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  • Christopher Nolan Is Right About Horror Movies and That’s Exactly Why He Should Make One

    Christopher Nolan Is Right About Horror Movies and That’s Exactly Why He Should Make One

    This article contains The Odyssey spoilers The Odyssey is really impressive. The sheer scale of Christopher Nolan’s epic new movie is wowing audiences worldwide right now, but unfortunately—and inevitably—people will eventually start asking him how he will top it with his next film. The answer to that question from any notable filmmaker tends to be […]

    The post Christopher Nolan Is Right About Horror Movies and That’s Exactly Why He Should Make One appeared first on Den of Geek.

    Like most Marvel fans, we’ve spent the day here at Den of Geek poring over the first trailer for Avengers: Doomsday, looking for clues, cameos, and just enjoying seeing our favorites on the screen again. So exciting has the trailer been that it’s easy to overlook the other thing that Marvel dropped today, a new poster for the movie.

    The Avengers: Doomsday poster lacks any actual Avengers. None of the X-Men, the Fantastic Four, the Wakandans, or most of the other characters highlighted in the trailer appear. Instead, we just see Doom from behind as he ascends stairs to look at a tapestry on the wall. At the center of the tapestry is a planet, above which stand a young boy and his mother, presumably Victor Von Doom and his mother Cynthia. Certainly, Cynthia’s fate will have some meaning for the Victor we see in the movie, played by Robert Downey Jr. But for comic book fans, the sight of Cynthia Von Doom only brings to mind an all-time great story, one co-starring Doctor Strange.

    Believe it or not, Cynthia Von Doom isn’t the most important figure in the life of Victor Von Doom. As much as he hates to admit it, Doom cares most about his old college roommate and arch-enemy Reed Richards, as everything he does is to prove his superiority to the Fantastic Four founder. Further, his heart forever yearns for his first love, Valeria von Frazen, after whom he named his goddaughter (and daughter of Reed and Sue—it’s complicated) and whose soul he sacrificed to gain ultimate power.

    cnx.cmd.push(function() {
    cnx({
    playerId: “106e33c0-3911-473c-b599-b1426db57530”,

    }).render(“0270c398a82f44f49c23c16122516796”);
    });

    Yet, Cynthia does matter to Victor, not just because she was his mother. A Romani woman living in Latveria, Cynthia mastered the ways of magic, which drew the attention of a local baron. When Cynthia failed to heal the baron’s wife, he murdered her, sending her husband Werner and son Victor into exile. Of course, Victor would later return to Latveria to become its benevolent despot, and he would eventually follow in his mother’s footsteps as a magician after science failed him while at university in the United States. But his mother remains largely a footnote in his life, except for one memorable story.

    In 1989, Marvel released the graphic novel Doctor Strange and Doctor Doom: Triumph and Torment, written by Roger Stern and penciled by Mike Mignola. The story flashes back to the point where Stephen Strange becomes Sorcerer Supreme, a title that comes with a requirement. To take the title, Strange must grant a boon, and the mystic triumvirate known as the Vishanti determine the boon must be given to one of Strange’s competitors for the title, Victor Von Doom.

    Though loath to accept help from anyone, Doom ultimately decides to enlist Strange’s help in traveling into the Underworld. There, they will find Cynthia’s soul and free it from the demonic Mephisto, who has been keeping her captive since he tricked her in the plot that led to her death.

    What follows is one of the best Doctor Strange comics ever made. Stern writes in a Bronze Age style that might be difficult for modern readers to enjoy, but it works particularly well for Doctor Strange and Doctor Doom. The two verbose characters love making dramatic declarations, as do all of the monsters and magicians they face, making for highly surreal drama.

    Even better is the art by Mike Mignola. These days, Mignola is best known as the creator of Hellboy, and his love of monsters and horror are on full display in Triumph and Torment. The influence of Jack Kirby is present in Mignola’s blocky figures and his dynamic action scenes. But the strong blacks and use of negative space that would become his calling card are less pronounced, as Mignola employs light lines and a sketchier style, which pairs well with the softer inks and color washes from finisher Mark Badger. The contrast gives the story as much pathos as it does foreboding, as we can feel the sorrow weighing on Victor as he heads into the underworld to rescue his mother.

    Certainly, Triumph and Torment has all the superhero action one wants from a Marvel comic. Panels of Doom and Strange blasting away demons stand up to anything you’d find in the pages of The Avengers or Fantastic Four. And while Mephisto remains a trickster who cannot be defeated through force, the comic still gives us plenty of shots of Doom and Strange battling their way through the underworld.

    Yet, satisfying as the action is, it isn’t the point of Triumph and Torment. Instead, the comic serves to reframe the way we think about both characters. For Strange, it teaches him how to have humility and see beyond simple binaries of good and evil, an important lesson as he becomes Sorcerer Supreme. For Doom, it shows the fundamental sadness at the center of the character, a villain who could seem like a one-dimensional megalomaniac.

    If Avengers: Doomsday can capture even a fraction of the pathos and artistry in Triumph and Torment, then it won’t just be a great superhero movie—it will be a rich film, one that stands up with the best works of the year.

    Avengers: Doomsday releases in theaters on December 18, 2026.

    The post Avengers: Doomsday Poster Sets Up an Incredible Doctor Strange Story appeared first on Den of Geek.

  • 15 People Share Their Perfect 10/10 Movies, No Notes

    15 People Share Their Perfect 10/10 Movies, No Notes

    Everyone has at least one movie they wouldn’t change, even years after first watching it. It isn’t always the biggest box office hit or the most critically acclaimed film. Sometimes everything simply clicks, with the right cast, memorable dialogue, strong pacing, and scenes that never seem to lose their impact. Ask enough movie fans to name a personal 10 out of 10, and certain titles come up again and again, even alongside a few unexpected picks. Whether they’re action classics, heartfelt dramas, or unforgettable adventures, these films have earned a reputation for feeling complete from beginning to end.

    Here are 15 movies that many viewers consider perfect, no notes.

    The post 15 People Share Their Perfect 10/10 Movies, No Notes appeared first on Den of Geek.

    Like most Marvel fans, we’ve spent the day here at Den of Geek poring over the first trailer for Avengers: Doomsday, looking for clues, cameos, and just enjoying seeing our favorites on the screen again. So exciting has the trailer been that it’s easy to overlook the other thing that Marvel dropped today, a new poster for the movie.

    The Avengers: Doomsday poster lacks any actual Avengers. None of the X-Men, the Fantastic Four, the Wakandans, or most of the other characters highlighted in the trailer appear. Instead, we just see Doom from behind as he ascends stairs to look at a tapestry on the wall. At the center of the tapestry is a planet, above which stand a young boy and his mother, presumably Victor Von Doom and his mother Cynthia. Certainly, Cynthia’s fate will have some meaning for the Victor we see in the movie, played by Robert Downey Jr. But for comic book fans, the sight of Cynthia Von Doom only brings to mind an all-time great story, one co-starring Doctor Strange.

