전종현의 인사이트

오늘 쓴 일기의 일부. 이런 회사를 내 손으로 직접 만들고 싶다.

메모

"In summary, like subsidies, hype can be an effective weapon. But unlike economic subsidies, hype is better used after you get to product-market fit, not before. If your product is ready for it and your flywheel is spinning, it can turbocharge that flywheel. If on the other hand, you are newly launched or creating a new format that still requires constant tweaking and vigilance, it can be lethal. Users hit the hype air pocket faster than the network can support it. Stoking hype too early in a startup’s lifecycle might look and feel good in the short term, but dooms it for, at worst, failure and at best a lucky acquisition or a long painful road to rebuilding."

명심, 명심, 또 명심!

""Speaking of portfolio companies… I’m launching the Not Boring Jobs Board, right here, right now. The board will feature open roles at Not Boring portfolio companies, and some other roles at fast-growing startups I think would be great places to work."

뉴스레터를 어떻게 활용하는지 예시

The things that move culture—film, music, books, art, writing—have historically been fairly illiquid.

Today, we talk about non-fungible tokens, or NFTs. In the long-run, we’ll instead say “cryptomedia” or “digital assets”.

크립토로 문화를 유동화 시킬 수 있게 되었다. Woodbury는 이를 두고 NFT 대신 크립토미디어, 디지털자산으로 부르게 될 것이라고 언급한다.


Uniquely, fans can’t buy $RAC; they can only earn it.

holding $RAC gives fans access to a private Discord server, as well as early access to future merch drops.

It’s easy to imagine $BILLIE or $DRAKE or $BEYONCE coming next. If I’m in the top 1% of Billie Eilish listeners on Spotify, how much $BILLIE is that worth? And does it get me better seats at her concert?

Cryptomedia and digital assets aren’t exclusive to music; they’ll rearchitect all cultural industries. Many of us were taught that because something is digital, it has no value. We were conditioned by the early internet to assume that everything online is free. But digital creations do have value; the system is just set up so that we don’t see it.

단순히 시세 차익을 얻는 것 뿐만아니라, 유틸리티 토큰으로 작동할 수 있고, 이에 대한 가치를 인정받을 것이다.


The third piece, monetization, is the piece in its earliest innings. The people who drive culture are still relying on sponsorships and brand deals and a cut of ad revenue. The big platforms are belatedly waking up to the reality that creators are the lifeblood of the internet, but it’s too little and too late.

지금 일어나고 있는 변화의 핵심은 Monetization. 빅 플랫폼이 가져가던 이익을 크리에이터에게로 돌려주는 변화가 일어나고 있다.

"스타트업의 핵심 롤중 Product, UX, UI, Engineering 등에 관련된 훌륭한 콘텐츠는 많은데 GTM (Sales, Biz Dev, Marketing, Customer Success, etc.) 에 관련된 콘텐츠는 상대적으로 적은 것 같아 만들어 보려고 합니다."

그만큼 기회가 많이 열려있는 포지션.

1) This leads to the first of two major trends we have been tracking in the consumer social space: games themselves are becoming more social.
2) Secondarily, we are watching game features and mechanics permeate many more aspects of our online lives.

이미 그렇지만, 게임의 요소를 차용한 다양한 프로덕트들이 주목받을 것이다.

그리고 이를 가능케 하는건 게임 엔진(언리얼,유니티)의 발전.

"This trend is driven in part by the rise in technical sophistication for more complex game ecosystems, which are expanding and becoming democratized through game engines like Unity and Unreal. "

“One lesson that I’ve taken from running Facebook over the last five years is that I used to think about our job as building products that people love to use. But you know, now I think we just need to have a more holistic view of this. It’s not enough to just build something that people like to use. It has to create opportunity and broadly be a positive thing for society in terms of economic opportunity, in terms of being something that, socially, everyone can participate in, that it can be inclusive…. This isn’t just a product that we’re building. It needs to be an ecosystem. So the creators who we work with, the developers, they all need to be able to not only sustain themselves, but hire a lot of folks.”

“And this is something that I hope eventually millions of people will be working in and creating content for — whether it’s experiences, or spaces, or virtual goods, or virtual clothing, or doing work helping to curate and introduce people to spaces and keep it safe. I just think this is going to be a huge economy and frankly, I think that that needs to exist. This needs to be a rising tide that lifts a lot of boats. We can’t just think about this as a product that we’re building.”

요즘 읽는 글들이 다 똑같은 미래를 상상하고 있다고 보여집니다.

결국 비즈니스마다 각각의 유닛 이코노믹스가 존재하고, 요소 하나하나를 잘 이해한다음 가장 중요한걸 잘 컨트롤 하는게 핵심이겠죠. 레버리지를 극대화할 수 있도록.