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Part Four: Indiana
Jones Adventure: Temple of the Crystal Skull (continued)
We continue over the remains
on bridges that carry us over standing water and crumbling rock. Moss
hangs from the roof 40 feet or so above our heads as sunlight filters
through cracks and crevices to light our way. Meticulously detailed
carvings loom above us as we work our way up the scaffolding to the next
higher level.
We are skirting the edges of this cathedral
like room and the vantage point gives us unobstructed views of all of
the detail poured into this queue. From time to time the electrical
light strung around the site flicker as the power struggles to stay on.
This is a truly impressive piece of work, the overall effect is simply
stunning.
As we make it to the top of the scaffolding
we pass beneath an ominous warning, a painting of the Crystal Skull, the
attraction's namesake, warns us not to proceed any further, but (of
course) we don't listen, pressing on into deep darkness.
We leave the main chamber
and weave through a series of smaller caverns. Soon we enter a
cylindrical anti chamber. Here to the left is a large golden medallion,
on the right, at ceiling level are a series of small windows, on the
right wall is a huge map.
From time to time light filters through one
of the windows, reflects onto the golden medallion which in turn shoots
a pinpoint of light onto the map on the far wall. This is directly out
of the first Indy movie and is now happening above our heads. Quite
cool. We continue on.
Next we pass through a pitch
black section of catacombs. Cutouts on the rock walls of eyes and
faces are back lit by glowing red light. This is the only light in the
area and serves as a creepy reminder that we are not welcome here. We
make our way past a preparation and loading area filled with crates of
artifacts and pass by a pursers desk filled with documents and
schedules.
Then we reach a small room with a movie
playing in black and white on a screen. Similar to the movie room seen
in the American version of this attraction, here it looks like an old
16mm projector is showing us our safety film. Because we are in Central
America we have a goofy Latin American guide (Paco) giving us the ride's
safety spiel. He speaks Japanese with a Mexican accent, English and
Chinese subtitles are shown.
Finally we cross over the
tracks and down a steep set of stairs to emerge in the load area.
This feels very much like the original Disneyland Indy ride. The jeeps
pull up and look identical to the American versions. We strap ourselves
in, and with the exception of the foreign language you feel as if you
are back at home in Anaheim. Here we go!
The jeeps roar out of the load area, hang a
right and the first difference you notice between the Japanese and
American versions is that there is only one doorway. The designers have
opted to drop the idea of choosing one of three paths and rather have
all the jeeps plow straight ahead, through dimensionally carved doors.
We rumble ahead into the
chamber of Purity. Here grottos and pools surround us. Mara and
the warnings not too look in her eyes are gone. Instead there is a large
crystal skull sitting ahead of us on a platform made up of a coiled
snake statue. This chamber is very well themed. Nothing in this entire
attraction is flat or simply painted on, rather it is all constructed
out of three dimensional sets and textures. Of course we are not
successful in our efforts to sneak past the skull. Rather the skull
before us starts to glow brightly and intense rays beam from its eyes.
The Jeep accelerates to avoid the peril and we hurl to the left.
Through the cavern you continue as very nice
electrical and lightning effects fill the area all around. These bolts
of electricity cling to the cavern walls in shades of blues. Up ahead we
see Indy himself. As in the American version he is trying to keep a huge
set of doors closed. He appears to be angry with us and speaks entirely
in Japanese as he turns us away. The track layout here is identical to
the Disneyland counterpart so we now turn left and head in towards the
main chamber.
The familiar John Williams movie score
swells as we venture ahead fearlessly. Entering the massive central
chamber we notice a few differences from what we are used to seeing in
the states. First of all the giant face of Mara has been replaced buy a
large stone skull. The color scheme of the lighting and the effects have
moved from the hot red and oranges of the original attraction to cool
hues of blue and green, more fitting for the fountain of youth theme.
Finally, directly in front of us and between us and the giant skull is a
whirling vortex smoke effect. It looks like a blue whirling tornado!
We veer to the left and rumble through the
chamber filled with skeletons and skulls. Then on to the bug chamber. As
we are used to, our headlights flicker on and illuminate the walls full
of creepy crawling bugs. However the effect here is much better than
back home. I am not sure what they have done differently but these bugs
look three dimensional and much more convincing. While they still are a
projected effect they do not look artificial or flat like they sometimes
do on the original ride.
