Les Amis d'Ethereum France #7 — Sandbox, Cometh & Life Beyond

Good evening everyone, thank you for coming in such large numbers and with such enthusiasm for this superb meet- up and Land in France number 7, dedicated this evening to gaming. My name is Jean Botti, and I'm very happy to be with you all tonight, since we're at our home, Comet. I'm the founder, along with six other members of Comet, which is a video game studio called Blocs Chain. I also wear another hat, that of president of Land in France, so this is a bit special for me. It's the first time I've hosted something from Land in France at Comet, so it'll be fine.

You can find me on social media as [ __ ] de Tichy, and I'm going to talk a little bit about what we do at Comet, since it's part of the evening's theme, but also about what the association does in France. And I'd like to take this opportunity to tell you about the absolutely fantastic association that was in France. It's a conference called THC, if you haven't heard of THC, I know... What you're doing is, being on the Comet side, we'll have a THC foam stand, so we'll have a small booth where you can pick up goodies, chat with the team, or try the game. But we also have a boat not far from the conference where you can go watch the talks.

On the boat, you can have a coffee, relax, and there are many events organized around THC, especially events organized at the Thumb and on the boat. So if you want to find out about the different events organized this week, you have a website called thcwiki.fr or blogs like celleweek.fr. You'll already find plenty of events listed.

If I click " viewed as events," you'll see the events by day. There's already something for the CESE, two things for the CESE, and the 17th, and then it continues to grow. There's a form we're on a little bit on Monnet right now. There are many, many of these events... Last year, 80 events were registered, and over 100 events took place, both officially and unofficially.

That's good; we're expecting a little over 150, so there will be things to do even if you haven't found a place to attend. Yes, it's very difficult; there will be a lot of requests. Next year, we'll try to make it bigger. We'll try to make it bigger with interest in France, since it's the association hosting us tonight. This broadcast is recorded.

You 'll find it on the " Summer in France" YouTube channel. The investigation in France will cover the associations that have existed unofficially since the end of 2015 and officially since the beginning of 2016. Originally, it was a few French people interested in blockchain, young people interested in the inner workings, but who were trying to share knowledge about it, trying to understand how it works, and a few people who were involved in mining, a few people who research the protocol, a few people who... They're trying to understand what smart contracts are, you know what I mean, and we initially organized ourselves to have meetups, get together, and discuss things. At one point, we started maintaining a website called " Les Terres en France" (Lands in France), which was then renamed " L'Association était en France" (The Association Was in France).

The initial name of "Les Terres en France" was 7 to 2, but it was dropped for those who remember. So what do we mainly do? Well, we're involved with Athérome France.com, not as much as we'd like, but we're starting to do things there. And what's good is that the journalistic sector on the blogosphere has developed a lot, but we continue to do it.

On the other hand, we translate technical papers. So, anything that's a technical paper published by the foundation, or anything else, we translate it in France as well as into French. And we try to support community initiatives around the blogosphere. It's been unearthed, and that's why we invite you to find us in... Events like being in Prague, and you 'll find them at events here and there, which means they do things around Terium.

We're a non- profit organization, and our main activity during the year is organizing the event at THC. So, every year we organize this event, and now it's almost ten days of non-stop events around it. And tonight we're doing a Myth Up, which we try to do monthly. We're lucky to have people from the gaming world—or rather, veterans of gaming, since Benjamin Charbit, from Les Risers, has had a long career in gaming and is now continuing with his new game. It's easy to integrate the main scene blocks into his game; he'll have the opportunity to talk about it.

And we have Sébastien Bourget, who's in the taxi; he'll be here soon, but it's okay because he's speaking last. Sébastien has had a very long career in gaming, and now it's so high, from 200 in boxing, and Benjamin, the honor. To kick things off, let me tell you a little bit about what we do at Comet. So, without further ado, at Comet we run games on the channel. It's a different approach; we try to make games that use the chain block from end to end.

It's a big technical challenge, but we like these technical challenges. If you see images of our first game, which was called " MMORPGs Hockey," there were tons of people online at the same time. You'll see all these little dots are spaceships. Each dot is a spaceship. Each spaceship has an orbit.

The goal of the game was to position yourself in space by interacting with other players. So this first game was our first creation with an engine that ran only unchained, so anyone could create their own front end. Anyone could create scripts or other things to automate their movements. And around this game, we tried to develop some utilities with an index and a system. Staking with an expanding universe system, a mini-game for fun, a front ten to allow people to sell ships, and we had so much fun that we thought, "Actually, blockchain in gaming is absolutely brilliant!

It's a great application and it opens up tons of possibilities, especially the fact that we can connect thousands of players. We've held tournaments where there were several thousand players in the same place at the same time, playing. So it's not real-time because it's blockchain time, meaning each time a block needs to update, all the contract healing needs to happen so that people realize, 'Oh yeah, okay, we're in that position,' but no, it allows for lots of people to connect at the same time in the same place." And today we continue, we continue to make games, we continue to try to push them to the maximum on the blockchain. That's it, Sébastien, we continue to try to push them.

We're working hard on the channel and preparing for the release of our next game, which is currently in public beta. I'll tell you a little bit about what we're doing with it. Well, there are already over 170,000 sessions on this game, and several thousand players are currently playing. The game is pure Fit to Fly, so you can come and try it out. We'll do a little demo, and there are tournaments and other things.

We're on good terms with quite a few so-called " flaw" projects that we're trying to showcase within the game. We're trying to create a game with a lot of content that's enjoyable for everyone. The reason we're happy to host a gaming meetup in France is that there are very big prospects there. There's a lot of venture capital investment in the gaming world because there are great prospects for what Blockbuster is going to do for gaming. So there are some new business models thanks to the channel.

As a video game producer, you're bound to find new ways to... Distributing your games in new ways to perpetuate the licenses you've created around them, whether through royalties or subscription models, which are a bit different, but beyond the purely business aspect, there are gaming aspects that are absolutely exciting, such as representing all the assets of a game through a good blockchain. These are the commodities, the resources you find in a game. They can be block assets, the items you've collected or earned, or assets that are block-based. The only thing is that they are interoperable.

This opens up possibilities for telling different stories through your games and potentially creating new types of games because you have this new medium of expression. And maybe 2025, maybe even before, we'll see the emergence of major games that will use the blockchain in one way or another, saying, "Oh, well, I'll let players log in alone," and then perhaps I'll interpret the fact that they have an NFT of a game from the Royals, for example. Maybe when I get to his box, the fact that I have a piece from this collection gives me a specific skin. All of this is part of the game's infrastructure that can be transformed by adoption. So, maybe the impact of blockchain on gaming will be greater than what 3D was, or was it the father of the games we knew?

So, our role is to make games that use blockchain from beginning to end. We do a lot of R&D on what blockchain is, what blockchain can be applied to. One of the application areas we see directly today is all the economies within a game. So, when we look at a game's economy, what assets do we need? There are things in your game tonight: armor, a sword, a car, a house, a pet—these are game assets.

How are these assets represented? They can be resources: a little bit of metal, a little bit of leather, a little bit of wood, a little bit of sage. And it can also be objects, things you equip, things you interact with. So, to have an economy, you have to start by having assets. To have an economy, you need services to be able to exchange assets.

There needs to be a place where you can go to buy wheat, sell wood, and a place where you can go to leave your dog, trade your pet for another, or defend your puppies. There needs to be a place where you can trade with other players, or perhaps a centralized location. Thirdly, you also need production functions, like how do I craft armor? How do I create armor? Well, I mix that and that.

Okay, you need that, like what you need. This kind of thing is potentially also recycling functions. If I have an object, can I destroy it to recover something? Those who have played games like Minecraft or other types of sandbox games will be familiar with these things. And then the rest is a bit like design rules.

