Sci-fi Spacesuits: Protecting the Wearer from the Perils of Space

Space is incredibly inhospitable to life. It is a near-perfect vacuum, lacking air, pressure, and warmth. It is full of radiation that can poison us, light that can blind and burn us, and a darkness that can disorient us. If any hazardous chemicals such as rocket fuel have gotten loose, they need to be kept safely away. There are few of the ordinary spatial clues and tools that humans use to orient and control their position. There are free-floating debris that range from to bullet-like micrometeorites to gas and rock planets that can pull us toward them to smash into their surface or burn in their atmospheres. There are astronomical bodies such as stars and black holes that can boil us or crush us into a singularity. And perhaps most terrifyingly, there is the very real possibility of drifting off into the expanse of space to asphyxiate, starve (though biology will be covered in another post), freeze, and/or go mad.

The survey shows that sci-fi has addressed most of these perils at one time or another.

Alien (1976): Kane’s visor is melted by a facehugger’s acid.


Despite the acknowledgment of all of these problems, the survey reveals only two interfaces related to spacesuit protection.

Battlestar Galactica (2004) handled radiation exposure with simple, chemical output device. As CAG Lee Adama explains in “The Passage,” the badge, worn on the outside of the flight suit, slowly turns black with radiation exposure. When the badge turns completely black, a pilot is removed from duty for radiation treatment.

This is something of a stretch because it has little to do with the spacesuit itself, and is strictly an output device. (Nothing that proper interaction requires human input and state changes.) The badge is not permanently attached to the suit, and used inside a spaceship while wearing a flight suit. The flight suit is meant to act as a very short term extravehicular mobility unit (EMU), but is not a spacesuit in the strict sense.

The other protection related interface is from 2001: A Space Odyssey. As Dr. Dave Bowman begins an extravehicular activity to inspect seemingly-faulty communications component AE-35, we see him touch one of the buttons on his left forearm panel. Moments later his visor changes from being transparent to being dark and protective.

We should expect to see few interfaces, but still…

As a quick and hopefully obvious critique, Bowman’s function shouldn’t have an interface. It should be automatic (not even agentive), since events can happen much faster than human response times. And, now that we’ve said that part out loud, maybe it’s true that protection features of a suit should all be automatic. Interfaces to pre-emptively switch them on or, for exceptional reasons, manually turn them off, should be the rarity.

But it would be cool to see more protective features appear in sci-fi spacesuits. An onboard AI detects an incoming micrometeorite storm. Does the HUD show much time is left? What are the wearer’s options? Can she work through scenarios of action? Can she merely speak which course of action she wants the suit to take? If a wearer is kicked free of the spaceship, the suit should have a homing feature. Think Doctor Strange’s Cloak of Levitation, but for astronauts.

As always, if you know of other examples not in the survey, please put them in the comments.

(Other) wearable communications

The prior posts discussed the Star Trek combadge and the Minority Report forearm-comm. In the same of completeness, there are other wearable communications in the survey.

There are tons of communication headsets, such as those found in Aliens. These are mostly off-the-shelf varieties and don’t bear a deep investigation. (Though readers interested in the biometric display should check out the Medical Chapter in the book.)

Besides these there are three unusual ones in the survey worth noting. (Here we should give a shout out to Star Wars’ Lobot, who might count except given the short scenes where he appears in Empire it appears he cannot remove these implants, so they’re more cybernetic enhancements than wearable technology.)


In Gattaca, Vincent and his brother Anton use wrist telephony. These are notable for their push-while-talking activation. Though it’s a pain for long conversations, it’s certainly a clear social signal that a microphone is on, it telegraphs the status of the speaker, and would make it somewhat difficult to accidentally activate.


In the Firefly episode “Trash”, the one-shot character Durran summons the police by pressing the side of a ring he wears on his finger. Though this exact mechanism is not given screen time, it has some challenging constraints. It’s a panic button and meant to be hidden-in-plain-sight most of the time. This is how it’s social. How does he avoid accidental activation? There could be some complicated tap or gesture, but I’d design it to require contact from the thumb for some duration, say three seconds. This would prevent accidental activation most of the time, and still not draw attention to itself. Adding an increasingly intense haptic feedback after a second of hold would confirm the process in intended activations and signal him to move his thumbs in unintended activations.


In Back to the Future, one member the gang of bullies that Marty encounters wears a plastic soundboard vest. (That’s him on the left, officer. His character name was Data.) To use the vest, he presses buttons to play prerecorded sounds. He emphasizes Future-Biff’s accusation of “chicken” with a quick cluck. Though this fails the sartorial criteria, being hard plastic, as a fashion choice it does fit the punk character type for being arresting and even uncomfortable, per the Handicap Principle.

There are certainly other wearable communications in the deep waters of sci-fi, so any additional examples are welcome.

Next up we’ll take a look at control panels on wearables.