Tell Your Story the Walt Disney World Way: Adding Disney Imagineering to Your Technical Communication Toolbox (original) (raw)
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Institute of Advanced Scientific Research, 2018
As the sophistication of consumers grows, the theme park industry is preparing to become more interactive with state-of-the-art technology and immersive storytelling. Visitors expect an outstanding experience in theme parks, and this can be delivered by attractions that have a strong media-driven narrative content. In this study, we analyzed theme park attractions that employ interactive animated narratives and which demonstrate the immersion and emotional connection that can be experienced by visitors. For the analysis, we used the actantial model and the semiotic square, both developed by A.J. Greimas. Through this we found that the animation characters took key roles that led the narrative in the attraction. Moreover, both the animation's content and attraction maximize fantasy and verisimilitude by making use of precise technologies to create a highly-regarded experience for visitors.
Sharing design perspectives through storytelling
AI EDAM, 2002
Design consists of analyzing scenarios and proposing artifacts, obeying the initial set of requirements that lead from initial to goal state. Finding or creating alternative solutions, analyzing them and sele cting the best one are expected steps on designers´ decision making process. Very often, not a sole designer, but a team of them is engaged in the design process sharing their expertise and responsibility to achieve optimum projects. In a design team, most conflicts occur due to misunderstanding of one's assessment over specifications and contexts.
Analyzing Disney's Early Exhibits as Installation Art Work
Handbook of Research on Maximizing Cognitive Learning through Knowledge Visualization
This chapter compares several Disney exhibits—particularly those narrativizing technological innovation—to immersive installation artwork in order to explore the importance of narrative and textual reference in creating powerful immersive installations as presentation of technological and scientific knowledge through multiple media. The narrative craft of exhibits such as the Ford Magic Skyway and GE Carousel of Progress, which Disney created for the 1964-65 World's Fair in New York, are compared to works within the genre of installation art, which has developed greatly since the 1960s. Similar to Disney, many artists have deployed immersive installation art exhibits to envelop audiences in a detailed aesthetic and conceptual narrative. Some educational institutions have also used experiential education installations, especially for teaching scientific concepts.
Once Upon a Time: Storytelling in the Design Process
As designers we tell stories as we engage in the design process. But how does one story differ from another? Are there storytelling types used during different parts of the process? What form and function do these stories take? In this paper we explore the nature of storytelling in the context of design and how it plays different roles throughout the process: (1) during research to explain user stories; (2) during ideation to expand the design space and explore problems; (3) as a prototyping tool; and so on. We also will describe inappropriate uses of storytelling in the design process; for example, telling pristine and unreal stories rather than keeping the story "roughly right." Examples of each of these classifications will be presented in the paper, illustrating good techniques throughout. Finally, implications for design pedagogy will be discussed.
Storytelling Through Interactive Screens
2017
Art and technology in the twenty-first century are no longer segregated, as they were in the past. The increase in artistic activities using computers, the Internet and other areas of technological interest shows the impossibility of understanding the future of the arts without attending to technology. Such activities are apparent in Estonia, as can be seen in creative works by a number of artists and designers who attempt to bridge the physical and virtual worlds. These worlds are where humans have always lived, for example through two of the oldest art forms: storytelling and myth. Storytelling helps us understand our environment and personal experience... The craftsmanship of storytelling is an aspect present in all of the creative projects discussed in this article. The three projects are: Kärt Ojavee’s and Johanna Ulfsak’s Live Streams (2016), Varvara Guljajeva’s and Mar Canet’s Chameleon (2016), and Kristi Kuusk’s Textales (2015). These projects deal with the creation of interactive screens and tell particular stories about our environment, national identity, and imaginative world, using storytelling as a strategy for connecting physical material and technology with the meaning of the creation. A position shared among these projects’ designers is their aim of making the spectator and/or user understand the surrounding environment and generating personal experience with their work. An artifact that tells a particular story seems to possess a power to captivate and maintain the attention of its viewer and/or user for a long time. The term “interactive screens” in this article refers not only to digital screens such as computers, tablets and mobiles, but also physical screens that are specifically designed and created for particular purposes. The traces of the designers who are the storytellers of the three projects are present in both the physical and the virtual screens.
2018
It might seem strange to propose an aesthetic consideration of the theme park, that artificial bloom in the garden of popular culture. The aesthetic is often considered a minority interest in the modern world, yet it offers a distinctive perspective, even on an activity that has mass appeal, and can provide insights that would otherwise remain undiscovered. Aesthetic description and interpretation can illuminate the theme park in many directions: as architecture, design, theater, landscape architecture, environment. I shall choose the last of these, environment.
Designing an Immersive World: Exploring Theme Parks through Hayao Miyazaki's Spirited Away
2018
Most theme parks today have a ride component, whether it is a themed roller coaster or water park, but the entertainment design industry has not focused as much on designing interactive experiences without the need for thrill. Experience design and themed entertainment design focus on how thematic elements create a somatic and immersive environment. Design, like entertainment, is constantly transforming to fit the needs of its visitors. The design of entertainment spaces needs to be considered through multiple lenses and this project seeks to understand design elements that are necessary for a successful immersive design. The film Spirited Away, by acclaimed director Hayao Miyazaki, is the ideal story and style to fit an alternative theme park design. The loose plot and detailed illustrations throughout the film provide rich visual experiences that can easily be translated into enticing three-dimensional spaces. This project focuses on the best tactics for developing immersive enter...