As a game creator, you mean, this kind of armor is only accessible at certain points in time. This kind of thing, starting from a certain point in the game, is only possible if you're in that part of the map, it's only possible if you have that type of character. These are design rules, and eventually, once you have your game economy, you can try to expand it. My economy isn't just about people creating and trading; it can also be people lending, people buying in groups, people creating an organization—maybe decentralized, perhaps a guild—buying a group that manages and guides people, and all that. So, when we look at this, we think, " But there are so many great things!"

We've shared a fantastic couple through the Chainel Gaming blog, if only because we have plenty of solutions for the first game but not for the second or third. We think we have something quite fun to present to you today: chain block best rafting and block single-block grinding. So, we manage to create crafting recipes and NFT recovery recipes thanks to the... Good food in Leucate, well that's the heart of the game design profession, and we're happy to know that more and more people are interested in what we do. I hope there are quite a few gaming people at this event.

Stay until the end because afterwards there will also be a small cocktail reception. I wanted to mention that in the presentation. And at the A16 Management Bat Laon, there are several big projects that have raised funds in recent years or that have been released more or less in alpha. Regarding lending, with your assets, you'll buy, essentially lending NFDs to others, renting them out. We also have solutions for that, and it's a topic we find very interesting.

So, for example, crafting in Blood Chains—why is it so cool? Raise your hand if you recognize this screen where there are people who have played Skyrim. Great! So, when you play Skyrim, a very big game that has had a certain success—there was even an online version—you have A system of forgetting, you can go to the blacksmith and say I want to create an iron mic. Once it's a mass, a mass to make in France, SOS, to the literal translation, so you see some elements, it's a nice mass, and there it has a 3D representation, it has the DDT date at 11.

2, too bad it weighs 13, the universe of 35, I'm not telling you 35, but anyway, that's 35. Below you have the TCD metadata in the NFC sense, and below you have the recipe that allows you to create this mass. So there you have to mix script networks, so pieces of copper, leather, and a few silver coins. So if you mix your silver ingots with the received ones, you will create this mass. And then, do you have direct access to the things you create from making?

Are you able to create even this iron mic? Well, that depends on your blacksmithing skills. Do you have good blacksmithing skills? So there are Players who will say to themselves, "I like the idea of ​​crafting, so I'm going to become a very good crafter. I'm going to create a character, a character class that's very good at crafting."

So, I'll start with a slightly higher level in this meeting or forge than the others, and then, "I'm interested, what do I do with it?" Well, all of that is quite immediate. Chain blocks are all thanks to the young players. Your idea of your item that you have crafted and everything related to that item can be stored in a poker standard, and therefore they inherit its properties, namely that it is interoperable with other games that can interpret it, namely that it is non-repudiable once it's on your toilet. The idea of ​​our role is if you want to transfer it, if you want to change it, if you want to sell it, you can very well do that.

It's more about bringing something to the players, namely that these items now belong to them, but this form of ownership brings the Blogo Chain and for game design, you have the ability to make crafting recipes quite dynamic. Imagine you're in Skyrim, and leather scraps are super easy to get. You just have to beat a deer in a forest and you get copper scraps, leather, and that's it, you have customers. Well, the problem you encounter when you have an open world, when you have a very volatile economy, is that it's quite difficult to say, "Okay, how much leather do we distribute per day? How much iron do we distribute per day?"

Blogo Chain allows you to create recipes that are dynamic because you can base your recipes on the state of the market, between leather and iron, for example. And that's precisely what we tried to show in our game currently, and by extension, it also allows you to have innovative forms of game distribution, in the sense that instead of telling people to buy my game for $20, instead of buying my game for $20, you can... Kraft is a student for $20, the money you used for Kraft, and it's not done. Those $20 will put these stable Coyne USD US DCC $20 into a sticky system, for example, with ten rifts that give you a small percentage on your $20. And now, those $20 are generating income, they have an interest rate, all of this.

At the end of the year, you can tell the players what they want: a share of it, or do they want to continue playing? If you commit to Kraft for $20 to announce you're respecting your commitment for a year, well, I'll give you a DLC or I'll give you this quarter's worth of thanks, with a star screen in hand. As a game seller, I sold a license that's a reverse subscription, so there are so many possibilities, so many things to do, and on top of that, we made it open source. And then you can use it, for example, you can use it for crafting. From a standard that allows you to say, well, my time, these wines, or less, 9 points, and I can delete it or I can't delete it, I can link it to a random source to say that sometimes one crafting out of ten made a magic sword, I can use other protocols to say this recipe is linked to other protocols, I can consider that this NFT is transferable or in fact it is not transferable, the unique items to players once the person crafts it, just destroy it or not even transfer it to someone else, and small remarks for those interested in FT collections or who may be collecting NFT surveys, the fact that Alain Estate was Kraft and from this kind of protocol means that since we can always recycle it in the vise, it was used for Kraft and it technically has Flore Price, can you still use it on Green Day to recover what it is used for to be recycled, so it's not bad So there you have it, we did it, so I can give you a little demo.

Here you see our new game. I've opened the game page like this, live. So you have a little crafting section here, and today you'll be crafting with resources. These resources are distributed to the winners, so when you play a game of Comets, you win resources, and these resources are used for something important. If you discard them, then the more players win, the more resources they have for Kraft.

These resources are worth a few cents, so you might as well go craft to make cards, I'd say. So try to make a cent or two by reselling these resources. In any case, we're trying to push players towards a currency economy rather than trying to collect resources to sell. And so here you have this little recipe that mixes aluminum, magnesium, tungsten, and copper. There you go, we're reviewing its classification.

It requires resources like this. So you have a little recipe here that tells you to mix this, this, this, and this, and you'll make five cards. Well, when a player wins a game, they win some resources. When they've won enough resources, they can go to Kraft. Kraft is a small card.

What we're going to do here with this recipe is actually use these different resources. and deposit them on the index. So there, the player actually interacts with a centralized funding protocol called an automaton and market maker that's used to list fathers of different types. So what is the technique? The list is both magnesium and tungsten for copper, and if I look at what happened on my beautiful transaction, we 'll see.

So it's great. So for those who have never seen an explorer like Interscan, it may seem like gibberish, but those who are already a little more used to looking at this can see what happens. Let's say I deposited aluminum and magnesium here. I got a " help it okende" (help it okende) from a story. I deposited copper, got a "help it ok" from a story.

And then we called Shu Chen Ling because, since it's a low-level card booster, we need randomness to know exactly what's in the booster. And then I can open my booster, and by opening my booster, we actually use the random number that was searched for to print The cards, well, this little system is, we think, very flexible, and you can use it to try and do interesting things. So, while the full rates are deposited on the machine and you mark my heart each time someone makes a trade between aluminum and copper or creates something related to aluminum and copper, you 'll get a little bit of 7.2 fiz. This trade is therefore technically the cards that are very, very old, that have been kraft for a very, very long time.

They accumulate more and more resources related to trading. So, we do n't sell the cards; we let the players craft them, and then it's about trading and collecting them. And finally, you see, I have kraft and five cards, and we're going to look, for example, at this diploma-style card, Fear, here, which has a common card. So maybe, maybe it's a card that's sought after by players. So, for that, I can go look in World Builder, go look at my collection, and we'll find it.

Pop, pop, pop! So, it's a card that cost 4. Man said price tag, Fear. There you go, I can delete my card and when I take my card I recover some of the resources that were used for crafting the pole since there were five cards we divided the resources across the different cards so I'm still going to keep this fear tongs because I think it's a pretty good card and I didn't have one after you can also go sell or buy it on a marketplace that's our model on this I know that takes royalties on sales between players anyway good deal you brought it luck so in the short term we want to integrate other defined protocols to tell people that instead of buying a $5 booster you're not going to buy a booster actually you're going to make a deposit on a platform for $5 we're going to take a percentage on the trade you make with this card that didn't want to keep them and there you go we're trying to push people a little to educate themselves she said flaw with very small amounts to say you have deposits like that that you can make and is paid so he left There are some interesting behaviors in this. For example, if you're a hardcore card game player and you say, "I want to have the whole collection right away," you might think, " I'll buy a lot of resources and craft a lot of cards."

