On July 8th, avatars from around the world gathered in Decentraland (DCL) for ten days of art and music. With numerous galleries already in DCL (Sotheby’s & MOCDA ), this art week welcomed new collections from top NFT platforms and crypto artists as well.

💯xARt and NFTs.tips closed the week with a full day of events curated by David Cash, Glassy Music, and Pilar Côté. In addition, Nix Crypto moderated live discussions throughout the afternoon. 


Here are the best events from DCL Art Week:





With 100 artist-built galleries, the Vegas Arts District was shining bright! Avatars showed off their dance moves in the main square with live music and new art installations. Visit the ongoing exhibitions here.


Philip Colbert worked with the renowned B52’s and DEVO to bring Lobsteropolis to life. A large-scale interactive installation featuring his signature lobster characters. Visit the lobster city here




(Photo by Charles Moriarty)


In the Festival District, Casa Azul displayed an intimate photo series featuring Amy Winehouse. Photographer Charles Moriarty recalls his time with the profound artist before her untimely death.


(Photo courtesy of Festival Land VR)


The event was a mixture of tears and smiles as avatars viewed Moriarty’s work. In addition, unique DCL wearables are available, giving users exclusive access to a live stream of the Back to Amy Benefit Concert on July 23rd. View the exhibition at Casa Azul.


The latest addition to the Voltaire Art District, Portion Auction House exhibits collections of photography, comics, digital arts, and physical arts. There are even a few iconic memes as well. Visit their new gallery here.





It was a wild Playboy party in Crypto Valley. Celebrating their Miami Beach Art Collection, Playboy and SuperRare auctioned several exclusive collaborations and exhibited past iconic cover issues.


See the collection at the Crypto Valley Art Gallery.





KnownOrigin hosted a 3-hour music festival and art showcase. With a new dancefloor and live-stream DJs from around the world, it was one of the most popular events of DCL Art Week.

Visit the KnownOrigin Gallery here.





(Image by Bryan Brinkman)


Hosted in the 100xARt district, Bryan Brinkman deployed his latest digital sculpture of a whale suspended overhead.


See the installation here before it’s gone!





DJ Los Cat and the mysterious avatar Queen Venom wowed Crypto Art Week Asia guests celebrating their first anniversary in Dragon City.


See the impressive Sky City Venue here.




Celebrated artist, Begoña Toledo (aka  Boxhead), presents a large-scale installation of her iconic character featuring three of her latest NFTs on Foundation

See the installation here before it’s gone!





SuperRare is featuring ten Brazilian artists in their expansive gallery in Voltaire Art District.


Visit the ongoing exhibition here.





The Museum of Crypto Art (M○C△) opens its metaverse sculpture garden and hedge maze. Within the winding garden, paths reside ten 3D surrealist objects with Hackatao’s famous ‘Hack of a Bear’ in its center.

Try navigating the hedge maze here.


DAY 10 



NFTs.WTF partners with 💯xARt Community to bring a full day of music, art, panel discussions, and fashion! Be sure to visit the new 100xARt gallery now open.


Here are the community day  highlights:

Architecture Panel

Krista Kim of Mars House discussed the ‘future of spaces’ in architecture and design. Virtual and augmented reality experiences dissolve the limitation of physics. With new metaverse platforms emerging rapidly, it’s clear there will be no shortage of creativity in spatial design.



Krista Kim – Mars House

Eddie Gangland – Artist

Anressa Furletti – Artist

Mark Panckhurst – Artist

Ryan Roybal – Artist, NFT Collective


Evolving Humanity with Tech

As we explore new possibilities with blockchain technologies, how can they be utilized for social good? Nahid Shahalimi of We the Women & Stand up for Unity held a panel to discuss humanitarian efforts in the crypto space.



Nahid Shahalimi – We the Women & Stand up for Unity

Dr. Michael Steffens – European Union

Jeremy Dela Rosa – Leyline

Jon O’Sullivan – Project Ark


Digital Fashion w/ Industry Leaders

David Cash held a panel of the top trailblazers in digital fashion. Wearables in the metaverse have been on the rise. Digital fashion drops are selling out in seconds, with many items worth more than physical luxury brands. As the industry grows, how will fashion and identity evolve with it?



David Cash –  Editor in Chief, NFTs.Tips

Amber Jae Slooten – The Fabricant

Emma-Jane McKinnon-Lee – Digitalax

Dr. Alex Box – Future Beauty Future Body

Alissa Aulbekova – Auroboros

Paula Sello – Auroboros

Natalia Modenova – DressX


Future of Music & NFTs

Glassy Music and Low Sleazy discuss how NFTs can empower musicians and artists. Intellectual property (IP), decentralized finance (DeFi), and collaborations all play a vital part in rewarding creativity in this new territory for music. 



Glassy – Co-founder NFTs.Tips

Low Sleazy – Section Editor NFTs.tips

Pilar Côté – Section Editor NFTs.tips

Omar Vargas – Manager, GusGus

Terra Naomi – Artist/Producer/Songwriter


Film Industry Fireside Chat

Award-winning filmmaker, Jonny Caplan, speaks with NFTs.tips about how blockchain tech can be utilized for film creatives. His latest project, NFTme, is a complete documentary series covering critical developments in the NFT industry. Due for release in late 2021. 


Jonny Caplan – Filmmaker, CEO, Tech Talk Media & Impossible Media

Nahid Shahalimi – Section Editor NFTs.tips

David Cash – Editor in Chief, NFTs.tips

Alberto Polanco –  Project Manager NFTs.tips

Glassy – Co-founder NFTs.Tips


DJ’s & VJ’s in Decentraland


Avatars showed their best moves while special guests blew everyone away with epic audio/visuals on the VR dance floor. 

