Containment unit

With a ghost ensconced in a trap, the next step in ghostbusting is to transfer the trap to a containment unit.  Let’s look at the interaction.

The containment unit is a large device built into a wall of the old firehouse that serves as the Ghostbusters headquarters. It’s painted a fire-truck red and has two colored bulbs above it. As they approach, the green bulb is lit. It’s got a number of buttons, levers, and cables extending into it. Fortunately for purposes of discussion, Stantz has to explain it to their new employee WInston Zeddmore, and I can just quote him.

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“This is where we store all the vapors, entities, and slimers that we trap. Very simple, really. Loaded trap here. Unlock the system…” He grabs the red door lever and cranks it counterclockwise 90 degrees and lowers the door to reveal a slot for the trap.

“Insert the trap,” he continues, and a sucking sound is heard and the green lightbulb goes off and the red lightbulb turns on. 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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Proton Pack

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The Ghostbusters wear “unlicensed particle accelerators” to shoot a stream of energy from an attached gun. Usefully, this positively-charged stream of energy can bind ghosts. The Pack is the size of a large camper’s backpack and is worn like one. The Proton pack must be turned on and warmed up before use. Its switch, oddly, is on the back, where the user cannot get to it themselves.

Proton-Pack-03 Continue reading

Ectogoggles

Regular readers will have noticed that Starship Troopers is on a bit of pause of late, and the reason is that I am managing a bizarrely busy stint of presentations related to the scifiinterfaces project. Also it’s Halloweek and I want to do more spooky stuff. Last week I wondered e-loud if Gozer from Ghostbusters was a pink Sith, but this post is actually talking about a bit of the interfaces from the movie.

When the Ghostbusters are called to the Sedgewick Hotel, they track a ghost called Slimer from his usual haunt on the 12th floor to a ballroom. There Ray dons a pair of asymmetrical goggles that show him information about the “psycho-kinetic energy (PKE) valences” in the area. (The Ghostbusters wiki—and of course there is such a thing—identifies these alternately as paragoggles or ectogoggles.) He uses the goggles to peek from behind a curtain to look for Slimer.

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Far be it for this humble blog to try and reverse-engineer what PKE valences actually are, but let’s presume it generally means ghosts and ghost related activity. Here’s an animated gif of the display for your ghostspotting pleasure.

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As he scans the room, we see a shot from his perspective. Five outputs augment the ordinary view the googles offer.

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Rescue Shuttle

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After the ambush on Planet P, Ibanez pilots the shuttle that rescues survivors and…and Diz. We have a shot of the display that appears on the dashboard between the pilot and copilot. Tiny blue columns of text too small to read that spill onto the left. One big column of tiny green text that wipes on and flashes. Seizure-inducing yellow dots spazzing around on red grids. A blue circle on the right is probably Planet P or a radar, but the graphic…spinning about its center so quick you cannot follow. There’s not…I can’t…how is this supposed to…I’m just going to call it: fuigetry.

Federation Binoculars

When conducting reconnaissance on the bug home Planet P, Rico pauses to scan the nearby mountain crest with a pair of Federation binoculars. They feature two differently-sized objective lenses.

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We get a POV for him and get to see the overlay. It includes a range-finding reticle and two 7-segment readouts in the lower corners. It looks nifty, but it’s missing some important things. Continue reading

Healing chamber

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After Johnny was mistakenly reported as killed, the next time we see him he is in a healing chamber, submerged in green-underlit translucent fluid, resting on form-fitting clear plastic supports. He breathes through a tube, and a pair of small robot arms work busily to regenerate the damaged tissue in his leg.

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The main reason to discuss this chamber on a blog about interfaces is the material choice of the outside of the chamber. By being surrounded completely in a transparent material (glass? plexiglass? transparent aluminum?), it means that physicians can keep an eye on progress, and he can have visual interactions with visitors, as we see when Dizzy and Ace visit to share with him his mistaken death certificate (and for Dizzy to leave him a kiss.) Additionally it gives Johnny something to look at during the long hours of recuperation.

I’m not sure why the green light is necessary. The scene implies that it could serve some part in the healing process, but if not, I wonder if an amber light might signal a more human, nurturing warmth to Johnny and visitors. Narratively, you’d want to avoid anything too yellow or run the risk of the audience’s first interpretations drifting too far to the Andres-Serrano-esque.

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