New board gaming period with Scythe

 

I spend time reflecting to wrap things up at the end of every year, and then create things for the new year, like a context, motto, themes, and this year some main objectives.

I had a board game design idea a few years ago that I hadn't progressed with so it's on the list for this year (I admit it was last year too, I just didn't do anything about it then).

Anyhow, we had someone missing for our regular roleplaying game night with friends so I suggested meeting at Loufoque, a board game café I like, and trying out a quite big game. I suggested Architects of the West Kingdoms because I haven't played it, but someone else wanted to try Scythe, the game designed and published by Jamey Stegmaier (Stonemaier Games), and featuring beautiful artwork by Jakub Rozalski.

I'd played Scythe, though years ago when I was in Chicago. I also had the chance of having Jamey Stegmaier on my podcast back then, you can check the episode out here. Jamey is incredibly generous and prolific with the amount of interesting content he shares: perspectives about the board gaming industry like about how they're affected by recent tariffs, publishing advice, design focused content, and much more.

It has a few different moving parts about it, though I'd probably describe Scythe as an engine building strategy game, with wargaming elements. It looks like a wargame with it's big alternative 1920s steampunk-ish mechanical engines and hexagon tiles, but it isn't really exactly that. 

It may look intimidating, and clearly designed for a large American size table - we barely had space for drinks, though actually I love the way it's designed such that it is quite easy to grasp what you can do every turn, so tactics, and not so much analysis paralysis (well sort of, more on that in a second), and yet lots of depth and moving parts from game to game to think about strategy.

I totally lost but it was a fun game, good to test it again. I went on to play the digital version I have on Steam over the weekend, which is where the analysis paralysis kicked in for me, in front of my laptop playing 3 computer AIs (medium level difficulty) and getting absolutely beaten every time, trying to understand wider strategies to better understand the intricacies of the game.

I also played some Terraforming Mars, that I'd forgotten I had as a digital version, and then a friend invited me to join Board Game Arena, so I started playing a few more games there too. My user name is Hippowill if you want to add me as a friend and play a game some time.

I started a new notebook with design notes for my board game idea, I'm pretty clear what the theme and design goals are, but I wasn't too sure of mechanics to quickly start prototyping and playtesting. After a few new games tested and a few podcasts, talks, design book passages from my shelves, I had an idea last night for a starting point that I'm happy with. I'm not exactly ready to talk about it just yet, but I will do soon, to document the process.

I had been trying to find specific processes and/or methodologies, starting with the Board Game Design by Joe Slack (it's all right though I think you can find many free ressources online instead of this one), and Jeremy Holcomb's notes in The White Box board game design workshop (it's a useful toolbox of things).

The main thing I keep up with is rapid prototyping. I have a tendency to start things and not finish, or study and daydream rather than do. At the very least I have made more progress than in all of last year.

2025 ski season wrap!

 It's a wrap for the 2025 ski season! Ups and downs ski wise - and yes, it is a pun.

Last year ended a little slow work wise, and this year began like that too, so not tons of budget for a lot of skiing, but as usual, I couldn't help do a little more than was probably reasonable. 

First, a gorgeous warm-up day in the Pyrénées aux Angles to get our ski legs back on with my brother Morgan and a friend, Barbara, at the beginning of February. Bright blue sky, and probably too hot, just enough man-made snow to ski on, but hey that's the Pyrénées these days I suppose.

Barbara had just been on a day of backcountry ski touring with her father the day before, she skies way better than Morgan and I, plus with her mom's old skis, so she has a proper 80s ski form - quite unlike my ungainly feet apart but somehow managing to keep balanced on my skis style.

In March, I thought it would be a fine idea to book two weeks of skiing in a row after the French school holidays, figuring I'll be saving on an additional train ride back to Paris.

We went to La Rosière, above Bourg-Saint-Maurice, on the Italian border. The skiing area that I'd visited in the summer of 2018 connects with La Thuile in Italy.

Katie took lessons and I just went skiing, exploring all the resort had to offer, the snow on the Italian side was gorgeous and it snowed several days while we were there. I loved going shopping for cured meats to make our lunch sandwiches in Italy, and had coffee and gelato in the sun. 

It was quiet in both resorts, little to no queue on the lifts aside from the first in the mornings, nice runs, some sides and in between the pistes to ski some fresh snow, varied terrain and lovely tree runs on the Italian side. I definitely want to go back. 

