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.

[Hiring] Content Writer at gamble.io

Interview with the CEO of Swap.Online Alexander Noxon

Today our official representative, Vladislav Sopov, interviewed Alexander Noxon, CEO of SwapOnline. Alexander answers the most interesting questions about yourself, blockchain-industry favourite games and shares his thoughts about the future!
Alexander Noxon
Please introduce yourself.
Sasha Noxon, programmer, website developer.
What determined your personal development as a programmer and developer?
The market as such. From the age of 16, I accepted orders on Freelance.ru. I was engaged in everything that brought money. I will not be revealing a secret when I say that mostly it was business websites and online stores.
What projects can you be proud of from those days?
First of all, the website https://pozvonim.com — a feedback widget for sites. In second place, perhaps, the copywriting exchange noxon-text. It no longer functions now.
You said “programmer”. And you can call yourself an entrepreneur?
Of course, I am an entrepreneur. In this regard, I was interested in the blog Spryt.ru back in the day. It was run by a schoolboy earning from advertising on his websites. At the same time, for me there is no division, or an evolution of some kind. I was the creator of websites, worked for a guy, then grew up and became an entrepreneur. No, at different periods of my life I could earn more both from my own projects, and from work for others. I do not think that this is a linear process.
The most predictable question. How did you get to blockchain? What about it attracted you?
It began with an interest in Bitcoin in 2012. As trivial as it sounds, I was attracted to the idea of a free internet currency. Free in terms of emissions, in terms of movement. This is not something that Russia or the US can block. This is more understandable money for me.
So you’re cryptoanarchist?
By no means. I respect cryptoanarchists, I’m interested in them, they are cheerful dudes. But I never considered myself as one of them. Anarchy is not the final state of affairs that the world of cryptocurrencies strives to. On the contrary, anarchy is inadmissible in it.
In which projects you have worked?
Until 2016, I was rather an explorer, not a practitioner. You can learn more about this in my Github. Mostly, I investigated the practical application of smart contracts, IPFS technologies, the properties of ERC-20 tokens. Since 2017, I have headed DAO Casino as a technical director.
“I am not expecting any owners of oil companies”
You saw a huge number of block projects. What good and bad tendencies of 2018 can you name?
It is best to start with the good, isn’t it? (laughs) People had just started understanding cryptocurrencies — what is good and what is bad. They started believing less, and thinking more. Even more important is that the exchanges are now releasing their own tokens, and this leads the macroeconomics of cryptocurrencies to a new level. The model works worse when someone is sitting on commissions from exchange platforms, which they once created. The profitability of the product tokens, in particular the crypto exchanges, depends on the quality of their work, and this is much more important for the community as a whole. Finally, it’s very cool that people are starting to pay attention to cross-chain projects (like Lightning network).
But even unpleasant things are still common. First of all, this is the inertia of investors who cannot affect the teams that they have entrusted their money to. It’s no secret that before the advent of the ICO, the motivation of the team is very high, but new motivation is needed after a successful crowdfunding campaign. In this regard, a large influx of Ether into the industry has served it poorly, as some have been spoiled, others have been deceived. Maybe this is why really big investors are not yet in a hurry to enter this sector…
Another trend! And who is a big investor for you? Where did he get the money?
Investors in this case, above all, are people who have made money on the 2013 and 2017 cryptocurrency boom. It is them first and foremost. The rate of Ether has grown, and they have a lot of money, that’s all.
And, for example, old fat cats, owners of oil companies and others? If you say “big investors are in no hurry” when should we be waiting them?
Look, I do not even think about it. You do not need to think about it. It’s unproductive to wait for these people. The worst thing is that even worthy products from strong teams are now finding it harder to raise the money necessary.
I will tell you another trend, it is neither good nor bad. Now there are a lot of funny ICOs, where people work “as fans”. They just like the idea, it cheers them up, and they invest money in it. These people do not hope for a large income in the foreseeable future from their purchased tokens. It’s something like donating money in games.
So you say “worthy project”, “cool project”? And which projects are the best?
All off-chain and cross-chain ones, especially those that work directly with Bitcoin, which for me remains number 1. Well, and decentralized exchanges with their coins. The future belongs to them, I will not tire of repeating it.
Are there bad projects?
There are no such projects. I will not be hating any projects. Whoever gets the money is good, and they are awaited on the market. And it is good as long as they get the money. Nothing new compared to the “old” economy.
“It is always difficult with strong people”
You directed many projects. Who are you recruiting?
This is very difficult! (laughs). Always in different ways, depends on the task.
No, we need an answer to this question. Let us take another avenue of approach. What is the main principle of your relationship with the team?
Our principles of interaction and payment are published on the site, they can be found. The policy of payment necessarily implies the payment of a part of the work with the tokens of the project.
Payment request form on the site. Any employee receives part of the earnings in SWAP tokens.
I am an adherent of a cautious approach to the freedom of the employee and his schedule. While a person works well, while he has a lot of responsibilities, and he does not fail us, then I’m ready to give him the opportunity to work where he wants and as much as he wants. As the scope of responsibility decreases, the tasks become more specific, a person should go to the office, work on site so that I and others see him.
