Category: Blog

The same holds true for those of us who are currently employed in design and development. Having worked on the web for about three years at this point, I’ve seen the typical wax and wane of concepts, strategies, and systems. Every day we as developers and designers get into a routine pattern, a brand-new concept or technology emerges to shake things up and completely alter our planet.

How we got below

I built my first website in the mid-’90s. Design and development on the web back then was a free-for-all, with few established norms. For any layout aside from a single column, we used table elements, often with empty cells containing a single pixel spacer GIF to add empty space. We styled text with numerous font tags, nesting the tags every time we wanted to vary the font style. And we had only three or four typefaces to choose from: Arial, Courier, or Times New Roman. When Verdana and Georgia came out in 1996, we rejoiced because our options had nearly doubled. The only safe colors to choose from were the 216 “web safe” colors known to work across platforms. The few interactive elements (like contact forms, guest books, and counters) were mostly powered by CGI scripts (predominantly written in Perl at the time). Achieving any kind of unique look involved a pile of hacks all the way down. Interaction was often limited to specific pages in a site.

online requirements were born.

At the turn of the century, a new cycle started. Crufty code littered with table layouts and font tags waned, and a push for web standards waxed. Newer technologies like CSS got more widespread adoption by browsers makers, developers, and designers. This shift toward standards didn’t happen accidentally or overnight. It took active engagement between the W3C and browser vendors and heavy evangelism from folks like the Web Standards Project to build standards. A List Apart and books like Designing with Web Standards by Jeffrey Zeldman played key roles in teaching developers and designers why standards are important, how to implement them, and how to sell them to their organizations. And approaches like progressive enhancement introduced the idea that content should be available for all browsers—with additional enhancements available for more advanced browsers. Meanwhile, sites like the CSS Zen Garden showcased just how powerful and versatile CSS can be when combined with a solid semantic HTML structure.

Server-side language like PHP, Java, and.NET took Perl as the primary back-end computers, and the cgi-bin was tossed in the garbage bin. With these improved server-side equipment, the first period of internet programs started with content-management methods (especially those used in blogs like Blogger, Grey Matter, Movable Type, and WordPress ) In the mid-2000s, AJAX opened gates for sequential interaction between the front end and back close. Pages was now revise their content without having to reload. A crop of Script frameworks like Prototype, YUI, and ruby arose to aid developers develop more credible client-side interaction across browsers that had wildly varying levels of standards support. Techniques like image replacement enable skilled designers and developers to use fonts of their choosing. And technologies like Flash made it possible to add animations, games, and even more interactivity.

The industry was reenergized by these new tools, standards, and methods in many ways. Web design flourished as designers and developers explored more diverse styles and layouts. However, we still relied on numerous hacks. Early CSS was a huge improvement over table-based layouts when it came to basic layout and text styling, but its limitations at the time meant that designers and developers still relied heavily on images for complex shapes ( such as rounded or angled corners ) and tiled backgrounds for the appearance of full-length columns (among other hacks ). All kinds of nested floats or absolute positioning ( or both ) were necessary for complicated layouts. Flash and image replacement for custom fonts was a great start toward varying the typefaces from the big five, but both hacks introduced accessibility and performance problems. And JavaScript libraries made it simple for anyone to add a dash of interaction to pages, even at the expense of double, even quadrupling, the download size of basic websites.

The web as software platform

The interplay between the front end and the back end continued to grow, which led to the development of the current era of modern web applications. Between expanded server-side programming languages ( which kept growing to include Ruby, Python, Go, and others ) and newer front-end tools like React, Vue, and Angular, we could build fully capable software on the web. Along with these tools, there were additional options, such as shared package libraries, build automation, and collaborative version control. What was once primarily an environment for linked documents became a realm of infinite possibilities.

Mobile devices increased in their capabilities as well, and they gave us access to the internet in our pockets at the same time. Mobile apps and responsive design opened up opportunities for new interactions anywhere and any time.

This fusion of potent mobile devices and potent development tools contributed to the growth of social media and other centralized tools for user interaction and consumption. As it became easier and more common to connect with others directly on Twitter, Facebook, and even Slack, the desire for hosted personal sites waned. Social media provided connections on a global scale, with both positive and negative outcomes.

Want a much more extensive history of how we got here, with some other takes on ways that we can improve? ” Of Time and the Web” was written by Jeremy Keith. Or check out the” Web Design History Timeline” at the Web Design Museum. A fun tour of” Internet Artifacts” is also available from Neal Agarwal.

Where we are now

It seems like we’ve been at a new significant inflection point over the past couple of years. As social-media platforms fracture and wane, there’s been a growing interest in owning our own content again. From the tried-and-true classic of hosting plain HTML files to static site generators and content management systems of all kinds, there are many different ways to create websites. The fracturing of social media also comes with a cost: we lose crucial infrastructure for discovery and connection. Webmentions, RSS, ActivityPub, and other IndieWeb tools can be useful in this regard, but they’re still largely underdeveloped and difficult to use for the less geeky. We can build amazing personal websites and add to them regularly, but without discovery and connection, it can sometimes feel like we may as well be shouting into the void.

Especially with efforts like Interop, browser support for CSS, JavaScript, and other standards like web components has increased. New technologies gain support across the board in a fraction of the time that they used to. When I first learn about a new feature, I frequently discover that its coverage is already over 80 % when I check the browser support. Nowadays, the barrier to using newer techniques often isn’t browser support but simply the limits of how quickly designers and developers can learn what’s available and how to adopt it.

With a few commands and a few lines of code, we can currently prototype almost any concept. All the tools that we now have available make it easier than ever to start something new. However, as we upgrade and maintain these frameworks, we eventually pay the upfront costs that these frameworks may initially save in terms of our technical debt.

If we rely on third-party frameworks, adopting new standards can sometimes take longer since we may have to wait for those frameworks to adopt those standards. These frameworks, which previously made it easier to adopt new techniques sooner, have since evolved into obstacles. These same frameworks often come with performance costs too, forcing users to wait for scripts to load before they can read or interact with pages. And when scripts fail ( whether due to poor code, network issues, or other environmental factors ), users frequently have no choice but to use blank or broken pages.

Where do we go from here?

Hacks of today help to shape standards for the future. And there’s nothing inherently wrong with embracing hacks —for now—to move the present forward. Problems only arise when we refuse to acknowledge that they are hacks or when we choose not to replace them. So what can we do to create the future we want for the web?

Build for the long haul. Optimize for performance, for accessibility, and for the user. weigh the price of those user-friendly tools. They may make your job a little easier today, but how do they affect everything else? What is the cost to the users? To future developers? To adoption of standards? Sometimes the convenience may be worth it. It’s occasionally just a hack that you’ve gotten used to. And sometimes it’s holding you back from even better options.

Start with standards. Standards continue to evolve over time, but browsers have done a remarkably good job of continuing to support older standards. The same isn’t always the case with third-party frameworks. Sites built with even the hackiest of HTML from the’ 90s still work just fine today. Even after a few years, the same can’t be said about websites created with frameworks.

Design with care. Consider the effects of each choice, whether your craft is code, pixels, or processes. The convenience of many a modern tool comes at the cost of not always understanding the underlying decisions that have led to its design and not always considering the impact that those decisions can have. Use the time saved by modern tools to consider more carefully and design with consideration rather than rush to “move fast and break things”

Always be learning. If you’re constantly learning, you’re also developing. Sometimes it may be hard to pinpoint what’s worth learning and what’s just today’s hack. Even if you were to concentrate solely on learning standards, you might end up focusing on something that won’t matter next year. ( Remember XHTML? ) However, ongoing learning opens up new neural connections, and the techniques you learn in one day may be useful for guiding future experiments.