Let's say you have $50, that's your budget for the game. You buy a lot of resources, and craft a lot of cards. The problem is that if you buy a lot of aluminum or a lot of resources, you put a lot of pressure on the price of aluminum. This means you have to pay all the people who crafted cards before you, since you'll be using resources from the chickens that generated liquidity. So, you have to pay the veteran players.

It also means that for all new players, the card crafting costs will increase. This gives an advantage to those who are there to grow the game compared to those who just come to say, "Well, I want to buy a lot of cards." It's very quick, actually. If you really want a card, you might as well just buy it. Another player, because rather than trying to buy resources for Kraft, which doesn't really help you, not really at the foot of Kraft demos, and so I was telling you this because, well, it works, you can use it.

I hope it made you want to try our game. It's open source and audited, these live streams, these companies with all ten vulnerabilities, Project, we're also working on the integration with other protocols like AVENUE, like Curve, and others, and we would be happy to have your feedback. So I hope that was a good introduction to tell you, well, you're in the right place. If the block at Dell Gaming interests you, we potentially have a prodigious source of new business models with this, that they are closer to the player because we distribute things they own, that they can trade, that are low, there are no hidden terms, in fact, you look at what's happening in the Black Swan and 6 at 1 a.m.

, these wines or its season 21, it's yours, we're not going to ban you because You sold one card on seven marketplaces, more than seven others. There won't be any of those things like, " You sold your level 60 character on World of Warcraft and you're banned." The expansion of what kind of games we can deploy with this infrastructure is also infinite, and I hope we'll soon see new, super cool game genres thanks to it. And if you have children, cousins, or nephews with you, put it in their hands. You see them creating an account, starting to use it, and then it'll be...

that's it! It's much more natural than having a bank account, having to put your son Ali in his bank card, seeing that. Actually, no, it's just the right channel. You play, play well, you can build a big collection, you meet people who do interesting things, and then you accumulate a collection that's potentially portable from one game to another, and that's great. And well, that's all for me.

If you want to see our city, the marketplace, develop for... You can scan this QR code. Do you have any questions? [Applause] So today, there are 6,000 to 7,000 players who have tested the public beta since we put it online on May 5th. Actually, the problem with games like this, which are two types of battles, is that we haven't developed a way to find matches on their official website.

So if I come and say, "Yeah, I want to play a game, so I'll declare myself in this game," for example, will I find someone to play against? And we don't know where we're going to go. We'll see. [Music] We have an average wait time between two games of 30 seconds. Well, that's okay, we can do better.

We'll see. And we're not trying to do a lot of marketing around the game because we're trying to balance it. The fact is that currently you have access to all the cards when you want to play a game, so if you want to build a basic deck, you have access to all your cards. It makes things happen, it makes nails, and the unique thing about the system right now is that we have tournaments with a small cash prize every week. So, filming finishes tomorrow, so people are a little aggressive, yeah, so you're going to give him a Space Trash card, that way we're taking over his Spaces shield.

So it's a card game that's a bit like what Ms. Stone does here. You have the equivalent of creatures in Magic, for example. You have someone who does wheelies here, someone who drops parasites into the game. I'm going to try to break his thing there.

Okay, great. Then there's a point system. Every turn, I have seven points, and I'll give him this water. If I play a card that costs a lot, it's 5, 2, 5 points to play, but it increases the number of things I can play by 2, 1 every turn. So it's good to play it early in the game, and then I pass the turn to my opponent.

When you have more cards in hand, he draws again, so the Tec is very small, it has about forty cards. We worked quite a bit on the design with pro Houston and Magic players to create a fairly dynamic game. The average game lasts about two minutes, and when it's not your turn, you can look at your FT collection. So we also developed a tooling to collect all the followers. And there you have it, I have a fake hype, look, it's raging, and people [Music] have a very good connection.

It's called Fake, I think, or X Hype, but let's see what the hype looked like inside. So there's no chat, you can't talk to your opponent, but you can send them NFCs that you have from other collections. Well, I have to admit it's not going very well. I don't know if I'm going to federate it. I've deployed one little by little, she's scared.

Yeah, I'm going to try to destroy one of hers. Here, I'll break this one, then I'll transform you next, a sheep. Yeah, it's not going very well, though. He has more of the most of creatures than me so I have more cards in hand so I draw a card I draw this it will protect but orbiter too good oh no I would have loved to play this card but I don't have enough power anymore finally turn and while it's not your turn well what do I want him it's not but I have anyway a little nice here's a good old kryptonite butt so for the birth of my daughter but my colleagues made me a little chain block greeting card so every time someone signs a message this greeting card updates there we have a big R&D department at Comet [Music] and Anne we actually it's going pretty well so there I have lots and lots of mana I'm going to be able to play lots of cards so there's a very good card and also a superb piece of music behind it donker little playlist available on SoundCloud yeah yeah it's a very good question we want how do we not discourage new players it's true so there are several systems in place The first reason is that matchmaking uses a system based on the Elo/O2 rating system, which we adapted from chess with a slightly different curve. This is because we want players to stay in a beginner-friendly game for a while, and if they perform very well, they can quickly progress to higher-level games.

The principle is that if I'm a new player and I've bought some really good cards, I'll immediately find myself in a stronger game. So, we match people against players of their own skill level. We don't want players to be immediately pitted against very strong opponents. Then there's a nice set of cards offered to players. Currently, the game has an open library, so all players have access to all the cards.

Therefore, you don't have a disadvantage compared to those who are potentially better than you. I'm completely on autopilot; it works quite well. Otherwise, you start with a set of cards that's pretty good, and we try to rotate this set of cards, meaning we offer new ones. In this business, it's important to regularly allow players to discover new things. When a player loses their first game as a defender because they were up against too strong a team, they'll end up with fewer prizes, so they'll play against better players.

Then, we rotate the card pool from one season to the next. We're currently in the first season, which hasn't even officially started yet since the game isn't fully live yet, but when the game is live with all the games, people will accumulate cards, get better cards at the beginning, and see the exchanges. What happens is that people who already have very good decks and win a lot of cards have more cards they need, so they exchange them or pass them on to new players. There's also a rental system that allows players to rent cards from another player. And if we're talking about a few cents to say, "Oh, I really want to use a deck that's much better, so I'm going to test it," then okay, I have one of the very...

Good card, but I'm afraid one of its secrets will prevent me from playing it, so that's a bit... well, it's a bit technical, you have to think about who we're going to try to activate their secret on. Yeah, it's good, they activate their secret, great, their success, but without success, but an orbiter too, that's great. Basically, I think I'm going to win it. Yeah, no, there aren't any interactions at all.

The state is masked, actually, when you join a game. So we have a system, we've developed a signature system where at the end of each game, each time the 2nd round, we store what happened in the world. Then it's the opponent's turn, we store what happened in the round, and at the end we have a sorting of... well, what the game was like. So there's a challenge to say, yeah, well, the game was won by Jerome, to whom we gave some resources.

Will Jerome's opponent challenge by saying, "Oh well, no, actually it's not..." I won, he won, and I won, not him. So we can replay the game to show it, but in this public beta phase, we only put the unchained economy and this signature part, and all that, we keep it on our internal clock to say we do n't store it, we didn't want to expose it completely, but in fact, the interest in having this test phase, which is completely meaningless, no in- game blockchain, well, that's why we wanted to develop the Chen Ling blog and adoption side by side for us, for our face, but we wanted to have as few barriers as possible. Now today, if you go to Battle Points, like Help You, maybe even you go to, like, being in the thick of it live, hello, you just need a login, there you go, you've signed a message for all of China. If you do n't have a wallet, if you have nothing at all, well, actually, to offer login with WebOS or Taurus, so you can even log in with a veil, which is more or less...

It's all about following up, especially with Twitter or with your Gmail. So, we're rolling along, we're not going to tell you, "Okay, now you need to have more matic, you need to have losses, you need to have things to at least sign, or for me, to make transactions." We see that you want it to be really super smooth, Lombardini. I said I was going to win it, but actually it's going super well, ouch ouch ouch ouch ouch. It's a game where you write, not necessarily easy to play without looking.

