Tag Archives: 10 of 12

Report Card: Black Panther (2018)

by

0

Read all the Black Panther posts in chronological order.

Black Panther’s financial success is hard to ignore. From the Wikipedia page:

Black Panther grossed $700.1 million in the United States and Canada, and $646.9 million in other territories, for a worldwide total of $1.347 billion. It became the highest-grossing solo superhero film, the third-highest-grossing film of the MCU and superhero film overall, the ninth-highest-grossing film of all time, and the highest-grossing film by a black director. It is the fifth MCU film and 33rd overall to surpass $1 billion, and the second-highest-grossing film of 2018. Deadline Hollywood estimated the net profit of the film to be $476.8 million, accounting for production budgets, P&A, talent participations and other costs, with box office grosses and ancillary revenues from home media, placing it second on their list of 2018’s “Most Valuable Blockbusters”.

https://en.wikipedia.org/wiki/Black_Panther_(film)

It was also a critical success (96% Tomotometer anyone?) as well as a fan…well, “favorite” seems too small a word. Here, let me let clinical psychologist, researcher and trusted media expert Erlanger Turner speak to this.

Many have wondered why Black Panther means so much to the black community and why schools, churches and organizations have come to the theaters with so much excitement. The answer is that the movie brings a moment of positivity to a group of people often not the centerpiece of Hollywood movies… [Racial and ethnic socialization] helps to strengthen identity and helps reduce the likelihood on internalizing negative stereotypes about one’s ethnic group.

Erlanger Turner, assistant professor of Psychology at the University of Houston–Downtown

People—myself included—just love this movie. As is my usual caveat, though, this site reviews not the film, but the interfaces that appear in the film, and specifically, across three aspects.

Sci: B (3 of 4) How believable are the interfaces?

This category (and Interfaces, I’ll be repeating myself later) is complicated because Wakanda is the most technologically-advanced culture on Earth as far as the MCU goes. So who’s to say what’s believable when you have general artificial intelligence, nanobots, brain interfaces, and technology barely distinguishable from magic? But this sort of challenge is what I signed up for, so…pressing on.

The interfaces are mostly internally consistent and believable within their (admittedly large) scope of nova.

There are plenty of weird wtf moments, though. Why do remote piloting interfaces routinely drop their users onto their tailbones? Why are the interfaces sometimes photo-real and sometimes sandpaper? Why does the Black Panther suit glow with a Here-I-Am light? Why have a recovery room in the middle of a functioning laboratory? Why have a control where thrusting one way is a throttle and the other fires weapons?

Fi: A (4 of 4) How well do the interfaces inform the narrative of the story?

Here’s where Black Panther really shines. The wearable technology tells of a society build around keeping its advancement secret. The glowing tech gives clues as to what’s happening where. The kimoyo beads help describe a culture that—even if it is trapped in a might-makes-right and isolationist belief system—is still marvelous and equitable. The tech helps tell a wholly believable story that this is the most technologically advanced society on MCU Earth 616.

Interfaces: B (3 of 4) How well do the interfaces equip the characters to achieve their goals?

As I mentioned above, this is an especially tough determination given the presence of nanobots, AGI, and brain interfaces. All these things confound usual heuristic approaches.

It even made me make this Simpsons-riff animated gif, which I expect I’ll be using increasingly in the future. In this metaphor I am Frink.

But they do not make it impossible. The suit and Talon provide gorgeous displays. (As does the med table, even if its interaction model has issues.) The claws, the capes, and the sonic overload incorporate well-designed gestures. Griot (the unnamed AI) must be doing an awful lot of the heavy lifting, but as a model of AI is one that appears increasingly in the MCU, where the AI is the thing in the background that lets the heroes be heroes (which I’m starting to tag as sidekick AI).

All that said, we still see the same stoic guru mistakes in the sand table that seem to plague sci-fi. In the med station we see a red-thing-bad oversimplicity, mismatched gestures-to-effects, and a display that pulls attention away from a patient, which keeps it from an A grade.

Final Grade A- (10 of 12), Blockbuster.

It was an unfortunately poignant time to have been writing these reviews. I started them because of the unconscionable murders of Breonna Taylor and George Flloyd—in the long line of unconscionable black deaths at the hands of police—and, knowing the pandemic was going to slow posting frequency, would keep these issues alive at least on this forum long after the initial public fury has died down.

