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  • Dying Light: The Beast Preview – A Franchise Return to Form

    Dying Light: The Beast Preview – A Franchise Return to Form

    The Dying Light brand has been one of the most interesting and innovative monster life horror games, with the best-selling debut game honoring its 10th anniversary this season. After 2022’s standalone sequel Dying Light 2, publisher Techland is returning to original franchise protagonist Kyle Crane for the series ‘ third installment, Dying Light: The]… ]

    The second article on Den of Geek was Dying Light: The Beast Preview – A Franchise Return to Form.

    This article contains spoilers for Wayward Pines ‘ second season.

    Premiering in 2015, the second season of Fox’s Wayward Pines provided the design for excellent, gripping science fiction television … even if its second and last year offers an ending some regard weak.

    Wayward Pines, a seemingly idyllic remote Idaho community, is the setting for the show. Ethan Burke, a Secret Service agent, is the subject of the plot’s investigation into the disappearances of his two coworkers ( Matt Dillon ). After a major injury, he wakes up in a tightly-controlled area where there is no escape and nothing is as it seems. The series ‘ overarching narrative doesn’t depend on high-tech gadgetry or aliens to elicit inquiries. Alternatively, following the analysis along with Ethan makes us wonder if safety is a lie. What if command looks like satisfaction? How far will people move to defend the peace? What if the dragon of the story lives inside the windows rather than the gate?

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    The M. Night Shyamalan-produced show ( he also directed the pilot ) transports us to a place that seems almost too real from the beginning. Every conversation and laugh has a slight off-center quality. Stale. enforced. Component unknown movie, part notice, and part alert, the first episode also sets the tone. Its sci-fi strategy doesn’t move on spectacle. It challenges us to examine ourselves, exposing how quickly we sacrifice control for the conceit of harmony. This is psychological story that weaves its styles through every time. It’s discovery packaged as a slower, creeping understand.

    Wayward Pines forges a unique path from reveals like Twin Peaks and Lost rather than simply borrowing from them. It is a deliberate, internal test. The genius of time one is how those suggestions aren’t only stated. They are incorporated into the city, its architecture, its citizens, and its decisions. Our personal psyches are subtlely blown out.

    Wayward Pines was a strong and disconcerting mirror that reflected how easily we mistake power for health and how fragile our idea of peace actually is.

    And it challenges us to observe it.

    Satisfaction comes at a price.

    &#8220, The laws are easy. You’ll be healthy if you follow them. &#8221,
    — Sheriff Pope

    Compliance keeps the idea of relaxation in Wayward Pines intact. The location’s name implies a great town, hot and orderly, but built on curfews, disappearances, and behavior. Folks vanish for stepping out of line and all accepts it as needed.

    In the second season of the television series” Do Not Examine Your Life Before,” we learn that even mentioning the outside world is punishable by the public’s murder. It’s a clear way to silencing pushback, and it works because Kate ( Carla Gugino ), Ethan’s former partner, both professionally and romantically, fake normalcy to survive, even after being found by Ethan. In episode six” Choices”, the founder and leader of Wayward Pines, David Pilcher ( Toby Jones ), openly says comfort must be manufactured by any means, including deception and death. He controls security and storage suppression as the designer, believing that this is the only way to preserve what is left of humanity.

    That mirrors real-life methods of pleasure built on knowledge, concern, and a required idea of better, even as difficulties recipes behind closed doors. Whether we are aware of these methods or entangled in a groupthink pattern, we are constantly a part of them immediately. These areas appear to be redlined, offering growth while secretly excluding those they consider to be “undesirable.” Business cities like Pullman, Illinois or mine cities in the South that provided the spots to survive, but entirely controlled everything. Yet the Patriot Act’s mass surveillance, which reframed being watched as a safety net, and enforcers of peace by exclusion include sunset town culture.

    Evolution Isn’t Clear. It’s Chaotic.

    They are not species, according to &nbsp&#8220. They are what followed us. &#8221,
    — David Pilcher

    What’s outside the gate isn’t connected to the past. The Abbies &#8211, faster, stronger, and evolved &#8211, are what society became while the village stayed frozen in time.

    In” Selections,” Pilcher acknowledges that their risk is not their behaviour but what they represent. In” The Friendliest Place on Earth” and” A Reckoning,” we see the Abbies communicate and strategize, making us wonder if they are actually monstrous or just the start of the process. Pilcher was apparently a fan of the Richard Mattheson tale I Am Legend because his views on Abbies carry a similar pounds. The Abbies were recovering room while the city clung to an antiquated version of itself, almost as if he were acknowledging this. They overcame it, evolving deliberately, and so doing. In “Cycle”, one yet locks gaze with Ethan as if he recognizes him. It’s not like being victim to a monster, it’s. It&#8217 is a pair of people acknowledging a larger ecosystem and trying to define their cooperation. This individual, non-animalistic behaviour is Pilcher’s theories rooted in anxiety meeting the reality of the next level of mankind, face-to-face. Absolutely.

    The community attempts to control this evolution while denying it. Nature, nevertheless, doesn’t beg permission to do so and that refusal of progress is what dooms the area.

    And if we react in the same way, rejecting what challenges us or threatens our satisfaction, we run the risk of suffocating under our own strength. Dynasties are a product of internal decay. Our situations have been entirely damaged by short term and short observed business. Evolving refers to change, and death is no longer a “what if” when we create networks or adhere to principles that only provide the already-known. It turns into a call.

    Fear Stops Us from Becoming More

    Fear is more than just a tactic. It adopts traditional and contemporary aesthetics. In” Choices” and” The Friendliest Place on Earth”, resistance such as asking about the town’s origin, questioning the rules, or attempting escape is met with suppression. Harold ( Tom Stevens ), who was once a member of the underground resistance that wanted to take down the town from the top down, breaks while being interrogated in” Betrayal.” His fear of torture overshadows the battle that he has left. He is then publicly executed, his legacy rewritten entirely, and the town sinks even further into the acceptance of ritualized violence as the tax for rebellion. &nbsp,

    Children are instructed to report their own parents in” A Reckoning” and use public executions as educational tools. The consistent programming is the installation of obedience-laced procedures. They’re effective as well, as one student even criticizes a teacher for being too lenient.

    Ben ( Charlie Tahan ), the son of Ethan Burke, struggles internally due to his parents ‘ resistance and the indoctrination of his peers, demonstrating how lull and introspection still ring. But in “Cycle”, after Ethan’s death, the town adapts. The system tightens its grip as the First Generation, who is indoctrinated for this moment, steps in. An indictment of the areas we no longer need to be taught about. &nbsp,

    Pilcher hoped to restart humanity in order to save it. He actually recreated a failed past. The town mimics a postcard-perfect, 1950s America made up of rigid roles, arranged families, curated jobs, enforced identities.

    Through Megan ( Hope Davis ), Wayward Pines Academy’s director, Theresa ( Shannyn Sossamon ), Ethan’s wife and representative of quiet resistance, has access to restricted files in” Betrayal.” Theresa discovers fabricated records as a result of Megan’s unsuccessful attempt to indoctrinate her through community infrastructure. Families don’t exist naturally. They have a job. Even Ben and Amy’s blossoming relationship is subtly guided, with less emphasis on love and more on reproduction.

    Pilcher isn’t a villain in the traditional sense. He believes that without progress, preservation is regression because he is a preservationist. However, for someone who is driven by the truth, the need to know, to question, and ultimately discover what is real is not something that just disappears. Theresa is stubborn in her pursuit of it. She observes the internal monologue of her human spirit, which is the one that we all possess inside of us. She considers her part in the revolution and quietly joins it. Her resistance was fueled by her spirit even when obedience was weaved throughout the culture of the town.

    A Dystopia Built on Obedience Is a Utopia

    The fence and the Abbies are not the most terrifying parts of Wayward Pines. It’s that no one needs those fences to stay imprisoned. Believers are the real prison. After Ethan’s sacrifice, Ben awakens in “Cycle” to discover that the First Generation is in charge. Everything remains. There is no reset. Just restoration.

    Amy, who once symbolized possibility, now smiles because she believes everything is finally stable. Not crushing people wasn’t the end goal. The real win is convincing them that the cage is safe. The ending is a rebirth of the cycle continuing, but with different and elevated players.

    Wayward Pines is not a story of hope or revolution. It’s a parable about how systems raise people without question to protect it. A scary reality we are more than capable of being a part of.

    Wayward Pines season 1 is misunderstood, not just underappreciated. One of the most psychologically complex sci-fi stories in recent memory is hidden among the genre twists. It warns what happens when we mistake obedience for morality, control for peace, and regression for safety. Its themes are contemporary, terrifying, and eerie.

    This is what the best science fiction accomplishes. It mirrors us. Think Sinners, Get Out, Black Mirror, and even more recently, The Twilight Zone. stories that challenge the status quo’s comfort and make us question the systems we already reside in. Wayward Pines saw it all clearly. And it dared to inquire,” What happens if we don’t?”

    The first episode of Wayward Pines Season 1 Remains All-Time Great Sci-Fi TV drew attention from Den of Geek.

  • The Fantastic Four: First Steps Review: Some Quality Family Time in the MCU

    The Fantastic Four: First Steps Review: Some Quality Family Time in the MCU

    The sun has set too soon, and the hour has passed. For ominous news surely apply to the inhabitants of Earth in The Fantastic Four: First Steps. Galactus, the Devourer of Worlds, is in this film, after all. But, it also applies to a large crowd of devoted fans of Marvel Comics. Despite four]… ]

    On Den of Geek, the second publish The Fantastic Four: First Steps Review: Some Quality Family Time in the MCU.

    The second season of Wayward Pines has clues in this article.

    Premiering in 2015, the second season of Fox’s Wayward Pines provided the design for excellent, gripping science fiction television … even if its second and last year offers an ending some regard weak.

    Wayward Pines, Idaho, appears to be a rural area with a sense of exquisite rural life. Ethan Burke, a Secret Service agent ( Matt Dillon ), is the subject of this film’s investigation into the disappearances of his two coworkers. After a serious injury, he wakes up in a tightly-controlled area where there is no exit and nothing is as it seems. The series ‘ overarching narrative doesn’t rely on high-tech gadgetry or aliens to elicit inquiries. Alternatively, following the inspection along with Ethan makes us wonder if safety is a lie. What if command looks like convenience? How far will people come to defend the peace? What if the demon of the story lives inside the windows rather than the fence?

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    The M. Night Shyamalan-produced present, which he also directed the captain, transports viewers to an almost impossible position. Every conversation and teeth has a slight off-center quality. Stale. enforced. The first episode also sets the tone for the next season, which is equal parts mystery thriller and warning. Its sci-fi strategy doesn’t move on spectacle. It challenges us to look inside and reveals how quickly we trade freedom for the notion of order. This is psychological story that weaves its styles through every time. It’s discovery packaged as a gradual, creeping understand.

    Wayward Pines forges a street of its own, not just from indicates like Twin Peaks or Lost. It is a psychological, unintentional test. The genius of time one is how those thoughts aren’t simply stated. They are incorporated into the city, its architecture, its citizens, and its alternatives. It’s a simple repression of our own emotions.

    Wayward Pines was a strong and disconcerting mirror that reflected how easily we mistake power for health and how fragile our idea of peace actually is.

    And it challenges us to observe it.

    Costs Are a Price for Comfort

    &#8220, The laws are easy. Observe them, and you’ll be secure. &#8221,
    — Sheriff Pope

    Compliance keeps the idea of comfort in Wayward Pines intact. The location’s name implies a great town, hot and orderly, but built on curfews, disappearances, and behavior. Individuals vanish for stepping out of line and all accepts it as needed.

    In the second season of the television series” Do Not Examine Your Life Before,” we learn that even mentioning the outside world is punishable by the public’s murder. It’s an overt tactic for silencing pushback, and it works because Kate ( Carla Gugino ), Ethan’s former partner, both professionally and romantically, fake normalcy to survive, even after being found out by Ethan. In episode six” Choices”, the founder and leader of Wayward Pines, David Pilcher ( Toby Jones ), openly says comfort must be manufactured by any means, including deception and death. As an architect, he controls security and storage retention, believing that this is the only method to salvage what is left of mankind.

    That mirrors real-life methods of pleasure built on knowledge, concern, and a required idea of better, even as difficulties recipes behind closed doors. Whether we are conscious of them or entangled in a period of group reflection for the greater good, we are actively a part of these methods today. These areas appear to be redlined, offering growth while secretly excluding those they consider to be “undesirable.” Business cities like Pullman, Illinois or mine cities in the South that provided the spots to survive, but entirely controlled everything. This includes Sunset city society, promoting peace through isolation, and Patriot Act mass surveillance that altered being watched as a safety net.

    Development Isn’t Clear. It’s Chaotic.

    They are not species, according to &nbsp&#8220. They are what followed us. &#8221,
    — David Pilcher

    What’s outside the gate isn’t going to stay in the past. The Abbies &#8211, faster, stronger, and evolved &#8211, are what society became while the village stayed frozen in time.

    In” Selections,” Pilcher acknowledges that their risk is not their behaviour but what they represent. In” The Friendliest Place on Earth” and” A Reckoning,” we see the Abbies communicate and strategize, which raises the question of whether they are truly monstrous or just the start of the process. Pilcher was apparently a fan of the Richard Mattheson tale I Am Legend because his views on Abbies carry a similar pounds. The Abbies were recovering area while the city clung to an antiquated version of itself, almost as if he were acknowledging this. By surpassing it and evolving deliberately as well, they threatened society. In “Cycle”, one yet locks gaze with Ethan as if he recognizes him. It isn’t like being predator meets a monster, it is. It&#8217 is a pair of people acknowledging a larger ecosystem and trying to define their cooperation. This individual, non-animalistic behaviour is Pilcher’s theories rooted in anxiety meeting the reality of the next level of mankind, face-to-face. Absolutely speaking.

    The city attempts to control this development while denying it. Nature, nevertheless, doesn’t beg permission to do so and that refusal of progress is what dooms the area.

    And if we react in the same way, rejecting what challenges us or threatens our ease, we run the risk of suffocating under our own strength. Civilizations have sunk from the inside out. Our situations have been entirely damaged by short term and short observed business. Development refers to change, and death is no longer a “what if” when we construct systems or cling to principles that only provide the common. It turns into a request.

    Anxiety Starts Us from Becoming More

    Fear is more than just a ploy. It adopts traditional and contemporary aesthetics. In” Options” and” The Friendliest Place on Earth”, resistance such as asking about the city’s origin, questioning the principles, or attempting leave is met with destruction. Harold ( Tom Stevens ), who was once a member of the underground resistance that wanted to expose the town from the top down, breaks while being interrogated in” Betrayal.” His last battle with the group was overshadowed by his dread of torture. He is then publicly executed, his reputation rewritten entirely, and the city sinks even further into the embrace of ritualized crime as the taxes for revolution. &nbsp,

    Children are taught to record their own families in” A Reckoning” and use common killings as educational tools. The continuous development is the installation of obedience-laced techniques. They’re efficient as well, as one student also criticizes a tutor for being too lenient.