Audio Visual Sets:

Tom LaRoc

Lisa Leggz

Pilar Côté

DJ Mika Kitten


DJ Orly Gal x Chris Parks



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NFTs.WTF in conjunction with the 💯xARt Community presents a large-scale metaverse activation, curated by David Cash + Glassy Music + Pillar Cote! Join us starting at 12 noon EST on July 17 for panel discussions on the Future of Spaces in the Metaverse, Wearable Virtual Fashion, The Social Impact of NFT’s, NFT’s in the Music Industry, a Film & Blockchain Fireside chat, live Virtual Art Shows, DJs & VJs & more!

Featured artists include Krista Kim, creator of the Mars House, Amber J Slooten, Founder of Digital Fashion House THE FABRICANT, RTFKT Studios, Emma-Jane MacKinnon-Lee creator of DIGITALAX, BITLECTRO labs, Nahid Shahalimi of We the Women & Stand up for Unity, and Award winning filmmaker Jonny Caplan, among many other industry greats.

Then, starting at 8pm EST we’ll have musical performances with special guest DJ’s & VJ’s, including DJ Mika Kitten, DJ Orly Gal, ORIGINSTØRY, Glassy Music, Tom LaRoc, Pilar Coté and a few surprises!

Tune in for panel discussions between 12pm – 5pm EST, with music performances from 8pm onwards, on July 17th in Decentraland! You don’t want to miss this exciting event!!

Don’t forget to pick up your POAP upon arrival!!

Saturday, Jul 17 from 4:00pm to 4:00am UTC

💯xARt Community, 86, -24

Join Us on Clubhouse July 17 2021
Starting at 12PM EST  | 4PM UTC

Links to the Clubhouse panel rooms are in order below. 

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“Be The House.” That’s the motto and key strategy for Decentral Games founder and project lead, Miles Anthony, aka “Baus.” With a capital raise of $5 Million USD, Baus and his team are ready to expand their impressive metaverse casinos.


Decentral Games (DG) is the first metaverse casino business on the Ethereum blockchain. They operate virtually in Decentraland (not affiliated), an open-world metaverse platform with a rapidly growing community. What sets DG apart is their decentralized autonomous organization (DAO), which allows the company’s future to be voted on by holders of their $DG token.  


These tokens give users a say in company policies as well as an attractive return on investment when staked. These tokens can be bought and exchanged like most cryptocurrencies, but many choose to ‘mine’ the token through DG’s unique play-to-earn model. By betting cryptocurrencies on blackjack, roulette, and in the near future, poker: users earn $DG tokens. The more users play, the more $DG they earn. This model has led to a very active and loyal community, making these casinos high-roller hotspots. 


This unconventional structure proved attractive to investors like Metaverse Ventures (Digital Currency Group) and the AU21 Capital, companies well-versed in blockchain opportunities. 


“Decentral Games offers players both the novelty of avatars gambling in a virtual world and the great user experience that gamers demand. We’re excited to back Scott, Miles and the team as they continue to bring the massive opportunity in blockchain-enabled gaming to life.”

     – Casey Taylor, VP of Development at Digital Currency Group. (Source)


With a successful capital raise from strategic partners, DG is ready to continue its trailblaze through the metaverse.


I spoke with Miles Anthony about how DG has evolved since its founding and the exciting plans his team has in store:


Miles as his avatar, ‘Baus’, in Tominoya Casino


Has your vision stayed the same for DG or has it changed now that you’ve been in the space for a year?

It’s similar but our vision kind of shifted when we introduced our token [$DG]. I didn’t write the white paper until, I think it was around August, September of 2020. So when we raised the original equity round, run by Digital Currency Group, we were thinking it more along the lines of just having a traditional casino structure where it’s basically just run by the shareholders and the company would make money from the proceeds of the casino. I think I’ve touched upon this in other pieces, but basically, I kind of felt with the whole narrative growing around DeFi and these community governed treasuries that projects are based around, we would be in the position to grow a bit faster because we include our players and our community on the upside of the growth of the project. I think it was good to kind of couple that with this whole narrative around play-to-earn and DeFi where you give tokens away to the people who are using the product. It creates this interesting fly-wheel where every one of your users kind of turns into an evangelist because they obviously have a vested interest in the project growing.


I feel like that is the most unique aspect, being able to empower the players.

Yeah, yeah, exactly. I think there are a few other projects that are trying to do something but not entirely along the same lines as us with our DAO-governed casino and then distributing the tokens, dropping them out to people that are playing the games with real money. So yeah, I’m really glad that we introduced that because I don’t think we would be where we are today without that aspect. […] The people that were early on mining DG back when it was $15 or $20 a token, I know a few of them. The ones that held and mined a bunch early, they’re sitting on pretty big bags of $DG so their expected value is actually pretty positive.

DG Roundtable
DG Roundtable


I can’t imagine that happening in a real-life casino. To be able to profit on the side that’s not directly related to gambling.

Exactly. I mean, we do kind of take some things from the playbooks of traditional casinos in the sense that they’re focused on entertainment and usually, they have a hotel, they run shows like Cirque du Soleil and concerts.


We have all these types of artists that want to do shows, even stand-up comedians. Stuff that gets people excited about being in the metaverse that will add entertainment for a bunch of these virtual events, because we feel like the virtual events are really what the whole metaverse is about. The games are really, from a user experience standpoint, almost secondary — like they are something to do while socializing.


With this recent capital raise of five million, do you feel like a lot of that is going towards those entertainment efforts? I don’t think too much. We’re going to put up the site and have a featured section where we can show our artists’ information and the ability to buy their NFTs. But I would say the majority of development funds are really around games. I feel like we’ve expanded the team considerably over the last 2 months. I would say we’ve made eight to ten hires mainly in just the technical areas.

