If you’re reading these chronologically, let me note here that I had to skip Bea Arthur’s marvelous turn as Ackmena, as she tends the bar and rebuffs the amorous petitions of the lovelorn, hole-in-the-head Krelman, before singing her frustrated patrons out of the bar when a curfew is announced. To find the next interface of note, we have to forward to when…
Han and Chewie arrive, only to find a Stormtrooper menacing Lumpy. Han knocks the blaster out of his hand, and when the Stormtrooper dives to retrieve it, he falls through the bannister of the tree house and to his death.
Why aren’t these in any way affiiiiixxxxxxeeeeeeddddddd?
Han enters the home and wishes everyone a Happy Life Day. Then he bugs out.
But I still have to return for the insane closing number. Hold me.
In the priorthreeposts, I’ve discussed the goods-and-bads of the Eye of Agamotto in the Tibet mode. (I thought I could squeeze the Hong Kong and the Dark Dimension modes into one post, but turns out this one was just too long. keep reading. You’ll see.) In this post we examine a mode that looks like the Tibet mode, but is actually quite different.
Hong Kong mode
Near the film’s climax, Strange uses the Eye to reverse Kaecilius’ destruction of the Hong Kong Sanctum Sanctorum (and much of the surrounding cityscape). In this scene, Kaecilius leaps at Strange, and Strange “freezes” Kaecilius in midair with the saucer. It’s done more quickly, but similarly to how he “freezes” the apple into a controlled-time mode in Tibet.
But then we see something different, and it complicates everything. As Strange twists the saucer counterclockwise, the cityscape around him—not just Kaecilius—begins to reverse slowly. (And unlike in Tibet, the saucer keeps spinning clockwise underneath his hand.) Then the rate of reversal accelerates, and even continues in its reversal after Strange drops his gesture and engages in a fight with Kaecilius, who somehow escapes the reversing time stream to join Strange and Mordo in the “observer” time stream.
So in this mode, the saucer is working much more like a shuttle wheel with no snap-back feature.
A major problem with the use of the Eye is that it treats the past and the future similarly. But they’re not the same. The past is a long chain of arguably-knowable causes and effects. So, sure, we can imagine that as a movie to be scrubbed.
But the future? Not so much. Which brings us, briefly, to this dude.
If we knew everything, Pierre-Simon Laplace argued in 1814, down to the state of every molecule, and we had a processor capable, we would be able to predict with perfect precision the events of the future. (You might think he’s talking about a computer or an AI, but in 1814 they used demons for their thought experiments.) In the two centuries since, there have been several major repudiations of Laplace’s demon. So let’s stick to the near-term, where there’s not one known future waiting to happen, but a set of probabilities. That means we have to rethink what the Eye shows when it lets Strange scrub the future.Continue reading →
Without a display, the Eye asks Strange to do all the work of exploring the range of values available through it to discover what is of interest. (I am constantly surprised at how many interfaces in the real world repeat this mistake.) We can help by doing a bit of “pre-processing” of the information and provide Strange a key to what he will find, and where, and ways to recover exactly where interesting things happen.
The watch from the film, for reasons that will shortly become clear.
To do this, we’ll add a ring outside the saucer that will stay fixed relative to the saucer’s rotation and contain this display. Since we need to call this ring something, and we’re in the domain of time, let’s crib some vocabulary from clocks. The fixed ring of a clock that contains the numbers and minute graduations is called a chapter ring. So we’ll use that for our ring, too.
One computer in the control room is dedicated to showing the status of the Jeeps out on tour, and where they currently are on the island.
Next to the vehicle outline, we see the words “Vehicle Type: Ford Explorer” (thank you, product placement) along with “EXP” 4–7. EXP 4 & 5 look unselected, but have green dots next to them, while EXP 6 & 7 look selected with red dots next to them. No characters interact with this screen. Mr. Arnold does tap on it with a pen (to make a point though, not to interact with it).
On the right hand side of the screen also see a top-down view of the car with the electric track shown underneath, and little red arrows pointing forward. Below the graphic are the words “13 mph”. The most visible and obvious indicator on the screen is the headlights. A large “Headlights On” indicator is at the top of the screen, with highlighted cones coming out of the Jeep where the headlights are on the car. Continue reading →
As Jack searches early in the film for Drone 172, he parks his bike next to a sinkhole in the desert and cautiously peers into it. As he does so, he is being observed from afar by a sinister looking Scav through a set of asymmetrical…well, it’s not exactly right to call them binoculars.
They look kind of binocular, but that term technically refers to a machine that displays two slighty-offset images shown independently to each eye such that the user perceives stereopsis, or a single field in 3D. But a quick shot from the Scav’s perspective shows that this is not what is shown at all. Continue reading →
The TETVision display is the only display Vika is shown interacting with directly—using gestures and controls—whereas the other screens on the desktop seem to be informational only. This screen is broken up into three main sections:
The left side panel
The main map area
The right side panel
The left side panel
The communications status is at the top of the left side panel and shows Vika the status of whether the desktop is online or offline with the TET as it orbits the Earth. Directly underneath this is the video communications feed for Sally.
Beneath Sally’s video feed is the map legend section, which serves the dual purposes of providing data transfer to the TET and to the Bubbleship as well as a simple legend for the icons used on the map.
The communications controls, which are at the bottom of the left side panel, allow Vika to toggle the audio communications with Jack and with Sally. Continue reading →
As Jack begins his preflight check in the Bubbleship, Vika touches the center of the glass surface to power up the desktop that keeps her in contact with Sally on the TET and allows her to assist and monitor Jack as he repairs the drones on the ground.
Forgive me, as I am but a humble interaction designer (i.e., neither a professional visual designer nor video editor) but here’s my shot at a redesigned DuoMento, taking into account everything I’d noted in the review.
There’s only one click for Carl to initiate this test.
To decrease the risk of a false positive, this interface draws from a large category of concrete, visual and visceral concepts to be sent telepathically, and displays them visually.
It contrasts Carl’s brainwave frequencies (smooth and controlled) with Johnny’s (spiky and chaotic).
It reads both the brain of the sender and the receiver for some crude images from their visual cortex. (It would be better at this stage to have the actors wear some glowing attachment near a crown to show how this information was being read.)
These changes are the sort that even in passing would help tell a more convincing narrative by being more believable, and even illustrating how not-psychic Johnny really is.
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.