As part of the Fritzes Best Interfaces award for 2026, I am reviewing the interfaces in Star Trek:Section 31. This post is about the interfaces used by Fuzz.
Fuzz is a Nanokin, a species of microscopic, squidlike beings with impressive, tiny spaceships. To engage with his teammates in the human-scale world, he does so by flying into a black-market android built to look like a Vulcan, and controlling it from within. In the film they call both the android and the Nanokin “Fuzz”, but that would get confusing in writing, so I’ll call the android the Vulcanbot. I want to believe that the character concept began as a tardigrade or amoeba, but it got more octopus-like over development. From its tiny spaceship, it can get through tiny holes and cracks in machinery or body modifications, hook in, and cause plot-critical mischief.
When the camera is at the nano-scale, the film uses tilt-shift and floating-particle techniques to emphasize the smallness of Fuzz. That means that only a small strip of things are in focus in any given shot, giving us less visual information to work with than usual. So though I’ll cover it, know I’m working with a lot less than I might ordinarily have.
Nanoship
The ship he flies around in is roughly spherical, and about ten times his own diameter. It kind of looks like him, which is both a funny and philosophical design choice. Its surface ripples in waves similar to the surface of the unnamed Section 31 ship that Sahar pilots above the safehouse planet. I think the implication is that it is made from programmable matter.
It has retractable, tentacle-like appendages coming out from the hull. They can be extended to surfaces to hold the ship in place and interface with electronics. I counted 20 tentacles in one screen shot, but if they’re programmable matter, they can be made ad hoc.
The interaction design question is how these are controlled, but, with programmable matter, general artificial intelligence, and agents all part of the novum stack for the movie, it might be as simple as a prompt: “When you are near safe access points, create connectors to them.” Since it’s never shown in the film, though, we have to leave it as a guess. I leave it as an exercise for the reader to imagine how it might work with a modern technology stack.
There is a curved viewport at the front of the ship, subtending around 120° from the pilot’s view. Additional displays to the left and right of the viewport extend the display surface to around 180° degrees. The viewport features an augmented, highly dynamic display, able to show live video, star charts, big red labels, waveforms of audio—whatever is needed in the moment. Language in the display is both English and Nanokinese (for lack of an official known name of that script in the lower left). Stylistically it has a cyan border with white contents, with dusty lavender highlights. Semi-randomly-wandering line segments appear throughout. Sadly, we do not see Fuzz futzing about with this interface at all, so we cannot evaluate that part of it. But it is the context of both the nanomap and nanolever, discussed below.
Nanomap
A curious element in the center of the volumetric projection console is that of an edge-lit, standing human figure with a transverse ring around the waist. It is always there and does not appear to change throughout the film, regardless of the position of the body he’s in or controlling. It might serve simply as a map of the current body-in-question for alert and display purposes. Stuff like wayfinding or a damage control diagram.
We don’t see it when Fuzz is in Zeph or Dada Noe, but it would be cool if we saw it change to match the current host. Even cooler if we saw some vague indication of the surroundings around the host. Even coolest if we’d seen one virtual body for Vulcanbot and a second one for Zeph on the dashboard when Fuzz had the ability to remote control both.
Nanolever
When Fuzz’ deception is figured out by Georgiou and his Vulcanbot is face-to-face with a phaser, Fuzz grabs a lever and pulls it toward himself. In response Zeph’s corpse—controlled by his mechsuit—begins to rise, again under the control of Fuzz.
The lever is interesting for two reasons.
First, it’s the only physical control visible we see in the ship. (Fuzz has his tentacles raised above the viewport in a number of scenes, but the shot is from the outside of the ship, so we don’t know if he’s operating controls or just bracing himself.) A physical control is persistent and can’t get lost in occluding windows of a digital display. This tells me that Fuzz knew he might get exposed, and might need to pull the lever at any moment to initiate his ace-in-the-hole plan. The physical lever facilitated that much better than a digital one would.
Second, look at the physical design. It is textured and curved. These are both features which make it easier for octopus arms to grasp and manipulate. (I’m not a cephalopod expert, but this study says so.) We don’t know if Fuzz’ tentacles function similarly to octopus arms, but it’s a reasonable place to start.
I have less confidence in the two rings at the top of it. A shopping search for “lever controls” shows that none of them feature rings or holes. I’m not an industrial designer, but having those rings seems error prone. Not to grip, but to release. If your fingers or tentacles are in those rings, and some emergency situation requires you to quickly grab something else, you might be critically delayed by the fine motor control required to withdraw from the rings. If the lever is just a stick, releasing is practically a non-issue. So I’m less fond of the rings. If you can think of a good reason for these, let me know in the comments.
An Agent!
Since I started thinking in-depth about agentive technology, I’ve been noting when I see them in sci-fi. It’s rare. Up until Fuzz, Dr. Strange’s Cloak of Levitation has been my go-to example. Literacy in agents is becoming more important over time, and popular media is one way that people learn about it. (Especially its risks.) I was delighted to see a plot-centric use of them in this film.
Look close and you’ll see “CONVEYANCE AUTOPILOT ENGAGED” across the screen.
Vulcanbot is an agent while Fuzz is in Zeph, and then Zeph-corpse is an agent as Fuzz is fighting Georgiou to escape. Vulcanbot even handles the b-plot battle with Sahar before being caught in the climactic explosion.
This literacy of what an agent is and what it’s capable of is critical to the protagonists’ fates. If Georgiou hadn’t sussed it out, the team might have split up from unresolved suspicion. Fuzz would have snuck away and San would have returned with the Godsend to the Terran Empire and used it to return and conquer Prime. So her agent-literacy saved the day.
The central role this agent played in the film is one reason I really loved it. Of course even more interesting would have been to see how Fuzz expressed his commands for the agents and monitored their performance against those goals, but because this needed to be hidden for the Big Reveal, we don’t get to.
A missing signal
One important feature that is only weakly implemented in the Vulcanbot and should be stronger when we implement similar technologies in the real world: Agent-mode signals. These signals would convey to observers whether the technology is being operated by a human sentience or when it is being driven by agentive software.
Of course Fuzz is deeply vested in deception. Vulcanbot acts a little strangely when in agent mode, but it’s because the AI is not rich enough to mimic Fuzz on autopilot. It’s easy to imagine that if it could have been a perfect mimic, Fuzz would rather that.
But for us in the real world we want to know what we’re dealing with. It changes how we interact and what our expectations are. I argued for these deliberate design interventions in the context of Google Duplex way back in 2018, just not on this blog. So let me assert them here. A more ethical Vulcanbot would shift to a modulated voice as a hot signal when it was operating agentively, and interject a cold signal when circumstances called for it.
Delicious woke
Star Trek has addressed queerness before. I’m glad to see it again, considering how the weird MAGA Trump-suckup regime is trying to villainize and scapegoat trans people like the Nazis did with Jewish people here in my home country. And, to be clear, fuck that nonsense.
Though there’s a diegetic “excuse” as to why it is, the perceptual truth is there’s something invisible inside a character that has us accepting a masculine version for most of the movie, and then accepting a feminine version at the end. Same body, different behaviors, sci-fi reason.
There’s just something inside that informs who this character is and how they behave, even if it doesn’t match your expectations from the outside. Best not to think too much about it.
The rationale is there, so the queer-o-phobes don’t have a good excuse to reject it outright. Diegetically, the invisible part is binarily gendered. Diegetically, that’s what informs the Vulcanbot’s outward behavior, not *gasp* actual genderqueer-ness. It’s fantastically designed for the right kinds of cognitive dissonance.
Perfect for Pride Month. Maybe we can have Nanokin as a teeny tiny marshal for the next sci-fi Pride Parade.
The Fritzes award honors the best interfaces in a full-length motion picture in the past year. Interfaces play a special role in our movie-going experience, and are a craft all their own that does not otherwise receive focused recognition.
Today we’ll be covering Best Interfaces. The movies nominated for Best Interfaces manage the extraordinary challenge of being believable and helping to paint a picture of the world of the story. They advance the state of the art in telling stories with speculative technology.
The winner of the Best Interfaces award for 2025 is Section 31.
As you’ll read below, my posts on the winner will be a series rather than a single post, so let me do one Also Check Out here.