Play, experiment, and be weird! The ultimate experiment is this web we created. It’s the single largest human endeavor in history, and yet each of us can create our own pocket within it. Be brave and try something new. Build a playground for ideas. Create absurd experiments in your own crazy science lab. Start your own small business. There is no better place for being more creative, risk-taking, and expressing our creativity.

Share and amplify. As you play, experiment, and learn, share what has worked for you. Write on your own website, post on whichever social media site you prefer, or shout it from a TikTok. Write something for A List Apart! But take the time to amplify others too: find new voices, learn from them, and share what they’ve taught you.

Go ahead and create a masterpiece.

As designers and developers for the web ( and beyond ), we’re responsible for building the future every day, whether that may take the shape of personal websites, social media tools used by billions, or anything in between. Let’s give everything we produce a positive vibe by infusing our values into everything we do. Create that thing that only you are uniquely qualified to make. Then distribute it, improve it, re-use it, or create something new with it. Learn. Make. Share. Grow. Rinse and repeat. Everything will change whenever you believe you have mastered the web.

I’d like you to consider this a “yes … and” piece to complement Joe’s post. Instead of refuting everything he’s saying, I’m pointing out some areas where AI may produce real, positive impacts on people with disabilities. To be clear, I’m not saying that there aren’t true threats or pressing problems with AI that need to be addressed; there are, and we’ve needed to address them, like, yesterday; instead, I want to take a moment to talk about what’s possible so that we can get there one day.

Other text

Joe’s article spends a lot of time examining how computer vision versions can create other words. He raises a number of true points about the state of affairs right now. And while computer-vision concepts continue to improve in the quality and complexity of information in their information, their benefits aren’t wonderful. He argues to be accurate that the state of image research is currently very poor, especially for some graphic types, in large part due to the lack of context-based analysis that exists in the AI systems ( which is a result of having separate “foundation” models for text analysis and image analysis ). Today’s models aren’t trained to distinguish between images that are contextually relevant ( should probably have descriptions ) and those that are purely decorative ( couldn’t possibly need a description ) either. However, I still think there’s possible in this area.

As Joe points out, far word authoring by human-in-the-loop should definitely be a thing. And if AI can intervene to provide a starting place for alt text, even if the rapid might say What is this BS? That’s certainly correct at all … Let me try to offer a starting point— I think that’s a win.

If we can specifically station a design to examine image usage in context, this may help us more quickly determine which images are likely to be elegant and which ones are likely to be descriptive. That will clarify which situations require image descriptions, and it will increase authors ‘ effectiveness in making their sites more visible.

While complex images—like graphs and charts—are challenging to describe in any sort of succinct way ( even for humans ), the image example shared in the GPT4 announcement points to an interesting opportunity as well. Let’s say you came across a map that merely stated the chart’s name and the type of representation it was:” Pie chart comparing smartphone use to have phone usage in US households making under$ 30, 000 annually.” ( That would be a pretty bad alt text for a chart because it would frequently leave many unanswered questions about the data, but let’s just assume that that was the description in place. ) If your website knew that that picture was a pie graph ( because an onboard model concluded this ), imagine a world where people could ask questions like these about the creative:

• Do more people use smartphones or other types of smartphones?
• How many more?
• Is there a group of people that don’t fall into either of these buckets?
• How many people are that?

For a moment, the chance to learn more about images and data in this way could be revolutionary for people who are blind and low vision as well as for those with various forms of color blindness, cognitive disabilities, and other issues. Putting aside the realities of large language model ( LLM) hallucinations. It could also be useful in educational contexts to help people who can see these charts, as is, to understand the data in the charts.

What if you could ask your browser to make a complicated chart simpler? What if you demanded that the line graph be isolated into just one line? What if you could ask your browser to transpose the colors of the different lines to work better for form of color blindness you have? What if you demanded that it switch colors in favor of patterns? That seems like a possibility given the chat-based interfaces and our current ability to manipulate images in modern AI tools.

Now imagine a purpose-built model that could extract the information from that chart and convert it to another format. Perhaps it could convert that pie chart (or, better yet, a series of pie charts ) into more usable ( and useful ) formats, like spreadsheets, for instance. That would be incredible!

Matching algorithms

When Safiya Umoja Noble chose to write her book Algorithms of Oppression, she hit the nail on the head. Although her book focused on the ways that search engines can foster racism, I believe it’s equally true that all computer models have the potential to foster conflict, prejudice, and intolerance. Whether it’s Twitter always showing you the latest tweet from a bored billionaire, YouTube sending us into a Q-hole, or Instagram warping our ideas of what natural bodies look like, we know that poorly authored and maintained algorithms are incredibly harmful. A large portion of this is a result of a lack of diversity in the people who design and construct them. There is real potential for algorithm development when these platforms are built with inclusive features in, though.

Take Mentra, for example. They serve as a network of employment for people who are neurodivers. They match job seekers with potential employers using an algorithm based on more than 75 data points. On the job-seeker side of things, it considers each candidate’s strengths, their necessary and preferred workplace accommodations, environmental sensitivities, and so on. It takes into account the workplace, the communication environment, and other factors. Mentra made the decision to change the script when it came to traditional employment websites because it was run by neurodivergent people. They use their algorithm to propose available candidates to companies, who can then connect with job seekers that they are interested in, reducing the emotional and physical labor on the job-seeker side of things.

When more people with disabilities are involved in developing algorithms, this can lower the likelihood that these algorithms will harm their communities. Diverse teams are crucial because of this.

Imagine that a social media company’s recommendation engine was tuned to analyze who you’re following and if it was tuned to prioritize follow recommendations for people who talked about similar things but who were different in some key ways from your existing sphere of influence. For instance, if you were to follow a group of non-disabled white male academics who talk about AI, it might be advisable to follow those who are disabled, aren’t white, or aren’t men who also talk about AI. If you followed its advice, you might be able to understand what is happening in the AI field more fully and nuancedly. These same systems should also use their understanding of biases about particular communities—including, for instance, the disability community—to make sure that they aren’t recommending any of their users follow accounts that perpetuate biases against (or, worse, spewing hate toward ) those groups.

Other ways that AI can assist people with disabilities

I’m sure I could go on and on about using AI to assist people with disabilities, but I’m going to make this last section into a bit of a lightning round. In no particular order:

Voice preservation You may be aware of the voice-prescribing options from Microsoft, Acapela, or others, or you may have seen the announcement for VALL-E or Apple’s Global Accessibility Awareness Day. It’s possible to train an AI model to replicate your voice, which can be a tremendous boon for people who have ALS ( Lou Gehrig’s disease ) or motor-neuron disease or other medical conditions that can lead to an inability to talk. This technology can also be used to create audio deepfakes, so we need to approach it responsibly, but the technology has truly transformative potential.
• voice recognition Researchers like those in the Speech Accessibility Project are paying people with disabilities for their help in collecting recordings of people with atypical speech. As I type, they are actively seeking out people who have Parkinson’s and related conditions, and they intend to expand this list as the project develops. More people with disabilities will be able to use voice assistants, dictation software, and voice-response services as a result of this research, which will result in more inclusive data sets that will enable them to use their computers and other devices more easily and with just their voices.
• Text transformation. The most recent generation of LLMs is capable of altering already-existing text without giving off hallucinations. This is incredibly empowering for those who have cognitive disabilities and who may benefit from text summaries, simplified versions, or even text that has been prepared for Bionic Reading.

