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  • Former Companion Millie Gibson Opens Up About Her Doctor Who Departure

    Former Companion Millie Gibson Opens Up About Her Doctor Who Departure

    When all is said and done, Doctor Who’s Disney+ years are likely going to be remembered for producing an awful lot of play in a relatively short time period. And seriously? Definitely. Whether it was the contentious season 15 finale that saw the ( seemingly last-minute ) return of Ncuti Gatwa or Ncuti Gatwa’s regeneration after only two seasons.

    Millie Gibson, a former colleague, opened up about her Doctor Who exit for the first time on Den of Geek.

    A kaiju may provide its all, and more, for a world to live. The King of the Monsters passes away on January 7, 2026. That’s right, in Godzilla #6, IDW Publishing will stop the world’s greatest dragon. And they’re bringing in a few people who are familiar with telling the story of the passing of a revered figure to help them honor the occasion.

    Dan Jurgens, who wrote and penciled 1992 &#8217, Superman# 75, the concern that saw the Man of Steel and the horrible Doomsday, will be the cover artist for Godzilla# 6. Additionally, Brett Breeding, who collaborated with Jurgens on Superman# 75, will pen the support. The include homages to that infamous tale, with the fell monster crumbling amid the rubble of a wonderful city and a torn flag in the foreground, are appropriately fitting.

    The death of Godzilla provided Jurgens with the perfect excuse to re-visit his most well-known job. I was absolutely interested in a particular Death of Godzilla cover that would be based on the classic include Brett Breeding and I did for Superman# 75, and Jurgens admitted to IGN. I’ve always loved the great man, but I haven’t had the chance to draw him, so this was the best way to rekindle that spark. Being able to relate was a lot of fun!

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

    One may wonder why in the earth IDW may kill off for a significant personality, especially one that has been a significant component of the publication &#8217, s line. However, any admirer of Kaiju can attest that Godzilla has appeared on screen several times before coming back in reboots or reimaginings. In fact, in issue #7, author Tim Seeley and designer Hendry Prasetya may be introducing a new version of Godzilla one month after his death in the film Godzilla# 6.

    Godzilla’s quick escape from the future is in line with some humorous book stories. No humorous book death stones, after all, come to mind when Jason Todd swings around as the Red Hood, Bucky swings around as the Winter Soldier, Barry Allen back in action as the Flash, and an alternative reality Gwen Stacy swings across the Spider-Verse. Perhaps Uncle Ben, who was once the most sanctified of humorous book deaths, can be found running a newspaper in Ultimate Spider-Man‘s sites.

    Death, according to legend, didn’t keep Superman for very long either, as Jurgens and his brother co-creators saw the Man of Steel replaced by four replacements, one of whom became Superboy, another became Steel, and a third who became the wicked Cyborg Superman, before the actual Kryptonian returned for genuine, albeit with an ugly mullet.

    In keeping with that, the Jurgens and Breeding include isn’t really a homage; it also serves as a guarantee that Godzilla will soon be back from the dead. Hopefully Jurgens won’t be doing the King of Monsters a horrible haircut this time around.

    On January 7, 2026, Godzilla# 6 will ship to humorous businesses.

    On Den of Geek, the second post Godzilla may perish by the same hands that killed Superman.

  • Nightmare on Elm Street Director Wants Jim Carrey As the Next Freddy Krueger

    Nightmare on Elm Street Director Wants Jim Carrey As the Next Freddy Krueger

    There is only one Freddy Krueger, and that is Robert Englund. Jackie Earle Haley did play the role of the scorched 2010 remake, but Englund weren’t restrain his role as the murderer from the Nightmare on Elm Street series. Even so, Freddy can’t stop time, and Englund’s [ …] age 78 years old…

    The second postNightmare on Elm Street Director Wants Jim Carrey As the Next Freddy Krueger was published on Den of Geek.