    Believe it or not, Cynthia Von Doom isn’t the most important figure in the life of Victor Von Doom. As much as he hates to admit it, Doom cares most about his old college roommate and arch-enemy Reed Richards, as everything he does is to prove his superiority to the Fantastic Four founder. Further, his heart forever yearns for his first love, Valeria von Frazen, after whom he named his goddaughter (and daughter of Reed and Sue—it’s complicated) and whose soul he sacrificed to gain ultimate power.

    cnx.cmd.push(function() {
    cnx({
    playerId: “106e33c0-3911-473c-b599-b1426db57530”,

    }).render(“0270c398a82f44f49c23c16122516796”);
    });

    Yet, Cynthia does matter to Victor, not just because she was his mother. A Romani woman living in Latveria, Cynthia mastered the ways of magic, which drew the attention of a local baron. When Cynthia failed to heal the baron’s wife, he murdered her, sending her husband Werner and son Victor into exile. Of course, Victor would later return to Latveria to become its benevolent despot, and he would eventually follow in his mother’s footsteps as a magician after science failed him while at university in the United States. But his mother remains largely a footnote in his life, except for one memorable story.

    In 1989, Marvel released the graphic novel Doctor Strange and Doctor Doom: Triumph and Torment, written by Roger Stern and penciled by Mike Mignola. The story flashes back to the point where Stephen Strange becomes Sorcerer Supreme, a title that comes with a requirement. To take the title, Strange must grant a boon, and the mystic triumvirate known as the Vishanti determine the boon must be given to one of Strange’s competitors for the title, Victor Von Doom.

    Though loath to accept help from anyone, Doom ultimately decides to enlist Strange’s help in traveling into the Underworld. There, they will find Cynthia’s soul and free it from the demonic Mephisto, who has been keeping her captive since he tricked her in the plot that led to her death.

    What follows is one of the best Doctor Strange comics ever made. Stern writes in a Bronze Age style that might be difficult for modern readers to enjoy, but it works particularly well for Doctor Strange and Doctor Doom. The two verbose characters love making dramatic declarations, as do all of the monsters and magicians they face, making for highly surreal drama.

    Even better is the art by Mike Mignola. These days, Mignola is best known as the creator of Hellboy, and his love of monsters and horror are on full display in Triumph and Torment. The influence of Jack Kirby is present in Mignola’s blocky figures and his dynamic action scenes. But the strong blacks and use of negative space that would become his calling card are less pronounced, as Mignola employs light lines and a sketchier style, which pairs well with the softer inks and color washes from finisher Mark Badger. The contrast gives the story as much pathos as it does foreboding, as we can feel the sorrow weighing on Victor as he heads into the underworld to rescue his mother.

    Certainly, Triumph and Torment has all the superhero action one wants from a Marvel comic. Panels of Doom and Strange blasting away demons stand up to anything you’d find in the pages of The Avengers or Fantastic Four. And while Mephisto remains a trickster who cannot be defeated through force, the comic still gives us plenty of shots of Doom and Strange battling their way through the underworld.

    Yet, satisfying as the action is, it isn’t the point of Triumph and Torment. Instead, the comic serves to reframe the way we think about both characters. For Strange, it teaches him how to have humility and see beyond simple binaries of good and evil, an important lesson as he becomes Sorcerer Supreme. For Doom, it shows the fundamental sadness at the center of the character, a villain who could seem like a one-dimensional megalomaniac.

    If Avengers: Doomsday can capture even a fraction of the pathos and artistry in Triumph and Torment, then it won’t just be a great superhero movie—it will be a rich film, one that stands up with the best works of the year.

    Avengers: Doomsday releases in theaters on December 18, 2026.

    The post Avengers: Doomsday Poster Sets Up an Incredible Doctor Strange Story appeared first on Den of Geek.

  • The Thunderbolts Easter Egg You May Have Missed in the Avengers: Doomsday Trailer

    The Thunderbolts Easter Egg You May Have Missed in the Avengers: Doomsday Trailer

    The first full trailer for Avengers: Doomsday has been released this week, and it has plenty to show us. Robert Downey Jr.’s Doctor Doom easily thwarts an attack from Thor, Gambit battles Shang-Chi, Yelena Belova is unmasked as Mystique at one point before Yelena fights “Yelena,” Steve Rogers is back (with his beard!), Loki does […]

    The post The Thunderbolts Easter Egg You May Have Missed in the Avengers: Doomsday Trailer appeared first on Den of Geek.

    Like most Marvel fans, we’ve spent the day here at Den of Geek poring over the first trailer for Avengers: Doomsday, looking for clues, cameos, and just enjoying seeing our favorites on the screen again. So exciting has the trailer been that it’s easy to overlook the other thing that Marvel dropped today, a new poster for the movie.

    The Avengers: Doomsday poster lacks any actual Avengers. None of the X-Men, the Fantastic Four, the Wakandans, or most of the other characters highlighted in the trailer appear. Instead, we just see Doom from behind as he ascends stairs to look at a tapestry on the wall. At the center of the tapestry is a planet, above which stand a young boy and his mother, presumably Victor Von Doom and his mother Cynthia. Certainly, Cynthia’s fate will have some meaning for the Victor we see in the movie, played by Robert Downey Jr. But for comic book fans, the sight of Cynthia Von Doom only brings to mind an all-time great story, one co-starring Doctor Strange.

    Believe it or not, Cynthia Von Doom isn’t the most important figure in the life of Victor Von Doom. As much as he hates to admit it, Doom cares most about his old college roommate and arch-enemy Reed Richards, as everything he does is to prove his superiority to the Fantastic Four founder. Further, his heart forever yearns for his first love, Valeria von Frazen, after whom he named his goddaughter (and daughter of Reed and Sue—it’s complicated) and whose soul he sacrificed to gain ultimate power.

    cnx.cmd.push(function() {
    cnx({
    playerId: “106e33c0-3911-473c-b599-b1426db57530”,

    }).render(“0270c398a82f44f49c23c16122516796”);
    });

    Yet, Cynthia does matter to Victor, not just because she was his mother. A Romani woman living in Latveria, Cynthia mastered the ways of magic, which drew the attention of a local baron. When Cynthia failed to heal the baron’s wife, he murdered her, sending her husband Werner and son Victor into exile. Of course, Victor would later return to Latveria to become its benevolent despot, and he would eventually follow in his mother’s footsteps as a magician after science failed him while at university in the United States. But his mother remains largely a footnote in his life, except for one memorable story.

    In 1989, Marvel released the graphic novel Doctor Strange and Doctor Doom: Triumph and Torment, written by Roger Stern and penciled by Mike Mignola. The story flashes back to the point where Stephen Strange becomes Sorcerer Supreme, a title that comes with a requirement. To take the title, Strange must grant a boon, and the mystic triumvirate known as the Vishanti determine the boon must be given to one of Strange’s competitors for the title, Victor Von Doom.

