla Ice shows up and tells them to get off the tracks. They do just in time, and Ice tells them to “Drop that zero. Get with the hero.”

They then follow Ice to a huge Van Owen concert where he performs “Get Wit It” and thanks everyone for being such a great audience. With all that over, guests travel to the unloading area (backstage at the concert) and they exit into a record store selling early 1990s hip hop memorabilia.

wpid-836.jpg

Copyright Universal Pictures. All rights reserved.

To say that the ride had a poor reception would be an understatement. Like the film it was based on it was treated as a bit of a punching bag, emblematic of all of early Universal Studios Florida’s main problems: cheap, thrown together, too much of an emphasis on flash over quality. “It was a disaster” said one creative “And we were expecting disaster, but even that caught us a little off guard.” The worst part was that, unlike similar attraction Superstar Limo at Disney’s California Adventure that closed after a year, the Cool As Ice attraction couldn’t be closed. “It was in the contract with Ice that the ride had to be there for fifteen years. We were really stuck.”

Needless to say the attraction didn’t make it’s way over to Hollywood in any form and continued to drag along at Universal in Orlando until it was mercifully closed in 2006, when the contract was up. Perhaps it would have been best if the executives had just done what Van Winkle wanted in the first place and made it a small scene in Hollywood’s Studio Tour.

And with that folks, I’m off. I hope that answers your question Joey as to what “happened there” with the Cool As Ice ride.

See you next time!
 
Last edited:

Basketbuddy101

Well-Known Member
Team Goelz Presents a Double Feature Film Disgrace Fiasco...

"Bedtime Stories"

Inspired by the 2008 film Happy Madison produced for Disney, Bedtime Stories takes guests aboard a flying bed for what is essentially Peter Pan's Flight on steriods.

Stretching out from the reaches of the Imagination Pavilion, the ride's entrance takes us through a house, where we can hear Skeeter telling stories to the children of his friend and love interest, Jill. Taking flight aboard a canopy-covered bed, we fly off into the worlds Skeeter and the kids dream up.

First stop, medieval times, where we meet a medieval squire named "Sir Fixalot" and his rival "Sir Buttkiss". Throughout the story the kids make their own additions, such as the king giving Sir Fixalot a chance to prove himself. During the celebration, Patrick announces that "it starts raining gumballs" and the story ends. Indeed, our bed is pelted with falling gumballs in a practical effect combining sound and motion atop the canopy.

Next, a Western theme in which he receives a free "Ferrari" horse from a Native American chief. The children do not corroborate the story, but have him save a damsel in distress from several criminals. Then, it's off to Greece to meet Skeetacus, a Greek gladiator who, after impressing the emperor and a stadium of onlookers, attracts the attention of the "fairest maiden". He and the maiden walk into a restaurant where all the girls who were mean to him growing up are sitting at a table, they are to be so impressed by the maiden he is with, they start to nervously sing the "Hokey Pokey". After a meal they go for a walk on the beach where a large hairy man who is having trouble breathing is washed up on the shore, and after Skeetacus saves this man's life, a rainstorm sends him and the maiden into a magical cave which has Abraham Lincoln in it.

Finally, it's off to the far reaches of space, where Skeeter battles the snotty Kendall in anti-gravity. Our bed hems and haws to and fro, as if affected by the anti-gravity. Skeeter emerges victorious, and the stories conclude.


Meanwhile, in an alternate 2013…



Host: …and, I mean…it's just fascinating, the success of this film, and look, I'm sure you have a tremendous amount of respect for Disney and Marvel but to…to beat out 'Iron Man 3,' at the box office, I just, I have to know. What is—what is that like?

Shyamalan: [Chuckles] You know, I don't really like to think of it like that. My only concern was to just… make sure that we didn't lose sight of our ultimate goal, which was…to make something that people could, you know, just really, really enjoy and…I mean, just the way the film has been received by not just the fans here but…all around the world. It was just…a really great opportunity for all of us who worked on it.

