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WarRin Protocol: A point-to-point anonymous privacy communication system

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Dr.WarRin

www.bitcointalk.org

Summary

This white paper provides an explanation of the WarRin protocol and related blockchain, point-to-point, network value, transport protocol, and encryption algorithms. The limited space will highlight the WRC allocation scheme and purpose of the WarRin Protocol Token, which is important for achieving the WRC’s stated objectives.  This white paper is for informational purposes only and is not a promise of final implementation details. Some details may change during the development and testing phases. 

1.  Introduction

Traditional centralized communication systems such as WeChat,WhatsApp, FacebookMessage,Google  Allo,Skype face a range of problems, including government surveillance, privacy breaches, and inadequate security, and the WarRin protocol proposes apoint-to-pointencrypted communications system that leveragesblockchain technology, combined  with Double Ratc het algorithms, pre-keys, and extended X3DH handshakes. The WarRin Protocol uses The Generalized Directional Acyclic Graph  and Curve25519,AES-256,  and HMAC-SHA256  as the pronamor, allowing each account to have its own unique account chain, providing unlimited instant communication between points and unlimited scalability, anonymity, integrity, consistency, and asynchronousness. 

2. WarRin Protocol communication system

2.1 Two types of communication

The Waring Protocol communication system divides chat channels into two types.

Image

Two modes of communication

  • General Chat mode: Using point-to-point encrypted communication, the service side has access to the key and can log in via multiple devices. 
  • Secret Chat mode: Encrypted communication using point-to-point can only be accessed through two specific devices. 

The design combines some of the advantages of raiBlocks    multi-chain construction with IOTA/Byteball  DAG, which we call the Waring protocol. With improvements, we have given the WarRin protocol greater throughput and faster processing power while ensuring the security of the ledger, and network nodes can store the ledger in less space and search their communications accounts quickly in the ledger.  When two users communicate, third parties contain content that neither manager can access. When a user is chatting in secret, the message contains multimedia that can be designated as a self-destruct message, and when the message is read by the user, the message is automatically destroyed within the specified time. Once the message expires, it disappears on the user’s device. 

2.2 How chat history is encrypted

2.2.1 MTProto  Transport Protocol

Image

MTProto transport protocol

The WarRin communication system draws on RaiBlocks’ multi-chain structure for point-to-point communication. Each account has its own chain that records the sending and receiving behavior of the account. For example, in Figure 1,   there are 7  accounts, each with 7 chain records of the account sending and receiving communications. On the graph, horizontal coordinates represent the timeline, and portrait coordinates represent the index of the account. 

Transferring information from one account to another requires two transactions: one to send a communication from the sender’s transfer content, and one to receive information to add that content to the content of the receiving account. Whether in a send-side account or a receiving account, a PoW proof of work with the previous communication content Hash is required to add new communications to the account.  In the account chain, poWwork proves to be an anti-spam communication tool that can be done in seconds. In a single account chain, the Hash field of the previous block is known to pre-generate the PoW required for subsequent blocks. Therefore, as long as the time between the two communications is greater than the time required to generate the PoW, the user’s transaction will be completed instantaneously. 

In such a design, only the receiving end of the communication is required for settlement. The receiving end places the received communication signature on the account chain, which is called accepted communication. Once accepted, the receiving end then broadcasts the communication to the ledger of the other nodes. However, there may be situations where the receiving end is not online or is subject to a DoS   attack, which prevents the receiving end from putting the receiving side communication on the account chain, which we call uncommoted transactions. The X symbol in Figure 1 represents an open transaction sent from Account 2 to Account 5.  

Image

Obviously, because only the sending and receiving sides of the communication are required to settle, such communication is very lightweight, all traffic can be transmitted in a UDP package and processed very quickly. At the same time, all communications in an account are kept in one chain, with great integrity, and the ledger can be trimmed to a minimum. Some nodes are not interested in spending resources to store the full communication history of the account;   They are only interested in the current communications for each account. When an account communicates, its accumulated information is encoded, and these nodes only need to keep track of the latest blocks so that historical data can be discarded while maintaining correctness. Such communication is only possible if the sending and receiving sides trust each other and are not the final settlement of the entire network consensus. There is a security risk in the absence of trust on the sending and receiving ends, or in situations where the receiving end is attacked by DoS without the sender’s knowledge. 

We have observed that although each account has a separate chain, the entire ledger can be expressed in the form of a WarRin object. As shown in Figure 2, this is represented by the WarRin astros trading on all accounts in Figure 1.  

