Dr. Strange’s augmented reality surgical assistant

We’re actually done with all of the artifacts from Doctor Strange. But there’s one last kind-of interface that’s worth talking about, and that’s when Strange assists with surgery on his own body.

After being shot with a soul-arrow by the zealot, Strange is in bad shape. He needs medical attention. He recovers his sling ring and creates a portal to the emergency room where he once worked. Stumbling with the pain, he manages to find Dr. Palmer and tell her he has a cardiac tamponade. They head to the operating theater and get Strange on the table.

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When Strange passes out, his “spirit” is ejected from his body as an astral projection. Once he realizes what’s happened, he gathers his wits and turns to observe the procedure.

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When Dr. Palmer approaches his body with a pericardiocentesis needle, Strange manifests so she can sense him and recommends that she aim “just a little higher.” At first she is understandably scared, but once he explains what’s happening, she gets back to business, and he acts as a virtual coach.

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The Dark Dimension mode (5 of 5)

We see a completely new mode for the Eye in the Dark Dimension. With a flourish of his right hand over his left forearm, a band of green lines begin orbiting his forearm just below his wrist. (Another orbits just below his elbow, just off-camera in the animated gif.) The band signals that Strange has set this point in time as a “save point,” like in a video game. From that point forward, when he dies, time resets and he is returned here, alive and well, though he and anyone else in the loop is aware that it happened.

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In the scene he’s confronting a hostile god-like creature on its own mystical turf, so he dies a lot.

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The Museum of One Film

Years ago in grad school I heard a speaker tell of a possibly-imaginary museum called the Museum of One Painting. In that telling, the museum was a long hall. The current One Painting (they were occasionally switched out) was hung at the far end from the entrance. As you walked the length of it, to your left you would see paintings and exhibits of the things that had influenced the One Painting. Then at the end you would spend time with the One Painting. On your way out, to your left you could see paintings and other artworks that were influenced by the One Painting.

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Ah yes, I believe this was made during Henry Hillinick’s Robbie the Robot phase.
Hat tip to the awesome Matte Shot.

I loved this museum concept. It was about depth of understanding. It provided context. It focused visits on building a shared understanding that you could discuss with other visitors, even if they’d gone a week before you. My kind of art museum. I fell in love with this concept pretty hard and began to believe in the intervening decades that it was just a fable, constructed by wishful museum theorists.

Nope. Today I searched for it, and found it. It’s real. It’s housed in a small building in Penza, Russia. The reality is a little different than how I had it described (or, rather, how I wrote it to memory), and I think it’s only in Russian (mine is a pittance), and given recent politics I’m not sure I’d be welcome there; but its beautiful core concept is intact. A deep dive into a single painting at a time.

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Just a quick 9-hour drive from Moscow.

The whole reason I bring this up on the blog is because the awesome American cinema chain Alamo Drafthouse is doing something like this, but for film. And not just any film, but for the upcoming Blade Runner 2049. Their Road to Nowhere series examines dystopian films that influenced or were influenced by Blade Runner. Some you probably know and love. (Metropolis! Logan’s Run! The Fifth Element!) Some I’d never heard of but now want to. (1990: The Bronx Warriors! Hardware! Prayer of the Rollerboys!)

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I try not to be a gushing fanboy for anything on this blog, but I gotta hand it to the Drafthouse for this. This is my kind of film nerdery. If I was to run a film series, it would be just like this, only with some sci-fi interface analysis and redesign meetups thrown in for good measure. Just thrilled that it’s happening, and there’s a Drafthouse near me in San Francisco. (Sorry if there’s not one near you, but maybe there’s something similar?)

Anyway, I was not paid by anyone to write this. Just…just happy and nerding out. Hope to see you there.

The Hong Kong Mode (4 of 5)

In the prior three posts, 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.

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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.

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Tibet Mode Analysis: Representing the future (3 of 5)

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.

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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

Tibet mode: Display for interestingness (2 of 5)

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.

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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.

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What chapter ring content would most help Strange? Continue reading

Eye of Agamotto (1 of 5)

This is one of those sci-fi interactions that seems simple when you view it, but then on analysis it turns out to be anything but. So set aside some time, this analysis will be one of the longer ones even broken into four parts.

The Eye of Agamotto is a medallion that (spoiler) contains the emerald Time Infinity Stone, held on by a braided leather strap. It is made of brass, about a hand’s breadth across, in the shape of a stylized eye that is covered by the same mystical sigils seen on the rose window of the New York Sanctum, and the portal door from Kamar-Taj to the same.

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World builders may rightly ask why this universe-altering artifact bears a sigil belonging to just one of the Sanctums.

We see the Eye used in three different places in the film, and in each place it works a little differently.

  • The Tibet Mode
  • The Hong Kong Modes
  • The Dark Dimension Mode

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