    A kaiju may offer its all, and more, for a world to live. The King of the Monsters passes away on January 7, 2026. That’s right, in Godzilla #6, IDW Publishing does put an end to the biggest monster of all time, in Godzilla #8. And they’re bringing in a couple of people who are familiar with telling the story of the passing of a famous figure to help them honor the occasion.

    Dan Jurgens, who wrote and penciled 1992 &#8217, Superman# 75, the concern that saw the Man of Steel and the terrible Doomsday, will be the cover artist for Godzilla# 6. Additionally, Brett Breeding, who collaborated with Jurgens on Superman# 75, did pen the handle. The handle homages to the legendary story, in which a fallen demon collapsed amid the wreckage of a wonderful city and a tattered flag in the foreground, are appropriately fitting.

    Jurgens used Godzilla’s death as a great reason to re-visit his most well-known work. I was absolutely interested in a particular Death of Godzilla cover that would be based on the classic include Brett Breeding and I did for Superman# 75, and Jurgens admitted to IGN. I’ve always loved the great man, but I haven’t had the chance to draw him, so this was the best way to rekindle that spark. It was a lot of fun to be able to help!

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

    One may wonder why in the universe IDW may kill off for a significant personality, especially one that has played such a significant role in the publisher’s story. However, any kaiju enthusiast will be aware that Godzilla has appeared on screen several days before coming back in reboots or rethinking. In fact, in matter #7, author Tim Seeley and designer Hendry Prasetya will make their first appearance in a new incarnation of Godzilla one month after his death in the film Godzilla# 6.

    Some comic book stories feature Godzilla’s quick escape from the future, which is in line with the comic book industry. No humorous book death stones, after all, come to mind when Jason Todd swings around as the Red Hood, Bucky swings around as the Winter Soldier, Barry Allen back in action as the Flash, and an alternative reality Gwen Stacy swings across the Spider-Verse. In Ultimate Spider-Man, you can find Uncle Ben running a paper, after the most holy of comic book demises.

    Death, according to Jurgens and his brother co-creators, did not hold Superman for pretty much either, as the actual Kryptonian did so with an ugly hairstyle. One of them became Superboy, another became Steel, and a third became the wicked Cyborg Superman.

    In keeping with that in mind, the Jurgens and Breeding cover isn’t just a homage; it’s also a promise that Godzilla will soon be back from the dead. Hopefully Jurgens won’t be doing the King of Monsters a terrible hairdo this time around.

    On January 7, 2026, Godzilla# 6 will be released in comic books.

    The first post on Den of Geek was entitled Godzilla Will Die by the Same Hands That Killed Superman.

  • Godzilla Will Die by the Same Hands That Killed Superman

    Godzilla Will Die by the Same Hands That Killed Superman

    A kaiju may offer its all, and more, for a world to live. The King of the Monsters passes away on January 7, 2026. That’s right, IDW Publishing may stop the world’s greatest monster in Godzilla# 6. And they’re bringing in]… to help them remember the occasion.

    On Den of Geek, the second post Godzilla may perish by the same hands that killed Superman.

    A kaiju will offer its all, and more, for a world to live. The King of the Monsters passes away on January 7, 2026. That’s right, in Godzilla #6, IDW Publishing will stop the world’s greatest demon. And they’re bringing in a few people who are familiar with telling the story of the passing of a revered figure to help them honor the occasion.

    Dan Jurgens, who wrote and penciled 1992’s Superman# 75, the matter in which the Man of Steel and the horrible Doomsday battled, may have in Godzilla# 6. Additionally, Brett Breeding, who collaborated with Jurgens on Superman# 75, will pen the support. The handle homages to the infamous story, in which a fallen demon collapsed amid the wreckage of a wonderful city and a tattered flag in the foreground, are appropriately fitting.

