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  • The ACOTAR TV Show Could Have Been the Biggest Fantasy Series Since Game of Thrones

    The ACOTAR TV Show Could Have Been the Biggest Fantasy Series Since Game of Thrones

    If you’ve paid any attention to the story literature section of your local store, you’ve probably heard of Sarah J. Maas. Her difficult stories have inspired a kind of wild fans, and her publications have sold more than 13 million copies.

    The ACOTAR Television Show could have been the biggest story line since Game of Thrones, according to Den of Geek‘s first article.

    Anyone who isn’t missing Luther could do worse than watch the latest crime crisis from Bradford, Virdee. Captain Harry Virdee may not be as smart as DCI John Luther, but he does have a similar gray area between the law and criminal justice. He also is useful with his fists, and he fights a villain in collection one whose methods are so crude and outrageous that they could have stepped straight out of the Idris Elba-led episode. You thought Luther&#8216, s sisters were deranged? Be tuned.

    What sets Virdee apart from Luther, aside from their differing British cultural contexts ( Harry is Sikh with Indian heritage and lives in Bradford, John is a Black Londoner ), are their marriages. Harry and his wife Saima are very much a group, even though he keeps things from her, in contrast to the separated and cruelly widowed Luther who later separated. The foundation of both their lives are their children, and finally what will prevent Harry Virdee from following too dangerously dark paths.

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

    Join the Virdee characters, and observe where the actors from above may be recognizable.

    Staz Nair as Harry Virdee

    Captain Hardeep &#8220, Harry &#8221, Virdee is a 39-year-old Bradford officer with troubled interests to his beloved woman Saima and younger brother Aaron, his brother-in-law Riaz, his career, and his town. He&#8217, s the lead character in AA Dhand&#8217, s five-strong Harry Virdee book series ( Streets of Darkness, Girl Zero, City of Sinners, One Way Out, The Blood Divide ) and is played in this BBC One series by actor and singer Staz Nair.

    Television viewers will understand English actor Nair for his roles in US dramas Game of Thrones, in which he played Dothraki public Qhono, Krypton, in which he appeared as Dax-Baron, and for his regular position in Supergirl as William Dey, and in Zack Snyder&#8217, s Rebel Sun. He previously played the guitar in the X Factor band Times Red and made an appearance as Rocky in a 2016 TV show called The Rocky Horror Picture Show.

    Vikash Bhai as Riaz Hyatt

    Riaz is a Bradford crime kingpin, and Harry &#8217, s brother-in-law. The two grew up together, and despite going in different directions after Riaz was sentenced to prison, the bond between them remains &#8211, unbeknownst to Harry &#8217, s wife and Riaz&#8217, s sister Saima. He&#8217, s played by Vikash Bhai, an actor familiar to fans of sci-fi series Pandora, as well as BBC thriller Crossfire, US sci-fi series Hanna, and many more. Bhai&#8217, s voice might also be recognised by listeners to Big Finish&#8217, s audio Doctor Who adventures, of which he&#8217, s recorded many.

    Aysha Kala as Saima Hyatt

    Saima Hyatt is a nurse, mother of young son Aaron, married to Harry, and the sister of drug kingpin Riaz &#8211, not that she knows that her brother &#8217, s operating an organised crime group out of his cash-and-carry warehouse. Clever and independent, Saima is a proud Muslim of Pakistani heritage who&#8217, s not prepared to compromise her faith to placate her bigoted father-in-law. She&#8217, s played by screen and stage actor Aysha Kala, seen recently in Apple TV + crime drama Criminal Record and known previously on TV for ITV&#8217, s Indian Summers, as well as recent National Theatre roles in The Motive and the Cue, and The Father and the Assassin.

    Kulvinder Ghir as Ranjit Virdee

    Ranjit is Harry &#8217, s father, though he has n&#8217, t seen him &#8211, or met his grandson Aaron &#8211, for eight years by the time that Virdee begins. An Indian Sikh who has a strong bias against Pakistani Muslims, he disowned his son when he wed Saima and continues to refuse to acknowledge him. He&#8217, s played by Kulvinder Ghir, a very familiar face on British TV for his time as a castmember on beloved comedy series Goodness Gracious Me, as well as Beecham House, Still Open All Hours, and recently, Apple TV + sci-fi Foundation.

    Tomi May as Enzo Tobin

    Enzo is Riaz&#8217, s right-hand man in Bradford West, and the one who gets his hands dirty when violence is called for in the fight against Vasil Sharma&#8217, s rival gang. Fans of Line of Duty will recognize Tomi May as the actor who played Miroslav Minkovicz, a member of the organized crime group that is being pursued by AC-12&#8217 police. May has also appeared in Killing Eve, The Trouble With Maggie Cole, The Man Who Fell to Earth, Headhunters and an episode of the videogame-to-TV adaptation Halo.

    Danyal Ismail portrays DS Khalil Amin.

    No TV crime drama would be complete without a new lead character to show us the ropes and explain things to ( and, consequently, to us ) along the way. In Virdee, that &#8217, s Khalil, a new recruit to Harry &#8217, s Bradford team. Khalil quickly understood that his new boss who &#8220, does n&#8217, t do desks &#8221, also does n&#8217, t quite follow the rules, and the question is, will he support or report Harry for it? This is Ismail&#8217, s fourth crime drama TV role, following parts in ITV&#8217, s Vera, Madonald &amp, Dobbs and Ridley.

    Elizabeth Berrington portrays DS Clare Conway

    DS Conway is Harry &#8217, s police colleague ( and are we sure that she&#8217, s only a DS as she&#8217, s credited? She acts more like DCI Virdee&#8217, s boss ). She&#8217, s a supporting character about whom little is known, and she&#8217, s played by Elizabeth Berrington. Where has Elizabeth Berrington previously been seen? Everywhere. From The Office to Waterloo Road to Stella to The Responder to Good Omens, via basically every British TV show made in the last 20 years, Berrington&#8217, s been in it.

    Elaine Tan as Rebecca Armitage

    Rebecca Armitage is part of the UK Crime Agency, a fictional organisation in Virdee&#8216, s world. A well-known investigation into a ritualistic killer is brought on by the UKCA. She&#8217, s played by Elaine Tan, who recently appeared in ITV thriller Red Eye and Sky sci-fi drama The Lazarus Project, and before that Tom Clancy &#8216, s Jack Ryan, Acquitted and multiple episodes of British soap EastEnders in the role of Li Chong.

    Nicola Burley as Sophie Brodenham

    Sophie is a mystery at the start of Virdee, but is soon established as Riaz&#8217, s confidante. As the series gets closer to its conclusion, her backstory will be revealed. She&#8217, s played by Nichola Burley, who was recently in ITVX crime drama Protection, as well as playing Brenda in BBC true-crime drama The Gold, appearing in Netflix fantasy thriller Behind her Eyes, and many more.

    Ramon Tikaram as Jai Pawa

    No spoilers here for anyone who hasn’t yet binged every episode of the Virdee series one. Jai Pawa is a powerful figure from Virdee&#8217, s past who returns to Bradford set on vengeance. He&#8217, s played by another very familiar face on British TV: Ramon Tikaram, seen recently in Netflix fantasy KAOS, but also Brassic, Pennyworth, multiple Doctor Who audio adventures, Stella, EastEnders, and many others, including, of course, for the role of Ferdy in 1990s favourite This Life.

    ALSO APPEARING

    &#8211, The Lazarus Project and Waterloo Road&#8216, s Nina Singh as Harry &#8217, s niece Tara Virdee-Duggal.

    &#8211, We Are Lady Parts, Mary Poppins Returns and theatre actor Sudha Bhuchar as Harry &#8217, s mother Jyoti Virdee

    &#8211, Gangs of London and The Gentlemen&#8216, s Andi Jashy as Vasil Sharla, the leader of a rival drug operation going up against Bradford West.

    &#8211, Newcomer Charlie Mann as Paul King, a local Bradford thief.

    Virdee’s entire season is now available for streaming on BBC iPlayer.

    The first post on Den of Geek was Virdee Cast: Meet the Bradford Crime Drama Characters.

  • The Biggest Star Trek Questions the Franchise Still Hasn’t Answered

    The Biggest Star Trek Questions the Franchise Still Hasn’t Answered

    Star Trek is a television show built on revelation and inquiry. Kirk, Picard, and other commanders face the unknown ready to learn, equipped with more questions than answers. While that attentive soul deserves admiration, it does often make for aggravating viewing. Over the decades, Star Trek has brought up more than a few questions it never ]… ]

    The first article on Den of Geek was The Biggest Star Trek Issues the Franchise Also Hasn’t Answered.

    Anyone who isn’t missing Luther could do worse than watch the newest crime crisis Virdee in Bradford. Captain Harry Virdee, who is a monster in line one whose methods are so grotesque and obscene that they could have stepped straight out of the Idris Elba-led play, does not possess the same level of intellect as DCI John Luther, but he does operate in a similar gray place between criminality and the law. You thought Luther&#8216, s sisters were deranged? Keep tuned.

    What sets Virdee apart from Luther, aside from their differing British cultural contexts ( Harry is Sikh with Indian heritage and lives in Bradford, John is a Black Londoner ), are their marriages. Harry and his wife Saima are very much a team, even if he keeps items from her, unlike estranged and painfully widowed Luther. The foundation of both their lives are their children, and finally what will prevent Harry Virdee from following too dangerously dark paths.

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

    Find out who the Virdee players are from below and match the characters.

    Staz Nair as Harry Virdee

    Captain Hardeep &#8220, Harry &#8221, Virdee is a 39-year-old Bradford officer with troubled interests to his beloved woman Saima and younger brother Aaron, his brother-in-law Riaz, his career, and his town. He&#8217, s the lead character in AA Dhand&#8217, s five-strong Harry Virdee book series ( Streets of Darkness, Girl Zero, City of Sinners, One Way Out, The Blood Divide ) and is played in this BBC One series by actor and singer Staz Nair.

    Television viewers will understand English actor Nair for his roles in US dramas Game of Thrones, in which he played Dothraki public Qhono, Krypton, in which he appeared as Dax-Baron, and for his regular role in Supergirl as William Dey, and in Zack Snyder&#8217, s Rebel Sun. He previously played the guitar in the X Factor band Times Red and made an appearance as Rocky in a 2016 TV show called The Rocky Horror Picture Show.

