Category Archives: General

Books Are My New Albums

The perfect song is “Have You Forgotten” by The Red House Painters.

Not the official album version on “Songs for a Blue Guitar”, but the version that only appears on the soundtrack for Cameron Crowe’s 2001 film Vanilla Sky, of which the song only appears for a brief moment during the film: six minutes in, lasting only 20 seconds, and tucked into the background under banter between Cameron Diaz and Tom Cruise. Easily missed if you’re not paying attention.

So, how did I find it?

Some time around 2003, I was on a family trip to Oregon. My brother and I were driving through Oregon’s lush mountains, trailing my parents and grandparents who were navigating. It was a beautiful day in a beautiful space. Tired of the CDs we had been spinning, I decided to pop in the Vanilla Sky soundtrack. It was my favorite film at the time.

I came to own the CD after hearing a song at the end of the film that moved me profoundly. The lyrics were foreign and I never heard sonics like it. Certain it must be on the soundtrack, I tracked a copy down and scoured. Not Radiohead. Not Peter Gabriel. Not Afrika Bambaataa. Of those artists I’d never heard of: not two seconds into the Red House Painters track it sounded too structured — skip — but Sigur Rós sounded close. It was not quite right, but I was tracking the right scent.

Fumbling around the early-‘00s internet, Sigur Rós’s website listed a slew of live recordings, one of which was the track used for Vanilla Sky’s finale; what would become known as “Untitled 4” or “Njósnavélin” or “The Nothing Song”.

Needless to say, I had never listened to the full Vanilla Sky soundtrack before. I had only purchased it on the chance of obtaining “The Nothing Song”.

So, a time came during our trek to Oregon that I was sick of the other albums I’d brought, and decided to give the Vanilla Sky soundtrack a spin.

“Have You Forgotten” came on and the world became a painting. After the first listen, I listened again. And again. And again. It was perfect. Lyrically, sonically perfect.

This version is not available via traditional streaming services like Apple Music or Spotify. I could — maybe should — encourage you to purchase the Vanilla Sky soundtrack, but I’ve done the leg work to discover this gem, so I’ll save you the trouble. Just this once:

The perfect song. Full stop.

Music discovery as we knew it is a thing of the past. Radio is still a powerful tool to promote Top 40 and the latest singles. Deep cuts are just a click away. A playlist will introduce you to bands and tracks of particular themes or influence. But the archeological process of obtaining limited releases, a band’s first EP, or a compilation for a single track have been fast removed in the day and age of streaming. Albums can be thrown away after a track or two in instead of considered an investment; not pilfered or appreciated for their concept or the one magic gem hidden before Track 1, tucked away at Track 7, or 10 minutes after the last song. It‘s free to listen and time is money.

That’s not to say it’s a bad thing. Quite the contrary. I would have killed to have all of this music at my disposal as a teenager. Money was tight but my craving for new music was not. $5 would score me a new Punk-O-Rama compilation with 20 tracks. $10 would buy an album at Best Buy — maybe not the one I was looking for, but anything was better than nothing. $20 for something more desirable but a little harder to find at Tower Records. I recall finding The Appleseed Cast’s Low Level Owl: Vols 1 and 2 at two different stores in Berkeley — my crowning music discovery bounty.

For better or worse, those days are long gone. Even a local punk band can release music on Apple Music for $20 and a few clicks. It’s (virtually) all there.

If the music discovery itch has been scratched, what is the next frontier? Truth be told, it’s quite possibly the oldest form of media discovery out there: Books.

Amongst the centuries of tomes, the mountains of paper and ink, books are ripe with treasure. One that speaks to me may not speak to you. Chapter 4 is not Track 4. Jumping to the good part is not an option. Short of a collection, books must be taken in as a whole. And that whole is an investment up front. Choose wisely. And if you’re short on dough, hopefully your choice nets out a sentence or two that you can hang your hat on. Something meaty. A compass. An inspiration. A goal.

It’s all very obvious, but for someone who lived and breathed music and didn’t take up reading until age 29, it feels like rediscovering an old me. I’ve read 16 books this year. 12 in 2017 and 24 in 2016. Some are good. Some are bad. I finish all of them. Even a bad book hones my hunt for something perfect. All wash over you. All are an experience. All cost money and time and patience.

I’m still searching for the perfect book; the perfect passage; the perfect sentence. Hear you me, it will be done. (It won’t.) But until then, discovery is back in my life. The hunt is on. Thankful, I have not forgotten.

