[Recap]AMA09 with Knight Lab | Challenges and Opportunities Faced by New IP Entering the NFT Field

河里人第9次AMA内容回顾 | 新IP入局NFT领域的机遇和挑战

English version

Knight Lab is dedicated to developing an experimental NFT encryption art in collaboration with young, stylish, and one-of-a-kind artists, scientists, and programmers. Knight Lab will select artists with high potential and a strong belief in Web 3 and blockchain to co-develop NFT projects. Provide some necessary help to artists, such as the improvement of art style, the transformation of some crypto native languages, as well as some information codes and technical support of the industry, including some suggestions on the design of NFT projects and so on. Therefore, we created a DAO governance. In the later stage, KnightPass holders can participate in the construction of the community, contribute their professional skills, and then make decisions together.

Nova:

How will you find those capable or potential community members to participate in the following community governance?

Messy:

We have several criteria. Firstly, the background of that candidate is considered. Secondly, we also have some other select rules including an overall logic of governance, which will be content in our next stage.

Nova:

You just mentioned tokens, but how do you make sure that the tokens are given to the right person when they are issued?

Messy:

The total supply of Pass is 1,110. The supply for public sale is 700, available to all users. Another 400 will be distributed to the individuals or institutions that have helped build the community and cooperated with us. For these people, we will select excellent cooperative institutions, artists, curators, and KOLs. The left 10 we’re going to send to early OGs who were active from early discovery all the way through to now with us.

Nova:

Will the Pass make NFT not that important?

Messy:

There are 2 versions of Pass, blue and red. Red Pass will also involve combined play later. In addition to being a governance token, Passes holders can mint free, be whitelisted, or get a discount for the future projects launched by Knight Lab in about one and a half years.

In addition to being a core governance token, Knight Lab will reveal 10 projects in about a year and a half, with a free Mint or whitelist, discounted interest.

ds:

Messy and I are both from CAFA, and there are so many graphic and illustration artists around us who have made their way. According to the style and requirements of the market, we will also cooperate with these friends to make their works into NFTs.

Nova:

That is to say, your team has accumulated a considerable amount of knowledge in the traditional art field. And then as you move into this new area, you’re more about applying those to this NFT field.

ds:

In fact, the artists we are looking for are quite different from traditional artists. When we try to create an IP, we don’t cooperate with traditional artists, because their works are not suitable for the environment of crypto-native. We try to find artists whose style is futuristic, 3D and can combine various elements.

Nova:

How do you think Crypto Native should be represented? What is it exactly?

ds:

Actually, I think the concept of native is still relatively early. I have discussed with our artist friends, and they think that the current NFTs are degenerated, not as good as some avant-garde art.

Messy:

To me, a better story does not preach decentralization. Some projects like PFPs don’t tell a story or give a detailed roadmap, but we can still see some simple features of crypto. BAYC, for example, describes a scenario where people in the crypto industry accumulated some wealth and then got very bored when they were old. In fact, there is a trend in this kind of market.

Nova:

So, you think that the feature of Crypto native lies in whether the narrative itself belongs to the present era or a crypto-strongly related content. In that case, for new IP entering the NFT field, it may be more important to help creators understand the NFT world.

ds:

Many artists we have cooperated with have heard about NFTs, but only about 5% of them truly got in touch with NFT knowledge personally, including visiting the OpenSea. From real to virtual, they still need a lot of time to reabsorb this part of the knowledge, we also need a lot of time to communicate with them.

Nova:

It’s ok for creators to come in, but creators still have to spend a lot of time learning how to create, how to make the original work different, how to make its style closer to crypto-art, how to make it fit the needs of this new market.

ds:

Yes, we need to constantly inform them of new changes, new projects, and new needs in the market, and discuss with them from time to time.

Nova:

So you have to set up a system to teach them NFT knowledge, but I think it will take too much time when cultivating many artists.

Of course, there will also be corresponding methods. For example, we can cultivate some talent scouts in the community, they may be the discoverers of potential NFT artists. They communicate with artists and tell them the changes and demands of the crypto world. It is difficult for an artist to have a profound understanding of the industry in a short period. If there is a guide, the learning process will be much faster.

ds:

This is interesting. When an artist is creating something, he or she contributes most of the time to create, and they can not pay attention to the latest trend of NFT

Community member:

What arts are true crypto-native works?

ds:

CryptoZR, an artist, for example, integrates her work with encryption technology and has her own thinking and logic. Her works may be the real crypto native arts. As for NFTs or 10K projects are characterized by 10,000 different NFT, which can be held and can be speculation, but also a kind of global circulation, which is the biggest difference between crypto art and before.