With strong people it’s always difficult. Strong people are hard to force to work for a common cause. You cannot force a strong programmer to do what you need, but it’s not interesting to him. Of course, a lot can be achieved with money, many are motivated by it, but in the case of really strong people, we are talking about absolutely non-market amounts.
If I pay a lot, then the person works well, and he is interesting to me, and I’m interested in him. It’s the other way around if I pay little.
Are there any categories of people you will not work with or will you quickly fire?
There are. The most dangerous people, whom I will never tolerate, are those who do not adequately assess their competence in different areas of the case, and seek to tell others how to work correctly. You have not done any of “your” tasks, but you are already advising one guy, giving orders to the second one, and criticizing a third! Such people, fortunately, are becoming a rarity, but they are very toxic to the team. As for everything else, everything is trite — I do not like lazy people, who must be constantly kicked, dreamers, projectors, etc. I do not believe in evolution here, by and large. If a person is not a professional, you will not be able to turn him into a professional, or even an average performer.
“Swap.Online is the only way”
How and when did the idea of Swap.Online appear? Probably, you will not even be bale to mention an exact date…
On the contrary (opens the computer). On November 22, 2017, in Facebook, I laid out the design of how to exchange a token for Bitcoin. Then I described this as a possible solution for exchanging fiat money and Bitcoin for the tokens of decentralized applications. I made my post in one of the Telegram chats for enthusiasts of the Ethereum blockchain. After some time, an investor wrote to me and said that he saw this text, and some of my smart contracts, and that he liked these ideas. Within a few months, we agreed on the terms, signed the agreement and I left the previous team.
Are not you afraid that by spreading these thoughts in FB that the idea of the project will be simply stolen by someone who is cunning and technically savvy?
No. Open Source in this case is the same as publishing the idea of the likes of ”I’m building a house, it has walls and a roof, as well as five floors and an entrance.” Nothing more. The implementation has nothing to do with this, and it will never suffer.
Well, at that time, in terms of implementation, were there some alternatives besides Swap.Online?
No. It was the only way.
But, after all, everyone was fine with centralized exchanges for some time? When did you realize that the time for decentralization has come?
You know, they are satisfied with almost everything nowadays. DEX is the technology of tomorrow, if not the day after tomorrow.
The time has come for some bold predictions from Alexander Noxon. When will the turnover of decentralized exchangers exceed the turnover of centralized ones?
In 2019.
Very soon! What problems of centralized exchanges your Swap.Onlinewill resolve?
First, it is the freezing of funds in the KYC / AML policy types. On many sites of this kind, for example, on the Korean exchange Bithumb, you can have as much funds as possible, and you will be asked for many documents that you cannot always provide when you decide to withdraw them. When you enter the money, you do not know whether they will give it to you the next time.
Secondly, this is the rate of exchange. The hour is nigh when no one will want to wait for 10 to15 minutes to exchange the Ether to Bitcoin. One or two minutes is what we offer our users.
Thirdly, this is reliability. We do not keep your money, we cannot break something and steal it. There are other risks, they are being worked on, for example, the risk of domain locking, in this case, the affected users may suffer, but we will necessarily make isolated desktop applications.
The cherry on the cake is the rate of our transaction commission. It is zero percent. It’s very easy to remember. Mining fees are 20 cents.
Impressive. Who is your target audience?
Well, first of all, the “hodlers”. These are participants of the cryptocurrency market, who tend to hold their assets for a long time without participating in short-term exchange trading. As a rule, they have a lot of cryptos and they are afraid to transfer them on the classic centralized exchanges. I outlined the reasons above.
In addition, highly-informed people, like blockchain geeks, they will come to us. They are interested in the technological side of the exchange and they tend to use the advanced technologies that we will offer.
And who will surprise you if they come to Swap.Online? Who is the “no-purpose” audience?
Interesting, I have not thought about it. Probably, corporate financial clients. Here, “Alfa-Bank”, for example, will surprise me if they come asking for advertising.
Now three short questions about your project. What is its weakest side?
We are young. Unavoidable explosive growth can demotivate the team. But I already faced this in 2013 and 2017, and I derived an important rule from those events, and that is that you need to have global goals and never stop even if everything is very straightforward.
Does it have a scalability limit, ultimate throughput, or something like that?
There is nothing like that.
In a nutshell, turn to the people who are visiting Swap.Online for the first time.
Leave me your mail: it will be interesting.
“I will play Civilization V”
Let’s talk about the future in the end. Can blockchain change the world, and if so, in which direction?
Yes and no. On the one hand, it’s very good that many people have become interested in Bitcoin in 2017, generated wallets, bought coins. Their life will become more prosperous, reasonable and interesting, and this is very cool. On the other hand, some of the fundamental problems of planet Earth cannot be solved by blockchain technologies.
Be Isaac Asimov. Now there is blockchain, tomorrow there is cross-chain and off-chain. And then what? What’s next?
I think at some point quantum computers, fourth-dimensional technology, time warping, all of them will be involved in this. It is very difficult to describe this now. Probably, everything will begin with quantum computers.
The last question for today. The day has come when you are tired of cryptocurrency and blockchain. What will you do on that day?
The answer is simple: computer games.
Games? Write them? Play them?
Write them.
Favorite game?
“Civilization V”.
Interview with the CEO of Swap.Online
Alexander Noxon
"The world of the cryptocurrencies will not allow anarchy to dominate"
We hope you liked it!