Bust first, also check out: Superman
Though I have some issues with the amount of fuigetry in most of the screens, and how Lex has to call out countermoves rather than have an assistant offer next most likely countermoves; the robots in the Fortress of Solitude and the crazy-cool gestural control of his spheres by Mr. Terrific make me think that interfaces and tech will not be an afterthought in DC’s new Gunn era.
(James: reach out and I’ll send you a free copy of my book about assistants, it would have helped with that Luthor interface.)
The 2026 Best Interfaces Award goes to Star Trek: Section 31
Maybe I was out of the loop, but I don’t recall hearing a lot of buzz about this movie at the time it came out. But when I finally caught it, I was impressed with the breadth, the art direction, and some interfaces of a sort I don’t think I’ve documented before. This year I’m going to honor the winner with an old-school breakdown, interface-by-interface. In this post we’ll start with a general overview, and then move to the Mission Briefer.
Note I try to only describe just enough so the interfaces can be understood, but since this is a cloak-and-dagger spy thriller, it’s still pretty intricate.
Plot overview
In the Mirror Universe of Star Trek, the mostly-good United Federation of Planets doesn’t exist. Instead it has a morally-inverse counterpart called the Terran Empire. Philippa Georgiou became ruler of this evil empire in part by defeating and enslaving the ambitious contender San. Once ascended, she exercised cruelty and ruthlessness until sci-fi shenanigans landed her in Prime Universe (the home universe of the shows), in 2257.
[Here I bypass a lot of stuff that happened in Discovery for the sake of brevity.]
Eventually she takes up an alias as “Madame Veronique du Franc”, proprietor of the pleasure space station Baraam, outside Federation territory. Section 31—essentially the Federation’s black ops—sends a team to blackmail Georgiou to help them intercept a superweapon, which happens to be en route to Baraam in the hands of a shady middleman named Dada Noe.
The team consists of their superstrong “augment” leader Alok Sahar, a mech-suit guy named Zeph, a seductress named Melle, a shape-shifting genius called Quasi, a buttoned-up Federation overseer named Garrett, and Fuzz, a microscopic Nanokin who pilots a teeny tiny spaceship and most often inhabits a black market Vulcan-looking android body.
Using some technologies called Phase Pods, Georgiou successfully separates the superweapon from Noe only to have it intercepted by a masked person also wearing a phase pod. Masked person kills Melle and escapes with the superweapon, but on the way Georgiou learns it is the Godsend, a quadrant-vaporizing weapon she had commissioned when she was Terran Emperor.
Georgiou convinces Sahar to form a partnership to recapture the weapon. They beam to his spaceship above a desolate planet where they interrogate Noe. They learn Noe is from the Mirror Universe, where he administered a facility that housed the Godsend. He hatched a plan to sell it and with the money escape to Prime Universe to retire in peace. His portal is an unknown but routinely opening rift between worlds. He tells them he is scheduled to meet his anonymous buyer when the rift next appears in four hours. He expects that if he does not deliver the weapon to his buyer—and the Terran Empire learns that the Godsend is gone—they will trace it to the rift, surge through, and conquer Prime. At that moment a massive explosion rips through the ship. The computer automatically beams the crew to the surface, but Noe dies in fiery debris. (Narratively convenient, but consider that the ship’s computer knew enough to beam our protagonists to safe, non-fiery-debris places, raising the possibility that it chose to murder Noe.)
Sahar says the explosion was sabotage by someone working with the still-unknown Godsend thief. One of them is a mole! Accusations fly, but Garrett focuses them on finding a derelict garbage scow she knows about, as a means to continue their mission. The team splits. Georgiou, Quasi, and Fuzz search for the scow. Sahar, Garette, and Zeph work to repair an antenna in an old Section 31 safehouse so they can warn the Federation of the impending danger.
Team Scow repairs the ship. We see Fuzz behaving a little strangely.
Meanwhile Zeph skips out on Team Antenna. While Sahar and Garrett search for him, the antenna gets activated, some message sent, and then the antenna is destroyed. The whole team rejoins and begins a search for Zeph. They find him dead. When they recover the video from his mech suit, they see something was controlling his suit and made him kill himself. Georgiou reasons that the mole must be Fuzz, who left his Vulcanbot on autopilot while he flew to Zeph to hook in and control him to commit the crimes and fly back to his bot. Thusly busted, Fuzz takes remote control of Zeph’s suit (grossly with Zeph’s corpse still in it) and the two try to escape on a float. The rest of the crew pursues in a second float, and there’s a vehicle combat sequence. Fuzz tells Georgiou that he’s been working with San. Then San beams Fuzz up to his ship. San speeds toward the rift to tell the Empire everything and begin the invasion. The remaining team gets the scow running and gives chase.
They catch up near the rift and the scow tries to delay its entry into the rift via tractor beam. Sahar and Georgiou beam to San’s ship to learn that San has initiated the Godsend. San fights Georgiou. Sahar fights Vulcanbot while Fuzz escapes to watch from a safe distance. On board the scow, Garrett forges a makeshift weapon in the ship’s hold and they release it at San’s ship. It lands and explodes, giving the heroes the upper hand in their respective fights. Georgiou grabs and activates the Godsend via biometric signature. Quasi manages to beam her and Sahar back to the scow just in time, leaving San, Fuzz, Vulcanbot, and the Godsend to be destroyed in the explosion as it passes back to the Mirror Universe and seal the rift forever. (And, presumably, something about the confluence of energies neuters the Godsend so it doesn’t go on to kill quadrillions in the quadrant where the rift happened to be, because that would be multiple, multiple genocides and sully whatever victory this is.)
The movie ends with the team back on the Baraam. They meet Wisp, Fuzz’ widow, piloting a second bootleg Vulcanbot. They receive a mission briefing that has them warping the Baraam (surprise, it’s also a spaceship) towards Turkana IV.
Whew.
Star Trek: Section 31 is primarily set in the 24th-century “Lost Era” between 2324–2326. This places it roughly 66 years after Discovery (2258) and about 40 years before The Next Generation. For continuity, the designers have to find some middle ground between the glowing, 3D, multiplanar translucency of Disco and the flat, 2D, highly-graphic, vibrant oranges-and-blues palette of LCARS. I think they did a really nice job. We see circular, glowing interfaces. We see hints of the fully realized LCARS to come.
There’s also a clear delineation between Federation/Section 31 interfaces, the mining colony interfaces, the few Terran Empire interfaces we see, and those of the foreign-language garbage scow.
San’s ship interior, by the way, is high-contrast red-on-black, and very pointy, making me wonder if the production designers have read my post on the Design of Evil, because it is practically an archetype of those patterns.
Anyway, now that we have a grasp on the plot, next let’s look more closely at those interfaces.
The Fritzes award honors the best interfaces in a full-length motion picture in the past year. Interfaces play a special role in our movie-going experience, and are a craft all their own that does not otherwise receive focused recognition. In this post we round-up all the big labels across the survey.
I wrote about the Big Label in 2012 in the Visual Interfaces chapter of Make It So…
…and here we are 12 years later cataloging more. It’s understandable why: It’s familiar, it conveys critical plot information in a fraction of a second. It’s inexpensive because it’s fast to design with not a lot of moving parts. It’s not quite an interface, since it’s just output, but there were enough this year to catch my eye. So, uh, here they are.
The Fritzes award honors the best interfaces in a full-length motion picture in the past year. Interfaces play a special role in our movie-going experience, and are a craft all their own that does not otherwise receive focused recognition.
Today we’ll be covering Best Narrative. These movies’ interfaces blow us away with evocative visuals and the richness of their future vision. They engross us in the story world by being spectacular.
The 2026 Award goes to: Elio
Pixar consistently puts great thought into their animated interfaces, and Elio is no different. The little wearable personal devices that help the different intergalactic species all share a space are so simple, and provide both a bit of worldbuilding as well as moments of comedy. The incomprehensibility of the alien spaceship controls are a plot-critical, candy-colored glowing hoot (and reminiscent of another Pixar short, Lifted.) I loved the lemniscate-shaped AI encyclopedia that Elio consults when preparing for his negotiations. We should be able to talk to Wikipedia and not just its articles. (Though I wish the entries were more than just text and an image.) Also this film has the only example I’ve seen where one character acts as an environmental suit for another character (not pictured, but you know the scene).
