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  • Supergirl Star Confirms Movie Sticks to the Comics

    Supergirl Star Confirms Movie Sticks to the Comics

    Everyone is aware of James Gunn’s defiant comic book dude behavior. His recent assignments have included significant adaptations of works from the likes of Marvel and DC, including bringing Z-list actors like Peacemaker, Javelin, and, of course, Taserface to the camera. However, Superman draws inspiration from All-Star Superman and The Suicide Squad […]…

    On Den of Geek, the second post Supergirl Star Confirms a Movie Sticks to the Comics appeared.

    There are many lingering questions about Doctor Who and the potential of the beloved sci-fi franchise today that Disney and the BBC have formally split up. Who will enjoy the upcoming Doctor? How will the year 15 finale’s entire Billie Piper story spin be cleaned up? Hmm, where will the show also be broadcast outside of the United Kingdom? The death of the spinoff The War Between the Land and the Sea seems to be a fairly minor issue with all of these pressing issues still unresolved. Mainly because it’s unclear how many fans actually wanted this show.

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

    Therefore, it definitely doesn’t surprise anyone that the six-part episode is the first target of the messy conflict between the two production partners. Disney is suddenly more laissez-faire about its transfer plans, despite the BBC’s confirmation that The War Between the Land and the Sea will be broadcast by the end of the year. While Doctor Who was simultaneously streamed in America along with its U.K. launch, the general attitude toward its most recent prequel is more of a “we’ll get to it when we get to it” vibe. In a nutshell, no one knows when American fans ( or anyone who isn’t British ) will be able to watch the show.

    Given director Russell T. Davies ‘ claim that the line is” a huge, spectacular Christmas treat,” The War Between the Land and the Sea will be available on BBC One and BBC itunes in December. But it won’t appear on Disney + “until 2026”. Viewers will be forced to go back in time to the good old days of hiding clues online for what might be months before they can watch the show for themselves because of this unknown launch window.

    The series ‘ last component, which is the final component of the original production agreement between Disney and the BBC, features franchise standard Jemma Redgrave, Gugu Mbatha-Raw, and Russell Tovey in a tale that theoretically explores how Earth copes with an alien danger when the Doctor isn’t there to assist. ( We just won’t ask how anyone seems to plan to visit Donna Noble’s home to check in with the Time Lord. )

    The Sea Devils, a well-known monster, are responsible for the mysterious risk, and there is a conflict between humans and the old creatures that is fueled by climate change. Put another way: It’s unclear whether or not this kind of adventure was very high on any particular Whovian’s list of must-see items, but since the show is canon, it’s likely that even the most die-hard completionists ( read: me ) will continue to watch and tune in. However, it is still up to us to determine when exactly that will happen. &nbsp,

    The episode Doctor Who Sea Devils Spinoff will finally be shown on Den of Geek.

  • How The Witcher Season 4 Gave Yennefer Her Big Hero Moment

    How The Witcher Season 4 Gave Yennefer Her Big Hero Moment

    This article contains spoilers for winter 4 of The Witcher. Season 4 of The Witcher is full of significant changes. The most obvious is, of course, Henry Cavill’s departure, and Liam Hemsworth has taken over the position of Geralt of Rivia. However, it’s possible to contest whether changing an artist, […]

    The first article on Den of Geek was How The Witcher Season 4 Gave Yennefer Her Great Hero Moment.

    There are many lingering questions about Doctor Who and the potential of the beloved sci-fi franchise today that Disney and the BBC have formally split up. Who will enjoy the upcoming Physician? How will they attempt to remove the entire Billie Piper story twist from the year 15 episode? Where will the show actually be broadcast outside of the United Kingdom, haha? The death of the spinoff The War Between the Land and the Sea seems to be a fairly minor issue with all of these pressing issues still unresolved. Mainly because it’s unclear how many fans actually wanted this show.

