guardians

A fastball up and off the plate to Guardians left-handed hitter Steven Kwan was an inauspicious beginning to Dodgers right-hander Roki Sasaki’s season debut.

The arm-side miss fell in line with a persistent spring-training pattern for Sasaki, who struggled with command from his first Cactus League start through his Freeway Series appearance last week.

Over the course of a seven-pitch strikeout, however, Sasaki adjusted — something he failed to do during game action this spring.

“I actually didn’t have confidence at all before this game started,” Sasaki said through an interpreter Monday. “But I was just focusing on doing what I can control.”

In the Dodgers’ 4-2 loss Monday, Sasaki’s first start of the season was something of a best-case scenario. He held the Guardians to one run and four hits in four-plus innings. And the biggest difference from his spring training struggles was he issued just two walks.

The Dodgers squandered the effort with a lack of offense, in their first loss of the season.

Sasaki will have more to prove against stronger offenses than Cleveland’s. But his performance at least suggested that the Dodgers’ faith in him wasn’t misplaced.

“We know he can do it here, and especially now that his velocity is back to closer to where it used to be,” Dodgers general manager Brandon Gomes said last week. “I feel like he puts us in a great position to win.”

Dodgers manager Dave Roberts removes starting pitcher Roki Sasaki from the game in the fifth inning Monday against Cleveland.

(Ronaldo Bolanos / Los Angeles Times)

The Dodgers had seen Sasaki bounce back before. He had a middling start to last season and pitched through shoulder discomfort before landing on the injured list last May. His average fastball velocity plummeted from 98 mph in his MLB debut to 94.9 mph in his last start.

He returned from the IL in time for two relief appearances in September, his fastball sitting above 99 mph, and a dominant postseason run. He didn’t allow a run in eight of his nine playoff outings, and he posted a 0.84 ERA.

“He could have cashed in last year,” manager Dave Roberts said before the game. “Given his health early, the lack of performance towards the middle of the year, towards the end he could have just written it off and started fresh in the offseason.

“But he was willing to pitch out of the bullpen, ramp back up and give us whatever we needed. So for me, that was something where he put himself out there. That’s why I have a lot of confidence right now [that he can] turn the corner from spring training.”

Sasaki still threw some non-competitive pitches Monday. That inefficiency brought his pitch count up to 78 pitches twice through the Guardians’ batting order, and Roberts pulled him when the lineup turned over again.

Sasaki also reigned in his misses, used both sides of the plate, and effectively deployed his new cutter as a put-away pitch early.

“I couldn’t get through five innings, but the results overall felt pretty good,” Sasaki said. “I kind of have confidence about that.”

Through the first two innings, Sasaki held the Guardians scoreless, and to just one bloop single. But in the third, he threw a four-seam fastball down the middle to Austin Hedges and hung a cutter to Kwan for a pair of doubles and a run.

Dodgers outfielder Kyle Tucker rounds second base after a Mookie Betts double during the ninth inning against the Guardians at Dodger Stadium on Monday.

(Ronaldo Bolanos/Los Angeles Times)

Next, Sasaki walked Chase DeLauter, and the inning threatened to spiral. But Sasaki locked in to strike out José Ramírez and induce Kyle Manzardo to line out, escaping without further damage.

With no outs and one runner on in the fifth inning, Sasaki handed the ball over and left-hander Tanner Scott took over. Dodgers fans sent Sasaki, who’d been booed during his last spring start, off with a warm ovation.

“I think it should be a big boost to his confidence,” Roberts said after the game. “… When you don’t have success, it’s hard to have real confidence. That was certainly an honest admission. But when you perform, you start to have true confidence. So hopefully he can build on this one.”

After Scott, Dodgers left-hander Justin Wrobleski, who is in line to join the rotation when the schedule isn’t so packed with off days, provided four innings. He gave up three runs, all in the seventh.

The Dodgers didn’t score until the final inning, with the help of a little luck. Kyle Tucker reached base on a chopper that squeaked through the infield and then advanced all the way to third on a wild pitch. Mookie Betts then drove him in with a line-drive double. Two batters later, Betts scored as Freddie Freeman grounded out to first.

“The takeaway is, we’re 3-1 and the guys that we expect to swing the bats aren’t swinging the bats right now,” Roberts said. “So that’s a good thing; they’ll hit.”

There’s a hidden door in Downtown Disney. Only this one isn’t meant to be walked through.

Flanking a stage near the monorail station, you’ll find a glistening white tower, the work of artist and activist Nikkolas Smith, who has adopted the term “artivist.” At first glance, the tower — one of Downtown Disney’s most striking works — appears to be a nod to Disneyland’s Midcentury art, for its curved lines and space-age optimism wouldn’t be out of place in Tomorrowland.

That’s there, says Smith, but there are also a number of more subtle inspirations.

The tower is a nod to five Black architects, trailblazers whose creations sometimes went unnoticed or overlooked. And that’s why at the base of the structure is a looping opening meant to signify a half-open doorway.

Downtown Disney’s Legacy Tower touches on the styles of different Black architects as it rises into the sky.

(Gary Coronado / For The Times)

Smith shares a distressing anecdote. “They had to learn how to read drawings upside down, because they weren’t allowed to sit next to the white clients,” Smith says, adding they also had to endure unequal pay. “So I was incorporating things like the half doorway to symbolize their struggle.”

Officially designated as the Legacy Tower, Smith himself fixates on that word — “legacy.” The term, he says, represents a thematic constant across his work. A regular collaborator on a number of Walt Disney Co. projects and a former architect with Walt Disney Imagineering, the division of the company focused on theme park experiences, Smith is something of a connector. His canvas art, full of fast-moving brush work, is often rooted in the past while urgently seeking to draw links to the present.

