daLenz

In business, you've probably heard of something called a USP. If you haven't, try finding out, because it's crucial. A USP is a unique selling point. For example: > Someone opens a restaurant with a fusion concept, selling wagyu steak with tomyum sauce. > Someone creates a bar with a jazz theme, often called a speakeasy bar (they serve alcohol, but not in a nightclub). > Someone creates a cashless payment product, simply tap-to-use using your phone's NFC. *this is a simple example* You get the idea, right? There must be a project that started it and made the concept famous. Let me give you an example of a project with their initial USP and the initiation of a new concept: > Punks, a NFT PFP with a pixel concept that was first popular and used by the public. > Cyberkongz created a project that generates daily tokens (the first project to create a token concept). > Milady, a 3D art style concept that is now widely adopted ( memecoin trader culture ? ) > If you look at memecoin, you'll remember the $ GOAT coin, which has a unique AI narrative and initiated metaAI in memecoin. From the beginning, before starting a project or business, you must have understood product positioning, or more simply, the USP of the product you are creating. I'll explain the USP of the Meganacci "Nacci Cartel": > Low Supply As long as I've been involved in Web3, low-supply projects will have a wide audience, and collaborations will be easier because those with a low supply will usually receive extra benefits and the low supply sounds like a genesis collection > Free Mint In this new ecosystem, I have a roadmap, not just a meaningless free mint project. But I can't be naive. My reputation is at stake here. I have to see what the ecosystem will look like in the future, and then I take the next step. I do this because I'm passionate and happy. *I will continue to build, cook, without much pressure* > Quality Holder I'm distributing 75% of my GTD whitelist to quality people, kol, megafolks, and crypto whales. I hope Nacci will become an active, positive community with high networking opportunities. > Art? Honestly, art is a matter of taste, like food and fashion. Some people like sour food, some people hate it. Some people like wearing oversized tees, some people think it's weird. Some people may like it, while others may not. But what I know in the Web3 world: 98% of NFTs are about prestige. If the floor price is high, they'll be proud to be holders (I can't be hypocritical, but this is the reality), and as a result, more projects will want to collaborate if the FP price is good. 2% of people really like it because of the art. *I also have some NFTs that I really like, I print them on canvas, and I display them in my office.* > Intention You can see my love for this project. I love building. It feels like I'm raising my own child. You can see Nacci's journey. This is also where I created the first NFT on Megaeth. *I try to be a stoic (stoicism believer)* Let's talk about the negatives now: > Low supply means fewer holders. This means word-of-mouth marketing will be more difficult. The challenge for me is how to get non-holders to enjoy and enjoy MegaEth. (I already have a solution) I know what holders want: Because I knew exactly what I wanted when I became a holder(Diamond Hand, an NFT/community) I still have a few Nacci spots, and I can't DM you all individually. " You can leave your wallet address below " Hopefully, you'll see a surprise in the wallet checker later.

Today I sold my V2 punk to purchase more V1s. It's becoming clear that the V1/V2 punk argument rests solely on the latter group's ability to brand themselves as "real" through their social network. If the story of the flawed V1 contract were to play out today, duplicating and then airdropping the new collection would be an unacceptable solution. This made all punks 1 of 2s, with V1 punks as the “first editions” of these assets. In all other collectible classes, the earlier editions of something are more sought after. This is also generally true of the scarcer misprint variants of assets - there are far fewer V1s still in circulation. The solution was accepted at the time of the V1 exploit because there were minimal options with which to view onchain assets - what Larva Labs platformed was what everyone got to interact with. With the introduction of third party marketplaces and the V1 wrapping contract, this ceased to be the case. Very few people in the community back in the day had enough foresight to realise that all LL had done was sweep the originals under the rug. The narrative that V2s are in some way superior is defended largely by the snobbish type of collector who judges art only by its price, and has an emotional attachment to the status that owning this asset gives them. They see attempts to discuss the onchain truth of the story as an attack on their gated social group and the sunk cost of their investment. This is ignorance of the provenance uniquely available through the blockchain, and an elitist rejection of another community as a way of preserving capital; they are neither ‘crypto’ nor ‘punk’. Any newcomer to onchain collecting, being exposed to the publicly verifiable and immutable information available surrounding these collections, would judge V1s - at less than 10% the price of the V2s - as the more grounded choice. There are a handful of common counterarguments. V1s are unable to use their original in-contract marketplace because of the exploit, but this experience has been abstracted into existence. The chains of ownership are different as they fork after the V2 airdrop, meaning they have different social networks, but V1s have a nascent community capturing the more historically minded. V1s do not receive the same IP rights as V2s, although onchain PfP IP has proven to be rarely utilized. There are 20,000 punks. The V1 punks are the original cryptopunks that were claimed on June 9th, 2017. The later V2 punks have the backing of their creators and are more well known, benefitting disproportionately from this publicity. This is a fascinating case of art undergoing a literal schism - one collection to serve the will of the artist, and the other becoming inseparable from its foundations, the machine it was built to showcase. This machine will outlive us, and with it, the story of how a failure of imagination led to the burying of the truth of its icons.