The Short Drama Second Creation Community has a stable monthly income of 500000 yuan in the web2 market with pure profits. How can you do it? 】 In the sinking market of web2, many AI short dramas and blockbusters are basically adapted from some comics/novels/real stories, including high-quality Chinese comics, Speaking of which, as a 15-year-old novel reader, Mr. Fang has a lot of say in this area. I have read many novels and electronic content before, and I have been busy in the past two years. Last year, I gave up my addiction to novels. Starting point: With the development of the AI era, no matter what novels, comics, or real-life stories you have read before, they can all be created through AI. Nowadays, everyone can be a director But in this era where everyone is a director, being an original author is the least popular because many adaptation groups engage in secondary and tertiary innovation, and their traffic and income are basically earned by other companies' media. At the same time, there are also various accounts such as plagiarism and reposting for low profit, This is not a joke, it's true because one of my buddies is doing this kind of thing. He started his own company and used AI and college students who know how to use AI to make short videos to help him work. Moreover, the company is large, and a team is responsible for 5-10 scripts. If one of the scripts cascades or produces greater value, the team members will also receive bonuses in addition to their salaries! And every month, his company's profit remains stable in the range of 300000 to 500000 yuan, which is really violent because it is not only posted to his own media account, but also many short drama apps are signed up to be put on the shelves. Therefore, a profit of less than 500000 yuan is considered small, and mature companies in the same industry as him earn more. These companies make a lot of money, but as an original author of novels or comics, Mao didn't even get a share of it. All the second and third generation creators make money, but the original creators only earn a copyright fee. This is a ridiculous fact, so it is a weakness in the AI era. And recently I saw a middle layer that allows original authors to compound indefinitely, while ensuring that they are original creators and that everyone who takes the script can clearly know who the original source of the work is, what the licensing rules are, and how the subsequent profits should be distributed, instead of the current situation where whoever has a large traffic takes the money away and the original creators can only stare blankly. This is also what I find interesting about @ KorProtocol. It's not just about being an AI tool, but about being a clearing center for creative assets. In other words, it helps to first confirm the ownership of original content, then helps it find suitable buyers or usage scenarios, and finally distributes the profits more quickly and transparently to those who truly participate in the creation. I feel that KORs are more like creating a new talent network for the AI entertainment era. Nowadays, a person can create music, videos, short dramas, visual works, and even use AI to prioritize the production of content that previously required a team to complete. However, the problem will also become bigger and bigger because with more content, more talent, and more works, who will screen them? Who will match the opportunity? Who will confirm the copyright? Who will settle the profits? From this perspective, I think this is where KOR products truly come in handy! You can understand it as not just trying to "generate content" for you, but rather building an infrastructure between content and business opportunities. On one hand, there are artists, musicians, creators, and IP owners, while on the other hand, there are record companies, talent agencies, entertainment platforms, brand owners, and secondary innovation communities. KOR verifies creative assets first, matches them with suitable buyers or partners, and finally completes settlement and distribution through on chain methods. Simply put, it matches not ordinary commodity sales, but creative IP, talent opportunities, and commercial authorization transactions. That's also why it proposed the Creative Asset Clearinghouse, also known as the "Creative Asset Clearing Center". I understand that this term is crucial, as the clearing center is not a content factory, but rather helps the market to clarify assets, ownership, transactions, and money. The logic of KOR can be roughly divided into three steps: First, verify to confirm the work, IP， Whose is the authorization relationship for the audio track. Another option is Route, which matches suitable creators and assets with record companies, agencies, brands, or platforms. Finally, after the cooperation or transaction occurs, use on chain settlement to distribute the profits to participants more quickly. If this set of things works, KOR will not just be a copyright project, but will turn a part of the traditional entertainment industry's capabilities of "brokers, licensors, and settlement parties" into a scalable on chain system. This time, KOR completed a Series A financing of $7.5 million in July, led by 1kx and Blockchain Capital, with support from Animoca Brands, Republic, Solana, and others. I think what capital is interested in is not another AI application, but a new underlying network for "discovering talents, matching opportunities, and settling profits" in the entertainment industry after the explosion of AI content. The most lacking thing for future creators may not be production tools, but opportunities and payment systems. AI enables more people to have professional level creative abilities, but if no one helps them be discovered, no mechanism helps them complete authorization, and no system helps them continuously distribute payments, creators will still be stuck in old problems, their works will be used, the money will not be returned, talent will exist, and opportunities will not be taken. So when I look at KORs now, the focus is not on whether they can produce more AI content, but on whether they can bring artists together, IP， Record companies, talent agencies, brands, and on chain settlements are connected. If it is made, it may not be a tool in the AI entertainment industry, but rather an intermediate layer of the new generation of entertainment business networks. Creators who have copyright fees, authorization cooperation, and the need for secondary creation sharing can actually experience KOR interaction, and their TGE is not far away!!!