This is a sequel to my other story: The Fortune of François Martin, or How to Become a Crypto-Billionaire.
It is told by François Martin himself.
See Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7, Part 8 and Part 9.
Marjos' "Digital Actors"
Marjos often used the same 'digital actors' for the different series they were streaming. Some of them were coming from the video games that they had created, others were built specifically for the video streaming business. They gave them names that appeared in the credits at the end of each episode.
For example, the same digital actors were used for all the videos Marjos made from plays as if they were part of a theatre troupe.
Automating even more the Creation of the Videos
Joséphine realized that the initial creation of a video using the Unreal game engine was what took the most time. So
she tasked two of her engineers to use the open-source AI engine Llama to automate the process. They used all that Marjos had already produced, video games and video series, and the Unreal engine API, to train their own AI. With this, the time for the initial creation of a video was divided by 2 or 3, depending on the complexity of the action.
Finding more story and screenplay writers
The parts that could not be automated were the stories and the screenplays.
For the stories, in addition to the plays, Marjos made video series from folk tales from around the world. The first ones they used were some of the One Thousand and One Nights tales. They started with the ones that everybody knew such as Aladdin and the Magic Lamp and Sindbad the Sailor. Then they used other less well-known tales. These video series had a lot of success.
But MarJos also wanted to produce original material. As there are many storywriters on Hive, Joséphine contacted the ones that she thought were the most talented and asked them to work with Marjos. Most of them accepted. Some of them even wrote stories for MarJos and published them on the Hive blockchain.
As there were plenty of aspiring young screenplay writers, it was not difficult for Joséphine to find them. If the first series they worked on were good, they were asked to make more.
More Videos, More Subscribers
At the end of September 2025, Marjos was finally producing 60 hours of video per month, and the number of subscribers was up to 1,500. Most of the new subscribers were new Hivers who had learned about Marjos streaming business from social media. And at the end of the year, Marjos had 3,000 subscribers. This was starting to be good.
To be continued...
-- Vincent Celier