The importance of diverse teams and data

We must acknowledge the importance of our differences. The intersections of the identities that we exist in have an impact on our lived experiences. These lived experiences—with all their complexities ( and joys and pain ) —are valuable inputs to the software, services, and societies that we shape. The data we use to train new models must be based on our differences, and those who provide it to us need to be compensated for doing so. Inclusive data sets produce stronger models that promote more justifiable outcomes.

Want a model that doesn’t demean or patronize or objectify people with disabilities? Make sure that you include information about disabilities that is written by people who have a range of disabilities and that is well represented in the training data.

Want a model that doesn’t speak in ableist language? You may be able to use existing data sets to build a filter that can intercept and remediate ableist language before it reaches readers. Despite this, AI models won’t soon replace human copy editors when it comes to sensitivity reading.

Want a copilot for coding that provides recomprehensible recommendations after the jump? Train it on code that you know to be accessible.

I have no doubts about how dangerous AI can and will be for people today, tomorrow, and for the rest of the world. However, I also think we should acknowledge this and make thoughtful, thoughtful, and intentional changes to our approaches to AI that will reduce harm over time as well. Today, tomorrow, and well into the future.

Thanks to Kartik Sawhney for assisting me with writing this article, Ashley Bischoff for her invaluable editorial assistance, and of course Joe Dolson for the prompt.

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

Financial items, which is the industry in which I work, are no exception. It’s tempting to put as many features at the ceiling as possible and hope someone sticks because people’s true, hard-earned money is on the line, user expectations are high, and a crammed market. However, this strategy is a formula for disaster. Why, you see this:

The perils of feature-first growth

It’s simple to get swept up in the enthusiasm of developing innovative features when you start developing a financial product from scratch or are migrating existing user journeys from papers or telephony channels to online bank or mobile apps. They may think,” If I may only add one more thing that solves this particular person problem, they’ll appreciate me”! But what happens if you eventually encounter a roadblock as a result of your security team’s negligence? don’t like it, right? When a difficult-fought film fails to win over viewers or fails owing to unanticipated difficulty?

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

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

The significance of the foundation

What is a better strategy, then? How can we create items that are reliable, user-friendly, and most importantly, stick?

The concept of “bedrock” comes into play in this context. The main component of your item that really matters to people is Bedrock. The foundation of worth and relevance over time is built upon it.

The rock must be in and around the standard servicing journeys in the retail banking industry, which is where I work. People only look at their existing accounts once every blue sky, but they do so daily. They purchase a credit card every year or two, but they at least once a month examine their stability and pay their bills.

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

But how do you reach the foundation? By focusing on the” MVP” strategy, giving convenience precedence, and working iteratively toward a clear value proposition. This entails removing unwanted functions and putting the emphasis on providing genuine value to your users.

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

Realistic methods for creating financially successful products

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

1. What trouble are you trying to solve first and foremost with a distinct “why”? Who is it for? Make sure your goal is unmistakable before beginning any work. Make certain it also aligns with the goals of your business.
2. Avoid the temptation to put too many characteristics at once and focus on getting that right first. Choose one that actually adds price, and work from that.
3. When it comes to financial items, clarity is often more important than difficulty. Eliminate unwanted details and concentrate solely on what matters most.
4. Accept constant iteration as Bedrock is a powerful process rather than a fixed destination. Continuously collect customer feedback, make product improvements, and advance in that direction.
5. Stop, look, and listen: Don’t just go through with testing your product as part of the delivery process; test it consistently in the field. Use it for yourself. Work A/B tests. User opinions on Gear. Speak to the users of it and make adjustments accordingly.

The foundational dilemma

This is an intriguing conundrum: sacrificing some of the potential for short-term progress in favor of long-term stability is at play. But the reward is worthwhile: products built with a focus on core will outlive and surpass their rivals over time and provide users with long-term value.

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

Avatar: The Last Airbender friend audio Avatar: Braving the Elements diligently recapped incidents of and expanded upon the legend for the all-time common Nickelodeon animated set over the course of three seasons and well over 100 episodes. Since the program finished covering The Last Airbender’s third and final season in October, it has since been radio ( or podcast ) ]…

The first episode of Den of Geek tells Korra Disclosures in Season 4 Truck was titled Avatar: Braving the Elements.

&#8220, Wherever I go, the storm follows. Additionally, the storm has a rainy-day odor. If Humphrey Bogart or Edward G. Robinson were to speak those words in a 1930s or 1940s violence movie, they would ring like a tortured spirit living in the confines of society. However, because they are based on Nicolas Cage‘s words in the film Spider-Man: Into the Spider-Verse, they sound like dramatic gags, just as crazy as anything that is said by the Looney Tunes-esque Spider-Ham, voiced by John Mulaney.

Box is currently reprising his role in the future Spider-Noir television set. However, the live-action Amazon MGM line has abandoned the silly tone of the film that came before it, as the show’s first teaser teaser reveals. The show, which is presented in black and white, is all gloomy visuals and implications of violence, with a socially conflicted Spider-Man also wearing his fedora and trench coat in a fight with the criminal underworld of the 1930s. Even so, it may surprise those who enjoy Spider-Verse films that Spider-Noir draws its inspiration from the cartoons, which is a great thing.

Marvel&#8217, s Great Despair

The police break into the practices of Daily Bugle director J. Jonah Jameson’s office only to discover Spider-Man standing over him in the second issue of the 2008-2009 movie Spider-Man: Noir, written by David Hine and Fabrice Sapolsky and illustrated by Carmine Di Giandomenico. Supporters of the wallcrawler are familiar with graphics like this, but this one is unique. This scene is set in 1933, nearly 30 years before Spider-Man makes his first appearance in Amazing Fantasy# 15, not just because it &#8217 ;s not just that. Additionally, Jameson has been shot to death, and Spider-Man is wearing a trench coat in black ( no fedora here ), while he is posing with the gun.

Of course, Spidey didn’t do it, and the line follows his research into Jameson’s crime. However, the image’s horror does not really help to draw attention to the Spider-Man: Noir voice. With his marriage issues and lovely hard-luck, the quippy Spidey is gone. A Spidey occupies a space on the fringes of culture in its place. He’s still Peter Parker, but he now lives among the underprivileged who lost everything in the Great Depression, listening to the communist statements his Aunt May gave, and is now reimagined as an Emma Goldman-type number.

It follows the unique appeal of Marvel Comics, which Stan Lee described as occurring in &#8220, the planet outside your window. 1933 was a period of significant cultural change, with some also enjoying the evils of the Roaring 20s while others were consumed by the effects of the stock market crash. Hitler has just been elected as the German Chancellor, but a suspicion of the organizations that had failed them and a general nationalism and xenophobia prevented the majority of Americans from anticipating but another planet war. Instead, most American focused on more immediate foes, including newcomers who continue to immigrate to the United States as well as the upper classes who wanted to hold to Gilded Age power ( and the institutions that supported them ).

Spider-Man: Noir is informed by all of those tensions, which makes for a more socially complex story than one might anticipate. The young Peter Parker, who is still the kind of pure-hearted child we know and love, has no obvious moral authority as he battles Norman Osborn, aka the Goblin, and his criminals.

