Sandbox聯合創始人SébastienBorget在亞洲的區塊鏈遊戲主導地位和AI的影響

該系列是由香港共識帶給您的。來體驗Web3和數字資產中最具影響力的活動，2月18日至20日。

Sebastien Borget is the co-founder of The Sandbox, a metaverse platform with over 6.3 million user accounts linked to crypto wallets. Its recent Alpha Season 4 event saw more than 580,000 unique players in just six weeks, generating 1.1 million blockchain transactions and 350,000 NFT sales.

Sebastien Borget是Sandbox的聯合創始人，Sandbox是一個元式平台，有超過630萬用戶帳戶鏈接到加密錢包。它最近的Alpha第4季賽事在短短六週內就有超過580,000名獨特球員，產生了110萬個區塊鏈交易和350,000個NFT銷售。

As a serial entrepreneur with a background in telecommunications, Borget has helped The Sandbox secure over 400 major brand partnerships and establish its native token, SAND, as the second-largest gaming token by market cap, according to CoinMarketCap.

根據CoinmarketCap的數據，作為一名具有電信背景的連續企業家，Borget幫助Sandbox確保了超過400個主要的品牌合作夥伴關係，並建立了其本地代幣Sand，作為BAIRT CAP的第二大遊戲令牌。

This series is brought to you by Consensus Hong Kong. Come and experience the most influential event in Web3 and Digital Assets, Feb.18-20. Register today and save 15% with the code CoinDesk15.

該系列是由香港共識帶給您的。來體驗Web3和數字資產中最具影響力的活動，2月18日至20日。立即註冊，並在Code Coindesk15中節省15％。

Here, Borget, who will be a speaker at Consensus Hong Kong, discusses Asia’s dominance in blockchain gaming, The Sandbox’s approach to cultural localization and AI’s potential impact on the gaming industry.

在這裡，將成為香港共識的發言人的博爾特（Borget）討論了亞洲在區塊鏈遊戲中的統治地位，沙盒的文化本地化方法以及AI對遊戲行業的潛在影響。

This interview has been condensed and lightly edited for clarity.

這次採訪已被凝結和輕微編輯，以澄清。

What led you to start The Sandbox?

是什麼促使您啟動沙箱？

I’ve always been a tech geek and an early adopter of gaming hardware. My journey started with a Super Nintendo, and since then, I’ve owned nearly every console on launch day. That childhood passion fueled my dream of one day creating my own video games.

我一直是技術怪胎，並且是遊戲硬件的早期採用者。我的旅程始於超級任天堂，從那時起，我在發布當天擁有幾乎每個遊戲機。那個童年的激情推動了我有一天創建自己的視頻遊戲的夢想。

My co-founder, Arthur Madrid, and I started working together in 2007, founding three companies — two of which we successfully exited. In 2011, we shifted to mobile gaming, launching The Sandbox as a 2D world-building game. It gained 40 million downloads and 70 million player creations, but we faced challenges in retaining game creators. App Store and Google Play limitations prevented us from sharing revenue, leading creators to leave over time.

我的聯合創始人亞瑟·馬德里（Arthur Madrid）和我從2007年開始合作，創立了三家公司，其中兩家公司成功退出了這兩家公司。 2011年，我們轉向了移動遊戲，將沙箱推出了2D世界建設遊戲。它獲得了4000萬個下載和7000萬玩家的創造力，但我們在保留遊戲創建者方面面臨著挑戰。 App Store和Google Play限制使我們無法共享收入，這會導致創作者隨著時間的流逝而離開。

By 2017-2018, I was experimenting with Bitcoin mining and blockchain technology. When CryptoKitties emerged, I saw NFTs as a game-changing solution — allowing players to truly own and monetize their creations. That’s when we decided to rebuild The Sandbox on the blockchain, making avatars, virtual land and assets into NFTs and launching our own token-driven economy.

到2017-2018，我正在嘗試比特幣採礦和區塊鏈技術。當Cryptokitties出現時，我將NFT視為改變遊戲規則的解決方案 - 允許玩家真正擁有並貨幣化他們的創作。那時，我們決定在區塊鏈上重建沙箱，將化身，虛擬土地和資產製造成NFT，並推出我們自己的令牌驅動的經濟。

How have you handled challenges like bear markets and shifting user expectations?

您如何處理諸如熊市和轉移用戶期望之類的挑戰？

We’ve built through every market cycle. When we started in 2018, it was a bear market — fundraising was incredibly tough. We pitched over 100 investors before securing seed funding from Animoca Brands, True Global Ventures, Square Enix and HashKey — all based in Asia. That was our first indicator that Asia had a stronger appetite for blockchain gaming than the West.

