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It’s not just funny animals …

Roger Colton returns with a column that explores another side of fandom: those folks who really appreciate the anthropomorphic aspect of animation.

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Buckle up. Big, bumpy column ahead…

This week, I’m off (okay, when am I not?) to visit another fandom based event. This time it has a connection you should be interested in. If you’ve ever watched a Bugs Bunny cartoon and laughed, you’re already there.

Consider this word: Anthropomorphic.

Truly, a three-dollar word. One not heard in everyday conversations. Right? So? What does it mean?

Well, trying the lovely dictionary provided by the folks at the borg-like cubes in Redmond, Washington, “anthropomorphic” comes up as “anthropomorphize” with the following description: “to give a nonhuman thing a human form or human characteristics”.

I’ll start slowly on this and say that it is not a new concept. Storytellers have given animals human or human-like characteristics since the dawn of time. Spirits appearing as animals communicating with humans were an essential element of many religious oral traditions.

Our own Disney and other animation favorites certainly can trace their lineage right back to those tales told at the campfires of our ancestors. Aesops Fables, the stories by the Brothers Grimm, Beatrix Potter and a whole lot more make heavy use of the practice of anthropomorphizing of their characters. Would you have found the tale of Peter Rabbit as interesting if it had been just another story about a little boy? Maybe not… But that one little story element has made it just that for generations – interesting. Perhaps just as important is the connection it makes with the audience, in this case, younger readers.

Again, back to the connection. But that is what really creates the difference between a story that just offers information and one that an audience can identify with. And that’s just what anthropomorhpics is all about.

Now that you have learned a small lesson on the subject, let us take a look at a fan-based event known as “Further Confusion”, held over the Superbowl weekend, at San Jose’s Doubletree Hotel.

Further Confusion (or FC) is the project of an organization known as Anthropomorphic Arts and Education. This non-profit corporation (501c3 in case you’re curious) supports educational and charitable activities of interest to fans of anthropomorphic art and animals in general.

They do good work in supporting a variety of community projects and FC has become their best way to do so. Over the last five years, they have donated thousands of dollars to a variety of charities including the Oakland Zoo, the Coyote Park Museum, the Barry R Kirshner Wildlife Foundation, the Cartoon Art Museum, the Comic Book Legal Defense Fund, Tiger Touch and Therapy Pets.

This year, various events benefited two worthy organizations. PAWS (Pets Are Wonderful Support) is a volunteer-based organization that helps improve the quality of life for people with AIDS and other disabling illnesses by offering the emotional and practical support to keep the love and companionship of pets.

The other organization was the Seymour Marine Discovery Center, at the Long Marine Laboratory. Part of the Institute of Marine Sciences at the University of California at Santa Cruz, it is a research and education facility that serves as a base for field research in the Monterey Bay and oceans beyond.

So, I can hear you saying, “Who are the folks who attend FC?” Well, simply put, this tends to be the “Furry” crowd.

And before that turns you off, saying not for me, I consider myself part of that group, and you might be one of them and not know it. As I said up at the start of this effort, if have you ever watched a Bugs Bunny cartoon and laughed at it? Guess what? You’re a fan of Anthropomorphics.

I don’t draw funny animals, I don’t write stories about them, nor do I own a fur suit. What I do have is an appreciation of the talents and dedications of some of the people who do. Some do it for fun, others do it for profit.

Just like any group at a fan-based convention, some folks like to dress up and play. Whether you talk about Trekkies, Deadheads, Civil War re-enactors, SCA (the Society for Create Anachronism), the Knights of Columbus or the Shriners, they all have this in common. These are people who take their interests genuinely enough to the point of wearing a costume and adopting a different personality to go along with it. It’s the child in all of us trying to get out for a bit. And they all have their fringe elements, some people who take it a bit too earnestly.

The ugly truth is, shockingly, that the furry folks are all quite normal, for the most part – despite some media attention trying to be sensational and demonstrate the contrary.

Sorry, but that’s the reality here. Just plain folks, odd in some ways, but aren’t we all? These people come from a variety of backgrounds and professions, but all enjoy this fandom in their own special ways.

So… you are about to meet some of them.

Jeff Ferris is one of my closest friends. If anyone could be called my “big brother”, I suppose he would be the one. I’ve known him for some twenty odd years, and this is only one of several interests I share with him. Among the others, there are trains (surprise!), Disneyland, comic books, a good Basque meal, and a wicked riposte or two. We have worked as volunteers at various science fiction and fantasy conventions, and driven a mile or two to some very interesting places. (More tales for more columns. One worth telling involves Ely, Nevada, just to tease…) Jeff acts as the CFO for AA&E.

