It’s impressive how far Jack White and his label have gone to make something really unique for his album here, for seemingly little other reason than just, because first!
I, along with what seems like the entire Internet (or maybe just Twitter?) have fallen in love with a little character in a pointy white hat called Ida. The world she exists in is inspired by MC Escher (apparently)- “every level is meant to be a work of art”. ustwo, like Mint Digital seem to be able to create not only the kinds of side projects that make people want to work there but which are commercially successful.
After leaving college, I would play games like Metal Gear Solid and Tenchu on the PlayStation for 8-12 hours straight. In about 2002, after I graduated and moved to London, my first proper job was making cheap, disposable, sub-300Kb Flash games for MiniClip and MINIWORLDGames. Mission:Mars for example, has apparently been played “over 100m times”. I have no idea why, it’s deeply tedious and each level is more disappointing than the last. That particular one took less than a week. And it shows, most games took little longer than 5 weeks. But it was a huge buzz to have people enjoy playing games that you’d toiled over, especially if they became popular. After a while though, I started building games for brands- wine labels, washing powder, newspapers, and the really interesting bit of game development disappeared for me. I ended up building gambling games for Coral and Eurobet and the purpose of making games evaporated altogether, for me anyway.
Since then I haven’t played games much at all, until my kids got really into playing games on the iPod, Wii and Xbox. Recently the extent of my enjoyment of games has been limited to a few hours on Mincraft with the kids, Words with Friends on the iPhone and then yesterday for just an hour, with Monument Valley.
I think Monument Valley was created for people like me; people who either have fallen out of love with games or maybe haven’t discovered their love of games yet. The game itself is just gorgeous, controlling Ida through the scenery is akin to watching a kitten slide and climb over and Anish Kapoor sculpture. The open storyline leaves a lot to your imagination and the slightness of peril and the friendship with Totem gives it a relentless optimism and charm. It seems that the only slightly negative comments it’s getting currently are from more serious gamers that expect all games to take about 30 hours to complete. But I love how short the game is, like a novella or a short story that just leaves you with a pleasing glow. And for less than the cost of a pint!
The thing I like most is that it makes me want to make something, it’s made me want to pick up the side projects that I’ve left languishing (not neglecting!). You can just tell the tireless tinkering that has gone into the creation of this game, that people have really cared about it’s outcome. Not just cared about it but loved it. It’s clearly the product of a process that includes love as well as purpose.
There is no Bandcamp office. Our small team is sprinkled throughout the world, with arms, cells, pods, what-have-you in San Francisco, Seattle, Melbourne, Montreal, Portland, Oxford, D.C., Raleigh, British Columbia and Bennington (which is in Vermont). We get together all day and night on irc, design and document everything in a wiki, do a short daily hangout that is exactly like the start of Hill Street Blues, and meet in person a few times a year for strategizing, working head-to-head and midnight microsynth jamming. If you do not have a strong social structure outside of work then employment at Bandcamp will likely lead to obesity, depression, and an early death. We’re hiring!
John Willshire introduced me to Stuart Brand’s How Buildings Learn last week because it talks a bit about how buildings have different levels, which change at different speeds and it’s interesting how the web is another layer of a building.
Coincidentally, I came across the same point in Dan Hill’s Dark Matter and Trojan Horses yesterday;
This is useful not just for thinking about the nature of change of buildings but how change occurs in any system, such as a large organisation.
Large organisations change at different paces. The marketing department is usually faster to change because, quite frankly, talking is easier than doing. Or at least, it used to be.
It used to be that building products and services was difficult. But it’s not any more. Now it’s actually really very easy to make good stuff. It used to take a team of 6 designers and developers working for a year just to put together a website that would take a form input, do some calculations in a cgi bin and spit out a response. Now we can make working, usable software within hours or weeks. So, while cycle times for software development have reduced to 1-2 weeks, finance planning cycles are still happening once a year, marketing is still happening once a year, strategic reviews are happening once a year. So what we’re seeing now is this sheering and slippage happening in new places. This is why we’re seeing things like #noestimates, because all the teams that are delivering things in cycles are wondering why the rest of their businesses is still stuck on a different layer on a different cycles. And where there’s slippage and sheering, there’s friction and waste.
So if marketing is capable of the required pace and so is the making of software, then what’s the next level feeling the friction?
Rather than #noestimates, perhaps we should be training a new generation of Financial Directors in the ways of agility? What about procurement departments?
