Dan Q

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Holidays in the Age of COVID

We’ve missed out on or delayed a number of trips and holidays over the last year and a half for, you know, pandemic-related reasons. So this summer, in addition to our trip to Lichfield, we arranged a series of back-to-back expeditions.

1. Alton Towers

The first leg of our holiday saw us spend a long weekend at Alton Towers, staying over at one of their themed hotels in between days at the water park and theme park:

2. Darwin Forest

The second leg of our holiday took us to a log cabin in the Darwin Forest Country Park for a week:

3. Preston

Kicking off the second week of our holiday, we crossed the Pennines to Preston to hang out with my family (with the exception of JTA, who had work to do back in Oxfordshire that he needed to return to):

4. Forest of Bowland

Ruth and I then left the kids with my mother and sisters for a few days to take an “anniversary mini-break” of glamping in the gorgeous Forest of Bowland:

(If you’re interested in Steve Taylor’s bathtub-carrying virtual-Everest expedition, here’s his Facebook page and JustGiving profile.)

5. Meanwhile, in Preston

The children, back in Preston, were apparently having a whale of a time:

6. Suddenly, A Ping

The plan from this point was simple: Ruth and I would return to Preston for a few days, hang out with my family some more, and eventually make a leisurely return to Oxfordshire. But it wasn’t to be…

Screenshot from the NHS Covid App: "You need to self-isolate."
Well that’s not the kind of message you want to get from your phone.

I got a “ping”. What that means is that my phone was in close proximity to somebody else’s phone on 29 August and that other person subsequently tested positive for COVID-19.

My risk from this contact is exceptionally low. There’s only one place that my phone was in close proximity to the phone of anybody else outside of my immediate family, that day, and it’s when I left it in a locker at the swimming pool near our cabin in the Darwin Forest. Also, of course, I’d been double-jabbed for a month and a half and I’m more-cautious than most about contact, distance, mask usage etc. But my family are, for their own (good) reasons, more-cautious still, so self-isolating at Preston didn’t look like a possibility for us.

Ruth and Dan in a car, in a car park.
Ruth and I went directly to a drive-through PCR testing facility.

As soon as I got the notification we redirected to the nearest testing facility and both got swabs done. 8 days after possible exposure we ought to have a detectable viral load, if we’ve been infected. But, of course, the tests take a day or so to process, so we still needed to do a socially-distanced pickup of the kids and all their stuff from Preston and turn tail for Oxfordshire immediately, cutting our trip short.

The results would turn up negative, and subsequent tests would confirm that the “ping” was a false positive. And in an ironic twist, heading straight home actually put us closer to an actual COVID case as Ruth’s brother Owen turned out to have contracted the bug at almost exactly the same time and had, while we’d been travelling down the motorway, been working on isolating himself in an annex of the “North wing” of our house for the duration of his quarantine.

Barricade with signs reading "Quarantine: Zombie Outbreak"
I set up a “yellow zone” between Owen’s quarantine area and the rest of the house into which we could throw supplies. And I figured I’d have fun with the signage.

7. Ruth & JTA go to Berwick

Thanks to negative tests and quick action in quarantining Owen, Ruth and JTA were still able to undertake the next part of this three-week holiday period and take their anniversary break (which technically should be later in the year, but who knows what the situation will be by then?) to Berwick-upon-Tweed. That’s their story to tell, if they want to, but the kids and I had fun in their absence:

8. Reunited again

Finally, Ruth and JTA returned from their mini-break and we got to do a few things together as a family again before our extended holiday drew to a close:

9. Back to work?

Tomorrow I’m back at work, and after 23 days “off” I’m honestly not sure I remember what I do for a living any more. Something to do with the Internet, right? Maybe ecommerce?

I’m sure it’ll all come right back to me, at least by the time I’ve read through all the messages and notifications that doubtless await me (I’ve been especially good at the discipline, this break, of not looking at work notifications while I’ve been on holiday; I’m pretty proud of myself.)

But looking back, it’s been a hell of a three weeks. After a year and a half of being pretty-well confined to one place, doing a “grand tour” of so many destinations as a family and getting to do so many new and exciting things has made the break feel even longer than it was. It seems like it must have been months since I last had a Zoom meeting with a work colleague!

For now, though, it’s time to try to get the old brain back into work mode and get back to making the Web a better place!

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Lichfield

We took a family trip up to Lichfield this weekend. I don’t know if I can give a “review” of a city-break as a whole, but if I can: I give you five stars, Lichfield.

Dan in front of Lichfield Cathedral, early on Sunday morning.
It’s got a cathedral, which is quite pretty.

Maybe it’s just because we’ve none of us had a night away from The Green… pretty-much since we moved in, last year. But there was something magical about doing things reminiscent of the “old normal”.

Dan and the kids in a bed at a hotel.
“I’m so excited! We get to stay… at a Premier Inn!” At first I rolled my eyes at this joyous line from our 4-year-old (I mean… it’s just a Premier Inn…), but it did feel good to go somewhere and do something.

It’s not that like wasn’t plenty of mask-wearing and social distancing and hand sanitiser and everything that we’ve gotten used to now: there certainly was. The magic, though, came from getting to do an expedition further away from home than we’re used to. And, perhaps, with that happening to coincide with glorious weather and fun times.

A balloon artist wearing a unicorn on her head makes sculptures for children.
Socially-distanced balloon modelling turns out to work, not least because you can hand one of those long balloons to somebody without getting anywhere near them.

We spent an unimaginably hot summer’s day watching an outdoor interpretation of Peter and the Wolf, which each of the little ones has learned about in reasonable depth, at some point or another, as part of the (fantastic) “Monkey Music” classes of which they’re now both graduates.

Ruth and John sit on a picnic blanket in a painted circle; the maquee for the band is behind them.
So long as you weren’t staring at the painted circles on the grass – for corralling families apart from one another – you’d easily forget how unusual things are, right now.

And maybe it’s that they’ve been out-of-action for so long and are only just beginning to once again ramp up… or maybe I’ve just forgotten what the hospitality industry is like?… but man, we felt well-looked after.

From the staff at the hotel who despite the clear challenges of running their establishment under the necessary restrictions still went the extra mile to make the kids feel special to the restaurant we went to that pulled out all the stops to give us all a great evening, I basically came out of the thing with the impression of Lichfield as a really nice place.

Dan in Lichfield city centre, deserted early on a Sunday morning.
Take social distancing to the next level: do your urban geocaching at the crack of dawn.

I’m not saying that it was perfect. A combination of the intolerable heat (or else the desiccating effect of the air conditioner) and a mattress that sagged with two adults on it meant that I didn’t sleep much on Saturday night (although that did mean I could get up at 5am for a geocaching expedition around the city before it got too hot later on). And an hour and a half of driving to get to a place where you’re going to see a one-hour show feels long, especially in this age where I don’t really travel anywhere, ever.

But that’s not the point.

Ruth and the kids eat breakfast
The buffet was closed, of course, but these kids were made for an “all you can eat” breakfast.

The point is that Lichfield made me happy, this weekend. And I don’t know how much of that is that it’s just a nice place and how much is that I’ve missed going anywhere or doing anything, but either way, it lead to a delightful weekend.

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Higher/Lower Datepicker

I’ve written before about the trend in web development to take what the web gives you for free, throw it away, and then rebuild it in Javascript. The rebuilt version is invariably worse in many ways – less-accessible, higher-bandwidth, reduced features, more fragile, etc. – but it’s more convenient for developers. Personally, I try not to value developer convenience at the expense of user experience, but that’s an unpopular opinion lately.

Screenshot showing a hovered hyperlink to "Digital Forest" on a list of green hosting providers in France.
Here’s a perfect example I bumped into earlier this week, courtesy of The Green Web Foundation. This looks like a hyperlink… but if you open it in a new tab/window, you see a page (not even a 404 page!) with the text “It looks like nothing was found at this location.”

In the site shown in the screenshot above, the developer took something the web gave them for free (a hyperlink), threw it away (by making it a link-to-nowhere), and rebuilt its functionality with Javascript (without thinking about the fact that you can do more with hyperlinks than click them: you can click-and-drag them, you can bookmark them, you can share them, you can open them in new tabs etc.). Ugh.

Date pickers

Particularly egregious are the date pickers. Entering your date of birth on a web form ought to be pretty simple: gov.uk pretty much solved it based on user testing they did in 2013.

Here’s the short of it:

  • Something you can clearly type a numeric day, month and year into is best.
  • Three dropdowns are slightly worse, but at least if you use native HTML <select> elements keyboard users can still “type” to filter.
  • Everything else – including things that look like <select>s but are really funky React <div>s, is pretty terrible.
Calendar datepicker with slider-based timepicker and no text-based fallback.
Calendars can be great for choosing your holiday date range. But pressing “Prev” ~480 times to get to my month of birth isn’t good. Also: what’s with the time “sliders”? (Yes, I know I’ve implemented these myself, in the past, and I’m sorry.)

My fellow Automattician Enfys recently tweeted:

People designing webforms that require me to enter my birthdate:

I am begging you: just let me type it in.

Typing it in is 6-8 quick keystrokes. Trying to navigate a little calendar or spinny wheels back to the 1970s is time-consuming, frustrating and unnecessary.