Of course I skied pretty full on and was tired at the end of the week. As mentioned, I thought it would be a good idea to book a second week. Moreover, the second week was with the UCPA in Tignes (a sports and outdoor activities camp, it's really worth looking into) for a beginners backcountry ski touring week.

Suffice to say it didn't go as planned. According the description on their website, I thought I had the right technical skiing level, and physical fitness level. At the end of the first morning of off-piste, the instructor said we needed a chat, that he was concerned about my borderline good enough technical level, and even more concerned with my physical fitness level, or lack thereof. 

Still, I joined the group for a first small hike just out of the bounds of the skiing area that afternoon, so I at least did my first ever little backcountry ski tour. I hadn't really accounted or thought of the altitude, and that hiking on skis at 3,000 meters high is actually demanding, and underestimated how tiring skiing on variable and steep snow off the piste would be. 

Plus I was exhausted from the previous week of skiing. We had our first day in Tignes free, I'd been hearing about Tignes and Val d'Isère for years, so of course I went out for a full on day from 9am to 4pm all the way to end of Val d'Isère at the Glacier du Pisaillas, and back with no visibility in the clouds. My thighs felt like jelly before going on that hike the following day. 

Maybe I'd have done better if I was more rested, though the instructor seemed to have doubts about it. The rest of the group were really nice, though for the most part happened to be a lot more experienced in off-piste and backcountry skiing, and fitter overall - from being used to hiking in altitude several times a year, to running ultra trail marathons, to completing nordic skiing circuits in a third of the time most people did.

I felt tired, deflated, embarrassed, disappointed and angry with myself, and overall vexed. Now with a little time, it was great to do a first hike like that, and I joined the group on another off-piste session a couple of days later.  

I thought going a third time to the gym per week for the past couple of months and losing a tiny bit of weight was sufficient preparation for the ski season, and it sort of was, but not at all enough for that level of backcountry skiing. I seem to have hit a limit to my skiing enthusiasm. In past courses, I've been told a few times that my level of confidence and enthusiasm without fear made up for some of my technical skill to let me follow others who were better than me. Not this time though. I was physically spent, felt not good enough, and lost morale.

On top of that, I was told at the last minute to join another traditional ski lesson group the following day, and it was a complete opposite. The first day was so challenging I was told it wouldn't work, the next day was so easy and relaxed skiing that all the other people in that new group were grumbling about the instructor.

Given I didn't know which group I was in for the afternoon anymore, and I was upset and tired, I took the afternoon off and went to the swimming pool's wellness centre: sauna, jacuzzis, steam bath, slides, and a beautiful view of the mountains.

The rest of the week there was all right, though mixed. I tried to get over myself with limited success. I skied and enjoyed the weather, reading the Codex Alera, hung out with a really crowd of people, played a cool big board game (Kemet), so definitely some good - with a sort of background shadow of disappointment.

After the fact, as I write this, I'm happy I did it, though I guess it was an expensive lesson in humility. The instructor recommended training and practice in off-piste skiing as a next step, so I might do that, I'd been wanting to before, this just seemed to be a way to do that. That's to my point about their description as a beginners backcountry training week, I seemed to have the required level (and the lessons in the second part of the week being easy showed me I did have the level stated too, but oh well). I also told them it might be worth revising their website's description of the level required, though their customer service reply didn't seem particularly sensitive or empathic with my experience.

I'm not sure what I'll be wanting to do with the next ski season, we'll see next winter. 

Right now, I need to focus on work stuff, new business and securing new clients and projects in priority. I'd finished a client project just before going away, so I kind of came back to a nearly blank slate. Whatever I do ski-wise, it's unlikely to get any cheaper, and I'll have to finance it somehow, so first things first.

To end on a positive note, skiing with a group means I do have some of the best skiing photos of me I've ever had, so that's pretty cool to show you!

The Codex Alera Epic Fantasy series book notes

I just finished reading the 6 books of the Codex Alera fantasy fiction series by Jim Butcher, the last three were a bit of a blur as I read them back to back, I wrote brief notes about them on Goodreads, and here I thought I'd write an overall review of the series, avoiding spoilers.

First I'm biased, I read and love all 17 novels in The Dresden Files series by the same author. And I suppose I'm biased as a regular reader of fantasy and science-fiction in general.

