The Cookie: Matt’s controls

When using the Cookie to train the AI, Matt has a portable translucent touchscreen by which he controls some of virtual Greta’s environment. (Sharp-eyed viewers of the show will note this translucent panel is the same one he uses at home in his revolting virtual wingman hobby, but the interface is completely different.)

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The left side of the screen shows a hamburger menu, the Set Time control, a head, some gears, a star, and a bulleted list. (They’re unlabeled.) The main part of the screen is a scrolling stack of controls including Simulated Body, Control System, and Time Adjustment. Each has an large icon, a header with “Full screen” to the right, a subheader, and a time indicator. This could be redesigned to be much more compact and context-rich for expert users like Matt. It’s seen for maybe half a second, though, and it’s not the new, interesting thing, so we’ll skip it.

The right side of the screen has a stack of Smartelligence logos which are alternately used for confirmation and to put the interface to sleep.

Mute

When virtual Greta first freaks out about her circumstance and begins to scream in existential terror, Matt reaches to the panel and mutes her. (To put a fine point on it: He’s a charming monster.) In this mode she cannot make a sound, but can hear him just fine. We do not see the interface he uses to enact this. He uses it to assert conversational control over her. Later he reaches out to the same interface to unmute her.

The control he touches is the one on his panel with a head and some gears reversed out of it. The icon doesn’t make sense for that. The animation showing the unmuting shows it flipping from right to left, so does provide a bit of feedback for Matt, but it should be a more fitting icon and be labeled.

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Also it’s teeny tiny, but note that the animation starts before he touches it. Is it anticipatory?

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Ship Console

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The only flight controls we see are an array of stay-state toggle switches (see the lower right hand of the image above) and banks of lights. It’s a terrifying thought that anyone would have to fly a spaceship with binary controls, but we have some evidence that there’s analog controls, when Luke moves his arms after the Falcon fires shots across his bow.

Unfortunately we never get a clear view of the full breadth of the cockpit, so it’s really hard to do a proper analysis. Ships in the Holiday Special appear to be based on scenes from A New Hope, but we don’t see the inside of a Y-Wing in that movie. It seems to be inspired by the Falcon. Take a look at the upper right hand corner of the image below.

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R. S. Revenge Comms

Note: In honor of the season, Rogue One opening this week, and the reviews of Battlestar Galactica: The Mini-Series behind us, I’m reopening the Star Wars Holiday Special reviews, starting with the show-within-a-show, The Faithful Wookie. Refresh yourself of the plot if it’s been a while.

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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.)

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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
  • Three dials

The lower two dials have rings under them on the panel that accentuate their color.

Map View

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.

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Sleep Pod—Wake Up Countdown

On each of the sleep pods in which the Odyssey crew sleep, there is a display for monitoring the health of the sleeper. It includes some biometric charts, measurements, a body location indicator, and a countdown timer. This post focuses on that timer.

To show the remaining time of until waking Julia, the pod’s display prompts a countdown that shows hours, minutes and seconds. It shows in red the final seconds while also beeping for every second. It pops-up over the monitoring interface.

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Julia’s timer reaches 0:00:01.

The thing with pop-ups

We all know how it goes with pop-ups—pop-ups are bad and you should feel bad for using them. Well, in this case it could actually be not that bad.

The viewer

Although the sleep pod display’s main function is to show biometric data of the sleeper, the system prompts a popup to show the remaining time until the sleeper wakes up. And while the display has some degree of redundancy to show the data—i.e. heart rate in graphics and numbers— the design of the countdown brings two downsides for the viewer.

  1. Position: it’s placed right in the middle of the screen.
  2. Size: it’s roughly a quarter of the whole size of the display

Between the two, it partially covers both the pulse graphics and the numbers, which can be vital, i.e. life threatening—information of use to the viewer. Continue reading

Ghost trap

Once ghosts are bound by the streams from the Proton Packs, they can be trapped by a special trap. It has two parts: The trap itself, that is roughly the size of a toaster, and the foot pedal activation switch, which connects to the trap box by a long black cord.

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To open the trap, a ghostbuster simple steps on the foot pedal. For a second the trap sparks with some unknown energy, and opens to reveal a supernatural light within. Once open, the bound ghost can be manipulated down towards the trap.