Community member:

I want to sum it up because I also graduated from CAFA. I also know CryptoZR’s works very well. She used the underlying logic and language of blockchain as materials to create art. She only used crypto as material, while her works are not completely on a chain, they are only half on the chain. But the advantage is that it uses the underlying logic and language of blockchain, so it’s also native.

The second type is Reva’s work, which is completely on the chain. Namely, all the data is on the chain. The third category, like Punk or BAYC, is community-based. Punk and BAYC are all about the community, but they run their community differently. There are of course other crypto artists who have come out of the community, but their work may have nothing to do with the language or spirit of crypto. Instead of drawing by hands, they drew by computers.

Community member:

Copyright issues of IPs are generally centralized. Is there a good solution to the copyright distribution problem of NFT holders after IPs are turned into NFTs?

Nova:

Copyright has never been centralized, but copyright registration is centralized. After the creators made a piece of work, they own the copyright of the work instantly and lawfully. There are no registration restrictions, it is a natural human rights registration just to make it easier for the state or the courts to take the evidence. The way we solve copyright issues is always good, and NFT is also a good method to confirm registration, which is fine. But you can’t expect NFTs to help you with the protection of your right, which must be carried out by the state

Community member:

I feel like NFT technology and copyright problems are preventing some of the web 2.0 giants from entering, especially in the game industry. A lot of the famous IP giants don’t really want to enter the Web3.0 world, what do you think of this situation?

Nova:

The first thing we should make clear is what caused these problems and what problems are not caused by NFTs?

Even if it were not the NFT field, these IPs would still face the same problems when trying to enter a new area. Because they were in an established profit distribution pattern based on an old closed copyright registration system and commercial licensing system. Why did Yi Shuihan say that he make up his mind? The IP of Lengtoo was split and sold out in many parts? The reason for his great determination is that he really wanted to overcome these obstacles and to make Lengtoo in NFTs.

Community member:

Giants from the web 2.0 world and IPs originated from the web 3.0 world, which one is more likely to capture the web3.0 market first?

Nova:

I think it could go either way. But sadly, I’m inclined to the former. We should always believe that most of our innovations and progress are based on the efforts of our predecessors. When the Web 2.0 world giants step on to Web 3.0 with their experience, accumulation, capital, etc; They will beat most present teams in this industry.

Community members:

I’m curious if the release of NFTs has some restrictions on IP-based NFTs.

Nova：

The restrictions depend on how do the state or the local government regulates and recognizes NFTs and IPs. In terms of other types of restrictions, if we put aside the policy issues, the restrictions that an NFT release faces are similar to the ones that you would encounter when releasing other things.

Messy:

How do you empower an IP continuously?

Nova：

In my opinion, we should keep giving holders benefits and utilities so that they feel satisfied. Then we need to induce holders to post this satisfaction on Instagram or share it with their friends. After understanding the value the product will bring them, holders’ friends will be willing to join the community. So it’s all about satisfaction and spread.

I want to sum it up because I also graduated from CAFA. I also know CryptoZR’s works very well. She used the underlying logic and language of blockchain as materials to create art. She only used crypto as material, while her works are not completely on a chain, they are only half on the chain. But the advantage is that it uses the underlying logic and language of blockchain, so it’s also native.

中文版

Knight Lab是一个专注于结合当下最有趣NFT玩法，与年轻、时尚、别具一格的艺术家、科学家、程序员共同打造的加密艺术社区。Knight Lab会筛选一些比较有潜力以及对 web 3 对区块链有信仰的一个艺术家，去共同开发 NFT 项目。给艺术家提供一些必要的帮助，比如说艺术风格的改进， cryptonative 更原生的一些语言的转化，以及行业的一些信息代码、技术的支持，包括NFT 项目设计上的一些建议等等。那么不同的地方在于是我们加入了一个 Dao治理，后期也会让 Knight pass 的持有者去参与社区的一个建设，贡献自己在专业范围内的技能，然后一起去执行决策。

Nova:

之后会以怎样的方式去找到那些有能力或者说有潜质的社区成员去参与到后续的社区治理？

Messy：

我们会有几个考量的一个标准，首先是参与成员的背景，其次是我们还会有一些其他的一个筛选机制，包括治理的一个整体的逻辑，也会是在我们下一个阶段去核心去构建的一个内容。

