DuoMento, improved

Forgive me, as I am but a humble interaction designer (i.e., neither a professional visual designer nor video editor) but here’s my shot at a redesigned DuoMento, taking into account everything I’d noted in the review.

  • There’s only one click for Carl to initiate this test.
  • To decrease the risk of a false positive, this interface draws from a large category of concrete, visual and visceral concepts to be sent telepathically, and displays them visually.
  • It contrasts Carl’s brainwave frequencies (smooth and controlled) with Johnny’s (spiky and chaotic).
  • It reads both the brain of the sender and the receiver for some crude images from their visual cortex. (It would be better at this stage to have the actors wear some glowing attachment near a crown to show how this information was being read.)

DuoMento_improved

These changes are the sort that even in passing would help tell a more convincing narrative by being more believable, and even illustrating how not-psychic Johnny really is.

DuoMento

Carl, a young psychic, has an application at home to practice and hone his mental powers. It’s not named in the film, so I’m going to call it DuoMento. We see DuoMento in use when Carl uses it to try and help Johnny find if he has any latent psyhic talent. (Spoiler alert: It doesn’t work.)

StarshipT_035

Setup

DuoMento challenges its users with blind matching tests. For it, the "thought projector" (Carl) sits in a chair at a desk with a keyboard and a desktop monitor before him. The "thought receiver" (Johnny) sits in a chair facing the thought projector, unable to see either the desktop monitor or the large, wall-mounted screen behind him, which duplicates the image from the desktop monitor. To the receiver’s right hand is a small elevated panel of around 20 white push buttons.

StarshipT_036StarshipT_037

Blind matching

For the test, two Hoyle playing cards appear on the screen side-by-side, face down. Carl presses a key on his keyboard, and one card flips over to reveal its face. Carl concentrates on the face-up card, attempting to project the identity of the card to Johnny. Johnny tries his best to receive the thought. It’s intense.

intense_520

When Johnny feels he has an answer, he says, "I see…Ace of Spades," and reaches forward and presses a button on the elevated panel. In response, the hidden card flips over as the ace of spades. An overlay appears on top of the two cards indicating if it was a match. Lacking any psychic abilities, Johnny gets a big label reading "NO MATCH," accompanied by a buzzer sound. Carl resets it to a new card with three clicks on his keyboard.

StarshipT_033

Not very efficient

Why does it take Carl three clicks to reset the cards? You’d think on such a routine task it would be as simple as pressing [space bar]. Maybe you want to prevent accidental activation, but still that’s a key with a modifer, like shift+[space bar]. Best would be if Carl was also a telekinetic. Then he could just mentally push a switch and get some of that practice in. If that switch offered variable resistance it could increase with each…but I digress since he’s just a telepath.

A semi-questionable display

I get why there’s a side-by-side pair of cards. People are much better at these sorts of comparison tasks when objects are side-by-side. But ultimately, it conveys the wrong thing. Having a face down card that flips over implies that that face-down card is the one that Johnny’s trying to guess. But it’s not. The one that’s already turned over is the one he’s trying to guess. Better would be a graphic that implies he’s filling in the blank.

better_duomento_520

Better still are two separate screens: One for the projector with a single card displayed, and a second for the receiver with this same graphic prompting him to guess. This would require a little different setup when shooting the scene, with over-the-shoulder shots for each showing the different screen. But audiences are sophisticated enough to get that now. Different screens can show different things.

Mismatched inputs?

At first it seems like Johnny’s input panel is insufficient for the task. After all, there are 52 cards in a standard deck of cards and only 20 buttons. But having a set of 13 keys for the card ranks and 4 for the suit is easy enough, reduces the number of keys, and might even let him answer only the part he’s confident in if the image hasn’t quite come through.

StarshipT_039

Does it help test for "sensitivity"?

Psychic powers are real in the world of Starship Troopers, so we’re going not going to question that. Instead the question at hand will be: Is this the best test for psychic sensitivity?