    Vikash Bhai as Riaz Hyatt

    Riaz is a Bradford crime kingpin, and Harry &#8217, s brother-in-law. The two grew up together, and despite going in different directions after Riaz was sentenced to prison, the bond between them remains &#8211, unbeknownst to Harry &#8217, s wife and Riaz&#8217, s sister Saima. He&#8217, s played by Vikash Bhai, an actor familiar to fans of sci-fi series Pandora, as well as BBC thriller Crossfire, US sci-fi series Hanna, and many more. Bhai&#8217, s voice might also be recognised by listeners to Big Finish&#8217, s audio Doctor Who adventures, of which he&#8217, s recorded many.

    Aysha Kala as Saima Hyatt

    Saima Hyatt is a nurse, mother of young son Aaron, married to Harry, and the sister of drug kingpin Riaz &#8211, not that she knows that her brother &#8217, s operating an organised crime group out of his cash-and-carry warehouse. Clever and independent, Saima is a proud Muslim of Pakistani heritage who&#8217, s not prepared to compromise her faith to placate her bigoted father-in-law. She&#8217, s played by screen and stage actor Aysha Kala, seen recently in Apple TV + crime drama Criminal Record and known previously on TV for ITV&#8217, s Indian Summers, as well as recent National Theatre roles in The Motive and the Cue, and The Father and the Assassin.

    Kulvinder Ghir as Ranjit Virdee

    Ranjit is Harry &#8217, s father, though he has n&#8217, t seen him &#8211, or met his grandson Aaron &#8211, for eight years by the time that Virdee begins. An Indian Sikh who has a strong bias against Pakistani Muslims, he disowned his son when he wed Saima and continues to refuse to acknowledge him today. He&#8217, s played by Kulvinder Ghir, a very familiar face on British TV for his time as a castmember on beloved comedy series Goodness Gracious Me, as well as Beecham House, Still Open All Hours, and recently, Apple TV + sci-fi Foundation.

    Tomi May as Enzo Tobin

    Enzo is Riaz&#8217, s right-hand man in Bradford West, and the one who gets his hands dirty when violence is called for in the fight against Vasil Sharma&#8217, s rival gang. Tomi May is best known for playing Miroslav Minkovicz, a member of the organized crime group that is being pursued by AC-12&#8217, s police officers, in the film Line of Duty. May has also appeared in Killing Eve, The Trouble With Maggie Cole, The Man Who Fell to Earth, Headhunters and an episode of the videogame-to-TV adaptation Halo.

    Danyal Ismail portrays DS Khalil Amin.

    No TV crime drama would be complete without a new DS for our lead to show the ropes and explain things to ( and, consequently, to us ) along the way. In Virdee, that &#8217, s Khalil, a new recruit to Harry &#8217, s Bradford team. Khalil quickly understood that his new boss who &#8220, does n&#8217, t do desks &#8221, also does n&#8217, t quite follow the rules, and the question is, will he support or report Harry for it? This is Ismail&#8217, s fourth crime drama TV role, following parts in ITV&#8217, s Vera, Madonald &amp, Dobbs and Ridley.

    Elizabeth Berrington portrays DS Clare Conway

    DS Conway is Harry &#8217, s police colleague ( and are we sure that she&#8217, s only a DS as she&#8217, s credited? She acts more like DCI Virdee&#8217, s boss ). She&#8217, s a supporting character about whom little is known, and she&#8217, s played by Elizabeth Berrington. Where have you previously seen Elizabeth Berrington? Everywhere. From The Office to Waterloo Road to Stella to The Responder to Good Omens, via basically every British TV show made in the last 20 years, Berrington&#8217, s been in it.

    Elaine Tan as Rebecca Armitage

    Rebecca Armitage is part of the UK Crime Agency, a fictional organisation in Virdee&#8216, s world. The UKCA is requested to take over a significant investigation into a ritual killer. She&#8217, s played by Elaine Tan, who recently appeared in ITV thriller Red Eye and Sky sci-fi drama The Lazarus Project, and before that Tom Clancy &#8216, s Jack Ryan, Acquitted and multiple episodes of British soap EastEnders in the role of Li Chong.

    Nicola Burley as Sophie Brodenham

    Sophie is a mystery at the start of Virdee, but is soon established as Riaz&#8217, s confidante. As the series ‘ season draws to its conclusion, her backstory will be revealed. She&#8217, s played by Nichola Burley, who was recently in ITVX crime drama Protection, as well as playing Brenda in BBC true-crime drama The Gold, appearing in Netflix fantasy thriller Behind her Eyes, and many more.

    Ramon Tikaram as Jai Pawa

    No spoilers here for anyone who hasn’t yet binged every Virdee series one episode. Jai Pawa is a powerful figure from Virdee&#8217, s past who returns to Bradford set on vengeance. He&#8217, s played by another very familiar face on British TV: Ramon Tikaram, seen recently in Netflix fantasy KAOS, but also Brassic, Pennyworth, multiple Doctor Who audio adventures, Stella, EastEnders, and many others, including, of course, for the role of Ferdy in 1990s favourite This Life.

    ALSO APPEARING

    &#8211, The Lazarus Project and Waterloo Road&#8216, s Nina Singh as Harry &#8217, s niece Tara Virdee-Duggal.

    &#8211, We Are Lady Parts, Mary Poppins Returns and theatre actor Sudha Bhuchar as Harry &#8217, s mother Jyoti Virdee

    &#8211, Gangs of London and The Gentlemen&#8216, s Andi Jashy as Vasil Sharla, the leader of a rival drug operation going up against Bradford West.

    &#8211, Newcomer Charlie Mann as Paul King, a local Bradford thief.

    Virdee’s entire season is now available for streaming on BBC iPlayer.

    The first post on Den of Geek was Virdee Cast: Meet the Bradford Crime Drama Characters.

  • SNL Movies Ranked from Worst to Best

    SNL Movies Ranked from Worst to Best

    ” It’s based on a Saturday Night Live sketch”. There was a time, perhaps three or four years ago, when that was an amazing statement, as it may seem hard to believe. Mike Myers reminded millions of [ …] and John Belushi and Dan Aykroyd proved their movie stars were on a mission from God.

    SNL Movies Ranked from Worst to Best initially appeared on Den of Geek.

    Anyone who isn’t missing Luther could do worse than watch the newest violence crisis Virdee in Bradford. Captain Harry Virdee may not be as smart as DCI John Luther, but he does have a similar gray area between the law and criminal justice. He also has good fists, and he fights a monster in series one whose methods are so crude and outrageous that they could have stepped straight out of the Idris Elba-led episode. You thought Luther&#8216, s sisters were deranged? Be tuned.

    What sets Virdee apart from Luther, aside from their differing British cultural contexts ( Harry is Sikh with Indian heritage and lives in Bradford, John is a Black Londoner ), are their marriages. Harry and his wife Saima are very much a team, even if he keeps items from her, in contrast to the separated and cruelly widowed Luther who were later separated. The foundation of both their lives are their children, and finally what will prevent Harry Virdee from following too far a darkish path.

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

    Find out who the Virdee actors are from below and match the characters.

    Staz Nair as Harry Virdee

    Captain Hardeep &#8220, Harry &#8221, Virdee is a 39-year-old Bradford officer with troubled interests to his beloved woman Saima and younger brother Aaron, his brother-in-law Riaz, his career, and his town. He&#8217, s the lead character in AA Dhand&#8217, s five-strong Harry Virdee book series ( Streets of Darkness, Girl Zero, City of Sinners, One Way Out, The Blood Divide ) and is played in this BBC One series by actor and singer Staz Nair.

    Television viewers will understand English actor Nair for his roles in US dramas Game of Thrones, in which he played Dothraki public Qhono, Krypton, in which he appeared as Dax-Baron, and for his regular position in Supergirl as William Dey, and in Zack Snyder&#8217, s Rebel Sun. He previously played the guitar in the X Factor band Times Red and made an appearance as Rocky in a 2016 TV show called The Rocky Horror Picture Show.

    Vikash Bhai as Riaz Hyatt

    Riaz is a Bradford crime kingpin, and Harry &#8217, s brother-in-law. The two grew up together, and despite going in different directions after Riaz was sentenced to prison, the bond between them remains &#8211, unbeknownst to Harry &#8217, s wife and Riaz&#8217, s sister Saima. He&#8217, s played by Vikash Bhai, an actor familiar to fans of sci-fi series Pandora, as well as BBC thriller Crossfire, US sci-fi series Hanna, and many more. Bhai&#8217, s voice might also be recognised by listeners to Big Finish&#8217, s audio Doctor Who adventures, of which he&#8217, s recorded many.

    Aysha Kala as Saima Hyatt

    Saima Hyatt is a nurse, mother of young son Aaron, married to Harry, and the sister of drug kingpin Riaz &#8211, not that she knows that her brother &#8217, s operating an organised crime group out of his cash-and-carry warehouse. Clever and independent, Saima is a proud Muslim of Pakistani heritage who&#8217, s not prepared to compromise her faith to placate her bigoted father-in-law. She&#8217, s played by screen and stage actor Aysha Kala, seen recently in Apple TV + crime drama Criminal Record and known previously on TV for ITV&#8217, s Indian Summers, as well as recent National Theatre roles in The Motive and the Cue, and The Father and the Assassin.

    Kulvinder Ghir as Ranjit Virdee

    Ranjit is Harry &#8217, s father, though he has n&#8217, t seen him &#8211, or met his grandson Aaron &#8211, for eight years by the time that Virdee begins. An Indian Sikh who has a strong bias against Pakistani Muslims, he disowned his son when he wed Saima and continues to refuse to acknowledge him today. He&#8217, s played by Kulvinder Ghir, a very familiar face on British TV for his time as a castmember on beloved comedy series Goodness Gracious Me, as well as Beecham House, Still Open All Hours, and recently, Apple TV + sci-fi Foundation.