Atari Casino
Atari Casino


What do you feel was so attractive for investors to put forth large sums of capital towards DG?

It was really tough raising our round last year. I spent months talking to people and we’re raising like 300K. It was like pulling teeth to get people to invest in equity of a gambling company that’s a gaming start-up, so that versus this last raise we did is like night and day. But I would say, just from a product standpoint, I think a lot of investors just realize that the metaverse is going to be big. Obviously, we’re very early. We still have performance issues with ‘X’ amount of users and Decentraland is working on these issues. 


We’re basically one of the only projects that are built in the metaverse that generates real volume and real cash flow other than NFT projects. Axie is another great example of a project that’s blowing up right now in this metaverse space, but the main volume is around the kind of trading NFTs and a marketplace. 


The fact that people keep coming back and it is generating dollars that are profitable from the games, I think was really attractive to [investors]. They say, “a rising tide raises all the ships.” So I think us being early, it’s definitely helped us in a lot of ways, like for example, getting LAND cheap that’s obviously gone up a lot in value. But I think they’re making a big bet on the metaverse.


Do you feel that having DG be a DAO-governed entity is a benefit or does it raise a potential risk for incorrect decisions? 

That’s a good question. I mean, it’s interesting, over the last several months there have been people that bundle up a lot of tokens and become pretty influential in the community. I feel like that aspect has a lot of value and ultimately, you know, even though I’m the founder and project leader of the project, what really motivates me to go to build this is this idea that what I’m building is not for me, it’s for the community of people that are holding $DG. At the end of the day, if $DG holders want something that’s not necessarily aligned, it’s really about what they want because the product is used by and is owned by the community ultimately, and I think that’s exciting from a lot of different standpoints. 



As Decentral Games continues to expand its vision for the metaverse, it is clear the strategic use of play-to-earn and decentralized governance can lead to amazing experiences. 


You can visit Decentral Games’ casinos in Decentraland:

Tominoya: Japanese-themed casino

Chateau Satoshi: Art deco inspired casino, theater and nightclub

Atari Casino: The official casino of Atari Games

Decentral Games Twitter

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Letter from the Editor #3


A Weekly Roundup: 

This is the first letter from the editor of which we’re going to publish, in part, as an article.


In lieu of this, I’d like to introduce myself and the upcoming direction that the editorial team and myself have in mind for this outlet in the coming months.  My name is David Cash, and I’ve been the active Editor-in-Chief of this exciting new publication for the past month.  Alongside our Managing Director Glassy Music and Web Editor Albert Polanco, we have managed to take this platform from an NFT blog to a functioning news outlet harnessing the power of some of the most incredible writers in the NFTfi space.  


I entered the NFT space back in 2019 when I didn’t even call the images I was minting “NFTs.”  A few years later, and after writing a master’s thesis on the subject, I feel incredibly fortunate to be an active part of this NFTfi world.  This publication has given me the outlet to share many thoughts that, only several months ago, people would have thought that I was crazy to have.  NFTS.wtf is for the early adopters, those who like to be well informed, and those interested in unbiased opinions from key thought leaders in the community.  


We don’t spread FUD just because other news sources pick up on gossip.  Our writers and executive staff extensively research every piece we put out, often going above and beyond to seek the opinions of key community leaders in the process. We are a decentralized community, and in the coming months, we hope to scale our current offerings and introduce some exciting new features, with the ultimate goal to be your voice of truth in NFTs.  


So what’s the plan?  If you are receiving this as an email, you’ll notice the cover image for this newsletter.  Every week we’re releasing a digital cover to accompany our Newsletter, and in the coming months, each of these covers will be made available as NFT collectibles of varying rarity.  This will be facilitated by the launch of a dedicated storefront which will allow our readers to collect the most newsworthy moments happening in the NFT space.  Collectors of multiple covers will eventually unlock access which will allow them first access to our genesis DZine (digital magazine) which will be launching this fall. More information on that is coming soon.


To read the rest of this letter discussing generative art and the current state of NFTS…


Subscribe Below

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Imagine you’re preparing for the biggest event of your life. You’re traveling out of town, and you’ve made specific wardrobe choices to compliment your groundbreaking moment. While packing for your trip, you had to choose between an additional outfit or an extra pair of shoes because your luggage is too small, and you had to decide which outerwear to bring because there wasn’t enough room in your carry-on for more than one jacket. After nearly missing your flight, you land at your destination only to discover the airline has misplaced your luggage. This happens all the time.

Now imagine how convenient it would be if your whole outfit, including your accessories, were instantly emailed to you. Everything you’re wearing, from head to toe, is created digitally, with your designer’s imagination being the only structural limitation. She receives your body measurements through an app and styles your unique, custom-made garments using computer-aided design software without ever meeting you in person. You can save your design, backup your entire wardrobe closet on a hard drive, and print your clothing locally. You can choose which materials to use based on the weather, season, or style preferences, and you can even change colors to suit a special occasion the next time you print. The materials you’re wearing are completely re-usable, so you’re making environmental sustainability a fashion statement. This may sound futuristic because only 1% of the market’s textiles are being recycled, yet forward-thinking fashion designers like Danit Peleg are hard at work; innovating the wearable future of fashion, today.

Peleg has always been curious about the relationship between fashion and technology. Before her studies at Shenkar College of Engineering and Design, Peleg was experimenting with knitting machines, laser cutting, and digital printing. The focus of her studies landed her a prestigious internship at an Avante Garde fashion house in New York, where Peleg had a firsthand look at 3D wearable objects for the first time. Although the materials she worked with were stiff and breakable, Peleg was inspired by the waste-free simulation process and began to explore the design potential for eco-friendly wearables of her own making.

