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  • From Beta to Bedrock: Build Products that Stick.

    From Beta to Bedrock: Build Products that Stick.

    I’ve lost count of the times when promising ideas go from being useless in a few days to being useless after working as a solution designer for too long to explain.

    Financial goods, which is my area of expertise, are no exception. It’s tempting to put as many features at the ceiling as possible and expect something sticks because people’s true, hard-earned money is on the line, user expectations are high, and crowded market. However, this strategy will lead to disaster. Why? How’s why:

    The perils of feature-first growth

    It’s easy to get swept up in the enthusiasm of developing innovative features when you start developing a financial product from scratch or are migrating existing user journeys from papers or telephony channels to online bank or mobile applications. You might be thinking,” If I can only put one more thing that solves this particular person problem, they’ll appreciate me”! What happens, however, when you eventually encounter a roadblock caused by your security team? don’t like it? When a difficult-fought film fails to win over viewers or fails due to unanticipated difficulty?

    The concept of Minimum Viable Product ( MVP ) is applied to this. Even though Jason Fried doesn’t usually refer to it that way, his podcast Rework and his guide Getting Real frequently address this concept. An MVP is a product that offers only sufficient value to your users to keep them interested, but not so much that it becomes difficult to keep up. Although the idea seems simple, it requires a razor-sharp eye, a brutal edge, and the courage to stand up for your position because” the Columbo Effect” makes it easy to fall for something when one always says” just one more thing …” to add.

    The issue with most fund apps is that they frequently turn out to be reflections of the company’s internal politics rather than an experience created specifically for the customer. This implies that the priority is to provide as some features and functionalities as possible to satisfy the requirements and desires of competing internal departments as opposed to a distinct value statement that is focused on what people in the real world actually want. These products may therefore quickly become a muddled mess of confusing, related, and finally unlovable client experiences—a feature salad, you might say.

    The significance of the foundation

    What is a better strategy, then? How may we create products that are user-friendly, firm, and, most importantly, stick?

    The concept of “bedrock” comes into play in this context. The mainstay of your product is really important to people, and Bedrock is that. It serves as the foundation for the fundamental building block that creates price and maintains relevance over time.

    The rock has to be in and around the standard servicing journeys in the world of retail bank, which is where I work. People only look at their existing account once every blue moon, but they do so every day. They purchase a credit card every year or every other year, but they at least once a month examine their stability and pay their bills.

    The key is in identifying the main tasks that individuals want to complete and therefore persistently striving to make them simple, reliable, and trustworthy.

    How can you reach the foundation, though? By focusing on the” MVP” strategy, giving ease precedence, and working incrementally toward a clear value proposition. This entails removing unneeded functions and putting the emphasis on providing genuine value to your users.

    It also requires having some fortitude, as your coworkers might not always agree with you immediately. And dubiously, occasionally it can even suggest making it clear to customers that you won’t be coming to their house and making their breakfast. Sometimes you may need to use the sporadic “opinionated user interface design” ( i .e. clunky workaround for edge cases ) to test a concept or to give yourself some room to work on something more crucial stuff.

    Functional methods for creating reliable financial goods

    What are the main learnings I’ve made from my own research and knowledge, then?

    1. What trouble are you trying to solve first, and make a distinct “why”? For whom? Before beginning any project, make sure your goal is completely clear. Make certain it also aligns with the goals of your business.
    2. Avoid the temptation to put too many characteristics at once by focusing on one, key feature and focusing on getting that right before moving on to something else. Choose one that actually adds benefit, and work from that.
    3. When it comes to financial items, clarity is often over difficulty. Eliminate unwanted details and concentrate solely on what matters most.
    4. Accept constant iteration: Bedrock is not a fixed destination; it is a fluid process. Continuously collect customer opinions, make product improvements, and advance in that direction.
    5. Stop, appearance, and talk: You must test your product frequently in the field rather than just as part of the shipping process. Use it for yourself. Move the A/B checks. User opinions on Gear. Speak to the users of it and make adjustments accordingly.

    The “bedrock conundrum”

    Building towards rock implies sacrificing some short-term growth prospective in favor of long-term balance, which is an interesting paradox at play here. But the return is worthwhile: products built with a focus on rock will outlive and surpass their rivals over time and provide users with long-term value.

    How do you begin your quest for core, then? Consider it gradually. Start by identifying the underlying factors that your customers actually care about. Concentrate on developing and improving a second, potent have that delivers real value. And most importantly, make an obsessive effort because, whatever you think, Abraham Lincoln, Alan Kay, or Peter Drucker, you can’t deny it! The best way to foretell the future is to build it, he said.

  • Shoveling Shit: The Messy Truth of Entrepreneurship

    Shoveling Shit: The Messy Truth of Entrepreneurship

    Learn more at Duct Tape Marketing in The Messy Truth of Entrepreneurship by John Jantsch in Shuttering Shit: The Messy Truth of Entrepreneurship.

    The host John Jantsch sits down with Mike and Kass Lazerow, seasoned businesspeople, owners, and creators of the bold new publication Shoveling Shit: A Love Story, to discuss the episode’s description. The Lazerows are renowned for co-founding Golf.com and Buddy Media [which Salesforce acquired for$ 745 million ]…

    Learn more at Duct Tape Marketing in The Messy Truth of Entrepreneurship by John Jantsch in Shuttering Shit: The Messy Truth of Entrepreneurship.

    Talk to the entire season here:

    Summary of the Episode

    Host John Jantsch and Mike Lazerow, seasoned owners and creators of the bold new publication Shoveling Shit: A Love Story, discuss in this instance of the Duct Tape Marketing Podcast. The Lazerows, who co-founded Golf.com and Buddy Media ( which was acquired by Amazon for$ 745 million ), speak with decades of experience to explain the raw, unfiltered reality of innovation. Their talk explores why accepting the chaos—fails, spins, and uncertainty—is not a defining characteristic of the entrepreneurial journey. This episode explores what it really takes to create a company ( and a life ) that lasts, from starting businesses as a married couple to rejecting the myth of work-life balance.

    About Kass Lazerow and Mike

    Mike Lazerow, a former tech entrepreneur and entrepreneur, has founded numerous businesses, including Buddy Media, which Salesforce purchased for$ 745 million. He now leads Founders Farm and Velos Partners, which invest in and instruct young businesses.

    Kass Lazerow is a skilled technician and co-founder with a keen understanding of networks, scaling, and murder. She has collaborated with Mike for more than 20 years. They have supported nearly 100 startups and made over$ 10 billion in realized gains as a whole.

    Learn more about their endeavors at shovelingshit.com.

    What You’ll Discover in This Season

    • Why does entrepreneurs focus more on enduring failures than on unforeseen successes?
    • The “imbalanced living” theory and why work-life stability is a story
    • How Mike and Kass divide their responsibilities in marriage and organization.
    • Transparency and communication are essential for leading team.
    • Major hints from the text that every businessperson needs to be aware of
    • When should you tilt and how do you choose between your intestines and your metrics?
    • How accepting doubt gives you a competitive edge
    • What a legacy looks like for business owners who are driven to make a positive influence

    Important Events from the Episode

    • Why” Shoveling Crap” was the appropriate name for their book, according to 00: 47.
    • 02: 12 – How their co-founders ‘ strengths as spouses and co-founders complement one another
    • 04 :24 – The Unbalanced Life: Choosing Obsession over Balance
    • 06 :06 – Parenting while creating businesses: fair trade-offs
    • brutal prioritization: Mike’s preferred cheat code at 08:31
    • Kass’s preferred cheat code is clear leadership, at 09:36.
    • 10:45 – The value of acquiring new skills to succeed in ambiguity
    • 13: 02 – Lessons from the dot-com collapse and losing it all
    • 14: 56 – The cost of a weak co-founder configuration
    • How shareholders can help spins with better questions, according to 16: 27.
    • 18: 26 – Revisiting victory measures to determine when adjustments are required.
    • What Mike and Kass ‘ reputation is at 31:31
    • 21: 31 – Where can I connect with the author online and get it?

    Discover the True Story of Business.

    Want a heartfelt, dark look at what it takes to create something that is true? Explore equipment, stories, and systems to help you achieve in both business and career. Pick up Shoveling Shit: A Love Story.

    Visit shovelingshit.com

     

  • Mission: Impossible – The Final Reckoning: Shea Whigham’s Character Is a Missed Opportunity

    Mission: Impossible – The Final Reckoning: Shea Whigham’s Character Is a Missed Opportunity

    Trailers appear in this article for Mission: Impossible—The Final Reckoning. ” Good evening, Jim. If you decide to accept it, it is your mission.” These words would mark the start of some Mission: Impossible episodes. They were addressed to Jim Phelps, one of the show’s two main protagonists, alongside]… ]

    The article Mission: Impossible – The Final Reckoning: Shea Whigham’s Character Is a Overlooked Opportunity appeared first on Den of Geek.

    It was a significant step forward in terms of what a grand scale in-person entertainment experience can be when Universal Epic Universe opened in Orlando, Florida, next week. It was not only the second major concept area to debut in the United States in 24 years. Spanning five new “lands” across 750 acres — the Universal Monsters ‘ themed Dark Universe, Super Nintendo World, How To Teach Your Dragon — Isle of Berk, The Wizarding World of Harry Potter — Ministry of Magic, and the Celestial Park access point — this isn’t just a big garden, it lives up to its title of amazing with its level of immersion, interactivity, and indeed, rides. &nbsp,

    For perspective, I grew up a theme park person in Orlando. Raised very much in the darkness of Cinderella’s Castle at Walt Disney World, I remember being a boy in 1990 seeing vision popping billboards of Ghostbusters, King Kong, and E. T. promising the appearance of Universal Studios Florida where guests were invited to not only drive the movies, but to survive them. I have covered the creation and opening of new attractions over the years as a theme park kid and theme park professional.

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    I’ve always pursued the idea of living the movies, in addition to pursuing the newest advancement in rollercoasters or 3D technology. Even as I grew older, I craved the ability to play pretend, and disappear for a stretch within these worlds of make-believe.

    Of all the experiences I’ve had so far, Epic comes the closest to accomplishing this. After attending the media preview and grand opening celebration, logging about 20 hours in the park &#8212, riding every attraction, meeting-and-greeting as many characters as possible, trying all the food and drinks, and spending about a week processing the experience—here are a few arenas where Epic Universe has taken the crown on the American theme park scene.

    Revamped Worldbuilding

    What converts a lapsed visitor to a devoted devotee who never quite has enough to enjoy the theme park? It’s the experience beyond the attractions alone, and the dedication to worldbuilding. &nbsp,

    For instance, I love going to Walt Disney World, even though I’ve been a thousand times, and I’m content just to walk around, grab a drink and bite, and soak it all in. I am a roller coaster and attraction nut, but what keeps me engaged is the overall energy of the place. &nbsp,

    Disney has, for me, traditionally been more of the theme park destination where I can show up and enjoy a day regardless of wait times for attractions. Disney has just felt nicer and more fully realized, to be honest. Whereas Universal Orlando, encompassing the parks Universal Studios and Islands of Adventure, has been the place I go to, rather than hang around at. It has always been the spot for great thrill rides, but I’ve never really wanted to “live” there.

    When The Wizarding Worlds of Harry Potter lands first appeared, first at Islands in 2010, and then at Studios in 2014, there was a glimmer of hope. It was close to the idea of a theme park world where I could lose myself in a story. However, it wasn’t quite there. &nbsp,

    As a response to the challenge thrown down by Wizarding World, Disney promised immersiveness at Star Wars: Galaxy’s Edge in both Walt Disney World, and Disneyland. &nbsp,

    The experiment started strong, with cast members dedicated to greetings of” Bright Suns”!, the rowdy vibe within Oga’s Cantina, the in-world merchandise. Things have gotten a little drier over time. These days, the bartenders aren’t even allowed to cheer to the” Una Duey Dee” drinking song, and the” story” of Blackspire Outpost on the planet of Batuu has been all but abandoned. It has remained my favorite themed land, but some of the magic is gone. ( My two days aboard the tragically short-lived Star Wars: Galactic Starcruiser hotel are the best example of this so far. ) RIP. )

    The stakes have now been raised by Epic Universe. &nbsp,

    There is electricity in the air at Epic, or perhaps more appropriately: It’s alive. &nbsp,

    From the moment I passed through each of the land’s elaborate portals, everything on the other side ( and in the rest of the theme park ) seemed to fade away. They all struck me as independent with their own special vibe.