They’re right. Those little spinny wheels are a pain in the arse if you’ve got to use one to go back 40+ years.

Date "spinner" currently showing 20 December 2012.
These things are okay (I guess) on mobile/touchscreen devices, though I’d still prefer the option to type in my date of birth. But send one to my desktop and I will curse your name.

Can we do worse?

If there’s one thing we learned from making the worst volume control in the world, the other year, it’s that you can always find a worse UI metaphor. So here’s my attempt at making a date of birth field that’s somehow even worse than “date spinners”:

My datepicker implements a game of “higher/lower”. Starting from bounds specified in the HTML code and a random guess, it narrows-down its guess as to what your date of birth is as you click the up or down buttons. If you make a mistake you can start over with the restart button.

Amazingly, this isn’t actually the worst datepicker into which I’ve entered my date of birth! It’s cognitively challenging compared to most, but it’s relatively fast at narrowing down the options from any starting point. Plus, I accidentally implemented some good features that make it better than plenty of the datepickers out there:

  • It’s progressively enhanced – if the Javascript doesn’t load, you can still enter your date of birth in a sensible way.
  • Because it leans on a <input type="date"> control, your browser takes responsibility for localising, so if you’re from one of those weird countries that prefers mm-dd-yyyy then that’s what you should see.
  • It’s moderately accessible, all things considered, and it could easily be improved further.

It turns out that even when you try to make something terrible, so long as you’re building on top of the solid principles the web gives you for free, you can accidentally end up with something not-so-bad. Who knew?

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Goose-Related Etymologies

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My favourite thing about geese… is the etymologies of all the phrases relating to geese. There’s so many, and they’re all amazing. I started reading about one, then – silly goose that I am – found another, and another, and another…

A Canada goose at a waterside accompanied by seven goslings. Photo by Brandon Montrone from Pexels.
Have a gander at this photo.

For example:

  • Barnacle geese are so-called because medieval Europeans believed that they grew out of a kind of barnacle called a goose barnacle, whose shell pattern… kinda, sorta looks like barnacle goose feathers? Barnacle geese breed on remote Arctic islands and so people never saw their chicks, which – coupled with the fact that migration wasn’t understood – lead to a crazy myth that lives on in the species name to this day. Incidentally, this strange belief led to these geese being classified as a fish for the purpose of fasting during Lent, and so permitted. (This from the time period that brought us the Vegetable Lamb of Tartary, of course. I’ve written about both previously.)
  • Gooseberries may have a similar etymology. Folks have tried to connect it to old Dutch or Germanic words, but inconclusively: given that they appear at the opposite end of the year to some of the migratory birds goose, the same kind of thinking that gave us “barnacle geese” could be seen as an explanation for gooseberries’ name, too. But really: nobody has a clue about this one. Fun fact: the French name for the fruit is groseille à maquereau, literally “mackerel currant”!
  • A gaggle is the collective noun for geese, seemingly derived from the sound they make. It’s also been used to describe groups of humans, especially if they’re gossiping (and disproportionately directed towards women). “Gaggle” is only correct when the geese are on the ground, by the way: the collective noun for a group of airborne geese is skein or plump depending on whether they’re in a delta shape or not, respectively. What a fascinating and confusing language we have!
  • John Stephen Farmer helps us with a variety of goose-related sexual slang though, because, well, that was his jam. He observes that a goose’s neck was a penis and gooseberries were testicles, goose-grease is vaginal juices. Related: did you ever hear the euphemism for where babies come from “under a gooseberry bush“? It makes a lot more sense when you realise that gooseberry bush was slang for pubic hair.
Face of a gosse, looking into the camera. Other geese can be seen swimming in the background.
Hey there, you big honker.
  • An actor whose performance wasn’t up to scratch might describe the experience of being goosed; that is – hissed at by the crowd. Alternatively, goosing can refer to a a pinch on the buttocks possibly in reference to geese pecking humans at about that same height.
  • If you have a gander at something you take a good look at it. Some have claimed that this is rhyming slang – “have a look” coming from “gander and duck” – but I don’t buy it. Firstly, why wouldn’t it be “goose and duck” (or “gander and drake“, which doesn’t rhyme with “look” at all). And fake, retroactively-described rhyming roots are very common: so-called mockney rhyming slang! I suspect it’s inspired by the way a goose cranes its neck to peer at something that interests it! (“Crane” as a verb is of course also a bird-inspired word!)
  • Goosebumps might appear on your skin when you’re cold or scared, and the name alludes to the appearance of plucked poultry. Many languages use geese, but some use chickens (e.g. French chair de poule, “chicken flesh”). Fun fact: Slavic languages often use anthills as the metaphor for goosebumps, such as Russian мурашки по коже (“anthill skin”). Recently, people talk of tapping into goosebumps if they’re using their fear as a motivator.
  • A tailor’s goose is a traditional kind of iron so-named for the shape of its handle.
  • The childrens game of duck duck goose is played by declaring somebody to be a “goose” and then running away before they catch you. Chasing – or at risk of being chased by! – geese is common in metaphors: if somebody wouldn’t say boo to a goose they’re timid. A wild goose chase (yet another of the many phrases for which we can possibly thank Shakespeare, although he probably only popularised this one) begins without consideration of where it might end up.
A Canada goose and young gosling swim together, side-by-side. Photo by Erick Todd from Pexels.
If humans tell children they were found under a gooseberry bush, where do geese tell their chicks they came from?
  • If those children are like their parents, you might observe that a wild goose never laid a tame egg: that traits are inherited and predetermined.
  • Until 1889, the area between Blackfriars and Tower Bridge in London – basically everything around Borough tube station up to the river – was considered to be outside the jurisdiction of both London and Surrey, and fell under the authority of the Bishop of Winchester. For a few hundred years it was the go-to place to find a prostitute South of the Thames, because the Bishop would license them to be able to trade there. These prostitutes were known as Winchester geese. As a result, to be bitten by a Winchester goose was to contract a venereal disease, and goosebumps became a slang term for the symptoms of some such diseases.
  • Perennial achillea ptarmica is known, among other names, as goose tongue, and I don’t know why. The shape of the plant isn’t particularly similar to that of a goose’s tongue, so I think it might instead relate to the effect of chewing the leaves, which release a spicy oil that might make your tongue feel “pecked”? Goose tongue can also refer to plantago maritima, whose dense rosettes do look a little like goose tongues, I guess. Honestly, I’ve no clue about this one.
  • If you’re sailing directly downwind, you might goose-wing your sails, putting the mainsail away from the wind and the jib towards it, for balance and to easily maintain your direction. Of course, a modern triangular-sailed boat usually goes faster broad reach (i.e. at an angle of about 45º to the wind) by enough that it’s faster to zig-zag downwind rather than go directly downwind, but I can see how one might sometimes want to try this anatidaetian maneuver.
Plaque with a picture of a goose running and text: "Cross Bones Graveyard. In medieval times this was an unconsecreated graveyard for prostitutes of 'Winchester Geese'. By the 18th century it had become a paupers burial ground, which closed in 1853. Here, local people have created a memorial shrine. The Outcast Dead R.I.P." A smiley face sticker has been attached to the plaque and ribbons and silk flowers are tied nearby.
I feel like the “Cross Bones Graveyard” ought to have been where pirates were buried, but prostitutes is pretty good too.

Geese make their way all over our vocabulary. If it’s snowing, the old woman is plucking her goose. If it’s fair to give two people the same thing (and especially if one might consider not doing so on account of their sex), you might say that what’s good for the goose is good for the gander,  which apparently used to use the word “sauce” instead of “good”. I’ve no idea where the idea of cooking someone’s goose comes from, nor why anybody thinks that a goose step march might look anything like the way a goose walks waddles.

With apologies to Beverley, whose appreciation of geese (my take, previously) is something else entirely but might well have got me thinking about this in the first instance.

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Parcel Delivery Scammers Could Try Harder

There’s a lot of talk lately about scam texts pretending to be from Royal Mail (or other parcel carriers), tricking victims into paying a fee to receive a parcel. Hearing of recent experiences with this sort of scam inspired me to dissect the approach the scammers use… and to come up with ways in which the scams could be more-effective.

Let’s take a look at a scam:

Anatomy of a Parcel Fee Scam

A parcel fee scam begins with a phishing email or, increasingly, text message, telling the victim that they need to pay a fee in order to receive a parcel and directing them to a website to make payment.

Scam SMS from "Royal Mail" asking the recipient to go to myparce-uk-manage.com to pay a "fee required for shipping", shown on an iPhone screen
This text message was received by a friend of mine the other week, and it’s pretty typical. Don’t type in that web address, obviously.

If the victim clicks the link, they’ll likely see a fake website belonging to the company who allegedly have the victim’s parcel. They’ll be asked for personal and payment information, after which they’ll be told that their parcel is scheduled for redelivery. They’ll often be redirected back to the real website as a “convincer”. The redirects often go through a third-party redirect site so that your browser’s “Referer:” header doesn’t give away the scam to the legitimate company (if it did, they could e.g. detect it and show you a “you just got scammed by somebody pretending to be us” warning!).

