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Spaceship in Spaceship Earth
- Thread starter mayoki
- Start date
trainplane3
Well-Known Member
It's showtime:
(I'd guess it'll be on Youtube soon)
Edit: Lots of great footage in there with the complete Vic Perrin narration. This really sends the message that the craptastic early 2000's Newgrounds flash animation has got to go straight into the trash. Literally every other version of SSE's finale outclasses it by miles.
2 hour later edit:
It's on Youtube now
(I'd guess it'll be on Youtube soon)
Edit: Lots of great footage in there with the complete Vic Perrin narration. This really sends the message that the craptastic early 2000's Newgrounds flash animation has got to go straight into the trash. Literally every other version of SSE's finale outclasses it by miles.
2 hour later edit:
It's on Youtube now
Last edited:
Dragonman
Well-Known Member
So amazing, if there’s an award for “amazing and captivating YouTube video series” you’d easily win.
david10225
Active Member
It was nice not to have to hear to "your timemachine is turning backwards" routine at the top. I always hated how that broke the immersion. But isn't there an orchestral music for this version or was that the next version? I do love how the music used to swell at the end.
What you hear here is what you heard in 1982. Amazingly the parks icon didn’t get a score or song as such until 1986.
Dragonman
Well-Known Member
Maybe it’s due to us finally having a complete Perrin recording now but I find SSE 82 to be less eerie now than most videos have made it appear to be before.
The line “Verged on the threshold of infinity, we see our world as it truly is: small, silent, fragile, alive, a drifting island in the midnight sky. It is our spaceship, our Spaceship Earth.” sounds especially crisp and fresh, definitely the best sample of the Perrin recording I’ve heard so far.
The line “Verged on the threshold of infinity, we see our world as it truly is: small, silent, fragile, alive, a drifting island in the midnight sky. It is our spaceship, our Spaceship Earth.” sounds especially crisp and fresh, definitely the best sample of the Perrin recording I’ve heard so far.
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Even though my most vivid memories of SSE are of the 'Tomorrow's Child' version, my first experience was as a child in the summer of 1984 - so this triggered some long dormant memories of the attraction in me.
The tone is set perfectly in the accent and opening scenes by Perrin... through the fog and emerging into a cave scene that delivered far better projection design in 1982 than the attraction can muster with modern display technology today.
I gotta admit, as a kid I did find it eerie back then even though I was entirely captivated by it. It didn't help that the 'Rome burning' scent permeated the attraction seemingly much more than it does now, so I remember mini-me was vaguely alarmed and concerned the whole ride was on fire from the moment I set foot on it.
The lack of score really lets the natural sound design of each scene stand out. There's things that get pushed to the back now behind the score and narration that I can clearly remember being much more present. The tapping of stone chisels. The snoring monk. The cacophony of multiple televisions all blaring at once. The blips and beeps of the 80s telcom future. And of course, that voice cutting through it all... "Extra! Extra! The New York Daily!" which always carried with you far longer than his scene, just as depicted here. Even back then, it must have been seen as an incredible risk to stage such a massive production without a score or song, but I think it pays off - at least until the decent, which definitely needs something.
The tone is set perfectly in the accent and opening scenes by Perrin... through the fog and emerging into a cave scene that delivered far better projection design in 1982 than the attraction can muster with modern display technology today.
I gotta admit, as a kid I did find it eerie back then even though I was entirely captivated by it. It didn't help that the 'Rome burning' scent permeated the attraction seemingly much more than it does now, so I remember mini-me was vaguely alarmed and concerned the whole ride was on fire from the moment I set foot on it.
The lack of score really lets the natural sound design of each scene stand out. There's things that get pushed to the back now behind the score and narration that I can clearly remember being much more present. The tapping of stone chisels. The snoring monk. The cacophony of multiple televisions all blaring at once. The blips and beeps of the 80s telcom future. And of course, that voice cutting through it all... "Extra! Extra! The New York Daily!" which always carried with you far longer than his scene, just as depicted here. Even back then, it must have been seen as an incredible risk to stage such a massive production without a score or song, but I think it pays off - at least until the decent, which definitely needs something.
That might be why Cronkite was my favourite. Despite being the first I experienced, the soundscape was pretty much the same until 180top when the instrumental Tomorrows Child was introduced. Right place, right time. Plus both versions of the song were pretty much perfect back then.
Due to my age it’s hard to appreciate the pre-Irons versions on the level that you guys do.
The score, guys! The score!
I’m disappointed that I had to refresh my memory of the closing scenes with video. But those damn screens were installed when I was just ten years old.
The score, guys! The score!
I’m disappointed that I had to refresh my memory of the closing scenes with video. But those damn screens were installed when I was just ten years old.
vikescaper
Well-Known Member
I wanted to say that I really love this thread and I finally saw the remnants of the space station when I rode Spaceship Earth last week! I vaguely remember the space station and I also remember being disappointed that it was gone when I went on the 94 version the first time back in the day.
Dragonman
Well-Known Member
I believe Window Girl must’ve been reprogrammed for the 86 version as all footage of her that we have only shows her only moving her arms and head. Since she originally had dialogue I believe she had the same movements as the Horizons scuba teacher (mouth, eyes, and eye blink).
I wish we had better footage/pictures of her. I’m sure there’s some hanging around in WDW storage/archives somewhere. Possibly even her clothing and mask too.
I wish we had better footage/pictures of her. I’m sure there’s some hanging around in WDW storage/archives somewhere. Possibly even her clothing and mask too.
She had the same dialogue in 86-94 too. I don’t think we can trust what little grainy VHS there is to assume her mouth didn’t move during Cronkite. Or did move during Perrin. To be honest there’s no evidence that it was actually her talking.
Dragonman
Well-Known Member
I’m sorry, I just assumed they removed the space station dialogue in the 86-94 version since it isn’t exactly audible due to the Tomorrow’s Child score being much more louder and center to the environment.
It’s there. You just have to listen harder!
RSoxNo1
Well-Known Member
The voice you're now hearing is Richard Kiley, we spared no expense.
180º
Well-Known Member
And yet how many times have I told you we need LOCK-ING mechanisms on the monorail doors?!
RSoxNo1
Well-Known Member
It's kind of a ride.