    I thought I had gotten into an eerie old monster movie with Danny Elfman’s soundtrack within Dark Universe. In Super Nintendo World, I was surrounded by colors and the sensation of being sucked Jumanji-style into a video game. Then I traveled through time to a magical world in Paris in the 1920s. My colleague summed up Isle of Berk best by saying it was like they were dropped into someone’s vibrant D&amp, D campaign.

    There seems to be a new level of world building on display, and assuming it’s kept up, Epic commits to the bit of a lively universe and exciting playground. &nbsp,

    Character Interactions

    Dark Universe

    The exceptional level of character interactivity within these lands adds such an unquantifiable amount of fun, and repeatability, to Epic. And the figures I encountered weren’t just posing for a photo or walking by, but pausing to actively engage.

    I had a number of lengthy conversations with the Invisible Man, Ygor, a few monster-hunting Hounds, and a mysterious violin player in Dark Universe. You can also meet Frankenstein’s Monster and the Bride. ( An updated, cohesive canon at Dark Universe states that this Frank is not the original, and that the Bride is more his friend. ) But I digress. ) &nbsp,

    These characters gave hints about the mysteries of the Darkmoor, the village setting, and the back-and-forth was jaw-dropping. They were also quick-witted, funny, and importantly, never broke character. Griffin the Invisible Man will eat up all of his praise when you talk to him. But if you act snarky, or get demanding, he might become snappy, or ask if you’re done requesting him to perform. He even dismissed me at one point for cracking too many invisible puns. &nbsp,

    Meanwhile, one of the Hounds I encountered was Gregor the Guardian. He told me about killing a werewolf at the Burning Blade Tavern, which was hilarious. He told me about how monster-hunting has terrible benefits, unless the rest of the hunting party doesn’t survive, and he didn’t need to split the reward. Next he showed off his facial battle scars from a monster attack, and I showed him my own — caused when Mary Ellen Moffit broke my heart. He also expressed concern that my coworker was wearing a werewolf hat/mask until I dissected his suspicions that she was secretly. Actually, every experience I had at the Burning Blade was phenomenal. I just didn’t want to leave it because it is a lived-in tavern with monster trophies and old battle pictures of supernatural forces. Truly, next time I visit, I’ll be spending two hours here just hanging out.

    Then there’s Ygor, the true heart of Dark Universe ( though Frankenstein’s Monster might be the abby-normal brain of the place ). I ran into Victoria Frankenstein’s assistant after my transformation at the Monster Makeup Experience, where he inquired about the artist who had performed my monster stitches. He suggested he could have done better with less obvious wounds. He then launched himself into the bushes because it appeared a branch was attempting to attack my cameraperson. Ygor is not only the heart of Dark Universe, he might be a burgeoning rockstar based on the social media love he’s been generating. &nbsp,

    Ministry of Magic

    The aurors ( a. k. a. wizard cops ) at the Ministry of Magic, set in 1920s Paris during the Fantastic Beasts films, are similarly a treat to speak with as they look for shady characters up to magical misdeeds. Jazz musicians parade through the streets in style with a cuddly, interactive puffskein creature. A trio of students — from Beauxbatons Academy of Magic, and exchange students from Hogwarts and Ilvermorny Schools of Witchcraft and Wizardry — carry the Monster Book of Monsters. Ask the right questions, and they might let you take a peek inside it. The ability to interact with talking portraits personally is the coolest new interaction in the Ministry of Magic, which is a first for any of the Wizarding Worlds.

    Plus, aspiring sorcerers can test out their spellcasting, using an interactive Wizarding World wand — and they can pick up a new one at wandmaker’s Cosme Acajor rather fancy Baguettes Magique — to discover magical mysteries and even stir up activity with fantastic beasts, like a thieving niffler. &nbsp,

    Isle of Berk

    Over at Isle of Berk, guests might be teased and roasted by the snotty viking characters Ruffnut and Tuffnut, and can pick up some Dragon-training history by Gobber the Belch. However, the entire land is covered in literal dragons. These are not only of the animatronic variety, but interactive, robotic dragons. Two tiny dragon pups, in reality Boston Dynamics ‘ robo-dogs transformed into the fantastical creatures, are present, as well as a chance to meet and greet with a huge Toothless.

    The lines to meet the famous Dragon were long, but worthwhile because guests can approach him, slowly, and allow him to have a sniff before they are allowed to pet and scritch the cuddly guy as he purrs. It is a joy-inducing encounter where you don’t even question the special effects behind the moment — because you’re friggin’ petting a dragon!

    Easter Eggs, Secrets, and Details Galore

    Beyond the character interactions, what lends to Epic’s immersiveness is the attention to detail. &nbsp,

    Although it is present in Super Nintendo World, where I felt lost within a video game, this is especially true for Dark Universe, Berk, and Potter. In Dark Universe, there are endless nods to the Universal Monster movies. Within his descendants ‘ Scientific Oddities store, where homunculi hide in the rafters, is a portrait of the mad scientist Dr. Pretorius. Footprints on the ground document the horrifying change from man into werewolf. &nbsp,

    There’s even graveyard statues that pay homage to the monster films, including one honoring the little girl Maria — killed by Frankenstein’s creation in the 1931 movie. And there’s an emerging trend to leave a flower at her grave. The fact that Creative Director Brandon Kleyla discovered the statue himself and that he had always hoped visitors would bring flowers to the park highlights how passionate other fans have been about the creation of this park.

    Along with the tall, seemingly true-to-scale buildings populating the Parisian landscape in the Ministry of Magic, artwork, shops, and signage all make one feel embedded in this realm while also paying dividends to eagle-eyed fans. &nbsp,

    Overall, the intrepid explorer’s curiosity, and patience, is rewarded at every turn in Epic. Pause to listen to an argument between competing voices behind the doors of Dr. H. Jekyll Apotheker at Dark Universe, and one might learn of a secret drink order for the tavern. The Sorcerer’s Stone may be able to be found in the Ministry of Magic ( perhaps in the Le Gobelet Noir ) for those who recall that it was hidden in Paris in the 1920s. &nbsp,

    The restaurant options, such as Das Stakehaus, a place where Dracula’s friends live and work alongside vampires who have been killed by vampires and have no connection to garlic, are also a part of the theming. &nbsp,

    Even Epic’s lavatories are something to behold. Themes of Super Nintendo World include plumber pipes, underwater music, and music, Isle of Berk has artistic viking murals, Ministry of Magic has vintage-inspired decor, and” toiletten” in Dark Universe has gothic-inspired interiors with black toilets, moody lighting, and a lack of mirrors ( because Dracula doesn’t need to be outed as a vampire while counting to number two ), and is gothic-inspired inside with black toilets, dark lighting, and

    The Rides

    Monsters Unchained

    With 11 rides throughout Epic, there’s plenty of thrills to occupy two days of a visit. But the highlight is, without a doubt, Monsters Unchained: The Frankenstein Experiment in the Dark Universe land. &nbsp,

    The storyline of Monsters Unchained revolves around Dr. Victoria Frankenstein, the great-great-granddaughter of Henry. We learn more about the story in a pre-show as we encounter a Victoria animatronic with a towering ( and walking? ) face. Frankenstein’s Monster animatronic —&nbsp, which is a groundbreaking piece of tech. &nbsp, &nbsp,

    Although she’s our protagonist, Victoria sounds a little unhinged because she claims to have learned how to control, capture, and even tame the Universal Classic Monsters. However, that Frankenstein family obsession runs in her blood. Or so she thinks. While her research into the original monster Frank succeeds, the new version comes off as tame and friendly, but her hubris takes hold as she tries to do the same with Wolfman, Mummy, Creature from the Black Lagoon, and monster boss Dracula, and his brides. Drac escapes and unleashes the other baddies. As all hell breaks loose, Victoria, Frank, and assistant Ygor attempt to stop the rampage. And when the experiment turns horribly wrong, the visitor to Darkmoor is unfortunate enough to be a willing participant in it. &nbsp,

    As one enters Frankenstein Manor’s catacombs, descend through its grand staircase lined with large statues, and the queue of Monsters is full of Easter eggs. There are call outs to the original Universal Monster films, such as photos of the original Frankenstein and his fiancee Elizabeth ( actors Colin Clive and Mae Clarke from the 1931 film ), or a portrait of Clive-as-Henry opposite the new character Victoria. There’s also an encased body of the original Frankenstein creature that’s scanned by Victoria’s modern-day tech. And we also visit her fireplace den all over the mansion, view boxes of mysterious cargo, and watch found footage of her and her dependable Ygor hunting monsters. There’s also this really cool vampire bat containment unit scene that looks physical despite being a 3D animation. As I delved deeper into the catacombs, which were actually teased at the land’s entrance in the form of a stone structure with a gated entrance, I came across coffins and crypts, teeing up the monsters we’ll encounter, and the atmosphere is unmistakably eerie.

    The best part of this dark ride is getting up-close-and-personal encounters with updated designs of the classic monsters ( including appearances by Lon Chaney-era Phantom of the Opera and the Hunchback of Notre Dame ). The attraction utilizes a variety of effects, including incredible audio-animatronics, practical sets, and animated action sequences as the rider is propelled on a KUKA coaster arm. The ride on Monsters is unobstructed, has more motion, and allowed me to feel the Wolfman’s breath while tipped on my back thanks to the arm being attached to the bottom of the vehicle rather than behind, as opposed to, say, the Harry Potter and the Forbidden Journey attraction at Universal’s Islands of Adventure, which also uses a KUKA arm. Another notable element is the escape of Dracula’s brides. I was blown away by the very cool transition between screen and physical animatronics. &nbsp,

    As just an added little note here which made me grin: According to the attraction’s story, Ygor is operating the ride vehicle, called the Catacombs Navigation Unit. When he activates his controls, the car moves more fluidly than it does janky, as if he’s still learning how to drive the thing. &nbsp,

    Although the setup is actually creepy, the ride is more of an adventure than a scary one. There were plenty of moments I saw “behind the curtain” and witnessed the mechanical arms on the animatronics in-ride, but it wasn’t a terrible distraction. There is so much happening on Monsters Unchained that it demands repeat rides ( far more than the several times I did it ) in order to take it all in. For all the monster kids out there, it’s a feast of senses. &nbsp,

    Battle at the Ministry

    Then there is the Harry Potter and the Battle at the Ministry attraction that zoomed me through London’s Ministry of Magic on an enchanted elevator. Though the land is set in 1920s Paris ( during the Fantastic Beasts films ), this attraction takes place in the 1990s, right after the Harry Potter films. Voldemort lieutenant Dolores Umbridge eludes the trial, prompting Harry, Ron, Hermione, and the house-elf Higgledy to help save the day on the day that her trial is scheduled to begin.

    I have thoroughly enjoyed the pre-existing Hogsmeade and Diagon Alley lands at Universal. I didn’t need another Potter-themed attraction, though, to be honest. However, Battle more than delivers. The queue itself is, ironically, worth the wait alone as guests enter the Ministry offices. What struck me as the biggest, tallest, and deepest indoor area at a theme park (yes, even bigger than the Star Destroyer reveal from Rise of the Resistance at Disney ). It would be insulting to say this is like a movie set, rather, it is real, down to the marble tiles, as well as nearly infinite stretching into a sky of realistic clouds. The scope of the entire experience is enormous. &nbsp,

    On the actual ride, we zoomed through the labyrinthine depths of the Ministry where a feast of visuals endlessly flashed by. This is a smoother attraction while remaining exciting, making it more visually appealing than the other Potter attractions, Forbidden Journey and Escape from Gringotts at Universal Orlando. The ride elevator — a 14-seater, two-row vehicle with safety belt restraint —&nbsp, is bumpy, but not in a jarring way, with a few big drops that avoid any intense stomach sensations. And the massive physical sets seamlessly blend with the action on large-scale ( and incredibly vibrant ) screens. &nbsp,

    The whole affair is magical. Additionally, I adore the new Higgledy character, and the enormous Erumpent released from the Department for the Regulation and Control of Magical Creatures is an impressive animatronic.

    I suspect Battle at the Ministry might be one of the best theme park attractions I’ve yet seen. Although Monsters Unchained is my personal favorite at Epic, this is still stunning, and it’s a study in immersion. My only minor quibble is a nerdy continuity one, as the plot point on how we went from the 1920s to 1990s is a tad wishy-washy. I like a tight story timeline with my themed lands, but I’ll just chalk up the time travel to MetroFloo shenanigans, as well as Time Turners and a Ministry Time Room.

