Tips To Do Casino Copywriting. Gambling has been a source ...
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We are looking for Betting and Casino Copywriters!
Hey! I am looking for serious gambling and casino freelance copywriters to write copy about the things they actually know about in the world of Slots and Casino Games. If you don’t play them or have industry background this is a waste of your time and ours! If you do and you can turn a phrase and follow a well sculptured brief then I’d love to hear from you. Rates are good and negotiable for the best writers to deliver good work. Can be anonymous writers or names and fully bio’d – depending on requirements. Properly commissioned work for a large global performance marketing group is available immediately. Always best to have examples of previous work but not essential if you are just starting out but have all the knowledge and skills required. We require: - Knowledge of any of the following topics - Casino Brand Reviews - Writing for SEO purposes - Sports betting - Slot Reviews - Table Games of all types We have a particular volume requirements for Casino and Sportsbook reviews. Payment via bank transfer. Starting rate 0.5c plus + negotiable depending on experience. So if you’ve got the right skills and perhaps have previously written at a high standard for the gambling and casino industry. We need more than one so don’t be shy. Thanks! Please send me a DM to get in touch. The Judge
Advice regarding copywrite law (I think) and ownership of a casino game. (UPDATE)
Here is the original post for reference: https://www.reddit.com/AusLegal/comments/7537li/advice_regarding_copywrite_law_i_think_and/ So we got a table made up for the internal games expo we had, and our game basically 'won' it, in that we recieved the best feedback, which is good. I recently was asked by one of our casino managers to write up the rules and procedures for the game itself, and I basically did that instead of dealing for the entirety of my 8 hour shift. There is another game which recently came out which is similar to mine, in that it uses the almost exactly the same equipment and has a very similar premise, just the side bets are less interesting (in my opinion), so I basically used the rules and procedures from that and edited it to apply to my game. They also mentioned that they might be submitting it to the gaming governing body as a variant of this other game, to expedite the process. They then sent me forms labelled 'Full Invention Disclosure" which basically look like the patent application forms, and asked me to fill 'what I could', and also asked that I include a detailed description of how and when I came up with the game. I worry that I am 'painting myself into a corner', so to speak, by playing ball, but if they are intending to act in good faith, I don't want to ruin my chances by being difficult. They did again mention that we would have a discussion at a later stage about what our percentage of the commercial royalties would be, but again I am not entirely satisfied with the informality of these discussions. All in all I'm still just looking for advice or pointers anyone might have, I do plan to discretely get a hold of my work contract for reference. Excuse the haph-hazard nature of this post, I'm trying to include any information relevent to this situation as I remember it. Thanks in advance for any advice shared, and if you have any questions that might be pertinent I'd be happy to elaborate.
Advice regarding copywrite law (I think) and ownership of a casino game.
Hey everyone, So I know next to nothing about law, and was hoping people could give me some advice with regard to how to proceed with a situation in my near future. Without being too specific, I work as a casino dealer, and they recently had a competition to come up with an idea to improve the business (casino game, process innovation, customer attraction, etc.). My team won with a casino game, and they seem quite likely to be 'putting it on the floor'. During previous discussions with mid-upper management a verbal assure was given we would be given "a small percentage" of the commercial value of the game (as in when the game is leased/sold to other casinos). We are in the process of getting a layout and table made up (the company is doing all of this, we just directed the layout designer) and we will be dealing the game for some upper management as a sort of 'exhibition'. Basically I am looking for advice on how best to proceed in this situation. I am not expecting to get much as I assume just by entering the competition we were signing over whatever we come up with, and casinos aren't notorious for their charitable nature, but I feel if I ask at the right time or in the right way it might be possible for them to 'come good' on assigning us a percentage. I have no specific questions at the moment just feel it's always good to get advice from people who know more than you. TL;DR: Came up with casino game to win 'innovation competition', looking for advice regarding retaining some ownership rights. Thanks for reading.
Removed comments/submissions for /u/beardedhermit89
Hi beardedhermit89, you're not shadowbanned, but 5 of your most recent 97 comments/submissions were removed (either automatically or by human moderators).
Comments:
g2i5oph in GamerPals on 22 Aug 20 (0pts):
Get him really mad and just tell you the only reason you play with guy friends is to sleep with them. 😎😎😎
g1fpsz5 in passive_income on 14 Aug 20 (1pts):
I have another question. I noticed Chaturbate has three different revenue programs and they each have their own hyperlink but when I use it, it doesn't have my logo and colors, it just has...
Submissions:
fp0zm8 in copywriting on 25 Mar 20 (1pts):
Need an apprentice?
eo7z87 in gtaonline on 13 Jan 20 (1pts):
ISO one person who already has done all the prep mission for casino heist.
doyoq5 in discordapp on 29 Oct 19 (1pts):
Seeking extraordinary individuals to join an online fraternity.
Hi all, The company I work with is looking for an English language copywriter with preferably experience in the casino/slotmachine niche. It would be a big order. The content has to be written according to a specific template/storyline and each article will need their own keywords. If this sounds interesting, please send me a message and I'll get back to you. Also if you have any references from companies or other freelancers I'll be happy to hear from you. Kind regards, Note: I don't work really often so it can take up to a couple of days before I reply.
MetaReviews is looking for a Lead Content Manager for the US market Position: Lead Content Manager for MetaReviews Base salary level: USD 2,500 per month Bonuses/options: TBD Location: USA Trial period: 2 month Who are we? MetaReviews is a leading online sports betting affiliate brand originating from Eastern Europe. MetaReviews is the GO-TO place for online gamblers to obtain timely and complete intelligence on online sportsbooks and casinos, which is based, in part, on the collective wisdom of the gamblers themselves. Our company has developed an AI-powered software platform which,
collects massive amounts of data (e.g. user-generated reviews, odds, etc) across the internet
validates the information and analyzes billions of data changes per day
visualizes the intelligence (e.g. sentiment map, bookmakers score, odds comparison).
