General

Wednesdays with Wade: Farewell to Body Wars

Wade Sampson takes a not-so-fond look back at the history of this now defunct Future World thrill ride

Published

19 years ago

January 24, 2006

With the closing of the “Wonders of Life” Pavilion, it is also means farewell to an attraction entitled “Body Wars.” While I still dearly miss many of the attractions that have closed over the years from the “Submarine Voyage” to “Horizons,” I won’t miss “Body Wars.”

I haven’t ridden it for years and while I eagerly visited “Cranium Command” several times before it closed, even as a Disney fan I couldn’t bring myself to take one last ride on the motion control simulator.

I think every time I have ridden the attraction it made me ill and made the rest of the day at Walt Disney World slightly unpleasant. It is interesting because I do not experience the same discomfort when I ride “Star Tours” even though it is the same ride technology.

The story behind “Body Wars” actually begins with Walt Disney himself.

Walt had a great fascination with miniatures. So when the “Monsanto House of the Future” faced its final year

at Disneyland, he was intrigued when Dr. Charles Allan Thomas, who was a key researcher at the Monsanto Chemical Company, approached Walt with the idea of creating an attraction that would explore the miniature world of Inner Space. Originally called “Micro-World,” the attraction would carry guests in Omnimovers (which were then called Atomobiles) into the miniature world of a snowflake.

The storyline would have guests getting smaller and smaller during their journey until they could actually see the atoms of oxygen and hydrogen that make up water as the snowflake starts to melt. In order not to be lost forever, the guests would be quickly returned to normal size and the real world. As they returned to full size they would see an eye in a microscope observing their transformation.

The attraction officially opened on January 27, 1967 and was called “Adventure Thru Inner Space” and was one of the most popular rides at Disneyland until it closed almost twenty years later on September 2, 1985. (The space was needed for a new attraction: “Star Tours.”)

One of the most memorable films of the Sixties was “Fantastic Voyage,” a combination of the spy films popular at the time and a clever science fiction idea about exploring the inside of the human body. A team of specialists on board a miniaturized submarine are injected into the body of a defecting Russian scientist who has suffered a dangerous blood clot as a result of an attack by Russian spies. In addition to eliminating that threat, they also have to battle the body itself, in particular white blood cells trying to protect the body. “Fantastic Voyage” was a big hit for 20th Century Fox and was highly praised for its special effects, earning two Oscars for Best Art Direction and Best Special Visual Effects. (Although some critics claimed the best visual effect was a young Raquel Welch in a skintight diving suit.)

The Disney Imagineers were intrigued by this concept. However, the crudeness of the then current technology prevented “Adventure Thru Inner Space” from being more than a charming attraction where the styrofoam snowflakes often fell victim to guests poking them, hitting them with a baseball bat and even shooting a BB gun at them.

Although “Adventure Thru Inner Space” did become a popular “date night” ride and when it finally closed, Disney Guest Communications received an irate letter from a couple who complained about the ride closing. “How could you close that ride?” they wrote, “Our son was conceived on that ride!”

The advanced technology of “Star Tours” inspired the Imagineers to once again try developing an “inner space” attraction or a submarine-like probe being journeying through a patient’s body for the “Wonders of Life” pavilion in 1989.

The probe’s captain, Jack Braddock (Tim Matheson from “Animal House“) is setting out on a fairly routine medical mission with a the crew of civilian observers accompanying him. The submarine and crew will be miniaturized to the size of a single cell and beamed inside the human body to rendezvous with Dr. Cynthia Lair (Elizabeth Shue who starred in Disney’s “Adventures in Babysitting“), an immunologist who also has been miniaturized to study the body’s response to a splinter lodged beneath the skin. Unfortunately, the mission becomes a high-speed race against time when Dr. Lair is swept from the splinter site into the rush of the bloodstream.

Through the pounding chambers of the patient’s heart and through the lungs’ gale-force winds, the ship rides the body’s current in an effort to rescue Dr. Lair. Even after she’s safely on board, there are still problems when the ship loses power and heads toward the brain in search of emergency power and escape.