Swap.Online Essential Links

Website: https://testnet.swap.online GitHub: https://github.com/swaponline Email: [email protected] Telegram: https://t.me/swaponline Facebook: https://www.facebook.com/Swaponline Twitter: https://twitter.com/SwapOnlineTeam Wiki: https://wiki.swap.online/ Bitcointalk: https://bitcointalk.org/index.php?topic=4636633

Meeple of the Week - DaboGirl

Greetings board gamers! In an effort to spotlight some standout members of the /boardgames community, we present to you the Meeple of the Week! Every week we'll be interviewing Reddit board gamers and presenting their profiles so you can get to know them better.
This week's Meeple of the Week is DaboGirl
Note: Due to scheduling, DaboGirl will not be able to answer any questions until after 5pm PDT

Real life

I'm Crystal, I grew up in a suburb of Kansas City but have lived in Las Vegas since 2008 and I'm a 31-year-old female. I am a marketing copywriter who used to work in the casino industry and recently moved into the banking industry (which is not nearly as boring as I thought it would be!) I am proof that you can find gainful employment with an English degree, even if you don't want to teach. As for other hobbies, I play video games, but not nearly as much as I used to. I've recently been playing a bunch of the older Zelda games which has been a lot of fun. My husband plays Magic the Gathering at a pretty high level, so while he would love for me to play that with him, I typically opt out since he beats me every time. Is hanging out with my dogs a hobby? I have three of them so they require a lot of love and cuddles (Sterling, Lana, and Maeby - a maltese, bichon, and poodle-mix).

Introduction to Board Gaming

How did you get introduced to Board Gaming? I played all the typical games as a kid (monopoly, scrabble, kerplunk, etc.) along with a bunch of the girly board games (like Mall Madness and Dream Phone). My fav board game as a kid was The Omega Virus. I got it as a gift for my 8th or 9th birthday and I still own it and it still works perfectly. High school and college saw me drift away, but then in 2007 a coworker invited me to his weekly game night and I was introduced to Saint Petersburg, Ninja Burger, Betrayal at House on the Hill, Race for the Galaxy, Runebound 2nd Edition, and many others. I was hooked. When I moved to Vegas I slowly started my collection and it has been building ever since.

Gaming Habits

Do you customize your games? If so, can you describe one of the games you customized? Not typically. The only real cool customized thing I have is a little wooden guillotine (with a dulled blade) that my friend made me to go along with the Guillotine card game.
How often do you play games? Who do you play with? Where do you play? At least once a week. I joined a local group on Meetup.com awhile back that meets at a local game store and I'm there every Thursday. A lot of the people in that group have become great friends. I also have game nights at my house usually once every couple of months or so. A lot of my friends enjoy board games more casually, but I'm lucky that they are almost always willing to try anything I throw at them.
Do you have a Board Game Geek profile you are willing to share? CrysP

Favorites

What is your Favorite Game and why? This question is so hard to answer. When my collection was smaller, my answer was always Battlestar Galactica. I adored Pandemic Legacy, but it feels weird calling that my favorite. I have a weird adoration of Kingdom Builder that I've never quite understood. I think I'll just wuss out and say The Omega Virus for nostalgic reasons.
Who is your Favorite Designer and why? I don't tend to gravitate toward any particular designers, but if I had to pick I think I'd go with Antoine Bauza. I've played a lot of his games and haven't disliked a single one. I love getting destroyed by Ghost Stories, trying to communicate without communicating in Hanabi, playing with tiny pandas in Takenoko, and especially the newer 7 Wonders Duel. I don't usually play a lot of two-player games and I was blown away by how good Duel is.
What is your Favorite Publisher and why? I love Iello, but admittedly I'm a little biased because I personally know a couple people who work there. Getting to hear a little of the behind-the-scenes stuff just made me love them more. Their games are fun, quirky, and often come in small boxes, so I can easily take them with me anywhere. While I can play the real brain-burning, hours-long games, my weekly gaming consists of lighter fare, and Iello fits in perfectly almost every time. Their games are also usually easy to teach to my family and non-gaming friends. Rumble in the Dungeon has been pulled out more than once to entice people I know into the hobby.
What is your Favorite Artist and why? Marie Cardouat. Specifically for Steam Park and Dixit. Something about her whimsical art style just really does it for me. I haven't seen "And Then We Held Hands" in person yet, but I bet it looks gorgeous.
What is your Favorite Component in a board game and why? Unique meeples (animals or other things) because I'm a sucker for cute, wooden creatures. I also really like unique dice (when they are implemented well). Standard dice can be a real bore sometimes.
What is your Favorite Theme in a board game and why? I think my answer would be "any theme that isn't commonly used." While I enjoy a good dungeon-, space-, or cthulhu-based game as much as the next guy, when I see a game where you're tricking the Sheriff of Nottingham, building a quilt out of patches, operating a theme park for robots, trying to locate the murder victims in a vertically stacked hotel, or betting on a camel race, I'm already more interested just because of the unique theme.
What is your Favorite Gaming Mechanic and why? I enjoy games that force you to "Press Your Luck." I tend to be a bit of a wuss at times, and while it can be stressful to make those tough decisions, it's often very exciting. I also enjoy dice rolling when it is implemented well (not generally a fan where the dice will effect the entire outcome of the game).

Versus

FIGHT!	WINNER
Cubes vs. Miniatures	Miniatures
Cards: Sleeved vs. Unsleeved	Unsleeved
Theme vs. Mechanics	Theme
Logging Plays vs. Just Remembering	Just Remembering
Vertical vs. Horizontal box storage	Vertical
Euro vs. Ameritrash	Ameritrash
Ameritrash vs. Amerithrash	Amerithrash
Foam core vs. Plano box	Neither
Cooperative vs. Competitive	Cooperative
Short games vs. Long games	Mostly short to medium, but I do love a really long game if it is planned for in advance.
Origins vs. GenCon	MeepleCon in Las Vegas!

