The “adult” characters on the island - blacksmiths and a fort guard at Walt Disney World, General Jackson at Disneyland - are distracted or rendered harmless, furthering the illusion of free reign in what is actually a very controlled sector. Both views are different but essentially analogous. A Corporate poconos casino Party is even more enjoyable because top officials are known to spend lots of time in the real life casinos and hence this theme will surely attract them a lot. It’s hard to draw an exact boundary between attractions and non-attractions in Disney theme design, and even the rule that an attraction is something guarded by a turnstile cannot hold because Disneyland herself is bermed in in all directions and gated. Disney marketing may make for us temporary classics, but the real one is a complex visual code which only reveals further layers to unlock. The most influential may have been Image Works, a free-flowing digital playground which was the template for many a children’s science museum nationwide, but the most complete and complex execution of a Type C attraction was and is Communicore, which has a poorer modern-day equivalent in Innoventions. The earliest in Disneyland history - the Penny Arcade - begat increasingly complex versions, and the mode of Type C self guided attraction which has most repeated itself arrived with the 1967 New Tomorrowland, with its’ Bell Telephone preshow to the Circle-Vision America the Beautiful film, and especially the Monsanto exhibits at the exit of the Adventure Through Inner Space, an area with a fashionable 1967 look and feel quite removed from the Claude Coats stark dark ride which ostensibly prefaced it.
This is not to say that the self-guided attraction is actually thriving in today’s market; if it is built at all today it is likely to take the form of a queue experience funneling the spectators towards a motion based ride. As discussed above, the visual narrative tradition of film encourages us to see our progress through an attraction and the things we see as a spontanious event, unlikely to happen again, but when we ride again that's not what happens - the same things happen in the same places at the same times. The theme park, the ultimate fake reality, in order to create the illusion of being an authentically evolved - ie not master planned - space generally has to scatter about things we'd expect to see in real places to create the idea that the theme park spectator is somewhere that is actually meant to accommodate people, not just to service them. Nowhere else in Disney attractions is the illusion of being in a truly unrestricted environment where things could genuinely go wrong played out so carefully and effectively, the true Haunted Mansions where all bets seem to be off.
The ultimate problem with trying to classify the successes or failures of a walk-through attraction at Disney is that, on a certain level, everything begins to resemble one. Anybody knows how to fix the problem in reborn last stand mod of the C&C gen zerohour, wherein the game stops? This minor facet is just one example of EPCOT Center’s explosion of aesthetic norms in themed design, the most important innovation in the field in the last quarter of the 20th century. The results here are consistent with the earlier findings that corporate bond default spreads declined last week, after the surge in the prior one, and the most highly levered sectors (real estate and utilities) benefited. As such, the state of the self-guided attraction is in a state of flux, as those low-tech Type A and B attractions not already endangered are becoming increasingly rare. By taking the attraction out of the "current progress of time" and sending us to the "distant past", and articulating this event as going down and then going back up a waterfall, the attraction seems to imply that the dream state the successful attraction emulates was actual - after all,we return to the bayou, and somewhere below us, some time in the past, the pirates of the caribbean still play out their morality play.
But the Island recreates the mythical state of youth, and the big river and circling steamboat elevate the experience to a fully convincing illusion of the great outdoors, which is of course absurd because the entire island is manmade and crisscrossed with electrical lines and utilities. The free-roaming nature of the Tom Sawyer Island attraction goes a long way towards creating the illusion of a totally unrestricted environment in strong contrast to the single direction demanded by the Treehouse. Those caves, in particular - self-contained Type A walking sub-attractions placed in a Type B environment - are the dark heart of Tom Sawyer Island, it’s true reason for existence. The Island offers a degree of uncertainty, facilitated by the design of the cave walk-through attractions - the caves are large show buildings buried in dirt, and as such the Island is a mound of earth where one can never see the attraction’s other shore, creating surprise when one comes across the old mill, or the entrance to another cave. These examples show that the structuring repetetion needn't be something as large as a waterfall, but can be small, but every one still proves that a payoff is a payoff, and the satisfaction of a fully articulated attraction with a dramatic, conceptual and visual arc is the didfference between an actual classic and a defacto one.