Cyberspace is usually considered to be a 3D spatial representation of the Internet, an expansion of the successful 2D desktop metaphor. The representation of cyberspace used in books such as Neuromancer and Snow Crash, and by the film Hackers released in the same year, is an abstract cityscape where buildings represent organisations or individual computers, and this what we see in Johnny Mnemonic. How does Johnny navigate through this virtual city?
Gestures and words for flying
Once everything is connected up, Johnny starts his journey with an unfolding gesture. He then points both fingers forward. From his point of view, he is flying through cyberspace. He then holds up both hands to stop.
Both these gestures were commonly used in the prototype VR systems of 1995. They do however conflict with the more common gestures for manipulating objects in volumetric projections that are described in Make It So chapter 5. It will be interesting to see which set of gestures is eventually adopted, or whether they can co-exist.
Later we will see Johnny turn and bank by moving his hands independently.
In Johnny Mnemonic we see two different types of binoculars with augmented reality overlays and other enhancements: Yakuz-oculars, and LoTek-oculars.
The Yakuza are the last to be seen but also the simpler of the two. They look just like a pair of current day binoculars, but this is the view when the leader surveys the LoTek bridge.
I assume that the characters here are Japanese? Anyone?
In the centre is a fixed-size green reticule. At the bottom right is what looks like the magnification factor. At the top left and bottom left are numbers, using Western digits, that change as the binoculars move. Without knowing what the labels are I can only guess that they could be azimuth and elevation angles, or distance and height to the centre of the reticule. (The latter implies some sort of rangefinder.)Continue reading →
On board the R.S. Revenge, the purple-skinned communications officer announces he’s picked up something. (Genders are a goofy thing to ascribe to alien physiology, but the voice actor speaks in a masculine register, so I’m going with it.)
He attends a monitor, below which are several dials and controls in a panel. On the right of the monitor screen there are five physical controls.
A stay-state toggle switch
A stay-state rocker switch
The lower two dials have rings under them on the panel that accentuate their color.
The screen is a dark purple overhead map of the impossibly dense asteroid field in which the Revenge sits. A light purple grid divides the space into 48 squares. This screen has text all over it, but written in a constructed orthography unmentioned in the Wookieepedia. In the upper center and upper right are unchanging labels. Some triangular label sits in the lower-left. In the lower right corner, text appears and disappears too fast for (human) reading. The middle right side of the screen is labeled in large characters, but they also change too rapidly to make much sense of it.
When we first see the HUD, Tony is donning the Iron Man mask. Tony asks, JARVIS, “You there?” To which JARVIS replies, “At your service sir.” Tony tells him to Engage the heads-up display, and we see the HUD initialize. It is a dizzying mixture of blue wireframe motion graphics. Some imply system functions, such as the reticle that pinpoints Tonys eye. Most are small dashboard-like gauges that remain small and in Tonys peripheral vision while the information is not needed, and become larger and more central when needed. These features are catalogued in another post, but we learn about them through two points-of-view: a first-person view, which shows us what Tony’s sees as if we were there, donning the mask in his stead, and second-person view, which shows us Tony’s face overlaid against a dark background with floating graphics.
This post is about that first-person view. Specifically it’s about the visual design and the four awarenesses it displays.
In the Augmented Reality chapter of Make It So, I identified four types of awareness seen in the survey for Augmented Reality displays:
The Iron Man HUD illustrates all four and is a useful framework for describing and critiquing the 1st-person view. Continue reading →
When conducting reconnaissance on the bug home Planet P, Rico pauses to scan the nearby mountain crest with a pair of Federation binoculars. They feature two differently-sized objective lenses.
We get a POV for him and get to see the overlay. It includes a range-finding reticle and two 7-segment readouts in the lower corners. It looks nifty, but it’s missing some important things. Continue reading →