Host: [Smiling] Especially Will Smith.

Shyamalan: [Laughs] Especially Will Smith.

Host: [Laughing] So—So, you've obviously been working on the second film which is releasing in 2015, correct?

Shyamalan: That's right.

Host: And the whole cast agreed to return, at least from my understanding, and I would think that…I mean, that's rare, isn't it, to have Will Smith…Will 'frickin' Smith actually sign off and agree to be in a sequel? Can you tell us more about that?

Shyamalan: Yeah, it was great to get him back for this next one, especially because we also have Willow on board now, and—she's great, I mean…if you think her music is great, you should wait to see her acting, I mean, it's just—it's just phenomenal.

Host: And you have, obviously, 7 sequels planned from 2015 all the way to 2029—I'm sure James Cameron Approves.

Shyamalan: [Silence]

Host: So tell me about this—can you clarify something for all of us watching at home? This rumor about…a possible theme park ride with, I mean—everyone's just—just talking about it, nonstop. We've all heard this and that—so many things. Can you tell us anything about it?

Shyamalan: [He looks around, seemingly communicating with someone off camera] I…am not so sure [He laughs]. Can I?

Host: [Grinning] I hope this is going where I think it's going.

Shyamalan: [He smiles and then looks at the camera] I don't even think I'm allowed to do this to be honest.

Host: The people are waiting so by all means.

Shyamalan: Alright, alright [He turns to the camera]. I'm happy to announce that I, along with a team of really talented people at Universal Creative, will be taking you, the fans of 'After Earth,' 1000 years into the future with 'Operation: After Earth,' opening summer 2015 at Islands of Adventure.

Operation: After Earth

It is the summer of 2015, and the site of 'Men in Black: Alien Attack' has since been converted into 'New Colony 1,' which in the context of the film's extended story represents mankind's attempt to repopulate the earth, beginning with a stretch of land that was once Virginia. After the events of 'After Earth,' Cypher Raige learned to fully embrace his son. Unfortunately, he wasn't able to embrace a personality in the process. Kitai, Cypher's son and newly-appointed ranger, is assigned the task of taming the wildlife surrounding the new colony. Both Cypher and Kitai, however, decide that such a task requires additional help, and thus, guests are invited to 'New Colony 1' as "Junior Rangers" to assist the project. Before guests can begin their adventure, however, they must first pass a mandatory inspection at the colony's training facility. Fans of 'Men in Black: Alien Attack' will be disappointed to find that the relatively-beloved attraction has disappeared from existence, at least in theme. In an effort to minimize costs, it was decided that the aesthetic of 'Alien Attack' was similar enough to that of 'After Earth' to reduce any change to the façade, and thus, with the exception of a few new sleek surface panels, the exterior and nearby gift shops will remain identical to the original.






The Queue:

Not only did Universal Creative decide it was economically-efficient to reuse the original exterior, but it was deemed preferable to make no structural changes to the queue as well. Guests find themselves in the same lobby as before. Granted there are surface changes to be found, such as the new sleek, sterile metallic panels that line the walls, but for the most part, the changes are on the subtle side of things. After a group of guests are escorted into the small lobby, a brief spiel delivers some exposition via PA system. "Greetings, junior rangers. Your presence is very much appreciated. As you know, New Colony 1 has recently completed the first stage of its construction. We cannot fully establish ourselves on this once-familiar planet until we learn to master its landscape, and that means controlling the local wildlife. The prime commander, Cypher Raige, has helped to alleviate the high number of beast attacks around our facility, but even does not have the capacity to take on an army, and that is where you come in. We have arranged for a shuttle to take you to the outskirts of the city; there you will engage these beasts in combat and revert the landscape wildlife to an acceptable level. The prime commander and his son will assist you on this mission. Good luck, junior rangers."

