Cyberspace: Newark Copyshop

The transition from Beijing to the Newark copyshop is more involved. After he travels around a bit, he realizes he needs to be looking back in Newark. He “rewinds” using a pull gesture and sees the copyshop’s pyramid. First there is a predominantly blue window that unfolds as if it were paper.


And then the copyshop initial window expands. Like the Beijing hotel, this is a floor plan view, but unlike the hotel it stays two dimensional. It appears that cyberspace works like the current world wide web, with individual servers for each location that can choose what appearance to present to visitors.

Johnny again selects data records, but not with a voice command. The first transition is a window that not only expands but spins as it does so, and makes a strange jump at the end from the centre to the upper left.


Once again Johnny uses the two-handed expansion gesture to see the table view of the records. Continue reading

Gravitic distortion

As Ibanez and Barcalow are juuuuuust about to start a slurpy on-duty make out session, their attention is drawn by the coffee mug whose content is listing in the glass.


Ibanez explains helpfully, “There’s a gravity field out there.” Barcalow orders her to “Run a scan!” She turns to a screen and does something to run the scan, and Barcalow confirms that “Sensors [are] on” As she watches an amber-colored graticule distort as if weighed down by an increasingly heavy ball while a Big Purple Text Label blinks GRAVITIC DISTORTION. Two numbers increment speedily at the bottom-right edge of the screen and modulus at 1000. “There,” she says.


So many plot questions

  • What kind of coffee cups can withstand enough gravity to tip the contents 45 degrees but remain themselves perfectly still and upright?
  • Why did they need the coffee cup? Wouldn’t their inner ear have told them the same thing faster?
  • Why is the screen in the background of the coffee cup still blinking OPTIMAL COURSE?

Of course we have to put these aside in favor of the interaction design questions.

First the “workflow”

Why on earth would they need to turn on sensors? Aren’t the sensors only useful when they’re sensing? If you have a sense that something is wrong, turning on the sensors only confirms what you already know. This is still more of that pesky stoic guru metaphor. This should have been an active academy that warned them—loudly—the moment nearby gravity started looking weird.

The visualization is not bad…

Let’s pause the criticism for one moment to give credit where credit is due. The grid vortex is a fast and reliable way to illustrate the invisible problem that they’re facing and telegraph increasing danger. Warped graticules have been a staple of depicting spacetime curvature since Disney’s 1979 movie The Black Hole.

The gravity well as depicted in The Black Hole (1979).

The gravity well as depicted in The Black Hole (1979).

This is also the same technique that scientists use to depict the same phenomenon, so it’s got some street cred, too.


The same thing can be shown in 3D, but it’s visually noisier. Moreover, the 2D version builds on our sense of basic physics, as we can easily imagine what would happen to anything nearing the depression. So, it’s mostly the right display.

…But then, the interaction

Despite the immediacy of the display, there’s a major problem. Sure, this interface conveys impending doom, but it doesn’t convey any useful information to help them know where the threat is coming from or what to do about it after they know that doom impends. (Plus, they had to turn it on, and all it tells them is, “Yep, looks pretty bad out there.”) To design this right, they need a sense of the 3D vector of the threat as compared to their own vector, and what the best available options are.

Better: Augmented reality to telegraph the invisible threat

Fortunately, we already have the medium and channel for Ibanez and Barcalow to immediately understand the 3D direction of the threat in the real world and most importantly, in relation to the ship’s trajectory and orientation, since that’s the tool they have on hand to avoid the threat. We’ve already seen that volumetric projection is a thing in this world, so the ship should display the VP just outside the ship’s viewports. The animation can illustrate the threat coming from the outside on the outside, and fade once the threat gets to be in a range of visible light. In this way there’s no 2D to 3D interpretation. It’s direct. Where’s the unexpected gravitic distortion? Look out the window. There. There is the the unexpected gravitic distortion. The HUD display would need to be aimed at the navigator’s seat, but for very distant objects, e.g. out of visible light range, the parallax shift wouldn’t be problematic for other locations on the bridge. You’d also have to manage the scenario where the threat comes from a direction not out the window (like, say, through the floor) but you can just shift the VP interior for that.

Including a screen comp by Deviant artist scrollsofaryavart.

Including a screen comp by Deviant artist scrollsofaryavart.

Next, you could use VP inside the ship to show the two paths and point of collision, as well as best predicted paths (there’s that useful active academy metaphor again.) Then we can let Ibanez trust her own instincts as she presses the manual override to steer the ship clear. I don’t have the time to comp an internal VP up right now, so I’ll rely on your imagination to comp this particular part of a much better solution than what we see on screen.


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.


Roach Cam


To learn the plans of the President, Zorg’s flunky named Right Arm infiltrates the briefing room via a remote-controlled cockroach. This adorable insect has a small parabolic receiver antenna on its back. Right Arm can watch what it sees with its eyes and listen to what it can hear through its… cerci?


The screen he uses is mostly full of the roachcam video. But it is unfortunately surrounded by some screen-green sciencey nonsense. A row across the top is headed “001” with rectangles labeled “MOVE”, “METHOD”, “CHECK”, and “SYSTEM.” A row just below is headed “A-B” with rectangles labeled “SPEED”, “TIMER”, “EXIT”, and “FILTERS.” A column of screen-green nonsense shapes fills the left side. A small butterfly-shaped graph at the bottom-left is labeled “CHECK.” A small box labeled “CALCULATING” is in the lower middle, which occasionally fills with scrolling nonsense. The right side of the screen is full of a circular graph showing a seizure-inducing flashing pair of green concentric circles. A green 8×8 grid on the right stays empty the whole time, though it is arguably the most likely useful thing, i.e. an overhead view of threats, say, like presidents brandishing cockroach-smashing shoes. Below the unused grid is a diagram of the roach itself, probably useful for understanding the health of the vehicle. Below that is a bit of unintelligible text reversed out of a gray background. When the roach nears the President, a bit of green nonsense text appears overlaid on the video feed, though it never changes.

I think this screen would have been less distracting and more helpful for Right Arm if you stripped away all the gunk at the top, the nonsensical overlay, trashed the column of hastily-drawn icons, saved him the constant distraction of the seizure circle by removing it, and leaving him with the two things that would actually be useful: the map (populated of course with some useful information), and the roach health diagram. Even though this screen is seen only for a few seconds at most, it reads as if it was hastily put together, unlike most other things seen in the film.



He is able to control the roach’s movement by means of a joystick with a rotating head. In contrast to the screen, this provides exactly what Right Arm needs to control the roach, and no more. He can move it forward and back by pushing the joystick forward and back. He can have it strafe right or left by moving the joystick appropriately. And when he wants to have it turn right or left, he can twist the joystick head in that direction. Pushing or twisting farther results in more motion. All told, a perfect input control for the task at hand. At least until you ask the roach.