12.10.14 |
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I’ve bounced between web design and development for years. As someone who has never had a formal instruction in visual design, Erik Kennedy’s primer on this Medium post isn’t a bad start for those new. I especially like his thought processes behind rule three: double your white space. Might be a bit overkill compared to what’s absolutely necessary, but it’s one of the first mistakes I see from design newbies, especially developers starting to dabble in design work.
12.09.14 |
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David Greenwald, writing fro The Oregonian:
Here is the gigantic, crucial difference between piracy and streaming. In piracy, we don’t have listening numbers: we don’t know if an album downloaded for free was listened to 100 times or 0. A download might represent a lost sale or it might represent a listener adding to an endless collection or sampling one album among dozens, as if hearing the song on the radio. We really have no idea. But with streaming, we absolutely know. The statistics are right there. And artists should be paid accordingly: maybe not $10 a fan, but definitely more than a few pennies.
There’s a cold ratio at play here: the less popular a band is, the more money they need to generate per fan to reach a break-even point. However, the more popular a band is, the more ways they have of generating money per fan — and often they can generate more money per fan anyway, with deluxe packages at shows and branding opportunities, especially if you consider corporations to be people, as the Supreme Court does. It is a fundamentally unfair marketplace that privileges the already successful, which is rarely the path to innovation — or interesting art.
12.08.14 |
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Another great find that I heard from a speaker at Sass Summit. It’s a really ingenious methodology to write a running style guide for your work in your source Sass or CSS directory. Basically by writing souped up comments direct in your CSS with a mixture of HTML and Markdown, you can run a ruby process and autogenerate a great looking style guide to the destination of your choice.
For Gulp fans, there’s a simple plugin as well as an alternative to the Ruby gem.
12.06.14 |
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Writer Shawn Blanc on smart custom perspectives in Omnifocus:
In short, you should create your own custom perspective for “Today”. And let that list show you all the tasks which are either Due today or which are Flagged. When you are doing your daily review and scrubbing your list, don’t think about what’s due — because it should already be given a proper due date — instead, just flag the tasks you want to get done that day. Then, go to your Today perspective and now you’ve got a list of items which are both urgent (i.e. due today) and important (i.e. flagged).
Bingo. When I started using Omnifocus, virtually everything had a strict due date, which became maddening after time. When everything is “due”, it’s hard to manage what is really important. Overall, be less aggressive with real due dates unless it’s really due.
12.05.14 |
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A node.js based library tool to collect CSS statistics on any web site. It’s also easy to install via npm locally to run against any stylesheet you have. There’s even grunt and gulp integration; I can see this hooking into some sort of regression testing for my work in the long run to get a wider picture of how the code is evolving.
12.04.14 |
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Developer Nicolas Bevacqua:
Meanwhile, we add tons of weight to our pages, levelling the field and making the experience in modern browsers worse as a result of attempting to make the experience in older browsers better. There’s a problem with this fallacy, though. People using older browsers are not expecting the newest features. They’re content with what they have. That’s the whole reason why they’re using an older browser in the first place. Instead of attempting to give those users a better experience (and usually failing miserably), you should enable features only if they’re currently available on the target browser, instead of creating hacks around those limitations.
12.03.14 |
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There’s many other aspects to recommend about Matthew Butterick’s wonderful book, but one of my favorites is this section, where Butterrick breaks down how to apply typographic principles to presentations. Given I teach courses part time, it really helped improve the quality of my work.
12.01.14 |
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Journalistic site Krautreporter, writing a post on Medium:
Three years after the death of its charismatic founder, Apple is doing all it can to maintain this reality distortion field, mainly by exercising total control about anything that is reported about the company or its products. In contrast to Apple’s design philosophy this strategy does not manifest itself through clarity and elegance, but through a subtle and sometimes questionable toying with our, the reporting journalists’ vanities and dependencies. If you write positively you’ll be wined and dined, if you criticize, no matter how fairly, you’ll be penalized. Admittedly this is common practice with large corporations, but hardly any one of them will go as far as Apple does. And there is no other corporation that the media have allowed to get away with this kind of manipulation for such a long period of time.
As much as we all admire Apple in many ways, it’s interesting to get a much harsher perspective on its treatment of the media. I question if it’s quite as black and white as Krautreporter portrays here, but there’s been many times where I’ve questioned the relationship between the tech press and Apple.
11.25.14 |
Gaming |
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With Black Friday and the holiday shopping season days away, I’ve gotten questions from friends and colleagues about which current gen console to buy. I usually first point people toward Kotaku’s recent editorial on the subject; it’s well written and even handed. But I’ve got my own take that’s slightly different.
