Johnny leaves the airport by taxi, ending up in a disreputable part of town. During his ride we see another video phone call with a different interface, and the first brief appearance of some high tech binoculars. I’ll return to these later, for the moment skipping ahead to the last of the relatively simple and single-use physical gadgets.
Johnny finds the people he is supposed to meet in a deserted building but, as events are not proceeding as planned, he attaches another black box with glowing red status light to the outside of the door as he enters. Although it looks like the motion detector we saw earlier, this is a bomb.
This is indeed a very bad neighbourhood of Newark. Inside are the same Yakuza from Beijing, who plan to remove Johnny’s head. There is a brief fight, which ends when Johnny uses his watch to detonate the bomb. It isn’t clear whether he pushes or rotates some control, but it is a single quick action.Continue reading →
The breach is not well-handled by the systems around the control room. Not only do the lights not have a local backup power source, but the screens on the background display Big Labels saying unhelpful things like, “ESCAPE ALERT – UNKNOWN SECURITY BREACH.” If you were designing a system specifically to control nightmare monsters to sacrifice helpless victims, I think the first thing your risk officer should work out is a system that can recognize and withstand when one of those two things (monsters or victims) was out of place. The least you could do is provide users with extremely clear status messages about them.
Sitterson and Truman scan the video monitors for Dana and Marty.
After the breach, we see one more interface for the stage managers: an old escape route. Even though Control is world-critical, its designers imagined that things could go haywire. Presuming that other scenarios are going fine, if all hope is lost in this one, the stage managers have a way out of the control room. We only get a few glimpses of this interface, but it looks to be a computer-controlled security access lock whose 8-bit graphics imply that it was implemented in the early 1990s, around the time when Microsoft Windows 3.1 was the dominant computing paradigm.
Sitterson desperately enters his PID.
After working desperately a bit, Sitterson is able to get the system to a screen that asks for his PID. He uses a rubber-key keypad below the screen to enter it, and is told “SECURITY OVERRIDE GRANTED.” In this way he is able to open the trap door and escape the monsters swarming the control room.
Especially given the amount of stress that a user is likely to be under while using this interface, and the infrequency with which it must be used, it seems absolutely cruel to secure the door by a memorized identification number. Unless that PID is used frequently enough to become habit, it’s unlikely to be remembered when the user is trying to escape death. Better is to use the ID cards already seen in the film in combination with some biometric scan like retina or finger print.
There is a system in place to manage the “resources,” the nightmare creatures available to be chosen by the victims for their sacrifice. This management includes letting them out to the surface, putting them back in place safely, and containment throughout the intervening year between sacrifices.
Dana and Marty experience the cages from the perspective of a monster
The one interface element that we do see in use is the one that Dana and Marty use to release the imprisoned nightmare monsters throughout the complex. It is a single kill-switch button labeled “SYSTEM PURGE”, located on a panel in the security booth that overlooks the main elevator bank. While hiding from approaching security forces, Dana notices the switch beneath the monitoring screens. She flips a protective switch cover to enable it, sees a confirming amber light, and then slams down on the kill switch. Moments later, the first of several waves of nightmare monsters are released through the elevator doors into the complex.
Dana slams the System Purge kill switch.
From a story viewpoint, this is an awesome moment where the story becomes utter chaos and the workforce of jaded sacrificers get their horrible, horrible come-uppance. But from a design standpoint, it’s utter nonsense. Imagine a nuclear power plant where the kill switch, which is accessible through an unlocked door and labeled clearly for any saboteur to read, dumps live fuel rods and heavy water onto the heads of the plant operators. Or a zoo where the animals-are-furious-and-hungry switch dumps the animals right onto the grounds. A system like Control, with global reach and resources, would find some other space into which this murderous tsunami can be vented, and ensure proper security around the activation mechanism. Still, this makes for hilarious chaos and the “happy” ending, so as audience members we’re glad Control messed up on its design strategy.
Marty had already been shown to be able to hack Control’s electronics upstairs, so I suspect the narrative decision about the purge switch was made to give Dana some additional agency in this part of the story, and add some punch to the onset of the final act, so we’ll count that as a minor quibble, too.