    Ben ( Charlie Tahan ), the son of Ethan Burke, has internal conflict between the resistance of his parents and the indoctrination of school, which shows that freedom and introspection still linger. But in “Cycle”, after Ethan’s demise, the village changes. The program tightens its grip as the First Generation, who is indoctrinated for this moment, ways in. An indictment of where we are concerned is no longer required to get taught and is no longer seen as useful. &nbsp,

    Pilcher hoped to restart civilization by saving it. What he actually accomplished was resurrect a history that had already failed. The town resembles a postcard-perfect, 1950s America made up of firm tasks, arranged families, curated work, enforced personalities.

    Through Megan ( Hope Davis ), the head of Wayward Pines Academy, Theresa ( Shannyn Sossamon ), Ethan’s wife and representative of quiet resistance, has access to restricted files in” Betrayal.” Theresa discovers fabricated records as a result of Megan’s unsuccessful attempt to empower her using community infrastructure. People don’t occur normally. They are given. Yet Ben and Amy’s blossoming marriage is gently guided, with less emphasis on reproduction and more on love.

    Pilcher isn’t a criminal in the traditional feeling. He believes that survival without advancement is regression because he is a preservationist. However, for someone who is driven by the truth, the desire to know, question, and finally discover what is true is not something that just disappears. Theresa is arrogant in her quest of it. She observes the inner monologue of her people spirit, which is the one that we all possess inside of us. She silently joins the trend and considers her place. Her weight was fueled by her spirit even when devotion was weaved throughout the tradition of the city.

    A Dystopia Built on Behavior Is a Utopia

    The border and the Abbies are not Wayward Pines ‘ most terrifying features. It’s that no one needs those gates to be imprisoned. The true captivity is actually faith. After Ethan’s devotion, Ben awakens in “Cycle” to discover that the First Generation is in charge. Whatever remains. There is no update. Only restoring

    Amy, who previously symbolized chance, now smiles as she believes everything is ultimately firm. Not the end goal was to crush people, either. The real gain is convincing them that the cage is secure. The ending is a rebirth of the cycle continuing, but with different and elevated players.

    Wayward Pines is not a tale of hope or revolution. It’s a parable about how systems raise people without question to protect it. A scary reality we are more than capable of being a part of.

    Wayward Pines season 1 is misunderstood, not just underappreciated. One of the most psychologically complex sci-fi stories to appear beneath the genre twists is hidden within. It warns what happens when we mistake obedience for morality, control for peace, and regression for safety. Its themes are contemporary, terrifying, and eerie.

    The best sci-fi does this, in my opinion. It mirrors us. Think of The Twilight Zone, Get Out, Black Mirror, and, more recently, Sinners. stories that challenge the status quo’s comfort and make us question the systems we already reside in. Wayward Pines saw it all clearly. And it dared to inquire,” What happens if we don’t?”

    The first episode of Wayward Pines Season 1 Remains All-Time Great Sci-Fi TV drew attention from Den of Geek.

  • How SAKAMOTO DAYS Leads Shonen’s Assassin Trend

    How SAKAMOTO DAYS Leads Shonen’s Assassin Trend

    This article was produced in collaboration with Netflix and appears in the Den of Geek x Sakamoto Days particular version, which will be released in the middle of July. Sakamoto Days Part 2 uploads on July 14. The power of graphics usually pushes the boundaries of storytelling. Every year, more than 200 anime are produced, giving viewers plenty of [ …] ].

    The article How SAKAMOTO DAYS Leads Shonen’s Assassin Trend appeared first on Den of Geek.

    The second season of Wayward Pines has clues in this article.

    Even though its second and final season offers some viewers a flawed conclusion, Fox’s Wayward Pines ‘ first year, which premiered in 2015, served as the design for excellent, gripping research literature television.

    The display is set in a seemingly idyllic remote Idaho area, Wayward Pines. Ethan Burke, a Secret Service agent, is the subject of the plot’s investigation of his two coworkers ‘ disappearances ( Matt Dillon ). He wakes up in a tightly-controlled area after a severe accident, where there is no escape and everything seems to be going as planned. The line ‘ overall narrative doesn’t rely on foreigners or high-tech gadgetry to provoke issues. Alternatively, following the inspection along with Ethan makes us wonder if safety is a lie. What if command resembles satisfaction? How far will people come to defend peace? What if the demon of the story lives inside the windows rather than the gate?

    cnx. command. cnx ( playerId:” 106e33c0-3911-473c-b599-b1426db57530″ ) is the function of the player. render ( “0270c398a82f44f49c23c16122516796” ),.

    From the jump, the M. Night Shyamalan-produced show ( he also directed the pilot ) drops us into a place that feels almost too perfect to believe. Every conversation and teeth has a slight off-center quality. sour. Enforced. Component unknown movie, part notice, and part alert, the first episode also sets the tone. Its sci-fi idea doesn’t move toward scene. It dares us to look inwards, exposing how quickly we trade freedom for the idea of serenity. This is psychological story that weaves its styles through every time. It’s a revelation that comes with a slow, creeping understand.

    Wayward Pines doesn’t only borrow from indicates like Twin Peaks or Lost, it forges a street of its own. It is regarded as a deliberate, mental test. The genius of time one is how those thoughts aren’t simply stated. They’re built into the city, its architecture, its people, and its alternatives. It’s a simple reversal of our own soul.

    Wayward Pines was a strong and disconcerting reflection of how quickly we mistake power for security and how fragile our perception of peace is in reality.

    And it dares us to view it.

    Ease comes at a price.

    The guidelines are straightforward. Following them, and you’ll be protected. &#8221,
    Deputy Pope

    The idea of relaxation in Wayward Pines is maintained by conformity. The location’s name implies a great town, hot and orderly, but built on curfews, disappearances, and behavior. All accepts it as important, but people vanish when they cross the line.

    In the show’s second season” Do Not Examine Your Career Before”, we learn that even mentioning the outside world is punished by public execution. It’s an overt tactic for silencing pushback, and it works because Kate ( Carla Gugino ), Ethan’s former partner, both professionally and romantically, fake normalcy to survive, even after being found out by Ethan. In episode six of” Choices,” David Pilcher ( Toby Jones ), the creator and leader of Wayward Pines, declares that comfort must be produced by all means, including deception and death. As the engineer, he controls security and storage reduction, believing that this is the only way to save what’s left of society.

    That echoes systems of pleasure in real life that are based on fear, knowledge, and a forced perception of stronger, even as function thrives behind closed doors. These are devices we are actively a part of now, whether we are conscious of them or caught in a period of party think for the greater good ourselves. These areas appear redlined, selling growth while secretly excluding those whom they believe to be “undesirable” to the public. Companies that provided the living spaces but entirely controlled all, like Pullman, Illinois or mine cities in the South that provided the living conditions. This also includes sunset city culture, enforcing harmony by isolation, and Patriot Act mass surveillance that altered being watched as a safety net.

    Evolution Isn’t Clear. It is bizarre.

    &nbsp, &#8220, They’re certainly species. They are the result of our defeat. &#8221,
    — David Pilcher

    What’s outside the gate is not allowed to continue in the past. The Abbies, who were faster, stronger, and evolved during the town’s icy past, are what society evolved into.

    In” Options”, Pilcher admits their danger isn’t their actions, but what they represent. In” The Friendliest Place on Earth” and” A Reckoning,” we see the Abbies communicate and strategize, making us wonder if they are actually monstrous or just the start of the process. Because of his related impact on Abbies, Pilcher may have been a fan of the Richard Mattheson tale I Am Legend. It’s almost as if he was acknowledging that, while the village clung to an antiquated version of soul, the Abbies were recovering area. They overcame it, evolving actively, and so doing. One also appears to be able to identify Ethan in “Cycle,” but instead they lock their eyes. It is n&#8217, t like predator meeting a monster. It&#8217 is a story of two separate people recognizing a larger ecosystem and trying to define their cooperation. This non-animalistic conduct in humans is Pilcher’s theories driven by a fear of meeting the real world’s second degree of humanity, face-to-face. Absolutely.

    The community attempts to control this evolution while denying it. Nature, however, does not permit it, and the town’s refusal of progress is what will endanger it.

    And if we respond in the same way, rejecting what challenges us or threatens our ease, we risk collapsing under our own strength. Civilizations have fallen from the inside out. Short-term and short-sighted companies have forever damaged our surroundings. Development means change and when we build networks or cling to principles that only provide the comfortable, death is no longer a “what if”. It turns into a request.

    Worry Keeps Us from Increasing Our Potential

    Anxiety isn’t really a strategy. It adopts traditional and contemporary aesthetics. Resistance in” Choices” and” The Friendliest Place on Earth” is met with resistance, including questions about the town’s history, rules-questioning, and attempts to escape. In” Betrayal”, Harold ( Tom Stevens ), once part of the underground resistance that sought to expose the town from the top down, breaks while under interrogation. His dread of rape overshadows the battle that he has left. The city plunges even further into the embrace of ritualized crime as the tax for rebellion as a result of his being formally executed, completely rewriting his legacy, and he is then publicly executed. &nbsp,

    Children are taught to review their own families in” A Reckoning,” and use common killings as educational tools. The implementation of obedience-laced procedures is what drives the regular programming. They’re effective very when one student actually criticizes a teacher for being too liberal.

    Ben ( Charlie Tahan ), the son of Ethan Burke, has internal conflict between the resistance of his parents and the indoctrination of school, which demonstrates how lull and introspection still ring. However, in “Cycle,” the village changes following Ethan’s passing. The First Generation, indoctrinated for this minute, steps in and the system tightens its grip. An accusation of where we no longer need to be taught about, but where we fear is perceived as real. &nbsp,

    Pilcher believed he was saving civilization by restarting it. He actually recreated a failed history. The town resembles a postcard-perfect 1950s America with firm jobs, arranged families, carefully curated jobs, and enforced identities.

    In” Betrayal”, Theresa ( Shannyn Sossamon ), Ethan’s wife and representative of quiet resistance, gains access to restricted files through Megan ( Hope Davis ), the head of Wayward Pines Academy. Theresa discovers fabricated records as a result of Megan’s unsuccessful attempt to empower her using neighborhood infrastructure. People don’t occur normally. They’re assigned. Yet Ben and Amy’s blossoming marriage is gently guided, with less emphasis on love and more on reproduction.

    Pilcher is not a monster in the sense of the word. He’s a traditionalist who doesn’t observe that survival without headway is analysis. However, for someone who is driven by the truth, the desire to know, question, and eventually discover what is true is not something that just disappears. Theresa is persistent in her quest of it. She listens to the inner talk of her mortal heart, the one we all have in us. She slowly joins the rebellion and considers her place. Even when devotion was woven into the town’s lifestyle, her opposition was fueled by her soul.

    Utopia Built on Behavior Is a Myth

    The border and the Abbies are not Wayward Pines ‘ most terrifying features. No single needs those gates to remain imprisoned. The true prison is idea. After Ethan’s devotion, Ben awakens in “Cycle” to discover that the First Generation is in charge. There is still nothing. There’s no update. Only recovery.

    Amy, who previously represented possibility, now exudes a sense of relief that everything is finally stable. Breaking people wasn’t the end objective. The true win is convincing them that the cage is secure. The pattern is reborn with new and more powerful players in the end, which is what happened in the previous one.

    Wayward Pines isn’t a tale of rebellion or yet desire. It’s a tale about how systems raise people to defend it without problem. We are more than capable of embracing this spooky fact.

    Wayward Pines year 1 isn’t really underrated, it’s misunderstood. One of the most psychologically complex sci-fi reports in recent memory can be found hidden beneath the narrative twists. It provides a warning about what happens when we mistake power for peace, behavior for morality, and regress for safety. Its styles are proper, terrifying, and oddly familiar.

    The best science fiction accomplishes this. It mirrors our behavior. Think The Twilight Zone, Find Out, Black Mirror, and even more just, Sinners. stories that challenge the status quo’s comfort and make us question the systems we now reside in. Wayward Pines was able to see it all obviously. And it dared to ask: What happens if we don’t?

    Den of Geek was the first to discuss Wayward Pines Season 1 Bones All-Time Great Sci-Fi Television.

  • That’s Not My Burnout

    That’s Not My Burnout

    Are you like me when I read about people who fade away as they age and who don’t have any sense of connection? Do you feel like your feelings are invisible to the earth because you’re experiencing burnout different? Our primary comes through more when stress starts to press down on us. Beautiful, quiet souls get softer and dissipate into that remote and distracted fatigue we’ve all read about. But some of us, those with fires constantly burning on the sides of our key, getting hotter. I am hearth in my brain. When I face fatigue I twice over, triple down, burning hotter and hotter to try to best the issue. I don’t fade; I’m consumed by passionate stress.

    But what on earth is a zealous stress?

    Envision a person determined to do it all. She is homeschooling two wonderful children while her husband, who is also working mildly, is likewise homeschooling. She has a demanding customer fill at work—all of whom she loves. She wakes up early to get some movement in ( or frequently catch up on work ), prepares dinner while the kids are having breakfast, and works while positioning herself near the end of her “fourth grade” to watch as she balances clients, tasks, and budgets. Sound like a bit? Also with a supportive group both at home and at work, it is.

    Sounds like this person needs self-care because she has too much on her disk. But no, she doesn’t have occasion for that. She begins to feel as though she’s dropping pellets. No accomplishing much. There’s not enough of her to be here and that, she is trying to divide her head in two all the time, all day, every day. She begins to question herself. And as those thoughts creep in more and more, her domestic tale becomes more and more important.

    She instantly KNOWS what she must do! She really Would MORE.

    This is a challenging and dangerous period. Know the reasons? Because when she doesn’t end that new purpose, that storyline will get worse. She instantly starts failing. She isn’t doing much. SHE is not enough. She does fail, she might refuse her family, but she’ll discover more to do. She doesn’t nap as much, proceed because much, all in the attempts to do more. Not succeeds in any objective target despite constantly trying to prove herself to herself. Not feeling “enough”.

    But, yeah, that’s what zealous burnout looks like for me. It doesn’t develop overnight in some great gesture, but it does rather develop gradually over the course of several weeks and months. My burning out procedure looks like speeding up, not a man losing focus. I move quickly and steadily, but I just quit.

    I am the one who was

    It’s interesting the things that shape us. Through the camera of my youth, I witnessed the battles, sacrifices, and fears of a person who had to make it all work without having much. I was happy that my mom was so competent and my dad sympathetic, I never went without and also got an extra here or there.

    Growing up, I didn’t feel shame when my mom gave me food postcards; in fact, I would have likely sparked debates about the subject, orally eviscerating anyone who dared to criticize the disabled person who was attempting to ensure all of our needs were met with so little. As a child, I watched the way the worry of not making those ends meet impacted persons I love. As the non-disabled people in my home, I did take on many of the real things because I was” the one who was” make our lives a little easier. I soon realized that putting more of myself into it was linked to fears or confusion; I am the one who does. I learned first that when something frightens me, I may double down and work harder to make it better. I am in charge of the problem. When individuals have seen this in me as an adult, I’ve been told I seem brave, but make no mistake, I’m not. If I seem courageous, it’s because this behavior was forged from another people’s worries.

    And here I am, more than 30 years later, also feeling the urge to aimlessly force myself forward when faced with daunting tasks in front of me, assuming that I am the one who is and consequently does. I find myself driven to show that I may make things happen if I work longer hours, take on more responsibility, and do more.