But across the posts, Raysean White was killed. Cops around the nation responded with inappropriate force. Chadwick Boseman died of cancer. Ruth Bader Ginsberg died, exposing one of the most blatant hypocrisies of the GOP and tilting the Supreme Court tragically toward the conservative. The U.S. ousted its racist-in-chief and Democrats took control of the Senate for the first time since 2011, despite a coordinated attempt by the GOP to suppress votes while peddling the lie that the election was stolen (for which lawmakers involved have yet to suffer any consequences).

It hasn’t ended. Just yesterday began the trial of the officer who murdered George Floyd. It’s going to take about a month just to hear the main arguments. The country will be watching.

Meanwhile Georgia just passed new laws that are so restrictive journalists are calling it the new Jim Crow. This is part of a larger conservative push to disenfranchise Democrats and voters of color in particular. We have a long way to go, but even though this wraps the Black Panther reviews, our work bending the arc of the moral universe is ongoing. Science fiction is about imagining other worlds so we can make this one better.

Black Panther II is currently scheduled to come out July 8, 2022.

Wakanda forever.

Report Card: Idiocracy

by

0

Read all the Idiocracy posts in chronological order.

Now we come to the end of Idiocracy, if not yet the idiocracy.

This film never got broad release. There are stories about its being supressed by the studio because of the way the film treated brands.

I don’t know what they’re talking about.

But whatever the reason, I’m happy to do my part in helping it get more awareness. Because despite its expositive principle being wrong (and maybe slightly eugenic), the film illustrates frustrations I also have with some of the world’s stupider ills, and does so in funny ways. Also, as I noted in the last writeup, it even illustrates speculative and far-reaching issues with superintelligence. So, it’s smarter than it looks.

I’d recommend lots and lots more people see this, generally, if only to reinforce the demonization of idiocy and make more people want to be not that. So first let me say: If you haven’t yet, see the film. Help others see it. Make People Valorize Enlightenment Again.

Now, let’s turn to the interfaces.

Sci: B (3 of 4) How believable are the interfaces?

This rating is tough. After all, the interfaces are appropriately idiotic. But, we have to ask: Are they the right kind of idiotic, given a diegesis where everyone is a moron and civilization is propped up by technologies created by smart people who died off? Well…mostly.

The FloorMaster is a believable example of narrow AI breaking down. The Carl’s Junior, Insurance Slot machine, and OmniBro are all believable once you accept that part of the Idiocracy is an inhumane, hypercapitalist panopticon. The IQ test has problems, like most do. The Time Masheen is believably an older ride that has had its dioramas replaced by the idiots. These are all believable.

The sleeping pods are in between. As a prototype, you might expect the unlabeled interface and lack of niceties. But the pods break believability by magically having enough resources (e.g. five billion calories, between them) to keep their occupants alive and healthy for 500 times their initially-planned run.

And some of the interfaces just could not have been created either by the dead, smart people, or the idiots. These are technology jokes that break the fourth wall, and earn it the grade it gets.

Fi: A+ (4 of 4) How well do the interfaces inform the narrative of the story?

The film knocks this out of the park. The interfaces are a key part of illustrating how it is that idiots manage to survive at all, and how stupidity from the top-down and the bottom-up gets into everything. Just fantastic.

Everything.

Interfaces: B (3 of 4) How well do the interfaces equip the characters to achieve their goals?

This one is also complicated. The interfaces almost universally serve to thwart the users, but we have to cut them some slack, because that’s part of their narrative point. (See, this is why it’s so difficult to review comedy.)

For instance, the Healthmaster Inferno likely does more to infect patients than to help cure them. (This has a historical precedent, as doctors used to reject the notion that they had to wash their hands between patients because harumph they were gentlemen and gentlemen are clean.) And while this is terrible usability, with no affordances, constraints, or safeguards, if the technology had worked, it wouldn’t help tell such a funny and disturbing story.

Then there are technologies like the St. God’s Intake interface that would pass a usability test, but serve to keep their users as mere babysitters for a technology that does the work, and would serve to keep them stuck in the same job, never improving. Come to think of it, this is a metaphor for the role of technology in the film: It just serves to keep them stupid by trying to provide everything for them. That’s a thought with troubling implications, unless we go about it smartly.

And, hilariously, there is one function in the film that is particularly brilliant, and points out how prudish we are not to implement it today. (The fart fan.)

