Spectatorship and Experientialism in Disneyland: Rethinking “Story”

Written by Cory Gross. Posted in Features

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Published on June 10, 2014 at 12:40 am with 54 Comments

The bread-and-butter of much discussion throughout the Disneysphere is the perceived decline of Imagineering and the attractions it creates. Many of these focus on the question of licensed works as opposed to original concepts, having observed a decided lack of modern classics in the vein of a Pirates of the Caribbean or Haunted Mansion or Journey into Imagination. Most seem to be running statistical tallies on the number of thrill rides or E-tickets, shedding a tear over each new C-ticket attraction and Princess meet n’ greet. Despite the Magic Kingdom in Walt Disney World being the best-attended theme park in the world, beating out Universal Orlando’s Islands of Adventure by more than 10 million visitors in 2013, well-intentioned fans are frantic over the need for a “Potter-Swatter” or Disney’s need to step up to the plate when they already own the field. To put it in perspective, 10 million is a little more than the attendance of The Louvre in 2013, or the total number of visitors to the Grand Canyon, Yosemite and Yellowstone National Parks combined.

Oddly absent is debate over the single most important dialectic problem in Imagineering design today… The problem cutting to the very heart of what a Disney theme park experience is, regardless of whether it is a ride or a meet n’ greet, an E-Ticket or a nice bit of place-making, a true themed-park or simply an amusement park encrusted with diverse franchises. It is often mistaken for being the debate between “story” and “theme” but it runs even deeper than that. It reflects the very nature of how a guest subjectively determines the success or failure of an attraction. That problem is the issue of spectatorship versus experientialism.

A slow process throughout the Eighties and Nineties transformed the attitudes of Imagineering towards seeing theme parks as a storytelling medium rather than an immersive experience. Under the reign of Michael Eisner, the decree went out that “it’s all about story,” and the new generation of Imagineers attempted to force fit the medium of the theme park to it. According to The Imagineering Field Guide to Disneyland, even a setting like Main Street USA has a “story,” as did the original version of Pirates of the Caribbean.

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Where does THIS fit in the story?

It wasn’t always that way though. Marc Davis, one of Walt’s Nine Old Men and a chief designer on Pirates of the Caribbean, specifically contradicts it:

“[Walt Disney] didn’t like the idea of telling stories in this medium. It’s not a story telling medium. But it does give you experiences. You experience the idea of pirates. You don’t see a story that starts at the beginning and ends with, ‘By golly, they got the dirty dog.’ It wasn’t that way.”

When the Imagineering Field Guide claims that Jack Sparrow, Barbossa and “these characters from the films were interwoven into the existing story, all the while ensuring that the spirit of the show remained intact,” (pg. 60) we can see the first problem. There was no existing story! Imposing a story about Jack Sparrow in and of itself violated the original spirit of the show.

This is not to say that these attractions did not have a motivating logic behind them. Pirates of the Caribbean, the Haunted Mansion, and their vintage did have a structure that unfolded according to the needs of the experience. Consider the Haunted Mansion: the guest is personally welcomed into the house by the Ghost Host, who explains that we are about to embark on a tour of strange sights. We catch fleeting glimpses of these things in the form of stretching and changing portraits, but the Ghost Host challenges our perceptions. Is it only our imaginations? After loading into our Doombuggy, we are assaulted by invisible spirits straining to cross over into our world. Sensing our sympathetic vibrations, Madame Leota calls them out of the aether, and we proceed to a swinging wake. The Grim Grinning Ghosts come out to socialize, and in the end, a hitchhiker threatens to follow us home as a diminutive bride beckons us to hurry back.

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The motivating logic of this “story” is not a narrative, but a set of experiences placing the guest at the centre of an adventure. It is the guest who is touring the Haunted Mansion, the guest whom the Ghost Host addresses, the guest whose sympathetic vibrations release the 999 Happy Haunts, and the guest that the Hitchhiking Ghosts want to escape with. Though Imagineers were conscientious of tying Constance to images in the Stretching Room, she still does not add a narrative element to the ride. Hers is little more than an extended gag that is very much in the spirit of the rest of the Mansion. The house itself provides the cohesion of the experience, moving us forward through doorways and passages rather than cuts and dissolves. At the core of it is the guest’s own adventure.