Jeff Ferris and Dasha Clancey being interrupted by some mouse while enjoying lunch at Club 33.
Photo by Roger Colton

Over all those years, he has become the publisher of “Yarf! The Journal of Applied Anthropomorphics”. Publishing a fanzine (fan produced magazine) isn’t all that unusual but this one has legs. 66 issues have been produced since issue 0.1 in 1990 and that is extremely unusual.

The average fanzine lasts about two years. The person or persons behind it tend to move on to other interests or the readership drops off. I can think only think of one other fanzine that has kept publishing so long, and that is Jack and Leon Janzen’s “E-Ticket”.

So what’s the secret to this success? Part of it has to be the enthusiasm of the staff for the fandom they are promoting with the publication. Another part has to be the more than occasional infusion of new talent, either in the content or in the editorial side. While I can’t speak for Jack & Leon, I do know that Jeff has been lucky enough to get more than his fair share on both sides of the proverbial coin.

Content has run from stories in print and strip form, to some great stories that deserve the graphic novel treatment. And, yes, there are funny or cute animals in drawings in profusion. “Yarf!” has tended not to allow content of a decidedly graphic sexual nature, as other “furry” fanzines may have. That’s not to say that passion does not become an element, but it tends to leave more to the imagination than to drag it out in front of the readers for display.

So why does Jeff and his crew keep doing it?

It’s the contributors for one. As long as they keep sending in great things to share, he keeps publishing them. The quality tends to be quite good, and that helps keep subscribers coming back for more. Sales of single issues and back issues do well, again with the quality of the product as part of the process. An average year (one in which the publisher doesn’t have quad bypass surgery…) tends to see four issues produced.

Nominally, black and white tends to be the format for the issues. Having used most of the Astrobright paper colors available for cover stock, there have been three full color covers, and Jeff says that will probably happen again. Over the lifespan of the zine, costs have come way down for color, as well as the quality of overall reproduction having improved. At an average cost of $6.00 an issue, that’s not too expensive a way to enjoy this interest. YARF! has a web presence at http://yarf.furry.com

With a good crew on the production end to keep him honest, Jeff expects this year will see a full slate or better.

This interest is not limited to the male of the human species. Women represent a strong element of the “furry” crowd. One artist is Shannon Stuart. At twenty, she’s not exactly new to all of this. At a young age, she became interested in drawing, having admired the anime style found in “Sailor Moon”

Her father had the furry interest, and that grew from attending various science fiction and fantasy conventions. After one event, he brought home a book of furry art. She discovered it and decided this was a style she wanted to explore. More anime such as Magic Knight Rayearth and others influenced her. As the result, the characters Shannon creates are based in the anime and manga styles – especially with big, very expressive eyes (even down to the shading and textures of the irises.

Art by Shannon Stuart

She’s making her art pay by selling at school as well as conventions and online. Paintings and drawings are putting her through school, and getting her exposure. She is also a frequent contributor to fanzines such as YARF!

For her future, Shannon hope to progress to a sequential work, perhaps some story in strip form. If she has a challenge to face, it is to stick with one idea, and be consistent. She’s got no problem coming up with new subjects, but it’s trying to stick to one and finish it before something new comes along to inspire her. The pacing of stories and reaching a conclusion are areas she’s looking to improve on.

She’s twenty now and has five years of furry art behind her. Off at school, she’s an art major. Classroom work such as illustration and landscapes are adding to her style. The use of textures is something she sees as helpful in adding her own touches to the usually flat anime styles.

I asked her if she had a piece she was especially proud of. An oil painting, titled “Himeko’s World” offers a look into what might become that sequential story. The character takes the center of the painting and is circled by her friends and allies, including the spirits she summons for assistance. If persistence pays off, this might just be the starting point for that sequential work.

Shannon’s web pages are located at http://www.minespot.com

Taking a momentary break, the Parade of Fur Suits just passed by, some fifty odd strong. Some great costumes including Pinky from “Pinky and the Brain”, and Don Carnage from “Talespin”…

One of the two Guests of Honor for this year’s FC was Toby Bluth. For Disney fans, he may be most well known as the Art Director for Disney’s “Tigger Movie”, and his brother Don has a legacy all his own.

One busy guy this weekend, with lots to do. During a workshop on watercolors, Toby produced a completed painting in about 90 minutes. Another panel discussion he participated in was “The State of Modern Animation”. Joining him was John Nunamacher (who also worked on the “Tigger movie” as well as other projects at Disney).

