The plight of the modern Disney fan is the impending acceptance that everything sacred may soon be disregarded in the face of progress. Modern guests of the Disney Parks look for experiences tied to properties they love, and would rather see a new experience brighten their vacation instead of a decaying attraction reminiscent of a different time. This isn’t out of disinterest for the classics, but a direct result of the modern social media news cycle. Content for the community is interesting, but the value of something new becomes grossly inflated when websites continue to draw traction with rumors of new experiences and properties. Keeping the parks in the zeitgeist requires constant announcements, something nearly impossible given the extensive timelines set for theme park development.
Unlike video games and film, theme parks rarely have news to update consumers already acclimated to the twenty-four-hour news cycle. Disney’s hands are tied, as they have to remain relevant in a progressively cluttered social network. Quick, cheap attractions based on modern properties may not have the staying power of timeless classics, but they manage to keep the parks fresh in the minds of consumers. In between ground-breaking and opening, Parks must now balance the drought of information and the necessity to maintain a steady level of interest by the community.
Disney’s adaptation to modern forms of communication will be reflected in Epcot, a park neglected by WDI for years. As Epcot remains a static time capsule of the ’90s, it has collapsed into a grey area between outdated boredom and loveable nostalgia. Nothing is unpopular amongst crowds, but fans and guests alike often criticize the dated aspects of the park. Though charming, most of the design choices prevalent in WDI’s 90s mentality don’t mesh with the current brand of Disney. MouseGear, the gift shop with real character, is in direct contrast with Disney’s modern focus on minimalist storefronts. Innoventions chose to focus heavily on the scientific backbone of Epcot, which doesn’t allow for brand synergy or simple updates tied to the dynamic interests of guests.
It comes as no surprise then that Disney has focused on reinventing Epcot for the modern age. Project Gamma will embrace the simplistic, introducing a colorful garden, scenic walkways, and new restaurants tied closely to the themes of popular attractions. Change is inevitable, but losing aspects of the park that once defined a core identity is contradictory to Epcot Center’s optimistic goals.
In the wave of progress, we must recognize the foundation of which it is built upon. Only then can we appreciate the quality of change.
Fountain of Nations
In the wake of D23 announcements, we can divert our attention to an often forgotten Disney Parks marvel. Though challenging to miss, the Fountain of Nations seems to be an obstacle in the way of basic crowd flow around Future World during the most popular times of the day. Rarely does it receive attention from guests aside from the rare few looking to catch a refreshing mist on a hot day.
In fact, I’m sure many would be surprised to know that the fountain is home to a lovely water show occurring every fifteen minutes. Set to orchestrated music, the jets shoot water in hypnotic rhythm as a serenade conducts the marvelous dance. The Fountain show may be unappreciated by most guests, but the charm of blending kinetic energy and a strong sense of self-importance gives Innoventions Plaza well-deserved attention.
By night, the Fountain blooms into a colorful soiree. While it’s often ignored during the day, I’m sure that guests have fond memories of leaving the park as Illuminations comes to an end, with the picture-perfect sight of Spaceship Earth towering over the Fountain of Nations.
As it stands today, the Fountain is on its last legs. It’s clear that Disney has focused efforts on a renovation, as numerous jets either fail to go launch or are stuck firing endlessly. In a simple fountain show, anything less than synchronized perfection ruins the effect. The one element that should draw guest attention fails to work as it should.
At this point, we can only welcome any and all replacements that may give this fading icon time to rest.
Innoventions West (a.k.a The Smelly Hallway)
As an Epcot fan, I retain a surprising love for the remains of Innoventions West, a colorful bathroom, and the closed remanents of Pasta Piazza, a quick service lost to time. What might be more surprising is the fact that I’m not alone in this peculiar obsession, as much of the discourse surrounding the redevelopment of Future World has centered around this unlikely fossil of a forgotten age.
Though Innoventions West has been abandoned, what remains in that building is a Club made especially for the Cool, a Starbucks at Fountain View, a Mickey + Friends Meet and Greet, a Baymax/Joy and Sadness Meet and Greet, and a bathroom adorned with colorful, tacky squares. (S/O to Derek Burgan https://touringplans.com/blog/2018/03/31/s6_wdwbathrooms/).