Oh, and the perfect album is Elliott’s “Song in the Air”.

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Polygon: Captain Toad feels like “Nintendo experimenting within the Mario Universe”

Polygon’s Michael McWhertor on the Quality Control podcast with host Dave Tach:

For a few years now, I have promoted and evangelized Captain Toad: Treasure Tracker. To the point where I think even people at Nintendo are like, “hey, send this guy the Captain Toad review code first.”

I love the game. I love the character. It’s a great little puzzle game. It was one of those things that was released on the Wii U — which didn’t have a ton of great games, but this was a real standout in my opinion — and not a lot of people owned the Wii U. [Captain Toad] was something that was overlooked by a lot of people. It’s a fun little package. Now that it’s out on Nintendo Switch and Nintendo 3DS, people have no excuse not to go play Captain Toad: Treasure Tracker.

In 2013, Nintendo released Super Mario 3D World, and excellent platformer for the Wii U. In that game, there were a handful of levels featuring Captain Toad. You gave up control of Mario, Peach, Luigi, etc., and you played as Captain Toad in these tiny little diorama-style levels where Toad would walk around with a headlamp and a heavy backpack.

He couldn’t run and jump. He could basically just walk around levels. He could fall down things. There were switches you could pull to raise him up on platforms. But each one was just this cute, clever little puzzle level that felt like Nintendo experimenting within the Mario Universe.

Mike and I share similar feelings about Captain Toad: Treasure Tracker. The game itself is a charming, clever, puzzle game. But beyond that, it’s a wonderful expansion on a more realized Mushroom Kingdom. And it was great to see the character return in Super Mario Odyssey.

I’ve said it once and I’ll say it again, Captain Toad is genius.

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Kotaku: Octopath Traveler Is Nothing Like Final Fantasy VI

Jason Schreier:

The producer of the gorgeous upcoming Switch game Octopath Traveler made waves this week with a quote in which he said that mechanically it was a spiritual successor to Final Fantasy VI. Other people have made similar comparisons. But Octopath is nothing like Final Fantasy VI—it’s more like a SaGa game, with some experimental ideas that work, and some that really don’t.

I’ve played a little over an hour of the Octopath Traveler demo and am chipping away at some initial thoughts. One of those thoughts — contrary to both Takahashi-san and Schreier — is that Octopath Traveler feels like Final Fantasy X.

Each character has an individual relationship, conflict, and narrative, the visual turn-based system is akin to that of FFX, and there is an odd mismatch between the writing style and voice acting; the writing feels high-brow English juxtaposed to the modern American voice acting. While it’s certainly not the same problem, it is reminiscent of FFX’s infamous laughing scene.

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Bloomberg Businessweek: The Legend of Nintendo

Felix Gillette:

More symptoms emerged in November, when the company released the NES Classic Edition, a miniaturized, rebooted version of the Nintendo Entertainment System, the console that had made the company a household name in Europe and America in the ’80s. The updated version was carefully calibrated to rekindle the latent passion of lapsed fans, with 30 of the most popular NES games built in. (Unlike the original, there were no cartridges.) From the start, supplies were scarce. Stores were constantly sold out, so customers lined up for hours to await shipments of even a few units. But what seemed to some like a supply-chain disaster looked to others like a calculated strategy. At $59.99 per unit with no additional games, NES Classics were a low-margin item; much more important for the company was to whet the world’s appetite for Nintendo games in preparation for the Switch. To that end, Nintendo and DeNA also released Super Mario Run for iOS and Android, giving hundreds of millions of people an opportunity to help Mario scamper across their smartphones or tablets.

The strategy worked. By the time the Switch arrived in the spring of 2017, legions of people had been enticed to reconnect with their favorite childhood game characters on a proper Nintendo device. Over the next fiscal year, the Switch accounted for $6.8 billion of revenue. Nintendo’s existing handheld platform, the 3DS, kicked in an additional $1.7 billion, and sales of smartphone games rose 62 percent, generating $354.9 million.

This is a fun write-up on the current state of Nintendo — from its headquarters to the injection of young talent to its now iconic business ebbs and flows. To toot my own horn, I think it works as a macro companion piece to my micro view in Big-N’s Big Year.

Needless to say, I’ll forever be tickled by major news outlets covering Nintendo and video games at large. It’s a no-brainer considering the size of the industry, but for someone who grew up in a time where video games were a niche, nerdy hobby, it’s extraordinary to watch a company like Nintendo become as culturally significant and observed as Disney.

