Global Entertainment Token
[ENG]【$GET】 White Paper 3.0
[ENG]【$GET】 White Paper 3.0
  • White Paper Ver. 3.0
  • 1. Executive Summary
  • 2. Problem Recognition and Market Background
    • 2.1 Structural Challenges in the Entertainment Industry
    • 2.2 Limitations of Centralized Platforms
    • 2.3 The New Possibilities of Web3
    • 2.4 The rise of the RWA and the Need for Connectivity
    • 2.5 Strategic Positioning: The intersection of Web3 x Entertainment x RWA
  • 3. Market Trends and Strategic Positioning
    • 3.1 Global Market Expansion and Industry Structure Transformation
    • 3.2 Market Overview and Growth Trends by Sector
    • 3.3 Future Outlook: Web3 Entertainment Directions
  • 4. Product Organization and Ecosystem Design
    • 4.1 GET Platform
    • 4.2 GET Wallet
    • 4.3 GET Pay
    • 4.4 NFT/RWA Marketplace
    • 4.5 Governance Voting System
    • 4.6 GET City (Metaverse Concept) [Under Development]
    • 4.7 Integration Among Products
  • 5. Token and Point Design
    • 5.1 Concept: The Three-Layered Structure
    • 5.2 Role of each asset and use cases
    • 5.3 Overall design image of 3-layer structure
    • 5.4 Advantages of the 3-layer structure design
  • 6. Web3 Design Philosophy and UX Design
    • 6.1 Adopted Blockchain and “Web3-unaware” Design Philosophy
    • 6.2 UX Significance of Three-Tier Asset Design
    • 6.3 Integrated UX: End-to-End User Journey
    • 6.4 Summary of Design Philosophy: The Answer to “Web 2.9”
  • 7. Technology Architecture and Scalability
    • 7.1 Overall System Structure and 3-Layer Structure
    • 7.2 Why Cardano?
    • 7.3 “Web3-unaware design philosophy” for non-engineers
    • 7.4 Application and Scope of Smart Contracts
    • 7.5 Security and design policy of the token and payment structure
    • 7.6 Security and Scalability DesignSecurity aspects:
    • 7.7 Scalability and External Connectivity Concepts
  • 8. Use Cases and Deployment Scenarios
    • 8.1 Potential Users and Benefits of Implementation
    • 8.2 Development of use cases by entertainment genre
    • 8.3 Implementation process: deployment model for companies and organizations
    • 8.4 Key Considerations for Use Case Design
    • 8.5 Vision of Medium- and Long-term Implementation Scenarios
  • 9. Development and Deployment Roadmap
    • 9.1 Phase 1 (~March 2025) | Infrastructure Development and Launch
    • 9.2 Phase 2 (~September 2025)｜Ecosystem building and initial market entry
    • 9.3 Phase 3 (~March 2026)｜Use Case Expansion and Establishment of DAO Operations
    • 9.4 Phase 4 (~March 2027)｜Global Expansion of Co-Created Economic Sphere
    • 9.5 Future Strategic Expansion Initiative (after April 2027)
    • 9.6 Basic Principles of Roadmap Design
  • 10. Token Allocation and Economic Design (Tokenomics)
    • 10.1 Token Design Philosophy: Single Token with Multi-Role Functionality
    • 10.2 Token Specifications and Issuance Design
    • 10.3 Initial Token Allocation and Release Schedule
    • 10.4 Token Circulation and Use Case Design
    • 10.5 Distribution and Supply Optimization
    • 10.6 Scarcity control through Burn
    • 10.7 Liquidity and Market Stability Strategy
  • 11. Risk Factors
    • 11.1 Technical Risks and Response Policies
    • 11.2 Market Risks and Token Price Fluctuations
    • 11.3 Risks Related to Regulatory and Legal Systems
    • 11.4 Risks arising from user behavior
    • 11.5 Brand and Credibility Risks
    • 11.6 Risk Management and Operational Structure
    • 11.7 Continuous Review and Evolution
  • 12. GET Basic Information
  • 13. Disclaimer
    • 13.1 Legal Disclaimer
    • 13.2 Market Risk and Token Value Fluctuations
    • 13.3 Technical Risks
    • 13.4 Regulatory Risk
    • 13.5 Project Changes and Development Risk
    • 13.6 Changes to Disclaimers
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  1. 2. Problem Recognition and Market Background

2.1 Structural Challenges in the Entertainment Industry

Previous2. Problem Recognition and Market BackgroundNext2.2 Limitations of Centralized Platforms

Last updated 10 days ago

Today’s entertainment industry relies heavily on multiple stakeholders—platforms, production companies, advertisers, investors—to sustain content creation.

While this structure has fueled overall industry growth, it has also introduced significant inefficiencies:

  • Artists and creators face multiple intermediaries, obscuring the flow of compensation.

  • Fans remain largely passive, with limited avenues to engage during production and planning phases.

  • Fragmentation across live performances, merchandise, video content, and fan engagement impairs consistent user experiences and long-term relationship-building between fans and creators.