Report Card: The Faithful Wookiee

Read all The Faithful Wookiee reviews in chronological order.

Of course we understand that The Faithful Wookiee was an animation for children and teens, the script of which was thrown together in a short time. We understand that it is meant to be entertainment and not a prediction, building on the somewhat-unexpected success of a sci-fi movie released the year before. We get that the plot is, well, unlikely. We understand that 1978 was not a time when much thought was given to consistent and deeply thought-through worldbuilding with technology. We understand it is hand-drawn animation and all the limitations that come with this.

But, still, to ensure a critique is valuable to us, we must bypass these archaeological excuses and focus instead on the thing as produced. And for that, the short does not fare well.

FaithfulWookiee-Report-Card.png

Continue reading

Escape door

eFaithful-Wookiee-door-10.png

There is one last interface in The Faithful Wookiee we see in use. It’s one of those small interfaces, barely seen, but that invites lots of consideration. In the story, Boba and Chewie have returned to the Falcon and administered to Luke and Han the cure to the talisman virus. Relieved, Luke (who assigns loyalty like a puppy at a preschool) says,

“Boba, you’re a hero and a faithful friend. [He isn’t. —Editor] You must come back with us. [He won’t.What’s the matter with R2?”

C3PO says,“I’m afraid sir, it’s because you said Boba is a faithful friend and faithful ally. [He didn’t.] That simply does not feed properly into R2’s information banks.”

Luke asks, “What are you talking about?”

“We intercepted a message between Boba and Darth Vader, sir. Boba Fett is Darth Vader’s right-hand man. I’m afraid this whole adventure has been an Imperial plot.”

faithful-wookiee-door-09

Luke did not see this coming.

Luke gapes towards Boba, who has his blaster drawn and is backing up into an alcove with an escape hatch. Boba glances at a box on the wall, slides some control sideways, and a hatch opens in the ceiling. He says, deadpan, “We’ll meet again…friend,” before touching some control on his belt that sends him flying into the clear green sky, leaving behind a trail of smoke. Continue reading

Video call

After ditching Chewie, Boba Fett heads to a public video phone to make a quick report to his boss who turns out to be…Darth Vader (this was a time long before the Expanded Universe/Legends, so there was really only one villain to choose from).

To make the call, he approaches an alcove off an alley. The alcove has a screen with an orange bezel, and a small panel below it with a 12-key number panel to the left, a speaker, and a vertical slot. Below that is a set of three phone books. For our young readers, phone books are an ancient technology in which telephone numbers were printed in massive books, and copies kept at every public phone for reference by a caller.

faithful-wookiee-video-call-04faithful-wookiee-video-call-05 Continue reading

Headsets

Luke, Chewie, the comms officer aboard the Revenge, and this orange lizard/cat thing wear similar headsets in the short. Each consists of headphones with a coronal headband and a microphone on a boom that holds it in front of their mouths.

FaithfulWookie-headset-pinch.png

The only time we see something resembling a control, Luke attempts to report back to the Rebel base. To do so, he uses his right hand to pinch (or hold?) the microphone as he says, “This is Y4 to base.” Then he releases the mic and continues, “He’s heading straight for a moon in…the Panna system.” Continue reading

Ship Console

FaithfulWookie-console.png

The only flight controls we see are an array of stay-state toggle switches (see the lower right hand of the image above) and banks of lights. It’s a terrifying thought that anyone would have to fly a spaceship with binary controls, but we have some evidence that there’s analog controls, when Luke moves his arms after the Falcon fires shots across his bow.

Unfortunately we never get a clear view of the full breadth of the cockpit, so it’s really hard to do a proper analysis. Ships in the Holiday Special appear to be based on scenes from A New Hope, but we don’t see the inside of a Y-Wing in that movie. It seems to be inspired by the Falcon. Take a look at the upper right hand corner of the image below.

ANewHope_Falcon_console01.png

R. S. Revenge Comms

Note: In honor of the season, Rogue One opening this week, and the reviews of Battlestar Galactica: The Mini-Series behind us, I’m reopening the Star Wars Holiday Special reviews, starting with the show-within-a-show, The Faithful Wookie. Refresh yourself of the plot if it’s been a while.

Faithful-Wookiee-02

On board the R.S. Revenge, the purple-skinned communications officer announces he’s picked up something. (Genders are a goofy thing to ascribe to alien physiology, but the voice actor speaks in a masculine register, so I’m going with it.)

faithful-wookiee-01-surrounds

He attends a monitor, below which are several dials and controls in a panel. On the right of the monitor screen there are five physical controls.

  • A stay-state toggle switch
  • A stay-state rocker switch
  • Three dials

The lower two dials have rings under them on the panel that accentuate their color.