    I don’t see people who struggle economically as problems because I have seen how powerful that sea can be; it pulls you along the way. I really get that I have been privileged to be able to prevent many of the problems that were current in my children. That said, I am also” the one who can” who feels she does, but if I were faced with not having much to make ends meet for my own home, I do see myself as having failed. Despite my best efforts and education, the majority of this is due to great riches. I will, but, allow myself the pride of saying I have been cautious with my options to have encouraged that success. My sense of self is the result of the notion that I am” the one who can” and feel compelled to accomplish the most. I can choose to stop, and with some quite literal cold water splashed in my face, I’ve made the choice to before. But that choosing to stop is not my go-to, I move forward, driven by a fear that is so a part of me that I barely notice it’s there until I’m feeling utterly worn away.

    Why all this history, then? You see, burnout is a fickle thing. Over the years, I’ve read and heard a lot about burnout. Burnout is real. Especially now, with COVID, many of us are balancing more than we ever have before—all at once! It’s difficult, and so many amazing professionals are affected by the procrastination, avoidance, and shutting down. There are important articles that relate to what I imagine must be the majority of people out there, but not me. That’s not how I look at burnout.

    The dangerous invisibility of zealous burnout

    A lot of work environments see the extra hours, extra effort, and overall focused commitment as an asset ( and sometimes that’s all it is ). They see a person attempting to overcome obstacles, not a person trapped in fear. Many well-meaning organizations have safeguards in place to protect their teams from burnout. However, in situations like this, those alarms don’t always ring, and some organization members are surprised and depressed when the inevitable stop happens. And sometimes maybe even betrayed.

    Parents—more so mothers, statistically speaking—are praised as being so on top of it all when they can work, be involved in the after-school activities, practice self-care in the form of diet and exercise, and still meet friends for coffee or wine. Many of us watched endless streaming COVID episodes to see how challenging the female protagonist is, but she is strong, funny, and capable of doing it. It’s a “very special episode” when she breaks down, cries in the bathroom, woefully admits she needs help, and just stops for a bit. Truth be told, countless people are hidden in tears or doom-scrolling to escape. We know that the media is a lie to amuse us, but often the perception that it’s what we should strive for has penetrated much of society.

    Women and burnout

    I cherish men. And though I don’t love every man ( heads up, I don’t love every woman or nonbinary person either ), I think there is a beautiful spectrum of individuals who represent that particular binary gender.

    Despite this, women are still more likely than their male counterparts to burn out, especially in these COVID stressful times. Mothers in the workplace feel the pressure to do all the “mom” things while giving 110 %. Mothers not in the workplace feel they need to do more to” justify” their lack of traditional employment. Women who are not mothers frequently feel the need to do even more because they don’t feel the pressure that comes with being a mother. It’s vicious and systemic and so a part of our culture that we’re often not even aware of the enormity of the pressures we put on ourselves and each other.

    And there are costs that go beyond happiness. Harvard Health Publishing released a study a decade ago that “uncovered strong links between women’s job stress and cardiovascular disease”. The CDC noted,” Heart disease is the leading cause of death for women in the United States, killing 299, 578 women in 2017—or about 1 in every 5 female deaths”.

    According to what I’ve read, this connection between work stress and health is more dangerous for women than it is for their non-female counterparts.

    But what if your burnout isn’t like that either?

    You might not be the same as that. After all, each of us is so different and how we respond to stressors is too. It’s part of what makes us human. Don’t put too much emphasis on how burnout looks; instead, learn to recognize it in yourself. Here are a few questions I sometimes ask friends if I am concerned about them.

    Are you content? This simple question should be the first thing you ask yourself. Chances are, even if you’re burning out doing all the things you love, as you approach burnout you’ll just stop taking as much joy from it all.

    Do you feel like you have the authority to refuse? I have observed in myself and others that when someone is burning out, they no longer feel they can say no to things. Even those who don’t” speed up” feel pressured to say “yes” to avoid apprehension.

    What are three things you’ve done for yourself? Another observance is that we all tend to stop doing things for ourselves. anything from avoiding conversations with friends to skipping showers and eating poorly. These can be red flags.

    Are you using justifications? Many of us try to disregard feelings of burnout. Over and over I have heard,” It’s just crunch time”,” As soon as I do this one thing, it will all be better”, and” Well I should be able to handle this, so I’ll figure it out”. And it could be just one more thing you need to learn, or it might just be crunch time. That happens—life happens. Be open to yourself if this continues to happen. If you’ve worked more 50-hour weeks since January than not, maybe it’s not crunch time—maybe it’s a bad situation that you’re burning out from.

    Do you have a plan to stop feeling this way? If something is only temporary and you have to push through, it has an exit route and a reward system.
    defined end.

    Take the time to listen to your friend in the same way. Be honest, allow yourself to be uncomfortable, and break the thought cycles that prevent you from healing.

    So now what?

    Although what I just described is a different path to burnout, it is still burnout. There are well-established approaches to working through burnout:

    • Get enough sleep.
    • Eat healthy.
    • Work out.
    • Go outside.
    • Take a break.
    • Practice self-care in general.

    Those are hard for me because they feel like more tasks. If I’m in the burnout cycle, doing any of the above for me feels like a waste. Why would I take care of myself when I’m dropping all those other balls, according to the narrative? People need me, right?

    Your inner voice might already be pretty bad if you’re deeply in the cycle. If you need to, tell yourself you need to take care of the person your people depend on. If your roles are pushing you toward burnout, use them to help make healing easier by justifying the time spent working on you.

    I have come up with a few suggestions for me to help me remember the airline attendant’s advice to put on your face first when I feel burned out.

    Cook an elaborate meal for someone!

    Okay, since I’m a “food-focused” person, I’ve always been a fan. There are countless tales in my home of someone walking into the kitchen and turning right around and walking out when they noticed I was” chopping angrily”. But it’s more than that, and you should give it a try. Seriously. It’s the perfect go-to if you don’t feel worthy of taking time for yourself—do it for someone else. Because the majority of us work in a digital world, cooking can pique your interest and make you feel present in the moment in all your ways. It can break you out of your head and help you gain a better perspective. In my house, I’ve been known to pick a place on the map and cook food that comes from wherever that is ( thank you, Pinterest ). I enjoy making Indian food because the smells are warm, the bread needs just enough kneading to keep my hands engaged, and the process requires real attention for me because it’s not what I was raised making. And in the end, we all win!

    Vent like a sniveling jerk.

    Be careful with this one!

    I have been making an effort to practice more gratitude over the past few years, and I recognize the true benefits of that. Having said that, sometimes you just need to let it all out, even the ugly ones. Hell, I’m a big fan of not sugarcoating our lives, and that sometimes means that to get past the big pile of poop, you’re gonna wanna complain about it a bit.

    When that is required, approach a trusted friend and express your concerns verbally. You need to trust this friend not to judge, to see your pain, and, most importantly, to tell you to remove your cranium from your own rectal cavity. Seriously, it’s about getting a reality check here! One of the things that I admire most about my husband is how he manages to simplify things down to the simplest. ” We’re spending our lives together, of course you’re going to disappoint me from time to time, so get over it” has been his way of speaking his dedication, love, and acceptance of me—and I could not be more grateful. Of course, it required that I remove my head from that rectal cavity. So, again, usually those moments are appreciated in hindsight.

    Pick up a book!

    There are many books out there that are more like you sharing their stories and how they’ve come to find greater balance than they are self-help. Maybe you’ll find something that speaks to you. Among the titles that have stood out to me are:

    • Thrive by Arianna Huffington
    • Tools of Titans by Tim Ferriss
    • Girl, Stop Apologizing by Rachel Hollis
    • Dare to Lead by Brené Brown

    Or, if I love to read or listen to a book that doesn’t have anything to do with my work-life balance, I can use another tactic. I’ve read the following books and found they helped balance me out because my mind was pondering their interesting topics instead of running in circles:

    • The Drunken Botanist by Amy Stewart
    • Darin Olien’s Superlife
    • A Brief History of Everyone Who Ever Lived by Adam Rutherford
    • Toby Hemenway’s Gaia’s Garden is available.

    If you’re not into reading, pick up a topic on YouTube or choose a podcast to subscribe to. I’ve watched countless permaculture and gardening topics in addition to how to raise chickens and ducks. For the record, I don’t currently have a particularly large food garden or raise any kind of livestock. I just find the topic interesting, and it has nothing to do with any aspect of my life that needs anything from me.

    Give yourself a break.

    You are never going to be perfect—hell, it would be boring if you were. It’s OK to be broken and flawed. Being tired, depressed, and worried is human nature. It’s OK to not do it all. Although being imperfect is terrifying, you cannot be brave without being fearful.

    This last one is the most important: allow yourself permission to NOT do it all. You never promised to be everything to everyone at all times. We have greater power than the repressed fears that motivate us.

    This is hard. It’s challenging for me. It’s what’s driven me to write this—that it’s OK to stop. It’s OK that your unhealthy habit that might even benefit those around you needs to end. You can continue to succeed in life.

    I recently read that we are all writing our eulogy in how we live. What will your professional accomplishments say, knowing that yours won’t be mentioned in that speech? What do you want it to say?

    Look, I get that none of these ideas will “fix it”, and that’s not their purpose. None of us has complete control over what happens in our environment, but only how we react to it. These suggestions are to help stop the spiral effect so that you are empowered to address the underlying issues and choose your response. Most of the time, I find these to be effective. Maybe they’ll work for you.

    Does this sound familiar?

    If something sounds familiar, you are not alone. Don’t let your negative self-talk tell you that you “even burn out wrong”. It is not improper. Even if rooted in fear like my own drivers, I believe that this need to do more comes from a place of love, determination, motivation, and other wonderful attributes that make you the amazing person you are. We’re going to be OK, ya know. The lives that come before us might never have the same meaning as the one we’re striving for, which is acceptable because the only way to judge is in the mirror when we stop and look around.

    Do you remember that Winnie the Pooh sketch that had Pooh eat so much at Rabbit’s house that his buttocks couldn’t fit through the door? It came as no surprise when Rabbit abruptly declared that this was unacceptable because I already associate a lot with him. But do you recall what happened next? He put a shelf across poor Pooh’s ankles and decorations on his back, and made the best of the big butt in his kitchen.

    We are resourceful and aware that we can push ourselves when we are needed, even when we are exhausted to the core or have a ton of clutter in our room. None of us has to be afraid, as we can manage any obstacle put in front of us. And maybe that means we need to redefine success in order to make room for comfort in human nature, but that doesn’t really sound so bad either.

    So, wherever you are right now, please breathe. Do what you need to do to get out of your head. Give thanks and be considerate.

  • Asynchronous Design Critique: Giving Feedback

    Asynchronous Design Critique: Giving Feedback

    One of the most successful soft skills we have at our disposal is feedback, in whatever form it takes, and whatever it may be called. It helps us collaborate to improve our designs while developing our own abilities and perspectives.

    Feedback is also one of the most underestimated equipment, and generally by assuming that we’re already good at it, we settle, forgetting that it’s a talent that can be trained, grown, and improved. Bad comments can lead to conflict on projects, lower confidence, and long-term, undermine trust and teamwork. Quality opinions can be a revolutionary force.

    Practicing our knowledge is absolutely a good way to enhance, but the learning gets yet faster when it’s paired with a good base that programs and focuses the exercise. What are some fundamental components of providing effective opinions? And how can comments be adjusted for isolated and distributed job settings?

    We can find a long history of sequential comments on the web: code was written and discussed on mailing lists since the beginning of open source. Currently, engineers engage on pull calls, developers post in their favourite design tools, project managers and sprint masters exchange ideas on tickets, and so on.

    Design analysis is often the label used for a type of input that’s provided to make our job better, jointly. So it generally adheres to many of the principles with comments, but it also has some differences.

    The material

    The material of the feedback serves as the foundation for every effective criticism, so we need to start there. There are many versions that you can use to design your content. The one that I personally like best—because it’s obvious and actionable—is this one from Lara Hogan.

    This formula is typically used to provide feedback to people, but it also fits really well in a pattern criticism because it finally addresses one of the main inquiries that we work on: What? Where? Why? How? Imagine that you’re giving some comments about some pattern function that spans several screens, like an onboard movement: there are some pages shown, a stream blueprint, and an outline of the decisions made. You notice things that needs to be improved. If you keep the three components of the equation in mind, you’ll have a mental unit that can help you become more precise and effective.

    Here is a reply that could be included in some feedback, and it might appear fair at first glance because it appears to merely fit the equation. But does it?

    Not confident about the keys ‘ patterns and hierarchy—it feels off. May you alter them?

    Observation for style feedback doesn’t really mean pointing out which part of the software your input refers to, but it also refers to offering a viewpoint that’s as specific as possible. Do you offer the user’s viewpoint? Your expert perspective? A business perspective? The perspective of the project manager A first-time user’s perspective?

    When I see these two buttons, I anticipate one to go forward and the other to go back.

    Impact is about the why. Just pointing out a UI element might sometimes be enough if the issue may be obvious, but more often than not, you should add an explanation of what you’re pointing out.

    When I see these two buttons, I anticipate one to go forward and the other to go back. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow.

    The question approach is meant to provide open guidance by eliciting the critical thinking in the designer receiving the feedback. Notably, in Lara’s equation she provides a second approach: request, which instead provides guidance toward a specific solution. While that’s a viable option for feedback in general, in my experience, going back to the question approach typically leads to the best solutions because designers are generally more at ease in being given an open space to explore.

    The difference between the two can be exemplified with, for the question approach:

    When I see these two buttons, I anticipate one to go forward and the other to go back. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Would it make sense to unify them?

    Or, for the request approach:

    When I see these two buttons, I anticipate one to go forward and the other to go back. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Let’s make sure that all screens have the same pair of forward and back buttons.

    At this point in some situations, it might be useful to integrate with an extra why: why you consider the given suggestion to be better.

    When I see these two buttons, I anticipate one to go forward and the other to go back. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Let’s make sure that all screens have the same two forward and back buttons so that users don’t get confused.

    Choosing the question approach or the request approach can also at times be a matter of personal preference. I did rounds of anonymous feedback and I reviewed feedback with other people a while back when I was putting a lot of effort into improving my feedback. After a few rounds of this work and a year later, I got a positive response: my feedback came across as effective and grounded. Until I changed teams. Quite unexpected, my next round of criticism from one particular person wasn’t very positive. The reason is that I had previously tried not to be prescriptive in my advice—because the people who I was previously working with preferred the open-ended question format over the request style of suggestions. However, there was a person in this other team who had always preferred specific guidance. So I adapted my feedback for them to include requests.

    One comment that I heard come up a few times is that this kind of feedback is quite long, and it doesn’t seem very efficient. Yes, but no. Let’s explore both sides.

    No, this kind of feedback is actually effective because the length is a byproduct of clarity, and giving this kind of feedback can provide precisely enough information for a sound fix. Also if we zoom out, it can reduce future back-and-forth conversations and misunderstandings, improving the overall efficiency and effectiveness of collaboration beyond the single comment. Imagine that in the example above the feedback were instead just,” Let’s make sure that all screens have the same two forward and back buttons”. Since the designer receiving this feedback wouldn’t have much to go by, they might just implement the change. In later iterations, the interface might change or they might introduce new features—and maybe that change might not make sense anymore. The designer might assume that the change is about consistency without the explanation, but what if it wasn’t? So there could now be an underlying concern that changing the buttons would be perceived as a regression.