Many scammers also set a cookie so they’ll recognise you if you come back: if you return to the scam site with this cookie in-place, they’ll redirect you instantly to the genuine company’s site. This means that if you later try to follow the link in the text message you’ll see e.g. the real Royal Mail website, which makes it harder for you to subsequently identify that you’ve been scammed. (Some use other fingerprinting methods to detect that you’ve been victimised already, such as your IP address.)

Spoofed Royal Mail webpage saying "Royal Mail: Your Package Has A £2.99 Unpaid Shipping Fee, To Pay This Now Please Visit www.myparcel-uk-manage.com If You Do Not Pay This Your Package Will Be Returned To Sender" and asking for personal details
The spoofed websites usually use HTTPS (“padlock icon” etc.) and have convincing branding (lifted directly from the real company’s website). They frequently – but not always – ask for information that seems… suspicious and unnecessary, like date of birth or bank account sort code.

Typically, no payment is actually taken. Often, the card number and address aren’t even validated, and virtually any input is accepted. That’s because this kind of scam isn’t about tricking you into giving the scammers money. It’s about harvesting personal information for use in a second phase.

Once the scammers have your personal information they’ll either use your card details to make purchases of hard-to-trace, easy-to-resell goods like gift cards or, increasingly, use all of the information you’ve provided in order to perform an even more-insidious trick. Knowing your personal, contact and bank details, they can convincingly call you and pretend to be your bank! Some sophisticated fraudsters will even highlight the parcel fee scam you just fell victim to in order to gain your trust and persuade you that they’re genuinely your bank, which is a very powerful convincer.

"SCAM" spelled out using keycaps from a cyrillic keyboard. Photo by Mikhail Nilov from Pexels.
SCAM > ЫСФЬ? Who knew translation was as simple as these keycaps suggest!

Why does the scam work?

A scam like the one described above works because each individual part of it is individually convincing, but the parts are delivered separately.

Email, reading: Ihre Sendung CH63 **** 26 wurde noch nicht geliefert.
Parcel fee scams aren’t limited to the Anglophone world. Apparently Swiss Post tried to visit me on Monday, even though I’m about 500 miles outside of their delivery area!

Being asked to pay a fee to receive a parcel is a pretty common experience, and getting texts from carriers is too. A lot of people are getting a lot more stuff mail-ordered than they used to, right now, and that – along with the Brexit-related import duties that one in ten people have had to pay – means that it seems perfectly reasonable to get a message telling you that you need to pay a fee to get your parcel.

Similarly, I’m sure we’ve all been called by our bank to discuss a suspicious transaction. (When this happens to me, I’ve always said that I’ll call them back on the number on my card or my bank statements rather than assume that they are who they claim to be. When I first started doing this, 20 years ago, this sometimes frustrated bank policies, but nowadays they’re more accepting.) Most people though will willingly believe the legitimacy of a person who calls them up, addresses them by name and claims to be from their bank.

Separating the scam into two separate parts, each of which is individually unsuspicious, makes it more effective at tricking the victim than simpler phishing scams.

Delivery man, wearing a face mask, holding a parcel and checking his mobile phone. Photo by Kindel Media from Pexels.
“You know these £50 headphones you bought? Yeah, they came from the EU so you owe another £25 somehow.” Fuck Brexit.

Anybody could fall for this. It’s not about being smart and savvy; lots of perfectly smart people become victims of this kind of fraud. Certainly, there are things you can do (like learning to tell a legitimate domain name from a probably-fake one and only ever talking to your bank if you were the one who initiated the call), but we’re all vulnerable sometimes. If you were expecting a delivery, and it’s really important, and you’re tired, and you’re distracted, and then a text message comes along pressuring you to pay the fee right now… anybody could make a mistake.

The scammers aren’t really trying

But do you know what: these scammers aren’t even trying that hard. There’s so much that they could be doing so much “better”. I’m going to tell you, off the top of my head, four things that they could do to amplify their effect.

Wait a minute: am I helping criminals by writing this? No, I don’t think so. I believe that these are things that they’ve thought of already. Right now, it’s just not worthwhile for them to pull out all the stops… they can make plenty of money conning people using their current methods: they don’t need to invest the time and energy into doing their shitty job better.

But if there’s one thing we’ve learned it’s that digital security is an arms race. If people stop falling for these scams, the criminals will up their game. And they don’t need me to tell them how.

"Hacker type" man in hoodie between two computer monitors, looking at his phone.
He ain’t even breaking a sweat. But if the economic pressure was there, he might.

I’m a big fan of trying to make better attacks. Even just looking at site-spoofing scams I’ve been doing this for a couple of decades. Because if we can collectively get ahead of security threats, we’re better able to defend against them.

So no: this isn’t about informing criminals – it’s about understanding what they might do next.

How could the scammers be more effective?

I’d like to highlight four ways that this scam could be made more-effective. Again, this isn’t about helping the criminals: it’s about thinking about and planning for what tomorrow’s attacks might look like.

1. SMS Spoofing

Most of these text messages appear to come from random mobile numbers, which can be an red flag. But it’s distressingly easy to send a text message “from” any other number or even from a short string of text. Imagine how much more-convincing one of these messages would be if it appeared to come from e.g. “Royal Mail” instead?

Text message from "Mum", but actually a marketing text.
Organisers of Parklife Festival were fined £70K for causing distress by texting participants from “Mum” in 2014.

A further step would be to spoof the message to appear to come from the automated redelivery line of the target courier. Many parcel delivery services have automated lines you can call, provide the code from the card dropped through your door, and arrange redelivery: making the message appear to come from such a number means that any victim who calls it will hear a genuine message from the real company, although they won’t be able to use it because they don’t have a real redelivery card. Plus: any efforts to search for the number online (as is done automatically by scam-detection apps) will likely be confused by the appearance of the legitimate data.

"Royal Mail" text message reading: You owe, like, a billion pounds for a parcel we tried to deliver. Go to DanQ.me/royal-mail-scam and pay us. This is totally a legit text message.
This took me literally seconds and fractions of a penny.

SMS spoofing is getting harder as the underlying industry that supports bulk senders tries to clean up its image, but it’s still easy enough to be a real (yet underexploited) threat.

2. Attention to detail

Scammers routinely show a lack of attention to detail that can help give the game away to an attentive target. Spelling and grammar mistakes are commonplace, and compared to legitimate messages the scams generally have suspicious features like providing few options for arranging redelivery or asking for unusual personal information.

A "Royal Mail" scam message that's full of little errors that make it unlike a legitimate one.
Also: where would you even get this email address from, “Royal Mail”? Can’t be from a merchant because I give a different one to each store…

They’re getting a lot better at this already: text messages and emails this year are far more-convincing, from an attention-to-detail perspective, than they were three years ago. And because improvements to the scam can be made iteratively, it’s probably already close to the “sweet spot” at the intersection of effort required versus efficacy. But the bad guys’ attention to detail will only grow and in future they’ll develop richer, more-believable designs and content based on whatever success metrics they collect.

3. Tracking tokens

On which note: it amazes me that these SMS scams don’t yet seem to include any identifier unique to the victim. Spam email does this all the time, but a typical parcel scam text directs you to a simple web address like https://royalmail.co.uk.scamsite.com/. A smarter scam could send you to e.g. https://royalmail.co.uk.scamsite.com/YRC0D35 and/or tell you that your parcel tracking number was e.g. YRC0D35.

"DHL" scam email encouraging you to click a link to arrange redelivery.
Click a link (or even just view the images!) in this phishing email and the sender knows that you read it. SMS scammers could learn from this.

Not only would this be more-convincing for anybody who’s familiar with the kind of messages that are legitimately left by couriers, it would also facilitate the gathering of a great deal of additional metrics which scammers could use to improve their operation. For example:

  • How many, and which, potential victims clicked the link? Knowing this helps plan future scams, or for follow-up attacks.
  • Pre-filling personal data, even just a phone number, acts as an additional convincer, or else needn’t be asked at all.
  • Multivariate testing can determine which approaches work best: show half the victims one form and half the victims another and use the results as research for future evolution.

These are exactly the same techniques that legitimate marketers (and email spammers) use to track engagement with emails and advertisements. It stands to reason that any sufficiently-large digital fraud operation could benefit from them too.

4. Partial submission analysis

I’ve reverse-engineered quite a few parcel scams to work out what they’re recording, and the summary is: not nearly as much as they could be. A typical parcel scam site will ask for your personal details and payment information, and when you submit it will send that information to the attacker. But they could do so much more…

C5 envelope with a yellow "Item underpaid. Fee to pay £1.50" sticker attached.
Real couriers put a card through your door with a code on. Or just put a sticker on your letter and never actually claim the fee, as recently happened to my friends Kit and Matt.

I’ve spoken to potential victims, for example, who got part way through filling the form before it felt suspicious enough that they stopped. Coupled with tracking tokens, even this partial data would have value to a determined fraudster. Suppose the victim only gets as far as typing their name and address… the scammer now has enough information to convincingly call them up, pretending to be the courier, ask for them by name and address, and con them out of their card details over the phone. Every single piece of metadata has value; even just having the victim’s name is a powerful convincer for a future text message campaign.

Summary

There’s so much more that parcel fee SMS scammers could be doing to increase the effectiveness of their campaigns, such as the techniques described above. It’s not rocket science, and they’ll definitely have considered them (they won’t learn anything new from this post!)… but if we can start thinking about them it’ll help us prepare to educate people about how to protect themselves tomorrow, as well as today.

