21/10/2022 NFL Players Become Deadfellaz Zombies in DraftKings Fantasy NFT Collab

Matthew Stafford and others get the Deadfellaz treatment as Polygon NFTs that plug into DraftKings’ fantasy football competition.


DraftKings turned NFL players into Deadfellaz characters. Image: DraftKings
DraftKings turned NFL players into Deadfellaz characters. Image: DraftKings

With Halloween nearing, fantasy sports platform DraftKings announced today that it has partnered withEthereumNFT project Deadfellaz and the NFL Players Association (NFLPA) to create zombified NFT versions of star players to use within DraftKings’ fantasy football game.

A total of 13 current NFL players have been illustrated as Deadfellaz characters that will be released asNFTcollectibles through the DraftKings Marketplace, including Matthew Stafford, Nick Chubb, Jalen Hurts, Kyler Murray, Alvin Kamara, Deebo Samuel, and others to be announced.

DraftKings will release the NFT player cards on October 25, and buyers can then use those players within their weekly fantasy football lineups in DraftKings Reignmakers Football starting on October 30. The NFT-powered fantasy football game awards more than $1 million in prizes each week to users, and the Deadfellaz cards will function through the end of the NFL season.

Reignmakers Football is inspired by traditional fantasy football platforms but is built around NFT player cards that users can buy, trade, and collect. Each week, users create a lineup and earn points based on the players’ respective real-world performances, and can earn cash and other prizes for being a top scorer. The NFTs are minted onPolygon, an Ethereumsidechainnetwork.

The deal was completed in partnership with OneTeam, the group licensing partner of the NFLPA. DraftKings and the NFLPA announced their own alliance in December 2021 as they prepared to launch the Reignmakers Football platform for the current NFL season.

Deadfellaz is an Ethereum profile picture (PFP) collection that spans 10,000 avatars, each with a unique mix of visual traits. The project launched in 2021 and has generated just shy of $100 million worth of secondary trading volume to date, per data fromCryptoSlam. In April, the projectsigned with United Talent Agency(UTA) to pursue brand partnerships and more.

“DraftKings is focused on collaborating with established Web3 brands, and we believe that Deadfellaz has proven to be a significant player with a strong reputation in the space,” DraftKings co-founder and PresidentMatt KalishtoldDecrypt. “We also liked the creative concept of zombifying NFTs of some of our favorite athletes, and we think our players will too.”

Pseudonymous co-creator Betty toldDecryptthatKalishis a longtime Deadfellaz holder who previously resold one of the NFTsfor 69.6969 ETH(“for the culture,” she quipped). DraftKings also sponsored the project’s NFT NYC activation in June. She said that the zombified style adapts well for brand collaborations.

“The power Deadfellaz as a brand holds—that can’t really be said for all NFT projects—is the ease in which we can apply our aesthetic and IP to different settings and still have it make sense,” Betty explained. “This is because of the strength of the brand identity, but also the way we can connect emotionally to the characters and their stories.”

Deadfellaz has pursued a number of other deals in recent months, includinga newly-revealed apparel dropwith musician Steve Aoki’s Dim Mak brand—Aoki’s abig NFT collector and Web3 creator—as well aswith ski and snowboard brand Gilson.

A collaboration with apparel brand Wrangler, meanwhile, saw the creation ofDeadfellaz-themed jeansembedded with an NFC tag, which could be scanned with a smartphone to view an exclusive digital comic via NFT platformLTD.INC.

What’s green and wears denim?
A@DeadfellazX@Wranglerpartnership.pic.twitter.com/V6m0eKDGWx

— Deadfellaz (@Deadfellaz)September 8, 2022

Betty said that she and pseudonymous co-founder and husband Psych must consider how any potential brand collaboration fits within the Deadfellaz ecosystem and community, particularly with thousands of NFT owners in the mix. Does it benefit holders or expose the brand to a new audience? Does the prospective partner pair well with the Deadfellaz ethos?

“To do this, we really do need to maintain a close bond with the people who make up our community, affectionately known as the ‘Horde’—something that is not necessarily needed inWeb2because of data capture and demographic statistics,” she said.

Arts

https://decrypt.co/112490/nfl-deadfellaz-zombies-draftkings-fantasy-nft

Interesting NFTs
CryptoPunk #9373
The CryptoPunks are 10,000 uniquely generated characters. No two are exactly alike, and each one of them can be officially owned by a single person on the Ethereum blockchain. Originally, they could be claimed for free by anybody with an Ethereum wallet, but all 10,000 were quickly claimed. Now they must be purchased from someone via the marketplace that's also embedded in the blockchain.
Rare Apepe #1930
This Rare Apepe is an homage to Bored Ape #1930
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 JosĂ© 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?
Alex in Wonderland
A figure, Alex, stands mostly naked in the midst of a physical and psychological maelstrom. He is clad only in nostalgic 80’s era socks, on a tenuous island between active waters and a variety of shark denizens. Sharks on the right side of the image are all beached, including a shark with a quartz crystal snout, an orange shark wrapped in a life buoy, and a shark further in the distance wearing an 80’s style shirt with the number “88”. On the left side is the largest shark, wearing bright glossy red lipstick and brandishing prominent teeth with braces. She is cordoned off from the figure by a roped float divider, and within her thought bubble is a warning symbol. Behind the figure, hovering in the air, are Grey aliens emerging from the distance, out of a series of elliptical UFO shaped interdimensional membranes. The Greys take on the visual form of spermazoa ostensibly impregnating the interdimensional thresholds. As is typical, these Greys inhabit a zone just behind the unconscious topology of Alex’s dissociative mind. Though Alex’s bottom half is representative, his top half mutates into a psychological cornucopia. In a manner akin to “Auto-Erotic Sphinx”, a predecessor work, the figure has self suctioned—an act of sensual infatuation, enjoyment, and exploration. Upward exists the figure’s primary conscious eye, adorned with a revolutionary beret emblazoned with a Bitcoin badge. The figure’s summit features the nose of a fighter jet facing off against video game Bullet Bills, one of whom is marked by a communist North Korean star. A cropped section of a UFO observes the contest. Alex’s mind branches both left and right. To the left is more singular embodied consciousness, manifesting two eyes and a Ganesh trunk grasping crayons. The right branch dissociates upward diagonally, emerging into an array of eyes, faces, teeth, tail, a unicorn horn, and much more—all of which participate in expressing his unconscious being; a democracy of psychic factions representing thought impressions and associations. All illumination and darkness– fernal, infernal, high consciousness and corporeal underbelly–reside in this realm. In the distance are relatively languid, light clouds, and against the firmament hovers a colossal distant eye peering over the scene and far beyond. This painting possesses underlying genetic traits with previous works such as “Auto-Erotic Sphinx with Toys”, “Dionysus”, and “Fuku-Shiva”. The work serves also as a nod to an earlier period of art inspiration during late teens and early twenties— born out of the nakedness, vulnerability, curiosity, and wonder inherent to coming of age and all subsequent psychedelic revelation.
Gluttony - 2019
The greed, sadness and pain; Christmas, objectives, new year and wishes: make a wish