Visual cheating

I do wonder that having a lit screen gives the receiver a reflection in the projector’s eyes to detect, even if unconsciously. An eagle-eyed receiver might be able to spot a color, or the difference between a face card and a number card. Better would be some way for the projector to cover his eyes while reading the subject, and dim that screen afterward.

The risk of false positives

More importantly, such a test would want to eliminate the chance that the receiver guessed correctly by chance. The more constrained and familiar the range of options, the more likely they are to get a false positive, which wouldn’t help anything except confidence, and even that would be false. I get that when designing skills-building interfaces, you want to start easy and get progressively more challenging. But it makes more sense to constrain the concepts being projected to things that are more concrete and progress to greater abstraction or more nuance. Start with "fire," perhaps, and advance to "flicker" or "warmth." For such thoughts, a video cue of a word randomly selected from that pool of concepts would make the most sense. And for cinematic directness (Starship Troopers was nothing if not direct) you should overlay the word onto the video cue as well.

fireloop1

Better input

The next design challenge then becomes how does the receiver provide to the system what, if anything, they’re receiving. Since the concepts would be open-ended, you need a language-input mechanism: ANSI keyboard for typing, or voice recognition.

Additionally, I’d add a brain-reading interface that was able to read his brain as he was attempting to receive. Then it could detect for the right state of mind, e.g. an alpha state, as well as areas of the brain that are being activated. Cinematically you could show a brain map, indicating the brain state in a range, the areas of the brain being activated. Having the map on hand for Johnny would let him know to relax and get into a receptive state. If Carl had the same map he could help prompt him.

In a movie you’d probably also want a crude image feed being "read" from Johnny’s thoughts. It might charmingly be some dumb, non-fire things, like scenes from his last jump ball game, Carmen’s face and cleavage, and to Carl’s shame, a recollection of the public humilation suffered recently at his hand.

But if this interface (and telepathy) was real, you wouldn’t want to show that to Johnny, as it might cause distracting feedback loops, and you wouldn’t want to show it to Carl less he betray when Johnny is getting close, and encourage Johnny’s zeroing in on the concept through subtle social cues instead of the desired psychic ones. Since it’s not real, let’s comp it up next more cinematically.

The bug VP

StarshipT_030

In biology class, the (unnamed) professor points her walking stick (she’s blind) at a volumetric projector. The tip flashes for a second, and a volumetric display comes to life. It illustrates for the class what one of the bugs looks like. The projection device is a cylinder with a large lens atop a rolling base. A large black plug connects it to the wall.

The display of the arachnid appears floating in midair, a highly saturated screen-green wireframe that spins. It has very slight projection rays at the cylinder and a "waver" of a scan line that slowly rises up the display. When it initially illuminates, the channels are offset and only unify after a second.

STARSHIP_TROOPERS_vdisplay

StarshipT_029

The top and bottom of the projection are ringed with tick lines, and several tick lines runs vertically along the height of the bug for scale. A large, lavender label at the bottom identifies this as an ARACHNID WARRIOR CLASS. There is another lavendar key too small for us to read.The arachnid in the display is still, though the display slowly rotates around its y-axis clockwise from above. The instructor uses this as a backdrop for discussing arachnid evolution and "virtues."

After the display continues for 14 seconds, it shuts down automatically.

STARSHIP_TROOPERS_vdisplay2

Interaction

It’s nice that it can be activated with her walking stick, an item we can presume isn’t common, since she’s the only apparently blind character in the movie. It’s essentially gestural, though what a blind user needs with a flash for feedback is questionable. Maybe that signal is somehow for the students? What happens for sighted teachers? Do they need a walking stick? Or would a hand do? What’s the point of the flash then?

That it ends automatically seems pointlessly limited. Why wouldn’t it continue to spin until it’s dismissed? Maybe the way she activated it indicated it should only play for a short while, but it didn’t seem like that precise a gesture.