This tradition goes all the way back to the original dark rides, where the guest was cast in the role of Snow White, Peter Pan, Mr. Toad and Alice. Each one follows a structure comparable to the refined form in the Haunted Mansion: in Snow White’s Scary Adventure you are running through forests and dungeons, in Mr. Toad’s Wild Ride you are careening through the streets of London, in Alice in Wonderland you tumble down the rabbit hole and in Peter Pan’s Flight you are flying over Neverland. In their original form, prior to their slight renovations in 1983,  guests did not watch Snow White or Peter Pan: they became Snow White and Peter Pan, assuming their roles in the adventure, sharing their experiences. They are all defined by the quality of being experiential.

Lest this be dismissed as nostalgia, one could point to numerous modern examples whose Imagineers understood this fundamental point. Indiana Jones and the Temple of the Forbidden Eye calls direct attention to the fact that every guest riding it is a tourist by making that the motivating logic of the ride. In it, you play a tourist visiting the temple when things go awry and Indy must come to save the day. In Tokyo Disneysea’s 20,000 Leagues Under the Sea, Captain Nemo has invited you to become a member of his crew and pilot one of his exploratory submarine pods. Star Tours casts you as a passenger on an express starliner, and in the newest version, one guest even turns out to be a Rebel spy. Lord Henry Mystic has invited guests to his Mystic Manor in Hong Kong Disneyland when little Albert opens the magical music box. The Twilight Zone Tower of Terror articulates this whole principle most succinctly when a Rod Serling sound-alike states categorically “in tonight’s episode you are the star…”

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Sign me up, captain!

By contrast, the weakest Disney attractions in recent memory all place the guest as a spectator to a disjointed sequence of tableaux from someone else’s adventure. The three most recent Fantasyland-style darkrides – Pinocchio’s Daring Journey, The Many Adventures of Winnie the Pooh, and Under the Sea: Journey of the Little Mermaid – all share this problem. An ideal Little Mermaid ride would have had Ariel touring us around under the sea and rescuing us from having our own voices stolen by Ursula. Instead we merely sit in a cart to watch dimensional vignettes from the movie. Monsters Inc.: Mike and Sully to the Rescue has the same problem. The Finding Nemo Submarine Voyage places us in a cramped submersible to watch cartoons. Phantom Manor takes the Haunted Mansion format and draws the guest out by making it about the conflict of The Phantom and Melanie Ravenswood. The story of Splash Mountain suffers terribly by being disjointed vignettes from a film that nobody in North America is legally allowed to watch.

The most egregious offense was perpetrated on Pirates of the Caribbean. In the original, as Marc Davis said, the guest experiences the idea of pirates. The structural arc of the attraction begins with the guest falling into a cavern of skeletonized pirates and their dusty treasure trove. A disembodied voice – now long-gone – warns that we’ve seen too much and know where the cursed treasure be hidden. We emerge from those caverns to have our own lives put at risk in a town being sacked by pirates who are becoming increasingly inebriated and immoderate. Eventually, their excess spells their own doom, and possibly our own if we stay trapped with them. Our last glimpse is of a pair of skeletons, the last remains of the last two pirates who killed each other for treasure. Through the harrowing ordeal we come to realize that the peril was not merely to our bodies but to our souls, for the cursed treasure was not a treasure that was cursed. No… It is treasure itself that is cursed. We get to enjoy the swashbuckling idea of piracy on the Spanish Main as well as a powerful moral message (that conveniently justifies the puerile vicarious excitement of enjoying a good pirate attack). In the current version, guests are reduced to mere spectators sitting in a boat to watch the antics of Jack Sparrow, and they don’t even get to see the good parts. He just pops up periodically to remind guests that he’s the focal point of this adventure, in case they missed how everyone else is constantly talking about him. In the end, instead of the poetry of this morality play, we see that Jack Sparrow got away with it and piracy is okay (I suspect that wouldn’t hold up in the event of a piracy lawsuit from Disney). It is now Jack Sparrow’s adventure, not our own. And nothing is more satisfying than watching the adventures of fictional characters whose lives are more interesting than our own, right? Isn’t that the whole point of Disneyland? Or is it?