Guests proceed into the familiar elevator from the 'Alien Attack' queue. Large LCD monitors are fixed to each side of the elevator, giving guests a view of the outside world, specifically the sprawling natural landscape in the distance—trees, rivers, towering cliffs, etc. The elevator "moves" upward a few floors and the doors subsequently open. Guests proceed down the familiar chrome hallway and past a circular room that once housed two alien creatures sitting on a lounge drinking coffee. The area has since been converted into Cypher Raige's office, complete with a desk and various computer panels, display monitors, hanging potted plants, and strangely-designed, honeycomb-like walls. Guests then proceed down another hallway and into the largest room in the queue—the two-story video conference room, virtually identical to its original incarnation, with the exception of the alien creatures manning the controls on the floor below. This time, a large ursa cocoon is situated below. Will Smith is, of course, no stranger to this room. He was featured onscreen for 'Alien Attack,' and he will return to this monitor once again, albeit as Cypher Raige. The stoic commander appears onscreen before guests. Because they'll only be passing for a few seconds, the commander's dialogue will be kept short—he will discuss fear and its effect in preventing us from taking control of our present situations.


Guests proceed into the familiar gallery of weapons and assorted alien technology; given the aesthetic similarities between 'Men in Black' and 'After Earth,' the changes here will be subtle. Finally, guests proceed downstairs and to the loading area, but rather than board small, slow moving shooting gallery-style vehicles, guests board sleek, aerodynamically-designed "hangar vehicles" based on a design from the original film. The vehicles move horizontally through the attraction space, which was gutted to accommodate the entirely new attraction interior. They can hold up to twelve guests per shuttle, with two rows of six facing in opposite directions to reach a higher capacity. The long, thing vehicles are similar to their 'Forbidden Journey' counterparts, with their size and shape being the primary difference. The attraction itself will utilize slightly larger dome screens, wider and higher in resolution.

Credit: Colie Wertz


The Ride:

The vehicles move slowly sideways and through the facility, winding through a hangar, sleek vehicles hanging from up above. Suddenly, one of those vehicles is lowered from the ceiling, revealing Cypher Raige and Kitai Raige in full animatronic form. "Welcome, recruits. Let us tend to our mission," Cypher says, his hand on a control panel. Kitai is holding his familiar dual cutlass; his suit suddenly turns black. "I like this suit, dad, but I think it's something bad," he says. Cypher ignores him. The vehicle exits the hangar and a series of familiar scenes from the film play out. At first, the vehicle glides through a fully-realized, physical forest, with trees towering to the ceiling, thick fog surrounding guests. At first, guests find themselves facing a pack of oversized black bears, presented in full animatronic form. Before the bears can attack guests, however, Kitai appears via musion screen and sends the cutlass flying at one of the bears, scaring them away. "I can't bear these guys, dad," Kitai says. Cypher ignores him. The vehicle then plunges into a creek, floating above the water. A pack of killer brook trout begin flying out of the water in an effect similar to that of the piranha attack in the Jungle Cruise. Cypher appears via musion screen and catches one of the fish with his own cutlass. Kitai commends his father for the catch. "I always thought your fishing skills were a little watered down." Cypher ignores him.

