After Joe goes through triage, he is directed to the “diagnosis area to the right.” He waits in a short queue, and then enters the diagnosis bay.
The attendant wears a SMARTSPEEK that says, “Your illness is very important to us. Welcome to the Healthmaster Inferno.”
The attendant, DR. JAGGER, holds three small metal probes, and hands each one to him in turn saying, “Uh, this one goes in your mouth. This one goes in your ear. And this one goes up your butt.” (Dark side observation about the St. God’s: Apparently what it takes to become a doctor in Idiocracy is an ability to actually speak to patients and not just let the SMARTSPEEK do all the talking.)
Joe puts one in his mouth and is getting ready to insert the rest, when a quiet beeping causes the attendant to pause and correct himself. “Shit. Hang on a second.” He takes the mouth one back and hands him another one. “This one…No.” He gathers them together, and unable to tell them apart, he shuffles them trying to figure it out, saying “This one. This one goes in your mouth.” Joe reluctantly puts the offered probe into his mouth and continues.
The diagnosis is instant (and almost certainly UNKNOWN). SMARTSPEEK says, “Thank you for waiting. Dr. Lexus will be with you shortly.”
In their forecasting workshops, the Institute for the Future trains practitioners to sensitize themselves to “signals,” something that may seem banal but on reflection foretells great change or deep meaning. That story about the arctic penguins who accepted a furry remote controlled camera as a chick is one of mine. Still wrestling with its implications. This interface is another.
After Joe walks past the FloorMaster and Insurance Slot Machines, he finally makes it up to the triage desk. It’s labeled CHECK-IN, and the sign devotes a large portion of its space to advertising. He speaks to the employee there, named Biggiez, who blankly listens to him talk about how he’s feeling. As he talks, she looks down at a wide panel of buttons, floating her pointing finger above the unlabeled icons that kind-of describe common ailments.
When Joe says, “I don’t even know where I am,” she finally pushes an icon featuring a stick figure, shrugging, with two question marks floating in the space beside its sad face. In response, it lights up, we hear a ding, and a SMARTSPEEK device on Biggiez’ blouse says, “Please proceed to the diagnostic area on the right…and have a healthy day.” Joe moves on to the diagnosis bay, which I’ll discuss in the next post.
The other depressing thing besides the FloorMaster that Joe sees as he walks through St. God’s lobby is the insurance slot machines.
He sees a man with a blank expression and a bleeding head wound above his left eye, who stands a bank of slot machines. The backglass of each has diagonal logos advertising BLAKDIX capsules (n.b. the wallpaper advertises BONERAX), telling players they can play while they wait, and that they can WIN FREE MEDICAL CARE. The reel strips don’t show bells or fruit, but rather, pills. The blood from the head wound shines in the lights.
This is the future that the GoP and insurance companies want.
Games and games of chance don’t obey standard usability principles. The point of them is that you don’t know if you’ll get what you want. So a regular analysis won’t do.Continue reading →
After Johnny was mistakenly reported as killed, the next time we see him he is in a healing chamber, submerged in green-underlit translucent fluid, resting on form-fitting clear plastic supports. He breathes through a tube, and a pair of small robot arms work busily to regenerate the damaged tissue in his leg.
The main reason to discuss this chamber on a blog about interfaces is the material choice of the outside of the chamber. By being surrounded completely in a transparent material (glass? plexiglass? transparent aluminum?), it means that physicians can keep an eye on progress, and he can have visual interactions with visitors, as we see when Dizzy and Ace visit to share with him his mistaken death certificate (and for Dizzy to leave him a kiss.) Additionally it gives Johnny something to look at during the long hours of recuperation.
I’m not sure why the green light is necessary. The scene implies that it could serve some part in the healing process, but if not, I wonder if an amber light might signal a more human, nurturing warmth to Johnny and visitors. Narratively, you’d want to avoid anything too yellow or run the risk of the audience’s first interpretations drifting too far to the Andres-Serrano-esque.