Artist Nikkolas Smith went viral for his portrait of Martin Luther King Jr. in a hoodie, a tribute to slain teenager Trayvon Martin.

(Nikkolas Smith)

His 2025 children’s book, “The History of We,” tells the story of how humanity can trace its roots to Africa. And one of his best-known pieces is of Martin Luther King Jr. in a hoodie, meant to evoke the image of Trayvon Martin, the slain 17-year-old whose death inspired a social justice movement. The work went viral in 2013 while Smith was still working for Imagineering. It altered his career trajectory.

“It was like, ‘I cannot just make art about churros and rides right now,’” Smith says. “There’s a time for that, and there’s also a time to talk about this.” He references his portraits related to the killings of Black men, many at the hands of police officers, such as Philando Castile and Michael Brown.

“At the end of the day, Disney understood that,” Smith adds. “They understood that I needed to make art that was extremely important at the moment, about justice or the lack of justice.”

Smith left Disney in 2019 after 11 years but has maintained a close relationship with the company, so much so that Imagineering called upon Smith to design the tower, which opened in 2023.

Artist Nikkolas Smith, left, chats with guests Ricky Yost and Martina Yost of Aubrey, Texas, who recognized Smith from a recent Disney cruise excursion.

(Gary Coronado / For The Times)

As the Legacy Tower spirals toward the sky, its patterns and and lattice work nod to the likes of James H. Garrott, Robert A. Kennard, Roy A. Sealey, Ralph A. Vaughn and Paul Revere Williams. All were active in Los Angeles — Williams, for instance, was a pivotal designer on the LAX Theme Building — and Smith interlaces decorative flourishes in varying styles that twist around one another to work up the Legacy Tower’s pointed spheres.

The door of the Legacy Tower symbolizes perseverance, Smith says. “They made it through, despite all of the obstacles they had to go through.”

Smith had studied the architects while a student at Hampton University, and has documented on his Instagram their various stylings, which range from restrained to whimsical to ornate. A section referencing Vaughn is modern minimalism, whereas an area dedicated to Sealey is full of jagged, pointed linework. All of it is held together via a coiling design that feels full of movement.

The patterns of the Legacy Tower are nods to the likes of James H. Garrott, Robert A. Kennard, Roy A. Sealey, Ralph A. Vaughn and Paul Revere Williams.

(Gary Coronado / For The Times)

“How can I show humanity’s interconnected future? That’s the idea,” Smith says. “There’s this African theme of Sankofa. If we look toward our future, we have to look at the past and value and appreciate the past. I thought it would be great if I could really commemorate some Black designers and architects as the foundation and backstory of the tower. And I was also thinking about these breezeway block patterns that you see in Leimert Park.”

And yet it also feels like something that belongs in the park. Smith says he looked at some Tomorrowland designs.

“A Midcentury Modern vibe was Walt,” Smith says, referring to park patriarch Walt Disney. “That was Walt’s thing. It all connects. I love that people can hopefully now connect both things. You can connect Tomorrowland and Walt with Paul Revere Williams.”

It’s clearly Smith’s favorite design of his for Disney, although it’s not the only space at the resort that features his artistry. During his decade-plus with Imagineering he regularly worked on teams that focused on projects at Disney California Adventure, which this year is celebrating its 25th anniversary. He was heavily involved, he says, in the evolution of Avengers Campus, contributed to a small promenade stage in Pixar Pier and helped envision the facade of Guardians of the Galaxy — Mission: Breakout!, which transformed the former Tower of Terror into a sci-fi structure.

Nikkolas Smith says elements of Downtown Disney’s Legacy Tower symbolize perseverance.

(Gary Coronado / For The Times)

Smith looks back fondly at his years at Imagineering, specifically calling out his time on the Guardians project. The former fake hotel is now full of glistening bronze pipes, a retro futurist look that former Imagineer Joe Rohde, who led the design, has said takes influence from the high-tech aesthetic of architect Renzo Piano, who worked on France’s Pompidou Centre.

“How much can we add to it? How much can we get away with gluing onto this thing?” Smith says of the Guardians facade. “What is the right amount of ‘Guardians of the Galaxy,’ without being too much? Without scaring people on the freeway?”

Today, Smith continues to focus on social justice work, and has also collaborated with filmmaker Ryan Coogler, such as completing concept designs for his Oscar-nominated film “Sinners.” Smith’s 2023 children’s book “The Artivist” documents the importance of creating art that’s in conversation with the world, believing it’s not only a source for education but for empathy. Smith’s weekly paintings speak out often against the current administration, and Smith has been particularly vocal on the ICE raids.

A selection from “The Artivist,” an illustrated book from Nikkolas Smith.

(Nikkolas Smith)

“Some people say that all art is activism, but I feel that some of the best art that is created is art that has a message,” Smith says. “And hopefully that message has to do with the humanity of all people, and for me, I like to focus on marginalized communities, and how we can value the humanity of everybody. That’s why I make picture books about the origins of humanity and the origins of this country.”

The Leimert Park resident says his wife and young son regularly visit the Disneyland Resort. And when he does, Smith says, he always takes a moment to stop by the Pixar Pier stage that he contributed to, which is often used for character meet and greets.

“They were team projects, and I do go up to them with so much pride,” he says. “I go up to the Pixar Pier promenade stage, and I just go up to it and touch it. … The beautiful thing about Disney is these creations are usually around for a lifetime.”

It turns out you can take the artivist out of Disney, but you can’t fully take the Disney out of the artivist.