Q&A

Do you consider yourself a Euro gamer or Ameritrash gamer or a hybrid? Do you think the two categories are sufficient or meaningful? I think the lines are being more and more blurred in a lot of the newer games that have come out in recent years. I enjoy a number of games that have characteristics from both categories. I generally shy away from direct conflict, so you'd think I prefer Euros, yet I enjoy Ameritrash games far more than most Euro games. I'm slowly trying to introduce Euros into my life but it has been tough. They aren't games I instantly pick up and love for the most part.
What's the most memorable gaming experience you've had? Rather than one specific event, I think it would be the first few times I played modern board games at my friend's house back in 2007. We all worked graveyard shifts, and would game on our common night off. We would start playing around 7 or 8pm typically and I think what was most memorable for me were when I would look at the time and realize all of a sudden it was already 6am. Time passed so quickly when we became immersed in games and that just blew me away. I wondered how more people hadn't discovered this beautiful and wonderful hobby. Luckily, many more people have discovered it in the past decade!
Where do you buy games? Should you support your FLGS or just buy it cheaper online? I know this can be a hot button issue. If the FLGS where I do my weekly game night has a game I want, I almost always buy it from them to show my gratitude for them letting us hang out every week. A board game cafe just opened in Vegas a few months ago and they have a great retail section so I buy games there as well. And yes, I do buy games on Amazon too. I believe that if a person frequents a store and utilizes their services, they should also spend some money there, but if they don't have a game and Amazon does, I don't usually hesitate to click that "Add to Cart" button.
What are your thoughts on crowdfunding board games? What's your favorite crowdfunded game? Any particularly good or bad experiences you'd like to share? I think crowdfunding as a whole has been great for the industry. People with ideas no longer have to go pitch them over and over; they can just produce them on their own. I also think there are a LOT of mediocre games coming out of kickstarter. My favorite crowdfunded game is probably Blood Rage. I just got to play it for the first time a couple months ago but holy cow that game is fun.
How many games are in your collection? Somewhere between 90 and 100 (I think). Vegas is getting its first Ikea in May and I am super excited to go get some Kallax shelves to display my games and some of my other nerdy stuff.
What does /boardgames mean to you? It's an awesome resource for info about and opinions on games. Almost everyone is kind and helpful and I think that mirrors the board game community in real life as well.
How important are board game accessories to you? (dice towers, dice trays, inserts, ect) Not very important, but fun to have.
Is there anything else you'd like to add? I'll post a tiny teaser here that a couple other lovely ladies I met through this subreddit and I are in the very early stages of creating our own board game podcast. If anyone has suggestions for topics you feel aren't being covered in other podcasts, feel free to suggest things!
Past Meeples of the Week

In 6 months' time I plan to quit my job and move to the UK to do stand-up. Am I mad?

For anyone thinking about selling vaporizers, ejuice or other "High Risk" items. Research High Risk merchant accounts before starting your business

High Risk Merchant Processing - Sure You Want To Get Into That Niche?
I've been spending a lot of time on Reddit lately and have seen a lot of questions being asked about starting businesses selling ejuice, vaporizers and vape accessories, water pipes, coin, and many other products that are considered "high risk" to merchant processors.
Most people are probably not even aware there are certain products and industries basically locked out of banking and credit card processing. We've all heard how Medical Marijuana dispenseries have trouble finding banking relationships and credit card processors, however many people don't realize that many seemingly normal and legal products are banned by nearly all credit card processors.
These items could be anything from vaporizers or any vaping accessories, anything collectible, autographed memorbilia be it sports or celebrity stuff, coins, currency, drones, any non-tanginble items; ie programs and ebooks, many services,
Most credit card processors, as well as third party aggregators like Paypal, Stripe, and others, have a long list of specific items and businesses which they won't allow to use their service. All of them also add a caveat about how they have the right to refuse or terminate any relationship they believe may tarnish their repuation. This essentially means, if they happen to not specifically call out your product or industry or business, that they can fall back on that "harm to them" which basically means at anytime they can decide to kill your payment processing for whatever reason they deem necessary.
Some Examples Of Merchant Providers Prohibited Categories
Paypal Prohibited Businesses and Products
Stripe Prohibited Busineses and Products
Square Prohibited Businesses and Products
First Data Prohibited Businesses and Products
Is It Worth Entering A High Risk Industry?
I think most people think hey, I'll start a business, signup for a merchant account and things will be all good. For 99% of merchants this is true but many industries named above have an uphill battle finding credit card processors.
These businesses may occasionally find someone to take them on and they may have processing for a matter of days, weeks, or even months; but eventually that dreaded call or e-mail will come telling you that they are terminating their relationship with you and your business; and you'll be left scrambling to find a way to accept credit card payments.
The reason for this post is to bring this lesser known issue to people's attention. I've been spending a lot of time in the "Ecommerce" subreddit lately and see a lot of people dabbling with the idea of certain industries considered "high risk". I write this not necessarily to discourage people from entering these industries but at the very least, know what you are getting into.
I personally have run a business and sold items considered "high risk". My items were legal and not even really in any way "shady", had nothing to do with vaping, drugs or anything even questionable in nature; however I later learned my products had a high risk of credit card chargebacks and it's basically been impossible to accept credit card payments.
I was with Paypal for over 4 years. I did over 2 Million a year in sales on Paypal. I paid Paypal over $80,000 a year in processing fees and they still dropped me like a bad habit. Due to my stellar seller performance and relationship with my account manager they were kind enough to give me 30 days notice to find a new processor but not a whole lot of good that did as there really are no other options.
I wound up trying a few high risk credit card merchants. Got scammed out of a few thousand dollars, got a merchant account outside of the USA and thought all was good. What nobody tells you is that if you use a foreign merchant account 99.9% of your transactions will be declined by your customers bank for being "suspicious transactions". In order to get the transaction to go through nearly EVERY customer of yours will have to call their bank, explain the purchase, and ask the bank to okay that purchase. A huge headache when your trying to run an ecommerce business.
Another thing is 99% of high risk merchant processors are scams. I personally was scammed out of about $3,000 by a scumbag named Tony from Bankcard Services out of Chicago and New York. I personally know people who have lost tens and even hundreds of thousands of Dollars from scammers in the high risk merchant processing industry. I've heard it said for every legitimate high risk merchant processor there's 1200 frauds.
If you're considering entering an industry which you believe may be considered high risk, find a merchant provider, and search their website to see if the items you sell fall within the terms of service. It's also a good idea to call the merchant before opening the account. Don't just talk to a sales rep as they want the sale and will lie to you and tell you it's okay, only to have you be shut down weeks later, as all new accounts are typically audited within the first 30 days. Ask to talk to compliance or a supervisor and make sure they are okay with your business and the products you sell.
This extensive list below are just some of the products and business categories which are pretty much locked out of accepting credit cards...
What Types Of Businesses & Products Are Considered High Risk?
Not ALL industries, but it definitely covers a large number of them.

