SSE WASTED SPACE

HMF

Well-Known Member
Did they really believe that everyone would just look at the screen for the entire descent, and not ever look up and see the mess they made of the descent?
Apparently they did. Just read interviews about Midway Mania with Jay Rasulo from around the same time. The triangles were also added specifically so there was something else to look at.
 

Polydweller

Well-Known Member
There's more room that you think, as seen in the Irons version.

Even pre 94 there was a purpose built space in the tightest section (the leg) for an infinity cove.
Actually, I've been going since opening day of Epcot and know of some of the spaces, maybe all. However, people also forget how much of it during the ATT era was just tube lights representing communications and not as filled as people remember.

Still, it could be more now but my understanding is that Siemens wanted to purge the ride of anything ATT.
 

HMF

Well-Known Member
Actually, I've been going since opening day of Epcot and know of some of the spaces, maybe all. However, people also forget how much of it during the ATT era was just tube lights representing communications and not as filled as people remember.

Still, it could be more now but my understanding is that Siemens wanted to purge the ride of anything ATT.
If I remember correctly most if not all of the direct AT&T references were removed when sponsorship ended. Also Siemens IS in the telecommunications business. Yes, it does have a broader scope but that is one of their main businesses.
 

tnemgif

Well-Known Member
Sorry to resurrect an old thread. I didn't think this was worthy of a new thread, but still worthy of a post.

A new digital art exhibit is opening in Tokyo, and it looks a lot like what many of us are/were hoping to see with the SSE descent. Projections and lights interact with guests' devices to create an immersive experience.



This style feels lightyears ahead of the current descent, but still well within reach. Any thoughts?
 

aladdin2007

Well-Known Member
Sorry to resurrect an old thread. I didn't think this was worthy of a new thread, but still worthy of a post.

A new digital art exhibit is opening in Tokyo, and it looks a lot like what many of us are/were hoping to see with the SSE descent. Projections and lights interact with guests' devices to create an immersive experience.



This style feels lightyears ahead of the current descent, but still well within reach. Any thoughts?


I saw this on tv and was thinking exactly the same thing, there are so many things like this that Disney is behind on and could be implementing by now. Im glad you posted it here, I was in awe with what they were showing and SE was the first thing that came to mind.
 

danheaton

Well-Known Member
Both the Cronkite and Irons versions had amazing descents. I loved the experience as a kid of going down with the "Tomorrow's Child" song. It summarized the attraction so well and left you feeling optimistic as you strolled back into the Florida sun. The Irons version had a lot of great sets, and a lot of the technology on display would still work today with a few updates. I've heard that the sets are still in place and could be used again if Disney took the time. The touch screens just feel lazy and out of date already. It wouldn't take that much to enhance the descent and make it work again.
 

HMF

Well-Known Member
Both the Cronkite and Irons versions had amazing descents. I loved the experience as a kid of going down with the "Tomorrow's Child" song. It summarized the attraction so well and left you feeling optimistic as you strolled back into the Florida sun. The Irons version had a lot of great sets, and a lot of the technology on display would still work today with a few updates. I've heard that the sets are still in place and could be used again if Disney took the time. The touch screens just feel lazy and out of date already. It wouldn't take that much to enhance the descent and make it work again.
The Peppers Ghost sets are indeed still there and are draped, The City however is gone.
 

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