Jim Butcher described the idea at the origin of the Codex Alera as the Roman Empire with Pokemon mashed up as two concepts. The first as a bit of a different vibe from the more frequent medieval setting, here is a more antique Roman style setting. The second because the people in this vast empire have abilities to adopt and control elemental style creatures and powers that go along with them. In case it concerns you (it did for me when I first heard that ideas), the Pokemon idea is not carried out much further. Catching them all is not particularly at the heard of the plot, and they're called furies, hence the book titles.

It starts out as all traditional epic fantasy series: with a nobody boy hitting puberty somewhere lost in the middle of nowhere countryside, and of course with enough winks to the knowledgeable fantasy reader that one realises the protagonist is likely hidden royalty or some such.

There are enough nods to other fantasy works to what you're dealing with and having it set in some genre tropes and traditions, enough new elements of setting to make it interesting, and enough small and larger twists to raise eyebrows in usually good surprises. 

An obvious one from the start is that in a world where everyone has some kind of special magical powers with elements like water or fire, the young hero doesn't and has to rely on wits alone to get himself out of trouble.

The big bad guys seem coming straight out of science-fiction tropes rather than fantasy ones, which is pretty cool. Think of the Zerg in StarCraft or the Arachnid bugs in the Starship Troopers movie, if ever those ring bells. 

Where I feel Jim Butcher particularly shines, to some extent as in The Dresden Files, is the wild action-packed scenes and outrageous scale of events.

He's also funny, and I highlighted a number of turns of phrases I've enjoyed throughout the series.

Even in the first book there are excellent page-turning unexpected turns of events and crazy-paced action. Fun characters, enough hints of secrets, backstory elements and foreshadowing to want to read the rest of the series.

I also enjoyed that the first book, and I'd say up to the third, have satisfying arcs, beginnings, middles, and ends, setups for the sequels without too much of cliffhangers.

I left a pause and read another book or two between those, compared to the fourth book. I happened to be on holidays so that may have played into it, but it felt like events massively accelerate from the fourth book onwards, and I read the rest of the series back to back. So it's a bit of a blur.

In Goodreads, I only wrote short comments, my overall impression in a few words for each book in the series goes this way:

1. Furies of Calderon: Setup and big events on a local scale
2. Academ's Fury: Character growth and development.
3. Cursor's Fury: Problems and successes against massive odds. Probably my favourite book in the series.
4. Captain's Fury: Events accelerate.
5. Princeps' Fury: The scale, scope and stakes of events dramatically expands.
6. First Lord's Fury: A breathtaking race to the end line and resolution.

Suffice to say I recommend them, and also a good choice even if you're not in love with fantasy style novels, there's enough action and fun page turning for most if not all readers I think.

Tinkering to best understand tech, then perhaps criticize it

The Paris chapter of Creative Mornings had been dormant since the pandemic (as far as I know), so I was happily surprised when I found out it was recently taken over by a new group of people, I'm joining in to support them.

CreativeMornings exceptionally took place in the evening yesterday, the speaker was Benjamin Gaulon, an artist, researcher, and I'd say tinkerer extraordinaire.

I raised my hand to look for sponsors for event series (j'écrirais sans doute un post en français à ce propos bientôt, mais n'hésitez pas si jamais vous voulez discuter de devenir sponsor pour Creative Mornings Paris).

I'm sure strategists and other Venn diagram geeks will appreciate Ben's "unifying theory" diagram that came towards the end of his talk, as he pondered the relationships between his art projects and teaching workshops.\

Ben began by telling us he grew up in a small village in France that happened to be right next to a open air dump, and that was his favorite place to play and explore, digging up treasure out of the dirt.

A description copied from his website, Recyclism: "His research focuses on the limits and failures of information and communication technologies; planned obsolescence, consumerism and disposable society; ownership and privacy; through the exploration of détournement, hacking and recycling."

Recyclism

My main takeaway from his talk is that to criticize, you best first understand, and that happens as much through tinkering as it does through theorizing (or perhaps more).

Ben pulls all sorts things apart from other people's electronic waste and teaches students how to work with, hack, experiment, as well as critically think about electronics, digital devices, our use of them, and a lot more.

He started NØ and the NØ School in Nevers (Burgundy), a collective and summer school to understand and critically discuss electronics and communication technologies.