    Though loath to accept help from anyone, Doom ultimately decides to enlist Strange’s help in traveling into the Underworld. There, they will find Cynthia’s soul and free it from the demonic Mephisto, who has been keeping her captive since he tricked her in the plot that led to her death.

    What follows is one of the best Doctor Strange comics ever made. Stern writes in a Bronze Age style that might be difficult for modern readers to enjoy, but it works particularly well for Doctor Strange and Doctor Doom. The two verbose characters love making dramatic declarations, as do all of the monsters and magicians they face, making for highly surreal drama.

    Even better is the art by Mike Mignola. These days, Mignola is best known as the creator of Hellboy, and his love of monsters and horror are on full display in Triumph and Torment. The influence of Jack Kirby is present in Mignola’s blocky figures and his dynamic action scenes. But the strong blacks and use of negative space that would become his calling card are less pronounced, as Mignola employs light lines and a sketchier style, which pairs well with the softer inks and color washes from finisher Mark Badger. The contrast gives the story as much pathos as it does foreboding, as we can feel the sorrow weighing on Victor as he heads into the underworld to rescue his mother.

    Certainly, Triumph and Torment has all the superhero action one wants from a Marvel comic. Panels of Doom and Strange blasting away demons stand up to anything you’d find in the pages of The Avengers or Fantastic Four. And while Mephisto remains a trickster who cannot be defeated through force, the comic still gives us plenty of shots of Doom and Strange battling their way through the underworld.

    Yet, satisfying as the action is, it isn’t the point of Triumph and Torment. Instead, the comic serves to reframe the way we think about both characters. For Strange, it teaches him how to have humility and see beyond simple binaries of good and evil, an important lesson as he becomes Sorcerer Supreme. For Doom, it shows the fundamental sadness at the center of the character, a villain who could seem like a one-dimensional megalomaniac.

    If Avengers: Doomsday can capture even a fraction of the pathos and artistry in Triumph and Torment, then it won’t just be a great superhero movie—it will be a rich film, one that stands up with the best works of the year.

    Avengers: Doomsday releases in theaters on December 18, 2026.

    The post Avengers: Doomsday Poster Sets Up an Incredible Doctor Strange Story appeared first on Den of Geek.

  • Spider-Man: Brand New Day – Exclusive Inside Look at Tom Holland’s Passion Project

    Spider-Man: Brand New Day – Exclusive Inside Look at Tom Holland’s Passion Project

    This article appears in the new issue of DEN OF GEEK magazine. Find out how you can subscribe to get the full physical copy right here! Almost five full years ago, Spider-Man: No Way Home ended on a triumphant note when Peter Parker swung over Rockefeller Center in a homemade suit. Certainly No Way Home gave Spidey […]

    The post Spider-Man: Brand New Day – Exclusive Inside Look at Tom Holland’s Passion Project appeared first on Den of Geek.

    Like most Marvel fans, we’ve spent the day here at Den of Geek poring over the first trailer for Avengers: Doomsday, looking for clues, cameos, and just enjoying seeing our favorites on the screen again. So exciting has the trailer been that it’s easy to overlook the other thing that Marvel dropped today, a new poster for the movie.

    The Avengers: Doomsday poster lacks any actual Avengers. None of the X-Men, the Fantastic Four, the Wakandans, or most of the other characters highlighted in the trailer appear. Instead, we just see Doom from behind as he ascends stairs to look at a tapestry on the wall. At the center of the tapestry is a planet, above which stand a young boy and his mother, presumably Victor Von Doom and his mother Cynthia. Certainly, Cynthia’s fate will have some meaning for the Victor we see in the movie, played by Robert Downey Jr. But for comic book fans, the sight of Cynthia Von Doom only brings to mind an all-time great story, one co-starring Doctor Strange.

    Believe it or not, Cynthia Von Doom isn’t the most important figure in the life of Victor Von Doom. As much as he hates to admit it, Doom cares most about his old college roommate and arch-enemy Reed Richards, as everything he does is to prove his superiority to the Fantastic Four founder. Further, his heart forever yearns for his first love, Valeria von Frazen, after whom he named his goddaughter (and daughter of Reed and Sue—it’s complicated) and whose soul he sacrificed to gain ultimate power.

    cnx.cmd.push(function() {
    cnx({
    playerId: “106e33c0-3911-473c-b599-b1426db57530”,

    }).render(“0270c398a82f44f49c23c16122516796”);
    });

    Yet, Cynthia does matter to Victor, not just because she was his mother. A Romani woman living in Latveria, Cynthia mastered the ways of magic, which drew the attention of a local baron. When Cynthia failed to heal the baron’s wife, he murdered her, sending her husband Werner and son Victor into exile. Of course, Victor would later return to Latveria to become its benevolent despot, and he would eventually follow in his mother’s footsteps as a magician after science failed him while at university in the United States. But his mother remains largely a footnote in his life, except for one memorable story.

    In 1989, Marvel released the graphic novel Doctor Strange and Doctor Doom: Triumph and Torment, written by Roger Stern and penciled by Mike Mignola. The story flashes back to the point where Stephen Strange becomes Sorcerer Supreme, a title that comes with a requirement. To take the title, Strange must grant a boon, and the mystic triumvirate known as the Vishanti determine the boon must be given to one of Strange’s competitors for the title, Victor Von Doom.

    Though loath to accept help from anyone, Doom ultimately decides to enlist Strange’s help in traveling into the Underworld. There, they will find Cynthia’s soul and free it from the demonic Mephisto, who has been keeping her captive since he tricked her in the plot that led to her death.

    What follows is one of the best Doctor Strange comics ever made. Stern writes in a Bronze Age style that might be difficult for modern readers to enjoy, but it works particularly well for Doctor Strange and Doctor Doom. The two verbose characters love making dramatic declarations, as do all of the monsters and magicians they face, making for highly surreal drama.

    Even better is the art by Mike Mignola. These days, Mignola is best known as the creator of Hellboy, and his love of monsters and horror are on full display in Triumph and Torment. The influence of Jack Kirby is present in Mignola’s blocky figures and his dynamic action scenes. But the strong blacks and use of negative space that would become his calling card are less pronounced, as Mignola employs light lines and a sketchier style, which pairs well with the softer inks and color washes from finisher Mark Badger. The contrast gives the story as much pathos as it does foreboding, as we can feel the sorrow weighing on Victor as he heads into the underworld to rescue his mother.

    Certainly, Triumph and Torment has all the superhero action one wants from a Marvel comic. Panels of Doom and Strange blasting away demons stand up to anything you’d find in the pages of The Avengers or Fantastic Four. And while Mephisto remains a trickster who cannot be defeated through force, the comic still gives us plenty of shots of Doom and Strange battling their way through the underworld.

    Yet, satisfying as the action is, it isn’t the point of Triumph and Torment. Instead, the comic serves to reframe the way we think about both characters. For Strange, it teaches him how to have humility and see beyond simple binaries of good and evil, an important lesson as he becomes Sorcerer Supreme. For Doom, it shows the fundamental sadness at the center of the character, a villain who could seem like a one-dimensional megalomaniac.