For the US we are soon to launch this new brand, named MetaReviews. We do this as the US has started legalising online gambling in several states and more states are expected to follow suit. Hence, this represents a great opportunity for us. We are looking for an entrepreneurial minded (native speaking) Lead Content Manager to oversee the content generation on MetaReviews. The ideal candidate has a background as Content Manager in sports media or journalism, and has personal experience in online sports betting. Your Key Responsibilities
Content strategy development, adjustment and implementation
Recruitment and management of outsourced writers and content editors
Copywriting and editing of content, creation of briefs, samples articles for outsourced staff
Competitor media analysis
New content ideas generation and implementation
Publishing of the finalised content
Interview celebrity sports people
Ideal candidate has,
Entrepreneurial spirit with great communication skills
Journalistic background in online sports betting (experience in online casino is a plus)
Organizational skills: great organizer of remote working copy-writers and orchestrating content generation from many fronts
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[OFFER] Freelance content writer with 5 years of experience available at a price easy on your budget
Hi! Hope you're all healthy and safe. As the title suggests, I've been writing for 5 years. I've worked on a wide diversity of topics— health, skincare, personal care, food, fashion, entertainment, online casinos, travel, music and gaming to name a few. I’m known for my speedy deliveries coupled with the right incorporation of the client’s voice into the content. You can find some of my best work here. Here are the services I offer:
Blog/Article writing
Copywriting
PR content - Press releases, Company profiles
College applications and resumes
I'm offering $0.03 per word for my services. So, in short, here's what you get out of this deal:
An experienced writer at a cheap price
Fast deliveries
In-house experience as I'm available during office hours
Unparalleled personalisation of the content as per your goals (be prepared to answer a lot of questions)
The Dark Side of Direct Response Copywriting (LONG POST)
1. Into the void...
It wasn't til a couple years ago that I realized how much money is in financial and health direct response copywriting. At first I was like "Holy shit, this is awesome, it's the perfect job for me, I'll make so much money and have fun doing it." But the more I learned about it, the more I realized it's an extremely...gray area industry. And in many cases...dangerous. Not in a fake way either. More like...copywriting can ACTUALLY kill people, or potentially make them suicide, or otherwise screw up their lives. Such as by bankrupting their retirement accounts, or discouraging them from seeking life-saving medical treatment by promoting alternative medicines. It took a couple years to really grasp the implications. In fact, I suspect lots of aspiring copywriters (and even active copywriters) don't even realize how deepdark it gets. So in this post we're going to examine the dark side of direct response copywriting. We'll do it mostly through the lens of unregulated financial copywriting. Similar themes apply to health and similar niches. But first...disclaimer... I'm NOT claiming to be an ethical "gatekeeper" or have some kind of moral high ground. I think we should all try to find our limits and stick to them...and this is merely my attempt at finding mine. But to be really clear. I'm no moral authority, and this post isn't shaming or policing anyone. I ain't your dad. He went to get smokes a long time ago. I'm just trying to follow a line of reasoning and see where it goes. If it resonates with anyone else—good. If not, that's fine too. So kindly don't crawl up my ass if you feel attacked, lol. But make no mistake, direct response copywriting is a loaded gun.
2. Investing crash course
Alpha (the Greek letter α): A strategy's ability to beat the market, or its "edge." Performance on a risk-adjusted basis. An alpha of zero means your returns are exactly proportional to the risk taken. Alpha above zero means you are beating the market, aka getting higher than expected returns in proportion to your risk. Another way to think about alpha: the value that a portfolio manager adds or subtracts from a fund's return. Efficient Market Hypothesis (EMH): States that all assets sell for their true intrinsic value, and that there is "no free lunch." In other words, there is no way to consistently beat the market, because all info is priced into current asset prices. Put another way, consistent alpha generation is impossible unless you are insider trading, regardless of strategy used (fundamental analysis, technical analysis, etc). Thus it is impossible to consistently beat the market by expert asset selection or market timing. The only way to obtain higher returns is to purchase riskier investments. Technically, the EMH is only a "hypothesis". The mere existence of market bubbles means it is an imperfect theory. If all assets truly always sold for their intrinsic value, bubbles would never happen. Which they clearly do. However... Practically speaking, the EMH is "as good as true" for people like you and me. And for financial Gurus. Because even professional fund managers fail to beat the market over long enough time horizons. This is WELL documented in detail in books like A Random Walk Down Wall Street. And if Wall Street experts with all the research and resources in the world...can't beat the market...how the fuck do you expect to? For most investors, the ONLY winning investment strategy is long-term index fund holding. Anything else is speculation and not investing. The upshot is this: wallstreetbets and day traders etc. are operating PURELY on superstition and cognitive bias. And Gurus are no more able to predict the market than professional fund managers, who on average fail to do so. Some tiny proportion of daytraders will make money over the long run, due to sheer statistical probability. For example...Peter Lynch. However, they incorrectly attribute their success to skill rather than mere luck, thus leading others to the incorrect belief that they can beat the odds.
3. Free will
When philosophers discuss free will, it's typically in the context of determinism. In other words, are our thoughts and actions pre-determined by physical events on the quantum/atomic level? Or, is consciousness supra-physical or meta-physical and therefore we really DO have free will? In my opinion, all that matters is that we ACT as if we have free will, so practically speaking the answer is yes. However, it is far more interesting to ask the question from a psychological point of view, rather than philosophical. Which almost never happens. When you do that, you realize most people don't really have free will. Because they go through life ruled by their unconscious desires. Repeating the same destructive behaviors over and over, as if in a trance. For example, when you piss away hours scrolling through Reddit...and wonder where the time went, and vow you'll get your shit together tomorrow. Or when you guzzle a sleeve of Oreos and be like "That wasn't worth it" but then you do it again next week...and the week after that... When you repeat destructive behaviors and only "snap out of it" and regret it afterwards, you acted unconsciously. And when you act unconsciously...you do not actually have free will.
4. What direct response copywriting REALLY is
It is the weaponized opposite of psychoanalysis. (Think Freud) Psychoanalysis aims to make more of the unconscious...conscious. By increasing your awareness of your unconscious desires, you increase your ability to overcome them. Whereas direct response copywriting aims to provoke action by actively manipulating unconscious desires and complexes. You try to get the prospect to enter the trance-like state where they buy based on [https://en.wikipedia.org/wiki/Thinking,_Fast_and_Slow#Two_systems](Kahneman's System 1), bypassing or overcoming the more rational system 2. You are basically trying to put them into an Oreo-guzzling state of hypnosis...except with the goal of them buying your product rather than eating a sleeve of Oreos. You are basically reducing their free will.
5. Why does direct response copy seem scammy?
Three reasons.
Since direct response copywriting is "weaponized anti-psychoanalysis", it is only natural that profit-seeking copywriters target people's deepest and most personal insecurities and desires. Because those desires have the highest profit potential. That is why the biggest direct response niches are Health, Wealth, and Relationships/Sex. Everyone knows that real personal change is not possible in these areas without grueling self-work. There are NO shortcuts to true self improvement. But what sells best? Easy, fast, and effective shortcuts! Therefore, the most profitable direct response niches inevitably entail selling the most implausible "shortcuts" to fix people's deepest personal problems. In other words the profit motives PERFECTLY incentivize selling the solutions LEAST likely to succeed.