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

    Therefore, it definitely doesn’t surprise anyone that the six-part theatre is the first target of the messy conflict between the two production partners. Disney is suddenly more laissez-faire about its transfer plans, despite the BBC’s confirmation that The War Between the Land and the Sea will be broadcast by the end of the year. While Doctor Who was simultaneously streamed in America along with its U.K. debut, the general attitude toward its most recent subsidiary is more of a “we’ll get to it when we get to it” vibe. In a nutshell, no one knows when American fans ( or anyone who isn’t British ) will be able to watch the show.

    Given director Russell T. Davies ‘ claim that the series is” a huge, magnificent Christmas treat,” The War Between the Land and the Sea will be available on BBC One and BBC itunes in December. This is probably in period for the holidays. But it won’t appear on Disney + “until 2026”. Fans may be forced to go back to the good old days of watching spoilers net for what might be months before they are able to see the show for themselves because of this unknown release window.

    The series ‘ last component, which is the final component of the original production agreement between Disney and the BBC, features franchise standard Jemma Redgrave, Gugu Mbatha-Raw, and Russell Tovey in a tale that theoretically explores how Earth copes with an alien danger when the Doctor isn’t there to assist. ( We just won’t ask how anyone seems to plan to visit Donna Noble’s home to check in with the Time Lord. )

    The Sea Devils, one of the traditional monsters, present the threat of mysterious life, and there is some sort of climate-change-fueled discord between humans and the old creatures. Put another way, it’s not clear whether or not this kind of adventure was on any particular Whovian’s list of must-see items, but since the show is canon, it’s likely that even the most devoted completionists ( read: me ) will continue to watch and tune in. However, it is still up to us to determine when exactly that will happen. &nbsp,

    The episode Doctor Who Sea Devils Spinoff will finally be shown on Den of Geek.

  • The Witcher Fleshes Out The Rats’ Story With Surprise Netflix Movie

    The Witcher Fleshes Out The Rats’ Story With Surprise Netflix Movie

    Everyone will finally get a chance to weigh in on the franchise’s ( bold ) status now that The Witcher season 4 has arrived, which means that everyone is going to have a chance to do so. a “foolhardy” half through its work, the company chooses to switch out its result actor and determine whether Liam Hemsworth is capable of filling Henry Cavill’s shoes. ( Spoiler alert: He’s essentially fine )? But as it turns out, […]

    The Witcher Fleshes Out The Rats ‘ Story With Surprise Netflix Movie- The Witcher initially appeared on Den of Geek.

    There are many lingering questions about Doctor Who and the prospect of the beloved sci-fi franchise today that Disney and the BBC have formally split up. Who will enjoy the upcoming Doctor? How will they attempt to remove the entire Billie Piper story twist from the year 15 episode? Where will the show also be broadcast outside of the United Kingdom, haha? The death of the spinoff The War Between the Land and the Sea seems to be a fairly minor issue with all of these pressing issues still unresolved. Mainly because it’s unclear how many fans actually wanted this present in the first place.

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

    Therefore, it definitely doesn’t surprise anyone that the six-part episode is the first target of the messy conflict between the two production partners. Disney is suddenly more laissez-faire about its launch plans, despite the BBC’s confirmation that The War Between the Land and the Sea will be broadcast by the end of the year. While Doctor Who was simultaneously streamed in America along with its U.K. debut, the general attitude toward its most recent subsidiary is more of a “we’ll get to it when we get to it” vibe. In a nutshell, no one is aware when American fans ( or anyone who isn’t British ) will be able to watch the show.

    Given director Russell T. Davies ‘ claim that the series is” a large, magnificent Christmas treat,” The War Between the Land and the Sea will be available on BBC One and BBC itunes in December. This is probably in period for the holidays. But it won’t appear on Disney + “until 2026”. Fans may be forced to go back to the good old days of watching spoilers net for what might be months before they are able to see the show for themselves because of this unknown release window.

