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  • Fantastic Four Trailer Teaser Already Features One Excellent Marvel Callback

    Fantastic Four Trailer Teaser Already Features One Excellent Marvel Callback

    The timer has ended. Our first real look at the upcoming MCU Fantastic Four movie will come at 7 am ET on Tuesday, Feb. 4 ( FF, get it? ). We’re certainly getting only a trailer for the movie, but a complete lead-up to the release, complete with a direct position on the talk show Good Morning ]…]

    The first article Fantastic Four Trailer Teaser Now Features One Excellent Marvel Callback appeared initially on Den of Geek.

    The state that” Stranger in a Strange Area” is the worst season of Lost has never been incontroversial. The seventh season of the second season of the show received nearly universally bad reviews immediately after it first aired in 2007, and its popularity hasn’t improved in the nearly 18 years since its debut. It’s the second-lowest-ranked episode of the show on IMDb ( and the lowest-rated overall episode ) and has become a kind of shorthand for the series ‘ broader shortcomings. In previous interviews, also Lost screenwriters Damon Lindelof and Carlton Cuse have criticized the event, with Cuse going so far as to visit it” cringe-worthy.”

    However, Missing fans from all over the world ought to be at least a much appreciative of” Stranger in a Strange Area.” Perhaps not as a standalone episode, but rather as a crucial component of the series as a whole, which is more significant than many other technically excellent but generally meaningless installments. &nbsp,

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

    Without” Stranger in a Weird Land,” Lost might have turned out to be much worse. It not only helped keep the show, but it did so in a way that is particularly important at a time when more and more visitors are romanticizing the era of community TV-style programming.

    What Characterizes a Stranger in a Strange Area?

    On paper,” Stranger In a Strange Land” doesn’t seem worthy of widespread scorn. It’s not some great entry in the collection that fumbled a great instant, nor is it a crumbling core of the movie’s mythology. It’s really a side-adventure involving Jack’s time imprisoned in the Others ‘ camp, with memories from his trip to Thailand gradually helping to explain where the personality got his tattoos. &nbsp,

    But if you find yourself thinking” Wow, that sounds like a Jack-heavy episode”, next you’ve put your finger on part of the problem. While the animosity between Jack and his character has probably been overextended beyond the point of cause, much of the character’s disdain is rooted in legitimate criticisms. &nbsp,

    Jack remained a stay in the dirt in a show that was characterized by how its characters developed and what we learned about their history. Earlier on, he was positioned at the center of the ensemble cast of the show, but he generally served as a speech of resolute opposition while those around him had more exciting adventures. Even worse, Jack’s memory incidents frequently brought up the same underlying themes ( mommy issues and substance abuse ). Gasp! ) while many other memories eventually revealed more intricate character vases. At the very least, they were often more freely interesting. &nbsp,

    The main reason why” Stranger in a Strange Area” is disliked rather than despised is because of those memories. Surprisingly, the show centers on a trip Jack made to Thailand. He has a relationship that with a girl named Achara ( a frequently better Li Ting ), who claims to be able to scar people with signs that reveal their true character. A sullen and growing increasingly belligerent ( try not to be alarmed ) Jack later persuades Achara to convince him of the allegedly spiritual tattoos. &nbsp,

    While the episode captures the thrills of hearing about some dude’s trip to Thailand (” Bro”, he’ll claim. ” It’s wild” ), it’s the tattoo plot point that is most often remembered and ridiculed. Teasers for” Stranger in a Unusual Land” tormented answers to three of Lost‘s “biggest riddles”. The whereabouts of somewhat minor characters are the focus of two of those riddles, while the second seems to have to do with Jack’s tattoos: a question that few people ever asked before the collection suggested it was a significant piece of the puzzle. &nbsp,

    Before” Stranger in a Strange Land,” there had been some unpleasant and largely memorable episodes of Lost, but those teases really irritated viewers who pleaded for the present to start bringing back answers rather than solving mysteries. One thing about a 23-episode time is a terrible filler episode. A poor filler show that teases a significant event and delivers a wheel-spinning, Jack-focused experience that validates the majority of criticisms of the series and the character up until that point is totally different. &nbsp,

    Yet removed from those expectations,” Stranger in a Strange Area” is a particularly badly acted, badly written, and ill paced entry in a series that was about to be firing on all cylinders. You can probably skip it unless you long to watch Jack fly a kite while the majority of other people put their plots on hold for a week.

    Many people involved in the production of” Stranger in a Strange Land” have since stated that they knew the episode would be a turning point for the series. Not that they didn’t care, but rather that the episode was largely the result of events that were beyond their control. However, that doesn’t mean they were above using that despised episode to their eventual advantage.

    How” Stranger in a Strange Land” Saved Lost

    Damon Lindelof, the co-creator of Lost, reiterates that he also thinks” Stranger in a Strange Land” is a bad episode in an interview with USA Today and asks viewers to be a little bit kinder to it. According to Lindelof, the episode was the result of “many different circumstances” that contributed to it being as bad as it was. Said circumstances include a “bad casting decision”, a “bad premise decision”, and a “bad flashback story” .&nbsp,

    The fact that the show’s creators still had to adhere to more traditional network TV production requirements that didn’t benefit their more serialized series was the biggest contributor to the episode’s various issues. They had requested from ABC to permit them to set a firmer end date for the program that they could gradually advance toward through fewer, more meaningful episodes. ABC dissented, and it appeared to believe that more Lost was good Lost.

    That is until they came across” Stranger in a Strange Land.” In a 2009 interview with writer Alan Sepinwall, Lindelof recalls that he sat in on a notes call with the network about” Stranger in a Strange Land” and heard them say,” We don’t like this episode,” which many people have since responded. When you’re in charge of the hottest television series, Lilindelof provided the kind of open response that you can only accept with candor.

    ” We don’t like it, either, but it’s the best we can do if we’re not moving the story forward”, Lindelof said. ” This is the future of the show: how Jack got his tattoos. Everything we’ve been saying for two years about what’s to come, is now all here on the screen. You argued that an hour of Matthew Fox in emotionally-based conflicts, it doesn’t matter what the flashback story is, it’ll be fine. But now that we’re doing his ninth flashback story, you just don’t care”.

    The network was shown that they needed to establish an end date for Lost by Lindelof with” Stranger in a Strange Land.” Without that end date, they &#8211, and us &#8211, were probably going to have to suffer through a lot more episodes like that. ABC eventually consented and gave the showrunners the opportunity to share their plan for a six-season adaptation of the series. &nbsp,

    The three seasons of Lost that followed that conversation are hardly ideal. They feature fewer episodes and advance toward a conclusion that continues to divide viewers to this day. Yet, we never really got anything as bad as” Stranger in a Strange Land” again. There has never been a production episode that was so pointless or boring that the production circumstances of its superfluous existence have only made it worse. The end result of Lost‘s worst episode was a compelling argument that ABC needed to reconsider its slightly less precious golden goose. &nbsp,

    The filler episode has evolved into a kind of rallying cry for a better, or at least different, way of doing things in a time of renewed network TV nostalgia when more people are yearning for a simpler form of second-screen entertainment. Yet,” Stranger in a Strange Land” reminds us that such episodes can cut both ways. They can serve as the foundation for more expensive shows that consistently deliver standalone thrills each week, but they also contribute to the reason why some in the industry once pleaded with the networks to rethink what television can be. &nbsp,

    Such apprehension about the return of that format should be taken seriously. Their enthusiasm for the concept of a thing frequently conveniently overlooks the reality of how low even the best shows can sink over the course of 20+ episodes. Or, as Jack says regarding an interpretation of his infamous tattoos,” That’s what they say, that’s not what they mean” .&nbsp,

    The first comment on Den of Geek was How Lost&#8217, s Worst Episode Helped Save the Show.

  • The Gorge: Exclusive London Film Screening for Den of Geek Readers

    The Gorge: Exclusive London Film Screening for Den of Geek Readers

    Two wealthy sharpshooters. One year-long objective in a strange, dangerous location. No call. Those are the rules of The Gorge, a fresh Apple Original high-octane drama from director Scott Derrickson. Starring Anya Taylor-Joy, Miles Teller and Sigourney Weaver, The Gorge is headed to Apple TV + on February 14. As a special treat, Den of Geek ]…]

    The Gorge: Special London Film Screening for Den of Geek Users first appeared on Den of Geek.

    The state that” Stranger in a Strange Area” is the worst season of Lost has never been incontroversial. The second season of the movie’s ninth season received nearly universally bad reviews immediately after it first aired in 2007, and its popularity hasn’t improved in the nearly 18 years since its debut. It’s the second-lowest-ranked episode of the show on IMDb ( and the lowest-rated overall episode ) and has become a kind of shorthand for the series ‘ broader shortcomings. In previous interviews, even Lost screenwriters Damon Lindelof and Carlton Cuse have criticized the event, with Cuse going so far as to visit it” cringe-worthy.”

    However, Missing fans from all over the world ought to be at least a much appreciative of” Stranger in a Strange Area.” Perhaps not as a standalone episode, but rather as a crucial component of the series as a whole, which is more significant than many other technically excellent but generally meaningless installments. &nbsp,

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

    Without” Stranger in a Odd Land,” Lost might have turned out to be much worse. It not only helped keep the present, but it did so in a way that is especially important now that more and more visitors are romanticizing the era of community TV-style programming.

    What Characterizes a Stranger in a Strange Property?

    On paper,” Stranger In a Strange Land” doesn’t seem worthy of widespread scorn. It’s not some great entry in the collection that fumbled a great instant, nor is it a crumbling core of the movie’s mythology. It’s really a side-adventure about Jack’s day serving in the Others ‘ station, with memories from his trip to Thailand slowly helping to clarify where the character got his tattoos. &nbsp,

    But if you find yourself thinking” Wow, that sounds like a Jack-heavy episode”, next you’ve put your finger on part of the problem. While the animosity between Jack and his character has probably been stretched past the point of purpose, much of the scorn for Jack as a personality is rooted in true criticisms. &nbsp,

    Jack remained a stay in the dirt in a show that was characterized by how its personalities developed and what we learned about their history. Earlier on, he was positioned at the center of the ensemble cast of the show, but he generally served as a speech of resolute opposition while those around him had more exciting adventures. To make matters worse, Jack’s flashback episodes frequently brought up the same underlying themes ( Daddy issues and substance abuse ). Gasp! ) while many other memories eventually revealed more intricate character vases. At the very least, they were often more freely interesting. &nbsp,

    The main reason that” Stranger in a Unusual Land” is despised more than disliked is because of those memories. Surprisingly, the season centers on a trip Jack made to Thailand. He has a relationship that with Achara, a lady who claims to be able to scar people with real-world signs. She is frequently better than Bai Ling. A sullen and growing increasingly belligerent ( try not to be surprised ) Jack eventually persuades Achara to entice him to get the allegedly mystical tattoos. &nbsp,

    While the episode captures the thrills of hearing about some dude’s trip to Thailand (” Bro”, he’ll claim. ” It’s wild” ), it’s the tattoo plot point that is most often remembered and ridiculed. Teasers for” Stranger in a Unusual Land” mocked answers to three of Lost‘s “biggest riddles”. The whereabouts of somewhat slight characters are the focus of two of those riddles, while the second seems to have to do with Jack’s tattoos, a question that few people ever asked before the collection suggested it was a significant piece of the puzzle. &nbsp,

    Before” Stranger in a Strange Land,” there had been some unpleasant and largely memorable bouts of Lost, but those teases really irritated viewers who pleaded for the present to start bringing back answers rather than solving mysteries. One thing is a terrible padding show in a 23-episode season. A poor padding show that teases a significant event and delivers a wheel-spinning, Jack-focused adventure that validates most of the criticisms made against the character and the collection up until that point is completely different. &nbsp,

    Yet removed from those expectations,” Stranger in a Strange Area” is a particularly badly acted, badly written, and ill paced entry in a series that was about to be firing on all cylinders. You can probably skip it unless you long to watch Jack fly a kite while the majority of other people put their plots on hold for a week.

