guardians

Ten years ago, Walt Disney Imagineering announced what was widely perceived by the public as a risky — and ill-advised — project: Disney California Adventure’s Twilight Zone Tower of Terror would be remade into a ride featuring Marvel’s “Guardians of the Galaxy.” And it would open in just a few months, ahead of the 2017 summer tourist season.

Fans, to say the least, were not happy. They saw the makeover as a marketing move, done solely because a new movie in the franchise was being released. They were also skeptical of the tight timeline.

Retired Imagineer Joe Rohde, who led the project, heard the complaints.

“They look at the schedule and go, ‘You can’t do anything in that amount of time. There’s nothing you can do that is worth doing in this short amount of time, so we think this is going to be bad,’ ” says Rohde, whom I chatted with at the recent Disney fan convention D23.

Rohde‘s new book, “Floating Mountains: The Art of Imagining the Impossible,” is out this week and in it, he demystifies the creative process, heavily touching on his four-decade career at Imagineering as a jumping-off point on how to stay inspired and find art in the everyday. In a revealing chapter on what became Guardians of the Galaxy — Mission: Breakout!, Rohde writes about creating art out of a series of limitations.

Famed retired Disney Imagineer Joe Rohde, whose book “Floating Mountains: The Art of Imagining the Impossible” demystifies the creative process.

(Jay L. Clendenin / Los Angeles Times)

He notes that the new “Guardians of the Galaxy” film was not the reason for changing the drop tower ride — rather, the motivating factor was giving the Disneyland Resort something new to promote for 2017 and to begin to bring Marvel into the parks.

When assigned the project, Rohde initially pitched a Dr. Strange-inspired attraction, believing the hotel facade of Tower of Terror could quickly and easily translate to a mysterious sanctum. Execs, however, rejected the concept, arguing Dr. Strange wasn’t popular enough. They told Rohde and the team to focus on Spider-Man.

Now it was Rohde’s turn to say no. “Spider-Man needs room to swing,” Rohde writes in his book. “We only go up and down. There’s nowhere for Spider-Man to be!”

Bringing Marvel superheroes into a theme park, Rohde tells me, is something of a challenge.

“Marvel is a character brand,” Rohde says. “When we watch these movies or read the comics, our primary investment is in the psychology of the character. Spider-Man is a great example of this. Spider-Man’s life is a constant emotional crisis of one kind or another. It’s almost more of a soap opera format.

Guardians of the Galaxy — Mission: Breakout! is today the dominating structure of Avengers Campus at Disney California Adventure.

(Allen J. Schaben / Los Angeles Times)

“So, you have an art form — the Marvel Cinematic Universe and the Marvel Comic Universe — in which settings are disposable and are disposed of in order to drive character development. That works great in a film, but when it comes to place-making, it is difficult to lock yourself on the experiences of places, which is part of what makes theme parks theme parks. All through your day in a theme park the primary actor you engage with is the architecture and the landscape.”

With Spider-Man out, “Guardians of the Galaxy” was the compromise everyone could agree on. Only now the clock was ticking. Rohde notes that the team had to stop viewing the Tower of Terror as a hotel, and instead look at it as something of a blank page — an empty canvas that just happened to be in the shape of a blocky silhouette that jolts guests 190 feet in the air. Remove the hotel signage, and suddenly the mass resembled many things: “a grain silo, a fortress, a bank, a storage facility, possibly a prison,” Rohde writes.

Arguably, the facade for Mission Breakout! represents a bit of each of those. In “Floating Mountains,” Rohde says he began reimagining the building by taking inspiration from Marvel comic artist Jack Kirby, but he has also spoken of finding influence in architect Renzo Piano, who worked on France’s Centre Pompidou. The end result is a retro sci-fi building with high-tech-like pipes drawing one’s attention.

The chapter documents a frantic race against time. The star of the ride is an audio-animatronic of the Rocket Raccoon character, but it wasn’t always clear the figure could be finished by the deadline. And instead of using just one ride profile like the Tower of Terror, Mission Breakout! aimed for four, but Rohde writes the team had two as a fall-back plan (ultimately, they prevailed with their original intent).

Rohde notes that to get it done, a concession was made: limited reviews but a fixed, unchangeable budget with a strict deadline. And the team had to make a decision and commit. Little tinkering.

Guardians of the Galaxy — Mission: Breakout! is now considered one of the most popular attractions at Disneyland.