The other thing direct response copywriting is, is a tool of value creation. The perceived value of a product or service is equal to its real/intrinsic value PLUS the value created by its marketing. This is why people pay more for Smart Water than Walmart water. So what happens when a bunch of direct response copywriters build a business? They aim to create as MUCH value as possible through marketing because that is their area of expertise. And correspondingly, they put as little resources and money as possible into product development. Therefore nearly all the value has to be created through marketing, because the actual product has no intrinsic value.
Furthermore...ask yourself which professions people are preconditioned to perceive as esoteric, secretive, authoritative, and awe-inspiring? The answer is doctors in white coats, and slick finance guys in suits, driving Ferraris and handling big bucks. Medicine and finance. Health and Wealth. We are programmed to trust these authority figures...which direct response marketers know, and exploit. Truly an fortunate coincidence, for marketers, that our social programming in this regard perfectly lines up with the most profitable niches!
Let's switch gears. In this section I'll mainly quote material from an old blog called Green Laser Reviews. It was written first-hand by a guy who worked in the industry, and saw it change over time.
Up until the mid-1990′s, the financial newsletter industry was a true niche sector. The product lines of most publishers incorporated anywhere between one and a few dozen monthly newsletters that were direct-marketed to a limited “universe” of newsletter buyer names. They cost anywhere between $39 and $79 dollars, “discounted” from “published” prices of $59-129...newsletter budgets were built around the assumption that each new subscriber was worth $6 in renewal revenues a year, $6 in advertising, and $6 in list rental income. [In those days], financial newsletters provided you with well-reasoned, non-mainstream insights into how the markets work, what under-observed trends might provide opportunity, and which of the hundreds of thousands of publicly traded companies has a fair shot at going up in value. I’d even go as far that most of the financial coverage breakthroughs of the 1990′s and early 21st century were trail-blazed by newsletter editors: International investing, high-technology investing, and even the bubblicious popularity of junior mining stocks were standard newsletter fare at a time when you had to subscribe to the Asian Wall Street Journal to find out how Tokyo closed the previous day... Unless you hit the promotional jackpot, it was a by and large risky and hardscrabble way to make money. You hoped to break even on your direct marketing cost via your promo revenues (one- and two-year subscription offers), hoped to cover overhead with list rental and advertising income, and made a modest profit on renewals. This all changed in 1995 when XX...launched a fax service called Rim of Fire. It cost $5,000 a year and leveraged the speed of information transmission. Even the most efficiently timed printed newsletter took 3 days to a week to make it from the editor’s desk into the hands of the subscriber. Much could happen to share prices in between… which forced a responsible editor to limit his picks to medium-to long-term recommendations. The fax service promised to alert investors to short-time opportunities. It appealed to the more venturesome and active “traders,” rather than investors. Customers who knew what they were doing and didn’t mind spending a few thou on new sources for trading ideas. Even though they represented just a small percentage of a newsletter’s readership, the new sales they generated through these high-priced trading services went straight to the bottom line of each newsletter business. A “file” of 40,000 newsletter subscribers spending $59 on an annual subscription (and yielding $18 a head in secondary revenues) might yield 1,000 trading service members paying $2,500 per year. Most of it pure profits to the publisher. The model was so successful that by 1999, everyone with a smidge of an idea regarding investing, a kitchen table, and a fax modem had entered the newsletter business. By the time the Internet bubble popped in 2000, this model had run its course. Luckily, there was a magic cure for publishers. The harnessing of email as a push marketing tool.
In summary, financial newsletters were more or less legit, once upon a time.
There was a period when financial newsletters were at the cusp of financial information. We blazed a trail for retail investors to recognize and profit from international investing… played an influential role in the democratization of capital.
7. A Slippery Slope
From 2000 to 2010, the industry increasingly found new ways to upsell customers to higher and higher priced services and grow its margins. At the same time, the value of publishing regular, unhyped information declined due to the rise of the Internet. It was no longer possible to attract subscribers with pure information. Selling opportunities became even more crucial. Then publishers made one key breakthrough. In earlier years, services were developed by:
organic processes that used to underlie the development of a legitimate trading service...[which could] take more than a year of testing, back-testing, beta-testing until someone started writing a promo
Green Laser Reviews credits one particular promo with establishing this new paradigm:
In August 2010, however, the launch of MicroQuake Alert marked what perhaps may be the most questionable service—marketed with the most misleading and intentionally deceptive promotional copy and data...
Essentially, publishers realized that short-circuiting the expensive and slow R&D process...meant they could now fire out as many promos as their copywriters could write! In other words, they could decouple—and even entirely reverse—the normal process of the guru developing and testing a hypothesis, and then a copywriter promoting it. Now, the copywriter developed an idea first, and the guru would retroactively find investments which fit the idea. And this led to the popularity of "backtesting" as a form of proof. The problem is...anybody who has taken statistics class knows the concept of "overfitting" a model to past data. Which is exactly what "backtesting" is. You can always find patterns in data if you try fitting enough different models. But backtesting doesn't mean patterns have any predictive value. Past behavior is no guarantee of the future. Yet, that's exactly what most system promos are now. Conceits based on the fundamentally worthless premise of backtesting. So the "old" way of thoroughly beta testing and validating an investment system was thrown out, along with whatever meager chance it brought of actually identifying a true alpha opportunity—however short lived it may have been.
8. Present Day
In 2019, it's probably safe to say that MOST financial promos are the same type as "MicroQuake." What was considered an ethical lapse and aberration in 2010, is now business as usual.
“At this level of the industry, you nod and clap and pretend copywriters are geniuses no matter what fraudulent schemes they cook up… or you find yourself sidelined. Another former editor I discussed this with hit the nail on the head when he said: ‘XX (as you know) and the rest of these publishers, have no interest in a long-term relationship with the reader, or if the reader makes money. Their entire business model is designed around churning the readers and no concern for readers' profits. If a trader does well, all the better. If not, they can make him look good anyway. It’s awful.’ “It didn’t used to be that way. We worked our rear ends off for decades to turn a snake-oil industry into a viable alternative information source. So I take it very personally when I see third-rate, no-talent grifters pushing non-products, fantasy track records, criminally overblown promises.
Furthermore, efforts to rein in overblown promises backfired in an ironic way. Publishers adopted rules and hired legal editors to enforce ethical standards—but these rules were almost immediately co-opted into exact guidelines on skirting the limits of what is legal!
While these (and other) internal regulations and processes were originally implemented by publishers, holding companies, and their legal departments to introduce higher ethical standards to their businesses, individual publishers, marketers, and copywriters have by now adapted to the restrictions by circumventing what you may consider the spirit of the law and the internal regulations (“provide honest products and marketing”) by literally applying the letter of the law.