Anyway, I hope that made you want to try Battle Points, commit point, high to try. There are lots of cool things, we have tournaments every week, we will be present, be here, we will be delighted to welcome you. And Haiti, if we are delighted to welcome you tonight, and without you waiting, I will pass the floor to Benjamin Schmidt. No, Jérôme suggested I participate in this age meetup. I thought, well, I can tell you about the game we are developing, and I will tell you about it.

I was talking a bit, but I wanted to take a step back and put it into writing. It's a topic I've been discussing a lot lately: the vision we've always given, that games are becoming a destination rather than simply a place to experience fun. And, 12.7 Prévert presentation, to show you what it looks like when games go beyond just fun. A very quick introduction: I'm Benjamin Charbit, the co-founder.

We have a studio called Des Roises Entertainment, based in Paris, with an office in Barcelona and a new one in London. We have a team of about a hundred people. We were recently acquired by the leader in NFDs, which you may have heard of, called Un IMOCA Brad. In the past, I was a game director at Ubisoft. I worked on, among other things, "On Two Knees."

You may have heard of one that... It's called Assassin's Creed, specifically Assassin's Creed Black Label, and another game I met my co- founder Samuel with. They were called The Divine Jeunes, which was a big triple-budget production. So it's a bit like the Bagram we were dealing with, big blockbuster productions, big budgets, everything that makes gamers dream, but at the same time, today it's a bit like that, a bit archaic. So I wanted to show you a couple of things.

The guy here, pre-pubescent, is me. Next to him is my friend Guillaume Ettori, whose name is Cabale, who is a great player in history. And at the time, well, this was one of the famous meetups when, in the 2000s, they started getting together for EA Sports competitions at the beginning of esports, beyond those levels of competition. But also to show you this, do you know what this means to some of you? So here it is in Issy Ku next to it is IRC, the rest is a bit older, I'll show you Ultima Online, one of the first major MMORPGs that brought communities together and allowed them to experience an adventure quite different from traditional gaming at the time, and in relay if You're really much older, but I don't get the impression from the room, or at least if you're interested, if you have what's called a multi-user mode, a junkie was really the ancestor of the MMO, of this experience where players gathered, spent a lot of time in a community to explore universes, complete them, and receive gifts.

Then I'll show you all that. What's interesting through these examples is that these are steps that shaped a whole bunch of very different experiences: manga, gaming, and especially competition, the development of social relationships, and more recently, economic behaviors. We're talking about gold farming in World of Warcraft, not to mention vending, which is people who are paid to complete quests, go collect resources, gold coins, and so on. And so I'm showing you all that because it's been a long time since many people have played video games for all sorts of reasons other than entertainment. When you look at the past, and since we're talking a lot about the metaverse today, it's definitely this...

Which brings us to them. You thought you'd spend time with me tonight? Actually, we're not always in the midst of innovation. We look to the past and see all those experiences, from the mod to World of Warcraft to Fortnite, of course, EVE Online, Star Wars, Galaxies—all of that. These are experiences that have already given us seven initial tastes of what it means to be part of the citizenry of a digital society.

And this will lead me to repeat the same thing often, whether we're talking to investors or potential partners, that just because it's virtual—we always tend to oppose virtual to real—we believe that just because it's virtual doesn't mean it's not real; on the contrary. And these two major upheavals have come and have once again catalyzed everything I'm explaining here. The first thing is a huge improvement in accessibility. All the experiences I've presented to you were very hardcore; you really had to want to get into them. It was something else.

We were called geeks back then, but today we increasingly talk about entertainment and experiences that are very mainstream. We talk about Rob Knox when we talk about heavy snowfall, and we have USA Experiences that are much better, especially experiences that run on all platforms. You no longer need an ultra-powerful gaming PC to access them; all you need is a mobile phone, tablet, or any type of laptop, and you can access almost all of these experiences. Then there's the tokenization of these economies, particularly through digital ownership and the inhabited component. I'll talk about that a little more.

So, the improved accessibility has a very significant impact. When you participate in World of Warcraft, you play it, it's amazing. You already have seven initial flavors; you're in a world that's what we call living and reading. It looks real; you walk, you see pedestrians strolling around. But in reality, the experience has its limits.

The thing is, there's an archetype of citizen in this society, everyone's a hero, and this experience, as a result, reaches its limits because after a while, the immersion becomes a bit stifling; what we do is... we're all alike, and it's complicated to create richer settings and behaviors thanks to accessibility, thanks to the fact that everyone can take control of these experiences. The focus, you know, is much easier, much more accessible through platforms. Speaking of design itself, suddenly we see many other roles emerging, and we're no longer seeing the emergence of societies, whereas before we were more focused on corporations or guides. The other element is the tokenization of economies, whether it's NFCs or tokens.

For example, paying 20 tokens suddenly changes the stakes. When you play, sure, you're playing, but you're accumulating assets. You can sell your talents, your labor, for tokens, for a spa treatment. So, it's all... Suddenly, you have the experience of a game, but the stakes are much more real, and what allows—in any case, we strongly believe in this emergence—the city hall is launching a new economy.

Where am I showing you? These are screenshots of a game that has existed for a long time: Farming Simulator, Trading Simulator. So there are people who have been playing games for years in which they have jobs: farmers, train drivers, truck drivers, and so all this leads us to say, but in fact, this famous saying— certainly heard—is more than just a saying. I found it on the Pôle Emploi website: 85% of the jobs in 2030 don't exist yet. I've heard this 25 times.

I was happy to find it on the Pôle Emploi website, which agrees with us that a whole host of jobs will emerge in these worlds, and that's what leads us to say that ultimately, games will become a destination and not simply an entertainment product, a real digital space in which you will be able to live. A second, a third, or even more existences, and it's this fantasy that has driven us, but it's truly becoming a reality. So, I was talking to you a bit about glossy lacquer, what a game we're developing, showing a trailer, Bieber, your type agency, me, Diouf, this prescription [Music] 28 We need you tonight iPhone [Music]. So that was a first, a first glimpse of the meat of the game we're developing right now. So, to give you a quick overview of the grid, it's a game we've been developing since 2018 with this team that has grown considerably since then, with this idea of ​​bringing a triple experience to an MMORPG experience.

On the blogosphere, it's truly been a way of shifting the gameplay experience we love towards an experience in which players can build a real existence with very real stakes. We have a first alpha phase starting in a week that requires nothing, no need for Dax or keys, you don't need So, regarding NFT, I invite you to connect to the website playlivebing.com to participate. As for how we define ourselves, we're often asked what we are: a play- to-earn game, and that's not really the terminology we use since we prefer not to call it a full-time MMO. We announced that there are no earnings at all, and you don't need to have any effect; you can play without NFC.

NFC can be the result of your experience; everything is NFC. All the assets you build, collect, and earn in the game become NFCs that are on Polygon and that you can use and sell, and of course, in a completely decentralized way. To give you a little overview of the experience that awaits you, you have arrived on a planet, the planet Dolo, which is a planet full of opportunities but is currently protected by a corruption deposited by aliens, which protects the entire planet from invasion. As an alien, you are As an agent, you arrive in this world with the objective of clearing all these plots of land. This involves action-packed gameplay.

Once these plots are cleared, they become NFCs (Near Fields) that you can buy, own, or rent. These plots will begin to generate value through the resources they contain, but also through the activities you create on them. This will allow you to attract other businesses, other opportunities, and move from this exploration phase to a true development phase, eventually leading to this third era, an area of emancipation and expansion. These colonization zones will create spaces that will last and stabilize, leading to more advanced civilizations. Thank you very much.

[Applause] So, we don't know exactly how long it will last. We know it will last several months, but we don't know exactly when we'll stop it. We have objectives we want to achieve first, because the goal is, of course, to test it, but... There are a lot of things that aren't going to work that we'll be able to test. ADN FTD Drop is coming, and to accompany that, we're also going to introduce the token and the chicken, a reward pool.

