#expermenting with his design... i like how this looks but i MAY or MAY NOT change it back

[i-eater]

*staring at Consumer with the most absolutely horrified look* "THERE'S MORE OF YOU?!"☹️

[need-a-fugue]

We Grow Together (22)

Pairing: Bucky Barnes x Tessa Sullivan (OFC)

Chapter Summary: Tessa finds a new opportunity... and Bruce gets wasted.

Summary: Relationships can be tough, especially when one person is a recovering-from-being-brainwashed-and-tortured former assassin and the other is an overworked mutant scientist. But hey, every couple has their struggles. Right?

The restaurant was nice. Tessa had been there only once before, and that was for a business meeting with Tony, Helen Cho, and a couple of potential investors. They never ventured out of the bar, though – Tony’s philosophy, Everyone deserves to be taken to a five-star restaurant. But it takes a lot to make it past the bar with me.

Well she had managed to make it past the bar. And it was amazing. “I really was fine with Cantelina’s,” she says as the Maître D pulls out her chair.

Tony scoffs. “Please. It’s your birthday.”

Bruce leans over to whisper to her. “Sorry. If I’d known he’d hijack everything, I wouldn’t have told him.”

“I can hear you,” Tony responds in a whisper of his own as he leans forward.

Pepper turns in her seat and looks to Tessa, ignoring the two men at the table. “You prefer white, right? Chardonnay?”

“Oh, um, yes,” Tessa replies, watching as the woman proceeds to order a $500 bottle of wine without a second thought. “Pepper,” she gasps, but is met with a silencing hand.

“Please,” the blonde laughs out. “This is the least that we owe you.” A serious look suddenly takes over her face. “Unless you really don’t want this. We can go to Cantelina’s… or wherever you’d like.”

“No we can’t,” Tony interrupts. “She’s wanted to have dinner here forever.”

“Yeah, but I can’t ask you – ”

“Ask? No, you’re not asking us to take you out.”

“Yeah,” Bruce intones, facing Tony. “You actually weren’t invited at all.”

Tony slowly turns to his friend. “You agreed that this was a good idea,” he explains as though he’s speaking to a small child. “We discussed this, remember?”

“We discussed taking her to dinner sometime in the future to – ow!” he lets out as Tony’s shoe connects with his shin…hard. “I’m just saying, you didn’t have to take over her birthday.”

“I’m not taking over. I’m picking up the pieces the Tin Man left behind.”

“Tony,” Pepper warns.

“Look,” Tessa interrupts. “This is all really nice…” She pauses briefly and looks longingly around the dining room. “And you’re right, I do really want to eat here. And drink that crazy expensive chardonnay…”

“Good,” Tony utters from across the table.

“But, you really don’t need to pay for all this.”

He waves a hand in the air absently. “It’s a business expense. I do this for all of the people I’m trying to woo.”

“Only the important ones,” Pepper says with a smile.

“You do know that I already work for you, right?”

“Yeah, about that,” he says, stilling suddenly as the wine is brought out and served.

Tessa literally sits on the edge of her seat until the waiter leaves. “About what?” she asks. “You’re not firing me, are you?”

“Not entirely, no.”

“Not entirely?”

Tony leans back in his chair and motions to her glass of wine, urges her with his eyes to try some. She picks up the glass and sips the dry, buttery liquid, lets the warmth flow down her throat, all while maintaining anxious eye contact with her employer.

Pepper watches the odd dynamic, notes Tessa’s agitation – and Tony’s amusement – and shakes her head. “Would you just tell her, please?”

“I was building up to it, creating a mood,” he says as he straightens upright. “But fine, sure, I’ll just tell her.” He turns to face Tessa and says without any ceremony at all, “I want you to run the medical research division of Stark Industries.”

Tessa wrinkles her nose in confusion. “There is no medical research division of Stark Industries.”

“There is now,” Bruce supplies from her left. She glances over to find him trying to hide a coy smile behind his glass.

“I don’t understand.”

“Next week, we are officially in business with U-Gin, which means we’re going to devote more time, money, and resources to that side of the business.”

Pepper interrupts to supply the business perspective that Mr. Idea Man often lacks. “We’re going to be restructuring the entire Research and Development sector. Robotics, Biomechanical Engineering, Innovative Design Technologies, and Genetic Medical Research. We would like you to lead the new Genetic Medical Research division.”

