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  • Superman Trailer: 5 Awesome Things You Might Have Missed

    Superman Trailer: 5 Awesome Things You Might Have Missed

    Glance up on the internet! It’s a clip, it’s a teaser … No! The entire Superman video has arrived that we have been waiting for! After disclosing bits and pieces, DC Studios suddenly released a massive three-minute video for James Gunn’s directed and written summer film Superman. The sizzle reel finally gives a sense of the]… ]

    The second article Superman: 5 Awesome Stuff You Might Have Missed appeared initially on Den of Geek.

    Appearance up on the internet! It&#8217, s a picture, it &#8217, s a teaser&#8230, No! The whole Superman video that we’ve been waiting for is here.

    After giving us a ton of information, James Gunn and DC Studios suddenly released a massive three-minute video for this summer’s 82nd Superman. The sizzle reel finally gives a sense of the central conflict of the movie, in which Lex Luthor ( Nicholas Hoult ) takes advantage of public opinion turning against Superman when he stops a war in foreign lands. Additionally, it’s suggested that these omissions cause tension with the movie’s pseudo-Justice League and produce ripples in the Daily Planet newsroom. Lex Luthor even manages to enter the Fortress of Solitude and wreck issues with the help of the Engineer! And if you don&#8217, t realize who the Engineer is, son do we have some information to reveal to you &#8230,

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    Ms. Lane, &#8221, 2025 Style, &#8220,

    For all the kaiju and more meta-humans that he&#8217, s including in Superman, Gunn has often insisted that the video is generally about Superman and the square between Clark, Lois, and Lex. In its first moments, which even return to a favorite scene from the 1978 Superman film, the video makes that point.

    In an effort to pique the world’s interest, Lois ( Rachel Brosnahan ) interviews Superman ( David Corenswet ) once more. But the voice is very different from any variation we&#8217, d seen in the past. We see a more sassy version of the Man of Steel because of the now friendly connection between a Lois and Clark, where she is aware that he is Superman. The warrior insists that he did great because it needed to be done, and that counts more than issues of international law, and he almost gets defensive at Lois&#8217, issues.

    More important though, we get to see one of the most important components of any Superman performance, the transition between mild-mannered Clark Kent and the Man of Steel. Christopher Reeve‘s masterful handling of that shift made him a completely different person in the first film. Gunn is one of the many fans of that flick because of it.

    Reduce to 2025 and Corenswet does the same thing below, albeit it &#8217, s little more subtle. When Clark agrees to let Lois discussion Superman, he sits back and slouches. But when the discussion is about to begin, he squats up and circles his arms. He gives a comfortable, cheerful look and drops his speech by an octave to start. The subtlety matters, though not as much as Reeve&#8217 ;s changes. This Superman is both a son of Krypton and a son of Kansas, as shown by the emphasis on Smallville here, with Pa Kent ( Pruitt Taylor Vince ) giving an inspirational voiceover, a job typically reserved for Supes &#8217, s Kryptonian father Jor-El. Neither is a phony. The ranges between them may become blurred because both are his true identity.

    Engineer Superman
    DC Studios, picture

    The Engineer&#8217, s Authority

    The trailer emphasizes Lex Luthor’s portrayal as the final major poor. When Superman calls a truce, Luthor believes his suspicion has been proven to be accurate because of jealousy and refusing to honor an alien. However, the well-groomed CEO has got a bunch of different heavy hitters to help him out, including a woman in dark leather whose hands turn into swords as they destroy the Fortress of Solitude.

    Mara Gabriela de Fara plays the Engineer, and she needs some explanations. The Engineer initially appeared in The Authority# 1, which was written by Warren Ellis and was penciled by Bryan Hitch, in 1999. Part of the Wildstorm Universe, a comic book world separate from the DC firm, the Authority were a collection of soldiers who set themselves to making a better planet by enforcing their will. The Authority applied depraved geopolitics to characters, something that is contrary to soldiers like the Justice League, under the pencil of Ellis and other authors, including Mark Millar and Grant Morrison. In fact, Superman faced off against a crew modeled after the Authority in the famous Superman tales &#8220, What&#8217, S.F.R.R., and the American Way &#8221. But, when DC took full control of the Wildstorm collection, they integrated the Authority into the DC Universe where they are soldiers with doubtful techniques.

    According to the video, Gunn intends to use the Engineer more of a criminal or at least an enemy. The Engineer has nanotechnology that, like the T-1000 from Terminator 2, transforms her figure into a weapons, as in the cartoons. She&#8217, s evidently working alongside Lex around, but it &#8217, s hard to imagine that Gunn won&#8217, t have Supes tell the Engineer something about how to create a better world through creativity instead of power.

    Superman Arrested
    DC Studios, picture

    Is that the ultimate superhero? Bizarro?

    Joining the Engineer in the fight against Superman is a hulking female number in all set. This number has previously competed with Superman in a facility. However, this is the best search we’ve had at him so much, and the best search we’ve ever had at the sign on his chest.

    That &#8220, U&#8221, formed style is common to comic book users who recognize that as the sign of Ultraman, the Superman of Earth-3. Earth-3 is the terrible aspect in the DC world, where Ultraman, Owlman, and Supergirl take the helm of the Injustice League of America, replacing Superman, Batman, and Wonder Woman from the Justice League of America.

    However, unlike Ultraman, who frequently runs around in a blue and red attire, is typically unfazed to show his face. And he definitely did n&#8217, t get orders from a dork like Lex Luthor. So who is that person? Wise money suggests that the number is actually Bizarro, a weak but extraordinarily strong replica of Superman, given his enormous powers and his obscure face. It may observe that Lex did make his own type of Superman and, in a blow against his stupidity, get it wrong. The comics use that origins, which has been used by Bizarro, would suit the themes Gunn appears to be exploring.

    Frank Grillo in Superman
    DC Studios, picture

    Rick Flag Jr. of the Creature Commandos

    One of the more perplexing pieces about James Gunn&#8217, s tenure as the co-head of DC Studios is that he&#8217, s doing only a limited reset of the now defunct DCEU. Yes, Henry Cavill is no longer a Superman, but it seems like Justice League and Batman v. Superman: The Sun of Justice activities didn’t. However, there were Creature Commandos and The Suicide Squad, or at least some of them.

