Taking the Mickey: A Save Disney Quest

[X] Plan Two in One
-[X] Large: 120 Total Groundbreaking successes needed, divided among areas. May have up to 8 areas, and 40 rides. This is the size of EPCOT, minus the parking lot.
-[X] Two Halves. This is the layout used at EPCOT.
-[X] The Chinese Theater. A nice neutral choice that plays to all of Hollywood.


I'm actually okay with pretty much any of the plans put out, but thought I'd lend a voice to anyone leaning towards Two Halves instead.
 
If I remember didn't they also try and shoot the Mickey Mouse Club there or something. But yeah, keep in mind that you couldn't even walk through the purple section. They didn't let people walk through New York opening day. Besides the Great Movie ride and some shows there wasn't much. If the contest was between MGM Studios and Universal Studios, Universal won hands down. The math just didn't work when you brought in EPCOT and Magic Kingdom onto the Disney side.
You forgot to account for the fact that nothing at Universal worked for the first year or so. It took until Back to the Future for them to have a reliable E-Ticket.

Jaws got hit with it worst. It opened with the park in 1990... and was closed a mouth after and didn't reopen until 1993.
 
You forgot to account for the fact that nothing at Universal worked for the first year or so. It took until Back to the Future for them to have a reliable E-Ticket.

Jaws got hit with it worst. It opened with the park in 1990... and was closed a mouth after and didn't reopen until 1993.

Hopefully we can avoid the major problems of both parks. I have an idea that instead of a railroad or monorail surrounding the park, we have it be the movie tram so we can still have a "backlot tour" so to speak
 
@Slynnwen

Well I still have a question... I really want to ask about Joe Hale... but since I have another omake planned I'll ask that then

So, what is an option that we didn't take that you really wish we did or when is the closest we've come to ruin without realizing it?
Hmm... well, I did have a good chunk planned out for Spielberg and Lucas if you talked to them way back at The Who Framed Roger Rabbit meeting. I'm a bit sad that progress on the real EPCOT hasn't been made, but, well, that's partially my own fault, now isn't it?

As far as the closest you've come to ruin? Probably ignoring the Disney Channel for as long as you did. There was a decent chance the whole thing would have collapsed, and that wouldn't have been good at all. Some of the close rolls for individual rides had bad ends possible, the spat with Exxon and the flooding from 20,000 leagues come to mind, but the successes there by a hair managed to save them.
 
Omake: Secular Solstice Movies
[X] Plan Neutral Compromise

Also, new omake!

This year, Disney has made not one, but two movies that have the spirit of the Secular Solstice- the traditionally animated Moana, and the CGI Firebringer. The fact that they were both released on the year of Baby Merlin's birth is wonderful, and makes me wonder if someone at Disney is, if not a Rationalist or Glowficcer, at least adjacent? Interestingly, both have tribal settings- Moana, being about the Polynesian people, and Firebringer being about a tribe of Homo Erectus.

Firebringer is arguably an allegory- both for the conflict between progress and safety, as well as for the development of humanity- while condensed into a much shorter period of time in the movie, all of the technological developments depicted in the movie did happen to be done by Homo Erectus.

I'm getting ahead of myself- the film starts with a musical number- all the tribespeople (primarily women, as would be historically accurate due to the low level of food available at the time) sing about their jobs- however, one group expresses desire in wanting to take the day off- this group is led by Zazalil, the chieftain's younger daughter- they are talked down by Jemilla, Zazalil's older sister and the future chieftain. Everyone then goes off to do their jobs.

Jemilla goes to speak with the chieftain, Molog, who, on her deathbed, reveals that much of their society is built on a foundation of lies- their god, a seemingly shape shifting duck animal spirit, is just a series of ducks she captures as a means of controlling the tribe (although it's not brought up, it's likely the reason Molag did it was to prevent conflict)- she further reveals that Atlyn's job (holding up the sky) is unnecessary and pointless.

While this is going on, Zazalil and her sidekick, Kyri, are gathering food- Zazalil expresses frustration with the repetition of daily life, and a desire to make things easier, in the form of a song that I still don't know if I can get out of my head. The song is cut off when Kyri reveals that she cut herself with a rock she mistook for a nut.
Zazalil realizes that the rock can be used to hunt.

Meanwhile, Emberly, whose job it is to test what's safe to eat, is teaching some children what is and isn't safe- then, Grunt, someone from outside of the tribe, stumbles onto the scene, scaring the children away- after she saves him from eating a poisonous berry, Emberly and Grunt sing a duet that ends with them about to kiss- however, this is interrupted by the arrival of Jemilla and some other tribespeople, who scare Grunt away for being an outsider.

Following Emberly lashing out at Jemilla for scaring Grunt away, Jemilla reveals the lies told by their old chief- the others initially disbelieve her, but after a scuffle that ends with Atlyn putting her arms down, everyone becomes resigned to the truth of the matter- it's at that point that Zazalil and Kyri come back, announcing their discovery- Zazalil tries to demonstrate the use of her new weapon on a boar, having already caught a smaller pig- the former priestess to the duck, Antadorn, is injured in the process, causing Jemilla to write the new invention off as too dangerous.

That night, everyone hides in their cave, now miserable after these recent revelations- Zazalil sneaks off with the intent to prove herself by killing Snarl, an anachronistic saber toothed cat (that type of cat was probably extinct in Africa by the point in time this is set). The night is stormy, and upon realizing that Zazalil left, Jemilla leads a group after her- a lightning bolt sets Zazalil's spear aflame, and just as she confronts Snarl, the others come to her and witness her use the fire to scare him away.

Zazalil convinces the tribe to exile Jemilla and claim leadership for herself- after she shows everyone the fire and leads the tribe (save Jemilla) in a triumphant song, we get a beautiful solo from Jemilla as she walks away- it reminds me almost of that scene from Mulan. The song ends with another person being reflected in the water behind her.

When we return to the tribe, we can see how much that fire has improved everyone's lives- people no longer live in the cave, instead living in tents Atlyn has sewn from the pelts of hogs and antelopes, and the food is abundant. However, people have become less social with one another, instead marveling at the fire. Further, Kyri expresses concern over there being less of the animals they hunt- Zazalil dismisses those concerns, instead saying that they can just hunt different animals.

