Doctor Strange: Overview

I saw Doctor Strange fairly close to opening weekend and was intrigued by much of what I saw there, especially the artifacts and the Cloak of Levitation. (It has some powerful agentive aspects, and given that that is the topic of my new book, I thought it would be fruitful to examine.)

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Yep. This book. Check it out. It ain’t sci-fi, but it might inspire some.

But, awwww, that’s too bad. Doctor Strange deals in magic, not techn—Whatever. Continue reading

An Interview with Mark Coleran

In homage to the wrap of Children of Men, this post I’m sharing an interview with Mark Coleran, a sci-fi interface designer who worked on the film. He also coined the term FUI, which is no small feat. He’s had a fascinating trajectory from FUI, to real world design here in the Bay Area, and very soon, back to FUI again.

I’d interviewed Mark way back in 2011 for a segment of the Make It So book that got edited out of the final book, so it’s great to be able to talk to him again for a forum where I know it will be published, scifiinterfaces.com.

This interview has been edited for clarity and length.

Tell us a bit about yourself.

So obviously my background is in sci-fi interfaces, the movies. I spent around 10 years doing that from 1997 to 2007. Worked on a variety of projects ranging from the first one, which was Tomb Raider, through to finishing off the last Bourne film, Bourne Ultimatum.

The Bourne Ultimatum, from Mark’s online portfolio, see more at coleran.com

My experience of working in films has been coming at it from the angle of loving the technology, loving the way machines work. And trying to expose it, to make it quite genuine. That’s what I got a name for in the industry was to try and create a more realistic side of interfaces. Continue reading

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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Continue reading

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.

Continue reading

Ministry of Art detector gate

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Jumping back in the film a bit, we’re going to visit the Ministry of Art. When Theo goes there to visit his brother, after the car pulls to the front of the secured building, Theo steps out and walks toward a metal-detector gate.

Its quite high, about 3 meters tall. The height helps to reinforce the notion that this is a public space.

  1. This principle, that short ceilings are personal, and high ceilings are public, is I believe a well-established one in architectural design. Read the Alexandrian pattern if you’d like to read more about it.
  2. Is it a public space? It is, since it’s a Ministry. But it isn’t, since he joins his brother in what looks like a rich person’s private dining room. I was always a bit confused by what this place was meant to be. Perhaps owning to The Dark Times, Nigel has cited Minister rights and cordoned off part of the Tate Modern to live in. If anyone can explain this, please speak up.
  3. On the downside, the height makes the text more out of sight and harder to read by the people meant to be reading it.

The distance is balanced by the motion graphics of the translucent sign atop the gate. Animated red graphics point the direction of ingress, show a security stripe pattern, and provide text instructions.

Motion is a very strong attention-getting signal, and combined with the red colors, does all the attention-getting that the height risks. But even that’s not a critical issue, as there is of course a guard standing by to ensure his understanding and compliance.

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Note that there is no interaction here (which is the usual filter for this blog), but since I’m publishing an interview with the designer of this and the Kubris interface soon, I thought I’d give it a quick nod.

Jasper’s Music Player

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After Jasper tells a white lie to Theo, Miriam, and Kee to get them to escape the advancing gang of Fishes, he returns indoors. To set a mood, he picks up a remote control and presses a button on it while pointing it at a display.

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He watches a small transparent square that rests atop some things in a nook. (It’s that decimeter-square, purplish thing on the left of the image, just under the lampshade.) The display initially shows an album queue, with thumbnails of the album covers and two bright words, unreadably small. In response to his button press, the thumbnail for Franco Battiato’s album FLEURs slides from the right to the left. A full song list for the album appears beneath the thumbnail. Then track two, the cover of Ruby Tuesday, begins to play. A small thumbnail to the right of the album cover appears, featuring some white text on a dark background and a cycling, animated border. Theo puts the remote control down, picks up the Quietus box, and walks over to Janice. *sniff*

This small bit of speculative consumer electronics gets around 17 seconds of screen time, but we see enough to consider the design.  Continue reading

Cyberspace Summary

In the five minute sequence about cyberspace, we’ve seen a variety of interface elements and actions. The single most impressive quality of the Johnny Mnemonic cyberspace is, to me, just how flexible and multi-modal it is.

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Cyberspace was envisioned as a 3D spatial metaphor. Here we’ve seen that with specialized hardware, you can fly with hand gestures or voice commands. Or if you’re in a hurry, you can teleport directly. Destinations can be specified precisely with numbers or graphically by pointing. Other actions can be expressed by pointing and other gestures, or by typing in text or numbers, or by speaking.

The primary output channel is obviously visual, but voice feedback is used to indicate successful actions rather than cluttering up the screen. The visual style at the top level of interaction is three dimensional, but internal systems use more conventional 2D interfaces when 3D would be confusing or excessive. Most “applications” run in what is currently called full screen mode, but there is some evidence that the user could have multiple systems appearing side by side in a kind of three-dimensional window manager.

It’s been two decades since Johnny Mnemonic was released, but the film version of cyberspace still looks like an interface that would be both fun and effective. (OK, replace the datagloves with modern motion capture cameras.) That’s quite a lot of staying power, and it’s still worth seeing the film for these five minutes alone.

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(And now, finally, after writing far more words than I’d originally intended, there are no more interfaces left to analyze in the film. Roll credits in the Report Card, coming up next.)