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  • Supergirl Screenwriter Promises a Grittier and Edgier Maid of Might

    Supergirl Screenwriter Promises a Grittier and Edgier Maid of Might

    Kara Zor-El, aka Supergirl, is a challenging task for some writers, much like her niece Kal-El. Superman has frequently been portrayed as the sweet lady next doorway, who just so happens to have amazing powers, since her comeback in 1959’s Action Comics# 252, which was written by Otto Binder and penciled by Al Plastino. Later riffs ]… ]

    On Den of Geek, the second article Superman Screenwriter Promises a Grittier and Edgier Maid of Might was.

    &#8220, I&#8217, m Batman. When Michael Keaton suddenly dissipated all doubts about the Dark Knight’s costume and hood when he grinned those infamous words at the start of 1989’s Batman. The idea of the sassy actor taking the part rubbed off in the wrong way with countless fans up until then, so bad that they launched a letter-writing campaign demanding that Warner Bros. cast the character.

    It’s therefore fitting that Batman’s position is still so contentious today. Questions abound again more about the new keeper of Gotham City as James Gunn reboots the DC Universe and makes the older, grizzled Batman played by Ben Affleck ( and we’re not going to talk about George Clooney reprising the piece in the trailer in The Display ).

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

    A fresh Batman may appear in The Brave and the Bold, which Andy Muschietti has directed, we are aware of. This movie will once again feature the Dynamic Duo, with Batman fighting violence alongside his brother Damian Wayne, who dresses up as Robin. It draws inspiration from Grant Morrison‘s Batman and Son story.

    Although Gunn has been very hesitant to reveal details beyond that simple plot, he did just tell IGN that I can’t tell you how many big actors have said they want to become Batman. Let’s take a moment to consider some of the men who have lit their own Batsignals to catch Gunn&#8217, s interest, hoping that they will one day state,” I’m Batman. &#8221,

    Alan Ritchson in Reacher

    Alan Ritchson

    Reacher superstar Alan Ritchson, who is easily the most well-known of the Bat-hopefuls, has made it clear that he wants to transfer his skills to Gotham City. In truth, Ritchson and Gunn have already spoken about a location in the new world. Ritchson makes perfect sense on one hand because he previously appeared in the DC Universe as Hawk in the broadcast set Titans. On the other hand, Ritchson is really, really huge, which isn’t always something one associates with a guy who spends his night perched on the cliffs of houses.

    Or is it? The Caped Crusader is reimagined in the current hit comic book series Absolute Batman as a large dude raised in poverty by his single mom. Although Overall Batman places characters in other worlds than the traditional DC world, its popularity provides the most compelling argument for Ritchson to date.

    Shadow and Bone. Ben Barnes as General Kirigan in episode 203 of Shadow and Bone. Cr. Dávid Lukács/Netflix © 2022

    Ben Barnes

    Ben Barnes, who is a newcomer to the party, is best known for his roles in The Punisher and Shadow and Bone. Barnes definitely has the traditional look of the gloomy Bruce Wayne due to his gloomy functions and good looks. And Barnes at least has demonstrated his ability to function in a world where costumed mobs are present, despite the fact that The Punisher was a much more grounded present than Brave and the Bold, which is likely to be the high-concept taking on Batman.

    Barnes’s angle, however, is made by appealing to feeling rather than by reviewing his resume. Barnes mentions watching old home movies in Collider, and in every second one, I was dressed like Batman or Robin Hood. Spider-Man may have been a part, but Batman predominated, I believe. One would typically assume that a nice family memory wouldn’t be a good fit for a man who reportedly had a difficult childhood wouldn’t be a good pitch to play. However, perhaps Barnes &#8217’s unconventional approach will appeal to Gunn.

    Julia Schlaepfer as Alexandra and Brandon Sklenar as Spencer of the Paramount+ series 1923.

    Brandon Sklenar

    Brandon Sklenar has stated that he wants to enjoy Batman, just like the others on the list. But because his supporters are making it for him, he hasn’t had to make too much noise himself. There is already a little backlash against him being chosen&#8230, which, to be clear, has n&#8217, t really happened. Sklenar has been a common fan put in some corners of the internet.

    Kudos to his position as Spencer Dutton in the Yellowstone prequel 1923, Sklenar has encounter working in music and great franchises. And while other topics dominated the discussion around the release of the film It Stops With Us from last year, Sklenar did a good job portraying a handsome man with a gloomy mystery. Sklenar might not be a good fit for Batman, especially as he attempts to raise his hero assassin son, but those scenes also have a specific sweetness.

    BILLY MAGNUSSEN and JAKE GYLLENHAAL star in ROADHOUSE Photo: LAURA RADFORD © AMAZON CONTENT SERVICES LLC

    Jake Gyllenhaal

    Jake Gyllenhaal appears in the TV series Sklenar more as a recommendation for a lover cast than as a pleading actor. But he has at least made a comment about the possibility. When asked about his interest in taking the piece in the film’s sequel, Road House, Gyllenhaal was questioned about it during click, to which he graciously responded. &#8220, Oh, man. That’s a traditional [role ] one. It’s an respect, &#8221, Gyllenhaal responded.

    On the surface, Gyllenhaal’s reaction is expected. Who will be interested in playing a wildly popular figure in a film that will undoubtedly generate millions of dollars? On the other hand, twenty years ago, Gyllenhaal was the film’s main competitor Batman Begins. And while he hasn’t had the chance to play a fresh Batman, he might be in the right place to play an older Batman who struggles with paternity.

    The Batman Robert Pattinson

    Robert Pattinson

    Perhaps Robert Pattinson shouldn’t even be on this list for a few factors. First of all, because he’s already Batman and plays the part in Matt Reeves ‘” The Batman.” Next, he hasn’t said anything about wanting to appear in The Brave and the Bold. Carter and Gunn have both stated that The Batman is distinct from the rest of the DC Universe, and next, Reeves and Gunn have done the same.

    And yet, the greater the Batman role in The Brave and the Bold is unfilled, the more likely it is that Pattinson will assume the role. Yes, he portrays the Dark Knight with its eternal warriors and crazy researchers from different sizes in a more grounded, younger, and personal way than the Grant Morrison comics do. However, it’s difficult to imagine that Gunn isn’t giving a damn about bringing him into the primary DCU because Pattinson already has the suit.