And structural factors within the publishers themselves, keeps the cycle going:
the reliance on paid-up-front, instant-gratification, multi-thousand-dollar products to generate double-digit profit margins has created extreme pressure to come up not only with ever-new promotions, but with ever-new products....the cash-flow dynamics themselves are such that each successful campaign contains the seeds of next fiscal year’s profit disaster (due to carry-over refunds and profit-based bonuses). That means the potential and frequently very real cash outflows have to be replaced with ever more shrill and fraudulent copy.
So essentially, what was once an industry selling a contrarian worldview and relatively harmless investment ideas, is now...
KNOWINGLY selling a jumble of buzzwords and unrelated, untested track record as a PROVEN “program” to make ANYONE a millionaire in a year or less [it] not only bespeaks of mere disrespect… but utter disdain for the customer, his or her dreams and fears. These days, using the letter of the law to circumvent the spirit of the law is extremely profitable. But there’s no honor in it. It’s bad juju. It’s bad for your soul.
And copywriters are square in the middle of it. It is now business as usual for copywriters to generate the initial investment idea, regardless of how little financial knowledge they have.
More than ever, this has created a kind of corporate tunnel vision that puts the creator of cash flow, the rainmaker, the copywriter, at its epicenter.
The picture is grim, but let's list all possible arguments which could justify the current state of affairs. This post is already long as fuck, so I am leaving out detailed analysis of each argument.
Fat Tails: At the tail end of statistical distributions, there are "bumps" where outlier events occur more often than probability says they will. Therefore if you pursue unlikely investment strategies, sooner or later you will get some "alpha" by hitting upon a fat-tail event. Therefore copywriters are justified in advertising unlikely or even fabricated investment ideas.
It's not actually a lie or scam, as long as all legally necessary hedging language is included.
Newsletters are mitigating damage. Even though people would make more with index funds, they want to actively trade. Following a guru will help them lose less than they otherwise would.
Libertarian argument: People are adults and can make up their own minds. You are merely giving people a choice they did not have before, and nothing is wrong with choice.
People aren't idiots. They know full well these types of predictions are unlikely to come true.
Copywriters don't decide what has value, customers do. If they don't like what you're offering, they don't buy.
Copywriting is about describing a product in the best possible light, similar to how you wouldn't put shitty photos of yourself on Tinder. And there's nothing wrong with that.
Trading is a hobby for old dudes. They want to do it, and it gives their life significance, even if they lose some money.
Sell them what they want, give them what they need. In other words, hyped up ads could be OK...if the actual advice delivered is good quality.
Many people do not want to wait 20 or 30 years to see results. They know that greater potential reward carries greater risk.
It's a matter of autonomy over one’s investments vs. paying a financial advisor.
If you promise a lower magnitude of results (e.g., 150% instead of 28,393%) it's less bad.
Financial publishing is entertainment, or alternative press. Newsletters serve more purpose than just giving hot stock picks. They also are about philosophy, government policy and personal advice.
It's like running a casino or a liquor store. You're just providing a product in the free market. You can't be responsible for what people do with it.
If you accept the EMH and "no free lunch" theories, then isn't financial copywriting just the "smart" way of participating in the market? i.e., you realize timing the market is impossible, so you profit from those who haven't come to the same conclusion.
Publishers need repeat customers to survive, and their continued existence is a testament to the value customers are getting.
Most traders' real problem is making poor, emotionally-charged decisions. Following a guru can help with this, leaving them better-off than they'd otherwise be, even if the picks aren't great.
Refunds are (usually) available.
Copywriters are "just" writers providing a service to the publisher, and therefore excused from moral culpability.
If you read the surveys and testimonials carried out by the marketing teams, you’ll see literally thousands of positive stories. It’s not always “I made xyz money”... it’s often “I love guru xyz because he’s so informative.”
Personally, I think #4 (and possibly #15) is strongest, although it seems more like a testament to the limitations of a libertarian ethical system, rather than a real justification for a copywriter to write this sort of copy.
10. Arguments Against
Summarizing the earlier discussion, Gurus and "analysts" barely do anything anymore. They rarely if ever write the newsletters, the emails, the trade alerts, or the special reports. Often they only pick companies based on what sales copywriters think will sell the most subscriptions (or the copywriter picks the companies). And backtesting is a load of crap.
If you wouldn’t want a certain scam sold to you, don’t sell it or promote it to others. It can't be right to sell advice that the copywriter himself wouldn't take, or cancer cures which he wouldn't use himself. The intent is to profit the seller at the expense of the customer, in a zero-sum way. If the whole economy worked like this, civilization would collapse. So if you're doing it, you are a detriment to society.
Some significant % of profits must be from old guys with Alzheimers and dementia.
What is legal is not necessarily ethical.
Anyone who truly believed in his or her money making idea would implement it himself, not sell the idea. If financial journalists were actually able to predict the market...they'd be running investment funds...not newsletters. (more on this later)
You might literally kill someone or make them suicide.
11. Why is the industry bigger than ever in 2019? Haven't people learned their lesson?
The answer is human nature...is a bitch. Humans are rational actors...in the service of irrational goals.
We are pattern-seeking creatures and predictions create the illusion of certainty, which we DESPERATELY desire. Even when it's illogical to do so. So financial publishing offers a feeling of certainty and protection against loss.
Financial publishing helps people see the world the way they want to. It vindicates and comforts them.
Financial publishing offers a personal relationship with confident leaders who share the reader's world view, which people want.
Financial publishing offers an alternative to the establishment, which people distrust.
Financial publishing tells people what to do. Simply put, people want and NEED to be told what to do, and will always seek it out.
People like to gamble.
Financial publishing offers unusual ideas you can't get elsewhere. After all, people know you can't get rich doing what's mainstream.
Failure in logical reasoning. No single money manager has been able to beat the market consistently. But the masses still believe that a man wearing a designer suit sitting in a nice office can bring them great returns and is justified to charge high fees to do so. They are simply unaware of the data that shows passive investing in low cost index funds is far superior than active management in the long run. Think Madoff.
Belief that they’re the exception. People truly believe that they can find those the tiny X% of funds which can beat the market.
People are driven by greed and fear.
People like to look for an edge and are lured by promises of greater returns.
At the end of the day, people JUST AREN'T RATIONAL. People often just don't do what's best, and they can't help themselves. It's human nature.
