Feed, page 2

  1. Escape Room 2019

    Watched 22 April 2019

    Fun to watch and kinda cool in a sort of childish, cartoony way. I wish it had learned even further in that direction.

  2. Hold the Dark 2018

    Watched 20 April 2019

    So enamored with the poetry of its own subtext that it fails to make the actual text engaging. The slow, painful lingering is fitting, but at some point it’s too much and there’s not much else there to balance it out — even the action sequences seem drawn out. Starts out pensive, ends up boring. Still, there’s an interesting story there if you can catch it being mumbled at you.

  3. Tower Heist 2011

    Watched 21 April 2019

    Soulless and devoid of artistry. It’s built around social commentary but never in an honest or insightful way — there’s a constant tinge of disdain for the issues it tries to build jokes around. As it goes through the motions of its terrible boilerplate script it is never truly funny or surprising; the most it can muster is being face-palm stupid when it goes for the focus group-approved absurdist humor.

    (I thought it was bad.)

  4. I was just reminiscing about this a few days ago. Nine years later, @lorenb’s Twitter for iPad is still unmatched. Devices are now several times more powerful, yet the experience of using Twitter on the original iPad is the best we ever got.

  5. Apple owes everyone an apology and it should start with me, specifically

    Casey Johnston’s butterfly keyboard saga continues:

    I dread the Overton window shift that Apple now appears to be attempting to push, which is that its customers and their crumbs and dust and bad habits are to blame, and should bend themselves around the “sensitive” keyboard, keep canned air (not supplied by Apple itself) on hand at all times, as if this is a problem we’ve always had, and not one Apple singlehandedly created with a nearsighted design.

    My 2014 MacBook Pro is still going strong, thankfully. (Knock on wood.)

  6. Advice to a Young Me

    Craig Mod:

    At 23 I was obsessed with minimizing recurring costs of living. They felt like poison to me.

    Obsessing over minimized cost of living has a light-touch hint of Thoreau to it: the calculating, the measuring, the valuing of time.

    “House: $28.12 ½; Farm one year: $14.72 ½ …” and on and on Thoreau wrote in Walden. “The cost of a thing is the amount of what I will call life which is required to be exchanged for it, immediate or in the long run.”

    Cal Newport’s Digital Minimalism devotes a chapter to Thoreau. My favorite quote though is from Frédéric Gros on Thoreau’s processes: “[Thoreau] says: keep calculating, keep weighing. What exactly do I gain or lose?”

  7. Why Vlambeer’s Co-Founder Thinks Mobile Games Market is Broken

    Brian Crecente talks to Rami Ismail about why traditional game development is broken on iOS:

    “I’m here to make video games,” he said. “I’m not here to fix somebody else’s problems. Our users? Absolutely. If they have a bug and it’s our fault, we’ll fix it. But having made a game in 2013 and then the platform going, ‘It’s broken now,’ That would be like if somebody went and updated like the internet and now all text is right to left. That’s how it feels to me. It’s like we made a game, so now we’re getting punished for it.”

    Apple has created a very inviting — but ultimately hostile — platform for games. There’s no malice there, they just don’t care about legacy software as much as they care about pushing things forward.

    Video games have historically been extremely well preserved, yet some older iOS games seem to be gone forever. This ephemerality is unprecedented; it’s not just bad for game developers, it really feels like a big part of gaming history is being erased.

  8. A Website is a Car and Not a Book

    Robin Rendle:

    Anyway, I asked Lindsay that question: what is it about web design that makes it so difficult to understand? She posited that the issue is that most people believe web design is like designing a book. Heck, we still call these things web pages. But Lindsay argued that building a modern website is nothing like designing a book; it’s more like designing a car.

  9. CSS masonry with flexbox, :nth-child(), and order

    Tobias Ahlin:

    On the surface it seems fairly easy to create a masonry layout with flexbox; all you need to do is set flex-flow to column wrap` and voilà, you have a masonry layout. Sort of. The problem with this approach is that it produces a grid with a seemingly shuffled and obscure order. Items will be (unbeknownst to the user) rendered from top to bottom and someone parsing the grid from left to right will read the boxes in a somewhat arbitrary order, for example 1, 3, 6, 2, 4, 7, 8, 5, and so on so forth.

    Flexbox has no easy way of rendering items with a column layout while using a row order, but we can build a masonry layout with CSS only—no JavaScript needed—by using :nth-child() and the order property.

    This is very clever — an actually helpful use of order that helps visual order more accurately follow source order.

    But there’s a catch: it requires a fixed height for the container — and it needs to be a magic number that’s taller than the tallest column. That unfortunately makes it not super resilient to content changes, limiting its usefulness.

  10. All you need to know about hyphenation in CSS

    Richard Rutter:

    There is more to setting hyphenation than just turning on the hyphens. The CSS Text Module Level 4 has introduced the same kind of hyphenation controls provided in layout software (eg. InDesign) and some word processors (including Word). These controls provide different ways to define how much hyphenation occurs through your text.

    This is great news. I’ve always avoided CSS hyphenation because of how aggressive the algorithms are. Using these new properties in concert with @supports we can get well-controlled hyphenation as a progressive enhancement while avoiding the half-baked hyper-hyphenated middle ground we’ve had so far.

  11. Accessibility Events

    Mat Marquis:

    It could seem like an enticing option for our users, at first glance: an enhanced, fully-featured website, on the one hand, a fully accessible alternative experience on the other. That unravels with even the slightest examination, though: if the fully-featured website isn’t accessible, the accessible website won’t be fully featured. By choosing to have the “accessible experience” deviate from the “real website,” we end up drawing a sharper line between those two definitions, and we nudge the “accessible experience” closer to an afterthought—limited and frustratingly out-of-sync with the “real” website, like so many dedicated mobile sites quickly became.

  12. Split

    Jeremy Keith:

    Where it gets interesting is when a technology that’s designed for developer convenience is made out of the very materials being delivered to users. For example, a CSS framework like Bootstrap is made of CSS. That’s different to a tool like Sass which outputs CSS. Whether or not a developer chooses to use Sass is irrelevant to the user—the final output will be CSS either way. But if a developer chooses to use a CSS framework, that decision has a direct impact on the user experience. The user must download the framework in order for the developer to get the benefit.

    So whereas Sass sits at the back of the front end—where I don’t care what you use—Bootstrap sits at the front of the front end. For tools like that, I don’t think saying “use whatever works for you” is good enough. It’s got to be weighed against the cost to the user.