“When I started to learn about the current situation with the global fashion industry and production, I was really, really depressed,” Peleg recalls. “I started to research and learn how fashion design became the second most polluting industry. Being a participating member, I didn’t want to be part of it. We’re using the same technology we used 100 years ago. But now you don’t have to go through tons of inventory and you can see the digital design and even try on the garment with augmented reality.”


With the opportunity to learn an industrial process that rendered 3D printed wearables unaffordable for the everyday consumer, Peleg was determined to find a cost-effective solution to achieve her brand ambitions. The printers being used were massive, so she needed to scale her process to smaller machines in order to work alone or with a core collaborative team. A chance encounter at Burning Man became the galvanizing gift; a 3D-printed necklace that had been created using a commercially available desktop 3D printer. With her design modeling experience and several 3D printers within arm’s reach, Peleg designed her first 3D-printed wearable fashion collection called Liberty Leading the People, which she launched from home while in her graduating year at Shenker. Her collection of five outfits were made entirely of 3D printed materials—including shoes and accessories. Peleg produced her collection on six 3D printers running 24 hours a day; waking up in the middle of the night to change the ink colors, assemble garments, and try them on her models. Peleg’s innovative spirit drove the success of her collection and propelled her career to the forefront of technological research and development in the fashion industry.

With sophisticated printers now at her disposal, Peleg is dedicated to improving upon 3D print materials that are currently available to the public. The focus of her research involves the combination of flexible structures with flexible materials to create softer fabrics. Most of the materials she’s currently using look and behave like rubber; they’re soft, yet nothing like cotton, silk, or leather. Her collaboration with Moon Creative Lab develops sustainable materials for 3D printers that behave like fabrics and are still 100% reusable and recyclable. The traditional process to create a fashion collection results in tremendous waste, leftover fabric, and raw materials that are either buried or burned.

“I imagine all of our clothes can be recycled,” Peleg muses. “You just go to the store, give back your old t-shirt, and get a refund or credit for your next purchase based on the weight—or you can simply reuse your own material,” she emphasized. “You can do something else with it. You’ll have a spool of similar material to wool or cotton or silk, and you’ll be able to choose and reuse your materials over and over.”



Design manufacturing is now so fast that the latest trends can be released every day, which isn’t entirely unlike NFTs on the blockchain. When combined, you can produce an NFT garment with zero inventory, and sell as many pieces as you want. Peleg’s NFTs come with an unlockable folder containing the 3D printable files and a document explaining how to print and assemble your clothing. A virtual file is also included for your avatar to wear the very same garment in the metaverse. An augmented reality filter on Peleg’s Instagram offers the convenience of viewing her clothing in your own home, and if you don’t have access to a 3D printer, Peleg will print your garment in pieces and ship them to you. You also have the option to order the entire garment printed in her studio.

“I believe the proof of provenance and ownership that NFTs offer will help revolutionize fashion, specifically digital and 3D-printable fashion,” Peleg says. “This will enable designers to sell their work directly to customers who will not only want to wear and promote their fashion in the metaverse, but will also print and wear them in the physical world. If you want to prove you own the Gucci bag with its NFT twin, you need to own both the digital and physical piece.”


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The past week has had my mind occupied by the book ‘Because Internet’ by Gretchen McCulloch, which covers the linguistic changes brought about by people communicating online. One of the brief points it raises is that young people have flocked online not because they don’t want to socialize and play outside, but because those outside places have been restricted, controlled and commodified to the point where they can’t be accessed, utilized & experimented with.

So where do you go if everything is restricted? The new paradigm of digital spaces with unlimited possibility, of course. Fortnite, Roblox, Minecraft, easily accessible worlds with ever-expanding toolsets, environments that promote and appreciate a lusory attitude. Spaces that mimic the long-lost forests, parks, and venues now dominated by increasing ticket prices, demolition, or restriction. Children don’t play in the roads, because they’re full of BMWs driving at 70mph. They don’t play at the bowling alley, because Jeff Bowlzos charges 15 dollars for a game, and you can’t play in the park because…


No Ball Games


The trend for games and platforms in the present day (to maximize users and income) is to fulfill this need for play – creating spaces to be risk-free and ‘fun’ primarily, before being restricted by monetization – spaces for experimentation, before commercialization. Do the current offerings of (NFT enabled) Open Metaverse platforms offer this in abundance? Well, no – no to the point where somebody on a low-income FIAT salary still can’t really expect to engage in the platform, never mind kids. 

As we’ve seen with F2P video games, their evolution has pushed the most successful models towards cosmetics-only monetization (Warzone, Fortnite, Roblox), with an emphasis on leaving any form of experimentation and play as a free component. This removes the barrier of cost which young people struggle to overcome and allows them to provide onboarding, usage, propagation, experimentation, and therefore content, in abundance. It’s about socializing play because that’s the most profitable route.

Minecraft NFT


“Yeah but I don’t want to sell it to kids!”, you say. Well, your audience doesn’t primarily become children, it becomes everyone – young people are the conduit to which new technology is accessed. The fun doesn’t stop at the age of 18, all of those adults with LEGO collections and horror movie obsessions are proof of this, if a product is fun, it’s still fun as an adult. 

NFTs have allowed for a race to the bottom in regards to commodifying online spaces, and if we allow this commodifying behaviour to over-exert itself, the users who are most important to gaming’s current success will likely be dissuaded to adopt. What Metaverse worlds often amount to currently, are increasingly expensive blogging platforms with three-dimensional graphics.