Tessa cocks her head, a completely dumfounded look on her face.

Bruce lightly lays his fingers on her forearm to get her attention. “Of course, this means your role with the Avengers may change a bit,” he says. “You’ll no longer be able to practice.”

“She hates practicing,” Tony blurts out. “I’m not a practitioner,” he taunts, repeating her all too often uttered phrase.

“You did an amazing job setting up the medical response teams,” Pepper tells her. “Now you’ll just need to select who you want to lead the tier one team in your stead.”

“But, you’ll still, officially, be the Avengers’ lead physician,” Tony assures her. “There’s a level of trust there – medical records and secret old injuries and such. You just need to… delegate more. Like I’m doing now.”

“This will also mean a lot more time in the city,” Pepper continues, eager to explain just how this position might affect Tessa’s life. “We’re going to redesign and reopen the lab in the tower. You’ll still have your personal lab at the compound though – ”

“For pet projects,” Tony supplies.

“For whatever projects you personally choose to work on,” she corrects. “We want you to continue your research. We just want to give you the platform to do it on a much larger scale.”

“But… why?”

“Why?” Tony mocks. Then, turning to Pepper, “Did she just say why?” Pepper only smiles in response, tilting her head in that I’m trying to be patient with you way of hers. He lets out an exaggerated sigh before turning back to Tessa. “Because you’re going to cure diseases. You’re going to find a way to clone tissues for transplantation. You’re going to help the human race… evolve. And I want my company to get all of the credit.”

She stares at him for a long moment, working to gauge his level of sincerity. “I don’t think I know what to say,” she finally utters.

“You should know, there’ll also be a ton of boring meetings, press conferences… board meetings,” Tony adds with a dramatic eye roll. “The bureaucracy is just awful.”

“Board meetings?”

Pepper gives her a soft, patient smile. “The head of each new division will have a place on the board.”

“The board? Of Stark Industries?”

“Tell me you’re getting this, kid. I picked you because I thought you were some kind of genius. Not me kind of genius. But some kind.”

She nods emphatically. “I get it. I get it. I just… I don’t really have the experience… or any experience.”

Tony scoffs. “You have plenty. And besides, I like to mold my people.” He pauses to take a drink of the wine in front of him, and he makes a face the moment it hits his palate. “Ugh. No. Need scotch.” He motions for a waiter. “Also, you know Dr. Cho and you’ve been in on the U-Gin dealings from the beginning. It just makes sense that you’d be the one to set up the new lab.”

“The new lab in the city?”

He turns back to her after ordering a drink and momentarily gives her a confused look. “No. That won’t be big enough. We just bought a 500,000 square foot building in Seattle. That’s where the new lab will be. Did I mention this job will require travel?”

“Only in the beginning,” Pepper says. “We’ll need you in Seoul for a few weeks to work with Dr. Cho and her team on the plans. And then it’ll just be some back and forth between New York and Seattle while it’s all being built and staffed. Though, of course, you can go there and check in as needed. And you’ll have access to the company jet.”

“One of the company jets. Probably not the nicest one,” Tony says.

“Your office will be in the city. But you’ll be able to remote in from anywhere, including your office at the Avengers compound.”

“Okay,” Tessa says simply. “I can do that.”

“Of course you can,” Tony says, clapping his hands together. “You’re a big girl now. You can do anything!”

“Tony,” Pepper breathes out as she shuts her eyes and shakes her head in embarrassment.

“What? It’s true. She’s finally an adult. You didn’t think I’d give a job like this to a twenty-something, did you? Hell, the last time a kid headed a division, he almost ran the company into the ground.”

“Just so we’re clear here,” Bruce begins, leaning forward, “that kid was you, right?”

At some point during the three or so hours they spend at the restaurant, Pepper orders some other crazy expensive wine, and despite filling up on the most delicious filet mignon ever made, Tessa is fairly tanked by the time she gets back from the city. Oh, wait, that might’ve also been the bottle of scotch that she split with Tony and Bruce after Pep left. Well, whatever the reason, the room is spinning like a damn dreidel the moment she steps inside.

“I got it,” she tells Bruce as he helps lower her to the couch in her apartment. She closes her eyes and leans back into the cushions. “I got it.”

“Yep.” He grabs two bottles of water from her fridge and returns to collapse onto the sofa beside her. Tossing one of the bottles into her lap, he lets out a long growl of a sigh.