    The series ‘ last component, which is the final component of the original production agreement between Disney and the BBC, features franchise standard Jemma Redgrave, Gugu Mbatha-Raw, and Russell Tovey in a tale that theoretically explores how Earth copes with an alien danger when the Doctor isn’t there to assist. ( We won’t even inquire as to why no one seems to want to check in with Donna Noble, who is currently residing at her home. )

    The Sea Devils, one of the traditional monsters, present the threat of mysterious life, and there is some sort of climate-change-fueled discord between humans and the old creatures. Put another way: It’s unclear whether or not this kind of adventure was very high on any particular Whovian’s list of must-see items, but since the show is canon, it’s likely that even the most die-hard completionists ( read: me ) will continue to watch and tune in. However, it is still up to us to determine when exactly that will happen. &nbsp,

    The episode Doctor Who Sea Devils Spinoff will finally be shown on Den of Geek.

  • The Conjuring Already Back from the Dead With Prequel in Development

    The Conjuring Already Back from the Dead With Prequel in Development

    We administered Next Customs very shortly, turns out. The Conjuring: Next Customs creator Michael Chaves announced the company was complete just last week. This is the last chapter, he declared. It’s the final one, I say. No other Imagining films are available. The only way to stop it is unquestionably. And yet, trustworthy inside Borys System of The Hollywood Reporter […]…

    Den of Geek‘s first publish The Conjuring Now Back from the Dead With Prequel in Development.

    There are many lingering questions about Doctor Who and the potential of the beloved sci-fi franchise today that Disney and the BBC have formally split up. Who will enjoy the upcoming Doctor? How will the year 15 finale’s entire Billie Piper story spin be cleaned up? Where will the show actually be broadcast outside of the United Kingdom, haha? The tragedy of the spinoff The War Between the Land and the Sea seems like a fairly minor issue with all of these significant issues still unresolved. Especially because it’s unclear how many fans actually wanted this present in the first place.

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

    The six-part episode is therefore the first victim of the untidy conflict between the two production partners, which probably doesn’t surprise anyone. Disney is suddenly more laissez-faire about its transfer plans, despite the BBC’s confirmation that The War Between the Land and the Sea will be broadcast by the end of the year. While Doctor Who had a simultaneous U.K. debut and a streaming service in America, the public’s reaction to its most recent subsidiary is more of a “we’ll get to it when we get to it.” In a nutshell, no one is aware when American fans ( or anyone who isn’t British ) will be able to watch the show.

    Given director Russell T. Davies ‘ claim that the line is” a huge, spectacular Christmas treat,” The War Between the Land and the Sea will be available on BBC One and BBC youtube in December. But it won’t appear on Disney + “until 2026”. Fans will have to go back in time to the good old days of hiding clues online for what might be months before they can watch the show for themselves because of this unspecified launch window.

    The last component of the original production agreement between Disney and the BBC is the series, which features franchise normal Jemma Redgrave, Gugu Mbatha-Raw, and Russell Tovey in a thematic plot that potentially explores how Earth responds to an alien threat when the Doctor isn’t there to lend a hand. ( We just won’t ask how anyone seems to plan to visit Donna Noble’s home to check in with the Time Lord. )

    The Sea Devils, a well-known monster, are responsible for the mysterious danger, and there is a conflict between humans and the old creatures that is fueled by climate change. Put another way, it’s not clear whether or not this kind of adventure was on any particular Whovian’s list of must-see items, but since the show is canon, it’s likely that even the most devoted completionists ( read: me ) will continue to watch and tune in. However, when exactly will we be able to accomplish that is still up for grabs. &nbsp,

    The episode Doctor Who Sea Devils Spinoff will ultimately be shown on Den of Geek.

  • Doctor Who Sea Devils Spinoff Will Premiere… Eventually

    Doctor Who Sea Devils Spinoff Will Premiere… Eventually

    There are many lingering questions about Doctor Who and the prospect of the recognizable sci-fi franchise today that Disney and the BBC have actually broken up. Who will enjoy the upcoming Doctor? How will the year 15 finale’s entire Billie Piper story spin be cleaned up? ]… ]

    The episode Doctor Who Sea Devils Spinoff Will End Up Being The First on Den of Geek.