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Reckless undocking

After logging in to her station, Ibanez shares a bit of flirty dialog with mushroom-quaffed Zander Barcalow, and Captain Deladier says, “All right, Ibanez. Take her out.” Ibanez grasps the yoke, pulls back, and the ship begins to pull back from the docking station while still attached by two massive cables. Daladier and Barcalow keep silent but watch as the cables grow dangerously taut. At the last minute Ibanez flips a toggle switch on her panel from 0 to 1 and the cables release.

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There’s a lot of wrong in just this sequence. I mean, I get narratively what’s happening here: Check her out, she’s a badass maverick (we’re meant to think). But, come on…

  1. Where is the wisdom of letting a Pilot Trainee take the helm on her first time ever aboard a vessel? OK. Sorry. This is an interface blog. Ignore that one.
  2. The 1 and 0 symbols are International Electrotechnical Commission 60417 standards for on and off, respectively. How is the cable’s detachment caused by something turning on? If it was magnetic, shouldn’t you turn the magnetism off to release the cables?
  3. Why use the symbols for ON and OFF for an infrequent, specific task? Shouldn’t this be reserved for a kill switch or power to the station or something major? Or shouldn’t it bear a label reading “Power Cable Magnets” or something to make it more intelligible?
  4. Why is there no safety mechanism for this switch? A cover? A two-person rule? A timed activation? It’s fairly consequential. The countersink doesn’t feel like it’s enough.
  5. Where is the warning klaxon to alert everyone to this potentially disastrous situation?
  6. Why isn’t she dishonorably discharged the moment she started to maneuver the ship while it was still attached to the dock? Oh, shit. Sorry. Interfaces. Right. Interfaces.

Rhod’s rod

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One of the most delightfully flamboyant characters in sci-fi is the radio star in The Fifth Element, Ruby Rhod. He wears a headpiece to hear his producers as well as to record his own voice. But to capture the voices of others, he has a technological staff that he carries.

Function

The handle of the device has a microphone built into it. Because of the length of the staff, his reach to potential interviewees is extended. The literal in-your-face nature of the microphone matches Ruby’s in-your-face show.

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To let interviewees know when they’re being recorded, a red light in the handle illuminates. This also lets others nearby know that the interviewee is “on air” and not to interrupt.

Ruby also has a single switch on the handle. It’s a small silver toggle. It’s likely that he can set this switch to function as he likes. The one time we see it in action, he has set it to play back an “audio cut,” (the sound clips morning radio talk show hosts insert into their programs) in this case an intimate recording of the Princess of Kodar Japhet. He flips the toggle to play the cut, and flips it back when it’s done.

Here, a different input would have worked better. The toggle switch is too easy to bump and kind of ruins the design of the handle. Better would be a billet button. This sort of momentary button sits flush with a bezel, which prevents accidental activation from, say, a finger laying across it, or resting the button against a flat surface. If Ruby wants the recorded sound to play out completely, and the button press only starts or stops the playback, it would be good to know the state of the playback, and using a billet button with a LED ring would be best.

We also know that Ruby is a performer. He would be happier if he had more than a play button, but a way to express himself. His hand is already in a grip to hold the staff, so the control should fit that—If you could outfit the billet button with directional pressure sensitivity, he could assign each direction to a control. So, for instance, while he was pressing the button, the audio would play, and the harder he pressed up, the volume for each echo would increase. Or pressing down could lower the sample in tone, etc. This would allow him to not just play the audio cut, but perform it.

Fashion

To work as a device that the character would want to carry, it has to match his sense of style. I mean this first in a general sense, and the device does that, with its handle of ornately carved silver. Ruby’s necklaces, bracelets, and rings are all silver, and they work together. The staff also works in his hand like a drum major’s baton, augmenting his larger-than-life presence with an attention-commanding object.

It has to fit his daily fashion as well, and the staff does that, too. The shaft can change appearance. I don’t know if it’s an e-ink-type surface, replaceable staves, or fabric sleeves that change out, but when Ruby’s in leopard print, the staff is in leopard print, too. When Ruby’s decked out in rose-adorned tuxedo black, the staff matches.

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Though this is more a portable than a wearable technology, the fact that it can change to match the personal style of the wearer makes it not only functional, but since it fits his persona, desirable as well.