20/08/2021 PUNKS Comic: What You Should Know About This Surging NFT That's Attracting Venture Capitalist Money

 
 

Volume and demand for non-fungible tokens have been surging. One project that is climbing up the leaderboards is PUNKS Comic, an NFT comic series drawn by Marvel and DC Comics artist Chris Wahl.

A burning mechanism, new NFT launch and more items for PUNKS are attracting venture capitalists to the NFT.

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What Happened: Loup Ventures, a research-driven venture capitalist firm known for bullish calls on Tesla Inc (NASDAQ: TSLA), Apple Inc (NASDAQ: AAPL) and other technology stocks shared thoughts on NFTs and the hype of PUNKs in a weekend email.

“Anyone who bought a PUNKS Comic in early July is up over 4x in Ethereum (CRYPTO: ETH) terms and more in fiat given the appreciations of ETH,” Loup managing partner Doug Clinton said.

Clinton saw PUNKS Comic as a “no brainer” investment for NFTs because of the NFT boom and the potential of the project.

“When an NFT creates a return stream to the owner, the NFT can be valued on tangibles rather than intangibles.”

Clinton compares valuing an NFT such as PUNKS similar to buying a share of Apple based on a valuation of future earnings instead of YOLOing AMC Entertainment Holdings Inc (NYSE: AMC) based on it being a “meme stock.”

PUNKS Comic was launched by Pixel Vault and in May could be minted for 0.2 ETH, or around $720 at the time.

“That may seem like a lot for a comic but not when you consider the future cash flows it could generate,” Clinton said.

Pixel Vault builds a mechanism that provides future assets for the owner. Owners of PUNKS can stake or burn their comic after purchase. Staking a comic gets a user $PUNKS tokens over a 24 month period and fractional ownership of 16 CryptoPunks valued at 600 Ethereum when the comic launched.

Users who burn the comic get a Founder’s DAO, which gives ownership of $PUNKS tokens and other crypto assets.

In July, a new NFT project called Metahero was announced by Pixel Vault. Anyone who owns a PUNKS Comic can purchase a Mintpass that can be exchanged for a future Metahero.

Arts

https://finance.yahoo.com/news/punks-comic-know-surging-nft-155159502.html

Interesting NFTs
taNNa
conceptual art. drawing and digitally processed.
Reflection
#XCOPY #GIF #screen #time #mirror
#58613
By OthersideDeployer
Untitled (Self-Portrait)
ANDY WARHOL (1928-1987) Untitled (Self-Portrait) token ID: 3200 wallet address: 0xfc1e8a007f83d197e7cd5e04408f0e3a33ab9747 smart contract address: 0xabEFBc9fD2F806065b4f3C237d4b59D9A97Bcac7 non-fungible token (tif) 4500 x 6000 pixels Executed circa 1985 and minted in 2021.
Who Is The Creator 2
The idea for this piece was borne out of a tweet of mine that caused a bit of a stir. I’d posted a link to a blog article I’d written a number of months previous titled ‘Who is the Creator’ discussing various types of creative collaborations and why I hire people to work on my animations. It generated a lot of debate around creation and attribution with the community split on whether it’s right or wrong for an artist to hire other professionals to help them realize their art projects. I decided to push the boundaries even further and see how the cryptoart community responded. What if I quite literally had nothing to do with the physical or digital elements of the work other than coming up with the concept and coordinating it? I decided there was one artist in the space who could add huge value to this idea on levels that none other could and so I gathered my courage and contacted the great José Delbo to ask him if he’d be interested in a very unique collaboration. I explained to him that to make this piece ‘work’ he couldn't have any say in what I produced and moreover, he wouldn’t even be allowed to see the animation until it was dropped on MakersPlace. To my surprise, Mr Delbo agreed to my proposal. The animation tells the story of the creative process, which includes my roles as writer, director, and producer working with a team and making edits and changes ‘in real time’. The dialogue between myself and my ‘hired guns’ plays out in front of the viewer. The music written for the piece adds to the nostalgia of the comic book superhero theme but other elements such as the snapping and kicking of the pencil and the signing of my signature at the bottom incorporates further layers and challenges the viewer to ask important questions, such as, is the ‘Art’ the final animation (the creation) or is the ‘Art’ the concept/credit for the creation itself?