COURSE OPTION ANALYSIS

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When Ibanez and Barcalow enter the atmosphere in the escape pod, we see a brief, shaky glimpse of the COURSE OPTION ANALYSIS interface. In the screen grab below, you can see it has a large, yellow, all-caps label at the top. The middle shows the TERRAIN PROFILE. This consists of a real-time, topography map as a grid of screen-green dots that produce a shaded relief map.

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On the right is a column of text that includes:

  • The title, i.e., TERRAIN PROFILE
  • The location data: Planet P, Scylla Charybdis (which I don’t think is mentioned in the film, but a fun detail. Is this the star system?)
  • Coordinates in 3D: XCOORD, YCOORD, and ELEVATION. (Sadly these don’t appear to change, despite the implied precision of 5 decimal places)
  • Three unknown variables: NOMINAL, R DIST, HAZARD Q (these also don’t change)

The lowest part of the block reads that the SITE ASSESSMENT (at 74.28%, which—does it need to be said at this point—also does not change.)

Two inscrutable green blobs extend out past the left and bottom white line that borders this box. (Seriously what the glob are these meant to be?)

At the bottom is SCAN M and PLACE wrapped in the same purple “NV” wrappers seen throughout the Federation spaceship interfaces. At the bottom is an array of inscrutable numbers in white.

Since that animated gif is a little crazy to stare at, have this serene, still screen cap to reference for the remainder of the article.

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Design

Three things to note in the analysis.

1. Yes, fuigetry

I’ll declare everything on the bottom to be filler unless someone out there can pull some apologetics to make sense of it. But even if an array of numbers was ever meant to be helpful, an emergency landing sequence does not appear to be the time. If it needs to be said, emergency interfaces should include only the information needed to manage the crisis.

2. The visual style of the topography

I have before blasted the floating pollen displays of Prometheus for not describing the topography well, but the escape pod display works while using similar pointillist tactics. Why does this work when the floating pollen does not? First, note that the points here are in a grid. This makes the relationship of adjacent points easy to understand. The randomness of the Promethean displays confounds this. Second, note the angle of the “light” in the scene, which appears to come from the horizon directly ahead of the ship. This creates a strong shaded relief effect, a tried and true method of conveying the shape of a terrain.

3. How does this interface even help?

Let’s get this out of the way: What’s Ibanez’ goal here? To land the pod safely. Agreed? Agreed.

Certainly the terrain view is helpful to understand the terrain in the flight path, especially in low visibility. But similar to the prior interface in this pod, there is no signal to indicate how the ship’s position and path relate to it. Are these hills kilometers below (not a problem) or meters (take some real care there, Ibanez.) This interface should have some indication of the pod. (Show me me.)

Additionally, if any of the peaks pose threats, she can avoid them tactically, but adjusting long before they’re a problem will probably help more than veering once she’s right upon them. Best is to show the optimal path, and highlight any threats that would explain the path. Doing so in color (presuming pilots who can see it) would make the information instantly recognizable.

Finally the big label quantifies a “site assessment,” which seems to relay some important information about the landing location. Presumably pilots know what this number represents (process indicator? structural integrity? deviation from an ideal landing strip? danger from bugs?) but putting it here does not help her. So what? If this is a warning, why doesn’t it look like one? Or is there another landing site that she can get to with a better assessment? Why isn’t it helping her find that by default? If this is the best site, why bother her with the number at all? Or the label at all? She can’t do anything with this information, and it takes up a majority of the screen. Better is just to get that noise off the screen along with all the fuigetry. Replace it with a marker for where the ideal landing site is, its distance, and update it live if her path makes that original site no longer viable.

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Of course it must be said that this would work better as a HUD which would avoid splitting her attention from the viewport, but HUDs or augmented reality aren’t really a thing in the diegesis.

Narratively

The next scene shows them crashing through the side of a mountain, so despite this more helpful design, better for the scene might be to design a warning mode that reads SAFE SITE: NOT FOUND. SEARCHING… and let that blink manically while real-time, failing site assessments blink all over the terrain map. Then the next scene makes much more sense as they skip off a hill and into a mountain.

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.

Continue reading

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.

KLENDATHU CASUALTIES: 308,563

The initial invasion of Klendathu is disastrous, and our hero Rico suffers a massive penetration wound in combat, with an Arachnid digging its massive, thorn-like pincer straight through his thigh.

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Rico is (spoiler alert) mistakenly reported as deceased. (There’s perhaps some argument for outfitting soldiers with networked biometrics so this sort of mistake can’t be made, but that’s another post.)