    Tomi May as Enzo Tobin

    Enzo is Riaz&#8217, s right-hand man in Bradford West, and the one who gets his hands dirty when violence is called for in the fight against Vasil Sharma&#8217, s rival gang. Fans of Line of Duty will recognize actor Tomi May for playing Miroslav Minkovicz, a member of the organized crime group being hunted by AC-12&#8217, s police officers. May has also appeared in Killing Eve, The Trouble With Maggie Cole, The Man Who Fell to Earth, Headhunters and an episode of the videogame-to-TV adaptation Halo.

    Danyal Ismail portrays DS Khalil Amin

    No TV crime drama would be complete without a new DS for our lead to show the ropes and explain things to each other along the way ( and, consequently, to us ). In Virdee, that &#8217, s Khalil, a new recruit to Harry &#8217, s Bradford team. Khalil quickly understood that his new boss who &#8220, does n&#8217, t do desks &#8221, also does n&#8217, t quite follow the rules, and the question is, will he support or report Harry for it? This is Ismail&#8217, s fourth crime drama TV role, following parts in ITV&#8217, s Vera, Madonald &amp, Dobbs and Ridley.

    Elizabeth Berrington portrays DS Clare Conway.

    DS Conway is Harry &#8217, s police colleague ( and are we sure that she&#8217, s only a DS as she&#8217, s credited? She acts more like DCI Virdee&#8217, s boss ). She&#8217, s a supporting character about whom little is known, and she&#8217, s played by Elizabeth Berrington. Where has Elizabeth Berrington previously been seen? Everywhere. From The Office to Waterloo Road to Stella to The Responder to Good Omens, via basically every British TV show made in the last 20 years, Berrington&#8217, s been in it.

    Elaine Tan as Rebecca Armitage

    Rebecca Armitage is part of the UK Crime Agency, a fictional organisation in Virdee&#8216, s world. A well-known investigation into a ritualistic killer is brought in by the UKCA. She&#8217, s played by Elaine Tan, who recently appeared in ITV thriller Red Eye and Sky sci-fi drama The Lazarus Project, and before that Tom Clancy &#8216, s Jack Ryan, Acquitted and multiple episodes of British soap EastEnders in the role of Li Chong.

    Nicola Burley as Sophie Brodenham

    Sophie is a mystery at the start of Virdee, but is soon established as Riaz&#8217, s confidante. As the series ‘ season draws to its conclusion, her backstory will be revealed. She&#8217, s played by Nichola Burley, who was recently in ITVX crime drama Protection, as well as playing Brenda in BBC true-crime drama The Gold, appearing in Netflix fantasy thriller Behind her Eyes, and many more.

    Ramon Tikaram portrays Jai Pawa.

    No spoilers here for anyone who hasn’t yet binged every episode of the Virdee series one. Jai Pawa is a powerful figure from Virdee&#8217, s past who returns to Bradford set on vengeance. He&#8217, s played by another very familiar face on British TV: Ramon Tikaram, seen recently in Netflix fantasy KAOS, but also Brassic, Pennyworth, multiple Doctor Who audio adventures, Stella, EastEnders, and many others, including, of course, for the role of Ferdy in 1990s favourite This Life.

    ALSO APPEARING

    &#8211, The Lazarus Project and Waterloo Road&#8216, s Nina Singh as Harry &#8217, s niece Tara Virdee-Duggal.

    &#8211, We Are Lady Parts, Mary Poppins Returns and theatre actor Sudha Bhuchar as Harry &#8217, s mother Jyoti Virdee

    &#8211, Gangs of London and The Gentlemen&#8216, s Andi Jashy as Vasil Sharla, the leader of a rival drug operation going up against Bradford West.

    &#8211, Newcomer Charlie Mann as Paul King, a local Bradford thief.

    Virdee’s entire season is now available for streaming on BBC iPlayer.

    The first post on Den of Geek: Virdee Cast: Meet the Bradford Crime Drama Characters appeared first.

  • GTA 6 Release Date Update All But Confirms the Month the Game Will Come Out

    GTA 6 Release Date Update All But Confirms the Month the Game Will Come Out

    The long-awaited Grand Theft Auto VI is the only video game that is attracting as little interest from both the business and its consumers. It’s the hit open-world title that all other studios are working on. Don’t feel us? Just hold off until Rockstar Games eventually confirms the release date for the game. You’ll see another ]…]

    The second post GTA 6 Release Date Update All But Reinforces the Month the Game Will Come Up appeared first on Den of Geek.

    Anyone who isn’t missing Luther could do worse than watch the newest violence crisis Virdee in Bradford. Captain Harry Virdee, who is a monster in line one whose methods are so grotesque and obscene that they could have stepped straight out of the Idris Elba-led play, does not possess the same level of intellect as DCI John Luther, but he does operate in a similar gray place between criminality and the law. You thought Luther&#8216, s sisters were deranged? Be tuned.

    What sets Virdee apart from Luther, aside from their differing British cultural contexts ( Harry is Sikh with Indian heritage and lives in Bradford, John is a Black Londoner ), are their marriages. Harry and his wife Saima are very much a team, even though he keeps things from her, in contrast to the separated and painfully widowed Luther who later separated. The foundation of both their lives are their children, and finally what will prevent Harry Virdee from following too dangerously dark paths.

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

    Match the Virdee characters and observe where the actors may be recognizable from above.

    Staz Nair as Harry Virdee

    Captain Hardeep &#8220, Harry &#8221, Virdee is a 39-year-old Bradford officer with troubled interests to his beloved woman Saima and younger brother Aaron, his brother-in-law Riaz, his career, and his town. He&#8217, s the lead character in AA Dhand&#8217, s five-strong Harry Virdee book series ( Streets of Darkness, Girl Zero, City of Sinners, One Way Out, The Blood Divide ) and is played in this BBC One series by actor and singer Staz Nair.

    Television viewers will understand English actor Nair for his roles in US dramas Game of Thrones, in which he played Dothraki public Qhono, Krypton, in which he appeared as Dax-Baron, and for his regular position in Supergirl as William Dey, and in Zack Snyder&#8217, s Rebel Sun. He previously played the guitar in the X Factor band Times Red and also portrayed Rocky in a 2016 TV version of The Rocky Horror Picture Show.

    Vikash Bhai as Riaz Hyatt

    Riaz is a Bradford crime kingpin, and Harry &#8217, s brother-in-law. The two grew up together, and despite going in different directions after Riaz was sentenced to prison, the bond between them remains &#8211, unbeknownst to Harry &#8217, s wife and Riaz&#8217, s sister Saima. He&#8217, s played by Vikash Bhai, an actor familiar to fans of sci-fi series Pandora, as well as BBC thriller Crossfire, US sci-fi series Hanna, and many more. Bhai&#8217, s voice might also be recognised by listeners to Big Finish&#8217, s audio Doctor Who adventures, of which he&#8217, s recorded many.

    Aysha Kala as Saima Hyatt

    Saima Hyatt is a nurse, mother of young son Aaron, married to Harry, and the sister of drug kingpin Riaz &#8211, not that she knows that her brother &#8217, s operating an organised crime group out of his cash-and-carry warehouse. Clever and independent, Saima is a proud Muslim of Pakistani heritage who&#8217, s not prepared to compromise her faith to placate her bigoted father-in-law. She&#8217, s played by screen and stage actor Aysha Kala, seen recently in Apple TV + crime drama Criminal Record and known previously on TV for ITV&#8217, s Indian Summers, as well as recent National Theatre roles in The Motive and the Cue, and The Father and the Assassin.

    Kulvinder Ghir as Ranjit Virdee

    Ranjit is Harry &#8217, s father, though he has n&#8217, t seen him &#8211, or met his grandson Aaron &#8211, for eight years by the time that Virdee begins. An Indian Sikh who has a strong bias against Pakistani Muslims, he disowned his son when he wed Saima and continues to refuse to acknowledge him. He&#8217, s played by Kulvinder Ghir, a very familiar face on British TV for his time as a castmember on beloved comedy series Goodness Gracious Me, as well as Beecham House, Still Open All Hours, and recently, Apple TV + sci-fi Foundation.

    Tomi May as Enzo Tobin

    Enzo is Riaz&#8217, s right-hand man in Bradford West, and the one who gets his hands dirty when violence is called for in the fight against Vasil Sharma&#8217, s rival gang. Fans of Line of Duty will recognize actor Tomi May for playing Miroslav Minkovicz, a member of the organized crime group being hunted by AC-12&#8217, s police officers. May has also appeared in Killing Eve, The Trouble With Maggie Cole, The Man Who Fell to Earth, Headhunters and an episode of the videogame-to-TV adaptation Halo.

    Danyal Ismail portrays DS Khalil Amin.

    No TV crime drama would be complete without a new DS for our lead to show the ropes and explain things to ( and, consequently, to us ) along the way. In Virdee, that &#8217, s Khalil, a new recruit to Harry &#8217, s Bradford team. Khalil quickly understood that his new boss who &#8220, does n&#8217, t do desks &#8221, also does n&#8217, t quite follow the rules, and the question is, will he support or report Harry for it? This is Ismail&#8217, s fourth crime drama TV role, following parts in ITV&#8217, s Vera, Madonald &amp, Dobbs and Ridley.

    Elizabeth Berrington portrays DS Clare Conway

    DS Conway is Harry &#8217, s police colleague ( and are we sure that she&#8217, s only a DS as she&#8217, s credited? She acts more like DCI Virdee&#8217, s boss ). She&#8217, s a supporting character about whom little is known, and she&#8217, s played by Elizabeth Berrington. What other places have you seen Elizabeth Berrington? Everywhere. From The Office to Waterloo Road to Stella to The Responder to Good Omens, via basically every British TV show made in the last 20 years, Berrington&#8217, s been in it.

    Elaine Tan as Rebecca Armitage

    Rebecca Armitage is part of the UK Crime Agency, a fictional organisation in Virdee&#8216, s world. A well-known investigation into a ritualistic killer is brought on by the UKCA. She&#8217, s played by Elaine Tan, who recently appeared in ITV thriller Red Eye and Sky sci-fi drama The Lazarus Project, and before that Tom Clancy &#8216, s Jack Ryan, Acquitted and multiple episodes of British soap EastEnders in the role of Li Chong.