    Many people involved in the production of” Stranger in a Strange Land” have since stated that they knew the episode would be a turning point for the series. They didn’t care, but rather the episode was largely the result of events that were beyond their control. However, that doesn’t mean they were above using that despised episode to their eventual advantage.

    How” Stranger in a Strange Land” Saved Lost

    Damon Lindelof, the co-creator of Lost, reiterates in an interview with USA Today that he also believes” Stranger in a Strange Land” is a bad episode but asks viewers to be a little bit kinder to it. According to Lindelof, the episode was the result of “many different circumstances” that contributed to it being as bad as it was. Said circumstances include a “bad casting decision”, a “bad premise decision”, and a “bad flashback story” .&nbsp,

    The fact that the show’s creators still had to adhere to more traditional network TV production requirements that didn’t benefit their more serialized series was the biggest contributor to the episode’s various issues. They requested permission from ABC to allow them to set a firmer end date for the program so they could gradually advance through fewer, more meaningful episodes. ABC argued otherwise, and it appeared to believe that more Lost was better Lost.

    That is until they came across” Stranger in a Strange Land.” In a 2009 interview with writer Alan Sepinwall, Lindelof recalls that he was on a notes call with the network about” Stranger in a Strange Land” and heard them say,” We don’t like this episode,” which was a statement that many people have since made. When you’re in charge of the hottest television series, Lilindelof provided the kind of open response that you can only accept with candor.

    ” We don’t like it, either, but it’s the best we can do if we’re not moving the story forward”, Lindelof said. ” This is the future of the show: how Jack got his tattoos. Everything we’ve been saying for two years about what’s to come, is now all here on the screen. You argued that an hour of Matthew Fox in emotionally-based conflicts, it doesn’t matter what the flashback story is, it’ll be fine. But now that we’re doing his ninth flashback story, you just don’t care”.

    The network was given the convincing evidence that Lindelof needed to be able to establish an end date for Lost. Without that end date, they &#8211, and us &#8211, were probably going to have to suffer through a lot more episodes like that. ABC eventually consented and gave the showrunners the opportunity to share their plan for a six-season adaptation of the series. &nbsp,

    The three seasons of Lost that followed that conversation are hardly ideal. They have fewer episodes and advance to a conclusion that continues to divide viewers today. Yet, we never really got anything as bad as” Stranger in a Strange Land” again. There has never been a production episode that was so pointless or boring that the production circumstances of its superfluous existence have only made it worse. In the end, Lost‘s worst episode made a compelling case for ABC to start examining their golden goose as something a little more priceless. &nbsp,

    The filler episode has evolved into a kind of rallying cry for a better, or at least different, way of doing things in a time of renewed network TV nostalgia when more people find themselves longing for a simpler form of second-screen entertainment. Yet,” Stranger in a Strange Land” reminds us that such episodes can cut both ways. They can serve as the foundation for more expensive shows that consistently deliver standalone thrills each week, but they also contribute to the reason why some in the industry once pleaded with the networks to rethink what television can be. &nbsp,

    Such apprehension should be taken in isolation from any arguments in favor of returning to that format. Their enthusiasm for the concept of a thing frequently conveniently overlooks the reality of how low even the best shows can sink over the course of 20+ episodes. Or, as Jack says regarding an interpretation of his infamous tattoos,” That’s what they say, that’s not what they mean” .&nbsp,

    The first comment on Den of Geek was How Lost&#8217, s Worst Episode Helped Save the Show.

  • The Biggest Comics Coming in 2025: Marvel, DC, Collectors Editions, and More

    The Biggest Comics Coming in 2025: Marvel, DC, Collectors Editions, and More

    The Fantastic Four and Superman are back on display in 2025, and Daredevil and Spider-Man are doing just that, if you’re a fan of Den of Geek. However, these well-known tasks only scratch the surface of all the positive things that are happening in the world of superhero comics, their unique medium. For]… ]

    The article The Biggest Comics Coming in 2025: Marvel, DC, Collectors Editions, and More appeared initially on Den of Geek.

    The state that” Stranger in a Strange Area” is the worst show of Lost has never been in dispute has never been incontrovertible. The second season of the movie’s ninth season received nearly universally bad reviews immediately after it first aired in 2007, and its popularity hasn’t improved in the nearly 18 years since its debut. It’s the second-lowest-ranked episode of the show on IMDb ( and the lowest-rated overall episode ) and has become a kind of shorthand for the series ‘ broader shortcomings. In previous interviews, Carlton Cuse even went so far as to call the season” cringe-worthy,” while Damon Lindelof and Carlton Cuse have criticized the event.

    However,” Stranger in a Strange Area” supporters outside ought to be at least a little appreciative. Perhaps not as a standalone episode, but rather as a crucial component of the series as a whole, which is more significant than many other officially much but mostly meaningless episodes that have already come out. &nbsp,

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

    Without” Stranger in a Weird Land,” Lost might have turned out to be much worse. At a time when more and more audiences are romanticizing the era of network TV-style programming, it also helped keep the show in ways that are specifically pressing.

    What Characterizes Stranger in a Strange Land as But Bad?

    On paper,” Stranger In a Strange Land” doesn’t seem worthy of widespread scorn. It’s not some great entry in the collection that fumbled a great instant, nor is it a crumbling core of the movie’s mythology. It’s really a side-adventure involving Jack’s time imprisoned in the Others ‘ camp, with memories from his trip to Thailand gradually helping to explain where the personality got his tattoos. &nbsp,

    But if you find yourself thinking” Wow, that sounds like a Jack-heavy episode”, next you’ve put your finger on part of the problem. While the animosity between Jack and his character has probably been overextended beyond the level of cause, much of the character’s disdain is rooted in legitimate criticisms. &nbsp,

    Jack remained a stay in the dirt in a show that was defined by how its figures developed and what we learned about their history. Earlier on, he was positioned at the center of the ensemble cast of the show, but he generally served as a speech of resolute opposition while those around him had more exciting adventures. Even worse, Jack’s memory incidents frequently brought up the same underlying themes ( mommy issues and substance abuse ). Gasp! ) while many other memories eventually revealed more intricate character vases. At the very least, they were often more freely interesting. &nbsp,

    The main reason why” Stranger in a Strange Area” is disliked rather than despised is because of those memories. Surprisingly, the show centers on a trip Jack made to Thailand. He has a relationship that with Achara, a lady who claims to be able to scar people with real-world signs. She is frequently better than Bai Ling. A sullen and growing increasingly belligerent ( try not to be alarmed ) Jack finally persuades Achara to convince him of the allegedly spiritual tattoos. &nbsp,

    While the episode captures the thrills of hearing about some dude’s trip to Thailand (” Bro”, he’ll claim. ” It’s wild” ), it’s the tattoo plot point that is most often remembered and ridiculed. Teasers for” Stranger in a Unusual Land” tormented answers to three of Lost‘s “biggest riddles”. The whereabouts of somewhat slight characters are the focus of two of those riddles, while the second seems to be connected to Jack’s tattoos: a question that few people ever asked before the collection suggested it was a significant piece of the puzzle. &nbsp,

    Before” Stranger in a Strange Land,” there had been some unpleasant and largely memorable bouts of Lost, but those teases really irritated viewers who pleaded for the present to start bringing back answers rather than solving mysteries. One thing is a terrible binder show in a 23-episode season. A poor padding show that teases a significant event and delivers a wheel-spinning, Jack-focused experience that validates most criticisms of the series and the character up until that point is something completely different. &nbsp,

    Yet removed from those expectations,” Stranger in a Strange Area” is a particularly badly acted, badly written, and ill paced entry in a series that was about to be firing on all cylinders. You can probably skip it unless you longer to see Jack fly a parachute while the majority of other people put their plots on hold for a year.

    Many people involved in the production of” Stranger in a Strange Land” have since stated that they knew the episode would be a turning point for the series. They didn’t care, but rather the episode was largely the result of events that were beyond their control. However, that doesn’t mean they were above using that despised episode to their eventual advantage.

    How” Stranger in a Strange Land” Saved Lost

    Damon Lindelof, the co-creator of Lost, reiterates that he also thinks” Stranger in a Strange Land” is a bad episode in an interview with USA Today and asks viewers to be a little bit kinder to it. According to Lindelof, the episode was the result of “many different circumstances” that contributed to it being as bad as it was. Said circumstances include a “bad casting decision”, a “bad premise decision”, and a “bad flashback story” .&nbsp,

    The creators of the show still had to adhere to more traditional network TV production standards that didn’t help their more serialized series, which was the main cause of the episode’s various issues. They had requested from ABC to permit them to set a firmer end date for the program that they could gradually advance toward through fewer, more meaningful episodes. ABC dissented, and it appeared to believe that more Lost was better Lost.

    That is until they came across” Stranger in a Strange Land.” In a 2009 interview with writer Alan Sepinwall, Lindelof recalls that he was on a notes call with the network about” Stranger in a Strange Land” and heard them say,” We don’t like this episode,” which was a statement that many people have since made. When you’re in charge of the hottest series on television, you can only get away with it when you’re in charge of it.

    ” We don’t like it, either, but it’s the best we can do if we’re not moving the story forward”, Lindelof said. ” This is the future of the show: how Jack got his tattoos. Everything we’ve been saying for two years about what’s to come, is now all here on the screen. You argued that an hour of Matthew Fox in emotionally-based conflicts, it doesn’t matter what the flashback story is, it’ll be fine. But now that we’re doing his ninth flashback story, you just don’t care”.