Also check out: Mickey 17
It’s a dark world where the hoarding class has made the working class so desperate that some people have to agree to be cloned for critical tasks that are likely death sentences. The interfaces in Mickey 17 help sell that very world, and even the ways that some folks use that same tech to eke out a little naughty joy amongst the drudgery. (With echoes of a similarly flirty interface from Starship Troopers.)
Also check out: Fantastic Four: First Steps
Marvel was once a main-stay for interfaces to study, but they’ve pointed their camera increasingly away from interfaces of late. So I was delighted to see Fantastic Four: First Steps bring to life interfaces from Jack Kirby’s Silver Age Fantastic Four. I don’t know if it was CGI, but I swear the giant, spherical quadrilateral screens are actual giant CRTs right down to the blurriness and chromatic aberration. If that’s CGI, it’s great attention to the detail from the reference material. All the spherical displays!
The “big” award in the Fritzes is Best Interface, but to amp up the anticipation, let’s look at some of the idiosyncratic awards from 2025 first.
The Fritzes award honors the best interfaces in a full-length motion picture in the past year. Interfaces play a special role in our movie-going experience, and are a craft all their own that does not otherwise receive focused recognition. (Looking at you, Academy.) Awards are given for Best Believable, Best Narrative, and Best Interfaces (overall). Some years I give awards and shout-outs to other interesting trends or interfaces I spot along the way. This year I’ll do that, too.
History (still) unfolding note: Here in my home country we are still in the throes of Epstein-classfascism that amounts to a crimes-against-humanity, cartoonishly-incompetent, distraction-war. We are obligated to root out and overcome these forces. But we can’t be “on” 24/7, and sometimes the best thing we can do in these circumstances is resist and thrive, so despite the daily horrors, for when you’re done protesting and voting and resisting, I present this minor distraction with the full knowledge that there are other things with orders of magnitude more importance going on. It is not meant to normalize the kakistocracy.
Last year surprised me for the number of quality interfaces in sci-fi. I keep a long note on my phone across the year as I see shows, and despite that very concrete memory anchor, when I started thinking through the complete set for 2025, I had a vague sense that there weren’t that many. But when I started looking, I was wrong. There are a lot, and some really good ones. I’ll save further comments on the whole year in the wrap-up post.
Major spoilers in the days and weeks ahead, as I’ll be posting these in parts. Today, a pre-award shout-out to interfaces from long-format shows.
Pre-award shout out: Series!
Long-form formats like TV shows require a lot more of me to give those interfaces their due. More watching, more capturing, more analysis. But I do watch some shows, and there’s some great, great stuff happening. Maybe I should start an Emmy-esque award series, but that takes time I do not have. But as a simple shout-out, let me name a few you might want to check out.
Check out Alien Earth!
Working between the palette of the existing movies and genre and bringing something new to the franchise.
Check out Murderbot!
Check out their beautifully controlled palette (light gray and orange as keystone colors are just gorgeous), and what look like deeply considered interfaces throughout.
Check out Pluribus!
It’s much more of an abstract conversation, but the show is quite smart about the interfaces between the Unum (my term for the hive mind) and the free-willed. (Though come on, surely they could shorten that voice mail message after her first couple of calls.)
There are certainly some shows I’ve missed because I don’t have so much time to survey all the TV shows, much less in their entirety. Sorry if I missed your favorites, but give a comment below if there’s a series with great interfaces. As noted, though, the Fritzes are about movies, so I’ll say so long to TV for now.
As in previous years, in preparation for awarding the Fritzes, I watched as many sci-fi movies as I could find across 2024. One thing that stuck out to me was the number of heads-up displays (HUDs) across these movies. There were a lot to them. So in advance of the awards, lets look and compare these. (Note the movies included here are not necessarily nominees for a Fritz award.)
I usually introduce the plot of every movie before I talk about it. This provides some context to understanding the interface. However, that will happen in the final Fritzes post. I’m going to skip that here. Still, it’s only fair to say there will be some spoilers as I describe these.
If you read Chapter 8 of Make It So: Interaction Lessons from Science Fiction, you’ll recall that I’d identified four categories of augmentation.
Sensor displays
Location awareness
Context awareness (objects, people)
Goal awareness
These four categories are presented in increasing level of sophistication. Let’s use these to investigate and compare five primary examples from 2024, in order of their functional sophistication.
Dune 2
Lady Margot Fenring looks through augmented opera glasses at Feyd-Rautha in the arena. Dune 2 (2024).
True to the minimalism that permeates much of the interfaces film, the AR of this device has a rounded-rectangle frame from which hangs a measure of angular degrees to the right. There are a few ticks across the center of this screen (not visible in this particular screen shot). There is a row of blue characters across the bottom center. I can’t read Harkonnen, and though the characters change, I can’t quite decipher what most of them mean. But it does seem the leftmost character indicates azimuth and the rightmost character angular altitude of the glasses. Given the authoritarian nature of this House, it would make sense to have some augmentation naming the royal figures in view, but I think it’s a sensor display, which leaves the user with a lot of work to figure out how to use that information.
You might think this indicates some failing of the writer’s or FUI designers’ imagination. However, an important part of the history of Dune is a catastrophic conflict known as the Butlerian Jihad. This conflict involved devastating, large-scale wars against intelligent machines. As a result, machines with any degree of intelligence are considered sacrilege. So it’s not an oversight, but as a result, we can’t look to this as a model for how we might handle more sophisticated augmentations.
Alien: Romulus
Tyler teaches Rain how to operate a weapon aboard the Renaissance. Alien: Romulus (2024)
A little past halfway through the movie, the protagonists finally get their hands on some weapons. In a fan-service scene similar to one between Ripley and Hicks from Aliens (1986), Tyler shows Rain how to hold an FAA44 pulse rifle. He also teaches her how to operate it. The “AA” stands for “aiming assist”, a kind of object awareness. (Tyler asserts this is what the colonial marines used, which kind of retroactively saps their badassery, but let’s move on.) Tyler taps a small display on the user-facing rear sight, and a white-on-red display illuminates. It shows a low-res video of motion happening before it. A square reticle with crosshairs shows where the weapon will hit. A label at the top indicates distance. A radar sweep at the bottom indicates movement in 360° plan view, a sensor display.
When Rain pulls the trigger halfway, the weapon quickly swings to aim at the target. There is no indication of how it would differentiate between multiple targets. It’s also unclear how Rain told it that the object in the crosshairs earlier is what she wants it to track now. Or how she might identify a friendly to avoid. Red is a smart choice for low-light situations as red is known to not interfere with night vision. Also it’s elegantly free of flourishes and fuigetry.
I’m not sure the halfway-trigger is the right activation mechanism. Yes, it allows the shooter to maintain a proper hold and remain ready with the weapon, and allows them not have to look at the display to gain its assistance, but also requires them to be in a calm, stable circumstance that allows for fine motor control. Does this mean that in very urgent, chaotic situations, users are just left to their own devices? Seems questionable.
Alien: Romulus is beholden to the handful of movies in the franchise that preceded it. Part of the challenge for its designers is to stay recognizably a part of the body of work that was established in 1979 while offering us something new. This weapon HUD stays visually simple, like the interfaces from the original two movies. It narratively explains how a civilian colonist with no weapons training can successfully defend herself against a full-frontal assault by a dozen of this universe’s most aggressive and effective killers. However, it leaves enough unexplained that it doesn’t really serve as a useful model.
The Wild Robot
Roz examines an abandoned egg she finds. The Wild Robot (2024)
HUD displays of artificially intelligent robots are always difficult to analyze. It’s hard to determine what’s an augmentation, here loosely defined as an overlay on some datastream created for a user’s benefit but explicitly not by that user. It opposes a visualization of the AI’s own thoughts as they are happening. I’d much rather analyze these as augmentation provided for Roz, but it just doesn’t hold up to scrutiny that way. What we see in this film are visualizations of Roz’ thoughts.
