While it's easy to complain about the change, Goddard’s answer here, too, is enlightening. into a room similar to the one they just left. Rather than the vortex leading to the cavernous Chamber of Poseidon only to be “magically transported” back to the room before the vortex at the show’s close, now guests pass through the vortex and. Perhaps the biggest complaint against the updated version is that it intentionally reverses the attraction’s final effect. The idea of a jealous high priest slaughtering humans to gain godlike power not only feels more true to myth, but makes him more outright evil and a more compelling threat.Īnd where the original version of the attraction basically spent the first two chambers with the Keeper trying to explain the convoluted story without much happening (remember, we didn’t officially meet or even hear from our hero or villain until their final battle), the new "threat” of Darkenon sets up action in each room from the haunting spell and his awakening in the first to his attempts to kill us in the second, resulting in the Goddess’s last minute save. While neither story is in any way true to mythology, Goddard argued that in the original, Poseidon wasn’t really evil (more of a ‘Disney villain ’ merely annoyed and snippy) and thus guests never faced any “real” (and thus, compelling) danger. Why turn Poseidon into the hero and pit him against (the admittedly laughably named) Lord Darkennon?
There, Templo del Fuego is the fiery antithesis to Poseidon's watery show, and the installation in Spain uses a similar archaeological set-up, characters, and effects.) 2. (Perhaps not-so-coincidentally, the opening of the "new" Poseidon's Fury in 2001 lines up with the 2001 opening of a similar attraction at Spain's PortAventura – a park owned by Universal from 1998 to 2004. Why are we here in this temple? Because it’s a recent discovery, and we’re globe-trotting adventurers who’ve come here for a tour! The attraction isn't happening around us it's happening to us, because of Taylor! Taylor, the Global Discovery Group, and the new “excavation” set pieces also brilliantly solve the show’s lighting problem (now, archaeological lamps can reveal murals and secret messages) and provide guests the motivation or role that the former version lacked. Taylor can be funny (and yes, as some complain, annoyingly so) but he’s at the very least a better guide through the temple and a better establishing character for the attraction’s tone. It grounds our experience in a particular time (1930s, circa Indiana Jones) and provides us with someone we can relate to someone uncovering the story along with us, speaking aloud our experience and making the journey more personal. The switch to a young archaeologist was a smart one. Reading his defenses to nostalgic fans is enlighting, but we'll summarize the big questions (and his answers) here: 1. We're lucky that Gary Goddard himself responded to criticisms of his version of the show on a fan message board. Did Gary Goddard and his team manage to use what they were given to solve the issues guests had with Poseidon's Fury? It seems that way.īut naturally, fans – who, at the time, knew the original show quite well – did react to the changes in mixed ways. And re-read the limitations at the top of this page. Guest satisfaction with the attraction improved on polling and surveys, so in that way, the impossible task of reimagining an attraction in 12 weeks succeeded. Is the "new" Poseidon's Fury better than the old? In many quantifiable ways, the answer is yes.
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