This is why we’ve yet to see a mass Metaverse onboarding from blockchain-enabled games, and why platforms like VRChat, Roblox, Minecraft & WoW currently have more mainstream appeal than Sandbox, Decentraland & Somnium. Metaverse Spaces, for the most part, require you to inject large sums of capital prior to being able to experiment properly with the platform. For example, needing to purchase land plots and items to be able to build, customize characters, or engage with the community gate keeps your primary conduits – while the free experiences offered in those worlds do not (yet) surpass basic mechanics & concepts – necessary for encouraging future expenditure.

Decentraland Parcels & Estates


Unsurprisingly, this forces a trajectory of feeding largely on whales & corporates for Metaverse spaces, because they are the sole users who can afford to utilize the tech.. Great, an easy market share… But as we’ve just discussed above, we don’t want to (proverbially) pave our Metaverse spaces with highways for commercial haulage, or restrict play to luxury penthouses for self-inflated frat boys. Metaverse spaces, to achieve mass appeal, should be spaces for experimentation and play, without the need for monetization.

So what about airdrops and ‘sponsored entry’? Are these good enough to supplement socialized access to these spaces, and ensure that mainstream audiences onboard and further the space’s usage/appeal?

Consider this analogy: imagine you’re taking your child to a playground (Meta-world) that requires you to pay for a ticket to entry, while you’re surrounded by free access theme parks (Centralised-worlds), who are filled with customers creating a positive atmosphere, and who are purchasing a lot of hats, the hats aren’t theirs to keep, sure – but they don’t care, because the social credit is more important than the ownership itself.

Currently the, comparatively small, playground is saying, ‘here’s a free ticket for one day a year’ or, ‘you can wear this free party hat when you’ve paid to visit’ – but it’s clearly not as exciting as the rollercoaster next door, and it’s also somewhat insulting, because let’s be honest, the slide is dull and the sandpit smells funny. So, to offer you such a small incentive seems somewhat absent-minded, considering the neighbours.

Meta-worlds, and meta-projects behaving in this way might bring in one or two new customers, but charging every time someone uses your jungle gym isn’t going to guarantee an enthusiastic group who create their own game of tag nearby, and certainly won’t provide the mass social hierarchy to encourage cosmetic spending.

What we should be looking at is a socialized system of baseline play, which, if we look at the history of MMOs, is a standard practice. It has been exhibited throughout successful online games up to this point, and seems to be an art lost by blockchain-enabled Metaverse spaces. For example, the concept of receiving housing ‘space’ in MMOs is not new, even Club Penguin did it. The expansion of that space is where the cost comes in, through play or through payment – Decentraland & CryptoVoxels for example, could provide all new users with a plot of land to utilize, but require purchasing for larger sizes, different plots, or location movement.


Club Penguin


The problem is that these spaces, shortsightedly, currently serve the crypto community, and so unsurprisingly, depend on discerning individuals to spend on name, locations, looks, just about anything, based on sheer speculation. However, for true mainstream onboarding, the airdrop method, or ‘sponsorship’ systems, can’t compete with immersive F2P worlds which hook audience attention through entertainment, and then monetize as a secondary target to obtaining users.

This needs to be something keenly considered as a key component of any Open Metaverse play, cut off the big (cost) hurdles to experimentation, and the ability for power-users to amass control over experimentation, create a community that plays with your tech, and then commodify the hierarchy (not the play itself). 

Metaverse spaces need to assess a ‘minimum viable fun’, to ensure they’re outdoing their competitors in regards to user attention, which means offering quality content, while not providing too much, for free. These meta-worlds would fare well to look beyond the golden trinket of a marine mammal’s pocket, and to the audience who will provide a long-term population, and success – the whales will follow.

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Users from around the world gathered Friday, June 11 to celebrate Decentraland’s (DCL) inaugural Pride Parade. Music, parade floats, and dancers filled the newly built ‘Rainbow Road.’ The event was dazzling, but most spectacular of all were the droves of avatars sporting the latest DCL fashion. 

Just weeks before the event, DCL enabled their ‘Wearables Editor.’ This allowed designers to create their unique in-game collections and sell them as NFTs on the DCL marketplace. A handful of quality collections were approved and released the day of the parade.




Users lined up in front of kiosks to purchase their new items. Some 30,000 active users were given free wearables from the DCL Pride Collection. MetaZoo International hosted a drop party before the parade releasing their genesis collection. By the time the parade started, all in attendance were showing their pride with newly minted outfits.

Here are some of the best styles spotted during DCL Pride 2021;

DCL Pride Electric Pride Helmet PlusLove Tiger Warriors Torso Wonderzone Pride Pink Shorts Retro One Kicks

Helmet: Electric Pride +Love Collection

Top: Tiger Warriors Torso, Wonderzone Pride Spring 2021

Shorts: DCL Pink Pride Shorts

Shoes: MetaZoo Intl. Retro 1 Kicks


Hat: MetaZoo Intl. BlackCat Hood

Top: MetaZoo Intl. BlackCat Hoodie

Joggers: MetaZoo Intl. BlackCat Joggers

Shoes: MetaZoo Intl. Retro 1 Kicks

Eyewear: MetaZoo Intl. Tinted Glasses

Accessories: CZ Mecenary MTZ Exo-Blades

I managed to speak to MetaZoo Intl. founder ‘iZoo’ about their successful drop. “The drop was very exciting, long overdue, but worth the wait! Wearables on layer 2 now are a total game-changer as there is no minting/gas costs. The collection was well-received by the community and we are already thinking about new collections!” said iZoo.