    So far the single bridge between these kingdoms is Rick Flag Sr., who is played by Frank Grillo. Flag was first introduced to him in Creature Commandos, where he was given the task of leading Task Force M by Amanda Waller. Throughout that line, Flag expresses grief over the passing of his brother Rick Flag Jr., who Joel Kinnaman played in Suicide Squad and The Suicide Squad.

    Flag doesn’t do much in this video another than look really serious and escort Superman into prison, along with the Engineer and perhaps-Bizarro. But his calm expression suggests that he still has a suspicion of men who take things into their own hands, owing perhaps to his indignation at Flagg&#8217, s death at the hands of Peacemaker during the vision to prevent the Scholar from exploiting Starro the Conqueror in Corto Maltese. Keep in mind.

    Metamorpho Superman
    DC Studios, picture

    The Superhero Prison: The Evolution of Amethyst (?! )

    The scenes of Superman in prison obviously lead to images of him in a sort of captivity made of cubic glass, suggestive of Magneto&#8217, s holding pencil in X-Men or the demon cages in The Cabin in the Woods. In the jail, men immediately start beating on Superman. Afterward, he appears to have gotten the upper hand. In between we get a chance of Metamorpho, one of the more highly-anticipated characters in the movie. Metamorpho, who is played by Anthony Carrigan, has the ability to transform himself into any substance ( possibly Kryptonite )? ), and when his fingers start to turn their heads in an odd manner, we get a taste of that power at work.

    Metamorpho is just one of the heroes who show up in the trailer, which also gives us better looks at Hawkgirl ( Isabela Merced ) flying through the sky, Mister Terrific ( Edi Gathegi) using his T-spheres, and the Green Lantern Guy Gardner ( Nathan Fillion ) using his power ring in a particularly jerky way. However, we also see flashes of different people in the jail, which suggests that there are perhaps even more metahumans than we think. Except for the woman imprisoned in the block to Superman, it &#8217, is difficult to see any of the people. There we see a white girl in a green gown who reacts in despair.

    On the one hand, that might just be a typical woman wearing a red dress who, for some reason, is sent to the same prison as Metamorphos and Superman. The clothing, but, doesn’t seem all that different from Amethyst, a C-list fantasy hero. Created by authors Dan Mishkin and Gary Cohn and actor Ernie Colón, Amethyst second debuted in 1983 &#8217, s The Army of Super-Heroes# 298 and was quickly spun off into her own graphic. Gemworld, a beautiful place where Amethyst has great fantasy adventures, is where she is the princess.

    Although Amethyst has occasionally hosted her own set, she is not as well-known as Guy Gardner. But if Gunn&#8217, s going to look into different categories for his edition of the DC Universe, Amethyst is a great way to provide more story into the world of characters.

    On July 11, 2025, Superman will be showing in theaters.

    The second article Superman: 5 Awesome Stuff You Might Have Missed appeared initially on Den of Geek.

  • Andor: Dedra Meero Gets the Most Fitting Fate of Any Star Wars Villain

    Andor: Dedra Meero Gets the Most Fitting Fate of Any Star Wars Villain

    This article contains spoilers for Rogue One, Andor season 2 shows 10, 11, and 12 and Rogue One. It feels like the Tony Gilroy-created Andor is already over before it even began. The bold move to divide the last 12 episodes into four episodes [ …] happened while year 1 of the sci-fi detective thriller moved at a snail’s pace.

    Den of Geek‘s second article Andor: Dedra Meero Gets the Most Fitting Death of Any Star Wars Villain.

    Appear, up on the internet! It&#8217, is a picture, is a teaser&#8217, is a teaser&#8230, No! It’s the whole Superman trailer that we’ve been waiting for!

    After giving us bits and pieces, DC Studios has finally released a massive three-minute trailer for this summer &#8217, s Superman, written and directed by James Gunn. The sizzle reel finally gives a sense of the film’s central conflict, in which Lex Luthor ( Nicholas Hoult ) exploits the negative perception of the public when he ends a war in a foreign country. Additionally, it is suggested that these omissions cause tension with the movie’s pseudo-Justice League and produce ripples in the Daily Planet newsroom. Even apparently Lex Luthor is able to enter the Fortress of Solitude where he wrecks items with a figure called the Engineer! And if you don’t know who the Engineer is, we can show some information to you.

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    &#8220, Ms. Lane, &#8221, 2025 Design

    Despite the kaiju and other meta-humans he&#8217, includes in Superman, Gunn has consistently argued that the relationship between Clark, Lois, and Lex is mainly about Superman. The first scenes of the video make that point in its first moments, which even return to a favorite scene from the first Superman movie from 1978.

    Once again, we have Lois ( Rachel Brosnahan ) interviewing Superman ( David Corenswet ) to satisfy the world &#8217, s curiosity. However, the voice is radically different from any that we’ve seen in the history. We see a more sassy version of the Man of Steel because of the now friendly connection between a Lois and Clark, where she is aware that he is Superman. He almost gets defensive at Lois&#8217, issues, with the warrior insisting that he did great because it needed to be done, and that counts more than issues of international law.

    However, more importantly, we get to witness the transition between the mild-mannered Clark Kent and the Man of Steel, one of the most important aspects of any Superman functionality. Christopher Reeve‘s masterful handling of that shift made him a completely different person in the first film. It is a favorite time for many in that flick, including Gunn.

    Slice to 2025, and Corenswet does the same thing here, but it’s much more simple. When Clark consents to allow Lois interview Superman, he sits back and poses in slouche. But when it &#8217, s time for the interview to start, he sits up and circles his arms. He appears comfortable and upbeat, and he drops his speech by one octave to start. Although not as significant as Reeve&#8217, s alterations, the subtlety things. As demonstrated by the emphasis on Smallville here, with Pa Kent ( Pruitt Taylor Vince ) giving an inspirational voiceover, a job usually reserved for Supes &#8217, s Kryptonian father Jor-El, this Superman is both a son of Krypton and a son of Kansas. Neither is a phony. The ranges between them will become blurry because both of his true identities.

    Engineer Superman
    Photo: DC Studios

    The Engineer has jurisdiction, according to The Engineer.