Image

The first unit in the WarRin object is the Genesis unit, the next six cells represent the allocation of the initial token, and the other units correspond to the communication transactions between the account chains. We use the symbol a/b to represent a communication transaction, where the sender is a andthe recipient is b. The last  4/1 unit in Figure 2 is the last communication corresponding to Figure 1  – sending communication from account 4 to account 1. A transaction in Figure 1 is a confirmation of the latest block or the latest communication on the account chains of both parties to the communication, reflected in Figure 2 as a reference to the latest units of the account chains of both parties to the communication. Take unit 4/1, for example, where the latest  block on account 4 was the receiving block for 2/4  trades and the newest block on  account 1 was the send block for 1/5 trade. So on the DAG, the 4/1 cell refers to the 2/4 cell and the 1/5 cell. 

The WarRin protocol uses triangular shrapned storage technology to crack impossible triangles in the blockchain through the shrapghine technology, with extensive node engagement and decontalination  while maintaining high throughput and security:

  • Complete shraping of blockchain status;
  • Secure and low-cost cross-synth trading;
  • Completely random witness selection;
  • Flexible and efficient configuration

Complete decentralization ensures absolute security and scalability of the standard chain.

(Figures   above show seven Ling-shaped objects:2/1 one;3/2  one… )

2.2.2 Curve25519 Elliptic Curve Encryption Algorithm

Curve25519,  proposed by Daniel Bernstein, is anelliptic  curve algorithm for the exchange of The Montgomery Curve’s Difi Herman keys. 

Montgomery Curve Curve Mathematical Expression: 图片图片

Curve25519 Curve Mathematical Expression:图片

Curve25519  encryption     algorithms are    图片 used for standard private and public keys, and the private keys used for Curve25519  图片 encryption algorithms are typically defined as secret 图片 indices, corresponding to 图片public  keys, coordinate points, which are usually sufficient to perform ECDH (elliptical) and symmetrical  elliptic curve encryption algorithms. If one party wants to send information to the other party and the other party has the 图片 public 图片and private keys, perform the following 图片calculation:

Generate a one-time random secret 图片图片   图片 index, calculated using Montgomery, because the message is a symmetrical password encrypted using 256-bit  sharing, such as AES  using a 256-bit integer 图片 one-time public key,  as akey, and 256-bit integer is a 图片prefix to encrypted information. Once a party to   图片图片图片the public 图片key receives this message, it can start by calculating , that is ,图片the receiver recovers the shared secret and 图片is able to decrypt the rest of the information. 

3. Incentives

On the basis of the WarRin agreement, by adding the incentive layer, we can effectively avoid the whole network being attacked and eliminate spam. As long as honest nodes control most of the calculations, for an attacker, the network is robust because of its simplicity of structure, and nodes need little coordination to work at the same time. They do not need to be authenticated because information is not sent to a location. 

3.1 WRC Certificate

WRC issued a total of 2,500,000 pieces and continued to increment according to the WoRin gain function. 

3.1.1 WoRin Gain Function

Image
Image

3.1.2 WoRin gain function control table

The WoRin gain function is compared to the table
Number of layers /F Growth factor /I WRC circulation
[1,50] 0.002 334918.8057
[51,100] 0.002 780024.2108
[101,150] 0.004 1177129.617
[151,200] 0.006 1487860.923
[201,250] 0.01 1722637
[251,300] 0.016 1894309.216
[301,400] 0.03 2101623.789
[401,500] 0.06 2217555.464
[501,1000] 0.1 2450712.257
[1001,2000] 0.12 2557457.3

According 图片to the Gain function, the 图片larger the number of layers, 图片the greater the growth rate, the faster each layer is filled, and the 图片greater the circulation. 

3.2 Allocation

Image

WarRin protocol node distribution

3.2.1 Node allocation

Set the initial price  图片  图片图片to 0.02,the layer where the first node is located is , according to the equation of the iso-difference column, there is , so that the 图片node token is assigned to the piece, for the price of 图片 the layer where the node 图片is located, there is a 图片图片set. 