Of course it’s only one example of interaction, but there are so many other questions to answer. Are there different models that can be displayed? How would she select a different one? How would she zoom in and out? Can it display aimations? How would she control playback? There are quite a lot of unaddressed details for an imaginative designer to ponder.

Display

The display itself is more questionable.

Scale is tough to tell on it. How big is that thing? Students would have seen video of it for years, so maybe it’s not such an issue. But a human for scale in the display would have been more immediately recognizable. Or better yet, no scale: Show the thing at 1:1 in the space so its scale is immediately apparent to all the students. And more appropriately, terrifying.

And why the green wireframe? The bugs don’t look like that. If it was showing some important detail, like carapice density, maybe, but this looks pretty even. How about some realistic color instead? Do they think it would scare kids? (More than the “gee-whiz!” girl already is?)

And lastly there’s the title. Yes, having it rotate accomodates viewers in 360 degrees, but it only reads right for half the time. Copy it, flip it 180º on the y-axis, and stack it, and you’ve got the most important textual information readable at most any time from the display.

Better of course is more personal interaction, individual displays or augmented reality where a student can turn it to examine the arachnid themselves, control the zoom, or follow up on more information. (Wnat to know more?) But the school budget in the world of Starship Troopers was undoubtedly stripped to increase military budget (what a crappy world that would be amirite?), and this single mass display might be more cost effective.

Grade Board

When students want to know the results of their tests, they do so by a public interface. A large, tiled screen is mounted to a recessed section of wall in a courtyard. The display is divided into a grid of five columns and three rows. Each cell contains one student’s results for one test, as a percentage. One cell displays an ad for military service. Another provides a reminder for the upcoming sports game. Four keyboards are situated below the screens at waist level.

StarshipT_026

To find her score, Carmen approaches one of the keyboards and enters some identifying data. In response, the column above the screen displays her score and moves the data in the other cells up. There is no way to learn of one’s test scores privately. This hits Johnny particularly hard when he checks his scores to find he has earned 35% on his Math Final, a failing grade.

Worse, his friend Carl is able to walk up to the keyboard and with a few key presses, interrupt every other student looking at the grades, and fill the entire screen with Johnny’s score for all to see, with the failing number blinking red and white, ridiculing him before his peers. After a reprimand from Johnny, Carl returns the display to normal with the press of a button.

StarshipT_025

STARSHIP_TROOPERS_grade

Is ANSI the right input?

The keyboard would be a pain to keep clean, and you’d figure that a student ID would be a unique-and-memorable enough token. Does an entire ANSI keyboard need to be there? Wouldn’t a number pad be enough? But why a manual input at all? Nowadays you’d expect some near-field communication, or biometric token, which would obviate the keyboard entirely.

Are publicizing grades OK?

So there are input and interaction improvements to be made, for sure. But there’s more important issues to talk about here. Yes, students can accomplish one task with the interface well enough: Checking grades. But what about the giant, public output?

It’s fullfilling one of the dystopian goals of the fascist society in which the story takes place, which is that might makes right. Carl is a bully (even if Jonny’s friend) and in the culture of Starship Troopers, if he wants to increase Johnny’s public humiliation, why not? Johnny needs to study harder, take it on the chin, or make Carl stop. In this regard, the interface satisfies both the students’ task and the culture’s…um…values.

I originally wanted to counter that with a strong statement that, "But that’s not us." After all, modern federal privacy laws in the United States forbid this public display as a violation of students’ privacy. (See FERPA laws.) But apparently not everyone believes this. A look on debate.org (at the time of writing) shows that opinion is perfectly split on the topic. I could lay out my thoughts on which side is better for learning, but it’s really beyond the scope of this blog to build a case for either side of Lakoff’s Moral Politics.

Screen cap from debate.org

You’re Doing More Than You Think You’re Doing

But it’s worth noting the scope of these issues at hand. This seems at first to be an interface just about checking grades, but when you look at the ecosystem in which it operates, it actually illustrates and reinforce a culture’s core virtues. The interface is sometimes not just the interface. Its designers are more than flowchart monkeys.