The film was directed by Leonard “Mr. Spock” Nimoy who had recently finished directing Touchstone’s “Three Men and a Baby.” With anatomical images produced by computer graphics and special effects film techniques, it was a remarkably realistic experience.

“Even though Body Wars is the shortest film I’ve ever directed, it presented a new set of challenges,” said Nimoy at the time. “We had to take into account that the film will be shown inside a moving theater — the simulator. So, in order to intensify the sense of motion, we built a set that actually moves, and rocked it during filming to match the pitching and rolling of the simulator.”

Since the story of the attraction is that you are in the bloodstream, the Imagineers programmed in movement to mimic the beat of a pulse. That additional movement may be the movement that unsettled me. Or maybe it was just the images of being inside a human body. Apparently, others also had a similar reaction and the film was eventually shortened.

If the film slips out of synchronization even slightly, that can also cause a feeling of uneasiness. Although there is debate as to the exact cause or causes of simulator sickness, a primary suspected cause is inconsistent information about body orientation and motion received by the different senses, known as the “cue conflict theory.” For example, the visual system may perceive that the body is moving rapidly, while the vestibular system perceives that the body is stationary. Inconsistent, non-natural information within a single sense has also been prominent among suggested causes.

The inside of the cabin was always monitored so if Disney saw a guest experiencing discomfort, they could immediately shut down the attraction. (One Disney secret was that if attendance was slow, they could “lock down” a probe so someone could sit and enjoy the film without the movement. With a total of four probes available that was always a possibility.)

Like “Star Tours” each probe could hold forty guests. The probes weight approximately 20,000 pounds empty and roughly 27,000 pounds when loaded with guests. They are approximately 10 feet high, 17 feet wide and 26 feet long. The speed varies depending upon the axis of motion. In its starting position, it is approximately 10 feet off the ground.

This probe is a totally self-contained unit. It is almost like riding in a building. The air conditioning, film and sound are all individually controlled by each flight simulator. The ride itself is cued by the film. Each frame of film generates a time code pulse with an associated set of jack positions. When the ride was being developed, an Imagineer watched the film repeatedly while moving a computer joystick to indicate movement and to synchronize the ride and the film.

The 70 millimeter film (10 times the size of 35 millimeter film usually run in a movie theater) runs at 24 frames per second. The entrance and exit ramps are “photographed” by an infrared beam after each load/unload cycle. The beam acts as an intrusion system and can sense something as light as a piece of paper.

The simulator (Rediffusion ATLAS-Advanced Technology Leisure Application Simulator) consists of a cabin supported by six servo actuators. The actuators are powered hydraulically and driven automatically using electrical drive signals received from a free-standing motion-control cabinet. The actuators provide “six degree of freedom movement” so the cabin can be moved in planes representing heave, surge and sway and in axies representing pitch, roll and yaw independently or in any combination.

So while I will miss “Cranium Command”, I definitely won’t miss “Body Wars.” Actually, while I understand why Disney is concentrating on thrill rides to remain competitive in the amusement park market, I definitely wish they would balance those rougher rides with Walt’s desire that a theme park would have rides that the entire family could enjoy together.

“Expedition Everest” may be the best new attraction that Disney has opened in many years but my little niece and my aged parents would shy away from it as they have from “Mission:Space”. Needless to add, only my brother and I were brave enough to ride “Body Wars.”

General

Seward Johnson bronzes add a surreal, artistic touch to NYC’s Garment District

Published

9 years ago

June 23, 2015

Jim Hill

Greetings from NYC. Nancy and I drove down from New
Hampshire yesterday because we'll be checking out
Disney Consumer Products' annual Holiday Showcase later today.

Anyway … After checking into our hotel (i.e., The Paul.
Which is located down in NYC's NoMad district), we decided to grab some dinner.
Which is how we wound up at the Melt Shop.

Photo by Jim Hill

Which is this restaurant that only sells grilled cheese sandwiches.
This comfort food was delicious, but kind of on the heavy side.