For example, the number of tiers in which the  98th  node is located is Tier 13,  and the price of Tier 13 is 0.214,the tokens assigned by Tier 98 are 图片

3.2.2 Total number of address assignments

Each node occupies one address, and the total number of 图片addresses is

4. The use

WRC is the native pass-through of the WarRin protocol, andWRC will assign to Genesis nodes according to the above allocation scheme, which together form the entire network, andWRC can be used in the following scenarios, including but not limited to:

Pay the network’s gas charges, i.e. for transferring money and invoking smart contracts;

System Staking tokens, used for node elections and token issues;

The capital is lent to the validator in exchange for the amount of the reward;

Voting rights for system proposals;

The means of payment for apps developed  on WoRin Services;

WoRin Storage is a means of payment on the decentralization storage;

WoRin DNS domain name and WoRin  WWW website means of payment;

WoRin Proxy agents hide the means of payment for body and IP addresses;

WoRin Proxy penetrates payment methods reviewed by local ISPs

……

5. Conclusions

Metcalfe’s Law states that thevalue of a network is equal to the square of the number of nodes within the network, and that the value of the network is directly related to the square of the number of connected users. That is 图片( the 图片value factor, the number of 图片users.)  That is, the greater the number of users on a network, the greater the value of the entire network and each computer within that network. The WarRin protocol also follows this law, and when the number of nodes reaches a certain level, the entire network becomes more robust. 

References

[1] K. Birman, Reliable Distributed Systems: Technologies, Web Services and

Applications, Springer, 2005.

[2] V. Buterin, Ethereum: A next-generation smart contract and de- centralized

application platform, https://github.com/ethereum/wiki/wiki/White-Paper,  2013.

[3] M. Ben-Or, B. Kelmer, T. Rabin, Asynchronous secure  computa-  tions  with

optimal resilience, in Proceedings of the thirteenth annual ACM symposium on

Principles of distributed computing, p. 183–192. ACM, 1994.

[4] M. Castro, B. Liskov, et al., Practical byzantine fault tolerance, Proceedings of the

Third Symposium on Operating Systems Design and Implementation (1999), p. 173–

186, available at http://pmg.csail.mit.edu/papers/osdi99.pdf.

[5] EOS. IO, EOS. IO technical white paper,

https://github.com/EOSIO/Documentation/blob/master/TechnicalWhitePaper.md,

2017.

[6] D. Goldschlag, M. Reed, P. Syverson, Onion Routing for  Anony-  mous  and

Private Internet Connections, Communications of the ACM, 42, num. 2 (1999),

http://www.onion-router.net/Publications/CACM-1999.pdf.

[7] L. Lamport, R. Shostak, M. Pease, The byzantine  generals  problem, ACM

Transactions on Programming Languages and Systems, 4/3 (1982), p. 382–401.

[8] S. Larimer, The history of BitShares,

https://docs.bitshares.org/bitshares/history.html, 2013.

[9] M. Luby, A. Shokrollahi, et al.,  RaptorQ  forward error correction scheme for

object delivery, IETF RFC 6330, https://tools.ietf.org/html/rfc6330,  2011.

[10] P. Maymounkov, D. Mazières,  Kademlia: A peer-to-peer  infor-  mation  system

based on the XOR metric, in IPTPS ’01 revised pa- pers from the First International

Workshop on Peer-to-Peer Systems, p. 53–65, available at

http://pdos.csail.mit.edu/~petar/papers/ maymounkov-kademlia-lncs.pdf, 2002.

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Disclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Digi Observer journalist was involved in the writing and production of this article.

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Press Release

apanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts

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According to JapanNews.info, the Asia-Pacific region generated more than 60% of the global anime market’s $34.3 billion in revenue during 2024. Meanwhile, K-Pop continues its extraordinary global reach, with the genre accounting for approximately 2% of the world’s population as dedicated fans.

Many Asian growing up in Japanese anime and manga, and nowadays  a striking divide in Asian entertainment dominance, with Japanese anime commanding over 60% of entertainment revenue across Asia-Pacific while K-Pop maintains its global music supremacy with an estimated 150 million fans worldwide.

According to comprehensive industry data compiled by Japan News Info and PR News Releaser, the Asia-Pacific region generated more than 60% of the global anime market’s $34.3 billion in revenue during 2024, driven by streaming platform expansion, merchandise sales, and cross-media adaptations. Meanwhile, K-Pop continues its extraordinary global reach, with the genre accounting for approximately 2% of the world’s population as dedicated fans.

Anime’s Regional Dominance

The anime industry’s stronghold in Asia reflects decades of cultural integration and recent digital transformation. Market research indicates Asia-Pacific held between 38.7% to 62.7% of global anime market share in 2024, with total regional revenue projected to reach $18.1 billion by 2030.