Boiling down the 90 minutes… If the story isn’t there, it doesn’t matter how good it looks.

Business now seems to have become more the focus than story and animators. Today’s Production Assistant is likely to become tomorrows Producer. Ironically, it was noted that when a project ended, there was more concern what the PA’s would be assigned to next, rather than the artists.

There was also a brief discussion on Disney and it’s focus being more on what fits the “Disney” mold, instead of looking to expand the horizon. That tends to be left more for studios like Pixar or Dreamworks.

Another comment was the incredible lack of synergy between marketing, merchandising, theme parks and production at Disney. A prominent example came up of how Disney Stores had merchandise for “Monsters Inc.” some six weeks before the film opened. No one knew anything about the characters or story, so these items sat on shelves for five weeks, and mangers ordered a 50 percent clearance the week before the film opened. When demand did hit, the profit margin had already been torpedoed.

The opposite was noted for “Lilo & Stich”, where merchandise was selling so well, that it was pulled from shelves at the World Of Disney in Anaheim for fear of not having anything on hand when the movie did open. Quality between the pre-opening products and those rushed to market after opening is somewhat noticeable.

The lack of merchandising for adult clothing also was discussed. No one could understand why. Toby did volunteer that he had managed to get his own personal pair of “Tigger” shorts, which he proudly wore around the office to many questions of “Where did you get those?”

Another topic of concern was the theme of how folks want to see Disney fall flat on its face with animation. Were that to happen, it might be catastrophic for the industry as a whole. If the premiere producer of animated films cannot make money in this medium, who else could?

Ain’t technology grand? Jim Groat, right, shows Ken Mitchroney, center, and Toby Bluth, left, that he
actually has a life! His digital camera displayed pictures of his wife and children, safe at home.
Toby was this year’s Artist Guest of Honor, and Ken had been FC’s first Artist GOH five years ago.
Photo by Dasha Clancey

Another interesting fan is Jim Groat. In younger days, his interests were peaked by Disney’s “Robin Hood” and the Rankin Bass “Rudolph the Red Nosed Reindeer” TV classic. Always a fan of horses in animation, he also was attracted to Hannah Barbera’s “Quickdraw McGraw”. A true “anthropomorphic” moment came when he first saw “Animalympics”. Originally intended as segments for the NBC coverage 1988 Moscow Summer Olympics (which were boycotted by the US teams, after the Soviets had boycotted the 1984 Los Angeles Summer Olympic Games) this project was assembled as a feature for theatrical release and is somewhat of a cult favorite on video today.

So it’s a good bet to say that Jim is one of the old-timers of “Furry Fandom” as it exists today. He started drawing funny animals in high school, and that led him to a period of employment drawing a syndicated strip called “Mudd Flat” between 1979 and 1981. That came to an end after a major problem with a paper changing his dialog to fit it’s own political agenda. He was so fed up with it all, that he literally burned all of his work on hand, and gave up drawing entirely for two years. He feels today that he lost a great deal of skill by taking that break, and that he will never draw as he did back then.

He was invited to resume his schooling at Cal Arts, but didn’t feel he could burden his parents with expense, even then a healthy chunk of change each year at $8000. So he passed.

A big change for Jim came in 1983 when he met his partner in comics, Richard Konkle. He had gotten his start working at Marvel Comics. They shared interests in the Conan stories as well as the anthopomorphics. Along the way, they discovered an interesting pattern of elements to the Conan stories that boiled down to five steps.

Number One: Conan would discover some fantastic lost city or castle.

Number Two: Conan would hear of some lost treasure within guarded by either an evil demon or sorcerer.

Number Three: Conan would always discover a scantily clad, attractive woman in peril, thanks to the demon or sorcerer.

Number Four: Inevitably, Conan would defeat the demon or the wizard, rescue the girl and get the gold.

Number Five: Conan would lose the girl and the gold and start all over again at Number One.

So… Jim and Richard decided to take on the challenge and did a similar story, set in the furry world in their own comic book. And they did it all in one issue, called “Equine the Uncivilized”. It was true success story for the summer of 1985. In ten days, they sold 20,000 copies of this black and white comic book with a color cover.

Jim is thankful to those days because the comics let him meet other fans like Steve Gallaci, who was kind enough to offer him table space at the San Diego Comicon, that led him to a much wider audience.