    There are many lingering questions about Doctor Who and the potential of the beloved sci-fi franchise today that Disney and the BBC have formally split up. Who will perform the upcoming Doctor? How will the year 15 finale’s entire Billie Piper story spin be cleaned up? Where will the show also be broadcast outside of the United Kingdom, haha? The death of the spinoff The War Between the Land and the Sea seems like a fairly minor issue with all of these significant issues still unresolved. Mainly because it’s unclear how many fans actually wanted this present in the first place.

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

    Therefore, it definitely doesn’t surprise anyone that the six-part theatre is the first target of the messy conflict between the two production partners. Disney is suddenly more laissez-faire about its transfer plans, despite the BBC’s confirmation that The War Between the Land and the Sea will be broadcast by the end of the year. While Doctor Who had a simultaneous U.K. launch and a streaming service in America, the public’s reaction to its most recent subsidiary is more of a “we’ll get to it when we get to it.” In a nutshell, no one is aware when American fans ( or anyone who isn’t British ) will be able to watch the show.

    Given director Russell T. Davies ‘ claim that the series is” a huge, magnificent Christmas treat,” The War Between the Land and the Sea will be available on BBC One and BBC itunes in December. This is probably in period for the holidays. But it won’t appear on Disney + “until 2026”. Fans will have to go back in time to the good old days of hiding clues online for what might be months before they can watch the show for themselves because of this unspecified launch window.

    The series ‘ last component, which is the final component of the original production agreement between Disney and the BBC, features franchise standard Jemma Redgrave, Gugu Mbatha-Raw, and Russell Tovey in a tale that theoretically explores how Earth copes with an alien danger when the Doctor isn’t there to assist. ( We just won’t ask how anyone seems to plan to visit Donna Noble’s home to check in with the Time Lord. )

    The Sea Devils, one of the traditional monsters, present the danger of aliens and attributes some sort of climate-change-fueled discord between humanity and the old animals. Put another way, it’s not clear whether or not this kind of adventure was on any particular Whovian’s list of must-see items, but since the show is canon, it’s likely that even the most devoted completionists ( read: me ) will continue to watch and tune in. However, when exactly will we be able to accomplish that is still up for grabs. &nbsp,

    The episode Doctor Who Sea Devils Spinoff will finally be shown on Den of Geek.

  • Philippou Brothers Shake the Cursed Hand of Meta for Talk to Me VR Spinoff

    Philippou Brothers Shake the Cursed Hand of Meta for Talk to Me VR Spinoff

    Teens discover a cursed cement hand in the 2022 A24 film Talk to Me, which allows anyone to have it. The youth understand it anyhow, leading to all kinds of horrible, horrible things, despite knowing that it leads directly to Hell and despite knowing that it opens them up to all kinds of sin.

    The second post from Philippou Brothers Shake the Cursed Hand of Meta for the Talk to Me VR Spinoff appeared on Den of Geek.

    There are many lingering questions about Doctor Who and the potential of the recognizable sci-fi franchise today that Disney and the BBC have actually broken up. Who will perform the upcoming Doctor? How will the year 15 finale’s entire Billie Piper story spin be cleaned up? Where will the present also be broadcast outside of the United Kingdom, haha? The death of the spinoff The War Between the Land and the Sea seems to be a fairly minor issue with all of these pressing issues still unresolved. Mainly because it’s unclear how many fans actually wanted this show.

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

    The six-part theatre is therefore the first victim of the untidy conflict between the two production partners, which probably doesn’t surprise anyone. Disney is suddenly more laissez-faire about its transfer plans, despite the BBC’s confirmation that The War Between the Land and the Sea will be broadcast by the end of the year. While Doctor Who had a simultaneous U.K. debut and a streaming service in America, the general attitude toward its most recent subsidiary is more of a “we’ll get to it when we get to it” vibe. In a nutshell, no one is aware when American fans ( or anyone who isn’t British ) will be able to watch the show.

