In addition to the portable brainwave detector, Dianthus also provides Barbarella with a number of weapons from the Museum of Conflict for her mission. All of these weapons are powered by a single energy box.
We only see it in use after she fires a single shot from the smallest of the weapons. She tries a second shot, but when it doesn’t work, she glances at a device on the cuff of her boot. The device is designed in a taijitu, a yin-yang set of lights: one red, one white. They are blinking in an alternating pattern, and after viewing it she tells Pygar, “My energy box is completely dead.”
Though having a visual signal is quite useful to understand the state of an invisible resource like power, the signal would be much more useful if it showed the amount of energy remaining, and gave warnings before the power was completely out. Failing all that, it would be more useful if she just put the device on the glove of her shooting hand so it was in her field of view at all times.
And though Barbarella’s culture doesn’t understand war, even a peaceful person can quickly come to realize the risk in making your available resources—like power for your weapons—wholly visible to your enemies.
On the side of the valley in which the first complex is found, there is a giant skull carved into the overlooking crag. It’s easy—given the other transgressions in the film—to dismiss this as spookhouse attempt at being scary. But what if (stay with me here) it’s a warning sign, an alien Mr. Yuk, put there for other sentient humanoids to understand that this place is deadly with a capital D? This explains why the outpost hasn’t been disturbed by rescuers of their own race. They were smart enough to see the warning and turn right back around. (Why they didn’t nuke it from orbit is another question.)
Seeing this as a warning label raises other questions. Why wouldn’t a warning be technological or linguistic, like most of the interfaces inside the complex? The black infection material is still deadly after 2000 years. Who knows how much longer it will be viable? So where the interfaces inside are for immediate use, the warning outside needs to be effective for millennia, outlasting both the power reserves that would drive technology and the persistent semantics that would cement linguistic understanding. Rock, in contrast, lasts a very, very long time. Even during the erosion the shape and its clear meaning will simply lose clarity, not wink out altogether.
Similarly, this shape is a clear symbol of death that is tied to biology, which changes on evolutionary timeframes, guaranteeing its readability for—hopefully—longer than the xenomorph liquid would be a danger.
For these reasons, this is labeling that is more than a Castle Grayskull set dressing attempt at scaaaarrrry, but a reasonable choice at providing an effective warning that will last as long as the danger. You know, providing visiting scientists actually pay attention to such things.
There are a great many interfaces seen on the bridge of the Prometheus, and like most flight instrument panels in sci-fi, they are largely about storytelling and less about use.
The captain of the Prometheus is also a pilot, and has a captain’s chair with a heads-up display. This HUD has with real-time wireframe displays of the spaceship in plan view, presumably for glanceable damage feedback.
He also can stand afore at a waist-high panel that overlooks the ship’s view ports. This panel has a main screen in the center, grouped arrays of backlit keys to either side, a few blinking components, and an array of red and blue lit buttons above. We only see Captain Janek touch this panel once, and do not see the effects.
Navigator Chance’s instrument panel below consists of four 4:3 displays with inscrutable moving graphs and charts, one very wide display showing a topographic scan of terrain, one dim panel, two backlit reticles, and a handful of lit switches and buttons. Yellow lines surround most dials and group clusters of controls. When Chance “switches to manual”, he flips the lit switches from right to left (nicely accomplishable with a single wave of the hand) and the switches lights light up to confirm the change of state. This state would also be visible from a distance, useful for all crew within line of sight. Presumably, this is a dangerous state for the ship to be in, though, so some greater emphasis might be warranted: either a blinking warning, or a audio feedback, or possibly both.
Captain Janek has a joystick control for manual landing control. It has a line of light at the top rear-facing part, but its purpose is not apparent. The degree of differentiation in the controls is great, and they seem to be clustered well.
A few contextless flight screens are shown. One for the scientist known only as Ford features 3D charts, views of spinning spaceships, and other inscrutable graphs, all of which are moving.