    Lex Luthor’s role as the final big negative is highlighted in the trailer. Driven by resentment and refusing to honor an alien, Luthor thinks his trust has been proven right when Superman stops a battle. The well-groomed CEO, however, has a number of other top athletes who can assist him, including a girl in dark leather whose arms become blades as they attack the Fortress of Solitude.

    Mara Gabriela de Fara plays the Engineer, and she needs some explanations. The Engineer second debuted in 1999 &#8217, s The Authority# 1, written by Warren Ellis and penciled by Bryan Hitch. The Authority were a group of soldiers who set themselves to make a better planet by enforcing their would. They were a part of the Wildstorm Universe, a humorous book world distinct from the DC secure. The Authority applied depraved geopolitics to characters, something that is contrary to soldiers like the Justice League, under the pencil of Ellis and other authors, including Mark Millar and Grant Morrison. In fact, the famous Superman history &#8220, What&#8217, s So Funny About Truth, Justice, and the American Way &#8221, saw Superman stand up to and censure a group modeled on the Authority. But, when DC gained complete control over the Wildstorm collection, they incorporated the Authority into the DC Universe, creating a hero with dubious methods.

    According to the video, Gunn intends to make the Engineer a more effective criminal or at least adversary. As in the cartoons, the Engineer has small technology that allows her to alter her body into a tool, not unlike the T-1000 from Terminator 2. She is obviously working alongside Lex here, but it’s difficult to imagine that Gunn won’t let Supes tell the Engineer how to make a better world through motivation rather than force.

    Superman Arrested
    Photo: DC Studios

    Is That a UFO? Bizarro?

    A massive, fully leather-clad female number joins the Engineer in the battle against Superman. We’ve seen this person before, competing against Superman in a facility. But this is the best search that we&#8217, have had at him so much, and the best search we&#8217, d gotten at the sign on his neck.

    The U&#8221, U&#8221, shape of the comic book character is well-known to fans of the series because it represents Ultraman, the Superman of Earth-3. In contrast to Superman, Batman, and Wonder Woman of the Justice League of America, Earth-3 serves as the terrible aspect in the DC world.

    But, Ultraman often has no problem showing his mouth and usually runs around in a blue and red outfit, not this set number. And he wouldn’t take requests from a dork like Lex Luthor, without a doubt. So who is that person? Given his huge powers and his hidden face, bright cash suggests that the number is in fact Bizarro, a weak but super-strong copy of Superman. Lex had then create his own type of Superman and, in a blow to his stupidity, correct it. That nature, which has been used in the comics for Bizarro, would fit into the themes Gunn appears to be exploring.

    Frank Grillo in Superman
    Photo: DC Studios

    Rick Flag Sr. of the Creature Commandos

    One of the more perplexing aspects of James Gunn’s career as the co-head of DC Studios is that he’s simply doing a limited reset of the now-defunct DCEU. Yes, Henry Cavill is no longer a Superman, and it seems like the activities of Batman v. Superman: The Sun of Justice and Justice League didn’t take place. But The Suicide Squad and Creature Commandos, or at least some type of them, did occur.

    Rick Flag Sr., who Frank Grillo has played, is the only actor who can bridge these two kingdoms so much. Flag was first introduced to him in Creature Commandos, where he was given the task of leading Task Force M by Amanda Waller. Throughout that line, Flag expresses grief over the passing of his brother Rick Flag Jr., who Joel Kinnaman played in Suicide Squad and The Suicide Squad.

    Flag does n&#8217, t get to do much in this video other than look quite severe and chauffeur Superman into prison, alongside the Engineer and maybe-Bizarro. However, his calm appearance suggests that he still harbors a suspicion of men who take things into their own hands, apparently in part because of his outcry against Flagg&#8217’s death at the hands of Peacemaker during the attempt to stop the Scholar from molesting Starro the Conqueror in Corto Maltese. Keep in mind.

    Metamorpho Superman
    Photo: DC Studios

    The Superhero Prison With Metamorphosis and Amethyst (?!? )

    Superman’s arrest appears to have sparked images of him in a kind of diced glass jail, similar to Magneto’s in X-Men or the demon bars in The Cabin in the Woods. In the jail, men immediately start beating on Superman. After he seems to have gained the power to knock out. One of the more highly anticipated characters in the film is Metamorpho, who is portrayed in a photo between the two. Metamorpho, who is played by Anthony Carrigan, has the ability to transform himself into any substance ( possibly Kryptonite )? ), and we see a bit of that power at work when his hands begin to dissolve in a peculiar manner.

    The trailer also provides better views of Mister Terrific ( Edi Gathegi) using his T-spheres, Hawkgirl ( Isabela Merced ), and Green Lantern Guy Gardner ( Nathan Fillion ) using his power ring in a particularly jerky way. However, different individuals are spotted in the prison, suggesting that there are perhaps even more metahumans than we think. It&#8217, s difficult to see any of the people, save for the lady imprisoned in the block to Superman&#8217, s left. A white woman wearing a pink dress appears that and reacts horrified.

    On the one hand, that might just be a typical woman wearing a green dress who, for some reason, is sent to the same prison as Metamorphos and Superman. However, the dress does n&#8217, t look very different from the one worn by a C-list story warrior called Amethyst. Amethyst, which was written by Dan Mishkin and Gary Cohn and created by Ernie Colón, debuted in 1983’s The Army of Super-Heroes# 298, which was the first of her kind comic. Gemworld, a beautiful place where Amethyst has great fantasy adventures, is where she is the princess.

    Amethyst has carried her own set from time to time but does n&#8217, t like the exact level of popularity as yet Guy Gardner. Amethyst is a great way to add more story to the world of superheroes if Gunn&#8217 is going to look into different categories for his edition of the DC Universe.

    On July 11, 2025, Superman will fly into venues.

    The article Superman Trailer: 5 Awesome Stuff You Might Have Missed appeared initially on Den of Geek.

  • Mission: Impossible – The Final Reckoning Review – Tom Cruise Fights the Big Goodbye

    Mission: Impossible – The Final Reckoning Review – Tom Cruise Fights the Big Goodbye

    The old-fashioned activity hero is a dying breed, just like the old-fashioned film star. Tom Cruise is acutely aware of this since very much all of his licensed work in the 2020s have been about the beauties of the receding old time and way. For instance, Top Gun: Maverick outlined the reasons why we still [ ].

