Report Card: Doctor Strange

Read all Doctor Strange reviews in chronological order.

Chris: I really enjoyed Doctor Strange. Sure, it’s blockbuster squarely in origin story formula, but the trippiness, action, special effects, and performances made it fun. And the introduction of the new overlapping rulespace of magic makes it a great addition to the Marvel Cinematic Universe. And hey, another Infinity Stone! It’s well-connected to the other films.

Scout: Doctor Strange is another delightful film that further rounds out the Marvel universe. It remained faithful (enough) to the comics that I loved growing up and the casting of Benedict Cumberbatch was spot-on perfect, much as Robert Downey Jr. was for Tony Stark. It is a joyful and at times psychedelic ride that I’m eager to take again. “The Infinity Wars” will be very interesting indeed.

But, as usual, this site is not about the movie but the interfaces, and for that we turn to the three criteria for evaluating movies here on scifiinterfaces.com.

  1. How believable are the interfaces? (To keep you immersed.)
  2. How well do the interfaces inform the narrative of the story? (To tell a good story.)
  3. How well do the interfaces equip the characters to achieve their goals? (To be a good model for real-world design?)

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Report Card: Children of Men

Read all Children of Men reviews in chronological order.

Depending on how you count, there are only 9 interfaces in Children of Men. This makes sense because it’s not one of those Gee-Whiz-Can-You-Believe-the-Future technofests like Forbidden Planet or Minority Report. Children of Men is a social story about the hopelessness of a world without children, so the small number of interfaces—and even the way they are underplayed—is wholly appropriate to the theme. Given such a small number, you would not expect them to be as spectacular as they are. Or maybe you would. I don’t know how you roll.

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Report Card: Johnny Mnemonic

There are no more interfaces within the film to analyse. But before moving on to the grades, some final (and brief – I promise) discussion about cyberpunk and virtual reality.

Read all Johnny Mnemonic reviews in chronological order.

Cyberpunk Love

As stated at the beginning, Johnny Mnemonic is a cyberpunk film, with the screenplay written by noted cyberpunk author William Gibson, loosely based on one of his short stories of the same name. Why would user interface designers care? Because the cyberpunk authors were the first to write extensively about personal computing technologies, world wide networks, 2D/3D GUIs, and AI. Cyberspace, both the idea and the word itself, comes from cyberpunk fiction. Just as Star Trek inspired NASA engineers and astronauts, the cyberspace depicted by the authors inspired virtual reality programmers and designers. In the first virtual reality wave of the mid to late 1990s, it seemed that everybody working in the field had read Neuromancer.

If you’ve never read any cyberpunk and are now curious, Neuromancer by William Gibson is still the classic work. For a visual interpretation, the most cyberpunk of all films, in style and tone rather than plot, is Blade Runner. Cyberpunk founder Bruce Sterling, who wrote the foreword for “Make It So”, often writes about design; and sometimes cyberpunk author Neal Stephenson has also written interesting and thought provoking non-fiction about computers and user experience. It’s beyond the scope of this post to outline all their ideas for you, but if you are interested start with:

Bruce Sterling on Tumblr

In the Beginning was the Command Line

VR Love

Johnny Mnemonic also includes scenes set in virtual reality, a trend that began with Tron (although that particular film did not use the term). These virtual reality scenes with their colorful graphics  were most likely included to make computer systems less boring and more comprehensible to a general audience. However, these films from Tron onwards have never been successful. (If you work around computer people you’ll hear otherwise from plenty of fans, but computer geeks are not a representative sample.)

In the more recent Iron Man films, Tony Stark in his workshop uses a gestural interface, voice commands, and large volumetric projections. This could easily have been depicted as a VR system, but wasn’t. Could there be a usability problem when virtual reality interfaces are used in film?

The most common reason given for not using VR is that such sequences remind the audience that they’re watching an artificial experience, thus breaking suspension of disbelief. Evidence for this is the one financially successful VR film, The Matrix, which very carefully made its virtual reality identical to the real world. The lesson is that in film, just like most fields, user interfaces should not draw too much attention to themselves.

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Report Card: The Faithful Wookiee

Read all The Faithful Wookiee reviews in chronological order.

Of course we understand that The Faithful Wookiee was an animation for children and teens, the script of which was thrown together in a short time. We understand that it is meant to be entertainment and not a prediction, building on the somewhat-unexpected success of a sci-fi movie released the year before. We get that the plot is, well, unlikely. We understand that 1978 was not a time when much thought was given to consistent and deeply thought-through worldbuilding with technology. We understand it is hand-drawn animation and all the limitations that come with this.

But, still, to ensure a critique is valuable to us, we must bypass these archaeological excuses and focus instead on the thing as produced. And for that, the short does not fare well.

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Report Card: Oblivion

Read all the Oblivion reviews in chronological order.

According to the director, Oblivion is “a daylight science fiction film with a kind of Twilight Zone story,” a callback to pre-Star Wars, 1970’s lonely man sci-fi set against a huge backdrop. (Read the full interview by Germain Lussier on /Film for more.) Certainly, it’s more visually-satisfying thing than intellectually-satisfying thing, but fortunately that same thing does not play out in the interfaces.

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Report Card: Starship Troopers

Starship Troopers is an unlikely movie to have come out of the 1990s. Director Paul Verhoeven says that it got made because it was a high-turnover time at Sony, and the script just got shooed along as studio leads paraded in and out. The irony, hyperbole, and critique of American neocons as fascist warmongers was all in the script from the beginning. Had anyone looked at the script or the dailies, he says, it might not have been made. That’s probably why I like this movie so much, in that it’s a criticism of hawkishness and the culture that gives rise to it.

But despite that soft spot that I have for it, I’m here to rate the interfaces, and in that regard, it is lucky I don’t send it to the brig.

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