1-800 type chat sites Airlines Airplane charters ALL sexual oriented or pornographic merchants: (i.e. companion or escort services, adult telephone conversations, adult book stores, dating services, online adult membership or matchmaker services, adult paraphernalia or toys.) Amazon, Yahoo or Google Stores Annual contracts Antiques Auctions Automotive brokers Bankruptcy attorneys Brokering “Business opportunities” Calling cards Casino, gambling or gaming Check cashing services Cigarette or electronic-cigarette sales or nicotine cartridges Coins, collectible currency or autographed collectibles Collection agencies Coupons or rewards-points program Credit or debt repair Credit counseling Credit protection Debt collection Direct selling Discount health – medical care programs Debt consolidation Drug paraphernalia eBay Store E-Books (copywrited material) Electronics Event ticket brokers (unlicensed – non registered (i.e. Stub Hub type merchants)) Exporting services (non US based) Fantasy sports websites Federal Firearms License (FFL) dealers Finance broker, financial consulting or loan modification services Indirect financial consulting (i.e. How to Save Money by Lowering Your Electric Bill.) Financial planning, strategy or advising “Get rich quick” – books, programs, etc… High average tickets “How-To” type websites (i.e. “Learn How-To Make Money on The Internet”) Horoscopes, astrology or psychic services (i.e. fortune tellers) “Hype” products or services Hypnotists or self-hypnosis International merchants (non US based) International shipping, cargo or import/export Investment firms Investment strategy Investment books Lawyer referral services Life coaching Lingerie sales Lotteries Magazine sales and subscriptions Mail order Membership organizations (over 12 months) Merchants on the terminated merchant file (TMF list) Modeling agencies Multi-currencies Multi-level marketing (MLM) Music, movie, software downloads or uploads (ie. copywrited music, movies or software (i.e. Microsoft office)) Non US citizens Off-shore corp. establishment services Pawn shops Poor credit Prepaid debit cards In-bound or outbound telemarketing services Real estate Replica handbags, watches, wallets, sunglasses etc… (knock-offs) Self defense, pepper spray, mace, etc. Seo services Social networking sites – Facebook, Twitter, MySpace etc… Sports forecasting or odds making/betting Talent agencies Telecommunications Telephone companies Telephone order Third-party processing, factoring merchants (i.e. payment processors, vacation rental brokers) Time-shares or time-shares advertising Tour operators Travel services Travel agencies Travel clubs Vacation planners Vacation rentals (unless property is owned by merchant) Vitamin and supplement sales – diet pills, prescription pills, health supplements, pharmacy Voip services Extended warranty companies Weapons of any kind – guns, knives, stun guns, or ammo. Includes any parts of weapons (i.e. butts, triggers, magazines, etc.) Vaporizers Coins Currency Vaping Accessories Water Pipes or Drug Paraphanalia

