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.
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.
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?
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.
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.
The Evolution and History of Mickey’s ToonTown
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!
Unpacking the History of the Pixar Place Hotel
Pixar Place Hotel, the newly unveiled 15-story tower at the Disneyland Resort, has been making waves in the Disney community. With its unique Pixar-themed design, it promises to be a favorite among visitors.
However, before we delve into this exciting addition to the Disneyland Resort, let’s take a look at the fascinating history of this remarkable hotel.
The Emergence of the Disneyland Hotel
To truly appreciate the story of the Pixar Place Hotel, we must turn back the clock to the early days of Disneyland. While Walt Disney had the visionary ideas and funding to create the iconic theme park, he faced a challenge when it came to providing accommodations for the park’s visitors. This is where his friend Jack Wrather enters the picture.
Jack Wrather, a fellow pioneer in the television industry, stepped in to assist Walt Disney in realizing his dream. Thanks to the success of the “Lassie” TV show produced by Wrather’s company, he had the financial means to build a hotel right across from Disneyland.
The result was the Disneyland Hotel, which opened its doors in October 1955. Interestingly, the early incarnation of this hotel had more of a motel feel than a hotel, with two-story buildings reminiscent of the roadside motels popular during the 1950s. The initial Disneyland Hotel consisted of modest structures that catered to visitors looking for affordable lodging close to the park. While the rooms were basic, it marked the beginning of something extraordinary.
The Evolution: From Emerald of Anaheim to Paradise Pier
As Disneyland’s popularity continued to soar, so did the demand for expansion and improved accommodations. In 1962, the addition of an 11-story tower transformed the Disneyland Hotel, marking a significant transition from a motel to a full-fledged hotel.
The addition of the 11-story tower elevated the Disneyland Hotel into a more prominent presence on the Anaheim skyline. At the time, it was the tallest structure in all of Orange County. The hotel’s prime location across from Disneyland made it an ideal choice for visitors. With the introduction of the monorail linking the park and the hotel, accessibility became even more convenient. Unique features like the Japanese-themed reflecting pools added to the hotel’s charm, reflecting a cultural influence that extended beyond Disney’s borders.
Japanese Tourism and Its Impact
During the 1960s and 1970s, Disneyland was attracting visitors from all corners of the world, including Japan. A significant number of Japanese tourists flocked to Anaheim to experience Walt Disney’s creation. To cater to this growing market, it wasn’t just the Disneyland Hotel that aimed to capture the attention of Japanese tourists. The Japanese Village in Buena Park, inspired by a similar attraction in Nara, Japan, was another significant spot.
These attractions sought to provide a taste of Japanese culture and hospitality, showcasing elements like tea ceremonies and beautiful ponds with rare carp and black swans. However, the Japanese Village closed its doors in 1975, likely due to the highly competitive nature of the Southern California tourist market.
The Emergence of the Emerald of Anaheim
With the surge in Japanese tourism, an opportunity arose—the construction of the Emerald of Anaheim, later known as the Disneyland Pacific Hotel. In May 1984, this 15-story hotel opened its doors.
What made the Emerald unique was its ownership. It was built not by The Walt Disney Company or the Oriental Land Company (which operated Tokyo Disneyland) but by the Tokyu Group. This group of Japanese businessmen already had a pair of hotels in Hawaii and saw potential in Anaheim’s proximity to Disneyland. Thus, they decided to embark on this new venture, specifically designed to cater to Japanese tourists looking to experience Southern California.
Financial Challenges and a Changing Landscape
The late 1980s brought about two significant financial crises in Japan—the crash of the NIKKEI stock market and the collapse of the Japanese real estate market. These crises had far-reaching effects, causing Japanese tourists to postpone or cancel their trips to the United States. As a result, reservations at the Emerald of Anaheim dwindled.
To adapt to these challenging times, the Tokyu Group merged the Emerald brand with its Pacific hotel chain, attempting to weather the storm. However, the financial turmoil took its toll on the Emerald, and changes were imminent.
The Transition to the Disneyland Pacific Hotel
In 1995, The Walt Disney Company took a significant step by purchasing the hotel formerly known as the Emerald of Anaheim for $35 million. This acquisition marked a change in the hotel’s fortunes. With Disney now in control, the hotel underwent a name change, becoming the Disneyland Pacific Hotel.
Transformation to Paradise Pier
The next phase of transformation occurred when Disney decided to rebrand the hotel as Paradise Pier Hotel. This decision aligned with Disney’s broader vision for the Disneyland Resort.
While the structural changes were limited, the hotel underwent a significant cosmetic makeover. Its exterior was painted to complement the color scheme of Paradise Pier, and wave-shaped crenellations adorned the rooftop, creating an illusion of seaside charm. This transformation was Disney’s attempt to seamlessly integrate the hotel into the Paradise Pier theme of Disney’s California Adventure Park.