Perhaps the most undeniable and ironic proof of this...is the site StockGumshoe.com. It is a site which exists solely to "sniff out" which stocks are being teased in financial promos. Its users are skeptical enough of the publishers to NOT spend their own money on the promos... In other words they "know" it's all made up by the copywriters... Yet they simply cannot suppress their own curiosity. They can't help themselves!
the very existence of the gumshoe illustrates how effective they are: The con has worked its magic, the mark has swallowed the promise hook, line and sinker, and the only thing that keeps him from buying into it with his own money is his avarice and desire to get it for free
IMO, the Stock Gumshoe is a true testament to human vulnerability. And what's even more shocking... Is the fact that financial publishers succeed in spite of NEVER disclosing their track records. People continue buying, even though the track record is conspicuously absent. You'd think sooner or later, the public at large, would be like "Hold up. Where's the proof?" But it never happens. Believe me, if publishers could actually generate alpha, they would be RAMMING IT YOUR THROAT IN EVERY PROMO. I'll let you guess why they don't. Year after year, people's fear and greed continues to trump their better judgment. In fact the industry is bigger than it's ever been. The lesson has not been learned. And I suspect never will be. Hope springs eternal.
12. Alpha revisited, aka the nail in the coffin
Point 5 from the "Arguments Against" section deserves more elaboration. It's a point which many people fail to grasp. Here is a great explanation - I lost the original source, I believe it was a Quora topic.
Let's say that I have a seemingly sustainable track record of constructing and maintaining portfolios that generate true alpha (that is, returns in excess of expected risk adjusted returns). This is an extremely valuable skill - how do I monetize it to get the most for it?
The most direct way is to use it for myself. Since I'm generating true alpha, I should be able to use a little financial engineering to construct a portfolio the hedges away market risk and levers up the alpha - basically free money. Of course, I don't want to tell many people about my picks (maybe my dad after he signs a NDA), because if big money gets a hold of it, they'll go long the same stocks and erode my alpha. I certainly don't want to sell it to the general public because they would erase my returns and I expose myself to liability by holding positions in the equities I'm promoting.
Maybe somehow I'm this good at stock picking but my portfolio is still small. I can just take my audited returns to a hedge fund, family office, or mutual fund and sell my talents for quite a lot of money. Since they're best equipped to monetize my information, I should be able to get more from them than selling "hot tips" newsletters.
So who would sell their stock tips to the general public? People that aren't consistently generating alpha. It's still easy to sell your "skills" by recommending high beta stocks, and then as long as the market is up, you can claim your picks have beat the market! Of course, they really haven't on a risk adjusted basis, but most people that buy stock picks don't even understand how to calculate alpha or beta, so they're safe.
Green Laser agrees:
An editor who regularly turned $10,000 into $1.6 million wouldn’t bother writing flimsy newsletters—just as a lottery announcer who could pocket a mill would be auditioning for a role in a soap opera, not “help” you to become a millionaire… He’d be hired away instantly by hedge funds and investment banks. Heck, some of my editors were!
13. Conclusion
What's the upshot of all this? It's hard to say. Ultimately each copywriter has to follow his or her own truth. In the final analysis, the problem comes down to this: No one can predict the future, and any newsletter which purports to do so, is claiming the impossible. But the financial incentives encourage doing EXACTLY that. The more puffery and exaggeration you are willing to publish, the richer you get. There is a perpetual incentive away from honesty. So it's not too surprising the direction the industry went. In fact, I doubt it could have gone any other way. That said, there are a handful of smaller companies which IMO are basically ethical. In fact they are so small, I didn't even realize they existed until very recently. These are the only ones I would write for, in the current environment. It's mostly publishers which sell to a more knowledgeable tier of investor. Because I think something like "informed consent" has to be the standard. If an investor is knowledgeable enough to know no one can predict the future, then I wouldn't feel particularly bad about selling them opportunities, even if I am skeptical about them and they are somewhat hyped. Because presumably he is smart enough to use the information to make up his OWN mind, and less likely to blindly follow recommendations which ruin his life. (For Cancer cures...I admit I struggle to understand who's willing to write those under any circumstance. Although I'd love to hear a spirited defense by a health copywriter...) Of course, it's far more profitable to target newbie and clueless investors who really believe the "S.U.P.E.R. system" will make them rich. A sucker is born every minute. The bummer is... When I was a kid, I used to read Boardroom and Bottom Line magalogs... I know it's nerdy but...the copy was fun and magical. My Grandma always had them at her house. It seemed harmless. I've always had a weird affinity for direct response copy. But like many things...the reality is grimmer. The truth is... There's nothing I'd like MORE than to go write financial copy for a big publisher. You might have guessed, part of my motivation in thinking this out in so much detail, is to decide how far I'll go for money. Finance is super interesting. Copywriting is super interesting. I love the libertarian environment they promote, and how they reward competence and results. If it were 30 years ago, I feel like I could. Today...my conclusion is that I have to limit myself to the handful of smaller publishers I mentioned earlier. Even though the opportunity is much smaller. For now at least. Because if you've read Breakthrough Advertising, you know about Eugene Schwartz's Level of Market Sophistication... So one of these days, the market is going to blow up and "reset." Whether it's organically or through some kind of Federal crackdown, who knows. These companies operate under First Amendment protections which are pretty strong, but...if the Feds target you...your ass is grass. I guess we'll see how things turn out.
P.S.
If you really want a mind-fuck... Smoke a fat joint and watch a financial promo... And tune into the guru's microexpressions... Lol.
They used the masculine article (le) and the feminine adjective ending (-ne). It should be "La Bonne Nuit". Sure, we non-native speakers have trouble remembering genders, but using the masculine article and the feminine adjective ending is straight-up lazy/incompetent. How did they fuck up literally the most basic French grammatical rule? Don't they have copywriters? Isn't Veronica supposed to be fluent in French? I know it's a small detail but the carelessness just bugs me. PSA: Just put that shit into Google translate, guys Edit: My subtitles definitely said 'Le Bonne Nuit' but it looks like it's an issue with my subtitles and not Riverdale. My sincerest apologies to the writers for my unjust accusations Edit 2: Decided to look into this and Lili Reinhart, Cosmo, Vulture, AV Club, Seventeen, The Mary Sue, Teen Vogue, Screenrant, and weirdly a bunch of French outlets were all calling it "Le Bonne Nuit" until recently. If you scroll down from Lili's tweet, there's a tweet by a franco girl named Luciana saying she also saw "Le Bonne Nuit" in the episode and corrects Lili. Edit 3: This French movie/tv review site also noticed and commented that the show obviously couldn't find a French consultant. Look under the Casino subheader. Looks like it was originally "Le Bonne Nuit" and they fixed the mistake. I'm gonna keep looking for definitive screenshots. Shout out to copywriters, down with the writing staff!
Cos'è fondamentale avere per trovare lavoro in digital marketing?