Photo by Jim Hill

Which is why — given that it was a beautiful summer night
— we'd then try and walk off our meals. We started our stroll down by the Empire
State Building
…

Photo by Jim Hill

… and eventually wound up just below Times
Square (right behind where the Waterford Crystal Times Square New
Year's Eve Ball is kept).

Photo by Jim Hill

But you know what we discovered en route? Right in the heart
of Manhattan's Garment District
along Broadway between 36th and 41st? This incredibly cool series of life-like
and life-sized sculptures that Seward
Johnson has created.

Photo by Jim Hill

And — yes — that is Abraham Lincoln (who seems to have
slipped out of WDW's Hall of Presidents when no one was looking and is now
leading tourists around Times Square). These 18 painted
bronze pieces (which were just installed late this past Sunday night / early
Monday morning) range from the surreal to the all-too-real.

Photo by Jim Hill

Some of these pieces look like typical New Yorkers. Like the
business woman planning out her day …

Photo by Jim Hill

… the postman delivering the mail …

Photo by Jim Hill

… the hot dog vendor working at his cart …

Photo by Jim Hill

… the street musician playing for tourists …

Photo by Jim Hill

Not to mention the tourists themselves.

Photo by Jim Hill

But right alongside the bronze businessmen …

Photo by Jim Hill

… and the tired grandmother hauling her groceries home …

Photo by Jim Hill

… there were also statues representing people who were
from out-of-town …

Photo by Jim Hill

… or — for that matter — out-of-time.

Photo by Jim Hill

These were the Seward Johnson pieces that genuinely beguiled. Famous impressionist paintings brought to life in three dimensions.

Note the out-of-period water bottle that some tourist left
behind. Photo by Jim Hill

Some of them so lifelike that you actually had to pause for
a moment (especially as day gave way to night in the city) and say to yourself
"Is that one of the bronzes? Or just someone pretending to be one of these
bronzes?"

Mind you, for those of you who aren't big fans of the
impressionists …

Photo by Jim Hill

… there's also an array of American icons. Among them
Marilyn Monroe …

Photo by Jim Hill

… and that farmer couple from Grant Wood's "American
Gothic."

Photo by Jim Hill

But for those of you who know your NYC history, it's hard to
beat that piece which recreates Alfred Eisenstaedt's famous photograph of V-J Day in Times Square.

Photo by Jim Hill

By the way, a 25-foot-tall version of this particular Seward
Johnson piece ( which — FYI — is entitled "Embracing Peace") will actually
be placed in Times Square for a few days on or around August 14th to commemorate the 70th
anniversary of Victory Over Japan Day (V-J Day).

Photo by Jim Hill

By the way, if you'd like to check these Seward Johnson bronzes in
person (which — it should be noted — are part of the part of the Garment
District Alliance's new public art offering) — you'd best schedule a trip to
the City sometime over the next three months. For these pieces will only be on
display now through September 15th.

General

Wondering what you should “Boldly Go” see at the movies next year? The 2015 Licensing Expo offers you some clues

Published

9 years ago

June 10, 2015

Jim Hill

Greeting from the 2015 Licensing Expo, which is being held
at the Mandalay Bay
Convention Center in Las
Vegas.

Photo by Jim Hill

I have to admit that I enjoy covering the Licensing Expo.
Mostly becomes it allows bloggers & entertainment writers like myself to
get a peek over the horizon. Scope out some of the major motion pictures &
TV shows that today's vertically integrated entertainment conglomerates
(Remember when these companies used to be called movie studios?) will be
sending our way over the next two years or so.

Photo by Jim Hill

Take — for example — all of "The Secret Life of
Pets" banners that greeted Expo attendees as they made their way to the
show floor today. I actually got to see some footage from this new Illumination
Entertainment production (which will hit theaters on July 8, 2016) the last time I was in Vegas. Which
was for CinemaCon back in April. And the five or so minutes of film that I viewed
suggested that "The Secret Life of Pets" will be a really funny
animated feature.