    Nicola Burley as Sophie Brodenham

    Sophie is a mystery at the start of Virdee, but is soon established as Riaz&#8217, s confidante. As the series ‘ season draws to its conclusion, her backstory will be revealed. She&#8217, s played by Nichola Burley, who was recently in ITVX crime drama Protection, as well as playing Brenda in BBC true-crime drama The Gold, appearing in Netflix fantasy thriller Behind her Eyes, and many more.

    Ramon Tikaram as Jai Pawa

    No spoilers here for anyone who hasn’t yet binged every episode of the Virdee series one. Jai Pawa is a powerful figure from Virdee&#8217, s past who returns to Bradford set on vengeance. He&#8217, s played by another very familiar face on British TV: Ramon Tikaram, seen recently in Netflix fantasy KAOS, but also Brassic, Pennyworth, multiple Doctor Who audio adventures, Stella, EastEnders, and many others, including, of course, for the role of Ferdy in 1990s favourite This Life.

    ALSO APPEARING

    &#8211, The Lazarus Project and Waterloo Road&#8216, s Nina Singh as Harry &#8217, s niece Tara Virdee-Duggal.

    &#8211, We Are Lady Parts, Mary Poppins Returns and theatre actor Sudha Bhuchar as Harry &#8217, s mother Jyoti Virdee

    &#8211, Gangs of London and The Gentlemen&#8216, s Andi Jashy as Vasil Sharla, the leader of a rival drug operation going up against Bradford West.

    &#8211, Newcomer Charlie Mann as Paul King, a local Bradford thief.

    On BBC iPlayer, you can now stream every Virdee episode.

    The first post on Den of Geek was Virdee Cast: Meet the Bradford Crime Drama Characters.

  • Virdee Ending Explained: Pawa, Saima, & Riaz and Harry’s Secret

    Virdee Ending Explained: Pawa, Saima, & Riaz and Harry’s Secret

    Warning: contains Virdee episode trailers. A balcony. a breathtaking view of Bradford City Center. Two chai-friendly paper cups, and a fierce nod. That’s how BBC One crime drama Virdee, based on the five-book set by AA Dhand, came to an end. Harry Virdee, the prospect Director, had survived a bizarre campaign of […]…

    The article Virdee Ending Explained: Pawa, Saima, &amp, Riaz and Harry’s Secret appeared second on Den of Geek.

    Anyone who isn’t missing Luther could do worse than watch the latest murder crisis from Bradford, Virdee. Captain Harry Virdee may not be as smart as DCI John Luther, but he does have a similar gray area between the law and criminal justice. He also has good fists, and he fights a monster in series one whose methods are so crude and outrageous that they could have stepped straight out of the Idris Elba-led episode. You thought Luther&#8216, s sisters were deranged? Be tuned.

    What sets Virdee apart from Luther, aside from their differing British cultural contexts ( Harry is Sikh with Indian heritage and lives in Bradford, John is a Black Londoner ), are their marriages. Harry and his wife Saima are very much a team, even if he keeps items from her, unlike estranged and painfully widowed Luther. The foundation of both their lives are their children, and Harry Virdee should not go too far down a dark course, according to their relationship.

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

    Find out who the Virdee actors are from below and match the characters.

    Staz Nair as Harry Virdee

    Captain Hardeep &#8220, Harry &#8221, Virdee is a 39-year-old Bradford officer with troubled interests to his beloved woman Saima and younger brother Aaron, his brother-in-law Riaz, his career, and his town. He&#8217, s the lead character in AA Dhand&#8217, s five-strong Harry Virdee book series ( Streets of Darkness, Girl Zero, City of Sinners, One Way Out, The Blood Divide ) and is played in this BBC One series by actor and singer Staz Nair.

    Television viewers will understand English actor Nair for his roles in US dramas Game of Thrones, in which he played Dothraki public Qhono, Krypton, in which he appeared as Dax-Baron, and for his regular position in Supergirl as William Dey, and in Zack Snyder&#8217, s Rebel Sun. He previously played the guitar in the X Factor band Times Red and also portrayed Rocky in a 2016 TV version of The Rocky Horror Picture Show.

    Vikash Bhai as Riaz Hyatt

    Riaz is a Bradford crime kingpin, and Harry &#8217, s brother-in-law. The two grew up together, and despite going in different directions after Riaz was sentenced to prison, the bond between them remains &#8211, unbeknownst to Harry &#8217, s wife and Riaz&#8217, s sister Saima. He&#8217, s played by Vikash Bhai, an actor familiar to fans of sci-fi series Pandora, as well as BBC thriller Crossfire, US sci-fi series Hanna, and many more. Bhai&#8217, s voice might also be recognised by listeners to Big Finish&#8217, s audio Doctor Who adventures, of which he&#8217, s recorded many.

    Aysha Kala as Saima Hyatt

    Saima Hyatt is a nurse, mother of young son Aaron, married to Harry, and the sister of drug kingpin Riaz &#8211, not that she knows that her brother &#8217, s operating an organised crime group out of his cash-and-carry warehouse. Clever and independent, Saima is a proud Muslim of Pakistani heritage who&#8217, s not prepared to compromise her faith to placate her bigoted father-in-law. She&#8217, s played by screen and stage actor Aysha Kala, seen recently in Apple TV + crime drama Criminal Record and known previously on TV for ITV&#8217, s Indian Summers, as well as recent National Theatre roles in The Motive and the Cue, and The Father and the Assassin.

    Kulvinder Ghir as Ranjit Virdee

    Ranjit is Harry &#8217, s father, though he has n&#8217, t seen him &#8211, or met his grandson Aaron &#8211, for eight years by the time that Virdee begins. An Indian Sikh who has a strong bias against Pakistani Muslims, he disowned his son when he wed Saima and continues to refuse to acknowledge him. He&#8217, s played by Kulvinder Ghir, a very familiar face on British TV for his time as a castmember on beloved comedy series Goodness Gracious Me, as well as Beecham House, Still Open All Hours, and recently, Apple TV + sci-fi Foundation.

    Tomi May as Enzo Tobin

    Enzo is Riaz&#8217, s right-hand man in Bradford West, and the one who gets his hands dirty when violence is called for in the fight against Vasil Sharma&#8217, s rival gang. Tomi May is best known for playing Miroslav Minkovicz, a member of the organized crime group that is being pursued by AC-12&#8217, s police officers, in the film Line of Duty. May has also appeared in Killing Eve, The Trouble With Maggie Cole, The Man Who Fell to Earth, Headhunters and an episode of the videogame-to-TV adaptation Halo.

    Danyal Ismail portrays DS Khalil Amin

    No TV crime drama would be complete without a new DS for our lead to show the ropes and explain things to ( and, consequently, to us ) along the way. In Virdee, that &#8217, s Khalil, a new recruit to Harry &#8217, s Bradford team. Khalil quickly understood that his new boss who &#8220, does n&#8217, t do desks &#8221, also does n&#8217, t quite follow the rules, and the question is, will he support or report Harry for it? This is Ismail&#8217, s fourth crime drama TV role, following parts in ITV&#8217, s Vera, Madonald &amp, Dobbs and Ridley.

    Elizabeth Berrington portrays DS Clare Conway.

    DS Conway is Harry &#8217, s police colleague ( and are we sure that she&#8217, s only a DS as she&#8217, s credited? She acts more like DCI Virdee&#8217, s boss ). She&#8217, s a supporting character about whom little is known, and she&#8217, s played by Elizabeth Berrington. Where have you previously seen Elizabeth Berrington? Everywhere. From The Office to Waterloo Road to Stella to The Responder to Good Omens, via basically every British TV show made in the last 20 years, Berrington&#8217, s been in it.

    Elaine Tan as Rebecca Armitage

    Rebecca Armitage is part of the UK Crime Agency, a fictional organisation in Virdee&#8216, s world. The UKCA is requested to take over a significant investigation into a ritual killer. She&#8217, s played by Elaine Tan, who recently appeared in ITV thriller Red Eye and Sky sci-fi drama The Lazarus Project, and before that Tom Clancy &#8216, s Jack Ryan, Acquitted and multiple episodes of British soap EastEnders in the role of Li Chong.

    Nicola Burley as Sophie Brodenham

    Sophie is a mystery at the start of Virdee, but is soon established as Riaz&#8217, s confidante. As the series ‘ season draws to its conclusion, her backstory will be revealed. She&#8217, s played by Nichola Burley, who was recently in ITVX crime drama Protection, as well as playing Brenda in BBC true-crime drama The Gold, appearing in Netflix fantasy thriller Behind her Eyes, and many more.

    Ramon Tikaram as Jai Pawa

    No spoilers here for anyone who hasn’t yet binged every episode of the Virdee series one. Jai Pawa is a powerful figure from Virdee&#8217, s past who returns to Bradford set on vengeance. He&#8217, s played by another very familiar face on British TV: Ramon Tikaram, seen recently in Netflix fantasy KAOS, but also Brassic, Pennyworth, multiple Doctor Who audio adventures, Stella, EastEnders, and many others, including, of course, for the role of Ferdy in 1990s favourite This Life.

    ALSO APPEARING

    &#8211, The Lazarus Project and Waterloo Road&#8216, s Nina Singh as Harry &#8217, s niece Tara Virdee-Duggal.

    &#8211, We Are Lady Parts, Mary Poppins Returns and theatre actor Sudha Bhuchar as Harry &#8217, s mother Jyoti Virdee

    &#8211, Gangs of London and The Gentlemen&#8216, s Andi Jashy as Vasil Sharla, the leader of a rival drug operation going up against Bradford West.

    &#8211, Newcomer Charlie Mann as Paul King, a local Bradford thief.

    On BBC iPlayer, you can now stream every Virdee episode.

    The first post on Den of Geek was Virdee Cast: Meet the Bradford Crime Drama Characters.

  • Virdee Cast: Meet the Bradford Crime Drama Characters

    Virdee Cast: Meet the Bradford Crime Drama Characters

    Anyone who isn’t missing Luther could do worse than watch the newest violence crisis Virdee in Bradford. Captain Harry Virdee may not be as smart as DCI John Luther, but he still manages to navigate a similar gray area between law and impunity.[]…]

    The first article on Den of Geek was Virdee Cast: Join the Bradford Crime Drama Characters.