Vedo su LinkedIn il classico 200+ candidati per posti di lavoro junior in digital marketing e social media. Per non parlare dell'infinità di profili di gente che ha studiato lettere/arte/filosofia/interpretariato/scienze politiche etc. che si prende un master in digital marketing o segue i corsi delle agenzie di collocamento, e tenta di rivendersi nel campo. Vorrei chiedere a qualcuno che già lavora nel settore: cosa bisogna avere per trovare lavoro? Cosa cercano con maggiore interesse le vostre aziende/agenzie? Preciso "lavoro", non stage, non freelance, non partita IVA. Cos'è fondamentale avere per superare tutta questa concorrenza e non finire a fare stage su stage fino ai 30 anni inoltrati? Mi restano un paio di mesi alla fine dello stage e vorrei fare il possibile per migliorare il mio cv in modo da trovare un lavoro vero. Leggendo vari annunci di lavoro, ho visto che chiedono in generale: * Google AdWords, Google Analytics e alcuni anche Google Data Studio * HTML e web design * WordPress * Facebook, con inserzioni e Business Manager * Instagram, Twitter, alcuni anche LinkedIn e Pinterest con relativi insights e ads * Photoshop, InDesign e Illustrator (alcuni anche l'intera suite Adobe) * capacità di videomaking e video editing * alcuni anche capacità di scrittura e copywriting * SEO E la cosa che più mi inquieta è che molti cercano tutte queste cose (o molte di queste) in una singola persona. Ma la trovano davvero poi? O alla fine prendono chi soddisfa il maggior numero di requisiti e abbassano le pretese? In ogni caso, dovendo scegliere le skills fondamentali, cosa scegliere? Meglio i certificati di Google, Facebook, HubSpot e piattaforme varie, oppure meglio corsi e master? Io questi ultimi potrei frequentarli solo online, tra l'altro, dato che al momento sono in stage full time. Sono validi anche se online? E quali sono i migliori, nel caso? Ho visto che il Sole 24 Ore ha corsi online interessanti, ma non riesco a capire quanto valgano. E poi bene o male ogni marketing guru ne ha, Ninja Marketing, Digital Coach etc...insomma è un bel casino e io dovendo anche pagare vorrei pagare per qualcosa di valido agli occhi delle aziende, non fuffa.
Are you the type of person who’s tired of cliché copywriting with cheesy puns? Are you sick of using empty words, trying to sell a product that you know people don’t want or need? Are you witty, preferring to tell it like it is, and obsessed with who Satoshi Nakamoto really is? There’s plenty of casino review sites out there, but many of the texts are generic and boring (boo!). We’re looking for our own Gonzo who’s willing to explore the online casinos of the world and write about them in a fun and witty way. Apply here: https://crypto.jobs/jobs/content-writer-at-gamble-io-1
What the people who made Star Wars: Rogue Squadron are up to now
Ok, one of the top suggestions was a Factor 5 game. I decided to pick Star Wars: Rogue Squadron, which they made with LucasArts. I broke this thread into two sections: Lucasarts and Factor 5. I'm also basing this off of the N64 credits, which are slightly different than the credits for the PC version.
LucasArts
Dino Ago worked as production coordinator. Ago left LucasArts in 2000 and in 2003 became a personal trainer. Peggy Bartlett worked as part of the voice department. Bartlett left LucasArts in 2001 and in 2002 start work as an underwriting assistant for Arch Insurance. Bartlett next worked as director of client services for A Hundred Monkeys in 2006 before starting work as an independant consultant in 2010. Bartlett next joined Fovia in 2011 as administrative/operations manager. In 2016 Bartlett started The ReInvention Project, where she works as a life coach/spiritual counselor. David (or Dave) Bogan worked as a 3D artist. Bogan worked as an animator for games including Grim Fandango, Republic Commando (as lead animator) and Monkey Island 3 and 4. In 2005 Bogan left LucasArts and became director of art at Telltale Games. Bogan still works at Telltale and has worked on almost all of their games. Mollie Boero worked as a manual writer. Boero worked as an editor until 2003, but that that I’m unable to trace what she did. André Bremer worked as international programmer. Bremer became manager of tools development before leaving LucasArts at the end of 2003. He joined EA LA (now DICE LA) and worked as development director and franchise technical director on games including GoldenEye: Rogue Agent and Command & Conquer 3. Bremer left in 2009 and became Zynga’s Casino division’s CTO and engineering fellow. In 2013 Bremer co-founded and became CTO of Blue Crystal Labs. Bremer next joined GSN as VP of engineering in 2015 before joining Amazon as senior software development manager in 2017. John Buzolich worked as a tester. Buzolich continued to work in QA (working as a lead later on) for LucasArts until 2006. Buzolich next joined Yolo County’s health department as a financial analyst and in 2012 became their fiscal administrative officer. Leland Chee worked as a tester. In 2000 Chee joined Lucasfilms and became manager of the Holocron, which is an internal database used to keep track of continuity. Leyton Chew worked as a tester. Chew did testing for other LucasArts games, but I’m unable to find what they did afterwards. Dan Connors worked as a production manager. Connors continued to work at LucasArts until 2004 when he left and co-founded Telltale. Connors has worked as producer and CEO for the company. He returned to being CEO of the company in 2017. Victor Cross worked as a manual writer. Cross left LucasArts in 2000 and since has worked as a freelance copywriter for companies including Hewlett-Packard and Cisco. Michael Dillon worked as an assistant lead tester. Dillon left LucasArts in 1999 and became QA manager at Backplane Inc. In 2002 he started Dillon Media, a market research/consulting firm, which he ran until 2014. Dillon currently works as social media/QA manager at Car Fiend. Joel Dreskin worked as product marketing manager. Dreskin left LucasArts in 2003 and the following year started working as an independent marketing consultant. He worked with Telltale during this time and in 2007 joined the company. In 2010 he became the marketing director of Telltale before leaving in 2011. Since then Dreskin has worked marketing indie games and has worked with companies including Penny Arcade. Coya Elliott worked as part of the voice department. Elliott joined Skywalker Sound in 2000 and has worked as a sound editor for films since. Elliott has worked as assistant supervising sound editor for Kong: Skull Island, Rogue One and Guardians of the Galaxy. Dana Fong worked as international tester. Fong became a tester at Apple in 2000 as a test engineer, but I’m unable to confirm if they’re still there. Marcus Gaines worked as a tester. Gaines worked on testing for a few other games in 1999, but after that I’m unable to trace what they did. Mark Haigh-Hutchinson worked as project leader and a programmer. Haigh-Hutchinson next joined Retro Studios and was a senior programmer on Metroid Prime 1-3. In 2008 Haigh-Hutchinson died from pancreatic cancer at age 43. Buddy Hannon worked as texture artist. Hannon became art director at