Cooltools by KKModify

2026-01-16 00:00:00

The Best Flight Values for 2026

Keeping your variables open is the best way to snag good flight deals and Dollar Flight Club has released data on your best cheap flight bets in 2026 from the USA. Internationally, besides the cities they list in Canada, Mexico, and Central America, you’ll probably find good prices to Madrid, Lisbon, and Medellin. Domestically, the top 5 are Ft. Lauderdale, Orlando, Chicago, Pittsburgh, and Dallas.

World Cup Hotel Price Spikes

Got a friend living in a city that’s hosting World Cup matches? Hotel rates in the USA are up 50 to 100% in some cities around the event, but with so many international travelers skipping USA travel these days, Mexico is seeing price spikes that are in the stratosphere. According to this report, rates are up 405% in Guadalajara, 466% in Monterrey, and in properties not already sold out, 961% in Mexico City.

Best Packable Daypacks

One of the most useful travel items you can buy yourself or someone else is a backpack holding 20 liters or so that scrunches down into a little pouch for packing. Once you get to where you’re going, it’s great for sightseeing, hiking, or grocery shopping. I’ve used many of them over two decades, but the available ones I’d give the highest recommendation to for important features (like a water bottle holder) and durability are from Osprey, Eddie Bauer, and this Chicobag one made from recycled plastic bottles.

European Ski Bargains

Each year I update my blog post on the cheapest places to ski in Europe and even with a declining greenback, these places will still cost you a fraction of the lowest-priced options stateside. I’m heading to one in Slovakia in February that’s €49 per day for 50 kilometers of runs and I highlight others for that price down to €23 per day in locations stretching from Slovenia to Poland to Georgia. Prices off the slopes are great too, usually with better food and drink overall.

A weekly newsletter with four quick bites, edited by Tim Leffel, author of A Better Life for Half the Price and The World’s Cheapest Destinations. See past editions here, where your like-minded friends can subscribe and join you.

2026-01-15 00:00:00

I used to be a Teletubby and a Cyberman. Now I design AI personalities and characters. The link is creating fictional characters that can connect with audiences (and users). We are rapidly moving into a world where we talk to technology—I make those conversations more natural and intuitive.

• Connect with me here: https://www.linkedin.com/in/jeremiahkrage/
• See more about my AI Character work: https://workwith.jeremiahkrage.com/
• A current AI Character-led product I’m helping to design: https://www.vessa.ai/

PHYSICAL

• An Actor’s Companion: Tools for the Working Actor – Seth Barrish
  Even if you’re not a performer, this is full of actionable approaches to challenging assumptions, getting out of ruts, and breaking up routines so that you bring a fresh creative approach to problems.
• Wabi-Sabi for Artists, Designers, Poets & Philosophers – Leonard Koren
  If you struggle with perfectionism or have a tendency to overwork ideas, this offers a different perspective. If you’ve ever found yourself deeply frustrated by AI that gets close to what you want, but just keeps missing the mark, you may find the celebration of imperfection and incompleteness is a great antidote.
• Anker Vertical Mouse
  I was getting a lot of wrist issues using a traditional mouse. This eliminated that completely. It only took about 5 minutes to get used to the new orientation.

DIGITAL

• AI for Humans – YouTube show and podcast making AI practical, accessible, and keep it light-hearted. Hosts are both from the media backgrounds, so this skews towards creative outputs. A quick and fun way to keep on top of the latest developments in and applications of AI. I highly recommend the YouTube version as they share lots of visuals.
• DeepLearning.ai – this is a brilliant resource for upskilling in AI. Founded by the delightful Andrew Ng (Google Brain, Baidu, Stanford Uni.) who teaches many of the courses. If you’re interested in building with AI and have some technical facility, this is a great place to learn more from leaders in the field. Most courses are free (with paid certificates).