    The network was shown that they needed to establish an end date for Lost by Lindelof with” Stranger in a Strange Land.” Without that end date, they &#8211, and us &#8211, were probably going to have to suffer through a lot more episodes like that. ABC eventually consented and gave the showrunners the opportunity to share their plan for a six-season adaptation of the series. &nbsp,

    The three seasons of Lost that followed that conversation are hardly ideal. They feature fewer episodes and advance toward a conclusion that continues to divide viewers today. Yet, we never really got anything as bad as” Stranger in a Strange Land” again. There has never been a production episode that was so pointless or boring that the production circumstances of its superfluous existence have only made it worse. The end result of Lost‘s worst episode was a compelling argument that ABC needed to reconsider its slightly less precious golden goose. &nbsp,

    The filler episode has evolved into a kind of rallying cry for a better, or at least different, way of doing things in a time of renewed network TV nostalgia when more people find themselves longing for a simpler form of second-screen entertainment. Yet,” Stranger in a Strange Land” reminds us that such episodes can cut both ways. They can serve as the foundation for more expensive shows that offer standalone thrills on a week-by-week basis, but they are also a component of the reason why those in the industry once begged the networks to rethink what TV can be. &nbsp,

    Such justifications for the return of that format should be taken with a dash. Their enthusiasm for the concept of a thing frequently conveniently overlooks the reality of how low even the best shows can sag over the course of 20+ episodes. Or, as Jack says regarding an interpretation of his infamous tattoos,” That’s what they say, that’s not what they mean” .&nbsp,

    The episode How Lost’s Worst Episode Helped Save the Show first appeared on Den of Geek.

  • How Lost’s Worst Episode Helped Save the Show

    How Lost’s Worst Episode Helped Save the Show

    The state that” Stranger in a Strange Area” is the worst season of Lost has never been incontroversial. The seventh season of the second season of the show received nearly universally bad reviews immediately after it first aired in 2007, and its popularity hasn’t improved in the nearly 18 years since its debut. It’s the second-lowest-ranked ]…]

    The season How Lost’s Worst Helped Save the Show first appeared on Den of Geek.

    The state that” Stranger in a Strange Area” is the worst season of Lost has never been incontroversial. The seventh season of the second season of the show received nearly universally bad reviews immediately after it first aired in 2007, and its popularity hasn’t improved in the nearly 18 years since its debut. It’s the second-lowest-ranked episode of the show on IMDb ( and the lowest-rated overall episode ) and has become a kind of shorthand for the series ‘ broader shortcomings. In previous interviews, also Lost screenwriters Damon Lindelof and Carlton Cuse have criticized the event, with Cuse going so far as to visit it” cringe-worthy.”

    However,” Stranger in a Strange Area” should be at least a little gratifying to Abandoned fans everywhere. Not as a independent episode, perhaps, but as a crucial component of the series as a whole that is more important than many other essentially better but mostly meaningless episodes that have already come out. &nbsp,

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

    Without” Stranger in a Weird Land,” Lost might have turned out to be much worse. It not only helped keep the present, but it did so in a way that is especially important now that more and more visitors are romanticizing the era of community TV-style programming.

    What Characterizes Stranger in a Strange Land as But Bad?

    On paper,” Stranger In a Strange Land” doesn’t seem worthy of widespread scorn. It’s not some great entry in the collection that fumbled a great instant, nor is it a crumbling core of the movie’s mythology. It’s really a side-adventure about Jack’s day serving in the Others ‘ station, with memories from his trip to Thailand slowly helping to clarify where the character got his tattoos. &nbsp,

    But if you find yourself thinking” Wow, that sounds like a Jack-heavy episode”, next you’ve put your finger on part of the problem. While the animosity between Jack and his character has probably been pushed past the point of purpose, much of the character’s disdain is rooted in legitimate criticisms. &nbsp,

    Jack remained a stay in the dirt in a show that was defined by how its figures developed and what we learned about their history. Earlier on, he was positioned at the center of the ensemble cast of the show, but he generally served as a tone of resolute opposition while those around him had more exciting adventures. Even worse, Jack’s memory shows frequently brought up the same underlying themes ( mommy issues and substance abuse ). Gasp! ) while many other flashes eventually revealed more intricate character vases. At the very least, they were often more freely interesting. &nbsp,

    The main reason that” Stranger in a Odd Land” is despised more than disliked is because of those memories. The episode’s stunning focus shifts to a journey Jack made to Thailand. He has a relationship that with Achara, a lady who claims to be able to scar individuals with real-world colors. She is frequently better than Bai Ling. A sullen and growing increasingly belligerent ( try not to be surprised ) Jack eventually persuades Achara to entice him to get the allegedly mystical tattoos. &nbsp,

    While the episode captures the thrills of hearing about some dude’s trip to Thailand (” Bro”, he’ll claim. ” It’s wild” ), it’s the tattoo plot point that is most often remembered and ridiculed. Teasers for” Stranger in a Unusual Land” tormented answers to three of Lost‘s “biggest riddles”. The whereabouts of somewhat slight characters are the focus of two of those riddles, while the second seems to have to do with Jack’s tattoos: a question that few people ever asked before the collection suggested it was a significant piece of the puzzle. &nbsp,

    Before” Stranger in a Strange Land,” there had been poor and largely memorable episodes of Lost, but those tease really irritated fans who begged for the present to start bringing in answers rather than solving mysteries. One thing about a 23-episode season is a bad filler episode. A bad filler episode that teases a significant event and delivers a wheel-spinning, Jack-focused adventure that validates the majority of criticisms of the series and the character up until that point is entirely different. &nbsp,

    Even removed from those expectations,” Stranger in a Strange Land” is a particularly poorly acted, poorly written, and poorly paced entry in a series that was about to be firing on all cylinders. You can probably skip it unless you long to watch Jack fly a kite while the majority of other people postpone their plots for a week.

    Many people involved in” Stranger in a Strange Land “‘s production have since stated they were aware that the episode would be a low point for the series. They didn’t care, but rather the episode was largely the result of events that were beyond their control. However, that doesn’t mean they were above using that despised episode to their eventual advantage.

    How” Stranger in a Strange Land” Saved Lost

    Damon Lindelof, the co-creator of Lost, reiterates in an interview with USA Today that he also believes” Stranger in a Strange Land” is a bad episode but asks viewers to be a little bit kinder to it. According to Lindelof, the episode was the result of “many different circumstances” that contributed to it being as bad as it was. Said circumstances include a “bad casting decision”, a “bad premise decision”, and a “bad flashback story” .&nbsp,

    The fact that the show’s creators still had to adhere to more traditional network TV production standards that didn’t help their more serialized series was the biggest contributor to the episode’s various issues. They requested permission from ABC to allow them to set a firmer end date for the program so they could gradually advance through fewer, more meaningful episodes. ABC argued otherwise, and it appeared to believe that more Lost was better Lost.

    That is until they came across” Stranger in a Strange Land.” In a 2009 interview with writer Alan Sepinwall, Lindelof recalls that he was on a notes call with the network about” Stranger in a Strange Land” and heard them say,” We don’t like this episode,” which was a statement that many people have since made. When you’re in charge of the hottest television series, Lilindelof provided the kind of open response that you can only accept with candor.

    ” We don’t like it, either, but it’s the best we can do if we’re not moving the story forward”, Lindelof said. ” This is the future of the show: how Jack got his tattoos. Everything we’ve been saying for two years about what’s to come, is now all here on the screen. You argued that an hour of Matthew Fox in emotionally-based conflicts, it doesn’t matter what the flashback story is, it’ll be fine. But now that we’re doing his ninth flashback story, you just don’t care”.

    The network was shown that Lindelof needed to persuade them to allow them to establish an end date for Lost with” Stranger in a Strange Land.” Without that end date, they &#8211, and us &#8211, were probably going to have to suffer through a lot more episodes like that. ABC eventually consented and gave the showrunners the opportunity to share their plan for a six-season adaptation of the series. &nbsp,

    The three seasons of Lost that followed that conversation are hardly ideal. They feature fewer episodes and advance toward a conclusion that continues to divide viewers to this day. Yet, we never really got anything as bad as” Stranger in a Strange Land” again. There has never been a production episode that was so pointless or boring that the production circumstances of its superfluous existence have only made it worse. In the end, Lost‘s worst episode made a compelling case for ABC to start examining their golden goose as something a little more priceless. &nbsp,

    The filler episode has evolved into a kind of rallying cry for a better, or at least different, way of doing things in a time of renewed network TV nostalgia when more people are finding themselves yearning for a simpler form of second-screen entertainment. Yet,” Stranger in a Strange Land” reminds us that such episodes can cut both ways. They can serve as the foundation for more expensive shows that offer standalone thrills on a week-by-week basis, but they are also a component of the reason why those in the industry once pleaded with the networks to rethink what TV can be. &nbsp,

    Such apprehension should be taken in isolation from any arguments in favor of returning to that format. Their enthusiasm for the concept of a thing frequently conveniently overlooks the reality of how low even the best shows can sink over the course of 20+ episodes. Or, as Jack says regarding an interpretation of his infamous tattoos,” That’s what they say, that’s not what they mean” .&nbsp,

    The first comment on Den of Geek was How Lost&#8217, s Worst Episode Helped Save the Show.

  • Hulu’s Paradise: The Literary and Musical Easter Eggs That Could Explain That Big Twist

    Hulu’s Paradise: The Literary and Musical Easter Eggs That Could Explain That Big Twist

    Episodes 1 through 3 of Paradise are trailers in this article. After three episodes of Paradise, it’s evident that nothing in this political drama about secret service agents and the nation they protect is as it seems. Sterling K. Brown plays an agent to protect a leader in Sterling K. Brown’s most recent broadcast success […]

    The first post on Den of Geek was Hulu’s Paradise: The Artistic and Music Easter Eggs That Was Clarify That Big Twist.

    The state that” Stranger in a Strange Area” is the worst show of Lost has never been in dispute has never been incontrovertible. The seventh season of the second season of the show received nearly universally bad reviews immediately after it first aired in 2007, and its popularity hasn’t improved in the nearly 18 years since its debut. It’s the second-lowest-ranked episode of the show on IMDb ( and the lowest-rated overall episode ) and has become a kind of shorthand for the series ‘ broader shortcomings. In previous interviews, even Lost screenwriters Damon Lindelof and Carlton Cuse have criticized the event, with Cuse going so far as to visit it” cringe-worthy.”

    However,” Stranger in a Strange Area” supporters outside ought to be at least a little appreciative. Perhaps not as a standalone episode, but rather as a crucial component of the series as a whole, which is more significant than many other essentially better but mostly meaningless episodes that have already come out. &nbsp,

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    Lost might have turned out much worse without” Stranger in a Weird Land.” It not only helped keep the present, but it did so in a way that is especially important now that more and more visitors are romanticizing the era of community TV-style programming.

    What Characterizes Stranger in a Strange Land as But Bad?