    Yes, this style of feedback is not always efficient because the points in some comments don’t always need to be exhaustive, sometimes because certain changes may be obvious (” The font used doesn’t follow our guidelines” ) and sometimes because the team may have a lot of internal knowledge such that some of the whys may be implied.

    The equation above is not intended to provide a predetermined template for feedback, but rather a mnemonic to reflect and enhance the practice. Even after years of active work on my critiques, I still from time to time go back to this formula and reflect on whether what I just wrote is effective.

    The tone

    Well-grounded content is the foundation of feedback, but that’s not really enough. The soft skills of the person who’s providing the critique can multiply the likelihood that the feedback will be well received and understood. It has been demonstrated that only positive feedback can lead to sustained change in people. It can be determined by tone alone whether content is rejected or welcomed.

    Since our goal is to be understood and to have a positive working environment, tone is essential to work on. I’ve tried to summarize the necessary soft skills over the years using a formula that resembles that of the content receptivity equation.

    Respectful feedback comes across as grounded, solid, and constructive. It’s the kind of feedback that, whether it’s positive or negative, is perceived as useful and fair.

    The term “timing” describes the moment when the feedback occurs. To-the-point feedback doesn’t have much hope of being well received if it’s given at the wrong time. When a new feature’s entire high-level information architecture is about to go live, it might still be relevant if the questioning raises a significant blocker that no one saw, but those concerns are much more likely to have to wait for a later revision. So in general, attune your feedback to the stage of the project. Early iteration? Iteration that was later? Polishing work in progress? Each of these has unique needs. The right timing will make it more likely that your feedback will be well received.

    Attitude is the equivalent of intent, and in the context of person-to-person feedback, it can be referred to as radical candor. That entails checking before writing to see if what we have in mind will actually help the person and improve the project overall. This might be a hard reflection at times because maybe we don’t want to admit that we don’t really appreciate that person. Although it’s possible, and that’s okay, it’s hoped not to be the case. Acknowledging and owning that can help you make up for that: how would I write if I really cared about them? How can I avoid being passive aggressive? How can I encourage constructive behavior?

    Form is relevant especially in a diverse and cross-cultural work environments because having great content, perfect timing, and the right attitude might not come across if the way that we write creates misunderstandings. There could be many reasons for this, including the fact that occasionally certain words may cause specific reactions, that non-native speakers may not be able to comprehend all thenuances of some sentences, that our brains may be different, and that we may perceive the world differently. Neurodiversity is a requirement. Whatever the reason, it’s important to review not just what we write but how.

    A few years back, I was asking for some feedback on how I give feedback. I was given some sound advice, but I also got a surprise comment. They pointed out that when I wrote” Oh, ]… ]”, I made them feel stupid. That’s not what I meant to say! I felt really bad, and I just realized that I provided feedback to them for months, and every time I might have made them feel stupid. I was horrified … but also thankful. I quickly changed my spelling mistake by adding “oh” to my list of replaced words (your choice between aText, TextExpander, or others ) so that when I typed “oh,” it was immediately deleted.

    Something to highlight because it’s quite frequent—especially in teams that have a strong group spirit—is that people tend to beat around the bush. It’s important to keep in mind that having a positive attitude doesn’t necessarily mean passing judgment on the feedback; rather, it simply means that you give it constructive and respectful feedback, whether it be difficult or positive. The nicest thing that you can do for someone is to help them grow.

    We have a great advantage in giving feedback in written form: it can be reviewed by another person who isn’t directly involved, which can help to reduce or remove any bias that might be there. When I shared a comment with someone I knew,” How does this sound,”” How can I do it better,” or even” How would you have written it,” I discovered that the two versions had different meanings.

    The format

    Asynchronous feedback also has a significant inherent benefit: it allows us to spend more time making sure that the suggestions ‘ clarity and actionability meet two main objectives.

    Let’s imagine that someone shared a design iteration for a project. You are reviewing it and leaving a comment. There are many ways to accomplish this, and context is of course important, but let’s try to think about some things that might be worthwhile to take into account.

    In terms of clarity, start by grounding the critique that you’re about to give by providing context. This includes specifically describing where you’re coming from: do you have a thorough understanding of the project, or is this your first time seeing it? Are you coming from a high-level perspective, or are you figuring out the details? Are there regressions? Which user’s point of view are you addressing when offering your feedback? Is the design iteration at a point where it would be okay to ship this, or are there major things that need to be addressed first?

    Even if you’re giving feedback to a team that already has some background information on the project, providing context is helpful. And context is absolutely essential when giving cross-team feedback. If I were to review a design that might be indirectly related to my work, and if I had no knowledge about how the project arrived at that point, I would say so, highlighting my take as external.

    We frequently concentrate on the negatives and attempt to list every possible improvement. That’s of course important, but it’s just as important—if not more—to focus on the positives, especially if you saw progress from the previous iteration. Although this may seem superfluous, it’s important to keep in mind that design is a field with hundreds of possible solutions to each problem. So pointing out that the design solution that was chosen is good and explaining why it’s good has two major benefits: it confirms that the approach taken was solid, and it helps to ground your negative feedback. In the longer term, sharing positive feedback can help prevent regressions on things that are going well because those things will have been highlighted as important. Positive feedback can also help, as an added bonus, prevent impostor syndrome.

    There’s one powerful approach that combines both context and a focus on the positives: frame how the design is better than the status quo ( compared to a previous iteration, competitors, or benchmarks ) and why, and then on that foundation, you can add what could be improved. There is a significant difference between a critique of a design that is already in good shape and one that isn’t quite there yet.

    Another way that you can improve your feedback is to depersonalize the feedback: the comments should always be about the work, never about the person who made it. It’s” This button isn’t well aligned” versus” You haven’t aligned this button well”. Just before sending, review your writing to make changes to this.

    In terms of actionability, one of the best approaches to help the designer who’s reading through your feedback is to split it into bullet points or paragraphs, which are easier to review and analyze one by one. You might also think about breaking up the feedback into sections or even across multiple comments if it is longer. Of course, adding screenshots or signifying markers of the specific part of the interface you’re referring to can also be especially useful.

    One approach that I’ve personally used effectively in some contexts is to enhance the bullet points with four markers using emojis. A red square indicates that it is something I consider blocking, a yellow diamond indicates that it needs to be changed, and a green circle provides a thorough, positive confirmation. I also use a blue spiral � � for either something that I’m not sure about, an exploration, an open alternative, or just a note. However, I’d only use this strategy on teams where I’ve already established a high level of trust because it might turn out to be quite demoralizing if I deliver a lot of red squares and change how I communicate that.

    Let’s see how this would work by reusing the example that we used earlier as the first bullet point in this list:

    • 🔶 Navigation—When I see these two buttons, I anticipate one to go forward and the other to go back. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Let’s make sure that all screens have the same two forward and back buttons so that users don’t get confused.
    • � � Overall— I think the page is solid, and this is good enough to be our release candidate for a version 1.0.
    • � � Metrics—Good improvement in the buttons on the metrics area, the improved contrast and new focus style make them more accessible.
    • Button Style: Using the green accent in this context, which conveys a positive action because green is typically seen as a confirmation color. Do we need to explore a different color?
    • Considering the number of items on the page and the overall page hierarchy, it seems to me that the tiles should use Subtitle 2 instead of Subtitle 1. This will keep the visual hierarchy more consistent.
    • � � Background—Using a light texture works well, but I wonder whether it adds too much noise in this kind of page. What is the purpose of using that?

    What about giving feedback directly in Figma or another design tool that allows in-place feedback? These are generally difficult to use because they conceal discussions and are harder to follow, but in the right setting, they can be very effective. Just make sure that each of the comments is separate so that it’s easier to match each discussion to a single task, similar to the idea of splitting mentioned above.

    One final note: say the obvious. Sometimes we might feel that something is clearly right or wrong, and we don’t say it. Or sometimes we might have a doubt that we don’t express because the question might sound stupid. Say it, that’s fine. You might have to reword it a little bit to make the reader feel more comfortable, but don’t hold it back. Good feedback is transparent, even when it may be obvious.

    Another benefit of asynchronous feedback is that written feedback automatically monitors decisions. Especially in large projects,” Why did we do this”? There’s nothing better than open, transparent discussions that can be reviewed at any time, and this could be a question that arises from time to time. For this reason, I recommend using software that saves these discussions, without hiding them once they are resolved.

    Content, tone, and format. Although each of these subjects offers a useful model, improving eight of the subjects ‘ observation, impact, question, timing, attitude, form, clarity, and actionability is a lot of work to put in all at once. One effective approach is to take them one by one: first identify the area that you lack the most (either from your perspective or from feedback from others ) and start there. Then the third, the third, and so on. At first you’ll have to put in extra time for every piece of feedback that you give, but after a while, it’ll become second nature, and your impact on the work will multiply.

    Thanks to Brie Anne Demkiw and Mike Shelton for reviewing the first draft of this article.

  • Asynchronous Design Critique: Getting Feedback

    Asynchronous Design Critique: Getting Feedback

    ” Any opinion” you might have? is perhaps one of the worst ways to ask for opinions. It’s obscure and unfocused, and it doesn’t give a clear picture of what we’re looking for. Getting good opinions starts sooner than we might hope: it starts with the demand.

    When we realize that receiving input can be seen as a form of design study, it might seem counterintuitive to begin the process with a question. In the same way that we wouldn’t perform any studies without the correct questions to get the insight that we need, the best way to ask for feedback is also to build strong issues.

    Design analysis is not a one-time procedure. Sure, any great comments process continues until the project is finished, but this is especially true for layout because architecture work continues iteration after iteration, from a high level to the finest details. Each stage requires its unique set of questions.

    And suddenly, as with any great research, we need to examine what we got up, get to the base of its perspectives, and take action. Iteration, evaluation, and problem. This look at each of those.

    The query

    Being available to input is important, but we need to be specific about what we’re looking for. Any comments,” What do you think,” or” I’d love to hear your mind” at the conclusion of a presentation are likely to garner a lot of different ideas, or worse, to make everyone follow the lead of the first speaker. And next… we get frustrated because vague issues like those you turn a high-level moves review into folks rather commenting on the borders of buttons. Which theme may be significant, so it might be difficult to get the team to choose the one you wanted to concentrate on.

    But how do we get into this scenario? It’s a combination of various components. One is that we don’t often consider asking as a part of the input method. Another is how healthy it is to assume that everyone else will agree with the problem and leave it alone. Another is that in nonprofessional conversations, there’s usually no need to be that exact. In summary, we tend to undervalue the value of the issues, and we don’t work to improve them.

    The work of asking good questions guidelines and focuses the criticism. It also serves as a form of acceptance, outlining your willingness to make comments and the types of comments you want to receive. It puts people in the right emotional position, especially in situations when they weren’t expecting to give opinions.

    There isn’t a second best method to request feedback. It simply needs to be certain, and precision may take several shapes. The one of stage over level is a design for design criticism that I’ve found to be particularly helpful in my coaching.

    Stage” refers to each of the actions of the process—in our event, the design process. The type of input changes as the consumer research moves on to the final design. But within a single stage, one might also examine whether some assumptions are correct and whether there’s been a suitable language of the amassed opinions into updated designs as the job has evolved. The layers of user experience could serve as a starting point for future inquiries. What do you want to know: Project objectives? User requirements? Functionality? Content? Interaction design? a system of information architecture UI design? navigation planning Visual design? Branding?

    Here’re a few example questions that are precise and to the point that refer to different layers:

    • Functionality: Is it desirable to automate account creation?
    • Interaction design: Take a look through the updated flow and let me know whether you see any steps or error states that I might’ve missed.
    • Information architecture: This page contains two competing pieces of information. Is the structure effective in communicating them both?
    • User interface design: What do you think about the top-of-the-page error counter, which makes sure you can see the next error even when the error is outside the viewport?
    • Navigation design: From research, we identified these second-level navigation items, but once you’re on the page, the list feels too long and hard to navigate. Do you have any suggestions for how to handle this?
    • Visual design: Are the sticky notifications in the bottom-right corner visible enough?

    The other axis of specificity is determined by how far you’d like to go with the information being presented. For example, we might have introduced a new end-to-end flow, but there was a specific view that you found particularly challenging and you’d like a detailed review of that. This can be especially helpful from one iteration to the next when it’s crucial to highlight the areas that have changed.

    There are other things that we can consider when we want to achieve more specific—and more effective—questions.

    A quick fix is to get rid of the generic qualifiers from questions like “good,” “well,” “nice,” “bad,” “okay,” and” cool.” For example, asking,” When the block opens and the buttons appear, is this interaction good”? is it possible to look specific, but you can identify the “good” qualifier and make the question” When the block opens and the buttons appear, is it clear what the next action is” look like?

    Sometimes we actually do want broad feedback. Although that’s uncommon, it can occur. In that sense, you might still make it explicit that you’re looking for a wide range of opinions, whether at a high level or with details. Or perhaps you should just say,” At first glance, what do you think”? so that it’s clear that what you’re asking is open ended but focused on someone’s impression after their first five seconds of looking at it.

    Sometimes the project is particularly broad, and some areas may have already been thoroughly explored. In these situations, it might be useful to explicitly say that some parts are already locked in and aren’t open to feedback. Although it’s not something I’d recommend in general, I’ve found it helpful in avoiding getting back into rabbit holes like those that could lead to further refinement but aren’t currently what matters most.

    Asking specific questions can completely change the quality of the feedback that you receive. Even experienced designers will appreciate the clarity and efficiency gained from concentrating solely on what is required, and those with less refined critique skills will now be able to offer more actionable feedback. It can save a lot of time and frustration.

    The iteration

    Design iterations are probably the most visible part of the design work, and they provide a natural checkpoint for feedback. Many design tools have inline commenting, but many of those methods typically display changes as a single fluid stream in the same file. These methods cause conversations to vanish once they’re resolved, update shared UI components automatically, and require designs to always display the most recent version unless these would-be useful features were manually turned off. The implied goal that these design tools seem to have is to arrive at just one final copy with all discussions closed, probably because they inherited patterns from how written documents are collaboratively edited. That’s probably not the most effective way to go about designing critiques, but even if I don’t want to be too prescriptive, it might work for some teams.

    The asynchronous design-critique approach that I find most effective is to create explicit checkpoints for discussion. For this, I’m going to use the term iteration post. It refers to a write-up or presentation of the design iteration followed by a discussion thread of some kind. Any platform that can accommodate this type of structure can use this. By the way, when I refer to a “write-up or presentation“, I’m including video recordings or other media too: as long as it’s asynchronous, it works.

    There are many benefits to using iteration posts:

    • It creates a rhythm in the design work so that the designer can review feedback from each iteration and prepare for the next.
    • Decisions are made immediately available for future review, and conversations are also always available.
    • It creates a record of how the design changed over time.
    • Depending on the tool, it might also make it simpler to collect and act on feedback.

    These posts of course don’t mean that no other feedback approach should be used, just that iteration posts could be the primary rhythm for a remote design team to use. And from there, there can develop additional feedback techniques ( such as live critique, pair designing, or inline comments ).