The important factor here isn’t the experiences offered, but the connective tissue between them. What should be a simple hallway is actually a time capsule to Epcot’s Innoventions reinvention. Obtuse geometry, increasingly dark shades of blue, and sans serif exit signs are all motifs known by the most diehard of Epcot fans (ESPECIALLY the exit signs).
To some, the hallway is a decrepit mess of odorous mold and decaying foundation, but to others, the imperfections are a direct reflection of the dream. The park may be messy, but the charm and genuine effort put into the simplest of details harken back to a mentality now lost in the modern thematic design.
I wanted to draw attention to some of the ignored details of the area. Many will notice the (partially incorrect) Epcot timeline above a row of couches, but take a moment to look down the hall at a charming plastic flower bed along the wall. Look up at the circular light fixtures, and watch tired guests rest in the cool, cool A/C.
Innoventions West is a graveyard. What once housed experiences showcasing the future of technology is begging for a moment of progress or a bullet to the head. Future plans call for its demolition, a much-needed response to wasted space, but finding comfort in signs of the past is absolutely appropriate. To those who insult fans of this hallway, I ask you to redirect your anger to a party less innocent.
Appreciate the finer details, and the wonders of Epcot will become clear.
Innoventions East
I’d like to keep this part short, as I will be doing a future article going more in-depth about this specific area of the park.
Where Innoventions West has given up on exhibits, Innoventions East continues to offer two experiences that vaguely reflect the stated goal of edutainment.
Take a Nanooze Break is a short exhibit focusing on the microscopic building blocks of our universe. A lot of the tech is barely functioning, and the televisions displaying context for the research output no sound nor showcase subtitles. Colortopia tries to express the wonders of the visual spectrum, but my colorblindness prevents me from being able to adequately review the experience.
What remains is a house from a previous exhibit, and The Sum of All Thrills experience behind a wall, barely obscuring the former attraction. Where West has nothing to do but keeps the guest’s attention, East has a few experiences of absolutely no value. I find Nanooze to be an impassioned plea for scientific relevancy, but everyone in the area used the benches and tables to catch a quick snooze. How ironic.
It’s sad to see science ignored by guests, as the wonders of our world have the potential to captivate anyone given the proper presentation. Disney’s lack of upkeep and the general reluctance of guests to accept edutainment leaves these exhibits on life support. I applaud the passion of scientists at Nanooze and marketing executives at Colortopia for keeping their respective exhibits open.
Electric Umbrella
It’s hard to capture the value of a simple quick-service restaurant, especially when the stigma against it is genuinely unfounded.
The easiest way to defend this establishment is to point to Rolly Crump’s involvement, which is easily evident in the charming light fixtures and neon glow giving the small place an open sense of imagination. There’s an immediate sense of neon future when stepping into the Electric Umbrella, which I’d attribute to the juxtaposition of a dark room and bright lights.
The four seating areas in the Electric Umbrella are perfectly different, with a lower level surrounded by windows leading from Innoventions Plaza to Future World East, an upper level overlooking the Fountain of Nations, an offshoot seating area behind the order counter under a wave of colorful ceiling lights, and an outside seating area perfectly placed to enjoy a meal while watching the crowds pass by.
The Electric Umbrella often reminds me of Redd Rocket’s at Disneyland, but with a far greater sense of surroundings. It might fit more in Tomorrowland than it would Future World, but it’s clear that no matter the location, the Electric Umbrella sure does look fantastic.
One surprising note about the Electric Umbrella is the menu, which initially broke my preconceived notions towards quick service at Walt Disney World. It’s an odd title to give, but the Electric Umbrella offers some of the finest Theme Park Fast Food I’ve ever had. Nothing is as fresh as The Land, nothing is as unique as Flame Tree, but everything is a step beyond what’s served at Casey’s. While the mainstays are still present (Cheeseburger, Chicken Nuggets, etc.), new takes on classic foods are truly a godsend. Slow-cooked Brisket, Mojo Pulled Pork Burgers, Chicken Proscuitto Mozerella Sandwiches, Three Cheese Flatbreads, and more are not only risky choices for the only safe Quick Service at Future World but successful gambles.