Hat: Casino Visor Community Contest

Eyewear: MetaZoo Intl. Tinted Glasses

Mask: Meteorite Dustmask

Top: Polygon Thunder Jacket

Trousers: Hiroto Kai Pride Pants

Shoes: MetaZoo Intl. Retro 1 Kicks


Top: Flamingo Party Outfit

Top: Pride Love Wins T-Shirt

Mask: Floral Skull Halloween 2019

(Photo courtesy of Null PC)

Top: Full Body Swimsuit – Pride Parade 2021 Collection

Shoes: Left- Atrati X RTFK Sneakers, Right- Polygon Thunder Sneakers

I had the chance to speak with ‘Null PC’ who’s swimsuit design was a big hit at the parade.  “I knew once the opportunity came that I wanted to make something people wouldn’t forget, and I don’t think you can forget the image of someone in a lime green Manakini once you’ve seen it.” said Null. “The wearables tool is one of many aspects that enable creators and collectors to contribute to the community and help Decentraland progress and reach its full potential.”


Top: Hiroto Kia Fire Kimono

Trousers: Hiroto Kia Fire Kimono Pants

I asked artist and designer, Hiroto Ka, about using the new wearables editor in DCL. “I thought the design process was difficult at first to understand the geometry of a moving avatar and how the clothes move alongside their gestures. But after amazing help from the design committee, I was able to nail down my design and understand fully how it works. My next step for my wearables is to create more rare and more common style Kimonos and Japanese attire.” said Kai.

Left: Cybermike Cybersoldier Set


Headwear: Wonderbot Head, Digital Alchemy Hair

Top: Pride Love Wins T-Shirt

Trousers: Pride Sport Pants

Shoes: Pride Rainbow Shoes

Accessories: DC Nifty Blocksmith Drone

The parade was electric! Celebrations carried on throughout the night with live music and giveaways. With successful drops from each designer, it appears digital fashion is thriving in Decentraland.



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Along with the rise in the popularity of NFTs, it should come as no surprise that artists are seeking out new and exciting ways to exhibit their digital art.  While the concept of a “metaverse” first found its footing in the world of video games, catering to the millions of MMORPG gamers worldwide.  But in the past three or so years, a number of non-gaming exclusive metaverses have begun popping up.  


Decentraland, one of the leading examples, was founded back in 2017 – created with the intention of developing a replacement for websites for within VR experiences.  Due to the slow adoption of VR headsets and experiences, they decided to pivot their offering to an XR experience available via almost any browser.  While the experience is quite “gamified,” purposes for spending time in the Decentraland metaverse primarily include viewing or displaying NFT artwork, shopping for or creating Virtual Fashion / Wearables, and interacting with Decentralized Apps (dapps) and companies in real-time within an immersive 3D world. 


Well-known companies in the DeFi space have already invested significant amounts of money into developing virtual spaces within this metaverse.  If you tour around their welcome plaza or Museum District, you’ll recognize many familiar names ranging from Binance, SuperRare, and Makersplace.  Each of these organizations has fully fleshed out immersive experiences within the space, complete with links to exterior websites and robot characters with whom you can “speak” in order to explain various offerings.  Despite Decentraland being quite private about the number of users currently on the platform, according to the LinkedIn Profile of their ‘Head of Marketing and Growth’ Fede Molina, he has grown “the community from a few hundred to 1M+ members” within his three years at the organization. It should also be noted, then when I consulted this figure only a month-and-a-half ago in March, it was listed as 500k+. I’m not going to try to jump to any conclusions, but it’s fairly clear that this platform is growing exponentially. 


Digital Sculptures


So why is that? Decentraland is far from the only Metaverse option on the market, with competitors such as Crypto Voxels, Mozilla Hubs, Arium, and many others releasing new features daily.  However, one element, specifically for artists, that functions exceptionally well on Decentraland in particular, is the implementation of interactive or moving 3D sculptures.  While this feature is available in a number of other metaverses or virtual art exhibition spaces, in my humble opinion, Decentraland’s objectively look the best. 


Viewers can move around massive 3D sculptures in real-time. These sculptures can be as large as a house or small enough to fit on a table and have the options to levitate, rotate, move through the air, and be interactive. The scale of these virtual sculptures alone is worth ruminating upon. In reality, artisans working in the world of large-scale sculptures often pay tens if not hundreds of thousands of dollars to obtain the materials for their pieces alone. Then when one factors in the costs associated with moving, shipping, and/or installing a large stone or marble pieces – it begins to make the artform prohibitively expensive to newcomers. What emerging artist has a quarter of a  million dollars to spend on erecting and shipping out a 10-ton marble sculpture? And if you begin to consider the technical and mechanical requirements necessary to have a piece of this kind of scale levitate or rotate – it begins to become impossibly expensive and nearly logistically impossible. 


This is where exhibiting within a metaverse comes in. Within Decentraland, and many other similar metaverse spaces, users can create sculptures at a massive scale without having to consider their structural feasibility or physical cost. Even artists already creating sculptures out of Bronze, Marble, or through other means should be excited about the prospect of modelling their work virtually, exhibiting said work virtually, and the IF the piece is sold, they can create (sculpt) or 3D print their piece made specifically to order. This metaverse-centric system is not only far more cost-effective for artists, but also far more sustainable! Shipping massive sculptures around the world requires a massive amount of resources. Trucks, ships, planes, massive crews of movers, packaging, and so much more goes into the process. 


Digital Sculptures in the Metaverse


Shifting the display process of large-scale sculptures into the digital realm makes all of these wasteful processes redundant. Simply allowing onlookers, and interested buyers, to interact with large-scale pieces exclusively within the digital realm. While users can’t yet physically touch pieces within this context, one can come quite close. In most XR experiences, such as Decentraland, users can experience sculptures from extremely up close to far away in context. Furthermore, users have the option to interact with certain objects, jumping on top to follow along with the motion of an object, or completing an animation or task. Also, if users experience metaverses through a VR headset, the experience can be even more fully immersive. 