    I don’t think there’s a standard format for iteration posts. However, there are a few high-level elements that make sense to include as a baseline:

    1. The goal
    2. The layout
    3. The list of changes
    4. The querys

    Each project is likely to have a goal, and hopefully it’s something that’s already been summarized in a single sentence somewhere else, such as the client brief, the product manager’s outline, or the project owner’s request. In every iteration post, I would copy and paste this, so I could do it again. The idea is to provide context and to repeat what’s essential to make each iteration post complete so that there’s no need to find information spread across multiple posts. The most recent iteration post will provide all I need to know about the most recent design.

    This copy-and-paste part introduces another relevant concept: alignment comes from repetition. Therefore, repeating information in posts is actually very effective at ensuring that everyone is on the same page.

    The design is then the actual series of information-architecture outlines, diagrams, flows, maps, wireframes, screens, visuals, and any other kind of design work that’s been done. It’s any design artifact, in essence. For the final stages of work, I prefer the term blueprint to emphasize that I’ll be showing full flows instead of individual screens to make it easier to understand the bigger picture.

    Because it makes it easier to refer to the objects, it might also be helpful to have clear names on them. Write the post in a way that helps people understand the work. It’s not very different from creating a strong live presentation.

    For an efficient discussion, you should also include a bullet list of the changes from the previous iteration to let people focus on what’s new, which can be especially useful for larger pieces of work where keeping track, iteration after iteration, could become a challenge.

    Finally, as mentioned earlier, it’s crucial that you include a list of the questions to help you guide the design critique in the desired direction. Doing this as a numbered list can also help make it easier to refer to each question by its number.

    Not every iteration is the same. Earlier iterations don’t need to be as tightly focused—they can be more exploratory and experimental, maybe even breaking some of the design-language guidelines to see what’s possible. Then, later, the iterations begin coming to a decision and improving it until the design process is complete and the feature is ready.

    I want to highlight that even if these iteration posts are written and conceived as checkpoints, by no means do they need to be exhaustive. A post might be a draft, just a concept to start a discussion, or it might be a cumulative list of every feature that was added over the course of each iteration until the full picture is achieved.

    Over time, I also started using specific labels for incremental iterations: i1, i2, i3, and so on. Although this may seem like a minor labeling tip, it can be useful in many ways:

    • Unique—It’s a clear unique marker. One can quickly say,” This was discussed in i4″ with each project, and everyone knows where to go to review things.
    • Unassuming—It works like versions ( such as v1, v2, and v3 ) but in contrast, versions create the impression of something that’s big, exhaustive, and complete. Attempts must be exploratory, incomplete, or partial.
    • Future proof—It resolves the “final” naming problem that you can run into with versions. No more files with the title “final final complete no-really-its-done” Within each project, the largest number always represents the latest iteration.

    The wording release candidate (RC ) could be used to indicate when a design is finished enough to be worked on, even if there are some bits that still need work and, in turn, need more iterations:” with i8 we reached RC” or “i12 is an RC” to illustrate this.

    The review

    What typically occurs during a design critique is an open discussion, with a back and forth between parties that can be very productive. This approach is particularly effective during live, synchronous feedback. However, when we work asynchronously, it is more effective to adopt a different strategy: we can adopt a user-research mindset. Written feedback from teammates, stakeholders, or others can be treated as if it were the result of user interviews and surveys, and we can analyze it accordingly.

    This shift has some significant advantages, making asynchronous feedback particularly effective, especially around these friction points:

    1. It removes the pressure to reply to everyone.
    2. It lessens the annoyance of snoop-by comments.
    3. It lessens our personal stake.

    The first friction point is having to feel pressured to respond to each and every comment. Sometimes we write the iteration post, and we get replies from our team. It’s just a few of them, it’s simple, and there isn’t much of a problem with it. But other times, some solutions might require more in-depth discussions, and the amount of replies can quickly increase, which can create a tension between trying to be a good team player by replying to everyone and doing the next design iteration. This might be especially true if the respondent is a stakeholder or someone directly involved in the project who we feel we need to speak with. We need to accept that this pressure is absolutely normal, and it’s human nature to try to accommodate people who we care about. When responding to all comments, it can be effective, but when we consider a design critique more like user research, we realize that we don’t need to respond to every comment, and there are alternatives in asynchronous spaces:

      One is to let the next iteration speak for itself. That is the response when the design changes and we publish a follow-up iteration. You might tag all the people who were involved in the previous discussion, but even that’s a choice, not a requirement.
    • Another tactic is to formally acknowledge each comment in a brief response, such as” Understood. Thank you”,” Good points— I’ll review”, or” Thanks. These will be included in the upcoming iteration. In some cases, this could also be just a single top-level comment along the lines of” Thanks for all the feedback everyone—the next iteration is coming soon”!
    • Another option is to provide a quick summary of the comments before moving on. Depending on your workflow, this can be particularly useful as it can provide a simplified checklist that you can then use for the next iteration.

    The swoop-by comment, which is the kind of feedback that comes from a member of a team or non-project who might not be aware of the context, restrictions, decisions, or requirements, or of the discussions from earlier iterations, is the second friction point. On their side, there’s something that one can hope that they might learn: they could start to acknowledge that they’re doing this and they could be more conscious in outlining where they’re coming from. Swoop-by comments frequently prompt the simple thought,” We’ve already discussed this,” and it can be frustrating to have to keep saying the same thing over and over.

    Let’s begin by acknowledging again that there’s no need to reply to every comment. However, if responding to a previously litigated point might be helpful, a brief response with a link to the previous discussion for additional information is typically sufficient. Remember, alignment comes from repetition, so it’s okay to repeat things sometimes!

    Swoop-by commenting can still be useful for two reasons: first, they might point out something that isn’t clear, and second, they might have the power to represent a user’s first impression of the design. Sure, you’ll still be frustrated, but that might at least help in dealing with it.

    The personal stake we might have in relation to the design could be the third friction point, which might cause us to feel defensive if the review turned out to be more of a discussion. Treating feedback as user research helps us create a healthy distance between the people giving us feedback and our ego ( because yes, even if we don’t want to admit it, it’s there ). In the end, presenting everything in aggregated form helps us to prioritize our work more.

    Always remember that while you need to listen to stakeholders, project owners, and specific advice, you don’t have to accept every piece of feedback. You must examine it and come up with a conclusion that you can support, but sometimes “no” is the best choice.

    As the designer leading the project, you’re in charge of that decision. In the end, everyone has their area of expertise, and as a designer, you are the one with the most background and knowledge to make the right choice. And by listening to the feedback that you’ve received, you’re making sure that it’s also the best and most balanced decision.

    Thanks to Mike Shelton and Brie Anne Demkiw for their contributions to the initial draft of this article.

  • Designing for the Unexpected

    Designing for the Unexpected

    Although I’m not sure when I first heard this statement, it has stuck with me over the centuries. How do you generate solutions for scenarios you can’t think? Or create products that function on products that have not yet been created?

    Flash, Photoshop, and flexible pattern

    When I first started designing sites, my go-to technology was Photoshop. I set about making a layout that I would eventually fall content into a 960px cloth. The growth phase was about attaining pixel-perfect precision using set widths, fixed levels, and absolute placement.

    All of this was altered by Ethan Marcotte’s 2010 content in A List Off entitled” Responsive Web Design.” I was sold on reactive style as soon as I heard about it, but I was even terrified. The pixel-perfect models full of special figures that I had formerly prided myself on producing were no longer good enough.

    My first encounter with flexible design didn’t help my fear. My second project was to get an active fixed-width website and make it reactive. I quickly realized that you didn’t just put responsiveness at the end of a job. To make smooth design, you need to prepare throughout the style phase.

    A new way to style

    Making information accessible to all devices a priority when designing responsive or smooth websites has always been the goal. It relies on the use of percentage-based design, which I immediately achieved with local CSS and power groups:

    .column-span-6 { width: 49%; float: left; margin-right: 0.5%; margin-left: 0.5%;}.column-span-4 { width: 32%; float: left; margin-right: 0.5%; margin-left: 0.5%;}.column-span-3 { width: 24%; float: left; margin-right: 0.5%; margin-left: 0.5%;}

    Therefore using Sass to re-use repeated slabs of code and transition to more semantic html:

    .logo { @include colSpan(6);}.search { @include colSpan(3);}.social-share { @include colSpan(3);}

    Media concerns

    The next ingredient for reactive design is press queries. Without them, content would shrink to fit the available space, regardless of whether it remained readable ( The exact opposite issue resulted from the development of a mobile-first approach ).

    Media concerns prevented this by allowing us to add breakpoints where the design could adapt. Like most people, I started out with three breakpoints: one for desktop, one for tablets, and one for mobile. Over the years, I added more and more for phablets, wide screens, and so on. 

    For years, I happily worked this way and improved both my design and front-end skills in the process. The only problem I encountered was making changes to content, since with our Sass grid system in place, there was no way for the site owners to add content without amending the markup—something a small business owner might struggle with. This is because each row in the grid was defined using a div as a container. Adding content meant creating new row markup, which requires a level of HTML knowledge.

    String premium was a mainstay of early flexible design, present in all the frequently used systems like Bootstrap and Skeleton.

    1 of 7
    2 of 7
    3 of 7
    4 of 7
    5 of 7
    6 of 7
    7 of 7

    Another difficulty arose as I moved from a design firm building websites for smaller- to medium-sized companies, to larger in-house teams where I worked across a collection of related sites. In those capacities, I began to work more with washable parts.

    Our rely on multimedia queries resulted in parts that were tied to frequent window sizes. If the goal of part libraries is modify, then this is a real problem because you can just use these components if the devices you’re designing for correspond to the viewport sizes used in the pattern library—in the process never really hitting that “devices that don’t already occur” goal.

    Then there’s the problem of space. Media concerns allow components to adapt based on the viewport size, but what if I put a component into a sidebar, like in the figure below?

    Container queries: our savior or a false dawn?

    Container queries have long been touted as an improvement upon media queries, but at the time of writing are unsupported in most browsers. Although there are JavaScript workarounds, they can lead to dependability and compatibility issues. The basic theory underlying container queries is that elements should change based on the size of their parent container and not the viewport width, as seen in the following illustrations.

    One of the biggest arguments in favor of container queries is that they help us create components or design patterns that are truly reusable because they can be picked up and placed anywhere in a layout. This is an important step in moving toward a form of component-based design that works at any size on any device.

    In other words, responsive layouts are to be replaced by responsive components.

    Container queries will help us move from designing pages that respond to the browser or device size to designing components that can be placed in a sidebar or in the main content, and respond accordingly.

    My issue is that layout is still used to determine when a design needs to adapt. This approach will always be restrictive, as we will still need pre-defined breakpoints. For this reason, my main question with container queries is, How would we decide when to change the CSS used by a component?

    A component library that is disconnected from context and real content is probably not the best place to make that choice.

    As the diagrams below illustrate, we can use container queries to create designs for specific container widths, but what if I want to change the design based on the image size or ratio?

    In this example, the dimensions of the container are not what should dictate the design, rather, the image is.

    Without having strong cross-browser support for them, it’s difficult to say for certain whether container queries will be a success story. Responsive component libraries would definitely evolve how we design and would improve the possibilities for reuse and design at scale. However, we might need to modify these elements in order to fit our content.

    CSS is changing

    Whilst the container query debate rumbles on, there have been numerous advances in CSS that change the way we think about design. The days of fixed-width elements measured in pixels and floated div elements used to cobble layouts together are long gone, consigned to history along with table layouts. Flexbox and CSS Grid have revolutionized layouts for the web. We can now create elements that wrap onto new rows when they run out of space, not when the device changes.

    .wrapper { display: grid; grid-template-columns: repeat(auto-fit, 450px); gap: 10px;}

    The repeat() function paired with auto-fit or auto-fill allows us to specify how much space each column should use while leaving it up to the browser to decide when to spill the columns onto a new line. Similar things can be achieved with Flexbox, as elements can wrap over multiple rows and “flex” to fill available space. 

    .wrapper { display: flex; flex-wrap: wrap; justify-content: space-between;}.child { flex-basis: 32%; margin-bottom: 20px;}

    You don’t need to wrap elements in container rows, which is the biggest benefit of all of this. Without rows, content isn’t tied to page markup in quite the same way, allowing for removals or additions of content without additional development.

    This is a big step forward when it comes to creating designs that allow for evolving content, but the real game changer for flexible designs is CSS Subgrid.

    Remember the days of crafting perfectly aligned interfaces, only for the customer to add an unbelievably long header almost as soon as they’re given CMS access, like the illustration below?

    Subgrid allows elements to respond to adjustments in their own content and in the content of sibling elements, helping us create designs more resilient to change.

    .wrapper { display: grid; grid-template-columns: repeat(auto-fit, minmax(150px, 1fr)); grid-template-rows: auto 1fr auto; gap: 10px;}.sub-grid { display: grid; grid-row: span 3; grid-template-rows: subgrid; /* sets rows to parent grid */}

    CSS Grid allows us to separate layout and content, thereby enabling flexible designs. Meanwhile, Subgrid allows us to create designs that can adapt in order to suit morphing content. The above code can be implemented behind an @supports feature query even though Firefox is the only browser that supports subgrid at the time of writing.

    Intrinsic layouts

    I’d be remiss not to mention intrinsic layouts, a term used by Jen Simmons to describe a mix of contemporary and traditional CSS features used to create layouts that respond to available space.

    Responsive layouts have flexible columns using percentages. Intrinsic layouts, on the other hand, use the fr unit to create flexible columns that won’t ever shrink so much that they render the content illegible.

    frunits is a statement that says I want you to distribute the extra space in this manner, but never that it should be smaller than the content inside.

    —Jen Simmons,” Designing Intrinsic Layouts”

    Additionally, intrinsic layouts can mix and match both fixed and flexible units, letting the content choose how much space is taken up.

    What makes intrinsic design stand out is that it not only creates designs that can withstand future devices but also helps scale design without losing flexibility. Without having to have the same breakpoints or content as in the previous implementation, components and patterns can be removed and reused.

    We can now create designs that adapt to the space they have, the content within them, and the content around them. We can create responsive components using an intrinsic approach without relying on container queries.

    Another 2010 moment?

    This intrinsic approach should in my view be every bit as groundbreaking as responsive web design was ten years ago. It’s another “everything changed” moment for me.

    But it doesn’t seem to be moving quite as fast, I haven’t yet had that same career-changing moment I had with responsive design, despite the widely shared and brilliant talk that brought it to my attention.

    One possible explanation for that is that I now work for a sizable company, which is quite different from the role I held as a design agency in 2010! In my agency days, every new project was a clean slate, a chance to try something new. Nowadays, projects use existing tools and frameworks and are often improvements to existing websites with an existing codebase.

    Another possibility is that I’m now more prepared for change. In 2010 I was new to design in general, the shift was frightening and required a lot of learning. Additionally, an intrinsic approach isn’t exactly new; it’s about applying existing skills and CSS knowledge in a unique way.

    You can’t framework your way out of a content problem

    Another reason for the slightly slower adoption of intrinsic design could be the lack of quick-fix framework solutions available to kick-start the change.