In lieu of the immersive experience that places the guest at the centre of their own adventure, we see an increasing reliance on cheap tricks to retain our attention. Buzz Lightyear’s AstroBlasters is a giant dimensional video game. Toy Story Midway Mania is not even that: it is literally a video game you can buy for Nintendo Wii. Reportedly, the MagicBand/MyMagic+ initiative will give affluent parents the option to purchase an animatronic character wishing their child a happy birthday. I would not be overly surprised if we start to see an increasing number of smartphone apps that serve similar purposes, say, a Haunted Mansion “ghost hunting” app that posts your in-ride photos to an online leaderboard (and Instagram, Facebook, Twitter, etc.). On the other hand, things like A Pirate’s Adventure ~ Treasures of the Seven Seas and Sorcerers of the Magic Kingdom are at least done right. In the latter, Merlin enlists your help, and you take an active role by casting spells that stop the villains.

The situation is honestly not doom and gloom. As evidenced by my list of positive examples, this dialectic problem is still producing numerous attractions in both styles. Nor are all attractions of either necessarily all good or all bad. Sindbad’s Storybook Voyage is a wonderful, brilliant, and charming attraction at Tokyo DisneySea that is very much on the spectatorship side of the ledger. To give credit where it is due, this is neither an exclusively Disney issue. Something Universal did well to figure out is that people are fans of Harry Potter because they like the idea of being a student at Hogwarts, and they are more than happy to sell you the ephemera to pretend you are. Fans want robes, scarves, and $50 wands, not a tschotcke with Mickey dressed as Harry.

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Case in point.

This tug-of-war will probably continue for many years - perhaps indefinitely - with certain types of franchises taking up certain sides. For example, the arrival of Marvel attractions will necessarily involve watching The Avengers do heroic things, while more original concepts may furnish guests with the opportunity to do heroic things. I hope, however, that it eventually settles for fostering engaging experiences over passive spectatorship.

About Cory Gross

Cory Gross is a professional educator in the museums and heritage field, sharing his passion for history, science and art in his home of Calgary, Canada. He is also the creator of Voyages Extraordinaires, a blog dedicated to Victorian-Edwardian Scientific Romances and Retro-Futurism, which can be found at http://voyagesextraordinaires.blogspot.com.

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54 Comments

Comments for Spectatorship and Experientialism in Disneyland: Rethinking “Story” are now closed.

  1. You’ve hit the nail on the head! Brilliant observations.

    • ^entirely agree. Corey, I enjoy your descriptive writing, especially how you synopsize attractions.

    • That’s exactly what I was going to say. Now I realize that I always felt like I had walked into the films and could explore the world the characters lived in, and, every now and then, catch a glimpse of them going about their daily lives. I could never figure out what it was about Pinocchio and Winnie the Pooh that made them so bland–I even like the music and artwork from Pinocchio. But I tend to forget that either ride even exists, especially Winnie the Pooh. And for Nemo–I wish I could forget it even exists!!!

  2. Reportedly, guests sometimes requested characters who did not appear in dark rides with their names on them, so there is that. But I gotta say, as a kid, I pulled the sword out of the stone at Disneyland and it does make me a little sad that when I went last time, I took a picture there with my niece and nephews knowing full well they wouldn’t have the chance to pull it out themselves.

    • I have a question about that, if anyone can answer it: Why can’t you pull the sword out of the stone anymore?

      • It has only ever been possible during the Sword in the Stone Ceremony hosted by Merlin. It was built for the purpose of that show, and was never set on a randomizer, as many people believe (mainly due to the Disneyland commercials making it appear that it was random).

        -Spoiler Alert-
        No one can pull it out– not even during the show (which hasn’t run in years)– because it is motorized. It pushes itself up from the anvil, and it doesn’t matter if anyone is holding onto it. I’ve even seen it carry a kid off the ground.

  3. Great article. Well written and cogent.

    Per Kiba, yes, guests were initially confused about the notion of “becoming” the character ont he dark rides. They just didn’t get it. Everyone asked, “Where’s Snow White?” on her own ride. Call it a narrative/experiential flaw, but that one clear came at the request of guests. And really, for the dark rides, I’ve never felt the need to BE the character (and I’ve only been alive long enough to know a post-1983 Fantasyland, btw).