“Ha!” Tessa barks out without lifting her head. “You’re drunk.”

He takes a long gulp of his water and simply repeats, “Yep.”

They sit in silence for several long moments, waiting for the world to settle around them. When she finally opens her eyes again, things are at least a bit less spinny. She turns to face Bruce. “Why aren’t you doing it?” she asks him, words only slightly muddled.

He blinks hard to focus – what had he done with his glasses? – and gives her a confounded look. “Doing what?”

“Running this new… thing. I know you’re Tony’s first choice.”

He leans back and gazes up at the ceiling. “I don’t think…” He sighs long and loud. “After my failed experiant… experent… ex-peer-ment… It isn’t in me. Not like you.”

“I’m in you?” she asks with a snorty giggle.

“You were made for this,” he breathes out. Sitting upright, he looks her in the eye, though he has to cock his head a bit to the side to dispel the slight double vision. “Don’t be nervous.”

“Don’t be nervous?” she asks incredulously. “Billions of dollars,” she exclaims, throwing her hands into the air. “One of the biggest companies… a board member?”

“Tony wouldn’t ask if he wasn’t sure.”

“He’s testing me.” She rises from the couch with a rather significant sway and looks down at Bruce. “It’s all a test.”

“Waxing poetical,” he murmurs with a sweep of his hand. “Life’s a test. You pass, you die anyway.”

She stares down at him for a long moment, unsure what to say. Then, “I’m gonna rock the shit outta this job,” comes out through gritted teeth.

“Yes!” Bruce jumps up excitedly… maybe more animated than she’s ever seen him. She stumbles back a few steps and lets out a raucous laugh. “Yes,” he repeats, less emphatically as he wobbles where he stands. “And I’m going to…” He slowly lowers himself back onto the couch. “I’m going to rock this sofa.”

[arkus-rhapsode]

What is Canon in Fairy Tail?

Hey guys so of recent I’ve had this thought on my mind of the canon of the series of Fairy Tail. Before I dive into discussing fairy tail spefically I want to first establish this idea of what is canon. The definition of canon is “ a collection or list of sacred books accepted as genuine.” The big point of that is “Genuine”. With many series in popculture having expanded into media in different fields it is often debated over what is genuine article.

Now Fairy Tail started as manga written by Hiro Mashima, and if it had just stayed a manga then the way of accepting what is genuine would be simple, what’s written and drawn is canon. Hiro Mashima is the creator of this world and all these characters, he is it’s god. Whatever he’d write would be considered canon no matter the context, he could very well write that Natsu is the Easter bunny and that be canon, even if it would make no sense in context of everything that had happened up to the point but Natsu is Hiro’s creation he can decide what Natsu is or isn’t.

However, Fairy Tail isn’t only a manga, like many manga, it was adapted into an anime. As well as light novels, movies, and spinoff manga. Well I’ll try to tackle each of these and boy this is going to be tough.

Now let’s first start with the anime, the general idea of an anime is to capitalize on the popularity of a series to make money for a studio, while promoting the original manga. An often underlining rule among anime/Manga fans is the manga is canon and the anime’s job is to adapt it on to the small screen while adding things to immerse yourself into the world such as music, actors, and coloring. Now here’s the biggest problem when discussing anime is filler and to discuss filler we need to define what is filler. Filler is again meant to immerse yourself into the world of the manga, however with filler there’s a very cynical approach to it and that this is a studio that needs to fill a contractional obligation. Be it one slot or a whole arc to build up chapters to adapt so there doesn’t need to be more filler. Now, here’s the issue when talking about filler in fairy tail and it goes to a little arc called key to the starry night.

With other filler arcs such as the eclipse celestial spirit arc and the daphne arc it’s easy to scoff off them as “they don’t count” because there is no reference to them in the manga at all. But with Key to the starry night arc there is a reference by Yukino in the manga. Even calling it “the zentopia incident” and just to make this cock tail of confusion complete, we add creator involvement. Now let’s try and break this down, first, thanks to this reference I now need to introduce readers to something I call “the Shaz Domino principle”, which is no matter how small, no matter how uneventful, and how insignificant, this reference was put in directly by the creator there is no denying that zentopia is a thing in this universe. But now we get into the nitty gritty and zentopia is a thing in the manga, but what do we know about it? Know you could clearly say “I watched the anime, I know what zentopia is” well here’s the thing, does every Fairy Tail fan watch the anime? How do we know that Everyone who is the fandom has been exposed to the whole arc of zentopia. But for those who may only read the manga not having access to the anime or possibly believe it not to be faithful to the source material will have read that panel and not know what zentopia is with no build up before hand or mention afterwards. It’s something they have to take at face value. As well as the creator involvement, We don’t know what Hiro Mashima really contributed to this filler. There is no way for me to transport to him and ask him this question of “what did you do for the anime staff?”