“Asia-Pacific dominated the anime market with the largest revenue share in 2024, driven by increasing consumption of digital content and the popularity of streaming services,” according to industry analysts. Japan remains the production epicenter, while China, South Korea, and Southeast Asian nations have emerged as major consumption markets.

Streaming platforms have accelerated anime’s accessibility across the region. Netflix expanded its anime catalog to 240 titles in 2024, while specialized platform Crunchyroll tripled its subscriber base from 5 million to over 15 million between 2021 and 2024. Notably, 69% of Gen Z respondents report watching anime content, compared to 57% of millennials.

The merchandising segment represents the largest revenue stream, accounting for approximately 29-32% of total anime market value. Popular franchises like Demon Slayer, Attack on Titan, and Jujutsu Kaisen generate substantial revenue through licensed products, games, and cross-media adaptations.

K-Pop’s Global Music Supremacy

While anime dominates Asian entertainment broadly, K-Pop maintains undisputed leadership in the global music industry. Industry estimates place the worldwide K-Pop fanbase at over 150 million individuals as of 2024, with the genre generating over $5.8 billion in annual revenue.

K-Pop’s influence extends far beyond Asia, with major markets in North America, Latin America, Europe, and the Middle East. Groups like BTS and BLACKPINK have achieved unprecedented international success, with BTS generating over $4.65 billion annually for South Korea’s economy and BLACKPINK’s music videos regularly surpassing one billion views.

Social media has proven instrumental in K-Pop’s global expansion. Over 7.8 billion K-Pop-related tweets were posted worldwide in 2021, representing a 16% increase from the previous year. The genre’s carefully orchestrated fan engagement strategies, multilingual content, and polished visual productions have created dedicated international communities spanning diverse demographics.

Major streaming platforms have recognized K-Pop’s commercial potential, with artists consistently appearing on global charts. BTS’s “Butter” spent 10 non-consecutive weeks at #1 on the Billboard Hot 100, while multiple K-Pop groups have achieved top-10 debuts on the Billboard 200 album chart.

Regional Dynamics and Market Trends

The entertainment landscape reveals distinct consumption patterns across Asia. While K-Pop enjoys strong popularity in Japan—with groups like Stray Kids and TWICE ranking among Japanese teens’ favorite acts—anime maintains broader entertainment market share through its integration with gaming, merchandise, and digital platforms.

Southeast Asian markets show particularly high engagement with both formats. Thailand and Indonesia report anime engagement rates of 59% and 56% respectively, while also hosting substantial K-Pop fanbases with dedicated concert audiences and streaming communities.

Industry experts note the genres serve complementary rather than competing roles. “Young Koreans are now openly consuming Japanese culture, including anime, without the historical stigma,” according to cultural analysts studying cross-border entertainment trends. Similarly, Japanese audiences have embraced K-Pop artists, creating a mutually beneficial cultural exchange.

Future Outlook

Both industries show robust growth trajectories. The global anime market is projected to reach $60-68 billion by 2030-2033, with streaming revenue expected to triple from $3.7 billion to $12.5 billion internationally. Technological innovations including AI-assisted production and virtual reality experiences are expanding creative possibilities.

K-Pop continues aggressive global expansion through strategic partnerships, multilingual releases, and international collaborations. Industry revenue surpassed $10 billion in 2020 and continues growing, with South Korea’s entertainment exports contributing over $5 billion to the national GDP.

The divergent success patterns—anime’s regional entertainment dominance versus K-Pop’s global music leadership—underscore how different content formats achieve international influence through distinct strategies and audience engagement models.

JapanNews.info provides comprehensive coverage and analysis of Japanese culture, entertainment, and society for English-speaking audiences worldwide. The platform delivers original reporting and data-driven insights on trends shaping Japan’s global cultural influence. (Market data compiled from Grand View Research, SkyQuest Technology, Parrot Analytics, IMARC Group, Mordor Intelligence, Korean Foundation for International Cultural Exchange, and industry reports published 2024-2025.)

 

Media Contact

Organization: PR NEWS AI LLC

Contact Person: Rachel Weiss

Website: https://prnews.ai

Email: Send Email

Contact Number: +19152134473

City: Dover

State: Delaware

Country:United States

Release id:39779

The post Japanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts appeared first on King Newswire. This content is provided by a third-party source.. King Newswire makes no warranties or representations in connection with it. King Newswire is a press release distribution agency and does not endorse or verify the claims made in this release. If you have any complaints or copyright concerns related to this article, please contact the company listed in the ‘Media Contact’ section

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Disclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Digi Observer journalist was involved in the writing and production of this article.