    The death of Godzilla provided Jurgens with the perfect excuse to re-visit his most well-known job. I was undoubtedly away for it when the good people at IDW inquired about a particular Death of Godzilla support that may play off the iconic include Brett Breeding and I did for Superman #75. &#8221, Jurgens confessed to IGN. I’ve always loved the great man, but I haven’t had the chance to draw him, so this was the best way to rekindle that spark. It was a lot of fun to be able to help!

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

    One may wonder why in the earth IDW may kill off for a significant personality, especially one that has been a significant component of the publication &#8217, s range. However, any admirer of Kaiju can attest that Godzilla has appeared on screen several times before coming back in remakes or reimaginings. In fact, in matter #7, author Tim Seeley and designer Hendry Prasetya will make their first appearance in a new incarnation of Godzilla one month after his death in the film Godzilla# 6.

    Several comic book stories feature Godzilla’s quick escape from the future, which is in line with the comic book industry. No humorous book death pieces, after all, come to mind when Jason Todd swings around as the Red Hood, Bucky swings around as the Winter Soldier, Barry Allen back in action as the Flash, and an alternative reality Gwen Stacy swings across the Spider-Verse. In Ultimate Spider-Man, you can find Uncle Ben running a paper, when the most holy of comic book demises.

    Death, according to legend, didn’t keep Superman for very long either, as Jurgens and his brother co-creators saw the Man of Steel replaced by four replacements, one of whom became Superboy, another became Steel, and a third who became the wicked Cyborg Superman, before the actual Kryptonian returned for genuine, albeit with an ugly mullet.

    In keeping with that, the Jurgens and Breeding include isn’t merely a homage; it also serves as a guarantee that Godzilla will soon be back from the dead. Hopefully Jurgens won’t be doing the King of Monsters a horrible hairstyle this time around.

    On January 7, 2026, Godzilla# 6 will be released in humorous books.

    On Den of Geek, the second post Godzilla may perish by the same hands that killed Superman.

  • Please Let Guillermo del Toro Make Phantom of the Opera

    Please Let Guillermo del Toro Make Phantom of the Opera

    Frankenstein, a upcoming Netflix drama from Guillermo del Toro, has been a director’s passion project for many years. In his 2018 BAFTA understanding conversation, he generally thanked Mary Shelley for being in the film, and has been discussing making a Frankenstein film since at least 2007. [ ]]Probably shouldn’t be as significant as this.

    The first article on Den of Geek was You Allow Guillermo del Toro Produce Phantom of the Opera.

    A kaiju may offer its all, and more, for a world to live. The King of the Monsters passes away on January 7, 2026. That’s right, in Godzilla #6, IDW Publishing does put an end to the biggest monster of all time, in Godzilla #8. And they’re bringing in a few people who are familiar with telling the story of the passing of a revered figure to help them honor the occasion.

    Dan Jurgens, who wrote and penciled 1992 &#8217, Superman# 75, the concern that saw the Man of Steel and the horrible Doomsday, will be the cover artist for Godzilla# 6. Additionally, Brett Breeding, who collaborated with Jurgens on Superman# 75, will pen the support. The handle homages to the legendary story, in which a fallen demon collapsed amid the wreckage of a wonderful city and a tattered flag in the foreground, are appropriately fitting.

    Jurgens used Godzilla’s death as a great excuse to re-visit his most well-known work. I was absolutely interested in a particular Death of Godzilla cover that would be based on the classic include Brett Breeding and I did for Superman# 75, and Jurgens admitted to IGN. I’ve always loved the great man, but I haven’t had the chance to draw him, so this was the best way to rekindle that spark. It was a lot of fun to be able to help!

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

    One may wonder why IDW would attempt to kill off for a significant character, especially one who has played such a significant role in the author’s story. However, any kaiju enthusiast will be aware that Godzilla has appeared on screen several days before coming back in reboots or rethinking. In fact, in matter #7, Tim Seeley and actor Hendry Prasetya will make their first appearance as Godzilla one fortnight after his death in the film Godzilla# 6.