    You’ve really made me think about the overall guest experience. I’ve certainly had my gripes with the ongoing franchise-related ride theming at Disney parks, and I cried with many of you when the Jack Sparrow overlay hit Pirates, but I guess in the case of that, it wasn’t because we were establishing a narrative when one wasn’t there, but rather, because Disney was basically selling out and trying to retcon their rides to sell more merchandise and movie tickets, and that was bothersome. I’m grateful Eddie Murphy’s Haunted Mansion flick was such a bomb, otherwise I can all but guarantee Mr. Murphy would appear somewhere in the Mansion today.

    But now I see how so many rides have taken the guest out of the experience and turned us into observers rather than participants. Ariel was a prime opportunity for us to have an adventure under the sea, but instead it’s “Ariel’s Undersea Adventure.” Nope, we just get to watch.

    • I wouldn’t even have minded having Jack Sparrow, Barbossa, Will and Elizabeth, and the rest of the cast added to the ride, if it were done in an intelligent way… Say, as animatronics based on the Marc Davis/Blaine Gibson look, standing more towards the back, looking like they always were a part of the ride but you just never noticed them before.

      Instead, you get this story imposed on it that makes “Captain” Jack Sparrow the focus of all attention. As I said, you don’t even get to see the good parts; he just pops up occasionally to remind you that you’re watching his adventure. When he’s not on stage, everyone is talking about him. The story they imposed makes no sense (why is the town protecting him when he wants to steal their treasure too?) and the constant reference to him as “Captain” even contradicts its own source material. The whole running gag of the first movie (and a PLOT POINT of the second) was that Jack was the only person to call himself “Captain.” There is no way Barbossa would do it. While the technology of the Jack animatronic is stunning and the look is realistic, that is actually a problem when contrasted against the original animatronics. The audio quality of the new dialogue is distractingly different from the audio quality of the original content, and that blip of the movie theme comes from nowhere. Then ON TOP of all that, they throw in a projection effect of a squid monster in a ride with no other projection effects or squid monsters (by contrast, Constance and her portraits were improvements on effects and characters that already had precedent earlier in the ride). That squid in turn explicitly contradicts the original “Dead Men Tell No Tales” theme (“Ahh but they do, so says I, Cthulhu!”), as does the new ending in which Jack gets away with it. In fact, the new end makes the entire part with skeleton pirates utterly pointless. Instead of having a moral significance that is revealed by the end, it’s just sorta’ there.

      I can’t describe what happened to Pirates in any way other than “vandalism.” Thank God that Disneyland Paris still has something close to the original attraction. I literally almost started tearing up… I had forgotten how much I USED to love Pirates of the Caribbean.

      • +!

      • Cory, the new movie additions to the attraction wouldn’t have been so out-of-place and stiking if the imagineers weren’t put up to the difficult task and had die-hard fans on their backs about “Don’t change the ride in any way significant” -They did what they could with what they were given, They were allowed to put in new characters but weren’t allowed to change much of the attraction to allow the new characters to fit in well. We can’t just blame imagineering. If the fans weren’t so against change, imagineering could have tied it in better like in the way you described.

    • I don’t like Jack Sparrow, either. The two types of artwork don’t match. He looks real and the pirates seem cartoonish in comparison.

  4. Someone should send this article to WDI and Tom Staggs.

  5. One of the best articles I’ve read on MiceAge ever. Brilliant observations about guests wanting to be a part of the story, and not passive observers. Your description of a Little Mermaid ride with us as a part of the narrative sounds perfect; that’s what the ride should have been. My only differing opinion is that I think Pinocchio works well telling the movie’s story in such a short time and space. The ending with the iconic Wish fulfillment song and Blue Fairy gives me chills every time. I’m thankful for that part of the film’s story being in the ride.
    Thanks for the thought-provoking essay.

    • Thanks! and Thanks to everyone so far for the replies!