Map View

The screen is a dark purple overhead map of the impossibly dense asteroid field in which the Revenge sits. A light purple grid divides the space into 48 squares. This screen has text all over it, but written in a constructed orthography unmentioned in the Wookieepedia. In the upper center and upper right are unchanging labels. Some triangular label sits in the lower-left. In the lower right corner, text appears and disappears too fast for (human) reading. The middle right side of the screen is labeled in large characters, but they also change too rapidly to make much sense of it.

revengescreen Continue reading

The Fermi Paradox and Sci-fi

In the prior post we introduced the Fermi paradox—or Fermi question—before an overview of the many hypotheses that try to answer the question, and ended noting that we must consider what we are to do, given the possibilities. In this post I’m going to share which of those hypotheses sci-fi has chosen to tell stories about.

First we should note that screen sci-fi (this is, recall, a blog that concerns itself with sci-fi in movies and television), since the very, very beginning, has embraced questionably imperialist thrills. In Le Voyage dans la Lune, George Melies’ professor-astronomers encounter a “primitive” alien culture on Earth’s moon when they land there, replete with costumes, dances, and violent responses to accidental manslaughter. Hey, we get it, aliens are part of why audiences and writers are in it: As a thin metaphor for speculative human cultures that bring our own into relief. So, many properties are unconcerned with the *yawn* boring question of the Fermi paradox, instead imagining a diegesis with a whole smorgasbord of alien civilizations that are explicitly engaged with humans, at times killing, trading, or kissing us, depending on which story you ask.

image.png

But some screen sci-fi does occasionally concern itself with the Fermi question.

Which are we telling stories about?

Screen sci-fi is a vast library, and more is being produced all the time, so it’s hard to give an exact breakdown, but if Drake can do it for Fermi’s question, we can at least ballpark it, too. To do this, I took a look at every sci-fi in the survey that produced Make It So and has been extended here on scifiinterfaces.com, and I tallied the breakdown between aliens, no aliens, and silent aliens. Here’s the Google Sheet with the data. And here’s what we see. Continue reading

The Faithful Wookiee

Faithful-Wookiee-10

Release Date: 17 NOV 1978 (USA)

Despite what you may think, I know how far down the Sarlacc pit this is going. I’m in the middle of The Avengers, which I interrupted for the Star Wars Holiday Special, and now we’re looking at the interfaces inside a ten-minute cartoon that Lumpy watches complacently while stormtroopers trash his home and rough up his family in the background. We’re at Inception level Hoth.

I even know I have proclaimed that I must shy away from reviewing interfaces in hand-drawn animation on principle. I know all this. But if you have yet to brave gazing into the dark heart of The Special, know that this is its highlight. The animation is gorgeous and trippy (like something out of Heavy Metal magazine circa 1980) almost making the frame story of The Special worth it. Even if the plot is a little wan.

Plot

Luke, the droids, and Leia are aboard the cruiser R.S. Revenge,  anxiously awaiting word from Han and Chewie, who are racing to find a mystical talisman before the Empire does. The Millennium Falcon comes out of lightspeed barreling toward the cruiser and out of radio contact. After it zooms past, Luke takes the droids and chases the Falcon to an intensely pink moon. Luke crashes into the soupy surface, and while looking for them with binoculars, he is saved from a pink sauropod attack by Boba Fett. (Yes, that Boba Fett. This is where he is introduced in the Star Wars universe.) Fett then leads them to the Falcon.

There Luke sees Chewie eject the talisman from the ship, before falling into the same coma-like sleep as Han. Turns out the talisman is infected with a virus that only affects humans. To survive, Luke is hung upside down next to Han until they can be cured. Something something blood to the brain something. Fett offers to get a remedy in the nearby city.

After he gets the serum, Fett contacts Darth Vader (insert gasp) on a public video phone (insert gasp). Back at the ship, the Droids intercept the message, hearing that the talisman is a red herring—Fett and Vader are really trying to earn their trust to learn the location of the new Rebel base. When Fett returns to the Falcon, they inject the serum to wake Han and Luke, but the droids out Fett as the bad guy he is. Fett escapes with his jet pack, promising that they’ll meet again.

Faithful-Wookiee-09

Lumpy’s Brilliant Cartoon Player

I am pleased to report that with this post, we are over 50% of the way through this wretched, wretched Holiday Special.

SWHS-Cartoon-Player-07

Description

After Lumpy tries to stop stormtroopers from going upstairs, an Imperial Officer commands Malla to keep him quiet. To do so, she does what any self-respecting mother of a pre-teen in the age of technology does, and sits him down to watch cartoons. The player is a small, yellow device that sits flat on an angled tabletop, like a writing desk.