The vehicles then travel in front of one of the dome screens, sending guests upwards toward the sky flying alongside a pack of oversized flying eagles. Cypher and Kitai trail the beasts on their own vehicle. Kitai swings aimlessly at one of the eagles with his cutlass. "How do you have the ea-gall to take these guys on, dad?" Cypher ignores him. Guests swoop through the skies and send the eagles tumbling to their deaths. The prime commander clearly means business, as guests discover when one of the eagles swipes at guests' vehicle, sending them tumbling into the depths of an even more foreboding forest environment. Guests quickly encounter a pack of vicious monkeys. The animatronic creatures swipe their claws furiously, their eyes glowing. Before they can go in for the kill, Cypher and Kitai fall from the sky via musion screen, their vehicle blowing up in the background, an effect achieved via light and fog effects. Kitai examines the scene. "Next time, let's let mom drive." Cypher ignores him once more. He swings his cutlass at one of the animatronics, which respond to the actions of Will Smith's onscreen character. Kitai looks around nervously. "I don't think we're out of the woods yet, dad." Cypher ignores him. Guests continue through the forest and into a dank cave. Guests smell a musty odor. Darkness. The sound of a vicious creature can be heard somewhere deep in the cave. Kitai and Cypher appear walking into the cave via musion once more. Kitai is holding a futuristic lantern. "Let's shed some light on this subject, eh, dad?" Cypher ignores him. "We have been tracked by an Ursa. Be mindful of the present moment and size this opportunity to cleanse the earth once and for all." Kitai looks at the ceiling, terrified. Guests move through the physical environment slowly. Before they can take in the well-sculpted rockwork, a massive Ursa animatronic bursts into the scene, flaunting its terrible mouth at guests. The vehicle bumps and speeds in the opposite direction, tumbling through darkness in an attempt to escape the beast. After the chase is over, the Ursa moves in for the kill, stopping guests at the edge of a cliff inside the cave. Cypher appears once more via musion and stabs the creature in the head. The creature tumbles to the ground, sending guests down a hill into darkness, past a corner and out of the cave. Cypher and Kitai greet guests from outside the cave, surrounded by rubble. Kitai beams at guests. "I guess that Ursa's plan got off to a rocky start." Cypher looks upward, clearly infuriated by the insufferable puns. The vehicle returns to the station.
 

kmbmw777

Well-Known Member
Team Goelz Presents a Double Feature Film Disgrace Fiasco...

"Bedtime Stories"

Inspired by the 2008 film Happy Madison produced for Disney, Bedtime Stories takes guests aboard a flying bed for what is essentially Peter Pan's Flight on steriods.

Stretching out from the reaches of the Imagination Pavilion, the ride's entrance takes us through a house, where we can hear Skeeter telling stories to the children of his friend and love interest, Jill. Taking flight aboard a canopy-covered bed, we fly off into the worlds Skeeter and the kids dream up.

First stop, medieval times, where we meet a medieval squire named "Sir Fixalot" and his rival "Sir Buttkiss". Throughout the story the kids make their own additions, such as the king giving Sir Fixalot a chance to prove himself. During the celebration, Patrick announces that "it starts raining gumballs" and the story ends. Indeed, our bed is pelted with falling gumballs in a practical effect combining sound and motion atop the canopy.

Next, a Western theme in which he receives a free "Ferrari" horse from a Native American chief. The children do not corroborate the story, but have him save a damsel in distress from several criminals. Then, it's off to Greece to meet Skeetacus, a Greek gladiator who, after impressing the emperor and a stadium of onlookers, attracts the attention of the "fairest maiden". He and the maiden walk into a restaurant where all the girls who were mean to him growing up are sitting at a table, they are to be so impressed by the maiden he is with, they start to nervously sing the "Hokey Pokey". After a meal they go for a walk on the beach where a large hairy man who is having trouble breathing is washed up on the shore, and after Skeetacus saves this man's life, a rainstorm sends him and the maiden into a magical cave which has Abraham Lincoln in it.

Finally, it's off to the far reaches of space, where Skeeter battles the snotty Kendall in anti-gravity. Our bed hems and haws to and fro, as if affected by the anti-gravity. Skeeter emerges victorious, and the stories conclude.


Meanwhile, in an alternate 2013…



Host: …and, I mean…it's just fascinating, the success of this film, and look, I'm sure you have a tremendous amount of respect for Disney and Marvel but to…to beat out 'Iron Man 3,' at the box office, I just, I have to know. What is—what is that like?

Shyamalan: [Chuckles] You know, I don't really like to think of it like that. My only concern was to just… make sure that we didn't lose sight of our ultimate goal, which was…to make something that people could, you know, just really, really enjoy and…I mean, just the way the film has been received by not just the fans here but…all around the world. It was just…a really great opportunity for all of us who worked on it.