However, comics became simply too much of a good thing as the market became over saturated between 1985 and 1987. It was heady days for the independents like Jim. But eventually, the bottom fell out of comics as the major players like Marvel squeezed the dealers and distributors by forcing them to carry titles. In the end, there was simply no shelf space in comic shops for the small publishers. A good example from Marvel was one title where the same issue had multiple covers, which they hoped the drooling comic fans would need to buy a copy of each one to keep collections complete. (I understand that, as I was one of those fans who had to keep a complete set of issues on certain titles – most of which are rotting away in my storage locker today.)

Jim was only one of the casualties of that time, as not only comic publishers, but also distributors and dealers went out of business almost overnight.

Today, he’s still drawing and sharing his interest. He sees the future of furry fandom as solid, but hopes that today’s crop of young artists will try to remember that their actually is a life outside of fandom.

Jim’s web presence is located at http://www.graphxpress.com and he’ll have some artist jam pages from FC 2003 up soon…

Now we’ve looked over the people. What was the content of the convention all about? With a theme based on “Alice In Wonderland”, you know to expect something unusual, right? A great piece of entertainment, or if you take the view of some, a fine piece of satire or allegory on society in Great Britain in it’s day. Undeniably, Lewis Carroll anthropomorphized the characters to appeal to his readers, and it works extremely well. All in all, a great choice for a theme.

So it leads to all kinds of programming on a number of distinct tracks.

An artist track, a writers track, a gaming track, a costuming track, a puppeteering track, and a spirituality track provided more than enough content for five days, as the event ran Thursday through Monday. Throw in a main stage for special events and there was never a dull moment. A particular highlight on stage was the Iron Artist event in the method of the popular Fuji TV “Iron Chef” show. Last year, the competing artists found cake and frosting awaiting them. This year things were kicked up a notch with the theme ingredient: Sharpie Markers! The media for the artist to work upon was volunteers from the audience. Arms provided a great place for Sharpie tattoos.

With a time limit of 30 minutes, three Iron Artists took on three challengers in the categories of Cute, Spotty and Comics. John Nunamacher took up the last minute challenge as Iron Artist Cute. Guests of Honor Toby Bluth and Karen Anderson assisted other (impartial?) judges in scoring the works. Some great works resulted, complete with a tie in the Cute competition. That called for a five-minute tiebreaker on the other arm, with Iron Artist Cute winning with a classic cartoon red fox. In all the Iron Artists successfully defended their titles.

There were a variety of room parties, dances and other social events to keep everyone busy. That didn’t stop folks from just pulling up a chair and making new friends, or enjoying good times with old ones.

Tigris relaxes after a long day with friends, Samantha and Stacy.
Photo by Jeff Ferris

A large dealers room offered all kinds of merchandise. Everything from videos to comics to specially created art was on sale. The Art show proved extremely popular as well with a good number of works going to auction.

FC is only one of a growing number of furry fan events across the world.

They are already planning for FC 2004, with one guest announced, author Larry Niven, and the theme of “The Great Outdoors” (curious for an event that takes place inside a hotel in urban San Jose…)

I’ll probably be there again, and there are folks trying to get me to volunteer as the Guest of Honor liaison. We’ll see how that goes.

For more info, visit http://www.furtherconfusion.org

Coming to the close of my longest column yet, I hope this has offered you a bit more of an insight into the world of furry fandom. Contrary to the multitude of horror stories, these are just regular people. As one Oakland Raider fan said on TV over the weekend, “Fan is just short for fanatic.”

 

Roger’s been a contributor to Yarf! off and on. Issues 4 and 5 featured book reviews of Warner and Disney character information. He and wife Michele, and cat Cruiser all have their own favored plush animals (although Roger and Michele’s aren’t filled with catnip). You read about Roger’s fur suit experience in a previous column, and he has no plans to reprise that soon. Jeff reported that FC 2003 did top 1200 registrants and that the art show and charity auction topped estimates by a healthy margin. No word yet on who will be the Artist Guest of Honor for 2004.

Roger Colton

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Theme Parks & Themed Entertainment

Disney’s Forgotten Halloween Event: The Original Little Monsters on Main Street

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When most Disney fans think of Halloween in the parks, they immediately picture Mickey’s Not-So-Scary Halloween Party at Walt Disney World or the Oogie Boogie Bash at Disneyland Resort. But before those events took over as the must-attend spooky celebrations, there was a little-known event at Disneyland called Little Monsters on Main Street. And its origins? Well, they go all the way back to the 1980s, during a time when America was gripped by fear—the Satanic Panic.