I interviewed many many UK teenagers in 2012 and 2013 about sport, life and technology on behalf of a client. Even then, none of them admitted to using Facebook any more, it was all Twitter and Instagram. Though I suspect they were still popping in to see old friends in the same way they were still popping in to see their nans on a Saturday afternoon to plunder her Quality Street. Since then a lot of clever media innovations have cropped up that teenagers have lapped up like Vine and Snapchat. ‘Facebook is dead‘ studies said, because their audience was ageing fast. But it seems now that all you need in order to stay young forever is access to massive reserves of capital. It makes me think that if Facebook’s model is to stay as an advertising platform, they are simply buying access to the eyes of the complete spectrum of internet society. Facebook.com is really the bottom of the barrel, the dregs of the internet the ‘1 weird tip that will make you thin’, WhatsApp perhaps offers something a little younger and more connected, while Oculus offers the absolute bleeding edge of interactive hardware. It’s akin to Google’s recent acquisition of Boston Dynamics and their work on driverless cars.
It makes me think that something huge that’s missing from Facebooks spectrum is a really popular video platform, it has nothing like that which might rival YouTube. I wonder if Facebook will buy Vimeo in the next year or so?
There’s little surprise in the idea that a job description for a content designer at GDS would be well written. It’s matter-of-fact, it has clarity without over-simplification, it’s resigned without being obsequious and it manages to avoid being officious or patronising. It’s a language like that of pre-war, Reithian BBC- the voice of the establishment. Now that the BBC’s voice is that of impartiality and diversity, it feels that in our internet age, the words of GDS could become the voice of the establishment. It’s the kind of language that I would like the robots of the future to use. I want most of my communication with services to be utterly characterless. In fact, if I could just have a button on my browser that could ‘GDSify this’, I wouldn’t hesitate to use on most websites.
Content design isn’t a common job title. There isn’t a ready and able workforce of people already calling themselves Content Designers ready to take this work up. It’s a new role for linguists, designers, IAs, UX and CX folk, call them what you will, those people that still haven’t really found a role for themselves between strategy, planning, design and analysis. But the idea of someone actually taking the time to design (not just write) content is quite new. It’s not an opportunity for someone to express themselves creatively. It shows a serious belief in the structure of words and their absolutely inseparable purpose from the colours, fonts, layout and structure of pages on the internet that we use.
Another thing that jumps out at me about this description is the idea that design can be a framework for other design- there is a visual language of boxes and type sizes and colours and all that, but the words also need a standardised and structured and useful framework too.
Government is setting new standards of behaviour, like it probably should. The creation of public information isn’t an opportunity to emotionally engage with our audience. If only brands could understand that when someone takes the time to visit their website to read about their product, that’s often just what they want to do, they don’t want to bathe in adjectives that ‘emotionally resonate’, usually they’re after facts- they probably just want to find out if they contain wheat or where the stuff is made.
It feels like there’s a huge backlash against Agile with a capital A recently, or more accurately Agile as methodology, as opposed to agile/agility as a mindset.
Agile isn’t dead. What should have NEVER been born is this packaged-up-watered-down mush that some are peddling as Agile #PittAgile
— Nivia H (@Lanooba) March 13, 2014
“I believe teams ought to commit at the outset to building and delivering the best possible product by a given date and/or for a given amount of money”
In principle I like the idea. Estimation causes massive uncertainty and anxiety for everyone involved.
But I think, as ever, it depends on the context, whether you’re a team working within a large organisation, a well-funded startup, a bootstrapped startup or working with a client within an agency setting. In any situation where there’s a team delivering working software that’s intended to achieve a certain purpose, that team needs to get paid (excluding that pro-bono work you did for your aunt last summer). And in order to pay the team, there needs to be some capital raised in order to pay them. In order to raise capital, certain emotional concessions need to be made to those raising the capital (or providing the capital). The capital may come from re-investment of excess profit, a line of credit, angel investment, savings, whatever, it’s good if you can give some kind of indication of, given the information you have available right now, what that party might get in exchange for that.
Given that my context is usually to work for clients within an agency, my preference is to have the team make very loose estimates and to work hard to let the client know that they may get more of the stories they’ve want for or they may get less, depending on how it goes. When you say these stories are about x points, you’re creating an anchoring effect. Providing you are doing regular estimates (more flow, less stock), you can move up or down from your initial estimate, ensuring that the client is aware of the movement. This way, it’s not so painful, the client has a good way of understanding that their capital investment is worth something from the beginning and your estimates can move somewhere towards reality as you go.
