EYE-LINK is an interface used between a person at a desktop who uses support tools to help another person who is live “in the field.” (Quite like Vika and Jack in Oblivion, or like the software in Sight.)
In this scene, we see EYE-LINK used by a pick-up artist, Matt, who acts as a remote “wingman” for pick-up student Harry. Matt has a group video chat interface open with paying customers eager to lurk, comment, and learn from the master.
Harry wears a hidden camera and microphone. This is the only tech he seems to have on him, only hearing his wingman’s voice, and only able to communicate back to his wingman by talking generally, talking about something he’s looking at, or using pre-arranged signals.
Tap your beer twice if this is more than a little creepy.
A smaller transparent information panel for automated analysis, research, and advice.
An extra, laptop-like screen where Matt leads a group video chat with a paying audience, who are watching and snarkily commenting on the wingman scenario. It seems likely that this is not an official part of the EYE-LINK software.
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.
Dr. Strange uses the Crimson Bands of Cyttorak to immobilize Kaecilius while they are fighting in the New York Sanctum.
The bands are a flexible torso shaped device, that look like a bunch of metal ribs attached to a spine. We do not actually know whether this relic has “chosen” Strange or if it simply functions for anyone who wields it correctly. But given its immense power, it definitely qualifies as a relic and opens up the conversation about whether some relics are simply masterless.
On the name
Discussing the bands is made semantically difficult for two reasons. The first is that “they” are multiple bands joined together by a single “spine” and handled in combat like a single thing. So it needn’t be plural “Bands.” That’s like calling a shoe the Running Laces of Reebok. It is an it not a they. Also it is not Crimson. They are not actually named in the film, but authoritative source material indicates that is what these are. So forgive the weirdness, but this post will discuss the bands as a single thing. An it.
So where did it get its plural name? Comic book fans have already noted: In the books, the Crimson Bands of Cyttorak are actually a spell for binding. They are—no surprise—glowing crimson bands of energy, and used by many spellcasters, not just Strange. Here they are in The Uncanny X-Men, cast by the Scarlet Witch and subsequently smashed by Magik.
Mordo wears the Vaulting Boots of Valtor throughout the movie and first demonstrates their use to Dr. Strange when they are sparring. The Boots allow the user to walk, run, or jump on air as if it were solid ground.
When activated, the sole of each boot creates a circular field of force in anticipation of a footfall in midair, as if creating free-floating stepping stones.
How might this work as tech?
The main interaction design challenge is how the wearer indicates where he wants a stepping-stone to appear. The best solution is to let Mordo’s footfall location and motion inform the boots when and where he expects there to be a solid surface. (Anyone who has stumbled while misjudging the height or location of a step on a stairway knows how differently you treat a step where you expect there to be solid footing.)
If this were a technological device, sensors within the boots would retain a detailed history of the wearer’s stride for all possible speeds and distances of movement. The boots would detect muscle tension and flexion combined with the owner’s direction and velocity to accurately predict the placement of each step and then insert an appropriately elevated and angled stepping stone. The boots would know the difference between each of these styles of movement, walking, running, and sprinting and behave accordingly.
As a result, Mordo could always remain upright and stable regardless of his intended direction or how high he had climbed. And while Mordo may be a sorcerer with exceptional physical training, he isn’t superhuman. With the power of the boots he is only able to run and step as high as he could normally if for example he was taking a set of stairs two or three at a time.
As a magical device, the intelligence imbued in the boots is limited to the awareness of the intent of the sorcerer and knows where to place each force-field stepping-stone.
This staff appears to be made of wood and is approximately a meter long when in its normal form. When activated by Mordo it has several powers. With a strong pull on both ends, the staff expands into a jointed energy nunchaku. It can also extend to an even greater length like a bullwhip. When it impacts a solid object such as a floor, it seems to release a crack of loud energy. Too bad we only ever see it in demo mode.
How might this work as technology?
The staff is composed of concentric rings within rings of material similar to a collapsing travel cup. This allows the device to expand and contract in length. The handle would likely contain the artificial intelligence and a power source that activates when Mordo gives it a gestural command, or if we’re thinking far future, a mental one. There might also be an additional control for energy discharge.
In the movie, sadly, Mordo does not use the Staff to its best effect, especially when Kaecilius returns to the New York sanctum. Mordo could easily disrupt the spell being cast by the disciples using the staff like a whip, but instead he leaps off the balcony to physically attack them. Dude, you’re the franchise’s next Big Bad? But let’s put down the character’s missteps to look at the interface.
Mode switching and inline meta-signals
Any time you design a thing with modes, you have to design the state changes between those modes. Let’s look at how Mordo moves between staff, nunchaku, and whip in this short demonstration scene. Continue reading →
The transition from Beijing to the Newark copyshop is more involved. After he travels around a bit, he realizes he needs to be looking back in Newark. He “rewinds” using a pull gesture and sees the copyshop’s pyramid. First there is a predominantly blue window that unfolds as if it were paper.
And then the copyshop initial window expands. Like the Beijing hotel, this is a floor plan view, but unlike the hotel it stays two dimensional. It appears that cyberspace works like the current world wide web, with individual servers for each location that can choose what appearance to present to visitors.
Johnny again selects data records, but not with a voice command. The first transition is a window that not only expands but spins as it does so, and makes a strange jump at the end from the centre to the upper left.
Once again Johnny uses the two-handed expansion gesture to see the table view of the records.Continue reading →
As mentioned, Johnny in the last phone conversation in the van is not talking to the person he thinks he is. The film reveals Takahashi at his desk, using his hand as if he were a sock puppeteer—but there is no puppet. His desk is emitting a grid of green light to track the movement of his hand and arm.
The Make It So chapter on gestural interfaces suggests Takahashi is using his hand to control the mouth movements of the avatar. I’d clarify this a bit. Lip synching by human animators is difficult even when not done in real time, and while it might be possible to control the upper lip with four fingers, one thumb is not enough to provide realistic motion of the lower lip.Continue reading →