OmniBro

The OmniBro is the ubiquitous payment and identification system in Idiocracy. We see it four times in the movie.

Doc office

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Dr. Lexus asks Joe to pay for his visit, “…if you could just go ahead and, like, put your tattoo in that shit.” In this case, that shit is a barcode scanner mounted to the back of a desktop register. We don’t get to see it in use, because as described in the prior post, Dr. Lexus freaks out, realizing Joe is unscannable and hitting the panic button.

Prison

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Another time we see the OmniBro is in the prison. After talking his way past the guard, another guard at a checkout counter has him scan his new tattoo. The guard checks the screen and tells him, “Uh. Yeah, I don’t see you in here. So you’re going to have to…uh…stay in prison.” Joe says, “Could you check again, because I was definitely in prison. OK. I got sat on my face and everything. Maybe check those files back there?” The guard turns, and Joe runs. There’s admittedly a post in there about prison security and release (and America has a lot to improve, especially in its reprehensible prison-for-profit systems), but this post is about the OmniBro.

Carl’s Junior

The third time we see it is at the Carl’s Junior kiosk. (More on the whole system in the next post.) Though the customer appears to have already scanned, it is how anyone ordering food pays for it.

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What’s good?

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Restraining Order

After Joe confronts Beth and she calls for help, Joe is taken to a police station where in addition to the block, he now has a GPS-informed restraining order against him.

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To confirm the order, Joe has to sign is name to a paper and then press his thumbprints into rectangles along the bottom. The design of the form is well done, with a clearly indicated spot for his signature, and large touch areas in which he might place his thumbs for his thumbprints to be read.

A scary thing in the interface is that the text of what he’s signing is still appearing while he’s providing his thumbprints. Of course the page could be on a loop that erases and redisplays the text repeatedly for emphasis. But, if it was really downloading and displaying it for the first time to draw his attention, then he has provided his signature and thumbprints too early. He doesn’t yet know what he’s signing.

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Government agencies work like this all the time and citizens comply because they have no choice. But ideally, if he tried to sign or place his thumbprints before seeing all the text of what he’s signing, it would be better for the interface to reject his signature with a note that he needs to finish reading the text before he can confirm he has read and understands it. Otherwise, if the data shows that he authenticated it before the text appeared, I’d say he had a pretty good case to challenge the order in court.

Video call

After ditching Chewie, Boba Fett heads to a public video phone to make a quick report to his boss who turns out to be…Darth Vader (this was a time long before the Expanded Universe/Legends, so there was really only one villain to choose from).

To make the call, he approaches an alcove off an alley. The alcove has a screen with an orange bezel, and a small panel below it with a 12-key number panel to the left, a speaker, and a vertical slot. Below that is a set of three phone books. For our young readers, phone books are an ancient technology in which telephone numbers were printed in massive books, and copies kept at every public phone for reference by a caller.

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Imperial-issue Media Console

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When she wonders about Chewbacca’s whereabouts, Malla first turns to the Imperial-issue Media Console. The device sits in the living space, and consists of a personal console and a large wall display. The wall display mirrors the CRT on the console. The console has a QWERTY keyboard, four dials, two gauges, a sliding card reader, a few red and green lights on the side, and a row of randomly-blinking white lights along the front.

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Public Service Requests

As Malla approaches it, it is displaying an 8-bit kaleidoscope pattern and playing a standard-issue “electronics” sound. Malla presses a handful of buttons—here it’s important to note the difficulty of knowing what is being pressed when the hand we’re watching is covered in a mop—and then moves through a confusing workflow, where…

  1. She presses five buttons
  2. She waits a few seconds
  3. As she is pressing four more buttons…
  4. …the screen displays a 22-character string (a password? A channel designation?) ↑***3-   ↓3&39÷   ↑%63&-:::↓
  5. A screen flashes YOU HAVE REACHED TRAFFIC CONTROL in black letters on a yellow background
  6. She presses a few more buttons, and another 23-character string appears on screen ↑***3-   XOXOO   OXOOX   XOOXO-↑ (Note that the first six characters are identical to the first six characters of the prior code. What’s that mean? And what’s with all the Xs and Os? Kisses and hugs? A binary? I checked. It seems meaningless.)
  7. An op-art psychedelic screen of orange waves on black for a few seconds
  8. A screen flashes NO STARSHIPS IN AREA
  9. Malla punches the air in frustration.

