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A great introduction is not always a portent of things to come. Venetica begins in the middle of chaos: Murderous bandits have taken their swords to a small mountain village. They move with deadly precision, laying waste to the meager buildings while slaying any red-blooded protector who tries to stem their violence. And just when this vile rampage draws to a close, you find out that the heroine, Scarlett, is the daughter of Death. It’s an opening that’s worthy of an epic adventure, but it quickly becomes clear that Venetica’s potential has little chance of being realized. A stuttering frame rate is the first sign that this journey will not unfold unhindered, and the problems only grow more prevalent as the hours pass by. Shallow combat, a deluge of repetitive quests, unhelpful waypoints, and a skill tree with few long-term rewards snuff out the initial flame of hope, and frequent load times continually interrupt the flow. Despite the personable protagonist and often beautiful world urging you forward, the myriad problems make it difficult to get sucked in.

6286572Those poor rogues never had a chance.None

Scarlett does not embrace her role as a hero willingly. In the midst of the dying cries emanating from her formerly peaceful village, one soldier’s sacrifice cuts much deeper than the rest: her beloved Benedict dies protecting her. It is this act that fuels Scarlett’s quest to seek vengeance on those who caused her loved ones so much misery. The primary story thread in Venetica revolves around the doge of Venice and his unseemly counselors who have turned the fair city into one teeming with mercenaries and necromancers. Cutscenes sprinkled throughout the game highlight the villainous individuals at the heart of the problems, but their evil laughs ring hollow because they’re depicted as one-dimensional caricatures. Victor is the mastermind behind this insidious plot, and he does fill the part of evil megalomaniac adequately enough, but his predictable motivations give him only slightly more life than the people whose strings he’s pulling.

That’s not to say the story is without any lure at all, though. There is a chance to get invested in this tale when you have a choice in how certain situations play out. Unlike in many other role-playing games, decisions are not tied to a morality bar, nor do you need a certain amount of charisma to say specific things. Instead, options are open to you from the beginning, and you mold Scarlett into whatever character you fancy. These decisions shape the way people view you and make various quests open up, depending on what road you choose, but more importantly, they give Scarlett a personality you can relate to. Many times, the choices you have are small, limited to the situation directly in front of you with no long-term ramifications. Ultimately, it doesn’t matter if you choose to attack a tight-lipped prince to find out a password or befriend him with kind words: you get what you need either way. But by having the option to approach this situation from different angles, you form a connection with the protagonist that you may not have otherwise formed. You have many open-ended choices throughout this adventure, and they serve as the strongest hook tethering you to this world.

Combat is cramped and repetitive.

It’s when your character interactions switch from wordplay to swordfighting that things take a noticeable turn for the worse. Combat in Venetica is shallow and easy, relying on little more than rhythmic button tapping to get you past any foe. You have a few different weapon types at your disposal, each with a unique strength and weakness, which does open the door for some mild strategy. For instance, your heavy hammer cracks the shells of bioluminescent crabs in a pinch, and you need your cursed moonblade to put down any demon who threatens your life. But that’s the extent of the planning required to slay the men and beasts that stand in your path. Being Death’s daughter, you do have one handy trick up your sleeve. If you should fall in battle, you are whisked to a plane that resides between the living and the dead. In this shadowy realm, you can regain your lost health and move to a more advantageous location, provided you have enough afterlife energy stored up. This momentary reprieve from death doesn’t have a significant impact, but it’s nice to have a “get out of coffin free” card when you die by unfair methods.

Even though Venetica’s combat requires little more than shallow button mashing, it’s so riddled with problems that it can be frustrating if the tides turn against you. First of all, each of your four weapon types has a unique block you have to unlock. You manually map block to the D-pad or B button so you can make use of it in battle, but because you’re constantly switching between weapons, it’s a serious pain to ensure the proper block command is equipped. Thankfully, you can just roll out of the way of most attacks, but this presents a new problem. It’s far too easy to get stuck on pieces of the environment or even your enemies, and the camera is often so tight that it’s impossible to get a good look at your surroundings. Furthermore, for as docile as your enemies are for the majority of your outing, they can be downright vicious when the mood strikes them. In a blink of an eye you can be cut to shreds, and this can be maddening because it usually happens when you’re trying to roll away but get caught on a doorway.