    Given director Russell T. Davies ‘ claim that the series is” a large, spectacular Christmas treat,” The War Between the Land and the Sea will be available on BBC One and BBC itunes in December. This is probably in period for the holidays. But it won’t appear on Disney + “until 2026”. Viewers will be forced to go back in time to the good old days of hiding clues online for what might be months before they can watch the show for themselves because of this unknown launch window.

    The series ‘ last component, which features franchise standard Jemma Redgrave, Gugu Mbatha-Raw, and Russell Tovey, is the final chapter of the original production agreement between Disney and the BBC. It will potentially explore how Earth copes with an alien danger when the Doctor isn’t there to lend a hand. ( We just won’t ask how anyone seems to plan to visit Donna Noble’s home to check in with the Time Lord. )

    The Sea Devils, a well-known monster, are responsible for the mysterious danger, and there is a conflict between humans and the old creatures that is fueled by climate change. Put another way: It’s not clear that this kind of adventure was very high on any particular Whovian’s list of must-see items, but since the show is a canon, it’s likely that the most die-hard completionists ( read: me ) will still stay tuned and watch. However, it is still up to us to determine when exactly that will happen. &nbsp,

    The episode Doctor Who Sea Devils Spinoff may ultimately be shown on Den of Geek.

  • Voice Content and Usability

    Voice Content and Usability

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

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

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

    Spoken speech lacks this luxury. Besides the visual cues that mark conversations with emphasis and personal context, there are also linguistic cues and outspoken behaviors that mimic conversation in complex ways: how something is said, never what. Our spoken language conveys much more than the published word can actually contain, whether it’s rapid-fire, low-pitched, high-decibel, sarcastic, awkward, or groaning. But when it comes to tone interfaces—the devices we conduct spoken discussions with—we experience exciting difficulties as designers and content strategists.

    Voice-to-text relations

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

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

    These three categories, which I refer to as interpersonal, informational, and prosocial, also apply to basically every voice interaction: a solitary conversation that starts with the voice interface’s initial greeting and ends with the user leaving the interface. Notice here that a discussion in our individual sense—a talk between people that leads to some result and lasts an arbitrary length of time—could encompass many interpersonal, technical, and interpersonal voice interactions in succession. In other words, a voice interaction is a conversation, but it is not always just one voice interaction.

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

    That leaves two different types of conversations we can have with one another that a voice interface can also have easily, including one that is transactional and one that is informational, teaching us something new ( “discuss a musical” ).

    Transactional voice interactions

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

    How are things going, Alison?

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

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

    Burhan: Sure, what size?

    Large, Alison.

    Burhan: Anything else?

    Alison: No, that’s it.

    Burhan: Something to drink?

    Alison, I’ll have a bottle of Coke.

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

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

    Informational voice interactions

    Meanwhile, some conversations are primarily about obtaining information. Alison might only want to place an order at Crust Deluxe, but she might not want to leave without a pizza at all. She might be just as interested in whether they serve halal or kosher dishes, gluten-free options, or something else. We’re after much more than just a prosocial mini-conversation at the beginning, even though we do it once more to establish politeness.

    How are things going, Alison?

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

    Alison: Can I ask a few questions?

    Burhan: Of course! Go right ahead.

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

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

    Alison: What about gluten-free pizzas?

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

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

    Burhan: Anytime, come back soon!

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

    Voice Interfaces

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

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

    IVR ( interactive voice response ) systems

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

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

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

    Screen readers

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

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

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

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

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

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

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

    Voice assistants

    Many of us immediately associate voice assistants with the subset of voice interfaces that are now commonplace in living rooms, smart homes, and offices with the film HAL from 2001: A Space Odyssey or Majel Barrett’s voice as the omniscient computer in Star Trek. Voice assistants are akin to personal concierges that can answer questions, schedule appointments, conduct searches, and perform other common day-to-day tasks. And because of their assistive potential, they are quickly receiving more attention from accessibility advocates.