    Ten years ago, responsive grid systems were everywhere. With a framework like Bootstrap or Skeleton, you had a responsive design template at your fingertips.

    Because having a selection of units is a hindrance when creating layout templates, intrinsic design and frameworks do not work together quite as well. The beauty of intrinsic design is combining different units and experimenting with techniques to get the best for your content.

    And then there are design tools. We probably all used Photoshop templates for desktop, tablet, and mobile devices to drop designs into and show how the site would appear throughout our careers at some point.

    How do you do that now, with each component responding to content and layouts flexing as and when they need to? This kind of design must take place in the browser, which is something I’m very fond of.

    The debate about “whether designers should code” is another that has rumbled on for years. When designing a digital product, we should, at the very least, design for a best- and worst-case scenario when it comes to content. It’s not ideal to do this in a graphics-based software package. In code, we can add longer sentences, more radio buttons, and extra tabs, and watch in real time as the design adapts. Does it continue to function? Is the design too reliant on the current content?

    Personally, I look forward to the day intrinsic design is the standard for design, when a design component can be truly flexible and adapt to both its space and content with no reliance on device or container dimensions.

    First, the content

    Content is not constant. After all, to design for the unanticipated or unexpected, we must take into account content modifications, such as the earlier Subgrid card example, which allowed the cards to adjust both their own content and that of their sibling elements.

    Thankfully, there’s more to CSS than layout, and plenty of properties and values can help us put content first. Subgrid and pseudo-elements like ::first-line and ::first-letter help to separate design from markup so we can create designs that allow for changes.

    This is not the same as previous markup hacks like this.

    First line of text with different styling...

    —we can target content based on where it appears.

    .element::first-line { font-size: 1.4em;}.element::first-letter { color: red;}

    Much bigger additions to CSS include logical properties, which change the way we construct designs using logical dimensions (start and end) instead of physical ones (left and right), something CSS Grid also does with functions like min(), max(), and clamp().

    This flexibility allows for directional changes according to content, a common requirement when we need to present content in multiple languages. In the past, this was often achieved with Sass mixins but was often limited to switching from left-to-right to right-to-left orientation.

    Directional variables must be specified in the Sass version.

    $direction: rtl;$opposite-direction: ltr;$start-direction: right;$end-direction: left;

    These variables can be used as values—

    body { direction: $direction; text-align: $start-direction;}

    —or as properties.

    margin-#{$end-direction}: 10px;padding-#{$start-direction}: 10px;

    However, now we have native logical properties, removing the reliance on both Sass ( or a similar tool ) and pre-planning that necessitated using variables throughout a codebase. These properties also start to break apart the tight coupling between a design and strict physical dimensions, creating more flexibility for changes in language and in direction.

    margin-block-end: 10px;padding-block-start: 10px;

    There are also native start and end values for properties like text-align, which means we can replace text-align: right with text-align: start.

    Like the earlier examples, these properties help to build out designs that aren’t constrained to one language, the design will reflect the content’s needs.

    Fluid and fixed

    We briefly covered the power of combining fixed widths with fluid widths with intrinsic layouts. The min() and max() functions are a similar concept, allowing you to specify a fixed value with a flexible alternative. 

    For min() this means setting a fluid minimum value and a maximum fixed value.

    .element { width: min(50%, 300px);}

    The element in the figure above will be 50 % of its container as long as the element’s width doesn’t exceed 300px.

    For max() we can set a flexible max value and a minimum fixed value.

    .element { width: max(50%, 300px);}

    Now the element will be 50 % of its container as long as the element’s width is at least 300px. This means we can set limits but allow content to react to the available space.

    The clamp() function builds on this by allowing us to set a preferred value with a third parameter. Now we can allow the element to shrink or grow if it needs to without getting to a point where it becomes unusable.

    .element { width: clamp(300px, 50%, 600px);}

    This time, the element’s width will be 50 % ( the preferred value ) of its container, with no exceptions for 300px and 600px.

    With these techniques, we have a content-first approach to responsive design. We can separate content from markup, meaning the changes users make will not affect the design. By making plans for unanticipated changes in language or direction, we can begin to future-proof designs. And we can increase flexibility by setting desired dimensions alongside flexible alternatives, allowing for more or less content to be displayed correctly.

    First, the circumstances

    Thanks to what we’ve discussed so far, we can cover device flexibility by changing our approach, designing around content and space instead of catering to devices. But what about that last bit of Jeffrey Zeldman’s quote,”… situations you haven’t imagined”?

    It’s a lot different to design for someone using a mobile phone and walking through a crowded street in glaring sunshine than it is for someone using a desktop computer. Situations and environments are hard to plan for or predict because they change as people react to their own unique challenges and tasks.

    Choice is so crucial because of this. One size never fits all, so we need to design for multiple scenarios to create equal experiences for all our users.

    Thankfully, there is a lot we can do to provide choice.

    Responsible design

    ” There are parts of the world where mobile data is prohibitively expensive, and where there is little or no broadband infrastructure”.

    I Used the Web for a Day on a 50 MB Budget.”

    Chris Ashton

    One of the biggest assumptions we make is that people interacting with our designs have a good wifi connection and a wide screen monitor. However, our users may be commuters using smaller mobile devices that may experience disconnects in connectivity in the real world. There is nothing more frustrating than a web page that won’t load, but there are ways we can help users use less data or deal with sporadic connectivity.

    The srcset attribute allows the browser to decide which image to serve. This means we can create smaller ‘cropped’ images to display on mobile devices in turn using less bandwidth and less data.

    Image alt text

    The preload attribute can also help us to think about how and when media is downloaded. It can be used to tell a browser about any critical assets that need to be downloaded with high priority, improving perceived performance and the user experience. 

      

    There’s also native lazy loading, which indicates assets that should only be downloaded when they are needed.

    …

    With srcset, preload, and lazy loading, we can start to tailor a user’s experience based on the situation they find themselves in. What none of this does, however, is allow the user themselves to decide what they want downloaded, as the decision is usually the browser’s to make. 

    So how can we put users in control?

    The media queries are returning.

    Media concerns have always been about much more than device sizes. They allow content to adapt to different situations, with screen size being just one of them.

    We’ve long been able to check for media types like print and speech and features such as hover, resolution, and color. These checks allow us to provide options that suit more than one scenario, it’s less about one-size-fits-all and more about serving adaptable content.

    The Level 5 spec for Media Queries is still being developed at this writing. It introduces some really exciting queries that in the future will help us design for multiple other unexpected situations.

    For instance, there is a light-level feature that enables you to alter a user’s style when they are in the sun or the darkness. Paired with custom properties, these features allow us to quickly create designs or themes for specific environments.

    @media (light-level: normal) { --background-color: #fff; --text-color: #0b0c0c; }@media (light-level: dim) { --background-color: #efd226; --text-color: #0b0c0c;}

    Another key feature of the Level 5 spec is personalization. Instead of creating designs that are the same for everyone, users can choose what works for them. This is achieved by using features like prefers-reduced-data, prefers-color-scheme, and prefers-reduced-motion, the latter two of which already enjoy broad browser support. These features tap into preferences set via the operating system or browser so people don’t have to spend time making each site they visit more usable. 

    Media concerns like this go beyond choices made by a browser to grant more control to the user.

    Expect the unexpected

    In the end, the one thing we should always anticipate is that things will change. Devices in particular change faster than we can keep up, with foldable screens already on the market.

    We can design for content, but we can’t do it the same way we have for this constantly changing landscape. By putting content first and allowing that content to adapt to whatever space surrounds it, we can create more robust, flexible designs that increase the longevity of our products.

    A lot of the CSS discussed here is about moving away from layouts and putting content at the heart of design. There is so much more we can do to adopt a more intrinsic approach, from responsive components to fixed and fluid units. Even better, we can test these techniques during the design phase by designing in-browser and watching how our designs adapt in real-time.

    When it comes to unexpected circumstances, we need to make sure our goods are accessible whenever and wherever needed. We can move closer to achieving this by involving users in our design decisions, by creating choice via browsers, and by giving control to our users with user-preference-based media queries.

    Good design for the unexpected should allow for change, provide choice, and give control to those we serve: our users themselves.

  • Voice Content and Usability

    Voice Content and Usability

    We’ve been conversing for a long time. Whether to present information, perform transactions, or just to check in on one another, people have yammered aside, chattering and gesticulating, through spoken discussion for many generations. Only recently have we begun to write our discussions, and only recently have we outsourced them to the system, a system that exhibits a significantly higher affection for written letter than for the vernacular rigors of spoken language.

    Laptops have trouble because between spoken and written speech, talk is more primitive. Machines must wrestle with the complexity of human statement, including the disfluencies and pauses, the gestures and body speech, and the variations in expression choice and spoken dialect, which may impede even the most skillfully crafted human-computer interaction. In the human-to-human scenario, spoken language also has the privilege of face-to-face contact, where we can readily interpret nonverbal social cues.

    In contrast, written language develops its own fossil record of dated terms and phrases as we record it and keep usages long after they are no longer needed in spoken communication ( for example, the salutation” To whom it may concern” ). Because it tends to be more consistent, polished, and formal, written text is fundamentally much easier for machines to parse and understand.

    This luxury is not available in spoken language. Besides the nonverbal cues that decorate conversations with emphasis and emotional context, there are also verbal cues and vocal behaviors that modulate conversation in nuanced ways: how something is said, not what. Our spoken language conveys much more than the written word can ever contain, whether it’s rapid-fire, low-pitched, high-decibel, sarcastic, stilted, or sighing. So when it comes to voice interfaces—the machines we conduct spoken conversations with—we face exciting challenges as designers and content strategists.

    Voice Compositions

    We interact with voice interfaces for a variety of reasons, but according to Michael McTear, Zoraida Callejas, and David Griol in The Conversational Interface, those motivations by and large mirror the reasons we initiate conversations with other people, too ( ). We typically strike up a discussion by:

    • we need something done ( such as a transaction ),
    • we want to know something, some kind of information, or
    • we are social beings and want someone to talk to ( conversation for conversation’s sake ).

    These three categories, which I refer to as transactional, informational, and prosocial, also apply to virtually every voice interaction: a single conversation that begins with the voice interface’s first greeting and ends with the user leaving the interface. Note here that a conversation in our human sense—a chat between people that leads to some result and lasts an arbitrary length of time—could encompass multiple transactional, informational, and prosocial voice interactions in succession. In other words, a voice interaction is a conversation, but it may not always be one voice interaction.

    Purely prosocial conversations are more gimmicky than captivating in most voice interfaces, because machines don’t yet have the capacity to really want to know how we’re doing and to do the sort of glad-handing humans crave. Additionally, there is ongoing debate about whether users actually prefer the type of organic human conversation that starts with a prosocial voice and progresses seamlessly into new ones. In fact, in Voice User Interface Design, Michael Cohen, James Giangola, and Jennifer Balogh recommend sticking to users ‘ expectations by mimicking how they interact with other voice interfaces rather than trying too hard to be human—potentially alienating them in the process ( ).

    A voice interface can also have two types of conversations we can have with one another that are both transactional and informational, each learning something new ( “discuss a musical” ).

    Transactional voice interactions

    When you order a Hawaiian pizza with extra pineapple, you’re typically having a conversation and a voice interaction when you’re tapping buttons on a food delivery app. Even when we walk up to the counter and place an order, the conversation quickly pivots from an initial smattering of neighborly small talk to the real mission at hand: ordering a pizza ( generously topped with pineapple, as it should be ).

    Alison: Hey, how are things going?

    Burhan: Hi, welcome to Crust Deluxe! It’s chilly outside. How can I help you?

    Can I get a Hawaiian pizza with extra pineapple, Alison?

    Burhan: Sure, what size?

    Alison: Big.

    Burhan: Anything else?

    Alison: No, that’s it.

    Burhan: Something to drink?

    Alison, I’ll have a bottle of Coke.

    Burhan: You got it. That will cost$ 13.55 and take about fifteen minutes.

    Each progressive disclosure in this transactional conversation reveals more and more of the desired outcome of the transaction: a service rendered or a product delivered. Conversations that are transactional have certain characteristics: they are direct, concise, and cost-effective. They quickly dispense with pleasantries.

    Informational voice interactions

    Meanwhile, some conversations are primarily about obtaining information. Alison might visit Crust Deluxe with the sole intention of placing an order, but she might not want to leave with a pizza at all. She might be just as interested in whether they serve halal or kosher dishes, gluten-free options, or something else. Even though we have a prosocial mini-conversation once more at the beginning to establish politeness, we’re after much more.

    Alison: Hey, how are things going?

    Burhan: Hi, welcome to Crust Deluxe! It’s chilly outside. How can I help you?

    Alison: Can I ask a few questions?

    Burhan: Of course! Go right ahead.

    Do you have any halal options on the menu, Alison?

    Burhan: Absolutely! On request, we can make any pie halal. We also have lots of vegetarian, ovo-lacto, and vegan options. Do you have any other dietary restrictions in mind?

    Alison: What about gluten-free pizzas?

    Burhan: For both our deep-dish and thin-crust pizzas, we can definitely make a gluten-free crust for you, without a problem. Anything else I can answer for you?

    Alison: That’s it for the moment. Good to know. Thank you.

    Burhan: Anytime, come back soon!

    This dialogue is radically different. Here, the goal is to get a certain set of facts. Informational conversations are research expeditions to gather data, news, or facts in search of the truth. Voice interactions that are informational might be more long-winded than transactional conversations by necessity. Responses are typically longer, more in-depth, and carefully communicated to ensure that the customer understands the main ideas.

    Voice Interfaces

    Voice interfaces, in essence, use speech to assist users in accomplishing their objectives. But simply because an interface has a voice component doesn’t mean that every user interaction with it is mediated through voice. We’re most concerned with pure voice interfaces, which depend entirely on spoken conversation and lack any visual component, making multimodal voice interfaces much more nuanced and challenging to deal with because they can lean on visual components like screens as crutches.

    Though voice interfaces have long been integral to the imagined future of humanity in science fiction, only recently have those lofty visions become fully realized in genuine voice interfaces.

    IVR ( interactive voice response ) systems

    Though written conversational interfaces have been fixtures of computing for many decades, voice interfaces first emerged in the early 1990s with text-to-speech ( TTS ) dictation programs that recited written text aloud, as well as speech-enabled in-car systems that gave directions to a user-provided address. We became familiar with the first real voice interfaces that could actually be spoken to without having to deal with overburdened customer service representatives as a result of the development of interactive voice response ( IVR ) systems.

    IVR systems allowed organizations to reduce their reliance on call centers but soon became notorious for their clunkiness. Similar to the corporate world, these systems were primarily created as metaphorical switchboards to direct customers to a real phone agent (” Say Reservations to book a flight or check an itinerary” ), and chances are you’ll have a conversation with one when you call an airline or hotel conglomerate. Despite their functional issues and users ‘ frustration with their inability to speak to an actual human right away, IVR systems proliferated in the early 1990s across a variety of industries (, PDF).

    IVR systems have a reputation for having less scintillating conversations than we’re used to in real life ( or even in science fiction ), despite being extremely repetitive and monotonous conversations that typically don’t veer from a single format.

