As Ibanez and Barcalow are juuuuuust about to start a slurpy on-duty make out session, their attention is drawn by the coffee mug whose content is listing in the glass.
Ibanez explains helpfully, “There’s a gravity field out there.” Barcalow orders her to “Run a scan!” She turns to a screen and does something to run the scan, and Barcalow confirms that “Sensors [are] on” As she watches an amber-colored graticule distort as if weighed down by an increasingly heavy ball while a Big Purple Text Label blinks GRAVITIC DISTORTION. Two numbers increment speedily at the bottom-right edge of the screen and modulus at 1000. “There,” she says.
So many plot questions
- What kind of coffee cups can withstand enough gravity to tip the contents 45 degrees but remain themselves perfectly still and upright?
- Why did they need the coffee cup? Wouldn’t their inner ear have told them the same thing faster?
- Why is the screen in the background of the coffee cup still blinking OPTIMAL COURSE?
Of course we have to put these aside in favor of the interaction design questions.
First the “workflow”
Why on earth would they need to turn on sensors? Aren’t the sensors only useful when they’re sensing? If you have a sense that something is wrong, turning on the sensors only confirms what you already know. This is still more of that pesky stoic guru metaphor. This should have been an active academy that warned them—loudly—the moment nearby gravity started looking weird.
The visualization is not bad…
Let’s pause the criticism for one moment to give credit where credit is due. The grid vortex is a fast and reliable way to illustrate the invisible problem that they’re facing and telegraph increasing danger. Warped graticules have been a staple of depicting spacetime curvature since Disney’s 1979 movie The Black Hole.
The gravity well as depicted in The Black Hole (1979).
This is also the same technique that scientists use to depict the same phenomenon, so it’s got some street cred, too.
NASA artist concept of Gravity Probe B orbiting the Earth to measure space-time, a four-dimensional description of the universe including height, width, length, and time.
NASA’s Ripples in spacetime generated by fast orbiting stars (neutron stars, white dwarws or black holes).
From Jonsson, Rickard M. “Visualizing Curved Spacetime.” American Journal of Physics 73.3 (2005): 248. Web.
The same thing can be shown in 3D, but it’s visually noisier. Moreover, the 2D version builds on our sense of basic physics, as we can easily imagine what would happen to anything nearing the depression. So, it’s mostly the right display.
…But then, the interaction
Despite the immediacy of the display, there’s a major problem. Sure, this interface conveys impending doom, but it doesn’t convey any useful information to help them know where the threat is coming from or what to do about it after they know that doom impends. (Plus, they had to turn it on, and all it tells them is, “Yep, looks pretty bad out there.”) To design this right, they need a sense of the 3D vector of the threat as compared to their own vector, and what the best available options are.
Better: Augmented reality to telegraph the invisible threat
Fortunately, we already have the medium and channel for Ibanez and Barcalow to immediately understand the 3D direction of the threat in the real world and most importantly, in relation to the ship’s trajectory and orientation, since that’s the tool they have on hand to avoid the threat. We’ve already seen that volumetric projection is a thing in this world, so the ship should display the VP just outside the ship’s viewports. The animation can illustrate the threat coming from the outside on the outside, and fade once the threat gets to be in a range of visible light. In this way there’s no 2D to 3D interpretation. It’s direct. Where’s the unexpected gravitic distortion? Look out the window. There. There is the the unexpected gravitic distortion. The HUD display would need to be aimed at the navigator’s seat, but for very distant objects, e.g. out of visible light range, the parallax shift wouldn’t be problematic for other locations on the bridge. You’d also have to manage the scenario where the threat comes from a direction not out the window (like, say, through the floor) but you can just shift the VP interior for that.
Next, you could use VP inside the ship to show the two paths and point of collision, as well as best predicted paths (there’s that useful active academy metaphor again.) Then we can let Ibanez trust her own instincts as she presses the manual override to steer the ship clear. I don’t have the time to comp an internal VP up right now, so I’ll rely on your imagination to comp this particular part of a much better solution than what we see on screen.