INVISIBLE

“Now is the moment to explore these new tools and shape them for the future of storytelling.” — Darren Aronofsky (filmmaker, ‘Pi’ ‘Requiem for a Dream’) talking about AI

2026-01-14 00:00:00

HOW TRAGEDIES OF THE GREAT DEPRESSION INFLUENCED SINGER WOODY GUTHRIE

Woody Guthrie and the Dust Bowl Ballads
by Nick Hayes
Harry N. Abrams
16, 272 pages, 8.6 x 8.6 x 1.2 inches

Buy on Amazon

A graphic novel of the life and early career of singer Woody Guthrie, Woody Guthrie and the Dust Bowl Ballads is a sepia and dusty brown, linocut illustrated graphic novel. It begins with harrowing tales of his youth – his mother burning his father with coal oil, resulting in her being shipped off to the Hospital For The Insane, the collapse of his Pampa hometown as the plummeting price of wheat ruined the local and national economy, and Guthrie traveling roads and hopping trains during the Great Depression. His encounters with snake oil salesmen and carnival acts, hobos, and migrant workers, as well as his exposure to the music of Cajuns, Native Americans, Xit cowboys, and Appalachian folksong performances at barn dances ultimately inspire him to take up the fiddle and write original tunes.

Along with Woody’s story, the book provides a powerful backstory on the environmental conditions of the Dust Bowl region, including the displacement of Native Americans through the push of white settlers on native lands, agriculture techniques that resulted in the tearing up of the bluestem grasses to plant wheat, an unprecedented drought, and the glut of wheat causing the exodus of settlers to California. This all brings to life the tragic unraveling of the fragile Dust Bowl ecosystem and brings about the hardscrabble lives and dust-blown landscape that Guthrie integrates into his music. Drifting through America with his guitar and knocking on doors begging for work, he reluctantly stumbles into an uncomfortable fame with a radio show, leading to national recognition. The book ends with the creation of his masterpiece, “This Land Is Your Land”, with the now-redacted communist lyrics included, which became America’s unofficial National Anthem.

Woody Guthrie and the Dust Bowl Ballads is a somber, bittersweet tale of the singer/songwriter, and the harrowing tragedy of the Dust Bowl years. It’s a weighty, handsome book. Lovely, broad-stroked illustrations bring to life the desperate struggle of 1930s midwestern America. – S. Deathrage

LIBRARY OF LUMINARIES LAUNCHES THEIR BITESIZE BIO SERIES WITH JANE AUSTEN AND VIRGINIA WOOLF

Jane Austen: An Illustrated Biography and
Virginia Woolf: An Illustrated Biography
by Zena Alkayat (author) and Nina Cosford (illustrator)
Chronicle
2016, 128 pages, 6.2 x 6.2 x 0.8 inches

Virgina Woolf:

Buy on Amazon

Jane Austen:

Buy on Amazon

Hand-written text, whimsical illustrations and lots of fun facts are combined into Library of Luminaries’ new series of Illustrated Biographies. The series launches with small, foil-embossed hardcover books about two famous authors – Jane Austen and Virginia Woolf. (The series will release Coco Chanel and Frida Khalo in August.) This collection is an easy way to learn about the lives and careers of classic authors – it’s like Cliff Notes for literature lovers.

Through bits about family histories, friendships, inspirations, career highlights and low points, the reader gets a glimpse into Austen and Woolf’s worlds. I knew some stuff about both authors’ backgrounds, but wow! I still learned a lot! I had no idea that Austen only earned the meager sum of 140 British pounds in royalties for two years’ worth of the sales for Sense and Sensibility. And that once Austen’s identity was made public, the Prince Regent contacted her directly because he was a huge fan of her books. She went on to dedicate Emma to him. I also didn’t know that Woolf loved dogs and had a pet marmoset named “Mitz,” nor did I know that it took 15 years for the book The Voyage Out to sell 2000 copies. We know these women had tragic lives, but they had joys too. I finished these books with a sigh. – Carole Rosner

Books That Belong On Paper first appeared on the web as Wink Books and was edited by Carla Sinclair. Sign up here to get the issues a week early in your inbox.