    Stardust Racers

    While Monsters Unchained was my overall favorite attraction at Epic, the Stardust Racers dueling coasters in Celestial Park may have been my biggest surprise. I wasn’t particularly excited about the central land within the hub-and-spoke layout, which may be because it’s not associated with any classic Universal IP ( even though the ride cars are “powered” by Doc Brown’s flux capacitor ). But Stardust Racers has now earned my top spot for favorite roller coaster ( s ). &nbsp,

    The cosmic Celestians have captured two comets, which allows us to ride on them to determine which is faster, according to this one’s story. But the story really doesn’t matter so much because the focus is on the top speed of 62 mph, and the rising, falling (up to 133 feet ), criss-crossing inversions and exhilarating launch of this baby. I’ve taken the green and yellow sides of the attraction a few times, and I can’t say which is better, but I believe the yellow side has a better view. Although the Jurassic Park VelociCoaster at Islands of Adventure might previously be considered the best of the bunch at Universal, Stardust has a stellar edge to it. &nbsp,

    Madness in the Mine-Cart

    For my second favorite coaster at Epic, I was leaning towards Hiccup’s Wing Gliders at the How to Train Your Dragon — Isle of Berk land. The attraction is an adrenaline rush but not overly intense for the more coaster-wary crowd, on par with Hagrid’s Magical Motorbike Adventure at Islands. I rode four times in a row, and it remains fun, even without flipping or spinning. What struck me as a concern with this one was the restraint, which got increasingly, and uncomfortably tight, throughout the ride. At one point, it turned into straight-up painful. It should be noted that I don’t really have a big frame, and this was not due to the coaster attendants making the restraint too tight ( although that has happened way too frequently in the past ). The operators responded to my request, and they said they had heard the complaint well enough to declare it a known issue. &nbsp,

    That aside, I think the real runner-up for best coaster at Epic is Madness in the Mine-Cart at the Donkey Kong Country zone in Super Nintendo World. What makes this coaster so noteworthy is the “boom coaster” technology that allows for the illusion of a vehicle on a track system, while the “real” track is underneath, and the vehicle is attached to a hidden arm on the side.

    The result is a fun adventure where I was navigating the Golden Temple to help DK protect the golden banana — all as the mine cart launches, lifts, drops, skims across water, and jumps across seemingly broken tracks. I just couldn’t get enough of this coaster because it’s so much fun. Plus, I love how perfect it is for this particular land as I was able to live within a DK game, but in the real-world.

    Final Takeaway

    More can be said about Epic Universe than can be adequately covered in one article write-up, and I’ll talk about it in more detail in my Talking Strange show as well as sharing videos from the preview on the Den of Geek social media platforms. But throughout the course of my excursion in Epic Universe, I was witness to something special, and new. &nbsp,

    In an era where it’s a challenge to get audiences out the door and into cinemas for the latest blockbuster — because they have a pretty excellent, and customizable, viewing situation at home, with the treats they like, and only chattering loved ones to contend with — a theme park offers a unique experience that can only be fully enjoyed in person. Epic is the way forward. It’s not a success just for theme parks; it’s also a success for entertainment, where a visitor can get lost in a beloved world and interact with characters from those worlds while watching top-notch technology play out right in front of them. &nbsp,

    Simply put, it serves up wonder in epic fashion. Or, to paraphrase that old mad scientist Dr. Pretorius from Bride of Frankenstein, welcome to a new world of gods, monsters, wizards, dragons, and Bowser-battling plumbers.

    The post Universal Epic Universe: A Giant Leap Forward for Theme Parks appeared first on Den of Geek.

  • Indiana Jones Games Ranked from Infernal to Magical

    Indiana Jones Games Ranked from Infernal to Magical

    It’s inevitable that the classic warrior had been adapted into movie games at some point or another given the popularity and enduringness of the character Indiana Jones. Indiana Jones games have in fact been present for nearly as long as the movies themselves, starting with 1982’s Raiders of the Lost Ark on the Atari]… ]

    On Den of Geek, the second article Indiana Jones Games Ranked from Infernal to Magical second appeared.

    When Universal Epic Universe opened in Orlando, Florida, next year, it was not only the first major theme park to debut in the United States in 24 years, it marked a significant move ahead in what a great range in-person pleasure experience may be. Spanning five new “lands” across 750 acres — the Universal Monsters ‘ themed Dark Universe, Super Nintendo World, How To Teach Your Dragon — Isle of Berk, The Wizarding World of Harry Potter — Ministry of Magic, and the Celestial Park access point — this isn’t just a big garden, it lives up to its title of amazing with its level of immersion, interactivity, and indeed, rides. &nbsp,

    For perspective, I grew up a theme park person in Orlando. I can vividly recall being a boy in 1990 when I saw eye-popping billboards of Ghostbusters, King Kong, and E. T. promising the appearance of Universal Studios Florida where guests were invited to not only drive the movies, but also live them. I was raised very much in the darkness of Cinderella’s Castle at Walt Disney World. I have remained a theme park kid, and theme park professional, covering the development and openings of new attractions throughout the years.

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    In addition to chasing the newest advancement in rollercoasters or 3D technology, I’ve always pursued that idea of living the movies. Even as I grew older, I craved the ability to play pretend, and disappear for a stretch within these worlds of make-believe.

    Of all the experiences I’ve had so far, Epic comes the closest to accomplishing this. After attending the media preview and grand opening celebration, logging about 20 hours in the park &#8212, riding every attraction, meeting-and-greeting as many characters as possible, trying all the food and drinks, and spending about a week processing the experience—here are a few arenas where Epic Universe has taken the crown on the American theme park scene.

    Revamped Worldbuilding

    What converts a one-time theme park visitor to a devotee who never quite gets enough? It’s the experience beyond the attractions alone, and the dedication to worldbuilding. &nbsp,

    For instance, I love going to Walt Disney World, even though I’ve been a thousand times, and I’m content just to walk around, grab a drink and bite, and soak it all in. I enjoy roller coasters and attraction, but what keeps me interested is the overall atmosphere of the place. &nbsp,

    Disney has, for me, traditionally been more of the theme park destination where I can show up and enjoy a day regardless of wait times for attractions. Disney has just felt nicer and more fully realized, to be honest. Whereas Universal Orlando, encompassing the parks Universal Studios and Islands of Adventure, has been the place I go to, rather than hang around at. It’s always been a great place to ride thrilling rides, but I’ve never really wanted to “live” there.

    There was a glimmer of hope when The Wizarding Worlds of Harry Potter lands opened, first with the Hogsmeade area at Islands in 2010, then Diagon Alley in 2014 at Studios. It was close to the idea of a theme park world where I could lose myself in a story. But it wasn’t quite there. &nbsp,

    Disney promised immersiveness at Star Wars: Galaxy’s Edge in both Walt Disney World and Disneyland in response to the challenge presented by Wizarding World. &nbsp,

    The experiment started strong, with cast members dedicated to greetings of” Bright Suns”!, the rowdy vibe within Oga’s Cantina, the in-world merchandise. Things have gotten worse over time. These days, the bartenders aren’t even allowed to cheer to the” Una Duey Dee” drinking song, and the” story” of Blackspire Outpost on the planet of Batuu has been all but abandoned. Some of the magic has vanished, but the theme has remained my favorite. ( In fact, the best example thus far where I felt lost in a fictional world was my two days aboard the tragically short-lived Star Wars: Galactic Starcruiser hotel. RIP. )

    The stakes have now been raised by Epic Universe. &nbsp,

    Epic is alive, or perhaps more appropriately, there is electricity in the air. &nbsp,

    From the moment I passed through each of the land’s elaborate portals, everything on the other side ( and in the rest of the theme park ) seemed to fade away. I was immediately taken in by them as being independent and with a unique vibe.

    Within Dark Universe, I believed I entered an eerie old monster movie, but with a soundtrack by Danny Elfman. In Super Nintendo World, I was surrounded by colors and the sensation of being sucked Jumanji-style into a video game. Then I traveled through time to a magical world in Paris in the 1920s. My colleague summed up Isle of Berk best by saying it was like they were dropped into someone’s vibrant D&amp, D campaign.

    If the level of world building is maintained, Epic commits to creating a lively and exciting environment. &nbsp,

    Character Interactions

    Dark Universe

    The exceptional level of character interactivity within these lands adds such an unquantifiable amount of fun, and repeatability, to Epic. And the people I ran into didn’t just pose for a picture or pass by, but they also took a break to get creative.

    In Dark Universe, I had extended conversations with the Invisible Man, Ygor, a few of the monster-hunting Hounds, and a mysterious violin player. You can also meet Frankenstein’s Monster and the Bride. ( An updated, cohesive canon at Dark Universe states that this Frank is not the original, and that the Bride is more his friend. ) But I digress. ) &nbsp,

    The back-and-forth was jaw dropping as these characters offered clues about the secrets of the Darkmoor, the village setting. They were also quick-witted, funny, and importantly, never broke character. Griffin the Invisible Man will eat up all of his praise when you talk to him and heap praise on him. But if you act snarky, or get demanding, he might become snappy, or ask if you’re done requesting him to perform. He even once criticized me for making too many obscene puns. &nbsp,

    Meanwhile, one of the Hounds I encountered was Gregor the Guardian. He had me enthralled at the Burning Blade Tavern with tales of killing a werewolf. He told me about how monster-hunting has terrible benefits, unless the rest of the hunting party doesn’t survive, and he didn’t need to split the reward. Next, I showed him my own battle scars, which were caused by Mary Ellen Moffit’s breaking of my heart, and he showed off his facial scars from a monster attack. He also expressed concern about my colleague rocking a werewolf hat/mask until I allayed his fears that she was just undercover. Actually, every experience I had at the Burning Blade was phenomenal. I just wanted to stay in this lived-in tavern because it features old battle scenes with supernatural forces and monster trophies. Truly, next time I visit, I’ll be spending two hours here just hanging out.

    Ygor, the real heart of Dark Universe, is next, though Frankenstein’s Monster might be the place’s abby-normal brain. Following my transformation at the Monster Makeup Experience, I ran into Victoria Frankenstein’s assistant, where he wondered who had done my monster stitches. He suggested he could have done better with less obvious wounds. He then launched himself into the bushes after it appeared a branch was attempting to attack my cameraperson. Ygor is not only the heart of Dark Universe, he might be a burgeoning rockstar based on the social media love he’s been generating. &nbsp,

    Ministry of Magic

    The aurors ( a. k. a. wizard cops ) at the Ministry of Magic, set in 1920s Paris during the Fantastic Beasts films, are similarly a treat to speak with as they look for shady characters up to magical misdeeds. Jazz musicians parade through the streets in style with a cuddly, interactive puffskein creature. A trio of students — from Beauxbatons Academy of Magic, and exchange students from Hogwarts and Ilvermorny Schools of Witchcraft and Wizardry — carry the Monster Book of Monsters. Ask the right questions, and they might let you peek inside. And the coolest new interaction experience in the Ministry of Magic is the ability to personally interact with talking portraits, which is a first for any of the Wizarding Worlds.

    Plus, aspiring sorcerers can test out their spellcasting, using an interactive Wizarding World wand — and they can pick up a new one at wandmaker’s Cosme Acajor rather fancy Baguettes Magique — to discover magical mysteries and even stir up activity with fantastic beasts, like a thieving niffler. &nbsp,

    Isle of Berk

    Ruffnut and Tuffnut, the snotty viking characters, might make guests laugh and spit out at Isle of Berk, and Gobber the Belch will teach them some Dragon-training history. But there are literal dragons all around the land. These are not only of the animatronic variety, but interactive, robotic dragons. Two tiny dragon pups, in reality Boston Dynamics ‘ robo-dogs transformed into the fantastical creatures, are present, as well as a chance to meet and greet with a huge Toothless.

    The lines to meet the famous Dragon were long, but worthwhile because guests can approach him, slowly, and allow him to have a sniff before they are allowed to pet and scritch the cuddly guy as he purrs. Because you’re friggin’ petting a dragon, you can’t even doubt the special effects behind the moment, which is a joy-inducing experience!

    Easter Eggs, Secrets, and Details Galore

    Beyond the character interactions, what lends to Epic’s immersiveness is the attention to detail. &nbsp,

    Although it is present in Super Nintendo World, where I felt lost within a video game, this is especially true for Dark Universe, Berk, and Potter. There are endless nods to the Universal Monster films in Dark Universe. There’s the portrait of mad scientist Dr. Pretorius within his descendants ‘ Scientific Oddities shop, where homunculi hide in the rafters. Footprints on the ground document the horrifying change from man into werewolf. &nbsp,

    There’s even graveyard statues that pay homage to the monster films, including one honoring the little girl Maria — killed by Frankenstein’s creation in the 1931 movie. Additionally, there is a growing trend to place flowers next to her grave. The fact that the statue itself was found by Creative Director Brandon Kleyla, and he said on social media he always hoped guests would bring flowers, highlights that there appears to be a lot of love from fellow fans in the creation of this park.