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Article posted at UTC on .

4 comments

Creed Cult-ure

My employer, Automattic, has a creed. Right now it reads:

I will never stop learning. I won’t just work on things that are assigned to me. I know there’s no such thing as a status quo. I will build our business sustainably through passionate and loyal customers. I will never pass up an opportunity to help out a colleague, and I’ll remember the days before I knew everything. I am more motivated by impact than money, and I know that Open Source is one of the most powerful ideas of our generation. I will communicate as much as possible, because it’s the oxygen of a distributed company. I am in a marathon, not a sprint, and no matter how far away the goal is, the only way to get there is by putting one foot in front of another every day. Given time, there is no problem that’s insurmountable.

Lots of companies have something like this, even if it falls short of a “creed”. It could be a “vision”, or a set of “values”, or something in that line.

Of course, sometimes that just means they’ve strung three clichéd words together because they think it looks good under their company logo, and they might as well have picked any equally-meaningless words.

Future logo and values of of Any Company, Anywhere.

But while most companies (and their staff) might pay lip service to their beliefs, Automattic’s one of few that seems to actually live it. And not in an awkward, shoehorned-in way: people here actually believe this stuff.

By way of example:

A woman in a wheelchair waves to a colleague via her laptop screen; she's smiling and has a cup of coffee by her side. Photo by Marcus Aurelius from Pexels.
Coffee: check. Webcam: check. Let’s touch bases, random colleague!

We’ve got a bot that, among other things, pairs up people from across the company for virtual “watercooler chat”/”coffee dates”/etc. It’s cool: I pair-up with random colleagues in my division, or the whole company, or fellow queermatticians… and collectively these provide me a half-hour hangout about once a week. It’s a great way to experience the diversity of culture, background and interests of your colleagues, as well as being a useful way to foster idea-sharing and “watercooler effect” serendipity.

For the last six months or so, I’ve been bringing a particular question to almost every random-chat I’ve been paired into:

What part of the Automattic creed resonates most-strongly for you right now?

Two women in black dresses sit in a graveyard by candlelight and hold up the Automattic logo. Edited image based on original photo by Valeria Boltneva from Pexels (used with permission) and the Automattic logo (used under the assumption that they won't mind, given the context).
On a good day, I’m at least 90% certain I’m a senior software engineer and not a cult member.

I volunteer my own answer first. It’s varied over time. Often I’m most-attached to “I will never stop learning.” Other times I connect best to “I will communicate as much as possible…” or “I am in a marathon, not a sprint…”. Lately I’ve felt a particular engagement with “I will never pass up the opportunity to help a colleague…”.

It varies for other people too. But every single person I’ve asked this question has been able to answer it. And they’ve been able to answer it confidently and with justifications for or examples of their choice.

Have you ever worked anywhere before where seemingly all your coworkers profess a genuine belief in the corporate creed? Like, enough that some of them get it tattooed onto their bodies. Unless you’ve been brainwashed by a cult, the answer is probably no.

Dan sits in his office; behind him, four separate monitors show the Automattic logo.
If Automattic is a cult, then it might be too late for me.

Why are Automatticians like that?

For some folks, of course, the creed is descriptive rather than prescriptive. Regarding its initial creation, Matt says that “as a hack to introduce new folks to our culture, we put a beta Automattic Creed, basically a statement of things important to us, written in the first person.”

But this alone isn’t an explanation, because back then there were only around a hundred people in the company: nowadays there are over 1,500. So how can the creed continue to be such a pervasive influence? Or to put it another way: why are Automatticians… like that?

  • Do we simply attract like-minded individuals? The creed is highly visible and cross-referenced by our recruitment pages, so it wouldn’t be entirely surprising.
  • Maybe we filter for people who are ideologically-compatible with the creed? Insofar as the qualities it describes are essential to integrating into our corporate culture, yes: our recruitment process does a great job of testing for those qualities.
  • Perhaps we converge on these values as a result of our experience as Automatticians? Once you’re in, you’re indoctrinated into the tenets of the creed and internalise its ideas.
  • Or perhaps it’s a combination of the three, in some ratio or another. (What’s the ratio?)

I’ve been here 1⅔ years and don’t know the answer yet. But I’ll tell you this: it’s inspiring to be part of a team that really seem to believe in what they do.

The Automattic Creed presented as an infographic with icons accompanying each tenet.
People keep making infographics of the creed, just for fun. Even if they’re not Automatticians (any longer). That’s not creepy, right?

Incidentally: if the creed speaks to you too, you might like to look at some of the many open positions! I promise we’re not actually a cult.

Plus we’ve been doing “work anywhere” for longer than almost anybody else and we’re really, really good at it.

If you enjoyed this, you might also like other blog posts about my time with Automattic: the recruitment process, accepting an offer, my induction, and the experience of lockdown in a distributed company, among others.

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Getting Twitter Avatars (without the Twitter API)

Among Twitter’s growing list of faults over the years are various examples of its increasing divergence from open Web standards and developer-friendly endpoints. Do you remember when you used to be able to subscribe to somebody’s feed by RSS? When you could see who follows somebody without first logging in? When they were still committed to progressive enhancement and didn’t make your browser download ~5MB of Javascript or else not show any content whatsoever? Feels like a long time ago, now.

Lighthouse Performance score for Twitter's Twitter account page on mobile, scoring 50%.
For one of the most-popular 50 websites in the world, this score is frankly shameful.

But those complaints aside, the thing that bugged me most this week was how much harder they’ve made it to programatically get access to things that are publicly accessible via web pages. Like avatars, for example!

If you’re a human and you want to see the avatar image associated with a given username, you can go to twitter.com/that-username and – after you’ve waited a bit for all of the mandatory JavaScript to download and run (I hope you’re not on a metered connection!) – you’ll see a picture of the user, assuming they’ve uploaded one and not made their profile private. Easy.

If you’re a computer and you want to get the avatar image, it used to be just as easy; just go to twitter.com/api/users/profile_image/that-username and you’d get the image. This was great if you wanted to e.g. show a Facebook-style facepile of images of people who’d retweeted your content.

But then Twitter removed that endpoint and required that computers log in to Twitter, so a clever developer made a service that fetched avatars for you if you went to e.g. twivatar.glitch.com/that-username.

But then Twitter killed that, too. Because despite what they claimed 5½ years ago, Twitter still clearly hates developers.

Dan Q's Twitter profile header showing his avatar image.
You want to that image? Well you’ll need a Twitter account, a developer account, an OAuth token set, a stack of code…

Recently, I needed a one-off program to get the avatars associated with a few dozen Twitter usernames.

First, I tried the easy way: find a service that does the work for me. I’d used avatars.io before but it’s died, presumably because (as I soon discovered) Twitter had made things unnecessarily hard for them.

Second, I started looking at the Twitter API documentation but it took me in the region of 30-60 seconds before I said “fuck that noise” and decided that the set-up overhead in doing things the official way simply wasn’t justified for my simple use case.

So I decided to just screen-scrape around the problem. If a human can just go to the web page and see the image, a computer pretending to be a human can do exactly the same. Let’s do this: 

/* Copyright (c) 2021 Dan Q; released under the MIT License. */

const Puppeteer = require('puppeteer');

getAvatar = async (twitterUsername) => {
  const browser = await Puppeteer.launch({args: ['--no-sandbox', '--disable-setuid-sandbox']});
  const page = await browser.newPage();
  await page.goto(`https://twitter.com/${twitterUsername}`);
  await page.waitForSelector('a[href$="/photo"] img[src]');
  const url = await page.evaluate(()=>document.querySelector('a[href$="/photo"] img').src);
  await browser.close();
  console.log(`${twitterUsername}: ${url}`);
};

process.argv.slice(2).forEach( twitterUsername => getAvatar( twitterUsername.toLowerCase() ) );
The code is ludicrously simple. It took less time, energy, and code to write this than to follow Twitter’s “approved” procedure. You can download the code via Gist.

Obviously, using this code would violate Twitter’s terms of use for automation, so… don’t, I guess?

Given that I only needed to run it once, on a finite list of accounts, I maintain that my approach was probably kinder on their servers than just manually going to every page and saving the avatar from it. But if you set up a service that uses this approach then you’ll certainly piss off somebody at Twitter and history shows that they’ll take their displeasure out on you without warning. 

$ node get-twitter-avatar.js alexsdutton richove geohashing TailsteakAD LilFierce1 ninjanails
alexsdutton: https://pbs.twimg.com/profile_images/740505937039986688/F9gUV0eK_200x200.jpg
lilfierce1: https://pbs.twimg.com/profile_images/1189417235313561600/AZ2eLjAg_200x200.jpg
richove: https://pbs.twimg.com/profile_images/1576438972/2011_My_picture4_200x200.jpeg
geohashing: https://pbs.twimg.com/profile_images/877137707939581952/POzWWV2d_200x200.jpg
ninjanails: https://pbs.twimg.com/profile_images/1146364466801577985/TvCfb49a_200x200.jpg
tailsteakad: https://pbs.twimg.com/profile_images/1118738807019278337/y5WWkLbF_200x200.jpg
This output shows the avatar URLs of a half a dozen Twitter accounts. It took minutes to write the code and takes seconds to run, but if I’d have done it the “right” way I’d still be unnecessarily wading through Twitter’s sprawling documentation.