    Tom Cruise Battles the Big Goodbye in Mission: Unattainable: The Final Reckoning Review appeared first on Den of Geek.

    Appear, up on the internet! No! It’s a picture, it’s a teaser, and it’s a teaser. The whole Superman video that we’ve been waiting for is here.

    After giving us bits and pieces, DC Studios has finally released a massive three-minute trailer for this summer &#8217, s Superman, written and directed by James Gunn. The movie’s central conflict is finally captured in the sizzle reel, where Lex Luthor ( Nicholas Hoult ) exploits the public’s opposition to Superman when he ends a war in a foreign country. Additionally, it is suggested that these omissions cause tension with the movie’s pseudo-Justice League and produce ripples in the Daily Planet newsroom. Even apparently Lex Luthor is able to enter the Fortress of Solitude where he wrecks items with a figure called the Engineer! And boy do we have some information to share with you if you don&#8217, don&#8230, don&#8230, don&#8230, don&#8230, don&#8230, t realize who the Engineer is.

    cnx. powershell. cnx ( playerId:” 106e33c0-3911-473c-b599-b1426db57530 ), ) -push ( function ( ). render ( “0270c398a82f44f49c23c16122516796” ),

    &#8220, Ms. Lane, &#8221, 2025 Fashion

    Despite the kaiju and other meta-humans he&#8217, includes in Superman, Gunn has often argued that the film is generally about Superman and the relationship between Clark, Lois, and Lex. In its first moments, which even return to a favorite scene from the 1978 Superman film, the video makes that point.

    Once again, we have Lois ( Rachel Brosnahan ) interviewing Superman ( David Corenswet ) to satisfy the world &#8217, s curiosity. However, the voice is radically different from what we’ve previously seen. We see a more sassy version of the Man of Steel because of the now friendly connection between a Lois and Clark, where she is aware that he is Superman. He almost gets defensive at Lois&#8217, issues, with the warrior insisting that he did excellent because it needed to be done, and that counts more than issues of international law.

    We also get to see the transition between the Man of Steel and Clark Kent, one of the most important aspects of any Superman performance. Christopher Reeve executed that change brilliantly in the first film, where he transformed into a completely different person in a single shot. It is a favorite time for many in that film, including Gunn.

    Slice to 2025, and Corenswet does the same thing here, but it’s much more simple. When Clark agrees to let Lois discussion Superman, he sits back and slouches. But when it &#8217, s time for the interview to start, he sits up and rectangles his arms. He appears comfortable and upbeat, and he drops his speech by an octave to the beginning. The subtlety things, though not as much as Reeve&#8217, s adjustments. As demonstrated by the emphasis on Smallville here, with Pa Kent ( Pruitt Taylor Vince ) giving an inspirational voiceover, a job usually reserved for Supes &#8217, s Kryptonian father Jor-El, this Superman is both a son of Krypton and a son of Kansas. neither is authentic. Both of his true identities are blurred, so the ranges between them will become blurry.

    Engineer Superman
    Photo: DC Studios

    The Engineer&#8217, s power

    Lex Luthor’s role as the best big negative is highlighted in the trailer. Driven by resentment and refusing to honor an alien, Luthor thinks his trust has been proven right when Superman stops a battle. The well-groomed CEO, however, has a number of other top athletes who can assist him, including a girl in dark leather whose arms become blades as they attack the Fortress of Solitude.

    Mara Gabriela de Fara plays the Engineer, and she needs some explanations. The Engineer initially debuted in 1999 &#8217, s The Authority# 1, written by Warren Ellis and penciled by Bryan Hitch. The Authority were a group of heroes who fought their will to make a better world by imposing their will in the comic book world known as the Wildstorm Universe. The Authority applied depraved geopolitics to characters, something that is contrary to the Justice League, under the pencil of Ellis and various artists like Mark Millar and Grant Morrison. In fact, the famous Superman account &#8220, What&#8217, s So Funny About Truth, Justice, and the American Way &#8221, saw Superman stand up to and censure a group modeled on the Authority. Yet, when DC gained complete control over the Wildstorm range, they incorporated the Authority, who are champions using dubious strategies, into the DC Universe.

    According to the video, Gunn intends to make use of the Engineer more as a criminal or at least an adversary. As in the cartoons, the Engineer has small technology that allows her to modify her body into a tool, not unlike the T-1000 from Terminator 2. She is undoubtedly working alongside Lex in this, but it’s difficult to imagine Gunn won’t let Supes tell the Engineer how to make a better world through motivation rather than force.

    Superman Arrested
    Photo: DC Studios

    Is That a UFO? Bizarro?

    A hulking female number in all leather joins the Engineer in the fight against Superman. This number has previously competed with Superman in a facility. But this is the best search that we&#8217, have had at him so much, and the best search we&#8217, d gotten at the sign on his neck.

    The U&#8221-shaped style, which is recognizable as Ultraman, the Superman of Earth-3, is well-known to comic book fans. Earth-3 serves as the terrible aspect in the DC world, where Ultraman, Owlman, and Supergirl take over as the Justice League of America’s guide, replacing Superman, Batman, and Wonder Woman.

    But, Ultraman often has no problem showing his mouth and usually runs around in a blue and red outfit, not this set number. And he wouldn’t get requests from a snob like Lex Luthor, at all. So who is that person? Given his huge powers and his hidden face, bright cash suggests that the number is in fact Bizarro, a weak but super-strong copy of Superman. It may observe that Lex may create his own edition of Superman and, in a blow to his stupidity, find it incorrect. Bizarro’s source has been used in the cartoons, and it would fit into Gunn’s themes.

    Frank Grillo in Superman
    Photo: DC Studios

    Rick Flag Sr. of the Creature Commandos

    One of the more perplexing aspects of James Gunn’s career as the co-head of DC Studios is that he’s simply doing a limited reset of the now-defunct DCEU. Yes, Henry Cavill is no longer a Superman, and it seems like the activities of Batman v. Superman: The Sun of Justice and Justice League didn’t take place. But The Suicide Squad and Creature Commandos, or at least some version of them, did occur.