    Along with the tall, seemingly true-to-scale buildings populating the Parisian landscape in the Ministry of Magic, artwork, shops, and signage all make one feel embedded in this realm while also paying dividends to eagle-eyed fans. &nbsp,

    Overall, the intrepid explorer’s curiosity, and patience, is rewarded at every turn in Epic. One might find out about a secret drink order for the tavern if one hears a fight between opposing voices behind the doors of Dr. H. Jekyll Apotheker at Dark Universe. Fans who recall that the Sorcerer’s Stone was hidden in Paris in the 1920s might be able to discover it in the Ministry of Magic ( maybe around, say, the Le Gobelet Noir ). &nbsp,

    The restaurant options, such as Das Stakehaus, a place where Dracula’s friends live and work alongside vampires who have been killed by vampires and have no connection to garlic, are also a part of the theming. &nbsp,

    The lavatories at Epic are impressive even. Super Nintendo World’s are themed with plumber pipes, underwater imagery and music, Isle of Berk’s has artistic viking murals, Ministry of Magic’s is old-timey with classy Parisian decor, Dark Universe’s” toiletten” begins with splattered blood silhouettes at the entrance, and is gothic-inspired inside with black toilets, moody lighting, and a dearth of mirrors ( because Dracula doesn’t need to be outed as a vamp while counting to number two ).

    The Rides

    Monsters Unchained

    With 11 rides throughout Epic, there’s plenty of thrills to occupy two days of a visit. The highlight is unquestionably Monsters Unchained: The Frankenstein Experiment in the Dark Universe land. &nbsp,

    The storyline of Monsters Unchained revolves around Dr. Victoria Frankenstein, the great-great-granddaughter of Henry. We learn more about the story in a pre-show as we encounter a Victoria animatronic with a towering ( and walking? ) face. Frankenstein’s Monster animatronic —&nbsp, which is a groundbreaking piece of tech. &nbsp, &nbsp,

    Though she’s our protagonist, that Frankenstein family obsession runs in her blood, and Victoria sounds slightly unhinged as she boasts she’s learned how to capture, control, and even tame the Universal Classic Monsters. Or so she thinks. While her research into the original monster Frank succeeds, the new version comes off as tame and friendly, but her hubris deviates as she tries to do the same with Mummy, Creature from the Black Lagoon, and monster boss Dracula and his brides. Drac escapes and unleashes the other baddies. Victoria, Frank, and Ygor make an effort to stop the rampage as all the chaos arises. And the visitor to Darkmoor is unfortunate enough to be a willing attendee to the experiment when it goes horribly awry. &nbsp,

    As one enters Frankenstein Manor’s magnificent gothic environs, complete with grand staircase adorned with large statues, and descends to its catacombs, the queue of Monsters is full of Easter eggs. There are call outs to the original Universal Monster films, such as photos of the original Frankenstein and his fiancee Elizabeth ( actors Colin Clive and Mae Clarke from the 1931 film ), or a portrait of Clive-as-Henry opposite the new character Victoria. Additionally, Victoria’s modern-day tech scans the body of the original Frankenstein creature. And throughout the mansion, we visit her fireplace den, see boxes of mysterious cargo, and watch found footage of her and her trusty Ygor hunting monsters. There’s also this really cool vampire bat containment unit scene that looks physical despite being a 3D animation. As I delved deeper into the catacombs, which were actually teased at the land’s entrance in the form of a stone structure with a gated entrance, I came across coffins and crypts, teeing up the monsters we’ll be encountering, and the vibe is undoubtedly eerie.

    The best part of this dark ride is getting up-close-and-personal encounters with updated designs of the classic monsters ( including appearances by Lon Chaney-era Phantom of the Opera and the Hunchback of Notre Dame ). As the rider is propelled on a KUKA coaster arm, the attraction makes use of a variety of effects, including incredible audio-animatronics, practical sets, and animated action scenes. As opposed to, for instance, the Harry Potter and the Forbidden Journey attraction at Universal’s Islands of Adventure, which also uses a KUKA arm, the ride on Monsters is unobstructed, has more motion, and got me close enough to smell the Wolfman’s breath, while tipped on my back ( thanks to the arm being attached to the bottom of the vehicle, rather than behind ). Another notable element is the escape of Dracula’s brides. A very cool transition between screens and physical animatronics really blew me away. &nbsp,

    Just an added note here that made me smile: According to the attraction’s description, Ygor is driving the ride-sharing vehicle, the Catacombs Navigation Unit. When he switches on his controls, the vehicle transitions from moving fluidly to getting a bit janky, as if he’s still figuring out how to drive the thing. &nbsp,

    Although the setup is actually creepy, the ride is more of an adventure than a scary one. There were plenty of moments I saw “behind the curtain” and witnessed the mechanical arms on the animatronics in-ride, but it wasn’t a terrible distraction. On Monsters Unchained, there is so much going on that repeat rides are required ( far more than the numerous times I did it ) in order to take everything in. It’s a feast of senses for all the monster kids out there. &nbsp,

    Battle at the Ministry

    Then there is the Harry Potter and the Battle at the Ministry attraction that zoomed me through London’s Ministry of Magic on an enchanted elevator. Although the attraction is set in 1920s Paris ( during the Fantastic Beasts movies ), it takes place in the 1990s, right after the Harry Potter movies. On the day her trial is to take place, Voldemort lieutenant Dolores Umbridge escapes, necessitating the arrival of Harry, Ron, Hermione, and the house-elf Higgledy to save the day.

    I have thoroughly enjoyed the pre-existing Hogsmeade and Diagon Alley lands at Universal. However, I must admit that I wasn’t looking for another Potter-themed attraction. However, Battle more than delivers. Ironically, the wait alone is worth the queue as visitors enter the Ministry offices. What struck me as the largest, tallest, deepest indoor area I’ve seen at a theme park (yes, even bigger than the Star Destroyer reveal on Rise of the Resistance at Disney ). It would be insulting to say this is like a movie set, rather, it is real, down to the marble tiles, as well as nearly infinite stretching into a sky of realistic clouds. The scope of the entire experience is enormous. &nbsp,

    We zoomed through the Ministry’s labyrinthine depths while on the actual ride, where a feast of visuals never stop flashed by. More visually engaging than the other Potter attractions, Forbidden Journey and Escape from Gringotts at Universal Orlando, this is also a smoother attraction while remaining exciting. The ride elevator — a 14-seater, two-row vehicle with safety belt restraint —&nbsp, is bumpy, but not in a jarring way, with a few big drops that avoid any intense stomach sensations. And the action on large-scale ( and incredibly vibrant ) screens seamlessly blends with the massive physical sets. &nbsp,

    The entire situation is magical. Plus, I love the new character of Higgledy, and the massive Erumpent let loose from the Department for the Regulation and Control of Magical Creatures is a most impressive animatronic.

    I suspect Battle at the Ministry might be one of the best theme park attractions I’ve yet seen. Although Monsters Unchained is my personal favorite at Epic, this is still stunning despite the immersion that it teaches. My only minor quibble is a nerdy continuity one, as the plot point on how we went from the 1920s to 1990s is a tad wishy-washy. I enjoy having a tight story with my themed lands, but I’ll just attribute the time travel to MetroFloo shenanigans, Time Turners, and a Ministry Time Room.

    Stardust Racers

    While Monsters Unchained was my overall favorite attraction at Epic, the Stardust Racers dueling coasters in Celestial Park may have been my biggest surprise. I wasn’t particularly excited about the central land within the hub-and-spoke layout, which may be because it’s not associated with any classic Universal IP ( even though the ride cars are “powered” by Doc Brown’s flux capacitor ). But Stardust Racers has now earned my top spot for favorite roller coaster ( s ). &nbsp,

    The story behind this one is that the cosmic Celestians have captured two comets, and they have allowed us to hitch a ride on them to see which is faster. But the story really doesn’t matter so much because the focus is on the top speed of 62 mph, and the rising, falling (up to 133 feet ), criss-crossing inversions and exhilarating launch of this baby. I’ve taken both the green and yellow sides of the attraction a few times, and I can’t tell which is better, but I believe the yellow side has a better view. Although the Jurassic Park VelociCoaster at Islands of Adventure might previously be considered the best of the bunch at Universal, Stardust has a stellar edge to it. &nbsp,

    Mine-Cart Madness

    For my second favorite coaster at Epic, I was leaning towards Hiccup’s Wing Gliders at the How to Train Your Dragon — Isle of Berk land. The attraction is an adrenaline rush for the more coaster-wary crowd, on par with Hagrid’s Magical Motorbike Adventure at Islands. I rode four times in a row, and it remains fun, even without flipping or spinning. The restraint, which got more and more uncomfortable and tight throughout the ride, was what initially caught my attention as a concern with this one. It became straight-up painful at one point. It should be noted that I don’t really have a big frame, and this was not due to the coaster attendants making the restraint too tight ( although that has happened way too frequently in the past ). The operators responded to my request and said they had heard this complaint enough to declare it to be a known issue. &nbsp,

    Despite that, Mine-Cart Madness in Super Nintendo World, in the Donkey Kong Country zone, is the real contender for best coaster overall. What makes this coaster so noteworthy is the “boom coaster” technology that allows for the illusion of a vehicle on a track system, while the “real” track is underneath, and the vehicle is attached to a hidden arm on the side.

    The result is a fun adventure where I was navigating the Golden Temple to help DK protect the golden banana — all as the mine cart launches, lifts, drops, skims across water, and jumps across seemingly broken tracks. I just couldn’t get enough of this coaster because it’s so much fun. Plus, I love how perfect it is for this particular land as I was able to live within a DK game, but in the real-world.

    Final Thoughts

    There is more to be said about Epic Universe than can be contained in one article write-up ( and I will be discussing it further in my Talking Strange show, as well as sharing videos from the preview on the Den of Geek socials ). But throughout the course of my excursion in Epic Universe, I was witness to something special, and new. &nbsp,

    In an era where it’s a challenge to get audiences out the door and into cinemas for the latest blockbuster — because they have a pretty excellent, and customizable, viewing situation at home, with the treats they like, and only chattering loved ones to contend with — a theme park offers a unique experience that can only be fully enjoyed in person. The path forward is epic. It’s not a success just for theme parks, but for entertainment, where a visitor can become lost within a world they love, and interact with characters from those worlds, while experiencing top-notch technology displayed right in front of them. &nbsp,

    Simply put, it serves up wonder in epic fashion. Or, to paraphrase that old mad scientist Dr. Pretorius from Bride of Frankenstein, welcome to a new world of gods, monsters, wizards, dragons, and Bowser-battling plumbers.

    The post Universal Epic Universe: A Giant Leap Forward for Theme Parks first appeared on Den of Geek.

  • Universal Epic Universe: A Giant Leap Forward for Theme Parks

    Universal Epic Universe: A Giant Leap Forward for Theme Parks

    It marked a significant step forward in terms of what a grand scale in-person entertainment experience can be when Universal Epic Universe opened in Orlando, Florida, next week. It was not only the second major concept area to debut in the United States in 24 years. Spanning five new “lands” across 750 acres — the Universal Monsters ‘ ] … ]

    On Den of Geek, the second article Universal Epic Universe: A Giant Leap Forward for design parks appeared.

    When Universal Epic Universe opened in Orlando, Florida, next year, it was not only the first major theme park to debut in the United States in 24 years, it marked a significant move ahead in what a great range in-person pleasure experience may be. Spanning five new “lands” across 750 acres — the Universal Monsters ‘ themed Dark Universe, Super Nintendo World, How To Teach Your Dragon — Isle of Berk, The Wizarding World of Harry Potter — Ministry of Magic, and the Celestial Park access point — this isn’t just a big garden, it lives up to its title of amazing with its level of immersion, interactivity, and indeed, rides. &nbsp,

    For perspective, I grew up a theme park children in Orlando. I was a boy in 1990 when I saw eye-popping billboards of Ghostbusters, King Kong, and E. T. promising the appearance of Universal Studios Florida where guests were invited to not only drive the movies, but also live them. I was raised very much in the darkness of Cinderella’s Castle at Walt Disney World. I have remained a theme park kid, and theme park professional, covering the development and openings of new attractions throughout the years.

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    In addition to chasing the newest advancement in rollercoasters or 3D technology, I’ve always pursued that idea of living the movies. Even as I grew older, I craved the ability to play pretend, and disappear for a stretch within these worlds of make-believe.