    Godzilla’s swift exit from the future is in line with some comic book stories, and it is in line with some. No humorous book dying pieces, after all, come to mind when Jason Todd appears as the Red Hood, Bucky appears as the Winter Soldier, Barry Allen appears as the Display in motion, and Gwen Stacy appears in an alternate universe across the Spider-Verse. In Ultimate Spider-Man, you can find Uncle Ben running a paper, when the most holy of comic book demises.

    Death, according to legend, didn’t keep Superman for very long either, as Jurgens and his brother co-creators saw the Man of Steel replaced by four replacements, one of whom became Superboy, another became Steel, and a third who became the wicked Cyborg Superman, before the actual Kryptonian returned for genuine, albeit with an ugly mullet.

    In keeping with that, the Jurgens and Breeding include isn’t really a homage; it also serves as a guarantee that Godzilla will soon be back from the dead. Hopefully Jurgens won’t have to do a bad hairdo for the King of Monsters this time around.

    On January 7, 2026, Godzilla# 6 will be released in humorous books.

    On Den of Geek, the second post Godzilla may perish by the same hands that killed Superman.

  • I Saw the TV Glow Director to Finally Adapt an Iconic Graphic Novel

    I Saw the TV Glow Director to Finally Adapt an Iconic Graphic Novel

    People who want to think bad will have a good time. Black Hole is ultimately bringing it to life. Deadline is reporting that Charles Burns ‘ legendary comic is being [ …] after more than a decade of false starts, in which everyone from David Fincher to Neil Gaiman to Rick Famuyiwa tried to get involved.

    The first article on Den of Geek was I Saw the Screen Glow Director to Suddenly Adjust an Iconic Graphic Novel.

    A kaiju will offer its all, and more, for a world to live. The King of the Monsters passes away on January 7, 2026. That’s right, in Godzilla #6, IDW Publishing does put an end to the biggest monster of all time, in Godzilla #8. And they’re bringing in a couple of people who are familiar with telling the story of the passing of a famous find to help them honor the occasion.

    Dan Jurgens, who wrote and penciled 1992 &#8217, Superman# 75, the concern that saw the Man of Steel and the terrible Doomsday, will be the cover artist for Godzilla# 6. Additionally, Brett Breeding, who collaborated with Jurgens on Superman# 75, will pen the support. The include homages to the legendary story, in which a fallen demon collapsed amid the wreckage of a wonderful city and a tattered flag in the foreground, are appropriately fitting.

    Jurgens used Godzilla’s suicide as a great excuse to re-visit his most well-known work. I was undoubtedly away for it when the good people at IDW inquired about a particular Death of Godzilla support that may play off the iconic include Brett Breeding and I did for Superman #75. &#8221, Jurgens confessed to IGN. I’ve always loved the great man, but I haven’t had the chance to draw him, so this was the best way to rekindle that spark. It was a lot of fun to be able to help!

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

    One may wonder why in the earth IDW may kill off for a significant personality, especially one that has played such a significant role in the publisher’s story. However, any kaiju enthusiast will be aware that Godzilla has appeared on screen several times before coming back in reboots or rethinking. In fact, in issue #7, author Tim Seeley and designer Hendry Prasetya may be introducing a new version of Godzilla one month after his death in the film Godzilla# 6.

    Godzilla’s quick escape from the future is in line with some humorous reserve stories. No humorous book death pieces, after all, come to mind when Jason Todd swings around as the Red Hood, Bucky swings around as the Winter Soldier, Barry Allen back in action as the Flash, and an alternative reality Gwen Stacy swings across the Spider-Verse. In Ultimate Spider-Man, you can find Uncle Ben running a paper, after the most holy of comic book demises.

    Death, according to Jurgens and his brother co-creators, did not hold Superman for pretty much either, as the actual Kryptonian did so with an ugly hairstyle. One of them became Superboy, another became Steel, and a third became the wicked Cyborg Superman.