Host: [Smiling] Especially Will Smith.

Shyamalan: [Laughs] Especially Will Smith.

Host: [Laughing] So—So, you've obviously been working on the second film which is releasing in 2015, correct?

Shyamalan: That's right.

Host: And the whole cast agreed to return, at least from my understanding, and I would think that…I mean, that's rare, isn't it, to have Will Smith…Will 'frickin' Smith actually sign off and agree to be in a sequel? Can you tell us more about that?

Shyamalan: Yeah, it was great to get him back for this next one, especially because we also have Willow on board now, and—she's great, I mean…if you think her music is great, you should wait to see her acting, I mean, it's just—it's just phenomenal.

Host: And you have, obviously, 7 sequels planned from 2015 all the way to 2029—I'm sure James Cameron Approves.

Shyamalan: [Silence]

Host: So tell me about this—can you clarify something for all of us watching at home? This rumor about…a possible theme park ride with, I mean—everyone's just—just talking about it, nonstop. We've all heard this and that—so many things. Can you tell us anything about it?

Shyamalan: [He looks around, seemingly communicating with someone off camera] I…am not so sure [He laughs]. Can I?

Host: [Grinning] I hope this is going where I think it's going.

Shyamalan: [He smiles and then looks at the camera] I don't even think I'm allowed to do this to be honest.

Host: The people are waiting so by all means.

Shyamalan: Alright, alright [He turns to the camera]. I'm happy to announce that I, along with a team of really talented people at Universal Creative, will be taking you, the fans of 'After Earth,' 1000 years into the future with 'Operation: After Earth,' opening summer 2015 at Islands of Adventure.

Operation: After Earth

It is the summer of 2015, and the site of 'Men in Black: Alien Attack' has since been converted into 'New Colony 1,' which in the context of the film's extended story represents mankind's attempt to repopulate the earth, beginning with a stretch of land that was once Virginia. After the events of 'After Earth,' Cypher Raige learned to fully embrace his son. Unfortunately, he wasn't able to embrace a personality in the process. Kitai, Cypher's son and newly-appointed ranger, is assigned the task of taming the wildlife surrounding the new colony. Both Cypher and Kitai, however, decide that such a task requires additional help, and thus, guests are invited to 'New Colony 1' as "Junior Rangers" to assist the project. Before guests can begin their adventure, however, they must first pass a mandatory inspection at the colony's training facility. Fans of 'Men in Black: Alien Attack' will be disappointed to find that the relatively-beloved attraction has disappeared from existence, at least in theme. In an effort to minimize costs, it was decided that the aesthetic of 'Alien Attack' was similar enough to that of 'After Earth' to reduce any change to the façade, and thus, with the exception of a few new sleek surface panels, the exterior and nearby gift shops will remain identical to the original.






The Queue:

Not only did Universal Creative decide it was economically-efficient to reuse the original exterior, but it was deemed preferable to make no structural changes to the queue as well. Guests find themselves in the same lobby as before. Granted there are surface changes to be found, such as the new sleek, sterile metallic panels that line the walls, but for the most part, the changes are on the subtle side of things. After a group of guests are escorted into the small lobby, a brief spiel delivers some exposition via PA system. "Greetings, junior rangers. Your presence is very much appreciated. As you know, New Colony 1 has recently completed the first stage of its construction. We cannot fully establish ourselves on this once-familiar planet until we learn to master its landscape, and that means controlling the local wildlife. The prime commander, Cypher Raige, has helped to alleviate the high number of beast attacks around our facility, but even does not have the capacity to take on an army, and that is where you come in. We have arranged for a shuttle to take you to the outskirts of the city; there you will engage these beasts in combat and revert the landscape wildlife to an acceptable level. The prime commander and his son will assist you on this mission. Good luck, junior rangers."