While viewing moving large-scale sculptures may not yet be seamless across all metaverses, one must remember how early we are in the grand scheme of this industry. Most companies are only in their first year of business and about 99% of the world’s population is still not yet invested in crypto. However, what does seem certain is that the concept of exhibiting digital artworks within a metaverse is still in its absolute infancy. And the fact that this space has already come so far and allows artists across mediums to achieve so much is beyond encouraging. I very much hope to see more growth within this space in the coming months and look forward to more traditional artists, especially sculptors, taking advantage of this fantastic new technological framework.


Sculpture in the Metaverse

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No, it’s not the ‘Fed’ you’re thinking of. Metaverse developers, Polygonal Mind launched their latest game in Decentraland (DCL) on behalf of the ‘Federated Reserve Wish’ project. Featuring fountains of lava, piles of gold and the eccentric NPC ‘Uncle Crypto,’ the Federated Reserve is an intricate build that puts users on a treasure hunt for hidden coins.




Once you’ve explored the lavish treasure rooms, be sure to find those coins and throw them in the lava fountain. When you ‘burn’ your coins, you get to make a wish. These wishes are minted on the Matic network in the form of stylish NFT tickets. These tickets serve as your entry into a raffle for some DCL wearables. It’s free to play, and new prizes will be announced every two weeks. There are even special edition Federated Reserve wearables launching later this season.


The best part is that wishes are anonymously displayed throughout the building. Most are jokes, some are funny, but a surprising number are heartfelt wishes. When given the opportunity, users pause and ask themselves, “What do I want most in life?” Some wish for peace, world travel, a lost loved-one or simply “more bitcoin.”

The event went smoothly with over 100 global visitors across servers. Attendees who managed to grab a special POAP (Proof of Attendance Protocol), received VIP access to the penthouse and an additional coin to burn for wishes. The energy was wild as people rushed to find their coins and tossed them into the lava. Users gathered to read the wishes on the walls, sharing their dreams for the metaverse and showing off their new NFT wish tickets. The elegant (and slightly creepy) Uncle Crypto, watches over the hoard of treasure and is also minted as an NFT CryptoAvatar.

Federated Reserve


I asked Polygonal Mind CEO, Tox Sam, how the Federated Reserve came together and their latest utility NFT, The Wondertech Pledge. According to Sam, “The wondertech pledge started because we were getting a flood of people contacting us.”

Polygonal Mind has become a leader in metaverse development with projects in DCL, CryptoVoxels, The Sandbox, and Somnium Space. That’s an impressive feat for a small but powerful team. Their CryptoAvatars project has been very successful as well as their popular MetaTrip tour events.

To mitigate nonstop inquiries, they minted their service package as an NFT and auctioned it on OpenSea. The winning bid for the Wondertech Pledge was 6.3 ETH from the Federated Reserve. “It came with an unlockable […] and full services with premium features. The team really went all out,” said Sam. 


From concept art to product launch, Polygonal Mind’s Wondertech Pledge is one of the most valuable utility NFTs out there. With droves of projects entering the metaverse, dev teams like Polygonal Mind become increasingly important. Not only do they expedite project onboarding, but they ensure a level of quality and attention to detail that have, thus far, led to some truly stunning builds and user experiences.

Come see the Federated Reserve for yourself in Decentraland (location:144,-37), and be sure to follow Polygonal Mind on twitter for weekly events and announcements.

Federated Reserve


play.decentralnd.org. “Federated Reserve”

OpenSea. “Wondertech Pledge #01 March 2021 – MetaverseBuilder.”

PolygonalMind Discord Server Discord




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To paraphrase William Gibson, the Metaverse is here – but it’s not yet evenly distributed. While we all dream of being able to step into a fully-featured, immersive virtual world where we are bound only by the limits of our imagination, we are not quite there yet. 

VR headsets are gradually accustoming us to an immersive audiovisual experience, where we genuinely feel that we are somewhere else. However, the current limits of this technology mean that the rest of our senses are still not yet fully engaged. Research shows that our sense of smell is one of the most important ways with which we build memories: wood smoke on a cold winter night, the salty tang of sea air, or the comforting aroma of a home-cooked dinner.

As we immerse ourselves in digital worlds that are becoming progressively more realistic, which form an increasingly significant portion of our social lives as people opt to hang out with their friends in game worlds. We need to engage another sense in order to bridge the divide between our virtual and physical selves – or so the creators of an exciting new venture argue. For example, if there was a ‘Scent of the Metaverse’, what would it smell like? This might seem like a strange question – but it is one that Rook Perfumes have set out to answer, in collaboration with Nifty Orchard, with a release of an exclusive perfume NFT creation.

Perfume NFT Rook Perfumes


Described as “the first experiment towards a fully-fledged perfume DAO”, this experience offers participants co-creator rights in a limited-edition run of just 100 bottles of perfume, plus an NFT of the label artwork. But just as integral as the finished product, is the four-month experience of actually creating the fragrance. Buying a ticket – in the form of an NFT on Known Origin entitles holders to participate in the creation process, led by master perfumer Nadeem Crowe. This experience will involve various virtual social activities across the Metaverse, culminating in a launch party, before the physical perfume bottles are finally sent out. 

I spoke to NFT collector and Head of Metaverse Technology at Boson Protocol, Holly Atkinson, one of the participants in the Scent of the Metaverse DAO and asked her why she had decided to purchase. According to Atkinson: “I decided to buy one of the limited edition ‘The Scent of the Metaverse’ NFTs on KnownOrigin not only because it’s a beautiful artwork, but because it’s the first NFT to ever provide its owners with full rights to collaborate with the project team in a novel experimental process to co-create a perfume from scratch!” 