Photo by Jim Hill

Mind you, Universal Pictures wanted to make sure that Expo
attendees remembered that there was another Illumination Entertainment production
coming-to-a-theater-near-them before "The Secret Life of Pets" (And
that's "Minions," the "Despicable Me" prequel. Which
premieres at the Annecy International Animated Film Festival next week but
won't be screened stateside 'til July 10th of this year). Which is why they had
three minions who were made entirely out of LEGOS loitering out in the lobby.

Photo by Jim Hill

And Warner Bros. — because they wanted "Batman v
Superman: Dawn of Justice" to start trending on Twitter today — brought
the Batmobile to Las Vegas.

Photo by Jim Hill

Not to mention full-sized macquettes of Batman, Superman and
Wonder Woman. Just so conventioneers could then see what these DC superheroes
would actually look like in this eagerly anticipated, March 25, 2016 release.

Photo by Jim Hill

That's the thing that can sometimes be a wee bit frustrating
about the Licensing Expo. It's all about delayed gratification. You'll come
around a corner and see this 100 foot-long ad for "The Peanuts Movie"
and think "Hey, that looks great. I want to see that Blue Sky Studios production
right now." It's only then that you notice the fine print and realize that
"The Peanuts Movie" doesn't actually open in theaters 'til November
6th of this year.

Photo by Jim Hill

And fan of Blue Sky's "Ice Age" film franchise are in for an even
longer wait. Given that the latest installment in that top grossing series
doesn't arrive in theaters 'til July
15, 2016.

Photo by Jim Hill

Of course, if you're one of those people who needs immediate
gratification when it comes to your entertainment, there was stuff like that to
be found at this year's Licensing Expo. Take — for example — how the WWE
booth was actually shaped like a wrestling ring. Which — I'm guessing — meant
that if the executives of World Wrestling Entertainment, Inc. didn't like
the offer that you were making, they were then allowed to toss you out over the
top rope, Royal Rumble-style.

Photo by Jim Hill

I also have to admit that — as a longtime Star Trek fan —
it was cool to see the enormous Starship Enterprise that hung in place over the
CBS booth. Not to mention getting a glimpse of the official Star Trek 50th
Anniversary logo.

Photo by Jim Hill

I was also pleased to see lots of activity in The Jim Henson
Company booth. Which suggests that JHC has actually finally carved out a
post-Muppets identity for itself.

Photo by Jim Hill

Likewise for all of us who were getting a little concerned
about DreamWorks Animation (what with all the layoffs & write-downs &
projects that were put into turnaround or outright cancelled last year), it was
nice to see that booth bustling.

Photo by Jim Hill

Every so often, you'd come across some people who were
promoting a movie that you weren't entirely sure that you actually wanted to
see (EX: "Angry Birds," which Sony Pictures Entertainment / Columbia
Pictures will be releasing to theaters on May 20, 2016). But then you remembered that Clay Kaytis —
who's this hugely talented former Walt Disney Animation Studios animator — is
riding herd on "Angry Birds" with Fergal Reilly. And you'd think
"Well, if Clay's working on 'Angry Birds,' I'm sure this animated feature
will turn out fine."

Photo by Jim Hill

Mind you, there were reminders at this year's Licensing Expo
of great animated features that we're never going to get to see now. I still
can't believe — especially after that brilliant proof-of-concept footage
popped up online last year — that Sony execs decided not to go forward
with production of Genndy Tartakovsky's
"Popeye" movie. But that's the
cruel thing about the entertainment business, folks. It will sometime break
your heart.

Photo by Jim Hill

And make no mistake about this. The Licensing Expo is all
about business. That point was clearly driven home at this year's show when —
as you walked through the doors of the Mandalay
Bay Convention Center
— the first thing that you saw was the Hasbros Booth. Which was this gleaming,
sleek two story-tall affair full of people who were negotiating deals &
signing contracts for all of the would-be summer blockbusters that have already
announced release dates for 2019 & beyond.

Photo by Jim Hill

"But what about The Walt Disney Company?," you
ask. "Weren't they represented on the show floor at this year's Licensing
Expo?" Not really, not. I mean, sure. There were a few companies there hyping
Disney-related products. Take — for example — the Disney Wikkeez people.