As we depart this cavern
and head across the central bridge a burst of smoke hits us, this is a
nice extra effect. The general feel of this area is just like we are
used to but again, there is no flame or fire. Instead we have the
spinning vortex , now to our right, and to the left we have the massive
skull. Beams of blue and green light shoot from the skull's eyes, the
music is in full swing and the bridge rocks and sways beneath us. We gun
it and cross the bridge before hurling to the left and around the back
of the skull.
Here we pass a series of stone dragon
sculptures similar to those we saw in the queue. In place of the
oversized and fake looking snake seen in the U.S. Indy ride we find a
fully animated dragon. He is about the same size as the snake and not
much more convincing. Still, it is nice that they addressed and changed
this effect.
The dragon lunges at us and we pitch down,
going lower and curving around the back edge of the skull. Here we find
yet another crystal skull. A smaller one is perched to our left and
still glows angrily. The rest of the chamber is filled with catacombs
brimming with skeletal remains. I prefer the American section here as
the pyro effects really add something that is missing from this
attraction.
Through some more mostly dark
chambers and we now creep up onto one of the nicest new additions
to the adventure. (In Anaheim this would be the rat room.)
There before us is a long hallway and we
come to a complete stop. At the far end is a large stone face carved
into the wall. His mouth is agape. The engine rumbles back to life and
we start accelerating towards the carving. Suddenly and with a deep
sound (as if a bass drum was punched) a huge smoke ring emerges from the
carving's mouth. We head straight towards and then through the smoke
hooking to the right before hitting the wall.
The smoke ring is an effect which Disney has
been trying to perfect for years and they finally have done so here in
Japan. Similar effects can be seen to a lesser degree on Dinosaur
(formerly Countdown to Extinction) at Disney's Animal Kingdom and the
Pooh ride at Walt Disney World's Magic Kingdom. Neither of those effects
can compare to the one pulled off here however.
Next up is the dart run. The jeep comes to
another full stop as we contemplate crossing another long hallway.
Unlike the simply painted flat walls at Disneyland, in Tokyo we have
fully three dimensional figures lining the room. We make our run as jets
of air blast us, the sound of darts whirling over our heads.
The climax to the ride is identical to the
U.S. version. We see Indy hanging above us wildly yelling for help
(again, in Japanese). Soon the giant stone ball roars forward and we
roll back a bit, then our vehicle plows straight ahead towards it. Only
at what then seems the very last second, we drop down under the giant
ball to safety. Indy is then seen one last time, safe and sound, and he
bids us goodbye as we enter the unload station.
The attraction is almost a
virtual copy of the original Disneyland version. The setting and
queue are wholly unique to this park but the actual ride is more or less
the same. But in DisneySea it has a more polished feel to it and this is
both a good and bad thing. On one hand it is VERY nice to see all the
three dimensional sets. I have never understood the logic of spending
millions and millions of dollars on an E-Ticket attraction and then
allowing some cheap looking painted flats to be a major part of it. The
upgraded bugs effect as well as the new smoke ring trick are great. The
tornado vortex is also a great new addition.
However the improvements come at a cost.
They have removed the pyro and these flame effects were some of the most
effective elements from the original ride. I also prefer the hot red and
orange color scheme of the original (more like the second "Temple
of Doom" movie), as somehow the cool colors seem too calming and
not as alarming as the original pallet. Finally the actual jeep's
movements, while still wild and extreme, seem somehow more in control
and less random than the American counterpart. This is a VERY subtle
thing but having enjoyed both attractions many times I can feel a
difference.
In the end I can point to a
long list of certain elements that are better in one version over
the other but what is really important is that they are both world class
attractions. The Indiana Jones Adventure: Temple of the Crystal Skull
is instantly recognizable to any fan of the original Temple of the
Forbidden Eye, yet it still manages to have its own unique feel and
flavor to it. While I would have preferred an all new adventure, I do
appreciate the efforts the Imagineers have made to make this one stand
on it's own.
I'd have to rank both Indy attractions as
two of the best park rides in the world and also give the Tokyo
DisneySea version four stars out of four... as it works on every level.
Next
we'll head to the Arabian Coast and check out the Magic Lamp Theater and
Sinbad's Seven Voyages...
Want to send some comments to
Ted?
You can E-mail him at ted@mouseplanet.com
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