Really Dark

The Spider-Man Gothic of Into the Spider-Verse was more of a movie of a gothic film, as it was apt to be when French critics examined gloomy American crime movies from the 1940s and 1950s. The protagonist in those movies was a hardboiled skeptic, similar to the police from The Big Heat or The Maltese Falcon. However, in Spider-Verse, he&#8217 is a fool who deserves praise for his inability to comprehend colour and melodrama.

It’s a great joke, but it’s not the kind of thing that can keep an overall television series alive. It’s a good thing that Spider-Noir seems to be taking its inspiration from the comics rather than the drama, therefore. However, acknowledged that some items need to be altered. Box sounds exactly like the 61-year-old he is, and no volume of electronic de-aging will transform him into the youth from the manga. Yet if Spidey stays masked, he still sounds like the 61-year-old he is. He can’t really be the honest he was in the cartoons, and he also can’t have an obnoxious Aunt May. By the time centenarian Spidey is working, she and Ben would both be much gone. She could still be a communist, union planner, or suffragist, though.

The portrayal of Spider-Noir&#8217, s Aunt May is more than just a matter of political choice, though, because the set may be a bunch of winking glances at films and books from the &#8217, 30s and &#8217, 40s. That was effective for about 10 minutes of Spider-Verse screen time, but it didn’t hold up well in the eyes of the sequence because modern viewers didn’t know much about film noir to make the reference. Otherwise, the narrative must remain grounded in some sort of reality, especially since the protagonist is a fictional one. If this second trailer is any indication, Spider-Noir will follow suit. Spider-Man: Noir and its spinoff series The Eye of the Beholder are a great design for the present.

Spider-Noir will be available on MGM+ in 2026.

The first article on Den of Geek was Spider-Noir Preview Retains the Marvel Comics spirit.

Warning: There are trailers for The Handmaid’s Tale time six show eight,” Exodus.” It wasn’t a red wedding; instead, it was more subtle, which was perhaps what the bloody fans were hoping. Who else was anticipating the Handmaids ‘ screaming ferocity and brutal assault of the leaders in an anime-style storm of blade in that stylish room?

On Den of Geek, the second publish The Handmaid’s Tale Season 6 Episode 8 Review: Exodus appeared.

&#8220, Wherever I go, the breeze follows. Additionally, the storm has a rainy-day odor. If Humphrey Bogart or Edward G. Robinson spoke in the 1930s or 1940s in a murder movie, they would ring like a tortured heart drooling through the confines of society. They sound like dramatic jokes, just as crazy as something said by the Looney Tunes-esque Spider-Ham, voiced by John Mulaney, because they are a quote from Nicolas Cage in the film Spider-Man: Into the Spider-Verse.

And Cage is currently reprising his role in the future Spider-Noir television series. However, the live-action Amazon MGM line has abandoned the silly tone of the film that came before it, as the show’s first preview teaser reveals. The show, which is presented in black and white, is all gloomy visuals and implications of violence, with a socially conflicted Spider-Man also wearing his linux and trench coat in a fight with the criminal underworld of the 1930s. Although this may seem surprising to fans of Spider-Verse films, Spider-Noir is actually drawing its creativity from the cartoons, which is a good thing.

Marvel&#8217, s Great Despair

The police break into the practices of Daily Bugle director J. Jonah Jameson’s office only to discover Spider-Man standing over him in the second issue of the 2008-2009 movie Spider-Man: Noir, which was written by David Hine and Fabrice Sapolsky and illustrated by Carmine Di Giandomenico. Supporters of the wallcrawler are familiar with graphics like this, but this one is unique. This scene is set in 1933, nearly 30 years before Spider-Man made his first appearance in Amazing Fantasy# 15, not just because it &#8217 ;s that it &#8217 ;s not just that. Additionally, Jameson was killed, and Spider-Man is posing with the gun ( no fedora here ).

Spidey obviously didn’t do it, and the line follows his research into Jameson’s crime. However, the image’s impact does not really help to draw attention to the Spider-Man: Noir tone. With his troubled relationships and charming hard-luck, Spidey is no longer there. A Spidey occupies a space on the fringes of culture in its place. He’s still Peter Parker, but he now lives among the underprivileged who lost everything in the Great Depression, listening to the communist statements his Aunt May gave, and is now reimagined as an Emma Goldman-type number.

It follows the unique appeal of Marvel Comics, which Stan Lee described as occurring in &#8220, the planet outside your window. 1933 marked a period of significant cultural change, with some also enjoying the evils of the Roaring 20s and others being consumed by the effects of the stock market crash. Hitler has just been elected as the German leader, but the majority of Americans were prevented from anticipating still another world war by a mistrust of the unsuccessful institutions and a general narcissism and xenophobia. Instead, most American focused on more immediate foes, including refugees who continue to make their way to the U.S., as well as the upper classes who wanted to hold to Gilded Age power ( and the institutions who supported them ).

Spider-Man: Noir is informed by all of those tensions, which makes for a socially complex story than one might anticipate. The young Peter Parker is still the kind of pure-hearted child we know and love, but the basic pessimism of the world prevents him from having a strong moral foundation as he battles Norman Osborn, aka the Goblin, and his band of thugs.

Really Dark

The Spider-Man Gothic from Into the Spider-Verse was more of a parody of a gothic film, as European critics had suggested by analyzing gloomy American crime pictures from the 1940s and 1950s. The protagonist in those movies was a hardboiled pessimist, similar to the police from The Big Heat or The Maltese Falcon. However, in Spider-Verse, he&#8217 is a fool who deserves praise for his satire and inability to comprehend color.

It’s a funny joke, but it’s not enough to support an entire television set. It’s a good thing that Spider-Noir seems to be taking its inspiration from the comics rather than the drama, therefore. However, acknowledged that some items need to be altered. Box sounds exactly like the 61-year-old he is, and no volume of electronic de-aging will transform him into the youth from the manga. Yet if Spidey stays masked, he still sounds like the 61-year-old he is. Therefore, he can’t really be the honest he was in the comics or have a flame Aunt May. By the time septuagenarian Spidey is working, she and Ben would both be long gone. She could still be a communist, union organizer, or activist, though.

The portrayal of Spider-Noir&#8217, s Aunt May is more important than the subject of social choice, though, because it isn’t just a bunch of winking glances at films and literary works from the &#8217, 30s and &#8217, 40s. That was effective for about 10 minutes of Spider-Verse screen time, but it didn’t hold up well in the eyes of the series because current viewers didn’t know much about film noir to make the reference. Rather, it needs to be a tale with a certain kind of reality, especially since it centers on a fictional character. If the first trailer for Spider-Noir is any indication, the show’s design for the series, which is similar to Spider-Man: Noir and its spinoff series The Eye of the Beholder, would be excellent.

In 2026, Spider-Noir will be available on MGM+.

The first article on Den of Geek was Spider-Noir Preview Keeps the Spirit of the Marvel Comics.

Suit LA potentially had a lot going for it. It was released on the heels of Suits ‘ renaissance on Netflix, it was from Aaron Korsh, the original series ‘ creator, and even pretended to have the return of fan-favorable original characters like Harvey Specter ( Gabriel Macht ) and Louis Litt ( Rick Hoffman ). Sadly, nothing, however […]

Den of Geek‘s first article: Bringing Back Original Cast Members Wasn’t Enough to Keep Meets LA.