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Press Release

Japanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts

Published

on

According to JapanNews.info, the Asia-Pacific region generated more than 60% of the global anime market’s $34.3 billion in revenue during 2024. Meanwhile, K-Pop continues its extraordinary global reach, with the genre accounting for approximately 2% of the world’s population as dedicated fans.

Many Asian growing up in Japanese anime and manga, and nowadays  a striking divide in Asian entertainment dominance, with Japanese anime commanding over 60% of entertainment revenue across Asia-Pacific while K-Pop maintains its global music supremacy with an estimated 150 million fans worldwide.

According to comprehensive industry data compiled by Japan News Info and PR News Releaser, the Asia-Pacific region generated more than 60% of the global anime market’s $34.3 billion in revenue during 2024, driven by streaming platform expansion, merchandise sales, and cross-media adaptations. Meanwhile, K-Pop continues its extraordinary global reach, with the genre accounting for approximately 2% of the world’s population as dedicated fans.

Anime’s Regional Dominance

The anime industry’s stronghold in Asia reflects decades of cultural integration and recent digital transformation. Market research indicates Asia-Pacific held between 38.7% to 62.7% of global anime market share in 2024, with total regional revenue projected to reach $18.1 billion by 2030.

“Asia-Pacific dominated the anime market with the largest revenue share in 2024, driven by increasing consumption of digital content and the popularity of streaming services,” according to industry analysts. Japan remains the production epicenter, while China, South Korea, and Southeast Asian nations have emerged as major consumption markets.

Streaming platforms have accelerated anime’s accessibility across the region. Netflix expanded its anime catalog to 240 titles in 2024, while specialized platform Crunchyroll tripled its subscriber base from 5 million to over 15 million between 2021 and 2024. Notably, 69% of Gen Z respondents report watching anime content, compared to 57% of millennials.

The merchandising segment represents the largest revenue stream, accounting for approximately 29-32% of total anime market value. Popular franchises like Demon Slayer, Attack on Titan, and Jujutsu Kaisen generate substantial revenue through licensed products, games, and cross-media adaptations.

K-Pop’s Global Music Supremacy

While anime dominates Asian entertainment broadly, K-Pop maintains undisputed leadership in the global music industry. Industry estimates place the worldwide K-Pop fanbase at over 150 million individuals as of 2024, with the genre generating over $5.8 billion in annual revenue.

K-Pop’s influence extends far beyond Asia, with major markets in North America, Latin America, Europe, and the Middle East. Groups like BTS and BLACKPINK have achieved unprecedented international success, with BTS generating over $4.65 billion annually for South Korea’s economy and BLACKPINK’s music videos regularly surpassing one billion views.

Social media has proven instrumental in K-Pop’s global expansion. Over 7.8 billion K-Pop-related tweets were posted worldwide in 2021, representing a 16% increase from the previous year. The genre’s carefully orchestrated fan engagement strategies, multilingual content, and polished visual productions have created dedicated international communities spanning diverse demographics.

Major streaming platforms have recognized K-Pop’s commercial potential, with artists consistently appearing on global charts. BTS’s “Butter” spent 10 non-consecutive weeks at #1 on the Billboard Hot 100, while multiple K-Pop groups have achieved top-10 debuts on the Billboard 200 album chart.

Regional Dynamics and Market Trends

The entertainment landscape reveals distinct consumption patterns across Asia. While K-Pop enjoys strong popularity in Japan—with groups like Stray Kids and TWICE ranking among Japanese teens’ favorite acts—anime maintains broader entertainment market share through its integration with gaming, merchandise, and digital platforms.

Southeast Asian markets show particularly high engagement with both formats. Thailand and Indonesia report anime engagement rates of 59% and 56% respectively, while also hosting substantial K-Pop fanbases with dedicated concert audiences and streaming communities.

Industry experts note the genres serve complementary rather than competing roles. “Young Koreans are now openly consuming Japanese culture, including anime, without the historical stigma,” according to cultural analysts studying cross-border entertainment trends. Similarly, Japanese audiences have embraced K-Pop artists, creating a mutually beneficial cultural exchange.