    Preproduction of The Brave and the Bold is ongoing.

    Who Will Be James Gunn’s Dark Knight?, The Brave and the Bold, appeared in Batman: The Brave and the Bold, on October 11, 2012. primary appeared on Den of Geek.

  • Peaky Blinders Series Return Raises the Stakes for Tommy Shelby in The Immortal Man

    Peaky Blinders Series Return Raises the Stakes for Tommy Shelby in The Immortal Man

    The Immortal Man, a feature film sequel to the popular gangland historical drama Peaky Blinders, which will feature ( now Oscar-winning ) Cillian Murphy reprise his role as Tommy Shelby, one of Peak TV’s most enduring and admittedly awesome, was already a big hit with fans of the well-known gangland historical drama…

    The first episode of Den of Geek was titled” Pelly Blinders Series Return Raises the Stakes for Tommy Shelby in The Immortal Gentleman.”

    &#8220, I&#8217, m Batman. When Michael Keaton eventually dissipated all doubts about the Dark Knight’s costume and cover when he grinned those infamous words at the start of 1989’s Batman. Up until then, many fans were irritated by the idea of the sly actor taking the part. In truth, they launched a letter-writing strategy to demand that Warner Bros. cast the character.

    It’s therefore fitting that Batman’s reputation is still so contentious today. Questions abound once more about the new keeper of Gotham City as James Gunn reboots the DC Universe and makes the older, grizzled Batman played by Ben Affleck ( we’re not going to discuss about George Clooney reprising the piece in the trailer in The Display ).

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

    In The Brave and the Bold, which Andy Muschietti directed, we are aware that a new Batman may emerge. This movie will once again feature the Dynamic Duo, with Batman fighting violence alongside his brother Damian Wayne, who suits up as Robin. Taking inspiration from Grant Morrison&#8216, s Batman and Son story,

    Although Gunn has been very hesitant to reveal information beyond the most basic tale, he just told IGN that he can’t tell you how many big-name stars have told me they want to become Batman. Let’s take a moment to look at some of the men who have lit their individual Bat-signal to catch Gunn&#8217, s interest, hoping that they too may one day say, &#8220, I&#8217, m Batman. &#8221,

    Alan Ritchson in Reacher

    Alan Ritchson

    Reacher superstar Alan Ritchson, who is easily the most well-known of the Bat-hopefuls, has made it clear that he wants to transfer his expertise to Gotham City. In truth, Ritchson and Gunn have already spoken about a location in the new world. Ritchson makes perfect sense on one hand, given that he has previously spent day as a Hawk on the television set Titans in the DC Universe. On the other hand, Ritchson is really, really huge, which isn’t always something one associates with a guy who spends his night perched on the cliffs of houses.

    Or is it? The Caped Crusader is reimagined in the current hit comic book series Absolute Batman as a large dude raised in poverty by his single mom. Although Total Batman places characters in other worlds than the traditional DC world, its popularity provides the most compelling argument for Ritchson to date.

    Shadow and Bone. Ben Barnes as General Kirigan in episode 203 of Shadow and Bone. Cr. Dávid Lukács/Netflix © 2022

    Ben Barnes

    Ben Barnes, who is a newcomer to the party, is best known for his roles in The Punisher and Shadow and Bone. Barnes definitely has the gloomy Bruce Wayne’s classic appearance thanks to his dark skin and attractive looks. Even though The Punisher was a much more grounded present than Brave and the Bold, Barnes is at least demonstrating how to operate in a world where costumed police are present.

    Barnes’s ball, however, is made by appealing to feeling rather than by reviewing his resume. Barnes mentions watching old home movies in Collider, and in every second one, I was dressed like Batman or Robin Hood. Spider-Man might have been one, but I believe it was primarily Batman. One would typically assume that a nice family memory wouldn’t make a good play for a man who reportedly had a difficult childhood. However, perhaps Gunn will find Barnes &#8217’s unconventional approach appealing.

    Julia Schlaepfer as Alexandra and Brandon Sklenar as Spencer of the Paramount+ series 1923.

    Brandon Sklenar

    Brandon Sklenar has stated that he would like to enjoy Batman, just like the others on this record. He hasn’t, however, made too many sound himself because his supporters are supporting him. There is already a little backlash against him being chosen&#8230, which, to be clear, has n&#8217, t really happened. Sklenar has been a popular fan put in some corners of the computer.

    Kudos to his position as Spencer Dutton in the Yellowstone prequel 1923, Sklenar has encounter working in music and great franchises. And while other topics dominated the discussion around the same time last year’s It Stops With Us, Sklenar did put on a performance as a beautiful man with a dark secret. Sklenar might not be a good fit for Batman, especially as he attempts to raise his warrior killer son, but those scenes also have a particular sweetness.

    BILLY MAGNUSSEN and JAKE GYLLENHAAL star in ROADHOUSE Photo: LAURA RADFORD © AMAZON CONTENT SERVICES LLC

    Jake Gyllenhaal

    Jake Gyllenhaal appears in the TV series Sklenar more as a recommendation for a fan put than as a pleading actor. He has, however, at least made a comment about the possibility. When asked about his interest in taking the piece in the film’s sequel, Road House, Gyllenhaal was questioned about it during press, to which he graciously responded. &#8220, Oh, man. That’s a traditional [role ] one. It’s an pride, &#8221, Gyllenhaal responded.

    On the surface, Gyllenhaal’s reply is expected. Who isn’t going to be interested in playing a wildly popular figure in a film that will undoubtedly bring in millions of dollars? On the other hand, twenty years ago, Gyllenhaal was the front-runner for Batman Begins. And while he hasn’t had the chance to play a fresh Batman, he might be in the right place to play an older Batman who struggles with parenthood.

    The Batman Robert Pattinson

    Robert Pattinson

    Perhaps Robert Pattinson shouldn’t even be on this list for a few factors. First of all, because he is already Batman and plays the part in Matt Reeves’ The Batman. Next, he hasn’t said anything about wanting to appear in The Brave and the Bold. Carter and Gunn have both stated that The Batman is distinct from the rest of the DC Universe, and next, Reeves and Gunn have done the same.