Because creator involvement can range from a number of things, like Eiichiro Oda providing the linework for daddy masterson in the lougetown filler of one piece to Tite Kubo providing a little pre story to set up the Bleach hellverse movie. We don’t know what Hiro Mashima did for this, and even if we go searching there is no way to be certain that our great internet super highway is right. There has been the controversy of Lisanna’s return with many siting he did it for the anime staff or those saying no it was his intention from the start, there is no way of knowing unless directly from the man himself. And how easy would that be? It’s been well documented that and Hiro even stating he wanted Erigor in the oracion seis arc but due to deadlines he cut it but the anime staff put in Erigor. But there has never been a case of Hiro Mashima saying “This filler arc is canon.” It wouldn’t be hard either he does many afterwords in his manga volumes so how hard would it be?

Now another problem is “well wait a minute, how does angel have that new magic then? Yukino said Zentopia that must be canon” Again here’s the problem lack of evidence, there may be a reference but where is Midnight’s Darkness Magic? Why Sawyer seemingly forgetful of the lesson Mirajane imparted on him? Where is Satan Soul: Halphas? We don’t even see the reaction to Zentopia being mentioned to Lucy. Cobra appears in the GMG arc acting as if he was never heard from sense to the Oracion Seis arc. “Well Hiro’s very wishy-washy with the canon already who cares about these plotholes then.” I can understand that Hiro has forgotten things that he’s written like Lucy can use a different star dress even though she didn’t even summon the spirit, Gray didn’t eat Ice lock when it was around his neck. Well if Hiro Mashima is able to care about things such as the whole Grandeeney mentioning Wendy and Natsu have met, Natsu in Avatar looking up at the former destroyed bell tower in tuly that was only verbally mentioned in chapter 1 and 2. So the man has some self awareness of his series and something as big as an arc where lucy is almost removed from existence would kinda need some justification and not one scene.

Now, on to spin offs and light novels, this I have a better grasp of due to knowing about the manga industry. When a series can be made into a novel or a spin off it is mandated by the publisher because at the end of the day Kodansha Comics is a business and a business wants to profit off it’s hot sellers. Now obviously Hiro would need to sign off on this as they are using his brand in their work, but at most it’s in the hands of the publisher. Now enough of the business jargon you want to know it’s on the canon or not. Well the spin-offs have been done by a variety of mangaka and to varying success. Well the main idea of the spin off is, like filler, is to enrich the story focus on characters that don’t get the spot light as much, like saber tooth or Gajeel or Laxus, but here’s the thing a lot of these spin offs tend to line up with very gray moments between events in the already established series. Since we never focus on Saber tooth who’s to say that the Abyss Horn fight didn’t happen, we didn’t pay attention to gajeel for a while maybe he was on a mission.

Now Unlike the key to the starry night arc there’s never been a reference to ANY event in the spin offs. We never here from Ichiya about the red princess stuff when he showed up in the alvarez arc, Cobra and Gajeel never think of each other, Sting and Rogue never mention they fought an earth dragon. There is easier ways to dismiss it as actually being relevant. “But what about FT zero? Are you going to say it’s canon because it was drawn and written by HIro?” Well unlike the other spin offs there is more references in the manga series to the events to Zero than there is for the other spin offs. I brought up how a person who only reads the manga would have to take “Zentopia incedent at face value well at face value we do get the flash back chapters about FT’s founding, we do get (prooly) Zeira established before her sudden return. They didn’t have to read the the spin off or watch the anime filler to get that info.

Now on to the light novels which are a little harder to talk about because Hiro contributed all the artwork for them. He even reused the designs of Gajeel and Levy’s kids in the manga series. This is another tough one as we know Hiro Mashima isn’t some monkey who will draw whatever is handed to him by another writer he obviously must have had a dialogue with the writer of “colors residing in the heart”. But here’s something that I question all these spin offs make reference to the manga series but does any other outlet acknowledge they exist? We never get the Anime talking about the return to edolas or onne spin off saying Abyss Horn was part of the Balam alliance. Only reference to fillers like the eclipse zodiac arc appear only in the anime and not the manga. The only one that ever gets to be mentioned in another media is the “trouble twins” with Hiro Mashima using the design of Gajeel and Levy’s kids meaning it’s very likely that the events in that light novel could happen.