Not only do we lose a fantastically themed restaurant, but one of the best quick service selections across Walt Disney World.
A Final Goodbye
There’s a lot more to Epcot than meets the eye. It’s not in the number of experiences, as it surely lacks in that, but the quality of the design work and lack of restraints in development.
As Disney moves more towards a minimalist, modern aesthetic, it’s important to appreciate an era of sensory overload. Epcot of the ’90s was loud, in your face, and lacked subtly in every sense of the word. MouseGear is filled to the brim with machinery, lights, beeps, boops, characters, and complex design. This distracts guests from the merchandise, as the thematic intricacies require attention from the shopper. The aversion to distracting guests from giving in to their wallets defines the modern mentality of Disney storefronts, as evident in the recent renovation of the World of Disney stores, as well as the concept art for MouseGear’s replacement.
This article is not a condemnation of Epcot’s future. Epcot can certainly become a fantastic park with a different design goal than any of the previous incarnations, and I’m sure that the future of Epcot is bright. In that progress, however, we must appreciate the past for what it was.
Demonizing those who look to the past for comfort fails to understand the basic ideas of design. The integral design of Epcot ’82 is nothing like that of the ’90s, nor the design of the future. A fan of one does not necessarily have to appreciate another, as the form of entertainment created is vastly different between iterations. The Epcot of now is defined by loud design, forcing character, “magic,” progress, and architecture in your face. The Epcot of the future is the exact opposite, restraining colors and design to focus guests on a minimalist experience.
If modern Epcot isn’t something you appreciate, that’s well within your right. The tenants of design that direct the park may not match your interests. In the same way, the detractors to future updates may also share the same displeasure. They may yearn for an age where a clear goal asked guests to appreciate the sciences through edutainment. They may applaud the decisions to create attractions devoid of IP, not because they’re inherently bad, but the focus on expression over advertising connects more with their interests.
When Bob Chapek calls for a new era that’s “More Disney,” it ends the multi-decade long pursuit for something greater than a brand. Though any activism under capitalism is poorly founded, the goal of starting a meaningful dialogue about the values of science in a medium where thrills are valued over themes was a noble effort. It may not have paid off, but the decision to take that risk is commendable.
As I conclude this reflection, it should be made clear that none of my individual biases come from objectivity. I may love the modern style of Epcot, but I wouldn’t go so far as to say the park is ruined. I’m a proponent of edutainment, and I’m also a fan of archaic ’90s design stereotypes. I have a deep connection to the music of modern Epcot, and I find the focus on bringing scientific achievement to the limelight a wonderful idea. I did love the ride based on Energy, and I will miss drinking a Coke to the Fountain of Nation’s lovely serenade. I do love the looping Innoventions Plaza music at the empty hall, and I have some odd nostalgia for Journey Into Imagination with Figment, an attraction I’ll admit is pretty awful.
I hope these concessions counteract some hypocrisy in my criticism. This reflection isn’t to mourn the loss of perfect design but relinquish my love for a cherished theme park. No matter the quality of the new Epcot, I still find sadness in losing what I loved. I’m depressed that we no longer move to the tune of scientific progress, no matter how cheesy that may have turned out. New themes of unity and pseudo-future are fantastic but aren’t as noble as a call to action. The call to change the world, and be the mind the human race needs you to be.
There are aspects I love about the new Epcot. There are (of course) aspects I’m not as fond of. What remains true is that the Epcot I knew will soon be a memory. The experiences I took for granted will soon be pictures in my head, and will one day fade in relevancy. Any change to a theme park is irreversible, and the art is lost forever. In this, we must recognize the weight of such changes, in that they replace experiences crucial to the foundation of what once was. I will miss them dearly.
Here’s to progress, the only certainty in the modern world.
Ryan Dorman is a Columnist and the Content Director for the Boardwalk Times. He can be found on Twitter at @OpentheDorman, and as a host of the Boardwalk Talk podcast on iTunes.