    And yet, the more the Batman role in The Brave and the Bold is unfilled, the more likely it is that Pattinson will assume the role. Yes, he has an older, more mature, and heartfelt edition of the Dark Knight than the Grant Morrison comic, complete with its dying squad and crazy professionals from other sizes. However, it’s difficult to imagine that Gunn isn’t giving a damn about bringing him into the principal DCU because Pattinson already has the suit.

    Preproduction of The Brave and the Bold is ongoing.

    Who Will Be James Gunn’s Dark Knight?, The Brave and the Bold, appeared in Batman: The Brave and the Bold, on October 11, 2012. second appeared on Den of Geek.

  • Highlander Villain Casting Brings an Odd Part of the TV Series to the Movies

    Highlander Villain Casting Brings an Odd Part of the TV Series to the Movies

    Highlander may have attracted the ire of moviegoers in 1986, but it quickly grew into a cult classic, spawning an unequal line of sequels, live-action TV shows, and animated series. These early entries, however, overstepped the convenience of the premise of the film: there can be only one. [ Highlander was ]…

    The second post Highlander Villain Casting Brings an Odd Part of the TV Collection to the Movies was published on Den of Geek.

    &#8220, I&#8217, m Batman. When Michael Keaton suddenly dissipated all doubts about him being the person wearing the Dark Knight’s cape and cowl at the start of 1989 with those infamous words at the beginning of Batman. The idea of the clumsy actor taking the part initially irritated a lot of supporters, so much so that they launched a letter-writing plan demanding that Warner Bros. cast the character.

    It&#8217 ;s kind of fitting, then, that Batman’s status is still so contentious today. Questions abound again more about the new keeper of Gotham City as James Gunn reboots the DC Universe and makes the older, grizzled Batman played by Ben Affleck ( and we won’t be talking about George Clooney reprising the piece in the trailer in The Display ).

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

    A fresh Batman may appear in the film The Brave and the Bold, which Andy Muschietti directed. This movie will once again feature the Dynamic Duo, with Batman fighting violence alongside his brother Damian Wayne, who dresses up as Robin. It draws inspiration from Grant Morrison‘s Batman and Son story.

    Although Gunn has been very hesitant to reveal details beyond that standard plot, he did just tell IGN that I can’t tell you how many big actors have said they want to become Batman. Let’s take a moment to consider some of the men who have lit their personal Batsignals to catch Gunn&#8217, s interest, hoping that they will one day state,” I’m Batman. &#8221,

    Alan Ritchson in Reacher

    Alan Ritchson

    Reacher superstar Alan Ritchson, who is easily the most well-known of the Bat-hopefuls, has made it clear that he wants to transfer his skills to Gotham City. In reality, Ritchson and Gunn have already spoken about a location in the new world. Ritchson makes perfect sense on one hand because he previously appeared in the DC Universe as Hawk in the broadcast set Titans. On the other hand, Ritchson is incredibly large, which isn’t always something one associates with a man who spends his nights perched on the cliffs of houses.

    Or is it? The Caped Crusader is reimagined in the current hit comic book series Absolute Batman as a large dude raised in poverty by his single mom. Although Absolute Batman takes place in a world other than the traditional DC, its prominence provides the strongest argument still for Ritchson.

    Shadow and Bone. Ben Barnes as General Kirigan in episode 203 of Shadow and Bone. Cr. Dávid Lukács/Netflix © 2022

    Ben Barnes

    Ben Barnes, who is best known for his roles in The Punisher and Shadow and Bone, is a newcomer to the party. Barnes definitely has the traditional look of the gloomy Bruce Wayne due to his gloomy characteristics and good looks. Even though The Punisher was a much more grounded display than Brave and the Bold, Barnes is at least demonstrating how to operate in a world where costumed police are present.

    Barnes makes his ball, yet, by appealing to feeling rather than by consulting his profile. Barnes mentions watching old home movies in Collider, and in every second one, I was dressed like Batman or Robin Hood. There may have been a Spider-Man one, but I believe it was primarily Batman. One would typically assume that a nice family memory wouldn’t be a good fit for a man who reportedly had a difficult childhood wouldn’t be a good pitch to play. However, perhaps Barnes &#8217’s unconventional approach will appeal to Gunn.

    Julia Schlaepfer as Alexandra and Brandon Sklenar as Spencer of the Paramount+ series 1923.

    Brandon Sklenar

    Brandon Sklenar has stated that he wants to enjoy Batman, just like the others on the list. However, he hasn’t had to make too much noise himself because his followers are making it for him. There is already a little backlash against him being chosen for #8230, which, to be clear, hasn’t really happened yet. Sklenar has been a well-liked fan cast in some corners of the internet.

    Kudos to his position as Spencer Dutton in the Yellowstone prequel 1923, Sklenar has encounter working in music and great franchises. And while other topics dominated the discussion around the release of the film It Stops With Us from last year, Sklenar did a strong job portraying a handsome man with a gloomy mystery. Those scenes also have a certain beauty that may make Sklenar a terrible Batman choice, especially as in the case of Caped Crusader trying to raise his warrior assassin son.

    BILLY MAGNUSSEN and JAKE GYLLENHAAL star in ROADHOUSE Photo: LAURA RADFORD © AMAZON CONTENT SERVICES LLC

    Jake Gyllenhaal

    Jake Gyllenhaal appears in the TV series Sklenar more as a recommendation for a fan put than as a pleading actor. But he has at least made a comment about the possibility. When speaking with the media about the Road House remake from last year’s, Gyllenhaal was asked about his interest in taking the piece, to which he graciously responded. &#8220, Oh, man. That’s a classic [role ] It’s an pride, &#8221, Gyllenhaal responded.

    On the surface, Gyllenhaal’s reaction is expected. Who isn’t going to be interested in playing a wildly popular figure in a film that will undoubtedly bring in millions of dollars? On the other hand, twenty years ago, Gyllenhaal was the front-runner for Batman Begins. And while he hasn’t had the chance to play a fresh Batman, he might be in the right place to play an older Batman who struggles with paternity.

    The Batman Robert Pattinson

    Robert Pattinson

    For a few factors, perhaps Robert Pattinson shouldn’t even be on this record. First of all, because he’s already Batman and plays the part in Matt Reeves ‘” The Batman.” Next, he hasn’t mentioned wanting to appear in The Brave and the Bold. Carter and Gunn have both stated that The Batman is distinct from the rest of the DCU, and next, Reeves and Gunn have done the same.

