Disneyland 2020: "Who's a spy - this one?"

Video courtesy of KT

The First Order tightens its grip* on Black Spire Outpost...

- Sid

* No pun intended.

Disneyland 2020: Black Spire Outpost.

"It’s a millennium falcon!"

Stefanie T. (Karli’s sister) upon seeing a hunting bird overhead.

Although it's only been a couple of years since Karli and I visited Disneyland for her birthday, I was solidly on board when she suggested another birthday visit.  It's not just because Disneyland is the happiest place in the world - although it's certainly a factor - but rather because of Galaxy's Edge,  the new 14-acre Star Wars themed area which opened in August of 2019, and The Rise of the Resistance, a new ride which had only been live since January of this year.

This time we're accompanied by her two sisters, Lisa and Stefanie, but logistics are still simple and straightforward - in fact, we all stay at the same hotel from our last visit, full points to Westjet for consistency on their three-day Disneyland packages.*  We fly down on the Monday afternoon, settle into our rooms, and then we're off to the park bright and early on Tuesday morning.

Once into Disneyland, the consensus is to head for Galaxy's Edge, see what the lineup is like for Smuggler's Run, in which you and five other guests fly the Millennium Falcon on a supply raid for the Resistance (and a little bit extra for the local smuggling cartel), and generally take a look at the new area.

As you leave Fantasyland, there's a transitional treed area, then you enter Black Spire Outpost, a small trading port on the planet Batuu, located in the Outer Rim Territories.  The space port is surrounded by towering rocky spires, although the actual black spire that it takes its name from is located within the port itself.

Each of the Disneyland areas have their own decor, but in the development of Galaxy's Edge, it was Disney's intention to create the illusion that visitors had just walked into one of the movies, and they've done a superb job.

Photo by KT

Tattered banners flutter in the wind as you enter through the main gate, where a First Order shuttle sits threateningly on a landing pad near the entrance, surrounded by a variety of shops and habitats.  As you go further into the outpost, you pass Oga's Cantina and enter the port itself, whose centrepiece is an impressively full-scale Millennium Falcon, currently refueling as it waits for its next mission.  Blast shutters protect the port's windows, and there's a constant thread of chatter from port operations audible over the loudspeakers.

To the left, stairs take you up to the bazaar, where food and goods are for sale.  There's also a landspeeder garage, a hidden lightsaber assembly workshop, and a droid construction facility.  To the north lies the concealed Resistance base, where new recruits are dispatched for training - hopefully without attracting the attention of the watchful First Order Star Destroyers.

 

Every inch of Galaxy's Edge has been constructed to match the look and feel of the movies and the Star Wars universe - the only exception being the EXIT signs, probably due to safety code.  The quantity and quality of the "greebly dressing", as the designers for the first Star Wars movie called the set ornamentation, is astonishing and thorough, creating an impressively immersive experience.

Even the souvenir shopping is part of the illusion: the credit card machines have been modified to match the decor, change is provided in credits and units rather than dollars and cents, and Karli's birthday button garners her several "Happy Origin Day" greetings from the staff.  It's a shame that Disney doesn't allow guests to wear full costumes, it would complete the experience for me if I were wearing Jedi robes or some similarly suitable outfit.

 

Later in the day, we have reservations at Oga's Cantina, where droid DJ R3X provides the entertainment, and a throng of villainous scum** scheme and plot over drinks served by wait staff whose hairdos owe a large debt to Queen Amidala - apparently she's an influencer.  For visitors seeking a less dangerous beverage experience, the classic blue milk*** is also available in the plaza.

But that's not the full extent of the Black Spire experience.  Unlike the other parts of the park, Galaxy's Edge has an actual ongoing storyline, based on the struggle between the First Order and the Resistance.  Armoured stormtroopers aggressively patrol the alleys and plazas, harassing and questioning passers-by, while Chewbacca the Wookiee is in constant movement to avoid being captured, and R2-D2 communicates with his fellow droids at the depot.

 

There's also an iPhone datapad app that allows you to hack into door panels, controls, and droids, and then assign the hacked hardware to either the First Order or the Resistance.  The app also scans cargo pods for possible acquisition by the local smugglers, and tracks your accomplishments, such as piloting the Millennium Falcon, assigning credits to your account that can be used to upgrade your profile with weapons and clothing.

At one point while we're exploring the outpost, an officer of the First Order demands our attention from the landing pad near the entrance, announcing that a female Resistance spy is somewhere on the outpost.  As he threatens us, Kylo Ren stalks down the landing ramp of the shuttle behind him, and Force chokes the officer to express his displeasure with the lack of results in the search for the spy, after which he enters the crowd to carry on the search himself, accompanied by a pair of stormtroopers.

At night, the experience is even better. Multi-coloured light sabers bloom in the darkness, and the visitors to the outpost achieve a kind of anonymity in the shadows, increasing the illusion.

 

My inner child, who is quite close to the surface in situations like this, was delighted by the entire experience.  I commented to my travelling companions that I could easily have spent the entire three days in Galaxy's Edge, and they were quite surprised.