&#8220, Wherever I go, the storm follows. Additionally, the weather has a rainy-day odor. If Humphrey Bogart or Edward G. Robinson spoke in the 1930s or 1940s in a murder movie, they would ring like a tortured soul drooling through the confines of society. They sound like dramatic jokes, just as crazy as something said by the Looney Tunes-esque Spider-Ham, voiced by John Mulaney, because they are a quote from Nicolas Cage in the film Spider-Man: Into the Spider-Verse.

Box is currently reprising his role in the future Spider-Noir television set. However, the live-action Amazon MGM line has abandoned the silly tone of the film that came before it, as the show’s first preview teaser reveals. A socially conflicted Spider-Man, still wearing his linux and ground coat, fights the 1930s criminal underworld in black and white, with all the implications of violence and moody visuals. As shocking as this change may be for fans of the Spider-Verse films, Spider-Noir is taking its inspiration from the comics, which is a good thing.

Marvel&#8217, s Great Despair

The police break into the practices of Daily Bugle director J. Jonah Jameson’s office only to discover Spider-Man standing over him in the second issue of the 2008-2009 movie Spider-Man: Noir, which was written by David Hine and Fabrice Sapolsky and illustrated by Carmine Di Giandomenico. Supporters of the wallcrawler are well-known for photos like this, but this one is unique. This scene is set in 1933, almost 30 years before Spider-Man made his initial presence in Amazing Fantasy# 15. Additionally, Jameson has been shot to death, and Spider-Man is wearing a trench coat in black ( no fedora here ), while he is posing with the gun.

Spidey’s research into Jameson’s crime is followed by the series, of course, and it didn’t do it. However, the impact of the picture does highlight the Spider-Man: Noir develop. With his troubled relationships and charming hard-luck, Spidey is no longer there. A Spidey occupies a space on the fringes of culture in its place. He’s still Peter Parker, but he now lives among the underprivileged who lost everything during the Great Depression. He’s been reincarnated as an Emma Goldman-type number in this film.

It follows the unique appeal of Marvel Comics, which Stan Lee described as occurring in &#8220, the world outside your window. 1933 marked a period of significant cultural change, with some also enjoying the evils of the Roaring 20s and others being consumed by the effects of the stock market crash. Hitler has just been elected as the German Chancellor, but the majority of Americans were unable to anticipate but another world war from the onset due to a suspicion of the organizations that had failed them and a general nationalism and racism. Instead, most American focused on more immediate foes, including refugees who continue to immigrate to the United States as well as the upper classes who wanted to hold to Gilded Age power ( and the institutions that supported them ).

Spider-Man: Noir is informed by all of those tensions, which makes for a more socially complex story than one might anticipate. The young Peter Parker, who still has the heart of his own, continues to be the open-minded child he is known for and loves, but his spiritual standing as he battles Norman Osborn, aka the Goblin, and his band of thugs is beyond him.

Really Dark

The Spider-Man Gothic from Into the Spider-Verse was more of a parody of a gothic film, as European critics had suggested by analyzing gloomy American crime pictures from the 1940s and 1950s. The protagonist in those movies was a hardboiled skeptic, similar to the police from The Big Heat or The Maltese Falcon. However, because of his satire and inability to comprehend color, he is called a buffoon in Spider-Verse and deserves to be mocked.

It’s a great joke, but it’s not the kind of thing that you keep an overall television series alive. It&#8217 ;s a good thing that Spider-Noir appears to be taking its inspiration from the comics rather than the film. However, acknowledged that some items need to be altered. Box sounds exactly like the 61-year-old he is, and no volume of electronic de-aging will transform him into the youth from the manga. Yet if Spidey stays masked, he still sounds like the 61-year-old he is. He can’t really be the innocent he was in the cartoons, and he also can’t have Aunt May. By the time septuagenarian Spidey is working, she and Ben may get long gone. She could still be a communist, possibly a union planner, or activist.

The portrayal of Spider-Noir&#8217, s Aunt May is more important than just a matter of political choice, though, because it isn’t a bunch of winking smiles at films and literary works from the &#8217, 30s and &#8217, 40s. Spider-Verse had about 10 minutes of screen time, but that won’t hold up a series because current viewers aren’t familiar with video noir enough to make the reference. Otherwise, the narrative must remain grounded in some sort of reality, especially since the protagonist is a fictional one. If the first trailer for Spider-Noir is any indication, the show’s design for the series, which is similar to Spider-Man: Noir and its spinoff series The Eye of the Beholder, would be excellent.

In 2026, Spider-Noir will be available on MGM+.

The first article on Den of Geek was Spider-Noir Preview Retains the Marvel Comics nature.

The original Final Destination movie, which came out 25 years ago, was released and began terrorizing audiences with its deeply memorable ( and memeable ) Rube Goldberg-like murder tableaus, which get more and more intricate and dreary as the franchise progresses. The hokey, excitement, and]…] have been around for 14 years, and it seems like that has happened.

Last Destination: Bloodlines Review – Death’s Welcome Return appeared first on Den of Geek.

&#8220, Wherever I go, the storm follows. Additionally, the weather has a rainy-day odor. If Humphrey Bogart or Edward G. Robinson spoke in the 1930s or 1940s in a murder movie, they would ring like a tortured spirit drooling through the confines of society. They sound like dramatic jokes, just as crazy as something said by the Looney Tunes-esque Spider-Ham, voiced by John Mulaney, because they are a quote from Nicolas Cage in the film Spider-Man: Into the Spider-Verse.

And Cage is currently reprising his role in the future Spider-Noir television series. However, the live-action Amazon MGM line has abandoned the silly tone of the film that came before it, as the show’s first teaser teaser reveals. The show, which is presented in black and white, is all gloomy visuals and implications of violence, with a socially conflicted Spider-Man also wearing his fedora and trench coat in a fight with the criminal underworld of the 1930s. Although this may seem surprising to fans of Spider-Verse films, Spider-Noir is actually drawing its inspiration from the cartoons, which is a great factor.

Marvel&#8217, s Great Despair

The police break into the practices of Daily Bugle director J. Jonah Jameson’s office only to discover Spider-Man standing over him in the second issue of the 2008-2009 movie Spider-Man: Noir, which was written by David Hine and Fabrice Sapolsky and illustrated by Carmine Di Giandomenico. Supporters of the wallcrawler are well-known for pictures like this, but this one is unique. This scene is set in 1933, nearly 30 years before Spider-Man makes his first appearance in Amazing Fantasy# 15, not just because it &#8217 ;s not just that. Additionally, Jameson has been shot to death, and Spider-Man is wearing a trench coat in black ( no fedora here ), while he is posing with the gun.

Spidey’s research into Jameson’s crime is followed by the series, of course, and it didn’t do it. However, Spider-Man: Noir‘s shocking photo serves to highlight its tone. With his marriage issues and lovely hard-luck, the quippy Spidey is gone. A Spidey occupies its location on the fringes of society. He’s also Peter Parker, but he now lives among the underprivileged who lost everything during the Great Depression. He’s been reincarnated as an Emma Goldman-type find in this film.

It follows the unique appeal of Marvel Comics, which Stan Lee described as occurring in &#8220, the planet outside your window. 1933 marked a period of significant cultural change, with some also enjoying the evils of the Roaring 20s and others being consumed by the effects of the stock market crash. Hitler has just been elected as the German Chancellor, but a suspicion of the organizations that had failed them and a general nationalism and xenophobia prevented the majority of Americans from anticipating but another globe war. Instead, most American focused on more immediate foes, including newcomers who continue to immigrate to the United States as well as the upper classes who wanted to hold to Gilded Age power ( and the institutions that supported them ).

