News Tiana's Bayou Adventure - latest details and construction progress

Sir_Cliff

Sir_Cliff

Well-Known Member
UNCgolf said:
I think people place too much importance on ride narrative anyways. The experience of the ride is more important than identifying a specific A to Z story.
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Very much agree. Tony Baxter explained very well how Splash worked in terms of the general atmosphere of the ride building up to the thrill and sense of accomplishment after the drop even if you didn't understand the story. The linear story in this case added an extra layer you could piece together on subsequent rides, but wasn't essential to enjoying the ride.

I guess we're mostly all hoping that's also the case here. I do understand the trepidation, though, as the press releases up until now seem to have emphasised all the things we then have to hope aren't essential to know in order to enjoy the ride experience (the co-op business structure, salt mine, etc.). Also have to say the first glimpses of the new mural also make me a little nervous that they're leaning more into reflecting their research and work with New Orleans artists than creating a thematically cohesive and fun attraction.

But, we live in hope!
 
UNCgolf

UNCgolf

Well-Known Member
Sir_Cliff said:
Very much agree. Tony Baxter explained very well how Splash worked in terms of the general atmosphere of the ride building up to the thrill and sense of accomplishment after the drop even if you didn't understand the story. The linear story in this case added an extra layer you could piece together on subsequent rides, but wasn't essential to enjoying the ride.

I guess we're mostly all hoping that's also the case here. I do understand the trepidation, though, as the press releases up until now seem to have emphasised all the things we then have to hope aren't essential to know in order to enjoy the ride experience (the co-op business structure, salt mine, etc.). Also have to say the first glimpses of the new mural also make me a little nervous that they're leaning more into reflecting their research and work with New Orleans artists than creating a thematically cohesive and fun attraction.

But, we live in hope!
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Yeah, I can't say I'm a fan of what I've seen of the mural either.

It's not that it looks bad in a vacuum -- it's that it doesn't really feel right for the era/setting.
 
Surferboy567

Surferboy567

Well-Known Member
MerlinTheGoat said:
The movie isn't given a precise year from what I recall, but it's not hard to figure out a rough guess give or take a year. The flashbacks with Tiana's father occur in 1912, which would place the "present" scenes in the mid 20s given her adult age. I've seen several news articles about the film's release citing 1925 and 1926, which fits. Definitely pre-depression.

The ride also can't take place more than a couple years after the movie. Ralphie isn't significantly older. Maybe 1927-1928 at the latest, still almost certainly pre Depression though. The Federal Art Project portion of the WPA was formed at the end of August 1935 (part of the Second New Deal).
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The ride takes place in the 1920’s. According to a fan wiki it is speculated to be around 1927 since it’s a year after the movie.
 
LittleBuford

LittleBuford

Well-Known Member
It seems to me that the murals are trying to evoke the spirit of the Harlem Renaissance:

artsandculture.google.com

THE VISUAL MUSIC OF THE HARLEM RENAISSANCE - Google Arts & Culture

Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.
artsandculture.google.com artsandculture.google.com

It feels off by a decade or so but is not, as some have suggested, locating us in the contemporary moment. The bigger issue than whether it belongs to the 1920s or a slightly later moment in art history is that it doesn't really jibe with the aesthetics of The Princess and Frog itself. That said, perhaps the finished product will look appealing enough that this won't matter.
 
JoeCamel

JoeCamel

Well-Known Member
LittleBuford said:
It seems to me that the murals are trying to evoke the spirit of the Harlem Renaissance:

artsandculture.google.com

THE VISUAL MUSIC OF THE HARLEM RENAISSANCE - Google Arts & Culture

Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.
artsandculture.google.com artsandculture.google.com

It feels off by a decade or so but is not, as some have suggested, locating us in the contemporary moment. The bigger issue than whether it belongs to the 1920s or a slightly later moment in art history is that it doesn't really jibe with the aesthetics of The Princess and Frog itself. That said, perhaps the finished product will look appealing enough that this won't matter.
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Maybe a blend of current New Orleans art

NO.jpg


And Renaissance

Hale_Woodruff_-_The_Mutiny_on_the_Amistad_detail.jpg


And WPA work

wpa.jpg


So as Rhode did it is influenced by but not strictly held to places or timelines. OK.....
 
Disgruntled Walt

Disgruntled Walt

Well-Known Member
In the Parks
No
Nland316

Nland316

Well-Known Member
LittleBuford said:
Contrary to what many here think, the narrative of Splash Mountain wasn't immediately clear to everyone either. I agree the backstory for Tiana's Bayou Adventure seems (unnecessarily) convoluted, but there's no reason to think the narrative of the ride itself will be any less intelligible than that of Splash Mountain.
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Completely agree with this, and I’m saying this as a fan of Splash too…
 
Tha Realest

Tha Realest

Well-Known Member
imagineer97 said:
But none of this is remotely similar to the visual style of the film. Not even the "Almost There" style.
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They seem to have backed away from relying on the film. I believe there was some indication it was meant to also rely on the D+ series that was in development, which seems to have changed a bit in terms of the production team recently.
 
Bocabear

Bocabear

Well-Known Member
Incomudro said:
My thoughts exactly.
I see art like this under overpasses, and on the sides of bodega's.
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EXACTLY! wrong style for 1920s Jazz age New Orleans. I remember when they trotted out these paintings in the ride development and I thought they looked like Mrs. Metzger's 5th grade art class playground mural. I understand they went to New Orleans and hired an artist to do paintings, but perhaps just because they hired someone to do it, doesn't necessarily mean it is good...and the style is completely wrong for the time period...Unless now Tiana is also an artist in her spare time when she is not traveling around the world looking for exotic ingredients or running her global foods factory coop...
 
SplashJacket

SplashJacket

Well-Known Member
Weather_Lady said:
In my opinion, a ride's theme, concept, and/or story should be simple enough for a child (or a dim-witted adult on vacation) to immediately understand, or for a 2-minute preshow to explain.

When you need a few years' worth of blog articles, press releases, and a new cartoon series just to help guests get what's happening when they finally ride, your concept is flawed.

I feel like the people designing this attraction and saying, "You know what the people want from Tiana? Less about her relationship with Prince Naveen and her adventures with other beloved characters, and more about her ethical business practices, frugal economic policies, and corporate structure -- just wait 'til they see how she repurposed that barn!!!" are the same ones who wrote Phantom Menace and said, "You know what Star Wars fans really want? Less high-stakes action and romance, and more stuff about politics, senate procedures, and trade wars!!!"
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I agree. Rides should have a low barrier of entry for understanding and enjoyment, but they should also have a very high ceiling as well.

Personally, as a kid, I didn’t understand the whole story of Splash Mountain, it was just a really cool ride with great music, scenery, some thrill, some water, and plenty of animatronics.

Despite not understanding, I loved it enough to name my account after the attraction. That’s a good ride.

HHN over at Universal also does this. You can enjoy the grandeur, scale, placemaking, spookiness, and design of the houses without a lick of backstory, but delving into the backstory only enhances the experience (it’s not the experience itself). You can walk through the houses 30 times and notice new details each one, which is why the event is so popular and so many fans buy the event passes.

Even spooky on the other side does the same, Phantom Manor, Big Thunder, and Frontierland, as a whole, have an overarching backstory in Paris that only serve to amplify the experience.

The jury is still out on Tiana, but complicated backstories are not necessarily a bad thing as long as the ride can stand on its own. I’m excited to check out the ride once it opens because it really does have a lot of potential.
 

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