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A great introduction is not always a portent of things to come. Venetica begins in the middle of chaos: Murderous bandits have taken their swords to a small mountain village. They move with deadly precision, laying waste to the meager buildings while slaying any red-blooded protector who tries to stem their violence. And just when this vile rampage draws to a close, you find out that the heroine, Scarlett, is the daughter of Death. It’s an opening that’s worthy of an epic adventure, but it quickly becomes clear that Venetica’s potential has little chance of being realized. A stuttering frame rate is the first sign that this journey will not unfold unhindered, and the problems only grow more prevalent as the hours pass by. Shallow combat, a deluge of repetitive quests, unhelpful waypoints, and a skill tree with few long-term rewards snuff out the initial flame of hope, and frequent load times continually interrupt the flow. Despite the personable protagonist and often beautiful world urging you forward, the myriad problems make it difficult to get sucked in.

6287001Pro tip: aim for the head.None

Scarlett does not embrace her role as a hero willingly. In the midst of the dying cries emanating from her formerly peaceful village, one soldier’s sacrifice cuts much deeper than the rest: her beloved Benedict dies protecting her. It is this act that fuels Scarlett’s quest to seek vengeance on those who caused her loved ones so much misery. The primary story thread in Venetica revolves around the doge of Venice and his unseemly counselors who have turned the fair city into one teeming with mercenaries and necromancers. Cutscenes sprinkled throughout the game highlight the villainous individuals at the heart of the problems, but their evil laughs ring hollow because they’re depicted as one-dimensional caricatures. Victor is the mastermind behind this insidious plot, and he does fill the part of evil megalomaniac adequately enough, but his predictable motivations give him only slightly more life than the people whose strings he’s pulling.

That’s not to say the story is without any lure at all, though. There is a chance to get invested in this tale when you have a choice in how certain situations play out. Unlike in many other role-playing games, decisions are not tied to a morality bar, nor do you need a certain amount of charisma to say specific things. Instead, options are open to you from the beginning, and you mold Scarlett into whatever character you fancy. These decisions shape the way people view you and make various quests open up, depending on what road you choose, but more importantly, they give Scarlett a personality you can relate to. Many times, the choices you have are small, limited to the situation directly in front of you with no long-term ramifications. Ultimately, it doesn’t matter if you choose to attack a tight-lipped prince to find out a password or befriend him with kind words: you get what you need either way. But by having the option to approach this situation from different angles, you form a connection with the protagonist that you may not have otherwise formed. You have many open-ended choices throughout this adventure, and they serve as the strongest hook tethering you to this world.

Beauty may not be your first thought in a time like this, but that ravaged town sure is pretty.

It’s when your character interactions switch from wordplay to swordfighting that things take a noticeable turn for the worse. Combat in Venetica is shallow and easy, relying on little more than rhythmic button tapping to get you past any foe. You have a few different weapon types at your disposal, each with a unique strength and weakness, which does open the door for some mild strategy. For instance, your heavy hammer cracks the shells of bioluminescent crabs in a pinch, and you need your cursed moonblade to put down any demon who threatens your life. But that’s the extent of the planning required to slay the men and beasts that stand in your path. Being Death’s daughter, you do have one handy trick up your sleeve. If you should fall in battle, you are whisked to a plane that resides between the living and the dead. In this shadowy realm, you can regain your lost health and move to a more advantageous location, provided you have enough afterlife energy stored up. This momentary reprieve from death doesn’t have a significant impact, but it’s nice to have a “get out of coffin free” card when you die by unfair methods.

Even though Venetica’s combat requires little more than shallow button mashing, it’s so riddled with problems that it can be frustrating if the tides turn against you. First of all, each of your four weapon types has a unique block you have to unlock. You manually map block to the D-pad or circle button so you can make use of it in battle, but because you’re constantly switching between weapons, it’s a serious pain to ensure the proper block command is equipped. Thankfully, you can just roll out of the way of most attacks, but this presents a new problem. It’s far too easy to get stuck on pieces of the environment or even your enemies, and the camera is often so tight that it’s impossible to get a good look at your surroundings. Furthermore, for as docile as your enemies are for the majority of your outing, they can be downright vicious when the mood strikes them. In a blink of an eye you can be cut to shreds, and this can be maddening because it usually happens when you’re trying to roll away but get caught on a doorway.