Photo by Jim Hill

I'm assuming that some Disney Consumer Products exec is
hoping that Wikkeez will eventually become the new Tsum Tsum. But to be blunt,
these little hard plastic figures don't seem to have the same huggable charm
that those stackable plush do. But I've been wrong before. So let's see what
happens with Disney Wikkeez once they start showing up on the shelves of the
Company's North American retail partners.

Photo by Jim Hill

And speaking of Disney's retail partners … They were
meeting with Mouse House executives behind closed doors one floor down from the
official show floor for this year's Licensing Expo.

Photo by Jim Hill

And the theme for this year's invitation-only Disney shindig? "Timeless
Stories" involving the Disney, Pixar, Marvel & Lucasfilm brands that
would then appeal to "tomorrow's consumer."

Photo by Jim Hill

And just to sort of hammer home the idea that Disney is no
longer the Company which cornered the market when it comes to little girls
(i.e., its Disney Princess and Disney Fairies franchises), check out this
wall-sized Star Wars-related image that DCP put up just outside of one of its
many private meeting rooms. "See?," this carefully crafted photo
screams. "It isn't just little boys who want to wield the Force. Little
girls also want to grow up and be Lords of the Sith."

Photo by Jim Hill

One final, kind-of-ironic note: According to this banner,
Paramount Pictures will be releasing a movie called "Amusement Park"
to theaters sometime in 2017.

Photo by Jim Hill

Well, given all the "Blackfish" -related issues
that have been dogged SeaWorld Parks & Entertainment over the past two years, I'm
just hoping that they'll still be in the amusement park business come 2017.

Your thoughts?

General

It takes more than three circles to craft a Classic version of Mickey Mouse

Published

9 years ago

June 9, 2015

Jim Hill

You know what Mickey Mouse looks like, right? Little guy,
big ears?

Truth be told, Disney's corporate symbol has a lot of
different looks. If Mickey's interacting with Guests at Disneyland
Park (especially this summer, when
the Happiest Place on Earth
is celebrating its 60th anniversary), he looks & dresses like this.

Or when he's appearing in one of those Emmy Award-winning shorts that Disney
Television Animation has produced (EX: "Bronco Busted," which debuts
on the Disney Channel tonight at 8 p.m. ET / PT), Mickey is drawn in a such a
way that he looks hip, cool, edgy & retro all at the same time.

Looking ahead to 2017 now, when Disney Junior rolls out "Mickey and the
Roadster Racers," this brand-new animated series will feature a sportier version
of Disney's corporate symbol. One that Mouse House managers hope will persuade
preschool boys to more fully embrace this now 86 year-old character.

That's what most people don't realize about the Mouse. The
Walt Disney Company deliberately tailors Mickey's look, even his style of
movement, depending on what sort of project / production he's appearing in.

Take — for example — Disney
California Adventure
Park's "World of Color:
Celebrate!" Because Disney's main mouse would be co-hosting this new
nighttime lagoon show with ace emcee Neil Patrick Harris, Eric Goldberg really had
to step up Mickey's game. Which is why this master Disney animator created
several minutes of all-new Mouse animation which then showed that Mickey was
just as skilled a showman as Neil was.

Better yet, let's take a look at what the folks at Avalanche Studios just went
through as they attempted to create a Classic version of Mickey & Minnie.
One that would then allow this popular pair to become part of Disney Infinity
3.0.

"I won't lie to you. We were under a lot of pressure to
get the look of this particular version of Mickey — he's called Red Pants
Mickey around here — just right," said Jeff Bunker, the VP of Art
Development at Avalanche Studios, during a recent phone interview. "When
we brought Sorcerer Mickey into Disney Infinity 1.0 back in January of 2014,
that one was relatively easy because … Well, everyone knows what Mickey Mouse
looked like when he appeared in 'Fantasia.' "

"But this time around, we were being asked to design
THE Mickey & Minnie," Bunker continued. "And given that these Classic
Disney characters have been around in various different forms for the better
part of the last century … Well, which look was the right look?"