(Link via MacStories)

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PS4 Fortnite Accounts Are Blocked On The Nintendo Switch

Luke Plunkett, Kotaku:

Fortnite players who had an Epic account on PS4 and have tried to play the new Nintendo Switch version of the game are reporting that they’ve run into a problem: they’re not allowed to use the same account.

That’s right, if you have played the game on PlayStation 4—even just once—that’s enough to have got your account locked to that system. It goes the other way too; if you link your Epic account on Switch, you’re locked out on the PlayStation 4.

This is maddening, but it comes as no surprise. To Sony’s credit, cross-network/crossplay is fairly new to the console world. That said, as I noted in my piece Sold on Cross-Network Play, “this is not a technical limitation. It is political.” The fact that Fortnight crossplay is supported across Switch, iOS, Android, Xbox One, macOS, and PC tells you as much.

In Cross-Network Play is “the Next Logical Step”, I noted the following:

Sony claims their reluctance of opening cross-network play is out of protection of their community. I think that is a fair stance, but is the Sony community any less toxic than others? I think the real fear is losing an amount of ability to lock in players to PlayStation 4. It’s the same case made for exclusive games and content; the latter I vehemently oppose.

Looking at Sony’s sell through numbers, it’s easy to see where their comfort of lock-in comes from. They likely have an overwhelming majority of the console base on their platform. Here’s a visual from my piece Some Numbers that Illustrate Nintendo’s Switch’s Massive Success:

Sony is going to run that lead dry of security loyalty to their platform.

But the majority of consoles aside, the masses are playing Fortnight. And if they aren’t on PS4, they are everywhere else. If that’s not enough for Sony to about-face, I don’t know what is.

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Switch 2nd Unit Set

Sam Byford, The Verge:

Nintendo is now selling a cheaper Switch package in Japan that doesn’t include the TV dock. The “Switch 2nd Unit Set” is ostensibly aimed at households that already have a Switch hooked up to the family TV and therefore don’t need a second dock, but it could also be an option for players who only plan to use the system as a handheld device.

Home console?

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Ben Thompson: ‘Humans Run on Stories’

Ben Thompson on The Talk Show with John Gruber podcast:

Stories matter. Humans run on stories.

I look at my own site and the articles that often resonate are not the ones with brilliant analysis or something clever. It’s the ones that tell a story.

People know it implicitly, but have a very difficult time articulating it. If you’re selling to consumers, there’s so much that goes into it that doesn’t go on a spreadsheet. That sort of stuff matters.

I subscribe to Ben’s Stratechery Daily Update newsletter. I read a lot of it and consider Ben’s insights priceless. But it’s typically his free weekly articles that grab me.

His most recent, ‘Tech’s Two Philosophies’, had me reeling. After reading it over morning coffee, I raced to work to share it with my team.

I shoehorned Ben’s ideas into something relevant to our work. It was a stretch, but I don’t think overly so. Regardless, I was so moved by the story in the piece that it woke me up better than any cup of coffee.

Humans run on stories. They absolutely do.

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Polygon’s God of War Review: ‘You don’t find collectibles; you find entire chunks of story’

Chris Plante, Polygon:

All of which is to say that the game is relaxed to the point of bordering on indifferent. Many of God of War’s most interesting surprises are optional, branching from the game’s sturdy throughline: secret rooms giving way to hidden caverns winding to towering statues or belligerent dragons — which I would have missed altogether had I just followed my compass to the next objective. You don’t find collectibles; you find entire chunks of story tucked behind a mossy wall or under a tropical island. God of War, like last year’s Nier: Automata and The Legend of Zelda: Breath of the Wild, rewards the player who inspects its immaculately designed world as if it were a hidden object game.

This reminds me of Star Fox 64. A player could “beat” Star Fox 64 without ever visiting over 50% of the areas/missions created for the game. (“Beat” in quotes as the path the player uncovers indicates a level of completeness, ultimately leading to a truer ending.)

It’s one thing to sprinkle trinkets throughout a game. It’s another to build entire stories and environments that may never be found. God of War sounds remarkable.

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Building Zero Counts

Since launching Zero Counts in 2014, I’ve spent a number of hours overhauling the ‘Chunk’ WordPress theme into a design of my own.