Spider-Man: Noir is informed by all those tensions, which makes the story more socially intricate than one might anticipate. The young Peter Parker is still the kind of pure-hearted child we know and love, but the basic pessimism of the world prevents him from having a strong moral foundation as he battles Norman Osborn, aka the Goblin, and his band of thugs.

Really Dark

The Spider-Man Gothic from Into the Spider-Verse was more of a parody of a gothic film, as European critics had suggested by analyzing gloomy American crime pictures from the 1940s and 1950s. The protagonist in those movies was a hardboiled pessimist, similar to the detectives from The Big Heat or The Maltese Falcon. However, because of his satire and inability to comprehend color, he is called a buffoon in Spider-Verse and deserves to be mocked.

It’s a funny joke, but it’s not enough to support an entire television series. It&#8217 ;s a good thing that Spider-Noir appears to be taking its inspiration from the comics rather than the film. However, acknowledged that some items need to be altered. Box sounds exactly like the 61-year-old he is, and no volume of electronic de-aging will transform him into the comics ‘ young teenager. Yet if he is still masked, Cage sounds like the same as the he is. So, he can’t really be the honest he was in the comics or have a flame Aunt May. By the time centenarian Spidey is working, she and Ben may get long gone. She could still be a communist, union organizer, or activist, though.

The portrayal of Spider-Noir&#8217, s Aunt May is more than just a matter of political choice, though, because the set may be a bunch of winking glances at films and books from the &#8217, 30s and &#8217, 40s. That was effective for about 10 minutes of Spider-Verse screen time, but it didn’t hold up well in the eyes of the series because modern viewers didn’t know much about film noir to make the reference. Otherwise, the narrative must remain grounded in some sort of reality, especially since the protagonist is a fictional one. If this second trailer is any indication, Spider-Noir will follow suit. Spider-Man: Noir and its spinoff series The Eye of the Beholder are a great design for the present.

In 2026, Spider-Noir will be available on MGM+.

The first article on Den of Geek was Spider-Noir Preview Retains the Marvel Comics nature.

When some visitors finish their first walkthrough of Syd Mead’s exhibition of paintings, which is currently on display in Manhattan’s Chelsea neighborhood, there is a program but deeply moving moment. His outlook on the future is but encouraging. Some guests exclaim,” I thought Syd Mead was dystopian,” as]…

On Den of Geek, the second article Syd Mead Is No Science Fiction appeared.

&#8220, Wherever I go, the breeze follows. Additionally, the storm has a rainy odor. If Humphrey Bogart or Edward G. Robinson were to speak those words in a 1930s or 1940s murder movie, they would ring like a tortured spirit living in the confines of society. They sound like dramatic jokes, just as crazy as something said by the Looney Tunes-esque Spider-Ham, voiced by John Mulaney, because they are a quote from Nicolas Cage in the film Spider-Man: Into the Spider-Verse.

Cage will presently reprise his role in the future Spider-Noir series as Spider-Man Gothic. However, the live-action Amazon MGM line has done away with the silly voice of the movie that came before it, as the present &#8217, s second teaser preview reveals. The show, which is presented in black and white, is all gloomy images and violence implications, with a socially conflicted Spider-Man still sporting his fedora and trench coat in a fight with the criminal underworld of the 1930s. Even so, it may surprise those who enjoy Spider-Verse films that Spider-Noir draws its inspiration from the cartoons, which is a great thing.

Marvel&#8217, s Great Despair

The policeman break into the Daily Bugle editor’s office in the first issue of Spider-Man: Noir, which was written by David Hine and Fabrice Sapolsky and illustrated by Carmine Di Giandomenico, only to discover Spider-Man standing over him. Supporters of the wallcrawler are familiar with graphics like this, but this one is unique. This scene is set in 1933, nearly 30 years before Spider-Man made his first appearance in Amazing Fantasy# 15, not just because it &#8217 ;s that it &#8217 ;s not just that. Additionally, Jameson has been shot to death, and Spider-Man is wearing a trench coat in black ( no fedora here ), while he is posing with the gun.

Spidey obviously didn’t do it, and the line follows his research into Jameson’s crime. However, the horror of the picture does highlight the Spider-Man: Noir tone. With his troubled relationships and charming hard-luck, Spidey is no longer there. A Spidey occupies a space on the fringes of culture in its place. He’s still Peter Parker, but he now lives among the underprivileged who lost everything during the Great Depression, listening to his Aunt May’s communist speeches, which are now reimagined as an Emma Goldman-like number.

It follows the unique appeal of Marvel Comics, which Stan Lee described as occurring in &#8220, the world outside your windows. 1933 marked a period of significant cultural change, with some also enjoying the evils of the Roaring 20s and others being consumed by the effects of the stock market crash. Hitler has just been elected as the German Chancellor, but the majority of Americans were unable to anticipate but another world war from the onset due to a trust of the organizations that had failed them and a general nationalism and racism. Instead, most American focused on more immediate foes, including refugees who continue to make their way to the U.S., as well as the upper classes who wanted to hold to Gilded Age power ( and the organizations who supported them ).

Spider-Man: Noir is informed by all those tensions, which makes the story more socially intricate than one might anticipate. The young Peter Parker is still the kind of pure-hearted child we know and love, but the basic pessimism of the world prevents him from having a strong moral foundation as he battles Norman Osborn, aka the Goblin, and his band of thugs.

Really Dark

The Spider-Man Gothic from Into the Spider-Verse acted more like a parody of a noir film, as European critics had suggested by analyzing the gloomy British crime pictures from the 1940s and 1950s. The protagonist in those movies was a hardboiled skeptic, similar to the police in The Big Heat or The Maltese Falcon. However, in Spider-Verse, he&#8217 is a fool who deserves praise for his inability to comprehend shade and melodrama.

It’s a funny joke, but it’s not enough to support an entire television series. It&#8217 ;s a good thing that Spider-Noir appears to be taking its inspiration from the comics rather than the film. However, acknowledged that some items need to be altered. Box sounds exactly like the 61-year-old he is, and no volume of electronic de-aging will transform him into the comics ‘ young teenager. Even if he is still masked, Cage sounds like the same as the he is. He can’t really be the innocent he was in the cartoons, and he also can’t have Aunt May. By the time centenarian Spidey is working, she and Ben would both be much gone. She could still be a communist, union planner, or suffragist, though.

The portrayal of Spider-Noir&#8217, s Aunt May is more important than the subject of social choice, though, because it isn’t just a bunch of winking glances at films and literary works from the &#8217, 30s and &#8217, 40s. That was effective for about 10 minutes of Spider-Verse screen time, but it didn’t hold up well in the eyes of the sequence because modern viewers didn’t know much about film noir to make the reference. Rather, it needs to be a tale with a certain kind of real, especially since it centers on a fictional character. If the first trailer is any indication, Spider-Noir will pursue the present and its spinoff miniseries The Eye of the Beholder are a great design.

In 2026, Spider-Noir will be available on MGM+.

The first article on Den of Geek was Spider-Noir Preview Retains the Marvel Comics spirit.

“Wherever I go, the wind follows. And the wind smells like rain.” If those words came from the mouth of Humphrey Bogart or Edward G. Robinson in a crime flick from the 1930s or ’40s, they would sound like the cry of a tortured soul, living in the dregs of society. But because they come […]

The post Spider-Noir Teaser Retains the Spirit of the Marvel Comics appeared first on Den of Geek.