We also see Grunt return to Emberly, and after introducing art, he gets accepted into the tribe- he sings a duet with Emberly as he paints a portrait of her, and the two actually get to kiss this time.

Back with the tribe, Kyri comes again to Zazalil, this time concerned about the rancid meat poisoning the river- while they're discussing this, Antadorn claims to have the ability to communicate with and interpret the will of the fire. To prove this, she lights her hat on fire- causing the fire to spread and burn down the village, after which the flame dies out. The tribe argues, with most people blaming Zazalil for what happened- however, their argument is broken up by a scream, and Emberly comes running, and tells everyone that Grunt has been taken by Snarl.

With the fire gone, the tribespeople decide to use a painting of fire to trick Snarl into letting Grunt go. Zazalil warns against this, but that turns even her supporters against her. Zazalil, worrying about the safety of her people, decides to search for Jemilla to get her help.

Once finding Jemilla's new tribe, Zazalil has little difficulty convincing Jemilla to come with her, but the other tribe refuses to let her go with her- Zazalil fights off their warriors, but just when she's about to kill them, she changes her mind and instead chooses to spare them, and offer knowledge of how to make spears in exchange for Jemilla's release.

Back with the rest of the tribe, it seems like they might be able to rescue Grunt without waking Snarl up- however, Amberly wakes Snarl up in her rush to save Grunt- after predictably failing to trick Snarl with a painting, Jemilla and Zazalil arrive, armed with spears; after throwing two at Snarl and missing, with the spears hitting the wall, Zazalil discovers the secret to making fire- and she then starts a fire, saving the tribe and killing Snarl.

The film ends with both sisters acting in a leadership role.

Can I just say that the film is absolutely stunning- every little hair is animated, and the characters look wonderful- it beautifully depicts accurate reconstructions of how we believe Homo Erectus to look like, without going into the uncanny valley, and the songs, oh, the songs- some of those might even be able to make their way into Solstice rituals!


Moana is the most recent Disney Princess- like all Disney Princess films, her movie is traditionally animated- however, it also has a number of flashbacks which are drawn to look like traditional Polynesian art.

Moana is the second Disney movie to be set in the Pacific Islands, following Lilo and Stitch- the film opens on a scene drawn in the style of traditional Polynesian art, describing how Maui, a demigod, stole the Heart of Te Fiti, the goddess of life (and possibly creation?) while she slumbered- however, he was attacked by the demon, Te Ka, losing both the Heart of Te Fiti, and his magic fishhook (the source of his powers) somewhere in the sea.

This is all revealed to be a story told by an old woman, Tala, to a group of young children- while terrifying most of the children, the story instead captivates the young Moana. While the chief, Tui, argues with Tala, revealed to be his mother, Moana goes to the shore by herself, and, after saving a baby turtle, the ocean itself parts itself to give her the Heart of Te Fiti.

However, Tui comes, and the ocean returns Moana to the shore- however she drops the Heart of Te Fiti in the process, unaware of what it was. The tribe, led by Tui, sing about how it's not necessary to do anything new, and how they should just do what they've always done. This is a montage, with it starting out with a young Moana who wants to go out onto the ocean, with her becoming more resigned to staying on the island as the song goes on.

Years later, the coconut groves have been discovered to all be diseased, and the waters barren of fish. While the coconut problem is easily remedied (by culling the diseased trees and planting a new grove) when Moana suggests fishing outside of the reef, she gets in a fight with her father.

Moana's mother reveals that the reason her father is so opposed to going beyond the reef is that he once tried it- and it ended up killing his best friend- this again shown in the form of a stylized flashback. The conversation with her mother forces Moana to confront the fact that she never stopped wanting to go beyond the reef- and so she tries to, only to end up shipwrecked on the shore, after nearly drowning after being caught in the coral.

Moana becomes resigned once more to never leaving the island, until Tala reveals a cave filled with sea-faring boats, which could be used to safely sail beyond the reef.

We again get a flashback in the Polynesian style, this time with a song- and it seems that somehow Moana was able to see it as well, as she realizes that her people used to be seafarers.

Questioning her grandmother once more, Tala reveals that they stopped once the Heart of Te Fiti was stolen, and Te Ka filled the sea with monsters- now, Te Ka's corruption has spread to their home island as well, and the only way to save the island is to restore Te Fiti's heart. This was all shown in the form of yet another flashback.

Tala then reveals that she saw the ocean parting itself for Moana, and that she's kept the Heart of Te Fiti until Moana was ready to go sailing. She interrupts a meeting discussing the problem with news of the ships, and how they can sail away and restore Te Fiti's heart- Tui, upon hearing this, heads towards the boats intending to burn them, only to hear that Tala has become deathly ill- Moana, while torn, realizes that this is her only opportunity to save their home, and sails away through tears- I don't know how to describe the song she sings I suppose the only way to understand it would be to listen to it.

During a storm at night, her boat capsizes and she's shipwrecked- on the very island Maui inhabits. She demands he accompany her on her mission, and, after a song- he traps her in a cave. She escapes and she convinces him that, in stealing the Heart of Te Fiti, he has ceased to be a hero, and the two journey to restore the heart- however, first they have to retrieve Maui's fish hook, which is in Lalotai, the world of monsters.

The two fend off a number of monsters on the way there, and grow to respect one another- in Lalotai, they discover that the fish hook has been stolen by Tamatoa, and retrieve it. Once they have the fish hook back, Maui teaches Moana the art of sailing.

When they arrive at Te Fiti's island, Te Ka comes to face them, damaging Maui's fish hook- Moana refuses to turn back, and Maui leaves her there- in a fit of despair, Moana nearly gives up, only to be visited by Tala's spirit- this further increases Moana's despair, until Tala encourages her, reminding her of her mission- Moana then realizes that Te Ka is Te Fiti, corrupted by the loss of her heart- restoring the Heart of Te Fiti, Moana sails back home, restoring the world, and teaching her people the ways of sailing once more.

Honestly, this one could probably also provide quite a few solstice songs- these will definitely be staples of the season for me!
 
[X] Plan Neutral Compromise

Also, new omake!

This year, Disney has made not one, but two movies that have the spirit of the Secular Solstice- the traditionally animated Moana, and the CGI Firebringer. The fact that they were both released on the year of Baby Merlin's birth is wonderful, and makes me wonder if someone at Disney is, if not a Rationalist or Glowficcer, at least adjacent? Interestingly, both have tribal settings- Moana, being about the Polynesian people, and Firebringer being about a tribe of Homo Erectus.