In 2017, inspired by reading Huffington Post Highline’s ‘Millenials Are Screwed’ feature on iPhone X, I decided it was time for Zero Counts to introduce a mobile theme — an OLED-first one at that. (Also, I needed to beat Gruber at his own game.) But I had no idea how or where to start.

My workflow for editing Zero Counts’ theme consisted of searching for the theme’s style.css on my host, copying the file to my desktop, guessing the appropriate CSS changes, copying the file back to my host via FTP, and crossing my fingers.

Meanwhile, my day-to-day work was increasingly spent in Sublime Text, Sourcetree, Github, and leveraging a CI/CD (Jenkins) — most of which had been foreign to me months prior. I was learning the benefits of local testing, change tracking, and automated deployments.

In a fit of panic, I realized how risky it was to be iterating on the Zero Counts theme in production. Whoops!

With my desire to launch a mobile theme, so grew my desire to overhaul my development workflow. At the top of 2018, I got cracking.

Goals

  • Test locally
  • Track changes
  • Break out child theme
  • Create mobile version
  • Deploy automatically to production
  • Bonus: Develop on iOS

Tools

Theme Research

Before doing anything, I needed to get a bit more comfortable with how WordPress themes worked. WIRED’s Jake Spurlock kindly pointed me in the direction of WordPress.org’s theme documentation.

Local Testing

Luckily, the documentation also included details on setting up a local development environment.

More specifically, I needed to set up MAMP (Macintosh, Apache, MySQL, and PHP) on my Mac. This provides, among other things, a local MySQL database for a local WordPress install to read from. WordPress.org has a great article about setting up MAMP here.

Ultimately, I needed to:

  1. Download and install MAMP. (The free version should do the trick.)
  2. Set up MAMP Settings. (My set up show Apache Port: 8888, Nginx Port: 7888, MySQL Port: 8889, Web Server: Apache, Document Root: ~/Sites)
  3. Start MAMP and create a database. (From the phpMyAdmin, I created a database called zerocounts_net.)
  4. Download and install WordPress locally in ~/Sites/[site name].

Because Zero Counts has existing posts, I exported them from my production database on ZeroCounts.net. To import them into the newly created local database, from the WordPress dashboard:

  1. Click Tools
  2. Click Export
  3. Select ‘All content’
  4. Click Download Export File

An XML file with all of my posts was downloaded to my computer and ready to be uploaded to my local PHP database. With MAMP servers started, I entered phpMyAdmin, selected my newly created database, clicked the ‘Import’ tab, chose the XML file that was downloaded from ZeroCounts.net, and specified format: XML. This injected all of my existing posts (plus lot of other stuff) into the local MySQL database.

At this stage, my local site had all of my content, but certainly didn’t look like Zero Counts. I still needed to inject my custom theme. Before that, I wanted to begin tracking changes.

Change Tracking

I won’t go into the technical details of git repositories (repos) as I’m still getting my sea-legs. What I will say is the primary use case is to see a log of code changes and comments associated with the commits for quick investigation, reversions, and collaboration.

Git repositories can exist locally and/or remotely. In the case of Zero Counts, I develop locally using the local WordPress install I configured above, commit (save with a comment to myself) my changes, then push (upload) those code changes and commit details to my remote git repository. I can then go to another device — say my iPad (more on this in a bit) — pull (download) those code changes and commits, and be running/viewing the same code locally on another device. Think of it as a very manually, albeit safe, way of syncing my website’s code between devices.

GitHub is seemingly the standard when it comes to remote git repositories; however, with a free account, one can only create public repositories. I.e. my code would be publicly viewable. Private repositories are available on GitHub to paid accounts starting at $7/mo.

As a hobbyist, paying for a private repo that I may not use frequently seemed silly. Luckily, there is a solution in Atlassian’s Bitbucket. For a novice like myself, seeing little difference between GitHub and Bitbucket, Bitbucket offers free private repositories and therefore a membership from me!

Atlassian also offers a robust Git GUI for macOS and Windows called Sourcetree. There’s some peace of mind using a single developer’s sibling software and service together. As a bonus, I already had some familiarity with Sourcetree from my day-to-day work.

With a Bitbucket account created, I downloaded and installed Sourcetree. I created a new local repository in directory /wp-content/themes/ titled [theme]-child, where [theme] is the name of my default theme. (This will make sense soon.) I checked the “create remote repository” box and signed into my Atlassian account. This created an empty repository on my Bitbucket account for my WordPress child theme.