But it works. It was fast and easy and I got what I was looking for.

And the moral of the story is: if you make an API and it’s terrible, don’t be surprised if people screen-scape your service instead. (You can’t spell “scraping” without “API”, amirite?)

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Article posted at UTC on .

7 comments

Ireland and the UK Aren’t In The Same Timezone!

This weekend, while investigating a bug in some code that generates iCalendar (ICS) feeds, I learned about a weird quirk in the Republic of Ireland’s timezone. It’s such a strange thing (and has so little impact on everyday life) that I imagine that even most Irish people don’t even know about it, but it’s important enough that it can easily introduce bugs into the way that computer calendars communicate:

Most of Europe put their clocks forward in Summer, but the Republic of Ireland instead put their clocks backward in Winter.

If that sounds to you like the same thing said two different ways – or the set-up to a joke! – read on:

Map showing timezones of Europe. The UK and Ireland are grouped (along with Iceland) in a zone labelled as being UTC+0.
The timezones of Europe look pretty simple compared to some parts of the world, but the illustration of the British Isles hides an interesting eccentricity.

A Brief History of Time (in Ireland)

Poster titled "Time (Ireland) Act 1916", advising that "On and after Sunday 1st October 1916 Western European Time will be ovserved throughout Ireland" asking people to set their clocks and watches back 35 minutes.
Spring forward, fall back… just a little bit back, though. Not too much.

After high-speed (rail) travel made mean solar timekeeping problematic, Great Britain in 1880 standardised on Greenwich Mean Time (UTC+0) as the time throughout the island, and Ireland standardised on Dublin Mean Time (UTC-00:25:21). If you took a ferry from Liverpool to Dublin towards the end of the 19th century you’d have to put your watch back by about 25 minutes. With air travel not yet being a thing, countries didn’t yet feel the need to fixate on nice round offsets in the region of one-hour (today, only a handful of regions retain UTC-offsets of half or quarter hours).

That’s all fine in peacetime, but by the First World War and especially following the Easter Rising, the British government decided that it was getting too tricky for their telegraph operators (many of whom operated out of Ireland, which provided an important junction for transatlantic traffic) to be on a different time to London.

1885 GPO telegraph instrument from the Porthcurno Telegraph Museum, which Dan almost visited the other week but it was closed.
It’s widely believed that the world’s first “U UP? [STOP]” message never got a response as a direct result of Anglo-Irish timezone confusion.
So the Time (Ireland) Act 1916 was passed, putting Ireland on Greenwich Mean Time. Ireland put her clocks back by 35 minutes and synched-up with the rest of the British Isles. And from then on, everything was simple and because nothing ever went wrong in Ireland as a result of the way it was governed by by Britain, nobody ever had to think about the question of timezones on the island again.

Ah. Hmm.

December 1920 photograph showing St Patrick's Street, Cork, following the burning of the city by British forces.
“Those Irish people want to govern their own country, do they? After we so kindly shared our king with them? Right-ho: let’s set fire to their cities and see how they feel then.”

Following Irish independence, the keeping of time carried on in much the same way for a long while, which will doubtless have been convenient for families spread across the Northern Irish border. But then came the Second World War.

Summers in the 1940s saw Churchill introduce Double Summer Time which he believed would give the UK more daylight, saving energy that might otherwise be used for lighting and increasing production of war materiel.

Ireland considered using the emergency powers they’d put in place to do the same, as a fuel saving measure… but ultimately didn’t. This was possibly because aligning her time with Britain might be seen as undermining her neutrality, but was more likely because the government saw that such a measure wouldn’t actually have much impact on fuel use (it certainly didn’t in Britain). Whatever the reason, though, Britain and Northern Ireland were again out-of-sync with one another until the war ended.

Newspaper clipping advising that "Double Summer Time comes to an end on Saturday night, August 8-9, when all clocks and watches should be put back one hour, thus reverting to British Summer Time, which will probably be maintained throughout the winter."
I like to imagine that the development of powerful computers by the folks at Bletchley Park was a result of needing to keep track of timezones across the British Isles.

From 1968 to 1971 Britain experimented with “British Standard Time” – putting the clocks forward in Summer once, to UTC+1, and then leaving them there for three years. This worked pretty well except if you were Scottish in which case you’ll have found winter mornings to be even gloomier than you were used to, which was already pretty gloomy. Conveniently: during much of this period Ireland was also on UTC+1, but in their case it was part of a different experiment. Ireland were working on joining the European Economic Community, and aligning themselves with “Paris time” year-round was an unnecessary concession but an interesting idea.

But here’s where the quirk appears: the Standard Time Act 1968, which made UTC+1 the “standard” timezone for the Republic of Ireland, was not repealed and is still in effect. Ireland could have started over in 1971 with a new rule that made UTC+0 the standard and added a “Summer Time” alternative during which the clocks are put forward… but instead the Standard Time (Amendment) Act 1971 left UTC+1 as Ireland’s standard timezone and added a “Winter Time” alternative during which the clocks are put back.

Two clocks, both showing the same time. One has a sign reading "LONDON", the other "DUBLIN, I GUESS?"
It all seems so simple until you actually think about it.

(For a deeper look at the legal history of time in the UK and Ireland, see this timeline. Certainly don’t get all your history lessons from me.)

So what?

You might rightly be thinking: so what! Having a standard time of UTC+0 and going forward for the Summer (like the UK), is functionally-equivalent to having a standard time of UTC+1 and going backwards in the Winter, like Ireland, right? It’s certainly true that, at any given moment, a clock in London and a clock in Dublin should show the same time. So why would anybody care?

Perl Data::ICal::TimeZone implementation of Dublin timezone, incorrectly showing summer DST at +1 rather than winter DST of -1.
This code for Europe/Dublin, from the Perl module Data::ICal::TimeZone, is technically-incorrect because it states that the winter time is the standard and daylight savings of +1 hour apply in the summer, rather than the opposite.

But declaring which is “standard” is important when you’re dealing with computers. If, for example, you run a volunteer rota management system that supports a helpline charity that has branches in both the UK and Ireland, then it might really matter that the computer systems involved know what each other mean when they talk about specific times.

The author of an iCalendar file can choose to embed timezone information to explain what, in that file, a particular timezone means. That timezone information might say, for example, “When I say ‘Europe/Dublin’, I mean UTC+1, or UTC+0 in the winter.” Or it might say – like the code above! – “When I say ‘Europe/Dublin’, I mean UTC+0, or UTC+1 in the summer.” Both of these declarations would be technically-valid and could be made to work, although only the first one would be strictly correct in accordance with the law.

Stressed programmer hunched over a MacBook. Photo by Anna Shvets from Pexels.
Clients who need solid timezone support represent 50% of a programmer’s production of stress hormones. See also Falsehoods Programmers Believe About Time.

But if you don’t include timezone information in your iCalendar file, you’re relying  on the feed subscriber’s computer (e.g. their calendar software) to make a sensible interpretation.. And that’s where you run into trouble. Because in cases like Ireland, for which the standard is one thing but is commonly-understood to be something different, there’s a real risk that the way your system interprets and encodes time won’t necessarily be the same as the way somebody else’s does.

If I say I’ll meet you at 12:00 on 1 January, in Ireland, you rightly need to know whether I’m talking about 12:00 in Irish “standard” time (i.e. 11:00, because daylight savings are in effect) or 12:00 in local-time-at-the-time-of-the-meeting (i.e. 12:00). Humans usually mean the latter because we think in terms of local time, but when your international computer system needs to make sure that people are on a shift at the same time, but in different timezones, it needs to be very clear what exactly it means!

And when your daylight savings works “backwards” compared to everybody else’s… that’s sure to make a developer somewhere cry. And, possibly, blog about your weird legislation.

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Spy’s Guidebook Reborn

When I was a kid of about 10, one of my favourite books was Usborne’s Spy’s Guidebook. (I also liked its sister the Detective’s Handbook, but the Spy’s Guidebook always seemed a smidge cooler to me).

Detective's Handbook andSpy's Guidebook on a child's bookshelf.
I imagine that a younger version of me would approve of our 7-year-old’s bookshelf, too.

So I was pleased when our eldest, now 7, took an interest in the book too. This morning, for example, she came to breakfast with an encrypted message for me (along with the relevant page in the book that contained the cipher I’d need to decode it).

Usborne Spy's Guidebook showing the "Pocket code card" page and a coded message
Decryption efforts were hampered by sender’s inability to get her letter “Z”s the right damn way around.

Later, as we used the experience to talk about some of the easier practical attacks against this simple substitution cipher (letter frequency analysis, and known-plaintext attacks… I haven’t gotten on to the issue of its miniscule keyspace yet!), she asked me to make a pocket version of the code card as described in the book.

Three printed pocket code cards
A three-bit key doesn’t make a simple substitution cipher significantly safer, but it does serve as a vehicle to teach elementary cryptanalysis!

While I was eating leftover curry for lunch with one hand and producing a nice printable, foldable pocket card for her (which you can download here if you like) with the other, I realised something. There are likely to be a lot more messages in my future that are protected by this substitution cipher, so I might as well preempt them by implementing a computerised encoder/decoder right away.