Next page

It’s no lie, we’re fans of thin 13-inch laptops; so much so, we feel like they’re nearly the perfect size for the average portable computer. Unfortunately, the 13-inch landscape is a bit of a minefield for the average consumer: some have underpowered processors, others lack optical drives. We loved the thin Asus U35Jc-A1 when we reviewed it in October, finding it a perfect mix of size and performance. The $999 U36Jc-A1 is an update with a few new features, including a faster Core i5 processor, a sleeker design, Nvidia Optimus 310M graphics, and a high-speed USB 3.0 port, making it arguably even better than its predecessor.

Those specs are solid, but this thin laptop still lacks Intel’s new Sandy Bridge processors, and suffers in battery life compared to other thin laptops. While that may not bother some, it can’t hurt to wait a few months and see what updates might be around the corner, especially since our initial tests of Sandy Bridge laptop CPUs show a great deal of promise, and even some graphics prowess, that could make the successor to the U36J an even better buy. Nevertheless, the U36Jc-A1 is a step up from its predecessor, albeit at a slightly higher price. Compared to the Toshiba Portege R700 series, which won a CNET Editors’ Choice, an equivalent CPU, hard drive and RAM can be had for a similar price. The Portege, however, has an optical drive and lacks discrete graphics; the Asus U36Jc-A1 has discrete graphics, but no optical drive.

Clad in a matte black magnesium shell with a smooth finish, the U36J adopts an all-black, angular look that’s instantly attractive and clean. In several ways, the formal lines resemble that of the Alienware laptops or Asus’ Republic of Gamers laptop, the Asus G73.

It’s also similar in size and design to the Toshiba Portege R700 series, but without an optical drive. The upper lid swings open on two raised hinges, floating slightly above the base, and a thick raised back lip partially contains the U36J’s 8-cell battery. The U36J is nearly as thin as the recently reviewed ultra-compact Lenovo IdeaPad U260, but it has a wider and deeper footprint.

The thin design is admirable and the chassis has a strong, lightweight feel, but the extra-thin body does have its compromises. You can actually see the internal circuit boards through venting grilles on the bottom–this isn’t a laptop you want to accidentally place down on a small puddle. Also, the heat vent on the left side is pushed to the front, resulting in blasts of very warm air on your left palm while typing.

Speaking of typing, the U36Jc-A1′s keyboard feels as great as on the previous U35Jc-A1, thanks to solid raised Chiclet-style keys with very little flex. The keyboard’s not backlit, but it’s perfectly sized and runs nearly edge-to-edge. A right-side column of page up/down function keys, increasingly common on some laptops, makes finding the Enter and Shift keys more challenging than normal. For other functions such as volume or screen brightness, you’ll have to rely on function-combination keys along the top of the keyboard, as opposed to any dedicated keys.

The multitouch touch pad beneath has a smooth response, but is not a more modern-looking click pad. The old-fashioned chromed plastic button bar below isn’t our favorite type of click hardware, but then again we tend to touch-tap on the touch pad anyway. The pad could have been larger, though, and feels last-gen.

Also last-gen, in a matter of speaking, is Asus’ insistence on having two separate power-button-like buttons above the keyboard. One actually boots up the U36Jc-A1 in Windows 7, as normally expected; the other launches a “quick start” OS for those who don’t have the patience for a full boot of Windows. We never could figure out why quick start is even needed: compared to an iPhone or iPad it’s not quick start at all, and the weak applications rendered in reduced pixel resolutions aren’t worth the effort. Putting your laptop to sleep instead is the easier and faster answer.

The 13-inch glossy 16:9 screen on the Asus U36Jc-A1 has a native resolution of 1,366×768, which is standard for this size. Text and pictures looked reasonably bright and crisp; viewing angles were wide horizontally, but vertically–as in, opening and closing the laptop lid–the image degraded more quickly. It’s more than serviceable, but isn’t standout.