Anyway, the tech that is broken is so obviously broken (the IPPA machine being perhaps the best example) that I’m not counting this against the film’s Interfaces ratings. Real world designers should not mimic these or draw inspiration, but the stupidity is so deliberate and apparent, I don’t believe anyone would. In fact, the film leads them to look for why the technologies are stupid and do not that, so it scores high marks.

Final Grade A- (10 of 12), Blockbuster.

Good job, team Idiocracy.

A quick note to close out this set of reviews. People who like Idiocracy may be interested to know it is a spiritual inheritor of a 1951 story called The Marching Morons. The text hasn’t aged well, but it’s still worth a read if you liked this movie. Similar premise, similar difficulties.

Compare freely

“We need the rockets and trick speedometers and cities because, while you and your kind were being prudent and foresighted and not having children, the migrant workers, slum dwellers and tenant farmers were shiftlessly and short-sightedly having children—breeding, breeding. My God, how they bred!”

The Marching Morons, by C.M. Kornbluth, 1951

This short story is over 50 years old. I’m just going to guess that since intelligence is relative, even as average intelligence continues to rise, there will always be grousing by the intelligent about the less intelligent. And I think I’m OK with that. Or at least, the effects of it. I hope you are, too.

Report Card: White Christmas

by

0

Read all the Black Mirror, “White Christmas” reviews in chronological order.

I love Black Mirror. It’s not always perfect, but uses great story telling to get us to think about the consequences of technology in our lives. It’s a provocateur that invokes the spirit of anthology series like The Twilight Zone, and rarely shies away from following the tech into the darkest places. It’s what thinking about technology in sci-fi formats looks like.

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

  1. How believable are the interfaces? Can it work this way? (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?)

Report-Card-White-Christmas

Continue reading →

Report Card: Battlestar Galactica miniseries

by

0

Read all of the Battlestar Galactica Miniseries in chronological order.

The miniseries represents the best that the reboot has to offer. Its story is contained, the characters fill their roles, and it doesn’t overstay its welcome. The miniseries even ends on a solid cliffhanger: Will humanity survive?

Battlestar Galactica also picked a rarely chosen theme for its run. The well-used and anachronistic technology was in direct opposition to the Star Wars Prequels being released at the time. After getting my feet wet with my previous reviews, this was an entertaining choice because of its difficulty, detail, and setting.

I was constantly reminded during the review process that this miniseries represented—and this can’t be stated strongly enough—the end of human civilization.

BSG-Report-Card.png

Continue reading →

Report Card: Oblivion

by

0

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.

Oblivion-Report-Card

Sci: B (3 of 4) How believable are the interfaces?

One of the great strengths of the interfaces are their deep ties to the diegesis. There’s little fuidgetry, little that could be generically lifted and placed in another film. It’s what we used to call site-specific in design school and that’s a good thing for believability.

See how in Vika’s desktop the sections of interface contain things she has to monitor: Land, hydrorigs, drones, the Tet’s orbital position. Most of the interfaces in the film are this considered.

image00

On the flip side, there are communication systems that suffer more downtime than modern systems. There’s a flight control interface that omits the weather. The Scav binoculars just don’t make sense. And the Odyssey has a bunch of problems given that’s meant to be a near-future-ish extension of what we know today.

And then…then…then there’s the narrative-shortcut trope of the oh-by-the-way faster-than-light communication system that would have meant a much more advanced (and more defended?) world for the Tet to encounter in the first place.

Desktop_2014_07_15_19_32_16_746

So, some dings.

Fi: A (4 of 4) How well do the interfaces inform the narrative of the story?

This is where Oblivion’s interfaces really shine. They’re gorgeously realized with a rich stylistic and motion language. But moreso IMHO some of the apparent “problems” with the interfaces actually tell of the deep deception by the Tet. It’s core to telling that central story, and partly told through the interfaces.

Home 49 disconnects its inhabitants from the land they’re tasked to protect. Tet’s thinking: Perfect.

image02

Jack’s bike doesn’t make a lot of sense in the diegesis except that it is a perfect outlet for his sense of “freedom.” Tet’s thinking: Whew. Glad he has that outlet.

image00

Other narrative aspects of the interfaces like the drone programmer help underscore the drones as aggressive, suspect, and alien, rather than defensive human measures.

I’d add a + to that A if the drones hadn’t been designed to look evil and menacing. Had they been more Hello Kitty and less Galactic Empire, Jack might have been less suspicious.

hello-drone
If it needs to be said: Not actually from Oblivion. Maybe the reboot.