    The sole character that can stand between these two worlds is Rick Flag Sr., who is played by Frank Grillo. Flag was first introduced to him in Creature Commandos, where he was given the task of leading Task Force M by Amanda Waller. Throughout that line, Flag expresses grief over the passing of his brother Rick Flag Jr., who Joel Kinnaman played in Suicide Squad and The Suicide Squad.

    Flag does n&#8217, t get to do much in this video other than look quite severe and chauffeur Superman into captivity, alongside the Engineer and maybe-Bizarro. However, his calm appearance suggests that he still harbors a suspicion of men who take things into their own hands, apparently in part because of his outcry against Flagg&#8217’s death at the hands of Peacemaker during the attempt to stop the Scholar from molesting Starro the Conqueror in Corto Maltese. Keep in mind.

    Metamorpho Superman
    Photo: DC Studios

    The Superhero Prison With Metamorphosis and Amethyst (?!? )

    Superman’s arrest appears to have sparked images of him in a kind of cubic glass jail, similar to Magneto’s in X-Men or the demon bars in The Cabin in the Woods. Superman is immediately seen being beaten by soldiers inside the prison. After he seems to have gained the power to statue out. One of the more highly anticipated characters in the film is Metamorpho, who is portrayed in a photo between the two. Metamorpho, who is played by Anthony Carrigan, is capable of transforming himself into anything, possibly even Kryptonite. ), and we see a bit of that power at work when his hands begin to dissolve in a peculiar manner.

    The trailer also provides better views of Hawkgirl ( Isabela Merced ), Mister Terrific ( Edi Gathegi), and Green Lantern Guy Gardner ( Nathan Fillion ) using his power ring in a particularly jerky way. Metamorpho is just one of the heroes who appear in the trailer. However, we also see flashes of various people in the jail, which suggests that there are perhaps even more metahumans than we think. It&#8217, s difficult to see any of the people, save for the female imprisoned in the block to Superman&#8217, s left. A white woman wearing a pink dress appears it and reacts horrified.

    On the one hand, that might just be a typical woman wearing a green dress who, for some reason, is imprisoned alongside Metamorphos and Superman. However, the dress does n&#8217, t look very different from the one worn by a C-list story warrior called Amethyst. Crystal first debuted in 1983 &#8217, with the publication The Army of Super-Heroes# 298, and was quickly turned into her own humorous. It was written by Dan Mishkin and Gary Cohn and by Ernie Colón. Gemworld, a beautiful place where Amethyst has great fantasy adventures, is where she is the princess.

    Amethyst has carried her own set from time to time but does n&#8217, t like the exact level of popularity as yet Guy Gardner. Amethyst is a great way to add more story to the world of superheroes if Gunn&#8217 is going to look into different categories for his edition of the DC Universe.

    On July 11, 2025, Superman will be playing in venues.

    The blog Superman Trailer: 5 Awesome Stuff You Might Have Missed appeared first on Den of Geek.

  • That’s Not My Burnout

    That’s Not My Burnout

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

    But what on earth is a passionate burnout?

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

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

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

    This is a difficult 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. Not succeeds in any objective target despite constantly trying to prove herself to herself. Not feeling “enough”.

    But, yeah, that’s what zealous burnout looks like for me. It doesn’t develop immediately in a great sign; it develops gradually over the course of several weeks and months. My burning out process looks like speeding up, not a man losing target. I move quickly and steadily, but I simply quit.

    I am the one who had

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

    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 girl 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 begins meet impacted people I love. As the non-disabled people in my home, I did take on many of the real things because I was” the one who was” make our lives a little easier. I soon realized that putting more of myself into it was linked to fears or confusion; I am the one who does. I learned first that when something frightens me, I may double down and work harder to make it better. I am capable of taking on the problem. When people have seen this in me as an child, I’ve been told I seem brave, but make no mistake, I’m not. If I seem courageous, it’s because this conduct was forged from other 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 do not see people who struggle economically as problems because they are pulled along the way. I really get that I have been privileged to be able to prevent many of the problems that were current in my children. That said, I am also” the one who can” who feels she does, but if I were faced with not having much to make ends meet for my own home, I do see myself as having failed. Despite my best efforts and education, the majority of this is due to great riches. I will, but, permit myself the pride of saying I have been cautious with my options to have encouraged that chance. 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.

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

    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, alarms don’t always ring, and some organization members are surprised and depressed when the inevitable stop occurs. And sometimes maybe even betrayed.

    Parents—more so mothers, statistically speaking—are praised as being so on top of it all when they can work, be involved in the after-school activities, practice self-care in the form of diet and exercise, and still meet friends for coffee or wine. Many of us watched endless streaming COVID episodes to see how challenging the female protagonist is, but she is strong, funny, and capable of doing it. It’s a “very special episode” when she breaks down, cries in the bathroom, woefully admits she needs help, and just stops for a bit. Truth be told, countless people are avoiding tears or doomscrolling to flee. 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, especially in these COVID stressed out times, women are still more likely than their male counterparts to be burnout vulnerable. 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 work even more because they aren’t under that much pressure at home. It’s vicious and systemic and so a part of our culture that we’re often not even aware of the enormity of the pressures we put on ourselves and each other.

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

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

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

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

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

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

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

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

    Cook an elaborate meal for someone!

    Okay, since I’m a “food-focused” person, I’ve always been a fan. There are countless tales in my home of someone walking into the kitchen and turning right around and walking out when they noticed I was” chopping angrily”. But it’s more than that, and you should give it a try. Seriously. It’s the perfect go-to if you don’t feel worthy of taking time for yourself—do it for someone else. Because the majority of us work in a digital world, cooking can pique 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 required that I remove my head from that rectal cavity. So, again, usually those moments are appreciated in hindsight.

    Pick up a book!

    There are many books out there that are more like people 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, Rachel Hollis
    • Dare to Lead by Brené Brown

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

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

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

    Give yourself a break.

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

    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. Our fears determine our strength, not ours.

    This is hard. I struggle with it. 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. Only how we react to the things around us is what we control. These suggestions are to help stop the spiral effect so that you are empowered to address the underlying issues and choose your response. They are things that most of the time work for me. 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’s not improper. Even if rooted in fear like my own drivers, I believe that this need to do more comes from a place of love, determination, motivation, and other wonderful attributes that make you the amazing person you are. We’re going to be OK, ya know. The lives that come before us might never have the same meaning as the one we’re striving for, which is acceptable because the only way to judge is in the mirror when we stop and look around.

