Having completed the welding he did not need to do, Tony flies home to a ledge atop Stark tower and lands. As he begins his strut to the interior, a complex, ring-shaped mechanism raises around him and follows along as he walks. From the ring, robotic arms extend to unharness each component of the suit from Tony in turn. After each arm precisely unscrews a component, it whisks it away for storage under the platform. It performs this task so smoothly and efficiently that Tony is able to maintain his walking stride throughout the 24-second walk up the ramp and maintain a conversation with JARVIS. His last steps on the ramp land on two plates that unharness his boots and lower them into the floor as Tony steps into his living room.
Yes, yes, a thousand times yes.
This is exactly how a mechanized squire should work. It is fast, efficient, supports Tony in his task of getting unharnessed quickly and easily, and—perhaps most importantly—how we wants his transitions from superhero to playboy to feel: cool, effortless, and seamless. If there was a party happening inside, I would not be surprised to see a last robotic arm handing him a whiskey.
This is the Jetsons vision of coming home to one’s robotic castle writ beautifully.
There is a strategic question about removing the suit while still outside of the protection of the building itself. If a flying villain popped up over the edge of the building at about 75% of the unharnessing, Tony would be at a significant tactical disadvantage. But JARVIS is probably watching out for any threats to avoid this possibility.
Another improvement would be if it did not need a specific landing spot. If, say…
The suit could just open to let him step out like a human-shaped elevator (this happens in a later model of the suit seen in The Avengers 2)
The suit was composed of fully autonomous components and each could simply fly off of him to their storage (This kind of happens with Veronica later in TheAvengers 2)
If it was composed of self-assembling nanoparticles that flowed off of him, or, perhaps, reassembled into a tuxedo (If I understand correctly, this is kind-of how the suit currently works in the comic books.)
These would allow him to enact this same transition anywhere.
Before I surface from the deep dive examination of the Iron Man HUD, there’s one last bit of meandering philosophy and fan theory I’d like to propose, that touches on our future relationship with technology.
The Iron Man is not Tony Stark. The Iron Man is JARVIS. Let me explain.
Tony can’t fire weapons like that
The first piece of evidence is that most of the weapons he uses are unlikely to be fired by him. Take the repulsor rays in his palms. I challenge readers to strap a laser perpendicular to each of their their palms and reliably target moving objects that are actively trying to avoid getting hit, while, say, roller skating an obstacle course. Because that’s what he’s doing as he flies around incapacitating Hydra agents and knocking around Ultrons. The weapons are not designed for Tony to operate them manually with any accuracy. But that’s not true for the artificial intelligence.
As part of the ongoing review of the Iron Man HUD, I noticed a small feature in the Iron Man 3 UI that—in order to critique—I have to discuss some new concepts and introduce some new terms. The feature itself is genuinely small and almost not worth posting about, but the terms are interesting, so bear with me.
Most of the time JARVIS animates the HUD, the UI elements sit on an invisible sphere that surrounds his head. (And in the case of stacked elements, on concentric invisible spheres.) The window of Pepper in the following screenshot illustrates this pretty clearly. It is a rectangular video feed, but appears slightly bowed to us, being on this sphere near the periphery of this 2nd-person view.
…And Pepper Potts is up next with her op-ed about the Civil Mommy Wars. Stay tuned.
Having elements slide around on the surface of this perceptual sphere is usable for Tony, since it means the elements are always facing him and thereby optimally viewable. “PEPPER POTTS,” for example, is as readable as if it was printed on a book perpendicular to his line of sight. (This notion is a bit confounded by the problems of parallax I wrote about in an earlier post, but since that seems unresolvable until Wim Wouters implements this exact HUD on Oculus Rift, let’s bypass it to focus on the new thing.)
So if it’s visually optimal to have 2D UI elements plastered to the surface of this perceptual sphere, how do we describe that suboptimal state where these same elements are not perpendicular to the line of sight, but angled away? I’m partly asking for a friend named Tony Stark because that’s some of what we see in Iron Man 3, both in 1st- and 2nd-person views. These examples aren’t egregious.
The Iron Patriot debut album cover graphic is only slightly angled and so easy to read. Similarly, the altimeter thingy on the left is still wholly readable.
The HUD itself displays a number of core capabilities across the Iron Man movies prior to its appearance in The Avengers. Cataloguing these capabilities lets us understand (or backworld) how he interacts with the HUD, equipping us to look for its common patterns and possible conflicts. In the first-person view, we saw it looked almost entirely like a rich agentive display, but with little interaction. Now, let’s look at that gorgeous 2nd-person view.
When in the first film Tony first puts the faceplate on and says to JARVIS, “Engage heads-up display”… …we see things from a narrative-conceit, 2nd-person perspective, as if the helmet were huge and we are inside the cavernous space with him, seeing only Tony’s face and the augmented reality interface elements. You might be thinking, “Of course it’s a narrative conceit. It’s not real. It’s in a movie.” But what I mean by that is that even in the diegesis, the Marvel Cinematic World, this is not something that could be seen. Let’s move through the reasons why. Continue reading →
When we first see the HUD, Tony is donning the Iron Man mask. Tony asks, JARVIS, “You there?” To which JARVIS replies, “At your service sir.” Tony tells him to Engage the heads-up display, and we see the HUD initialize. It is a dizzying mixture of blue wireframe motion graphics. Some imply system functions, such as the reticle that pinpoints Tonys eye. Most are small dashboard-like gauges that remain small and in Tonys peripheral vision while the information is not needed, and become larger and more central when needed. These features are catalogued in another post, but we learn about them through two points-of-view: a first-person view, which shows us what Tony’s sees as if we were there, donning the mask in his stead, and second-person view, which shows us Tony’s face overlaid against a dark background with floating graphics.
This post is about that first-person view. Specifically it’s about the visual design and the four awarenesses it displays.
In the Augmented Reality chapter of Make It So, I identified four types of awareness seen in the survey for Augmented Reality displays:
The Iron Man HUD illustrates all four and is a useful framework for describing and critiquing the 1st-person view. Continue reading →
There is a great deal to say about the interactions and interface, but let’s just take a moment to recount everything that the HUD does over the Iron Man movies and The Avengers. Keep in mind that just as there are many iterations of the suit, there can be many iterations of the HUD, but since it’s largely display software controlled by JARVIS, the functions can very easily move between exosuits.
Along the bottom of the HUD are some small gauges, which, though they change iconography across the properties, are consistently present.
For the most part they persist as tiny icons and thereby hard to read, but when the suit reboots in a high-altitude freefall, we get to see giant versions of them, and can read that they are:
So this is going to take a few posts. You see, the next interface that appears in The Avengers is a video conference between Tony Stark in his Iron Man supersuit and his partner in romance and business, Pepper Potts, about switching Stark Tower from the electrical grid to their independent power source. Here’s what a still from the scene looks like.
So on the surface of this scene, it’s a communications interface.
But that chat exists inside of an interface with a conceptual and interaction framework that has been laid down since the original Iron Man movie in 2008, and built upon with each sequel, one in 2010 and one in 2013. (With rumors aplenty for a fourth one…sometime.)
So to review the video chat, I first have to talk about the whole interface, and that has about 6 hours of prologue occurring across 4 years of cinema informing it. So let’s start, as I do with almost every interface, simply by describing it and its components. Continue reading →