Make It Sew

Scifiinterfaces.com is thrilled to announce the completion of…a follow-up book!

embroidered

From the back cover:

Few people realize the indelible mark that crafting in general—and sewing in particular—have made on science fiction as a genre. Building on the success of the original work, Make It Sew: Crafting Lessons from Science Fiction scours the history of popular and obscure science fiction to find and analyze the best patterns from the textile arts.

Make it sew number one

Chapters include

  • The fabric of the Federation
  • Seam Reapers
  • Lilo’s stitch
  • Famous and infamous seamsters: From Picard’s plackets to Darth Quilt
  • Warp & Weft
  • The rise of the RoboBobbins

Sewlo

Early Praise for Make It Sew:

 
I was at my wit’s end when little Timmy asked me to help him with his cosplays, but now thanks to Make it Sew I know I’m using the very cuts and fabrics that changed the face of science fiction.  Timmy couldn’t be happier, and his Leia Slave costume couldn’t fit any better.
Betty Womack
from Lands Ford, Indiana
 
This season its all about futuristic fabrics and forward-thinking colors for your home and wardrobe. From fur-lined Barbarella bedrooms to form-fitting imperial blast armor, Make It Sew is the inspiration behind my brand new sci-fi product line.
 
It’s not Science fiction, it’s Science Fashion, people. It’s time to roll up our sleeves and get crafting.  Sew. Say. We. All.
Laura Roslin
President of the Colonies

Leeloo-sweater

Fans of the book will be excited to learn of a companion website, scifiinterfacing.com. Let me know in the comments below if you’d like to be on the mailing list for when it goes live!

 

 

 

Credit where credit is due:

  • Han Sewlo is holding a Star Wars quilt actually made by RobinLovesQuilting. Check it out on her blog.
  • Leeloo did not knit that herself. It’s from Dorothy Perkins.
  • Picard is working on a sampler straight from the hilarious Subversive Cross Stitch, specifically the “Bitch, Please” kit. Go buy one, because awesome.

The Fifth Element Movie Night Pre-Show

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For those who missed the first sci-fi interfaces Movie Night, my friend Reed stepped up and brought a multi-camera setup to the event and edited in post so you could vicariously see what it was like. Watch above, but if you’re more interested in reading, the transcript (edited because the messiness of the spoken word) appears below.

[0:00] INTRO

Hey, good evening. Thanks for showing up. This is actually a wild hair idea that occurred to me in the shower about three and a half weeks ago. My name is Chris Noessel. Every year for the past five years I’ve hosted a private showing in my home, and I thought, "How on Earth and I going to cram all the people I want to invite into my small living room this year?" I tried to work out the logistics and just failed. But fortunately I was able to contact The New Parkway and they said, "We love this sort of thing. And we have a slot open. And we have the film pre-licensed." So for all those reasons a big round of applause to The New Parkway.

[0:52] THE PROJECT

So I’m going to do one plug really quickly, if you’re not familiar. You’re here because you love the movie. I’m going to tell you a little about the project that this evening came about from. About six years ago my coauthor Nathan Shedroff approached me with this cool idea about a book. He noticed that the Motorola Star-Tac phone was surprisingly like the Star Trek communicator, and thought, "Hey, there’s probably a connection here." So over the course of about six years we collected every sci-fi interface that we could in an online database. We tagged that cloud with a database and wrote a book about the results. That book was published in 2012. We just went through our second printing where all of the errata (that many people here may have pointed out) is now corrected. In fact, one of the awards for the trivia contest is a copy of that second [printing].

[01:45] INTERFACE TRIVIA!

So, that’s what that project is about. Since just before the release of the book I’ve been hosting a website called scifiinterfaces.com where I’m slowly releasing that database that we built up and adding a few other things, so it’s actually quite a lot of nerdery all in one place.

IMG_4476

So I want to start up the evening. What we’re going to do is some Fifth Element interface trivia. What I need is 10 volunteers…

[No spoilers from the transcript! Answers to the trivia are in the video. If you want to try the questions yourself, put your answers in the comments before watching it, though all the awards have been given out.]