You see, back in the mid-1980s, parents were terrified that Halloween had become dangerous. Urban legends about drug-laced candy or razor blades hidden in apples were widespread, and many parents felt they couldn’t let their kids out of sight for even a moment. Halloween, which was once a carefree evening of trick-or-treating in the neighborhood, had suddenly become a night filled with anxiety.

This is where Disneyland’s Little Monsters on Main Street came in.

The Origins of Little Monsters on Main Street

Back in 1989, the Disneyland Community Action Team—later known as the VoluntEARS—decided to create a safe, nostalgic Halloween experience for Cast Members and their families. Many schools in the Anaheim area were struggling to provide basic school supplies to students, and the VoluntEARS saw an opportunity to combine a safe Halloween with a charitable cause. Thus, Little Monsters on Main Street was born.

This event was not open to the general public. Only Disneyland Cast Members could purchase tickets, which were initially priced at just $5 each. Cast Members could bring their kids—but only as many as were listed as dependents with HR. And even then, the park put a cap on attendance: the first event was limited to just 1,000 children.

A Unique Halloween Experience

Little Monsters on Main Street wasn’t just another Halloween party. It was designed to give kids a safe, fun environment to enjoy trick-or-treating, much like the good old days. On Halloween night in 1989, kids in costume wandered through Disneyland with their pillowcases, visiting 20 different trick-or-treat stations. They also had the chance to ride a few of their favorite Fantasyland attractions, all after the park had closed to the general public.

The event was run entirely by the VoluntEARS—about 200 of them—who built and set up all the trick-or-treat stations themselves. They arrived at Disneyland before the park closed and, as soon as the last guest exited, they began setting up stations across Main Street, Adventureland, Frontierland, Fantasyland, and Tomorrowland. The event ran from 7:30 to 9:30 p.m., and by the time the last pillowcase-wielding kid left, the VoluntEARS cleaned everything up, making sure the park was ready for the next day’s operations.

It wasn’t just candy and rides, though. The event featured unique entertainment, like a Masquerade Parade down Main Street, U.S.A., where kids could show off their costumes. And get this—Disneyland even rigged up a Cast Member dressed as a witch to fly from the top of the Matterhorn to Frontierland on the same wire that Tinker Bell uses during the fireworks. Talk about a magical Halloween experience!

The Haunted Mansion “Tip-Toe” Tour

Perhaps one of the most memorable parts of Little Monsters on Main Street was the special “tip-toe tour” of the Haunted Mansion. Now, Disneyland’s Haunted Mansion can be a pretty scary attraction for younger kids, so during this event, Disney left the doors to the Stretching Room and Portrait Gallery wide open. This allowed kids to walk through and peek at the Haunted Mansion’s spooky interiors without actually having to board the Doom Buggies. For those brave enough to ride, they could, of course, take the full trip through the Haunted Mansion—or they could take the “chicken exit” and leave, no harm done.

Growing Success and a Bigger Event

Thanks to the event’s early success, Little Monsters on Main Street grew in size. By 1991, the attendance cap had been raised to 2,000 kids, and Disneyland added more activities like magic shows and hayrides. They also extended the event’s hours, allowing kids to enjoy the festivities until 10:30 p.m.

In 2002, the event moved over to Disney California Adventure, where it could accommodate even more kids—up to 5,000 in its later years. The name was also shortened to just Little Monsters, since it was no longer held on Main Street. This safe, family-friendly Halloween event continued for several more years, with the last mention of Little Monsters appearing in the Disneyland employee newsletter in 2008. Though some Cast Members recall the event continuing until 2012, it eventually made way for Disney’s more public-facing Halloween events.

From Little Monsters to Mickey’s Not-So-Scary and Oogie Boogie Bash

Starting in the early 2000s, Disney began realizing the potential of Halloween-themed after-hours events for the general public. These early versions of Mickey’s Halloween Party and Mickey’s Halloween Treat eventually evolved into today’s Mickey’s Not-So-Scary Halloween Party and Oogie Boogie Bash. Unfortunately, this also marked the end of the intimate, Cast Member-exclusive Little Monsters event, but it paved the way for the large-scale Halloween celebrations we know and love today.

While it’s bittersweet to see Little Monsters on Main Street fade into Disney history, its legacy lives on through these modern Halloween parties. And even though Cast Members now receive discounted tickets to Mickey’s Not-So-Scary and Oogie Boogie Bash, the special charm of an event created specifically for Disney’s employees and their families remains something worth remembering.