Integrated stereo speakers offer medium volume but hollow, tinny definition. They’re fine for basic video playback, but aren’t great for music. The integrated Webcam has an LED light to show when it’s operating–a nice touch–but the 640×480 maximum resolution and grainy picture quality won’t make fans of heavy Web-chatters.

Other than a high-speed 7,200 rpm 500GB hard drive, the other notable feature on the U36J is its USB 3.0 port, marked in blue. We haven’t used many of the high-speed drives and peripherals intended for USB 3.0, but it’s a nice future-forward feature to have.

The 2.53 GHz Intel Core i5 M460 CPU on-board the U36J is an upgrade from the Core i3 in the U35Jc-A1, and unlike some thin laptops, it’s a full standard-voltage processor. Multitasking and general application performance are excellent, on par with most mainstream to high-end laptops. Unfortunately, this isn’t a next-generation Sandy Bridge Intel processor, which promises even greater boosts in performance.

Our initial tests of Sandy Bridge CPUs seem promising, and could also have a positive impact on battery life. For this reason, we’d recommend waiting until upgraded Intel CPUs become more widely available, if you can–otherwise, don’t worry: this system still provides excellent performance compared to what’s out there.

This laptop also has automatic-switching graphics courtesy of a dedicated Nvidia GeForce 310M CPU with Optimus, which auto-detects which programs require advanced graphics and switches as needed between the dedicated GPU and integrated Intel graphics. Bottom line: basic gameplay is possible, but this is an entry-level graphics processor.

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On the Rocks (213 Gulf Blvd., Indian Rocks Beach; 727-286-6224) has opened in the spot that used to be My Place. It calls its menu “casual upscale.” The people behind Bamboo Beach Bar in Madeira Beach are here.

Portofino Mediterranean (18825 U.S. Hwy 19 N., Clearwater; 727-286-6234) has opened in the spot that was recently Dogwater Café and before that, Hops. Hearing reports of a significant renovation inside, and the menu looks pretty classic Italian.

Pearl in the Grove (31936 St. Joe Rd., Dade City; 352-588-0008) is a pretty exciting opening this week in Pasco. Curtis Beebe has been looking for the next thing to come along since the economy bit his career about 18 months ago. He liked to cook, so to test the waters, started doing underground dinners around Dade City. They proved popular, so he’s going to jump in with both feet, opening a slow-food restaurant that will unfurl white tablecloths Wednesdays through Sundays. The menus for the underground dinners seemed to have a New Orleans flavor to them, and the first Pearl menu has a little of that and a little Italian. Should be interesting.

Bailey’s Restaurant (238 East Davis Boulevard, Tampa; 813-254-8018) recently relocated from Old Hyde Park into the space on Davis Islands previously held by Chez Bryce.  It serves dinner Wednesday through Saturdays, and the menu looks mostly East Coast comfort food. (When I posted this, the link was to a website that doesn’t seem to acknowledge the move. But you can get a feel for the menus and such.)

Burger 21 (9664 W. Linebaugh Ave., Tampa), the fledgling burger and shakes concept from chef Chris Ponte and the Melting Pot folks, will open its initial location on Nov. 16. The help wanted call went out a couple weeks ago.

Lee Roy Selmon’s will celebrate its 10th anniversary with a three-day special on some of its most popular dishes this week. From Nov. 8-10, all six locations of the restaurant will offer 10 dishes for $5 each. The featured dishes include the pulled pork platter or sandwich, sweet heat fried chicken platter or sandwich, meatloaf platter or sandwich, smoked chicken salad, gumbo, fried green tomatoes, and chicken wings. Selmon will make an appearance at each restaurant during the week. He’ll be at the Tampa location (4302 W Boy Scout Blvd., 813-871-3287) on Nov. 9 from noon to 3 p.m., the New Tampa location (17508 Dona Michelle Dr., 813-977-3287) on Nov. 9 from 5-7:30 p.m., the St. Petersburg location (2424 Tyrone Blvd., 727-347-5774) on Nov. 10 from 5 p.m. to 7:30 p.m. Other locations are in Bradenton, Sarasota and Fort Myers.