(Jason Armond / Los Angeles Times)

“You have to allocate a certain percentage of time and energy to prepare for a review, and that can be two weeks of energy,” Rohde says. “In this case, the most crucial thing about this project was its opening day. If you back out of that opening day just with production time, it becomes clear there’s no time to change. There’s no time to ask someone if they like it or don’t like it. So we have to decide we’re going to do it, and we’re going to do it for this much money, and you can look at it once before we start, and once before we build.”

Guardians of the Galaxy — Mission Breakout! opened on time, and with enough budget left over to create an “after dark” version during the Halloween season, which is currently running. And those fans who initially viewed the project with skepticism? Many were quiet after opening day, as Mission Breakout! is considered one of the Disneyland Resort’s most popular attractions.

Aside from replacing the former tension with chaotic elevator maneuvering, the makeover was a success because it’s not a rehash of a scene from the film. Rather than rely heavily on plot, it focuses on one frantic moment — a prison breakout — to create a zany, screwball comedy feel. In short, it’s a singular work of art, one that stands apart from its cinematic counterparts.

And that’s key to the appeal of “Floating Mountains,” as throughout Rohde makes the case that theme parks — often derided as commercial entities — are indeed vital spaces. He speaks of art as living on a spectrum. On one end, “art for art’s sake,” and on the other, “utterly commercial enterprises with no purpose other than to harvest value out of an intellectual property.”

“Theme parks,” says Rohde, “rocket somewhere in the middle of this.”

“I do believe that their social impact alone should argue for the fact that, no matter what you think of high art, of low art, something is going on here that people find very affecting,” he says of theme parks. “I think it is an art form.”

This week in SoCal theme parks

Inside Kingswell skate shop is a wall documenting the building’s history as the first L.A. outpost of what would become the Walt Disney Co.

(Todd Martens / Los Angeles Times)

• A Disney history celebration. Walt Disney launched his animation career in Kansas City, Mo., in 1920. But when his Laugh-O-gram Studio failed after only about two years, he decided to move west. Here in Los Angeles, Walt and his brother Roy would in 1923 rent a small studio space on Kingswell Avenue in Los Feliz, near where he was staying with his uncle. They called their operation the Disney Bros. Studio, and it was officially the formation of what would become the Walt Disney Co. In September 2024, a small strip on the corner of Kingswell and Vermont avenues was designated the Disney Bros. Cartoon Studio Square. This Sunday, the space will host a mini-block party from noon to 5 p.m., with photo ops, events and skating demonstrations courtesy of the Kingswell skate shop,
• Welcome the Lucas Museum. The long-awaited Lucas Museum of Narrative Art has arrived in L.A. and is welcoming members for previews. The space officially opens Sept. 22, and its emphasis on pop culture and “Star Wars” likely means there’s many an overlap with the Disney fan community. The Times has a bevy of coverage, including an architecture review as well as an analysis of its collection and how it deviates from typical art gallery fare.
• Meow Wolf taps dozens of L.A. artists for new venue. Meow Wolf is getting closer to unveiling its Los Angeles locale. When doors open — the company is targeting late 2026 — expect a walk-around, floor-to-ceiling experience that pays homage to the art of cinema with a sci-fi, psychedelic-like bent. And to bring that vision to life, the Santa Fe, N.M.-based experiential art collective will be working with nearly 40 L.A. artists across multiple mediums. Meow Wolf last week unveiled its roster of artists with ties to the L.A. region.
• A new Magic Mountain coaster is on the way. Six Flags Magic Mountain, garnering headlines tied to the safety of its X2 coaster, is looking ahead to 2027 and teasing a Thursday announcement for its next big thrill ride. The park last week posted a video to social media hinting at more info to come this week on what is expected to be a glider coaster with bike-like seating.

Ride report

An actor performing as Ozzy Osbourne during a haunted house at Universal Studios Hollywood’s Halloween Horror Nights.

(Scott Strazzante / For The Times)

This week’s ride report is actually a haunted house report. Of the eight spooky mazes at Universal Studios Hollywood this year, there were two clear standouts for me: the “Sinners” maze, which I documented last week, and Ozzy Osbourne: Prince of Darkness. This walk-through attraction, which Halloween Horror Nights mastermind John Murdy has described as something of a passion project, is a filled with cartoonishly sinister imagery in an homage to the recently deceased heavy metal legend.