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

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

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

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

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

    Voice content

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

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

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

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

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

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

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

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

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

  • Designing for the Unexpected

    Designing for the Unexpected

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

    Flash, Photoshop, and flexible pattern

    When I first started designing sites, my go-to technology was Photoshop. I started by making a structure for a 960px canvas that I would later add willing to. The growth phase was about attaining pixel-perfect precision using set widths, fixed levels, and absolute placement.

    All of this was altered by Ethan Marcotte’s speak at An Event Apart and the subsequent article in A Checklist Off in 2010. I was sold on reactive style as soon as I heard about it, but I was even terrified. The pixel-perfect models full of special figures that I had formerly prided myself on producing were no longer good enough.

    My first encounter with flexible style didn’t help my fear. My second project was to get an active fixed-width website and make it reactive. What I discovered the hard manner was that you can’t really put adaptability at the end of a job. To make smooth design, you need to prepare throughout the style stage.

    A new way to style

    Removing restrictions and creating content that can be viewed on any system has always been the goal of designing responsive or smooth websites. It relies on the use of percentage-based design, which I immediately achieved with local CSS and power groups:

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

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

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

    Media concerns

    The next ingredient for flexible design is press queries. Without them, regardless of whether the information was still readable, may reduce to fit the available space.

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

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

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

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

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

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

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

    Container queries: our savior or a false dawn?

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

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

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

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

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

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

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

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

    Without reliable cross-browser support, it’s difficult to say for certain whether container queries will succeed. Responsive component libraries would definitely evolve how we design and would improve the possibilities for reuse and design at scale. However, we might always need to modify these elements to fit our content.

    CSS is changing

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

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

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

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

    The biggest benefit of all of this is that you don’t need to wrap any containers in rows. Without rows, content isn’t tied to page markup in quite the same way, allowing for removals or additions of content without additional development.

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

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

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

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

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

    Intrinsic layouts

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

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

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

    —Jen Simmons,” Designing Intrinsic Layouts”

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

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

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

    Another 2010 moment?

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

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

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

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

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

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

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

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

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

    How do you do that now, with each component responding to content and layouts flexing as and when they need to? Personally, I’m a big fan of this kind of design in the browser.

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

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

    Content should come first

    Content is not constant. After all, to design for the unanticipated or unexpected, we must take into account changes in content, like in our earlier Subgrid card illustration, which allowed the cards to modify both their own content and that of their sibling components.

    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 dated markup tricks like this —

    First line of text with different styling...

    —we can target content based on where it appears.

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

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

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

    Directional variables must be set in the Sass version.

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

    These variables can be used as values—

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

    —or as real estate.

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

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

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

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

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

    Fluid and fixed

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

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

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

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

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

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

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

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

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

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

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

    First, the situation

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

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

    This is why making a choice is so crucial. One size never fits all, so we need to design for multiple scenarios to create equal experiences for all our users.

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

    Responsible design is important.

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

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

    Chris Ashton

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

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

    Image alt text

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

      

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

    …

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

    So how can we put users in control?

    The media queries are now being returned.

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

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

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

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

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

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

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

    Expect the unexpected

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

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

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

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

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

  • A Content Model Is Not a Design System

    A Content Model Is Not a Design System

    Do you recall the days when having a fantastic site was sufficient? Nowadays, people are getting answers from Siri, Google search fragments, and mobile applications, not only our websites. Forward-thinking companies have adopted an holistic content approach whose goal is to reach audiences across a variety of digital channels and platforms.

    How can a content management system ( CMS ) be set up to reach your current and future audience? I learned the hard way that creating a content model—a concept of information types, attributes, and relationships that let people and systems understand content—with my more comfortable design-system wondering would collapse my patient’s holistic information strategy. By developing content versions that are conceptual and even join related content, you can avoid that result.

    I just had the opportunity to direct the CMS application for a Fortune 500 company. The customer was excited by the benefits of an holistic information plan, including material modify, multichannel marketing, and robot delivery—designing content to be comprehensible to bots, Google knowledge panels, snippets, and voice user interfaces.