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

    We are resourceful and aware that we can push ourselves when necessary, even when we are exhausted 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 be considerate.

  • 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 feedback can lead to conflict in projects, lower confidence, and long-term, undermine trust and teamwork. Quality opinions can be a revolutionary force.

    Practicing our knowledge is absolutely a good way to enhance, but the learning gets yet faster when it’s paired with a good base that programs and focuses the exercise. What are some fundamental components of providing effective opinions? And how can comments be adjusted for 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. It generally shares many of the concepts with comments, but it also has some differences.

    The material

    The content of the feedback is the bedrock of every effective criticism, 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 equation, 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 a flaw in the situation. 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.

    Here is a comment that could be included in some feedback, and it might appear reasonable at first glance because it appears to partially fulfill the requirements. But does it?

    Not sure about the buttons ‘ styles and hierarchy—it feels off. Can they be altered?

    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?

    I anticipate that one of these two buttons will go forward and the other will go back when I see them.

    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.

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

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

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

    I anticipate that one of these two buttons will go forward and the other will go back when I see them. 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:

    I anticipate that one of these two buttons will go forward and the other will go back when I see them. 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.

    I anticipate that one of these two buttons will go forward and the other will go back when I see them. 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 reviewed feedback with other people before putting a lot of effort into improving it a while ago. 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 a member of this other team who 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. No, but also yes. Let’s explore both sides.

    No, this kind of feedback is effective because the length is a byproduct of clarity, and giving this kind of feedback can provide precisely enough information for a sound fix. Also if we zoom out, it can reduce future back-and-forth conversations and misunderstandings, improving the overall efficiency and effectiveness of collaboration beyond the single comment. Imagine that in the example above the feedback were instead just,” Let’s make sure that all screens have the same two forward and back buttons”. Since the designer receiving this feedback wouldn’t have much to go by, they might just implement the change. In later iterations, the interface might change or they might introduce new features—and maybe that change might not make sense anymore. 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.

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

    The 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 the one for content: the 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. When a new feature’s entire high-level information architecture is about to go on sale, it might still be relevant if the questioning raises a significant blocker that no one saw, but those concerns are much more likely to have to wait for a later revision. So in general, attune your feedback to the stage of the project. Early iteration? Iteration later? Polishing work in progress? Each of these has unique needs. The right timing will make it more likely that your feedback will be well received.

    Attitude is the equivalent of intent, and in the context of person-to-person feedback, it can be referred to as radical candor. That entails checking whether what we have in mind will actually help the person and improve the overall project before writing. 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, and that’s okay. 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? What can I do to encourage constructive behavior?

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

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

    Something to highlight because it’s quite frequent—especially in teams that have a strong group spirit—is that people tend to beat around the bush. A positive attitude doesn’t necessarily mean giving in to criticism; it just means that you give it in a respectful and constructive manner, whether it be in the form of criticism or criticism. 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. The best, most insightful moments for me came when I shared a comment and asked a trusted person how it sounds, how can I do it better, or even” How would you have written it”? I discovered that by seeing the two versions side by side, I’ve learned a lot.

    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 fulfill two main objectives.

    Let’s imagine that someone shared a design iteration for a project. You are reviewing it and leaving a comment. Let’s try to think about some factors that might be helpful to consider, as there are many ways to accomplish this, and context is of course a factor.

    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 encounter with 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 do you consider when providing feedback? Is the design iteration at a point where it would be okay to ship this, or are there major things that need to be addressed first?

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

    We frequently concentrate on the negatives and attempt to list every possible improvement. That’s of course important, but it’s just as important—if not more—to focus on the positives, especially if you saw progress from the previous iteration. Although this may seem superfluous, it’s important to keep in mind that design is a field with hundreds of possible solutions 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. This is powerful because there is a big difference between a critique of a design that is already in good shape and one that is critiqued for a design 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”. This can be changed in your writing very quickly by reviewing it just before sending.

    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 should be changed, and a green circle indicates that it is fully confirmed. 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 the impact could be quite demoralizing if I had to deliver a lot of red squares, and I’d change how I’d communicate that a little.

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

    • 🔶 Navigation—I anticipate that one of these two buttons will go forward and the other will go back when I see them. 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 gives the impression that it’s a positive action because green is typically seen as a confirmation color. Do we need to explore a different color?
    • Considering the number of items on the page and the overall page hierarchy, it seems to me that the tiles should use Subtitle 2 instead of Subtitle 1. This will keep the visual hierarchy more consistent.
    • � � Background—Using a light texture works well, but I wonder whether it adds too much noise in this kind of page. What is the purpose of using that?

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

    One final note: say the obvious. 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.

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

    Content, tone, and format. Although each of these subjects offers a useful model, focusing on improving eight of the subjects ‘ focus points, including observation, impact, question, timing, attitude, form, clarity, and actionability, is a lot of work to complete 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 unfocused, and it doesn’t give us a sense of what we’re looking for. Getting good opinions starts sooner than we might hope: it starts with the demand.

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

    Design criticism is never a one-time procedure. Sure, any great comments process continues until the project is finished, but this is especially true for layout because architecture work continues iteration after iteration, from a high level to the finest details. Each stage requires its unique set of questions.

    And suddenly, as with any great research, we need to examine what we got up, get to the base of its perspectives, and take action. Topic, 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 view” at the conclusion of a presentation are likely to generate a lot of divergent thoughts, or worse, to make people 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 a savory one, so it might be difficult to get the team to switch to the subject you wanted to concentrate on.

    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 approach. Another is how healthy it is to keep the issue open and assume that everyone else will agree. Another is that in nonprofessional debate, there’s usually no need to be that exact. In summary, we tend to undervalue the value of the issues, and we don’t work to improve them.

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

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

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

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

    • Functionality: Is it desirable to automate account creation?
    • Interaction design: Take a look through the updated flow and let me know whether you see any steps or error states that I might’ve missed.
    • Information architecture: This page contains two competing pieces of information. Is the structure effective in communicating them both?
    • User interface design: What do you think about the error counter at the top of the page, which makes sure you see the next error even if it 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. Are there any ways to deal with this?
    • Visual design: Are the sticky notifications in the bottom-right corner visible enough?