Murdy says he didn’t have any hesitation about crating a haunted house based on Osbourne’s solo career so soon after he died last summer. “It hit everybody really hard,” the lifelong Osbourne fan says of the artist’s death. “It hit his fan community really hard. We needed to do something for the fans to celebrate this guy’s legacy.”

A giant animatronic bat in a haunted house inspired by the music of Ozzy Osbourne.

(Scott Strazzante / For The Times)

In an unique twist, nearly every scare actor is performing as some embodiment of Osbourne. The attraction is also filled with little nods to Osbourne’s life and legacy, including pictures donated from the family and a toy cow as a nod to an early job of Osbourne’s in a slaughterhouse. Murdy estimates the house features about 20 songs from Osbourne’s solo career, bookended by “Crazy Train” and “See You on the Other Side.” A train, of course, figures heavily into the maze, and an early ride scene appears to take us straight to hell.

It gets demented, but in a silly way that feels all-in-good-fun rather than anything frightening. Case in point: A centerpiece of the attraction is a giant animatronic bat, which is holding the severed head of Osbourne, only here the musician is depicted as a werewolf. Osbourne, says Murdy, was also heavily religious, so the walk-through culminates with the artist on a church-like throne. But it’s no ordinary cathedral, as jetting our from under Osbourne’s chair is a blue dragon, a nod to the tattoo the singer had on his chest.

It’s a love letter to Osbourne, and Murdy’s appreciation of the artist runs deep. He notes that as a seventh- or eight-grader in the early ‘80s, he wrote a term paper defending the artist. “I didn’t like the fact that people were condemning things when they hadn’t even bothered to read the lyrics and know what they are about,” Murdy says. “Take ‘Crazy Train.’ It’s about the Cold War. It’s about a fear that society is going off the rails. At an early age I was already going, ‘Don’t trust things that you hear at face value.’ ”

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

I can admit when I was largely wrong. Last week I expressed concerns about the way Halloween Horror Nights was adding the character of Nikki from “Obsession,” worrying a hyped incognito approach could open up the actor — or regular paying guests — to being uncomfortably approached by attendees. But while Nikki is not easy to find, she’s far from anonymous, all bloodied up and holding a brick. Plus, she’s accompanied by multiple handlers who keep folks from crowding the performer’s space.

There is a game-like aspect to this. Those who speak a password, released via social media, receive a fake business card, which does mean many a guest is standing there shouting a password at the actor. This is slightly awkward, and where I still have some reservations.

An actor as Nikki from “Obsession” interacting with guests during Halloween Horror Nights at Universal Studios Hollywood.

(Scott Strazzante / For The Times)

But many who find Nikki may discover it’s a highlight of the night. I’m not someone who seeks out characters at theme parks, largely because they’re there more for photos than to completely interact. Nikki is different. Nikki is in full immersive theater mode, responding entirely in character and pushing guests to talk about their devotion — to her, to another, to anything. In my minute with the actor, she aggressively quizzed me on my nonexistent love life, forcefully walking toward me so I had to gently stumble backward, which she lightly mocked.

Despite the unnerving tone of the actor’s questions, I was charmed. More of this type of interacting and play is always welcome. Now, I just wonder why she was so consumed with the health and age of my cat.

Steven Kwan hit a tying double in the ninth inning, Travis Bazzana followed with a sacrifice fly and the Cleveland Guardians rallied past the Angels 4-3 on Wednesday for their seventh straight victory.

Hunter Gaddis (2-3) retired the final two batters in the eighth to earn the win. Erik Sabrowski worked a scoreless ninth for his second major league save and first since 2024.

With a runner on second, Sabrowski struck out pinch-hitter Travis d’Arnaud and got pinch-hitter Oswald Peraza to pop up to second as Cleveland completed a three-game sweep.

Chase DeLauter, slowed this week by left hamstring tightness, sparked the winning rally with a one-out single off reliever Ryan Watson (1-1) in the ninth.

Petey Halpin ran for DeLauter and went to second on Brayan Rocchio’s single. Kwan roped a ground-rule double to right field for a 3-all tie, and Bazzana’s sacrifice fly sent the Angels to their 10th loss this season when leading after eight innings.

Angels starter Grayson Rodriguez gave up one run and seven hits in 5 2/3 innings, striking out four and walking one. Guardians starter Joey Cantillo gave up two hits in six innings but issued a career-high seven walks and committed a first-inning error that led to a run.