Podcasting is so dang hard, which is why you should start one today

I'm going to give you a few reasons for why you SHOULD and why you should NOT start a podcast.
Reasons why you should NOT start a podcast
Audio is actually easier than video - at least, most forms of face-on-camera videos, because if you're going to be in the video, then you have to think about your clothes, hair, shaving, or makeup, lighting, are you going to do it indoors or outdoors. If you're doing it outdoors, are you going to use just natural sun light, if yes, then if you shoot for an hour or two, then you'll see the lighting differ in the final output because of clouds and the position of the sun itself changing, all of the outdoor noises that you have to consider because I don't know about you, but the second I walk into my backyard to shoot a quick 3 minute video, it feels like the entire universe conspires against me.
And my neighbor, who probably hasn't mowed his lawn in weeks, comes out of the blue and starts his lawn mower or leaf blower. Another neighbor down the street starts doing some construction work, all of the kids come out to play, especially the cute little ones with such high-pitched screams that only your dog can hear it. Of course, your mic picks up EVERY thing, including the A/C unit in your own backyard going off all of a sudden.
But think about how many talking-head or face-on-camera videos a typical person creates over their lifetime. Probably not too many, unless they're doing the occasional sales video for their web site. That number is however tripling by the day thanks to Facebook Live and Instagram and Snapchat and what not. But still, that's still a very small percentage. Of course, there are those casual screencast and how-to videos which are actually easier to produce than a typical podcast, because of the long-term commitment that a podcast brings.
So don't compare audio to the much harder face-on-camera videos. We're going to compare creating audio - or a series of audio files - as in, a podcast - we're going to compare creating a podcast all the mostly written-word blog posts and Facebook posts and Instagram posts and Medium posts that you would create.
So in spite of what some people selling you a course about podcasting would have you believe, Podcasting is actually way harder compared to most other form of content generation.
And I'm not talking about just the tech or the creation and publishing here. I'm talking about the overall process - the overall impact a podcast would have to your bottom-line in the short-term.
Oops, sorry. I shouldn't have used "short-term" and "podcast" in the same sentence. Lol!
So for a typical half-hour podcast episode, it takes me at least 4 hours of time, from start to finish. And that's with my pretty fine tuned process, which I've kind of honed down. And it's about to get even better, as I get ready to turn over my podcast editing to my 14-year old son Rohan, who is now pretty darn good at audio editing, and has been professionally editing and managing podcasts for about 3 clients this past couple of months. By the way, he even has his own podcast, which is a movie and tv review podcast. Check it out at ZombiesHeroes.com
Now, most people may not be able to afford, or may not WANT to afford the fees associated with outsourcing their show's editing, because it can be anywhere between 10 dollars to 50 dollars per episode. And even if you say it's only about 20 dollars, for 4 episodes a month, that's 80 dollars for a podcast that's probably not going to be making you any money for a while. Throw in professional hosting for about 10 dollars a month, and if you outsource show-notes writing and uploading your content and creating a blog post and stuff, you could easily end up paying around 200 dollars a month in total for about 4 episodes worth of work.
So most people I know end up trying to do it all themselves. Which would easily take them between 3 to 5 hours a week. And it will probably take a little bit more time if your show is longer than 1/2 hour, or you have multiple hosts, or you have a guest on your show, and so on. Starting with a solo show, the more layers you add to it, the more time it takes to publish the show.
There's the preparing for the show - like the main topic, bullet points for what you're going to talk about, figuring out the different segments, then getting set up, and if you have a co-host, then the collaboration and discussions between the 2 or 3 of you, then the actual recording, then getting all media together, intro, outro, any ads or calls-to-action, then editing it, mixing it to make the audio sound really great and balancing of audio between the different audio segments and co-hosts and guests and such, writing the episode subject, description, the episode artwork, creating the ID3 tags, then taking the final version, uploading to the podcast host, and setting it to publish. If you thought phew, that sounds like a lot of work, then I have even more bad news - because simply publishing it on your podcast host is just one major piece of the puzzle. There is still the work of creating a blog post for this, and formating the content, deciding what your show notes are going to be, and then writing them - is it going to be a word-for-word transcription, or a nicely written summary with bullet points that gives a really good idea of what the show is, without spilling all the beans, so to speak. And even after you do that, it's still not over - the hardest part that still remains - promoting your show. Yes, you will have to market your podcast. Just like you have to promote your web site, or product or service, or online course.
And now comes the dilemma: If you have an online course, for say $27 dollars. If you decide to run paid ads driving traffic to your landing page, then you put them in a funnel, offer a lead magnet to get them in to your list, send them emails, and finally, some percentage of them will convert and buy your course. So you can actually track the return or investment - or ROI - for your campaigh. I drove 100 people to the site at 50 cents a click. So I spent 50 dollars, brought in 100 people to my offer, out of which 5% went on to buy my course at $27 a pop. So spent $50, made $135. a profit of roughly about $85. I say roughly, because you may have other expenses, like the credit card processing fees, someone managing your ads, someone working on customer service or tech support, etc. Let's put all that aside. But I can still calculate a tangible return on investment - or even if I lose money, at least I can track that too!
With a podcast, the hardest thing to do is tracking your return on investment - whether that investment is just your time, or also your money, or also your effort. You can NOT easily tell how well your podcast is working for your business, because it is a long game - like, a really long game. More like your retirement account that you won't be getting a penny from any time soon. There's always going to be those who have an existing audience - like an existing list, or a lot of fans on social media and so on - that they can leverage for their new podcast. But for most people, they won't have an existing list or an existing audience on social media.
Which means, you really have to get creative in promoting your podcast. Try to be a guest on other people's podcasts, create content marketing pieces that promote your podcast episodes, take out paid ads, exchange ad spots with other podcasters, and so on. There are a lot of ways to do it, but there isn't just one thing that you can do - like buying a lot of ads and tracking the return on investment, and then tweak your ads based on your conversions.
That's because there simply aren’t many tools right now to measure a lot of the key metrics – like how many people that downloaded your episode actually went on to actually listen to it, how long did they listen, where did they stop listening, and so on. The ability to track ROI on paid advertising when it comes to converting clicks to listeners to subscribers – a lot of that is not possible right now with podcasting.