    In keeping with that in mind, the Jurgens and Breeding cover isn’t just a homage; it’s also a promise that Godzilla will soon be back from the dead. Hopefully Jurgens won’t be doing the King of Monsters a terrible hairdo this time around.

    On January 7, 2026, Godzilla# 6 will be released in comic books.

    The first post on Den of Geek was entitled Godzilla Will Die by the Same Hands That Killed Superman.

  • Could Star Trek: Starfleet Academy Solve a Long-Running Captain Sisko Mystery? 

    Could Star Trek: Starfleet Academy Solve a Long-Running Captain Sisko Mystery? 

    Star Trek: Starfleet Academy has a lot of potential. Maintain the franchise’s story in the 32nd centuries. Introduce a group of freshmen players and personalities who are ready to take risks in the near future. Present us some novel kinds. Give actors from the heavy industry like Holly Hunter and Paul Giamatti a chance [ …].

    Was the Star Trek: Starfleet Academy address a Protracted Captain Sisko Mystery? second appeared on Den of Geek.

    A kaiju may offer its all, and more, for a world to live. The King of the Monsters passes away on January 7, 2026. That’s right, in Godzilla #6, IDW Publishing does put an end to the biggest dragon ever. And they’re bringing in a few people who are familiar with telling the story of the passing of a revered figure to help them honor the occasion.

    Dan Jurgens, who wrote and penciled 1992 &#8217, Superman# 75, the concern that saw the Man of Steel and the horrible Doomsday, will be the cover artist for Godzilla# 6. Additionally, Brett Breeding, who collaborated with Jurgens on Superman# 75, did pen the handle. The handle homages to the infamous story, in which a fallen demon collapsed amid the wreckage of a wonderful city and a tattered flag in the foreground, are appropriately fitting.

    The death of Godzilla provided Jurgens with the perfect excuse to re-visit his most well-known job. I was absolutely interested in a particular Death of Godzilla cover that would be based on the classic include Brett Breeding and I did for Superman# 75, and Jurgens admitted to IGN. This was the best way to snag that ache because I’ve always been a fan of the big man but haven’t had the chance to attract him. It was a lot of fun to be able to help!

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

    One may wonder why in the earth IDW may kill off for a significant personality, especially one that has been a significant component of the publication &#8217, s range. However, any kaiju enthusiast will be aware that Godzilla has passed away numerous times on screen before coming back in reboots or retelling. In fact, in matter #7, Tim Seeley and actor Hendry Prasetya will make their first appearance as Godzilla one fortnight after his death in the film Godzilla# 6.

    Godzilla’s quick escape from the future is in line with some humorous guide stories. No humorous book death stones, after all, come to mind when Jason Todd swings around as the Red Hood, Bucky swings around as the Winter Soldier, Barry Allen back in action as the Flash, and an alternative reality Gwen Stacy swings across the Spider-Verse. Perhaps Uncle Ben, who was once the most sanctified of humorous book deaths, can be seen running a newspaper in Ultimate Spider-Man‘s sites.

    Death, according to Jurgens and his brother co-creators, did not hold Superman for pretty much either, as the actual Kryptonian did so with an ugly hairstyle. One of them became Superboy, another became Steel, and a third became the wicked Cyborg Superman.

    In keeping with that in mind, the Jurgens and Breeding include isn’t really a homage; it’s also a guarantee that Godzilla will soon be back from the dead. Hopefully Jurgens won’t be doing the King of Monsters a horrible hairstyle this time around.

    On January 7, 2026, Godzilla# 6 will ship to humorous businesses.

    On Den of Geek, the second article Godzilla may perish by the same hands that killed Superman.