Fresh after booting up, Roz searches for a “customer,” and kind of finds one in a crab. The Wild Robot (2024).Roz estimates the height of the wave in terms of her own height and feels urgency.In language-learning mode, small word bubbles appear near speakers, and a progress bar hints that Roz is near completion.
In the HUD, there is an unchanging frame around the outside. Static cyan circuit lines extend to the edge. (In the main image above, the screen-green is an anomaly.) A sphere rotates in the upper left unconnected to anything. A hexagonal grid on the left has some hexes which illuminate and blink unconnected to anything. The grid moves unrelated to anything. These are fuigetry and neither conveys information nor provides utility.
Inside that frame, we see Roz’ visualized thinking across many scenes.
Locus of attention—Many times we see a reticle indicating where she’s focused, oftentimes with additional callout details written in robot-script.
“Customer” recognition—(pictured) Since it happens early in the film, you might think this is a goofy error. The potential customer she has recognized is a crab. But later in the film, Roz learns the language common to the animals of the island. All the animals display a human-like intelligence, so it’s completely within the realm of possibility that this blue little crustacean could be her customer. Though why that customer needed a volumetric wireframe augmentation is very unclear.
X-ray vision—While looking around for a customer, she happens upon an egg. The edge detection indicates her attention. Then she performs scans that reveal the growing chick inside and a vital signs display.
Damage report—After being attacked by a bear, Roz does an internal damage check and she notes the damage on screen.
Escape alert—(pictured) When a big wave approaches the shore on which she is standing, Roz estimates the height of the wave to be five time her height. Her panic expresses itself in a red tint around the outside edge.
Project management—Roz adopts Brightbill and undertakes the mission to mother him—specifically to teach him to eat, swim, and fly. As she successfully teaches him each of these things, she checks it off by updating one of three graphics that represent the topics.
Language acquisition—(pictured) Of all the AR in this movie, this scene frustrates me the most. There is a sequence in which Roz goes torpid to focus on learning the animal language. Her eyes are open the entire time she captures samples and analyzes them. The AR shows word bubbles associated with individual animal utterances. At first those bubbles are filled with cyan-colored robo-ese script. Over the course of processing a year’s worth of samples, individual characters are slowly replaced in the utterances with bold, green, Latin characters. This display kind of conveys the story beat of “she’s figuring out the language), but befits cryptography much more than acquisition of a new language.
If these were augmented reality, I’d have a lot of questions about why it wasn’t helping her more than it does. It might seem odd to think an AI might have another AI helping it, but humans have loads of systems that operate without explicit conscious thought, like preattentive processing, all the functions of our autonomic nervous system, sensory filtering, and recall, just to name a few. So I can imagine it would be a fine model for AI-supporting-AI.
Since it’s not augmented reality, it doesn’t really act as a model for real world designs except perhaps for its visual styling.
Borderlands
Claptrap is a little one-wheel robot that accompanies Lilith though her adventures on and around Pandora. We see things through his POV several times.
Claptrap sizes up Lilith from afar. Borderlands (2024).
When Claptrap first sees Lilith, it’s from his HUD. Like Roz’ POV display in The Wild Robot, the outside edge of this view has a fixed set of lines and greebles that don’t change, not even for a sensor display. I wish those lines had some relationship to his viewport, but that’s just a round lens and the lines are vaguely like the edges of a gear.
Scrolling up from the bottom left is an impressive set of textual data. It shows that a DNA match has been made (remotely‽ What kind of resolution is Claptrap’s CCD?) and some data about Lilith from what I presume is a criminal justice data feed: Name and brief physical description. It’s person awareness.
Below that are readouts for programmed directive and possible directive tasks. They’re funny if you know the character. Tasks include “Supply a never-ending stream of hilarious jokes and one-liners to lighten the mood in tense situations” and “Distract enemies during combat. Prepare the Claptrap dance of confusion!” I also really like the last one “Take the bullets while others focus on being heroic.” It both foreshadows a later scene and touches on the problem raised with Dr. Strange’s Cloak of Levitation: How do our assistants let us be heroes?
At the bottom is the label “HYPERION 09 U1.2” which I think might be location awareness? The suffix changes once they get near the vault. Hyperion a faction in the game. Not certain what it means in this context.
When driving in a chase sequence, his HUD gives him a warning about a column he should avoid. It’s not a great signal. It draws his attention but then essentially says “Good luck with that.” He has to figure out what object it refers to. (The motion tracking, admittedly, is a big clue.) But the label is not under the icon. It’s at the bottom left. If this were for a human, it would add a saccade to what needs to be a near-instantaneous feedback loop. Shouldn’t it be an outline or color overlay to make it wildly clear what and where the obstacle is? And maybe some augmentation on how to avoid it, like an arrow pointing right? As we see in a later scene (below) the HUD does have object detection and object highlighting. There it’s used to find a plot-critical clue. It’s just oddly not used here, you know, when the passengers’ lives are at risk.
When the group goes underground in search of the key to the Vault, Claptrap finds himself face to face with a gang of Psychos. The augmentation includes little animated red icons above the Psychos. Big Red Text summarizes “DANGER LEVEL: HIGH” across the middle, so you might think it’s demonstrating goal and context awareness. But Claptrap happens to be nigh-invulnerable, as we see moments later when he takes a thousand Psycho bullets without a scratch. In context, there’s no real danger. So,…holup. Who’s this interface for, then? Is it really aware of context?
When they visit Lilith’s childhood home, Claptrap finds a scrap of paper with a plot-critical drawing on it. The HUD shows a green outline around the paper. Text in the lower right tracks a “GARBAGE CATALOG” of objects in view with comments, “A PSYCHO WOULDN’T TOUCH THAT”, “LIFE-CHOICE QUESTIONING TRASH”, “VAULT HUNTER THROWBACK TRASH”. This interface gives a bit of comedy and leads to the Big Clue, but raises questions about consistency. It seems the HUDs in this film are narrativist.
In the movie, there are other HUDs like this one, for the Crimson Lance villains. They fly their hover-vehicles using them, but we don’t nearly get enough time to tease the parts apart.
Atlas
The HUD in Atlas happens when the titular character Atlas is strapped into an ARC9 mech suit, which has its own AGI named Smith. Some of the augmentations are communications between Smith and Atlas, but most are augmentations of the view before her. The viewport from the pilot’s seat is wide and the augmentations appear there.
Atlas asks Smith to display the user manuals. Atlas (2024)
On the way to evil android Harlan’s base, we see the frame of the HUD has azimuth and altitude indicators near the edge. There are a few functionless flourishes, like arcs at the left and right edges. Later we see object and person recognition (in this case, an android terrorist, Casca Decius). When Smith confirms they are hostile, the square reticles go from cyan to red, demonstrating context awareness.
Over the course of the movie Atlas has resisted Smith’s call to “sync” with him. At Harlan’s base, she is separated from the ARC9 unit for a while. But once she admits her past connection to Harlan, she and Smith become fully synched. She is reunited with the ARC9 unit and its features fully unlock.
As they tear through the base to stop the launch of some humanity-destroying warheads, they meet resistance from Harlan’s android army. This time the HUD wholly color codes the scene, making it extremely clear where the combatants are amongst the architecture.
Overlays indicate the highest priority combatants that, I suppose, might impede progress. A dashed arrow stretches through the scene indicating the route they must take to get to their goal. It focuses Atlas on their goal and obstacles, helping her decision-making around prioritization. It’s got rich goal awareness and works hard to proactively assist its user.
Despite being contrasting colors, they are well-controlled to not vibrate. You might think that the luminance of the combatants and architecture might be flipped, but the ARC9 is bulletproof, so there’s no real danger from the gunfire. (Contrast Claptrap’s fake danger warning, above.) Saving humanity is the higher priority. So the brightest (yellow) means “do this”, the second brightest (cyan) means “through this” and darkest (red) means “there will be some nuisances en route.” The luminescence is where it should be.
In the climactic fight with Harlan, the HUD even displays a predictive augmentation, illustrating where the fast-moving villain is likely to be when Atlas’ attacks land. This crucial augmentation helps her defeat the villain and save the day. I don’t think I’ve seen predictive augmentation outside of video games before.
If I was giving out an award for best HUD of 2024, Atlas would get it. It is the most fully-imagined HUD assistance across the year, and consistently, engagingly styled. If you are involved with modern design or the design of sci-fi interfaces, I highly recommend you check it out.