Zach Neto led off the bottom of the first with a single and scored when Cantillo fielded Vaughn Grissom’s one-out dribbler and threw the ball into right field.

The Angels extended the lead to 3-0 in the second when Cantillo walked the bases loaded with one out, hit Neto with a pitch to force in a run, and Mike Trout added a sacrifice fly.

Cleveland cut it to 3-1 in the fifth when Rocchio doubled, went to third on Kwan’s groundout and scored on Bazzana’s sacrifice fly. The Guardians pulled to 3-2 in the eighth when Bazzana bunted for a single, Jo Adell walked and Nathaniel Lowe flared an RBI single to left-center.

José Ramírez drove in five runs with three doubles, Steven Kwan had five singles and the streaking Cleveland Guardians overcame an early five-run deficit to beat the Angels 8-6 in 10 innings Tuesday night.

Kwan capped his second career five-hit game with a leadoff single in the 10th against reliever Blake Weiman (0-1), advancing automatic runner Brayan Rocchio from second base to third. Travis Bazzana popped out, but Ramírez laced a two-run double to left-center to give the Guardians an 8-6 lead.

Cleveland reliever Erik Sabrowski (5-2) struck out the side in the ninth. Cade Smith fanned Denzer Guzman and Adam Frazier with runners on second and third in the 10th for his 35th save, sealing the Guardians’ sixth straight win.

The Angels took a 6-5 lead on Vaughn Grissom’s second homer of the game, a solo shot off reliever Logan Allen leading off the fifth. The Guardians tied it 6-all in the eighth when Kwan singled and scored on Ramírez’s RBI double.

Cleveland center fielder Angel Martínez preserved the tie when he made a leaping catch at the wall to rob Mike Trout of a potential two-run homer to end the bottom of the eighth.

Angels starter Walbert Ureña gave up three runs and five hits in 3 2/3 innings, striking out three and walking five. Guardians starter Gavin Williams was rocked for five runs and six hits in 1 1/3 innings, his shortest start this season.

Grissom hit a two-run homer in the first, and the Angels pushed the lead to 5-0 in the second on Christian Moore’s solo homer, Guzman’s RBI double and Zach Neto’s RBI single.

Bazzana lined an RBI double to cut the deficit to 5-1 in the fourth, and Ramírez’s two-run double made it 5-3.

Cleveland tied it 5-all in the fifth on two-out RBI singles by Rocchio and Kwan.

Parker Messick pitched six innings of one-run ball and Austin Hedges hit a two-run homer in the Cleveland Guardians’ 4-2 victory over the Angels on Monday night.

Jo Adell hit a go-ahead single for the Guardians against his former team. Messick (10-8) gave up three hits, struck out four and walked one while extending to nine his string of consecutive starts with two or fewer runs allowed.

Through 26 starts, the rookie left-hander has a 2.50 ERA with 156 strikeouts in 155 innings.

Colin Holderman struck out three of four batters in the seventh. Hunter Gaddis tossed a scoreless eighth and Cade Smith gave up a run in the ninth before earning his 34th save.

Cleveland (66-66) won its fifth straight and pulled within 2½ games of the first-place Chicago White Sox in the AL Central.

Angels rookie George Klassen (2-2) gave up three runs — two earned — and six hits in 5⅓ innings.

Adell, acquired from the Angels on Aug. 3, snapped a 1-1 tie with a two-out single in the fifth — his 13th RBI in six games. Hedges made it 4-1 with a two-out homer off reliever Blake Weiman in the sixth.

The Angels (52-80) pulled to 4-2 on Gustavo Campero’s sacrifice fly in the ninth, but Christian Moore flied out to the left-center warning track with a runner on for the final out.

Messick retired his first nine batters before Zach Neto and Mike Trout opened the fourth with singles. Neto went to third on Trout’s hit, and Trout took second on the throw.

Trout was caught off the bag on Vaughn Grissom’s hard grounder to second but stayed in a rundown long enough for Grissom to reach second.

Moisés Ballesteros dunked an RBI single into center for a 1-1 tie, advancing Grissom to third. Messick escaped further damage by striking out Jose Siri and getting Campero to pop out.

Cleveland took a 1-0 lead in the third when Steven Kwan and José Ramírez singled, Adell walked and Nathaniel Lowe hit a sacrifice fly.

Up next: Guardians RHP Gavin Williams (12-7, 3.72 ERA) will oppose Angels RHP Walbert Ureña on Tuesday night.