    Anyone who isn’t missing Luther could do worse than watch the newest crime crisis Virdee in Bradford. Captain Harry Virdee may not be as smart as DCI John Luther, but he does have a similar gray area between the law and criminal justice. He also has good fists, and he fights a monster in series one whose methods are so crude and outrageous that they could have stepped straight out of the Idris Elba-led episode. You thought Luther&#8216, s sisters were deranged? Be tuned.

    What sets Virdee apart from Luther, aside from their differing British cultural contexts ( Harry is Sikh with Indian heritage and lives in Bradford, John is a Black Londoner ), are their marriages. Harry and his wife Saima are very much a group, even if he keeps items from her, in contrast to the separated and painfully widowed Luther who were later separated. The foundation of both their lives are their children, and finally what will prevent Harry Virdee from following too far a darkish path.

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

    Find out who the Virdee players are from below and match the characters.

    Staz Nair as Harry Virdee

    Captain Hardeep &#8220, Harry &#8221, Virdee is a 39-year-old Bradford officer with troubled interests to his beloved woman Saima and younger brother Aaron, his brother-in-law Riaz, his career, and his town. He&#8217, s the lead character in AA Dhand&#8217, s five-strong Harry Virdee book series ( Streets of Darkness, Girl Zero, City of Sinners, One Way Out, The Blood Divide ) and is played in this BBC One series by actor and singer Staz Nair.

    Television viewers will understand English actor Nair for his roles in US dramas Game of Thrones, in which he played Dothraki public Qhono, Krypton, in which he appeared as Dax-Baron, and for his regular position in Supergirl as William Dey, and in Zack Snyder&#8217, s Rebel Sun. He previously played the guitar on The X Factor band, Times Red, and played Rocky in a 2016 TV show called The Rocky Horror Picture Show.

    Vikash Bhai as Riaz Hyatt

    Riaz is a Bradford crime kingpin, and Harry &#8217, s brother-in-law. The two grew up together, and despite going in different directions after Riaz was sentenced to prison, the bond between them remains &#8211, unbeknownst to Harry &#8217, s wife and Riaz&#8217, s sister Saima. He&#8217, s played by Vikash Bhai, an actor familiar to fans of sci-fi series Pandora, as well as BBC thriller Crossfire, US sci-fi series Hanna, and many more. Bhai&#8217, s voice might also be recognised by listeners to Big Finish&#8217, s audio Doctor Who adventures, of which he&#8217, s recorded many.

    Aysha Kala as Saima Hyatt

    Saima Hyatt is a nurse, mother of young son Aaron, married to Harry, and the sister of drug kingpin Riaz &#8211, not that she knows that her brother &#8217, s operating an organised crime group out of his cash-and-carry warehouse. Clever and independent, Saima is a proud Muslim of Pakistani heritage who&#8217, s not prepared to compromise her faith to placate her bigoted father-in-law. She&#8217, s played by screen and stage actor Aysha Kala, seen recently in Apple TV + crime drama Criminal Record and known previously on TV for ITV&#8217, s Indian Summers, as well as recent National Theatre roles in The Motive and the Cue, and The Father and the Assassin.

    Kulvinder Ghir as Ranjit Virdee

    Ranjit is Harry &#8217, s father, though he has n&#8217, t seen him &#8211, or met his grandson Aaron &#8211, for eight years by the time that Virdee begins. A Pakistani Sikh who disowned his son when he married Saima, and who continues to refuse to acknowledge him to this day, is an Indian Sikh. He&#8217, s played by Kulvinder Ghir, a very familiar face on British TV for his time as a castmember on beloved comedy series Goodness Gracious Me, as well as Beecham House, Still Open All Hours, and recently, Apple TV + sci-fi Foundation.

    Tomi May as Enzo Tobin

    Enzo is Riaz&#8217, s right-hand man in Bradford West, and the one who gets his hands dirty when violence is called for in the fight against Vasil Sharma&#8217, s rival gang. Tomi May is best known for playing Miroslav Minkovicz, a member of the organized crime group that is being pursued by AC-12&#8217, s police officers, in the film Line of Duty. May has also appeared in Killing Eve, The Trouble With Maggie Cole, The Man Who Fell to Earth, Headhunters and an episode of the videogame-to-TV adaptation Halo.

    Danyal Ismail portrays DS Khalil Amin.

    No TV crime drama would be complete without a new DS for our lead to show the ropes and explain things to ( and, consequently, to us ) along the way. In Virdee, that &#8217, s Khalil, a new recruit to Harry &#8217, s Bradford team. Khalil quickly understood that his new boss who &#8220, does n&#8217, t do desks &#8221, also does n&#8217, t quite follow the rules, and the question is, will he support or report Harry for it? This is Ismail&#8217, s fourth crime drama TV role, following parts in ITV&#8217, s Vera, Madonald &amp, Dobbs and Ridley.

    Elizabeth Berrington portrays DS Clare Conway

    DS Conway is Harry &#8217, s police colleague ( and are we sure that she&#8217, s only a DS as she&#8217, s credited? She acts more like DCI Virdee&#8217, s boss ). She&#8217, s a supporting character about whom little is known, and she&#8217, s played by Elizabeth Berrington. Where has Elizabeth Berrington previously been seen? Everywhere. From The Office to Waterloo Road to Stella to The Responder to Good Omens, via basically every British TV show made in the last 20 years, Berrington&#8217, s been in it.

    Elaine Tan as Rebecca Armitage

    Rebecca Armitage is part of the UK Crime Agency, a fictional organisation in Virdee&#8216, s world. A well-known investigation into a ritualistic killer is brought on by the UKCA. She&#8217, s played by Elaine Tan, who recently appeared in ITV thriller Red Eye and Sky sci-fi drama The Lazarus Project, and before that Tom Clancy &#8216, s Jack Ryan, Acquitted and multiple episodes of British soap EastEnders in the role of Li Chong.

    Nicola Burley as Sophie Brodenham

    Sophie is a mystery at the start of Virdee, but is soon established as Riaz&#8217, s confidante. As the series ‘ season draws to its conclusion, her backstory will be revealed. She&#8217, s played by Nichola Burley, who was recently in ITVX crime drama Protection, as well as playing Brenda in BBC true-crime drama The Gold, appearing in Netflix fantasy thriller Behind her Eyes, and many more.

    Ramon Tikaram as Jai Pawa

    No spoilers here for anyone who hasn’t yet binged every episode of the Virdee series one. Jai Pawa is a powerful figure from Virdee&#8217, s past who returns to Bradford set on vengeance. He&#8217, s played by another very familiar face on British TV: Ramon Tikaram, seen recently in Netflix fantasy KAOS, but also Brassic, Pennyworth, multiple Doctor Who audio adventures, Stella, EastEnders, and many others, including, of course, for the role of Ferdy in 1990s favourite This Life.

    ALSO APPEARING

    &#8211, The Lazarus Project and Waterloo Road&#8216, s Nina Singh as Harry &#8217, s niece Tara Virdee-Duggal.

    &#8211, We Are Lady Parts, Mary Poppins Returns and theatre actor Sudha Bhuchar as Harry &#8217, s mother Jyoti Virdee

    &#8211, Gangs of London and The Gentlemen&#8216, s Andi Jashy as Vasil Sharla, the leader of a rival drug operation going up against Bradford West.

    &#8211, Newcomer Charlie Mann as Paul King, a local Bradford thief.

    On BBC iPlayer, you can now stream every Virdee episode.

    The first article on Den of Geek was Virdee Cast: Join the Bradford Crime Drama Characters.

  • Beware the Cut ‘n’ Paste Persona

    Beware the Cut ‘n’ Paste Persona

    This Person Does Not Exist is a website that generates human faces with a machine learning algorithm. It takes real portraits and recombines them into fake human faces. We recently scrolled past a LinkedIn post stating that this website could be useful “if you are developing a persona and looking for a photo.” 

    We agree: the computer-generated faces could be a great match for personas—but not for the reason you might think. Ironically, the website highlights the core issue of this very common design method: the person(a) does not exist. Like the pictures, personas are artificially made. Information is taken out of natural context and recombined into an isolated snapshot that’s detached from reality. 

    But strangely enough, designers use personas to inspire their design for the real world. 

    Personas: A step back

    Most designers have created, used, or come across personas at least once in their career. In their article “Personas – A Simple Introduction,” the Interaction Design Foundation defines personas as “fictional characters, which you create based upon your research in order to represent the different user types that might use your service, product, site, or brand.” In their most complete expression, personas typically consist of a name, profile picture, quotes, demographics, goals, needs, behavior in relation to a certain service/product, emotions, and motivations (for example, see Creative Companion’s Persona Core Poster). The purpose of personas, as stated by design agency Designit, is “to make the research relatable, [and] easy to communicate, digest, reference, and apply to product and service development.”

    The decontextualization of personas

    Personas are popular because they make “dry” research data more relatable, more human. However, this method constrains the researcher’s data analysis in such a way that the investigated users are removed from their unique contexts. As a result, personas don’t portray key factors that make you understand their decision-making process or allow you to relate to users’ thoughts and behavior; they lack stories. You understand what the persona did, but you don’t have the background to understand why. You end up with representations of users that are actually less human.

    This “decontextualization” we see in personas happens in four ways, which we’ll explain below. 

    Personas assume people are static 

    Although many companies still try to box in their employees and customers with outdated personality tests (referring to you, Myers-Briggs), here’s a painfully obvious truth: people are not a fixed set of features. You act, think, and feel differently according to the situations you experience. You appear different to different people; you might act friendly to some, rough to others. And you change your mind all the time about decisions you’ve taken. 

    Modern psychologists agree that while people generally behave according to certain patterns, it’s actually a combination of background and environment that determines how people act and take decisions. The context—the environment, the influence of other people, your mood, the entire history that led up to a situation—determines the kind of person you are in each specific moment. 

    In their attempt to simplify reality, personas do not take this variability into account; they present a user as a fixed set of features. Like personality tests, personas snatch people away from real life. Even worse, people are reduced to a label and categorized as “that kind of person” with no means to exercise their innate flexibility. This practice reinforces stereotypes, lowers diversity, and doesn’t reflect reality. 