Child Theme

WordPress themes are great starting places. Chances are, a WordPress user will want to make changes to the theme’s style. With most themes, users can make small appearance tweaks (colors, fonts, etc.) using the simple Appearance editor. Some users many want to go a bit further with how their theme looks and begin digging into the actual CSS.

Some WordPress themes allow for custom CSS that overrides the default theme’s style.css via the Appearance editor. However, there may be bits of the theme that don’t exist within style.css and users will need to poke around in the theme’s many PHP files. This can be a bit overwhelming if you have no familiarity with code. If one is able to successfully make changes to the PHP files, be careful. Changes to themes are typically overridden with regular theme updates. Instead of editing the theme directly, one should create a child theme from the default theme.

In an FTP client, copy the contents of folder /wp-content/themes/[theme] into the new local directory /wp-content/themes/[theme]-child.

Open the new child theme’s style.css file and edit the initial comment as follows:

/*
Theme Name: [Theme] Child
Theme URI: https://domain.com/wp-content/themes/[theme]-child/
Description: [Theme] Child Theme
Author: [Your name]
Author URI: https://domain.com/wp-content/
Template: [theme]
Version: 1.0
License: GNU General Public License v2 or later
License URI: http://www.gnu.org/licenses/gpl-2.0.html
Tags: [comma separated tags]
Text Domain:  [theme]-child
*/

With a child theme established, the child theme will adopt core PHP updates from the default theme without interrupting your CSS and miscellaneous PHP changes.

Push Child Theme to Bitbucket

Now that I’ve added my child theme to my local repository, it’s time to push it up to Bitbucket.

I use the following terms remind me how to use git:

  • Commit: Save with notes
  • Push: Upload
  • Pull: Download (We’ll come back to this.)

Sourcetree recognizes the addition of the files I copied from my hosting server. In Sourcetree, I clicked the ‘Commit’ button, left a note such as “Initial commit”, checked the ‘Push to remote repository’ box, and committed. This committed (save with notes) and pushed (upload) the files to Bitbucket. The entire batch of files included the note “Initial commit” (or whatever comment I left).

From here on, any changes I make to the files in [theme]-child automatically appear in Sourcetree, ready for commits and pushes.

I try to make it a practice to commit any single change I’m satisfied with. Occasionally, multiple theme changes will be included in a single commit, because I’m human and forget to save and note every little thing I’m doing.

Automatic Deployments to Production

At this point, I was able to make changes and test locally. Once satisfied with my changes, I was able to commit and push these changes to Bitbucket for change tracking and safe keeping.

Now, if you are truly comfortable with your changes, you can set up an automatic deployment to your production server. Note that a safer practice is to set up a staging server to push to first. This ensures your changes are reflected to your liking on the web, saved in the event something detrimental occurs to your local server, and allows you to build on several changes before deploying to production. For Zero Counts, I feel safe with my only testing locally and pushing directly to production. The changes I’m making are usually minimal and the audience size doesn’t necessitate that I be coy about changes as they hit my site. I leverage my small readership for design feedback and make small, visible tweaks often.

Bitbucket includes a feature called Pipelines that will detect when changes have been pushed to my Bitbucket repository, triggering a push of the changed files from Bitbucket to my production server.

For a thorough step-by-step tutorial on setting up Bitbucket Pipelines with WordPress.org, look no further than Peter Brumby’s excellent article, ‘Continuous delivery for WordPress using Bitbucket Pipelines’.

To enable Pipelines, I needed to provided Bitbucket with my SFTP username and password.

  1. Sign into Bitbucket
  2. Select my repo
  3. Choose ‘Settings’
  4. Under PIPELINES, choose ‘Environment variables’
  5. Add SFTP username: Type variable = SFTP_username, Type value = [SFTP username]. Click Add.
  6. Add SFTP password: Type variable = SFTP_password, Type value = [SFTP password]. Check the Secured box. This will obfuscate the SFTP password on Bitbucket.com for additional security. Click Add.

Once I set up my SFTP login credentials as variables, I needed to write instructions for Pipelines to sign into my SFTP and copy the changes I pushed from my local repo to my remote repo ultimately to my SFTP, thus, to ZeroCounts.net.

Pipelines are controlled with a YAML (.yml) file. This essentially provides Pipelines with a set of instructions once a ping from a webhook is detected. (A webhook is like a push notification for servers.)