Firebringer is arguably an allegory- both for the conflict between progress and safety, as well as for the development of humanity- while condensed into a much shorter period of time in the movie, all of the technological developments depicted in the movie did happen to be done by Homo Erectus.

I'm getting ahead of myself- the film starts with a musical number- all the tribespeople (primarily women, as would be historically accurate due to the low level of food available at the time) sing about their jobs- however, one group expresses desire in wanting to take the day off- this group is led by Zazalil, the chieftain's younger daughter- they are talked down by Jemilla, Zazalil's older sister and the future chieftain. Everyone then goes off to do their jobs.

Jemilla goes to speak with the chieftain, Molog, who, on her deathbed, reveals that much of their society is built on a foundation of lies- their god, a seemingly shape shifting duck animal spirit, is just a series of ducks she captures as a means of controlling the tribe (although it's not brought up, it's likely the reason Molag did it was to prevent conflict)- she further reveals that Atlyn's job (holding up the sky) is unnecessary and pointless.

While this is going on, Zazalil and her sidekick, Kyri, are gathering food- Zazalil expresses frustration with the repetition of daily life, and a desire to make things easier, in the form of a song that I still don't know if I can get out of my head. The song is cut off when Kyri reveals that she cut herself with a rock she mistook for a nut.
Zazalil realizes that the rock can be used to hunt.

Meanwhile, Emberly, whose job it is to test what's safe to eat, is teaching some children what is and isn't safe- then, Grunt, someone from outside of the tribe, stumbles onto the scene, scaring the children away- after she saves him from eating a poisonous berry, Emberly and Grunt sing a duet that ends with them about to kiss- however, this is interrupted by the arrival of Jemilla and some other tribespeople, who scare Grunt away for being an outsider.

Following Emberly lashing out at Jemilla for scaring Grunt away, Jemilla reveals the lies told by their old chief- the others initially disbelieve her, but after a scuffle that ends with Atlyn putting her arms down, everyone becomes resigned to the truth of the matter- it's at that point that Zazalil and Kyri come back, announcing their discovery- Zazalil tries to demonstrate the use of her new weapon on a boar, having already caught a smaller pig- the former priestess to the duck, Antadorn, is injured in the process, causing Jemilla to write the new invention off as too dangerous.

That night, everyone hides in their cave, now miserable after these recent revelations- Zazalil sneaks off with the intent to prove herself by killing Snarl, an anachronistic saber toothed cat (that type of cat was probably extinct in Africa by the point in time this is set). The night is stormy, and upon realizing that Zazalil left, Jemilla leads a group after her- a lightning bolt sets Zazalil's spear aflame, and just as she confronts Snarl, the others come to her and witness her use the fire to scare him away.

Zazalil convinces the tribe to exile Jemilla and claim leadership for herself- after she shows everyone the fire and leads the tribe (save Jemilla) in a triumphant song, we get a beautiful solo from Jemilla as she walks away- it reminds me almost of that scene from Mulan. The song ends with another person being reflected in the water behind her.

When we return to the tribe, we can see how much that fire has improved everyone's lives- people no longer live in the cave, instead living in tents Atlyn has sewn from the pelts of hogs and antelopes, and the food is abundant. However, people have become less social with one another, instead marveling at the fire. Further, Kyri expresses concern over there being less of the animals they hunt- Zazalil dismisses those concerns, instead saying that they can just hunt different animals.

We also see Grunt return to Emberly, and after introducing art, he gets accepted into the tribe- he sings a duet with Emberly as he paints a portrait of her, and the two actually get to kiss this time.

Back with the tribe, Kyri comes again to Zazalil, this time concerned about the rancid meat poisoning the river- while they're discussing this, Antadorn claims to have the ability to communicate with and interpret the will of the fire. To prove this, she lights her hat on fire- causing the fire to spread and burn down the village, after which the flame dies out. The tribe argues, with most people blaming Zazalil for what happened- however, their argument is broken up by a scream, and Emberly comes running, and tells everyone that Grunt has been taken by Snarl.

With the fire gone, the tribespeople decide to use a painting of fire to trick Snarl into letting Grunt go. Zazalil warns against this, but that turns even her supporters against her. Zazalil, worrying about the safety of her people, decides to search for Jemilla to get her help.

Once finding Jemilla's new tribe, Zazalil has little difficulty convincing Jemilla to come with her, but the other tribe refuses to let her go with her- Zazalil fights off their warriors, but just when she's about to kill them, she changes her mind and instead chooses to spare them, and offer knowledge of how to make spears in exchange for Jemilla's release.

Back with the rest of the tribe, it seems like they might be able to rescue Grunt without waking Snarl up- however, Amberly wakes Snarl up in her rush to save Grunt- after predictably failing to trick Snarl with a painting, Jemilla and Zazalil arrive, armed with spears; after throwing two at Snarl and missing, with the spears hitting the wall, Zazalil discovers the secret to making fire- and she then starts a fire, saving the tribe and killing Snarl.

The film ends with both sisters acting in a leadership role.

Can I just say that the film is absolutely stunning- every little hair is animated, and the characters look wonderful- it beautifully depicts accurate reconstructions of how we believe Homo Erectus to look like, without going into the uncanny valley, and the songs, oh, the songs- some of those might even be able to make their way into Solstice rituals!


Moana is the most recent Disney Princess- like all Disney Princess films, her movie is traditionally animated- however, it also has a number of flashbacks which are drawn to look like traditional Polynesian art.

Moana is the second Disney movie to be set in the Pacific Islands, following Lilo and Stitch- the film opens on a scene drawn in the style of traditional Polynesian art, describing how Maui, a demigod, stole the Heart of Te Fiti, the goddess of life (and possibly creation?) while she slumbered- however, he was attacked by the demon, Te Ka, losing both the Heart of Te Fiti, and his magic fishhook (the source of his powers) somewhere in the sea.

This is all revealed to be a story told by an old woman, Tala, to a group of young children- while terrifying most of the children, the story instead captivates the young Moana. While the chief, Tui, argues with Tala, revealed to be his mother, Moana goes to the shore by herself, and, after saving a baby turtle, the ocean itself parts itself to give her the Heart of Te Fiti.