    Personas focus on individuals, not the environment

    In the real world, you’re designing for a context, not for an individual. Each person lives in a family, a community, an ecosystem, where there are environmental, political, and social factors you need to consider. A design is never meant for a single user. Rather, you design for one or more particular contexts in which many people might use that product. Personas, however, show the user alone rather than describe how the user relates to the environment. 

    Would you always make the same decision over and over again? Maybe you’re a committed vegan but still decide to buy some meat when your relatives are coming over. As they depend on different situations and variables, your decisions—and behavior, opinions, and statements—are not absolute but highly contextual. The persona that “represents” you wouldn’t take into account this dependency, because it doesn’t specify the premises of your decisions. It doesn’t provide a justification of why you act the way you do. Personas enact the well-known bias called fundamental attribution error: explaining others’ behavior too much by their personality and too little by the situation.

    As mentioned by the Interaction Design Foundation, personas are usually placed in a scenario that’s a “specific context with a problem they want to or have to solve”—does that mean context actually is considered? Unfortunately, what often happens is that you take a fictional character and based on that fiction determine how this character might deal with a certain situation. This is made worse by the fact that you haven’t even fully investigated and understood the current context of the people your persona seeks to represent; so how could you possibly understand how they would act in new situations? 

    Personas are meaningless averages

    As mentioned in Shlomo Goltz’s introductory article on Smashing Magazine, “a persona is depicted as a specific person but is not a real individual; rather, it is synthesized from observations of many people.” A well-known critique to this aspect of personas is that the average person does not exist, as per the famous example of the USA Air Force designing planes based on the average of 140 of their pilots’ physical dimensions and not a single pilot actually fitting within that average seat. 

    The same limitation applies to mental aspects of people. Have you ever heard a famous person say, “They took what I said out of context! They used my words, but I didn’t mean it like that.” The celebrity’s statement was reported literally, but the reporter failed to explain the context around the statement and didn’t describe the non-verbal expressions. As a result, the intended meaning was lost. You do the same when you create personas: you collect somebody’s statement (or goal, or need, or emotion), of which the meaning can only be understood if you provide its own specific context, yet report it as an isolated finding. 

    But personas go a step further, extracting a decontextualized finding and joining it with another decontextualized finding from somebody else. The resulting set of findings often does not make sense: it’s unclear, or even contrasting, because it lacks the underlying reasons on why and how that finding has arisen. It lacks meaning. And the persona doesn’t give you the full background of the person(s) to uncover this meaning: you would need to dive into the raw data for each single persona item to find it. What, then, is the usefulness of the persona?

    The relatability of personas is deceiving

    To a certain extent, designers realize that a persona is a lifeless average. To overcome this, designers invent and add “relatable” details to personas to make them resemble real individuals. Nothing captures the absurdity of this better than a sentence by the Interaction Design Foundation: “Add a few fictional personal details to make the persona a realistic character.” In other words, you add non-realism in an attempt to create more realism. You deliberately obscure the fact that “John Doe” is an abstract representation of research findings; but wouldn’t it be much more responsible to emphasize that John is only an abstraction? If something is artificial, let’s present it as such.

    It’s the finishing touch of a persona’s decontextualization: after having assumed that people’s personalities are fixed, dismissed the importance of their environment, and hidden meaning by joining isolated, non-generalizable findings, designers invent new context to create (their own) meaning. In doing so, as with everything they create, they introduce a host of biases. As phrased by Designit, as designers we can “contextualize [the persona] based on our reality and experience. We create connections that are familiar to us.” This practice reinforces stereotypes, doesn’t reflect real-world diversity, and gets further away from people’s actual reality with every detail added. 

    To do good design research, we should report the reality “as-is” and make it relatable for our audience, so everyone can use their own empathy and develop their own interpretation and emotional response.

    Dynamic Selves: The alternative to personas

    If we shouldn’t use personas, what should we do instead? 

    Designit has proposed using Mindsets instead of personas. Each Mindset is a “spectrum of attitudes and emotional responses that different people have within the same context or life experience.” It challenges designers to not get fixated on a single user’s way of being. Unfortunately, while being a step in the right direction, this proposal doesn’t take into account that people are part of an environment that determines their personality, their behavior, and, yes, their mindset. Therefore, Mindsets are also not absolute but change in regard to the situation. The question remains, what determines a certain Mindset?

    Another alternative comes from Margaret P., author of the article “Kill Your Personas,” who has argued for replacing personas with persona spectrums that consist of a range of user abilities. For example, a visual impairment could be permanent (blindness), temporary (recovery from eye surgery), or situational (screen glare). Persona spectrums are highly useful for more inclusive and context-based design, as they’re based on the understanding that the context is the pattern, not the personality. Their limitation, however, is that they have a very functional take on users that misses the relatability of a real person taken from within a spectrum. 

    In developing an alternative to personas, we aim to transform the standard design process to be context-based. Contexts are generalizable and have patterns that we can identify, just like we tried to do previously with people. So how do we identify these patterns? How do we ensure truly context-based design? 

    Understand real individuals in multiple contexts

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

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

    1. Choose the right sample

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

    In qualitative research, validity does not derive from quantity but from accurate sampling. You select the people that best represent the “population” you’re designing for. If this sample is chosen well, and you have understood the sampled people in sufficient depth, you’re able to infer how the rest of the population thinks and behaves. There’s no need to study seven Susans and five Yuriys; one of each will do. 

    Similarly, you don’t need to understand Susan in fifteen different contexts. Once you’ve seen her in a couple of diverse situations, you’ve understood the scheme of Susan’s response to different contexts. Not Susan as an atomic being but Susan in relation to the surrounding environment: how she might act, feel, and think in different situations. 

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

    Yet the question remains: how do you select a representative sample? First of all, you have to consider what’s the target audience of the product or service you are designing: it might be useful to look at the company’s goals and strategy, the current customer base, and/or a possible future target audience. 

    In our example project, we were designing an application for those who own a smart thermostat. In the future, everyone could have a smart thermostat in their house. Right now, though, only early adopters own one. To build a significant sample, we needed to understand the reason why these early adopters became such. We therefore recruited by asking people why they had a smart thermostat and how they got it. There were those who had chosen to buy it, those who had been influenced by others to buy it, and those who had found it in their house. So we selected representatives of these three situations, from different age groups and geographical locations, with an equal balance of tech savvy and non-tech savvy participants. 

    2. Conduct your research

    After having chosen and recruited your sample, conduct your research using ethnographic methodologies. This will make your qualitative data rich with anecdotes and examples. In our example project, given COVID-19 restrictions, we converted an in-house ethnographic research effort into remote family interviews, conducted from home and accompanied by diary studies.

    To gain an in-depth understanding of attitudes and decision-making trade-offs, the research focus was not limited to the interviewee alone but deliberately included the whole family. Each interviewee would tell a story that would then become much more lively and precise with the corrections or additional details coming from wives, husbands, children, or sometimes even pets. We also focused on the relationships with other meaningful people (such as colleagues or distant family) and all the behaviors that resulted from those relationships. This wide research focus allowed us to shape a vivid mental image of dynamic situations with multiple actors. 

    It’s essential that the scope of the research remains broad enough to be able to include all possible actors. Therefore, it normally works best to define broad research areas with macro questions. Interviews are best set up in a semi-structured way, where follow-up questions will dive into topics mentioned spontaneously by the interviewee. This open-minded “plan to be surprised” will yield the most insightful findings. When we asked one of our participants how his family regulated the house temperature, he replied, “My wife has not installed the thermostat’s app—she uses WhatsApp instead. If she wants to turn on the heater and she is not home, she will text me. I am her thermostat.”

    3. Analysis: Create the Dynamic Selves

    During the research analysis, you start representing each individual with multiple Dynamic Selves, each “Self” representing one of the contexts you have investigated. The core of each Dynamic Self is a quote, which comes supported by a photo and a few relevant demographics that illustrate the wider context. The research findings themselves will show which demographics are relevant to show. In our case, as our research focused on families and their lifestyle to understand their needs for thermal regulation, the important demographics were family type, number and nature of houses owned, economic status, and technological maturity. (We also included the individual’s name and age, but they’re optional—we included them to ease the stakeholders’ transition from personas and be able to connect multiple actions and contexts to the same person).

    To capture exact quotes, interviews need to be video-recorded and notes need to be taken verbatim as much as possible. This is essential to the truthfulness of the several Selves of each participant. In the case of real-life ethnographic research, photos of the context and anonymized actors are essential to build realistic Selves. Ideally, these photos should come directly from field research, but an evocative and representative image will work, too, as long as it’s realistic and depicts meaningful actions that you associate with your participants. For example, one of our interviewees told us about his mountain home where he used to spend every weekend with his family. Therefore, we portrayed him hiking with his little daughter. 

    At the end of the research analysis, we displayed all of the Selves’ “cards” on a single canvas, categorized by activities. Each card displayed a situation, represented by a quote and a unique photo. All participants had multiple cards about themselves.

    4. Identify design opportunities

    Once you have collected all main quotes from the interview transcripts and diaries, and laid them all down as Self cards, you will see patterns emerge. These patterns will highlight the opportunity areas for new product creation, new functionalities, and new services—for new design. 

    In our example project, there was a particularly interesting insight around the concept of humidity. We realized that people don’t know what humidity is and why it is important to monitor it for health: an environment that’s too dry or too wet can cause respiratory problems or worsen existing ones. This highlighted a big opportunity for our client to educate users on this concept and become a health advisor.

    Benefits of Dynamic Selves

    When you use the Dynamic Selves approach in your research, you start to notice unique social relations, peculiar situations real people face and the actions that follow, and that people are surrounded by changing environments. In our thermostat project, we have come to know one of the participants, Davide, as a boyfriend, dog-lover, and tech enthusiast. 

    Davide is an individual we might have once reduced to a persona called “tech enthusiast.” But we can have tech enthusiasts who have families or are single, who are rich or poor. Their motivations and priorities when deciding to purchase a new thermostat can be opposite according to these different frames. 

    Once you have understood Davide in multiple situations, and for each situation have understood in sufficient depth the underlying reasons for his behavior, you’re able to generalize how he would act in another situation. You can use your understanding of him to infer what he would think and do in the contexts (or scenarios) that you design for.