Now here’s another problem, Omake. They are all written by the author of the manga and are even adapted into filler episodes so are they canon? Well in Japanese Omake literally means ‘extra’ and what is an extra? Is it a little story that’s told at some unspecific time? Is it a kinda “what if” scenario that the author wants to experement his writing skills in? Does he just want to make you laugh and needs the context to do it?

Well at times it seems to be generally accepted as a “what if” scenario because we know that 1 billion years ago the ancestors of Natsu never molested the ancestor of Lucy, we know there was never and Ichiya epidemic, we know that that Fairy Tail and the Seven Deadly Sins don’t share the same universe. “But hey those are so outlandish what about “Mulan Rouge” or “Natsu vs Mavis” they seem like they could very well happen and they were in both Manga and OVA form.” Well hears another nitty gritty we aren’t really given a point they could’ve occurred in the story.

Well at this point I’m sure everyone is reading this saying “Your just cherry picking everything at this point and your making it sound like anything not written or drawn by Hiro Mashima isn’t canon and all of it is just glorified fanfiction”. Well glorified fanfiction is a good term because I know many writers who actually seem to understand and do more with the universe of Fairy Tail than Mashima himself. And here’s the biggest factor of them all, is the audience.

The audience has a wide variety of what they want to accept as canon for personally reasons. I know many who love the Oracion Sies and want key to the starry night to be canon so all that development they got wasn’t brushed off as “doesn’t count”. I know many who would love to pretend the “stone age” Omake never happened because of the disrespect it shows to favorite characters even though they are Mashima’s. I personally enjoy the Gajeel manga because it focus’s on Gajeel and allows him to  get more shine than either manga or anime have given to him. I know some who for shipping purposes will full heartedly state the christmas omake is canon even though people can find flaws like “Jellal being in magnolia makes no sense”. And here’s another thing the Sabertooth manga I didn’t like but I did something with sabertooth that wasn’t just just Sting or Rogue.

The audience sees the potential in this world and most likely wants to create their own canon. Their own way of accepting the things they want fairy tail to be and brushing off the stuff that hinders their ability to enjoy it. Me personally I find the easiest way to accept is “If it wasn’t in the main manga, it didn’t happen” but someone could say to me “If it didn’t happen in the manga it didn’t happen except for Mulan Rouge that makes sense as canon”. We all make are own acceptance of what we want fairy tail to be. And if that’s the case, then no ones wrong or right because like opinions our views of acceptance are different and like opinions, if you have a different take on canon you’re going to end up butting heads.

Well that’s my take on it. Now if you guys got anything say send me an ask or message. And maybe we can all admire each others canons.

[analiecious]

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[talkdisney]

When a new attraction opens at a Disney theme park, actually getting on the ride can take a lot of patience. James Cameron’s Pandora: The World of Avatar debuted last May at Disney’s Animal Kingdom and lines for Avatar: Flight of Passage can still exceed two hours without a FastPass+, which are always in short supply. The new Toy Story Land, which opened June 30, features a new Slinky Dog Dash roller coaster that has Pixar fans waiting five hours in line.

While Walt Disney Imagineering can’t do anything about the Florida heat, humidity or rain, it can make wait times more manageable. And the key to keeping Disney fans occupied while visiting U.S. theme parks is video games. While taking in Andy’s backyard from a toy-sized perspective in Toy Story Land, guests can play Andy’s Board Game Blast, a digital take on a classic family board game that’s been designed to pass the phone around for multiplayer interactivity.

The “Play Disney Parks” app, which launched June 30 and is only playable in Disney theme parks, is the first product from the Imagineers and The Walt Disney Company’s digital guest experience division that aims to capitalize on the game development bandwidth inside the company (Disney Interactive was also involved) and the ubiquity of gaming in today’s world.

Imagineering has always incorporated experts from across the entertainment and technology landscapes. With the rise of video gaming over the past three decades, the group has seen an influx of game developers join its ranks. Over the past decade, the concept of “gamer” has grown to incorporate the majority of people across the globe – and the guests that visit Disney’s theme parks around the world.