NØ Collective

NØ School Nevers

I enjoyed hearing about all the projects I worked on, from The Internet of Dead Things to Tech Mining and Retail Poisoning, his websites are definitely worth checking out.

Because I remember playing with them as a kid, special mention to his rehabilitating a collection of Minitels to set them up as a simili Apple/Minitels store for people to experiment with.  

In case you don't know, the Minitel was the French government's first digital communication network, and there were terminal screens in many homes, with proto websites people could visit, and use to find information, chat with other people by text, play games, etc.

The next Creative Mornings Paris talk is on Friday 19th July, and the monthly theme is 'trust' - sign up here.

Thanks to Frédéric Bussière, Catherine Erneux, and the others for putting this up!

Perceiving different shades and textures of colours

 

"Ancient cultures have more developed and nuanced sensitivities to colour than contemporary societies. In all areas, there is not just one colour black, but several."

That's roughly translated from French in this book I'm reading from historian Michel Pastoureau, Noir - histoire d'une couleur (Black: history of a colour, there is an official English translation).

This is his second book in a series about the history of colours, focused mostly on European history and culture (the author's speciality and field of scholarly research).

It's a fascinating read, first in the introduction to appreciate that the meaning we tend to associate with different colours nowadays is cultural, and different from what it had been in the past. 

Until recently, and for a long while, black and white were not considered to be colours. In antiquity and the middle ages, they were though.

I'm paraphrasing a few bits I thought worth sharing here, namely that there used to be several words associated with the colours black and white. 

Colour was also a matter of expressing light (bright/dark, matte/glossy), matter, texture, surface (smooth/rough), and saturation. In Latin was done with different words, prefixes, and suffixes.

Black is about fighting off darkness and a quest for light.

In Latin, as well as ancient German and English, there were two distinct sets of words for the colours black, one for matte black and another for bright or glossy black.

Some ancient cultures even set more emphasis on other areas of perception than chromatic tone, so brightness, density, or texture was more important than tone. 

I find it difficult to wrap my head around, but apparently because of this, in ancient Greek and Latin for example, there is a word that designates and means both blue, and black ('kuanos in Greek, 'caeruleus' in Latin). 

No wonder some ancient texts are tough to translate, and placing these words and meaning back in their cultural context is extremely challenging.

It's mind-boggling to consider that if I had someone from ancient Greece or Rome looking at the editor with a black screen background I'm typing on now, would have multiple words to choose from to name and describe this colour, when I just have one in mind.

Next time you look at a brand logo, a sign, or an ad, keep in mind that whatever interpretation you have of the colours involved, not only did past cultures have different ones, they also had more words to express what they saw.

Pretty wild.

Black: The History of a Colour, by Michel Pastoureau 

Debt: The First 5,000 Years, by David Graeber [book review]

I don’t rave about non-fiction books as ‘absolutely riveting’ to my friends and family all that often, though I’ll admit it’s kind of more likely if it was written by David Graeber. I highlighted whole passages, enough to question the point of a highlight altogether, and added a bunch of other referenced books to my reading list. In fact, Goodreads tells me I highlighted 272 passages of a 534 page-long book, about one every other page. Clearly I loved it.

“Surely one has to pay one’s debts.”

David Graeber begins the book by with a conversation he had with someone, who apparently said those words in such a way that he started questioning them. This led him to taking a wide view: 5,000 years of history around the world, about debt as a moral and economic notion; the origins of markets and money (and that coins have little to do with barter, which is fascinating in and of itself).

The history is “a way to ask fundamental questions about what human beings and human society are or could be like—what we actually do owe each other, what it even means to ask that question.”

“the central question of this book [is]: What, precisely, does it mean to say that our sense of morality and justice is reduced to the language of a business deal? What does it mean when we reduce moral obligations to debts?”

Financial issues and debt were a thing in my family for a whole period of time growing up. I’m not going into much detail, but I experienced bailiffs and debt recovery agents knocking at the door, furniture being removed, and being evicted from home, among other things. It’s not fun. I used to just blame my parents, but going back 5,000 years and considering debt from different angles and cultures has been eye-opening, both soothing and shaking.