Which is why Jeff and his team at Avalanche Studios began watching hours &
hours of Mickey Mouse shorts. As they tried to get a handle on which look would
work best for these characters in Disney Infinity 3.0.

"And we went all the way back to the very start of Mickey's career. We began
with 'Steamboat Willie' and then watched all of those black & white Mickey shorts
that Walt made back in the late 1920s & early 1930s. From there, we
transitioned to his Technicolor shorts. Which is when Mickey went from being
this pie-eyed, really feisty character to more of a well-behaved leading
man," Bunker recalled. "We then finished out our Mouse marathon by
watching all of those new Mickey shorts that Paul Rudish & his team have
been creating for Disney Television Animation. Those cartoons really recapture
a lot of the spirit and wild slapstick fun that Mickey's early, black &
white shorts had."

But given that the specific assignment that Avalanche Studios had been handed
was to create the most appealing looking, likeable version of Mickey Mouse
possible … In the end, Jeff and his team wound up borrowing bits & pieces
from a lot of different versions of the world's most famous mouse. So that
Classic Mickey would then look & move in a way that best fit the sort of
gameplay which people would soon be able to experience with Disney Infinity
3.0.

"That — in a lot of ways — was actually the toughest
part of the Classic Mickey design project. You have to remember that one of the
key creative conceits of Disney Infinity
is that all the characters which appear in this game are toys," Bunker
stated. "Okay. So they're beautifully detailed, highly stylized toy
versions of beloved Disney, Pixar, Marvel & Lucasfilm characters. But
they're still supposed to be toys. So our Classic versions of Mickey &
Minnie have the same sort of thickness & sturdiness to them that toys have.
So that they'll then be able to fit right in with all of the rest of the
characters that Avalanche Studios had previously designed for Disney Infinity."

And then there was the matter of coming up with just the
right pose for Classic Mickey & Minnie. Which — to hear Jeff tell the
story — involved input from a lot of Disney upper management.

"Everyone within the Company seemed to have an opinion
about how Mickey & Minnie should be posed. More to the point, if you Google
Mickey, you then discover that there are literally thousands of poses out there
for these two. Though — truth be told — a lot of those kind of play off the
way Mickey poses when he's being Disney's corporate symbol," Bunker said.
"But what I was most concerned about was that Mickey's pose had to work
with Minnie's pose. Because we were bringing the Classic versions of these
characters up into Disney Infinity 3.0 at the exact same time. And we wanted to
make sure — especially for those fans who like to put their Disney Infinity
figures on display — that Mickey's pose would then complement Minnie.

Which is why Jeff & the crew at Avalanche Studios
decided — when it came to Classic Mickey & Minnie's pose — that they
should go all the way back to the beginning. Which is why these two Disney icons
are sculpted in such a way that it almost seems as though you're witnessing the
very first time Mickey set eyes on Minnie.

"And what was really great about that was — as soon as
we began showing people within the Company this pose — everyone at Disney
quickly got on board with the idea. I mean, the Classic Mickey that we sculpted
for Disney Infinity 3.0 is clearly a very playful, spunky character. But at the
same time, he's obviously got eyes for Minnie," Bunker concluded. "So
in the end, we were able to come up with Classic versions of these characters
that will work well within the creative confines of Disney Infinity 3.0 but at
the same time please those Disney fans who just collect these figures because
they like the way the Disney Infinity characters look."

So now that this particular design project is over, does
Jeff regret that Mouse House upper management was so hands-on when it came to
making sure that the Classic versions of Mickey & Minnie were specifically
tailored to fit the look & style of gameplay found in Disney Infinity 3.0?

"To be blunt, we go through this every time we add a new character to the
game. The folks at Lucasfilm were just as hands-on when we were designing the
versions of Darth Vader and Yoda that will also soon be appearing in Disney
Infinity 3.0," Bunker laughed. "So in the end, if the character's
creators AND the fans are happy, then I'm happy."

This article was originally posted on the Huffington Post's Entertainment page on Tuesday, June 9, 2015