Nova：

刚才说到有一个通证，那么在如何确保这个通证发放的时候发放到一个相对正确的人的手里呢？

Messy：

Pass总共的数量是 1110 枚。其中公售的部分是有 700 枚，面向所有的用户去开放。其中还有 400 枚会以共同参与以及合作的个人或者机构做一些综合的评判标准，我们会去选择的优秀的合作机构、艺术家、策展人，包括 KOL 等等。另外 10 个我们会送到一个是从早期发现一直到持续参与，然后跟我们共同治理，共同成长的一个非常早期的一个 OG 的手里。那么这个是 Pass 的一个核心的构成，也是一个综合的维度。

Nova：

那这样的话pass是否是NFT已经变得不那么重要了

Messy：

Pass分为红蓝两版，红色pass后期还会涉及到组合玩法，Pass 除了是一个核心的治理通证之外，Knight lab后面大概在一年半左右时间会露出十个项目，会有一个免费 mint 或者白名单、折扣的一个权益。

ds:

我和Messy都是从中央美术学院出来的，我们身边有很多做平面、插画的艺术家，他们已经取得了一定的成就。根据市场的风格和要求，我们也会去和这些朋友合作，把他们的作品做成NFT。

Nova：

也就是说，您的团队已经在传统艺术领域有了相当多的积累。然后迈向这个新领域的时候，其实更多地在做把原先的这些积蓄的力量以更好的方式给转化进来。

ds:

其实我们现在找的艺术家其实跟传统艺术家的区别还是比较大的。我们做 IP 的时候不太考虑到和传统艺术家去合作，因为他们的东西不太适合加密原生的概念，我们尽量找风格比较未来化、3D， 各种东西元素能结合的艺术家。

Nova：

您觉得 crypto native 要怎样表现出来呢？它到底是个什么东西呢？

ds：

其实我觉得 native 这个概念我觉得现在还比较早期，我跟我们艺术家朋友一起探讨过，他们会觉得现在的 NFT 整体来说比较返祖，反倒是不如一些先锋的，潮流的艺术他们更前卫，其实他们相对来说其实还是比较滞后的。

Messy:

对我来说，不要传递去中心化精神的才是比较好的一个这种加密原生的叙事的故事。包括我们看到很多这种成功的一些 PFP ,他并没有故事或者说是一个详细的产品路线图,但是还是能看出来一些简单的 crypto 的特性，比如无聊猿，他描述了一个场景，就是当加密行业的人们这些 OG 们积累了一些财富，然后年老生活中也就是一个很无聊的状态。其实现在的这种市场上就有这种趋势。

Nova：

所以您认为crypto native的特性在于这个叙事本身是不是这个时代的叙事，或者是个Crypto强相关的内容。

那这样看来的话，今天的主题新IP入局NFT领域，对于新 IP 来说，其实可能更重要的是前期先要培养起 NFT的创作者对于这个世界的了解。

ds:

从我们现在跟艺术家合作的一种状况来说，很多艺术家听过 NFT, 但是说真正去接触 NFT 的知识，然后包括去翻墙去 opensea，几乎只有 5% 左右的艺术家会去接触并了解。从真实到虚拟这个跨度，对他们来讲还是需要很多的时间去重新吸收这部分的这个知识的，我们也需要大量的时间去跟他们不断的交流。

Nova：

创作者进来没有问题，但是创作者在进来之后仍然需要用大量的时间去学习，我该如何创作，我该如何把原来的创作变得不一样，变得贴近，变得能够迎合这个新市场的这个需求。

ds:

是的，我们要不断地和艺术家去沟通，把市场上新的变化、新的项目、新的需求告诉他们，和他们进行不断地探讨。

Nova：

这样的话需要建立起来一套体系或者某一个系统，比如说刚才您说的NFT知识，前期给他们进行传授类的这样一个工作。但是到底来说只有你一个人，如果你要面向多个艺术家的话，肯定会出现精力不足的状况。

当然也会有相应的方法，举个不恰当的例子 — 艺术家认养，在社群中培养一批早期的这个艺术家的早期伯乐， 他们可能是潜力艺术家的发现者。由他们和艺术家沟通，告诉他们crypto世界的变化及需求。艺术家在进入这了领域的时候是很难在短时间内对行业由深刻的认知的，如果这个时候有一个和他利益联结的引路人，那这个学习的过程会加快很多。

ds:

这个很有意思，因为本身艺术家其实在做创作的时候，大家其实会对创作更投入，对技术的发展以及对这个整个技术趋势都是非常滞后的。

社区成员：

什么样的艺术作品是真正的原生加密艺术作品？

ds:

从艺术角度来看，不知道您是否知道刘嘉颖这个艺术家，他把他的作品和加密技术融合，有他自己的思考和逻辑，这个可能就是真正的原生加密艺术作品。至于NFT或者10K类项目，它的特点在于有10000个不一样的NFT，既可以持有又可以炒，还能全球流通，这是NFT加密艺术和以前最大的不同。

社区成员：

我可以总结一下，因为我也是央美实验艺术学院毕业的。刘嘉颖的作品我也非常了解，刘嘉颖的作品用了区块链的底层逻辑和区块链的这种语言当做材料去创作的。它是一类，但这一类它只是把它当做材料，它的作品没有完全上链，只是一半上链。但是它的优势是它用了区块链的底层逻辑和底层语言，所以它也是原生的。

第二类像那个 reva 它是作品是完全上链的，所有的数据全存在这个链上的。第三类就是类似 punk 或者bayc 这一类，它是基于社区成长起来的。那本身 punk 也好，bayc也好，也是靠社区，只是他们的运营社区方式不一样。那当然还有其他社区从社区里成长出来的加密艺术家，但是他的作品可能跟加密的语言或者的语境或精神没有关系。他可能做的就是他原来画的手绘，他只是用数据版来画的。

社区成员：

IP 的版权问题一般都是中心化的。当 IP 入局 NFT 之后，对于 NFT 持有者的版权分配问题，一般有没有什么好的解决方法？

Nova：

版权从来就不是中心化的，版权登记是中心化的，但版权不是中心化的。一般来说，我们在判定一个东西的版权的时候，我们在法律上面常引用的常用的一个认定方式是，当创作者创作了一件作品之后，他即刻拥有了这个作品的著作权，这是天然的，他不会说受什么登记的限制的，这是天然的人权登记，只是为了让国家或者是法庭在取证的时候变得更加方便。

有没有什么好的版权处理方式，没有，版权处理方式一直很好，NFT也是一个很好的版权的确权处理方式，这是没问题的。但是你不可能指望说 NFT 会帮你完成维权，维权这个事情肯定是要靠国家去执行的。

社区成员：

我个人感觉对于 NFT技术，包括对版权的处理，其实正阻碍着一些 web 2.0 的巨头进入，尤其是在游戏领域，大量头部 IP 巨头，他们其实并不愿意进入到Web3.0世界，这类情况大家是怎么看的？

Nova：

传统 IP 现在进入 web 3 遇到的问题，首先要明确一个点，就是那些问题是由谁造成的，那些问题不是NFT造成的。

即便不是 NFT， 他想进入一个新的领域的时候依旧会遭遇这些问题一样的，因为它面临的是它本身建立在一个旧的封闭的版权登记制度以及商业授权体系下的一个已经形成的利益分配格局。为什么之前易水寒说他下了很大的决心，冷兔的 IP 实际上也被分拆销售了非常多个 part 出去。他之所以下很大决心，就是他要真的越过这些个坎，去把冷兔这个 IP 冲到这个 NFT领域里面来。

社区成员：

未来在 web 3.0 世界，第一个树立起来的巨头和 IP 是我们 web 3 原始IP还是 从2.0 世界中进入的这个巨头，这两种哪一可能性更大一些？

Nova：

我觉得两种可能性都很大。但是说一句丧气话，我倾向于后者。我们始终要相信一个点，就是我们的所有创新和进步，大部分都是建立在前人的努力和基础上的。当 web 2 领域的巨头真的能转过身来时候，用他们过去的经验、积累、资本等，那些还能使用到现金的这个时代，那些东西可能依旧是强于现在圈子里面大多数团队的。

社区成员：

比起新 IP 进入 NFT 的优势，更好奇现阶段的一个 NFT 发行对 IP 本身是否造成了某些限制。

Nova：

NFT发行这里其实对 IP 本身造成了限制，在一定程度上取决于国家或者说各地方政府或者说各国政府对这类东西的监管以及承认程度。说其他类型的限制的话，实际上如果说我们不考虑政策的问题的话，NFT发行造成的限制和你做其他任何类型的发行造成的性质其实很接近的。

Messy:

想问一下Nova怎么给IP持续赋能？

Nova：

在我看来，不断地给用户手中的这些产品赋能，然后让用户觉得我拿到这些东西之后有用，而且这个用处还让我觉得很满足。一旦这点出现之后，接下来就涉及到一个点，就是你需要把这种满足感诱导用户，把这种满足感通过社交炫耀或者说是朋友的口耳相传之类的方式去传播出去，使这种满足感变成那些没有进入到这个社区人的一种欲望诉求。那么接下来他们为了获得这种满足感，她们也会进入到这个社区，就是两个环节，满足感的生产和满足感的传播。