However, Tui comes, and the ocean returns Moana to the shore- however she drops the Heart of Te Fiti in the process, unaware of what it was. The tribe, led by Tui, sing about how it's not necessary to do anything new, and how they should just do what they've always done. This is a montage, with it starting out with a young Moana who wants to go out onto the ocean, with her becoming more resigned to staying on the island as the song goes on.

Years later, the coconut groves have been discovered to all be diseased, and the waters barren of fish. While the coconut problem is easily remedied (by culling the diseased trees and planting a new grove) when Moana suggests fishing outside of the reef, she gets in a fight with her father.

Moana's mother reveals that the reason her father is so opposed to going beyond the reef is that he once tried it- and it ended up killing his best friend- this again shown in the form of a stylized flashback. The conversation with her mother forces Moana to confront the fact that she never stopped wanting to go beyond the reef- and so she tries to, only to end up shipwrecked on the shore, after nearly drowning after being caught in the coral.

Moana becomes resigned once more to never leaving the island, until Tala reveals a cave filled with sea-faring boats, which could be used to safely sail beyond the reef.

We again get a flashback in the Polynesian style, this time with a song- and it seems that somehow Moana was able to see it as well, as she realizes that her people used to be seafarers.

Questioning her grandmother once more, Tala reveals that they stopped once the Heart of Te Fiti was stolen, and Te Ka filled the sea with monsters- now, Te Ka's corruption has spread to their home island as well, and the only way to save the island is to restore Te Fiti's heart. This was all shown in the form of yet another flashback.

Tala then reveals that she saw the ocean parting itself for Moana, and that she's kept the Heart of Te Fiti until Moana was ready to go sailing. She interrupts a meeting discussing the problem with news of the ships, and how they can sail away and restore Te Fiti's heart- Tui, upon hearing this, heads towards the boats intending to burn them, only to hear that Tala has become deathly ill- Moana, while torn, realizes that this is her only opportunity to save their home, and sails away through tears- I don't know how to describe the song she sings I suppose the only way to understand it would be to listen to it.

During a storm at night, her boat capsizes and she's shipwrecked- on the very island Maui inhabits. She demands he accompany her on her mission, and, after a song- he traps her in a cave. She escapes and she convinces him that, in stealing the Heart of Te Fiti, he has ceased to be a hero, and the two journey to restore the heart- however, first they have to retrieve Maui's fish hook, which is in Lalotai, the world of monsters.

The two fend off a number of monsters on the way there, and grow to respect one another- in Lalotai, they discover that the fish hook has been stolen by Tamatoa, and retrieve it. Once they have the fish hook back, Maui teaches Moana the art of sailing.

When they arrive at Te Fiti's island, Te Ka comes to face them, damaging Maui's fish hook- Moana refuses to turn back, and Maui leaves her there- in a fit of despair, Moana nearly gives up, only to be visited by Tala's spirit- this further increases Moana's despair, until Tala encourages her, reminding her of her mission- Moana then realizes that Te Ka is Te Fiti, corrupted by the loss of her heart- restoring the Heart of Te Fiti, Moana sails back home, restoring the world, and teaching her people the ways of sailing once more.

Honestly, this one could probably also provide quite a few solstice songs- these will definitely be staples of the season for me!
Is that a Team Starkid reference I see?
 
Is there anything special we need to do to start Ducktales and the rest of the Disney Afternoon shows?
It'll be coming up in an action.
Didn't we already have Ducktales? I think the update where we start creating new cartooons show that we made Ducktales, alongside the Adventures of the Seven Dwarves, the Chronicles of Prydain and Geppeto's Workshop.
No, not quite. Ducktales is part of an upcoming additional cartoon offering action for the Disney channel, since otherwise you'd very quickly exhaust ways to keep the Disney channel from going under.
Bit too early for either of those ideas to gain traction at the moment, however, +5 to movie quality rolls and you get a mechanics question or advisor track reveal.

On the NASA update: I'm just about done with the rough draft of the NASA results, that update should be out tonight. Still clunking away on the Time interview, it might have to wait until after part 2 of the Hollywood Studios planning.
 
Bit too early for either of those ideas to gain traction at the moment, however, +5 to movie quality rolls and you get a mechanics question or advisor track reveal

yeah, the Rationalist movement doesn't even exist yet- timelinewise, that's set in 2016. The Mega Man show was actual meant to come out in 2018. I am thinking about writing some stuff up about hypothetical Madame White Snake or Tale of the Bamboo Cutter movies, though. (I also have already started working on a straight-to-streaming Super Paper Mario miniseries- which, even if you didn't do it in that format, couldn't exist until 2007, when the game comes out)
 
Is that a Team Starkid reference I see?
Yeah, I thought that it would be really good as a Secular Solstice movie- if I cleaned it up and made it child friendly myself I'd change Zazzalil and Jemilla to have mutual interest, maybe stick in a scene where Zazzalil helps Jemilla escape from the other tribe and then have Jemilla fall for her, but I don't see Disney as being ready for LGBT stuff by that point.
Glowfic" - I understood that reference!
Yeah, Baby Merlin is the real life son of a prominent (if not the most) prominent Glowficcer- Alicorn herself.
 
And I suppose my own glowfic fame is less than I would have liked XD. Oh well. A lot of my writing is trash, anyways.
 
Omake: The Sausage King of Burbank (semi-canon)
Omake: The Sausage King of Burbank

Frank looked at the artwork on the wall of his corner office in Burbank, it was unlike a lot of art in the executive wing, not a picture of Walt or one of the parks, no it was a picture of the Coronado Resort in San Diego. Unlike what the imagineers came up with there was something about the simple elegance of the Coronado Hotel, and apparently Mike agreed as since their weekly meeting the painting inspired him to move away from a Neoclassical design and go for the Coronado like design. Sketching down on some notes on his notepad he looked away from the wall with paintings and his degrees on the wall to the TV. Mike may be great at managing creatives but Frank kept watch of the tickers. Atop one wall was a quotron running the NYSE, and four TVs recessed into the wall, tuned to the major networks and CNN. It had been a while since Mike had taken much interest in the sausage side of the company, to be honest he couldn't blame him. If you had a choice between imagineers, TV and retail to Finance, HR, and Legal which would you choose?.. But someone had to make the Sausage that kept this place running. Thank God Burke was a breath of fresh air, he GOT it when it came to finance. He cleaned his glasses, as he saw his department heads come in. The triumvirate of Doom he heard some imagineers call them, but they were just the head of Human resources, the head of legal, and the head of finance. Or as the Imagineers called it: 'Stop doing that', 'that's not legal in that jurisdiction', and 'we aren't paying for that'. Jeff had run afoul HR as had Don multiple times. Sklar and Delaney hated the differences in California and Florida laws regarding theme parks, and even Mike got exasperated with "too expensive". Frank was able to convince him otherwise usually, and thankfully the company was more profitable than ever, just beginning to emerge from takeover risk territory, but he saw all three were frowning.