If you’ve experienced debt (I’m pretty sure we all have) and enjoy considering big questions, there’s a fair chance you’ll enjoy it. Plus it’s masterfully written: legible, blending engaging stories with a large amount of bibliographical references, and big questions, as already mentioned. I strongly recommend it. I’m looking forward to reading his posthumous ‘Dawn of Everything’ written with David Wengrow soon.

A year of magic and insights at Disneyland Paris

 

I've been rekindling with an interest in theme parks and roller coasters in the past year, which started as I went to Disneyland Paris and then upgraded to an Infinity Annual Pass.

The whole thing began with an ad. The signs I spotted as I was leaving the park exhausted at nearly midnight with my sister-in-law, niece and nephew said something like: "remember you can deduce the cost of your day ticket towards the purchase of an annual pass!"

I'll happily share more details of that story over coffee for those interested, including the rabbit hole of a purchase funnel I went on, but suffice to say I was back there the following week with my other nieces and a friend I roped in for the occasion (thank you James!).

I managed to go 14 times in total. I took all my nieces, nephew, and godson on separate occasions. I attended the special Halloween Party night with my girlfriend and nieces (we dressed up as minions).

I also wandered there by myself. I used the park as an occasional office to work from. I wrote the initial notes for this post last week, sitting outdoors at Colonel Hathi's Pizza Outpost, looking out on Adventureland's greenery.

Visiting with others, we tended to focus on going on as many rides as possible, eating home made sandwiches in the queues, and small occasional stops for snacks or another meal, to briefly check out a parade, or some character.

Wandering by myself I spent time contemplating the design, organisation, huge range of merchandising in shops, food on offer, and shows.

My pass expired last week so I've been reflecting on the whole experience.

A massive attraction

As much as I sometimes like to think I'm different, I get pulled in the same as everyone.

Paris is the most visited city in the world, and Disneyland Paris is the most visited tourist attraction in Europe, and in France. The Louvre is the second most visited spot after Sleeping Beauty's Castle: 7.8 vs. 9.9 Million visitors in 2022.

I don't know what their maximum capacity is these days, but on average that represents 27,205 visitors a day, welcomed and looked after by approximately 16,000 cast members. That might be across both parks (Disneyland and Disney Studios), which together have about 15 million visitors per year, along with Disney Village including seven hotels, restaurants, more shops, and a direct train line from Paris.

As they celebrated their 30th anniversary, Disneyland Paris announced a record setting $2.6 billion revenue last year, and $52 million in operating profit. They also opened a brand new theme area in Disney Studios Park bringing in new people: Marvel Avengers Campus. The area includes several food options, super heroes wandering around, shows, a new Spider-man ride and the sadly missed Aerosmith Rock N'Roller Coaster rethemed as Avengers Assemble Flight Force.

To think it's just one Disneyland resort in the world, and not the biggest, my mind boggles. The operation is massive: Disney Parks global attendance in 2022 was over 115 million visitors.

Being there is awesome, and I can't help but think of the crowds there as a kind of pilgrimage. Generations rekindling with and handing over their love for these worlds and characters to new ones. Older people get to feel years melting away (as long they're not looking at crowds or price tags too closely), while the young ones get to see beloved figures "for real." Experiencing this with children, and of different age groups as I've been lucky to have done is… well, not priceless, but precious nonetheless.

The cost of enchantment

Last year's results exceeded those of 2018 or 2019, though expectedly long time closing during the pandemic seem to have had various effects, such as ticket prices increasing several times, and the end of the free timed fast lane system, replaced by a paid for one, via the dedicated app.

Just because I like stating the obvious, it's worth underlining this kind of magic is not for everyone. That was the case prior to COVID of course. For an illustration of life beyond the gates of the Magic Kingdom I highly recommend the excellent 2017 film The Florida Project.

Since I got my annual pass I discovered a Byzantine and complex booking system that made what was meant to be a pass I could use every day of the year into a scheduling headache. An influencer even organised a playful protest for annual pass holders.

More recently, DLP employees have been on strike, demanding monthly wage increases and improved working conditions, some employees saying they can no longer make ends meet. While I'm at it and in the midst of the writers and actors strike in Hollywood, Disney announced a new task force to study AI (and cut costs most sources say).

An average DLP undated day ticket price starts at approximately $124.96. If you plan ahead with dated tickets it can be less. It's still at least twice the cost of other nearby theme parks, many of whom have been investing in amazing new rides over the years (Parc Astérix' new area and coaster Toutatis is phenomenal, for example).