    The Dynamic Selves approach aims to dismiss the conflicted dual purpose of personas—to summarize and empathize at the same time—by separating your research summary from the people you’re seeking to empathize with. This is important because our empathy for people is affected by scale: the bigger the group, the harder it is to feel empathy for others. We feel the strongest empathy for individuals we can personally relate to.  

    If you take a real person as inspiration for your design, you no longer need to create an artificial character. No more inventing details to make the character more “realistic,” no more unnecessary additional bias. It’s simply how this person is in real life. In fact, in our experience, personas quickly become nothing more than a name in our priority guides and prototype screens, as we all know that these characters don’t really exist. 

    Another powerful benefit of the Dynamic Selves approach is that it raises the stakes of your work: if you mess up your design, someone real, a person you and the team know and have met, is going to feel the consequences. It might stop you from taking shortcuts and will remind you to conduct daily checks on your designs.

    And finally, real people in their specific contexts are a better basis for anecdotal storytelling and therefore are more effective in persuasion. Documentation of real research is essential in achieving this result. It adds weight and urgency behind your design arguments: “When I met Alessandra, the conditions of her workplace struck me. Noise, bad ergonomics, lack of light, you name it. If we go for this functionality, I’m afraid we’re going to add complexity to her life.”

    Conclusion

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

    Design needs simplification but not generalization. You have to look at the research elements that stand out: the sentences that captured your attention, the images that struck you, the sounds that linger. Portray those, use them to describe the person in their multiple contexts. Both insights and people come with a context; they cannot be cut from that context because it would remove meaning. 

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

  • 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.

    Computers have issues because conversation is more important than written speech, between spoken and written. To have productive conversations with us, machines may struggle with the messiness of mortal speech: the disfluencies and pauses, the gestures and body language, and the variations in word choice and spoken dialect that is stymie even the most carefully crafted human-computer interaction. Speaking language also has the advantage of face-to-face contact, where we can easily view verbal social cues in the human-to-human scenario.

    In contrast, written language develops its own fossil record of dated terms and phrases as we commit to recording and keeping usages long after they are no longer relevant in spoken communication ( for example, the salutation” 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. There are verbal cues and vociferous behaviors that mimic conversation in complex ways, including how something is said, never what. These are the nonverbal cues that ornament conversations with emphasis and emotional context. Whether rapid-fire, low-pitched, or high-decibel, whether satirical, awkward, or groaning, our spoken speech conveys much more than the written word had ever muster. But as designers and content strategists, we face exciting challenges when it comes to voice interfaces, the machines we use to execute spoken conversations.

    Voice-to-voice relations

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

    • we require something ( such as a transaction ),
    • we want to know something ( information of some sort ), or
    • We are sociable creatures, and we need a dialogue partner.

    A second talk from beginning to end that achieves some goal for the consumer, starting with the voice interface’s initial greeting and ending with the user exiting the interface, also fits into these three categories, which I refer to as interpersonal, technical, and prosocial. Note here that a conversation in our human sense—a chat between people that leads to some result and lasts an arbitrary length of time—could encompass multiple transactional, informational, and prosocial voice interactions in succession. In other words, a voice interaction is a conversation, but it must not be one particular voice interaction.

    Most voice interfaces are more gimmicky than captivating in pure prosocial conversations because most people find it difficult to trust their machines to actually understand how we’re doing and to give them the kind of glad-handing we crave. There’s also ongoing debate as to whether users actually prefer the sort of organic human conversation that begins with a prosocial voice interaction and shifts seamlessly into other types. In fact, Michael Cohen, James Giangola, and Jennifer Balogh advise sticking to user expectations by imitating how they interact with other voice interfaces rather than trying too hard to be human, which could lead to alienation of them ( ).

    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. The conversation quickly shifts from an initial smattering of neighborly small talk to the actual task at hand, which is ordering a pizza ( generously topped with pineapple, as it should be ).

    Alison: Hey, how’s it going?

    Burhan: Hello and 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: Yes, but what size?

    Alison: Large.

    Burhan: Anything else?

    Alison: No thanks, that’s it.

    Burhan: Something to drink?

    Alison, I’ll have a bottle of Coke.

    Burhan, you know what. That’ll be$ 13.55 and about fifteen minutes.

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

    Informational voice interactions

    In the meantime, some conversations are primarily about getting information. Though Alison might visit Crust Deluxe with the sole purpose of placing an order, she might not actually want to walk out with a pizza at all. She might be interested in trying kosher or halal dishes, trying gluten-free dishes, or something else entirely. 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’s it going?

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

    Alison: Can I ask a few questions?

    Burhan: Of course! Continue straight ahead.

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

    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 pizzas that don’t contain gluten?

    Burhan: We can definitely do a gluten-free crust for you, no problem, for both our deep-dish and thin-crust pizzas. Anything else I can say for you to answer?

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

    Burhan: Anytime, come back soon!

    This is a very different dialogue. Here, the goal is to obtain a particular 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 so that the customer is aware of the important lessons.

    Voice-to-text interfaces

    At their core, voice interfaces employ speech to support users in reaching their goals. However, just because an interface has a voice component doesn’t mean that every user interaction with it is mediated by 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

    Written conversational interfaces have been used for computing for many years, but voice interfaces first started to appear in the early 1990s with text-to-speech ( TTS ) dictation programs that recited written text aloud and speech-enabled in-car systems that gave directions to a user-provided address. With the advent of interactive voice response ( IVR ) systems, intended as an alternative to overburdened customer service representatives, we became acquainted with the first true voice interfaces that engaged in authentic conversation.

    IVR systems made it easier for businesses to cut down on call centers, but they soon gained a reputation for their clunkiness. When you call an airline or hotel company, which is a common practice in the corporate world, these systems were primarily intended as metaphorical switchboards to direct customers to a real phone agent (” Say Reservations to book a flight or check an itinerary” ), which are more likely to happen when you call one. Despite their functional issues and users ‘ frustration with their inability to speak to an actual human right away, IVR systems proliferated in the early 1990s across a variety of industries (, PDF).

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

    Readers of screens

    Parallel to the evolution of IVR systems was the invention of the screen reader, a tool that transcribes visual content into synthesized speech. For Blind or visually impaired website users, it’s the predominant method of interacting with text, multimedia, or form elements. Readers of screens represent perhaps the closest equivalent we have today to an out-of-the-box implementation of content delivered through voice.

    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 expansion of the web in the 1990s, there was an explosion in the demand for user-friendly tools for websites. Thanks to the introduction of semantic HTML and especially ARIA roles beginning in 2008, screen readers started facilitating speedy 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. Screen readers for the web, in other words, “provide mechanisms that translate visual design constructs—proximity, proportion, etc.. —into useful information,” according to Aaron Gustafson in A List Apart. ” At least they do when documents are authored thoughtfully” ( ).

    There’s a big deal with screen readers: they’re difficult to use and relentlessly verbose, despite being incredibly instructive for voice interface designers. Sometimes awkward pronouncements that name every manipulable HTML element and announce every formatting change are made because the visual structures of websites and web navigation don’t translate well to screen readers. For many screen reader users, working with web-based interfaces exacts a cognitive toll.

    Chris Maury, an advocate for voice quality and voice engineer, examines why the screen reader experience is not appropriate for users who rely on voice in Wired:

    I disliked the operation of Screen Readers from the beginning. Why are they designed the way they are? It makes no sense to present information visually and then only to have that information translated into audio. All the effort and effort put into creating the ideal app user experience is wasted, or worse, having a negative effect on blind users ‘ experience. __ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

    Well-designed voice interfaces can often beat lengthy screen reader monologues in terms of speeding up users ‘ movements. After all, users of the visual interface have the advantage of freely scurrying around the viewport to find information without getting too close to it. Blind users, meanwhile, are obligated to listen to every utterance synthesized into speech and therefore prize brevity and efficiency. Users with disabilities who have long had no choice but to use clumsy screen readers might find that voice interfaces, especially more contemporary voice assistants, provide a more streamlined experience.

    Voice-activated devices

    When we think of voice assistants (the subset of voice interfaces now commonplace in living rooms, smart homes, and offices), many of us immediately picture HAL from 2001: A Space Odyssey or hear Majel Barrett’s voice as the omniscient computer in Star Trek. Voice-activated devices are akin to personal concierges that can answer questions, schedule appointments, conduct searches, and perform other common day-to-day tasks. And they’re rapidly gaining more attention from accessibility advocates for their assistive potential.

    Before the earliest IVR systems found success in the enterprise, Apple published a demonstration video in 1987 depicting the Knowledge Navigator, a voice assistant that could transcribe spoken words and recognize human speech to a great degree of accuracy. Then, in 2001, Tim Berners-Lee and others created their vision for a” semantic web agent” that would carry out routine tasks like” checking calendars, making appointments, and finding locations” ( hinter paywall ). Apple’s Siri only became a reality until 2011 when it finally made voice assistants a reality for consumers.

    Thanks to the plethora of voice assistants available today, there is considerable variation in how programmable and customizable certain voice assistants are over others ( Fig 1.1 ). At one extreme, everything but vendor-provided features are locked down. For instance, when Apple’s Siri and Microsoft’s Cortana were released, they couldn’t extend their existing capabilities. There are no other means of developers communicating with Siri at a low level, aside from predefined categories of tasks like messaging, hailing rideshares, making restaurant reservations, and other things, which are still possible today.

    At the opposite end of the spectrum, voice assistants like Amazon Alexa and Google Home offer a core foundation on which developers can build custom voice interfaces. For this reason, developers who feel stifled by the limitations of Siri and Cortana are increasingly using programmable voice assistants that are capable of customization and extensibility. Google Home enables arbitrary Google Assistant skills generation, while Amazon offers the Alexa Skills Kit, a developer framework for creating custom voice interfaces for Amazon Alexa. Today, users can choose from among thousands of custom-built skills within both the Amazon Alexa and Google Assistant ecosystems.

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

    Often by necessity, voice assistants like Amazon Alexa tend to be monochannel—they’re tightly coupled to a device and can’t be accessed on a computer or smartphone instead. In contrast, many development platforms, 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. In Chapter 4, we’ll explore some of the possible effects these variables might have on how you build out your design artifacts, but I don’t recommend any particular implementation strategies in this design-focused book.