    Of all the experiences I’ve had so far, Epic has come the closest to doing this. After attending the media preview and grand opening celebration, logging about 20 hours in the park &#8212, riding every attraction, meeting-and-greeting as many characters as possible, trying all the food and drinks, and spending about a week processing the experience—here are a few arenas where Epic Universe has taken the crown on the American theme park scene.

    Revamped Worldbuilding

    What converts a one-time theme park visitor to a devotee who never quite gets enough? It’s the experience beyond the attractions alone, and the dedication to worldbuilding. &nbsp,

    For instance, I love going to Walt Disney World, even though I’ve been a thousand times, and I’m content just to walk around, grab a drink and bite, and soak it all in. I enjoy roller coasters and attraction, but the overall energy of the place keeps me interested. &nbsp,

    Disney has, for me, traditionally been more of the theme park destination where I can show up and enjoy a day regardless of wait times for attractions. Disney has just felt nicer and more fully realized, to be honest. Whereas Universal Orlando, encompassing the parks Universal Studios and Islands of Adventure, has been the place I go to, rather than hang around at. I’ve never really wanted to “live” there, despite the fact that it has always been a great place for thrill rides.

    There was a glimmer of hope when The Wizarding Worlds of Harry Potter lands opened, first with the Hogsmeade area at Islands in 2010, then Diagon Alley in 2014 at Studios. It was close to the idea of a theme park world where I could lose myself in a story. However, it wasn’t quite there. &nbsp,

    Disney promised immersiveness at Star Wars: Galaxy’s Edge in both Walt Disney World and Disneyland in response to the challenge presented by Wizarding World. &nbsp,

    The experiment started strong, with cast members dedicated to greetings of” Bright Suns”!, the rowdy vibe within Oga’s Cantina, the in-world merchandise. Things have gotten a little drier over time. These days, the bartenders aren’t even allowed to cheer to the” Una Duey Dee” drinking song, and the” story” of Blackspire Outpost on the planet of Batuu has been all but abandoned. Although it has remained my favorite themed land, some of the magic has vanished. ( In fact, the best example thus far where I felt lost in a fictional world was my two days aboard the tragically short-lived Star Wars: Galactic Starcruiser hotel. RIP. )

    Epic Universe has now raised the stakes. &nbsp,

    Epic is alive, or perhaps more appropriately, there is electricity in the air. &nbsp,

    From the moment I passed through each of the land’s elaborate portals, everything on the other side ( and in the rest of the theme park ) seemed to fade away. I was immediately taken in by them as being independent and with a unique vibe.

    Within Dark Universe, I believed I entered an eerie old monster movie, but with a soundtrack by Danny Elfman. In Super Nintendo World, I was surrounded by colors and the sensation of being sucked Jumanji-style into a video game. Then I traveled through time to a magical world in Paris in the 1920s. My colleague summed up Isle of Berk best by saying it was like they were dropped into someone’s vibrant D&amp, D campaign.

    If the level of world building is maintained, Epic commits to creating a lively and exciting environment. &nbsp,

    Character Interactions

    Dark Universe

    The exceptional level of character interactivity within these lands adds such an unquantifiable amount of fun, and repeatability, to Epic. And the people I ran into didn’t just pose for a picture or pass by, but they also took a break to get creative.

    In Dark Universe, I had extended conversations with the Invisible Man, Ygor, a few of the monster-hunting Hounds, and a mysterious violin player. You can also meet Frankenstein’s Monster and the Bride. ( An updated, cohesive canon at Dark Universe states that this Frank is not the original, and that the Bride is more his friend. ) But I digress. ) &nbsp,

    The back-and-forth was jaw dropping as these characters offered clues about the secrets of the Darkmoor, the village setting. They were also quick-witted, funny, and importantly, never broke character. Griffin the Invisible Man will eat up all of his praise when you talk to him and heap praise on him. But if you act snarky, or get demanding, he might become snappy, or ask if you’re done requesting him to perform. He even once criticized me for making too many indistinct puns. &nbsp,

    Meanwhile, one of the Hounds I encountered was Gregor the Guardian. He regaled me with tales of slaying a werewolf at the Burning Blade Tavern. He told me about how monster-hunting has terrible benefits, unless the rest of the hunting party doesn’t survive, and he didn’t need to split the reward. After that, I showed him my own battle scars, which were caused by Mary Ellen Moffit’s heartbreak, and he showed them. He also expressed concern about my colleague rocking a werewolf hat/mask until I allayed his fears that she was just undercover. Actually, every experience I had at the Burning Blade was phenomenal. I just didn’t want to leave it because it is a lived-in tavern with monster trophies and old battle pictures of supernatural forces. Truly, next time I visit, I’ll be spending two hours here just hanging out.

    Ygor, the real heart of Dark Universe, is next, though Frankenstein’s Monster might be the place’s abby-normal brain. Following my transformation at the Monster Makeup Experience, I ran into Victoria Frankenstein’s assistant, where he wondered who had done my monster stitches. He suggested he could have done better with less obvious wounds. He then launched himself into the bushes after it appeared a branch was attempting to attack my cameraperson. Ygor is not only the heart of Dark Universe, he might be a burgeoning rockstar based on the social media love he’s been generating. &nbsp,

    Ministry of Magic

    The aurors ( a. k. a. wizard cops ) at the Ministry of Magic, set in 1920s Paris during the Fantastic Beasts films, are similarly a treat to speak with as they look for shady characters up to magical misdeeds. Jazz musicians take to the streets ( with a playable, cuddly puffskein creature ). A trio of students — from Beauxbatons Academy of Magic, and exchange students from Hogwarts and Ilvermorny Schools of Witchcraft and Wizardry — carry the Monster Book of Monsters. Ask the right questions, and they might let you peek inside. And the coolest new interaction experience in the Ministry of Magic is the ability to personally interact with talking portraits, which is a first for any of the Wizarding Worlds.

    Plus, aspiring sorcerers can test out their spellcasting, using an interactive Wizarding World wand — and they can pick up a new one at wandmaker’s Cosme Acajor rather fancy Baguettes Magique — to discover magical mysteries and even stir up activity with fantastic beasts, like a thieving niffler. &nbsp,

    Isle of Berk

    Ruffnut and Tuffnut, the snotty viking characters, might make guests laugh and spit out at Isle of Berk, and Gobber the Belch will teach them some Dragon-training history. But there are literal dragons all around the land. These are not only of the animatronic variety, but interactive, robotic dragons. Two tiny dragon pups, in reality Boston Dynamics ‘ robo-dogs transformed into the fantastical creatures, are present, as well as a chance to meet and greet with a large Toothless.

    The lines to meet the famous Dragon were long, but worthwhile because guests can approach him, slowly, and allow him to have a sniff before they are allowed to pet and scritch the cuddly guy as he purrs. Because you’re frightfully petting a dragon, it’s a joy-inducing experience where you can’t even care about the special effects behind the scene!

    Easter Eggs, Secrets, and Details Galore

    Beyond the character interactions, what lends to Epic’s immersiveness is the attention to detail. &nbsp,

    Although it is present in Super Nintendo World, where I felt lost within a video game, this is especially true for Dark Universe, Berk, and Potter. There are endless references to the Universal Monster films in Dark Universe. There’s the portrait of mad scientist Dr. Pretorius within his descendants ‘ Scientific Oddities shop, where homunculi hide in the rafters. Footprints on the ground document the horrifying change from man into werewolf. &nbsp,

    There’s even graveyard statues that pay homage to the monster films, including one honoring the little girl Maria — killed by Frankenstein’s creation in the 1931 movie. Additionally, there is a growing trend to place a flower next to her grave. The fact that the statue itself was found by Creative Director Brandon Kleyla, and he said on social media he always hoped guests would bring flowers, highlights that there appears to be a lot of love from fellow fans in the creation of this park.

    Along with the tall, seemingly true-to-scale buildings populating the Parisian landscape in the Ministry of Magic, artwork, shops, and signage all make one feel embedded in this realm while also paying dividends to eagle-eyed fans. &nbsp,

    Overall, the intrepid explorer’s curiosity, and patience, is rewarded at every turn in Epic. One might find out about a secret drink order for the tavern if one hears a fight between opposing voices behind the Dr. H. Jekyll Apotheker’s doors in Dark Universe. Fans who recall that the Sorcerer’s Stone was hidden in Paris in the 1920s might be able to discover it in the Ministry of Magic ( maybe around, say, the Le Gobelet Noir ). &nbsp,

    The restaurant options, such as Das Stakehaus, run by Dracula’s familiars and served food that never contains garlic, are also covered by the theming. &nbsp,

    Even Epic’s bathrooms are breathtaking to look at. Super Nintendo World’s are themed with plumber pipes, underwater imagery and music, Isle of Berk’s has artistic viking murals, Ministry of Magic’s is old-timey with classy Parisian decor, Dark Universe’s” toiletten” begins with splattered blood silhouettes at the entrance, and is gothic-inspired inside with black toilets, moody lighting, and a dearth of mirrors ( because Dracula doesn’t need to be outed as a vamp while counting to number two ).

    The Rides

    Monsters Unchained

    With 11 rides throughout Epic, there’s plenty of thrills to occupy two days of a visit. The highlight is unquestionably Monsters Unchained: The Frankenstein Experiment in the Dark Universe land. &nbsp,

    The storyline of Monsters Unchained revolves around Dr. Victoria Frankenstein, the great-great-granddaughter of Henry. We learn more about the story in a pre-show as we encounter a Victoria animatronic with a towering ( and walking? ) face. Frankenstein’s Monster animatronic —&nbsp, which is a groundbreaking piece of tech. &nbsp,  

    Though she’s our protagonist, that Frankenstein family obsession runs in her blood, and Victoria sounds slightly unhinged as she boasts she’s learned how to capture, control, and even tame the Universal Classic Monsters. Or so she thinks. While her research into the original monster Frank succeeds, the new version comes off as tame and friendly, but her hubris deviates as she tries to do the same with Mummy, Creature from the Black Lagoon, and monster boss Dracula and his brides. Drac escapes and unleashes the other baddies. Victoria, Frank, and Ygor make an effort to stop the rampage as all the chaos arises. And the visitor to Darkmoor is unfortunate enough to be a willing attendee to the experiment when it goes horribly awry. &nbsp,

    As one enters Frankenstein Manor’s magnificent gothic environs, complete with grand staircase decorated with large statues, and descends to its catacombs, one is greeted with Easter eggs as they walk through the grand staircase. There are call outs to the original Universal Monster films, such as photos of the original Frankenstein and his fiancee Elizabeth ( actors Colin Clive and Mae Clarke from the 1931 film ), or a portrait of Clive-as-Henry opposite the new character Victoria. Additionally, Victoria’s modern-day tech scans the body of the original Frankenstein creature. And throughout the mansion, we visit her fireplace den, see boxes of mysterious cargo, and watch found footage of her and her trusty Ygor hunting monsters. There’s also this really cool vampire bat containment unit scene that looks physical despite being a 3D animation. As I delved deeper into the catacombs, which were actually teased at the land’s entrance in the form of a stone structure with a gated entrance, I came across coffins and crypts, teeing up the monsters we’ll be encountering, and the vibe is undoubtedly eerie.

    The best part of this dark ride is getting up-close-and-personal encounters with updated designs of the classic monsters ( including appearances by Lon Chaney-era Phantom of the Opera and the Hunchback of Notre Dame ). As the rider is propelled on a KUKA coaster arm, the attraction makes use of a variety of effects, including incredible audio-animatronics, practical sets, and animated action scenes. As opposed to, for instance, the Harry Potter and the Forbidden Journey attraction at Universal’s Islands of Adventure, which also uses a KUKA arm, the ride on Monsters is unobstructed, has more motion, and got me close enough to smell the Wolfman’s breath, while tipped on my back ( thanks to the arm being attached to the bottom of the vehicle, rather than behind ). Another notable element is the escape of Dracula’s brides. I was blown away by the very cool transition between screen and physical animatronics. &nbsp,

    Just an added note here that made me smile: According to the attraction’s description, Ygor is driving the ride-sharing vehicle, the Catacombs Navigation Unit. When he switches on his controls, the vehicle transitions from moving fluidly to getting a bit janky, as if he’s still figuring out how to drive the thing. &nbsp,

    Although the setup is actually creepy, the ride is more of an adventure than a scary one. There were plenty of moments I saw “behind the curtain” and witnessed the mechanical arms on the animatronics in-ride, but it wasn’t a terrible distraction. On Monsters Unchained, there is so much going on that repeat rides are necessary to get through it all ( far more than I have already done it ). It’s a feast of senses for all the monster kids out there. &nbsp,

    Battle at the Ministry

    Then there is the Harry Potter and the Battle at the Ministry attraction that zoomed me through London’s Ministry of Magic on an enchanted elevator. Although the film Fantastic Beasts takes place in 1920s Paris, this attraction takes place in the 1990s, right after the Harry Potter movies. On the day her trial is to take place, Voldemort lieutenant Dolores Umbridge escapes, necessitating the arrival of Harry, Ron, Hermione, and the house-elf Higgledy to save the day.