Interfaces: B (3 of 4)
How well do the interfaces equip the characters to achieve their goals?

The centerpiece of the film is Vika’s desktop. It’s her command and control center workstation that enables her to manage the strategy to Jack’s tactics, and even rest her teacup as she works. The most commonly accessed bits are in easy reach, and the display-only information is turned vertically for her like a clock on the wall.

Oblivion-Desktop-Overview-003

It has a few ergonomic problems, like angling its displays away from her observational sphere (just for a teacup?) It doesn’t equip her for crisis conversations like it should. Some of its interactions are inconsistent. It sometimes makes her hunt for information rather than leading her there. But, all in all, a nice dashboard for her task.

There are other interesting bits, like the situationally-shaped reticle, the breakfast table that allows for sitrep breakfasts, and well-mapped Odyssey controls that imply a bit of agentive support.

There are some usability problems throughout, or it would have fared better, but overall a good show.

Final Grade B+ (10 of 12), MUST-SEE

All told, these interfaces are rich and powerful and embody solid modern thinking about visual styling, motion design, gestural interaction, and heads-up-displays. Big props to that pro gmunk for his work (and keep an eye out for an interview with him about his work on the film soon.)

And may I send out a special shout-out to the guest bloggers for their excellent insights and write-ups: Clayton, Aleatha, Heath, and Maximilion. They did great and I’m very glad that at least four other people in the world know how much effort goes into providing these in-depth interface analyses. Let’s hope we hear from more about them on this blog in the future.

Pitch time: Learn more lessons about gestural interfaces, heads-up-displays, and other interface concepts from a vast survey of science fiction movies and television programs in the book I co-authored with Nathan Shedroff, Make It So: Interaction Design Lessons from Science Fiction.

Report Card: Wall•E

by

0

Wall-E-Report-Card

Wall•E is a humorous, robo-everything, sci-fi dystopia. This puts some challenges for the interfaces, as they have to sometimes break believability for the joke. Still, the humor is meant to be all in-world (or diegetic), so we can apply a thorough real-world critique.

Sci: A- (3.5 of 4) How believable are the interfaces?

It’s funny. Wall-E is a mix of both realistic interfaces that you might find in the real world, and cinematic interfaces that really only work for the narrative.

The Realistic

WallE-ReportCard01

The Dust Storm alert is an effective warning and call to immediate action. The immediacy of the Storm Warning and its announcement of direction and distance would be a good extension for current weather radios.

WallE-ReportCard04

Every critical automatic system should have an emergency ‘off’ button that is well labeled. Otto’s control might be poorly placed, but its use and implications are obvious to the captain in his moment of need.

WallE-ReportCard08

The Hover Chair is a multi-use, omni-terrain mobility device that is comfortable and thoroughly addictive. It would be the ultimate Rascal scooter, and likely be as popular in real life as it is on the Axiom.

WallE-ReportCard07

In many ways, The Social Network has already pervaded our society in programs like Skype. The major and dangerous change on the Axiom is that one program is getting all of a person’s attention at all times.

The Cinematic

WallE-ReportCard06

The Dropship. Very Inefficient. It shows that BNL likes complicating things, but isn’t very convincing as an activation sequence for an inter-planetary exploration pod.

WallE-ReportCard05

The Lifeboat is excellent way to show how automated all of BNL’s technology has become, but a terrible layout for an emergency tool.

WallE-ReportCard03

The project team (in the world of Wall•E) that built the Gatekeeper must have had an enormous budget, a massively talented team, and a top-flight project manager. It’s so exquisitely overbuilt in almost every possible way.

Regardless of which type they are, each says something very fundamental about Buy-N-Large’s design/engineering studios. A few of these interfaces feel so complicated and overly antagonistic to their users that it’s amazing they weren’t redesigned or updated at some point. Other interfaces feel like something that a person would encounter in those situations.

Fi: A (4 of 4) How well do the interfaces inform the narrative of the story?

Each interface shows BNL’s goal of saving people from thought and effort. Even when this costs people their privacy, their independence, or their ability to think critically it feels deliberate and intentional. Useful to the user? No. Useful to BNL? Yes. This is the core of BNL’s role in the story as the corporate antagonist, and the interfaces are crucial to telling that story.

Interfaces: B- (2.5 of 4)
How well do the interfaces equip the characters to achieve their goals?