  • Not Even Elizabeth Olsen Knows the Fate of the Scarlet Witch

    Not Even Elizabeth Olsen Knows the Fate of the Scarlet Witch

    Wanda Maximoff was last seen in the Marvel Cinematic Universe, but Elizabeth Olsen has since stated she would” jump” at the chance to play the Scarlet Witch once more. One minor issue is that her portrayer isn’t totally certain whether she’s officially dead, dead, or some mystical in-between third thing. [ Olsen last appeared]…

    The second article on Den of Geek was Not Even Elizabeth Olsen Knows the Fate of the Scarlet Witch.

    A kaiju will offer its all, and more, for a world to live. The King of the Monsters passes away on January 7, 2026. That’s right, in Godzilla #6, IDW Publishing does put an end to the biggest dragon ever. And they’re bringing in a couple of people who are familiar with telling the story of the passing of a famous figure to help them honor the occasion.

    Dan Jurgens, who wrote and penciled 1992 &#8217, Superman# 75, the concern that saw the Man of Steel and the terrible Doomsday, will be the cover artist for Godzilla# 6. Additionally, Brett Breeding, who collaborated with Jurgens on Superman# 75, will pen the support. The include homages to the infamous story, in which a great city’s crumbling monster is found amid the rubble of a rebuilt flag, are appropriately appropriate.

    Jurgens used Godzilla’s suicide as a great excuse to re-visit his most well-known work. I was undoubtedly away for it when the good people at IDW inquired about a particular Death of Godzilla support that may play off the iconic include Brett Breeding and I did for Superman #75. &#8221, Jurgens confessed to IGN. I’ve always loved the great man, but I haven’t had the chance to draw him, so this was the best way to stifle that itch. It was a lot of fun to be able to help!

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

    One may wonder why in the universe IDW may kill off for a significant personality, especially one that has played such a significant role in the publisher’s story. However, any kaiju enthusiast will be aware that Godzilla has passed away numerous times on display before coming back in reboots or rethinking. In fact, in matter #7, author Tim Seeley and performer Hendry Prasetya will make their first appearance in a new incarnation of Godzilla one month after his death in the film Godzilla# 6.

    Godzilla’s swift exit from the future is in line with some comic book stories, and it is in line with some. No humorous book death pieces, after all, come to mind when Jason Todd swings around as the Red Hood, Bucky swings around as the Winter Soldier, Barry Allen back in action as the Flash, and an alternative reality Gwen Stacy swings across the Spider-Verse. Perhaps Uncle Ben, who was once the most sanctified of humorous book deaths, can be seen running a newspaper in Ultimate Spider-Man‘s sites.

    Death, according to Jurgens and his brother co-creators, did not hold Superman for pretty much either, as the actual Kryptonian did so with an ugly hairstyle. One of them became Superboy, another became Steel, and a third became the wicked Cyborg Superman.

    In keeping with that, the Jurgens and Breeding include isn’t merely a homage; it also serves as a guarantee that Godzilla will soon be back from the dead. Hopefully Jurgens won’t be doing the King of Monsters a horrible hairstyle this time around.

    On January 7, 2026, Godzilla# 6 will be released in humorous books.

    The second article on Den of Geek was entitled Godzilla Will Die by the Same Hands That Killed Superman.

  • Designing for the Unexpected

    Designing for the Unexpected

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

    Flash, Photoshop, and flexible pattern

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

    All of this was altered by Ethan Marcotte’s speak at An Event Apart and the subsequent article in A Checklist Off in 2010. I was sold on 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 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 stage.

    A new way to style

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

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

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

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

    Media answers

    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. )

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

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

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

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

    Another difficulty arose as I moved from a design firm building websites for smaller- to medium-sized companies, to larger in-house teams where I worked across a collection of related sites. In those capacities, I began to work more with washable 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 answers allow components to adapt based on the viewport size, but what if I put a component into a sidebar, like in the figure below?

    Container queries: our savior or a false dawn?

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

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

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

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

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

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

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

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

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

    CSS is changing

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

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

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

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

    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 by Firefox at the time of writing, but the above code can be implemented behind an @supports feature query.