      I’m a little bit harder on Pinocchio than perhaps it deserves, because it is a transitional attraction. It was moving from experientialism to spectatorship, a devolutionary missing link. The emphasis on watching Pinocchio is more subtle than, say, watching Ariel or Jack Sparrow, which means it still fits in better with the classic Fantasyland attractions (it’s just the “least best”). The standout scene in it for me is Pleasure Island, where it really hits the “you are there” experientialism. The end scene is great as well, I just wish the appearance of the Blue Fairy wasn’t so brief. I honestly did miss it on my first trip to Disneyland. It was on my second trip that I knew to look for it.

  6. Men in black at Universal is my favorite ride in Orlando because you are in control and the ending changes every time you ride based on your score verses the other car.

    The passive native of studio parks has made them the weakest theme parks. No one wants to learn how movies are made they would rather make their own YouTube video. People don’t want fake sets like Star Tours they want realistic Harry Potter theming.

    • I actually don’t mind the “studio/Hollywood” theme of the studio parks, but I wish that they’d follow the narrative if they are to employ that theme.

      To put this another way, Star Tours in Disneyland totally works, as you’re taking a flight through the Star Wars universe. Star Tours at DHS is still a great ride, but the narrative doesn’t work for its location: you’re not “on set” at a Star Wars film, even though the ride is located in a “set.” Once you’re inside, you’re “on a flight through the Star Wars universe,” not “on a movie set creating a flight through the Star Wars universe.”

  7. Why no discussion of Radiator Spring Racers? It’s a recent effort by Imagineering that puts guests in the middle of the experience, plus has thrills and a little bit of story.

    • Good point! You’re not the main character – you’re interacting with them, you’re getting a story similar to but not exactly the film… and your experience is no less for it. I love the Dark Ride portion (but wish the race was longer!) and I didn’t feel confused as to what story they were telling us.

  8. Excellent article; this is something I’ve thought about for a few years. The whole “backstory” concept certainly goes over my head when I only wish to EXPERIENCE a ride, not try to figure out some obscure story!

    The focus of Disney on moving away from the traditional way of letting guests experience an attraction, and the insane focus (for me at least) on “characters” intended mostly for the kids (and extracting money from the parents of those kids), has changed the Disneyland experience forever for me, and not for the good.

    That, the ever present ticket price hikes, and the feeling that they constantly want to have their hand in my wallet, is the main reason why I don’t go to Disneyland anymore. Its truly sad – I loved Disneyland. I grew up with it. I worked there for years, going all the way back to the days when they were closed on Mondays and Tuesdays!

    Like the passing of a lifelong friend. Sad, but life goes on.

    • Sometimes a backstory or a meta-narrative can enrich the ride experience. One of my favourite things Disney has ever done was the meta-narrative about Atlantis that runs through much of Tokyo Disneysea. You pick up bits and pieces of it as you walk through Mediterranean Harbor, see a mural about its destruction in Fortress Explorations, and find out its final fate in 20,000 Leagues Under the Sea. It’s brilliant and draws you into a great experience as you become an active participant in solving this mystery.

      Other times… meh… I think one of the silliest is the Fiddler, Fifer, and Practical Café. If it were just a old timey café “like Walt would have experienced” that is cutely named for Three Little Pigs, that would be fine. But a contrived fictional story about how Walt was inspired to do Three Little Pigs by them actually pulls me out of the theme, because I know that didn’t happen.

  9. In addition let’s not forget how important the approach to the show building is in creating an immersive experience. Seeing a fully themed show building in the distance and walking towards it builds the anticipation of what is to come, think; Haunted Mansion, Big Thunder, Small World, Splash Mountain, etc. With Ariel’s Undersea Adventure if you approach it from Condor Flats all you get is the sparsely themed side of the building before you step in line. By contrast, you can approach Big Thunder from it’s back and there are enough sights and sounds that build your anticipation by the time you get to it’s front.

    I understand that they had to deal with a pre-existing building but I always felt it should have been where the beer gardens now stand and use that show building for an attraction that fits more closely with Grizzly River Run. In the beer garden location it would have allowed you some anticipation as you walk towards it as well as lending to the overall vista of that area of DCA.

    Much like when the ‘speed ramp’ was removed from Space Mountain (focusing you directly towards the show building) in favor of an un-themed, confusing side route that is mingled with Capt. EO and the Pizza Port, I feel that there are some very poor choices being made.