Looking Beyond Paradise Pier: The Shift to Pixar Place
In 2018, Disneyland Resort rebranded Paradise Pier as Pixar Pier, a thematic area dedicated to celebrating the beloved characters and stories from Pixar Animation Studios. As a part of this transition, it became evident that the hotel formally known as the Disneyland Pacific Hotel could no longer maintain its Paradise Pier theme.
With Pixar Pier in full swing and two successful Pixar-themed hotels (Toy Story Hotels in Shanghai Disneyland and Tokyo Disneyland), Disney decided to embark on a new venture—a hotel that would celebrate the vast world of Pixar. The result is Pixar Place Hotel, a 15-story tower that embraces the characters and stories from multiple Pixar movies and shorts. This fully Pixar-themed hotel is a first of its kind in the United States.
The Future of Pixar Place and Disneyland Resort
As we look ahead to the future, the Disneyland Resort continues to evolve. The recent news of a proposed $1.9 billion expansion as part of the Disneyland Forward project indicates that the area surrounding Pixar Place is expected to see further changes. Disneyland’s rich history and innovative spirit continue to shape its destiny.
In conclusion, the history of the Pixar Place Hotel is a testament to the ever-changing landscape of Disneyland Resort. From its humble beginnings as the Disneyland Hotel to its transformation into the fully Pixar-themed Pixar Place Hotel, this establishment has undergone several iterations. As Disneyland Resort continues to grow and adapt, we can only imagine what exciting developments lie ahead for this iconic destination.
If you want to hear more stories about the History of the Pixar Place hotel, check our special edition of Disney Unpacked over on YouTube.
Stay tuned for more updates and developments as we continue to explore the fascinating world of Disney, one story at a time.
From Birthday Wishes to Toontown Dreams: How Toontown Came to Be
In the latest release of Episode 4 of Disney Unpacked, Len and I return, joined as always by Disney Imagineering legend, Jim Shull. This two-part episode covers all things Mickey’s Birthday Land and how it ultimately led to the inspiration behind Disneyland’s fan-favorite land, “Toontown”. But let’s not get ahead of ourselves here. It all starts in the early days at Disneyland.
Early Challenges in Meeting Mickey
Picture this: it’s the late 1970s and early 1980s, and you’re at Disneyland. You want to meet the one and only Mickey Mouse, but there’s no clear way to make it happen. You rely on Character Guides, those daily printed sheets that point you in Mickey’s general direction. But let’s be honest, it was like finding a needle in a haystack. Sometimes, you got lucky; other times, not so much.
Mickey’s Birthdayland: A Birthday Wish that Came True
Fast forward to the late 1980s. Disney World faced a big challenge. The Disney-MGM Studios Theme Park was under construction, with the company’s marketing machine in full swing, hyping up the opening of Walt Disney World’s third theme park, MGM Studios, in the Spring of 1989. This extensive marketing meant that many people were opting to postpone their family’s next trip to Walt Disney World until the following year. Walt Disney World needed something compelling to motivate guests to visit Florida in 1988, the year before Disney MGM Studios opened.
Enter stage left, Mickey’s Birthdayland. For the first time ever, an entire land was dedicated to a single character – and not just any character, but the mouse who started it all. Meeting Mickey was no longer a game of chance; it was practically guaranteed.
The Birth of Birthdayland: Creative Brilliance Meets Practicality
In this episode, we dissect the birth of Mickey’s Birthdayland, an initiative that went beyond celebrating a birthday. It was a calculated move, driven by guest feedback and a need to address issues dating back to 1971. Imagineers faced the monumental task of designing an experience that honored Mickey while efficiently managing the crowds. This required the perfect blend of creative flair and logistical prowess – a hallmark of Disney’s approach to theme park design.
Evolution: From Birthdayland to Toontown
The success of Mickey’s Birthdayland was a real game-changer, setting the stage for the birth of Toontown – an entire land that elevated character-centric areas to monumental new heights. Toontown wasn’t merely a spot to meet characters; it was an immersive experience that brought Disney animation to life. In the episode, we explore its innovative designs, playful architecture, and how every nook and cranny tells a story.
Impact on Disney Parks and Guests
Mickey’s Birthdayland and Toontown didn’t just reshape the physical landscape of Disney parks; they transformed the very essence of the guest experience. These lands introduced groundbreaking ways for visitors to connect with their beloved characters, making their Disney vacations even more unforgettable.
Beyond Attractions: A Cultural Influence
But the influence of these lands goes beyond mere attractions. Our episode delves into how Mickey’s Birthdayland and Toontown left an indelible mark on Disney’s culture, reflecting the company’s relentless dedication to innovation and guest satisfaction. It’s a journey into how a single idea can grow into a cherished cornerstone of the Disney Park experience.
Unwrapping the Full Story of Mickey’s Birthdayland
Our two-part episode of Disney Unpacked is available for your viewing pleasure on our Patreon page. And for those seeking a quicker Disney fix, we’ve got a condensed version waiting for you on our YouTube channel. Thank you for being a part of our Disney Unpacked community. Stay tuned for more episodes as we continue to “Unpack” the fascinating world of Disney, one story at a time.
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