Which is why even big-name celebrities with a built-in audience and platform, end up quitting their podcasts within a few episodes, because it is a LOT of thankless work.
Take my own podcast at SubscribeMe.fm - I have published 60 episodes so far. So let's say an average of 4 hours for me, start to finish, from concept to notes to recording to editing to promotion. That is 240 hours of work so far. Probably way more because in the beginning, it felt like I spent close to 8-10 hours, but who's counting, right? ;-)
Now, my episodes get pretty decent download numbers - no complaints there. And the average podcast gets only about 220+ or so downloads, according to Libsyn's "The Feed" podcast. My show gets WAY more than that.
So as an entrepreneur and businessman, I do occasionally have to ask myself: Is this the best use of those 4 hours of my week, or could I be doing something different - or better - with it?
On some level, I feel that if had used those 240 hours on creating an online course, or improving some of my software products, like CoolCastPlayer.com or some of my other WordPress plugins, that would have certainly had more tangible results. Like, it would have surely resulted in noticeably more sales, which means more revenue, and the features that I add or the course I create, will keep selling for years and years to come, and once the creation process is over, I can just buy ads and track conversions and clicks and ROI, or I can recruit more affiliates who will promote the course or the product for me, which in turn increases sales and revenue.
But with a podcast, you cannot track conversions, because while you can track how many clicks you sent to iTunes or Stitcher, you can't really know how many of those specific clicks went on to listen to your show, or subscribe to it. A lot of it is guesswork at this point.
With an email list, you send out an email, and within a few hours, you can see results - you can see clicks on your links, visits to your web site, and you probably might have gotten a few sales even. But with a podcast, it's different - people are listening to a podcast while they're out and about - on a run, walking their dog, doing the dishes. And if you have a call to action in your podcast, then the conversions on your calls to action will be way fewer than if it were sent in an email. People have to get back to their desk, which they may do hours later, and then they have to check their Facebook feed, respond to emails and support requests, put out some fires, respond on Slack or Skype, and by that time, they've probably completely forgotten about that call to action you mentioned at the end of your podcast a few hours earlier.
There is a lot more to why podcast tracking is so much harder than with most other mediums - like even YouTube gives creators such phenomenal stats, but the podcasting industry is still evolving. But the bottom-line is this: Podcasting is hard. Really hard. Churning out great content week after week, the research, the editing, the uploading, creating a page for it on your site and optimizing it, then promoting it... all of that is hard.
You can write a blog post in chunks, over a period of time. You can't record a single episode over several days, because the sound quality will not sound even or consistent. You can get a ghost writer to write your content marketing pieces, but you can't outsource your voice - you have to do it yourself, even if you outsource the research and editing. You can go back and edit a blog post over and over again and keep adding to it over time. It's not easy to add to a podcast episode - you can technically do it, but it's not as simple as editing a blog post.
Podcasting takes a lot of passion, knowledge & persistence to do it long-enough and well-enough to build authority and influence - and most importantly, a lot of marketing – to get the word out and build a legion of raving fans.
And now we get to the best part...
Having said all of those things about why podcasting is hard, I'm not going to do a complete switcharoo, and tell you that those are the EXACT reasons why you SHOULD start a podcast.
Reasons why you SHOULD start a Podcast}
Guess what? If it's hard, and complicated, and takes passion and knowledge and persistence to do it, then here's some GREAT NEWS: Most people aren't going to bother to take on all that work for such little or slow payback! Most people want instant gratification. Most people want to win the lottery, or win a gamble, or win at a casino. Most people don't care about investing money in a retirement account that they can't take out for a long time. That's not how most people's mind works. And that's where you and I are so darn lucky, that not everyone can do this.
Most people will not have the knowledge, or have a message to spread. They won't know what to say. They may not have enough to say it for weeks and months and years together, week after week, month after month. They won't have the marketing savvy to know how to promote their podcast. They won't have the patience to understand that this is a long game. They won't have the persistence to put a lot into it upfront without seeing immediate results. They won't spend the few dollars it requires to buy one of the cheapest and best mics, the Audio Technica ATR 2100 (I use and love the Blue Yeti, btw). They won't pay the 5 dollars a month for professional hosting. They won't pay a few dollars to buy an awesome podcast player plugin that they can put their entire podcast feed front-and-center on their web site - like I've done on my podcast web site, and promote it right on their home page, and create a separate blog post for each episode and put the player right at the top of each blog post, so that every single person visiting their web site can quickly and easily sample their show. They basically won't optimize their podcast web site for their own podcast!
I heard somewhere that there are about 2000 blogs for every podcast. Which means, when you start a blog, you are competing with 2000 times more competition than if you were to start a podcast. So the opportunity is wide open. And while it is getting easier to start a podcast, that doesn't necessarily mean more competition, only because there will be a lot of people coming in with unrealistic expectations about results and how much money they make from their podcast and how much fame and recognition they will get from their show. And they will probably fall flat on their face, because podcasting is not a business model. You can't start a podcast with the sole intention of making money from sponsorships.
Thinking you can make a full time living some day just from the money directly earned from sponsorships on your podcast, is the biggest myth. Podcasting is not a business model - it is a content marketing tool. So just like it is going to be super hard to make a living off of just ad revenue from displaying ads on your blog, it's super hard, and nearly impossible to make a full-time living from just ad revenue from your podcast.
Most people starting a podcast will be too shortsighted to realize this, and they'll quit podcasting sooner than later. From what I've heard, the average podcast lasts less than 10 episodes, before it podfades. Podfading, by the way, is when podcasts just wither away and die a slow, painful death. They don't shut down, they don't totally go away. They just stop publishing new content, and over time, they'll just lose subscribers and listeners and just fade away into the distance. And it makes sense that the average new show puts out about 10 episodes - or 7, from some other reports - before the host quits the show, because that's about how long it takes before it hits you how hard this thing is to keep up week after week, how hard it is to keep coming up with topics week after week, how much time it takes to promote your show, and how slowly it will probably end up growing, and how much patience you need to keep it going.