Future Outlook

Both industries show robust growth trajectories. The global anime market is projected to reach $60-68 billion by 2030-2033, with streaming revenue expected to triple from $3.7 billion to $12.5 billion internationally. Technological innovations including AI-assisted production and virtual reality experiences are expanding creative possibilities.

K-Pop continues aggressive global expansion through strategic partnerships, multilingual releases, and international collaborations. Industry revenue surpassed $10 billion in 2020 and continues growing, with South Korea’s entertainment exports contributing over $5 billion to the national GDP.

The divergent success patterns—anime’s regional entertainment dominance versus K-Pop’s global music leadership—underscore how different content formats achieve international influence through distinct strategies and audience engagement models.

JapanNews.info provides comprehensive coverage and analysis of Japanese culture, entertainment, and society for English-speaking audiences worldwide. The platform delivers original reporting and data-driven insights on trends shaping Japan’s global cultural influence. (Market data compiled from Grand View Research, SkyQuest Technology, Parrot Analytics, IMARC Group, Mordor Intelligence, Korean Foundation for International Cultural Exchange, and industry reports published 2024-2025.)

 

Media Contact

Organization: PR NEWS AI LLC

Contact Person: Rachel Weiss

Website: https://prnews.ai

Email: Send Email

Contact Number: +19152134473

City: Dover

State: Delaware

Country:United States

Release id:39779

The post Japanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts appeared first on King Newswire. This content is provided by a third-party source.. King Newswire makes no warranties or representations in connection with it. King Newswire is a press release distribution agency and does not endorse or verify the claims made in this release. If you have any complaints or copyright concerns related to this article, please contact the company listed in the ‘Media Contact’ section

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Disclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Digi Observer journalist was involved in the writing and production of this article.

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Press Release

Xepeng Defines Merchant Outcome: Rupiah Settlement, Not Digital Asset Custody

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Xepeng focuses on how merchants receive settlements exclusively in Rupiah without digital asset custody.

Denpasar, Bali, Indonesia, 2nd Jan 2026 — Xepeng today outlines the merchant outcome on its platform, focusing on how merchants receive settlements exclusively in Indonesian Rupiah (IDR) without any requirement for digital asset custody or management at any stage in the transaction lifecycle.

Xepeng’s design separates the initiation instrument, a customer’s digital asset, from the commercial event recorded by the merchant. The platform executes conversion and settlement so merchant cash flow remains bank-native, while Xepeng manages identity verificationrisk controls, and conversion mechanics on the backend.

Merchants provide a transaction reference to confirm the commercial purpose. Funds are then transferred directly to the merchant’s bank account in Rupiah, maintaining familiar cash flow patterns. This approach means merchants never hold, store, manage, or account for digital assets at any stage. There is no need for wallets, private keys, or exchange registrations, reducing operational complexity.

The design supports standard practices in Indonesia, where merchants continue with Rupiah-based invoicing, reconciliation, accounting, and tax reporting. By handling all digital mechanics on the backend, Xepeng enables merchants to benefit from expanded international digital payment sources without altering their core operations.

“Merchants should not have to become asset custodians to accept new forms of international value,” said Budi Satrya, CMO of Xepeng. “Our role is to translate global value into clear Rupiah settlements so businesses can focus on service, not custody.”

Indonesia’s financial system prioritizes Rupiah for domestic transactions to promote stability and local circulation. Xepeng’s settlement model aligns with this by ensuring outcomes remain in local currency, supporting economic retention.

As international digital payments evolve, platforms like Xepeng provide merchants with a structured way to access new value streams while staying within established local practices.

About Xepeng

Xepeng provides a payment conversion platform that enables Indonesian merchants to receive Rupiah settlements from international digital payment sources without holding or managing digital assets.

Media Contact

Organization: Xepeng

Contact Person: Budi Satrya

Website: https://xepeng.com/

Email: Send Email

Contact Number: +6287862024247

Address:Jl. Cut Nyak Dien No.1, Renon

Address 2: Denpasar Selatan, Bali

City: Denpasar

State: Bali

Country:Indonesia

Release id:39776

The post Xepeng Defines Merchant Outcome: Rupiah Settlement, Not Digital Asset Custody appeared first on King Newswire. This content is provided by a third-party source.. King Newswire makes no warranties or representations in connection with it. King Newswire is a press release distribution agency and does not endorse or verify the claims made in this release. If you have any complaints or copyright concerns related to this article, please contact the company listed in the ‘Media Contact’ section

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About Author

Disclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Digi Observer journalist was involved in the writing and production of this article.

Continue Reading

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