Guests proceed into the familiar elevator from the 'Alien Attack' queue. Large LCD monitors are fixed to each side of the elevator, giving guests a view of the outside world, specifically the sprawling natural landscape in the distance—trees, rivers, towering cliffs, etc. The elevator "moves" upward a few floors and the doors subsequently open. Guests proceed down the familiar chrome hallway and past a circular room that once housed two alien creatures sitting on a lounge drinking coffee. The area has since been converted into Cypher Raige's office, complete with a desk and various computer panels, display monitors, hanging potted plants, and strangely-designed, honeycomb-like walls. Guests then proceed down another hallway and into the largest room in the queue—the two-story video conference room, virtually identical to its original incarnation, with the exception of the alien creatures manning the controls on the floor below. This time, a large ursa cocoon is situated below. Will Smith is, of course, no stranger to this room. He was featured onscreen for 'Alien Attack,' and he will return to this monitor once again, albeit as Cypher Raige. The stoic commander appears onscreen before guests. Because they'll only be passing for a few seconds, the commander's dialogue will be kept short—he will discuss fear and its effect in preventing us from taking control of our present situations.


Guests proceed into the familiar gallery of weapons and assorted alien technology; given the aesthetic similarities between 'Men in Black' and 'After Earth,' the changes here will be subtle. Finally, guests proceed downstairs and to the loading area, but rather than board small, slow moving shooting gallery-style vehicles, guests board sleek, aerodynamically-designed "hangar vehicles" based on a design from the original film. The vehicles move horizontally through the attraction space, which was gutted to accommodate the entirely new attraction interior. They can hold up to twelve guests per shuttle, with two rows of six facing in opposite directions to reach a higher capacity. The long, thing vehicles are similar to their 'Forbidden Journey' counterparts, with their size and shape being the primary difference. The attraction itself will utilize slightly larger dome screens, wider and higher in resolution.

Credit: Colie Wertz


The Ride:

The vehicles move slowly sideways and through the facility, winding through a hangar, sleek vehicles hanging from up above. Suddenly, one of those vehicles is lowered from the ceiling, revealing Cypher Raige and Kitai Raige in full animatronic form. "Welcome, recruits. Let us tend to our mission," Cypher says, his hand on a control panel. Kitai is holding his familiar dual cutlass; his suit suddenly turns black. "I like this suit, dad, but I think it's something bad," he says. Cypher ignores him. The vehicle exits the hangar and a series of familiar scenes from the film play out. At first, the vehicle glides through a fully-realized, physical forest, with trees towering to the ceiling, thick fog surrounding guests. At first, guests find themselves facing a pack of oversized black bears, presented in full animatronic form. Before the bears can attack guests, however, Kitai appears via musion screen and sends the cutlass flying at one of the bears, scaring them away. "I can't bear these guys, dad," Kitai says. Cypher ignores him. The vehicle then plunges into a creek, floating above the water. A pack of killer brook trout begin flying out of the water in an effect similar to that of the piranha attack in the Jungle Cruise. Cypher appears via musion screen and catches one of the fish with his own cutlass. Kitai commends his father for the catch. "I always thought your fishing skills were a little watered down." Cypher ignores him.