They recently changed the annual pass system and increased the prices about 30% while removing a number of benefits. I have a few more weeks to ponder but I'm pretty sure I've had enough for now. I thoroughly enjoyed it, and I'm unlikely to renew (and so many other theme parks to go explore).

Still, as cynical as I might be tempted to be, it is fascinating place to check out up close for a brand strategist. People will save up and spend over and above to be part of the Disney brand experience and share it with their friends and loved ones. Little (or none) of it is rational. The meltdowns I've seen both adults and children have in the park are totally emotional.

By the way among all the merchandising, I've seen many groups and families wear their own printed "2023 Disneyland Paris family name vacation" t-shirts - so many I'm surprised Disney doesn't offer this online as a matter of fact when you book your tickets ahead of time.

Same thoughts go to "Disneybounding," the practice of dressing in colour schemes and outfits reminiscent of official characters but not going against the ban on adults wearing costumes (from the Disneybound blog). Perhaps they don't want to encourage it though.

The actual magic

In case you're not familiar, the division in charge of the theme parks is called Disney Imagineering, blending engineering, design, technology, and Disney storytelling.

Looking at the design of the theme park, I'm blown away by the genius and planning behind the landscape architecture making the place feel a lot larger and wondrous than it is, the queues and ride design to get visitors in and maintaining a state of suspended disbelief.

The classic dark rides Phantom Manor and Pirates of the Caribbean are gorgeous, Big Thunder Mountain is a beautiful thrill ride for the whole family. The new Avengers Campus feels alive with its unscheduled and impromptu appearances of superheroes calling children out in the gathered informal audiences to join them.

I'm reminded of the characteristics of play I often quote from Roger Caillois' Man, Play, and Games, and how well Disneyland meets them. In particular:

• It is separate (from the routine of life), occupying its own time and space.
• It is governed by rules that suspend ordinary laws and behaviours and that must be followed by players.
• It involves make-believe that confirms for players the existence of imagined realities that may be set against 'real life'.

The magic is in suspending disbelief and letting yourself be in a state of play.

Maybe theme parks and crowds aren't your thing, maybe there's something else special, out of the ordinary, an adventure beyond the routine of life, something you could get up to with children and/or loved ones soon.

Last but not least, the actual magic is obviously down to the cast members working every day to bring Disneyland Paris to life: attendants, cleaners, servers, ride operators, actors, and many more - thank you to all the people working there day in, day out so visitors can play.

Marmite Love / Hate Discovery

 

I'm just back from visiting friends in the UK and made quite the discovery that had me go back to and reconsider Marmite and its advertising.

I thought I was clearly in the "I hate Marmite" camp, decided probably over twenty years ago. That was reinforced by years of love/hate advertising that I've always thought clever and fun.

Sure it's a divisive product, but this past weekend as my friends were telling me how they love marmite, had lovely sourdough bread, I thought well I actually haven't tasted Marmite in a very long time. Turns out I thought "hey this isn't actually bad", let me have some more, and I had more the following day too. Same for my girlfriend, she thought she was firmly in the hate camp and we both changed our minds.

My main big surprise of the past week is I actually quite like Marmite. I might even love it.

Their latest ad campaign launched in June is fun, sure, but how much room is left for people changing taste? Not so much it seems.

Our tastes change over time, if you go as far as strongly conveying the idea it's about genetic material then how can Marmite acquire new consumers, as in haters deciding to give it another go rather than simply leaving it like it's set for life... Similarly if it's a given these are the two camps, do many self professed lovers share their appreciation, or do they give up because some are just haters..?

As much as I appreciate their brand positioning and advertising, I'd say going into genetics and scanning babies is taking a step too far - unless it's all just a joke, but the video seems almost serious enough that I wonder if people find it funny or not?

Publishing videos: 100% of winners gave it a chance

 

I've been publishing podcasts on and off since 2015, mostly audio first, and mostly video streaming since 2020. Thoughts for those thinking about similar ideas.

My main Ice Cream for Everyone podcast has been on a hiatus since the pandemic; at the moment I publish these conversations with my friend James D'Souza. We call them our creative sessions.

During the first pandemic lockdowns, James was making efforts to create and share interesting video classes for his pupils. He was about to give his class an assignment about marketing a board game business, and reached out asking me to record an interview for his class.