    Voice Content

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

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

    Our initial step in informational voice interfaces will likely be to provide user content, according to many of us. There’s only one problem: any content we already have isn’t in any way ready for this new habitat. How can we improve the conversational content on our websites? 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. Microcontent was defined as permalinked pieces of content that stay legible regardless of the environment, such as email or text messages back in 2002, well before the present-day ubiquity of voice assistants.

    A day’s weather forcast]sic], the arrival and departure times for an airplane flight, an abstract from a long publication, or a single instant message can all be examples of microcontent. __ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

    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. Informing delivery channels both established and novel, Microcontent provides the best opportunity to find out how your content can be stretched to the limits of its potential.

    Voice content stands out as being unique because it illustrates how content is experienced in space as opposed to time. We can glance at a digital sign underground for an instant and know when the next train is arriving, but voice interfaces hold our attention captive for periods of time that we can’t easily escape or skip, something screen reader users are all too familiar with.

    We need to make sure that our microcontent truly performs well as voice content because it is essentially composed of isolated blobs without any connection to the channels in which they will eventually end up. This means focusing on the two most crucial characteristics 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.

  • 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

    Photoshop was my go-to program when I first started creating blogs. I created a 960px paint and set about creating a design that I would eventually lose information in. Set widths, fixed heights, and total placement were the keys to pixel-perfect accuracy during the development phase.

    Ethan Marcotte’s speak at An Event Off and subsequent content” Responsive Web Design” in A List Off in 2010 changed all this. As soon as I learned about responsive style, I was convinced, 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 stage.

    A novel method of architecture

    Developing flexible or liquid sites has always been about removing limitations, producing material that can be viewed on any system. It relies on using percentage-based layouts, which I immediately achieved using native CSS and power courses:

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

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

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

    internet inquiries

    The next ingredient for reactive design is press queries. Without them, content would shrink to fit the available space, regardless of whether it remained readable ( The exact opposite issue resulted from the development of a mobile-first approach ).

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

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

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

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

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

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

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

    Container queries: A bogus sun or our lord?

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

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

    In other words, responsive components to replace responsive layouts.

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

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

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

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

    The container’s dimensions shouldn’t be the design’s, but rather the image should.

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

    CSS is evolving.

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

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

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

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

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

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

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

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

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

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

    Intrinsic layouts

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

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

    We can now make designs that work in harmony with the content inside and the content around them. With an intrinsic approach, we can construct responsive components without depending on container queries.

    Another 2010 moment?

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

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

    One possible explanation for that is that I now work for a sizable company, which is quite different from the 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. Modern projects frequently improve existing websites with an existing codebase and use existing tools and frameworks.

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

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

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

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

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

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

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

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

    Personally, I look forward to the day that a design component can truly be flexible and adapt to both its space and content without relying on the device or container dimensions. This is the day intrinsic design is the standard for design.

    Content first

    Content is variable. After all, to design for the unknown or unexpected we need to account for content changes like our earlier Subgrid card example that allowed the cards to respond to adjustments to their own content and the content of sibling elements.

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

    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. This was frequently accomplished with Sass mixins in the past, but it was frequently limited to a switch from a left-to-right to a right-to-left orientation.

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

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

    These variables can be used as values—

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

    —or as properties.

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

    However, with native logical properties, there is no longer a need to rely on Sass ( or another similar tool ) or pre-planning, which made using variables throughout a codebase necessary. These properties also start to break apart the tight coupling between a design and strict physical dimensions, creating more flexibility for changes in language and in direction.

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

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

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

    Fluid and fixed

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

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

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

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

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

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

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

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

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

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

    With these techniques, we have a content-first approach to responsive design. We can’t change markup because content can’t be changed, so user modifications won’t have an impact on the design. We can start to future-proof designs by planning for unexpected changes in language or direction. Additionally, we can increase flexibility by specifying desired dimensions alongside adaptable alternatives, which will allow for the display of more or less content correctly.

    Situation first

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

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

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

    Thankfully, there is a lot we can do to give people choices.

    Responsible design

    There are places in the world where mobile data is prohibitively expensive and where there is little or no broadband infrastructure.

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

    Chris Ashton

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

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

    Image alt text

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

      

    Additionally, there is native lazy loading, which indicates that assets should only be downloaded when they are required.

    …

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

    So how can we put users in control?

    The media queries are returning.

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

    We’ve long been able to check for media types like print and speech and features such as hover, resolution, and color. Because of these checks, we can offer options that work for more than one situation. It’s less about one-size-fits-all and more about providing adaptable content.

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

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

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

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

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

    Expect the Unexpected

    In the end, the one thing we should always expect is for things to change. With foldable screens already available on the market, devices especially change more quickly than we can keep up.

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

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

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

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

  • Asynchronous Design Critique: Getting Feedback

    Asynchronous Design Critique: Getting Feedback

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

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

    Design analysis is not 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.

    Lastly, we need to review what we received, get to the heart of its conclusions, and take action, like with any great research. Topic, generation, and evaluation. Let’s take a closer 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 view” at the conclusion of a presentation are likely to generate a lot of divergent thoughts, or worse, to make people follow the lead of the first speaker. And finally, we become irritated because ambiguous queries like those can result in people leaving reviews that don’t even consider keys. Which might be a savory matter, so it might be hard at that point to divert the crew to the topics that you had wanted to focus on.

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

    The work of asking insightful questions guidelines and concentrates 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 method to request suggestions. It simply needs to be certain, and precision can take a variety of forms. A design for design critique that I’ve found especially helpful in my training is the one of stage than depth.

    The term” period” refers to each of the stages of the process, in our case, the design phase. The kind of feedback changes as the consumer research moves forward to the final design. But within a single stage, one might also examine whether some assumptions are correct and whether there’s been a suitable language of the amassed input into updated designs as the job has evolved. The levels of user experience may serve as a starting point for possible questions. What are your job goals, exactly? User requirements? Funnality? Articles? Contact design? a system of information structures Interface pattern Navigation style? physical architecture Brand?

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

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

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

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

    Eliminating generic finals from your issues like “good,” “well,” “nice,” “bad,” “okay,” and” cool” is a simple strategy. For instance, what is the question” When the wall opens and the switches appear, is this connection good”? may seem precise, but you can place the “good” tournament, and transfer it to an even better query:” When the stop opens and the buttons appear, is it clear what the next action is”?

    Sometimes we do want a lot of feedback. That’s uncommon, but 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 after someone’s first five seconds of viewing it, it becomes obvious that what you’re asking is open ended but focused on the subject.

    Sometimes the project is particularly expansive, and some areas may have already been explored in detail. In these circumstances, it might be helpful to state explicitly that some parts are already locked in and aren’t accessible for feedback. Although it’s not something I’d recommend in general, I’ve found it helpful in avoiding falling into rabbit holes like those that could lead to further refinement but aren’t what’s important right now.

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

    The iteration

    The most widely visible aspect of the design process is probably the design iteration, which serves as a natural feedback loop. Many design tools have inline commenting, but many of them only display changes as a single fluid stream in the same file. 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.

    Create explicit checkpoints for discussion is the asynchronous design-critique strategy that I find to be most successful. I’m going to use the term iteration post for this. It refers to a design iteration write-up or presentation followed by some sort of discussion thread. 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 establishes a rhythm in the design process, allowing the designer to review the feedback from each iteration and get ready for the following.
    • It makes decisions visible for future review, and conversations are likewise always available.
    • It keeps track of how the design evolved over time.
    • It might also make it simpler to collect and act on feedback depending on the tool.

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

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

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

    Each project is likely to have a goal, and it should most likely be one that has already been summarized in one sentence elsewhere, such as the client brief, the product manager’s outline, or the request of the project owner. So this is something that I’d repeat in every iteration post—literally copy and pasting it. The goal is to provide context and repeat what is necessary to complete each iteration post so that there is no need to search for information in different 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 actual series of information-architecture outlines, diagrams, flows, maps, wireframes, screens, visuals, and any other design work that has been done is what the design is then called. In short, it’s any design artifact. In the final stages of the project, I prefer the term “blank” to indicate that I’ll be displaying complete flows rather than individual screens to make it simpler to comprehend the larger picture.

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

    A bullet list of the changes made in the previous iteration should also be included for an effective discussion so that attendees can concentrate on what’s changed. This can be especially useful for larger works of work where keeping track, iteration after iteration, might prove difficult.

    And finally, as noted earlier, it’s essential that you include a list of the questions to drive the design critique in the direction you want. Making a numbered list of questions available in the form of a number can also make it simpler to refer to each one by its name.

    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.

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

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

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

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

    The evaluation

    What usually happens during a design critique is an open discussion, with a back and forth between people that can be very productive. This strategy is particularly successful when synchronous feedback is being received live. However, 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:

      It makes it easier to respond to everyone.
    1. It reduces the frustration from swoop-by comments.
    2. It lessens our own worth.

    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 simple, straightforward, and doesn’t cause any issues. Sometimes, however, some solutions may require more in-depth discussions, and responding to everyone quickly can add up to the pressure of trying to be a good team player by doing the same design iteration. This might be especially true if the person who’s replying is a stakeholder or someone directly involved in the project who we feel that we need to listen to. It’s human nature to try to accommodate those we care about, and we need to accept that this pressure is completely normal. When we treat 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, responding to all comments can be effective.

      One is to let the next iteration speak for itself. That is the response when the design changes and we publish a follow-up iteration. You could tag everyone in the previous discussion, but that’s just a choice, not a requirement.
    • Another is to briefly reply to acknowledge each comment, such as” Understood. ” Thanks,”” 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 quickly summarize the comments before moving on. This may be particularly helpful if your workflow allows you to create a simplified checklist that you can use for the following iteration.

    The second friction point is the swoop-by comment, which is the kind of feedback that comes from someone outside the project or team who might not be aware of the context, restrictions, decisions, or requirements —or of the previous iterations ‘ discussions. On their side, there is something that one can hope to learn: they could begin to acknowledge that they are doing this and they could be more aware of where they are coming from. 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, if responding to a previously litigated point is useful, a brief response with a link to the previous discussion for additional information is typically sufficient. Remember that repetition results in alignment, so it’s acceptable to repeat things occasionally!

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

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

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

    You are in charge of making that choice as the designer who is in charge of the project. 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.