Main Power Board


To restore the power that Nedry foolishly shut down (and thereby regain a technological advantage over the dinosaurs), Dr. Sattler must head into  the utility bunker that routes power to different parts of the park. Once she is there Hammond, back in the Visitors Center, communicates to her via two-way radio that operating it is a two part process: Manually providing a charge to the main panel, and then closing each of the breakers.

The Main Panel


To restore a charge to the main panel, she  manually cranks a paddle (like a kinetic-powered watch, radio, or flashlight), then firmly pushes a green button labeled “Push to Close”.  We hear a heavy click inside the panel as the switch flips something, and then the lights on the Breaker Panel list light up green.

Now that she has built up a charge in the circuit, she has to turn on each of the breakers one by one. Continue reading

Control Room Power Board


Once Dr. Sattler restores power to the park, Arnold needs to reboot the computer systems. To do this, he must switch off the circuits (C1–C3 in the screenshot above), and then switch off-and-on a circuit labeled “Main”.


It’s a good thing Arnold knows what he’s doing, since these switches are only labeled C1-3, and we don’t see any documentation in the camera frame.  As he turns off each circuit, different parts of the computer terminals in the Control Room shut down.  This implies that different computer banks are tied to the same power circuits as the systems they control.

So, since this is a major interface for the park, let’s make this bit explicit: When designing infrequently-used but mission-critical interfaces, take great care to explain use, using clear affordances and constraints so that mistakes are very, very difficult to make. 

It might look like a mistake to have all the little electrical labeling to the sides, since this cover would have to be removed to get the components where this information would be of use. But that’s perfect. A user needing to remove this panel must encounter this reference information to get to those components, and so would know where to find them. This is a brilliant example of the pattern Put the Signal in the Path. Let’s hope there are similar signs on other access panels.


Wait…where are the backups?

These are the central computer terminals that run Jurassic Park, and keep visitors safe from the “attractions.”  And there is no backup power.

When Arnold turns off the main circuit breaker, the computers (and servers behind them) turn off immediately.  The purpose and effect of the power switch deactivates all the systems in Jurassic Park, without any kind of warning or backup system.

For something as dangerous as deadly deadly dinosaurs—raised from the 65 million-year deep grave of extinction—the system deactivation should at least trigger some kind of warning.

Tornado sirens have backup batteries in case the city power goes out.  They are a solid example of a backup system that should exist, at minimum, to warn park-goers to move quickly towards shelter.  A better backup system would be a duplicate server system that automatically activates all the fences in the park.

Redundant Systems

When Arnold cycles the visitor center’s power system, it also trips the breakers for all of the other power systems in the park.  Primary safety systems like that should be on their own circuit.  It’s ok if the fridges turn off and melt the ice cream (though it may be an inconvenience), but that same event shouldn’t also deactivate the velociraptor pen security.  Especially when the ‘raptor pen is right next to the visitor center and is a known, aforementioned, deadly deadly threat.

Abidjan Operation


After Hawkeye is enthralled by Loki, agent Coulson has to call agent Romanoff in from the field, mid-mission. While he awaits her to extract herself from a situation, he idly glances at case file 242-56 which consists of a large video of Barton and Romanoff mid-combat, and overview profiles of the two agents. A legend in the upper right identifies this as STRIKE TEAM: DELTA, and a label at the top reads ABIDJAN OPERATION. There is some animated fuigetry on the periphery of the video, and some other fuigetry in windows that are occluded by the case file. bartoncompromised

Continue reading



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.


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.




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.


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.


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.

Federal Services Communiqué


Live video in Starship Troopers works a little bit differently than video messages. When he wants to call his parents in Buenos Aires, he somehow sets up the call (it’s offscreen, so we really don’t know how he does it). When the call goes through, a soldier comes in to the barracks to tell Rico that it’s going through, and then tells him to take it. You know, three feet away. At the end of the barracks. That they’re currently in. In a giant wall display. So…short improvement #1: Maybe just let it ring with Rico’s name on it rather than require a communication officer to wander around the barracks just telling soldiers to take five steps in a certain direction.

StarshipTroopers-Communique-09 Continue reading

News and Information


When Ibanez and Rico are in Federal Transport Hub 39 set to leave for Basic Training, we see Ibanez use a public kiosk for news and information. To do so she approaches a kiosk that tells her to “LOG IN,” and she slips her paper ticket into a slot just above waist height, and types on an adjacent small keyboard, mounted at a slight angle for easy typing. The kiosk reads the ticket and displays her surname on the screen. Continue reading


First off, let me apologize for the terrible flashing that is this next interface.


After "designing a course to Jupiter" using STARNAV, Barcalow presses something that initiates the warp drive.

He speaks along with a broadcast voice to countdown, "Star drive in…5…4…ready…steady…GO!"


The next screen shows a polar grid labeled GENERATING WARP FIELD. Circular rings shrink towards the center of the grid. Text along the right reads TACHYON CAPTURE, FIELD INGH DISTORT, GRAVITIC FEEDBACK, and ENERGY LEVELS. Bits of the fuidgitry from the STARNAV screens are occluded by a progress bar and a string of unchanging numbers: 0045 4535 7752 0659 2958 6456 6469 2934.