The Merch: A Piece of Little Monsters History

For Disney collectors, the exclusive merchandise created for Little Monsters on Main Street is still out there. You can find pins, name tags, and themed pillowcases on sites like eBay. One of the coolest collectibles is a 1997 cloisonné pin set featuring Huey, Dewey, and Louie dressed as characters from Hercules. Other sets paid tribute to the Main Street Electrical Parade and Pocahontas, while the pillowcases were uniquely designed for each year of the event.

While Little Monsters on Main Street may be gone, it’s a fascinating piece of Disneyland history that played a huge role in shaping the Halloween celebrations we enjoy at Disney parks today.

Want to hear more behind-the-scenes stories like this? Be sure to check out I Want That Too, where Lauren and I dive deep into the history behind Disney’s most beloved attractions, events, and of course, merchandise!

Jim Hill

Jim Hill is an entertainment writer who has specialized in covering The Walt Disney Company for nearly 40 years now. Over that time, he has interviewed hundreds of animators, actors, and Imagineers -- many of whom have shared behind-the-scenes stories with Mr. Hill about how the Mouse House really works. In addition to the 4000+ articles Jim has written for the Web, he also co-hosts a trio of popular podcasts: “Disney Dish with Len Testa,” “Fine Tooning with Drew Taylor” and “Marvel US Disney with Aaron Adams.” Mr. Hill makes his home in Southern New Hampshire with his lovely wife Nancy and two obnoxious cats, Ginger & Betty.

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Theme Parks & Themed Entertainment

The Story of Mickey’s Not-So-Scary Halloween Party: From One Night to a Halloween Family Tradition

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The spooky season is already in full swing at Disney parks on both coasts. On August 9th, the first of 38 Mickey’s Not-So-Scary Halloween Party (MNSSHP) nights for 2024 kicked off at Florida’s Magic Kingdom. Meanwhile, over at Disney California Adventure, the Oogie Boogie Bash began on August 23rd and is completely sold out across its 27 dates this year.

Looking back, it’s incredible to think about how these Halloween-themed events have grown. But for Disney, the idea of charging guests for Halloween fun wasn’t always a given. In fact, when the very first Mickey’s Not-So-Scary Halloween Party debuted on October 31, 1995, it was a modest one-night-only affair. Compare that to the near month-long festivities we see today, and it’s clear that Disney’s approach to Halloween has evolved considerably.

A Not-So-Scary Beginning

I was fortunate enough to attend that very first MNSSHP back in 1995, along with my then 18-month-old daughter Alice and her mom, Michelle. Tickets were a mere $16.95 (I know, can you imagine?), and we pushed Alice around in her sturdy Emmaljunga stroller—Swedish-built and about the size of a small car. Cast Members, charmed by her cuteness, absolutely loaded us up with candy. By the end of the night, we had about 30 pounds of fun-sized candy bars, making that push up to the monorail a bit more challenging.

Mickey’s Halloween Treat 1996 – Photo: Disney
Mickey’s Halloween Treat 1996 – Photo: Disney

This Halloween event was Disney’s response to the growing popularity of Universal Studios Florida’s own Halloween hard ticket event, which started in 1991 as “Fright Nights” before being rebranded as “Halloween Horror Nights” the following year. Universal’s gamble on a horror-themed experience helped salvage what had been a shaky opening for their park, and by 1993, Halloween Horror Nights was a seven-night event, with ticket prices climbing as high as $35. Universal had stumbled upon a goldmine, and Disney took notice.

A Different Approach

Now, here’s where Disney’s unique strategy comes into play. While Universal embraced the gory, scare-filled world of horror, Disney knew that wasn’t their brand. Instead of competing directly with blood and jump-scares, Disney leaned into what they did best: creating magical, family-friendly experiences.

Thus, Mickey’s Not-So-Scary Halloween Party was born. The focus was on fun and whimsy, not fear. Families could bring their small children without worrying about them being terrified by a chainsaw-wielding maniac around the next corner. This event wasn’t just a Halloween party—it was an extension of the Disney magic that guests had come to expect from the parks.

Disney had some experience with seasonal after-hours events, most notably Mickey’s Very Merry Christmas Party, which had started in 1983. But the Halloween party was different, as the Magic Kingdom wasn’t yet decked out in Halloween decor the way it is today. Disney had to create a spooky (but not too spooky) atmosphere using temporary props, fog machines, and, of course, lots of candy.