I can see the Hover Chair as a product in a TV advertisement, and many of the interfaces like the Lifeboat and Otto’s Manual Control will likely be needed in real-life situations. The Hover Chair and Lifeboat serve as excellent prototypes of what not to do, and Otto’s control was designed exceptionally well).

Other cases, like the Audio Buttons and Eve’s Gun speak to specific situations on a post-apocalyptic Earth that will be hard to replicate. Hopefully, today’s arms manufacturers won’t create such dangerous energy weapons capable of being fired so easily. But there’s no way of knowing what kind of situations BNL had to plan for in their design, so no way of knowing just how bad the design actually is.

Final Grade A- (10 of 12), BLOCKBUSTER

Buy-N-Large is a case study in a pathologically helpful corporation stripping power and authority (and even critical thought) from citizens’ everyday life. What might look great on a vacation commercial ends up instead acting like the worst kind of drug on a person’s willpower and desire to think critically.

Designers should be careful of falling into these traps, and look to the Social Network as a lesson in what can happen when you only care about moment-to-moment happiness and profit.

Related lessons from the book

  • Eve’s drop-off pod includes lots of immediate feedback that tightens the feedback loops. (page 20)
  • Eve Extends her Hand to Shoot (just like the sixth gestural pidgin word, page 101).
  • Wall-E’s range vision adhered to much of the Augmented Reality lessons (chapter 8), such as augmenting the periphery (page 162) and context awareness (page 165).
  • Otto’s off switch and the Lifeboat Auto-Destruct confirm that red means danger. (page 44)

New lessons

  • Eve’s drop-off pod, the Lifeboat controls all scream for Labels, labels, labels.
  • The Hover Chair implies many things
    • A system should never fail into a worse state. (a New Lesson first seen on this blog with Logan’s Run.)
    • Build assistants not solutions.
    • Optimizing for the worst within us drags everyone down.
    • Let users easily pause virtual worlds (out of respect for the real one).
    • Explicitly in the Social Network writeup: Work With the Human Need and Build Products for More than just Fleeting Pleasure.

Report Card: The Day the Earth Stood Still (1951)

by

0

TDTESS-Report-Card

Oh, for the days when a movie had only five technologies to review.

Sci: A (4 of 4) How believable are the interfaces?

Keep in mind that we’re not entirely concerned with the believability of the technology, just the believability of the interface. So, we get to bypass all the messy questions about how a technology brings someone back after death, and ask instead could that technology be operated by a wall switch? And the answer is, even though most of them could be improved, yes.

  • Sure, Gort could be the primary control mechanism for the ship, with a voice input.
  • Sure, everything in the ship could be gestural, if it’s meant for security

The only notable exception is the ridiculous design of the learning device. But, hey, royals have given each other Imperial (Fabergé) eggs before, so maybe the delicacy is part of the expression. I’ll cut it some slack.

Fi: A (4 of 4) How well do the interfaces inform the narrative of the story?

Especially for 1951, this must have been a mind-blowing vision of technology. Robots with disintegrator beams for eyes. Electronics you don’t even touch. A Lazarus table that can bring people back from dead with the flip of a switch? It all painted a picture that was terrifically alien and advanced, greatly contrasting the mundane technology seen elsewhere in the film.

Interfaces: C (2 of 4)
How well do the interfaces equip the characters to achieve their goals?

One of the interfaces is awesome: The gestural security. The rest of the interfaces have some major room for improvement.

  • The doors should really be operable in the absense of Gort.
  • Gort’s pretty awesome, but some audible output would be nice for feedback or conversation across the long stretches of interstellar travel.
  • The revival table should really be more automatic.
  • The learning device, well, failed Klaatu in many, many ways.

Final Grade B+ (10 of 12), MUST-SEE

Related lessons from the book

  • Gort is sticks to obvious representation, his dull visage matching his muteness and lack of real intelligence. (Chapter 9)
  • The communication device kind-of signaled while recording (though I suspect it was really signaling that it was just on) (page 200)
  • The communications panel did not minimize the number of controls (page 204)
  • The gestural interfaces embodied the first of the gestural pidgin (Wave to activate) identified in chapter 5.

The Day the Earth Stood Still is full of some very forward-looking interfaces for its time, and was created without regard to cultural conventions of today. I highly recommend it, even for all its moralistic posturing and strange ethnocentrism. Also for some of the best end title typography in all of ever.

TDTESS-End