"What would you do?"

"Well, everything!"

Disney is obviously aware of the desire for an even more immersive experience - a new luxury Star Wars hotel is under construction in the Epcot area of Walt Disney World in Florida, with an anticipated opening date in 2021.

"Hotel" is a bit of a misnomer, since the facility is intended to create the illusion that guests are spending two days on a galactic star cruiser, complete with Star Wars themed passenger cabins with viewports into space, an opportunity to operate bridge controls, interactive light saber games, and a new Star Wars storyline to provide a background for the experience.

Hmm, well, you know, Florida IS nice, and, come to think of it, the Kennedy Space Centre is only about 60 miles from Disneyworld, I'd love to go there again, and we have been discussing options for my next birthday...  On the other hand, part of me feels that I should go on my own.  As much as I love doing things with Karli, it seems a lot to ask for her to be an unpaid extra in my Star Wars movie for two days.

- Sid

* This is an unpaid endorsement, although I would be happy to be paid if someone at Westjet feels the urge.

** This seems a bit harsh - after all, they're just tourists like us.

*** I cautiously tried the chilled blue milk, and quite enjoyed it, although it's really more of a frosty than anything else. A friend of Karli's told her that lukewarm blue milk is available elsewhere in Black Spire - and that you do NOT want to drink it.

Wasteland.

On Monday night, my friend Chris and I went to a showing of 1917, a gripping, dramatic film which really doesn't need to rely on the additional trick of being a single extended shot (well, two shots, to be accurate, the main character is knocked out at one point in the film).  It's a timely viewing, given that I've just finished reading one of the books that I purchased during my recent Toronto trip:  1917 - Wasteland:  The Great War and the Origins of Modern Horror, by W. Scott Poole.

It's Poole's contention that modern horror finds its origins in the literally horrifying environment of the trench war: mud, blood, mold and decay, a hellish landscape punctuated by fetid shellholes, unburied bodies, and mutilated soldiers.

Art is always a window into its own time and place, and I certainly agree with his comments regarding the influence of the war on artistic movements such as Dada and Surrealism, and its role in the rise of fascist politics as a response to the chaos of the battlefield, but the connections he makes to the genre of early 20th Century horror don't have the same authority for me.

Historically speaking, almost all of the best known stories that lay the groundwork for horror as we know it today predate World War One:  Mary Shelley's Frankenstein revived his monster in 1818, Edgar Allan Poe wrote The Telltale Heart, The Cask of Amontillado, and The Fall of the House of Usher in the middle of the 19th century, Robert Louis Stevenson published The Strange Case of Dr. Jekyll and Mr. Hyde in 1886, and Bram Stoker's Dracula made its debut in 1897.  H. G. Wells, whose writing is admittedly considered to be more science fiction than horror, released The Island of Doctor Moreau in 1896 and The Invisible Man in 1897.

The villain of The Phantom of the Opera, written in 1909, is deformed from birth, rather than due to the misfortunes of combat.  Ambrose Bierce, noted literary creator of the odd and the uncanny, vanished in Mexico and was presumed dead in 1914,  and Howard Phillip Lovecraft, commonly cited as one of the most influential figures in the development of the horror genre, wrote his first published tale of indescribable eldritch monstrosity in June of 1917, a month before the start of the war.

The equally classic horror films of the post-war era draw heavily upon that pre-war catalogue of horror fiction, with movies such as The Phantom of the Opera, 1925; Dracula, 1931; Frankenstein, 1931; Island of Lost Souls, based on The Island of Dr. Moreau, 1932; and The Invisible Man in 1933.

However, it's Poole's contention that the success of these films, regardless of their source material, reflect a specific post-war zeitgeist:  Frankenstein's patchwork monster represents the fragmentary corpses of the trenches and craters, the Phantom's mask (and ruined visage) echo the masked faces of mutilated veterans, and the bandages seen on the Invisible Man and the Mummy are the same bandages that cocooned wounded soldiers.  Dr. Moreau's surgical theatre, the "house of pain" of the movie, reflects the harrowing, nightmarish procedures of the front line hospitals.

For me, the strength of Poole's thesis lies in extending the effects of the first world war through the rise of fascism in Europe and from there into the origins of World War II, which seems far more resonant in terms of its genre influence. In my mind, World War II, or more accurately, the events of the Holocaust, represent a more significant line of demarcation than World War I in terms of its effect on the continuity of horror to the modern day.

It’s much easier for me to connect the psychopathic physical brutality of movies like Psycho, the Halloween, Saw and Friday the 13th franchises, and a myriad of other slasher films, to the Nazi concentration camps in their shared inhuman indifference and disregard for the human body.  World War II is more commonly associated with the spectre of nuclear destruction and the effects of radiation on the world, but it also revealed a more subtle and frightening truth:  the idea that the most horrifying, cold-blooded and pitiless monsters can actually be other human beings.

- Sid