    And yet, the greater the Batman role in The Brave and the Bold is unfilled, the more likely it is that Pattinson will assume the role. Yes, he has an older, more mature, and heartfelt edition of the Dark Knight than the Grant Morrison comic, complete with its dying squad and crazy professionals from other sizes. However, it’s difficult to imagine that Gunn isn’t giving a damn about bringing him into the principal DCU because Pattinson already has the suit.

    The Brave and the Bold is now in development.

    Who Will Be James Gunn’s Dark Knight?, Batman: The Brave and the Bold appeared first on the list of the blog. primary appeared on Den of Geek.

  • The Ghostbusters Star Who Almost Became a Star Trek Captain

    The Ghostbusters Star Who Almost Became a Star Trek Captain

    There are always going to be a specific number of intriguing “what-ifs” in any company that has been around as long as Star Trek. What if Christopher Pike was not hurt and remained the captain of the Enterprise despite tale swerves? to casting choices ( What if Patrick Stewart was cast as Jean-Luc Picard instead of Mitchell Ryan? ) ), the current ]… ]

    Den of Geek‘s first publish The Ghostbusters Star Who About Became a Star Trek Captain.

    &#8220, I&#8217, m Batman. When Michael Keaton eventually dissipated all doubts about him being the Dark Knight’s wearer of the bay and cowl at the start of 1989 with those infamous words at the beginning of the year 1982, he was portrayed as Batman. The idea of the clumsy actor taking the part initially irritated a lot of supporters, so much so that they launched a letter-writing plan demanding that Warner Bros. cast the character.

    It&#8217 ;s type of fitting, then, that Batman’s status is still so contentious now. Questions abound once more about the new keeper of Gotham City as James Gunn reboots the DC Universe and makes the older, grizzled Batman played by Ben Affleck ( we’re not going to discuss about George Clooney reprising the piece in the trailer in The Display ).

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

    A fresh Batman may appear in The Brave and the Bold, which Andy Muschietti has directed, we are aware of. This movie will once again feature the Dynamic Duo, with Batman fighting violence alongside his brother Damian Wayne, who suits up as Robin. Taking inspiration from Grant Morrison&#8216, s Batman and Son story,

    Although Gunn has been very hesitant to reveal details beyond that simple plot, he did just tell IGN that I can’t tell you how many big actors have said they want to become Batman. Let’s take a moment to consider some of the men who have lit their personal Batsignals to catch Gunn&#8217, s interest, hoping that they will one day state,” I’m Batman. &#8221,

    Alan Ritchson in Reacher

    Alan Ritchson

    Reacher superstar Alan Ritchson has made it clear that he wants to transfer his talents to Gotham City, making his debut among the most well-known Bat-hopefuls. In truth, Ritchson and Gunn have already spoken about a location in the new world. Ritchson makes perfect sense on one hand, given that he has previously spent time as a Hawk on the television set Titans in the DC Universe. On the other hand, Ritchson is incredibly large, which isn’t always something one associates with a man who spends his nights perched on the cliffs of houses.

    Or is it? The Caped Crusader is reimagined in the current hit comic book series Absolute Batman as a large dude as well as a person raised in poverty by his single mom. Overall Batman takes place in a world other than the traditional DC, but its prominence makes the most compelling case for Ritchson to date.

    Shadow and Bone. Ben Barnes as General Kirigan in episode 203 of Shadow and Bone. Cr. Dávid Lukács/Netflix © 2022

    Ben Barnes

    Ben Barnes, who is best known for his roles in The Punisher and Shadow and Bone, is a newcomer to the party. Barnes definitely has the gloomy Bruce Wayne’s classic appearance thanks to his dark skin and attractive looks. Even though The Punisher was a much more grounded display than Brave and the Bold, Barnes at least has demonstrated how to operate in a world where costumed police are present.

    Barnes makes his ball, yet, by appealing to feeling rather than by consulting his profile. Barnes mentions watching old home videos, and in every one, I wore Batman or Robin Hood outfit, in Collider. Spider-Man might have been one, but I believe it was primarily Batman. One would typically assume that a nice family memory wouldn’t make a good actor for a man who is infamously from a difficult childhood. However, perhaps Barnes &#8217’s unconventional approach will appeal to Gunn.

    Julia Schlaepfer as Alexandra and Brandon Sklenar as Spencer of the Paramount+ series 1923.

    Brandon Sklenar

    Brandon Sklenar has admitted he would like to enjoy Batman, just like the others on this record. However, he hasn’t had to make too much noise himself because his followers are making it for him. There has already been a little pushback against him being chosen for #8230, which, to be clear, hasn’t really happened, because he has been a well-liked lover cast in some parts of the internet.

    Due to his position as Spencer Dutton in the Wyoming subsidiary 1923, Sklenar has encounter working in both style and major franchises. And while other topics dominated the discussion around the release of the film It Stops With Us from last year, Sklenar did a strong job portraying a handsome man with a gloomy mystery. Those scenes also have a certain beauty that might produce Sklenar a terrible Batman choice, especially as in the case of Caped Crusader trying to raise his warrior assassin son.

    BILLY MAGNUSSEN and JAKE GYLLENHAAL star in ROADHOUSE Photo: LAURA RADFORD © AMAZON CONTENT SERVICES LLC

    Jake Gyllenhaal

    Jake Gyllenhaal has come across more as a lover cast recommendation than as one begging to be the piece, like Sklenar. But he has at least made a comment about the possibility. When speaking with the media about the Road House remake from last year’s, Gyllenhaal was asked about his interest in taking the piece, to which he graciously responded. &#8220, Oh, man. That is a traditional role. It’s an respect, &#8221, Gyllenhaal responded.

    On the surface, Gyllenhaal’s reaction is expected. Who isn’t going to be interested in playing a wildly famous figure in a film that will undoubtedly bring in millions of dollars? On the other hand, twenty years ago, Gyllenhaal was the front-runner for Batman Begins. And while he hasn’t had the chance to play a fresh Batman, he might be in the right place to play an older Batman who struggles with parenthood.