    If Avengers: Doomsday can capture even a fraction of the pathos and artistry in Triumph and Torment, then it won’t just be a great superhero movie—it will be a rich film, one that stands up with the best works of the year.

    Avengers: Doomsday releases in theaters on December 18, 2026.

    The post Avengers: Doomsday Poster Sets Up an Incredible Doctor Strange Story appeared first on Den of Geek.

  • Avengers: Doomsday Trailer Breakdown – Doctor Doom, X-Men, Captain America Returns

    Avengers: Doomsday Trailer Breakdown – Doctor Doom, X-Men, Captain America Returns

    The end of the world is nigh for the Marvel Universe—not just the mainline world of Earth-616, but all possible realities within it. Now it will take all of the Earths’ Mightiest Heroes to stop Doomsday. The first trailer for the long-awaited Avengers: Doomsday is finally here, giving us not only our first chance to […]

    The post Avengers: Doomsday Trailer Breakdown – Doctor Doom, X-Men, Captain America Returns appeared first on Den of Geek.

    Like most Marvel fans, we’ve spent the day here at Den of Geek poring over the first trailer for Avengers: Doomsday, looking for clues, cameos, and just enjoying seeing our favorites on the screen again. So exciting has the trailer been that it’s easy to overlook the other thing that Marvel dropped today, a new poster for the movie.

    The Avengers: Doomsday poster lacks any actual Avengers. None of the X-Men, the Fantastic Four, the Wakandans, or most of the other characters highlighted in the trailer appear. Instead, we just see Doom from behind as he ascends stairs to look at a tapestry on the wall. At the center of the tapestry is a planet, above which stand a young boy and his mother, presumably Victor Von Doom and his mother Cynthia. Certainly, Cynthia’s fate will have some meaning for the Victor we see in the movie, played by Robert Downey Jr. But for comic book fans, the sight of Cynthia Von Doom only brings to mind an all-time great story, one co-starring Doctor Strange.

    Believe it or not, Cynthia Von Doom isn’t the most important figure in the life of Victor Von Doom. As much as he hates to admit it, Doom cares most about his old college roommate and arch-enemy Reed Richards, as everything he does is to prove his superiority to the Fantastic Four founder. Further, his heart forever yearns for his first love, Valeria von Frazen, after whom he named his goddaughter (and daughter of Reed and Sue—it’s complicated) and whose soul he sacrificed to gain ultimate power.

    cnx.cmd.push(function() {
    cnx({
    playerId: “106e33c0-3911-473c-b599-b1426db57530”,

    }).render(“0270c398a82f44f49c23c16122516796”);
    });

    Yet, Cynthia does matter to Victor, not just because she was his mother. A Romani woman living in Latveria, Cynthia mastered the ways of magic, which drew the attention of a local baron. When Cynthia failed to heal the baron’s wife, he murdered her, sending her husband Werner and son Victor into exile. Of course, Victor would later return to Latveria to become its benevolent despot, and he would eventually follow in his mother’s footsteps as a magician after science failed him while at university in the United States. But his mother remains largely a footnote in his life, except for one memorable story.

    In 1989, Marvel released the graphic novel Doctor Strange and Doctor Doom: Triumph and Torment, written by Roger Stern and penciled by Mike Mignola. The story flashes back to the point where Stephen Strange becomes Sorcerer Supreme, a title that comes with a requirement. To take the title, Strange must grant a boon, and the mystic triumvirate known as the Vishanti determine the boon must be given to one of Strange’s competitors for the title, Victor Von Doom.

    Though loath to accept help from anyone, Doom ultimately decides to enlist Strange’s help in traveling into the Underworld. There, they will find Cynthia’s soul and free it from the demonic Mephisto, who has been keeping her captive since he tricked her in the plot that led to her death.

    What follows is one of the best Doctor Strange comics ever made. Stern writes in a Bronze Age style that might be difficult for modern readers to enjoy, but it works particularly well for Doctor Strange and Doctor Doom. The two verbose characters love making dramatic declarations, as do all of the monsters and magicians they face, making for highly surreal drama.

    Even better is the art by Mike Mignola. These days, Mignola is best known as the creator of Hellboy, and his love of monsters and horror are on full display in Triumph and Torment. The influence of Jack Kirby is present in Mignola’s blocky figures and his dynamic action scenes. But the strong blacks and use of negative space that would become his calling card are less pronounced, as Mignola employs light lines and a sketchier style, which pairs well with the softer inks and color washes from finisher Mark Badger. The contrast gives the story as much pathos as it does foreboding, as we can feel the sorrow weighing on Victor as he heads into the underworld to rescue his mother.

    Certainly, Triumph and Torment has all the superhero action one wants from a Marvel comic. Panels of Doom and Strange blasting away demons stand up to anything you’d find in the pages of The Avengers or Fantastic Four. And while Mephisto remains a trickster who cannot be defeated through force, the comic still gives us plenty of shots of Doom and Strange battling their way through the underworld.

    Yet, satisfying as the action is, it isn’t the point of Triumph and Torment. Instead, the comic serves to reframe the way we think about both characters. For Strange, it teaches him how to have humility and see beyond simple binaries of good and evil, an important lesson as he becomes Sorcerer Supreme. For Doom, it shows the fundamental sadness at the center of the character, a villain who could seem like a one-dimensional megalomaniac.

    If Avengers: Doomsday can capture even a fraction of the pathos and artistry in Triumph and Torment, then it won’t just be a great superhero movie—it will be a rich film, one that stands up with the best works of the year.

    Avengers: Doomsday releases in theaters on December 18, 2026.

    The post Avengers: Doomsday Poster Sets Up an Incredible Doctor Strange Story appeared first on Den of Geek.

  • Avengers: Doomsday Trailer Hints at a Dark Ant-Man Storyline

    Avengers: Doomsday Trailer Hints at a Dark Ant-Man Storyline

    This post contains potential spoilers for Avengers: Doomsday. As Kang the Conquerer knows well, one overlooks Ant-Man at their own peril. Still, viewers would be forgiven for not paying much attention to Scott Lang in the first trailer for Avengers: Doomsday. The first full look at the upcoming event film is jam-packed with heroes across […]

    The post Avengers: Doomsday Trailer Hints at a Dark Ant-Man Storyline appeared first on Den of Geek.

    Like most Marvel fans, we’ve spent the day here at Den of Geek poring over the first trailer for Avengers: Doomsday, looking for clues, cameos, and just enjoying seeing our favorites on the screen again. So exciting has the trailer been that it’s easy to overlook the other thing that Marvel dropped today, a new poster for the movie.

    The Avengers: Doomsday poster lacks any actual Avengers. None of the X-Men, the Fantastic Four, the Wakandans, or most of the other characters highlighted in the trailer appear. Instead, we just see Doom from behind as he ascends stairs to look at a tapestry on the wall. At the center of the tapestry is a planet, above which stand a young boy and his mother, presumably Victor Von Doom and his mother Cynthia. Certainly, Cynthia’s fate will have some meaning for the Victor we see in the movie, played by Robert Downey Jr. But for comic book fans, the sight of Cynthia Von Doom only brings to mind an all-time great story, one co-starring Doctor Strange.