The vehicles then travel in front of one of the dome screens, sending guests upwards toward the sky flying alongside a pack of oversized flying eagles. Cypher and Kitai trail the beasts on their own vehicle. Kitai swings aimlessly at one of the eagles with his cutlass. "How do you have the ea-gall to take these guys on, dad?" Cypher ignores him. Guests swoop through the skies and send the eagles tumbling to their deaths. The prime commander clearly means business, as guests discover when one of the eagles swipes at guests' vehicle, sending them tumbling into the depths of an even more foreboding forest environment. Guests quickly encounter a pack of vicious monkeys. The animatronic creatures swipe their claws furiously, their eyes glowing. Before they can go in for the kill, Cypher and Kitai fall from the sky via musion screen, their vehicle blowing up in the background, an effect achieved via light and fog effects. Kitai examines the scene. "Next time, let's let mom drive." Cypher ignores him once more. He swings his cutlass at one of the animatronics, which respond to the actions of Will Smith's onscreen character. Kitai looks around nervously. "I don't think we're out of the woods yet, dad." Cypher ignores him. Guests continue through the forest and into a dank cave. Guests smell a musty odor. Darkness. The sound of a vicious creature can be heard somewhere deep in the cave. Kitai and Cypher appear walking into the cave via musion once more. Kitai is holding a futuristic lantern. "Let's shed some light on this subject, eh, dad?" Cypher ignores him. "We have been tracked by an Ursa. Be mindful of the present moment and size this opportunity to cleanse the earth once and for all." Kitai looks at the ceiling, terrified. Guests move through the physical environment slowly. Before they can take in the well-sculpted rockwork, a massive Ursa animatronic bursts into the scene, flaunting its terrible mouth at guests. The vehicle bumps and speeds in the opposite direction, tumbling through darkness in an attempt to escape the beast. After the chase is over, the Ursa moves in for the kill, stopping guests at the edge of a cliff inside the cave. Cypher appears once more via musion and stabs the creature in the head. The creature tumbles to the ground, sending guests down a hill into darkness, past a corner and out of the cave. Cypher and Kitai greet guests from outside the cave, surrounded by rubble. Kitai beams at guests. "I guess that Ursa's plan got off to a rocky start." Cypher looks upward, clearly infuriated by the insufferable puns. The vehicle returns to the station.
I was actually doing that right now :hilarious:
 

TheOriginalTiki

Well-Known Member
Original Poster
I'll start with the main project before moving on to the individual ones. I know there were time constraints, but this was definitely a disappointment at least in the Bedtime Stories front. The write-up was really slapped together, didn't flow well, and had only a thin amount of detail and no reference photos or formatting for that matter. Very poor part of the presentation and not a lot more I can say about it. It's pretty obvious it was written out fast and loose just to make the deadline. I really wish you guys would have gone with Chicken Little as the IP as well. Bedtime Stories might not be the best movie but Sandler has WAY more low hanging fruit in his filmography that would be more entertaining to translate. Could you imagine a Jack and Jill attraction? Hate to be this harsh but this was a bland proposal for a rather uninspired pick.

Creativity: 7/10
Realism: 6/10
Detail: 5/10
Presentation: 4/10
Total: 22/40

After Earth fared much better and I'd like to personally thank Basketbuddy for taking time out of his busy schedule to pull this together and deliver a really solid project. Excellent concept art as always and a great backstory. It's odd, but this feels like the type of EPCOT style ride that would be MORE at home as a replacement to Horizons than Mission: Space ended up being...terrible IP or no. As always the detail was spot on, everything flowed together well, and something that Basketbuddy is getting exceptionally good at...blending practical sets with screens in innovative and creative ways. While once again I think there's more "fun" M. Night movies you could have riffed on like The Happening, Lady in the Water, or The Last Airbender, this was an exceptional example of making a bad IP fit into a good ride.

Creativity: 8/10
Realism: 9/10
Detail: 9/10
Presentation: 9/10
Total: 35/40

Not going to bother scoring the main submission together as it's blatantly obvious it's two different presentations copy and pasted on to each other. Having it presented in an individual thread was a neat idea but never got off the ground in the same way other projects with a similar style did this season, and you unfortunately ran out of time when putting it all together.

Okay, now let's get to the current bane of my existence...The stand-alone projects. Let me just say both of these were FANTASTIC proposals and in spite of their C-Ticket nature felt way more in line with what MEW and I wanted for this project in the first place. The fact that we have to loose one of the creators of these two proposals is truly sad.