Stay tuned for the full Fritz awards, coming later this year.
So I missed synchronizing the Fritzes with the Oscars. By like, a lot. A lot a lot. That hype curve has come and gone. (In my defense, it’s been an intensely busy year.) I don’t think providing nominees and then waiting to reveal winners makes sense now, so I’ll just talk about them. It was another year where there weren’t a lot of noteworthy speculative interfaces, from an interaction design point of view. This is true enough that I didn’t have enough candidates to fill out my usual three categories of Believable, Narrative, and Overall. So, I’m just going to do a round-up of some of the best interfaces as I saw them, and at the end, name an absolute favorite.
The Kitchen
In a dystopian London, the rich have eliminated all public housing but one last block known as The Kitchen. Izi and Benji live there and are drawn together by the death of Benji’s mother, who turns out to be one of Izi’s romantic partners from the past. The film is full of technology, but the one part that really struck me was the Life After Life service where Izi works and where Benji’s mom’s funeral happens. It’s reminiscent of the Soylent Green suicide service, but much better done, better conceived. The film has a sci-fi setting, but don’t expect easy answers and Marvel-esque plot here. This film about relationships amid struggle and ends quite ambiguously.
The funerary interfaces are mostly translucent cyans with pinstripe dividing lines to organize everything. In the non-funerary the cyan is replaced with bits of saturated red. Everything funerary and non- feels as if it has the same art direction, which lends to reading the interfaces extradiegetically, but maybe that’s part of the point?
Pod Generation
This dark movie considers what happens if we gestated babies in technological wombs called pods. The interactions with the pod are all some corporate version of intuitive, as if Apple had designed them. (Though the swipe-down to reveal is exactly backwards. Wouldn’t an eyelid or window shade metaphor be more natural? Maybe they were going for an oven metaphor, like bun in the oven? But cooking a child implications? No, it’s just wrong.)
The design is largely an exaggeration of Apple’s understated aesthetic, except for the insane, giant floral eyeball that is the AI therapist. I love how much it reads like a weirdcore titan and the characters are nonplussed, telegraphing how much the citizens of this world have normalized to inhumanity. I have to give a major ding to the iPad interface by which parents take care of their fetuses, as its art direction is a mismatch to everything else in the film and seems quite rudimentary, like a Flash app circa 1998.
Before I get to the best interfaces of the year, let’s take a moment to appreciate two trends I saw emerging in 2023. That of hyperminimalist interfaces and of interface-related comedy.
Hyperminimalist interfaces
This year I noticed that many movies are telling stories with very minimal interfaces. As in, you can barely call them designed since they’re so very minimalist. This feels like a deliberate contrast to the overwhelming spectacle that permeates, say, the MCU. They certainly reduce the thing down to just the cause and effect that are important to the story. Following are some examples that illustrate this hyperminimalism.
Fingernails—fingernail-tester.No One Will Save You—observation pod.57 Seconds—time ring.Landscape with Invisible Hand—translation device (there on the desk under the alien’s hand)
This could be a cost-saving tactic, but per the default New Criticism stance of this blog, we’ll take it as a design choice and note it’s trending.
Shout-out: Interface Comedy
I want to give a special shout-out to interface-related comedy over the past year.
Smoking Causes Coughing
The first comes from the French gonzo horror sci-fi Smoking Causes Coughing. In a nested story told by a barracuda that is on a grill being cooked, Tony is the harried manager of a log-processing plant whose day is ruined by her nephew’s somehow becoming stuck in an industrial wood shredder. Over the scene she attempts to reverse the motor, failing each time, partly owing to the unlabeled interface and bad documentation. It’s admittedly not sci-fi, just in a sci-fi film, and a very gory, very hilarious bit of interface humor in an schizoid film.
Guardians of the Galaxy 3
The second is Guardians of the Galaxy 3. About a fifth of the way into the movie, the team spacewalks from the Milano to the surface of Orgocorp to infiltrate it. Once on the surface, Peter, who still pines for alternate-timeline Gamora, tries to strike up a private conversation with her. The suits have a forearm interface featuring a single row of colored stay-state buttons that roughly match the colors of the spacesuits they’re wearing. Quill presses the blue one and tries in vain to rekindle the spark between him and Gamora in a private conversation. But then a minute into the conversation, Mantis cuts in…
Mantis
Peter you know this is an open line, right?
Peter
What?
Mantis
We’re listening to everything you’re saying.
Drax
And it is painful.
Quill
And you’re just telling me now‽
Nebula
We were hoping it would stop on its own.
Peter
But I switched it over to private!
Mantis
What color button did you push?
Peter
Blue! For the blue suit!
Drax
Oh no.
Nebula
Blue is the open line for everyone.
Mantis
Orange is for blue.
Peter
What‽
Mantis
Black is for orange. Yellow is for green. Green is for red. And red is for yellow.
Drax
No, yellow is for yellow. Green is for red. Red is for green.
Mantis
I don’t think so.
Drax
Try it then.
Mantis (screaming)
HELLO!
Peter writhes in pain
Mantis
You were right.
Peter
How the hell and I supposed to know all of that?
Drax
Seems intuitive.
The Marvels
A third comedy bit happens in The Marvels, when Kamala Khan is nerding out over Monica Rambeau’s translucent S.H.I.E.L.D. tablet. She says…
Khan
Is this the new iPad? I haven’t seen it yet.
Rambeau
I wish.
Khan
Wait, if this is all top secret information, why is it on a clear case?
Anyway, I want to give a shout-out to the writers for demonstrating with these comedy bits some self-awareness and good-natured self-owning of tropes. I see you and appreciate you. You are so valid.
Best Interfaces of 2023
But my favorite interfaces of 2023 come from Spider-Man: Across the Spider-Verse. The interfaces throughout are highly stylized (so might be tough to perform the detailed analysis, which is this site’s bread-and-butter) but play the plot points perfectly.
In Across the Spider-Verse, while dealing difficulties with his home life and chasing down a new supervillain called The Spot, Miles Morales learns about The Society. The Society is a group of (thousands? Tens of thousands? of) Spider-people of every stripe and sort from across the Multiverse, whose overriding mission is to protect “canon” events in each universe that, no matter how painful, they believe are necessary to keep the fabric of reality from unraveling. It’s full of awesome interfaces.
Lyla is the general artificial intelligence that has a persistent volumetric avatar. She’s sassy and disagreeable and stylish and never runs, just teleports.
The wrist interfaces—called the Multiversal Gizmo—worn by members of The Society all present highly-contextual information with most-likely actions presented as buttons, and, as needed, volumetric alerts. Also note that Miguel’s Gizmo is longer, signaling his higher status within The Society.
Of special note is volumetric display that Spider Gwen uses to reconstruct the events at the Alchemax laboratory. The interface is so smart, telegraphs its complex functioning quickly and effectively, and describes a use that builds on conceivable but far-future applications of inference. The little dial that pops up allowing her to control time of the playback reminds me of Eye of Agamatto (though sadly I didn’t see evidence of the important speculative time-control details I’d provided in that analysis). The in-situ volumetric reconstruction reminds me of some of the speculative interfaces I’d proposed in the review of Deckard’s photo inspector from Blade Runner, and so was a big thrill to see.
All of the interfaces have style, are believable for the diegesis, and contribute to the narrative with efficiency. Congratulations to the team crafting these interfaces, and if you haven’t seen it yet, what are you waiting for? Go see it. It’s in a lot of places and the interfaces are awesome. (For full disclosure, I get no kickback from these referral links.)
Our third film is from 1995, directed by Iain Softley.
Hackers is about a group of teenage computer hackers, of the ethical / playful type who are driven by curiosity and cause no harm — well, not to anyone who doesn’t deserve it. One of these hackers breaks into the “Gibson” computer system of a high profile company and partially downloads what he thinks is an unimportant file as proof of his success. However this file is actually a disguised worm program, created by the company’s own chief of computer security to defraud the company of millions of dollars. The security chief tries to frame the hackers for various computer crimes to cover his tracks, so the hackers must break back into the system to download the full worm program and reveal the true culprit.