    I have thoroughly enjoyed the pre-existing Hogsmeade and Diagon Alley lands at Universal. However, I must admit that I wasn’t looking for another Potter-themed attraction. However, Battle more than delivers. Ironically, the wait alone is worth the queue as visitors enter the Ministry offices. What struck me as the largest, tallest, deepest indoor area I’ve seen at a theme park (yes, even bigger than the Star Destroyer reveal on Rise of the Resistance at Disney ). It would be insulting to say this is like a movie set, rather, it is real, down to the marble tiles, as well as nearly infinite stretching into a sky of realistic clouds. The entire experience is a great deal in terms of scope. &nbsp,

    We zoomed through the Ministry’s endless labyrinthine depths while the actual ride was taking place, a feast of visuals that never wavered. More visually engaging than the other Potter attractions, Forbidden Journey and Escape from Gringotts at Universal Orlando, this is also a smoother attraction while remaining exciting. The ride elevator — a 14-seater, two-row vehicle with safety belt restraint —&nbsp, is bumpy, but not in a jarring way, with a few big drops that avoid any intense stomach sensations. And the action on large-scale ( and incredibly vibrant ) screens seamlessly blends with the massive physical sets. &nbsp,

    The entire situation is magical. Plus, I love the new character of Higgledy, and the massive Erumpent let loose from the Department for the Regulation and Control of Magical Creatures is a most impressive animatronic.

    I suspect Battle at the Ministry might be one of the best theme park attractions I’ve yet seen. Although Monsters Unchained is my personal favorite at Epic, this is still stunning, and it’s a study in immersion. My only minor quibble is a nerdy continuity one, as the plot point on how we went from the 1920s to 1990s is a tad wishy-washy. I enjoy having my themed lands with a tight story, but I’ll just attribute the time travel to Time Turners, MetroFloo shenanigans, and a Ministry Time Room.

    Stardust Racers

    While Monsters Unchained was my overall favorite attraction at Epic, the Stardust Racers dueling coasters in Celestial Park may have been my biggest surprise. I wasn’t particularly excited about the central land within the hub-and-spoke layout, which may be because it’s not associated with any classic Universal IP ( even though the ride cars are “powered” by Doc Brown’s flux capacitor ). But Stardust Racers has now earned my top spot for favorite roller coaster ( s ). &nbsp,

    The story behind this one is that the cosmic Celestians have captured two comets, and they have allowed us to hitch a ride on them to see which is faster. But the story really doesn’t matter so much because the focus is on the top speed of 62 mph, and the rising, falling (up to 133 feet ), criss-crossing inversions and exhilarating launch of this baby. I’ve taken both the green and yellow sides of the attraction a few times, and I can’t tell which is better, but I believe the yellow side has a better view. Although the Jurassic Park VelociCoaster at Islands of Adventure might previously be considered the best of the bunch at Universal, Stardust has a stellar edge to it. &nbsp,

    Mine-Cart Madness

    For my second favorite coaster at Epic, I was leaning towards Hiccup’s Wing Gliders at the How to Train Your Dragon — Isle of Berk land. The attraction is an adrenaline rush for the more coaster-wary crowd, on par with Hagrid’s Magical Motorbike Adventure at Islands. I rode four times in a row, and it remains fun, even without flipping or spinning. The restraint, which got more and more uncomfortable and tight throughout the ride, was what initially caught my attention as a concern with this one. It became straight-up painful at one point. It should be noted that I don’t really have a big frame, and this was not due to the coaster attendants making the restraint too tight ( although that has happened way too frequently in the past ). The operators responded to my request and said they had heard this complaint enough to declare it to be a known issue. &nbsp,

    Despite that, Mine-Cart Madness at the Donkey Kong Country zone in Super Nintendo World is the real contender for best coaster at Epic. What makes this coaster so noteworthy is the “boom coaster” technology that allows for the illusion of a vehicle on a track system, while the “real” track is underneath, and the vehicle is attached to a hidden arm on the side.

    The result is a fun adventure where I was navigating the Golden Temple to help DK protect the golden banana — all as the mine cart launches, lifts, drops, skims across water, and jumps across seemingly broken tracks. I just couldn’t get enough of this coaster. It’s really fun. Plus, I love how perfect it is for this particular land as I was able to live within a DK game, but in the real-world.

    Final Thoughts

    There is more to be said about Epic Universe than can be contained in one article write-up ( and I will be discussing it further in my Talking Strange show, as well as sharing videos from the preview on the Den of Geek socials ). But throughout the course of my excursion in Epic Universe, I was witness to something special, and new. &nbsp,

    In an era where it’s a challenge to get audiences out the door and into cinemas for the latest blockbuster — because they have a pretty excellent, and customizable, viewing situation at home, with the treats they like, and only chattering loved ones to contend with — a theme park offers a unique experience that can only be fully enjoyed in person. The path forward is epic. It’s not a success just for theme parks, but for entertainment, where a visitor can become lost within a world they love, and interact with characters from those worlds, while experiencing top-notch technology displayed right in front of them. &nbsp,

    Simply put, it serves up wonder in epic fashion. Or, to paraphrase that old mad scientist Dr. Pretorius from Bride of Frankenstein, welcome to a new world of gods, monsters, wizards, dragons, and Bowser-battling plumbers.

    On Den of Geek, the second article Universal Epic Universe: A Giant Leap Forward for design parks appeared.

  • Karate Kid: Legends Review – The Wax Has Come Off

    Karate Kid: Legends Review – The Wax Has Come Off

    Once in a while you come across a film where it is nearly impossible to spoil this movie. Karate Kid: Legends is exactly what you’d expect it to be. We know this story: a fish out of water kid meets a girl and a bully, learns martial arts with some odd training gimmick, and finds […]

    The post Karate Kid: Legends Review – The Wax Has Come Off appeared first on Den of Geek.

    When Universal Epic Universe opened in Orlando, Florida, last week, it was not only the first major theme park to debut in the United States in 24 years, it marked a major shift forward in what a grand scale in-person entertainment experience can be. Spanning five new “lands” across 750 acres — the Universal Monsters’ themed Dark Universe, Super Nintendo World, How To Train Your Dragon — Isle of Berk, The Wizarding World of Harry Potter — Ministry of Magic, and the Celestial Park entry point — this isn’t just a big park, it lives up to its moniker of epic with its level of immersion, interactivity, and yes, rides. 

    For context, I grew up a theme park kid in Orlando. Raised pretty much in the shadow of Cinderella’s Castle at Walt Disney World, I remember being a youngster in 1990 seeing eye popping billboards of Ghostbusters, King Kong, and E.T. promising the arrival of Universal Studios Florida where guests were invited to not only ride the movies, but to live them. I have remained a theme park kid, and theme park professional, covering the development and openings of new attractions throughout the years. 

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    In addition to chasing the newest advancement in rollercoasters or 3D technology, I’ve always pursued that idea of living the movies. Even as I grew older, I craved the ability to play pretend, and disappear for a stretch within these worlds of make-believe. 

    Epic has come the closest to achieving this of anything I’ve experienced thus far. After attending the media preview and grand opening celebration, logging about 20 hours in the park—riding every attraction, meeting-and-greeting as many characters as possible, trying all the food and drinks, and spending about a week processing the experience—here are a few arenas where Epic Universe has taken the crown on the American theme park scene. 

    Revamped Worldbuilding

    What converts a one-time theme park visitor to a devotee who never quite gets enough? It’s the experience beyond the attractions alone, and the dedication to worldbuilding. 

    For instance, I love going to Walt Disney World, even though I’ve been a thousand times, and I’m content just to walk around, grab a drink and bite, and soak it all in. I am a roller coaster and attraction nut, but what keeps me engaged is the overall energy of the place. 

    Disney has, for me, traditionally been more of the theme park destination where I can show up and enjoy a day regardless of wait times for attractions. Honestly, Disney has just felt … nicer, and more fully realized. Whereas Universal Orlando, encompassing the parks Universal Studios and Islands of Adventure, has been the place I go to, rather than hang around at. It has always been the spot for great thrill rides, but I’ve never really wanted to “live” there.

    There was a glimmer of hope when The Wizarding Worlds of Harry Potter lands opened, first with the Hogsmeade area at Islands in 2010, then Diagon Alley in 2014 at Studios. It was close to the idea of a theme park world where I could lose myself in a story. But it still wasn’t quite there. 

    As a response to the challenge thrown down by Wizarding World, Disney promised immersiveness at Star Wars: Galaxy’s Edge in both Walt Disney World, and Disneyland. 

    The experiment started strong, with cast members dedicated to greetings of “Bright Suns!”; the rowdy vibe within Oga’s Cantina; the in-world merchandise. Over time things have been watered down. These days, the bartenders aren’t even allowed to cheer to the “Una Duey Dee” drinking song, and the “story” of Blackspire Outpost on the planet of Batuu has been all but abandoned. It has remained my favorite themed land, but some of the magic is gone. (In fact, the best example thus far where I felt lost in a fictional world was my two days aboard the tragically short-lived Star Wars: Galactic Starcruiser hotel. RIP.)

    Epic Universe has now upped the stakes. 

    There is electricity in the air at Epic, or perhaps more appropriately: It’s alive. 

    From the moment I passed through each of the land’s elaborate portals, everything on the other side (and in the rest of the theme park) seemed to fade away. They all struck me as independent with their own special vibe.

    Within Dark Universe, I believed I entered an eerie old monster movie, but with a soundtrack by Danny Elfman. In Super Nintendo World, I was surrounded by colors and the sensation of being sucked Jumanji-style into a video game. Then I traveled back in time to a world I never knew, filled with magic in 1920s Paris. My colleague summed up Isle of Berk best by saying it was like they were dropped into someone’s vibrant D&D campaign.

    There seems to be a new level of world building on display, and assuming it’s kept up, Epic commits to the bit of a lively universe and exciting playground. 

    Character Interactions

    Dark Universe

    The exceptional level of character interactivity within these lands adds such an unquantifiable amount of fun, and repeatability, to Epic. And the figures I encountered weren’t just posing for a photo or walking by, but pausing to actively engage.

    In Dark Universe, I had extended conversations with the Invisible Man, Ygor, a few of the monster-hunting Hounds, and a mysterious violin player. You can also meet Frankenstein’s Monster and the Bride. (This Frank is not the original one, and the Bride is more his friend, according to an updated, cohesive canon at Dark Universe. But I digress.) 

    The back-and-forth was jaw dropping as these characters offered clues about the secrets of the Darkmoor, the village setting. They were also quick-witted, funny, and importantly, never broke character. Talk to Griffin the Invisible Man, and heap compliments on him, and he’ll eat it up. But if you act snarky, or get demanding, he might become snappy, or ask if you’re done requesting him to perform. He even dismissed me at one point for cracking too many invisible puns. 

    Meanwhile, one of the Hounds I encountered was Gregor the Guardian. At the Burning Blade Tavern, he regaled me with stories of slaying a werewolf. He told me about how monster-hunting has terrible benefits, unless the rest of the hunting party doesn’t survive, and he didn’t need to split the reward. Next he showed off his facial battle scars from a monster attack, and I showed him my own — caused when Mary Ellen Moffit broke my heart. He also expressed concern about my colleague rocking a werewolf hat/mask until I allayed his fears that she was just undercover. Actually, every experience I had at the Burning Blade was phenomenal. It is a lived-in tavern, decorated with monster trophies and old paintings of battles with supernatural forces, and I just didn’t want to leave it. Truly, next time I visit, I’ll be spending two hours here just hanging out.

    Then there’s Ygor, the true heart of Dark Universe (though Frankenstein’s Monster might be the abby-normal brain of the place). Following my transformation at the Monster Makeup Experience, I ran into Victoria Frankenstein’s assistant, where he wondered who had done my monster stitches. He suggested he could have done better with less obvious wounds. He then launched himself into the bushes because it looked like a branch was attacking my camera person. Ygor is not only the heart of Dark Universe, he might be a burgeoning rockstar based on the social media love he’s been generating

    Ministry of Magic

    The aurors (a.k.a. wizard cops) at the Ministry of Magic, set in 1920s Paris during the Fantastic Beasts films, are similarly a treat to speak with as they look for shady characters up to magical misdeeds. Jazz performers take to the streets (with an interactable cuddly puffskein creature). A trio of students — from Beauxbatons Academy of Magic, and exchange students from Hogwarts and Ilvermorny Schools of Witchcraft and Wizardry — carry the Monster Book of Monsters. Ask the right questions, and they might let you take a peek inside it. And the coolest new interaction experience in the Ministry of Magic is the ability to personally interact with talking portraits, which is a first for any of the Wizarding Worlds.