Radica Games in 2000 before becoming production managegraphic designer for the organic body care company Naturescent Natural in 2002. In 2008 Hannon became creative director at Nature's Blend for 8 months before working freelance for ~2 years. In 2011 Hannon joined AGI Inc was director of interactive video streaming. Patty Hill worked as the manual designer. Hill continued to design materials for LucasArts until leaving in 2006. Hill next joined Portal Publications as a senior designeillustrator for almost 3 years. In 2010 Hill joined Papyrus as a designeillustrator. Suzanne House worked as a 3D artist. House last worked on Star Wars: Bounty Hunter, but after that I’m unable to trace what they did. Ryan Kaufman worked as a level designer. Kaufman continued to work at LucasArts until 2005 and worked on games including Republic Commando before becoming creative director at Planet Moon. Kaufman joined Telltale Games in 2010 as creative directosenior designer and in 2012 became director of narrative design. Darren Keopp worked as a tester. In 1999 Keopp joined Ask Jeeves as a developer before going back to college in 2002 to get a BFA in painting. Keopp next joined Mind Control software in 2004 as a senior designeproducer before starting One Ton Ghost in 2007. Keopp next made the flash game Iron Dukes before working as a flash developer for Podaddies and Orange Design. He next worked as a senior developer for Present Creative in 2011 before becoming senior UI engineer at GREE International in 2012. In 2015 Keopp joined Vidlet as a software engineer. Christen David Klie worked as a level designer. Klie had previously worked on two Doom add-ons and games like Outlaws. Klie is credited with working on a few other LucasArts games (and Eragon) but I’m unable to trace what Klie is currently doing Gaurav Mathur worked as a 3D artist. Mathur left LucasArts in 2000 and after 6 months at the company There joined Double Fine as a level designesenior artist. In 2003 Mathur joined Factor 5 where he worked as a senior artist, art department director, senior artist and human resources consultant and finally as lead artist for the company before leaving at the end of 2008. He then spent a few months at WhiteHarvest and founded playseeds before joining Toys for Bob in 2010 as a senior artist. Mathur also worked as creative director for Gamesauce Media on their magazine for a time. In 2005 he started gamedevmap which shows the geographic location of game studios around the world. Razmig Mavlian worked as a 3D artist. Mavlian left LucasArts and joined Double Fine in 2003, and worked with the company until 2015. In 2016 he joined Oculus as a concept artist. His name was the inspiration for Raz’s name in Psychonauts. Kristen Monkaitis (now Russell) worked on additional artwork. Russell joined EA in 2002 and worked as an artist on games including The Godfather, From Russia With Love and The Lord of the Rings: The Third Age. Russell next joined Crystal Dynamics in 2005 and worked as a senior artist on Tomb Raider: Legends. In 2008 Russell joined Double Fine as senior material artist. The most recent game she worked on was Headlander. Jesse Moore worked as a tester. Moore became a level designer for LucasArts and worked on games including Republic Commando and Gladius before leaving in 2004. Moore next worked freelance on a canceled Star Trek MMO before joining Toys For Bob in 2007. Moore worked as a designer on the Skylanders series (and Madagascar: Escape 2 Africa) before rejoining LucasArts in 2012 as systems designer on “a massive Star Wars combat game.” LucasArts closed development in 2013 and after returning to school for a year Moore starting work as a web developer. In 2015 Moore worked for a little under a year on Playstation Network. Moore currently works as a software engineer at Gliffy. Corey Navage worked as an assistant lead tester. Navage started to do design and programming for LucasArts before leaving in 2000. In 2001 Navage joined Cyberlore as a designer for 2 years, where he worked on games including MechWarrior 4 and Playboy: The Mansion. In 2003 Navage joined Day 1 Studios for 5 years and was lead designer for the console port of FEAR. In 2009 he joined Rave Software and worked on Singularity and Call of Duty: Black Ops. In 2011 Navage joined Sony Online Entertainment where he worked on Planetside 2 (as facility design lead) and the canceled game The Agency until 2015. Navage most recently worked for Sony Bend from 2015 to 2016. Tamlynn Niglio worked as part of the voice department. Niglio left LucasArts in 2000 and I am unable to find what they did until 2011, when Niglio went back to college. Niglio started working as a speech language pathologist in 2015. Darragh O'Farrell worked as part of the voice department. O'Farrell worked with LucasArts as an audio director until 2013. Since leaving O'Farrell has been credited with work on Telltale games and various Star Wars games. Erik O'Keady worked as a tester. O'Keady worked in localization and testing until leaving LucasArts in 2005. He next spent a little over a year at THQ working as a localization supervisor before joining Disney Interactive in 2006 as an international producelocalizer. After leaving Disney in 2009 O'Keady joined TellTale in 2011 for a little under a year. In 2013 O'Keady joined Gazillion for ~1.5 years before joining 2K in 2014 as a producedesigner. O'Keady last worked on the NBA 2K series. Marc Overney worked on cutscenes. Overney continued to work at LucasArts until the end of 2004 and was lead animator on Monkey Island 3 and 4. Overney next worked as a contract animator at Telltale on Bone before becoming animation lead at Flying Lab for ~1.5 years. He next worked at Pipeline Studios for ~1.5 years, spent a year at C.O.R.E. Digital Pictures and 7 months at Big Soul Productions before returning to Pipeline Studios in 2010 as an animator. In 2014 he started directing TV commercials for Chuck Gammage Animation before joining Encore VFX/Deluxe Entertainment as a vfx animator in 2015 for 9 months. In 2016 Overney started work as an animator at Awesometown Entertainment. In April 2017 Overney joined Ubisoft as a 3D animator. Adam Pasztory worked as international coordinator. Pasztory joined 3DO in 1999 to work on localization before becoming a software engineer at GlobalEnglish Corp. Pasztory continued to work at the company until 2005, and in 2006 became a developer for Cog1 for almost 4 years. In 2009 Pasztory became the founding engineer for Idle Games before becoming a freelance software developer in 2014. His Linkedin is fun Craig Rundels worked as lead artist. Rundels joined Retro Studios in 1999 and was lead artist on a few unreleased games before joining Midway in 2001. Rundels worked as senior art director for the company until 2006, when he joined Foundation 9 as outsourcing director. Between 2008 and 2014 Rundels worked for a few different companies for under a year including Crystal Dynamics, Heatwave Interactive and GIG-IT. During part of that time he was also co-founder and president of Gigawatt Entertainment. Rundels currently works as consulting art director for The Awesome Game Studios and senior director of service