    The Batman Robert Pattinson

    Robert Pattinson

    Perhaps Robert Pattinson shouldn’t even be on this list for a few factors. First of all, because he’s already Batman and plays the part in Matt Reeves ‘” The Batman.” Next, he hasn’t said anything about wanting to appear in The Brave and the Bold. Carter and Gunn have both stated that The Batman is distinct from the rest of the DC Universe, and next, Reeves and Gunn have done the same.

    And still, the more the Batman role in The Brave and the Bold is unfilled, the more we consider Pattinson merely taking the place. Yes, he has an older, more mature, and heartfelt edition of the Dark Knight than the Grant Morrison comic, complete with its dying squad and crazy professionals from other sizes. However, it’s difficult to imagine that Gunn isn’t giving a damn about merely bringing him into the main DCU given that Pattinson already has the coat.

    The Brave and the Bold is now in development.

    Who Will Be James Gunn’s Dark Knight?, Batman: The Brave and the Bold appeared first on the list of the blog. second appeared on Den of Geek.

  • How David Tennant and Billie Piper Could Build a Bridge to Doctor Who’s Next Era

    How David Tennant and Billie Piper Could Build a Bridge to Doctor Who’s Next Era

    Every Doctor Who fan is currently accustomed to the seemingly endless rumors that past Tenth Doctor David Tennant may make another comeback. Enthusiasts at conventions and investigators at big publications have frequently asked him about it. Also Doctor Who itself had some tongue-in-cheek jokes on […]…

    The article How David Tennant and Billie Piper May Create a Bridge to Doctor Who’s Second Time first appeared on Den of Geek.

    &#8220, I&#8217, m Batman. When Michael Keaton eventually dissipated all doubts about the Dark Knight’s costume and cover when he grinned those infamous words at the start of 1989’s Batman. Up until then, many fans were irritated by the idea of the sly actor taking the part. In truth, they launched a letter-writing plan to demand that Warner Bros. cast the character.

    It’s therefore fitting that Batman’s position is still so contentious now. Questions abound once more about the new keeper of Gotham City as James Gunn reboots the DC Universe and makes the older, grizzled Batman played by Ben Affleck ( we’re not going to discuss about George Clooney reprising the piece in the trailer in The Display ).

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

    In The Brave and the Bold, which Andy Muschietti directed, we are aware that a new Batman may emerge. The Dynamic Duo will once again play a role in this movie, drawing inspiration from Grant Morrison‘s Batman and Son story. Adam Wayne did play Damian, who also serves as Robin, in the action.

    Although Gunn has been very hesitant to reveal information beyond the most basic story, he just told IGN that he can’t tell you how many big-name stars have told me they want to become Batman. Let’s take a moment to consider some of the men who have lit their individual Batsignals to catch Gunn&#8217, s interest, hoping that they will one day state,” I’m Batman. &#8221,

    Alan Ritchson in Reacher

    Alan Ritchson

    Reacher superstar Alan Ritchson, who is easily the most well-known of the Bat-hopefuls, has made it clear that he wants to transfer his expertise to Gotham City. Ritchson has actually spoken to Gunn about a location in the fresh world. Ritchson makes perfect sense on one hand, given that he has previously spent time as a Hawk on the television set Titans in the DC Universe. Ritchson is actually, really huge, which isn’t always something one associates with a man who spends his nights perched on the rocks of structures.

    Or is it? The Caped Crusader is reimagined in the current hit comic book series Absolute Batman as a large dude raised in poverty by his single mom. Although Absolute Batman takes place in a world other than the traditional DC, its popularity provides the strongest argument still for Ritchson.

    Shadow and Bone. Ben Barnes as General Kirigan in episode 203 of Shadow and Bone. Cr. Dávid Lukács/Netflix © 2022

    Ben Barnes

    Ben Barnes, who is a newcomer to the party, is best known for his roles in The Punisher and Shadow and Bone. Barnes definitely has the gloomy Bruce Wayne’s classic appearance thanks to his dark skin and attractive looks. Even though The Punisher was a much more grounded present than Brave and the Bold, Barnes is at least demonstrating how to operate in a world where costumed police are present.

    Barnes’s angle, however, is made by appealing to feeling rather than by referencing his resume. Barnes mentions watching old home movies in Collider, and in every solitary one, I was dressed like Batman or Robin Hood. Spider-Man might have been one, but I believe it was primarily Batman. One would typically assume that a nice family memory wouldn’t be a good fit for a man who reportedly had a difficult childhood wouldn’t be a good pitch to play. However, perhaps Gunn will find Barnes &#8217’s unconventional approach appealing.

    Julia Schlaepfer as Alexandra and Brandon Sklenar as Spencer of the Paramount+ series 1923.

    Brandon Sklenar

    Brandon Sklenar has stated that he would like to enjoy Batman, just like the others on this record. However, he hasn’t had to make too much noise himself because his followers are making it for him. There has already been a little pushback against him being chosen for #8230, which, to be clear, hasn’t really happened, because he has been a well-liked lover cast in some parts of the internet.

    Due to his position as Spencer Dutton in the Montana subsidiary 1923, Sklenar has encounter working in both style and major franchises. And while other topics dominated the discussion around the release of the film It Stops With Us from last year, Sklenar did a good job portraying a handsome man with a gloomy mystery. Those scenes also have a certain beauty that may make Sklenar a terrible Batman choice, especially as in the case of Caped Crusader trying to raise his warrior assassin son.

    BILLY MAGNUSSEN and JAKE GYLLENHAAL star in ROADHOUSE Photo: LAURA RADFORD © AMAZON CONTENT SERVICES LLC

    Jake Gillenhaal

    Like Sklenar, Jake Gillenhaal has shown up more as a fan cast suggestion than as someone begging to get the part. But he has at least commented upon the possiblity. While doing press for last year’s Road House remake, Gyllenhaal was asked about his interest in taking on the part, to which he responded favorably. “Oh, man. That’s a classic [role]. It’s an honor,” Gyllenhaal responded.

    On the one hand, Gyllenhaal’s reply is expected. Who isn’t going to be interested in playing a wildly popular figure in a film that will undoubtedly bring in millions of dollars? On the other hand, twenty years ago, Gyllenhaal was the front-runner for Batman Begins. And while he hasn’t had the chance to play a fresh Batman, he might be in the right place to play an older Batman who struggles with paternity.