2026-01-13 00:00:00

Best how-to-make-fun

The Art of Game Design

This is by far the best guide ever written for designing games. All kinds of games, simple and traditional, but of course video games, too. This fat book is packed with practical, comprehensive, imaginative, deep, and broad lessons. Every page contained amazing insights for me. The more I read and re-read, the more important I ranked this work. I now view it as not just about designing games, but one of the best guides for designing anything that demands complex interaction. My 13-year-old son, who, like most 13-year-olds, dreams of designing games, has been devouring its 470 pages, telling me, “You’ve got to read this, Dad!” It’s that kind of book: You begin to imagine your life as a game, and how you might tweak its design. Author Jesse Schell offers 100 “lenses” through which you can view your game, and each one is a useful maxim for any assignment. — KK

• We must be absolutely clear on this point before we can proceed. The game is not the experience. The game enables the experience, but it is not the experience. This is a hard concept for some people to grasp.
• Lens #1: The Lens of Essential ExperienceTo use this lens, you stop thinking about your game and start thinking about the experience of the player. Ask yourself these questions:
  • What experience do I want the player to have?
  • What is essential to that experience?
  • How can my game capture that essence?If there is a big difference between the experience you want to create and the one you are actually creating, your game needs to change: You need to clearly state the essential experience you desire, and find as many ways as possible to instill this essence into your game.
• Let’s review the list of game qualities we have picked out of these various definitions:Q1. Games are entered willfully.
  Q2. Games have goals.
  Q3. Games have conflict.
  Q4. Games have rules.
  Q5. Games can be won and lost.
  Q6. Games are interactive.
  Q7. Games have challenge.
  Q8. Games can create their own internal value.
  Q9. Games engage players.
  Q10. Games are closed, formal systems.
  The thing that really seems to bother people about calling puzzles games is that they are not replayable. Once you figure out the best strategy, you can solve the puzzle every time, and it is no longer fun. Games are not usually this way. Most games have enough dynamic elements that each time you play you are confronted again with a new set of problems to solve. Sometimes this is because you have an intelligent human opponent (checkers, chess, backgammon, etc.), and sometimes it is because the game is able to generate lots of different challenges for you, either through ever-advancing goals (setting a new high score record) or through some kind of rich challenge-generation mechanism (solitaire, Rubik’s Cube, Tetris, etc.)
  Specifically, that the player puts their mind inside the game world, but that game world really only exists in the mind of the player? This magical situation, which is at the heart of all we care about, is made possible by the game interface, which is where player and game come together. Interface is the infinitely thin membrane that separates white/yang/player and black/yin/game. When the interface fails, the delicate flame of experience that rises from the player/game interaction is suddenly snuffed out. For this reason, it is crucial for us to understand how our game interface works, and to make it as robust, as powerful, and as invisible as we can.
• Experiences without feedback are frustrating and confusing. At many crosswalks in the United States, pedestrians can push a button that will make the DON’T WALK sign change to a WALK sign so they can cross the street safely. But it can’t change right away, since that would cause traffic accidents. So the poor pedestrian often has to wait up to a minute to see whether pressing the button had any effect. As a result, you see all kinds of strange button-pressing behavior: some people push the button and hold it for several seconds, others push it several times in a row, just to be safe. And the whole experience is accompanied by a sense of uncertainty — pedestrians can often be seen nervously studying the lights and DON’T WALK sign to see if it is going to change, because they might not have pushed the button correctly.What a delight it was to visit the United Kingdom, and find that in some areas the crosswalk buttons give immediate feedback in the form of an illuminated WAIT sign that comes on when the button has been pushed, and turns off when the WALK period has ended! The addition of some simple feedback turned an experience where a pedestrian feels frustrated into one where they can feel confident and in control.
• For all the grand dreams of interactive storytelling, there are two methods that dominate the world of game design. The first and most dominant in videogames is commonly called the “string of pearls ” or sometimes the “rivers and lakes ” method. It is called this because it can be visually represented like this:The idea is that a completely non-interactive story (the string) is presented in the form of text, a slideshow, or an animated sequence and then the player is given a period of free movement and control (the pearl) with a fixed goal in mind. When the goal is achieved, the player travels down the string via another non-interactive sequence, to the next pearl, etc. In other words, cut scene, game level, cut scene, game level…Many people criticize this method as “not really being interactive, ” but players sure do enjoy it.
• If 10 choices sounds kind of short, and you want to have 20 opportunities for three choices from the beginning to the end of the story, that means you’ll need to write 5,230,176,601 outcomes. These large numbers make any kind of meaningful branching storytelling impossible in our short life spans. And sadly, the main way that most interactive storytellers deal with this perplexing plethora of plotlines is to start fusing outcomes together.
  
