Discover Japan's undiscovered talent and have fun together. Secondary production Let's build a community together!
The term NFT or WEB 3 is circulating around the world. However, the hurdles to participation are high, and many of them are only available to a few wealthy people and celebrities. In addition, even if you own NFT art, various rights make it challenging to create secondary works.
So we decided to prepare a more enjoyable community for everyone.
We are bringing primary creators to the world—new possibilities for secondary creation.
What the NFT community LAMM realises is that the talents and worldviews of primary creators can be enjoyed by everyone using NFT while at the same time generating economic activity.
The focus is on artists and creators from our roots in Japan.
Japanese culture, both old and new, including art, music and animation, influences artists and creators who are active around the world. Let's discover such undiscovered Japanese talent at LAMM and create the following form of entertainment.
LAMM NFT PROJECT Secondary community "LAMM"?
The secondary community " LAMM" is an easy way to connect with the world and get involved in the rights business.
Traditionally, the person who produces the original discovers the talent and can commercialise it has to sign a contract and get into the business. Still, we are building a system where this is done automatically via the internet and rewards are paid automatically.
Creators will find it easier to participate, discover great content, sell and buy their work, and make derivative works a job rather than a hobby. All participants are well incentivised, so they are paid fairly for their value.
Through the blockchain, creators, artists, and secondary creators can appeal to the world. The works are treated as NFTs, which preserves the trust in the works and distributes solid incentives to each participant.
A community that respects primary creators and the unique Japanese sensibility and unique secondary creation culture can create a state where everyone can export their content. We believe that we can also change the world through that community by having a sense of proactive participation in the society we live in together.
- -Issue 1 - There are limitations to the rights business structure to date.
- -Issue 2 - The talent and value of Japanese creators remain buried.
- -Issue 3 - Business barriers stand in the way of delivering Japanese talent.
SERVICE LAMM service image.
Secondary creators who have purchased an NFT issued by the creator can officially clear their secondary rights to create customised works, cosplay, and merchandise. Of course, you can also sell them. We make a system where creators' works and worldviews are shared, all users in the community respect creators and secondary creators, and profits can be returned.
Service Roadmap LAMM Growth.
Participation in the campaign, purchase of NFTs and secondary creativity means participation and investment in this project: get your NFTs and help boost the service. Let's all create value with our own hands.
Recruitment of colleagues to publish and work with LAMM NFT
We will run a giveaway campaign for airdrops and other items by following us on Twitter, joining our discord and participating in secondary productions. We want to work with fans to create a system that simulates even incentives for secondary productions.
LAMM NFT's project Scheme based solution to Japanese IP holders.
Using the Hokusai API, we will create a situation where businesses can quickly issue NFTs and expand globally, encouraging the participation of Japanese IP holders and increasing the number of successful cases. Create a position where fans can support the expanding worldview and become interested in content other than Jill Lamm.
LAMM Select shops from the collected IPs that match the culture.
From the NFT works published through our service, we select those that fit the LAMM culture and establish the LAMM Select Shop. The aim is to create a shop where it is easy to choose selected Japanese content worldwide.
Granting rights to NFTs to promote secondary production and distribution
Making post-secondary content also NFT and participating in this project will create a situation where both the original author and the secondary creator will receive incentives. Fans are encouraged to support their favourite IPs by participating in the project.
Now running Twitter and instagram, follow the campaign. You can get a free NFT. Please join us. check the profile section of twitter and instagram!
MEMBERS About the members who run LAMM
Glasses(メガネ)
Joined a central internet-specialised advertising agency in the early days of the internet and worked in its own media department. Involved in media development and operation and learned the difficulties of monetisation. After leaving the company, he became an independent freelance web designer and spent his days working on sales and quality assurance. He has been working as a director of a web production company for ten years, utilising his experience. Currently, he is involved in the Design Management business, which builds brand and marketing strategies for long-established Japanese companies. He produces and manages the implementation team, and the 'LAMM business expands Japanese IP to the world and boosts Japanese content export. LAMM " business.