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

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

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

    Sometimes we actually do want broad feedback. 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. People who have less refined critique abilities will now be able to provide more useful feedback, and even experienced designers will appreciate the clarity and effectiveness gained from concentrating solely on what is required. 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. Any platform that can accommodate this type of structure can use this. By the way, when I refer to a “write-up or presentation“, I’m including video recordings or other media too: as long as it’s asynchronous, it works.

    There are many benefits to using iteration posts:

    • It creates a rhythm in the design work so that the designer can review feedback from each iteration and prepare for the next.
    • Decisions are always available, and conversations are also made accessible for future review.
    • 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. From there, there can be 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. Therefore, I would repeat this in every iteration post, literally copy and pasting it. The idea is to provide context and to repeat what’s essential to make each iteration post complete so that there’s no need to find information spread across multiple posts. The most recent iteration post will provide all I need to know about the most recent design.

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

    The design is then the actual series of information-architecture outlines, diagrams, flows, maps, wireframes, screens, visuals, and any other kind of design work that’s been done. It’s any design object, to put it briefly. 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.

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

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

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

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

    I want to highlight that even if these iteration posts are written and conceived as checkpoints, by no means do they need to be exhaustive. A post might be 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. Everyone knows where to go to review things, and it’s simple to say” This was discussed in i4″ with each project.
    • 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 describe a design as complete enough to be worked on, even if there might be some bits that still need more attention and in turn, more iterations would be required, 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 caused by swoop-by comments.
    3. It lessens our personal stake.

    The first friction point is having to feel pressured to respond to each and every comment. Sometimes we write the iteration post, and we get replies from our team. It’s just a few of them, it’s simple, and there isn’t much 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. If the respondent is a stakeholder or a person directly involved in the project, this might be especially true. We need to accept that this pressure is absolutely normal, and it’s human nature to try to accommodate people who we care about. When responding to all comments, it can be effective, but when we consider a design critique more like user research, we realize that we don’t need to respond to every comment, and there are alternatives in asynchronous spaces:

      One is to let the next iteration speak for itself. That is the response when the design changes and we publish a follow-up iteration. You might tag all the people who were involved in the previous discussion, but even that’s a choice, not a requirement.
    • Another option is to respond politely to acknowledge each comment, such as” Understood. Thank you”,” Good points— I’ll review”, or” Thanks. These will be included in the upcoming iteration. In some cases, this could also be just a single top-level comment along the lines of” Thanks for all the feedback everyone—the next iteration is coming soon”!
    • One more thing is to quickly summarize the comments before proceeding. 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. It can be annoying to have to repeat the same response repeatedly in swoop-by comments.

    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 fit in with a user’s perspective when they are seeing the design for the first time. Sure, you’ll still be frustrated, but that might at least help in dealing with it.

    The personal stake we might have in relation to the design could be the third friction point, which might cause us to feel defensive if the review turned out to be more of a discussion. Treating feedback as user research helps us create a healthy distance between the people giving us feedback and our ego ( because yes, even if we don’t want to admit it, it’s there ). 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 conclusion that you can support, but sometimes “no” is the best choice.

    As the designer leading the project, you’re in charge of that decision. In the end, everyone has their area of specialization, and the designer has the most background and knowledge to make the best 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 initial review of this article.

  • Designing for the Unexpected

    Designing for the Unexpected

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

    Flash, Photoshop, and flexible pattern

    When I first started designing sites, my go-to technology was Photoshop. I 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 2010 content in A List Off entitled” Responsive Web Design.” 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 reactive style didn’t help my fear. My second project was to get an active fixed-width website and make it reactive. I quickly realized that you didn’t just put responsiveness at the end of a task. To make smooth design, you need to prepare throughout the style stage.

    A new way to style

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

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

    Therefore with Sass but that I could use @includes to re-use repeated blocks of code and transition to more semantic html:

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

    Media concerns

    The next ingredient for flexible design is press queries. Without them, regardless of whether the content remained readable, would shrink to fit the available space. ( The exact opposite issue developed with the introduction of a mobile-first approach. )

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

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

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

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

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

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

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

    Container queries: our savior or a false dawn?

    Container queries have long been touted as an improvement upon media queries, but at the time of writing are unsupported in most browsers. Workarounds for JavaScript exist, 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 reliable cross-browser support, it’s difficult to say for certain whether container queries will succeed. Responsive component libraries would definitely evolve how we design and would improve the possibilities for reuse and design at scale. However, we might need to modify these elements in order to fit our content.

    CSS is changing

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

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

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

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

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

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

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

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

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

    CSS Grid allows us to separate layout and content, thereby enabling flexible designs. Meanwhile, Subgrid allows us to create designs that can adapt in order to suit morphing content. Subgrid is only supported by 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 instance of “everything changed,” in my opinion.

    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 design agency position I held in 2010. In my agency days, every new project was a clean slate, a chance to try something new. Nowadays, projects use existing tools and frameworks and are often improvements to existing websites with an existing codebase.

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

    Instead of the dated markup tricks below,

    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 set 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 real estate.

    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 circumstances

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

    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.

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

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

    Responsible design

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

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

    Chris Ashton

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

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

    Image alt text

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

      

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

    …

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

    So how can we put users in control?

    The media queries are returning.

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

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

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

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

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

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

    Expect the unexpected

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

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

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

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

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

  • Voice Content and Usability

    Voice Content and Usability

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

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

    In contrast, written language develops its own fossil record of dated terms and phrases as we report it and keep utilization long after they are no longer needed in spoken communication ( for example, the welcome” To whom it may concern” ). Because it tends to be more consistent, smooth, and proper, written text is necessarily far easier for machines to interpret and know.

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

    Voice-to-text interactions

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

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

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

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

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

    Transactional voice interactions

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

    Alison: Hey, how are things going?

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

    Alison: Can I get a pizza from Hawaii with extra pineapple.

    Burhan: Sure, what size?

    Alison: Big.

    Burhan: Anything else?

    Alison: No, that’s it.

    Burhan: Something to drink?

    I’ll have a bottle of Coke, Alison.

    Burhan: You got it. It will cost about$ 15 and take fifteen minutes to complete.

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

    Informational voice interactions

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

    Alison: Hey, how are things going?