  1. Why is March 18 Fifth Element Day?
  2. How many cigarettes is Korben allowed each day?
  3. How many points does Korben Dallas have on his license when he gets in the taxi, and for extra credit, how does he know?
  4. What Big Label appears on this interface in the film?
    ZSA_blank
  5. What Big Label appears on this interface in the film?
    fifthe-attackdetection-008_blank
  6. What Big Label appears on this interface in the film?
    NF_blank
  7. What is Leeloo looking at when we see this close up of her eye?
    thefifthelement-eye
  8. What word is repeated three times in the encyclopedia?
  9. This image is associated with which entry in the encyclopedia?
    chimpanzee
  10. This image is associated with which entry in the encyclopedia?
    Napoleon
  11. Fill in the blank "This is a police patrol. This is not an exercise. Can you please spread your legs and _______________."
  12. In the pilot of sci-fi university, the weapon against ultimate evil is an example of what two interface principles?
  13. Can you name any of the four things that the design of the ultimate weapon tests for?
  14. What does it mean that the ultimate evil approaches Earth in exactly the right bearing and at exactly the right time to be stopped by a spinning weapon that cannot be aimed?

[21:06] SUCH INTERFACE

As you may have surmised, the blog covers individual interfaces in movies. I’m going to talk very briefly about one that appears in this film.

One of the reasons why I picked The Fifth Element to watch annually is that it has a number of great interfaces. On the blog there are 53, some of which contain multiple interfaces. It’s chock-full of interface goodness. We’re going to talk about this particular one. Note that this isn’t one of the great ones, this is one of the ones that could use improvement.

[22:14] 4 A DAY

So let’s take a little tour. When Dallas wakes up we see that his apartment sort of "comes on" after his alarm, and one of the things he does is he walks to this machine to get his cigarettes. At the very bottom it shows what his goal is. "TO QUIT IS MY GOAL." (That’s what the shirt says.) At the top is kind of a reminder. It says, "Quit smoking!" With "4 Refill" and "4™ a day." On the right side is this utterly inexplicable LCD display. I think those "1s" are meant to represent the cigarettes, but I’m not certain. And I think in the center is a huge, overblown "there are four left." Why on earth would you need that, when you can glance to the left and look? And the last thing. Is that the temprature of the cigarettes? Is it important that they stay at 27.5 degrees? Really, that makes no sense at all.

And then this is the interface panel that’s he’s got, the buttons that he has to push, and they make more sense. You’ll see Korben only presses the bottom one and it’s kind of useless.

Audience member: It’s a tiny humidor! [This is brilliant, whoever suggested it. But I looked, and it's too warm!]

To explain why this is good, we have to dip down very briefly into persuasive design. Has anybody here every studied persuasive design?

[23:19] HOT SIGNALS IN THE PATH (poorly explained)

Awesome. Did you study under B.J. Fogg? B.J. talks about a principle called "putting the hot signal on the path." What that means is, when you are trying to provide a trigger for a user to get them to recognize an opportunity to change their own behavior, it needs to be a hot signal. Hot in this sense is one that gets the user’s attention readily. And that’s one of the problems with this interface. There are signals all over it to tell Korben, "Hey, you don’t want to keep smoking." There’s a surgeon general’s warning in the back. There’s that reminder of the goal.

But we also know that humans have a psychological capacity to habituate. You see something a number of times and you’ll stop seeing it anymore. (The other thing is that if the surgeon general’s warning is meant to persuade anyone, it’s behind four glass vials where it absolutely cannot be read. It’s a piece of misery.

I have one story to tell to illustrate the hot signal in the path. Back when I had a small apartment in Houston, we had an air conditioner that was located in the attic. It had a drain pan that actually dripped through a hole in the ceiling directly onto the head of the shower-er. That was freezing. I hated this thing. I thought, "Screw that." I took the hole and moved it to the side. (Oh wow you can’t see me there. I disappeared when that happened.)