    The Batman Robert Pattinson

    Robert Pattinson

    Perhaps Robert Pattinson shouldn’t even be on this record for a few factors. First of all, because he’s already Batman and plays the part in Matt Reeves ‘” The Batman.” Next, he hasn’t mentioned wanting to appear in The Brave and the Bold. Carter and Gunn have both stated that The Batman is distinct from the rest of the DCU, and next, Reeves and Gunn have done the same.

    And yet, the more the Batman role in The Brave and the Bold is unfilled, the more we consider Pattinson merely taking the place. Yes, he has an older, more mature, and heartfelt edition of the Dark Knight than the Grant Morrison comic, complete with its dying squad and crazy professionals from other sizes. However, it’s difficult to imagine that Gunn isn’t giving a damn about bringing him into the principal DCU because Pattinson already has the match.

    The Brave and the Bold is now in development.

    Who Will Be James Gunn’s Dark Knight?, Batman: The Brave and the Bold appeared first on the list of the article. second appeared on Den of Geek.

  • Designing for the Unexpected

    Designing for the Unexpected

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

    Flash, Photoshop, and flexible pattern

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

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

    My first encounter with flexible style didn’t help my fear. My second project was to get an active fixed-width website and make it reactive. You can’t really put responsiveness at the end of a job, which I learned the hard way. To make smooth design, you need to prepare throughout the style phase.

    A new way to style

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

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

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

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

    Media questions

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

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

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

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

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

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

    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 questions 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. There are workarounds for JavaScript, but they can lead to dependencies and compatibility issues. The basic theory underlying container queries is that elements should change based on the size of their parent container and not the viewport width, as seen in the following illustrations.

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

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

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

    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?

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

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

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

    Without reliable cross-browser support for them, it’s difficult to say for certain whether container queries will be successful. 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 in Firefox at the time of writing, but the above code can be implemented behind an @supports feature query.

    Intrinsic layouts

    I’d be remiss not to mention intrinsic layouts, a term used by Jen Simmons to describe a mix of contemporary and traditional CSS features 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 to have the same breakpoints or content as in the previous implementation, components and patterns can be removed and reused.

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

    Another 2010 moment?

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

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

    One possible explanation for that is that I now work for a sizable company, which is quite different from the 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 about applying existing skills and CSS knowledge in a unique way.

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

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

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

    Because 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 at some point in our careers to drop designs in and demonstrate how the site would look at each of the three stages.

    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 changes in content, such as in our earlier Subgrid card illustration, which allowed the cards to make adjustments to both their own and sibling elements.

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

    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 specified in the Sass version.

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

    These variables can be used as values—

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

    —or as real estate.

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

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

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

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

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

    Fluid and fixed

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

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

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

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

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

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

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

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

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

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

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

    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”.

    On a 50 MB budget, I spent a day surfing the web.

    Chris Ashton

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

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

    Image alt text

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

      

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

    …

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

    So how can we put users in control?

    The return of media inquiries

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

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

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

    For instance, 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 questions like this go beyond choices made by a browser to grant more control to the user.

    Expect the unexpected

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

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

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

    When it comes to unexpected circumstances, we 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.

  • Asynchronous Design Critique: Getting Feedback

    Asynchronous Design Critique: Getting Feedback

    ” Any feedback?” is perhaps one of the worst ways to ask for opinions. It’s obscure and unfocused, and it doesn’t give us a sense of what we’re looking for. Getting good opinions starts sooner than we might hope: it starts with the demand.

    Starting the process of receiving feedback with a question may seem counterintuitive, but it makes sense if we consider that receiving feedback can be seen as a form of pattern research. In the same way that we wouldn’t perform any studies without the correct questions to get the insight that we need, the best way to ask for feedback is also to build strong issues.

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

    And suddenly, as with any great research, we need to examine what we got up, get to the base of its perspectives, and take action. Iteration, evaluation, and problem. This look at each of those.

    The query

    Being available to input is important, but we need to be specific about what we’re looking for. Any comments,” What do you think,” or” I’d love to hear your mind” at the end of a presentation are likely to garner a lot of different ideas, or worse, to make people follow the lead of the first speaker. And next… we get frustrated because vague issues like those can change a high-level moves review into folks rather commenting on the borders of buttons. Which theme may be important, so it might be difficult to get the team to pay attention to it.

    But how do we get into this scenario? A number of elements are involved. One is that we don’t often consider asking as a part of the input approach. Another is how healthy it is to keep the issue open and assume that everyone else will agree. Another is that in nonprofessional debate, there’s usually no need to be that exact. In summary, we tend to undervalue the value of the issues, and we don’t work to improve them.

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

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

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

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

    • Functionality: Is it desirable to automate account creation?
    • Interaction design: Take a look through the updated flow and let me know whether you see any steps or error states that I might’ve missed.
    • Information architecture: On this page, we have two competing pieces of information. Is the structure effective in communicating them both?
    • User interface design: What do you think about the error counter at the top of the page, which makes sure you see the next error even if it is outside the viewport?
    • Navigation design: From research, we identified these second-level navigation items, but once you’re on the page, the list feels too long and hard to navigate. Do you have any suggestions for how to handle this?
    • Visual design: Are the sticky notifications in the bottom-right corner visible enough?

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

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

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

    Sometimes we actually do want broad feedback. Although that’s uncommon, it can occur. In that sense, you might still make it explicit that you’re looking for a wide range of opinions, whether at a high level or with details. Or perhaps you should just say,” At first glance, what do you think”? so that it’s clear that what you’re asking is open ended but focused on someone’s impression after their first five seconds of looking at it.

    Sometimes the project is particularly broad, and some areas may have already been thoroughly explored. In these situations, it might be useful to explicitly say that some parts are already locked in and aren’t open to feedback. Although it’s not something I’d recommend in general, I’ve found it helpful in avoiding getting back into rabbit holes like those that could lead to further refinement but aren’t currently what matters most.

    Asking specific questions can completely change the quality of the feedback that you receive. People with less refined criticism will now be able to provide more actionable feedback, and even expert designers will appreciate the clarity and effectiveness gained from concentrating solely on what’s needed. It can save a lot of time and frustration.