    Screen readers

    The invention of the screen reader, a tool that converts visual content into synthesized speech, was a development of IVR systems in parallel. For Blind or visually impaired website users, it’s the predominant method of interacting with text, multimedia, or form elements. The most recent version of a voice-over-text format of content delivery is probably the one that is closest to it.

    Among the first screen readers known by that moniker was the Screen Reader for the BBC Micro and NEEC Portable developed by the Research Centre for the Education of the Visually Handicapped (RCEVH) at the University of Birmingham in 1986 ( ). The first IBM Screen Reader for text-based computers was created by Jim Thatcher in the same year, which was later recreated for computers with graphical user interfaces ( GUIs ) ( ).

    With the rapid growth of the web in the 1990s, the demand for accessible tools for websites exploded. Screen readers started facilitating quick interactions with web pages that ostensibly allow disabled users to traverse the page as an aural and temporal space rather than a visual and physical one with the introduction of semantic HTML and especially ARIA roles in 2008, allowing them to do so in an aural and temporal space. In other words, screen readers for the web “provide mechanisms that translate visual design constructs—proximity, proportion, etc. in A List Apart, writes Aaron Gustafson, “into useful information.” ” At least they do when documents are authored thoughtfully” ( ).

    Although incredibly instructive for voice interface designers, screen readers have a major flaw: they’re challenging to use and consistently verbose. The visual structures of websites and web navigation don’t translate well to screen readers, sometimes resulting in unwieldy pronouncements that name every manipulable HTML element and announce every formatting change. Working with web-based interfaces is a cognitive burden for many screen reader users.

    In Wired, accessibility advocate and voice engineer Chris Maury considers why the screen reader experience is ill-suited to users relying on voice:

    I disliked the operation of Screen Readers from the beginning. Why are they designed the way they are? It makes no sense to present information visually before converting it to audio only after that. All of the time and energy that goes into creating the perfect user experience for an app is wasted, or even worse, adversely impacting the experience for blind users. ( )

    In many cases, well-designed voice interfaces can speed users to their destination better than long-winded screen reader monologues. After all, users of the visual interface have the advantage of freely scurrying around the viewport to find information, ignoring areas that are unimportant to them. Blind users, meanwhile, are obligated to listen to every utterance synthesized into speech and therefore prize brevity and efficiency. Users with disabilities who have long had no choice but to use clumsy screen readers might find that voice interfaces, especially more contemporary voice assistants, provide a more streamlined experience.

    Voice assistants

    Many of us immediately associate voice assistants with the popular subset of voice interfaces found in living rooms, smart homes, and offices with the film Star Trek or with Majel Barrett’s voice as the omniscient computer. Voice assistants are akin to personal concierges that can answer questions, schedule appointments, conduct searches, and perform other common day-to-day tasks. And because of their assistive potential, they are quickly gaining more and more attention from accessibility advocates.

    Before the earliest IVR systems found success in the enterprise, Apple published a demonstration video in 1987 depicting the Knowledge Navigator, a voice assistant that could transcribe spoken words and recognize human speech to a great degree of accuracy. Then, in 2001, Tim Berners-Lee and others created their vision for a Semantic Web “agent” that would carry out routine tasks like” checking calendars, making appointments, and finding locations” (, behind paywall ). It wasn’t until 2011 that Apple’s Siri finally entered the picture, making voice assistants a tangible reality for consumers.

    There are a lot of variations in the programmability and customization of some voice assistants compared to others ( Fig. 1 ). As a result of the breadth of voice assistants available today ( Fig. 1 ). At one extreme, everything except vendor-provided features is locked down, for example, at the time of their release, the core functionality of Apple’s Siri and Microsoft’s Cortana couldn’t be extended beyond their existing capabilities. There are no other means of developers communicating with Siri at a low level, aside from predefined categories of tasks like messaging, hailing rideshares, making restaurant reservations, and other things, which are still possible today.

    At the opposite end of the spectrum, voice assistants like Amazon Alexa and Google Home offer a core foundation on which developers can build custom voice interfaces. For this reason, developers who feel constrained by the limitations of Siri and Cortana are increasingly using programmable voice assistants that are extensibable and customizable. Amazon offers the Alexa Skills Kit, a developer framework for building custom voice interfaces for Amazon Alexa, while Google Home offers the ability to program arbitrary Google Assistant skills. Users of the Amazon Alexa and Google Assistant ecosystems can choose from among the thousands of custom-built skills available today.

    As businesses like Amazon, Apple, Microsoft, and Google continue to occupy their positions, they’re also selling and open-sourcing an unheard array of tools and frameworks for designers and developers that aim to make creating voice interfaces as simple as possible, even without code.

    Often by necessity, voice assistants like Amazon Alexa tend to be monochannel—they’re tightly coupled to a device and can’t be accessed on a computer or smartphone instead. In contrast, many development platforms, such as Google’s Dialogflow, have omnichannel capabilities that allow users to create a single conversational interface that then becomes a voice interface, textual chatbot, and IVR system upon deployment. I don’t prescribe any specific implementation approaches in this design-focused book, but in Chapter 4 we’ll get into some of the implications these variables might have on the way you build out your design artifacts.

    Voice content

    Simply put, voice content is content delivered through voice. Voice content must be free-flowing and organic, contextless and concise—everything written content isn’t enough to preserve what makes human conversation so compelling in the first place.

    Our world is replete with voice content in various forms: screen readers reciting website content, voice assistants rattling off a weather forecast, and automated phone hotline responses governed by IVR systems. We’re most concerned with the content in this book being delivered auditorically, not as an option but as a necessity.

    For many of us, our first foray into informational voice interfaces will be to deliver content to users. One issue is that any content we already have isn’t in any way suitable for this new environment. So how do we make the content trapped on our websites more conversational? And how do we create fresh copy that works with voice-recognition?

    Lately, we’ve begun slicing and dicing our content in unprecedented ways. Websites are, in many ways, colossal vaults of what I call macrocontent: lengthy prose that can last for miles in a browser window, like microfilm viewers of newspaper archives. Back in 2002, well before the present-day ubiquity of voice assistants, technologist Anil Dash defined microcontent as permalinked pieces of content that stay legible regardless of environment, such as email or text messages:

    An example of microcontent can be a day’s weather forecast [sic], the arrival and departure times for an airplane flight, an abstract from a lengthy publication, or a single instant message. ( )

    I would update Dash’s definition of microcontent to include all instances of bite-sized content that transcends written communiqués. After all, today we encounter microcontent in interfaces where a small snippet of copy is displayed alone, unmoored from the browser, like a textbot confirmation of a restaurant reservation. The best way to learn how your content can be stretched to the limits of its potential is through microcontent, which will inform both established and new delivery channels.

    As microcontent, voice content is unique because it’s an example of how content is experienced in time rather than in space. We can instantly see when the next train is coming from a digital sign underground, but voice interfaces keep our attention occupied for so long that screen reader users are all too familiar.

    Because microcontent is fundamentally made up of isolated blobs with no relation to the channels where they’ll eventually end up, we need to ensure that our microcontent truly performs well as voice content—and that means focusing on the two most important traits of robust voice content: voice content legibility and voice content discoverability.

    Our voice content’s legibility and discoverability in general both depend on how it manifests in terms of perceived space and time.

  • Sustainable Web Design, An Excerpt

    Sustainable Web Design, An Excerpt

    Several wealthy runners had come to the conclusion that it was impossible to run a mile in less than four hours in the 1950s. Riders had been attempting it since the later 19th century and were beginning to draw the conclusion that the human body just wasn’t built for the job.

    However, on May 6, 1956, Roger Bannister caught anyone by surprise. It was a cold, damp morning in Oxford, England—conditions no one expected to give themselves to record-setting—and but Bannister did really that, running a mile in 3: 59.4 and becoming the first people in the history books to run a mile in under four hours.

    The world then knew that the four-minute hour was possible because of this change in the standard. Bannister’s history lasted just forty-six days, when it was snatched aside by American sprinter John Landy. Therefore, in the same race, three athletes managed to cross the four-minute challenge up. Since therefore, over 1, 400 walkers have actually run a mile in under four days, the current document is 3: 43.13, held by Moroccan performer Hicham El Guerrouj.

    We can do a lot more with what we think is possible, and we can only do it if we see that someone else has already done it. As with people running speed, there are also difficult limits on how a website can accomplish.

    Establishing requirements for a lasting web

    The key indicators of climate performance in most big sectors are pretty well established, such as power per square metre for homes and miles per gallon for cars. The tools and methods for calculating those measures are standardized as well, which keeps everyone on the same site when doing economic evaluations. However, we aren’t held to any specific environmental standards in the world of websites and apps, and we only recently have access to the tools and strategies we need to do so.

    The main objective in green web layout is to reduce carbon emissions. However, it’s nearly impossible to accurately assess the CO2 output of a website product. We didn’t measure the pollutants coming out of the exhaust valves on our laptops. Our sites produce far-away, invisible, and unremarkable pollutants when they leave fuel and gas-burning power plants. We have no way to track the particles from a website or app up to the power station where the light is being generated and really know the exact amount of house oil produced. What then do we do?

    If we can‘t measure the actual carbon emissions, then we need to get what we can estimate. The following are the main elements that could be used as coal pollution gauges:

    1. Transfer of data
    2. Electricity’s carbon power

    Let’s take a look at how we can use these indicators to calculate the energy use, and in turn the carbon footprint, of the sites and web applications we create.

    Transfer of data

    Most researchers use kilowatt-hours per gigabyte (k Wh/GB ) as a metric of energy efficiency when measuring the amount of data transferred over the internet when a website or application is used. This serves as a great example of how much energy is consumed and how much carbon is released. As a rule of thumb, the more data transferred, the more energy used in the data center, telecoms networks, and end user devices.

    The most accurate way to calculate data transfer for a single visit for web pages is to measure the page weight, which is the first time a user visits the page in kilobytes. It’s fairly easy to measure using the developer tools in any modern web browser. Frequently, any web application’s overall data transfer statistics will be included in your web hosting account ( Fig. 2.1 ).

    The nice thing about page weight as a metric is that it allows us to compare the efficiency of web pages on a level playing field without confusing the issue with constantly changing traffic volumes.

    A large scope is required to reduce page weight. By early 2020, the median page weight was 1.97 MB for setups the HTTP Archive classifies as “desktop” and 1.77 MB for “mobile”, with desktop increasing 36 percent since January 2016 and mobile page weights nearly doubling in the same period ( Fig 2.2 ). Image files account for the majority of this data transfer, making them the single biggest contributor to carbon emissions on a typical website.

    History clearly shows us that our web pages can be smaller, if only we set our minds to it. While the majority of technologies, including the underlying technology of the web like data centers and transmission networks, become more and more energy efficient, websites themselves become less effective as time goes on.

    You might be aware of the project team’s focus on creating faster user experiences using the concept of performance budgeting. For example, we might specify that the website must load in a maximum of one second on a broadband connection and three seconds on a 3G connection. Performance budgets are upper limits rather than vague suggestions, much like speed limits while driving, so the goal should always be to come in within budget.

    Designing for fast performance does often lead to reduced data transfer and emissions, but it isn’t always the case. Page weight and transfer size are more objective and reliable benchmarks for sustainable web design, but web performance is frequently more about the subjective perception of load times than it is about the underlying system’s true efficiency.

    We can set a page weight budget in reference to a benchmark of industry averages, using data from sources like HTTP Archive. We can also use competitor page weights and the website’s current layout to compare it to. For example, we might set a maximum page weight budget as equal to our most efficient competitor, or we could set the benchmark lower to guarantee we are best in class.

    We could start looking at the transferability of our web pages for repeat visitors if we want to take it one step further. Although page weight for the first time someone visits is the easiest thing to measure, and easy to compare on a like-for-like basis, we can learn even more if we start looking at transfer size in other scenarios too. For instance, repeat users who load the same page frequently will likely have a high percentage of the files cached in their browser, which means they won’t need to move all of the files back on subsequent visits. Likewise, a visitor who navigates to new pages on the same website will likely not need to load the full page each time, as some global assets from areas like the header and footer may already be cached in their browser. Moving beyond the first visit and measuring page weight budgets for scenarios beyond this level of detail can help us learn even more about how to optimize efficiency for users who regularly visit our pages.

    Page weight budgets are easy to track throughout a design and development process. Although they don’t actually provide direct information on carbon emissions and energy consumption, they do provide a clear indicator of efficiency in comparison to other websites. And as transfer size is an effective analog for energy consumption, we can actually use it to estimate energy consumption too.

    In summary, less data transfer leads to more energy efficiency, which is a crucial component of lowering web product carbon emissions. The more efficient our products, the less electricity they use, and the less fossil fuels need to be burned to produce the electricity to power them. However, as we’ll see next, it’s important to take into account the source of that electricity because all web products require some power.

    Electricity’s carbon power

    Regardless of energy efficiency, the level of pollution caused by digital products depends on the carbon intensity of the energy being used to power them. The term” carbon intensity” (gCO2/k Wh ) is used to describe how much carbon dioxide is produced for each kilowatt-hour of electricity produced. This varies widely, with renewable energy sources and nuclear having an extremely low carbon intensity of less than 10 gCO2/k Wh ( even when factoring in their construction ), whereas fossil fuels have very high carbon intensity of approximately 200–400 gCO2/k Wh.

    The majority of electricity is produced by national or state grids, where different levels of carbon intensity are combined with energy from a variety of sources. The distributed nature of the internet means that a single user of a website or app might be using energy from multiple different grids simultaneously, a website user in Paris uses electricity from the French national grid to power their home internet and devices, but the website’s data center could be in Dallas, USA, pulling electricity from the Texas grid, while the telecoms networks use energy from everywhere between Dallas and Paris.

    Although we don’t have complete control over the energy supply of web services, we do have some control over where our projects are hosted. With a data center using a significant proportion of the energy of any website, locating the data center in an area with low carbon energy will tangibly reduce its carbon emissions. Danish startup Tomorrow reports and maps the user-provided data, and a look at their map demonstrates how, for instance, choosing a data center in France will result in significantly lower carbon emissions than choosing a data center in the Netherlands ( Fig. 2.3 ).

    However, we don’t want to move our servers too far away from our users because it requires a lot of energy to transmit data through the telecom’s networks, and the more energy is used, the further the data travels. Just like food miles, we can think of the distance from the data center to the website’s core user base as “megabyte miles” —and we want it to be as small as possible.

    We can use website analytics to determine the country, state, or even city where our core user group is located and measure the distance between that location and the data center that our hosting company uses as a benchmark. This will be a somewhat fuzzy metric as we don’t know the precise center of mass of our users or the exact location of a data center, but we can at least get a rough idea.

    For instance, if a website is hosted in London but the main audience is on the United States ‘ West Coast, we could calculate the distance between San Francisco and London, which is 5,300 miles. That’s a long way! We can see how hosting it somewhere in North America, ideally on the West Coast, would significantly shorten the distance and the amount of energy needed to transmit the data. In addition, locating our servers closer to our visitors helps reduce latency and delivers better user experience, so it’s a win-win.

    Reverting it to carbon emissions

    If we combine carbon intensity with a calculation for energy consumption, we can calculate the carbon emissions of our websites and apps. A tool my team created accomplishes this by measuring the data transfer over the wire when a web page is loaded, calculating the associated electricity consumption, and then converting that data into a CO2 figure ( Fig. 2.4). It also factors in whether or not the web hosting is powered by renewable energy.