    Plus, aspiring sorcerers can test out their spellcasting, using an interactive Wizarding World wand — and they can pick up a new one at wandmaker’s Cosme Acajor rather fancy Baguettes Magique — to discover magical mysteries and even stir up activity with fantastic beasts, like a thieving niffler. 

    Isle of Berk

    Over at Isle of Berk, guests might be teased and roasted by the snotty viking characters Ruffnut and Tuffnut, and can pick up some Dragon-training history by Gobber the Belch. But there are literal dragons all around the land. These are not only of the animatronic variety, but interactive, robotic dragons. There are two wee little dragon pups, which are in reality Boston Dynamics’ robo-dogs transformed into the fantastical creatures, as well as the opportunity for a meet-and-greet with a very large Toothless.

    The lines to meet the famous Dragon were long, but worthwhile because guests can approach him, slowly, and allow him to have a sniff before they are allowed to pet and scritch the cuddly guy as he purrs. It is a joy-inducing encounter where you don’t even question the special effects behind the moment — because you’re friggin’ petting a dragon!

    Easter Eggs, Secrets, and Details Galore

    Beyond the character interactions, what lends to Epic’s immersiveness is the attention to detail. 

    Although it is present in Super Nintendo World, where I felt lost within a video game, this is especially true for Dark Universe, Berk, and Potter. In Dark Universe, there are endless nods to the Universal Monster movies. There’s the portrait of mad scientist Dr. Pretorius within his descendants’ Scientific Oddities shop, where homunculi hide in the rafters. Footprints on the ground document the horrifying change from man into werewolf. 

    There’s even graveyard statues that pay homage to the monster films, including one honoring the little girl Maria — killed by Frankenstein’s creation in the 1931 movie. And there’s an emerging trend to leave a flower at her grave. The fact that the statue itself was found by Creative Director Brandon Kleyla, and he said on social media he always hoped guests would bring flowers, highlights that there appears to be a lot of love from fellow fans in the creation of this park.

    Along with the tall, seemingly true-to-scale buildings populating the Parisian landscape in the Ministry of Magic, artwork, shops, and signage all make one feel embedded in this realm while also paying dividends to eagle-eyed fans. 

    Overall, the intrepid explorer’s curiosity, and patience, is rewarded at every turn in Epic. Pause to listen to an argument between competing voices behind the doors of Dr. H. Jekyll Apotheker at Dark Universe, and one might learn of a secret drink order for the tavern. Fans who recall that the Sorcerer’s Stone was hidden in Paris in the 1920s might be able to discover it in the Ministry of Magic (maybe around, say, the Le Gobelet Noir). 

    The theming extends to the restaurant options, where, for instance, Dracula’s familiars operate Das Stakehaus, surrounded by vampire artwork and slain vampiric ancestors — and serve up food that never contains garlic. 

    Even Epic’s lavatories are something to behold. Super Nintendo World’s are themed with plumber pipes, underwater imagery and music; Isle of Berk’s has artistic viking murals; Ministry of Magic’s is old-timey with classy Parisian decor; Dark Universe’s “toiletten” begins with splattered blood silhouettes at the entrance, and is gothic-inspired inside with black toilets, moody lighting, and a dearth of mirrors (because Dracula doesn’t need to be outed as a vamp while counting to number two).

    The Rides

    Monsters Unchained

    With 11 rides throughout Epic, there’s plenty of thrills to occupy two days of a visit. But the highlight is, without a doubt, Monsters Unchained: The Frankenstein Experiment in the Dark Universe land. 

    The storyline of Monsters Unchained revolves around Dr. Victoria Frankenstein, the great-great-granddaughter of Henry. In a pre-show we get more of the story as we encounter a Victoria animatronic with a very convincing projected face, and a towering (and walking?!) Frankenstein’s Monster animatronic — which is a groundbreaking piece of tech.  

    Though she’s our protagonist, that Frankenstein family obsession runs in her blood, and Victoria sounds slightly unhinged as she boasts she’s learned how to capture, control, and even tame the Universal Classic Monsters. Or so she thinks. While her studies into the original monster Frank appears successful, with the new version appearing tame and friendly, her hubris gets the best of her as she attempts to do the same with Wolfman, Mummy, Creature from the Black Lagoon, and monster boss Dracula, and his brides. Drac escapes and unleashes the other baddies. As all hell breaks loose, Victoria, Frank, and assistant Ygor attempt to stop the rampage. And the visitor to Darkmoor is unfortunate enough to be a willing attendee to the experiment when it goes horribly awry. 

    The queue of Monsters is loaded with Easter eggs as one walks through the glorious gothic environs of Frankenstein Manor — complete with grand staircase adorned with large statues — and then descend into its catacombs. There are call outs to the original Universal Monster films, such as photos of the original Frankenstein and his fiancee Elizabeth (actors Colin Clive and Mae Clarke from the 1931 film), or a portrait of Clive-as-Henry opposite the new character Victoria. There’s also an encased body of the original Frankenstein creature that’s scanned by Victoria’s modern-day tech. And throughout the mansion, we visit her fireplace den, see boxes of mysterious cargo, and watch found footage of her and her trusty Ygor hunting monsters. There’s also this really cool vampire bat containment unit scene that looks physical despite being a 3D animation. As I went deeper into the catacombs — actually teased at the entrance of the land in the form of a stone structure with a gated entrance — I encountered coffins and crypts, teeing up the monsters we’ll be encountering, and the vibe is definitely eerie.

    The best part of this dark ride is getting up-close-and-personal encounters with updated designs of the classic monsters (including appearances by Lon Chaney-era Phantom of the Opera and the Hunchback of Notre Dame). The attraction utilizes a variety of effects, including incredible audio-animatronics, practical sets, and animated action sequences as the rider is propelled on a KUKA coaster arm. As opposed to, for instance, the Harry Potter and the Forbidden Journey attraction at Universal’s Islands of Adventure, which also uses a KUKA arm, the ride on Monsters is unobstructed, has more motion, and got me close enough to smell the Wolfman’s breath, while tipped on my back (thanks to the arm being attached to the bottom of the vehicle, rather than behind). Another notable element is the escape of Dracula’s brides. There’s a very cool transition between physical animatronics and screens that blew me away. 

    As just an added little note here which made me grin: According to the attraction’s story, Ygor is operating the ride vehicle, called the Catacombs Navigation Unit. When he switches on his controls, the vehicle transitions from moving fluidly to getting a bit janky, as if he’s still figuring out how to drive the thing. 

    This is more of an adventure ride than scary, but the setup is indeed creepy. There were plenty of moments I saw “behind the curtain” and witnessed the mechanical arms on the animatronics in-ride, but it wasn’t a terrible distraction. There is so much happening on Monsters Unchained that it demands repeat rides (far more than the several times I did it) in order to take it all in. It’s a feast of senses for all the monster kids out there. 

    Battle at the Ministry

    Then there is the Harry Potter and the Battle at the Ministry attraction that zoomed me through London’s Ministry of Magic on an enchanted elevator. Though the land is set in 1920s Paris (during the Fantastic Beasts films), this attraction takes place in the 1990s, right after the Harry Potter films. On the day her trial is to take place, Voldemort lieutenant Dolores Umbridge escapes, necessitating the arrival of Harry, Ron, Hermione, and the house-elf Higgledy to save the day.

    I have thoroughly enjoyed the pre-existing Hogsmeade and Diagon Alley lands at Universal. But admittedly, I wasn’t needing another Potter-themed attraction. However, Battle more than delivers. The queue itself is, ironically, worth the wait alone as guests enter the Ministry offices. What struck me as the largest, tallest, deepest indoor area I’ve seen at a theme park (yes, even bigger than the Star Destroyer reveal on Rise of the Resistance at Disney). It would be insulting to say this is like a movie set; rather, it is real, down to the marble tiles, as well as nearly infinite stretching into a sky of realistic clouds. The entire experience is expansive in scale. 

    On the actual ride, we zoomed through the labyrinthine depths of the Ministry where a feast of visuals endlessly flashed by. More visually engaging than the other Potter attractions, Forbidden Journey and Escape from Gringotts at Universal Orlando, this is also a smoother attraction while remaining exciting. The ride elevator — a 14-seater, two-row vehicle with safety belt restraint —  is bumpy, but not in a jarring way, with a few big drops that avoid any intense stomach sensations. And the action on large-scale (and intensely vibrant) screens blends seamlessly with the huge physical sets. 

    The whole affair is magical. Plus, I love the new character of Higgledy, and the massive Erumpent let loose from the Department for the Regulation and Control of Magical Creatures is a most impressive animatronic.

    I suspect Battle at the Ministry might be one of the best theme park attractions I’ve yet seen. It’s a study in immersion, and though Monsters Unchained is my personal favorite at Epic, this is nonetheless stunning. My only minor quibble is a nerdy continuity one, as the plot point on how we went from the 1920s to 1990s is a tad wishy-washy. I like a tight story timeline with my themed lands, but I’ll just chalk up the time travel to MetroFloo shenanigans, as well as Time Turners and a Ministry Time Room.

    Stardust Racers

    While Monsters Unchained was my overall favorite attraction at Epic, the Stardust Racers dueling coasters in Celestial Park may have been my biggest surprise. Maybe because it’s not associated with any classic Universal IP (even though the ride cars are “powered” by Doc Brown’s flux capacitor), and I wasn’t particularly excited about the central land within the hub-and-spoke layout. But Stardust Racers has now earned my top spot for favorite roller coaster(s). 

    The story behind this one is that the cosmic Celestians have captured two comets, and they have allowed us to hitch a ride on them to see which is faster. But the story really doesn’t matter so much because the focus is on the top speed of 62 mph, and the rising, falling (up to 133 feet), criss-crossing inversions and exhilarating launch of this baby. I rode both the green and yellow sides of the attraction a few times, and I can’t determine which is better, but I think yellow has a better view. Although the Jurassic Park VelociCoaster at Islands of Adventure might previously be considered the best of the bunch at Universal, Stardust has a stellar edge to it. 

    Mine-Cart Madness

    For my second favorite coaster at Epic, I was leaning towards Hiccup’s Wing Gliders at the How to Train Your Dragon — Isle of Berk land. The attraction, on par in my opinion with Hagrid’s Magical Motorbike Adventure at Islands, is an adrenaline rush but not overly intense for the more coaster-wary crowd. I rode four times in a row, and it remains fun, even without flipping or spinning. What struck me as a concern with this one was the restraint, which got increasingly, and uncomfortably tight, throughout the ride. It became straight-up painful at one point. It should be noted that I don’t really have a big frame, and this was not due to the coaster attendants making the restraint too tight (although that has happened way too frequently in the past). I mentioned this to the operators, and they said they had heard this complaint enough to call it a known issue. 

    That aside, I think the real runner-up for best coaster at Epic is Mine-Cart Madness at the Donkey Kong Country zone in Super Nintendo World. What makes this coaster so noteworthy is the “boom coaster” technology that allows for the illusion of a vehicle on a track system, while the “real” track is underneath, and the vehicle is attached to a hidden arm on the side.

    The result is a fun adventure where I was navigating the Golden Temple to help DK protect the golden banana — all as the mine cart launches, lifts, drops, skims across water, and jumps across seemingly broken tracks. It’s a really fun coaster; I just couldn’t get enough of it. Plus, I love how perfect it is for this particular land as I was able to live within a DK game, but in the real-world.

    Final Takeaway

    There is more to be said about Epic Universe than can be contained in one article write-up (and I will be discussing it further in my Talking Strange show, as well as sharing videos from the preview on the Den of Geek socials). But throughout the course of my excursion in Epic Universe, I was witness to something special, and new. 

    In an era where it’s a challenge to get audiences out the door and into cinemas for the latest blockbuster — because they have a pretty excellent, and customizable, viewing situation at home, with the treats they like, and only chattering loved ones to contend with — a theme park offers a unique experience that can only be fully enjoyed in person. Epic is the way forward. It’s not a success just for theme parks, but for entertainment, where a visitor can become lost within a world they love, and interact with characters from those worlds, while experiencing top-notch technology displayed right in front of them. 