The film was made in the time before Facebook when it was common to have an online identity, or at least an online handle (nick), distinct from the real world. Our teenage hacker protagonists are:
Crash Override, real name Dade.
Acid Burn, real name Kate.
Cereal Killer, Lord Nikon, and Phantom Phreak, real names not given.
Joey, the most junior, who doesn’t have a handle yet.
As hackers they don’t have a corporate budget, so use a variety of personal computers rather than the expensive SGI workstations we saw in the previous films. And since it’s the 1990s, their network connections are made with modems over the analog phone system and important files will fit on 1.44 megabyte floppy disks.
The Gibson, though, is described as “big iron”, a corporate supercomputer. Again this was the 1990s when a supercomputer would be a single very big and very expensive computer, not thousands of PC CPUs and GPUs jammed into racks as in the early 21st C. A befitting such an advanced piece of technology it has a three dimensional file browsing interface which is on display both times the Gibson is hacked.
First run
The first hack starts at about 24 minutes. Junior hacker Joey has been challenged by his friends to break into something important such as a Gibson. The scene starts with Joey sitting in front of his Macintosh personal computer and reviewing a list of what appear to be logon or network names and phone numbers. The camera flies through a stylised cyberspace representation of the computer network, the city streets, then the physical rooms of the target company (which we will learn is Ellingson Minerals), and finally past a computer operator sitting at a desk in the server room and into the 3D file system. This single “shot” actually switches a few times between the digital and real worlds, a stylistic choice repeated throughout the film. Although never named in the film this file system is the “City of Text” according to the closing credits.
Joey looks down on the City of Text. Hackers (1995)
The file system is represented as a virtual cityscape of skyscraper-like blocks. The ground plane looks like a printed circuit board with purple traces (lines). The towers are simple box shapes, all the same size, as if constructed from blue tinted glass or acrylic plastic. Each of the four sides and the top shows a column of text in white lettering, apparently the names of directories or files. Because the tower sides are transparent the reverse facing text on the far sides is also visible, cluttering the display.
This 3D file system is the most dynamic of those in this review. Joey flies among the towers rather than walking, with exaggerated banking and tilting as he turns and dives. At ground level we can see some simple line graphics at the left as well as text.
Joey flies through the City of Text, banking as he changes direction. Hackers (1995)
The city of text is even busier due to animation effects. Highlight bars move up and down the text lists on some panes. Occasionally a list is cleared and redrawn top to bottom, while others cycle between two sets of text. White pulses flow along the purple ground lanes and fly between the towers. These animations do not seem to be interface elements. They could be an indicator of overall activity with more pulses per second meaning more data being accessed, like the blinking LED on your Ethernet port or disk drive. Or they could be a screensaver, as it was important on the CRT displays of the 1990s to not display a static image for long periods as it would “burn in” and become permanent.
Next there is a very important camera move, at least for analysing the user interface. So far the presentation has been fullscreen and obviously artificial. Now the camera pulls back slightly to show that this City of Text is what Joey is seeing on the screen of his Macintosh computer. Other shots later in the film will make it clear that this is truly interactive, he is the one controlling the viewpoint.
Joey looks at a particular list of directories/files on one face of a skyscraper. Hackers (1995)
I’ll discuss how this might work later in the analysis section. For now it’s enough to remember that this is a true file browser, the 3D equivalent of the Macintosh Finder or Windows File Explorer.
While Joey is exploring, we cut to the company server room. This unusual activity has triggered an alarm so the computer operator telephones the company security chief at home. At this stage we don’t know that he’s evil, but he does demand to be addressed by his hacker handle “The Plague” which doesn’t inspire confidence. (The alarm itself shows that a superuser / root / administrator account is in use by displaying the password for everyone to see on a giant screen. But we’re not going to talk about that.)
Joey wants to prove he has hacked the Gibson by downloading a file, but by the ethics of the group it shouldn’t be something valuable. He selects what he thinks will be harmless, the garbage or trash directory on a particular tower. It’s not very clear but there is another column of text to the right which is dimmed out.
Joey selects the GARBAGE directory and a list of contents appears. Hackers (1995)
There’s a triangle to the right of the GARBAGE label indicating that it is a directory, and when selected a second column of text shows the files within it. When Joey selects one of these the system displays what today would be called a Live Tile in Windows, or File Preview in the Mac Finder. But in this advanced system it’s an elaborate animation of graphics and mathematical notation.
Joey decides this is the file he wants and starts a download. Since he’s dialled in through an old analog phone modem, this is a slow process and will eventually be interrupted when Joey’s mother switches his Macintosh off to force him to get some sleep.
Joey looks at the animation representing the file he has chosen. Hackers (1995)
Physical View
Back in the server room of Ellingson Minerals and while Joey is still searching, the security chief AKA “The Plague” arrives. And here we clearly see that there is also a physical 3D representation of the file system.
The Plague makes a dramatic entrance into the physical City of Text. Hackers (1995)
Just like the virtual display it is made up of rectangular towers made of blue tinted glass or plastic, arranged on a grid pattern like city skyscrapers. Each is about 3 metres high and about 50cm wide and deep. Again matching the virtual display, there is white text on all the visible sides, being updated and highlighted. However there is one noticeable difference, the bottom of each tower is solid black.
What are the towers for? Hackers is from 1995, when hard drives and networked file servers were shoebox- to pizza-box-sized, so one or two would fit into the base of each tower. The physical displays could be just blinkenlights, an impressive but not particularly useful visual display, but in a later shot there’s a technician in the background looking at one of the towers and making notes on a pad, so they are intended to show something useful. My assumption is that each tower displays information about the actual files being stored inside, mirroring the virtual city of text shown online.
When he reaches the operator’s desk, The Plague switches the big wall display to the same 3D virtual file system.
The Plague on the left and the night shift operator watch what Joey is doing on a giant wall screen. Hackers (1995)
He uses an “echo terminal” command to see exactly what Joey is doing, so sees the same garbage directory and that the file is being copied. We’ll later learn that this seemingly harmless file is actually the worm program created by The Plague, and that discovering it had been copied was a severe shock. Here he arranges for the phone connection to be traced and Joey questioned by his government friends in the US Secret Service (which at the time was responsible for investigating some computer security incidents and crimes), setting in motion the main plot elements.
Second run
After various twists and turns our teenage hackers are resolved to hack into the Gibson again to obtain a full copy of the worm program which will prove their innocence. But they also know that The Plague knows they know about the worm, Ellingson Minerals is alerted, and the US Secret Service are watching them. This second hacking run starts at about 1 hour 20 minutes.
The first step is to evade the secret service agents by a combination of rollerblading and hacking the traffic lights. (Scenes like this are why I enjoy the film so much.) Four of our laptop-wielding hackers dial in through public phone booths. The plan is that Crash will look for the file while Acid, Nikon, and Joey will distract the security systems, and they are expecting additional hacker help from around the world.
We see a repeat of the earlier shot flying through the streets and building into the City of Text, although this time on Crash’s Macintosh Powerbook.
Crash enters the City of Text. Hackers (1995)
It seems busier with many more pulses travelling back and forth between towers, presumably because this is during a workday.
The other three start launching malware attacks on the Gibson. Since the hacking attempt has been anticipated, The Plague is in the building and arrives almost immediately.
The Plague walks through the physical City of Text as the attack begins. Hackers (1995)
The physical tower display now shows a couple of blocks with red sides. This could indicate the presence of malware, or just that those sections of the file system are imposing a heavy CPU or IO load due to the malware attacks.
This time The Plague is assisted by a full team of technicians. He primarily uses a “System Command Shell” within a larger display that presumably shows processor and memory usage. It’s not the file system, but has a similar design style and is too cool not to show:
The Plague views system operations on a giant screen, components under attack highlighted in red on the right. Hackers (1995)
Most of the shots show the malware effects and The Plague responding, but Crash is searching for the worm. His City of Text towers show various “garbage” directories highlighted in purple, one after the other.
Crash checks the first garbage directory, in purple. Other possible matches in cyan on towers to the right. Hackers (1995)
What’s happening here? Most likely Crash has typed in a search wildcard string and the file browser is showing the matching files and folders.