Two small silver buttons stack vertically on the left, and an upside down plug hole strainer on the right. A video screen sits above these controls. Since no one in the rest of his family wants to hear the cartoon introduction of Boba Fett, he dons a pair of headphones, which are actually kind of stylish in that the earpieces are square and perforated, but not beveled. There are some pointless animations that start up, but then the cartoon starts and Lumpy is, in fact, quiet for the duration. So, OK, point one Malla.

SWHS-Cartoon-Player-08

Why no budding DJ has glommed onto this for an album cover is beyond me.

Analysis

We only see Lumpy press down onto the surface of the device from the far side, so it’s mostly conjecture about how the interface works. The same goes for the media. But we do know the basic needs of video: Start, stop, and volume. And a single click-stop dial could handle all that, even if kind of poorly.

We also don’t know whether the device has media inserts—like a Blu-Ray player—or is more like a television with fixed streams of ongoing content to pick from, or like a Netflix requiring a search of a practically infinite on-demand catalogue. But that sink drain thing looks like it’s meant to be a channel selector, and this was 1978, so let’s presume it was a television model with a few-year prescient Walkman personal-media bent. In fact, there’s a handle visible in the shot posted below, so let’s give this thing some credit for presaging miniaturization to the point of mobility. It must have blown some kids minds back then.

And, sure, this interface could manage the task at hand, even if it’s missing some feedback for exactly which channel is being watched, and what the current volume is or what that second click-stop dial does, or why it has an affordance for turning when Lumpy clearly pushes it.

SWHS-Cartoon-Player-09.png

Apology

What I’m most interested in though is the crappy, crappy production quality of the thing. While it’s easy and admittedly fun to decry this as rushed through the prop department in about 30 minutes, I’m going to use my old friend apologetics to wonder if maybe Lumpy himself put this together. Not like a science fair project, but as an off-the shelf product. Wouldn’t it be awesome to give a kid a blank box with a video screen, let him take any object he found on top of it to use as a control device? A thimble could become the on-off switch. A jack could become the channel selector. A Matchbox car could become the volume control. This would diegetically explain the dopey sink strainer, and give Lumpy an awesome opportunity to think about the affordances of the things around him and the relationships-of-parts he could use to control abstract variables like volume, power, playback speed, etc. Maybe he could even assign objects to favorite videos. This stone in that crayon circle means that video. It would be a dream to foster interaction design thinking.

Sure, you might be thinking, but this would take cameras of an eye-like quality, and perfect image recognition attached to a near general artificial intelligence. Too bad they don’t have anything like that in Star Wars, yeah?

r2d2-and-c3po-star-wars

Of course one imagines such a device might be prohibitively expensive for a smuggler’s Life Day budget, and moreover this is giving the Star Wars Holiday Special waaaaay too much credit, but these are the truffles I actually do hope to find in rooting around all this muck for you.

Also to drop this. Contact me with demos.

DJLumpy.png

Jefferson Projection

SWHS-musicVP-01

When Imperial troopers intrude to search the house, one of the bullying officers takes interest in a device sitting on the dining table. It’s the size of a sewing machine, with a long handle along the top. It has a set of thumb toggles along the top, like old cassette tape recorder buttons.

Saun convinces the officer to sit down, stretches the thin script with a bunch of pointless fiddling of a volume slider and pantomimed delays, and at last fumbles the front of the device open. Hinged at the bottom like a drawbridge, it exposes a small black velvet display space. Understandably exasperated, the officer stands up to shout, “Will you get on with it?” Saun presses a button on the opened panel, and the searing chord of an electric guitar can be heard at once.

SWHS-musicVP-04

Inside the drawbridge-space a spot of pink light begins to glow, and mesmerized officer who, moments ago was bent on brute intimidation, but now spends the next five minutes and 23 seconds grinning dopily at the volumetric performance by Jefferson Starship.

During the performance, 6 lights link in a pattern in the upper right hand corner of the display. When the song finishes, the device goes silent. No other interactions are seen with it.

tappa

Many questions. Why is there a whole set of buttons to open the thing? Is this the only thing it can play? If not, how do you select another performance?Is it those unused buttons on the top? Why are the buttons unlabeled? Is Jefferson Starship immortal? How is it that they have only aged in the long, long time since this was recorded? Or was this volumetric recording somehow sent back in time?  Where is the button that Saun pressed to start the playback? If there was no button, and it was the entire front panel, why doesn’t it turn on and off while the officer taps (see above)? What do the little lights do other than distract? Why is the glow pink rather than Star-Wars-standard blue? Since volumetric projections are most often free-floating, why does this appear in a lunchbox? Since there already exists ubiquitous display screens, why would anyone haul this thing around? How does this officer keep his job?

Perhaps it’s best that these questions remain unanswered. For if anything were substantially different, we would risk losing this image, of the silhouette of the lead singer and his microphone. Humanity would be the poorer for it.

SWHS-musicVP-09