So the more you play, the more you participate, the more tokens you'll be able to collect, which we'll be adding soon. So there are a lot of things going to happen, and this is just the first alpha phase of a series of several that will probably come by the end of this year or the beginning of next year. Developing a game like this requires a lot of work, but where we're going, we're already going to give you a good experience here with two cups of combat action. So if you like this kind of gameplay, you're going to be well served. No, no, as I was saying, we're a bit like dinosaurs, so we did it like dinosaurs back in the day.

Downs was initially funded a bit by the enemy's chaplain, and then we raised capital from investment funds. That's kind of how we all know that... We met and were fortunate to have investors in common with Comète. As I mentioned earlier in the introduction, we were acquired by a large group, which also brings us significant financial resources. However, I think I probably wouldn't use the same financing strategy today because I would have liked to have the players on our side as participants, to better align our interests with theirs, and to involve them in the decision-making process.

This is something we'll try to do more and more now, with the gradual introduction of a repository and increasingly decentralizing the mechanics. We're not exempt from the rule, even during the wars. We're already doing this, so we're really in what we call " game-centric" and focused on service. We'll continue to constantly push content and improvements, and our goal, which we clearly state every month, is that this will be our last game and that we'll only focus on developing this game on the... 15 projects next year, it's about meals, actually.

I think it's more the moment when the experience that interests me the most, in terms of experimentation, will take over, and where we really get into the nitty-gritty of the sandbox. We'll move beyond pure gameplay, which is a bit of a ghetto, and become the entry point to a metaverse, a space where we're still in this fantasy world. Unlike other platforms, we're in a fantasy world with a story and narrative that we'll continue to develop. So it's not just a platform containing a limited space; we can completely shape our ecosystem, and we're in that universe. But it's where other types of jobs and other types of experiences can develop.

So, things that are perhaps a little less gameplay-focused, but I think just as interesting. What's certain is that in In this universe, people will have the property, the skin, the possibility of owning a space and creating an experience within it. The question is, what kind of experience can we create? Today, we're thinking of things that are most obvious, like concerts and shows. Ultimately, it's about bringing a form of entertainment, but also educational spaces.

We're just beginning to explore this, I think, even museums. In fact, I think what we see on other platforms is something we're also trying to achieve, but we never have an exclusively live vision. It's never been said that live content must exist defensively against other metaverses. In Faso, content is ultimately just a destination, a bit of this open metaverse. And we really want to participate in this migration, these transitions, between all users, between different platforms, between their boxes, between hubs, between Star Atlas, and it's about creating links, creating gateways.

We strongly believe in interoperability, not necessarily from one place to another, but of The experience with a form of utility that transfers, so I think we'll see more and more experiences emerging on one platform, for example, and that as a result, we can also start to have a presence in the demand on the other. So we're working on the map system, and especially on navigation, which is very important for us because we're still in a game with a form of immersion, a bit of fantasy that we want to be quite strong. What's important for us is that we have a kind of thread of physicality, meaning that to go from point A to point B, there's work involved in traveling. So they could have tools to accelerate this journey, but we're not just talking about teleportation, as they say. There's no representation in space.

So yes, terrain A is next to terrain B, which is next to terrain B. So we're really going from where... I don't know if it will be materialized by x and y coordinates or if it's x, y, z, and it's... What we're seeing today, we're working on bios, my work specifically on an approach that's perhaps a bit more spatial, with different layers on this planet. So, we're being very honest about that; ultimately, there are very few things that are made of oak.

Everything we're going to do, everything we're going to run on oak, is related to what's been said about asset ownership and transactions, to exchanges between users. But the game's logic is actually very simple. At least today, we haven't found any technology that allows us to create gameplay that's both khaki-like and fast-paced, requiring a certain number of transactions per minute, or even per second, and that allows us to maintain a chain. So, ultimately, there isn't much logic; there's no game chain logic. What will matter is when I have an ascetic I've created in the game, for example, if I want to give them a presence in the chain, then I have an action.

I have to sign, and that's when we finally realize we're a free-to- play game in the somewhat traditional sense of the freemium genre, meaning access is free. It's really about improving your experience; you'll spend money. The only difference is that we know that in traditional free-to-play games, you go through microtransactions, so you buy a small pack or a booster. Whereas we focus more on quality assets, which, once again, aren't mandatory to buy and can be obtained by playing poorly. Typically, the more I play, the more I can provide my services to other players.

I can become a paid player as soon as I have that excuse. After a while, with this open system, I can buy other in- game assets. So we're really in a free-to-play environment; there's no gating, no restrictions. There's no impossibility of playing if I don't have any free-to-play content, but inevitably, during the experience, you end up accumulating... of the token, pay 20 and NFD progression, oh yes, of course, they do one, and I went through it a bit quickly, but we did our first European one [Music] giant, I would be better than me because it's like being who accompanied us on this, but five weeks and we dropped and more than a million NFCs, so it was a performance that they committed very well executed to achieve it, it was quite a sport, and so it was also a way really twofold to affirm this desire to give access to everyone without requiring initial investment, and then it was also a way for us to educate a community that doesn't yet know the names of vegetables, a little more body, that isn't yet ready, which tells me that they still lacked a lot of knowledge on this, it wasn't very easy, but we're fixing it today, we're doing lots of different masteries, I don't have everything, I don't always have the ability to connect them, it's true, we ask ourselves this question, I know that I have a million holders of two ships, not that I have a million wallets, if I look on the chain who holds MFTs, I have fifty thousand people out of ten, 16,000 on Twitter, now the question is where is it, where is the truth in all this, where are these people and how many wallets are associated with a single person, and so we are forcing a bit more of a Quesnoy process here now, so I call Sake at SMBC, it's more of an authentication system to start qualifying this audience a bit more since, and make no mistake, we both need this if we also want the person to be personalized, improve the experience, we're going back a bit, we're putting a bit of "what does" into what we do, yes, it's then by Hoilett, there are rules that have been defined, rules of a hippie, and now how many people can we, so don't put behind several wallets, and today that's what we lack as information, we It already has an anti-chip system because of course, but I would say that we have faith in that there are still some subjects that have been quite well mastered on AAA games for a long time with services, such as the service from Epic Games, for example, which is used on Fortnite and was on a bunch of other games, but of course we put it there, so we pay even more attention to having all the logic, which is still server-side and client-side packages, because of course the stakes are higher.

Behind the microphone, Seb, that's your question. I'm not sure I have the exact answer yet, but it's not really for me, I know it's not related to blocking it, it's not related to the NFC model any more than in his experiments. Or of course there is grain and farming like in all these, since there is, you will have to accumulate resources for crafting and cranes for crafting and others, even if there was no NFC in the tooth, on the shoes, in the vision, anyway I would have to A process involving these mechanics, therefore working on the gameplay, in fact, the way we like to identify, often summarizes the game we make, it's ultimately These two games and its ten games within a single game, each profession I'm talking about represents a gameplay experience, and these ten games are connected by this social loop and this economic loop. So, we have a real challenge, Louis, that's why we have these alpha phases, also designed to ensure that we consistently have engaging gameplay for each of these two professions. So, that's it, it's clearly a challenge.

What I think is really important is, once again, not to gate the experience and not to have the dozen or so simple things that we often repeat in free-to-play so that they have somewhat insurmountable barriers to production. That's the Helmand. And the other very important element is that we don't have PvP, no player versus player, so there's no real competitive approach, and therefore there's no risk of what we call two countries, all And we, the one with the best equipment, is better than me, even though I don't have that equipment because, in fact, there's no such thing as an opposing team's experience. Ariane, if I lost a little, it's true, 60% of my friends, but I want to say, too bad for them. And it was Sébastien and me, we were at a conference and for a while we had a lot of fun and we boxed with someone in a ring, but you get used to it.