    On paper,” Stranger In a Strange Land” doesn’t seem worthy of widespread scorn. It’s not some great entry in the collection that fumbled a great instant, nor is it a crumbling core of the movie’s mythology. It’s really a side-adventure about Jack’s day serving in the Others ‘ station, with memories from his trip to Thailand slowly helping to clarify where the character got his tattoos. &nbsp,

    But if you find yourself thinking” Wow, that sounds like a Jack-heavy episode”, next you’ve put your finger on part of the problem. While the animosity between Jack and his character has undoubtedly been pushed past the point of purpose, much of the character’s disdain is rooted in legitimate criticisms. &nbsp,

    Jack remained a stay in the dirt in a show that was defined by how its characters developed and what we learned about their history. He was positioned at the center of the ensemble cast for the line early on, but he generally served as a message of resolute opposition while those around him had more intriguing activities. To make matters worse, Jack’s flashback episodes frequently brought up the same underlying themes ( Daddy issues and substance abuse ). Gasp! ) while many other flashbacks gradually revealed more rich character tapestries. At the very least, they were often more independently entertaining. &nbsp,

    The main reason why” Stranger in a Strange Land” is disliked rather than despised is because of those flashbacks. Surprisingly, the episode centers on a trip Jack made to Thailand. He has a relationship there with a woman named Achara ( a frequently better Bai Ling ), who claims to be able to tattoo people with markings that reveal their true nature. A sullen and growing increasingly belligerent ( try not to be alarmed ) Jack eventually persuades Achara to entice him into getting the ostensibly mystical tattoos. &nbsp,

    While the episode captures the thrills of hearing about some dude’s trip to Thailand (” Bro”, he’ll claim. ” It’s wild” ), it’s the tattoo plot point that is most often remembered and ridiculed. Previews for” Stranger in a Strange Land” teased answers to three of Lost‘s “biggest mysteries”. The whereabouts of relatively minor characters are the focus of two of those mysteries, while the third seems to have to do with Jack’s tattoos, a question that few people ever asked before the series suggested it was a significant piece of the puzzle. &nbsp,

    Before” Stranger in a Strange Land,” there had been some unpleasant and largely forgettable episodes of Lost, but those teases really irritated viewers who pleaded for the show to start bringing back answers rather than solving mysteries. One thing is a bad filler episode in a 23-episode season. A bad filler episode that teases a significant event and delivers a wheel-spinning, Jack-focused adventure that validates most of the criticisms made against the character and the series up until that point is completely different. &nbsp,

    Even removed from those expectations,” Stranger in a Strange Land” is a particularly poorly acted, poorly written, and poorly paced entry in a series that was about to be firing on all cylinders. You can probably skip it unless you long to watch Jack fly a kite while the majority of other people put their plots on hold for a week.

    Many people involved in the production of” Stranger in a Strange Land” have since stated that they knew the episode would be a turning point for the series. Not that they didn’t care, but rather that the episode was largely the result of events that were beyond their control. However, that doesn’t mean they were above using that despised episode to their eventual advantage.

    How” Stranger in a Strange Land” Saved Lost

    Damon Lindelof, the co-creator of Lost, reiterates in an interview with USA Today that he also believes” Stranger in a Strange Land” is a bad episode but asks viewers to be a little bit kinder to it. According to Lindelof, the episode was the result of “many different circumstances” that contributed to it being as bad as it was. Said circumstances include a “bad casting decision”, a “bad premise decision”, and a “bad flashback story” .&nbsp,

    The creators of the show still had to adhere to more traditional network TV production standards that didn’t help their more serialized series, which was the main cause of the episode’s various issues. They had requested from ABC to permit them to set a firmer end date for the program that they could gradually advance toward through fewer, more meaningful episodes. ABC argued otherwise, and it appeared to believe that more Lost was better Lost.

    That is until they came across” Stranger in a Strange Land.” In a 2009 interview with writer Alan Sepinwall, Lindelof recalls that he was on a notes call with the network about” Stranger in a Strange Land” and heard them say,” We don’t like this episode,” which was a statement that many people have since made. When you’re in charge of the hottest series on television, you can only get away with that kind of candid response.

    ” We don’t like it, either, but it’s the best we can do if we’re not moving the story forward”, Lindelof said. ” This is the future of the show: how Jack got his tattoos. Everything we’ve been saying for two years about what’s to come, is now all here on the screen. You argued that an hour of Matthew Fox in emotionally-based conflicts, it doesn’t matter what the flashback story is, it’ll be fine. But now that we’re doing his ninth flashback story, you just don’t care”.

    The network was shown that Lindelof needed to persuade them to allow them to establish an end date for Lost with” Stranger in a Strange Land.” Without that end date, they &#8211, and us &#8211, were probably going to have to suffer through a lot more episodes like that. The showrunners ‘ outline for a six-season adaptation of the series were eventually approved by ABC and given to them. &nbsp,

    We had a difficult conversation after the three seasons of Lost, which were disappointing. They feature fewer episodes and advance toward a conclusion that continues to divide viewers to this day. Yet, we never really got anything as bad as” Stranger in a Strange Land” again. We never saw a single episode that was so pointless or monotonous that the production circumstances of its superfluous existence only made matters worse. In the end, Lost‘s worst episode made a compelling case for ABC to start examining their golden goose as something a little more priceless. &nbsp,

    The filler episode has evolved into a kind of rallying cry for a better, or at least different, way of doing things in a time of renewed network TV nostalgia when more people find themselves longing for a simpler form of second-screen entertainment. Yet,” Stranger in a Strange Land” reminds us that such episodes can cut both ways. They can serve as the foundation for more expensive shows that offer standalone thrills on a week-by-week basis, but they are also a component of the reason why those in the industry once begged the networks to rethink what TV can be. &nbsp,

    Such apprehension about the return of that format should be taken seriously. Their enthusiasm for the concept of a thing frequently conveniently overlooks the reality of how low even the best shows can sag over the course of 20+ episodes. Or, as Jack says regarding an interpretation of his infamous tattoos,” That’s what they say, that’s not what they mean” .&nbsp,

    The first comment on Den of Geek was How Lost&#8217, s Worst Episode Helped Save the Show.

  • Beware the Cut ‘n’ Paste Persona

    Beware the Cut ‘n’ Paste Persona

    A machine learning algorithm is used to create human faces on this person does not occur. It takes actual photos and recombines them into false people faces. We just squirted past a LinkedIn article that claimed this site might be helpful “if you are developing a image and looking for a photo.”

    We concur that personas may remain excellent matches for computer-generated eyes, but not for the purpose you might think. Ironically, the website highlights the core issue of this very common design method: the person ( a ) does not exist. Personas are deliberately created, just like in the photos. Information is combined into an isolated snapshot that is detached from reality and taken out of the normal context.

    But strangely enough, manufacturers use personalities to encourage their style for the real world.

    A step up, identities

    Most manufacturers have at least once in their careers created, used, or encountered personalities. In their content” Personas- A Plain Introduction”, the Interaction Design Foundation defines profile as “fictional characters, which you create based upon your study in order to reflect the unique user types that might use your service, product, site, or brand”. Personas typically include a title, profile picture, rates, populations, goals, wants, behavior in relation to a particular service or product, feelings, and desires ( for instance, see Creative Companion’s Persona Core Poster ). According to design firm Designit, the goal of personas is to “make the research relateable, ]and ] easy to communicate, digest, reference, and apply to product and service development.”

    The decontextualization of identities

    People are well-known because they make “dry” research information relevant and more people. However, this approach places a cap on the author’s data analysis, making it impossible for the investigated users to be excluded from their particular contexts. As a result, personalities don’t describe important factors that make you realize their decision-making method or allow you to connect to users ‘ thoughts and behavior, they lack stories. You are aware of the persona’s actions, but you lack the history knowledge to understand why. You end up with user images that are in reality less people.

    This “decontextualization” we see in identities happens in four way, which we’ll discuss below.

    People are assumed to be stable, according to people.

    Here’s a painfully obvious truth: people are not a fixed set of characteristics, despite the fact that many businesses still try to recruit and retain their employees and customers using outdated personality tests ( referring to you, Myers-Briggs ). You act, think, and feel different according to the situations you experience. You appear distinct to different people, and you might act friendly toward some and harshly toward another. And you constantly refute the selections you’ve made.

    Modern psychology agree that while persons usually behave according to certain styles, it’s actually a combination of history and culture that determines how people act and take decisions. The type of person you are in each particular moment depends on the context, the impact of other people, your mood, and the overall history that led to the situation.

    Personalities do not account for this variation in their attempt to reduce reality; instead, they present a consumer as a predetermined set of features. Like character testing, personas seize people away from real life. Even worse, individuals are labeled as” that kind of individual” with no means to practice their natural freedom. This behavior defies stereotypes, diminishes variety, and doesn’t reveal reality.

    Personas rely on people, not the setting

    You’re designing for a perspective, not an individual, in the real world. There are economic, political, and social factors that you need to take into account when living in a home, a community, or an habitat. A pattern is not meant for a single customer. Instead, you create a product that is intended to be used by a certain number of people. But, personas do not explicitly explain how the person interacts with the environment but rather present the user alone.

    Do you generally make the same decision over and over again? Despite your pledge to eat vegan, you may still choose to purchase some flesh when your family visit. Your decisions, including your behavior, opinions, and statements, are not only completely accurate but very situational because they depend on a range of circumstances and variables. The image that “represents” you wouldn’t take into account this interdependence, because it doesn’t explain the grounds of your choices. It doesn’t provide a rationale for why you act in the way you do. People practice the well-known attribution error, which states that they too often attribute others ‘ behavior to their personalities and not to the circumstances.

    As mentioned by the Interaction Design Foundation, identities are often placed in a situation that’s a” specific environment with a problem they want to or have to solve “—does that mean environment actually is considered? Unfortunately, it’s common to pick a fictional character and build a character’s behavior around a particular circumstance based on the fiction. How could you possibly comprehend how someone you want to represent behave in new circumstances given that you haven’t even fully investigated and understood the current context of the people you want to represent?

    Personas are meaningless averages

    A persona is depicted as a specific person but is not a real person, as stated in Shlomo Goltz’s introduction article on Smashing Magazine; rather, it is synthesized from observations of many people. The famous example of the USA Air Force designing planes based on the average of 140 of their pilots ‘ physical dimensions and not a single pilot actually fit within that average seat is a well-known criticism of this aspect of personas.

    The same limitation applies to mental aspects of people. Have you ever heard a famous person say something was taken out of context? They uttered my words, but I didn’t mean it that way. The celebrity’s statement was reported literally, but the reporter failed to explain the context around the statement and didn’t describe the non-verbal expressions. The intended purpose was lost as a result. You collect someone’s statement ( or goal, need, or emotion ) into which its meaning can only be understood if it is provided with its own specific context, and then report it as an isolated finding.

    But personas go a step further, extracting a decontextualized finding and joining it with another decontextualized finding from somebody else. The resultant set of findings frequently lacks clarity and even contrast because it lacks the fundamental justifications for and how that finding came about. It lacks any significance. And the persona doesn’t give you the full background of the person ( s ) to uncover this meaning: you would need to dive into the raw data for each single persona item to find it. What then is the persona’s usefulness?

    People’s relatability can be deceiving.

    To a certain extent, designers realize that a persona is a lifeless average. Designers create “relatable” personas to make them appear like real people in order to overcome this. Nothing better explains the absurdity of this than a phrase from the Interaction Design Foundation,” Add a few fictional personal details to make the persona a realistic character.” In other words, you add non-realism in an attempt to create more realism. You purposefully understate the fact that” John Doe” is an abstract representation of research findings, but wouldn’t it be much more responsible to emphasize that John is only an abstraction? Let’s say something is artificial, and let’s say it is.

