Barbarella’s onboard conversational computer is named Alphy. He speaks with a polite male voice with a British accent and a slight lisp. The voice seems to be omnidirectional, but confined to the cockpit of the space rocket.
Alphy’s primary duties are threefold. First, to obey Barbarella’s commands, such as waking her up before their approach to Tau Ceti. Second, autopilot navigation. Third, to report statuses, such as describing the chances of safe landing or the atmospheric analysis that assures Barbarella she will be able to breathe.
Whenever Alphy is speaking, a display panel at the back of the cockpit moves. The panel stretches from the floor to the ceiling and is about a meter wide. The front of the panel consists of a large array of small rectangular sheets of metal, each of which is attached on one side to one of the horizontal bars that stretch across the panel. As Alphy talks, individual rectangles lift and fall in a stochastic pattern, adding a small metallic clacking to the voice output. A flat yellow light fills the space behind the panel, and the randomly rising and falling rectangles reveal it in mesmerizing patterns.
The light behind Alphy’s panel can change. As Barbarella is voicing her grave concerns to Dianthus, Alphy turns red. He also flashes red and green during the magnetic disturbances that crash her ship on Tau Ceti. We also see him turn a number of colors after the crash on Tau Ceti, indicating the damage that has been done to him.
In the case of the conversation with Dianthus, there is no real alert state to speak of, so it is conceivable that these colors act something like a mood ring, reflecting Barbarella’s affective state.
Like many language-capable sci-fi computer systems of the era, Alphy speaks in a stilted fashion. He is given to “computery” turns of phrases, brusque imperatives, and odd, unsocialized responses. For example, when Barbarella wishes Alphy a good night before she goes to sleep, he replies, “Confirmed.”
Barbarella even speaks this way when addressing Alphy sometimes, such as when they risk crashing into Tau Ceti and she must activate the terrascrew and travel underground. As she is piloting manually, she says things like, “Full operational power on all subterranean systems,” “45 degree ascent,” and “Quarter to half for surfacing.”
Nonetheless, Alphy understands Barbarella completely whenever she speaks to him, so the stilted language seems very much like a convention than a limitation.
Despite his lack of linguistic sophistication, he shows a surprising bit of audio anthropomorphism. When suffering through the magnetic disturbances, his voice gets distressed. Alphy’s tone also gets audibly stressed when he reveals that the Catchman has performed repairs “in reverse,” in each case underscoring the seriousness of the situation. When the space rocket crashes on Tau Ceti, Alphy asks groggily, “Where are we?” We know this is only affectation because within a few seconds, he is back up to full functioning, reporting happily that they have landed, “Planet 16 in the system Tau Ceti. Air density oh-point-oh-51. Cool weather with the possibility of stormy precipitations.” Alphy does not otherwise exhibit emotion. He doesn’t speak of his emotions or use emotional language. This convention, too, is to match Barbarella’s mood and make make her more comfortable.
Alphy’s sensors seem to be for time, communication technology, self-diagnostics, and for analyzing the immediate environment around the ship. He has actuators to speak, change his display, supply nutrition to Barbarella, and focus power to different systems around the ship, including the emergency systems. He can detect problems, such as the “magnetic disturbance”, and can respond, but has no authority to initiate action. He can only obey Barbarella, as we hear in the following exchange.
Barbarella: What’s happening?
Alphy: Magnetic disturbances.
Barbarella: Magnetic disturbances?…Emergency systems!
Alphy: All emergency systems will now operate.
His real function?
All told, Alphy is very limited in what he can do. His primary functions are reading aloud data that could be dials on a dashboard and flipping switches so Barbarella won’t have to take her hands off of…well, switches…in emergency situations. The bits of anthropomorphic cues he provides to her through the display and language confirm that his primary goal is social, to make Barbarella’s adventurous trips through space not feel so lonely.
The stage managers’ main raison d’être is to course-correct if and when victims begin to deviate from the path required of the ritual.
This begins with the Prep team, long before the victims enter the stage. For example, Jules’ hair dye and Marty’s laced pot. These corrections become more necessary and intense once the victims go on stage.
Making sure there are sexy times
The ritual requires that a sexy young couple have sexy times on stage before they suffer and die. “The mood” can be ruined by many things, but control has mechanisms to cope with most of them. We see three in the movie.
The temperature can’t be too hot or too cold, but this isn’t something that can be set and forgot. What counts as the right temperature is a subjective call for the people involved and their circumstances, such as being drunk, or amount and type of clothes worn. Fortunately, the video-audio panopticon lets the stage managers know when a victim speaks about this directly, and do something about it. The moment Jules complains, for instance, Sitterson is able to reach over to a touch-screen display and tap the temperature a few degrees warmer.
Sitterson heats things up.
The gauge is an interesting study. It implies a range possible between 48 and 92 degrees Fahrenheit, each of which is uncomfortable enough to encourage different behaviors in the victims, without the temperature itself being life-threatening.
Moreover, we see that it’s a “blind” control. Before Sitterson taps it, he is only shown the current temperature as a blue rectangle that fills up four bars and that it is exactly 64 degrees. But if he knew he wanted it to be 76 degrees, what, other than experience or training, tells him where he should touch to get to that desired new temperature? Though the gauge provides immediate feedback, it still places a burden on his long-term memory. And for novice users, such unlabeled controls require a trial-and-error method that isn’t ideal. Even the slim area of white coloring at the top, which helpfully indicates temperatures warmer than cooler, appears too late to be useful.
Better would be to have the color alongside or under the gauge with smaller numbers indicated along its length such that Sitterson could identify and target the right temperature on the first try.