And actually, I'll tell you, I laugh about it a lot because I experienced that ten years ago when I started doing free-to-play video games. And in fact, it's exactly the same story. These last ten years, when we said we were going to make free games with water, in-app purchases, oblinghem transactions at Ubisoft, everyone was waiting for me with tomatoes everywhere. And then there was the aligot vdn, this clash of clashes with the clan that actually became very, very Good game, and they finally reconciled everyone on the fact that the business model of these games didn't matter; what counted was that they were great games. That's kind of our approach.

What we want above all is to make a really good game, regardless of the business model, and for people to come and play it because they're fans and not because there are NFCs. However, where I'm really convinced, and I love reading Vitalic's anecdote constantly, is that it was when we remade his character in World of Warcraft that it inspired his desire for decentralization. For us, it's an important voice that has evolved in this ecosystem for 20 years now, to truly redistribute this value, to allow players to value time, which is the most precious resource, to value the time they spend in this universe, not necessarily to make money, but to own the experience they have, that they have developed, that they want. They lent me the rental and lavender, it's their choice, but the fact that it wasn't my choice until now, that's what I want more from these experiences. This app is lying to me anyway, in fact, what made me see the light a little at the time, and besides, when I saw the lights, I called Sébastien.

At the time, I had met Sébastien, we were still very much into Web 2.0/Live Bing. I would have liked to hear about MFT Jose, I was looking at all that, but it was the day I discovered the composition and capabilities of smart contracts that all of a sudden I said to myself, but it's extraordinary! I don't have one that will be able to develop and extend the experience without asking my opinion, and therefore undertake to bring additional services and content. So now we have to go further because we still have this barrier, which is the engine of the game, access, it's true, to be able to modify the code a little, and we absolutely want to do that.

What's great is that while we're moving forward, and the blog is already fostering the emergence of these two services, there are actually quite a few companies today building tech and middleware to facilitate this in the future. So I think we'll be ready for the movement, which will take us another two or three years, I think. The technologies are more mature and will really allow us to completely relinquish control. That's kind of my dream, I hope it happens. Thank you very much.

[Music] Good evening everyone. Well, it's a pleasure to speak for the first time to the crowd community in France. France, sorry, I'll try to avoid all my Anglicisms, rather my habit of speaking English generally. It's an honor, and I also feel a bit pressured because every time it's "I'm calling Sébastien," so I'll do my best to honor the trust that has been placed in me so far and these first steps we've taken together. I was among the pioneers in the field of boxing gaming and DNF Ti.

As a side note, we just celebrated 400 members in the good game online channel, which I also co- founder and president of. And if Hot Sale Box is indeed operating within the Schengen Lines, then we're really proud to reach this number. It shows the dynamism of our industry and, above all, the growing desire to have more and more players interested in Belote, the channel, and NF Team, not just to offer new gameplay, but also to pursue this vision of how to introduce new game modes, new ways to have fun, and beyond. Without further ado, I'm going to get into the topic of the Metaverse, the Metaverse under glass, and try to give you a little bit of our vision of the Metaverse under glass at Sandbox. I started with a video, and what about the sound?

Yes! So, as a sneak peek, here's the teaser for the next season of Sandbox, which will arrive in July, and not quite... Finalized, but here's a little perk—well, a quick poll before I move on. Who's already familiar with Sandbox? Three rooms, wow!

Who's already played Five Boxes? The alpha, Season Two, a bit more awesome! So, the seasons are kind of a big celebration in their box where the six actors can meet up, talk with their avatars, and try all sorts of experiences. We'll see far beyond video games and complete quests, show objectives, and progress to win Bagheri Ward, and especially tokens and DNF Ti, which is a bit apparent in this teaser. I think you've thought...

I love it! It's a universe where lots of content and brands will come together. In Season 3, we'll have a little over 100 years of experience, and the majority of these experiences will be developed directly by the community and a large number of studios that operate within the Sandbox ecosystem. We'll find, among others, celebrities from video game studios, and content from them, obviously. Web ecosystems, fruits, and in Haiti, and all of this will blend together to create something quite unique, and that's kind of the origin of our definition of the metaverse.

For us, it will truly be this myriad, this multitude of virtual worlds that senators will be able to access through an avatar. This avatar is this 3D character that becomes their new identity, their new representation, and through which they will be able to access all sorts of experiences: more social, more creative, more immersive. But, unlike what we've seen, I really liked Benjamin's previous slide, which traced the history of virtual worlds and video games. We haven't invented anything; it's been around for 25 years already. We've just put the ingredients and pieces together, with one particularity, something we're really trying to push: this notion that your identity, this avatar, all your digital content—which will be your equipment, your virtual land, your house, and so on—is all of them.

Your currency, all of which is organized on a well-established system, and therefore, through your wallet, you will be able to transfer it to other applications, to other virtual worlds, all without having to ask permission from the virtual worlds or platforms where this content was initially obtained or created. This will allow, precisely, total freedom, both economic and in terms of possibilities, which will give rise to this concept of the metaverse. So, a little clarification: the metaverse is a term that exists, that appeared in science fiction literature, notably with a book written by Neal Stephenson called Snow Crash, which was popularized by the film Ready Player One. Surely everyone has heard of it, if not seen it, and it's a term that has gained momentum, particularly in October 2021. So, the fact that Facebook rebranded itself as beta—don't be fooled, Niro Blocks, ScanLife, Fortnite, or Metalheads—will remain in the metaverse as long as they don't allow the creators to release their content, reveal their identities, and use them as they see fit.

From one virtual world to another, so there you have it, the metaverse. It's all very well, but at the very beginning, it's completely empty; there's nothing there. It needs to be built, built in terms of content, in terms of experience. That's why we say the metaverse is primarily user-generated content, created by the users themselves. And for users to succeed in creating content, they need to be provided with the necessary creation tools.

We provide them with the creation tools we want, at least in their own box, as accessible as possible. We need that 3D editor called VOC, which allows you to create content and animate it with voxels, a kind of 3D pixel, cubes. It's like digital Lego. The special thing is that aesthetically it's appealing; it can be ugly in terms of resolution, allowing for different levels of detail. But above all, it's very simple because, just like Lego, you open the box and you don't even have...

You don't need to read the user manual for that; we want to use Lego, and so it's the same in the Metaverse. What matters is that anyone can become a creator; I can challenge you, and in a few minutes or a few hours, each of you will succeed in creating a 3D model and will be able to contribute. The second thing will be Ken Baker, the tool that allows you to do experiments, which is also intended to be accessible without a programming language. We're talking about our codes, so that even if you do it the same way, there are no barriers to entry for creation. In addition to him looking for trouble, we're going to bring culture into the Metaverse, because otherwise it's also a blank canvas, a blank canvas without history.

So this culture comes a little from elements of the real world, and in particular brands, licenses, IPs, but not only that. And so by bringing in brands that will represent this small 1% of the content, brands that come mainly from entertainment, with licenses like Walking Dead, Adidas, Tahri 8, Soft World Music, musical artists, his blog Steve Aoki, a leading figure in fashion, luxury, architecture, literature, media, and much more, will bring together the history of content and driving forces that we are already familiar with since we encounter them daily in the real world. This will create a kind of virtual bridge between our virtual existence in the metaverse and our physical existence in the world. We'll go a little further than virtual Crespo; we'll allow each brand to enter its box. It has a platform—we'll get to that— but above all, it has DNF (Digital Non-Future) content signed to this digital platform that it will make available to users so that they can use it via the game maker, mix and remix, and various branded content as well as user-created content, placing it in an experience and publishing it on its own platform.

This experience will make it accessible to everyone. In short, it's a bit of a dream: creating your own video games, creating your own experiences with content from your favorite brands, making them accessible to players, monetizing them, and so on. As you've probably guessed, these are the experiences in Metaverse is really about money and especially about an avatar. This 3D character is a new experiment in Antibes, since at its core—and this is what I find revolutionary—it revolves around the notion of digital identity and the fact that all users will possess their own avatar. This is kind of the starting brick in this Lego, this digital ecosystem.

