Criticism
Criticism of personas falls into three general categories: analysis of the underlying logic, concerns about practical implementation, and empirical results (cf. Chapman and Milham, 2006; Rönkkö, 2005).
In terms of scientific logic, it has been argued that because personas are fictional, they have no clear relationship to real customer data and therefore cannot be considered scientific. Chapman & Milham (2006) described the purported flaws in considering personas as a scientific research method. They argued that there is no procedure to work reliably from given data to specific personas, and thus such a process is not subject to the scientific method of reproducible research.
For practical implementation, Portigal (2008) has claimed that personas give a "cloak of smug customer-centricity" while actually distancing a team from engagement with real users and their needs. He argued that real-world stories and customer immersion would better serve designers to understand the needs of users.
A fourth problem with using personas is that some organisations are not ready for the methodology. Creating hypothetical users with real names, stories and personalities may seem unserious and whimsical to some people, teams or organisations.
Read more about this topic: Persona (marketing)
Famous quotes containing the word criticism:
“However intense my experience, I am conscious of the presence and criticism of a part of me, which, as it were, is not a part of me, but a spectator, sharing no experience, but taking note of it, and that is no more I than it is you. When the play, it may be the tragedy, of life is over, the spectator goes his way. It was a kind of fiction, a work of the imagination only, so far as he was concerned.”
—Henry David Thoreau (1817–1862)
“Nothing would improve newspaper criticism so much as the knowledge that it was to be read by men too hardy to acquiesce in the authoritative statement of the reviewer.”
—Richard Holt Hutton (1826–1897)
“Cubism had been an analysis of the object and an attempt to put it before us in its totality; both as analysis and as synthesis, it was a criticism of appearance. Surrealism transmuted the object, and suddenly a canvas became an apparition: a new figuration, a real transfiguration.”
—Octavio Paz (b. 1914)