Let's start with Gatsby. Excellent set-up with Fallon and a wonderful use of the book's signature writing style. One reservation I had was that I think this would actually work better as a simulator to replace Fallon instead of bulldozing the building to put a dark ride in the same space. This was probably my single biggest hang-up especially since it'd make really logical sense to slap a new skin and film on Fallon and call it a day...a cheap upgrade to an already cheap, "how the hell is this even a THING??" attraction. Going the extra mile and making it a dark ride is definitely what I'd like to see in real life, but I just can't see Universal doing that especially when it seems their mission statement at the moment is to use as few physical effects as possible. Outside of the realism hang-up though...I'm hooked! Your attraction worked exceptionally well for a dark ride and you really did capture the spirit of the book in a creative and unconventional way. Love the "Eyes" billboard scene and the exterior of Gatsby's mansion. Overall a very solid proposal based on an arguably bad film (it's very surprising to see how many people rallied around this movie's defense when it was brought up as a main part of the project. I personally love the film but it's good to know there's others out there haha.)

Creativity: 8/10
Realism: 7/10
Detail: 8/10
Presentation: 8/10
Total: 31/40

On to Vanilla Ice. This was probably THE most "classic" bad movie picked in the line up and I very much appreciated that. While KMB used the rotten tomatoes score, Snoopy went with something that is truly, inagurably, culturally a trainwreck. Both of you had really fantastic backstories detailing the development of the attraction but I have to say Snoopy really sold me with his MouseTales/David Koening-like depictions of the over-worked designers, the star's ridiculous demands, how the attraction faded over time, it was a really captivating read! While I think the writing style on Snoopy's project outshined KMB's admirable Gatsby-isms, I think KMB had the stronger and more realistic ride while I think Snoopy put in at least two or three too many scenes that made me question just how long a C ticket dark ride is meant to last. If were going based off of the Disneyland C Tickets...it's about 90 seconds. Putting too many scenes is a common trap in this game, one Team Goelz fell into just last round but having their Great Broadway Ride be just a bit too bloated. Regardless this is an incredibly close battle between Snoopy and KMB, made all the more impressive by the fact that these two were among the most active brainstormers throughout the week, especially KMB.

Creativity: 9/10
Realism: 7/10
Detail: 8/10
Presentation: 8/10
Total: 32/40

And with that...it breaks my heart to say this but by ONE point...I'm sorry @kmbmw777, you have been eliminated from So, You Want to be an Imagineer. Make no mistake KMB, you were a STAR this season and right behind people like Pi and Basketbuddy as folks leading the charge in the creativity department. Had it not been for the CRAZY circumstances of having four people immune from nominations, you would have easily sailed through to the next round and probably to the semi-finals and beyond. As it stands now it was an INCREDIBLY noble fight, but you must now join the jury. @Snoopy for dealing with that twist and coming out just barely on top has been granted the FINAL PoMVP of the season as we move into the last round before semi-finals.

Project Twelve: Universal Blue Skies
cartoon_superstars.jpg

Based on season 11's Universal Blue Sky Project

This was an idea dreamed up by @JokersWild while he was helping me host season 11 and is a great mental muscle exercise and possibly the simplest project of the season. Team Goelz must design SOMETHING for a Universal park...that something is ENTIRELY up to them. It could be an E Ticket, a dining experience, a brand new land, a whole new theme park, or something as simple as a food cart. The only requirement I have is to NOT touch the dangling Nintendo fruit Universal has in their arsenal just yet. As you might be able to tell by my avatar, we'll be dealing with Nintendo directly next project. And that's it! I'll be naming the two nominees 48 hours before elimination with a 24 hour grace period before voting begins. Unlike last project, Snoopy is DEFINITELY the only one who is for sure safe and has guaranteed his spot in the semi finals. Good luck team, this project is due Friday, April 28th at 11:59 PM Eastern.
 

Register on WDWMAGIC. This sidebar will go away, and you'll see fewer ads.

Back
Top Bottom