Citizens move between the distant parts of the city by means of a free, public transportation system. It is an ultra-light rail, featuring cars for two passengers, that move between long translucent tubes that connect the domes of the city. When one car stops at a station, its door slides open to allow exit and entry. We never see a car waiting behind another. Once seated, riders press a red button on a panel between the two seats (just visible in the screen capture below), and the car seals shut and takes off to the next station.
A small panel inside the car alerts passengers to the name of the next stop as well as any additional information that is of use. When Logan and Jessica head to Cathedral Station, the panel blinks a red light to draw their attention. (The paired green light is never seen illuminated. What’s it there for?) A female voice says “Entering a reservation for violent delinquents. Authorized persons only.” The screen before them reads, “personal risk area.” (For those wondering why it stops there at all, anyone can get out of their car here, but Logan has to use his personal communication device with Control to have the gate to Cathedral opened. Continue reading
The device with which the cosmetic surgery is conducted is delightfully called the Aesculaptor Mark III. Doc brags that it is “the latest. It’s completely self-contained.”
In it, the patient lies flat in a recess on a rounded table, the tilt and orientation of which is computer controlled. Above the table is a metallic sphere with six spidery articulated arms. Some of these house laser scalpels and some of these house healing sprays. The whole mechanism is contained in a cylinder of glass.
To control the system, Doc has a panel made up of unlabeled buttons and dials, a single blue monitor, and another panel displaying a random five-digit number and two levers. One is labeled “ANODYNE” and the other is labeled “KINESIS.”
When Doc receives a mysterious call (on what may be the earliest wireless telephone in mainstream science fiction,) he receives instructions to murder Logan. To do so he turns off the healing by moving the ANODYNE lever into the lower position.
So. Yeah. Also just terrible. I mean there’s the plot question. I ordinarily don’t drop into questions of plot, but come on. If Doc wanted to eliminate Logan, wouldn’t he increase the anodyne, so Logan wouldn’t know he was being killed until it was too late? If you wanted to torture him, wouldn’t you put him under a paralytic first, and only then turn off the anodyne? Turning on the KINESIS (moving lasters?) and turning off the anodyne just seem counter to his actual goals. Unless you want to fantheory this so that Doc’s instruction was “make him escape.” Continue reading
In addition to easy sex and drugs, citizens of Dome City who are either unhappy or even just bored with the way they look can stop by one of the New You salons for a fast, easy cosmetic alternation.
At the salon we get a glimpse of an interface a woman is using to select new facial features. She sits glancing down at a small screen on which she sees an image of her own face. A row of five unlabeled, gray buttons are mounted on the lower bevel of the screen. A black circle to the right of the screen seems to be a camera. She hears a soft male voice advising, “I recommend a more detailed study of our projections. There are new suggestions for your consideration.”
She presses the fourth button, and the strip of image that includes her chin slides to the right, replaced with another strip of image with the chin changed. Immediately afterwards, the middle strip of the image slides left, replaced with different cheekbones.
In another scene, she considers a different shape of cheekbones by pressing the second button. Continue reading
As if five posts about sex weren’t enough. Now: drugs.
Francis arrives at Logan’s apartment with a young woman on each arm, laughing and talking as if intoxicated. Once inside, Logan’s friend Francis takes a small mirrored bottle and tosses it up to the ceiling, saying, “Let’s fade out!” The bottle breaks on the ceiling, its container dissolving into the air, and spreading a pink smoke into the air. Logan, Francis, and the women laugh and stand in the smoke for a moment before collapsing together on the couch. They “fade”, whatever that is.
The drug delivery system is a nice one for aesthetic reasons. You throw it against a surface in a celebratory manner, where it makes a pleasant tinkling sound before spreading the candy-colored smoke, which everyone can inhale together for its intoxicating effects. Since the shards of the bottle disappear completely, there is no danger of being cut or cleaning up. Continue reading
The prior posts described The Circuit, critiqued it, investigated the salient aspects of matchmaking in Dome City, and threw up its hands saying that I’m going to have to rethink this one from scratch. In this post, I provide that redesign with the design rationale.
Logan is out and about doing his (admittedly horrible) Sandman job. While riding in a transport across the city, his attention drifts to a young lady waiting with a friend on a platform. He thinks she’s lovely and smiles. She catches his eye and smiles, too, before looking away. In the transport, he looks up at a glowing blue point on the ceiling near the windshield. It pulses in response.
Last night’s lesson: Don’t blog when you’re sleepy. The last post was rescinded until I can get some illustrative images in there. It’ll be back.
So in prior posts I spent a lot of pixels describing and discussing the critical failures of the interaction design of the Circuit. The controls don’t make any sense. It is seriously one-sided. It doesn’t handle a user’s preferences. In this post we’re going to go over some of the issues involved in rethinking this design.
As I express time and again in design projects—and teach in classes on interaction design—to design a system right you need to understand the goals of each actor. In a real-world project we might get more into it, but our “tuners” and “travelers” have some pretty simple goals to achieve in using The Circuit.
Goals of our users
- Find a compatible partner for satisfying sexytimes™
- Minimize social awkwardness
- Have an easy way to opt out of mismatches and, if they’re just tired of it, of the whole matchmaking process for the evening
For Jessica, social awkwardness entails not getting matched with an authority, since she’s a resistance fighter. Continue reading
The sci-fi interfaces project is about analysis, not to have an excuse to just to poke fun at how interfaces made for one media won’t work in another. That’s too easy, and doesn’t really give sci-fi interface designers their due. The point of the blog is really to examine these interfaces critically so we can learn lessons for our real world work.
Sometimes learning lessons is about naming the core good stuff in an interface and abstracting it a bit to formalize what we want to replicate elsewhere, as I showed with the Ultimate Weapon Against Evil.
Occasionally it’s acknowledging that the designer of a sci-fi interface has subtly different goals and constraints than a real-world designer and teasing out what does and doesn’t apply and why, as we see time and again with big labels.
Every now and then it’s about figuring out how what looks broken is really brilliant, as in the whole category of apologetics.
But sometimes, a system is so broken that none of this is possible. The Circuit is one of those interfaces. The inputs don’t make any sense. The workflow is either potentially life-threateningly catastrophic or seriously suboptimal. The output is either misleading or part of the catastrophic workflow. The distribution of control among the users is pointlessly (or sexist-ly) one-sided. There’s no diamond-in-the-rough goodness going on here for usability tweaks or apologetics.
To redesign this interface, we have to go back to the fundamentals of human psychology, the prospective technology of Logan’s run, and start almost from scratch, which is the next post.
In the prior post I described the wonky sex teleporter known as The Circuit and began a critique. Today I go deep into a particular issue to finish the critque.
We only see Logan encounter two riders when using The Circuit, but we can presume that there are a lot of people on there. Why does it only show Logan a single choice at a time? If he actually has, say, 12 candidates that are a match, a serial presentation like this puts a significant burden on his memory. Once he gets to #12 and thinks he’s seen enough candidates, was it #3 or #5 he liked best?
The serial presentation also looks like it might make extra work. If he gets to #12 and decides he was most fond of #2, does he have to jump back through 10 people to get there? What does he say to each of them in turn? Does he have to reject them each again? How awkward is that? If not, and he can jump back to #2, what’s the control for that? Does he have to remember what station they were on and retune them in again? Continue reading