Frank sighed, "What now?"

"Exxon... we are going to be sued." said the head of legal

Frank rubbed the bridge of his nose, "Why? They backed out of our park."

"Apparently some of their old legacy investors think we caused the fall of their company. That solar push..."

The HR director rolled her eyes, "They get to roast us all alive to make a buck and they sue us?"

Frank held up his hand, "Desperate gamble or actual threat?"

"Desperate gamble, but we'll have to put a law firm on retainer in Houston, finding one not busy or without a conflict is difficult"

"Which means money. Our insurance doesn't cover us for this."

Frank looked at him, "Why not?"

"We aren't an energy company and NO ONE thought any American company would be dumb enough to cook us alive, or convince their competitors to do the same. The insurance companies are furious... especially the one that insured Exxon, and is on the hook for billions potentially."

"What are the odds this winds up in the Supreme Court? This whole mess with Exxon?"

"Overall? Fairly good, although they lost their first trial. It's going to the Fifth Circuit but jury selection is proving problematic."

Frank shook his head, "Well at least the court of public opinion is decided in our favor. Tammy any particular HR complaints?"

Tammy got our some papers, "You mean besides the usual suspects? At least with Don in Japan some of my workload is lessened. However I've been getting some complaints regarding Pixar."

Frank looked to legal, "You heard about this?"

"Not yet."

Tammy continued, "It's about John Lasseter, his behavior around female employees is becoming an issue. I've received a letter from the female animators about him."

Frank winced, "All of them signed it?"

"Most, not many are in the PIxar Group. I have a few options to work on it. I was thinking we send him to a facility or class."

The head of finance shook his head, "or we fire his ass and we don't have to shell out another 50k to keep one of our creatives in line. New Mexico?"

"There's one in San Diego, ideally we put him on a leave of absence for a few months, file the complaint and schedule biannual reviews."

Frank nodded, "Let's do that it will keep things going." checking off an item on the agenda, "Also Mike's told me next quarter there's an option to get the Disneyland Hotel."

Legal nodded, "Doable, but we'd have to go through their IP catalog, and other real estate investments."

Finance nodded, "Tricky, do we have any help to get the price down? Wrather knows we'll do anything to buy it."

"City of Los Angeles, and Martin Marietta's legal counsels are willing to help out, and their financial support might get BoA or WellsFargo to help with financing." Frank said

"The other apartment complexes we can sell off" the finance head said, "What about the Queen?"

Frank looked up from his notes, "What?"

Finance head rolled his eyes, "Queen Mary? Big ocean liner parked in Long Beach?"

Frank looked to legal, "How the Hell did Wrather come to own that?"

"Guy was a snake. After PSA was losing money on it, he bought it. Brought the Spruce Goose to Long Beach too, that little Londontown English Village thing next to them is just a tourist trap after all."

Frank shrugged, "Who else wants it?" He knew it was doubtful Six Flags wanted it, being that close to the ocean was murder on maintenance... although maybe Premier Cruise Lines would be interested... it would be a good cruise ship terminal... hmm... and wasn't that about 100 acres of land? Smiling to himself, "I'll talk to Mike when the time comes see what we can do."
 
Last edited:
“Go For Launch”
With Reagan notified of the problem, and your interview done, it's time to knuckle down and get to work fixing the problems at NASA, at least as much as you can. First, you've got to coordinate with Carl. Ideally he'll give the speech a couple of days before you head in to negotiate. Of course, you'll also want to have started on the animations at that point, so he has something to point to, and as a way of placating the managers. You manage to catch up with him in the animation department, as he's going over some concepts with Joe for the historical short.

"Carl, Joe, how are things looking?" You ask.

"Well, the historical short shouldn't take too long, it'll be out by the end of the year." Joe says. "The TV series will take longer, of course, but we've got a good set of episodes planned that take a look at all the different types of space travel we can think of. Rockets, the Shuttle, even some sci-fi concepts."

"It's been simply amazing working with everyone here, Mike." Says Carl. "I've even managed to pick up a few ideas for the speech I'm looking to give."

"Actually, I wanted to talk to you about that." You say. "I've had a chance to talk to Reagan, we're both waiting on your speech to approach the management at NASA."

"Ah. Do you have a copy of the letter with the names redacted for me? I'd like to be able to bring it up to the news networks, that way they'll take things a bit more seriously." He pauses for a moment. "Also, if you're fine with it, I'll bring up that you're willing to play mediator."

"Hmm… I'll get you a copy of the letter, and you can mention that I'm willing to be the go-between for management and the engineers." You respond. "How long do you think it'll take you to get a time slot?"

"With the letter? A week, tops." He answers.

———————​

A week later, you manage to clear up some time on your schedule to catch the end of Carl's speech, entering the break room the imagineers are watching the speech in.

"-and the wonders and resources of space are vast. It is understandable to wish to see them, to utilize them, to reach out and touch the stars. However, as we are all too frequently reminded, we must be cautious in our steps. Some of my friends in the agency have brought up concerns that they've been asked too much, with too little support. No one wants to see another tragedy like Apollo I. We have just seen the consequences of ignoring safety restraints when pushing boundaries, as all of Europe responds to the disaster of Chernobyl. Which is why I ask all Americans to understand that while delays in the space program may be expensive, they are never more expensive than the human lives such delays save. When we climb higher, we must remember to ensure that we do not fall." There's a pause. "But we should never stop climbing. And to remind us of that, well, I'm sure many of you know that I've been working closely with a certain company lately. They've agreed to produce for public broadcast a couple of animations, one a short history of NASA, the other a small continuation of Cosmos, still hosted by me, that focuses on how it is we plan to reach the stars. Mike Eisner, a man I've gotten to know well over these past few months, has also offered to negotiate between the engineers and management at the agency. I urge the management there to accept. We don't need to give up safety for progress, or progress for safety. Thank you for your time."