The first part of this display makes sense. It’s providing feedback to the navigator that it’s progressing in a task, i.e. generating the warp field. The animated circles provide some glanceable confirmation that things are progressing smoothly, and the implied concentration of power in a single point tells that whatever it’s building to, it’s gonna be big. Of course we can probably do without the numbers and tabs since they don’t change and it’s not really a touch screen. It would also be good to monitor whatever metrics we should be watching to know if things are safe or trending dangerously, maybe with sparklines, like a medical monitoring interface. Perhaps though that’s the sort of screen better suited to engineering. After all, Barcalow and Ibanez are just navigating and piloting here, respectively.


Then the progress bar suddenly turns purple, then the whole purple grid flashes multiple colors as we hear rapid electronic beeping (amongst a swell of extra-diegetic orchestra brass). Finally, a white circle grows from the center outward to fill the screen as the ship passes into Star Drive.

At first the white screen might seem like a waste, since this is when the navigator’s job really begins, as they go careening through space hurtling towards potentially life-threatening obstacles. But that white background can provide a clear background for a radar view (or Starship Trooper equivalent), a canvas for him to scan for any threats that radar are picking up beyond the field of vision afforded by the viewport. So the "wasted" space isn’t a problem at all.

The flashes are a bit of a problem. What’s it doing that for? Is it trying to put them into an epileptic seizure just before engaging in potentially deadly activity? Or is a seizure the only way to survive the perils of Stardrive? It’s unclear and dubious that there’s any good reason. Interaction designers are rarely in the business of putting users into a grand mal.

The color and values are also problematic. Why the candy colors? Does the orange flash mean something different than the purple flash? Even if you got rid of all the circus themed colors, there’s still a blinding amount of white on the screen once warp is engaged. That canvas would work a lot better as a black background with white blips to avoid eye fatigue, especially over long spans of time.


Otto’s Manual Control



When it refused to give up authority, the Captain wrested control of the Axiom from the artificial intelligence autopilot, Otto. Otto’s body is the helm wheel of the ship and fights back against the Captain. Otto wants to fulfil BNL’s orders to keep the ship in space. As they fight, the Captain dislodges a cover panel for Otto’s off-switch. When the captain sees the switch, he immediately realizes that he can regain control of the ship by deactivating Otto. After fighting his way to the switch and flipping it, Otto deactivates and reverts to a manual control interface for the ship.

The panel of buttons showing Otto’s current status next to the on/off switch deactivates half its lights when the Captain switches over to manual. The dimmed icons are indicating which systems are now offline. Effortlessly, the captain then returns the ship to its proper flight path with a quick turn of the controls.

One interesting note is the similarity between Otto’s stalk control keypad, and the keypad on the Eve Pod. Both have the circular button in the middle, with blue buttons in a semi-radial pattern around it. Given the Eve Pod’s interface, this should also be a series of start-up buttons or option commands. The main difference here is that they are all lit, where the Eve Pod’s buttons were dim until hit. Since every other interface on the Axiom glows when in use, it looks like all of Otto’s commands and autopilot options are active when the Captain deactivates him.

A hint of practicality…

The panel is in a place that is accessible and would be easily located by service crew or trained operators. Given that the Axiom is a spaceship, the systems on board are probably heavily regulated and redundant. However, the panel isn’t easily visible thanks to specific decisions by BNL. This system makes sense for a company that doesn’t think people need or want to deal with this kind of thing on their own.

Once the panel is open, the operator has a clear view of which systems are on, and which are off. The major downside to this keypad (like the Eve Pod) is that the coding of the information is obscure. These cryptic buttons would only be understandable for a highly trained operator/programmer/setup technician for the system. Given the current state of the Axiom, unless the crew were to check the autopilot manual, it is likely that no one on board the ship knows what those buttons mean anymore.


Thankfully, the most important button is in clear English. We know English is important to BNL because it is the language of the ship and the language seen being taught to the new children on board. Anyone who had an issue with the autopilot system and could locate the button, would know which button press would turn Otto off (as we then see the Captain immediately do).

Considering that Buy-N-Large’s mission is to create robots to fill humans’ every need, saving them from every tedious or unenjoyable job (garbage collecting, long-distance transportation, complex integrated systems, sports), it was both interesting and reassuring to see that there are manual over-rides on their mission-critical equipment.

…But hidden

The opposite situation could get a little tricky though. If the ship was in manual mode, with the door closed, and no qualified or trained personnel on the bridge, it would be incredibly difficult for them to figure out how to physically turn the ship back to auto-pilot. A hidden emergency control is useless in an emergency.

Hopefully, considering the heavy use of voice recognition on the ship, there is a way for the ship to recognize an emergency situation and quickly take control. We know this is possible because we see the ship completely take over and run through a Code Green procedure to analyze whether Eve had actually returned a plant from Earth. In that instance, the ship only required a short, confused grunt from the Captain to initiate a very complex procedure.