Why are there multiple garbage directories? Our desktop GUIs always show a single trashcan, but under the hood there is more than one. A multiuser system needs at least one per user, because otherwise files deleted by Very Important People working with Very Sensitive Information would be visible, or at least the file names visible, to everyone else. Portable storage devices, floppy disks in Hackers and USB drives today, need their own trashcan because the user might still expect to be able to undelete files even if it has been moved to another computer. For the same reason a networked drive needs its own trashcan that isn’t stored on the connecting computer. So Crash really does have to search for the right garbage directory in this giant system.
As hackers from around the world join in, the malware effects intensify. More tower faces, both physical and digital, are red. The entire color palette of the City of Text becomes darker.
Crash flies through the City of Text, a skyscraper under siege. Hackers (1995)
This could be an automatic effect when the Gibson system performance drops below some threshold, or activated by the security team as the digital equivalent of traffic cones around a door. Anyone familiar with the normal appearance of the City of Text can see at a glance that something is wrong and, presumably, that they should log out or at least not try to do anything important.
Crash finds the right file and starts downloading, but The Plague hasn’t been fully distracted and uses his System Command Shell to disconnect Crash’s laptop entirely. Rather than log back in, Crash tells Joey to download the worm and gives him the full path to the correct garbage directory, which for the curious is root/.workspace/.garbage (the periods are significant, meaning these names should not normally be displayed to non-technical users).
We don’t see how Joey enters this into the file browser but there is no reason it should be difficult. Macintosh Finder windows have a clickable text search box, and both the Ubuntu Desktop Shell and Microsoft Windows start screen will automatically start searching for files and folders that match any typed text.
Joey downloads the worm, this time all of it. The combined malware attacks crash The Gibson. Unfortunately the secret service agents arrive just in time to arrest them, but all ends well with The Plague being exposed and arrested and our hacker protagonists released.
Analysis
How believable is the interface?
The City of Text has two key differences from the other 3D file browsers we’ve seen so far.
It must operate over a network connection, specifically over a phone modem connection, which in the 1990s would be much slower than any Ethernet LAN.
This 3D view is being rendered on personal computers, not specialised 3D workstations.
Despite these constraints, the City of Text remains reasonably plausible.
Would the City of Text require more bandwidth than was available? What effect would we expect from a slow network connection? It’s a problem when copying files, upload or download, but much less so for browsing a file system. The information being passed from the Gibson to the 3D file browser is just a list of names in each directory and a minimal set of attributes for each, not the file contents. In 1995 2D file browsers on personal computers were already showing icons, small raster images, for each file which took up more memory than the file names. The City of Text doesn’t, so the file data would certainly fit in the bandwidth available.
The flying viewpoint doesn’t require much bandwidth either. There is no avatar or other representation of the user, just an abstract viewpoint. Only 9 numbers are needed to describe where you are and what you’re looking at in 3D space, and predictive techniques developed for games and simulations can reduce the network bandwidth required even more.
Networked file systems and file browsers already existed in 1995, for example FTP and Gopher, although with pure text interfaces rather than 3D or even 2D graphics. The only missing component would be the 3D viewpoint coordinates.
PCs in the 1990s, especially laptops, rarely had any kind of 3D graphics acceleration and would not have been able to run the Jurassic Park or Disclosure 3D file browsers. The City of Text, though, is much less technically demanding even though it displays many more file and folder names.
Notice that there is no hidden surface removal, where the front sides of a 3D object hide those that are further away. There’s no lighting, with everything rendered in flat colors that don’t depend on the direction of the sun or other light sources, and no shadows. There are no images or textures, just straight lines and plain text. And finally everything is laid out on an axis-aligned grid; meaning all the graphics are straight up/down, left/right, or forwards/back; and all the towers and text are the same size. Similar shortcuts were used in 1990s PC games and demo scene animations, such as the original Doom in which players could look from side to side but not up or down.
I’m not saying that the City of Text on a 1990s PC or laptop would be easy, especially on Joey’s Macintosh LC, but it is plausible.
Alas the worm animation shown when that particular file is selected is not possible. We see fractal graphics and mathematical notation in 3D, and it’s a full screen image rather than a simple file icon. Whether it’s a pre-rendered animation or being generated on the fly there’s way too much to push through a modem connection, even though at the time “full screen” meant a lot less pixels than now in the 21st C.
The physical towers were also not possible. Three metre high flat screen displays didn’t exist in 1995, and I don’t see how that many projectors could be installed in the ceiling without interfering with each other.
How well does the interface inform the narrative of the story?
Hackers is a film all about computers and the people who work with them, and therefore must solve the problem (which still exists today) of making what is happening visible and understandable to a non-technical audience. Director Iain Softley said he wanted a metaphorical representation of how the characters perceived the digital world, not a realistic one. Some scenes use stylised 2D graphics and compositing to create a psychedelic look, while the 3D file browser is meant to be a virtual equivalent to the physical city of New York where Hackers is set. At least for some viewers, myself included, it works.
The worm animation also works well. Joey is looking for an interesting file, a trophy, and the animation makes it clear that this is indeed an extraordinary file without needing to show the code.
The physical towers, though, are rather silly. The City of Text is meant to be metaphorical, a mental landscape created by hackers, so we don’t need a physical version.
How well does the interface equip the character to achieve their goals?
The City of Text is very well suited to the character goals, because they are exploring the digital world. Looking cool and having fun are what’s important, not being efficient.
Now if you’ll excuse me, I have a rollerblading lesson before the next review…
Whatever it is, it ain’t going to construct, observe, or repair itself. In addition to protection and provision, suits must facilitate the reason the wearer has dared to go out into space in the first place.
One of the most basic tasks of extravehicular activity (EVA) is controlling where the wearer is positioned in space. The survey shows several types of mechanisms for this. First, if your EVA never needs you to leave the surface of the spaceship, you can go with mountaineering gear or sticky feet. (Or sticky hands.) We can think of maneuvering through space as similar to piloting a craft, but the outputs and interfaces have to be made wearable, like wearable control panels. We might also expect to see some tunnel in the sky displays to help with navigation. We’d also want to see some AI safeguard features, to return the spacewalker to safety when things go awry. (Narrator: We don’t.)
Mountaineering gear
In Stowaway (2021) astronauts undertake unplanned EVAs with carabiners and gear akin to mountaineers use. This makes some sense, though even this equipment needs to be modified for use by astronauts’ thick gloves.
Stowaway (2021) Drs Kim and Levinson prepare to scale to the propellant tank.
Sticky feet (and hands)
Though it’s not extravehicular, I have to give a shout out to 2001: A Space Odyssey (1969), where we see a flight attendant manage their position in the microgravity with special shoes that adhere to the floor. It’s a lovely example of a competent Hand Wave. We don’t need to know how it works because it says, right there, “Grip shoes.” Done. Though props to the actress Heather Downham, who had to make up a funny walk to illustrate that it still isn’t like walking on earth.
With magnetic boots, seen in Destination Moon, the wearer simply walks around and manages the slight awkwardness of having to pull a foot up with extra force, and have it snap back down on its own.
Destination Moon (1950): Jim Barnes tests his magnetic boots.
Battlestar Galactica added magnetic handgrips to augment the control provided by magnetized boots. With them, Sergeant Mathias is able to crawl around the outside of an enemy vessel, inspecting it. While crawling, she holds grip bars mounted to circles that contain the magnets. A mechanism for turning the magnet off is not seen, but like these portable electric grabbers, it could be as simple as a thumb button.
Battlestar Galactica (2008, Season 4, Episode 5, “The Road Less Traveled”): Sergeant Erin Mathias inspects the damaged cylon raider for tracking devices.
Iron Man also had his Mark 50 suit form stabilizing suction cups before cutting a hole in the hull of the Q-Ship.
Avengers: Infinity War (2018)
In the electromagnetic version of boots, seen in Star Trek: First Contact, the wearer turns the magnets on with a control strapped to their thigh. Once on, the magnetization seems to be sensitive to the wearer’s walk, automatically lessening when the boot is lifted off. This gives the wearer something of a natural gait. The magnetism can be turned off again to be able to make microgravity maneuvers, such as dramatically leaping away from Borg minions.