This seemed to solve my problem. I had no cold water, I could enjoy my showers. But what ultimately occurred was that the water flooded the drain pan above me. My short term goal of not being frozen to death was actually a bad thing to design for. I should have left it above me because it was a hot signal in the path. (The irony there I hope you’ll appreciate.) The signal was in a place where I would encounter it, in a place the designers know I would be. And that’s what hot signals on the path are.

fouraday_comp

When we take that same principle and apply it to the interface, we want to stop the habituation by having this [the goal statement] be an e-ink display that changes every day. And [the surgeon general's warning] be an LED screen that changes and doesn’t show text. You can’t read text there, through a glass vial. What you want to see back there is an image. And I borrowed one of the images from the Australian cigarette packages that are really gory and really gross and make you think twice. "What the heck am I about to smoke?"

[26:01] WRAP UP [Leaving off the transcript]

Okey doke. That’s all I’m going to leave you with. Because a) there’s beer and b) there’s a cool movie to watch. But if you dig this kind of thinking, there are four places you can get it.

[26:19] MOAR

[26:41] 3 quick announcements:

  • I have Movie Night shirts up at http://26253.spreadshirt.com/ (What’s that red cross-bar for? The site was down at the time.)
  • If you’re interested in trying some future thinking, come to Cooper’s Design the Future class, which I’ll be teaching.
  • Stick around for a post-show preview of the next sci-fi university
  • OK, we’ll see that start in about a minute. You guys enjoy the show.

FedPaint

Fedpaint_big

Students in Starship Troopers academy have access to desktop computing environments during class, including a drawing and animation program called “Fedpaint,” that had a number of very forward-looking features.

The screen is housed in a metal bezel that is attached to the desk, and can be left flat or angled slightly per the user’s preference. A few hardware buttons sit in a row at the bottom of the bezel. (Quick industrial design aside: Those buttons belong at the top of the bezel.) The input device is a stylus. (Styli had been in use in personal digital assistants for over a decade when the film came out, I don’t think they had been sold as the primary input for a PC.) When we first see Johnny using the computer, he is ignoring his citizenship lesson and using Fedpaint instead.

StarshipT_013

The main part of the interface is a canvas. Running along the left and bottom edges are a complex tool palette and color picker that is vaguely reminiscent of Windows 3.0 WIMP applications. It’s easy to tell which category and tool is selected. (What color is selected is unclear.) I’d even say that most of the icons, while a little ham-handed and completely lacking labels, convey what they would do pretty clearly. The tools also seem to be clustered logically with categories across the top left, tools in the middle left, a color palette in the lower left corner, and file operations across the bottom. That’s some reasonable and reasonably convincing layout design for a movie interface. Nowadays a designer might argue to hide the menus when not in use to maximize the canvas real estate, but the most common OS paradigm at the time was Windows 97, and the most advanced paint program, i.e. Photoshop, looked like this. (Major thanks to Hongkiat for keeping their museum of Photoshop interfaces.)

Using the stylus, Johnny sketches a flirty animation for Carmen. He draws each of their profiles in white lines. He then adds some flat color and animates the profiles (not shown onscreen) such that the faces get closer, their eyes close, and their mouths open in readiness of a kiss. He then sends it to her.

On her desk she receives a notification. (We don’t get to see it. Was she already in the program? Did the notification jump her there?) Carmen grabs her stylus and responds by adding to the animation. She sends the file back to him. He opens it and it plays automatically. In her version of the animation, the profiles approach as before, but as they near for a kiss, the female profile blows a bubble gum bubble that gets so large it pops and covers the face of the male.


StarshipT_019

What’s nice about this interface is that the narrative seems to have driven some innovation in its design. It’s half gee-whiz-circa-1997 of course but half character development as it tells us that Johnny likes Cameron, and Cameron is a bit playfully stand-offish in response. To make this work well narratively, communication of the animation back and forth had to be seamless, and that seems to be the reason we see the communication tools built right into the interface. If ever there was a case for why scenario-driven design for personas works, this is it.