But guess what... What's bad news for the rest of the world, for all those "podfaders", is the best news for you and me.
Anything worth doing, is going to be hard. If it's too easy, everyone would do it, and that would kill the marketplace. And if it was insanely expensive, then only a very privileged few could do it - like own a plane, or an island. But podcasting is one of those things which is not easy at all, but it's not expensive either. Podcasting is juuuust hard enough... and cheap enough... for those persistent few of us to get in the game. It is cheaper than most hobbies - like golfing, or tennis. It's actually even cheaper than what the average person spends on entertainment - like Netflix, Hulu, HBO, Showtime and Cable TV subscriptions.
And that's why you and me and the persistent few of us who start and run a podcast, are one day going to enjoy the fruits of our passion. We can be like Tim Ferriss who gets millions of downloads per episode. He puts out a book and it sells millions of copies. Product launches, charity fundraisers, social media interactions and likes and comments - whatever you name it, you can get truckloads of it. Because you will have that kind of a fan-following. Again, you don't have to have millions of downloads. Keep reading and I'll explain.
And that's why podcasting is special.
When it comes to the ability to connect with people on a deeper, personal level, Audio is second only to Video. But with all the ways already invented every day to interrupt, annoy and distract people – TV, Netflix, YouTube, Facebook, Twitter, Snapchat, Whatsapp, Hangouts, and on and on and on… and more ways being interrupted every day, podcasting, in some ways, has become the single most powerful, relationship- and fan-building tool there is – even more so than video.
Because guess what? You can’t be driving and watching a YouTube video - well, I guess you could, but if you did, then you probably wouldn’t be well enough to be listening to me right now, would you?). You can’t read an online article or a book or a blog post or a PDF report, when you’re driving to work, or walking your dog, or at the gym, or doing the dishes.
You can’t listen to the radio show that you want to, when you want to. Whatever is playing when you get into your car is what you have to listen to. Even with expensive Satellite radio, you only get more channels, but you don’t get the channels on-demand. You can’t get a show on satellite radio to start when you’re ready for it - you still have to listen to the shows on their clock, not on yours.
Podcasts can go "where no other media has gone before", so to speak. The people talking on the show – whether they are making you think, laugh, cry or learn – they’re in your ears, talking directly to you, they have your fullest attention, you are focused in on their voice, even if you’re performing a chore. You chose the podcast yourself. No one "spammed" you with that podcast. No one signed you up for it without your permission. There was no “popup” or “malware” that forced a podcast episode into your ears. There was no “Nigerian Prince” who asked you for your iTunes id so that they could auto-subscribe you to junk shows. There were no fake billing department calls from Dell asking you for your credit card, so that they can charge you for a podcast – oh wait, that’s right – podcasts are free!
YOU chose to search for a podcast. YOU went out and looked for it. YOU voluntarily listened to it, maybe multiple episodes, maybe you even subscribed to it and have it automatically downloaded every week. YOU did all that – yourself. And you got to listen to the show of your choice, with the topics of your choice, when and where you wanted to listen to it, listening to it when you simply had no other way to entertain yourself, or learn something, or become a part of a movement.
Where Podcasting shines, is its ability to indirectly impact other areas of your business - like developing more Authority, Credibility, Expertise, which could all be used to get speaking gigs, coaching gigs, consulting jobs, to drive awareness and traffic to your other products and services, sell more books, build a list, etc.
Only a tiny, MINISCULE percentage of podcasters will actually end up making a full-time living just off of sponsorships on their shows. So if your goal is to make a lot of money with sponsors, then you’re going to be disappointed.
But you would be better off using your podcast to build an audience, build your brand, and market yourself, your products, books and services.
No matter what the most famous copywriters will tell you, you simply can't form the same kind of relationship and bond with the written word - at least most people can't. Ok, we're not talking about writing a book and becoming super famous - like Stephen King or JK Rowling or Seth Godin. We're talking about the average person writing a blog or a Facebook post or a medium post, versus creating a podcast.
There's something absolutely magical that happens when you put on your headset, tune out the rest of the world (watch out for traffic though, especially if you're on foot, lol) or connect your phone in your car, and listen to someone talk passionately about a subject you care about, for 10 or 30 or 60 minutes, week after week.
This is why radio advertising was always so powerful, because most people listened to it in their car. When you are driving, can't really do much else, and you're locked into that voice coming out the speakers, and you are listening to that sports show and talk-show or music station, and there comes this host-read ad, or some other ad that grabs your attention. Now... take the power of radio, and turn it on its head, make it 50 times more powerful, and that's what podcasting is.
There are just an infinite number of upsides to the kind of relationship that a podcast can help you build with your listeners. And that relationship, can not be, and should NOT be cheapened by thinking about ROI, and conversions, and clicks and subscribers and direct marketing metrics.
A podcast is the biggest proof of that famous concept by Kevin Kelly, called "1000 true fans". Where the premise is that you don't need millions of followers to be successful. Just 1000 true fans can make you more than successful, and help you make a full time and even an abundant living from just those 1000 true fans alone. You don't need millions of fans to make millions of dollars. And guess what... the platform that gets you the fastest to those 1000 true fans, is podcasting.
I'm not talking about how fast you can reach 1000 people in general. Not talking about how quickly you get someone to read your message, or how quickly you can get someone to take action - like click on a link, in an email or social post or in a Facebook ad - a podcast will fail at all those "quickie" items.
But when it comes to gaining 1000 true fans, fans who will buy your books, and sign up for your online courses, and support your kickstarter launch, and leave you unsolicited 5 star reviews on iTunes, fans who will follow you on Facebook and Instagram and comment on your social posts and like your posts within minutes of them coming out... that's what a true fan is.
And when it comes to creating your 1000 true fans, a podcast , which is more like the tortoise than the hare, and is the one that eventually wins out against the hare, which in this case, is all your other content marketing platforms put together.
And that is EXACTLY why, you should start a podcast today (or keeps your existing one going).
-- Ravi Jayagopal
My podcast about Membership Sites & Online Courses
And to listen to this article online...
@ SubscribeMe.fm

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