    Believe it or not, Cynthia Von Doom isn’t the most important figure in the life of Victor Von Doom. As much as he hates to admit it, Doom cares most about his old college roommate and arch-enemy Reed Richards, as everything he does is to prove his superiority to the Fantastic Four founder. Further, his heart forever yearns for his first love, Valeria von Frazen, after whom he named his goddaughter (and daughter of Reed and Sue—it’s complicated) and whose soul he sacrificed to gain ultimate power.

    cnx.cmd.push(function() {
    cnx({
    playerId: “106e33c0-3911-473c-b599-b1426db57530”,

    }).render(“0270c398a82f44f49c23c16122516796”);
    });

    Yet, Cynthia does matter to Victor, not just because she was his mother. A Romani woman living in Latveria, Cynthia mastered the ways of magic, which drew the attention of a local baron. When Cynthia failed to heal the baron’s wife, he murdered her, sending her husband Werner and son Victor into exile. Of course, Victor would later return to Latveria to become its benevolent despot, and he would eventually follow in his mother’s footsteps as a magician after science failed him while at university in the United States. But his mother remains largely a footnote in his life, except for one memorable story.

    In 1989, Marvel released the graphic novel Doctor Strange and Doctor Doom: Triumph and Torment, written by Roger Stern and penciled by Mike Mignola. The story flashes back to the point where Stephen Strange becomes Sorcerer Supreme, a title that comes with a requirement. To take the title, Strange must grant a boon, and the mystic triumvirate known as the Vishanti determine the boon must be given to one of Strange’s competitors for the title, Victor Von Doom.

    Though loath to accept help from anyone, Doom ultimately decides to enlist Strange’s help in traveling into the Underworld. There, they will find Cynthia’s soul and free it from the demonic Mephisto, who has been keeping her captive since he tricked her in the plot that led to her death.

    What follows is one of the best Doctor Strange comics ever made. Stern writes in a Bronze Age style that might be difficult for modern readers to enjoy, but it works particularly well for Doctor Strange and Doctor Doom. The two verbose characters love making dramatic declarations, as do all of the monsters and magicians they face, making for highly surreal drama.

    Even better is the art by Mike Mignola. These days, Mignola is best known as the creator of Hellboy, and his love of monsters and horror are on full display in Triumph and Torment. The influence of Jack Kirby is present in Mignola’s blocky figures and his dynamic action scenes. But the strong blacks and use of negative space that would become his calling card are less pronounced, as Mignola employs light lines and a sketchier style, which pairs well with the softer inks and color washes from finisher Mark Badger. The contrast gives the story as much pathos as it does foreboding, as we can feel the sorrow weighing on Victor as he heads into the underworld to rescue his mother.

    Certainly, Triumph and Torment has all the superhero action one wants from a Marvel comic. Panels of Doom and Strange blasting away demons stand up to anything you’d find in the pages of The Avengers or Fantastic Four. And while Mephisto remains a trickster who cannot be defeated through force, the comic still gives us plenty of shots of Doom and Strange battling their way through the underworld.

    Yet, satisfying as the action is, it isn’t the point of Triumph and Torment. Instead, the comic serves to reframe the way we think about both characters. For Strange, it teaches him how to have humility and see beyond simple binaries of good and evil, an important lesson as he becomes Sorcerer Supreme. For Doom, it shows the fundamental sadness at the center of the character, a villain who could seem like a one-dimensional megalomaniac.

    If Avengers: Doomsday can capture even a fraction of the pathos and artistry in Triumph and Torment, then it won’t just be a great superhero movie—it will be a rich film, one that stands up with the best works of the year.

    Avengers: Doomsday releases in theaters on December 18, 2026.

    The post Avengers: Doomsday Poster Sets Up an Incredible Doctor Strange Story appeared first on Den of Geek.

  • The Odyssey Is a Secret Prequel to Dune

    The Odyssey Is a Secret Prequel to Dune

    With Christopher Nolan‘s latest dominating the box office, cinema lovers aren’t just excited to learn what the director has planned next. They’re also excited about the second epic we have this year, another massive movie helmed by a filmmaker whose name evokes big ticket sales: Denis Villeneuve‘s Dune: Part Three. It’s not hard to see […]

    The post The Odyssey Is a Secret Prequel to Dune appeared first on Den of Geek.

    Like most Marvel fans, we’ve spent the day here at Den of Geek poring over the first trailer for Avengers: Doomsday, looking for clues, cameos, and just enjoying seeing our favorites on the screen again. So exciting has the trailer been that it’s easy to overlook the other thing that Marvel dropped today, a new poster for the movie.

    The Avengers: Doomsday poster lacks any actual Avengers. None of the X-Men, the Fantastic Four, the Wakandans, or most of the other characters highlighted in the trailer appear. Instead, we just see Doom from behind as he ascends stairs to look at a tapestry on the wall. At the center of the tapestry is a planet, above which stand a young boy and his mother, presumably Victor Von Doom and his mother Cynthia. Certainly, Cynthia’s fate will have some meaning for the Victor we see in the movie, played by Robert Downey Jr. But for comic book fans, the sight of Cynthia Von Doom only brings to mind an all-time great story, one co-starring Doctor Strange.

    Believe it or not, Cynthia Von Doom isn’t the most important figure in the life of Victor Von Doom. As much as he hates to admit it, Doom cares most about his old college roommate and arch-enemy Reed Richards, as everything he does is to prove his superiority to the Fantastic Four founder. Further, his heart forever yearns for his first love, Valeria von Frazen, after whom he named his goddaughter (and daughter of Reed and Sue—it’s complicated) and whose soul he sacrificed to gain ultimate power.

    cnx.cmd.push(function() {
    cnx({
    playerId: “106e33c0-3911-473c-b599-b1426db57530”,

    }).render(“0270c398a82f44f49c23c16122516796”);
    });

    Yet, Cynthia does matter to Victor, not just because she was his mother. A Romani woman living in Latveria, Cynthia mastered the ways of magic, which drew the attention of a local baron. When Cynthia failed to heal the baron’s wife, he murdered her, sending her husband Werner and son Victor into exile. Of course, Victor would later return to Latveria to become its benevolent despot, and he would eventually follow in his mother’s footsteps as a magician after science failed him while at university in the United States. But his mother remains largely a footnote in his life, except for one memorable story.

    In 1989, Marvel released the graphic novel Doctor Strange and Doctor Doom: Triumph and Torment, written by Roger Stern and penciled by Mike Mignola. The story flashes back to the point where Stephen Strange becomes Sorcerer Supreme, a title that comes with a requirement. To take the title, Strange must grant a boon, and the mystic triumvirate known as the Vishanti determine the boon must be given to one of Strange’s competitors for the title, Victor Von Doom.

