Shanghai Pirates of the Caribbean ride
What is your reaction to the work?
The ride pulls heavily from the movie franchise and effectively lifts memorable elements that most audience members would remember, such as main characters, ships, and physical attributes of the world. At the same time, it also references more niche instances of the movie, that is, things only a fan of the franchise would pick up on. This includes plot points, definitive scene visuals, and specific set decor.
What connections did you make with the work you just viewed? Discuss the elements of the work with which you were able to connect.
Connections to the ride for the average goer would be chiefly related to the Pirates of the Caribbean franchise. Personally, I was drawn to the blend of physical and projected visuals in the ride that makes it an immersive experience. The directional movement of the boat in which the viewer is seated changes direction in a very organic manner in relation to the visuals around it, and appears to move backward and underwater even when it does not due to the effective combination with projected visuals. I think the sudden descent underwater and return to the surface with the ghost ships was an especially successful sequence, which would not have been possible without projection. The biggest success for this sequence lies in the blend between physical and projected, and a lack of complete reliance on either.
What changes would you make to adapt this work to another medium? What medium would you use? What changes would you make?
I think the ride could be adapted to be a walk-around exhibit where in a museum fashion you could individually explore elements that celebrate set and environment design. The most jarring changes would be to the animatronics and elements of the story that rely on a particular movement on part of the viewer. The exhibit would be unable to control the distance at which people choose to view the animatronics, and would not be as effective without some serious revisions. The elements that rely on a particular vantage point of the viewer, such as the underwater sequence, the transition of Jack Sparrow from skeleton to human, and the battle scene of the ships would likely be the most problematic. This might be remedied by placing these experiences at lines, where crowds come to a natural stop.
The ride pulls heavily from the movie franchise and effectively lifts memorable elements that most audience members would remember, such as main characters, ships, and physical attributes of the world. At the same time, it also references more niche instances of the movie, that is, things only a fan of the franchise would pick up on. This includes plot points, definitive scene visuals, and specific set decor.
What connections did you make with the work you just viewed? Discuss the elements of the work with which you were able to connect.
Connections to the ride for the average goer would be chiefly related to the Pirates of the Caribbean franchise. Personally, I was drawn to the blend of physical and projected visuals in the ride that makes it an immersive experience. The directional movement of the boat in which the viewer is seated changes direction in a very organic manner in relation to the visuals around it, and appears to move backward and underwater even when it does not due to the effective combination with projected visuals. I think the sudden descent underwater and return to the surface with the ghost ships was an especially successful sequence, which would not have been possible without projection. The biggest success for this sequence lies in the blend between physical and projected, and a lack of complete reliance on either.
What changes would you make to adapt this work to another medium? What medium would you use? What changes would you make?
I think the ride could be adapted to be a walk-around exhibit where in a museum fashion you could individually explore elements that celebrate set and environment design. The most jarring changes would be to the animatronics and elements of the story that rely on a particular movement on part of the viewer. The exhibit would be unable to control the distance at which people choose to view the animatronics, and would not be as effective without some serious revisions. The elements that rely on a particular vantage point of the viewer, such as the underwater sequence, the transition of Jack Sparrow from skeleton to human, and the battle scene of the ships would likely be the most problematic. This might be remedied by placing these experiences at lines, where crowds come to a natural stop.
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