Anyone who’s been to Walt Disney World Resort’s The Magic Kingdom or Epcot over the past ten years or so has seen the direction Imagineering has been steering the guest experience, blending video game role-playing experiences with real world attractions. Disney’s Kim Possible: World Showcase Adventure debuted in 2006 and offered guests flip phones to go on a secret mission that unlocked interactivity with animatronic characters hidden in plain sight. In 2012, that attraction gave way to Phineas & Ferb’s Agent P World Showcase Adventure, which incorporated an AT&T sponsored FONE (Field Operative Notification Equipment) for interactivity. The new Play Disney Parks has integrated Agent P into the app, which unlocks at Epcot.

Jonathan Ackley, executive creative director at Walt Disney Imagineering, is one of the game developer minds behind these experiences. Ackley is best known in the video game world for his work at LucasArts, developing classic PC games in the 1990s “Day of the Tentacle,” “Sam & Max Hit the Road,” “Full Throttle,” “The Dig” and “The Curse of Monkey Island.” Since 2001, Ackley has been gamifying experiences at Disney theme parks, including the wildly popular Sorcerer’s of the Magic Kingdon collectible card game that unlocks animated storytelling and motion-sensored gameplay at hidden kiosks throughout the Orlando theme park, and Disney Cruise Lines’ Midship Detective Agency, which uses motion-sensored playing cards to reveal interactivity across “enchanted pictures” throughout the cruise ships feature Mickey Mouse and the gang, as well as The Muppets.

Josh Gorin, executive R&D Imagineer at The Walt Disney Company, told Variety that the free iOS and Android app offers the chance to extend that interactive storytelling layer into the guest pocket, leveraging the incredible power of this basic super computer that they’re carrying around and turn it from a distraction from the experience into something that enhances it.

“When you think about the history of Imagineering storytelling over 60 years, it’s about creating truly immersive places where guests can step into fantastic worlds, meet characters they love and connect with the people they’re with, and Play Disney Parks is a natural extension of that original vision by leveraging the latest and greatest in technology to bring those worlds to life and give our guests an active role in the story,” Gorin added.

Dan Soto vice president of the digital experience at The Walt Disney Company told Variety that over 90% of guests visiting Disney theme parks bring a smartphone along for vacation. It’s this “tipping point” that has paved the way to introduce video games designed to be played while waiting in line at specific attractions throughout the four Disney World parks and two Disneyland parks in the U.S.

“Since 2013 we’ve been on a fairly aggressive track on the digital transformation of our theme parks and a lot of that is a direct response to the consumer,” Soto said. “Our world is changing. We walk around with our smartphones all day long and have this thirst and demand for real-time information, for customizing and personalizing experiences, for leveraging technology to create a simple and seamless sort of consumer experience. So whether it be Magic Bands, which we introduced back in 2014, or the My Disney Experience app, all of those things have been all about how do we make your guest experience much more simple and seamless.”

Even inside the queues for rides, Disney has been integrating video games for fans to interact with to help distract from the lines. In 2014, Seven Dwarfs Mine Train opened at New Fantasyland at the Magic Kingdom with touch screen displays offering multiplayer “Bejeweled”-style gaming.

“We’ve been exploring how to leverage interactive technology to even make your wait time experience feel better and more immersive,” Soto added. “Mine Train is a good example of where we have more physical kiosk-based interactive experiences. Haunted Mansion has some fantastic props within the queue that allow you to interact. But the new app allows us to unlock new models of gameplay through the ability to scale and introduce new games to the guest experience.”

And gamifying the theme park experience is something that’s easy to connect with the wide array of visitors that vacation at Disney properties. According to Statista, in 2017 The Magic Kingdom attracted 20.45 million guests, Disney Animal Kingdom drew 12.5 million visitors, Epcot saw 12.2 million attendees and Disney Hollywood Studios saw 10.7 million vacationers. Disneyland’s California parks lured another 18.3 million visitors last year.

“At Imagineering we’re all about telling stories by bringing these spectacular worlds to life, and then our guests get to step inside them and take on a role,” Gorin explained. “So it’s really interesting when you combine more traditional production and scenic disciplines with game design because now you’re giving that guest an active role in the story. They’re not a passive participant. They’re able to take on a character or a persona or even just be themselves, but make meaningful choices that matter and interact with the world in a way they couldn’t before.”