    A content type is essential for an omnichannel information strategy, and the model needed conceptual types, which are types of types that are categorized according to their meaning rather than their presentation. Our goal was to allow writers to produce original content that could be used wherever they felt was most useful. But as the job proceeded, I realized that supporting material utilize at the range that my client needed required the whole group to identify a new pattern.

    Despite our best efforts, we remained influenced by design systems, which we were more comfortable with. An holistic content strategy cannot rely on WYSIWYG equipment for design and layout, unlike web-focused material strategies. Our tendency to approach the material model with our common design-system thinking frequently led us to veer away from one of the main purposes of a material model: delivering content to audiences on various marketing channels.

    Two fundamental tenets must be followed in order to create a successful content model

    We had to explain to our designers, developers, and stakeholders that their previous web projects had taught them that content should be treated as visual building blocks that fit into layouts. The previous approach was not only more familiar but also more intuitive—at least at first—because it made the designs feel more tangible. We discovered two guiding principles that helped the team understand how a content model and the design processes we were familiar with were:

    1. Instead of layout, content models must define semantics.
    2. And content models should connect content that belongs together.

    Semantic content models

    A semantic content model uses type and attribute names that reflect the content’s intended purpose and not how it will be displayed. For example, in a nonsemantic model, teams might create types like teasers, media blocks, and cards. Although these types might make it simple to present content, they don’t aid in understanding the meaning of the content, which would have opened the door to the content presented in each marketing channel. In contrast, a semantic content model employs type names like product, service, and testimonial to allow for each delivery channel to interpret the content and use it as necessary.

    When you’re creating a semantic content model, a great place to start is to look over the types and properties defined by Schema. a community-driven resource for type definitions that are understandable on platforms like Google search.

    Benefits of a semantic content model include:

      Even if your team doesn’t care about omnichannel content, a semantic content model decouples content from its presentation so that teams can evolve the website’s design without needing to refactor its content. In this way, content can withstand irrational website redesigns.
    • A semantic content model also gives you a competitive advantage. By adding structured data based on Schema. Using its types and properties, a website can provide hints to help Google understand the content, display it in search snippets or knowledge panels, and use it to respond to voice-interface user questions. Potential visitors could access your content without ever walking into your website.
    • Beyond those practical benefits, you’ll also need a semantic content model if you want to deliver omnichannel content. Delivery channels must be able to comprehend the same content in order to use it across multiple marketing channels. For instance, if your content model provided a list of questions and answers, it could be used as a voice interface or by a bot to answer frequently asked questions ( FAQ ) pages.

    For example, using a semantic content model for articles, events, people, and locations lets A List Apart provide cleanly structured data for search engines so that users can read the content on the website, in Google knowledge panels, and even with hypothetical voice interfaces in the future.

    Content models that connect

    Instead of slicing up related content across disparate content components, I’ve come to the realization that the best models are those that are semantic and also connect related content components ( such as a FAQ item’s question and answer pair ). A good content model connects content that should remain together so that multiple delivery channels can use it without needing to first put those pieces back together.

    Consider creating an essay or article. The unity of an article’s parts determines its meaning and usefulness. Would one of the headings or paragraphs be meaningful on their own without the context of the full article? Our well-known design-system thinking on our project frequently led us to want to develop content models that would divide content into distinct chunks to fit the web-centric layout. Similar effects could have been felt to an article that had its headline removed. Because we were slicing content into standalone pieces based on layout, content that belonged together became difficult to manage and nearly impossible for multiple delivery channels to understand.

    Let’s take a look at how connecting related content works in a real-world setting to illustrate. The client’s design team created a challenging layout for a software product page that included numerous tabs and sections. Our instincts were to follow suit with the content model. Shouldn’t we make adding any number of tabs in the future as simple and as flexible as possible?

    Because our design-system instincts were so well-known, it appeared that we needed a “tab section” content type so that multiple tab sections could be added to a page. Each tab section would display various types of content. One tab might contain the software’s information or specifications. A list of resources might be found under another tab.