    The iteration

    Design iterations are probably the most visible part of the design work, and they provide a natural checkpoint for feedback. Many design tools have inline commenting, but many of them only display changes as a single fluid stream in the same file. In addition, these kinds of design tools automatically update shared UI components, make conversations disappear and require designs to always display the most recent version, unless these would-be useful features were manually disabled. The implied goal that these design tools seem to have is to arrive at just one final copy with all discussions closed, probably because they inherited patterns from how written documents are collaboratively edited. That approach to design critiques is probably not the best approach, but some teams might benefit from it even if I don’t want to be too prescriptive.

    The asynchronous design-critique approach that I find most effective is to create explicit checkpoints for discussion. For this, I’m going to use the term iteration post. It refers to a write-up or presentation of the design iteration followed by a discussion thread of some kind. Any platform that can accommodate this type of structure can use this. By the way, when I refer to a “write-up or presentation“, I’m including video recordings or other media too: as long as it’s asynchronous, it works.

    There are many benefits to using iteration posts:

    • It creates a rhythm in the design work so that the designer can review feedback from each iteration and prepare for the next.
    • Decisions are made immediately available for future review, and conversations are also always available.
    • It creates a record of how the design changed over time.
    • Depending on the tool, it might also make it simpler to collect and act on feedback.

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

    I don’t think there’s a standard format for iteration posts. However, there are a few high-level elements that make sense to include as a baseline:

    1. The goal
    2. The layout
    3. The list of changes
    4. The querys

    Each project is likely to have a goal, and hopefully it’s something that’s already been summarized in a single sentence somewhere else, such as the client brief, the product manager’s outline, or the project owner’s request. Therefore, I would repeat this in every iteration post, literally copy and pasting it. The idea is to provide context and to repeat what’s essential to make each iteration post complete so that there’s no need to find information spread across multiple posts. The most recent iteration post will have everything I need if I want to know about the most recent design.

    This copy-and-paste part introduces another relevant concept: alignment comes from repetition. Therefore, repeating information in posts helps to ensure that everyone is on the same page.

    The design is then the actual series of information-architecture outlines, diagrams, flows, maps, wireframes, screens, visuals, and any other kind of design work that’s been done. It’s any design object, to put it briefly. For the final stages of work, I prefer the term blueprint to emphasize that I’ll be showing full flows instead of individual screens to make it easier to understand the bigger picture.

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

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

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

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

    I want to highlight that even if these iteration posts are written and conceived as checkpoints, by no means do they need to be exhaustive. A post might be just a concept to start a conversation, or it might be a cumulative list of all the features that have been added gradually over the course of each iteration until the full picture is achieved.

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

    • Unique—It’s a clear unique marker. Everyone knows where to go to review things, and it’s simple to say” This was discussed in i4″ with each project.
    • Unassuming—It works like versions ( such as v1, v2, and v3 ) but in contrast, versions create the impression of something that’s big, exhaustive, and complete. Exploratory, incomplete, or partial should be the definition of an argument.
    • Future proof—It resolves the “final” naming problem that you can run into with versions. No more files with the title “final final complete no-really-its-done” Within each project, the largest number always represents the latest iteration.

    The wording release candidate (RC ) could be used to describe a design as complete enough to be worked on, even if there might be some bits that still need more attention and in turn, more iterations would be required, such as” with i8 we reached RC” or “i12 is an RC” to indicate when it is finished.

    The review

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

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

    1. It removes the pressure to reply to everyone.
    2. It lessens the annoyance of snoop-by comments.
    3. It lessens our personal stake.

    The first friction point is having to feel pressured to respond to each and every comment. Sometimes we write the iteration post, and we get replies from our team. It’s just a few of them, it’s simple, and there isn’t much to worry about. But other times, some solutions might require more in-depth discussions, and the amount of replies can quickly increase, which can create a tension between trying to be a good team player by replying to everyone and doing the next design iteration. This might be especially true if the respondent is a stakeholder or someone directly involved in the project who we feel we need to speak with. We need to accept that this pressure is absolutely normal, and it’s human nature to try to accommodate people who we care about. When responding to all comments, it can be effective, but when we consider a design critique more like user research, we realize that we don’t need to respond to every comment, and there are alternatives in asynchronous spaces:

      One is to let the next iteration speak for itself. That is the response when the design changes and we publish a follow-up iteration. You might tag all the people who were involved in the previous discussion, but even that’s a choice, not a requirement.
    • Another tactic is to formally acknowledge each comment in a brief response, such as” Understood. Thank you”,” Good points— I’ll review”, or” Thanks. These will be included in the upcoming iteration. In some cases, this could also be just a single top-level comment along the lines of” Thanks for all the feedback everyone—the next iteration is coming soon”!
    • Another option is to provide a quick summary of the comments before moving on. Depending on your workflow, this can be particularly useful as it can provide a simplified checklist that you can then use for the next iteration.

    The swoop-by comment, which is the kind of feedback that comes from a member of a team or non-project who might not be aware of the context, restrictions, decisions, or requirements, or of the discussions from earlier iterations, is the second friction point. On their side, there’s something that one can hope that they might learn: they could start to acknowledge that they’re doing this and they could be more conscious in outlining where they’re coming from. It can be annoying to have to repeat the same response repeatedly in swoop-by comments.

    Let’s begin by acknowledging again that there’s no need to reply to every comment. However, a brief response with a link to the previous discussion for additional information is typically sufficient if responding to a previously litigated point might be helpful. Remember, alignment comes from repetition, so it’s okay to repeat things sometimes!

    Swoop-by commenting can still be useful for two reasons: first, they might point out something that isn’t clear, and second, they might have the power to fit in with a user’s perspective when they are seeing the design for the first time. Sure, you’ll still be frustrated, but that might at least help in dealing with it.

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

    Always remember that while you need to listen to stakeholders, project owners, and specific advice, you don’t have to accept every piece of feedback. You must examine it and come to a decision that can be justified, but sometimes “no” is the best choice.

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

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

  • Sustainable Web Design, An Excerpt

    Sustainable Web Design, An Excerpt

    Some members of the elite running group were beginning to think it was impossible to run a hour in less than four hours in the 1950s. Riders had been attempting it since the later 19th century and were beginning to draw the conclusion that the human body just wasn’t built for the job.

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

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

    We do a lot more when we think something is possible, and we only think it can be done when we see someone else doing it once more. As for individual running speed, we also think there are strict guidelines for how a website should do.