我們已經在每個市場週期中建立了。當我們從2018年開始時，這是一個熊市 - 籌款非常艱難。我們在Animoca品牌，True Global Ventures，Square Enix和Hashkey獲得了亞洲的Animoca品牌，True Global Ventures，Square Enix和Hashkey之前獲得了100多名投資者。這是我們的第一個指標，即亞洲對區塊鏈遊戲的興趣比西方更強烈。

Our Series B round in 2021 was led by SoftBank from Japan, reinforcing that trend. While 2022-24 were bearish years, we focused on expanding in Asia, where we saw continued interest. Over the past two years, we’ve grown small, agile teams in India, Singapore, Vietnam, Thailand, Korea, Japan, Hong Kong, Turkey and even Saudi Arabia. Today, Asia accounts for 40% of our audience, partnerships and revenue, making it a key pillar of our growth strategy.

我們2021年的B系列賽由日本的軟銀領導，加強了這一趨勢。雖然2022-24是看跌時代，但我們專注於在亞洲擴展，在那裡我們看到了持續的興趣。在過去的兩年中，我們在印度，新加坡，越南，泰國，韓國，日本，香港，土耳其，甚至沙特阿拉伯都建立了小型，敏捷的團隊。如今，亞洲占我們的受眾，夥伴關係和收入的40％，使其成為我們增長戰略的關鍵支柱。

How is The Sandbox adapting to markets like Japan, Korea and Southeast Asia, which each have their own unique user base?

沙箱如何適應日本，韓國和東南亞等市場，它們每個都有自己獨特的用戶群？

Unlike some Western companies that prioritize the U.S. first, we built The Sandbox as a “metaverse of culture,” focusing on localization from the start. Instead of launching with a large centralized team, we embed small, regionally-focused teams in each country. This approach helped us to form strategic partnerships across key Asian markets, collaborating with Bollywood studios and music labels in India, securing high-profile projects in Korea such as Solo Leveling — one of the top webtoons — and even partnering with South Korea’s Incheon City. In Japan, a major milestone was our collaboration with Attack on Titan, a globally recognized franchise.

與一些首先優先考慮美國優先級的西方公司不同，我們將沙箱建造為“文化的“元”，從一開始就專注於本地化。我們沒有與一個大型的集中團隊一起成立，而是在每個國家嵌入了小型的，以區域為中心的團隊。這種方法幫助我們在亞洲主要市場建立了戰略合作夥伴關係，與印度的寶萊塢工作室和音樂唱片公司合作，確保了韓國的備受矚目的項目，例如Solo Callinging（Proping talloing），這是頂級網絡網站之一，甚至與韓國的Incheon City合作。在日本，一個主要的里程碑是我們與全球公認的特許經營泰坦的攻擊合作。

Localization, for us, extends far beyond translation — it’s about integrating culturally significant brands that truly resonate with local audiences. This strategy has been instrumental in driving strong engagement across Asia.

對我們來說，本地化遠遠超出了翻譯，這是關於整合具有文化意義的品牌，這些品牌真正引起了當地觀眾的共鳴。該策略在推動整個亞洲的強大參與方面起著重要作用。

How is The Sandbox using AI to engage creators and gamers?

使用AI的沙盒如何吸引創作者和遊戲玩家？

AI is still in its early adoption phase in gaming, but we’re already exploring its potential in several key areas. For chat moderation, we’re leveraging GGWP AI to ensure a safe and well-moderated player experience. In motion capture, our partnership with Kinetix AI allows us to create realistic avatar animations directly from video captures. We’re also experimenting with generative AI for game creation, particularly in AI-powered level design based on text prompts, though full integration is still in progress.

AI仍處於遊戲的早期採用階段，但我們已經在幾個關鍵領域探索了其潛力。對於聊天節制，我們利用GGWP AI來確保安全良好的播放器體驗。在運動捕獲中，我們與Kinetix AI的合作夥伴關係使我們可以直接從視頻捕獲中創建逼真的頭像動畫。我們還在嘗試生成的AI來創建遊戲，尤其是在基於文本提示的AI驅動級別設計中，儘管仍在進行全面集成。

Additionally, we’re considering AI-driven non-player characters (NPCs) and virtual agents capable of engaging in intelligent conversations and

此外，我們正在考慮AI驅動的非玩家字符（NPC）和能夠進行智能對話和的虛擬代理