Furthermore, according to Atkinson, “It’s unlocking this concept of NFTs as an experience and bridging members of the virtual crypto community with the physical world in an exciting new way that’s directly tied to art but which also moves beyond it.”

Meanwhile, Jamie Anson of Nifty Orchard explains that he sees it as just the start of what he hopes will be just the beginning of a new trend of co-creator experiences presented as NFTs. “I was interested in working out how we can create experiences and eventually DAOs with NFTs,” he said. 


Perfume NFT by Rook a Smoke Outline


Furthermore, according to Anson: “Rook had done these collaborative perfume production experiments before and was looking for a way to integrate with NFTs. Using NFTs as a membership token and for co-creator rights seemed a great fit.” Anson hopes that this partnership “can continue making a few more perfumes so we can get a proper DAO together in the future.”

So what will this experiential “scent of the Metaverse” smell like? I guess waiting is the only way to find that out, since  Rook is not giving much detail away. However, while this might be the first ever perfume NFT, it’s highly likely that in years to come, this will be just one of many such fragrance experiences. 

Discover more: Here


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Matt & John of Larva labs made history today, once again, with their ‘Crypto-punks’ follow-up project: Meebits.  Only a few hours ago, Opensea’s official Twitter account released the following statement: “Meebit #8598 has just sold for a casual 420 ETH (~$1.4m), making it the highest single item sale on the platform to date” – @opensea



But what is a Meebit and why are people paying so much for them?  According to Larvalabs’ official Meebits webpage: “The Meebits are 20,000 unique 3D voxel characters, created by a custom generative algorithm, then registered on the Ethereum blockchain.”  Are they the same as Cryptopunks?  Not exactly.  Apart from being 3D, generating twice as many of them, and several built-in features, the intention behind this collection is quite different.  To quote Larvalab’s official announcement blog post: “If the Cryptopunks are ideal 2D avatars for Discord, Twitter, and other social media, then we hope that the Meebits will be the 3D avatar for virtual worlds, games, and VR.”  This announcement sparked a lot of excitement from the VR/AR/XR communities that currently populate the existing metaverse options.  However, some practitioners are already pushing for even further interactivity. According to one of the cofounders of the Sandbox Game, one of the most popular metaverses:

“Meebits should be interoperable across all Metaverses. The era of the Avatar has just begun! Can’t wait to see them across @cryptovoxels @decentraland @SomniumSpace and of course @TheSandboxGame where you could equip and play with them!” – @borgetsebastien

However, this world is, quite incredibly, not too far off.  To once again, quote Larvalabs announcement blog post: “Owners of a Meebit are given access to an additional asset pack that includes the full 3D model.” Meebits can be animated or used “as your avatar in the metaverse.”  According to Matt and John of Larvalabs, they “are bullish about the metaverse future,” and “look forward to seeing how the Meebits are used in such environments.” However at the moment is seems as if the focus is similar to that of the Bored Ape Yacht Club team, integrating one’s NFTs into personal or public pieces of digital art.   All Meebit’s unlockable content includes T-pose OBJ files that can allegedly be “imported into any most standard 3D modelling and animation software.”  There have been some 3D artists who have spoken out about the file formats Larvalabs made available to its buyers.  To quote crypto-artist Angie Taylor:

“It’s a bit nuts that #meebits only supply OBJ – quite an outdated 3D format? They should have chosen to go with either GLB – the current standard for Web 3D, 3D NFTs & AR. Or, if they advertise the T-pose as a feature, surely they should use FBX which will include mocap data?” – @theAngieTaylor

Despite this and similar complaints, buyers don’t at all seem to be dissuaded.  With Meebits selling out all 9,000 public pieces in Larvalab’s initial stock on their first day.  This was, of course, apart from the reserve pieces they kept for all buyers of previous works. So if you’re reading this and you happen to own a Cryptopunk or a Glyph then we have good news for you directly from Larvalabs themselves: “We’re giving away free [Meebits] to all punk and glyph owners.”  One of these owners, and a staunch Larvalabs investor is crypto-artist @Hanrgb on Twitter who tweeted that he invested his “artwork revenue in CryptoPunks” 5-6 months ago.  And then “Yesterday sold 3 of them to invest in Meebits.” Ending his tweet by solidifying his stance that “Metaverse native projects are the future.”  When we chatted with Hanrgb briefly about the reason behind his purchases, he smoothly mentioned that: “Metaverse characters can reflect 65 different identities.”  Alluding to the fact that he bought 65 Meebites himself.

One still might ask what makes these rather simple generated renderings so popular? The primary aesthetic differentiating factor this time around for Larvalabs was the signature Meebit 3D voxel-style rendering technique.  Matt and John of Larvalabs are publicly big fans of “low-poly and voxel 3D graphics.”  which they also addressed in in their initial release statement:

“The style has been made popular in the last decade or so by games such as Minecraft and Roblox. We think that, just like 8-bit pixel art, the minimalism and accessibility of voxel art will prove timeless and endearing for generations to come.”


On top of all the aesthetic and integrated features, similar to the Cryptopunks, buying and trading Meebits can be done on “a custom marketplace that supports like-kind trading of up to 100 Meebits per transaction” along with all other standard transactions.  Once again, Larvalabs has levelled up their offerings in a number of ways, and we can’t wait to see what they have in store for us next! One thing is for sure, in a similar fashion to Cryptopunks, the real money will be made in the secondary market.  To quote crypto aficionado Piers Kicks, Meebits looks like it’s going to be “the most crowded NFT trade in months.”  Furthermore, according to his Twitter, “If all 9000 were to go at 2.5 ETH in the Dutch auction that’s $70M to @larvalabs…” This would make their sales on par with the likes of Beeple.

We’re sure that there will be many exciting developments regarding Meebits in the coming days and can’t wait to share them all as they progress!

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