Pregnancy Test

Another incidental interface is the pregnancy test that Joe finds in the garbage. We don’t see how the test is taken, which would be critical when considering its design. But we do see the results display in the orange light of Joe and Beth’s kitchen. It’s a cartoon baby with a rattle, swaying back and forth.

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Sure it’s cute, but let’s note that the news of a pregnancy is not always good news. If the pregnancy is not welcome, the “Lucky you!” graphic is just going to rip her heart out. Much better is an unambiguous but neutral signal.

That said, Black Mirror is all about ripping our hearts out, so the cuteness of this interface is quite fitting to the world in which this appears. Narratively, it’s instantly recognizable as a pregnancy test, even to audience members who are unfamiliar with such products. It also sets up the following scene where Joe is super happy for the news, but Beth is upset that he’s seen it. So, while it’s awful for the real world; for the show, this is perfect.

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The Cookie: Matt’s controls

When using the Cookie to train the AI, Matt has a portable translucent touchscreen by which he controls some of virtual Greta’s environment. (Sharp-eyed viewers of the show will note this translucent panel is the same one he uses at home in his revolting virtual wingman hobby, but the interface is completely different.)

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The left side of the screen shows a hamburger menu, the Set Time control, a head, some gears, a star, and a bulleted list. (They’re unlabeled.) The main part of the screen is a scrolling stack of controls including Simulated Body, Control System, and Time Adjustment. Each has an large icon, a header with “Full screen” to the right, a subheader, and a time indicator. This could be redesigned to be much more compact and context-rich for expert users like Matt. It’s seen for maybe half a second, though, and it’s not the new, interesting thing, so we’ll skip it.

The right side of the screen has a stack of Smartelligence logos which are alternately used for confirmation and to put the interface to sleep.

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When virtual Greta first freaks out about her circumstance and begins to scream in existential terror, Matt reaches to the panel and mutes her. (To put a fine point on it: He’s a charming monster.) In this mode she cannot make a sound, but can hear him just fine. We do not see the interface he uses to enact this. He uses it to assert conversational control over her. Later he reaches out to the same interface to unmute her.

The control he touches is the one on his panel with a head and some gears reversed out of it. The icon doesn’t make sense for that. The animation showing the unmuting shows it flipping from right to left, so does provide a bit of feedback for Matt, but it should be a more fitting icon and be labeled.

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Also it’s teeny tiny, but note that the animation starts before he touches it. Is it anticipatory?

Continue reading

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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Talking to a Puppet

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.

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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

FedPaint

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Students in Starship Troopers academy have access to desktop computing environments during class, including a drawing and animation program called “Fedpaint,” that had a number of very forward-looking features.

The screen is housed in a metal bezel that is attached to the desk, and can be left flat or angled slightly per the user’s preference. A few hardware buttons sit in a row at the bottom of the bezel. (Quick industrial design aside: Those buttons belong at the top of the bezel.) The input device is a stylus. (Styli had been in use in personal digital assistants for over a decade when the film came out, I don’t think they had been sold as the primary input for a PC.) When we first see Johnny using the computer, he is ignoring his citizenship lesson and using Fedpaint instead.

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The main part of the interface is a canvas. Running along the left and bottom edges are a complex tool palette and color picker that is vaguely reminiscent of Windows 3.0 WIMP applications. It’s easy to tell which category and tool is selected. (What color is selected is unclear.) I’d even say that most of the icons, while a little ham-handed and completely lacking labels, convey what they would do pretty clearly. The tools also seem to be clustered logically with categories across the top left, tools in the middle left, a color palette in the lower left corner, and file operations across the bottom. That’s some reasonable and reasonably convincing layout design for a movie interface. Nowadays a designer might argue to hide the menus when not in use to maximize the canvas real estate, but the most common OS paradigm at the time was Windows 97, and the most advanced paint program, i.e. Photoshop, looked like this. (Major thanks to Hongkiat for keeping their museum of Photoshop interfaces.)

Using the stylus, Johnny sketches a flirty animation for Carmen. He draws each of their profiles in white lines. He then adds some flat color and animates the profiles (not shown onscreen) such that the faces get closer, their eyes close, and their mouths open in readiness of a kiss. He then sends it to her.

On her desk she receives a notification. (We don’t get to see it. Was she already in the program? Did the notification jump her there?) Carmen grabs her stylus and responds by adding to the animation. She sends the file back to him. He opens it and it plays automatically. In her version of the animation, the profiles approach as before, but as they near for a kiss, the female profile blows a bubble gum bubble that gets so large it pops and covers the face of the male.


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What’s nice about this interface is that the narrative seems to have driven some innovation in its design. It’s half gee-whiz-circa-1997 of course but half character development as it tells us that Johnny likes Cameron, and Cameron is a bit playfully stand-offish in response. To make this work well narratively, communication of the animation back and forth had to be seamless, and that seems to be the reason we see the communication tools built right into the interface. If ever there was a case for why scenario-driven design for personas works, this is it.

What’s frustrating is that they skipped over the hard part. How does Johnny apply the color? A paint bucket tool is a reasonable guess, but it’s also error prone. How did he specify the number of frames and their speed? How did he ensure that the motion felt relatively smooth and communicative? Anyone who’s worked with an animation program knows that these aren’t trivial matters, and Starship Troopers took the narrative route. Probably best for the story, but less for my analysis purposes.

Still, the stylus-driven direct manipulation, the unique layout, and easy, social sharing were big innovations for the time. I don’t know that there’s much to learn from this today, since our OS metaphors have advanced enough to make this seem quaint at best, and social integration is now the norm. But credit where it’s due, this interface was ahead of its time.