    It’s the finishing touch of a persona’s decontextualization: after having assumed that people’s personalities are fixed, dismissed the importance of their environment, and hidden meaning by joining isolated, non-generalizable findings, designers invent new context to create ( their own ) meaning. As with everything they produce, they do so by introducing a lot of biases. As Designit put it, as designers, we can” contextualize]the persona ] based on our reality and experience. We create connections that are familiar to us“. With each new detail added, this practice furthers stereotypes, doesn’t reflect real-world diversity, and takes people’s actual reality even further.

    Everyone should use their own empathy and develop their own interpretation and emotional response if we want to conduct good design research by reporting the reality “as-is” and making it relatable for our audience.

    Dynamic Selves: The alternative to personas

    What should we do instead of using personas?

    Designit suggests using mindsets rather than personas. Each Mindset is a” spectrum of attitudes and emotional responses that different people have within the same context or life experience”. It challenges designers to avoid getting fixated on just one person’s way of being. Unfortunately, despite being a step in the right direction, this proposal doesn’t consider that people are a part of a system that controls their behavior, personality, and, yes, mindset. Therefore, Mindsets are also not absolute but change in regard to the situation. What determines a particular Mindset, remains to be seen.

    Margaret P., the author of the article” Kill Your Personas,” who has argued for the use of persona spectrums that include a range of user abilities, offers an alternative. For example, a visual impairment could be permanent ( blindness ), temporary ( recovery from eye surgery ), or situational (screen glare ). Because they are based on the idea that the context is the pattern, not the personality ,ersona spectrums are very useful for more inclusive and context-based design. However, their only drawback is that they have a very functional perspective on users that misses the relatability of a real person taken from within a spectrum.

    In developing an alternative to personas, we aim to transform the standard design process to be context-based. Similar to how we previously dealt with people, contexts are generalizable and have patterns that we can identify. How do we find these patterns, then? How do we ensure truly context-based design?

    Understand real people in a variety of settings

    Nothing can be more relatable and inspiring than reality. Therefore, we have to understand real individuals in their multi-faceted contexts, and use this understanding to fuel our design. This approach is known as Dynamic Selves.

    Let’s take a look at how the approach looks based on an illustration of how one of us used it in a recent study that examined Italians ‘ habits around energy consumption. We drafted a design research plan aimed at investigating people’s attitudes toward energy consumption and sustainable behavior, with a focus on smart thermostats.

    1. Select the appropriate sample.

    When we argue against personas, we’re often challenged with quotes such as” Where are you going to find a single person that encapsulates all the information from one of these advanced personas]? ]” The answer is straightforward: you don’t have to. You don’t need to know a lot about everyone to have deep and meaningful insights.

    In qualitative research, validity does not derive from quantity but from accurate sampling. You pick the people who best fit the “population” you’re designing for. If this sample is chosen wisely and you have a deep understanding of the sampled people, you can infer how the rest of the population thinks and acts. There’s no need to study seven Susans and five Yuriys, one of each will do.

    In fifteen different situations, Susan is not necessary. You have understood Susan’s plan of action once you have seen her in a few different settings. Not Susan as an atomic being but Susan in relation to the surrounding environment: how she might act, feel, and think in different situations.

    It becomes clear why each person should be portrayed as an individual because each already represents an abstraction of a larger group of people in similar circumstances because each person is representative of a portion of the total population you’re researching. You don’t want to see abstractions of abstractions! These selected people need to be understood and shown in their full expression, remaining in their microcosmos—and if you want to identify patterns you can focus on identifying patterns in contexts.

    However, the question remains: how do you select a sample representative? First, you must consider the target market for the product or service you are designing. It might be helpful to examine the company’s objectives and strategy, the current customer base, and/or a potential future target audience.

    In our example project, we were designing an application for those who own a smart thermostat. Everyone in their home could have a smart thermostat in the future. However, only early adopters currently own one. To build a significant sample, we needed to understand the reason why these early adopters became such. We then recruited by enticing customers to explain their needs and sources of purchase. There were those who had made the decision to purchase it, those who had been influenced by others to do so, and those who had located it in their homes. So we selected representatives of these three situations, from different age groups and geographical locations, with an equal balance of tech savvy and non-tech savvy participants.

    2. Conduct your research

    After having chosen and recruited your sample, conduct your research using ethnographic methodologies. This will give you more examples and anecdotes to enrich your qualitative data. Given COVID-19 restrictions, we turned an internal ethnographic research project into home-based remote family interviews that were followed by diary research in our example project.

    To gain an in-depth understanding of attitudes and decision-making trade-offs, the research focus was not limited to the interviewee alone but deliberately included the whole family. With the additions or corrections made by wives, husbands, children, or occasionally even pets, each interviewee would tell a story that would then become much more engaging and precise. We also paid attention to the behaviors that came from having relationships with other important people ( such as coworkers or distant relatives ), as well as the relationships that came into being with them. This wide research focus allowed us to shape a vivid mental image of dynamic situations with multiple actors.

    It’s crucial that the research’s scope remain broad enough to cover all potential actors. Therefore, broad research areas with broad questions are typically best defined. Interviews are best set up in a semi-structured way, where follow-up questions will dive into topics mentioned spontaneously by the interviewee. The most insightful findings will be made with this open-minded “plan to be surprised.” One of our participants responded,” My wife doesn’t have the thermostat’s app installed; she uses WhatsApp instead,” when we asked how his family controlled the temperature in the house. If she wants to turn on the heater and she is not home, she will text me. She uses me as her thermostat.

    3. Analysis: Create the Dynamic Selves

    You begin to represent each individual with several Dynamic Selves, each” Self” representing one of the circumstances you have examined throughout the research analysis. A quote serves as the foundation of each Dynamic Self, which is supported by a photo and a few relevant demographics that serve as examples of the larger picture. The research findings themselves will show which demographics are relevant to show. The key demographics were family type, number and type of homes owned, economic status, and technological maturity in our case because our research focused on families and their way of life to understand their needs for thermal regulation. The individuals ‘ names and ages are optional, but they were included to facilitate the stakeholders ‘ transition from personas and allow them to connect multiple actions and contexts to the same person.

    To capture exact quotes, interviews need to be video-recorded and notes need to be taken verbatim as much as possible. This is crucial to ensuring that each participant’s various selves are truthful. Photos of the setting and anonymized actors are necessary to create authentic selves in ethnographic research conducted in real life. Ideally, these photos should come directly from field research, but an evocative and representative image will work, too, as long as it’s realistic and depicts meaningful actions that you associate with your participants. One of our interviewees, for instance, shared a story of how he used to spend weekends with his family in his mountain home. We depicted him hiking with his young daughter as a result.

    At the end of the research analysis, we displayed all of the Selves ‘” cards” on a single canvas, categorized by activities. Each card featured a situation with a quote and a distinctive image. Each participant had a different deck full of self-assessments.

    4. Identify potential designs

    You will notice patterns beginning to appear once you have taken all of the main quotes from the interview transcripts and diaries and written them down as self-cards. These patterns will highlight the opportunity areas for new product creation, new functionalities, and new services—for new design.

    There was a particularly intriguing insight around the concept of humidity in our example project. We became aware of the importance of humidity monitoring for health and how an environment that is too dry or wet can cause respiratory problems or worsen already existing ones. This highlighted a big opportunity for our client to educate users on this concept and become a health advisor.

    Benefits of Dynamic Selves

    When you conduct your research using the Dynamic Selves method, you start to notice peculiar social relations, peculiar circumstances that people face and the consequences of their actions, and that people are surrounded by ever-changing environments. In our thermostat project, we have come to know one of the participants, Davide, as a boyfriend, dog-lover, and tech enthusiast.

    Davide is a person we might have once consigned to the title of “tech enthusiast.” However, there are also those who are wealthy or poor who are tech enthusiasts, whether they are single or have families. Their motivations and priorities when deciding to purchase a new thermostat can be opposite according to these different frames.

    Once you have fully grasped the underlying causes of Davide’s behavior and have understood them in detail, you can then generalize how he would act in a different circumstance. You can infer what he would think and do in the circumstances ( or scenarios ) you design for using your understanding of him.

    The Dynamic Selves approach aims to dismiss the conflicted dual purpose of personas—to summarize and empathize at the same time—by separating your research summary from the people you’re seeking to empathize with. This is crucial because scale affects how we feel empathy for people; the bigger the group, the smaller it is to feel empathy for others. We have the deepest sympathy for people who are able to relate to us.

    If you take a real person as inspiration for your design, you no longer need to create an artificial character. No more developing plot devices to “realize” the character, and no more need for additional bias. This is exactly how this person lives out. In fact, in our experience, personas quickly become nothing more than a name in our priority guides and prototype screens, as we all know that these characters don’t really exist.

    Another important benefit of Dynamic Selves is that it raises the stakes of your work: someone you and the team know and have met will experience the consequences if you violate your design. It might prompt you to stop using shortcuts and reminds you to check your designs every day.

    And finally, real people in their specific contexts are a better basis for anecdotal storytelling and therefore are more effective in persuasion. Real research documentation is necessary to obtain this result. It reinforces your design arguments by adding more weight and urgency:” When I met Alessandra, the conditions of her workplace struck me. Noise, bad ergonomics, lack of light, you name it. I’m afraid that if we choose to use this functionality, we’ll add complexity to her life.

    Conclusion

    Designit stated in their article on Mindsets that “design thinking tools offer a shortcut to deal with reality’s complexities, but this process of simplification can occasionally flatten out people’s lives into a few general characteristics.” Unfortunately, personas have been culprits in a crime of oversimplification. They fail to account for the complexity of the decision-making processes of our users and don’t take into account the contexts that humans are immersed in.

    Design needs to be simplified, not necessarily generalized. You have to look at the research elements that stand out: the sentences that captured your attention, the images that struck you, the sounds that linger. Avoid using those and use them to describe the person in all of their contexts. People and insights both come with a context, and they cannot be taken out of that context because it would detract from meaning.

    It’s high time for design to move away from fiction, and embrace reality—in its messy, surprising, and unquantifiable beauty—as our guide and inspiration.

  • Asynchronous Design Critique: Giving Feedback

    Asynchronous Design Critique: Giving Feedback

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

    Feedback is also one of the most underestimated equipment, and generally by assuming that we’re 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. A revolutionary force can be quality feedback.

    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 input be changed for workplaces where workers are located and distributed?

    On the web, we may discover a long history of sequential suggestions: from the early weeks of open source, script was shared and discussed on email addresses. Developers and sprint masters discuss draw requests, designers make comments on their beloved design tools, and other things.

    Design criticism is frequently used as the term for a type of input that is given to improve our work collaboratively. So it shares a lot of the rules with comments in public, but it also has some variations.

    The information

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

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

    Here is a reply that could be given as a part of some comments, and it might seem reasonable at a first glance: it seems to casually serve the elements in the equation. But does it exist?