Selmon’s OSI corporate cousin, Roy’s (4342 West Boy Scout Blvd., Tampa; 813-873-7697) has a deal going on, too. On Mondays through November, you can make your own three-course prix fixe for $35.95.  You get to pick one item from appetizers, one from entrees and one from desserts.

Here is this week’s review of Eats American Grill (4502 S. Dale Mabry Hwy., Tampa. 813-835-3287). Its a fun place giving lessons in regional American specialies without any pretension, and the pineapple fritters were one of my favorite things in a long time.

Owner Chris Rose says he welcomes suggestions on regional favorites. So let’s put it out there: What’s your favorite food that is somehow tied to a specific place or general area? Here is a link to Eats’ website. Take a look at the menu, and see what you would add and put it in the comments section here. We’ll either make some fun additions to Eats’ menu, or we’ll get a head start on our ne3xt culinary roadtrip.

By Janet K. Keeler, Times Food and Travel Editor

In Print: Sunday, January 30, 2011

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• Photo gallery: Disney Dream

ABOARD THE DISNEY DREAM

Little Lucy Silverthorne of Toronto, just 3 and bedecked in a floppy pink sun hat, looks into the eyes of Cinderella and people melt. Cinderella and Lucy pose for pictures and then, with her mother’s prodding, Lucy moves on to her next photo op. • She stops for a heart-to-heart with Snow White, then Ariel, then Belle and finally Princess Tiana, who sits on the ground, arranging her pale green gown into a blanket of sorts. Lucy is invited to plop down on the fabric and cozy right up to the princess. They blow kisses. They hug. People watching the character encounter in the grand atrium of the new Disney Dream actually get weepy. Those who aren’t welling up are smiling wide. Honestly, it’s that cute. • One little boy, so enamored of Princess Tiana, can hardly be coaxed to face the camera. How can he look forward when there is an actual princess behind him? • Lucy reminds us of another pastel rendezvous on our agenda, one deck up and at the back of the ship. It’s all about pink drinks, and no kids, no matter how adorable, are allowed. • Pink is the name of a small, sophisticated cocktail bar dedicated to all things bubbly. Once inside, we feel as if we’re swimming in a cotton candy sea of Champagne. Behind the bar is a bank of glass dewdrops, meant to mimic bottles bursting with effervescence. The leather-tufted bar is accented with corseting, evoking a Moulin Rouge cancan dancer. Backlit glass “bubbles” are imbedded in the walls. • A pomegranate Champagne cocktail at $10.50 makes the room rosier. There is not a cartoon character or image of a mouse in sight. • This is the genius that Disney has wrought. A 4,000-passenger cruise ship that has the corporate touches you would expect — Mickey Mouse woven into carpets and upholstery — combined with sophisticated subtlety that is welcome and a little surprising. • And that’s not just the Champagne cocktail talking.

Launching the ‘Dream’

If Oprah made the “aha” moment famous, then Disney can certainly claim the “ahh” moment. There are oh-so-sweet encounters all over the Dream, which combines state-of-the-art interactivity with 1930s classic ship design via art deco and art nouveau touches. The show Disney’s Believe in the Walt Disney Theatre prompted some audience members to their feet at the end, clapping in wild appreciation. After all, Mary Poppins did make a flying entrance with her bumbershoot. But the star of that lively show is a genie with a slight resemblance to Dom DeLuise, only way cheekier.

I checked out the Dream on the two-night christening cruise, Jan. 19-21, which started with a character-laden, music-and-fireworks extravaganza on the dock. The 1,115-foot ship was the backdrop. Singer Jennifer Hudson, a Disney cruise ship entertainer before her big break on American Idol, is the ship’s godmother and she triggered the release of the requisite celebratory Champagne. A helicopter hoisted a 16-foot-high bottle to the ship’s bow.

The Disney Dream brings to three the ships in the cruise line’s fleet, including Disney Magic (1998) and Disney Wonder (1999). The Dream’s sister ship, Disney Fantasy, will debut in 2012 and will also call Port Canaveral its home. The Wonder is based in Los Angeles, and the Magic heads to Europe this summer. The Dream holds considerably more passengers than the older ships, which each carry 2,400.