There's applause from his audience, and the network cuts back to the studio. The imagineers look over to you, and you stare back. "Well, here's hoping the negotiations go well." You say.

"We're all rooting for you, Mike. And hey, no pressure, right?" Tony says.

You snort. "No pressure. Well, I better go see if I can't set up a meeting at NASA."

———————
Another week later sees you at NASA, a group of the engineers on one side of the table, management on the other. Not everyone is directly from NASA, several of the contractors are present too, but overall everyone here does something for the agency. You're at the head, and somewhat concerned by the overall mood. Both sides seem subdued, but stubborn. "Alright, let's start with what both sides are hoping to get out of this." You say.

Before you can call on either side, Bob Ebeling speaks up. "Most importantly, we want the safety regulations to never be ignored again."

The group of managers shift awkwardly, looking at each other. Eventually Lawrence Malloy is volunteered to respond. "Yes, well, given certain recent events-"

"You mean the fact that the commies just did what you were doing, and nearly irradiated all of Europe because of it?" Says Brian Russell. You silence him with a look, before motioning for Lawrence to continue.

"Ah, that was one of the factors, yes. We'd like to declare that all safety regulations are going to be reviewed and strengthened, and anyone who tries to violate them will be summarily dismissed from the agency." He says.

Brian lets out a harrumph. "About time."

You clear your throat. "Okay, that's one thing from engineering covered. Management, what's one of the things you're looking for?"

"The sabotage of components has to stop. There's been too many mysteriously malfunctioning pieces for it to be natural. We don't care who, at this point, it just needs to stop." Says George Hardy.

"While we will neither confirm nor deny that components were tampered with destructively, such things would happen far less often if management would listen to us about delays." Responds Roger Boisjoly.

"We'd be more likely to listen to you about delays if they didn't come up on the launch pad!" Exclaims Jud Lovingood. "Do you know how much money a scrubbed launch from the pad is?"

"We try! We try as hard as we can to make sure that any problems are caught in advance. But for the love of God, man, there's only so much we can predict about the conditions on the launch day." Brain responds. "Look at the Challenger launch back at the beginning of the year. You wanted to launch right in the middle of a cold snap! The whole tower was covered in ice the day you initially asked for, we'd have blown up a school teacher on national television!"

"Okay! Everyone take a step back." You say. "How about this: If at least three engineers are recommending a delay, the launch gets held off for an hour while they confer with everyone else. If, at the end of that hour, they still don't feel comfortable launching, the launch is scrubbed and a new date is scheduled consulting with those engineers." You look between both sides. "The engineers write up a report on why they delayed, and it gets sent up the chain and released to the public for review and discussion. Management, I think you're underestimating how understanding the American public will be about delays, especially after what happened with Chernobyl. Hell, ask the Apollo I widows to come speak on your behalf if you need to, and if you need more public support, well, Disney at the very least will have your back. Engineers, you can't let any parts get 'tampered with destructively.' That definitely won't look good to the public."

Bob stares at you. "We could accept that." He finally says after what feels like an hour.

George Hardy tears his gaze from the engineers to look at you. "I think we could work with that as well."

The rest of the negotiations continue in much the same vein, but by the end of the day, you've hammered out a deal that seems to leave everyone, if not happy, at least willing to try. When the room finally empties, Bob stays behind as you finish getting your papers back into your briefcase.

"I… can't thank you enough, Mr. Eisner." He says.

"It's Mike, Bob. Just Mike." You respond. "And I just did what anyone would have."

"Maybe. But they wouldn't have done it half as well as you." He looks out the window. "You know, the President himself came down here a couple days ago. Said that he didn't care how much money we wasted, he could always add or cut funding as needed. But he couldn't undo a crash, couldn't bring back the dead. He wanted a legacy of reaching the stars, but didn't want to take the risk of a legacy of death instead." Bob turns back to you. "You didn't have to do anything with the letter I sent, didn't have to go as far as you did to help us. But you did, and that's something no one here will ever forget." With that, he steps out of the room, leaving you to your thoughts.

+10 to handling arguments, +5 to research rolls. Relationship with NASA incredibly high, will remain so for at least a decade. Slight boost to corporate interest.

AN
: You've gained experience negotiating between two parties, and if you ever need some cutting edge tech developed, NASA engineers are willing to share some (non-classified) secrets. And of course, given what just happened, the corporate world is looking towards Disney more and more.
 
Omake: Sony Does What Nintendon't
Sony Does What Nintendon't



In a rather pleasant meeting room of Nintendo corporate headquarters, Ken Kutaragi sat across the table from several senior members of the company's hardware design team, including division head Genyo Takeda. It was very similar to many other meetings they'd had over the past year, and about as productive.

"Your stubbornness on this matter continues to give you and your company little credit, Mr. Kutaragi," Genyo said. "We have tried again and again to offer you compromise on licensing rights for the CD system, but still we remain at an impasse. Surely you understand that Nintendo must maintain control of its creative process?"

Genyo's condescending tone finally snapped something in Ken, and any pretense of politeness fell from his expression. "No, Mr. Takeda, I do not understand it at all. This project is in partnership with Nintendo, but it is Sony that is providing the entirety of design and production. It is your company's attempt to control the creation of products for a system you had no hand in creating which is unreasonable."

Takeda slammed his hands on the table and stood up from his seat. "You impudent-! You and Sony have done nothing but delay and stonewall this entire production for over a year now, while Sega is due to release its CD expansion this winter! I've half a mind to drag you in front of a court for corporate obstruction and wring you for-!"

"Enough!" A command came from the doorway, and every head in the room swung around to see the speaker. An elderly man, thin with a cleanly pressed blue suit. A maker of children's toys. One of the most powerful men in Japan.

"President Yamauchi, I-" Takeda said.

"Mr. Takeda," Yamauchi said as he cut him off. "You will calmly explain to me why you have seen fit to yell at a guest of our company."

Genyo took a moment to compose himself, then continued. "Mr. President, Mr. Kutaragi has continued to insist on complete licensing control for the Super Disk peripheral. Over several meetings, he had dismissed numerous compromises and refused to offer his own. And so I became a bit...heated. My apologies."