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Avengers, assembly!

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When Coulson hands Tony a case file, it turns out to be an exciting kind of file. For carrying, it’s a large black slab. After Tony grabs it, he grabs the long edges and pulls in opposite directions. One part is a thin translucent screen that fits into an angled slot in the other part, in a laptop-like configuration, right down to a built-in keyboard.

The grip edge

The grip edge of the screen is thicker than the display, so it has a clear, physical affordance as to what part is meant to be gripped and how to pull it free from its casing, and simultaneously what end goes into the base. It’s simple and obvious. The ribbing on the grip unfortunately runs parallel to the direction of pull. It would make for a better grip and a better affordance if the grip was perpendicular to the direction of pull. Minor quibble.

I’d be worried about the ergonomics of an unadjustable display. I’d be worried about the display being easily unseated or dislodged. I’d also be worried about the strength of the join. Since there’s no give, enough force on the display might snap it clean off. But then again this is a world where “vibrium steel” exists, so material critiques may not be diegetically meaningful.

Login

Once he pulls the display from the base, the screen boops and animated amber arcs spin around the screen, signalling him to login via a rectangular panel on the right hand side of the screen. Tony puts his four fingers in the spot and drags down. A small white graphic confirms his biometrics. As a result, a WIMP display appears in grays and amber colors.

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Briefing materials

One window on the left hand side shows a keypad, and he enters 1-8-5-4. The keypad disappears and a series of thumbnail images—portraits of members of the Avengers initiative—appear in its place. Pepper asks Tony, “What is all this?” Tony replies, saying, “This is, uh…” and in a quick gesture, places his ten fingertips on the screen at the portraits, and then throws his hands outward, off the display.

The portraits slide offscreen to become ceiling-height volumetric windows filled with rich media dossiers on Thor, Steve Rogers, and David Banner. There are videos, portraits, schematics, tables of data, cellular graphics, and maps. There’s a smaller display near the desktop where the “file” rests about the tesseract. (More on this bit in the next post.)

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Insert standard complaint here about the eye strain that a translucent display causes, and the apology that yes, I understand it’s an effective and seemingly high-tech way to show actors and screens simultaneously. But I’d be remiss if I didn’t mention it.

The two-part login shows an understanding of multifactor authentication—a first in the survey, so props for that. Tony must provide something he “is”, i.e. his fingerprints, and something he knows, i.e. the passcode. Only then does the top secret information become available.

I have another standard grouse about the screen providing no affordances that content has an alternate view available, and that a secret gesture summons that view. I’d also ordinarily critique the displays for having nearly no visual hierarchy, i.e. no way for your eyes to begin making sense of it, and a lot of pointless-motion noise that pulls your attention in every which way.

But, this beat is about the wonder of the technology, the breadth of information SHIELD in its arsenal, and the surprise of familiar tech becoming epic, so I’m giving it a narrative pass.

Also, OK, Tony’s a universe-class hacker, so maybe he’s just knowledgeable/cocky enough to not need the affordances and turned them off. All that said, in my due diligence: Affordances still matter, people.

Thumbknob

To get Jennifer into her home, the police take her to the front door of her home. They place her thumb on a small circular reader by the door. Radial LEDs circle underneath her thumb for a moment as it reads. Then a red light above the reader turns off and a green light turns on. The door unlocks and a synthesized voice says, “Welcome home, Jennifer!”

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Similarly to the Thumbdentity, a multifactor authentication would be much more secure. The McFly family is struggling, so you might expect them to have substandard technology, but that the police are using something similar casts that in doubt.