A key addition to that first event? The debut of the Headless Horseman, who made his eerie appearance in Liberty Square, riding a massive black Percheron. It wasn’t as elaborate as the Boo-to-You Parade we see today, but it marked the beginning of a beloved Disney Halloween tradition.

A Modest Start but a Big Future

That first MNSSHP in 1995 was seen as a trial run. As Disney World spokesman Greg Albrecht told the Orlando Sentinel, “If it’s successful, we’ll do it again.” And while attendance was sparse that night, there was clearly potential. By 1997, the event expanded to two nights, and by 1999, Mickey’s Not-So-Scary Halloween Party had grown into a multi-night celebration with a full-fledged parade. Today, in 2024, it’s a staple of the fall season at Walt Disney World, offering 38 nights of trick-or-treating, character meet-and-greets, and special entertainment.

Universal’s Influence

It’s interesting to reflect on how Disney’s Halloween event might never have existed without the competition from Universal. Just as “The Wizarding World of Harry Potter” forced Disney to step up their game with “Star Wars: Galaxy’s Edge,” Universal’s success with Halloween Horror Nights likely spurred Disney into action with MNSSHP. The friendly rivalry between the two parks has continually pushed both to offer more to their guests, and we’re all better off because of it.

So the next time you find yourself trick-or-treating through the Magic Kingdom, watching the Headless Horseman gallop by, or marveling at the seasonal fireworks, take a moment to appreciate how this delightful tradition came to be—all thanks to a little competition and Disney’s commitment to creating not-so-scary magic.


For more Disney history and behind-the-scenes stories, check out the latest episodes of the I Want That Too podcast on the Jim Hill Media network.

Jim Hill

Jim Hill is an entertainment writer who has specialized in covering The Walt Disney Company for nearly 40 years now. Over that time, he has interviewed hundreds of animators, actors, and Imagineers -- many of whom have shared behind-the-scenes stories with Mr. Hill about how the Mouse House really works. In addition to the 4000+ articles Jim has written for the Web, he also co-hosts a trio of popular podcasts: “Disney Dish with Len Testa,” “Fine Tooning with Drew Taylor” and “Marvel US Disney with Aaron Adams.” Mr. Hill makes his home in Southern New Hampshire with his lovely wife Nancy and two obnoxious cats, Ginger & Betty.

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History

The Evolution and History of Mickey’s ToonTown

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Disneyland in Anaheim, California, holds a special place in the hearts of Disney fans worldwide, I mean heck, it’s where the magic began after all.  Over the years it’s become a place that people visit in search of memorable experiences. One fan favorite area of the park is Mickey’s Toontown, a unique land that lets guests step right into the colorful, “Toony” world of Disney animation. With the recent reimagining of the land and the introduction of Micky and Minnies Runaway Railway, have you ever wondered how this land came to be?

There is a fascinating backstory of how Mickey’s Toontown came into existence. It’s a tale of strategic vision, the influence of Disney executives, and a commitment to meeting the needs of Disney’s valued guests.

The Beginning: Mickey’s Birthdayland

The story of Mickey’s Toontown starts with Mickey’s Birthdayland at Walt Disney World’s Magic Kingdom. Opened in 1988 to celebrate Mickey Mouse’s 60th birthday, this temporary attraction was met with such overwhelming popularity that it inspired Disney executives to think bigger. The idea was to create a permanent, immersive land where guests could step into the animated world of Mickey Mouse and his friends.

In the early ’90s, Disneyland was in need of a refresh. Michael Eisner, the visionary leader of The Walt Disney Company at the time, had an audacious idea: create a brand-new land in Disneyland that would celebrate Disney characters in a whole new way. This was the birth of Mickey’s Toontown.

Initially, Disney’s creative minds toyed with various concepts, including the idea of crafting a 100-Acre Woods or a land inspired by the Muppets. However, the turning point came when they considered the success of “Who Framed Roger Rabbit.” This film’s popularity and the desire to capitalize on contemporary trends set the stage for Toontown’s creation.

From Concept to Reality: The Birth of Toontown

In 1993, Mickey’s Toontown opened its gates at Disneyland, marking the first time in Disney Park history where guests could experience a fully realized, three-dimensional world of animation. This new land was not just a collection of attractions but a living, breathing community where Disney characters “lived,” worked, and played.

Building Challenges: Innovative Solutions

The design of Mickey’s Toontown broke new ground in theme park aesthetics. Imagineers were tasked with bringing the two-dimensional world of cartoons into a three-dimensional space. This led to the creation of over 2000 custom-built props and structures that embodied the ‘squash and stretch’ principle of animation, giving Toontown its distinctiveness.