    Not sure about the hierarchy and styles of the buttons; it seems off. Can you change them?

    Finding a perspective that is as specific as possible when conducting design feedback refers to more than just pointing out which area of the interface. Do you offer the user’s viewpoint? Your expert perspective? From a business perspective? From the perspective of the project manager? A first-time user’s perspective?

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

    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 one to go forward and the other to go back when I see these two buttons. 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 intended to give the designer some open guidance by provoking the designer’s critical thinking when they receive the feedback. Notably, Lara’s equation includes a second approach: request, which instead provides instructions for a particular solution. While that’s a viable option for feedback in general, for design critiques, in my experience, defaulting to the question approach usually reaches the best solutions because designers are generally more comfortable in being given an open space to explore.

    For the question approach, the difference between the two can be demonstrated as an illustration:

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

    In some situations, it might be helpful to include an additional reason why you think the suggestion is better at this point.

    I anticipate one to go forward and the other to go back when I see these two buttons. 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 between the request and question approaches can occasionally be influenced by one’s personal preferences. I spent a while working on improving my feedback, conducting anonymous feedback reviews and sharing feedback with others. 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 switched 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 changed my feedback so that it included requests.

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

    No, this style of feedback is actually efficient because the length here is a byproduct of clarity, and spending time giving this kind of feedback can provide exactly enough information for a good fix. Additionally, it can reduce misunderstandings and back-and-forth conversations in the future, boosting overall collaboration’s effectiveness and efficiency beyond the single comment. Consider the following example:” Let’s make sure that all screens have the same two forward and back buttons” instead. The designer receiving this feedback wouldn’t have much to go by, so they might just apply the change. The interface might change in later iterations or new features might be introduced, and perhaps the change won’t make sense anymore. The designer might assume that the change is about consistency without the explanation, but what if it wasn’t? So there could now be an underlying concern that changing the buttons would be perceived as a regression.

    Yes, this type of feedback is not always effective because some comments don’t always need to be thorough, some times because some changes are made because they don’t always follow our instructions, and others because the team may have extensive internal knowledge, which makes some of the whys possible be implied.

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

    The tone

    Feedback forms the basis for well-developed content, 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 lasting change in people, and tone alone can determine whether content is rejected or welcomed.

    Tone is crucial to work on because our goal is to be understood and to have a positive working environment. Over the years, I’ve tried to summarize the required soft skills in a formula that mirrors the one for content: the receptivity equation.

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

    Timing refers to when the feedback happens. If given at the wrong time, to-the-point feedback has little chance of receiving well. If a new feature’s entire high-level information architecture is about to go live when it’s about to be released, it might still be relevant if that questioning raises a significant blocker that no one saw, but those concerns are much more likely to have to wait for a later revision. So in general, attune your feedback to the stage of the project. Early iteration? Iteration that was later? Polishing work in progress? Each of these needs a different one. Your feedback will be received favorably if the right timing is chosen.

    Attitude is the equivalent of intent, and in the context of person-to-person feedback, it can be referred to as radical candor. Before writing, it’s important to make sure the person we’re writing will actually benefit them and improve the overall project. Sometimes it might be difficult to reflect on this because we might not want to admit that we don’t really appreciate that person. Hopefully that’s not the case, but that can happen, and that’s okay. How would I write if I really cared about them, aside from acknowledging and having that to help you make up for it? How can I stop acting aggressively? How can I be more constructive?

    Form is important in multicultural and cross-cultural workplaces because having excellent writing, perfect timing, and the right attitude might not be as effective if the writing style leads to miscommunications. 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 ago, I asked for some feedback on how I respond. I was given some sound advice, but I also got a surprise comment. They pointed out that when I wrote” Oh, ]… ]”, I made them feel stupid. That wasn’t my intention at all! I just realized that I had been giving them feedback for months and that I had always made them feel foolish. I was horrified … but also thankful. I quickly changed the way I typed “oh” into my list of replaced words (your choice between aText, TextExpander, or others ), so that it was instantly deleted when I typed “oh.”

    Something to keep in mind is that people frequently beat around the bush, especially in teams with strong group spirit. It’s important to remember here that a positive attitude doesn’t mean going light on the feedback—it just means that even when you provide hard, difficult, or challenging feedback, you do so in a way that’s respectful and constructive. The best thing you can do for someone is to encourage their growth.

    Giving feedback in written form can be reviewed by someone else who isn’t directly involved, which can help to reduce or eliminate any bias that might exist. I found that the best, most insightful moments for me have happened when I’ve shared a comment and I’ve asked someone who I highly trusted,” How does this sound”?,” How can I do it better”, and even” How would you have written it” ?—and I’ve learned a lot by seeing the two versions side by side.

    The format

    Asynchronous feedback also has a significant inherent benefit: we can devote more time to making sure that the suggestions ‘ clarity of communication and actionability meet two main objectives.

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

    In terms of clarity, start by grounding the critique that you’re about to give by providing context. This includes specifically describing where you’re coming from: do you have a thorough understanding of the project, or is this your first encounter with it? Do you have a high-level perspective, or are you just learning the ins and outs? Are there regressions? Which user’s point of view are you addressing when offering your feedback? Is the design iteration at a point where it would be acceptable to ship this, or are there significant issues that need to be addressed first?

    Providing context is helpful even if you’re sharing feedback within a team that already has some information on the project. And context is a must when providing cross-team feedback. If I were to review a design that might be directly connected to my work, and if I had no idea how the project might have come to that conclusion, I would say so, highlighting my opinion as external.

    We often focus on the negatives, trying to outline all the things that could be done better. That’s obviously important, but it’s even more crucial to concentrate on the positives, especially if you saw improvement in 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. Sharing positive feedback can help prevent regressions in things that are going well because those things will have been deemed significant in the long run. Positive feedback can also help to lessen impostor syndrome as an added bonus.

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

    Depersonalizing your feedback is another way to make it better: it should never be about the creator of the piece of art. 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.

    One of the best ways to assist the designer who is reading your feedback is to divide it into bullet points or paragraphs, which are simpler to review and analyze one by one, in terms of actionability. For longer pieces of feedback, you might also consider splitting it into sections or even across multiple comments. Of course, adding screenshots or identifying markers for the specific area of the interface you’re referring to can also be very helpful.

    Emojis have been a method I’ve personally used to enhance the bullet points in some situations. So a red square � � means that it’s something that I consider blocking, a yellow diamond � � is something that I can be convinced otherwise, but it seems to me that it should be changed, and a green circle � � is a detailed, positive confirmation. A blue spiral is also used for exploration, open alternatives, or just a note when I’m not sure what to make. However, I’d only use this strategy on teams where I’ve already established a high level of trust because it might turn out to be quite demoralizing if I deliver a lot of red squares and change how I communicate that.

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

    • 🔶 Navigation—I anticipate one to go forward and the other to go back when I see these two buttons. 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 believe the page is strong, and this is a good candidate for our release candidate for a version 1. 1.0.
    • � � Metrics—Good improvement in the buttons on the metrics area, the improved contrast and new focus style make them more accessible.
    • Button Style: Using the green accent in this context, which conveys a positive action because green is typically seen as a confirmation color. Do we need to look for a different color?
    • 🔶Tiles—Given the number of items on the page, and the overall page hierarchy, it seems to me that the tiles shouldn’t be using the Subtitle 1 style but the Subtitle 2 style. This will help maintain consistency in the visual hierarchy.
    • Background: Using a light texture is effective, but I’m not sure if doing so will cause too much noise on this kind of page. What is the thinking in using that?

    What about using Figma or another design tool that enables in-place feedback to provide feedback directly? 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 more thing: 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. Don’t hold it back, though, because you might need to change the phrasing a little to make the reader feel more at ease. Good feedback is transparent, even when it may be obvious.

    Asynchronous feedback also has the benefit of automatically guiding decisions, according to writing. Why did we do this, especially in large projects? could be a question that pops up from time to time, and there’s nothing better than open, transparent discussions that can be reviewed at any time. I advise using software to prevent these discussions from being hidden after they have been resolved for this reason.

    Content, tone, and format. Each one of these subjects provides a useful model, but working to improve eight areas—observation, impact, question, timing, attitude, form, clarity, and actionability—is a lot of work to put in all at once. One effective way to approach them is to start with the area you lack the most, either from your point of view or from other people’s feedback. 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 Mike Shelton and Brie Anne Demkiw for their contributions to the initial draft of this article.

  • That’s Not My Burnout

    That’s Not My Burnout

    Are you like me, reading about people fading away as they burn out, and feeling unable to relate? Do you feel like your feelings are invisible to the world because you’re experiencing burnout differently? When burnout starts to push down on us, our core comes through more. Beautiful, peaceful souls get quieter and fade into that distant and distracted burnout we’ve all read about. But some of us, those with fires always burning on the edges of our core, get hotter. In my heart I am fire. When I face burnout I double down, triple down, burning hotter and hotter to try to best the challenge. I don’t fade—I am engulfed in a zealous burnout

    So what on earth is a zealous burnout?

    Imagine a woman determined to do it all. She has two amazing children whom she, along with her husband who is also working remotely, is homeschooling during a pandemic. She has a demanding client load at work—all of whom she loves. She gets up early to get some movement in (or often catch up on work), does dinner prep as the kids are eating breakfast, and gets to work while positioning herself near “fourth grade” to listen in as she juggles clients, tasks, and budgets. Sound like a lot? Even with a supportive team both at home and at work, it is. 

    Sounds like this woman has too much on her plate and needs self-care. But no, she doesn’t have time for that. In fact, she starts to feel like she’s dropping balls. Not accomplishing enough. There’s not enough of her to be here and there; she is trying to divide her mind in two all the time, all day, every day. She starts to doubt herself. And as those feelings creep in more and more, her internal narrative becomes more and more critical.

    Suddenly she KNOWS what she needs to do! She should DO MORE. 

    This is a hard and dangerous cycle. Know why? Because once she doesn’t finish that new goal, that narrative will get worse. Suddenly she’s failing. She isn’t doing enough. SHE is not enough. She might fail, she might fail her family…so she’ll find more she should do. She doesn’t sleep as much, move as much, all in the efforts to do more. Caught in this cycle of trying to prove herself to herself, never reaching any goal. Never feeling “enough.” 

    So, yeah, that’s what zealous burnout looks like for me. It doesn’t happen overnight in some grand gesture but instead slowly builds over weeks and months. My burning out process looks like speeding up, not a person losing focus. I speed up and up and up…and then I just stop.

    I am the one who could

    It’s funny the things that shape us. Through the lens of childhood, I viewed the fears, struggles, and sacrifices of someone who had to make it all work without having enough. I was lucky that my mother was so resourceful and my father supportive; I never went without and even got an extra here or there. 