Star Trek: First Contact (1996)
Star Trek: Discovery also included this technology, but with what appears to be a gestural activation and a cool glowing red dots on the sides and back of the heel. The back of each heel has a stack of red lights that count down to when they turn off, as, I guess, a warning to anyone around them that they’re about to be “air” borne.
Star Trek: Discovery (2017–) S01E01, “The Vulcan Hello” Ensign Burnham takes a step out onto the hull before lifting off toward the mysterious beacon.
Quick “gotcha” aside: neither Destination Moon nor Star Trek: First Contact bothers to explain how characters are meant to be able to kneel while wearing magnetized boots. Yet this very thing happens in both films.
Destination Moon (1950): Kneeling on the surface of the spaceship.
Star Trek: First Contact (1996): Worf rises from operating the maglock to defend himself.
Controlled Propellant
If your extravehicular task has you leaving the surface of the ship and moving around space, you likely need a controlled propellant. This is seen only a few times in the survey.
In the film Mission to Mars, the manned mobility unit, or MMU, seen in the film is based loosely on NASA’s MMU. A nice thing about the device is that unlike the other controlled propellant interfaces, we can actually see some of the interaction and not just the effect. The interfaces are subtly different in that the Mission to Mars spacewalkers travel forward and backward by angling the handgrips forward and backward rather than with a joystick on an armrest. This seems like a closer mapping, but also seems more prone to error by accidental touching or bumping into something.
Mission to Mars (2000): Woody inspects the craft for the leak.
The plus side is an interface that is much more cinegenic, where the audience is more clearly able to see the cause and effect of the spacewalker’s interactions with the device.
Mission to Mars (2000): The crew performs a daring EVA.
If you have propellent in a Moh’s 4 or 5 film, you might need to acknowledge that propellant is a limited resource. Over the course of the same (heartbreaking) scene shown above, we see an interface where one spacewalker monitors his fuel, and another where a spacewalker realizes that she has traveled as far as she can with her MMU and still return to safety.
Mission to Mars (2000): Woody sees that he’s out of fuel.
Mission to Mars (2000): Terry sees that she cannot continue her rescue of Woody.
For those wondering, Michael Burnham’s flight to the mysterious signal in that pilot uses propellant, but is managed and monitored by controllers on Discovery, so it makes sense that we don’t see any maneuvering interfaces for her. We could dive in and review the interfaces the bridge crew uses (and try to map that onto a spacesuit), but we only get snippets of these screens and see no controls.
Star Trek: Discovery (2017–) S01E01, “The Vulcan Hello”
Iron Man’s suits employ some Phlebotinum propellant that lasts for ever, can fit inside his tailored suit, and are powerful enough to achieve escape velocity.
Avengers: Infinity War (2018)
All-in-all, though sci-fi seems to understand the need for characters to move around in spacesuits, very little attention is given to the interfaces that enable it. The Mission to Mars MMU is the only one with explicit attention paid to it, and that’s quite derived from NASA models. It’s an opportunity for film makers should the needs of the plot allow, to give this topic some attention.
Spacesuits must support the biological functioning of the astronaut. There are probably damned fine psychological reasons to not show astronauts their own biometric data while on stressful extravehicular missions, but there is the issue of comfort. Even if temperature, pressure, humidity, and oxygen levels are kept within safe ranges by automatic features of the suit, there is still a need for comfort and control inside of that range. If the suit is to be warn a long time, there must be some accommodation for food, water, urination, and defecation. Additionally, the medical and psychological status of the wearer should be monitored to warn of stress states and emergencies.
Unfortunately, the survey doesn’t reveal any interfaces being used to control temperature, pressure, or oxygen levels. There are some for low oxygen level warnings and testing conditions outside the suit, but these are more outputs than interfaces where interactions take place.
Mission to Mars (2000), McConnell verifies that the team can remove their helmets.
There are also no nods to toilet necessities, though in fairness Hollywood eschews this topic a lot.
The one example of sustenance seen in the survey appears in Sunshine, we see Captain Kaneda take a sip from his drinking tube while performing a dangerous repair of the solar shields. This is the only food or drink seen in the survey, and it is a simple mechanical interface, held in place by material strength in such a way that he needs only to tilt his head to take a drink.
Sunshine (2007): Truman asks spacewalker Shelby to calm down since his vital signs are stressed.
Similarly, in Sunshine, when Capa and Kaneda perform EVA to repair broken solar shields, Cassie tells Capa to relax because he is using up too much oxygen. We see a brief view of her bank of screens that include his biometrics.
Sunshine (2007): Cassie warns Capa that he’s using a lot of oxygen.
Remote monitoring of people in spacesuits is common enough to be a trope, but has been discussed already in the Medical chapter in Make It So, for more on biometrics in sci-fi.
Crowe’s medical monitor in Aliens (1986).
There are some non-interface biological signals for observers. In the movie Alien, as the landing party investigates the xenomorph eggs, we can see that the suit outgases something like steam—slower than exhalations, but regular. Though not presented as such, the suit certainly confirms for any onlooker that the wearer is breathing and the suit functioning.
Alien (1979): The away team’s suit exhales as they walk the alien wreckage. Look for the white plume in the left image and a dark plume on the right.
Given that sci-fi technology glows, it is no surprise to see that lots and lots of spacesuits have glowing bits on the exterior. Though nothing yet in the survey tells us what these lights might be for, it stands to reason that one purpose might be as a simple and immediate line-of-sight status indicator. When things are glowing steadily, it means the life support functions are working smoothly. A blinking red alert on the surface of a spacesuit could draw attention to the individual with the problem, and make finding them easier.
The Fifth Element (1997): Mondoshawan spacesuits have tiny lights along the exterior.
Emergency deployment
One nifty thing that sci-fi can do (but we can’t yet in the real world) is deploy biology-protecting tech at the touch of a button. We see this in the Marvel Cinematic Universe with Starlord’s helmet.
Guardians of the Galaxy (2012) Peter Starlord puts his Helmet on Gamora in space outside the Kyln.
If such tech was available, you’d imagine that it would have some smart sensors to know when it must automatically deploy (sudden loss of oxygen or dangerous impurities in the air), but we don’t see it. But given this speculative tech, one can imagine it working for a whole spacesuit and not just a helmet. It might speed up scenes like this.
What do we see in the real world?
Are there real-world controls that sci-fi is missing? Let’s turn to NASA’s space suits to compare.
The Primary Life-Support System (PLSS) is the complex spacesuit subsystem that provides the life support to the astronaut, and biomedical telemetry back to control. Its main components are the closed-loop oxygen-ventilation system for cycling and recycling oxygen, the moisture (sweat and breath) removal system, and the feedwater system for cooling.
The only “biology” controls that the spacewalker has for these systems are a few on the Display and Control Module (DCM) on the front of the suit. They are the cooling control valve, the oxygen actuator slider, and the fan switch. Only the first is explicitly to control comfort. Other systems, such as pressure, are designed to maintain ideal conditions automatically. Other controls are used for contingency systems for when the automatic systems fail.
Hey, isn’t the text on this thing backwards? Yes, because astronauts can’t look down from inside their helmets, and must view these controls via a wrist mirror. More on this later.
The suit is insulated thoroughly enough that the astronaut’s own body heats the interior, even in complete shade. Because the astronaut’s body constantly adds heat, the suit must be cooled. To do this, the suit cycles water through a Liquid Cooling and Ventilation Garment, which has a fine network of tubes held closely to the astronaut’s skin. Water flows through these tubes and past a sublimator that cools the water with exposure to space. The astronaut can increase or decrease the speed of this flow and thereby the amount to which his body is cooled, by the cooling control valve, a recessed radial valve with fixed positions between 0 (the hottest) and 10 (the coolest), located on the front of the Display Control Module.
The spacewalker does not have EVA access to her biometric data. Sensors measure oxygen consumption and electrocardiograph data and broadcast it to the Mission Control surgeon, who monitors it on her behalf. So whatever the reason is, if it’s good enough for NASA, it’s good enough for the movies.
Back to sci-fi
So, we do see temperature and pressure controls on suits in the real world, which underscores their absence in sci-fi. But, if there hasn’t been any narrative or plot reason for such things to appear in a story, we should not expect them.