    Establishing requirements for a green website

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

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

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

    1. Transfer of data
    2. Electricity’s carbon power

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

    Transfer of data

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

    The easiest way to calculate data transfer for a single visit for web pages is to measure the page weight, which is the page’s transfer size in kilobytes when someone first visits the page. It’s fairly easy to measure using the developer tools in any modern web browser. Frequently, the statistics for the total data transfer of any web application are included in your web hosting account ( Fig. 2.1 ).

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

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

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

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

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

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

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

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

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

    Electricity’s carbon power

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

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

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

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

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

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

    Reverting it to carbon emissions

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

    The Energy and Emissions Worksheet that comes with this book teaches you how to improve it and tailor the data more appropriately to your project’s unique features.

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

    Browser Energy

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

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

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

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

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

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

  • Voice Content and Usability

    Voice Content and Usability

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

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

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

    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 conveys much more than the published word can possibly contain, whether it’s rapid-fire, low-pitched, high-decibel, sarcastic, awkward, or groaning. But when it comes to tone interfaces—the devices we conduct spoken discussions with—we experience exciting difficulties as designers and content strategists.

    Voice Compositions

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

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

    These three categories, which I refer to as contextual, technical, and prosocial, also apply to virtually every voice interaction: a solitary conversation that begins 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 outcome 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 may not always be one voice interaction.

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

    That leaves two different types of conversations we can have with one another that a voice interface can also have easily, such as one that focuses on a transactional voice interaction ( buying iced tea ) and another on 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. Transactional conversations exhibit a few key characteristics: they’re direct, to the point, and economical. They quickly dispense with pleasantries.

    Informational voice interactions

    Meanwhile, some conversations are primarily about obtaining information. Alison might visit Crust Deluxe with the sole intention of placing an order, but she might not want to leave with a pizza at all. She might be just as interested in whether they serve halal or kosher dishes, gluten-free options, or something else. 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 to gather data, news, or facts in search of the truth. Voice interactions that are informational might be more long-winded than transactional conversations by necessity. Responses are typically longer, more in-depth, and carefully communicated to ensure that the customer understands the main ideas.

    Voice Interfaces

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

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

    IVR ( interactive voice response ) systems

    Though written conversational interfaces have been fixtures of computing for many decades, voice interfaces first emerged in the early 1990s with text-to-speech ( TTS ) dictation programs that recited written text aloud, as well as speech-enabled in-car systems that gave directions to a user-provided address. We became familiar with the first real voice interfaces that could actually be spoken with the help of interactive voice response ( IVR ) systems, which were developed 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 conversation than we’re used to in real life ( or even in science fiction ), but they are great for highly repetitive, monotonous conversations that typically don’t veer from a single format.

    Screen readers

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

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

    With the rapid growth of the web in the 1990s, the demand for accessible tools for websites exploded. Screen readers started facilitating quick interactions with web pages that ostensibly allow disabled users to traverse the page as an aural and temporal space rather than a visual and physical one with the introduction of semantic HTML and especially ARIA roles in 2008, 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” ( ).

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

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

    I hated the way Screen Readers operated 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 find that voice interfaces, especially more contemporary voice assistants, provide a more streamlined experience.

    Voice assistants

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

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

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

    At the opposite end of the spectrum, voice assistants like Amazon Alexa and Google Home offer a core foundation on which developers can build custom voice interfaces. For this reason, developers who feel stifled by the limitations of Siri and Cortana are increasingly using programmable voice assistants that are capable of customization and extensibility. Amazon offers the Alexa Skills Kit, a developer framework for building custom voice interfaces for Amazon Alexa, while Google Home offers the ability to program arbitrary Google Assistant skills. Users 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 occupy their positions, they are also selling and open-sourcing an unheard array of tools and frameworks for designers and developers, aiming to make creating voice interfaces as simple as possible, even without code.

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

    Voice content

    Simply put, voice content is content delivered through voice. Voice content must be free-flowing, 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 audiobook content being delivered as a requirement rather than an option.

    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-activated text?

    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.

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

  • A Content Model Is Not a Design System

    A Content Model Is Not a Design System

    Do you recall the days when having a fantastic site was sufficient? Nowadays, people are getting answers from Siri, Google seek fragments, and mobile applications, not only our websites. Companies with forward-thinking goals have adopted an holistic information plan whose goal is to reach people across a variety of digital stations and platforms.

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

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

    For our information to be understood by many systems, the unit needed conceptual types, which are names given based on their meaning rather than their presentation. This is crucial for an multichannel content strategy. Our goal was to allow writers to create original content that could be used wherever they felt was most useful. But as the job proceeded, I realized that supporting material utilize at the range that my client needed required the whole group to identify a new pattern.

    Despite our best efforts, we remained influenced by design systems, which we were more familiar with. An omnichannel content strategy cannot rely on WYSIWYG tools for design and layout, unlike web-focused content strategies. Our tendency to approach the content model with our familiar design-system thinking constantly led us to veer away from one of the primary purposes of a content model: delivering content to audiences on multiple marketing channels.

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

    We needed to explain to our designers, developers, and stakeholders that we were undertaking a very different task from their earlier web projects, where it was common for everyone to view content as visual building blocks that fit into layouts. The previous approach was not only more familiar but also more intuitive—at least at first—because it made the designs feel more tangible. We discovered two guiding principles that helped the team understand how a content model and the design processes we were familiar with were:

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

    Semantic content models

    A semantic content model uses type and attribute names that reflect the content’s intended purpose and not its intended display. For example, in a nonsemantic model, teams might create types like teasers, media blocks, and cards. These types may make it simple to present content, but they do not aid in understanding the meaning of the content, which would have opened the door to the content presented in each marketing channel. To allow each delivery channel to comprehend the content and use it as it sees fit, a semantic content model uses type names like product, service, and testimonial.

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

    Benefits of a semantic content model include:

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

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

    Content models that connect

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

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

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

    We felt like we needed a content type called “tab section” because our design-system instincts were so well-known, so that multiple tab sections could be added to a page. Each tab section would display various types of content. The software’s overview or specifications might be available in one tab. A list of resources might be provided by another tab.

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

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

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

    Conclusion

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

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

    By firmly defending these ideas, you’ll help your team view content as the most important component of your user experience and as the most effective way to engage with your audience.