A contextless view shows the points of metal detected overlaid on a live view from the ship.
There is a weather screen as well that shows air density. Nearby there’s a push control, which Chance presses and keeps held down when he says, “Boss, we’ve got an incoming storm front. Silica and lots of static. This is not good.” Thought we never see the control, it’s curious how such a thing could work. Would it be an entire-ship intercom, or did Chance somehow specify Janek as a recipient with a single button?
Later we see Chance press a single button that illuminates red, after which the screens nearby change to read “COLLISION IMMINENT,” and an all-ship prerecorded announcement begins to repeat its evacuation countdown.
This is single button is perhaps the most egregious of the flight controls. As Janek says to Shaw late in the film, “This is not a warship.” If that’s the case, why would Chance have a single control that automatically knows to turn all screens red with the Big Label and provide a countdown? And why should the crew ever have to turn this switch on? Isn’t a collision one of the most serious things that could happen to the ship? Shouldn’t it be hard to, you know, turn off?
As David is walking through a ship’s hallway, a great clanging sounds from deep in the ship, as the colored lights high in the walls change suddenly from a purple to a flashing red, and a slight but urgent beeping begins. He glances at a billiards table in an adjacent room, sees the balls and cue sliding, and understands that it wasn’t just him: gravity has definitely changed.
There are questions about what’s going on with the ship that the gravity changed so fast, but our interest must be in the interfaces.
Why did David not expect this? If they’re heading to a planet and the route is known, David should know well in advance. The ship should have told him, especially if the event is going to be one that could potentially topple him. Presuming the ship has sensors to monitor all of this, it should not have come as a surprise.
The warning itself seems mostly well designed, using multiple modes of signal and clear warning signs:
Change in color from a soft to intense color (They even look like eyes squinting and concentrating in the thumbnails.)
A shift to red, commonly used for warning or crisis
Blinking red is a hugely attention-getting visual signal
Beeping is a auditory signal that is also a common warning signal, and hard to ignore
After David sees these signals, he walks to wall panel and presses a few offscreen buttons which beep back at him and silence the beeping, replacing it with overhead pulses of light that race up and down the hallway. Over the sound system a male voice announces “Attention. Destination threshold.”
Why should David have to go find out what the crisis is at the wall interface? If he had been unable to get to the wall interface, how would he know what happened? Or if it required split-second action, why require of him to waste his time getting there and pressing buttons? In a crisis, the system should let you know what the crisis is quickly and intrusively if it’s a dire crisis in need of remedy. The audio announcement should have happened automatically.
The overhead lights are almost a nice replacement for beeping. It still says, “alert” without the grating annoyance that audio can sometimes be. (There’s still a soft “click” with each shifting light, just not as bad.) But if he’s able to silence the audio at this wall panel, why wasn’t he able to silence the race lights as well? And why do they “race” up and down the hallway rather than just blink? The racing provides an inappropriate sense of motion. Given that this signal is for when the crew is in an unusual and potentially dangerous situation, it would be better to avoid the unhelpful motion cue by simply blinking, or to use the sense of direction they provide to signal to David where he ought to be. A simple option would be to have the hallway lights race continuously in the direction of the bridge, leading the crew to where they would be most effective. Even better is if the ship has locational awareness of individual crew members, then you can cut all overhead illumination by 20% and pulse a light a few feet away in the desired direction between 80 and 100 percent, while darkening the hallway in the opposite direction. Then, as David walks towards the blinking light, the ship can lead him, even around corners, to get him where he needs to be. In a real crisis, this would be an easy and intuitive way to lead people where they’re need to be. It would of course need simple overrides in case the crew knew something about the situation that the ship did not.
After walking through the racing-light hallways, he turns just past the door and into the bridge, where we can see the legend “DESTINATION THRESHOLD” across the pilots HUD. He turns on a light, licks a finger, and presses another button to activate all of the interfaces on the bridge. He walks to the pilot’s panel, presses a button to open the forward viewscreen, observing LV223 with wide-eyed wonder.
