Grabby hologram

After Pepper tosses off the sexy bon mot “Work hard!” and leaves Tony to his Avengers initiative homework, Tony stands before the wall-high translucent displays projected around his room.

Amongst the videos, diagrams, metadata, and charts of the Tesseract panel, one item catches his attention. It’s the 3D depiction of the object, the tesseract itself, one of the Infinity Stones from the MCU. It is a cube rendered in a white wireframe, glowing cyan amidst the flat objects otherwise filling the display. It has an intense, cold-blue glow at its center.  Small facing circles surround the eight corners, from which thin cyan rule lines extend a couple of decimeters and connect to small, facing, inscrutable floating-point numbers and glyphs.

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Wanting to look closer at it, he reaches up and places fingers along the edge as if it were a material object, and swipes it away from the display. It rests in his hand as if it was a real thing. He studies it for a minute and flicks his thumb forward to quickly switch the orientation 90° around the Y axis.

Then he has an Important Thought and the camera cuts to Agent Coulson and Steve Rogers flying to the helicarrier.

So regular readers of this blog (or you know, fans of blockbuster sci-fi movies in general) may have a Spidey-sense that this feels somehow familiar as an interface. Where else do we see a character grabbing an object from a volumetric projection to study it? That’s right, that seminal insult-to-scientists-and-audiences alike, Prometheus. When David encounters the Alien Astrometrics VP, he grabs the wee earth from that display to nuzzle it for a little bit. Follow the link if you want that full backstory. Or you can just look and imagine it, because the interaction is largely the same: See display, grab glowing component of the VP and manipulate it.

Prometheus-229 Two anecdotes are not yet a pattern, but I’m glad to see this particular interaction again. I’m going to call it grabby holograms (capitulating a bit on adherence to the more academic term volumetric projection.) We grow up having bodies and moving about in a 3D world, so the desire to grab and turn objects to understand them is quite natural. It does require that we stop thinking of displays as untouchable, uninterruptable movies and more like toy boxes, and it seems like more and more writers are catching on to this idea.

More graphics or more information?

Additionally,  the fact that this object is the one 3D object in its display is a nice affordance that it can be grabbed. I’m not sure whether he can pull the frame containing the JOINT DARK ENERGY MISSION video to study it on the couch, but I’m fairly certain I knew that the tesseract was grabbable before Tony reached out.

On the other hand, I do wonder what Tony could have learned by looking at the VP cube so intently. There’s no information there. It’s just a pattern on the sides. The glow doesn’t change. The little glyph sticks attached to the edges are fuigets. He might be remembering something he once saw or read, but he didn’t need to flick it like he did for any new information. Maybe he has flicked a VP tesseract in the past?

Augmented “reality”

Rather, I would have liked to have seen those glyph sticks display some useful information, perhaps acting as leaders that connected the VP to related data in the main display. One corner’s line could lead to the Zero Point Extraction chart. Another to the lovely orange waveform display. This way Tony could hold the cube and glance at its related information. These are all augmented reality additions.

Augmented VP

Or, even better, could he do some things that are possible with VPs that aren’t possible with AR. He should be able to scale it to be quite large or small. Create arbitrary sections, or plan views. Maybe fan out depictions of all objects in the SHIELD database that are similarly glowy, stone-like, or that remind him of infinity. Maybe…there’s…a…connection…there! Or better yet, have a copy of JARVIS study the data to find correlations and likely connections to consider. We’ve seen these genuine VP interactions plenty of places (including Tony’s own workshop), so they’re part of the diegesis.

Avengers_PullVP-05.pngIn any case, this simple setup works nicely, in which interaction with a cool media helps underscore the gravity of the situation, the height of the stakes. Note to selves: The imperturbable Tony Stark is perturbed. Shit is going to get real.

 

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Alien Astrometrics

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When David is exploring the ancient alien navigation interfaces, he surveys a panel, and presses three buttons whose bulbous tops have the appearance of soft-boiled eggs. As he presses them in order, electronic clucks echo in in the cavern. After a beat, one of the eggs flickers, and glows from an internal light. He presses this one, and a seat glides out for a user to sit in. He does so, and a glowing pollen volumetric projection of several aliens appears. The one before David takes a seat in the chair, which repositions itself in the semicircular indentation of the large circular table.