That reminded us how much we enjoyed chatting, and given I'd just began teaching as well, we came up with the idea of answering recurring questions from his high school pupils, and my advertising communications students.

That was Teaching Tangents and we made two seasons of it before feeling like we were repeating ourselves. We wrapped the show up, and looked at what was next, and came up with what might be an unusual mix.

We really like having a frequent chat sharing what we're up to, I find them generally encouraging, inspiring, and agreed we might want to keep talking somehow.

The last show wound up partly because we didn't care to spend too much time to formalise, improve, or promote it. 

That said, the idea of being live streamed was appealing. 

We like doing it and occasionally (surprisingly, even), someone of the average 1-10 viewers per video comments and says they enjoy it too. 

I guess it's our own dance like no one's watching version of Wayne's World. 

It's just us talking and geeking about books, movies, games, personal knowledge management, note-taking, technology, music, meditation, coaching, work, play roleplaying games, etc. It's pretty random.

Yesterday we talked about the Tales from the Loop tabletop RPG, inspired by Simon Stålenhag's art, which also led to a series on Prime Video I haven't seen just yet. We also talked about note-taking apps: Logseq, Roam Research, Evernote, Obsidian.

I'm sharing this because we both hear about students' (or clients) aspirations to publish videos, or podcasts. 

Just as an example, Youtube has 2.6 billion monthly active users, and only 4.4% of them have created their own channel. Around 321,100 channels have over 100k subscribers ; around 32,300 have 1M, and only 5 over 100M (source).

The piece of advice I read most often as I was planning for my first podcast seems correct; the most important is to find something you enjoy doing even if few people see or listen to it - which is what's most likely.

It begins with making something and publishing. Keep it simple and get out there to begin with.

As the old French Lottery slogan used to say: "100% of winners gave it a chance" (100% des gagnants ont tenté leur chance).

Noticing media: Disneyland Paris par Toutatis!

I noticed this good outdoor media placement at Disneyland Paris, which kind of leads me to admit something about my arguably leisurely lifestyle.

It’s a long story involving multiple trips with my nieces and nephews last summer and over Halloween last year, but in short I have an annual pass to Disneyland Paris. So from time to time, I get out my home office, and on to the RER A train to the happiest place on Earth (or Europe/France).

Yesterday, I worked at Disney’s Starbucks for a few hours, wandered around the park, did a couple of rides, lunch and some more work at Disney Village (a burger, at the newly rebranded Royal Pub. I have thoughts about its transformation from King Ludwig’s Castle, maybe for another time).

I was heading back home when I noticed these ads in the train station, for Parc Asterix. They just launched an exciting new roller coaster (2nd of its kind in the world), Toutatis, the Celtic god invoked by Asterix and his Gaulish friends in the comics.

The theme park enthusiasts I follow on Youtube and who tried the ride for the park’s PR day are all raving about it, and I’m looking forward to trying it. That’s where you might think I should be wary of market orientation and remember I’m not the target audience, except well, sometimes I kind of am.

Some takeaways:

 Outdoor ads on the public transportation system and on your competitor’s turf might seem basic. But it is also a solid foundation, I appreciate it. Disneyland is similarly boasting a campaign for the end of the 30th anniversary (in September) all over town, however they don’t have actual news, they’ve been celebrating their 30th anniversary for like a year now. It’s partly reminding everyone Spring time is here and it’s a good to visit theme parks, and/or a response to Parc Asterix’s actual new news.

 It would have been fun to see an ad specially created for the placement by Disneyland’s train station, though possibly only of interest to adland and theme park geeks, so not necessarily worth it – and taking away from Parc Asterix’s actual main news and goal of the campaign to be single-minded about promoting their new roller coaster.

 That last point is important for the enthusiasts because the roller coasters at Disneyland Paris are nowhere as good as the ones in Parc Asterix, and I was reminded seeing these ads. Disney’s coasters are old and rough. The rebrands of Space Mountain into Star Wars, and the Rock’n’Roller Coaster reopening as part of the Avengers Campus last year were met with disappointment or even outrage by fans (and myself: altogether too dark, rough, disorienting vs. fun).

I have some time to notice and write things given I just finished a couple of client projects. I’m looking for new gigs, please keep in touch if I can help with your marketing strategy.