• Problem #3: Multiple Endings DisappointOne thing that interactive storytellers like to fantasize about is how wonderful it is that a story can have multiple endings. After all, this means the player will be able to play again and again with a different experience every time! And like many fantasies,
  the reality tends to disappoint. Many games have experimented with having multiple endings to their game story. Almost universally, the player ends up thinking two things when they encounter their first ending in one of these.1. “Is this the real ending? ”
  2. “Do I have to play this whole thing again to see another ending?”There are exceptions, of course. Star Wars: Knights of the Old Republic featured a novel type of player choice — did they want to play the game on the “light side ” or “dark side ” of the force — that is, with good or evil goals? Depending on which of the paths you choose, you have different adventures, different quests, and ultimately a different ending. It can be argued that this isn’t really a case of two different endings on the same story, but two completely different stories — so different that they are each equally valid.
• Problem #4: Not Enough VerbsThe things that videogame characters spend their time doing are very different than the things that characters in movies and books spend their time doing:
  Videogame Verbs: run, shoot, jump, climb, throw, cast, punch, fly
  Movie Verbs: talk, ask, negotiate, convince, argue, shout, plead, complain
  Videogame characters are severely limited in their ability to do anything that requires something to happen above the neck. Most of what happens in stories is communication, and at the present time, videogames just can’t support that. Game designer Chris Swain has suggested that when technology advances to the point that players can have an intelligent, spoken conversation with computer-controlled game characters, it will have an effect similar to the introduction of talking pictures. Suddenly, a medium that was mostly considered an amusing novelty will quickly become the dominant form of cultural storytelling. Until then, however, the lack of usable verbs in videogames significantly hampers our ability to use games as a storytelling medium.
• As the character tries to overcome the obstacles, interesting conflicts tend to arise, particularly when another character has a conflicting goal. This simple pattern leads to very interesting stories because it means the character has to engage in problem-solving (which we find very interesting), because conflicts lead to unpredictable results, in other words, surprises (which we find very interesting), and because the bigger the obstacle, the bigger the potential for dramatic change (which we find very interesting).
  Are these ingredients just as useful when creating videogame stories? Absolutely
  and maybe even more so.
• One focus group I witnessed was trying to determine where the average mom drew the line about what videogames were “too violent ” for their kids. Virtua Fighter was okay, said the moms, Mortal Kombat was not. The difference? Blood. It wasn’t the actions that were involved in the games that bothered them (both games are mostly about kicking your opponent in the face), but rather the graphic bloodshed in Mortal Kombat that is completely absent in Virtua Fighter. They seemed to feel that without bloodshed, it was just a game — just imaginary. But the blood made the game creepily real, and to the moms in the interviews, a game that rewarded bloodshed felt perverse and dangerous.

A large pile of silliness

Silly Putty by the pound

Silly putty — even the newer varieties like the thinking putty here — has long been sold in small amounts in the classic plastic egg. But this stuff is best enjoyed in bulk. The technical name of this now generic substance is Dow Corning Dilatant Compound 3179. Five pounds of it is…. well, pretty silly. Ten pounds of the stuff is enough to transfer a whole page of comics, or to make a humungous superball, or to lighten up the dour faces in a boardroom after being parcelled out. The surprise for our family has been never ending amusement of watching a huge ball of this compound slowly melt over whatever you set it on, like the blob from outer space. Hand out some at your next birthday party. Don’t ask why. — KK

Once a week we’ll send out a page from Cool Tools: A Catalog of Possibilities. The tools might be outdated or obsolete, and the links to them may or may not work. We present these vintage recommendations as is because the possibilities they inspire are new. Sign up here to get Tools for Possibilities a week early in your inbox.

2026-01-12 00:00:00

Our subscriber base has grown so much since we first started nine years ago, that most of you have missed all our earliest recommendations. The best of these are still valid and useful, so we’re trying out something new — Retro Recomendo. Once every 6 weeks, we’ll send out a throwback issue of evergreen recommendations focused on one theme from the past 9 years.