This entire sequence seems strange from an interface perspective. We’re going to presume that licking his fingers was just a character tic and not required by the system. But in addition to the fact, raised above, that David seems somewhat surprised by it all, that he should have to open doors and manually turn on lights and interfaces during a crisis seems pointless. It’s either not a crisis and these signals should diminish, or it is a crisis and more of this technology should be automated.
Dr. Morbius creates Robbie after having his intellectual capacity doubled by the Krell machines. The robot is a man-sized, highly capable domestic servant receiving orders aurally, and responding as needed with a synthesized voice of his own.
Robbie exits the cockpit of his vehicle.
Robbie invites the men inside.
Robbie first appears steering a special vehicle to pick up the officers. It is specially built for him, accommodating his inability to sit down. From this position, he can wirelessly maneuver the vehicle, and even turn his head around to address passengers.
Robbie fires Adams’ sidearm.
Despite his having only two wide, flat fingers on each hand, he is able to grasp and manipulate objects as a human would. To demonstrate this, Morbius has him aim and fire Commander Adams’ weapon at a nearby tree. How he pulled the trigger is something of an unanswered question since his hands are hidden from view as he fires, but he does so all the same. This makes him quite useful as an interface, since he is able to use any of the devices already in the environment. Additionally, should he become unavailable, humans can carry on in his absence.
Alta thanks Robbie for offering to make her a new dress.
Given that he must interact with humans, who have social needs, his stature helps ingratiate him. In one scene Alta wishes to express her gratitude for his promise of a new dress, and she gives him a hug. Though he does not hug back, she still smiles through and after the expression. Had he been less anthropometric, she would have had to express her thanks in some other way that was less pleasant to her.
Robbie warms the coffee for Alta and Farman.
In addition to being physically suited for human interaction, he is quite socially aware and able to anticipate basic human needs. In one scene, as Lt. Farman walks with Alta towards a cold pot of coffee, without having been asked, Robbie reaches down to press a button that warms the coffee by the time the two of them arrive. He also knows to leave immediately afterwards to give the two some privacy.
Despite these human-like qualities, some of his inhuman qualities make him useful, too. He is shown to be incredibly strong. He is tireless. He can synthesize any material he tastes.
With eyes behind his head, Robbie shoos a pesky monkey.
He even has eyes in the back of his head, or a 360-degree field of vision for surveillance of his surroundings. In one charming scene he combines this observation with small nonlethal lasers to shoo away a pesky monkey trying to steal fruit behind his back.
Morbius shows Robbie’s “sub-electronic dilemma” when asked to harm a human.
Addressing safety concerns, Robbie is built to obey Asimov’s first law of robotics. After having his creator instruct him to point a weapon at Adams, and aim right between the eyes and fire, Robbie’s servos begin to click and whir noisily. His dome glows a pinkish-red as blue sparks leap across it. Morbius explains, “He’s helpless. Locked in a sub-electronic dilemma between my direct orders and his basic inhibitions against harming rational beings.” When the command is canceled, the sparks stop immediately and the red fades over a few seconds.
This failsafe seems quite serious, as Dr. Morbius explains that if he were to allow the state to continue, that Robbie would blow every circuit in his body. Since the fault of such a state is with the one issuing the command and not Robbie, it seems a strange design. It would be like having your email server shut down because someone is trying to send an email infected with a virus. It would make much more sense for Robbie to simply disregard the instruction and politely explain why.
Maria’s heroism in saving the children of the Lower City from flooding is aided by what may be only positive depiction of a technology in the film.
Maria summons the children with the gong in the town square.
To summon the children so that she can direct them to safety, she climbs a structure in the center of the town square. There she struggles with a very difficult-to-budge lever, but when she finally does so, it sets a loud gong to ringing. In keeping with the film’s theme, this brings people together so they can be saved.