Mr. Yamauchi nodded as he considered his subordinates words, then turned to Ken. "Mr. Kutaragi, I would appreciate your perspective on this issue."

"...The Super Disk is the creation of my team and my company," Ken began. "We have worked for over a year now on perfecting it and making it everything it can be. We must maintain control for the products that are made for it, or it would...it would be spitting in the face of everyone who entrusted me with their work."

Mr. Yamauchi nodded again, and then looks over the room, considering everyone within it. "...The atmosphere here has become too charged. This meeting is adjourned for now." He looked back to Ken. "I will be in touch. I will do what I can to arrange another meeting shortly."

X-X-X-X

Only a few weeks later, another meeting was arranged, and Ken could barely hide his anxiety as he walked into the restaurant behind his CEO, Norio Ohga. At the entranceway of Kitcho, they were immediately recognized and escorted to a private dining area, where Yamauchi waited alongside a man about Ken's age with a bowl shaped haircut. The pair rose to greet them as they walked in.

"Mr. Ohga, a great pleasure to see you again," Yamauchi said as he exchanged handshakes and bows. "Mr. Kutaragi, the same for you as well. Please, allow me to introduce Shigeru Miyamoto, head of our Entertainment Analysis and Development division."

Mr. Miyamoto was cordial and polite when greeting Ohga, but beamed and shook Ken's hand enthusiastically. "Mr. Kutaragi, it's a great honor to be able to finally meet you. Your work on the Super Famicom's sound chip was nothing short of incredible, and our developers are only just beginning to tap into its true potential."

Surprised, Ken took a moment before responding. "Thank you, Mr. Miyamoto. My daughter has been very impressed with your Little Mermaid production. She can hardly set it down."

Shigeru looked abashed, and shrugged. "Well, I can hardly take any credit for that, really. Mr. Bluth was indispensable in making sure the design came out right."

With a quiet clearing of his throat, Yamauchi made both of them realize that he and Norio were already seated at the table, and they quickly went to join their respective leaders.

"Mr. Yamauchi, while I appreciate you looking into this matter personally," Ohga began, "I do not understand how Mr. Miyamoto's position is relevant to the matter at hand."

"Mr. Miyamoto's presence here is because I had been fundamentally misunderstanding the nature of the disagreement between our two companies, and for that I apologize," Mr. Yamauchi said. "We will dive into that shortly, but I believe that would be best discussed after the first course." Several servers quietly filed in and served them.

Several minutes later, Yamauchi looked over at Ken. "Mr. Kutaragi, my understanding is that your work on our SPC-700 chip was done without the knowledge of the rest of the company, and when it was found out you were in very real danger of being dismissed. If you don't mind me asking, what drove you to risk so much?"

"I...well, to be honest, Mr. Yamauchi, I don't tend to think very much about the consequences of what I do." After a few chuckles, he continued. "But since I first saw my daughter enraptured in front of the television, I knew that there was a strong future in the realm of video games. But like with any art, an artist is confined and defined by the quality of his tools. So I wanted to do my best to provide the best quality tools, that the art may be advanced and evolved."

Yamauchi nodded and then turned to Ohga. "Did you feel the same way, Mr. Ohga?"

Norio stared at his counterpart for a moment, and then spoke. "In truth, Mr. Yamauchi, I did not share Mr. Kutaragi's sentiments. I simply trusted in my subordinate's judgement and in his passion for his work."

Yamauchi smiled at that. "I couldn't agree more, Mr. Ohga. Mr. Miyamoto, what are your thoughts on the Super Disk?"

Shigeru responded immediately. "While Mr. Junpei might not be happy with me, I must agree with Mr. Kutaragi. Technological advancement is the lifeblood of creativity in game design. Super Mario World could never have been made for the Famicom. Cartridges have many advantages, but the storage capacity of CDs allows for opportunities that wouldn't be possible on a cartridge, and offer potential synergy with some of our other projects. While we can continue production and design without a CD peripheral, many projects would have to be modified, and some scrapped entirely."

Yamauchi closed his eyes in thought, and the room was silent for several moments. "I also find it critical to consider the passion of those who create for my business, Mr. Ohga. Their intuition has often been key to the success of Nintendo. And...while I am loathe to loosen the grip on the control of what Nintendo shows to the world, I will choose to trust in the passion of my subordinates, and of yours." He opened his eyes and looked at Norio. "I am prepared to offer joint licensing rights to Sony for the Super Disk. No game may be produced on it without the approval of both of our companies." He then nodded to Ken. "And while it is not my decision, I would recommend Mr. Kutaragi to be in charge of licensing decisions."

Ken started at Mr. Yamauchi's proclamation. "But, sir, I...I hardly know anything about video games."

Shigeru laughed out loud, startling everyone at the table. "That's just fine, Mr. Kutaragi, I hardly know anything about video games myself!" He shook his head. "You don't need to be an expert; a child knows if a game is good or bad. If you enjoy a game, then rest assured the world will as well."

Getting things back on track, Yamauchi turned to Ohga. "Would this be an acceptable compromise, Mr. Ohga?"

Norio's face would be blank to most men, but Ken had worked with him for years. It was clear that part of him did not want to accept this deal, to hold out for total control. But the arguments were fair, and the Nintendo pair appeared entirely genuine.

"...I believe...we may be able to come to an agreement, Mr. Yamauchi."

X-X-X-X

"And, after that momentous meeting at a high-end restaurant, over a year of quibbling over licensing agreements was finally quashed. Both the Nintendo Super Disc, released here in America as the Super CD, and the Sony Play Station were unveiled at CES 1992. The device was launched in Japan in late 1992, and here in early 1993. And, even though this might shock you now, it actually did just kinda okay upon initial release. I loved playing co-op on Secret of Mana at my friend's house, but I wasn't going to ask my mom to shell out two hundred dollars to play it and a couple of adventure games. Also, though the double speed CD drive helped, the introduction of loading screens to the Super Nintendo wasn't something that fans took all that gracefully. It was nice that disc games were going for a fraction of cartridge games, but ultimately sales were just keeping ahead of the Sega CD.