Let’s start by removing Nintendo’s Wii U from this debate. It’s got a superb outing of Nintendo first party games yet virtually no third party support. If you’re a big Nintendo fan and little from the other consoles interests you, then buy a Wii U (if you love Nintendo, you probably already have.) But for almost everyone else, especially if it’s your only console purchase, there’s just not enough game diversity.
That leaves the PS4 and Xbox One. First and foremost, both consoles are winners. Both have a decent library of quality games. Both refined their UI over the past year to make navigation fairly straightforward. Both are selling well enough to ensure wide game support for the future. Both are evenly priced. Frankly, given the general lack of exclusives this generation, I’d argue most buyers won’t regret their decision. Yet there are a few important, sometimes subtle differences that can sway you towards either Sony’s or Microsoft’s console.
Deal breakers
Be sure to test a console’s controller in person before buying either the PS4 or Xbox One. It’s an underrated difference that’s both very personal and idiosyncratic. Visit a friend that already has a current gen console, or any retailer with demo units set up. Play a game and run the buttons and sticks through a full range of motion. Most critics rightly point out both console’s controllers have excellent handling given their refinement over multiple generations. But there are differences, especially in the triggers and the asymmetrical analog stick placement on the Xbox.
Also, if you care about multiplayer, poll your friends on what current gen system they own or plan on buying. If it’s dominated by either Xbox or PlayStation players, that could have a strong influence on which system to choose.
Finally, exclusive games and content are on the wane, but If you’re a hard core fan of certain franchises, that can make your decision much easier. Obsessed with Halo or the Forza series? Go Xbox One. Can’t wait for the next Uncharted or baseball game? That’s only on the PS4.
Smaller differences
If the controller, your friends list, or the rare exclusive game don’t convince you which way to go, we get into far murkier territory. In short, those that regularly use their console for non-gaming activities may find the Xbox One more appealing. Sony’s strengths lie in raw hardware for games and games alone. To break that down in more detail, for the Xbox One:
- Those who use a console for streaming, multimedia and other non-gaming activities will find more to love about the Xbox One. The PS4 has the usual streaming suspects like Netflix and Hulu, but the Xbox One adds Plex, DLNA, integration with Microsoft’s OneDrive for cloud storage, and much more. Granted, smartphones, tablets, and streaming boxes like the Roku or Apple TV can already provide much of this functionality. But jumping between apps on an Xbox One is fast, and if you want all of your media in one place, Microsoft’s latest has more to offer than the PS4.
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Big cable TV watchers could easily find the Xbox One’s cable box integration compelling. Via the system’s “snap” UI you can watch TV alongside a game, and switch between live TV and other apps fluidly. But the integration is controversial; I know several that find the integration too cumbersome (e.g. , occasional signal lag, don’t want to boot up the full Xbox for just TV) and have since decoupled their cable box from the Xbox One.
For the PS4:
- If graphics are one of your foremost concerns, many third party titles run slightly better on Sony’s console. Yet that advantage usually manifests in subtle ways, like a mildly higher resolution or more detailed textures and shadows. History suggests the gap should close as this console generation progresses, and many today can’t even notice the difference. Yet I still predict the PS4 will have a slight advantage in horsepower over the long run.
Future philosophies
If you’re still on the fence, I’ve noticed a small difference when it comes to the games Sony and Microsoft throw their weight behind (which may or may not match your own preferences):
- Microsoft leans towards more toward traditional gaming genres like sports, shooters, and driving. If you look at Microsoft’s exclusives so far, they almost all fall within this territory. Content looks similar in 2015, including a potentially innovative “blockbuster” interactive movie experience like Quantum Break and Halo 5. With EA Access, sports fans can get a rotating set of EA Sports titles for a low subscription price; it’s exclusive to Xbox. Microsoft also has strong partnerships for timed DLC, bundles, and advertising on longer running franchises like Call of Duty and Assassin’s Creed.
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Sony’s taste can run slightly quirkier and more independent. Perhaps it’s a reflection of a more globally based audience, but Sony often invests in games that have a more of a niche following, or provide a twist on an existing genre. Yes, they’ve thrown a lot of money behind the huge Bungie shooter Destiny, but they’ve also supported (and have a timed exclusive with) the 90s adventure Grim Fandango. They’re also promoting a 2015 sequel to the cartoony, humorous Everybody’s Golf series. And while Microsoft’s ID@Xbox’s has been gaining traction, Sony has a deeper, more diverse relationship with indies. Many more indie titles are available for the PS4 than the Xbox One, a lead I don’t see evaporating in the near future.