So naturally, I did. It’s at danq.dev/spy-pocket-code and all the source code is available to do with as you please.

Key 4-1 being used to decode the message: UOMF0 7PU9V MMFKG EH8GE 59MLL GFG00 8A90P 5EMFL
Uh-oh: my cover is blown!

If you’ve got kids of the right kind of age, I highly recommend picking up a copy of the Spy’s Guidebook (and possibly the Detective’s Handbook). Either use it as a vehicle to talk about codes and maths, like I have… or let them believe it’s secure while you know you can break it, like we did with Enigma machines after WWII. Either way, they eventually learn a valuable lesson about cryptography.

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Twinebook – Printable Interactive Fiction

Update: I’ve ceased hosting a public version of this project, but you can still check out the source code and run it for yourself.

Twine 2 is a popular tool for making hypertext interactive fiction, but there’s something about physical printed “choose your own adventure”-style gamebooks that isn’t quite replicated when you’re playing on the Web. Maybe it’s the experience of keeping your finger in a page break to facilitate a “save point” for when you inevitably have to backtrack and try again?

Annabe enjoying Choose Your Own (Minecraft) Story books.
These are the first branching novels I’ve introduced her to for which she’s felt the need to take notes.

As a medium for interactive adventures, paper isn’t dead! Our 7-year-old is currently tackling the second part of a series of books by John Diary, the latest part of which was only published in December! But I worry that authors of printed interactive fiction might have a harder time than those producing hypertext versions. Keeping track of all of your cross-references and routes is harder than writing linear fiction, and in the hypertext

Hand-written note showing branching path story plan, from John Diary's Twitter.
John Diary tweeted about his process back in 2017 and it looks… more manual than I’d want.

Twinebook

So I’ve thrown together Twinebook, an experimental/prototype tool which aims to bring the feature-rich toolset of Twine to authors of paper-based interactive fiction. Simply: you upload your compiled Twine HTML to Twinebook and it gives you a printable PDF file, replacing the hyperlinks with references in the style of “turn to 27” to instruct the player where to go next. By default, the passages are all scrambled to keep it interesting, but with the starting passage in position 1… but it’s possible to override this for specific passages to facilitate puzzles that require flipping to specific numbered passages.

Thumb in the page of a Sorcery choose-your-own-adventure gamebook.
In some adventure games, keeping your thumb in the page feels like it’s essential.

Obviously, it doesn’t work with any kind of “advanced” Twine game – anything that makes use of variables, Javascript, etc., for example! – unless you can think of a way to translate these into the written word… which is certainly possible – see Fighting Fantasy‘s skill, stamina, luck and dice-rolling mechanics, for example! – but whether it’s desirable is up to individual authors.

If this tool is valuable to anybody, that’s great! Naturally I’ve open-sourced the whole thing so others can expand on it if they like. If you find it useful, let me know.

Twine screenshot showing many branching paths of the game "Inpatient".
Mapping a complex piece of interactive fiction is a job for a computer, not a human.

If you’re interested in the possibility of using Twine to streamline the production of printable interactive fiction, give my Twinebook prototype a try and let me know what you think.

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Article posted at UTC on .

2 comments

The Ballad of John Crawford

Following the success of our last game of Dialect the previous month and once again in a one-week hiatus of our usual Friday Dungeons & Dragons game, I hosted a second remote game of this strange “soft” RPG with linguistics and improv drama elements.

Thieves’ Cant

Our backdrop to this story was Portsmouth in 1834, where we were part of a group – the Gunwharf Ants – who worked as stevedores and made our living (on top of the abysmal wages for manual handling) through the criminal pursuit of “skimming a little off the top” of the bulk-break cargo we moved between ships and onto and off the canal. These stolen goods would be hidden in the basement of nearby pub The Duke of Wellington until they could be safely fenced, and this often-lucrative enterprise made us the envy of many of the docklands’ other criminal gangs.

I played Katie – “Kegs” to her friends – the proprietor of the Duke (since her husband’s death) and matriarch of the group. I was joined by Nuek (Alec), a Scandinavian friend with a wealth of criminal experience, John “Tuck” Crawford (Matt), adoptee of the gang and our aspiring quartermaster, and “Yellow” Mathias Hammond (Simon), a navy deserter who consistently delivers better than he expects to.

Thieves' Cant tableau at the end of a game of Dialect, with cards strewn around the table.
Our second tableau was somehow more-chaotic than the first, even after I accidentally removed several cards before taking this picture!

While each of us had our stories and some beautiful and hilarious moments, I felt that we all quickly converged on the idea that the principal storyline in our isolation was that of young Tuck. The first act was dominated by his efforts to proof himself to the gang, and – with a little snuff – shake off his reputation as the “kid” of the group and gain acceptance amongst his peers. His chance to prove himself with a caper aboard the Queen Anne went proper merry though after she turned up tin-ful and he found himself kept in a second-place position for years longer. Tuck – and Yellow – got proofed eventually, but the extra time spent living hand-to-mouth might have been what first planted the seed of charity in the young man’s head, and kept most of his numbers out of his pocket and into those of the families he supported in the St. Stevens area.

The second act turned political, as Spiky Dave, leader of the competing gang The Barbados Boys, based over Gosport way, offered a truce between the two rivals in exchange for sharing the manpower – and profits – of a big job against a ship from South Africa… with a case of diamonds aboard. Disagreements over the deal undermined Kegs’ authority over the Ants, but despite their March it went ahead anyway and the job was a success. Except… Spiky Dave kept more than his share of the loot, and agreed to share what was promised only in exchange for the surrender of the Ants and their territory to his gang’s rulership.

We returned to interpersonal drama in the third act as Katie – tired of the gang wars and feeling her age – took perhaps more than her fair share of the barrel (the gang’s shared social care fund) and bought herself clearance to leave aboard a ship to a beachside retirement in Jamaica. She gave up her stake in the future of the gang and shrugged off their challenges in exchange for a quiet life, leaving Nuek as the senior remaining leader of the group… but Tuck the owner of the Duke of Wellington. The gang split into those that integrated with their rivals and those that went their separate ways… and their curious pidgin dissolved with them. Well, except for a few terms which hung on in dockside gang chatter, screeched amongst the gulls of Portsmouth without knowing their significance, for years to come.

Crop from Fine View of 1798 The Gunwharf Portsmouth Dockyard by E G Burrows

Playing Out

Despite being fundamentally the same game and a similar setting to when we played The Outpost the previous month, this game felt very different. Dialect is versatile enough that it can be used to write… adventures, coming-of-age tales, rags-to-riches stories, a comedies, horror, romance… and unless the tone is explicitly set out at the start then it’ll (hopefully) settle somewhere mutually-acceptable to all of the players. But with a new game, new setting, and new players, it’s inevitable that a different kind of story will be told.

But more than that, the backdrop itself impacted on the tale we wove. On Mars, we were physically isolated from the rest of humankind and living in an environment in which the necessities of a new lifestyle and society necessitates new language. But the isolation of criminal gangs in Portsmouth docklands in the late Georgian era is a very different kind: it’s a partial isolation, imposed (where it is) by its members and to a lesser extent by the society around them. Which meant that while their language was still a defining aspect of their isolation, it also felt more-artificial; deliberately so, because those who developed it did so specifically in order to communicate surreptitiously… and, we discovered, to encode their group’s identity into their pidgin.

Prison Hulks in Portsmouth Harbour by Ambrose-Louis Garneray

While our first game of Dialect felt like the language lead the story, this second game felt more like the language and the story co-evolved but were mostly unrelated. That’s not necessarily a problem, and I think we all had fun, but it wasn’t what we expected. I’m glad this wasn’t our first experience of Dialect, because if it were I think it might have tainted our understanding of what the game can be.

As with The Outpost, we found that some of the concepts we came up with didn’t see much use: on Mars, the concept of fibs was rooted in a history of of how our medical records were linked to one another (for e.g. transplant compatibility), but aside from our shared understanding of the background of the word this storyline didn’t really come up. Similarly, in Thieves Cant’ we developed a background about the (vegan!) roots of our gang’s ethics, but it barely got used as more than conversational flavour. In both cases I’ve wondered, after the fact, whether a “flashback” scene framed from one of our prompts might have helped solidify the concept. But I’m also not sure whether or not such a thing would be necessary. We seemed to collectively latch onto a story hook – this time around, centred around Matt’s character John Crawford’s life and our influences on it – and it played out fine.

And hey; nobody died before the epilogue, this time!

I’m looking forward to another game next time we’re on a D&D break, or perhaps some other time.

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Hey ONS: This Is Not A Mistake

Hi, ONS! I know we haven’t really spoken since you ghosted me in 2011, but I just wanted to clear something up for you –

This is not a mistake (except for the missing last names):

(Specimen) 2021 census form on which Ruth declares that she cohabits with both a husband AND a partner.
It’s perfectly possible for somebody to live with multiple partners, even if they’re forbidden from marrying more than one.

Back in 2011 you thought it was a mistake, and this prevented my partner, her husband and I from filling out the digital version of the census. I’m sure it’s not common for somebody to have multiple cohabiting romantic relationships (though it’s possibly more common than some other things you track…), but surely an “Are you sure?” would be better than a “No you don’t!”