The fact that users will then be able to build alone or together, play in multiplayer mode. The idea is that it's always played with multiple people, like Team Metaverse, which is very multiplayer, allowing people to meet and potentially turn their time into a source of income. We also come back to this notion of what is valuable. In fact, it's mainly the content and the time spent as a designer. We use a technology that is already in place.

We built the sandbox in 2018. We built it on iFROM. Initially, we were one of the first contributors to the standard. Yesterday, we were at iFROM. We're in the process of migrating all the content to Polygon.

We just announced a few minutes ago that the land ehsayer bridge and green polygon, so we're also going to implement a whole system, this v2 reward, for all senators who migrate their land. Behind this, in this email, Traverse and Adecco open systems will be born a whole digital economy with jobs, new jobs. I did n't have the figure of 85% of jobs that don't exist yet, but which will exist by 2030. But I've been advocating this notion for some time now, that the metaverse will create millions of jobs, a complete economy based on the 9, 10, and a72 values, and even potentially governance. We're in an economy where users own assets and will therefore participate in the future decisions of this world through this.

What is a land? A small survey: who has a land in the only one? Maybe we'll have a first user who will have... tonight, if I do my job well... no, what is a land?

Actually, a land is appealing; it's a space. A virtual land where you can publish your experiences and make them accessible to other users is a small thing; it belongs to you, it's quite large, actually, and you ca n't afford to rent it out if you decide not to create it yourself. So there are several possibilities available to you economically. The usefulness of a land, I think, is very simple; everyone can understand it. It's quite similar to that of the real world.

It's a category 2 ES9 TI, which naturally means that in general, we acquire a land and we keep it for a long time. Be careful, it's not about constantly dragging land around like we can, collectively, with images of laypeople, because behind it, we intend a project that we'll enter into the metaverse. This project is to develop an experience, make a game or something else, and so we'll generally invest time, even potentially money, to develop this project. So, in our box, we have a plot of land, a map Of the 160,646 lands in total, we've sold approximately 70% to date. The first thing we perceive through this map is the reinforcement of the concept of ownership by allowing users to place their logo on all sizes, including the smallest units from last year.

Having your logo on a map has fostered a sense of community and neighborhood. People will want to own land, to be the virtual neighbor of a community they appreciate, to be associated with a celebrity or an IP address. It's a bit like choosing a district or neighborhood in Paris; you choose your land based on your tastes and where you feel the community is involved. The neighborhood will have interesting projects, such as experiences, adventure games, virtual concerts, museums, art galleries, and much more. So what 's also interesting in this sandbox mode is that we'll find a bit more of the 300ip and important communities, with a real sense of global culture.

We prioritized this in the Times area, but we didn't focus solely on French brands. We also have just as much content from American brands, typically from Japan, Korea, or Hong Kong, and we'll continue to develop this concept of having as many brands as possible close to each user, regardless of their region of the world, whether it's Turkey, the Middle East, or India, with local Bollywood brands and celebrities, Brazilian brands, and so on. So that ultimately, no matter where you are in the world, you'll have something that attracts you in the metaverse, perhaps your next virtual neighbor, something that always... To cover this concept, Lemaitre has created something accessible for me, and I'm close to it. We'll also find a lot of web communities.

A quick poll again: who owns the D962 Type Pro Fall Pictures Collection? So, there are quite a few of the most popular collections, like the ports of the feet, the twelve hours, there's the World of Women, the Ki Moon Burns additions, and in fact, each community is based on a principle of years, which is a collection of generally ten thousand unique characters, each generated. I'm lying, basically when you own one of these characters it's just an image, mostly static, you can't do much with it except be proud to possess certain traits that will be rarer than others. The rise in value brings added value to these communities. In fact, it's going to be about allowing them to meet in a certain neighborhood and use the creative possibilities of the game maker to develop stories and environments, giving life to these collections in the form of a 3D virtual world.

We're also working on skis and interoperability, that is to say, allowing students who weren't created in its box, that's really something very new that we won't find in other virtual worlds, allowing oscillators to import have taken g In fact, we detect in the user's wallet that they own a particular collection in Haiti, and thanks to our tools, we will have already generated a valuable 3D representation that will allow users to play with this NFC, which suddenly becomes a 3D character capable of performing over 70 actions: jumping, dancing, animating, fighting, running, and so on. This allows you to connect with other community members in this 3D world and suddenly interact with your NFC, which has multiple new uses. This will allow them, in principle, to have fun with it and potentially also impact the value of this NFC, since it becomes your avatar in the metaverse. Generally speaking, I don't know about you, but I don't sell my avatar; it's my new identity. So what happens in a NFC collection where there are more and more owners keeping their students curious to sell them, while on the other hand, there is more and more demand?

It's so cool to see the character in 3D, and it creates a certain pressure on the price, which is being surveyed to support the price skew, something communities are most interested in. So, to summarize, that's pretty much what we envision. For us, the future of gaming will be inseparable from this notion of being able to participate, particularly in the creation of levels and content, which will be played in 3D worlds. Whether it's creating characters and avatars, collecting this content, being able to own all of these characters and even use them to govern or monetize them, then in fact, transforming the time you dedicate to these games and experiences, whether as a creator or as a user. Because yes, spending time in a virtual world brings life, it brings differentiation, it's valuable.

And so, instead of being captured by the platform or the virtual world that hosts these experiences, this value should return to you, first and foremost to the users who contribute to the development of this virtual world. The second thing What we really want to emphasize in the metaverse is this notion that the engine is first and foremost a space for creativity and imagination. We don't want to reinvent or reproduce what we've already seen before, meaning a rather... I spent two... Who among you has ever played the second world of Canal+, one of the very first virtual worlds?

Quite a few people who played Second Life, who really enjoyed it in that setting, who went back to Second Life more than twice... Yeah, it was a bit... very few, certainly you were brave, you really had the motivation for it, because in fact, it was a reproduction of the real world, so nothing very exciting, no creativity, and there's no original value proposition in wanting to go towards a building that replicates... I don't have a virtual store, a virtual gang to meet, unfortunately very often no one there either, so to top it all off, it's an empty and boring world, not great. So that's partly why we spend a lot of time on this attention to detail in the scene, well, how are we going to make this virtual world...

Go ahead and try it, in any case, it's kind of our mission: much more exciting, much more creative, never empty, and you'll be able to have incredible encounters and see experiences of a kind in these new games because they're not necessarily just focused on monetization or hyper-optimization of the game's features, as we've seen for ten years in free-to-play mobile, which means that, well, the creative diversity and originality of games are being greatly reduced. It's no coincidence that on the app stores, it's always matching, fighting, PvP games, and so on, because they're just small iterations. So, a very important point these seven days later is your new representation, your new digital identity. So, with the device, we're not going to force you to be someone else; you can absolutely create your virtual double if you like, but we're also going to give you—and this is quite new—the option to be someone else completely, to be a little more imaginative, a little more creative, a creature, a person, no Human, well, you wouldn't have a unique Nafti like, for example, Snoop Dogg in a Gucci suit; there's only one in the world. This means that this identity is unique to you, a bit like having an email address and a unique phone number.

You also have a unique avatar. Nafti clients and this identity are unique, and we want you to be able to use it in a virtual world, thanks to what's called an empowered platform. We've talked a lot about interoperability. There are standards that are trying to be implemented regarding the format, but not enough, especially the concept of this identity being transferable—being able to transfer your reputation, your progress, and so on. This is still a largely unknown subject.

Web 2.0 players, and on which Vox room and a number of web players, are positioning themselves [Music] on a small demo. One of the first interoperability projects we introduced for us is an important project because it's a wall of women and men; it's a collection of 10,000 avatars. As the name suggests, they are women, and that was also somewhat symbolic because we wanted more female representation in the web, in the metaverse, more gender equality, and even diversity. So that was the first condition we chose to integrate.