Perm(パーマ)
He started his career as an arranger and has worked on many international competition winners, fashion week songs and Oricon artist productions, including recording engineers. From the start, he joined streaming video start-ups such as LineLive and abemaTV to boost the industry through marketing. Later, he created the digital department of a listed company and worked as a corporate planner and CMO at an operating company that conducts digital marketing on overseas exchanges. Currently, he provides products around YELLtum(CEO of YELLTRON Ltd.)
A local currency offering promotes the business in collaboration with local authorities, financial institutions, and sports clubs.
Handsome(ハンサム)
Since he was a university student, he has been active as a blockchain researcher and established d14b, Japan's most prominent blockchain DAO educational organisation, in 2020. Later, I participated in the start-up phase of JPYC KK, which handles Japan's first Japanese Yen-linked stablecoin, JPYC, and led the business growth as COO. While at JPYC, I established Japan Monobundle KK in June 2021. Released the Embedded NFT service 'Hokusai API', which provides global NFT development tools as 'NFT infrastructure'; launched 'StillGAS', a prepaid payment method stablecoin project that can be used to pay GAS fees (fees required for transactions on the blockchain). Launch of 'StillGAS'.
Idol(アイドル)
Self-taught in creativity, co-founded an advertising agency in his 20s, then managed various businesses in a management company uniting real estate, beauty salons and law firms; joined Hikari Tsushin Inc. in 2014; worked as development manager for the EPARK business; in 2018, became president of Blueprint Inc. In 2018, he was appointed President and Representative Director of Blueprint Inc. and released Japan's first social game x NFT. After transferring the business, in 2021, he was appointed President of Kokorotohinata Inc. This spring, he plans to release KeeBo Cloud, a face recognition hospitality support system.
RAMEN（ラーメン）
Joined an internet business company as a graduate at the dawn of the internet. He gained experience in internet advertising and media business. He felt a strong empathy with the philosophy that 'advertising = useful information' and the potential of the internet, he moved to a platform company. He gained experience mainly from the launch of YouTube. In the process, he felt the strong potential of the Web 3.0 worldview as a creator ecosystem and is currently participating in this project.
ISSUES
-Issue (i) -.
There are limitations to how the rights business has been structured so far.
The value of the person who produces the original, the value of the person who discovers the talent and the value of the person who can commercialise it. Each person signs a contract based on the law, and each is paid when the product is valued by the market and sold, known as the rights business.
This system, which has long been established as a rights business, especially in Japan, has been based not only on the talent and skills of the creators but also on luck.
Even if an original were produced, it would not spread unless distributed. Unless they were lucky enough to be discovered, even good works remained buried.
Of course, there are many contests and other opportunities to be discovered. They make an effort to find such places, work hard to make contacts and make their luck. Such people have probably achieved success through more than luck.
-Issue (ii) -.
The talent and value of Japanese creators remain buried.
However, not many hybrid creators can produce and promote simultaneously. And even for those who do make an effort, it is not easy to win awards in a limited number of competitions, and only a handful make it to the world stage.
Those looking for them can also not find a wide variety of creators. It is difficult to turn it into a business, as the talent and value remain buried.
So it was a floating and unusual game where the creators were assumed to be poor, and only the oddballs were prepared to take on the challenge.
-Issue (iii)-.
Business barriers stand in the way of delivering Japanese talent.
The development of the internet has opened up tunnels and increased opportunities, but problems have arisen because the structure of the licensing business has not changed.
One is that the business rules are challenging to follow, and the number of people who can join the game under formal rules remains small. Even if your work is good and spreads, you will not be allowed to enter the business unless you achieve fairly immense popularity.
Another is that they are copied without permission. Secondary creation has spread to such an extent that it has become a respectable culture, and creators are forced to cry themselves to sleep from the point of view that to object to it is exclusive and prehistoric.
To lead these problems toward solutions so that Japanese talent, both in art and pop entertainment, can be discovered. For this reason, we needed a platform to connect Japan with the rest of the world.