Security isn’t an issue here because we already know that the Axiom screens visitors to the bridge (the Gatekeeper). By tracking who is entering the bridge using the Axiom’s current systems, the ship would know who is and isn’t allowed to activate certain commands. The Gatekeeper would either already have this information coded in, or be able to activate it when he allowed people into the bridge.

For very critical emergencies, a system that could recognize a spoken ‘off’ command from senior staff or trained technicians on the Axiom would be ideal.

Anti-interaction as Standard Operating Procedure


The hidden door, and the obscure hard-wired off button continue the mission of Buy-N-Large: to encourage citizens to give up control for comfort, and make it difficult to undo that decision. Seeing as how the citizens are more than happy to give up that control at first, it looks like profitable assumption for Buy-N-Large, at least in the short term. In the long term we can take comfort that the human spirit–aided by an adorable little robot–will prevail.

So for BNL’s goals, this interface is fairly well designed. But for the real world, you would want some sort of graceful degradation that would enable qualified people to easily take control in an emergency. Even the most highly trained technicians appreciate clearly labeled controls and overrides so that they can deal directly with the problem at hand rather than fighting with the interface.

Dust Storm Alert


While preparing for his night cycle, Wall-E is standing at the back of his transport/home. On the back drop door of the transport, he is cleaning out his collection cooler. In the middle of this ritual, an alert sounds from his external speakers. Concerned by the sound, Wall-E looks up to see a dust storm approaching. After seeing this, he hurries to finish cleaning his cooler and seal the door of the transport.

A Well Practiced Design

The Dust Storm Alert appears to override Wall-E’s main window into the world: his eyes. This is done to warn him of a very serious event that could damage him or permanently shut him down. What is interesting is that he doesn’t appear to register a visual response first. Instead, we first hear the audio alert, then Wall-E’s eye-view shows the visual alert afterward.

Given the order of the two parts of the alert, the audible part was considered the most important piece of information by Wall-E’s designers. It comes first, is unidirectional as well as loud enough for everyone to hear, and is followed by more explicit information.


Equal Opportunity Alerts

By having the audible alert first, all Wall-E units, other robots, and people in the area would be alerted of a major event. Then, the Wall-E units would be given the additional information like range and direction that they need to act. Either because of training or pre-programmed instructions, Wall-E’s vision does not actually tell him what the alert is for, or what action he should take to be safe. This could also be similar to tornado sirens, where each individual is expected to know where they are and what the safest nearby location is.

For humans interacting alongside Wall-E units each person should have their own heads-up display, likely similar to a Google-glass device. When a Wall-E unit gets a dust storm alert, the human could then receive a sympathetic alert and guidance to the nearest safe area. Combined with regular training and storm drills, people in the wastelands of Earth would then know exactly what to do.

Why Not Network It?

Whether by luck or proper programming, the alert is triggered with just enough time for Wall-E to get back to his shelter before the worst of the storm hits. Given that the alert didn’t trigger until Wall-E was able to see the dust cloud for himself, this feels like very short notice. Too short notice. A good improvement to the system would be a connection up to a weather satellite in orbit, or a weather broadcast in the city. This would allow him to be pre-warned and take shelter well before any of the storm hits, protecting him and his solar collectors.

Other than this, the alert system is effective. It warns Wall-E of the approaching storm in time to act, and it also warns everyone in the local vicinity of the same issue. While the alert doesn’t inform everyone of what is happening, at least one actor (Wall-E) knows what it means and knows how to react. As with any storm warning system, having a connection that can provide forecasts of potentially dangerous weather would be a huge plus.

Most polite getaway car ever


When the anonymous Section 6 operatives infiltrate and attack Section 9 to abduct what remains of the cybernetic body housing Project 2501, you’d think the last thing on their mind would be courteous driving. Yet when they are fleeing Togusa’s mighty mullet-fueled pistol rage, we see a surprisingly polite feature of their car.

Speeding along, they come to a cross-alley where they nearly run into a passing garbage truck. They slam on their brakes, and reverse the car to give the truck some room. When they’re reversing, a broad red panel on the back of the vehicle illuminates the English word “BACK.”



The signal disappears when the brake is pressed and the entire panel glows the bright red.


We see the rear end of other vehicles throughout the movie, and none even have the display surface to present such a signal. Even Batou’s ride—and he’s a badpass—lacks anything like a large display surface.


This is unique in the film to this vehicle. It seems that yes, Section 6 is not only trying to cover the tracks that lead to the artificial intelligence that they have created, but are driving the most polite getaway car ever while doing it.

To be clear: This is a bad idea

First of course, driving around in a unique vehicle goes against the whole plan of trying to get away. So, there’s that.

Secondly, why is it in English? We see a lot of signage in the movie, and it’s all Chinese (tip-o-the hat to commenter Don for helping me identify the characters), so this is another conspicuous signal. We do see broken-English labels on the virtual 3D scanner, but this “interface” English in software is not unheard of.

Lastly, it’s unsafe. In traffic accidents, split-seconds of delay can be deadly, and reading is a slower process than just seeing. The more common white (or amber in the antipodes) reversing lamps is a much more arresting, immediate, and safe signal to the drivers behind you, and so would make a much better choice.