And then there was also the challenge of hiding the Team Disney Anaheim building, which bore a striking resemblance to a giant hotdog. The Imagineers had to think creatively, using balloon tests and imaginative landscaping to seamlessly integrate Toontown into the larger park.

Key Attractions: Bringing Animation to Life

Mickey’s Toontown featured several groundbreaking attractions. “Roger Rabbit’s Car Toon Spin,” inspired by the movie “Who Framed Roger Rabbit,” became a staple of Toontown, offering an innovative ride experience. Gadget’s Go-Coaster, though initially conceived as a Rescue Rangers-themed ride, became a hit with younger visitors, proving that innovative design could create memorable experiences for all ages.

Another crown jewel of Toontown is Mickey’s House, a walkthrough attraction that allowed guests to explore the home of Mickey Mouse himself. This attraction was more than just a house; it was a carefully crafted piece of Disney lore. The house was designed in the American Craftsman style, reflecting the era when Mickey would have theoretically purchased his first home in Hollywood. The attention to detail was meticulous, with over 2000 hand-crafted, custom-built props, ensuring that every corner of the house was brimming with character and charm. Interestingly, the design of Mickey’s House was inspired by a real home in Wichita Falls, making it a unique blend of real-world inspiration and Disney magic.

Mickey’s House also showcased Disney’s commitment to creating interactive and engaging experiences. Guests could make themselves at home, sitting in Mickey’s chair, listening to the radio, and exploring the many mementos and references to Mickey’s animated adventures throughout the years. This approach to attraction design – where storytelling and interactivity merged seamlessly – was a defining characteristic of ToonTown’s success.

Executive Decisions: Shaping ToonTown’s Unique Attractions

The development of Mickey’s Toontown wasn’t just about creative imagination; it was significantly influenced by strategic decisions from Disney executives. One notable input came from Jeffrey Katzenberg, who suggested incorporating a Rescue Rangers-themed ride. This idea was a reflection of the broader Disney strategy to integrate popular contemporary characters and themes into the park, ensuring that the attractions remained relevant and engaging for visitors.

In addition to Katzenberg’s influence, Frank Wells, the then-President of The Walt Disney Company, played a key role in the strategic launch of Toontown’s attractions. His decision to delay the opening of “Roger Rabbit’s Car Toon Spin” until a year after Toontown’s debut was a calculated move. It was designed to maintain public interest in the park by offering new experiences over time, thereby giving guests more reasons to return to Disneyland.

These executive decisions highlight the careful planning and foresight that went into making Toontown a dynamic and continuously appealing part of Disneyland. By integrating current trends and strategically planning the rollout of attractions, Disney executives ensured that Toontown would not only capture the hearts of visitors upon its opening but would continue to draw them back for new experiences in the years to follow.

Global Influence: Toontown’s Worldwide Appeal

The concept of Mickey’s Toontown resonated so strongly that it was replicated at Tokyo Disneyland and influenced elements in Disneyland Paris and Hong Kong Disneyland. Each park’s version of Toontown maintained the core essence of the original while adapting to its cultural and logistical environment.

Evolution and Reimagining: Toontown Today

As we approach the present day, Mickey’s Toontown has recently undergone a significant reimagining to welcome “Mickey & Minnie’s Runaway Railway” in 2023. This refurbishment aimed to enhance the land’s interactivity and appeal to a new generation of Disney fans, all while retaining the charm that has made ToonTown a beloved destination for nearly three decades.

Dive Deeper into ToonTown’s Story

Want to know more about Mickey’s Toontown and hear some fascinating behind-the-scenes stories, then check out the latest episode of Disney Unpacked on Patreon @JimHillMedia. In this episode, the main Imagineer who worked on the Toontown project shares lots of interesting stories and details that you can’t find anywhere else. It’s full of great information and fun facts, so be sure to give it a listen!

Jim Hill

Jim Hill is an entertainment writer who has specialized in covering The Walt Disney Company for nearly 40 years now. Over that time, he has interviewed hundreds of animators, actors, and Imagineers -- many of whom have shared behind-the-scenes stories with Mr. Hill about how the Mouse House really works. In addition to the 4000+ articles Jim has written for the Web, he also co-hosts a trio of popular podcasts: “Disney Dish with Len Testa,” “Fine Tooning with Drew Taylor” and “Marvel US Disney with Aaron Adams.” Mr. Hill makes his home in Southern New Hampshire with his lovely wife Nancy and two obnoxious cats, Ginger & Betty.

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