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When officers Foley and Reese find the sleeping Jennifer, they thumbprint her on a wireless handheld device, and Officer Foley looks up the young girl’s information. Looking at the screen she retrieves Jennifer’(2015)’s address and age.

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Thumbprint is a fine unimodal authenticator, but much better is multimodal biometric or multifactor authenticator to be certain of identity.

Mangalore Bomb

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Sadly for Zorg, just after he deactivates his bomb, a fallen Mangalore warrior remotely activates his own bomb in Plavalaguna’s suite. The remote control is made from a combination lock. The Mangalore twists the dial to the right numbers, and on reaching the last number, a red LED lights in the center. In the diva’s suite, the box that secretly housed the bomb opens, and the bomb rises like a small metallic ziggurat, accentuated in places with red LEDs. A red, 7-segment countdown timer begins ticking down its final 5 seconds.

Aggression

Mangalores are warlike, as in they really like war. They breathe war. They sleep war. They eat war for breakfast, then poop war, then root around in their couches for war scraps and snack on that. The detonation device isn’t very sophisticated, and that’s just fine by Mangalores. If a Mangalore declared a Design major instead of War in college, they’d have been killed on the spot. This device is perfect for a species that just wants to grab something cheap and convenient, make a few modifications, and get to the boom.

We don’t see a deactivation mechanism. And while you can imagine that a nice safety would be to deactivate if the dial drifted more than, say, 5 clicks from the final activation number, Mangalores wouldn’t have it. They’d “liberate” your mother’s homeland merely for having suggesting it.

If I had to improve it in any way, it’s that it places a burden on memory, and there’s not a lot of indication that Mangalores excel in the thinking skills department, c.f. warlike. Do they have the capacity to memorize a series of numbers in order? And it is easy to recall the series in the middle of a war zone? If not, what would be better? They have their weapons with them nearly at all times, so how about a little glowing, red button on the forestock?

Ha. Joke’s on you, Mangalores. As we know from earlier in the movie, you couldn’t resist pressing it, long before you made it to ocean liners. I think if you’re that warlike and stupid, this would be best for everyone.

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Multipass

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The multipass is the all-purpose card of 2263. It’s a driver’s license, work authorization record, proof of identity, emergency medical information, phone card, plus all your credit cards in one. There is a white rectangle and yellowish, rounded-bevel shape on the lower left, each of which may be a button, but that we don’t see in use.

Often just showing it is enough for a human’s satisfaction, but sometimes it must be read by a machine. To do this, the holder inserts it into a slot, where the machine verifies its authenticity and registers the user locally. In Korben’s taxi, he has to leave it in as he operates the vehicle. At the Fhloston Paradise check-in booth, travelers dip it in and out of the reader.

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The act of inserting the card to authenticate may seem a bit old-fashioned in the days of RFID and read-at-a-distance technology, but it’s also nice to see that whatever agency was able to get the various corporations and government agencies to cooperate has also got privacy in mind. If it needs to be dipped to be read, maybe it can’t be read at a distance. That means the holder has more control over when and how it’s accessed.

As far as convenience, hot damn. It’s practically a wallet in and of itself. But there are security concerns to having all of this in one place. There are many cards that work like this in the world. Bus passes, skeeball tickets, gift cards. They’re generally low-cost. If you steal or forge Korben Dallas’ multipass, though, do you suddenly have his charge accounts, his taxi, and his phone card all at once? Seems high-cost, especially since the one forgery we see in the movie actually works.

This returns us, as so many things do, to multifactor authentication. This security philosophy requires that the user presents three factors: something they have, something they are, and something they know. The multipass covers only the first two.

  • The multipass itself is the thing they have.
  • The picture is something they are, i.e., what they look like.
  • It could be improved by requiring something they know, like a PIN or a password.

We don’t know what kind of power Cornelius’ order wielded in the world, but since it wasn’t enough to sway the president or purchase tickets to Paradise, let’s presume it wouldn’t have been enough to uncover Korben’s password, and in that case, the PIN would have foiled the attempted forgery.

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