The next thing that can risk the mood is a lack of a victim’s amorous feelings. Should someone not be “feeling it,” Control can pipe sex pheromones to areas on stage. We see Hadley doing this by operating a throttle lever on the electronic-era control panel. After Hadley raises this lever, we see small plumes of mist erupt from the mossy forest floor that Jules and Curt are walking across.
Hadley introduces pheromones to the forest air.
This control, too, is questionable. Let’s first presume it’s not a direct control, like a light switch, but more of a set-point control, like a thermostat. Similar to the temperature gauge above, this control misses some vital information for Hadley to know where to set the lever to have the desired amount of pheromone in the air, like a parts-per-million labeling along the side. Perhaps this readout occurs on a 7-segment readout nearby or a digital reading on some other screen, but we don’t see it.
There is also no indication about how Hadley has specified the location for the pheromone release. It’s unlikely that he’s releasing this everywhere on stage, lest this become a different sort of ritual altogether. There must be some way for him to indicate where, but we don’t see it in use. Perhaps it is one of the lit square buttons to his right.
An interesting question is why the temperature gauge and pheromone controls, which are similar set-point systems, use not just different mechanisms, but mechanisms from different eras. Certainly such differentiation would help the stage managers’ avoid mistaking one for the other, and inadvertently turn a cold room into an orgy, so perhaps it is a deliberate attempt to avoid this kind of mistake.
The final variable that stands in the way of Jules’ receptiveness (the authors here must acknowledge their own discomfort in having to write about this mechanistic rape in our standard detached and observational tone) is the level of light. After she complains that it is too dark, Hadley turns a simple potentiometer and the “moonlight” on a soft bed of moss behind them grows brighter.
Control responds to Jules’ objection to the darkness.
This, too, is a different control than the others; though it controls what is essentially a floating-point variable. But since it is more of a direct control than the other two, its design as a hard-stop dial makes sense, and keeps it nicely differentiated from the others.
Marty’s Subliminal Messages
Over the course of the movie, several times we hear subliminal messages spoken to directly control Marty. We never see the inputs used by Control, but they do, at least on one occasion, actually influence him, and is one of the ways the victims are nudged into place.
Marty breaks the fourth wall
In addition to Dana & Curt’s almost not getting it on, another control-room panic moment comes when Marty accidentally breaks a lamp and finds one of the tiny spy cameras embedded throughout the cabin. Knowing that this level of awareness or suspicion could seriously jeopardize the scenario, Hadley bolts to a microphone where he says, “Chem department, I need 500 ccs of Thorazine pumped into room 3!”
Marty finds a spy camera
Hadley speaks a command to the Chem department
Careful observers will note while watching the scene that a menu appears on a screen behind him as he’s stating this. The menu lists the following four drugs.
Cortisol (a stress hormone)
Pheromones (a category of hormonal social signals, most likely sex pheromones)
Thorazine (interestingly, an antipsychotic known to cause drowsiness and agitation)
Rhohyptase (aka Rhohypnol, the date rape drug)
Given that content, the timing of the menu is curious. It appears, overlaid on the victim monitoring screen, the moment that Hadley says “500.” (Before he can even specify “Thorazine.”) How does it appear so quickly? Either there’s a team in the Chem department also monitoring the scene, and who had already been building a best-guess menu for what Hadley might want in the situation and they just happened to push it to Hadley’s screen at that moment; Or there’s an algorithmic voice- and goal-awareness system that can respond quickly to the phrase “500 ccs” and provide the top four most likely options. That last one is unlikely, since…
We don’t see evidence of it anywhere else in the movie
Hadley addresses the Chem department explicitly
We’d expect him to have his eyes on the display, ready to make a selection on its touch surface, if this was something that happened routinely
But, if we were designing the system today with integrated voice recognition capabilities, it’s what we’d do.
Curt suggests they stick together
After the attack begins on the cabin itself, Curt wisely tells the others, “Look, we’ve got to lock this place down…We’ll go room by room, barricade every window and every door. We’ve got to play it safe. No matter what happens, we have to stay together.” Turns out this is a little too wise for Hadley’s tastes. Sitterson presses two yellow, back-lit buttons on his control panel to open vents in the hallway, that emit a mist. As Curt passes by the vents and inhales, he pauses, turns to the others and says, “This isn’t right…This isn’t right, we should split up. We can cover more ground that way.”
Sitterson knocks some sense out of Curt.
This two-button control seems to indicate drug (single dose) and location, which is sensible. But if you are asking users to select from different variables, it’s a better idea to differentiate them by clustering and color, to avoid mistakes and enable faster targeting.
Locking the doors
Once the victims are in their rooms, Hadley acknowledges it’s time to, “Lock ‘em in.” Sitterson flips a safety cover and presses a back-lit rocker switch, which emits a short beep and bolts the doors to all the victims’ rooms at the same time.
Sitterson bolts the victims’ doors.
Marty in particular notices the loud “clunk” as the bolts slide into place. He tests the door and is confounded when he finds it is, in fact, locked tight. Control’s earlier concern about tipping their hand seems to matter less and less, since this is a pretty obvious manipulation.
The edge of the world
Bolted doors pale in comparison to the moment when Curt, Dana, and Holden violently encounter the limits of the stage. After the demolition team seals the tunnel to prevent escape that way, Curt tries to jump the ravine to the other side so he can fetch help. Unfortunately for him, the ravine is actually an electrified display screen, showing a trompe-l’œil illusion of the far side. By trying to jump the ravine, Curt unwittingly commits suicide by slamming into it.
Curt slams into the edges of the “world” of the cabin.
The effect of the screen is spectacular, full of arcs zipping along hexagonal lines and sparks flying everywhere. Dana and Holden rush to the edge of the cliff to watch him tumble down its vast, concave surface. It seems that if you’ve come this far, Control isn’t as concerned about tipping its hand as it is finishing the job.