(Q - Saïd: Okay. Because you know that you say that Michel is a literary person, uh Max, he is a literary person. Sorry, Michel too by the way. And that
it was very interesting to pick up the riddles by reading them carefully, etc., which is what I'm trying to do at the moment, but you know that on a small word, you can build an entire track. There are tracks that are.
built entirely on a little word, an understanding that they made of this word and unfortunately, well…)
MB: Yes, but what I actually tried to put forward and once again well, well, well beyond any personal concerns, revenge or anything, it's really not my By the way, what I tried to highlight is that this game was designed by an advertiser and what's more, I would say an advertiser from the last century, an advertiser with methods that were those of the advertisers of the 20th century . That is to say, we try to... it hasn't really changed, but still, there are a lot of parameters that have been refined today, with much finer analysis capabilities than what we had at the time.
But the time of Max Valentin was the time when advertisers, and even more so those who worked by mailing, so postal mail, printed documents, etc., leaflets and everything you want. This was when copywriting was a big thing. Today, we sacrifice more to the visual, much less to the textual. But in Max Valentin's time, the textual was very important and therefore many of the words used in hunting are words with high adrenaline potential. They are there to titillate, to suggest, to instill something and above all to inspire, to intrigue, to motivate. And it was really an approach that was that of the advertising editor of the time and we must not forget that Régis Hauser, in this case, was an advertising editor. He wrote leaflets. He specialized in mail order sales and he knew very well when he used certain words, certain turns of phrase. When he gave certain colors to his text. There you go, he knew very well what he was going to provoke in the reader.
(Q - Saïd: I'm inclined to continue, but hey, there are many who say that they don't have a microphone and there are many who tell me, we hear that you stop to speak so I don't know.)
MB: Yes, but what I actually tried to put forward and once again well, well, well beyond any personal concerns, revenge or anything, it's really not my By the way, what I tried to highlight is that this game was designed by an advertiser and what's more, I would say an advertiser from the last century, an advertiser with methods that were those of the advertisers of the 20th century . That is to say, we try to... it hasn't really changed, but still, there are a lot of parameters that have been refined today, with much finer analysis capabilities than what we had at the time.
But the time of Max Valentin was the time when advertisers, and even more so those who worked by mailing, so postal mail, printed documents, etc., leaflets and everything you want. This was when copywriting was a big thing. Today, we sacrifice more to the visual, much less to the textual. But in Max Valentin's time, the textual was very important and therefore many of the words used in hunting are words with high adrenaline potential. They are there to titillate, to suggest, to instill something and above all to inspire, to intrigue, to motivate. And it was really an approach that was that of the advertising editor of the time and we must not forget that Régis Hauser, in this case, was an advertising editor. He wrote leaflets. He specialized in mail order sales and he knew very well when he used certain words, certain turns of phrase. When he gave certain colors to his text. There you go, he knew very well what he was going to provoke in the reader.
(Q - Saïd: I'm inclined to continue, but hey, there are many who say that they don't have a microphone and there are many who tell me, we hear that you stop to speak so I don't know.)