It’s difficult to fully assess a new ship from short preview cruises, typically populated by journalists, travel agents, contest winners, corporate brass and other company employees and their families. This one especially had a lot of distractions. Good Morning America was broadcasting live from the pool deck. Radio personalities were hosting their morning shows off to the side, pulling over anyone they could to talk about their impressions of the Dream.

There were cameras — still, video and TV — everywhere, more so it seemed when actor John Stamos appeared near the pool, looking cool in a gray suit and porkpie hat. Whoopi Goldberg was onboard, too. I had a brief sighting in the upscale French restaurant Remy (yes, named after the rat in Ratatouille).

So the christening cruise wasn’t businesses as usual, also because it was about half full and with far fewer children onboard than should be expected on a regular cruise. There weren’t many lines, except at the self-serve soft ice cream bar. Not even the Aqua Duck, a cruise ship E Ticket attraction if there ever was one, required a wait. That is likely to change on a full ship. I imagine the elevated “water coaster” that sends riders above the pool deck and around the ship in a translucent tube will be stop No. 1 for many passengers.

Even with the exceptions on the christening cruise, I got a telling glimpse of what the ship will offer passengers on its three-, four- and five-night Bahamas itineraries.

As you would expect, the Disney Dream is boffo for anyone traveling with children, especially those younger than 13. Depending on how willing your teens are to jump into activities, they’ll have a good time, too. It’s an excellent ship for multigenerational groups.

For adults who aren’t traveling with children, the Dream loses a little appeal unless they are dedicated Disneyphiles. There are plenty of those out there so Disney shouldn’t have any problems booking the Dream, whose first regular cruise began Wednesday.

For the kids

The supervised children’s areas on the Dream are so enticing that it’s likely some parents won’t see their kids except at dinner and bedtime. This is especially true of teens 14 to 17 who might just make the Vibe their home for the cruise’s duration. It took me three attempts to find the teen hangout at the front of the ship on Deck 5 because the entrance is actually from an out-of-the-way stairway on Deck 4.

The stealth location is designed so that teenagers, perhaps the most difficult cruise passengers to satisfy, don’t have to worry about Mom or Dad poking their heads in to check on them. Once inside the Vibe they can plug in their own electronics or use Disney’s, watch movies on a giant screen or take part in a video danceoff, among other interactive competitions. There is also a private outdoor deck with lounge chairs, wading pools and game tables. A bar serves smoothies and other snacks. In addition to Vibe, two treatment rooms in the spa are dedicated to teens.

Tweens (11 to 13) have a place to call their own, too, on Deck 11 in a faux funnel. There is lots of electronic wizardry at the Edge and a good view of one of the three pools. The Edge isn’t an easy find either. (In general, the ship is a little more difficult to negotiate than other ships of its size. More useful maps and signs around the ship would help, starting with more indicators for bow and stern. It’s easy to get turned around.)

It’s a Small World Nursery, filled with cribs and rocking chairs, is a calm oasis. A one-way mirror lets parents check on baby and then head back out to the pool or the pumping music of the nightclubs. Not to worry, the brain-cramping song from the Magic Kingdom attraction is not played on a regular basis.

The Oceaneer Club and the Oceaneer Lab (ages 3 to 10) offer a range of activities, from electronic games, science experiments and crafts to old-school dressup. A rack of princess gowns awaits someone’s imagination.

A replica of Andy’s room from Toy Story in the Oceaneer Club includes a huge Mr. Potato Head with removable parts and a slinky dog whose coils provide a fun crawl space. Monster’s Academy is fashioned after the scare floor in Monsters, Inc.

All around the ship, the “enchanted art” on the walls comes to life when passengers pass or if they stop and wave their hands in front of it. Pirate ships battle each other, bluebirds of happiness flit through the frames and Walt Disney himself comes to life as he draws Steamboat Willie, an early rendition of Mickey Mouse.

For the adults

There are plenty of places to dance and drink for those of age. Just like the Wonder and Magic, there is no casino on the Dream, but the District, an entertainment compound, includes several places to have a cocktail and conversation, and you can try the pulsating dance floor of the Evolution. The Skyline lounge was packed into the wee hours on the christening cruise, the ever-changing views of city skylines lighting the fairly dark space.