  10. Forbidden Journey is a horrible ride – when it comes to story. Universal tried to include the guest in everything from the movies but threw out Potter canon in a story that just makes no sense. It’s an excellent ride if you just don’t pay attention to what Universal is cramming down your throats. Hopefully Gringotts doesn’t suffer the same fate.

  11. A very interesting take. When riding these attractions, I never saw them as having an Experience
    or just observing someone else’s story. But I do see it now, once it’s been pointed out.
    Once attraction that was left out was the Submarine Voyage. Built during Walt’s version of WED, 1959. That attraction seemed to be less of an experience and more like something Imagineering would design today, A vehicle full of tourist and then something goes wrong, kind of story. The rider doesn’t take the position of the character.

    Also, many of the WDI project that were never built had more of a first person experience. example would have been The Baby Herman Buggy Ride, where you are on a crazy out of control Rollercoaster. I think is was a simulator/film attraction.

    Cory, I think you hit the nail on the head with the newer Dark Rides. Your version of Mermaid would have been so much more fun. Ariel helping you to save your voice.

    But maybe that’s the real reason why so many people complain/grip about Disney. They could do so much more and be so much better then what they’re producing (or lack of producing). Fans see potential from the resources Disney has; and instead they get watered down, stripped out, what’s the least we can do type of effort.

    Or fast construction, lots of detail and effort on ONLY the projects that are clear revenue sources. Everything else just gets pushed down the list. Way down the list.

    It just makes you wonder if the Bass Bros had actually broken up the Walt Disney Company back in 1984. Sold off the studio and theme parks. Would the Parks be in better shape today? Then they are now. Even though I would have hated to see it happen, I think the Parks would be better since private owners would have to develop and build NEW, Experience attractions as Walt did, in order to hang onto it legacy. Current Disney has no interest in legacy. Walt’s died, deal with it. Baby boomers are moving out of the market, and Disney needs to accommodate the current ME generation.

  12. This is an amazingly well-written article that articulates the core issues at imagineering today with both eloquence and intelligence. Bravo, sir. The one thing that bears mentioning is how well Radiator Springs Racers actually does handle this issue, but the more I think about it the more I realize this really does lend itself well as a core criticism of the current imagineering approach to attractions.

    Hopefully it’s a rut they escape in the near future, and they begin to bring some of those brilliant minds working overseas on original attractions to come up with some new things stateside too. Hopefully.

  13. So is Disneyworld beating out Universal, in spite of Harry Potter?

    • And then some. TEA released their report on 2013 attraction attendance earlier this month: http://www.teaconnect.org/tea-blog

      I know there’s a segment of the readership that gets hypersensitive about me calling Universal an also-ran, but there is no greater evidence than IOA plateauing at 10 million fewer visitors per year than MK. One might be able to say that Universal is equal to Disney on some attractions from a creative perspective – I will totally give them due credit on things like Harry Potter – but clearly it hasn’t been enough to put them in serious competition with Disney.

      My reading of what has happened is this: only about 5 million people a year cared enough about what Universal offered to bother going. My pet theory is that your average person doesn’t really care about theme parks. What they want is to connect to something that has emotional meaning for them… Like, say, the entire Disney brand. Harry Potter gave people a reason to go to Universal AT ALL. It was something they wanted to connect to, which Universal has played that very well and given those people a very satisfying experience. The problem is, that number of people is exactly 3 million. Attendance surged from 5 million to 8 million, but that’s where it has plateaued. Now what Universal is trying to do is leverage that attendance. Diagon Alley, for instance, isn’t about bringing more people to Universal. Everybody who cares about Harry Potter is already coming now. They’re trying to spread out those numbers between the two parks, by forcing all those Potter fans to buy parkhoppers just to see all the Potter stuff. I suspect that the net outcome of the expansion is to see USO’s numbers jump up closer to IOA’s.

      Like everybody else, I would love to see Disney build more amazing rides just for the heck of it. I would much rather see Mysterious Island and Mystic Point added to Animal Kingdom than Avatar. But from a purely business perspective, the best, most economical response Disney could make to Harry Potter is to offer moderately-priced transportation to Universal for people with 4+ day Magic Your Way tickets and hotel room packages.