    Our inclination to break down the content model into “tab section” pieces would have led to an unnecessarily complex model and a cumbersome editing experience, and it would have also created content that couldn’t have been understood by additional delivery channels. How would a different system have been able to determine which “tab section” referred to a product’s specifications or resource list, for instance? Would that system have had to have used tab sections and content blocks to calculate this? This would have prevented the tabs from ever being rearranged, and logic would have had to be added to each other delivery channel to interpret the layout of the design system. Furthermore, if the customer were to have no longer wanted to display this content in a tab layout, it would have been tedious to migrate to a new content model to reflect the new page redesign.

    Our customer had a breakthrough when we realized that for each tab, their customer had a specific purpose in mind: it would reveal specific information like the software product’s overview, specifications, related resources, and pricing. Once implementation began, our inclination to focus on what’s visual and familiar had obscured the intent of the designs. It wasn’t long after a little digging that the idea of tabs wasn’t applicable to the content model. What was important was the meaning of the information that was intended to be displayed in the tabs.

    In fact, the customer could have decided to display this content in a different way—without tabs—somewhere else. In response to this realization, we decided to create content types for the software product based on the meaningful qualities the client wanted to display on the web. There were rich attributes like screenshots, software requirements, and feature lists as well as obvious semantic attributes like name and description. The software’s product information stayed together because it wasn’t sliced across separate components like “tab sections” that were derived from the content’s presentation. This content could be understood and presented by any delivery channel, including those that come up in the future.

    Conclusion

    In this omnichannel marketing project, we discovered that the best way to keep our content model on track was to ensure that it was semantic ( with type and attribute names that reflected the meaning of the content ) and that it kept content together that belonged together ( instead of fragmenting it ). These two ideas made it easier for us to decide what to do with the content model based on the design. Remember: If you’re developing a content model to support an omnichannel content strategy, or even if you just want to make sure Google and other interfaces understand your content, keep in mind:

    • A design system isn’t a content model. Team members may be persuaded to combine them and have their content model resemble their design system, so you should guard the semantic and contextual integrity of the content strategy throughout the entire implementation process. Without the use of a magic decoder ring, every delivery channel will be able to consume the content.
    • If your team is struggling to make this transition, you can still reap some of the benefits by using Schema. Your website uses structured data from org. The benefit of search engine optimization is a compelling reason on its own, even if additional delivery channels aren’t on the horizon in the near future.
    • Additionally, remind the team that decoupling the content model from the design will let them update the designs more easily because they won’t be held back by the cost of content migrations. They will be prepared for the upcoming big thing, and they will be able to create new designs without compromising the compatibility between the content and the design.

    You’ll help your team understand these principles by firmly defending them in their efforts to give content the attention it deserves as both your most valuable resource and your most effective way to engage with your audience.

  • Design for Safety, An Excerpt

    Design for Safety, An Excerpt

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

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

    The procedure for diverse safety

    Your objectives when designing for protection are to:

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

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

    • conducting studies
    • Creating tropes
    • Pondering issues
    • Designing answers
    • Testing for security

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

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

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

    Step 1: Conduct research

    A thorough analysis of how your technology might be used to abuse people as well as a detailed analysis of the experiences of those who have survived and perpetrated that kind of abuse should be included in the design research. At this stage, you and your team will investigate issues of interpersonal harm and abuse, and explore any other safety, security, or inclusivity issues that might be a concern for your product or service, like data security, racist algorithms, and harassment.

    broad research

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

    Specific research: Survivors

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

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

    Specific research: Abusers

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

    Step 2: Create archetypes

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

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

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

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

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

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

    Step 3: Remind yourself of your issues

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

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

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

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

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

    Step 4: Design solutions

    You should now be able to identify potential harm-causing uses for your product as well as survivor and abuser archetypes describing opposing user objectives. The next step is to identify ways to design against the identified abuser’s goals and to support the survivor’s goals. This is a good addition to existing design processes where you’re making recommendations for solutions to the various issues your research has identified.

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

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

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

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

    Step 5: Test for safety

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

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

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

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

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

    Abuse testing

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

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

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

    Testing for Survivors

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

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

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

    Stress testing

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