    The Energy and Emissions Worksheet that comes with this book teaches you how to improve it and tailor the data more appropriately to your project’s unique features.

    With the ability to calculate carbon emissions for our projects, we could even set up carbon budgets as well. CO2 is not a metric commonly used in web projects, we’re more familiar with kilobytes and megabytes, and can fairly easily look at design options and files to assess how big they are. Although translating that into carbon adds a layer of abstraction that isn’t as intuitive, carbon budgets do focus our minds on the main thing we’re trying to reduce, which supports the main goal of sustainable web design: reducing carbon emissions.

    Browser Energy

    Transfer of data might be the simplest and most complete analog for energy consumption in our digital projects, but by giving us one number to represent the energy used in the data center, the telecoms networks, and the end user’s devices, it can’t offer us insights into the efficiency in any specific part of the system.

    One part of the system we can look at in more detail is the energy used by end users ‘ devices. The computational load is increasingly shifting from the data center to users ‘ devices, whether they are phones, tablets, laptops, desktops, or even smart TVs, as front-end web technologies advance. Modern web browsers allow us to implement more complex styling and animation on the fly using CSS and JavaScript. Additionally, JavaScript libraries like Angular and React make it possible to create applications where the” thinking” process is performed partially or completely in the browser.

    All of these advances are exciting and open up new possibilities for what the web can do to serve society and create positive experiences. However, more energy is used by the user’s devices as a result of the user’s web browser’s increased computation. This has implications not just environmentally, but also for user experience and inclusivity. Applications that put a lot of processing power on a user’s device unintentionally exclude those who have older, slower devices and make the batteries on phones and laptops drain more quickly. Furthermore, if we build web applications that require the user to have up-to-date, powerful devices, people throw away old devices much more frequently. This not only hurts the environment, but it also places a disproportionate financial burden on society’s poorest.

    In part because the tools are limited, and partly because there are so many different models of devices, it’s difficult to measure website energy consumption on end users ‘ devices. The Energy Impact monitor inside the developer console of the Safari browser is one of the tools we currently have ( Fig. 2.5 ).

    You know what happens when your computer’s cooling fans start spinning so frantically that you suspect it might take off when you load a website? That’s essentially what this tool is measuring.

    It uses these figures to create an energy impact rating based on the percentage of CPU used and how long it took the web page to load. It doesn’t give us precise data for the amount of electricity used in kilowatts, but the information it does provide can be used to benchmark how efficiently your websites use energy and set targets for improvement.

  • Design for Safety, An Excerpt

    Design for Safety, An Excerpt

    According to antiracist analyst Kim Crayton, “intention without plan is chaos.” We’ve discussed how our prejudices, beliefs, and carelessness toward marginalized and resilient parties lead to dangerous and irresponsible tech—but what, precisely, do we need to do to fix it? We need a strategy, not just the desire to make our technology safer.

    This book will provide you with that plan of action. It covers how to incorporate safety principles into your design work in order to make tech that’s secure, how to persuade your stakeholders that this work is important, and how to respond to the critique that what we really need is more diversity. ( Spoiler: We do, but diversity alone cannot solve unethical, unsafe technology. )

    The procedure for diverse safety

    Your objectives when designing for protection are to:

    • determine way your product can be used for misuse,
    • style ways to prevent the maltreatment, and
    • offer assistance for harmed people to regain control and power.

    The Process for Inclusive Safety is a tool to help you reach those goals ( Fig 5.1 ). It’s a method I developed in 2018 to better understand the different methods I used to create products that were designed with safety in mind. Whether you are creating an entirely new product or adding to an existing element, the Process can help you produce your product secure and diverse. The Process includes five public areas of action:

    • conducting studies
    • Creating tropes
    • pondering issues
    • Designing options
    • Testing for health

    The Process is meant to be flexible; in some situations, it didn’t make sense for groups to adopt every step. Use the parts that are related to your special function and environment, this is meant to be something you can put into your existing style process.

    And once you use it, if you have an idea for making it better or simply want to give perspective of how it helped your staff, please get in touch with me. It’s a living document, which I hope engineers may use as a practical and useful tool throughout their day-to-day tasks.

    If you’re working on a product especially for a resilient team or survivors of some form of injury, such as an application for survivors of domestic violence, sexual abuse, or drug addiction, be sure to read Section 7, which covers that position directly and should be handled a bit different. The principles set forth here are for putting safety first when creating a more general product with a broad user base ( which, as we already know from statistics, will include some groups that should be protected from harm ). Chapter 7 is focused on products that are specifically for vulnerable groups and people who have experienced trauma.

    Step 1: Conduct research

    Design research should include a thorough analysis of how your technology might be used for abuse as well as specific insights into the experiences of those who have witnessed and perpetrated that kind of abuse. At this stage, you and your team will investigate issues of interpersonal harm and abuse, and explore any other safety, security, or inclusivity issues that might be a concern for your product or service, like data security, racist algorithms, and harassment.

    broad research

    Your project should begin with broad, general research into similar products and issues around safety and ethical concerns that have already been reported. For example, a team building a smart home device would do well to understand the multitude of ways that existing smart home devices have been used as tools of abuse. If you’re creating an AI product, be aware of the potential for racism and other issues that have been reported in other AI products. Nearly all types of technology have some kind of potential or actual harm that’s been reported on in the news or written about by academics. For these studies, Google Scholar is a useful resource.

    Specific research: Survivors

    When possible and appropriate, include direct research ( surveys and interviews ) with people who are experts in the forms of harm you have uncovered. In order to gain a better understanding of the subject and be better positioned to avoid traumatizing survivors, you should first interview those who work in the area of your research. If you’ve uncovered possible domestic violence issues, for example, the experts you’ll want to speak with are survivors themselves, as well as workers at domestic violence hotlines, shelters, other related nonprofits, and lawyers.

    It is crucial to pay people for their knowledge and lived experiences, especially when interviewing survivors of any kind of trauma. Don’t ask survivors to share their trauma for free, as this is exploitative. While some survivors may not want to be paid, you should always make the offer in the initial ask. Donating to a cause that combated the kind of violence the interviewee experienced is an alternative to paying for. We’ll talk more about how to appropriately interview survivors in Chapter 6.

    Abusers specific research

    It’s unlikely that teams aiming to design for safety will be able to interview self-proclaimed abusers or people who have broken laws around things like hacking. Don’t make this a goal, rather, try to get at this angle in your general research. Attempt to understand how abusers or bad actors use technology to harm others, how they use it against others, and how they justify or explain the abuse.

    Step 2: Create archetypes

    Use your research after you’ve finished conducting it to create abuser and survivor archetypes. Archetypes are not personas, as they’re not based on real people that you interviewed and surveyed. Instead, they’re based on your research into likely safety issues, much like when we design for accessibility: we don’t need to have found a group of blind or low-vision users in our interview pool to create a design that’s inclusive of them. Instead, we base those designs on existing research and what this group requires. Personas typically represent real users and include many details, while archetypes are broader and can be more generalized.

    The abuser archetype is someone who views a product as a means of harm ( Fig. 5.2 ). They may be trying to harm someone they don’t know through surveillance or anonymous harassment, or they may be trying to control, monitor, abuse, or torment someone they know personally.

    The survivor archetype describes a person who is being abused with the product. There are various situations to consider in terms of the archetype’s understanding of the abuse and how to put an end to it: Do they need proof of abuse they already suspect is happening, or are they unaware they’ve been targeted in the first place and need to be alerted ( Fig 5.3 )?

    You may want to make multiple survivor archetypes to capture a range of different experiences. They may be aware of the abuse is occurring but not be able to stop it, such as when a stalker keeps figuring out where they are from ( Fig 5.4), or they may be aware that it is happening but not know how ( for example, when an abuser locks them out of IoT devices ). Include as many of these scenarios as you need to in your survivor archetype. These suggestions will be used later when creating solutions to assist your survivor archetypes in achieving their objectives of preventing and ending abuse.

    It may be useful for you to create persona-like artifacts for your archetypes, such as the three examples shown. Focus on their objectives rather than the demographic details we frequently see in personas. The goals of the abuser will be to carry out the specific abuse you’ve identified, while the goals of the survivor will be to prevent abuse, understand that abuse is happening, make ongoing abuse stop, or regain control over the technology that’s being used for abuse. Later, you’ll think about how to help the survivor’s goals and prevent the abuser’s goals.

    And while the “abuser/survivor” model fits most cases, it doesn’t fit all, so modify it as you need to. For example, if you uncovered an issue with security, such as the ability for someone to hack into a home camera system and talk to children, the malicious hacker would get the abuser archetype and the child’s parents would get survivor archetype.

    Step 3: Remind yourself of your issues

    After creating archetypes, brainstorm novel abuse cases and safety issues. You’re trying to identify entirely new safety issues that are unique to your product or service by using the term” Novel” in terms of things that are not discovered in your research. The goal with this step is to exhaust every effort of identifying harms your product could cause. You aren’t worrying about how to prevent the harm yet—that comes in the next step.

    How else could your product be used for any kind of abuse besides what you’ve already found in your research? I recommend setting aside at least a few hours with your team for this process.

    Try conducting a Black Mirror brainstorming session if you want to start somewhere. This exercise is based on the show Black Mirror, which features stories about the dark possibilities of technology. Try to figure out how your product would be used in an episode of the show—the most wild, awful, out-of-control ways it could be used for harm. Participants typically end up having a good deal of fun when I’ve led Black Mirror brainstorms ( which I think is great because having fun when designing for safety! ). I recommend time-boxing a Black Mirror brainstorm to half an hour, and then dialing it back and using the rest of the time thinking of more realistic forms of harm.

    After identifying as many opportunities for abuse as you can, you may still not feel confident that you have found every potential source of harm. A healthy amount of anxiety is normal when you’re doing this kind of work. It’s common for teams designing for safety to worry,” Have we really identified every possible harm? What if something is missing, then? If you’ve spent at least four hours coming up with ways your product could be used for harm and have run out of ideas, go to the next step.

    It’s impossible to say for sure that you’ve done everything, but instead of striving for 100 % assurance, acknowledge that you’ve done everything, and pledge to prioritize safety going forward. Once your product is released, your users may identify new issues that you missed, aim to receive that feedback graciously and course-correct quickly.

    Step 4: Design solutions

    You should now be aware of the ways your product can be used for harm as well as survivor and abuser archetypes describing opposing user objectives. The next step is to identify ways to design against the identified abuser’s goals and to support the survivor’s goals. This is a good idea to include this one alongside other areas of your design process where you’re offering solutions to the various issues your research has identified.

    Some questions to ask yourself to help prevent harm and support your archetypes include:

    • Can you design your product in such a way that the identified harm cannot happen in the first place? If not, what barriers can you place to stop the harm from occurring?
    • How can you make the victim aware that abuse is happening through your product?
    • How can you assist the victim in understanding what they need to do to stop the problem?
    • Can you identify any types of user activity that would indicate some form of harm or abuse? Could your product help the user access support?

    In some products, it’s possible to proactively detect harm is occurring. For example, a pregnancy app might be modified to allow the user to report that they were the victim of an assault, which could trigger an offer to receive resources for local and national organizations. Although it’s not always possible to be this proactive, it’s worthwhile to spend a half hour talking about how your product could help the user receive help in a safe manner if any kind of user activity would indicate some form of harm or abuse.

    That said, use caution: you don’t want to do anything that could put a user in harm’s way if their devices are being monitored. If you do offer some kind of proactive help, always make it voluntary, and think through other safety issues, such as the need to keep the user in-app in case an abuser is checking their search history. In the next chapter, we’ll walk through a good illustration of this.

    Step 5: Test for safety

    The final step is to evaluate the prototypes against the perspectives of your archetypes, who wants to harm the product or the victim of the harm who needs to regain control of the technology. Just like any other kind of product testing, at this point you’ll aim to rigorously test out your safety solutions so that you can identify gaps and correct them, validate that your designs will help keep your users safe, and feel more confident releasing your product into the world.

    Ideally, safety testing happens along with usability testing. If you work for a company that doesn’t conduct usability testing, you might be able to use safety testing to deftly perform both. A user who uses your design while trying to use it against someone else can also be encouraged to point out interactions or other aspects of the design that don’t make sense to them.

    You’ll want to conduct safety testing on either your final prototype or the actual product if it’s already been released. It’s okay to test an existing product that wasn’t created with safety goals in mind right away; “etrofitting” it for safety is a good thing.

    Remember that testing for safety involves testing from the perspective of both an abuser and a survivor, though it may not make sense for you to do both. Alternatively, if you made multiple survivor archetypes to capture multiple scenarios, you’ll want to test from the perspective of each one.

    You as the designer are most likely too closely connected to the product and its design by this point to be a valuable tester, you know the product too well, as with other forms of usability testing. Instead of doing it yourself, set up testing as you would with other usability testing: find someone who is not familiar with the product and its design, set the scene, give them a task, encourage them to think out loud, and observe how they attempt to complete it.

    Abuse testing

    The goal of this testing is to understand how easy it is for someone to weaponize your product for harm. Unlike with usability testing, you want to make it impossible, or at least difficult, for them to achieve their goal. Use your product to try to accomplish the objectives in the abuser archetype you created earlier.

    For example, for a fitness app with GPS-enabled location features, we can imagine that the abuser archetype would have the goal of figuring out where his ex-girlfriend now lives. With this in mind, you’d make every effort to discover the location of a different user who has their privacy settings in place. You might try to see her running routes, view any available information on her profile, view anything available about her location ( which she has set to private ), and investigate the profiles of any other users somehow connected with her account, such as her followers.

    If by the end of this you’ve managed to uncover some of her location data, despite her having set her profile to private, you know now that your product enables stalking. Returning to step 4 and figuring out how to stop this from occurring is your next step. You may need to repeat the process of designing solutions and testing them more than once.

    Testing for Survivors

    Testing for Survivors involves identifying how to give information and power to the survivor. It might not always make sense based on the product or context. Thwarting the attempt of an abuser archetype to stalk someone also satisfies the goal of the survivor archetype to not be stalked, so separate testing wouldn’t be needed from the survivor’s perspective.

    However, there are cases where it makes sense. A survivor archetype’s goal, for instance, would be to discover what causes the temperature change when they aren’t altering it themselves. You could test this by looking for the thermostat’s history log and checking for usernames, actions, and times, if you couldn’t find that information, you would have more work to do in step 4.

    Another goal might be regaining control of the thermostat once the survivor realizes the abuser is remotely changing its settings. Your test would involve trying to figure out how to do this: are there instructions on how to remove and change the password, and are they simple to locate? This might again reveal that more work is needed to make it clear to the user how they can regain control of the device or account.

    stress testing

    To make your product more inclusive and compassionate, consider adding stress testing. This concept comes from Design for Real Life by Eric Meyer and Sara Wachter-Boettcher. The authors noted that personas typically focus on happy people, but happy people are frequently anxious, stressed, unhappy, or even tragic. These are called” stress cases”, and testing your products for users in stress-case situations can help you identify places where your design lacks compassion. More information about how to incorporate stress cases into your design can be found in Design for Real Life, as well as in many other effective methods for compassionate design.