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After returning to dock, Ibanez hears reports about the military disaster, and sees a death roll scrolling by on a large wall display. Three columns of off-white names tick along, surname first, with an initialism indicating whether the soldier was killed, wounded, or missing in action. At the very top three legends summarize key information, WOUNDED IN ACTION 2,548; KILLED IN ACTION 205,515; and MISSING IN ACTION 105,753. Largest of all is the KLENDATHU CASUALTIES: 308,563. (I know, the math doesn’t add up. It’s possible I misread the blurry numbers.) But the screen could use some more deliberate graphic design. Continue reading

Rodger Young combat interfaces

The interfaces aboard the Rodger Young in combat are hard to take seriously. The captain’s interface, for instance, features arrays of wireframe spheres that zoom from the bottom of the screen across horizontal lines to become blinking green squares. The shapes bear only the vaguest resemblance to the plasma bolts, but don’t match what we see out the viewscreen or the general behavior of the bolts at all. But the ridiculousness doesn’t end there.

Boomdots_8fps Continue reading

Tattoo-o-matic

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After he is spurned by Carmen and her new beau in the station, Rico realizes that he belongs in the infantry and not the fleet where Carmen will be working. So, to cement this new identity, Rico decides to give in and join his fellow roughnecks in getting matching tattoos.  The tattoos show a skull over a shield and the words “Death from Above”. (Incidentally, Death From Above is the name of the documentary detailing the making of the film, a well as the title of a hilarious progressive metal video by the band Holy Light of Demons. You should totally check it out.)  Continue reading

In case of evasion, BREAK GLASS

  • INT. FEDERATION ADVANCED RESEARCH & DESIGN
  • WOODS
  • You sent for me, sir?
  • ORTEGA
  • Yes I did…I did not, however, invite you to sit, Lieutenant.
  • WOODS
  • Sorry, sir.
  • ORTEGA
  • Are you aware that we have just lost contact with the Rodger Young?
  • WOODS
  • Everyone’s talking about it, sir.
  • ORTEGA
  • Well, I have the video feed from the bridge here. I understand you are the designer of the emergency evasion panel, and the footage raises some fundamental questions about that design. Watch with me now, Lieutenant.
  • ORTEGA PRESSES A BUTTON ON A CONSOLE ON HIS DESK. F/X: VIDEO WALL
  • StarshipTroopers-BreakGlass-01

  • ORTEGA
  • As you can see, immediately after Captain Deladier issues her order, your panel slides up from a recess in the dash.
  • (He pauses the video)
  • WOODS
  • (After a silence)
  • Is there a question, sir?
  • ORTEGA
  • Why is this panel recessed?
  • WOODS
  • To prevent accidental activation, sir.
  • ORTEGA
  • But it’s an emergency panel. For crisis situations. It takes two incredibly valuable seconds for this thing to dramatically rise up. What else do you imagine that pilot might have done with those extra two seconds?
  • WOODS
  • I…
  • ORTEGA
  • Don’t answer that. It’s rhetorical. Next I need you to not explain this layout. Why aren’t the buttons labeled? What does that second one do, and why does it look exactly the same as the emergency evasion button? Are you deliberately trying to confuse our pilots?
  • (Stares.)
  • OK, now I actually do want you to explain something.
  • (Resuming the video)
  • Why did you cover the panel in glass? Ibanez—and I can’t believe I’m saying this—punches it.
  • WOODS
  • The glass is there also to prevent accidental activation, sir.
  • ORTEGA
  • But you already covered that with the time-wasting recession. You know she’s likely to have tendon, nerve, and arterial damage now, right? And she’s a pilot, Lieutenant. Without her hands, she’s almost useless to us. And now, in addition to having a giant, peanut-shaped boulder in their face, they’ve got a bridge full of loose glass shards scattered about. Let’s hope the artificial gravity lasts long enough for them to get a broom, or they’re going to be in for some floating laceration ballet.
  • WOODS
  • That would be unfortunate, sir.
  • ORTEGA
  • Damn right. Now honestly I might be of a mind to simply court martial you and treat you to some good old Federation-approved public flogging for Failure to Design. But today may be your lucky day. I believe your elegant design decisions were exacerbated by the pilot’s being something of a drama queen.
  • WOODS
  • The glass was designed to be lifted off, sir.
  • ORTEGA
  • (Resuming the video)
  • Fair enough. My last question…
  • StarshipTroopers-BreakGlass-08

    StarshipTroopers-BreakGlass-14

  • ORTEGA
  • Did I see correctly that all of the lights underneath the engine boost light up all at once? The ones labeled POWER ON? AUTO HOME? NOSE RAM? The ones that don’t have anything to do with the engine boost?
  • WOODS
  • And…and the adjacent green LED, sir.
  • ORTEGA
  • All at once.
  • WOODS
  • Sir.
  • ORTEGA
  • (Sighs)
  • Well, as you might not be able to imagine, we’re moving you. After you collect your belongings you are to report to the Reassignment Office.
  • (He scrubs back and forth over the drone video of the communication tower ripping off.)
  • scrubbing

  • ORTEGA
  • Out of curiosity, WOODS, what was the last thing you designed as part of my department?
  • WOODS
  • The Buenos Aires Missile Defense System, sir.
  • ORTEGA
  • I’ll look into it. Dismissed.