Slight philosophical differences aside, most games are coming to both platforms, big or small, regardless of genre. And remember, virtually every difference noted above comes down to taste, not objective advantages. Some love their console for streaming ripped Blu-rays alongside their game sessions. Others prefer retro side scrollers by tiny studios. Some just want to play Call of Duty and NBA2K every year. There’s no one right answer; find what works best for you.
11.24.14 |
Gaming |
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One year into their lifespan, the PS4 and Xbox One deserve a solid B for their efforts. Both platforms enjoy strong sales and some well produced titles. Granted, there’s a sparse selection of “must have” games so far, but that’s in line with release patterns we saw with previous console generations. There’s also initiatives toward “next gen” functionality to stand out in a mobile centric tech world. But these are initiatives that have yet to become fully fleshed-out experiences. For a more casual audience, Sony and Microsoft have a big unanswered question: what makes these consoles essential for newcomers, rather than a repeat of the past?
Each generation starts slow
There’s many complaints about the PS4 and Xbox One lacking essential games, but that argument discounts history. Based on previous console generations, it takes at least a year for games to hit their stride.
To put this pattern to the test, I researched Metacritic for 2005 and 2006 – the opening year of the Xbox 360 and PS3. There aren’t that many titles with exceptionally high score averages. Both consoles had a few critically acclaimed releases during the early months (Call of Duty 2, Elder Scrolls 4: Oblivion), but it took a full year of a console being on the market for some of the most celebrated titles – Gears of War, Rock Band, and Uncharted among them – to be released.
The same pattern is playing out with the PS4 and Xbox One. Both platforms had several decent launch titles (Forza 5, Resogun), a well reviewed, AAA action game a few months in (Titanfall, Infamous: Second Son), then a long gap until the holiday season. We’ve reached a virtual saturation point of strong games over the last two months, primarily third party releases like Dragon Age, Shadow of Morodor, and Far Cry 4. Xbox One holiday exclusives – Halo: The Master Chief Collection, Forza Horizon 2, and Sunset Overdrive – also scored well.
Admittedly, cross generation games (released on both current and last gen consoles) feel more prevalent this year. Some can be weak showcases for a new generation if their feature set is held back to stay compatible with older hardware. But the current gen versions often distinguish themselves. With titles like Titanfall, graphics and frame rates are so significantly improved on current gen it feels like an entirely different experience. Some, like Shadow of Morodor, only add critical AI or gameplay systems for new hardware.
In addition, most “weak games” arguments fail to include strong indie releases that helped flesh out 2014’s slower periods, games like Transistor, Super Time Force, and Velocity 2X. They also underplay remasters of last gen games like Tomb Raider, Diablo III, and GTA V. That’s unfair to more casual gamers where a PS4 or Xbox One is their only gaming device. For them, many indies and remasters can feel like effectively “new” titles.
A cautious future
If there’s any concern about this generation, it’s a lack of commitment to “next gen” experiences. Sony, Microsoft, and the AAA studios have played a conservative hand; most PS4 and Xbox One releases bump up the graphics, yet provide the same gameplay under familiar genres. It’s a repeat of last generation’s promise, except it’s no longer 2005 any more. Advanced mobile OSs and cloud-powered technologies are a given. Falling back on graphics and massive multiplayer networks won’t impress us any more.
Granted, there are hints of ambition. One obvious case was Microsoft’s launch E3 presentation, one that relied on a single, convergent device in the living room tightly coupled with Microsoft’s networks. It’s a move that split the Xbox between game system, Windows PC and home entertainment center. I had concerns, and now it looks like a semi aborted effort, but to its credit, it took chances. Sony has been taking small actions as well. They’ve got a pulse on the diversifying gaming demographic by leaning more on quirkier indie releases. With Playstation Vue Sony broadens into a potentially smart twist on cable TV, if the pricing and availability structure works out (given the involvement of TV networks and Sony’s loony pricing with Playstation Now, that’s a big if.)
There’s also been a few steps toward smarter AI and gameplay. Again, Microsoft deserves credit for Forza 5’s “Drivatar” system, where the racing game analyzes a player’s racing habits and uses them as a more lifelike substitution for traditional computer-generated AI opponents. Shadow of Morodor also pushed gameplay forward with its Nemesis System. It rejects the usual, heavily scripted opponents that only exist as a fixed player obstacle. Instead, Morodor’s enemies battle each other for control independent of the player. They develop rivalries among each other, remember battles with the player and adjust their tactics accordingly.
Yet all the aforementioned initiatives feel like smaller experiments for Sony, Microsoft, and other game publishers. Staying the course of tried and true game genres will satiate the core console audience for a while, especially with an impressive 23 million plus install base this early. But I have doubts that strategy can sustain consoles for the long run.