“Wherever I go, the wind follows. And the wind smells like rain.” If those words came from the mouth of Humphrey Bogart or Edward G. Robinson in a crime flick from the 1930s or ’40s, they would sound like the cry of a tortured soul, living in the dregs of society. But because they come from the mouth of Nicolas Cage in the movie Spider-Man: Into the Spider-Verse, they sound like melodramatic jokes, just as silly as anything said by the Looney Tunes-esque Spider-Ham, voiced by John Mulaney.

And Cage is now reprising his role as Spider-Man Noir for the upcoming series Spider-Noir. But as the show’s first teaser reveals, the live-action Amazon MGM series has done away with the goofy tone of the movie that preceded it. Presented in black and white, the show is all moody visuals and implications of violence, in which a morally conflicted Spider-Man, still in his fedora and trench coat, does battle with the 1930s criminal underworld. As surprising as this shift may be to those who love the Spider-Verse movies, Spider-Noir is drawing its inspiration from the comics, and that’s a good thing.

Marvel’s Great Depression

The first issue of the 2008-2009 miniseries Spider-Man: Noir, written by David Hine and Fabrice Sapolsky and illustrated by Carmine Di Giandomenico, sees the police busting into the offices of Daily Bugle editor J. Jonah Jameson, only to find Spider-Man standing over him. Images such as this are well-known to fans of the wallcrawler, but this one is different. It’s not just that this scene takes place in 1933, nearly 30 full years before Spider-Man makes his first appearance in Amazing Fantasy #15. It’s also that Jameson has been shot to death and Spider-Man, dressed in a black trench coat (no fedora here), is holding the gun.

Of course Spidey didn’t do it, and the series follows his investigation into Jameson’s murder. But the very shock of the image does underscore the tone of Spider-Man: Noir. Gone is the quippy Spidey, with his relationship problems and lovable hard-luck. In its place is a Spidey who dwells on the edges of society. He’s still Peter Parker, but he now lives among the downtrodden who lost everything in the Great Depression, listening to the socialist speeches delivered by his Aunt May, reimagined here as an Emma Goldman-type figure.

Surprising as that description sounds, it follows the original appeal of Marvel Comics, described by Stan Lee as taking place in “the world outside your window.” 1933 was a period of great social change, with the excesses of the Roaring ’20s still enjoyed by some while others were consumed by the ravages of the stock market crash. Hitler has just become the German Chancellor, but a mistrust of the institutions that had failed them and a general nativism and xenophobia kept most Americans from seeing yet another world war on the horizon. Instead most Americans turned their attention to more immediate enemies, which include the upper classes who wanted to cling to Gilded Age power (and the institutions who supported them), as well as immigrants who continue to make their way to the U.S.

All of those tensions inform Spider-Man: Noir, making for a more morally complex story than one would expect. The teenage Peter Parker is still the pure-hearted kid we know and love, but the general cynicism of the world gives him no clear moral standing as he fights Norman Osborn, aka the Goblin, and his thugs.

Seriously Dark

The Spider-Man Noir of Into the Spider-Verse played more like a parody of a film noir, which literally translates to “black film,” as coined by French critics analyzing moody American crime pictures of the 1940s and ’50s made in the wake of this era. In those films, the hero was a a hardboiled cynic, a la the detectives in The Big Heat or The Maltese Falcon. But in Spider-Verse, he’s a buffoon to be laughed at for his melodrama and inability to understand color.

It’s a good joke, but not the sort of thing that can sustain an entire television series. So it’s a good thing that Spider-Noir seems to be taking its cues from the comics instead of the movie. Granted, though, that some things need to be changed. Even if Spidey remains masked, Cage sounds every bit like the 61-year-old he is, and no amount of digital de-aging will make him into the young teen from the comics. Thus he can’t quite be the same innocent he was in the comics, nor can he have a firebrand Aunt May. She and Ben would be long gone by the time sexagenarian Spidey is working. However, she could still have been a leftist, perhaps a union organizer or suffragist.

More than a matter of political preference, though, the depiction of Spider-Noir’s Aunt May matters because the series cannot be a bunch of winking nods at movies and literature of the ’30s and ’40s. That worked for maybe 10 minutes of screen time in Spider-Verse, but it won’t hold a series—in part because modern audiences don’t know enough about film noir to get the reference. Instead it needs to be a story grounded in a type of reality, especially because it has a fantasy character at the center. Spider-Man: Noir and its sequel miniseries The Eye of the Beholder are a great model for the show and, if this first teaser is any indication, the model that Spider-Noir intends to follow.

Spider-Noir will stream on MGM+ in 2026.

The post Spider-Noir Teaser Retains the Spirit of the Marvel Comics appeared first on Den of Geek.

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

Feedback is also one of the most underestimated equipment, and generally by assuming that we’re now great at it, we settle, forgetting that it’s a skill that can be trained, grown, and improved. Bad feedback can cause conflict in jobs, lower motivation, and negatively impact faith and teamwork over the long term. Quality comments can be a revolutionary force.

Practicing our knowledge is absolutely a good way to enhance, but the learning gets yet faster when it’s paired with a good base that programs and focuses the exercise. What are some fundamental components of providing effective opinions? And how can comments be adjusted for isolated and distributed job settings?

A long history of sequential feedback can be found online: code was written and discussed on mailing lists before becoming an open source standard. Currently, engineers engage on pull calls, developers post in their favourite design tools, project managers and sprint masters exchange ideas on tickets, and so on.

Design analysis is often the label used for a type of input that’s provided to make our job better, jointly. It generally shares many of the concepts with comments, but it also has some differences.

The material

The material of the feedback serves as the foundation for every effective criticism, so we need to start there. There are many designs that you can use to form your content. The one that I personally like best—because it’s obvious and actionable—is this one from Lara Hogan.

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

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

Not confident about the keys ‘ patterns and hierarchy—it feels off. Can they be altered?

Observation for style feedback doesn’t really mean pointing out which part of the software your input refers to, but it also refers to offering a viewpoint that’s as specific as possible. Do you offer the user’s viewpoint? Your expert perspective? A business perspective? The perspective of the project manager A first-time user’s perspective?

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

Impact is about the why. Just pointing out a UI element might sometimes be enough if the issue may be obvious, but more often than not, you should add an explanation of what you’re pointing out.

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

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

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

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

Or, for the request approach:

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

At this point in some situations, it might be useful to integrate with an extra why: why you consider the given suggestion to be better.

I anticipate that one of these two buttons will go forward and the other will go back when I see them. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Let’s make sure that all screens have the same two forward and back buttons so that users don’t get confused.

Choosing the question approach or the request approach can also at times be a matter of personal preference. I did rounds of anonymous feedback and I reviewed feedback with other people a while back when I was putting a lot of effort into improving my feedback. After a few rounds of this work and a year later, I got a positive response: my feedback came across as effective and grounded. Until I changed teams. Surprise surprise, my next round of criticism from a specific person wasn’t very positive. The reason is that I had previously tried not to be prescriptive in my advice—because the people who I was previously working with preferred the open-ended question format over the request style of suggestions. However, there was a person in this other team who had always preferred specific guidance. So I adapted my feedback for them to include requests.

