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A simple four step process: Take a deep breath to chill out. They’re trying to help you. Don’t make them regret it. Thank them for the feedback and really mean it, because giving it to you was probably scary and took courage. Only ask questions. Make ZERO statements. Anything you say will almost definitely be defensive, and your job is to be curious. Thank them again and tell them you promise to take it seriously and use it to grow.

TikTok looked at what makes their content unique. Applying an OOUX mindset, the most interesting object is the “post” populating the feed. Two things stand out. First, the videos are very short, with only a couple of seconds of runtime. Which meant the usual distinction between browsing and watching made little sense. Second, opting for a truly mobile experience, their videos would be portrait mode. This meant users could browse and watch in the same orientation, one video at a time. The design decision to merge the browse and watch experience into one stream with autoplay broke all kinds of conventions. Yet, by doing so, it created a unique and engaging experience that is even borderline addictive.

Tinder understood that the selection moment is what makes them unique. They wanted to provide a quick and easy method for their key interaction to decide if a user is a match or not.

Games felt like they were about sparkles and tension. Great app UX is about minimalism and simplicity. Fortunately, I found Raph Koster, the author of A Theory of Fun. Raph is known as a “Game Grammarian” and deeply deconstructs how games are made.

Another more modern example is this landing page for PayPal. Notice how the page clearly invites you to choose. Are you a “Personal” user or a “Business” user? As you mouse over each section, the story unfolds, expanding your choices, offering you things you can easily understand and identify with. Each branch has a clear call to action. This is a beautiful story telling sequence that pulls you in and gets you to become an active part of the on-boarding process.

There are clearly 3 distinct versions of jumping going on here: Initial jump. Simple button pressLong jump. Long button pressLanding jump. Timed jump What’s so interesting here is that there is only one ‘thing’ you’re learning: jumping. But by stressing subtle aspects of how to jump, the game builds up variations of it. A basic jump gets you over things, a long jump can “open” and landing a jump can “attack”. A boring app designer like me would assume you’d need 3 different verbs/buttons for this but Super Mario does this with a single “Jump” action.

APPSEach feature is in isolation, how it is done usually has little relation to other features (other that using a style guide).GAMESBuild a game through a single, mechanic that grows in expressive power by adding modifiers like time, special keys, or timing.

APPSJust throw in a bunch of features into a pot.GAMESUnderstand everything is a journey. Work hard to make everything a closely connected arc of events that help the user create a narrative that matches the overall story.

APPSAssume users are at a constant skill level.GAMESUse hints constantly and patiently to move users to the next level.

APPSTend to offer users a large toolbox and let them figure out how to get started.GAMESHave a clear understanding of the journey and say “Start here first”.

The Mac took a very hardware driven concept, turning on your computer, and turned it into theater. Yes it had the boot sound, but it then showed a promise, a compromise of the final desktop and as it booted, ‘inflated’ that promise with the final working model. Why people loved the Mac is often misunderstood. I’d claim that it’s this dedication to taking people on a carefully crafted story, one which allowed users to craft a compatible narrative, that is at the heart of this devotion.

To win the level you must first cross the street. To cross the street requires that you move the frog. To move the frog requires that you understand joystick timing. Each of these sub levels have their own feedback considerations: Street: the cars movementFrog: How it moves, how far it jumps each timeJoystick: Direction and speed of movement (it’s quite slow actually) Games understand that each of these levels has their own set of feedback, motivation and learning that must take place. This level of deconstruction, in a 30 year old game no less, blew my mind. Games were complex! They really paid attention to detail. There was a lot here to understand.

The computer example here is desktop menus. “Selecting a menu item” is actually a fractal cascade of skills where you first start horizontally browsing the menu bar, with a click, you shift into a vertical mode but keep the same basic highlight approach. For hierarchical menus, you need to understand the graphic hint that there is something deeper and then navigate over to reveal and then select that menu. Anyone who has taught beginning computer users the menu system knows how hard it is to master hierarchical menus. It’s takes practice to find, reveal and track over to that menu. There is a fractal cascade of skills required.

Raph has a great quote in his book for this: “Fun is just another word for learning”. In order to have fun, you must learn. I find this inspiring as app design wants your users to learn but we’ve rarely appreciated this could be fun. Games understand that in order to learn you must start thinking in layers. Begin with a basic skill and slowly add more, getting better one layer at a time.

At Tokyo Disneyland, for example, you can create elaborate in-reach prop displays that will never, ever be disturbed or broken by guests — rules are rules. (By the same token, I once got politely yelled at there for ducking under a chain to shortcut a completely, 100% empty line. I absolutely had to walk through the entire, empty switchback. And that’s fair, I was breaking the rules!) Whereas here in America, if your prop is not literally bolted down, it’s likely to show up on eBay / Van Eaton within the week.

honestly, a lot of it, I think, is just that some designers are amazing at imagining things, but not as amazing at imagining them surrounded by the universe. That beautiful thing you’re working on, it lives in a window on your monitor tucked under a title bar, and that’s as tricky as it gets. What if you can’t imagine your thing in its final context? What if you aren’t great at predicting human behaviors other than your own?

good design isn’t just beautiful and incredible and boundary-pushing, it also remembers what it means to be human.