    Intrinsic layouts

    I’d be remiss not to mention intrinsic layouts, a term used by Jen Simmons to describe a mix of contemporary and traditional CSS features 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 way, but… don’t ever make it smaller than the content that is inside of it.”

    —Jen Simmons,” Designing Intrinsic Layouts”

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

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

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

    Another 2010 moment?

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

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

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

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

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

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

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

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

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

    How do you do that now, with each component responding to content and layouts flexing as and when they need to? 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 implement 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 content modifications, such as the earlier Subgrid card example, which allowed the cards to adjust both their own content and that of their sibling elements.

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

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

    First line of text with different styling...

    —we can target content based on where it appears.

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

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

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

    Directional variables must be 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 properties.

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

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

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

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

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

    Fluid and fixed

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

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

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

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

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

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

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

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

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

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

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

    Situation first

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

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

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

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

    Responsible design

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

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

    Chris Ashton

    One of the biggest assumptions we make is that people interacting with our designs have a good wifi connection and a wide screen monitor. However, 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. 

      

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

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

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

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

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

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

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

    Expect the unexpected

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

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

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

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

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

  • Voice Content and Usability

    Voice Content and Usability

    We’ve been conversing for a long time. Whether to present information, perform transactions, or just to check in on one another, people have yammered aside, chattering and gesticulating, through spoken discussion for many generations. Only recently have 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 keep utilization long after they are no longer needed in spoken communication ( for example, the welcome” To whom it may concern” ). Because it tends to be more consistent, smooth, and proper, written word is necessarily far easier for devices to interpret and know.

    This pleasure is not available in spoken speech. 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 reaches far beyond what the written word can ever deliver, whether it’s rapid-fire, low-pitched, high-decibel, satirical, awkward, or moaning. But when it comes to words interfaces—the devices we conduct spoken discussions with—we experience exciting difficulties as designers and content strategists.

    Voice-to-voice 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 dialogue as a result:

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

    These three categories, which I refer to as transactional, technical, 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 effect 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 must not be one particular voice interaction.

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

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

    Transactional voice interactions

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

    Alison: Hey, how are things going?

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

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

    Burhan: Sure, what size?

    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.

    Alison: Hey, how are things going?

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

    Alison: Can I ask a few questions?

    Burhan: Of course! Go right ahead.

    Alison, do you have any menu items that are halal?

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

    Alison: What about gluten-free pizzas?

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

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

    Burhan: Anytime, come back soon!

    This dialogue is radically different. Here, the goal is to get a certain set of facts. Informational conversations are research expeditions that seek the truth through information gathering. 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-based user interfaces use speech at the core to assist users in accomplishing their objectives. But simply because an interface has a voice component doesn’t mean that every user interaction with it is mediated through voice. We’re most concerned in this book with pure voice interfaces because multimodal voice interfaces can lean on visual components like screens as crutches, which are completely dependent on spoken conversation and lack any visual component, making them much more nuanced and challenging to deal with.

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

    IVR ( interactive voice response ) systems

    Though written conversational interfaces have been fixtures of computing for many decades, voice interfaces first emerged in the early 1990s with text-to-speech ( TTS ) dictation programs that recited written text aloud, as well as speech-enabled in-car systems that gave directions to a user-provided address. We became familiar with the first real voice interfaces that engaged in authentic conversation with the advent of interactive voice response ( IVR ) systems, which were created as an alternative to overburdened customer service representatives.

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

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

    Screen readers

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

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

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

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

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

    I disliked the operation of Screen Readers from the beginning. Why are they designed the way they are? It makes no sense to present information visually 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, ignoring areas that are unimportant to them. Blind users, meanwhile, are obligated to listen to every utterance synthesized into speech and therefore prize brevity and efficiency. Users with disabilities who have long had no choice but to use clumsy screen readers might benefit from more streamlined user interfaces, especially more advanced voice assistants.