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

No, because of the length in question, this kind of feedback is effective and can provide just enough information for a sound fix. Also if we zoom out, it can reduce future back-and-forth conversations and misunderstandings, improving the overall efficiency and effectiveness of collaboration beyond the single comment. Imagine that in the example above the feedback were instead just,” Let’s make sure that all screens have the same two forward and back buttons”. Since the designer receiving this feedback wouldn’t have much to go by, they might just implement the change. In later iterations, the interface might change or they might introduce new features—and maybe that change might not make sense anymore. The designer might assume that the change is about consistency without the explanation, but what if it wasn’t? So there could now be an underlying concern that changing the buttons would be perceived as a regression.

Yes, this style of feedback is not always efficient because the points in some comments don’t always need to be exhaustive, sometimes because certain changes may be obvious (” The font used doesn’t follow our guidelines” ) and sometimes because the team may have a lot of internal knowledge such that some of the whys may be implied.

Therefore, the equation above is intended to serve as a mnemonic to reflect and enhance the practice rather than a strict template for feedback. Even after years of active work on my critiques, I still from time to time go back to this formula and reflect on whether what I just wrote is effective.

The tone

Well-grounded content is the foundation of feedback, but that’s not really enough. The soft skills of the person who’s providing the critique can multiply the likelihood that the feedback will be well received and understood. It has been demonstrated that only positive feedback can lead to sustained change in people, and tone alone can determine whether content is rejected or welcomed.

Since our goal is to be understood and to have a positive working environment, tone is essential to work on. I’ve tried to summarize the necessary soft skills over the years using a formula that resembles the one for content: the receptivity equation.

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

Timing refers to the moment when the feedback occurs. To-the-point feedback doesn’t have much hope of being well received if it’s given at the wrong time. When a new feature’s entire high-level information architecture is about to go on sale, it might still be relevant if the questioning raises a significant blocker that no one saw, but those concerns are much more likely to have to wait for a later revision. So in general, attune your feedback to the stage of the project. Early iteration? Iteration later? Polishing work in progress? Each of these needs varies. The right timing will make it more likely that your feedback will be well received.

Attitude is the equivalent of intent, and in the context of person-to-person feedback, it can be referred to as radical candor. That entails checking whether what we have in mind will actually help the person and improve the overall project before writing. This might be a hard reflection at times because maybe we don’t want to admit that we don’t really appreciate that person. Although it’s possible, and that’s okay, it’s hoped not to be the case. Acknowledging and owning that can help you make up for that: how would I write if I really cared about them? How can I avoid being passive aggressive? How can I be more helpful?

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

A few years back, I was asking for some feedback on how I give feedback. I was given some sound advice, but I also got a surprise comment. They pointed out that when I wrote” Oh, ]… ]”, I made them feel stupid. That wasn’t my intention at all! I felt really bad, and I just realized that I provided feedback to them for months, and every time I might have made them feel stupid. I was horrified … but also thankful. I quickly changed my spelling mistake by adding “oh” to my list of replaced words (your choice between aText, TextExpander, or others ) so that when I typed “oh,” it was immediately deleted.

Something to highlight because it’s quite frequent—especially in teams that have a strong group spirit—is that people tend to beat around the bush. It’s important to keep in mind that having a positive attitude doesn’t necessarily mean passing judgment on the feedback; rather, it simply means that you give it constructive and respectful feedback, whether it be difficult or positive. The nicest thing that you can do for someone is to help them grow.

We have a great advantage in giving feedback in written form: it can be reviewed by another person who isn’t directly involved, which can help to reduce or remove any bias that might be there. When I shared a comment with someone I knew,” How does this sound,”” How can I do it better,” or even” How would you have written it,” I discovered that the two versions had different meanings.

The format

Asynchronous feedback also has a significant inherent benefit: it allows us to spend more time making sure that the suggestions ‘ clarity and actionability meet two main objectives.

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

In terms of clarity, start by grounding the critique that you’re about to give by providing context. This includes specifically describing where you’re coming from: do you have a thorough understanding of the project, or is this your first time seeing it? Are you coming from a high-level perspective, or are you figuring out the details? Are there regressions? Which user’s point of view do you consider when providing feedback? Is the design iteration at a point where it would be okay to ship this, or are there major things that need to be addressed first?

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

We frequently concentrate on the negatives and attempt to list every improvement that could be made. That’s of course important, but it’s just as important—if not more—to focus on the positives, especially if you saw progress from the previous iteration. Although this may seem superfluous, it’s important to remember that design has a number of possible solutions to each problem. So pointing out that the design solution that was chosen is good and explaining why it’s good has two major benefits: it confirms that the approach taken was solid, and it helps to ground your negative feedback. In the longer term, sharing positive feedback can help prevent regressions on things that are going well because those things will have been highlighted as important. Positive feedback can also help to lessen impostor syndrome as an added bonus.

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

Another way that you can improve your feedback is to depersonalize the feedback: the comments should always be about the work, never about the person who made it. It’s” This button isn’t well aligned” versus” You haven’t aligned this button well”. This can be changed in your writing very quickly by reviewing it just before sending.

In terms of actionability, one of the best approaches to help the designer who’s reading through your feedback is to split it into bullet points or paragraphs, which are easier to review and analyze one by one. You might want to break up the feedback into sections or even between several comments for longer pieces. Of course, adding screenshots or signifying markers of the specific part of the interface you’re referring to can also be especially useful.

One approach that I’ve personally used effectively in some contexts is to enhance the bullet points with four markers using emojis. A red square indicates that it is something I consider blocking, a yellow diamond indicates that it needs to be changed, and a green circle provides a thorough, positive confirmation. I also use a blue spiral � � for either something that I’m not sure about, an exploration, an open alternative, or just a note. However, I’d only use this strategy on teams where I’ve already established a high level of trust because it might turn out to be quite demoralizing if I deliver a lot of red squares and change how I communicate that.

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

• 🔶 Navigation—I anticipate that one of these two buttons will go forward and the other will go back when I see them. But this is the only screen where this happens, as before we just used a single button and an “×” to close. This seems to be breaking the consistency in the flow. Let’s make sure that all screens have the same two forward and back buttons so that users don’t get confused.
• � � Overall— I think the page is solid, and this is good enough to be our release candidate for a version 1.0.
• � � Metrics—Good improvement in the buttons on the metrics area, the improved contrast and new focus style make them more accessible.
• Button Style: Using the green accent in this context, which conveys that it is a positive action because green is typically seen as a confirmation color. Do we need to explore a different color?
• Considering the number of items on the page and the overall page hierarchy, it seems to me that the tiles should use Subtitle 2 instead of Subtitle 1. This will keep the visual hierarchy more consistent.
• � � Background—Using a light texture works well, but I wonder whether it adds too much noise in this kind of page. What is the purpose of using that?

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

One final note: say the obvious. Sometimes we might feel that something is clearly right or wrong, and we don’t say it. Or sometimes we might have a doubt that we don’t express because the question might sound stupid. Say it, that’s fine. You might have to reword it a little bit to make the reader feel more comfortable, but don’t hold it back. Good feedback is transparent, even when it may be obvious.

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

Content, tone, and format. Although each of these subjects offers a useful model, focusing on eight areas, including observation, impact, question, timing, attitude, form, clarity, and actionability, is a lot of work at once. One effective approach is to take them one by one: first identify the area that you lack the most (either from your perspective or from feedback from others ) and start there. Then the second, followed by the third, and so on. At first you’ll have to put in extra time for every piece of feedback that you give, but after a while, it’ll become second nature, and your impact on the work will multiply.

Thanks to Brie Anne Demkiw and Mike Shelton for reviewing the first draft of this article.