Clippy says "It looks like you've got a husband AND a partner. Is that right?" with possible answers "Yes, and it's awesome." or "No, but I can dream!"
For all I know, you already fixed it. If not: I mocked-up a UI for you.

We worked around it in 2011 by using the paper forms. Apparently this way you still end up “correcting” our relationship status for us (gee, thanks!) but at least – I gather – the originals are retained. So maybe in a more-enlightened time, future statisticians might be able ask about the demographics of domestic nonmonogamy and have at least some data to work with from the early 21st century.

I know you’re keen for as many people as possible to do the census digitally this year. But unless you’ve fixed your forms then my family and I – and thousands of others like us – will either have to use the paper copies you’re trying to phase out… or else knowingly lie on the digital versions. Which would you prefer?

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Entles (Gender-Neutral Aunts, Uncles, etc.)

Enfys published an article this week to their personal blog: How to use gender-inclusive language. It spun out from a post that they co-authored on an internal Automattic blog, and while the while thing is pretty awesome as a primer for anybody you need to show it to, it introduced a new word to my lexicon for which I’m really grateful.

The Need for a New Word

I’ve long bemoaned the lack of a gender-neutral term encompassing “aunts and uncles” (and, indeed, anybody else in the same category: your parents’ siblings and their spouses). Words like sibling have been well-established for a century or more; nibling has gained a lot of ground over the last few decades and appears in many dictionaries… but we don’t have a good opposite to nibling!

Why do we need such a word?

  • As a convenient collective noun: “I have 5 aunts and uncles” is clumsier than it needs to be.
  • Where gender is irrelevant: “Do you have and aunts and/or uncles” is clumsier still.
  • Where gender is unknown: “My grandfather has two children: my father and Jo.” “Oh; so you have an Aunt or Uncle Jo?” Ick.
  • Where gender is nonbinary: “My Uncle Chris’s spouse uses ‘they/them’ pronouns. They’re my… oh fuck I don’t even remotely have a word for this.”

New Words I Don’t Like

I’m not the first to notice this gap in the English language, and others have tried to fill it.

I’ve heard pibling used, but I don’t like it. I can see what its proponents are trying to do: combine “parent” and “sibling” (although that in itself feels ambiguous: is this about my parents’ siblings or my siblings’ parents, which aren’t necessarily the same thing). Moreover, the -ling suffix feels like a diminutive, even if that’s not its etymological root in this particular case, and it feels backwards to use a diminutive to describe somebody typically in an older generation than yourself.

I’ve heard that some folks use nuncle, and I hate that word even more. Nuncle already has a meaning, albeit an archaic one: it means “uncle”. Read your Shakespeare! Don’t get me wrong: I’m all for resurrecting useful archaic words: I’m on a personal campaign to increase use eyeyesterday and, especially, overmorrow (German has übermorgen, Afrikaans has oormôre, Romanian has poimâine: I want a word for “the day after tomorrow” too)! If you bring back a word only to try to define it as almost-the-opposite of what you want it to mean, you’re in for trouble.

Auntle is another candidate – a simple fusion of “aunt” and “uncle”… but it still feels a bit connected to the gendered terms it comes from, plus if you look around enough you find it being used for everything from an affectionate mutation of “aunt” to a term to refer to your uncle’s husband. We can do better.

A New Word I Do!

But Enfys’ post gave me a new word, and I love it:

…

Here are some gender-neutral options for gendered words we hear a lot. They’re especially handy if you’re not sure of the gender of the person you’re addressing:

Mx.: An honorific, alternative to Mr./Mrs./Ms.
Sibling: instead of brother/sister
Spouse: instead of husband/wife
Partner, datefriend, sweetheart, significant other: instead of boyfriend/girlfriend
Parent: instead of mother/father
Nibling: instead of niece/nephew
Pibling, Entle, Nuncle: instead of aunt/uncle

…

Entle! Possibly invented here, this is the best gender-neutral term for “the sibling of your parents, or the spouse of the sibling of your parents, or another family member who fulfils a similar role” that I’ve ever seen. It brings “ent” from “parent” which, while etymologically the wrong part of the word for referring to blood relatives (that comes from a PIE root pere- meaning “to produce or bring forth”), feels similar to the contemporary slang root rent (clipped form of “parent”). It feels new and fresh enough to not be “auntle”, but it’s similar enough to the words “aunt” and “uncle” that it’s easy to pick up and start using without that “what’s that new word I need to use here?” moment.

I’m totally going to start using entle. I’m not sure I’ll find a use for it today or even tomorrow. But overmorrow? You never know.

Axe Feather 2021

tl;dr?

I recreated a 16-year old interactive ad. Experience it here. Get the source code here. Or keep reading for the full story.

What?

Back in 2005 I reblogged a Flash-based interactive advert I’d discovered via del.icio,us. And if that sentence wasn’t early-naughties enough for you, buckle up…

A woman lies on a bed with her legs crossed, playfully wagging her finger.
This screenshot isn’t from the original site but from my homage to it. More on that later.

At the end of 2004, Unilever brand Axe (Lynx here in the UK) continued their strategy of marketing their deodorant as magically transforming young men into hyper-attractive sex gods. This is, of course, an endless battle, pitting increasingly sexually-charged advertisements against the fundamental experience of their product, which smells distinctly like locker rooms and school discos. To launch 2005’s new fragrance Feather, they teamed up with London-based design agency Dare Digital to create a game at domain AxeFeather.com (long since occupied by domain squatters).

In the game, the player’s mouse pointer becomes a feather which they can use to tickle an attractive young woman lying on a bed. The woman’s movements – which vary based on where she’s tickled – have been captured in digital video. This was aggressively compressed using the then-new H.263-ish Sorensen Spark codec to make a download just-about small enough to be tolerable for people still on dial-up Internet access (which was still almost as popular as broadband). The ad became a viral hit. I can’t tell you whether it paid for itself in sales, but it must have paid for itself in brand awareness: on Valentines Day 2005 it felt like it was all the Internet wanted to talk about.

Axe Feather logo visible via Archive.org, circa August 2005, in a Firefox browser window.
The site was archived by the WayBack Machine… but it doesn’t work in a modern browser.

I suspect its success also did wonders for the career of its creative consultant Olivier Rabenschlag, who left Dare a few years later, hopped around Silicon Valley for a bit, then landed himself a job as Head of Creative (now Chief Creative Officer) with Google. Kudos.

Why?

I told you about the site 16 years ago: why am I telling you again? Because this site, which made headlines at the time, is gone.

And not just a little bit gone, like a television ad no longer broadcast but which might still exist on YouTube somewhere (and here it is – you’re welcome for the earworm). The website went down in 2009, and because it was implemented in Flash the content was locked away in a compiled, proprietary format, which has ceased to be meaningfully usable on the modern web.

IE-specific CSS with a comment "Ok, so the scrollbar is IE specific...but I like it, ok?? :)"
The parts of AxeFeather.com’s code that are openly readable don’t help much, but I love this comment, which carries the scent of the adolescent web in the same way at Lynx deodorant carries the scent of an adolescent human.

The ad was pioneering. Flash had only recently gained video support (this would be used the following year for the first version of YouTube), and it had so far been used mostly for non-interactive linear video. This ad was groundbreaking… but now it’s disappeared like so much other Flash work. And for all that Flash might have been bad for the web, it’s an important part of our digital history [recommended reading].

Ruffle window showing an empty bed.
Third-party Flash emulation is imperfect. I tried to make Axe Feather work in Ruffle and got… an empty bed? What is this, a metaphor for being a lonely nerd?

So on a whim… I decided to see if I could recreate the ad.

Call it lockdown fever if you like, because it’s certainly not the work of a sane mind to attempt to resurrect a 16-year-old Internet advertisement. But that’s what I did.

How?

My plan: to reverse-engineer the digital assets (video, audio, cursor etc.) out of the original Flash file, and use them to construct a moderately-faithful recreation of the ad, suitable for use on the modern web. My version must:

  • Work in any modern browser, without Flash of course.
  • Work on mobile devices/with touchscreens, with all of the original functionality available without a keyboard (the original had secret content hidden behind keyboard keypresses). Nowadays, Rabenschlag knows to put mobile-first, but I think we can forgive him for not doing that twelve months before Flash Lite 2.0 would bring .flv support to mobile devices…
  • Indicate how much of the video content you’d seen, because we live in an era of completionists who want to know they’ve seen it all.
  • Depend on no third-party frameworks/libraries: just vanilla HTML, CSS, and JavaScript.

Let’s get started.

Reverse-engineering

Handbrake converting 19.flv to MP4 format.
At this point I noticed that the videos had no audio tracks: the giggling and other sound effects must be stored separately.

I grabbed the compiled .swf file from archive.org and ran it through SWFExtract and an online decompiler: neither was individually able to extract all of the assets, but together they gave me a full set. I ran the .flv files through Handbrake to get myself a set of .mp4 files instead.

Two starting frames from the videos, annotated to show that they are not aligned to the same point.
In what appears to have been an exercise in size optimisation, the original authors cropped the videos differently depending on how much space was needed (e.g. if the subject stretched her arms above her head, more space would be required). Clearly, some re-alignment would be needed.

