The transition from Beijing to the Newark copyshop is more involved. After he travels around a bit, he realizes he needs to be looking back in Newark. He “rewinds” using a pull gesture and sees the copyshop’s pyramid. First there is a predominantly blue window that unfolds as if it were paper.
And then the copyshop initial window expands. Like the Beijing hotel, this is a floor plan view, but unlike the hotel it stays two dimensional. It appears that cyberspace works like the current world wide web, with individual servers for each location that can choose what appearance to present to visitors.
Johnny again selects data records, but not with a voice command. The first transition is a window that not only expands but spins as it does so, and makes a strange jump at the end from the centre to the upper left.
Once again Johnny uses the two-handed expansion gesture to see the table view of the records.Continue reading →
After selecting its location from a map, Johnny is now in front of the virtual entrance to the hotel. The virtual Beijing has a new color scheme, mostly orange with some red.
The “entrance” is another tetrahedral shape made from geometric blocks. It is actually another numeric keypad. Johnny taps the blocks to enter a sequence of numbers.
The tetrahedral keypad
Note that there can be more than one digit within a block. I mentioned earlier that it can be difficult to “press” with precision in virtual reality due to the lack of tactile feedback. Looking closely, here the fingers of Johnny’s “hands” cast a shadow on the pyramid, making depth perception easier.Continue reading →
Leeloo learns about the facts of the human race which she is destined to save through an online encyclopedia available to her in many places: in Cornelius’ home, the spaceship to Fhloston Paradise, and aboard Zorg’s ship. Three modes are seen for it. Today we discuss the third mode, which is to search for an in-depth topic.
Search
When Leeloo experiences full-scale combat with Zorg and the Mangalores aboard Fhloston Paradise, she grows curious about war. On the route back to Earth aboard Zorg’s ship, she once again returns to the online encyclopedia she’s been referencing throughout the film. When she sits down, it just so happens that the system is in the middle of the W topics. It is amid “we*” and “wh*” words. “Weapon” is at the top, so maybe that’s what Zorg was looking for.
To access a particular topic not on screen, she simply begins typing. She types “WAR,” the letters filling the screen in green all-caps, and the entry for war begins playing. This entry is different than the prior one seen on martial arts. This is simply a series of still images presented serially, around four dozen that culminate in an image of the French test of an atomic weapon at Mururoa Atoll.
Two small nuances to note. The first is that we don’t see a result of possible search results. Like Wikipedia, there is a main entry for war, and it presumes that’s the one she means. If it’s wrong, she can interrupt. That’s a smart default that will work in most cases.
The second is that we don’t see or hear Leeloo hit an “enter” key after she finishes typing “war.” (The other keys each emit a small beep.) How did the system know she wasn’t continuing on to “warrior” or “warship”? A smart system would be able to interpret the pause after the “r” as a likely end, once it passes an outer threshold for her typical typing speed, and begin to show her the “war” entry. Then, if she continued to add another letter just outside that threshold, it could evaluate the string. If it might be a continuation, like typing an “s” for “warship” it could pause the display and wait. If a continuation wouldn’t make any sense, like “warx,” it could presume she was entering a new word beginning with “x” or help her recover in case it was just a plain old typo.
Interestingly, this is kind of the way Google Instant search works. Did the designers for The Fifth Element accidentally invent it 13 years ahead of Google?
Despite that cool possibility, I have to ding this entry for not really explaining anything. Some aren’t really about war but about terror, such as the image of the burning cross at a KKK rally. But even for the others, yes, they are horrific images. And they are a stinging reminder of the horrors that accompany war. But they really only work for someone with the prior knowledge of what they describe. Steve McCurry‘s haunting image of a tank in Kuwait, for instance, inspires despair only if you know the full background story of that war, and this sequence certainly does not provide it to Leeloo.
Ultimately, regardless of the mode this encyclopedia is in, it is a cinematic conceit that we should not take as a good example of rapid learning for the real world.