    Growing up, I did not feel shame when my mother paid with food stamps; in fact, I’d have likely taken on any debate on the topic, verbally eviscerating anyone who dared to criticize the disabled woman trying to make sure all our needs were met with so little. As a child, I watched the way the fear of not making those ends meet impacted people I love. As the non-disabled person in my home, I would take on many of the physical tasks because I was “the one who could” make our lives a little easier. I learned early to associate fears or uncertainty with putting more of myself into it—I am the one who can. I learned early that when something frightens me, I can double down and work harder to make it better. I can own the challenge. When people have seen this in me as an adult, I’ve been told I seem fearless, but make no mistake, I’m not. If I seem fearless, it’s because this behavior was forged from other people’s fears. 

    And here I am, more than 30 years later still feeling the urge to mindlessly push myself forward when faced with overwhelming tasks ahead of me, assuming that I am the one who can and therefore should. I find myself driven to prove that I can make things happen if I work longer hours, take on more responsibility, and do more

    I do not see people who struggle financially as failures, because I have seen how strong that tide can be—it pulls you along the way. I truly get that I have been privileged to be able to avoid many of the challenges that were present in my youth. That said, I am still “the one who can” who feels she should, so if I were faced with not having enough to make ends meet for my own family, I would see myself as having failed. Though I am supported and educated, most of this is due to good fortune. I will, however, allow myself the arrogance of saying I have been careful with my choices to have encouraged that luck. My identity stems from the idea that I am “the one who can” so therefore feel obligated to do the most. I can choose to stop, and with some quite literal cold water splashed in my face, I’ve made the choice to before. But that choosing to stop is not my go-to; I move forward, driven by a fear that is so a part of me that I barely notice it’s there until I’m feeling utterly worn away.

    So why all the history? You see, burnout is a fickle thing. I have heard and read a lot about burnout over the years. Burnout is real. Especially now, with COVID, many of us are balancing more than we ever have before—all at once! It’s hard, and the procrastinating, the avoidance, the shutting down impacts 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. That’s not what my burnout looks like.

    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 trying to rise to challenges, not someone stuck in their fear. Many well-meaning organizations have safeguards in place to protect their teams from burnout. But in cases like this, those alarms are not always tripped, and then when the inevitable stop comes, some members of the organization feel surprised and disappointed. 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. During COVID many of us have binged countless streaming episodes showing how it’s so hard for the female protagonist, but she is strong and funny and can do it. It’s a “very special episode” when she breaks down, cries in the bathroom, woefully admits she needs help, and just stops for a bit. Truth is, countless people are hiding their tears or are doom-scrolling to escape. We know that the media is a lie to amuse us, but often the perception that it’s what we should strive for has penetrated much of society.

    Women and burnout

    I love 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. 

    That said, women are still more often at risk of burnout than their male counterparts, especially in these COVID stressed times. Mothers in the workplace feel the pressure to do all the “mom” things while giving 110%. Mothers not in the workplace feel they need to do more to “justify” their lack of traditional employment. Women who are not mothers often feel the need to do even more because they don’t have that extra 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 prices beyond happiness too. 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.” 

    This relationship between work stress and health, from what I have read, is more dangerous for women than it is for their non-female counterparts.

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

    That might not be you either. 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 stress what burnout looks like, just learn to recognize it in yourself. Here are a few questions I sometimes ask friends if I am concerned about them.

    Are you happy? 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 empowered to say no? 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 pressure to say yes to not disappoint the people around them.

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

    Are you making excuses? 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 really be crunch time, a single goal, and/or a skill set you need to learn. That happens—life happens. BUT if this doesn’t stop, be honest with 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 is truly temporary and you do need to just push through, then it has an exit route with a
    defined end.

    Take the time to listen to yourself as you would a friend. Be honest, allow yourself to be uncomfortable, and break the thought cycles that prevent you from healing. 

    So now what?

    What I just described is a different path to burnout, but it’s still burnout. There are well-established approaches to working through burnout:

    • Get enough sleep.
    • Eat healthy.
    • Work out.
    • Get outside.
    • Take a break.
    • Overall, practice self-care.

    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. The narrative is that if I’m already failing, why would I take care of myself when I’m dropping all those other balls? People need me, right? 

    If you’re deep in the cycle, your inner voice might be pretty awful by now. 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. 

    To help remind myself of the airline attendant message about putting the mask on yourself first, I have come up with a few things that I do when I start feeling myself going into a zealous burnout.

    Cook an elaborate meal for someone! 

    OK, I am a “food-focused” individual so cooking for someone is always my go-to. 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. Most of us work in a digital world, so cooking can fill all of your senses and force you to be in the moment with all the ways you perceive 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 love cooking Indian food, as the smells are warm, the bread needs just enough kneading to keep my hands busy, and the process takes real attention for me because it’s not what I was brought up making. And in the end, we all win!

    Vent like a foul-mouthed fool

    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. That said, sometimes you just gotta let it all out—even the ugly. 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 what’s needed, turn to a trusted friend and allow yourself some pure verbal diarrhea, saying all the things that are bothering you. 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 the most about my husband (though often after the fact) is his ability to break things down to their simplest. “We’re spending our lives together, of course you’re going to disappoint me from time to time, so get over it” has been his way of speaking his dedication, love, and acceptance of me—and I could not be more grateful. It also, of course, has meant that I needed to 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 aren’t so much self-help as they are people just like you sharing their stories and how they’ve come to find greater balance. Maybe you’ll find something that speaks to you. Titles that have stood out to me include:

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

    Or, another tactic I love to employ is to read or listen to a book that has NOTHING to do with my work-life balance. I’ve read the following books and found they helped balance me out because my mind was pondering their interesting topics instead of running in circles:

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

    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 do not have a particularly large food garden, nor do I own livestock of any kind…yet. I just find the topic interesting, and it has nothing to do with any aspect of my life that needs anything from me.

    Forgive yourself 

    You are never going to be perfect—hell, it would be boring if you were. It’s OK to be broken and flawed. It’s human to be tired and sad and worried. It’s OK to not do it all. It’s scary to be imperfect, but you cannot be brave if nothing were scary.

    This last one is the most important: allow yourself permission to NOT do it all. You never promised to be everything to everyone at all times. We are more powerful than the fears that drive us. 

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

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

    Look, I get that none of these ideas will “fix it,” and that’s not their purpose. None of us are in control of our surroundings, only how we respond to them. These suggestions are to help stop the spiral effect so that you are empowered to address the underlying issues and choose your response. They are things that work for me most of the time. Maybe they’ll work for you.

    Does this sound familiar? 

    If this sounds familiar, it’s not just you. Don’t let your negative self-talk tell you that you “even burn out wrong.” It’s not wrong. 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 unfold before us might never look like that story in our head—that idea of “perfect” or “done” we’re looking for, but that’s OK. Really, when we stop and look around, usually the only eyes that judge us are in the mirror. 

    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? Well, I already associate a lot with Rabbit, so it came as no surprise when he abruptly declared that this was unacceptable. 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. 

    At the end of the day we are resourceful and know that we are able to push ourselves if we need to—even when we are tired to our core or have a big butt of fluff ‘n’ stuff 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 allow space for being uncomfortably human, but that doesn’t really sound so bad either. 

    So, wherever you are right now, please breathe. Do what you need to do to get out of your head. Forgive and take care.

  • Asynchronous Design Critique: Getting Feedback

    Asynchronous Design Critique: Getting Feedback

    ” Any opinion” you might have? is perhaps one of the worst ways to ask for opinions. It’s obscure and unfocused, and it doesn’t give us a sense of what we’re looking for. Great comments begins sooner than we might anticipate: it begins with the demand.

    It might seem contradictory to start the process of receiving feedback with a problem, but that makes sense if we realize that getting feedback can be thought of as a form of pattern study. The best way to ask for feedback is to write down some insightful questions, just like we wouldn’t do any research without the right questions to obtain the insight we need.

    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.

    Finally, we need to review what we received, get to the heart of its findings, and taking action, as with any good analysis. Problem, generation, and evaluation. Let’s take a look at each of those.

    The query

    Being available to input is important, but we need to be specific about what we’re looking for. Any comments,” What do you think,” or” I’d love to hear your mind” at the end of a presentation are likely to garner a lot of different ideas, or worse, to make people follow the lead of the first speaker. And finally, we become irritated because ambiguous queries like those can result in people leaving reviews that don’t even consider keys. Which might be a savory matter, so it might be hard at that point to divert the crew to the topics that you had wanted to focus on.

    But how do we enter this circumstance? It’s a combination of various aspects. One is that we don’t often consider asking as a part of the input method. Another is how healthy it is to assume that everyone else will agree with the problem and leave it alone. Another is that there’s frequently no need to be that specific in nonprofessional conversations. In short, we tend to underestimate the importance of the issues, so we don’t work on improving them.

    Great questioning helps to guide and concentrate the criticism. It also serves as a form of acceptance, outlining your willingness to make comments and the types of responses you want to receive. It puts people in the right emotional state, especially in situations when they weren’t expecting to give opinions.

    There isn’t a second best way to ask for opinions. It simply needs to be certain, and precision can take a variety of forms. A design for design critique that I’ve found especially helpful in my training is the one of stage over depth.

    The term” period” refers to each stage of the process, specifically the design phase. The type of input changes as the customer research moves on to the final design. But within a single stage, one might also examine whether some assumptions are correct and whether there’s been a suitable language of the amassed input into updated designs as the job has evolved. The levels of customer experience may serve as a starting point for future inquiries. What are the project targets, in your opinion? User requirements? Funnality? the glad Contact design? Data layout Interface pattern Navigation style? physical style Brand?

    Here’re a some example questions that are specific and to the place that refer to different levels:

    • Features: Is it appealing to automate accounts creation?
    • Contact design: Please review the updated flow for any errors or steps I might have missed.
    • Information infrastructure: We have two competing bits of information on this site. Does the architecture work to effectively communicate both of them?
    • User interface design: What do you think about the mistake desk at the top of the page, which makes sure you see the future error even if it is outside the viewport?
    • Navigation style: From study, we identified these second-level routing items, but when you’re on the webpage, the list feels overly long and hard to understand. Are there any ways to deal with this?
    • Are the thick alerts in the bottom-right corner of the page clearly visible enough?

    The another plane of sensitivity is about how heavy you’d like to go on what’s being presented. For instance, we may have introduced a new end-to-end stream, but you might want to know more about a particular viewpoint you found challenging. This can be especially helpful when switching between iterations because it’s crucial to identify the changes made.

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

    A quick fix is to get rid of the common qualifiers from issues like “good,” “well,” “nice,” “bad,” “okay,” and” cool.” Asking,” When the prevent opens and the switches appear, is this conversation great, for instance?” may seem precise, but you can place the “good” tournament, and transfer it to an even better query:” When the wall opens and the buttons appear, is it clear what the next action is”?

    Sometimes we do want a lot of feedback. Although that is uncommon, it is possible. 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 is obvious that what you’re asking is open ended but focused on a person’s impression after their first five seconds of inquiry.

    Sometimes the project is particularly expansive, and some areas may have already been explored in detail. In these circumstances, it might be helpful to state explicitly that some parts are already locked in and unreliable. 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 with less refined criticism will now be able to provide more actionable feedback, and even expert designers will appreciate the clarity and effectiveness gained from concentrating solely on what’s needed. It can save a lot of time and frustration.