What’s frustrating is that they skipped over the hard part. How does Johnny apply the color? A paint bucket tool is a reasonable guess, but it’s also error prone. How did he specify the number of frames and their speed? How did he ensure that the motion felt relatively smooth and communicative? Anyone who’s worked with an animation program knows that these aren’t trivial matters, and Starship Troopers took the narrative route. Probably best for the story, but less for my analysis purposes.

Still, the stylus-driven direct manipulation, the unique layout, and easy, social sharing were big innovations for the time. I don’t know that there’s much to learn from this today, since our OS metaphors have advanced enough to make this seem quaint at best, and social integration is now the norm. But credit where it’s due, this interface was ahead of its time.

Very slightly interactive news

StarshipT_001

One of the most unusual conceits of the movie is “Would you like to know more?” These consist of short video news sequences with overlaid graphics and narration. At the top of the screen the user can click one of three categories for different categories of video feed, and two functions. At the end of each video sequence the “user” is prompted to interact—should they want to learn more—by clicking the legend at the bottom of the screen.

StarshipT_002

The user here is ambiguous. It might be that the audience member is the user, but of course it’s not interactive. There’s probably room here for some other writer to investigate the narrative tactic/semiotics of using an interactive interface in a passive story.

At the top of the screen are menu headers labeled “FEDERAL,” “GALAXY,” “TOP NEWS," "ENLIST," and "EXIT." For the usability purist, the collection is problematic for a number of reasons.

  • The information categories aren’t parallel, and there’s no clear reason why they shouldn’t be. What’s the relationship between Galaxy and Federal?
  • The functions (enlist and exit) are not visually distinguished from content categories.
  • The current state of the interface is a mystery. Am I currently watching Top News or something else?
  • Why does the interface chrome persist? Aren’t they distractions from the content? Maybe they should appear just only for the few seconds it’s inviting the user to interact, and fade at other times.
  • While a fascist government would be happy to try and trick its users into clicking enlist, I can’t imagine what benefit they get from having them accidentally clicking exit to close the propaganda engine. These should not just be visually distinguished, but given different visual weight. They’d probably want enlist large and exit smaller, if there at all.

“Welp. All the links in Federal, Galaxy, and Top News are purple. I wonder what’s happening in ENLIST news? Oh hey, who’s that pounding on the door?”

StarshipT_005

The presence of the "EXIT" control implies that this is an application running in an operating system or media computer space. This opt-in news application with its small windows of time for interaction helps to paint a picture of a highly engaged and ready-to-respond audience, fitting for the mid-war society portrayed in the movie.

Only once do we see an unidentified and unseen "user" control a cursor to view more. In this sequence, he or she clicks on “more” after watching a clip on the bug homeworld Klendathu. (It’s worth noting/condemning that the clickable word “more” looks identical to the rest of the non-clickable text, offering no special affordance.) In response to the selection, the application shows a live video news feed from the conflict on Klendathu. Was it just good fortune that a live feed happened to be available at this moment? More likely the application and media coordination system are smart enough to know a live feed was coming up, and played the trailer in advance as an advertisement for the content, implying a well-coordinated propaganda/content management system.

Starship Troopers (1997): Overview

Release date: 27 June 2008, United States

StarshipTroopers_title

Starship Troopers follows Johnny Rico and his friends Diz, Carmen, and Carl, from humble beginnings together at school, into their participation in a war against the super evolved insect race called the Arachnids, or “Bugs.” Johnny, who is excellent at sports but poor with verbal and math skills, enters the infantry with Diz. Carmen’s scores and skills lead her to being a pilot aboard the war ship Rodger Young. Carl shows nascent psychic ability and winds up in military intelligence. In these roles they travel to the bug home planet of Klendathu to not only score a major victory in the war, but come of age in dealing with life and love.

StarshipTrooper_end