      • Cory, it’s probably safe to say that Potter offers Universal an initial attendance leap of 25-30% in the first year, 10% in the next and 2% from there on out.

        USF’s attendance surge last year had nothing to do with Potter and everything to do with a new attraction (Transformers,) and that was worth about 15% in the initial year of opening.

        So, while I agree that Potter is Universal’s ace in the hole, it’s not the only card they have to play. What is certain is that WDW can and does gain in attendance with or without investment, while UO has no choice BUT to invest expensively in rides and attractions to keep their attendance on the rise.

        Part of this has to do with Universal having a fairly dismal historic reputation as a brand in the theme park space (I grew up in Florida, and the lack of reliability didn’t exactly encourage visitation,) and Disney having a historically beloved brand in pretty much every space. It may take them awhile to overcome that legacy and build their brand.

        In a way, they’re a lot like Hyundai. That car company had to spend years and billions to overcome the Excel introduction to the American market. And look at them now. So…it may not happen overnight, or it may not happen at all, but Universal is a much more serious, much more challenging racer at the track. It will be fascinating to watch it all play out.

      • The problem with this is that Universal is not done. Diagon Alley is just the beginning. From what I hear they have a plethora of new mind blowing attractions in the works based on several Intellectual properties that people will want to connect with.

        And the way Universal works… it’s not beloved Disney IPs vs. Universal IPs. Universal knows they wouldn’t win that one. But they are not afraid to license, so they can pick and choose the best IPs that are out there. So, basically, it’s beloved Disney IPs Vs, everybody else. Now you have something to work with. And Universal is definitely doing just that.

        Now Disney has the Marvel IP, which is very valuable, but apparently that’s off the table for the US parks for the foreseeable future. And everything else in the US parks has been postponed due to their obsession with My Magic+.
        So, it appears Disney is handing Universal a golden opportunity and it equally appears that Universal is going to take full advantage of it. Disney may be the undisputed Orlando Theme Park King today in 2014, but let’s wait and see what the picture looks like in 2024. If things keep going the way they’re going it could be very different.

      • Disney vs. everybody else might be closer to a fair fight.

        Promisory notes of future conquest aside – since those are, in my opinion, ad hoc rationalizations for why most people still prefer Disney – the reality is that Universal has to keep investing to retain status as an also-ran. They have to keep adding new rides and attractions just to keep themselves open as an option for people on their day away from Disney. As someone else noted, they’re not competitive with MK… or even DAK or DHS. They’re competitive with Sea World and the Kennedy Space Centre. I honestly don’t think that Peter Jackson’s bloated, indulgent, forgettable version of King Kong is the ticket to raise attendance by another 3 million, let alone 10 million. It’ll be more a case of “okay, so we’re going to Magic Kingdom on Wednesday, Epcot on Thursday, Animal Kingdom on Friday and Hollywood Studios on Saturday, then we’ll just relax and go to the water parks on Sunday, maybe pop into Epcot again for the fireworks, and do Magic Kingdom again on Tuesday. So what do you want to do on Monday? It looks like Universal has some new rides… should we check that out? Eh, sure.”

      • Yeah, Universal does have a long way to go, but they have definitely started the trip. King Kong is just the next step. There is a lot more to come. They seem to be getting quite tight with Warner Bros..

        Maybe Disney should revisit their old Silly Symphonies, because right now they appear to be playing the role of the Hare, in the Tortoise and the Hare. And to be honest your reply sounds like it might have come from Fiddler and Fifer Pig, themselves.

        Disney is too complacent. They think nothing can touch them and you appear to agree with them. Historically, that kind of attitude comes right before a fall.

        Don’t get me wrong. I don’t want Disney to fall. I want them to wake up and build that brick house!

  14. Excellent article! It’s great to have someone articulate the difference between the two types of attraction, and point out that Disney would do well to stick to its original formula.

  15. Really good article, one of the best I’ve ever read here. You nailed it, that is exactly the difference between the classic rides and some of the newer rides. I actually didn’t know that the original intent was more experiential. I had always thought that the rides were about telling a story. But after reading your article I totally see what you are talking about, and what the difference is between something like the Haunted Mansion and something like The Little Mermaid.