delivery at Sperasoft. He is also co-founder of The Monster Guitar Shop since 2007. Jeff Sanders worked as a tester. Sanders continued to work in QA for LucasArts until 2005. After short jobs working at Perpetual Entertainment and Atom Entertainment in QA Sanders left the video games industry in 2008. I’m unable to find what Sanders did afterwards. Kevin Schmitt worked as lead level designer. Schmitt continued to work at LucasArts until 2004 and worked on games including Republic Commando and the unreleased Full Throttle 2. Schmitt next joined Rockstar for ~1.5 years and worked as a senior mission designer on Bully before joining THQ in 2006. In 2008 Schmitt joined Zipper Interactive where he was lead multiplayer designer on SOCOM 4. In 2011 Schmitt joined 343 and was Spartan Ops designer on Halo 4 and a campaign designer on Halo 5. He is currently still at 343. Jeffrey Sondin-Kung worked as a level designer. Sondin-Kung continued to work at LucasArts until 2004, working on games including Armed and Dangerous and Republic Commando. Sondin-Kung next joined Planet Moon for a little over a year and worked on the PSP game Infected as lead designer. In 2006 Sondin-Kung joined Totally Games for ~3 years as design director on multiple games including Alien Syndrome. After returning to Planet Moon for 5 months to work on an unreleased Kinect game, Sondin-Kung joined Sega Studios San Francisco in 2009. He worked for a year on Iron Man 2 as senior mission designer before joining Nihilist Software in 2010. There he worked on Call of Duty - Black Ops: Declassified and Resistance: Burning Skies. Sondin-Kung next joined CCP in 2013 as lead level designeworld gameplay directointerim creative manager on the unreleased World of Darkness MMO. After 6 months in 2013/2014 at NaturalMotion Sondin-Kung Zynga as a senior designer. Sondin-Kung also taught for ~3.5 years at Santa Rosa Junior College starting in 2011. John Stafford worked as a level designer. Stafford was lead level designer on the clones campaigns of Star Wars Battlegrounds and worked on the unreleased KOTOR 3. He next worked as a writelead content designer on The Force Unleashed 1 and 2 before leaving LucasArts in 2011. Stafford next joined Crystal Dynamics where he was a senior narrative designer on Tomb Raider and lead narrative designer on Rise of the Tomb Raider. Stafford is currently working as narrative director on Crystal Dynamics’ Avengers game. Paul Topolos worked as aesthetic advisor. Topolos joined Pixar in 2002 and has worked as a matte painter on films such as The Incredibles, Wall-E, Up and Inside Out. Brett Tosti worked as a production manager and was co-project leader for the PC version. Tosti left LucasArts in 2005 and became design director at Factor 5. In 2007 Tosti joined Telltale as an executive producer and in 2015 became creative director of the company. Julio Torres worked as a tester. Torres continued to work at LucasArts until 2010, becoming a producer and last working as project lead on The Force Unleashed 2. Torres next worked for 6 months as VP of production at Fearless Studios and in late 2011 took the same position at BlueGiant Interactive for a little over 3 years. Torres also worked as a consultant during the time. In 2014 Torres joined Warner Brothers as executive director of operations. Cindy Wong worked as part of the voice department. Wong continued to work as a voice editor until leaving LucasArts in 2008. Wong next worked as a manager admin for Apple before returning to voice editing in 2011. Since then, Wong has worked on games including The Old Republic and Skyrim. Aaron Young worked as lead tester. Young joined Backplane Inc in 2000 for ~1.5 years before starting Young Technology Consulting in 2001. Young continued work until 2008, when he joined Splunk Inc working on support and IT. In 2012 Young joined The University of Auckland as an IT research specialist.
Factor 5
Julian Eggebrecht worked as producer. Eggebrecht was a co-founder of Factor 5 and in 2011 co-founded TouchFactor. In 2014 he joined Hulu as VP of device platforms. Eggebrecht supposedly started back up Factor 5 in 2017 and talked about it on a german podcast, but I’m unable to verify this. Thomas Engel worked on sound and microcode programming, and was technical lead. Engel continued to work at Factor 5 until the end of 2008, and became director of technology. In 2014 Engel became principal architect at Hulu. René Henke worked on data management. Henke continued to work at Factor 5 until 2008, and in 2009 founded TechDevils. Henke became director of operations of TouchFactor in 2011 and in 2017 joined Hulu. Henke also owns and runs a security company. Bastian Hoppe worked on additional art. Hoppe continued to work at Factor 5 until 2008, and next joined WhiteHarvest in 2009 and TouchFactor later that year. In 2015 Hoppe became 3D technical art director for Hulu. Chris Huelsbeck worked as the original music composer and director. Huelsbeck continued to work at Factor 5 until 2008, and since leaving has worked independently. Huelsbeck has worked on games including ones made by TouchFactor and Giana Sisters: Twisted Dreams. Dirk Jagalski worked as level editor programmer. This was the last game Jagalski worked on, and I’m unable to trace what they did afterwards. Jens Petersen worked on AI design, effects and programming. Petersam contiunued to work at Factor 5 and was last credited as a software engineer on Lair. After that, I’m unable to trace what Petersam did. Tobias Richter worked on cutscenes. Richter owns the graphics studio The Light House since 1989. The company has worked on everything from Lair and Tropico 5 to the remasters of Star Trek: The Next Generation. Florian Sauer worked on the front end and on cutscene programming. Sauer continued to work as a software engineer before leaving Factor 5 in 2006. Sauer joined Pixar in 2007 as a senior software engineer and last worked on Inside Out. Holger Schmidt worked as lead programmer and was an additional designer. Schmidt became director of development at Factor 5 before leaving at the end of 2008. He next joined TouchFactor working in the same role in 2011 and became CEO of the company in 2014. In 2016 Schmidt became principal architect at Hulu. Rudolf Stember worked on sound design and cutscenes. Stember continued to work at Factor 5 until 2008 and next worked at WhiteHarvest in 2009. Later in 2009 Stember started to work freelance and has worked on games including Marvel Heroes and Skylanders Trap Team. Stember also worked on gamedevmap. Mario Wagner worked on 3D and 2D art. Wagner worked as an artist at Factor 5 until 2008. Wagner next worked for a year at WhiteHarvest on an unreleased Wii version of Rogue Squadron. In 2010 Wagner became a senior artist at TouchFactor, and starting in 2015 has been an artist for Linden Labs. Additional reading/viewing
Unseen64 has a bunch of articles about Factor 5 and LucasArts. Liam Robertson from Unseen64 has a lot of videos about unreleased games including multiple ones about Factor 5
Nintendo Voice Chat had an interview with Julian Eggebrecht in 2014 where he talked about Factor 5 and Rogue Squadron.
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