    To put it simply, it serves up wonder in epic fashion. Or, to paraphrase that old mad scientist Dr. Pretorius from Bride of Frankenstein, welcome to a new world of gods, monsters, wizards, dragons, and Bowser-battling plumbers.

    The post Universal Epic Universe: A Giant Leap Forward for Theme Parks appeared first on Den of Geek.

  • That’s Not My Burnout

    That’s Not My Burnout

    Do you find it hard to connect when I read about people who are dying as they experience exhaustion? Do you feel like your feelings are invisible to the planet because you’re experiencing burnout different? Our main 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 blaze 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 suffocated by a 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 simultaneously working remotely with her husband. 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.

    This person seems to need self-care because she has too much going on. But no, she doesn’t have occasion for that. She begins to feel as though she’s dropping balloons. Never accomplishing much. There’s not enough of her to be here and there, she is trying to divide her head in two all the time, all time, every time. She begins to question herself. And as those thoughts creep in more and more, her domestic tale becomes more and more important.

    She KNOWS what she needs to complete right away! She may DO 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 immediately starts failing. She isn’t doing much. SHE is not enough. She’ll discover more she may do because she might neglect, or perhaps her home. She doesn’t nap as much, proceed because much, all in the attempts to do more. caught in this pattern of attempting to prove herself to herself without ever succeeding. Not feeling “enough”.

    But, yeah, that’s what zealous burnout looks like for me. It develops gradually over the course of several weeks and months rather than immediately as a big sign. My burning out process looks like speeding up, not a man losing target. I move up and up and up, and therefore I simply quit.

    I am the one who had

    It’s amusing 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.

    When my mother gave me food stamps as a child, I didn’t think shame; rather, I would have good started any debates about the subject, orally eviscerating anyone who dared to criticize the handicapped woman 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 I had to put more of myself into it because I was the one who could. I learned first that when something frightens me, I can 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 courageous, 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.

    Because I have seen how powerful a fiscally challenged person can be, I don’t think they are failures because they are pulled down by that flood. I really get that I have been privileged to be able to prevent many of the issues 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 chance. I will, yet, permit 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 halt, and with some pretty precise warm water splashed in my face, I’ve made the choice to previously. 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.

    So why all the history? 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 someone attempting to overcome obstacles, not a person who is ensnared 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 have watched endless streaming episodes of COVID to see how challenging the female protagonist is, but she is strong and funny, and can do 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.

    Beyond happiness, there are costs. 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 decline? 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 not let the people around them be disappointed.

    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 might actually be crunch time, a single objective, and/or a set of skills you need to master. That happens—life happens. BUT if all of this doesn’t stop, be open to yourself. 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 has an exit route with a pause button if it is truly temporary and you do need to simply push through, it does.
    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.
    • Leave the house.
    • 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 if I’m already failing, as the narrative suggests? 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, cooking for someone always comes naturally to my mind. 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 all of your senses and make you immerse in the moment in all your ways of seeing the world. 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, turn to a trusted friend and give yourself some pure verbal diarrhea by expressing all your concerns. 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 I admire most about my husband is how he can simplify things down to their simplest bits, despite often after the fact. ” 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 also required that I take my head out of 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, another method I enjoy using is to read or listen to a book that is NOTHING to do with my work-life balance. 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. It’s human to be depressed, anxious, and sad. It’s OK to not do it all. You can’t be brave without being imperfect, which is scary, but you can’t be brave without being imperfect.

    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 are stronger than the anxieties that motivate us.

    This is hard. It is 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 still 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 our surroundings, but only how we react to them. 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 this sounds familiar, you’re not just going to know about it. 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. When we stop and look around, the only eyes that judge us are usually the ones who look in the mirror, so the lives that unfold before us might never seem to be the same as the story in our heads.

    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 will need to redefine success to make room for comfortable human space, but that doesn’t really sound that 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 take precaution.

  • Asynchronous Design Critique: Giving Feedback

    Asynchronous Design Critique: Giving Feedback

    One of the most successful soft knowledge we have at our disposal is the ability to work together to improve our patterns while developing our own abilities and opinions, in whatever form it takes, and whatever it may be called.

    Feedback is also one of the most underestimated equipment, and generally by assuming that we’re now great at it, we settle, forgetting that it’s a skill that can be trained, grown, and improved. Bad opinions can lead to conflict on projects, lower morale, 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 rural and distributed job settings?

    A long history of sequential feedback can be found online: code was written and discussed on mailing lists before becoming an open source standard. 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 concepts with comments, but it also has some differences.

    The information

    The content of the feedback is the bedrock of every effective analysis, so where do we need to begin? There are many designs that you can use to form your content. The one that I personally like best—because it’s obvious and actionable—is this one from Lara Hogan.

    This calculation, which is typically used to provide feedback to users, even fits really well in a design critique because it finally addresses one of the main issues that we address: 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 something that needs to be improved. If you keep the three elements of the equation in mind, you’ll have a mental model that can help you be more precise and effective.

    A comment that appears to be reasonable at first glance could be included in some feedback, as it only appears to partially fulfill the requirements. But does it?

    Not sure about the buttons ‘ styles and hierarchy—it feels off. Can you alter them?

    Observation for design feedback doesn’t just mean pointing out which part of the interface your feedback refers to, but it also refers to offering a perspective that’s as specific as possible. Do you offer the user’s viewpoint? Your expert perspective? A business perspective? From 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 generally a viable option for feedback, I’ve found that going back to the question approach typically leads to the best solutions for design critiques because designers are generally more open to experiment in a space.

    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. Surprise surprise, one particular person gave me a lot of negative feedback. 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 one person in this other team who now 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 also no. Let’s explore both sides.

    No, because of the length in question, this kind of feedback is effective and can provide just 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”. The designer receiving this feedback wouldn’t have much to go by, so 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. Without explaining the why, the designer might assume that the change is one of consistency, 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.

    Therefore, the above equation serves as a mnemonic to reflect and enhance the practice rather than a strict template for feedback. 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 atmosphere

    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.

    Timing refers to 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. If a new feature’s entire high-level information architecture is about to go live when it’s about to be released, it might still be relevant if that 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 later? Polishing work in progress? Each of these needs a different one. 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. Before writing, it’s important to make sure the person we’re writing will actually benefit them and improve the overall project. This might be a hard reflection at times because maybe we don’t want to admit that we don’t really appreciate that person. Hopefully that’s not the case, but it can happen, which is fine. 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 nonnative speakers may not be able to comprehend all thenuances of some sentences, that our brains may be different and that our world may be perceived differently; hence, neurodiversity must be taken into account. 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 helpful advice, but I also found a surprise in my comment. They pointed out that when I wrote” Oh, ]… ]”, I made them feel stupid. That wasn’t my intention at all! 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 situation 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 even when you give difficult, or difficult feedback, you do so in a way that’s respectful and constructive. 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 and asked someone I trusted,” How does this sound,”” How can I do it better,” or even” How would you have written it,” I discovered that the best, most insightful moments for me occurred when I saw the two versions side by side.

    The format

    Asynchronous feedback also has a significant inherent benefit: we can devote more time to making sure that the suggestions ‘ clarity of communication 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 project information, 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 improvement that could be made. 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 for 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 consider 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 that it is 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 they can be very useful in the right context. 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. We don’t say something because we sometimes think it’s obvious that something is either good or wrong. 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.

    Asynchronous feedback also has the benefit of automatically guiding decisions, according to writing. Especially in large projects,” Why did we do this”? There’s nothing better than open, transparent discussions that can be reviewed at any time, which 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, focusing on eight areas, including observation, impact, question, timing, attitude, form, clarity, and actionability, is a lot of work 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 feedback?” is perhaps one of the worst ways to ask for opinions. It’s obscure and unreliable, 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.

    Starting the process of receiving feedback with a question may seem counterintuitive, but it makes sense if we consider that receiving input can be seen as a form of pattern research. 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 review what we got up, get to the base of its perspectives, and take activity. Problem, generation, and analysis. 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 topic may be important, so it might be difficult to get the team to pay attention to it.

    But how do we get into this scenario? It’s a combination of various aspects. 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 responses you want to receive. It puts people in the right emotional position, especially in situations when they weren’t expecting to provide feedback.

    There isn’t a second best method to request comments. It simply needs to be certain, and precision may take several shapes. The level than depth model for design critique has been a particularly helpful tool for 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 input into updated designs as the job has evolved. The layers of user experience could serve as a starting point for potential questions. What do you want to know: Project objectives? user requirements? Functionality? Content? Interaction design? Information architecture UI design? design of navigation 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 would like to go with the presentation. 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 possible to appear specific, but the “good” qualifier can be found in an even better question,” When the block opens and the buttons appear, is it clear what the next action is?”

    Sometimes we actually do want broad feedback. That’s uncommon, but 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 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 falling into rabbit holes like those that could lead to further refinement but aren’t what’s important right now.

    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’ll 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. This can be used on any platform that can accommodate this structure. 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.
    • It makes decisions accessible for upcoming review, and conversed conversations are also always available.
    • It creates a record of how the design changed over time.
    • It might also make it simpler to collect and act on feedback depending on the tool.

    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 components 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 have everything I need if I want 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. In essence, it’s any design work. 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, a list of the questions must be included in order 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 feature development is complete.

    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 just a concept to start a conversation, or it might be a cumulative list of all the features that have been added gradually 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 areas that still need improvement and, in turn, require more iterations, such as” with i8 we reached RC” or “i12 is an RC” to indicate when it is finished.

    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, using a different approach when we work asynchronously is more effective: adopting 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 is being forced to respond to 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 to worry about. 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 a person who is directly involved in the project and whom 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. Responding to all comments at times 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 option is to respond politely to acknowledge each comment, such as” Understood. Thank you”,” Good points— I’ll review”, or” Thanks. In the upcoming iteration, I’ll include these. 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 coming back and forth.

    Let’s begin by acknowledging again that there’s no need to reply to every comment. However, a brief response with a link to the previous discussion for additional information is typically sufficient if responding to a previously litigated point might be helpful. 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 the design could be the third friction point, which might cause us to feel defensive if the review turned into 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 ). And 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 rationale for your choice, 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 specialization, and the designer is 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 certain when I first heard this statement, it has over the centuries stuck in my mind. How do you generate solutions for scenarios you can’t think? Or create items 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 started by making a design for a 960px canvas that I would later add glad to. The growth phase was about attaining pixel-perfect reliability using set widths, fixed levels, and absolute placement.

    All of this was altered by Ethan Marcotte’s speak at An Event Apart and the subsequent article in A Checklist Off in 2010. I was sold on responsive pattern 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. What I discovered the hard manner was that you can’t really put sensitivity at the end of a job. To make smooth design, you need to prepare throughout the style stage.

    A new way to style

    Removing restrictions and creating content that can be viewed on any system has always been the goal of designing responsive or smooth websites. 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 questions

    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 questions 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 tiny- to medium-sized companies, to larger in-house teams where I worked across a collection of related sites. In those positions, I began to work more frequently with washable pieces.

    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 questions 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. There are workarounds for JavaScript, but they can lead to dependencies 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?

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

    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 always need to modify these elements 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;}

    The biggest benefit of all of this is that you don’t have to wrap elements in container rows. 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. Subgrid is only supported in Firefox at the time of writing, but the above code can be implemented behind an @supports feature query.

    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 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 way, but… don’t ever make it smaller than the content that is inside of it.”

    —Jen Simmons,” Designing Intrinsic Layouts”

    Intrinsic layouts can also make use of a mix of fixed and flexible units, letting the content choose how much space it occupies.

    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 the requirement of having the same breakpoints or the same amount of content as in the previous implementation, components and patterns can be lifted 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 now feel 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 a different way to use existing skills and CSS knowledge.

    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 the benefit of having a selection of units is a hindrance when it comes to creating layout templates, intrinsic design and frameworks do not go hand in hand 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 demonstrate how the site would look at all three stages at some point in our careers.

    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 changes in content, such as in our earlier Subgrid card illustration, which allowed the cards to make adjustments to both their own and 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 % of its container’s preferred value, 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 situation

    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”?

    Rather than someone using a mobile phone and moving through a crowded street in glaring sunshine, it’s a very different design to be done 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.

    This is why making a decision is so crucial. 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 now being returned.

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

    For instance, a light-level option lets you alter a user’s style when they are in the dark or in the sun. 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 questions like this go beyond choices made by a browser to grant more control to the user.

    Expect the unexpected

    In the end, we should always anticipate 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 do 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 are still many more things we can do to adopt a more intrinsic approach, from responsive to fluid and fixed. 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 must 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.