    Though loath to accept help from anyone, Doom ultimately decides to enlist Strange’s help in traveling into the Underworld. There, they will find Cynthia’s soul and free it from the demonic Mephisto, who has been keeping her captive since he tricked her in the plot that led to her death.

    What follows is one of the best Doctor Strange comics ever made. Stern writes in a Bronze Age style that might be difficult for modern readers to enjoy, but it works particularly well for Doctor Strange and Doctor Doom. The two verbose characters love making dramatic declarations, as do all of the monsters and magicians they face, making for highly surreal drama.

    Even better is the art by Mike Mignola. These days, Mignola is best known as the creator of Hellboy, and his love of monsters and horror are on full display in Triumph and Torment. The influence of Jack Kirby is present in Mignola’s blocky figures and his dynamic action scenes. But the strong blacks and use of negative space that would become his calling card are less pronounced, as Mignola employs light lines and a sketchier style, which pairs well with the softer inks and color washes from finisher Mark Badger. The contrast gives the story as much pathos as it does foreboding, as we can feel the sorrow weighing on Victor as he heads into the underworld to rescue his mother.

    Certainly, Triumph and Torment has all the superhero action one wants from a Marvel comic. Panels of Doom and Strange blasting away demons stand up to anything you’d find in the pages of The Avengers or Fantastic Four. And while Mephisto remains a trickster who cannot be defeated through force, the comic still gives us plenty of shots of Doom and Strange battling their way through the underworld.

    Yet, satisfying as the action is, it isn’t the point of Triumph and Torment. Instead, the comic serves to reframe the way we think about both characters. For Strange, it teaches him how to have humility and see beyond simple binaries of good and evil, an important lesson as he becomes Sorcerer Supreme. For Doom, it shows the fundamental sadness at the center of the character, a villain who could seem like a one-dimensional megalomaniac.

    If Avengers: Doomsday can capture even a fraction of the pathos and artistry in Triumph and Torment, then it won’t just be a great superhero movie—it will be a rich film, one that stands up with the best works of the year.

    Avengers: Doomsday releases in theaters on December 18, 2026.

    The post Avengers: Doomsday Poster Sets Up an Incredible Doctor Strange Story appeared first on Den of Geek.

  • Avengers: Doomsday Poster Sets Up an Incredible Doctor Strange Story

    Avengers: Doomsday Poster Sets Up an Incredible Doctor Strange Story

    Like most Marvel fans, we’ve spent the day here at Den of Geek poring over the first trailer for Avengers: Doomsday, looking for clues, cameos, and just enjoying seeing our favorites on the screen again. So exciting has the trailer been that it’s easy to overlook the other thing that Marvel dropped today, a new […]

    The post Avengers: Doomsday Poster Sets Up an Incredible Doctor Strange Story appeared first on Den of Geek.

    Like most Marvel fans, we’ve spent the day here at Den of Geek poring over the first trailer for Avengers: Doomsday, looking for clues, cameos, and just enjoying seeing our favorites on the screen again. So exciting has the trailer been that it’s easy to overlook the other thing that Marvel dropped today, a new poster for the movie.

    The Avengers: Doomsday poster lacks any actual Avengers. None of the X-Men, the Fantastic Four, the Wakandans, or most of the other characters highlighted in the trailer appear. Instead, we just see Doom from behind as he ascends stairs to look at a tapestry on the wall. At the center of the tapestry is a planet, above which stand a young boy and his mother, presumably Victor Von Doom and his mother Cynthia. Certainly, Cynthia’s fate will have some meaning for the Victor we see in the movie, played by Robert Downey Jr. But for comic book fans, the sight of Cynthia Von Doom only brings to mind an all-time great story, one co-starring Doctor Strange.

    Believe it or not, Cynthia Von Doom isn’t the most important figure in the life of Victor Von Doom. As much as he hates to admit it, Doom cares most about his old college roommate and arch-enemy Reed Richards, as everything he does is to prove his superiority to the Fantastic Four founder. Further, his heart forever yearns for his first love, Valeria von Frazen, after whom he named his goddaughter (and daughter of Reed and Sue—it’s complicated) and whose soul he sacrificed to gain ultimate power.

    cnx.cmd.push(function() {
    cnx({
    playerId: “106e33c0-3911-473c-b599-b1426db57530”,

    }).render(“0270c398a82f44f49c23c16122516796”);
    });

    Yet, Cynthia does matter to Victor, not just because she was his mother. A Romani woman living in Latveria, Cynthia mastered the ways of magic, which drew the attention of a local baron. When Cynthia failed to heal the baron’s wife, he murdered her, sending her husband Werner and son Victor into exile. Of course, Victor would later return to Latveria to become its benevolent despot, and he would eventually follow in his mother’s footsteps as a magician after science failed him while at university in the United States. But his mother remains largely a footnote in his life, except for one memorable story.

    In 1989, Marvel released the graphic novel Doctor Strange and Doctor Doom: Triumph and Torment, written by Roger Stern and penciled by Mike Mignola. The story flashes back to the point where Stephen Strange becomes Sorcerer Supreme, a title that comes with a requirement. To take the title, Strange must grant a boon, and the mystic triumvirate known as the Vishanti determine the boon must be given to one of Strange’s competitors for the title, Victor Von Doom.

    Though loath to accept help from anyone, Doom ultimately decides to enlist Strange’s help in traveling into the Underworld. There, they will find Cynthia’s soul and free it from the demonic Mephisto, who has been keeping her captive since he tricked her in the plot that led to her death.

    What follows is one of the best Doctor Strange comics ever made. Stern writes in a Bronze Age style that might be difficult for modern readers to enjoy, but it works particularly well for Doctor Strange and Doctor Doom. The two verbose characters love making dramatic declarations, as do all of the monsters and magicians they face, making for highly surreal drama.

    Even better is the art by Mike Mignola. These days, Mignola is best known as the creator of Hellboy, and his love of monsters and horror are on full display in Triumph and Torment. The influence of Jack Kirby is present in Mignola’s blocky figures and his dynamic action scenes. But the strong blacks and use of negative space that would become his calling card are less pronounced, as Mignola employs light lines and a sketchier style, which pairs well with the softer inks and color washes from finisher Mark Badger. The contrast gives the story as much pathos as it does foreboding, as we can feel the sorrow weighing on Victor as he heads into the underworld to rescue his mother.

    Certainly, Triumph and Torment has all the superhero action one wants from a Marvel comic. Panels of Doom and Strange blasting away demons stand up to anything you’d find in the pages of The Avengers or Fantastic Four. And while Mephisto remains a trickster who cannot be defeated through force, the comic still gives us plenty of shots of Doom and Strange battling their way through the underworld.

    Yet, satisfying as the action is, it isn’t the point of Triumph and Torment. Instead, the comic serves to reframe the way we think about both characters. For Strange, it teaches him how to have humility and see beyond simple binaries of good and evil, an important lesson as he becomes Sorcerer Supreme. For Doom, it shows the fundamental sadness at the center of the character, a villain who could seem like a one-dimensional megalomaniac.