Disney has been working with Disney Interactive as well as game developers across mobile, alternate reality, live action role-playing space and alternative narrative space to develop the app. Soto said the goal was to transform the smartphone from being a distraction from the story and the people you’re with into an enhancement.

“These games were designed to get guest looking up and around and engaging with the world around you, and most importantly the people you came with,” Soto added. “It almost turns the phone into a remote control for the park. It becomes your interface, your prop, as you navigate these spaces. And in a lot of these queue games you actually have the ability to trigger and interact with real physical effects. We’ve experimented with that before outside of the app, but now we’ve brought that onto our platform where we can do that in a much more scalable way and really make the parks feel alive and dynamic and keep track of your profile and achievements in a way that makes you feel you’ve taken on a meaningful role in this story.”

Toy Story Land includes two new games that are available while waiting in line for the Slinky Dog Dash rollercoaster or Toy Story Midway Mania dark ride. Andy’s Board Game Blast offers a multiplayer board game experience, while Toy Story Midway is a collection of multiplayer mini-games that eventually interact with physical elements of the queue before guests board the ride, which itself is a 4D shooter featuring the cast from the Pixar films. (Disney Interactive actually released a console video game version from Papaya Studio called Toy Story Mania back in 2009.)

All of the games being designed for the app offer hand-the-phone-to-the-next-player multiplayer experiences on purpose, according to Gorin, even though traditional mobile games connect online.

“As we were designing these activities especially for the queues, we wanted to create something that was completely distinct from other mobile games,” Gorin said. “We wanted to avoid that nose down experience. We went for a family game night vibe, not a mobile gaming vibe. So the experiences were designed to get people looking up and interacting with the world and interacting with each other using the gyroscope and sensors that today’s smartphones have.”

Soto points to a moment in the Space Mountain game where guests are completing mini quests to level up their ships by looking around the queue for power-ups and competing against other guests. At the end of the line, guests can see their ships racing around.

Achievements both inside these games and across the theme park attractions will be built out over time, tapping into the popular video game concept of accomplishing goals and then sharing them with the world.

“We’re so excited about what digital achievements can do within the park, and it’s not even just the obvious things like I rode Aerosmith’s Rock’n’Rollercoaster or I scored a high score on this particular game,” Soto explained. “We think there are opportunities to do fascinating things in terms of combining achievements like experiencing 7 Gs in one day, which would require riding Mission: Space and Test Track in Epcot. We think there are so many opportunities to unlock the achievement platform and even introduce a whole new layer of physical experiences for guests by virtue of having that achievement. At Disney we have this amazing physical immersive brick-and-mortar experience that gives us a built-in advantage to really pay off some things in a pretty special way with this achievements platform.”

“Our guests come to the parks again and again because there are new secrets to discover and they get to experience all new things, and the power of an achievements platform like the one in Play Disney Parks is the opportunity for guests to recognize that discovery as they explore the parks and unlock new things to be recognized for that with these digital goods that they can then share online,” Gorin added.

Soto said it would be easy to quickly add the type of collectible pins that are a staple in the real world to the app as virtual achievement pins.

The app will eventually add a leaderboard for guests to see where their video game and in-park achievements rank against others, according to Gorin.

“We want to grow and expand this platform in a major way, and social gaming and interconnected gameplay is something that we’re absolutely super excited about,” Gorin said.

The Walt Disney World Resort has over twenty hotels on property and four theme parks in Orlando alone.

“We think the opportunities to expand this platform well beyond our theme parks, maybe even connecting across different theme parks around the world is a big opportunity for us in the future,” Soto said.

Disney has aggressive plans to expand its parks around the globe. In the U.S. alone there’s a new Mickey and Minnie Runaway Train ride coming to Disney Hollywood Studios in 2018, followed by Star Wars: Galaxy’s Edge at Disneyland and Disney Hollywood Studios in fall 2018.

“As you start to think about new lands and actually building this interactive layer into the fabric of the land from the very start, that’s really compelling,” Gorin said. “We’re already hard at work with the Star Wars” Galaxy’s Edge team to integrate this technology and this form of gameplay into that land so that when our guests do encounter Black Spire Outpost, they will find the Play Disney Parks app a very important tool for navigating that place and interacting with its population.”

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Disney Turns to Video Games to Make Its Theme Park Lines Fun When a new attraction opens at a Disney theme park, actually getting on the ride can take a lot of patience.