    Voice assistants

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

    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 are a lot of variations in the programmability and customization of some voice assistants compared to others ( Fig. 1 ). As a result of the breadth of voice assistants available today ( Fig. 1 ). At one extreme, everything except vendor-provided features is locked down, for example, at the time of their release, the core functionality of Apple’s Siri and Microsoft’s Cortana couldn’t be extended beyond their existing capabilities. There are no other means 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 constrained by the limitations of Siri and Cortana are increasingly using programmable voice assistants that are extensibable and customizable. Amazon offers the Alexa Skills Kit, a developer framework for building custom voice interfaces for Amazon Alexa, while Google Home offers the ability to program arbitrary Google Assistant skills. Users of the Amazon Alexa and Google Assistant ecosystems can choose from among the thousands of custom-built skills available today.

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

    Often by necessity, voice assistants like Amazon Alexa tend to be monochannel—they’re tightly coupled to a device and can’t be accessed on a computer or smartphone instead. In contrast, many development platforms, such as Google’s Dialogflow, have omnichannel capabilities that allow users to create a single conversational interface that then manifests as 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, organic, contextless, and concise in order 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 see when the next train is coming from a digital sign underground, 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.

  • Design for Safety, An Excerpt

    Design for Safety, An Excerpt

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

    Your objectives when designing for protection are to:

    • discover ways your solution can be used for abuse,
    • style ways to prevent the maltreatment, and
    • offer assistance for users who are prone to regain control and power.

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

    • conducting studies
    • Creating themes
    • Pondering issues
    • Designing options
    • Testing for health

    It is intended to be flexible, so teams might not want to apply every action in all circumstances. Use the parts that are related to your special function and environment, this is meant to be something you can put into your existing style process.

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

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

    Step 1: Conduct research

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

    broad research

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

    Specific research: Survivors

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

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

    Abusers specific research

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

    Step 2: Create archetypes

    Use your research after you’ve finished conducting it to create abuser and survivor archetypes. Archetypes are not personas, as they’re not based on real people that you interviewed and surveyed. Instead, they’re based on your research into likely safety issues, much like when we design for accessibility: we don’t need to have found a group of blind or low-vision users in our interview pool to create a design that’s inclusive of them. Instead, we base those designs on 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 defined as someone who views a product as a means of harm ( Fig. 5.2 ). They may be trying to harm someone they don’t know through surveillance or anonymous harassment, or they may be trying to control, monitor, abuse, or torment someone they know personally.

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

    You may want to make multiple survivor archetypes to capture a range of different experiences. They may be aware of the abuse 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 are unable to stop it ( such as 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.

    3. Brainstorming issues

    After creating archetypes, brainstorm novel abuse cases and safety issues. You’re trying to identify entirely new safety issues that are unique to your product or service by using the term” Novel” in terms of things you’ve 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 100 % assurance that you’ve done everything, but instead of aiming for 100 %, acknowledge that you’ve done it and will continue to prioritize safety in the future. Once your product is released, your users may identify new issues that you missed, aim to receive that feedback graciously and course-correct quickly.

    Step 4: Design solutions

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

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

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

    In some products, it’s possible to proactively detect harm that is occurring. For example, a pregnancy app might be modified to allow the user to report that they were the victim of an assault, which could trigger an offer to receive resources for local and national organizations. Although 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.

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

    Abuse testing

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

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

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

    Testing for Survivors

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

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

    Another goal might be regaining control of the thermostat once the survivor realizes the abuser is remotely changing its settings. Are there any instructions that explain how to remove a user and change the password, and are they simple to find? For your test, you would need to try 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 happy people, but happy people are frequently anxious, stressed, unhappy, or even tragic. These are called” stress cases”, and testing your products for users in stress-case situations can help you identify places where your design lacks compassion. More information about how to incorporate stress cases into your design can be found in Design for Real Life, as well as in many other effective methods for compassionate design.