The YAML file for Zero Counts looks like this:

image: php:7.0.27

pipelines:
  default:
    - step:
        script:
          - apt-get update
          - apt-get -qq install git-ftp
          - git ftp push --user $SFTP_username --passwd $SFTP_password --verbose sftp://ftp.[host]/home/[username]/[domain]/wp-content/themes/chunk-child

The gist of these instructions allows Git to log into my SFTP and copy only the changed files to my production server. The aforementioned article by Peter Brumby explains these steps in more detail.

Mobile Theme

The above is all well and good for desktop theme development, but mobile proved to be a different beast.

I use Jetpack for WordPress analytics and my mobile theme. Jetpack comes with a default mobile theme that can be altered, much like the default WordPress theme. I installed Jetpack on my local install of WordPress from the local WordPress dashboard. The mobile theme lives at ~/Sites/[domain]/wp-content/plugins/jetpack/modules/minileven/theme/pub/minileven.

To set up the remote repo for the mobile theme, I copied the contents of minileven/theme/pub/minileven from my local WordPress install to a folder on my desktop. I then deleted the minileven folder and created a new local (+ remote) repo from Sourcetree named ‘minileven’ in /wp-content/plugins/jetpack/modules/minileven/theme/pub/ and copier the contents of the copied directory back into it. It seems a little redundant, but I wasn’t sure how to initialize the existing minileven directory as a local repo. Once the files were copied back in, I ran an initial commit to the remote repo. Now I was able to track changes to the mobile theme.

Remember the bit above about updates to WordPress themes not affecting the child-theme? Jetpack does not support child themes. After a Jetpack update, a customized mobile theme is overridden by Jetpack’s default theme. (I’m sure I can find what controls WordPress child themes, but that’s another project for another day.) Therefore, after accepting a Jetpack update, the custom mobile theme needs to be pushed back up to Bitbucket to override the default Jetpack theme that sits on the production server.

In this case, there are two types of deployments:
1. Regular mobile theme updates (like my desktop theme updates)
2. Replacing Jetpack’s default theme after a Jetpack update

Remember that YAML file I set up for desktop theme updates? A nearly identical set of instructions can be used to cover item 1. Item 1 is the default pipeline that will run with regular pushes to the remote repo.

For item 2, I needed to create a custom pipeline that I can manually trigger from Bitbucket. I cleverly named this pipeline “full-deploy-after-jetpack-update”. I only run this after a Jetpack update.

image: php:7.0.27

pipelines:
  default:
    - step:
        script:
          - apt-get update
          - apt-get -qq install git-ftp
          - git ftp push --user $SFTP_username --passwd $SFTP_password --verbose sftp://ftp.[host]/home/[username]/[domain]/wp-content/plugins/jetpack/modules/minileven/theme/pub/minileven
  custom: # Pipelines triggered manually
    full-deploy-after-jetpack-update:
      - step:
          script:
          - apt-get update
          - apt-get -qq install git-ftp
          - git ftp init --user $SFTP_username --passwd $SFTP_password --verbose sftp://ftp.[host]/home/[username]/[domain]/wp-content/plugins/jetpack/modules/minileven/theme/pub/minileven

The difference between these pipelines is push vs init. Because the Jetpack update wipes out my custom theme, it also wipes out the git tracking sitting on my production server. The git files need to be replaced and therefore re-initialized. (Initialization is still a little beyond my full comprehension, but I basically understand.)

Now that I was tracking changes of the mobile theme, I could begin work on my OLED-first (black/dark) mobile theme. As of this post, it’s still a work in progress, but I’m pretty satisfied.

iOS Development

With having a mobile theme in place, I began thinking about how neat it would be to develop on a mobile device. This is far from perfect, but it’s gotten me out of binds a few times now.

A little app called Working Copy allows me to latch on to my remote Bitbucket repos, make changes to the files, and push those changes up to Bitbucket, thus triggering a deploy to my production server.

The free version of Working Copy can be upgraded to the Enterprise version. Bonus: The dark icon sticks around.

I wanted to be able to use a full iOS compatible IDE and wanted Coda to be that tool. After paying for Coda for iOS, I found I was mistaken. It doesn’t seem to offer the ability to latch on to remote git repos like the desktop app does. Someday…

Next

This whole endeavor was my January 2018 project. I’ve only recently been able to sit around and write this all out.

There are certainly steps I’ve missed and efficiencies to be found. If you are following along and find glaring issues or gaps, let me know. I’m happy to help and update this post. If you find issues with this process, I’m also all ears. The biggest potential issue being the lack of a staging environment. I’ll put that next on my docket.

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