It’s difficult to say with a straight face to a client “We’ll deliver the best we can in the time we’ve got” and, I find, the rare occasions when you can say that is when you’ve worked with them for years and they trust that you’ll create something that achieves their intended purpose in the time they’ve given you. After all, if you as a client are prepared to go without an estimate, you’re essentially getting somewhere between 4% and 10% extra working software because of the time you’re saving by not estimating.
So, I think the key to making #noestimates work may lie in being able to convince a client that ‘you’ll get what you get within the time you’ve given us’. If you can trust us, then you’ll get more value out of us.
I really don’t know whether #noestimates can work or not. I am keen to try it, but I just can’t get over the idea that someone somewhere has to get a rough idea of what they are actually going to get before they invest in the building of the thing before they invest.
Rachel Coldicutt did an excellent job of pointing out some of the problems of Berg’s Cloudwash concept. I think this is part of the magic of open design prototyping- if it’s interesting enough, you get to have smart people consult on your work for free.
I commented on it. I guess this is the second in a series of cynical brain farts I cannot prevent escaping in the presence of much smarter folk.
I lost a lot of sleep the night Berg’s Cloudwash video came out. It concerned me how much creativity and ingenuity a group of people can apply to a thing without actually improving it beyond what it offers today. It’s as if anything that’s remotely established and functional must be archaic so it’s fair game for anyone that thinks everything should be augmented by the Internet and pasted onto our mobile phones.
So the Washington Post is going to be hiring “More than a dozen new employees across design and tech…”. The group will “…rethink the web and make our site more dynamic, flexible and easy to use”. A whole 12 people! That’s like a football team right? This compact team seems typical of Jeff Bezos’ preference for pizza sized teams (he will only hire people who are as small as a pizza, or something). This is positive for an industry that in the past has been incapable of thinking small and nimble. Remember Project Euston? Yeah the project that was going to reimagine the future of news? They had a similar brief which sounded much more incendiary- “capitalise on cutting edge ideas” and “drive new revenue streams”. That was in late 2009, they recently absorbed the group back into the mothership after Lewis and MacLennan couldn’t decide where they wanted to go. Most press coverage of the Washington Post announcement has centred on how much it’s like the way in which BuzzFeed and Vice are doing all their own creative work now and how it’s the end of agencies, or something like that. There’s some merit to that argument, given that the group will be placed pretty much where all their big clients are and where the talent lives.
Except, I suspect it’s going to be hard for a small group of 12 people to do both the very creative advertorial work that ad agencies do e.g. understanding brands and briefs, creating clear propositions, media strategy and such and make fundamental improvements to the platform, which require editorial prototyping, workflow improvements, DevOps and such. But hell, it’s all digital right? I do wonder how separate the brand content and platform development teams are at places like Vice and BuzzFeed.
It sounds interesting and I am hopefully for what Bezos can add to the Washington Post, but it’s going to be interesting to see if they can pull off both an integrated creative offering and a platform improvement agenda with such a small team.
Here’s Mr. Smithery himself John V. Willshire with a nice idea for bringing empathy mapping to life with LEGO Minifigs.
I commented on it, here it is.
I’ve tried empathy mapping a few times in the past, not with minifigs though (lovely idea). I think this is a brilliant way of engaging organisations in thinking critically about their customers- lots of room for serendipity, it gets people thinking outside of their day-to-day habits and constraints and most importantly it’s massive fun. Where I think it this has limitations is that it can compound our assumptions about customers which are surfaced in the nature of the characters* but without being challenged, these assumptions can be taken on board as fact and accepted by the group.
I would definitely think this approach could be improved by having your participants meet a handful of real customers before this activity maybe in a World Cafe approach or a ‘speed dating’ kind of format where they get to learn as much as possible about people within a short amount of time.
I realise, like you mentioned on twitter, that it’s difficult in some circumstances to get people to talk openly about particular topics. But I think this is worth over-coming. I’ve had these kinds of conversations with highly personal topics from puberty to finance to cancer and I’ve found people to be ridiculously open when you approach them in the right way e.g. explain why their opinion matter to you.
Anyway, that’s my two pence. I don’t mean to be too critical of what is essentially an excellent approach.
*now this is useful, if we can develop ways of surfacing assumptions in order to convert them into hunches, then that’s progress.
Feels a bit odd quoting myself but there you go.