    The iteration

    The most widely visible aspect of the design process is probably the design iteration, which serves as a natural feedback loop. Many design tools have inline commenting, but many of them only display changes as a single fluid stream in the same file. These types of design tools cause conversations to end after they are resolved, update shared UI components automatically, and require designers to always display the most recent version unless these would-be useful features were manually disabled. 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.

    Create explicit checkpoints for discussion is the asynchronous design-critique strategy that I believe works the best. I’m going to use the term iteration post for this. It refers to a write-up or presentation of the design iteration that is followed by some sort of discussion thread. This can be used on any platform that can accommodate this structure. By the way, when I refer to a “write-up or presentation“, I’m including video recordings or other media too: as long as it’s asynchronous, it works.

    Using iteration posts has a number of benefits:

      The layouter can review the feedback from each iteration and get ready for the next one by creating a rhythm in the design work.
    • It makes decisions visible for future review, and conversations are likewise always available.
    • It keeps track of how the design evolved over time.
    • It might also make it simpler to collect and act on feedback depending on the tool.

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

    There isn’t, in my opinion, a universal format for iteration posts. But there are a few high-level elements that make sense to include as a baseline:

    1. The objective is to achieve
    2. The layout
    3. The list of changes
    4. The querys

    Each project is likely to have a goal, and it should most likely be one that has already been summarized in one sentence elsewhere, such as the client brief, the product manager’s outline, or the request of the project owner. So this is something that I’d repeat in every iteration post—literally copy and pasting it. To avoid having to search through information from multiple posts, the goal is to provide context and repeat what is necessary to complete each iteration post. The most recent iteration post will have everything I need if I want to know about the most recent design.

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

    The actual series of information-architecture outlines, diagrams, flows, maps, wireframes, screens, visuals, and any other kind of design work that has been done is then the design. In short, it’s any design artifact. In the work’s final stages, I prefer to use the term “blank” to emphasize that I’ll be displaying complete flows rather than individual screens to facilitate comprehension of the larger 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 a successful discussion, you should also include a bullet list of the changes made in the previous iteration to help people concentrate on what’s changed. This can be especially useful for larger pieces of work where keeping track, iteration after iteration, may prove difficult.

    And finally, as noted earlier, it’s essential that you include a list of the questions to drive the design critique in the direction you want. Creating a numbered list of questions can also help make it simpler to refer to each one 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.

    Even if these iterations posts are written and intended as checkpoints, they are not required to be exhaustive. A post might be a draft—just a concept to get a conversation going—or it could be a cumulative list of each feature that was added over the course of each iteration until the full picture is done.

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

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

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

    The evaluation

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

    Asynchronous feedback is particularly effective because of this shift, especially around these friction points:

      It makes it easier to respond to everyone.
    1. It reduces the frustration from swoop-by comments.
    2. It lowers the stakes we have in ourselves.

    The first friction point is having to press yourself 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. However, there may be times when some solutions may require more in-depth discussions and the number of replies may quickly rise, which can create tension between trying to be a good team player by responding to everyone and attempting the next design iteration. This might be especially true if the person who’s replying is a stakeholder or someone directly involved in the project who we feel that we need to listen to. We must come to terms with the fact that this pressure is perfectly normal and that it is human nature to try to accommodate those 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 could tag everyone in the previous discussion, but that is only a choice, not a requirement.
    • Another is to briefly reply 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. This may be particularly helpful if your workflow allows you to create a simplified checklist that you can use for the following iteration.

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

    Let’s begin by acknowledging again that there’s no need to reply to every comment. However, if responding to a previously litigated point is useful, a brief response with a link to the previous discussion for additional information is typically sufficient. Remember that repetition results in alignment, so it’s acceptable to repeat things occasionally!

    Swoop-by commenting can still be useful for two reasons: they might point out something that still isn’t clear, and they also have the potential to stand in for the point of view of a user who’s seeing the design for the first time. Yes, you’ll still be frustrated, but that might at least make things better for you.

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

    Remember to always remember that you don’t have to accept every piece of feedback, even though you need to listen to stakeholders, project owners, and specific advice. You have to analyze it and make a decision that you can justify, but sometimes “no” is the right answer.

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

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

  • Designing for the Unexpected

    Designing for the Unexpected

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

    Flash, Photoshop, and flexible style

    My go-to program when I first started designing websites was Photoshop. I created a 960px paint and set about creating a design that I would eventually lose information in. The growth phase aimed to achieve pixel-perfect accuracy by using set widths, fixed heights, and absolute placement.

    Ethan Marcotte’s speak at An Event Off and subsequent content” Responsive Web Design” in A List Off in 2010 changed all this. As soon as I learned about reactive style, I was convinced, but I also was 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. You can’t really put responsiveness at the end of a job, which I learned the hard way. To make smooth design, you need to prepare throughout the style phase.

    A novel method of style

    Developing flexible or liquid sites has always been about removing limitations, producing material that can be viewed on any system. I originally used local CSS and utility classes, but it now relies on percentage-based layouts:

    .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%;}

    Then with Sass so I could take advantage of @includes to re-use repeated slabs of script and walk up to more semantic html:

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

    internet inquiries

    The next ingredient for reactive 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. )

    internet inquiries 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 positions, I began to work more frequently with washable pieces.

    Our rely on multimedia queries resulted in parts that were tied to frequent window sizes. This is a real problem if element libraries are intended to be reused because they cannot be used when the devices being designed for match the pattern library’s viewport sizes, thus failing to achieve the “devices that don’t already occur” goal.

    Then there’s the problem of space. internet inquiries 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: A false sun or our lord?

    Container concerns have long been touted as an improvement upon press questions, but at the time of composing are unsupported in most computers. There are alternatives for JavaScript, but they can lead to dependencies and connectivity issues. The basic principle underlying box queries is that elements may change based on the size of their family box and not the viewport diameter, as seen in the following illustrations.

    One of the biggest arguments in favor of box concerns is that they help us create elements or design designs that are really reusable because they can be picked up and placed somewhere in a design. This is a significant step in the direction of a component-based design that can be used with any device, regardless of size.

    In other words, responsive components to replace responsive layouts.

    Container queries will enable us to design components that can be placed in a sidebar or in the main content and respond accordingly rather than designing pages that respond to the browser or device size.

    My concern is that we are still using layout to determine when a design needs to adapt. This approach will always be restrictive because we will still require predetermined breakpoints. For this reason, my main question with container queries is, How would we decide when to change the CSS used by a component?

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

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

    In this instance, the container’s dimensions are not what should be used to dictate the design; rather, the image is.

    It’s hard to say for sure whether container queries will be a success story until we have solid cross-browser support for them. Responsive component libraries would undoubtedly change the way we design them, and they would increase the possibilities for reuse and scale design. But maybe we will always need to adjust these components to suit our content.

    CSS is evolving.

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

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

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

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

    The biggest benefit of all this is you don’t need to wrap elements in container rows. Without rows, content is not directly related to page markup, allowing for changes or additions to content without further development.

    This is a significant improvement when it comes to developing designs that allow for dynamic content, but CSS Subgrid is the real game changer for flexible designs.

    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. Subgrid also enables us to create designs that can be modified to fit changing content. Subgrid at the time of writing is only supported in Firefox but the above code can be implemented behind an @supports feature query.

    Intrinsic layouts

    I’d be remiss not to mention intrinsic layouts, the term created by Jen Simmons to describe a mixture of new and old CSS features used to create layouts that respond to available space.

    Columns with percentages are flexible in responsive layouts. 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 distinguishes intrinsic design is that it not only creates designs that can withstand future devices but also helps scale designs without losing flexibility. Components and patterns can be lifted and reused without the prerequisite of having the same breakpoints or the same amount of content as in the previous implementation.

    They now have the ability to adapt to the content both inside and outside of them. With an intrinsic approach, we can construct responsive components without depending on container queries.

    Another 2010 moment?

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

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

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

    Another could be that I feel more prepared for change now. I was new to design in general in 2010; the shift was frightening and required a lot of learning. Also, an intrinsic approach isn’t exactly all-new, it’s about using existing skills and existing CSS knowledge in a different way.

    You can’t framework your way out of a content issue.

    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.

    Additionally, there are design tools. We probably all, at some point in our careers, used Photoshop templates for desktop, tablet, and mobile devices to drop designs in and show how the site would look at all three stages.

    How do you do that right away, with each component responding to content and layout flexing as and when necessary? This type of design must happen in the browser, which personally I’m a big fan of.

    Another topic that has persisted for years is the debate over “whether designers should code.” 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. Still in use? Is the design too reliant on the current content?

    I’m personally anticipating the day when a design component can truly be flexible and adapt to both its space and content without relying on the device or container dimensions.

    Content first

    Content is not a fixed thing. After all, to design for the unknown or unexpected we need to account for content changes like our earlier Subgrid card example that allowed the cards to respond to adjustments to their own content and the content of 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. This was frequently accomplished with Sass mixins in the past, but it was frequently limited to switching from left-to-right to right-to-left orientation.

    In the Sass version, directional variables need to be set.

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

    These variables can be used as values.

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

    —or as properties.

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

    However, with the addition of native logical properties, there is no longer a need to rely on Sass ( or a comparable tool ) and pre-planning that would have 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);}

    As long as the element’s width is not greater than 300px, the element in the figure above will cover 50 % of its container.

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

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

    As long as the element’s width is at least 300px, it will now cover 50 % of its container. 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 distinguish between markup and content, which means that user modifications will not have an impact on the design. We can start to future-proof designs by planning for unexpected changes in language or direction. Additionally, we can increase flexibility by enabling more or less content to be displayed correctly by matching desired dimensions with adaptable alternatives.

    Situation first

    We can address device flexibility by changing our approach, which focuses on content and space rather than devices, as we’ve discussed so far. But what about that last bit of Jeffrey Zeldman’s quote,”… situations you haven’t imagined”?

    It’s a completely different design process for someone using a mobile phone and moving through a crowded street in glaring sunshine from a person 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 give people choices.

    Responsible design

    There are places on the planet where mobile data is prohibitively expensive and where broadband infrastructure is sparse or absent.

    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, in the real world, 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. 

      

    Additionally, there is native lazy loading, which indicates that only the most crucial files should be downloaded.

    …

    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.

    internet inquiries 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. Because of these checks, we can offer options that work for multiple situations, not just one-size-fits-all.

    As of this writing, the Media Queries Level 5 spec is still under development. It brings up some really intriguing queries that will eventually enable us to design for a number of other unanticipated situations.

    For example, there’s a light-level feature that allows you to modify styles if a user is in sunlight or darkness. These features, which are enhanced by custom properties, make it simple to create designs or themes for particular 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. 

    internet inquiries 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 expect is for things to change. With foldable screens already available on the market, devices in particular change more quickly than we can keep up.

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

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

    A good design for the unexpected should allow for change, give choice, and give control to the people we serve: our users themselves.