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The material selection of the egg buttons could not be a better example of affordance. The part that’s meant to be touched looks soft and pliable, smooth and cool to the touch. The part that’s not meant to be touched looks rough, like immovable stone. At a glance, it’s clear what is interactive and what isn’t. Among the egg buttons there are some variations in orientation, size, and even surface texture. It is the bumpy-surfaced one that draws David’s attention to touch first that ultimately activates the seat.

The VP alien picks up and blows a few notes on a simple flute, which brings that seat’s interface fully to life. The eggs glow green and emit green glowing plasma arcs between certain of them. David is able to place his hand in the path of one of the arcs and change its shape as the plasma steers around him, but it does not appear to affect the display. The arcs themselves appear to be a status display, but not a control.

After the alien manipulates these controls for a bit, a massive, cyan volumetric projection appears and fills the chamber. It depicts a fluid node network mapped to the outside of a sphere. Other node network clouds appear floating everywhere in the room along with objects that look like old Bohr models of atoms, but with galaxies at their center. Within the sphere three-dimensional astronomical charts appear. Additionally huge rings appear and surround the main sphere, rotating slowly. After a few inputs from the VP alien at the interface, the whole display reconfigures, putting one of the small orbiting Bohr models at the center, illuminating emerald green lines that point to it and a faint sphere of emerald green lines that surround it. The total effect of this display is beautiful and spectacular, even for David, who is an unfeeling replicant cyborg.

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At the center of the display, David observes that the green-highlighted sphere is the planet Earth. He reaches out towards it, and it falls to his hand. When it is within reach, he plucks it from its orbit, at which point the green highlights disappear with an electronic glitch sound. He marvels at it for a bit, turning it in his hands, looking at Africa. Then after he opens his hands, the VP Earth gently returns to its rightful position in the display, where it is once again highlighted with emerald, volumetric graphics.

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Finally, in a blinding flash, the display suddenly quits, leaving David back in the darkness of the abandoned room, with the exception of the small Earth display, which is floating over a small pyramid-shaped protrusion before flickering away.

After the Earth fades, david notices the stasis chambers around the outside of the room. He realizes that what he has just seen (and interacted with) is a memory from one of the aliens still present.

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Hilarious and insightful Youtube poster CinemaSins asks in the video “Everything Wrong with Prometheus in 4 minutes or Less,” “How the f*ck is he holding the memory of a hologram?” Fair question, but not unanswerable. The critique only stands if you presume that the display must be passive and must play uninterrupted like a television show or movie. But it certainly doesn’t have to be that way.

Imagine if this is less like a YouTube video, and more like a playback through a game engine like a holodeck StarCraft. Of course it’s entirely possible to pause the action in the middle of playback and investigate parts of the display, before pressing play again and letting it resume its course. But that playback is a live system. It would be possible to run it afresh from the paused point with changed parameters as well. This sort of interrupt-and-play model would be a fantastic learning tool for sensemaking of 4D information. Want to pause playback of the signing of the Magna Carta and pick up the document to read it? That’s a “learning moment” and one that a system should take advantage of. I’d be surprised if—once such a display were possible—it wouldn’t be the norm.

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The only thing I see that’s missing in the scene is a clear signal about the different state of the playback:

  1. As it happened
  2. Paused for investigation
  3. Playing with new parameters (if it was actually available)

David moves from 1 to 2, but the only change of state is the appearance and disappearance of the green highlight VP graphics around the Earth. This is a signal that could easily be missed, and wasn’t present at the start of the display. Better would be some global change, like a global shift in color to indicate the different state. A separate signal might compare As it Happened with the results of Playing with new parameters, but that’s a speculative requirement of a speculative technology. Best to put it down for now and return to what this interface is: One of the most rich, lovely, and promising examples of sensemaking interactions seen on screen. (See what I did there?)

For more about how VP might be more than a passive playback, see the lesson in Chapter 4 of Make It So, page 84, VP Systems Should Interpret, Not Just Report.