I was disappointed by the adults-only pool area, which didn’t seem nearly big enough. It’s attractive and serene, but I think people looking for a respite from the cartoon cacophony will find themselves waiting for a chaise on a full cruise.

I am not a fan of the openness of the coed saunas, steam rooms and aromatherapy showers in the spa. Yes, there are separate dressing rooms, but I like a bit more privacy. It sort of feels like you’re on display.

Though Disney has gone to great lengths to appeal to all ages, these two areas are reminders of what the cruise line is all about: family entertainment. Nothing wrong with that, but you should know it when you book.

Room and board

The innovative “magic portholes” in the inside cabins give the appearance of a view from the least desirable but most affordable staterooms on the ship. Cameras on the exterior of the ship provide a live feed to each porthole. Much of the time the view would be the vast flat seas (you hope), so occasionally an animated feature such as the starfish from Finding Nemo or the flying balloon house from Up passes by. This clever feature connects the inside cabins with the outside world and alleviates the claustrophobic, tin-can feeling some passengers complain about.

Two welcome features in my oceanview verandah room were the split bathroom (a toilet and sink in one room and a shower-sink combination in another) and the elevated bed that provides storage underneath. One warning: Make sure you get on your hands and knees to check for anything left behind when you pack up.

I did think it strange that there were no electrical outlets in the bathrooms. I moved around a lot to get ready in the morning because I had to plug in the hair dryer at the vanity at the other end of the stateroom from the bathrooms. If you have someone sleeping on the pull-out couch this will be a hassle.

The food in the main dining venues is as to be expected. I didn’t find it exceptional, though Animator’s Palate is the most contemporary in look and menu with its Pacific Rim flair. The animated portholes of the inside cabins are bigger here and a 50-minute show hosted by Crush, the sea turtle from Finding Nemo, is a lot of fun, albeit loud.

Guests rotate among the three dinner venues — Enchanted Garden, Royal Palace and Animator’s Palate — each night and their wait staff follows them. This is a nice touch that lets guests get to know the staff and vice versa.

There are also two upscale, adult-only restaurants, Remy and Palo, which require reservations and have a bit of a dress code, including no jeans. We had a lavish five-course meal at Remy, which transported us off the boat to Paris. Most of the staff is French and the food is magnifique, especially the molecular gastronomic elements. The flavored foams that have been the rage in haute culinary circles are featured here. It’s not cheap, though, and the meal will take about 2 1/2 hours. Dinner is $75 per person with an additional $99 for wine pairings. No one under 18 is allowed, and fewer than 100 people will be accommodated in Remy each night. If you go, make sure you save room for the salted caramels. (At Palo, a Northern Italian restaurant, dinner is an additional $20 per person.)

For that brief time, we forgot we were on a Disney ship, so far away from Tinker Bell and the gang. By the time dinner was over, we had missed the fireworks and it appeared every character had been tucked in for the night.

We found our way to Pink for a nightcap, and then to the adjacent disco where Get Low by Flo Rida packed the dance floor. Nothing about the last few hours had the theme-park stamp of Disney until I thought about it a little more.

Service and entertainment are Disney specialties, and the Dream overflows with both. Plus lots and lots of princesses.

Janet K. Keeler can be reached at jkeeler@sptimes.com or (727) 893-8586.

.IF YOU GO

Sailing the Disney Dream

Disney Cruise Line’s newest ship sails 3-, 4- and 5-night itineraries from Port Canaveral to the Bahamas. The 3-night cruise stops at Disney’s private island, Castaway Cay. The other two cruises stop in Nassau, plus Castaway Cay.

The Disney Dream has 150 inside staterooms and 1,100 outside rooms (199 with ocean views and another 901 with verandahs).

Prices depend on when you want to go and if you book through a travel agent, Disney or an aggregate travel website. On Expedia, prices for an inside stateroom for the 3-night cruise start at about $400 per person for departure dates in March. A balcony room is about $480 per person. The 4-night cruise in February and through the spring is about $520 for an inside room and $670 for a balcony. The longest cruise is $720 and $925 per person starting in March. These prices are a starting point, and you may be able to get better deals with the help of a travel agent. Generally, the first two people in a room are the same price, and the fees are lower for subsequent passengers in the same room.