    If Avengers: Doomsday can capture even a fraction of the pathos and artistry in Triumph and Torment, then it won’t just be a great superhero movie—it will be a rich film, one that stands up with the best works of the year.

    Avengers: Doomsday releases in theaters on December 18, 2026.

    The post Avengers: Doomsday Poster Sets Up an Incredible Doctor Strange Story appeared first on Den of Geek.

  • A Content Model Is Not a Design System

    A Content Model Is Not a Design System

    Do you remember when having a great website was enough? Now, people are getting answers from Siri, Google search snippets, and mobile apps, not just our websites. Forward-thinking organizations have adopted an omnichannel content strategy, whose mission is to reach audiences across multiple digital channels and platforms.

    But how do you set up a content management system (CMS) to reach your audience now and in the future? I learned the hard way that creating a content model—a definition of content types, attributes, and relationships that let people and systems understand content—with my more familiar design-system thinking would capsize my customer’s omnichannel content strategy. You can avoid that outcome by creating content models that are semantic and that also connect related content. 

    I recently had the opportunity to lead the CMS implementation for a Fortune 500 company. The client was excited by the benefits of an omnichannel content strategy, including content reuse, multichannel marketing, and robot delivery—designing content to be intelligible to bots, Google knowledge panels, snippets, and voice user interfaces. 

    A content model is a critical foundation for an omnichannel content strategy, and for our content to be understood by multiple systems, the model needed semantic types—types named according to their meaning instead of their presentation. Our goal was to let authors create content and reuse it wherever it was relevant. But as the project proceeded, I realized that supporting content reuse at the scale that my customer needed required the whole team to recognize a new pattern.

    Despite our best intentions, we kept drawing from what we were more familiar with: design systems. Unlike web-focused content strategies, an omnichannel content strategy can’t rely on WYSIWYG tools for design and layout. Our tendency to approach the content model with our familiar design-system thinking constantly led us to veer away from one of the primary purposes of a content model: delivering content to audiences on multiple marketing channels.

    Two essential principles for an effective content model

    We needed to help our designers, developers, and stakeholders understand that we were doing something very different from their prior web projects, where it was natural for everyone to think about content as visual building blocks fitting into layouts. The previous approach was not only more familiar but also more intuitive—at least at first—because it made the designs feel more tangible. We discovered two principles that helped the team understand how a content model differs from the design systems that we were used to:

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

    Semantic content models

    A semantic content model uses type and attribute names that reflect the meaning of the content, not how it will be displayed. For example, in a nonsemantic model, teams might create types like teasers, media blocks, and cards. Although these types might make it easy to lay out content, they don’t help delivery channels understand the content’s meaning, which in turn would have opened the door to the content being presented in each marketing channel. In contrast, a semantic content model uses type names like product, service, and testimonial so that each delivery channel can understand the content and use it as it sees fit. 

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

    A semantic content model has several benefits:

    • Even if your team doesn’t care about omnichannel content, a semantic content model decouples content from its presentation so that teams can evolve the website’s design without needing to refactor its content. In this way, content can withstand disruptive website redesigns. 
    • A semantic content model also provides a competitive edge. By adding structured data based on Schema.org’s types and properties, a website can provide hints to help Google understand the content, display it in search snippets or knowledge panels, and use it to answer voice-interface user questions. Potential visitors could discover your content without ever setting foot in your website.
    • Beyond those practical benefits, you’ll also need a semantic content model if you want to deliver omnichannel content. To use the same content in multiple marketing channels, delivery channels need to be able to understand it. For example, if your content model were to provide a list of questions and answers, it could easily be rendered on a frequently asked questions (FAQ) page, but it could also be used in a voice interface or by a bot that answers common questions.

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

    Content models that connect

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

    Think about writing an article or essay. An article’s meaning and usefulness depends upon its parts being kept together. Would one of the headings or paragraphs be meaningful on their own without the context of the full article? On our project, our familiar design-system thinking often led us to want to create content models that would slice content into disparate chunks to fit the web-centric layout. This had a similar impact to an article that were to have been separated from its headline. Because we were slicing content into standalone pieces based on layout, content that belonged together became difficult to manage and nearly impossible for multiple delivery channels to understand.

    To illustrate, let’s look at how connecting related content applies in a real-world scenario. The design team for our customer presented a complex layout for a software product page that included multiple tabs and sections. Our instincts were to follow suit with the content model. Shouldn’t we make it as easy and as flexible as possible to add any number of tabs in the future?

    Because our design-system instincts were so familiar, it felt like we had needed a content type called “tab section” so that multiple tab sections could be added to a page. Each tab section would display various types of content. One tab might provide the software’s overview or its specifications. Another tab might provide a list of resources. 

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

    We had a breakthrough when we discovered that our customer had a specific purpose in mind for each tab: it would reveal specific information such as the software product’s overview, specifications, related resources, and pricing. Once implementation began, our inclination to focus on what’s visual and familiar had obscured the intent of the designs. With a little digging, it didn’t take long to realize that the concept of tabs wasn’t relevant to the content model. The meaning of the content that they were planning to display in the tabs was what mattered.

    In fact, the customer could have decided to display this content in a different way—without tabs—somewhere else. This realization prompted us to define content types for the software product based on the meaningful attributes that the customer had wanted to render on the web. There were obvious semantic attributes like name and description as well as rich attributes like screenshots, software requirements, and feature lists. The software’s product information stayed together because it wasn’t sliced across separate components like “tab sections” that were derived from the content’s presentation. Any delivery channel—including future ones—could understand and present this content.

    Conclusion

    In this omnichannel marketing project, we discovered that the best way to keep our content model on track was to ensure that it was semantic (with type and attribute names that reflected the meaning of the content) and that it kept content together that belonged together (instead of fragmenting it). These two concepts curtailed our temptation to shape the content model based on the design. So if you’re working on a content model to support an omnichannel content strategy—or even if you just want to make sure that Google and other interfaces understand your content—remember:

    • A design system isn’t a content model. Team members may be tempted to conflate them and to make your content model mirror your design system, so you should protect the semantic value and contextual structure of the content strategy during the entire implementation process. This will let every delivery channel consume the content without needing a magic decoder ring.
    • If your team is struggling to make this transition, you can still reap some of the benefits by using Schema.org–based structured data in your website. Even if additional delivery channels aren’t on the immediate horizon, the benefit to search engine optimization is a compelling reason on its own.
    • Additionally, remind the team that decoupling the content model from the design will let them update the designs more easily because they won’t be held back by the cost of content migrations. They’ll be able to create new designs without the obstacle of compatibility between the design and the content, and ​they’ll be ready for the next big thing. 

    By rigorously advocating for these principles, you’ll help your team treat content the way that it deserves—as the most critical asset in your user experience and the best way to connect with your audience.

  • Design for Safety, An Excerpt

    Design for Safety, An Excerpt

    Antiracist economist Kim Crayton says that “intention without strategy is chaos.” We’ve discussed how our biases, assumptions, and inattention toward marginalized and vulnerable groups lead to dangerous and unethical tech—but what, specifically, do we need to do to fix it? The intention to make our tech safer is not enough; we need a strategy.