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

    Alison: Can I ask a few questions?

    Burhan: Of course! Go right ahead.

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

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

    Alison: What about gluten-free pizzas?

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

    Alison: That’s it for now. Good to know. Thank you!

    Burhan: Anytime, come back soon!

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

    Voice Interfaces

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

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

    IVR ( interactive voice response ) systems

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

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

    IVR systems have a reputation for having less scintillating conversations than we’re used to in real life ( or even in science fiction ), despite being extremely repetitive and monotonous.

    Screen readers

    The invention of the screen reader, a tool that converts visual content into synthesized speech, was a development of IVR systems in parallel. For Blind or visually impaired website users, it’s the predominant method of interacting with text, multimedia, or form elements. Perhaps the closest thing we have today to an out-of-the-box delivery of content via voice is represented by screen readers.

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

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

    There’s a big deal with screen readers: they’re difficult to use and relentlessly verbose, despite being incredibly instructive for voice interface designers. The visual structures of websites and web navigation don’t translate well to screen readers, sometimes resulting in unwieldy pronouncements that name every manipulable HTML element and announce every formatting change. Working with web-based interfaces takes a cognitive toll for many screen reader users.

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

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

    In many cases, well-designed voice interfaces can speed users to their destination better than long-winded screen reader monologues. After all, users of the visual interface have the advantage of freely scurrying around the viewport to find information without worrying about it. Blind users, meanwhile, are obligated to listen to every utterance synthesized into speech and therefore prize brevity and efficiency. Users with disabilities who have long had no choice but to use clumsy screen readers might find that voice interfaces, especially more contemporary voice assistants, provide a more streamlined experience.

    Voice assistants

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

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

    There is a significant variation in how programmable and customizable some voice assistants are compared to others due to the sheer number of voice assistants available today ( Fig 1 ). At one extreme, everything except vendor-provided features is locked down, for example, at the time of their release, the core functionality of Apple’s Siri and Microsoft’s Cortana couldn’t be extended beyond their existing capabilities. There are no other means by which developers can interact with Siri at a low level, aside from predefined categories of tasks like sending messages, hailing rideshares, making restaurant reservations, and other things, which are still unavoidable today.

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

    As businesses like Amazon, Apple, Microsoft, and Google continue to dominate their markets, they are also selling and open-sourcing an unmatched range of tools and frameworks for designers and developers, aiming to make creating voice interfaces as simple as possible, even without the use of any code.

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

    Voice Content

    Simply put, voice content is content delivered through voice. Voice content must be free-flowing and organic, contextless and concise in order to preserve what makes human conversation so compelling in the first place. Everything written content is not.

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

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

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

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

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

    As microcontent, voice content is unique because it’s an example of how content is experienced in time rather than in space. We can instantly look at a digital sign for an instant and be informed when the next train is coming, but voice interfaces keep our attention captive for so long that we can’t quickly evade or skip, a feature that screen reader users are all too familiar with.

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

    Fundamentally, how voice content manifests in perceived time and space both affect the legibility and discoverability of our voice content.

  • Sustainable Web Design, An Excerpt

    Sustainable Web Design, An Excerpt

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

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

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

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

    Establishing requirements for a green website

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

    The main objective in green web layout is to reduce carbon emissions. However, it’s nearly impossible to accurately assess the amount of CO2 that a website item produces. We can’t measure the pollutants coming out of the exhaust valves on our devices. Our websites ‘ emissions are far away, out of mind, and out of sight when fuel and oil are burned in power plants. We have no way to track the particles from a website or app up to the power station where the light is being generated and really know the exact amount of house oil produced. What then do we do?

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

    1. Transfer of data
    2. Coal content of light

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

    Transfer of data

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

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

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

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

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

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

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

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

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

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

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

    Coal content of light

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

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

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

    Having said that, we don’t want to locate our servers too far away from our users; however, it takes energy to transmit data through the telecom’s networks, and the more energy is used, the further the data travels. Just like food miles, we can think of the distance from the data center to the website’s core user base as “megabyte miles” —and we want it to be as small as possible.

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

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

    Reverting it to carbon emissions

    If we combine carbon intensity with a calculation for energy consumption, we can calculate the carbon emissions of our websites and apps. The method my team developed converts the amount of electricity transferred when loading a web page into a CO2 figure ( Fig. 2.4), and then converts that data into a figure for the tool. It also factors in whether or not the web hosting is powered by renewable energy.

    The Energy and Emissions Worksheet that comes with this book teaches you how to take it one step further and tailor the data more precisely to the unique aspects of your project.

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

    Browser Energy

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

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

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

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

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

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

  • Design for Safety, An Excerpt

    Design for Safety, An Excerpt

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

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

    The procedure for equitable safety

    Your objectives when designing for protection are to:

    • discover ways your solution can be used for abuse,
    • style ways to prevent the maltreatment, and
    • offer assistance for harmed people to regain control and power.

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

    • conducting exploration
    • Creating themes
    • Pondering issues
    • Designing answers
    • Testing for security

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

    And once you use it, if you have an idea for making it better or simply want to give perspective of how it helped your group, please get in touch with me. It’s a dwelling report that I hope technicians can use as a practical and useful resource in their day-to-day work.

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

    Step 1: Conduct research

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

    broad-based research

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

    Specific research: Survivors

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

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

    Specific research: Abusers

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

    Step 2: Create archetypes

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

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

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

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

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

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

    Step 3: Brainstorm issues

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

    What other abuses could your product be used for besides what you’ve already discovered through your research? I recommend setting aside at least a few hours with your team for this process.

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

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

    It’s impossible to say 100 % assurance that you’ve done everything right, but instead of aiming for 100 % assurance, acknowledge that you’ve taken this step and have done everything you can, and pledge to keep putting safety first in the future. Once your product is released, your users may identify new issues that you missed, aim to receive that feedback graciously and course-correct quickly.

    Step 4: Design solutions

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

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

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

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

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

    Step 5: Test for safety

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

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

    You’ll want to conduct safety testing on either your final prototype or the actual product if it’s already been released. There is no harm in testing an existing product that wasn’t created with safety goals in mind right away; “etrofitting” it for safety is a wise thing to do.

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

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

    Abuse testing

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

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

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

    Testing for Survivors

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

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

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

    Stress testing

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