Meals are included, but you’ll pay extra for alcohol and specialty dining in the adults-only Remy and Palo. The ubiquitous soda program doesn’t exist on the Dream, though there are free soda fountains in several spots on the ship.

Get more information about the Disney Dream at disneycruise.disney.go.com.

On the Web

For a photo gallery of the ship, go to links.tampabay.com.

[Last modified: Jan 26, 2011 05:22 PM]

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By Robert N. Jenkins, Special to the Times

In Print: Sunday, January 30, 2011

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LAKE BUENA VISTA

Acclaimed anthropologist Jane Goodall was a consultant as Walt Disney World Resort was building its fourth and largest theme park, Animal Kingdom. When the media previewed the park before its April 1998 opening, I asked Dr. Goodall what she thought when she was first contacted by the entertainment conglomerate. She answered:

“I wondered, what took them so long?”

I was thinking the same thing when I went on the park’s new three-hour experience, the Wild Africa Trek: What took them so long to provide the customers a more up-close view of the critters?

The Trek is pricey — $129 until Feb. 26, then $189 — but it is fun, educational and, at times, thrilling. On the two hours of walkabout, you will be leaning over the banks of a river to get within 15 feet of hippos as well as crocodiles so large they look like leathery minivans with pointy teeth. A lot of teeth.

Saving you from becoming someone else’s very special memory of the trek is a snug-fitting vest. It has harnesses around your upper thighs and a sort of industrial-strength bungee cord attached to its back. Two Trek guides help you hook a carabiner clamp at the end of this cord to brackets that slide along metal railings. This allows you to lean over the river banks, as well as to cross two swaying suspension bridges.

The bridges, too, cross the river, and while you grasp the cables that hold up the netted sides of the bridges, you’ll be looking down for the irregularly spaced wooden planks on which to step. Looking down is good, because you’ll again be eyeing crocs and hippos, more than 20 feet below.

The guides alternate leading/narrating the walk and photographing the participants, limited to 12 people. At the end of the trek, each person is given a card with password information that allows them to view all the images taken and order a photo CD, which is included in the fee.

Also included is a charming picnic lunch at an observation post that provides great views of elephants, giraffes and various types of antelopes. The lunch, served in an ingenious metal container, includes appetizer-sized items such as prosciutto, shrimp, salmon and hummus.

This lunch stop occurs in the last third of the trek, which is made by open-sided truck. It follows the same roads used by the often-crowded Kilimanjaro Safari trucks. But your truck benches have plenty of space, and binoculars are provided for the frequent stops to better view animals.

My truck paused within 15 feet of a young giraffe and an adult, within 30 feet of a rhino and her youngster. We also watched three cheetahs on a nearby hillside, a lion and lioness looking relaxed in the sun, plenty of hooved stock, and several adult elephants and a predictably cute young one.

All of these were pointed out and described to us by the knowledgeable guides. We heard them over earpieces that attached to portable radios receiving their commentary.

The Wild Africa Trek offers especially closeup views of creatures we otherwise might never get. On the Kilimanjaro Safari trucks, you could be in the middle of a row, with other passengers blocking your camera. Not the case on the Trek, and we never left a stopping point until everyone was satisfied with their view through the provided binoculars or their cameras.

Freelance travel writer Robert N. Jenkins is the former travel editor of the St. Petersburg Times.

.IF YOU GO

Wild Africa Trek at Animal Kingdom

Because the three-hour Wild Africa Trek steps off just six times a day and is limited to 12 people, reservations are recommended; call (407) 939-8687. It is limited to those at least 8 years old and weighing less than 300 pounds — participants step on a scale before they are allowed to don a vest, though the scale’s readout is seen only by a staffer.

Also before being outfitted, participants must empty their pockets into their own locker, lest anything fall out during the trip. Cameras that have a neck strap can be taken along.

A ticket to Animal Kingdom is required in addition to the Trek fee, which is $129 through Feb. 26, when it rises to $189. In addition to the hike and truck ride, participants receive lunch, a metal water bottle to keep and a CD of photos of their experience.

[Last modified: Jan 26, 2011 12:45 PM]

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