We'll be able to have all sorts of game activities, but not just virtual concerts. There are fashion shows, lots of King James-style competitions that keep players constantly progressing, offering completely new experiences in the metaverse. Every morning I wake up and think, "Wow, how did they do that?" when they managed to do that with our tools. But in the long run, I think that in five to ten years we'll actually see all real-world activities— shopping, commerce, work, dating, and all sorts of interactions, sports, video games, fashion— completely integrated into the metaverse, in a form that I hope will be improved thanks to the benefits of technology.

[Music] Okay, I'll finish soon, it's getting late. I think you've all had a little glimpse of some creations made by the community during the game jam. Some were awarded prizes for original gameplay, the camera itself being quite original, even in a very NFD way. Some are architectural marvels. I believe the eighth wonder of the world will exist in the metaverse and will surpass the limits of physics.

So, through the GMF, we support all the creators. If you have any projects or ideas, don't hesitate. I'm just going to say here are some of the jobs we'll be able to find thanks to this open ecosystem, which has been built solely on the concept of digital worlds, games, avatars, tools, creative jobs, including creating experiences on these worlds, even creating virtual houses, game design architects, fashion designers, and jobs related to everything related to content discovery and curation, whether it's being a whole host of people, finding the best students, or experimenting with... Creators to save you time, whether it's helping you find the best lamps on the map, helping you buy them, or organizing activities such as events, weddings, coaching, and finally, playing too. I think that's the most exciting prospect, ultimately, to realize that everyone can earn a little something, whether it's pocket money, or even a full salary, depending on the time you dedicate to playing, learning, or working.

It's based on the experiences you'll find, and all of this is only possible if we succeed in developing an ecosystem around the world that will build these experiences. It's a long process, and that's what you find in your box. We now have a little over 100 studios worldwide, thousands of creators making content. These are studios that started with just one person, these passionate urban artists. They were able to develop their talent, start recruiting with our help, and now there are companies, startups of twenty, thirty, sometimes more people working with The world's biggest brands to create its experiences and content, so our idea is to continue supporting this ecosystem, continuing to support diversity and creating new opportunities for everyone through the metaverse.

This project will allow me to move on from this part of the presentation and invite you in turn. Actually, I'm not going to invite anyone because everyone has already played San Boxe during the polls earlier, and I thank you for listening. I will gladly answer all your questions. Thank you. [Applause] At 6, one question, and there you have it.

The answer is also trivial: the price never changes, it's 1011. San is the price of a parent plot when we sell it in the primary market, so there are still 30% left that will be sold later. In the secondary market, it will vary between [Music] 4000 and 10000 dollars depending on the location. So, the conditions for buying land in the primary market were very often [Music] every month, every three months. We develop a new region, a new neighborhood on the map, we make available Between 500 and 1000 plots of land around a few brands, and so in fact it was very often first come, first served to get a plot.

We put in place a lot of protective measures so that the boots wouldn't attack them. There were four cats, there were dynamic systems that constantly changed the keys behind them, etc., but it wasn't enough. So now we're in the process of finding, not that the moors have migrated to the, completely, we're reworking this system. We'll probably introduce it, I think towards the end of the summer, and propose a language, the one that will be as fair as possible, to maximize the chances.

So there will be a bit like for participating in the wind, the collections of 2 PSPs, and so there will be whitelists, there will be caps, 2 minutes inc. You might not even know in advance which plot you'll get. From now on, we might change that, and above all, this desire that a plot of land equals an honor, to continue pushing this idea that five boxes, which already has a little more than 21 8 520 of honor continues to be the most decentralized alert master in terms of height ship to the of shame in fact sandbox so it has decentralized in relation to the economy and to the rules of the game son of fame and there are no multipliers the multiplayer either not at all you can do everything in a box without making any purchases and we even have many people who play and who have earned 1000 probably more each season without having to have paid anything in our eyes we are very attached to this the purchase of the slow it is no longer a prerequisite when you want to publish an experience you could create with the same tools without any purchase when you will be able to publish this experience to make it accessible to others on lamah that is where you will actually need a world not a priori since so you are not forgotten there are really no purchases force and [Music] it can be a hindrance in relation to the number of creators but for now Visually, it's not. I think the creators also understood the value proposition, which is that Bahia offers a limited number of experiences, so they will be of higher quality. The choice of location and being in a neighborhood is something very different compared to what they'll find in the app stores, Steam, and knowing where they are every day, there are thousands, even hundreds of thousands of applications that are constantly being added, and that creates a kind of permanent loop in terms of revenue.

There are always historical reasons, generally. When we started in 2018, we chose Film because of the bosses and straw at the CETC. In hindsight, I think it wasn't a bad choice. And because going through the sides with the pure developer mode, the most mature, the most battle-like of Asteel, the same thing happened for us more than a year and a half ago when the time came to choose our other side, our own Layher. We looked at pretty much everything that was available.

Theo, this blur, Solana, imitating Ball X and Polygon, is actually... There was only Polygon that was more or less in production with live games, everyone was promising us the moon, but there was no ecosystem behind it, no marketplace, so not much liquidity to distribute it to Discovery and resell it. DNF Ti didn't have text solutions to facilitate swapping the 46s, and in fact, even the complexity of the sandbox smart contracts, especially reading the good Fifty-Fives, wasn't supported, or worse, some chain blocks didn't even support the core for DNF. So on paper it was interesting, but they were going to have to develop it for another six months to a year to get to where they are today. If I were to restart today, the question would be harder because that and the ecosystems exist, there are applications, students who are there, etc.

, but at the beginning of 2010-2021 that wasn't the case. Yes, the lady, so yes, throughout the year, really limited, 160,6464, it's written in the Smart Touch Pack, the smart contracted to the public and the ten tables of ear infections, and several times, and it's sure Keaton, and what's quite interesting is not actually the Kanak 300, Elan Nyala, 166 billion, or only 70% sold so far, which is causing a bit of a stir and getting the press talking and generating tension. The cop, indeed, it's not yet Sébastien's land, it's Mr. X or Y. It's still the fact that you have a Walking Dead or a Carrefour where Axa enters, but in the long run, I think a whole generation of creators will emerge who will have successful titles, like we saw on Blocks, new board games that will go straight into their box.

At the bottom, there's more choice than voxels, yes, indeed, programmatically speaking, voxels are easier than low-poly shapes where the resolutions are the barrier. We could already increase the resolution if we wanted, but it's just that there's a trade-off to be made between graphic quality and performance. Currently, the higher we push, the better the performance—the graphic quality, sorry—the lower the performance. The more multiplayer there will be, the more it will run on even fewer PCs and Macs, and even fewer mobile devices. Considering that most mobile phones in the world have less than a gigabyte of RAM, they aren't capable of rendering complex switchbacks, etc.

, then for a game that aims to be accessible to millions, hundreds of millions of users one day (I hope), having a technical performance barrier to entry is problematic. So, anyone who tries to sell you a vision of a metaverse developed in Unreal with almost cinematic quality is fine, I admit, but I have trouble seeing it playable everywhere except on a PS5. The second problem is that the more complex the model is to model, the lower the level of realism. You need people with specific skills, and therefore, mastery of specific software. They've worked in the 3D or video game industry, in AAA studios, or even in the film industry.

Each model takes an insane amount of time to produce. We're talking about Even more than a few minutes, we're talking about days, weeks, and months. It's going to cost thousands, tens of thousands of euros per model to produce, and again, very few people will be able to do it. Unfortunately, that doesn't fit this logic. For Medhat Averse to succeed, we need millions of creators and absolutely no barriers to entry.

On the contrary, Vox is simple: there are already many people who know how to use it thanks to Minecraft. There was already an existing community of artists, and with a few clicks, we can create quite interesting things at a certain resolution. And as we go along, we're not just Minecraft blocks; we have a certain graphic finesse that makes the representation, the sandbox aesthetic, differentiating it from everything else on the market. It's also realistic enough that we can get attached to it, project ourselves into it, and see how it can evolve with different levels of talent. Thank you all.

[Applause] [Music]