How to do great work

Last year, Paul Graham, a renowned programmer, entrepreneur, and venture capitalist known for co-founding Y Combinator, wrote an essay titled “How to Do Great Work.” He covered a wide range of topics, from choosing what to work on to cultivating originality. This week, I came across Peter Schroeder’s terrific visual representation that maps out the main ideas from Graham’s essay. It’s useful even if you don’t read the essay. — MF

Productive meetings

This 1-minute video by John Cleese is all you need to know about how to have productive (vs unproductive) meetings. One minute! Applies to zoom meetings, too. — KK

A guide for daily “professional” interactions

How to professionally say is a list of things you might feel like saying at work — along with a more professional alternative for how to express them. Example: Instead of saying “That sounds like a horrible idea,” you can say “Are we confident this is the best solution, or are we still exploring alternatives?” While some of the phrasing might not flow naturally for me, I’m inspired to adopt more neutrality and directness in my professional language. — CD

Good advice for applying for jobs

I am a big fan of YouTuber Ali Abdaal. In this video about Resumes he condenses a whole book of information presenting the best advice for applying for a job into 30 minutes. It’s the same advice I gave to my kids when they started working. Whether you are looking for a job, or hiring someone, this is worth your time. Forward it to a young person. — KK

A Two-Minute Burnout Checkup

This Two-Minute Burnout Checkup helped me understand the primary factors of chronic stress and burnout. I can sense physically when I am nearing burnout, but before this I didn’t understand that it’s more than just feeling exhausted. This checkup evaluates six sources of chronic stress: workload, values, reward, control, fairness, and community. You rate your level of stress from 0–10 for each one and add up the numbers to get a score out of 60. This could be especially helpful if you track your score over time. Here’s a link to the survey. — CD

Ryan Holiday’s career wisdom

Writer and entrepreneur Ryan Holiday has had a varied career, from Hollywood agent assistant to marketing director for American Apparel. He’s put together a list of 37 pieces of hard-fought career advice that’s useful for anyone who works. Examples:

• Find what nobody else wants to do and do it. Find inefficiency and waste and redundancies. Identify leaks and patches to free up resources for new areas. Produce more than everyone else and give your ideas away.
• Always say less than necessary. Saying less than necessary, not interjecting at every chance we get — this is actually the mark not just of a self-disciplined person, but also a very smart and wise person.
• Your creative output, your personal relationships, and your social life—balancing all three is impossible. You can excel in two if you say no to one. If you can’t, you’ll have none.
• When people compete, somebody loses. So go where you’re the only one. Do what only you can do. Run a race with yourself.

— MF

2026-01-10 00:00:00

Get Arrow

Drawing from neuroscience, evolutionary biology, and Buddhist philosophy, Arrow explores how storytelling became humanity’s defining superpower, and reveals how the stories we tell ourselves about ourselves can either liberate or imprison us.

Core Principles

We Are Story Animals

Different cognitive faculties — consciousness, emotion, episodic memory, mental simulation, language, and theory of mind — converged in human evolution to create a new ability: storytelling. This capacity became a tool for communication, a mechanism for self-regulation, and a means of social connection that shaped who we are.

The Self Is a Narrative Construct

What we call our “self” is not an objective reality but a story we continuously tell ourselves. Our identity comprises interconnected narratives: our origin story, our present identity, and our anticipated future. As Gadea writes, “Story is a tool that became its inventor. What we call our Self is a Story.”

Story as Medicine and Poison

The book’s title references a Buddhist parable about a monk struck by a poisoned arrow. Like that arrow, our storytelling ability is dual-natured — it enables powerful human connection and meaning-making, but it can also foster discontent, self-deception, and suffering when we forget our stories are just stories.

A Path Beyond Narrative Dependency

Rather than abandoning stories entirely, Gadea suggests developing a different relationship with them — constantly remembering that they are constructions rather than fixed truths. This awareness opens a pathway to being steadier, stronger, more connected, and more content.

Try It Now

1. Notice one story you’re telling yourself right now about your life (e.g., “I’m not successful enough” or “Things always go wrong for me”).
2. Write it down as if it were a plot summary for a movie about someone else.
3. Ask yourself: “What evidence would I need to write a completely different story about the same events?”
4. Practice saying to yourself: “This is a story I’m telling, not necessarily the truth.”
5. Notice how your emotional relationship to the situation shifts when you hold the story more lightly.

Quote

“The stories we don’t pay enough attention to are the stories we tell ourselves about ourselves. My practice isn’t about losing those stories — it’s about constantly remembering that they are just stories.”