ONE | TWO
Part Two: 20,000
Leagues Under the Sea (continued)
After reaching the lower
level the line weaves past Nemo's private study, control rooms and
diving quarters. The attention to detail which is typical of this park
can be seen here as well. Maps of the sea and Mysterious Island line the
walls and diving suits hang at the ready (below).
Eventually the queue leads
visitors inside and directly to the load area. Here we get our first
glimpse of the ride vehicles. The mini subs hang from an overhead track
and dangle over water. The addition of the water adds tremendously to
the illusion that these boats will soon be lowered into the ocean for
the start of an exciting journey.
In fact the
vehicles never get wet, the Imagineers have opted instead to
create an illusion of water. A crafty dry for wet technique is used in
which the cars travel through large sets, lit in watery tones and viewed
through large hemispherical windows. These windows are actually two
glass domes sandwiched together. In between the planes of glass is a
layer of water. This allows the designers to include the addition of
real bubbles which fill your windows and obscure your view when
necessary. The effect works well and is convincing enough to fool many.
Six people fit into each sub,
2 each on three benches. There are three windows. One large window up
front and two somewhat smaller ones on either side of the sub. The front
seat offers a superior view of the surroundings and gives the best sense
of depth. Surprisingly the side seats do not offer the same experience.
The smaller windows make it difficult to see some of the effects and the
positioning of the sets does not always allow those on the side to fully
appreciate them. This was an odd design decision which has the
unfortunate result of presenting only one third of the passengers with
the optimum experience.
The very detailed Fastpass queue
The problems with the ride
system do not stop there. In an effort to encourage visitors to look
down, towards the sea floor, the windows are positioned in such a way
that riders must hunch forward and crane their necks in order to get a
good view. While this is not a problem for most those who are very tall
will have trouble. This is where complaints of painful backs come into
play. While hunched forward, clinging to handrails above your head it is
not hard to imagine how a bad back would be strained.
On the positive side the
interior of the subs are wonderfully themed. Brass and copper fittings
carry the soft patina of age. The seats are upholstered in red leather,
or at least a convincing vinyl, and clusters of gauges tell your depth
and air supply. Everywhere you look is beautifully detailed. The ceiling
is riveted into place and the propellers of each vehicle spin as you
disembark. The interiors feel dank and a red ambient light glows in the
background, all small details that perfectly set the stage.
The very detailed Fastpass machines
After loading,
the subs move smoothly forward into darkness. The captain and
crew can be heard making preparations to launch. The attraction has an
ongoing narration which by all accounts is vital to the enjoyment and
understanding of the finer details of the ride. Unfortunately the
narration is spoken entirely in Japanese. Therefore (as a non-Japanese
speaking person) I know that I did not get the full ride experience. As
interesting as the visuals may be I was left with the feeling one might
get after watching a foreign film with no subtitles.
After the Captain addresses
his crew horns sound, chains are heard clinking and releasing above us
and the subs dip forward and drop down, SPLASH! We have entered the
"water." Our windows fill with bubbles as we emerge from
darkness and into the open sea. Kelp sways in the current, shadows of
schools of fish can be seen darting across the rock and coral, it is a
convincing effect. The addition of the bubbles, and the ambient movement
of various ride elements does its job well, we feel like we are
underwater.
Publicity photo © Disney
It is
eternally night time and the cool blues of the moon filter down through
the foggy environs. We move forward at steady pace. This
attraction is not a fast one, the thrills come from the sights and
sounds, not any physical speed of drops. We are moving at a speed not
unlike that of the Peter Pan attractions, suspended from above as in
that attraction as well.
From the opening scene of the
sea floor and kelp forest we move into the graveyard of lost ships. Here
ships from all ages and points across the globe have gathered on the
Ocean's bottom. A sailing ships wooden masts can be seen resting
alongside a party boat with it's New Year's Even banner still drifting
in the current. A skeleton or two dot the sandy floor. There is an
ongoing score which plays throughout the attraction. It is a subtle
orchestral piece which adds a tremendous, movie-like feel to 20K.
Layer upon layer of sound
fills the air. The audio portion of this attraction is a real strong
suit. Creaking sounds are heard as if the hull is straining against the
deep water pressure, bells and whistles call out warnings and Nemo can
be heard chiming in from time to time (if only I knew what he was
saying!).
The Nautilus at night
Upon leaving
the graveyard an alert is heard, a giant eye passes by, it's a
squid's eye! Tentacles wave as an electrical charge is sent out to ward
off the creature. More bubbles fill our view as the water flashes white
around us.
We again are plunged into
darkness. The score swells and we emerge into a light area, the lost
city of Atlantis. Underwater torches glow with blue light and a giant
statue is seen toppled over. Murals of the once great city are painted
along several walls and treasures pour across the floor.
The crew seems in a panic,
suddenly we see a sub-aquatic alien floating in the distance. Humanoid
in appearance with long graceful necks, triangular heads and fins these
bluish creatures look a little bit like overgrown Sea Monkeys. After
passing by several of them swimming among the remaining columns of
Atlantis we are struck by a flash of light. As if a spell was cast on us
the bubbles again fill our view, this time in a kaleidoscope of colors.
The sub rises quickly as the score builds and finally there is one last
brief and close flash of an alien, this time right outside of our
window.
CLANK! Hooks can be heard
snatching us from above and we are again out of the water, hanging from
above heading towards the unload.
This is a hard
attraction to rate. As I said the narration is a very important
part of this show, without it one is missing half of the presentation.
However I have no other criteria to judge it on other than my own
personal experience with it.
The dry for wet effect works
well, the bubbles work well and the attention to detail is on par with
everything else in the intricate park. However the attraction also has
an odd pacing to it and could use at least one more scene. It does not
seem to build to any real climax as the end comes very abruptly and the
story never feels as if it is resolved. The two lucky passengers up
front get a great show but the four on either side get a decidedly less
than optimum view and everyone has to endure a hunched and uncomfortable
seating position.
In the end
though the positives outshine the negatives. It is an immersive
ride that feels much like the old 20K attraction at Walt Disney World,
only brought up to date. It has a marvelous score and the audio really
shines. The Imagineers have succeeded in creating a convincing feeling
of being underwater and far from a theme park.
It is not the best attraction
in the park, and it is not the worst. It is a fun ride and it is obvious
that a real effort went into its creation, but it is also not without
fault. On a scale of one to four stars I give 20,000 Leagues Under the
Sea three stars, and I bet if you speak Japanese the score my drift up
from there.
Next
we'll travel to Port Discovery, check out the Aquatopia and
take a wild ride on StormRider...
Want to send some comments
to Ted?
You can E-mail him at ted@mouseplanet.com
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