"That is, until summer 1993 came, and with it a game that redefined the Super Nintendo. Star Fox arrived on American shelves packaged with a new accessory: the Super FX Cart. Slotting into the cartridge slot, the Super FX Cart was a pure hardware upgrade, so jam packed with memory and graphics processors that Argonaut developers famously joked that the SNES was a decent upgrade for the cart. And Star Fox made excellent use of all that extra hardware, with video backgrounds and beautifully textured 3d graphics that made people start to question the Super Nintendo's place as a 16 bit console. The famous "Fox Boxes" could barely stay on shelves, and a new era of the Super Nintendo's life began.

"It's not too much of an exaggeration that Star Fox single-handedly drove Super CD sales that year, and so now that Super CD's and Super FX carts basically went hand in hand, developers started to develop techniques to use both. This is where the real juggernauts of the Super CD era started to shine. Chrono Trigger, Doom, Tales of Phantasia, Donkey Kong Country and Star Fox 2 were marvels of their generation, and honestly I could do a video about each one. These releases became to integral to the Super Nintendo experience that the Sony Play Station actually began outselling the Super Nintendo during the tail end of its lifespan. Developers learned to utilize the memory banks of the Super FX Cart to pre-load necessary information, drastically reducing loading times. In fact, some of those techniques were actually integrated into earlier Super CD releases like Secret of Mana to reduce load times. Most of you probably never heard about that, because those software updates were only available through Nintendo's Satellaview service and peripheral, which was only active in Japan. Sorry, guys. But seriously, take a look at the Satellaview stacked underneath the Super Disc. It's like a Nintendo Tower of Power.

"The Super CD ended up a phenomenal success, ultimately selling over 15 million units. The design philosophy of the Super FX Cart and the Super CD were both huge influences on the future of video games. A rumored 32 bit expansion for the Sega Genesis was scrapped entirely, and Sega of Japan and Sega of America were forced to work out their feud in order to throw every resource behind the upcoming Sega Saturn, which was prepared to go up against the Nintendo Ultra 64 and the new Sony Play Station 2. Join us for our next video as we examine the Fifth Generation Console Wars, where things heat up, the student aims to surpass the master, and what was once a duel of titans becomes a three way brawl."

Or, In Which I Continue to Challenge the Idea that This Is A Disney Quest.
 
Omake: A Fantasy For All
Omake: A Fantasy For All

The Mouse and the Chocobo: Disney and Final Fantasy


When Nintendo and Disney made the agreement for the licensing of characters there was much excitement at the prospect. As it was proved soon enough with the new sponsored ride in Tomorrowland 2055, and the introduction of Link and Zelda in the new lands at the different theme parks, such agreement helped in promote the different franchises to the American audience, increasing the profit and intoducing many new players to the quality games made for the NES.

And it would be necessary, as Nintendo was having trouble in introducing their newest game, an RPG made by Square in 1987 by Hironobu Sakaguchi, a game that would be come to be known as the Final Fantsy franchise for all gamers to come.

Now it may surprise you to know that the beloved franchise of today was not quite popular in the States when it was first introduced. Indeed, Final Fantasy I was only modestly received, and Final Fantasy II and III were not released due to the time taken for localization as well as the developement for the newest console to be released by Nintendo (The SNES).

The console wars were in full swing, and although Nintendo had a slight advantage, it still needed to take advantage of as much ground as it could take from SEGA. For that they had planed to localize the newest installment of the franchise, Final Fantasy VI, the first one not to be directed by its creator. To avoid the issue of numbering they decided to name it Final Fantasy III.

Now, despite what you may believe, Nintendo knew that Final Fantasy had not made a great impact in the states, yet at the same time it had made an incredible one in Japan. They were sure that the introduction for this new part in the franchise would be what would get buyers hooked on the Nintendo wagon if they could get them to give it a chance. And what better way to get the children's interest than by the greatest medium known by then: Cartoons.

Enter Disney and their creative animation team.

By this time the Disney Channel was in full swing, creating classic cartoons such as Ducktales, Geppeto's Workshop, The Chronicles of Prydain, Batman: The Animated Series, the Legend of Zelda, Super Mario Brothers, etc. Their reach was enormous, and their influence felt across the country. As such when Nintendo of America's president Minoru Arakawa met with CEO Michael Eisner about the possibility of creating a new series based on the Final Fantasy Franchise there was no questioning about it.

The Project was put under the direction of by then Developement Producer Greg Weisman, and Batman: The Animated Series writer Michael Reaves, who would go on to collaborate in the future in the Award Winning Series Gargoyles, with both of them claiming that the work done in the Final Fantasy series helped them develope new concepts for the series later on.

The project in itself was simple, yet complex, as the entire game was an RPG giving the freedom to customize the character, yet at the same time they had to make sure to promote a linear path for the storyline to follow while showing kids what could they do with the game. The result was one of the most engaging, complex, and mature series done. Some of the themes had to be cut (such as the part dealing with teenage pregnancy) yet much of the plot remained solid, and for the time it was made, it has actually aged pretty well.

The series managed to do what it had set out to do in the end. Many who tuned in to see the Disney Channel's new offering were spellbound by the series, and bought the game in order to play it. The popularity of Final Fantasy grew to the point that Nintendo felt secure enought to once more release the Final Fantasy title as Final Fantasy VI in the United States, thus leading to also releasing the other Final Fantasy games as many new fans demanded to be able to play them as well.

As it is, the Final Fantasy series has a special place in Disney's library, and it can still be seen in re-runs in "Disney Classic" alongside the rest of the cartoons of the era.

A.N: I realized that Final Fantasy is being launched next year, and while it is an amazing game it did not have as much popularity in the U.S as it has nowadays. So I thought, "what would Nintendo do if they want to create Hype for a game that has poor reception in a country where you have a great relationship the foremost animation company?", and the answer was a no brainer.

Also, Weisman was working fro Disney at the time, so i figured that if anyone could make this series work it would be him, alongside Reaves, who not only wrote for Batman: The Animated Series, but Gargoyles, He-Man and TMNT as well.
 
I realized that Final Fantasy is being launched next year, and while it is an amazing game it did not have as much popularity in the U.S as it has nowadays. So I thought, "what would Nintendo do if they want to create Hype for a game that has poor reception in a country where you have a great relationship the foremost animation company?", and the answer was a no brainer.
If this is what we are doing for the FIRST game...what are we going to do when 4, 6 and 7 (My favorites) come out.
 
Back
Top