    This chapter will equip you with that plan of action. It covers how to integrate safety principles into your design work in order to create tech that’s safe, how to convince your stakeholders that this work is necessary, and how to respond to the critique that what we actually need is more diversity. (Spoiler: we do, but diversity alone is not the antidote to fixing unethical, unsafe tech.)

    The process for inclusive safety

    When you are designing for safety, your goals are to:

    • identify ways your product can be used for abuse,
    • design ways to prevent the abuse, and
    • provide support for vulnerable users to reclaim power and control.

    The Process for Inclusive Safety is a tool to help you reach those goals (Fig 5.1). It’s a methodology I created in 2018 to capture the various techniques I was using when designing products with safety in mind. Whether you are creating an entirely new product or adding to an existing feature, the Process can help you make your product safe and inclusive. The Process includes five general areas of action:

    • Conducting research
    • Creating archetypes
    • Brainstorming problems
    • Designing solutions
    • Testing for safety

    The Process is meant to be flexible—it won’t make sense for teams to implement every step in some situations. Use the parts that are relevant to your unique work and context; this is meant to be something you can insert into your existing design practice.

    And once you use it, if you have an idea for making it better or simply want to provide context of how it helped your team, please get in touch with me. It’s a living document that I hope will continue to be a useful and realistic tool that technologists can use in their day-to-day work.

    If you’re working on a product specifically for a vulnerable group or survivors of some form of trauma, such as an app for survivors of domestic violence, sexual assault, or drug addiction, be sure to read Chapter 7, which covers that situation explicitly and should be handled a bit differently. The guidelines here are for prioritizing safety when designing a more general product that will have a wide user base (which, we already know from statistics, will include certain groups that should be protected from harm). Chapter 7 is focused on products that are specifically for vulnerable groups and people who have experienced trauma.

    Step 1: Conduct research

    Design research should include a broad analysis of how your tech might be weaponized for abuse as well as specific insights into the experiences of survivors and perpetrators of that type of abuse. At this stage, you and your team will investigate issues of interpersonal harm and abuse, and explore any other safety, security, or inclusivity issues that might be a concern for your product or service, like data security, racist algorithms, and harassment.

    Broad research

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

    Specific research: Survivors

    When possible and appropriate, include direct research (surveys and interviews) with people who are experts in the forms of harm you have uncovered. Ideally, you’ll want to interview advocates working in the space of your research first so that you have a more solid understanding of the topic and are better equipped to not retraumatize survivors. If you’ve uncovered possible domestic violence issues, for example, the experts you’ll want to speak with are survivors themselves, as well as workers at domestic violence hotlines, shelters, other related nonprofits, and lawyers.

    Especially when interviewing survivors of any kind of trauma, it is important to pay people for their knowledge and lived experiences. Don’t ask survivors to share their trauma for free, as this is exploitative. While some survivors may not want to be paid, you should always make the offer in the initial ask. An alternative to payment is to donate to an organization working against the type of violence that the interviewee experienced. We’ll talk more about how to appropriately interview survivors in Chapter 6.

    Specific research: Abusers

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

    Step 2: Create archetypes

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

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

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

    You may want to make multiple survivor archetypes to capture a range of different experiences. They may know that the abuse is happening but not be able to stop it, like when an abuser locks them out of IoT devices; or they know it’s happening but don’t know how, such as when a stalker keeps figuring out their location (Fig 5.4). Include as many of these scenarios as you need to in your survivor archetype. You’ll use these later on when you design solutions to help your survivor archetypes achieve their goals of preventing and ending abuse.

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

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

    Step 3: Brainstorm problems

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

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

    If you’re looking for somewhere to start, try doing a Black Mirror brainstorm. This exercise is based on the show Black Mirror, which features stories about the dark possibilities of technology. Try to figure out how your product would be used in an episode of the show—the most wild, awful, out-of-control ways it could be used for harm. When I’ve led Black Mirror brainstorms, participants usually end up having a good deal of fun (which I think is great—it’s okay to have fun when designing for safety!). I recommend time-boxing a Black Mirror brainstorm to half an hour, and then dialing it back and using the rest of the time thinking of more realistic forms of harm.

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

    It’s impossible to guarantee you’ve thought of everything; instead of aiming for 100 percent assurance, recognize that you’ve taken this time and have done the best you can, and commit to continuing to prioritize safety in the future. Once your product is released, your users may identify new issues that you missed; aim to receive that feedback graciously and course-correct quickly.

    Step 4: Design solutions

    At this point, you should have a list of ways your product can be used for harm as well as survivor and abuser archetypes describing opposing user goals. The next step is to identify ways to design against the identified abuser’s goals and to support the survivor’s goals. This step is a good one to insert alongside existing parts of your design process where you’re proposing solutions for the various problems your research uncovered.

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

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

    In some products, it’s possible to proactively recognize that harm is happening. For example, a pregnancy app might be modified to allow the user to report that they were the victim of an assault, which could trigger an offer to receive resources for local and national organizations. This sort of proactiveness is not always possible, but it’s worth taking a half hour to discuss if any type of user activity would indicate some form of harm or abuse, and how your product could assist the user in receiving help in a safe manner.

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

    Step 5: Test for safety

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

    Ideally, safety testing happens along with usability testing. If you’re at a company that doesn’t do usability testing, you might be able to use safety testing to cleverly perform both; a user who goes through your design attempting to weaponize the product against someone else can also be encouraged to point out interactions or other elements of the design that don’t make sense to them.

    You’ll want to conduct safety testing on either your final prototype or the actual product if it’s already been released. There’s nothing wrong with testing an existing product that wasn’t designed with safety goals in mind from the onset—“retrofitting” it for safety is a good thing to do.

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

    As with other sorts of usability testing, you as the designer are most likely too close to the product and its design by this point to be a valuable tester; you know the product too well. Instead of doing it yourself, set up testing as you would with other usability testing: find someone who is not familiar with the product and its design, set the scene, give them a task, encourage them to think out loud, and observe how they attempt to complete it.

    Abuser testing

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

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

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

    Survivor testing

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

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

    Another goal might be regaining control of the thermostat once the survivor realizes the abuser is remotely changing its settings. Your test would involve attempting to figure out how to do this: are there instructions that explain how to remove another user and change the password, and are they easy to find? This might again reveal that more work is needed to make it clear to the user how they can regain control of the device or account.

    Stress testing

    To make your product more inclusive and compassionate, consider adding stress testing. This concept comes from Design for Real Life by Eric Meyer and Sara Wachter-Boettcher. The authors pointed out that personas typically center people who are having a good day—but real users are often anxious, stressed out, having a bad day, or even experiencing tragedy. These are called “stress cases,” and testing your products for users in stress-case situations can help you identify places where your design lacks compassion. Design for Real Life has more details about what it looks like to incorporate stress cases into your design as well as many other great tactics for compassionate design.