- Concept and mechanics
- Viewers and beneficiaries
- Blockchain shows vs. traditional content
- New involvement
- Tokenized content market development
- Authorship and blockchain
Tokenville is an experimental project so no one (including us) fully understands it.
We see Tokenville as some sort of a post-internet theater. It explores blockchain as a technology to add value to art.
It is open for any ideas that can add value to the show. Tokenville was imagined to be an open world.
You can support the shows not only by entering them as a participant and token-holder. You can support Tokenville by watching and sharing information about them. Everything adds value.
This value is yet uncommercial. We believe that one day such activities may have commercial success, but we don’t have a goal to monetize everything at once.
Our shows are against hype and globalisation of blockchain. These shows are about making blockchain an authentic attraction worth visiting.
We are performing for our audience: both token-holders and viewers. But we see you as a actors too.
Based on the results of Deus ETH, our first show, we have formulated a number of principles and concepts that can be used to build an Internet show using blockchain technology.
Concept and mechanics
The Internet show is a collective concept that describes any online event that involves a dramatic component, a limited time frame and viewers. The show can take the form of a web series, an online game, a reality show, a lottery, etc.
In the show, the blockchain is used to guarantee the users’ right to own a certain resource, which is key in the mechanics of any Internet show.
The show is a series of events that are fixed or generated in the blockchain with 100% transparency, upon which the decisions that are related to or influence the ownership of the users of the show can be made.
For example, in Tokenville’s Deus ETH the users owned the characters. In every episode a smart contract randomly defined which heroes would die. The owners of the three characters who reached the final of the show received a prize. Thus they became the beneficiaries of the show.
Viewers and beneficiaries
We do not separate the viewer of the show from the owner with this resource (the beneficiary). In this case, the owner does not have to be an active viewer, but he can be a beneficiary.
For example, some users who purchased tokens (a conversion of about 1.8% in the purchase of the total number of visitors) did not return to the show in the future and only returned to the show (conversion to active viewers is 2% of the number of customers) after it was over. This means that there is a gap between the "investor" (or the potential beneficiary) and the viewer.
We will put our efforts towards reducing this gap later. But, at the same time, the show itself should be self-worthy and the results of the show should be available to the beneficiary, regardless of their involvement in the show.
Blockchain shows vs. traditional content
Our goal is to create formats in which there is maximum involvement. In part, we need to form an industry and accumulate the relevant expertise so that the content of a show with tokensized resources could be comparable to the traditional content (TV, Internet, etc.).
At the same time, we understand that the head start in comparison with any show that requires the use of blockchain from a participant.
This is a problem, but at this stage we cannot solve it. The solution depends on a number of parties. First of all, on application developers, who allow you to interact with the blockchain without hindrance, through apps such as wallets, browsers and so on. The support for mobile platforms, which is now limited due to Apple and Google’s policies, is also important.
We do not set ourselves the task of solving these problems - others can do that. Our goal is to create a basis (including a conceptual one) for the development of entertainment of value. This is what we plan to do in our upcoming projects.
To that end, we are planning projects in different spheres, including games, but with minimal user involvement. We realize that we cannot and should not compete with the gaming industry, but we must bring new value to our audience.
We understand that there is a new form of emotional involvement. It used to be available to Wall Street traders only, but now it has become available to people around the world thanks to cryptocurrencies. These experiences are tied to the elements of ownership, risks and benefits. It seems to us that these experiences are much greater than those that are accessible to viewers of movies and TV-shows. Accordingly, we incorporate these factors in our shows and in the units of content that users can own.
To date, we see our studio’s primary function as a producer of content that enables the viewer to add value themself. The content is a kind of vessel into which the user inserts value. This value of the content itself is less subjective, since the fact of purchase is fixed.
Tokenized content market development
In general, we are interested in the development of non-homogeneous commodity trading. If the cryptocurrency used to be bartered goods, now goods that are not convenient for exchange begin to appear in the blockchain framework. For example, CryptoKitties.
We can imagine a digital universe where CryptoKitties are kind of metaphorical actors who can be involved in various online activities (games, shows, etc.). In fact, like a digital avatar, provided with money. In this case, CryptoKitties will act as a platform with solvent users gathered on one side, and projects and businesses that are interested in these users on the other side.
Each CryptoKitty is more likely to be a certain account with visualization. But visualization is secondary. In this case, visualization is a form factor. This form factor can be compared to the bank card on which the image is printed. At the same time, the card itself can be discarded (see ApplePay).