We survived as a species by being suspicious of things we aren’t familiar with. In order to be kind, we have to shut down that animal instinct and force our brain to travel a different pathway. Empathy and compassion are evolved states of being. They require the mental capacity to step past our most primal urges. I’m here to tell you that when someone’s path through this world is marked with acts of cruelty, they have failed the first test of an advanced society. They never forced their animal brain to evolve past its first instinct. They never forged new mental pathways to overcome their own instinctual fears. And so, their thinking and problem-solving will lack the imagination and creativity that the kindest people have in spades.

“I don’t think we should depend on Hollywood to tell our stories with the nuance and the depth and the care that they really deserve,” Nina Wallace, media and outreach manager at Densho, a nonprofit group dedicated to preserving the stories of those of Japanese descent. “But it is true that these institutions that are in positions of power, positions of influence, put more value on stories of men like Oppenheimer, like Truman, than it does on the Asian and indigenous communities that suffered because of decisions that those men made.”

I understand how showrooms and Hollywood cannot be all-encompassing. … But I think it also points societally to the lack of nonwhite, non-U.S. initiatives or perspectives,” said Stan Shikuma, co-president of the Seattle Chapter of the Japanese American Citizens League. “That lack of more of a global perspective allows atrocities to continue to happen because we still dehumanize other people that we don’t know.”

Films about other perspectives, Shikuma said, often fall on the independent filmmaking community.

From Babylon to Amsterdam to Glass Onion, it feels like the counter strategy to the cinematic universe is just to fire celebrity buckshot at the public until something hits.

So instead of having to like go to an insurance company, you can go into DIMO and like type in your VIN number, and all of that is passed to them. It’s a much more seamless type of interaction that people are used to with digital services.

The lifecycle for a user at DIMO is you connect your car, we start building a digital twin of that car, and we actually pull a lot of data about from the existing marketplace about the VIN number, and we allow users to take ownership of that data. And then the whole business side of it and the developer platform that we’re kind of like re-launching in the next quarter is built on top of that. So there’s all different ways that can be expressed, but that’s kinda the high-level pitch for it.

And there’s a digital glovebox for the vehicle as well that’s going to be much more incorporated into the apps and services on top of DIMO eventually, so you’ll be able to get data back from your insurance company like, ‘here’s your registration card; here’s your policy details,’ and all of that can be organized inside of your DIMO app.

one of the bets we have with DIMO and something we think is gonna be true into the future is that it’s really not going to scale until there’s more infrastructure to support like regular operations of autonomous vehicles, and it’s a big “chicken and egg” problem. Because you can’t build a massive amount of infrastructure before you have the cars that can use it.

you’re going to have to break these trips into chunks that you can do fully autonomously

In 2017, Americans spent $3.5 trillion on health care — a level nearly equal to the economic output of Germany, and twice as much as other wealthy countries spend per person, on average. Not only is this a problem for the people seeking care; it’s also a problem for the companies they work for. Currently, about half of Americans are insured through an employer, and in recent years companies have borne the financial brunt of rising costs. Frustrated, many employers have shifted the burden to workers, with average annual deductibles rising by more than 50% since 2013.

Winbush seems a deeply internal person whose response to criticism or advice is to mull it over privately. It’s worth noting that this is indeed not the perfect constellation of traits for a film director, and Winbush’s eventual challenges on the show seem somewhat foretold.  But for reality TV, too, this quality of rumination means that Winbush leaves herself open to be defined by others.

My verdict: Threads sucks shit. It has no purpose. It is for no one. It launched as a content graveyard and will assuredly only become more of one over time. It’s iFunny for people who miss The Ellen Show. It has a distinct celebrities-making-videos-during-COVID-lockdown vibe. It feels like a 90s-themed office party organized by a human resources department. And my theory, after staring into its dark heart for several days, is that it was never meant to “beat” Twitter — regardless of what Zuckerberg has been tweeting. Threads’ true purpose was to act as a fresh coat of paint for Instagram’s code in the hopes it might make the network relevant again. And Threads is also proof that Meta, even after all these years, still has no other ambition aside from scale.

“The media” (or “mainstream media”): a meaningless phrase because there are countless very different media, which don’t act in concert.

“Gets it”: a social media phrase that is used to mean “agrees with me”.

Usually, though, people who claim to have been “cancelled” mean “criticised”, “convicted of sexual assault”, “replaced by somebody who isn’t an overt bigot” or simply “ignored”.

“Political language is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind,” wrote George Orwell in his 1946 essay “Politics and the English Language” (the complete guide on how to write in just 13 pages). He lists other “worn-out and useless” words and phrases that were disappearing in his day: jackboot, Achilles heel, hotbed, melting pot, acid test, veritable inferno. The same fate later befell words overused in the aftermath of the 9/11 attacks: “heroes” (a euphemism for victims) and “greatest country on earth” (meaning largest military and GDP).