Seeing that the extracted video files were clearly designed to be carefully-positioned on a static background, and not all in the exact same position, I decided to make my job easier by combining them all together, and including the background layer (the picture of the bed) as a single video. Integrating the background with the subject meant that I was able to use video editing software to tweak the position, which I imagined would be much easier than doing so in code. Combining all of the video clips into a single file provides compression benefits as well as making it easier to encourage a browser to precache the entire video to begin with.

Four layer design. From bottom to top: web page, video (showing woman on bed), (transparent) canvas, cursor (shaped like a feather).
My design called for three “layers” above my web page: the video, a transparent (and usually hidden) canvas showing the hit areas for debugging purposes, and the feather-shaped cursor.

The longest clip was a little over 6 seconds long, so I split my timeline into blocks of 7 seconds, padding each clip with a freeze-frame of its final image to make each exactly 7 seconds long. This meant that calculating the position in the finished video to which I wanted to jump was as simply as multiplying the (0-indexed) clip number by 7 and seeking to that position. The additional “frozen” frames acted as a safety buffer in case my JavaScript code was delayed by a few milliseconds in jumping to the “next” block.

Davinci Resolve showing composition of the actress onto the bed in a timeline.
I used onion-skinning to help “line up” the actress with herself as I composited her onto the bed in a single unified video of 7-second blocks.

An additional challenge was that in the original binary, the audio files were stored separately from the video clips… and slightly longer than them! A little experimentation revealed that the ends of each clip lined up, presumably something to do with how Flash preloads and synchronises media streams. Luckily for me, the audio clips were numbered such that they mostly mapped to the order in which the videos appeared.

Once I had a video file suitable for use on the web (you can watch the entire clip here, if you really want to), it was time to write some code.

Video timeline showing that each 7-second block is comprised of the original clip plus padding, atop a background layer of the bed and each clip's associated audio.
It feels slightly wasteful that over 50% of the resulting video clip is a freeze-frame, but modern video compression algorithms like H.264 reduce the impact considerably and the resulting video file is about the same size as its more-optimised predecessor.

Regular old engineering

The theory was simple: web page, video, loop the first seven seconds until you click on it, then animate the cursor (a feather) and jump to another seven-second block before jumping back or, in some cases, on to a completely new seven second block. Simple!

Of course, any serious web development is always a little more complex than you first anticipate.

Game map illustrating transition between the states of Axe Feather 2021.
I extracted from the .swf 34 distinct animated clips, which I numbered 0 through 33. 6 and 30 appeared to be duplicates of others. 0 and 33 are each two “idling” states from which interaction can lead to other states. Note that my interpretation of the order and relationship of animation sequences differs from the original.

For example: nowadays, putting a video on a web page is as easy as a <video> tag. But, in an effort to prevent background web pages from annoying you with unexpected audio, modern browsers won’t let a video play sound unless user interaction is the reason that the video starts playing (or unmutes, if it was playing-but-muted to begin with). Broadly-speaking, that means that a definitive user action like a “click” event has to be in the call stack when your code makes the video play/unmute.

But changing the .currentTime of a video to force it into a loop: that’s fine! So I set the video to autoplay muted on page load, with a script to make it loop within its first seven-second block. The actress doesn’t make any sound in block 0 (position A) anyway; so I can unmute the video when the user interacts with a hotspot.

For best performance, I used window.requestAnimationFrame to synchronise my non-interactive events (video loops, virtual cursor repositioning). This posed a slight problem in that animationframes wouldn’t be triggered if the tab was moved to the background: the video would play through each seven-second block and into the next! Fortunately the visibilitychange event came to the rescue and I was able to pause the video when it wasn’t being actively watched.

I originally hoped to use the cursor: CSS directive to make the “feather” cursor, but there’d be no nice way to animate it. Comet Cursor may have been able to use animated GIFs as cursors back in 1997 (when it wasn’t busy selling all your personal information to advertisers, back when that kind of thing used to attract widespread controversy), but modern browsers don’t… presumably because it would be super annoying. They also don’t all respect cursor: none, so I used the old trick of using cursor: url(null.png), none (where null.png is an almost-entirely transparent 1×1 pixel image) to hide the original cursor, then position an image dynamically.  I usegetBoundingClientRect() to allow the video to resize dynamically in CSS and convert coordinates on it represented as percentages into actual pixel values and vice-versa: this allows it to react responsively to any screen size without breakpoints or excessive code.

Once I’d gone that far I was able to drop the GIF idea entirely and used a CSS animation for the “tickling” motion.

Woman on bed in idle position B, with hotspots highlighted on each arm, her hed, her chest, her stomach, her hips, the top of her legs, and the bottom of the leg that's extended straight below her.
The hotspot overlay was added as a debugging feature but I left it in the final version. Hold the space bar to highlight hit areas.

I added a transparent <canvas> element on top of the <video> on which the hit areas are dynamically drawn to help me test the “hotspots” and tweak their position. I briefly considered implementing a visual tool to help me draw the hotspots, but figured it wasn’t quite worth the time it would take.

As I implemented more and more of the game, I remembered one feature from the original that I’d missed: the “blowaway”. If you trigger block 31 – a result of tickling the woman’s nose – she’ll blow your cursor off the screen. It’s particularly fun because it subverts the player’s expectations of their user interface: once you’ve got past the surprise of your cursor being a feather, you quickly settle in to it moving like a regular cursor… but then control’s stolen from you and the cursor vanishes! (Well I thought it was cool… 16 years ago.)

A woman blows a feather away from her face.
Sometimes tickling her nose will make her blow your feather off the screen. That’ll show you.

So yeah: that was my project this weekend.

I can’t even begin to explain why anybody would do this. But I did it. If you haven’t already: go have a play. And if you’re interested in how it works, the source code’s free for you to explore.

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Further Lessons in Wood-Fired Pizza

Earlier this month, I made my first attempt at cooking pizza in an outdoor wood-fired oven. I’ve been making pizza for years: how hard can it be?

Charred non-stick coating on a tray.
Do you know what temperature Teflon (PTFE) burns at? I do. Now. (About 470ºC.)

It turned out: pretty hard. The oven was way hotter than I’d appreciated and I burned a few crusts. My dough was too wet to slide nicely off my metal peel (my wooden peel disappeared, possibly during my house move last year), and my efforts to work-around this by transplanting cookware in and out of the oven quickly lead to flaming Teflon and a shattered pizza stone. I set up the oven outside the front door and spent all my time running between the kitchen (at the back of the house) and the front door, carrying hot tools, while hungry children snapped at my ankles. In short: mistakes were made.

Pizza dough balls under cling film on a black marble surface.
I roped in Robin to help make dough, because he’s damn good at it. And because I had a mountain of work to do today.

I suspect that cooking pizza in a wood-fired oven is challenging in the same way that driving a steam locomotive is. I’ve not driven one, except in simulators, but it seems like you’ve got a lot of things to monitor at the same time. How fast am I going? How hot is the fire? How much fuel is in it? How much fuel is left? How fast is it burning through it? How far to the next station? How’s the water pressure? Oh fuck I forget to check on the fire while I was checking the speed…

Digital infared thermometer display reading 246ºC.
“How hot is it?” is a question I’m now much better at answering. Thanks, technology! This oven’s still warming up. (!)

So it is with a wood-fired pizza oven. If you spend too long preparing a pizza, you’re not tending the fire. If you put more fuel on the fire, the temperature drops before it climbs again. If you run several pizzas through the oven back-to-back, you leech heat out of the stone (my oven’s not super-thick, so it only retains heat for about four consecutive pizzas then it needs a few minutes break to get back to an even temperature). If you put a pizza in and then go and prepare another, you’ve got to remember to come back 40 seconds later to turn the first pizza. Some day I’ll be able to manage all of those jobs alone, but for now I was glad to have a sous-chef to hand.

Pizza in an oven, fire raging behind and jumping onto the floor of the oven.
Also, if too much of the flour you use to keep your peel moves slick falls into the oven, it catches fire. Now you have two fires to attend to.

Today I was cooking out amongst the snow, in a gusty crosswind, and I learned something else new. Something that perhaps I should have thought of already: the angle of the pizza oven relative to the wind matters! As the cold wind picked up speed, its angle meant that it was blowing right across the air intake for my fire, and it was sucking all of the heat out of the back of the oven rather than feeding the flame and allowing the plasma and smoke to pass through the top of the oven. I rotated the pizza oven so that the air blew into rather than across the oven, but this fanned the flames and increased fuel consumption, so I needed to increase my refuelling rate… there are just so many variables!

A salami and basil pizza with olives on half.
You know what, though? Everything turned out pretty-much okay.

The worst moment of the evening was probably when I took a bite out of a pizza that, it turned out, I’d shunted too-deep into the oven and it had collided with the fire. How do I know? Because I bit into a large chunk of partially-burned wood. Not the kind of smoky flavour I was looking for.

But apart from that, tonight’s pizza-making was a success. Cooking in a sub-zero wind was hard, but with the help of my excellent sous-chef we churned out half a dozen good pizzas (and a handful of just-okay pizzas), and more importantly: I learned a lot about the art of cooking pizza in a box of full of burning wood. Nice.

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Article posted at UTC on .

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