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Roblox CEO ‘dreams’ of in-game cross-platform NFTs and digital objects

Roblox founder and CEO David Baszucki expects top brands and celebrities to take charge and play a key role in making the "dream" of cross-platform NFT come true.

The frontman of the popular virtual universe game Roblox, David Baszucki, has said he ‘dreams’ of having the ability to move nonfungible tokens (NFTs) and digital objects across multiple platforms. 

Following the company's Q3 2023 earnings call, Roblox founder and CEO Baszucki spoke about the role major influencers play in fueling the widespread adoption of NFTs and digital collectibles in a recent CNBC interview. He believed in the idea of users being able to move their collections across non-native platforms:

“There’s a bit of a dream here about objects and NFTs moving from platform to platform.”

For example, Baszucki stated that A-list celebrities such as Elton John could sign up on Roblox and make and sell limited edition collectibles like capes for charity. These types of collectibles could go off the Roblox platform as an NFT and could be sold in other marketplaces.

“What we do expect is that creators, whether it’s Elton John or Nike or someone else making a digital item, that they would play a key role and have a fair amount of control in that process,” Baszucki concluded.

Roblox’s latest earnings call revealed a loss in Q3; however, the company recorded a 20% year-over-year growth in booking estimates on higher in-game spending and the total number of users.

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Baszucki’s growing interest in NFTs resonates with overall market sentiment as blockchain analytics company Nansen reported spike in November NFT sales volumes.

In terms of NFT collections, Bored Ape Yacht Club (BAYC) had the highest trading volume in the last 30 days. The BAYC collection had a volume of 35,226 ETH, or around $66.7 million. NFTGo’s data also showed that there was a 12% increase in NFT traders during that timeline.

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Top metaverse property investments suffer massive losses: Report

Popular metaverse properties, such as Otherdeeds, The Sandbox, Decentraland, Somnium and Voxels, have all depreciated in value over the past year.

Prices of virtual lands on some of the top metaverses have declined significantly from their peak prices of 2022, with most depreciating around 90% in value.

A study published by CoinGecko shows that popular metaverse properties, such as Otherdeeds, The Sandbox, Decentraland, Somnium and Voxels, have all depreciated in value during the period studied, from January 1, 2022, to May 24, 2023.

Metaverse land prices comparison. Source: CoinGecko

As shown above, the most expensive property at the time, Otherdeeds by Otherside, which once sold properties for 5 Ether (ETH), is currently selling at 1.09 ETH, down by 78.2%. The Sandbox and Decentraland properties are also down by 89.76% and 87.88%, respectively.

CoinGecko noted that the cheapest land in the metaverse could be found in Voxels, which sells for 0.16 ETH as of May 24. Voxels’ virtual properties faced a 93.8% loss, as did Somnium. Despite the massive drop in prices, Voxels remains optimistic about a comeback. Its official Twitter account stated:

“We’re number 5! We’re number 5! (It hurts me too, but winters gonna winter, only thing to do is to keep building).”

Tech giants and major economies continue to test the ultimate potential of metaverse through various investments and initiatives.

Related: Chinese city releases policy draft for metaverse industry development

IPhone manufacturer Apple will soon release a mixed-reality headset, which could reignite global interest in the metaverse.

Speaking to Cointelegraph, eToro market analyst Josh Gilbert said the new headset could set the markets ablaze, considering Apple’s proven record of delivering high-quality, market-shifting products. Gilbert stated:

“When Apple does it, they usually do it right.”

According to a report from Apple product soothsayer Mark Gurhman, the new Apple headset is set to launch on June 5.

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Web3 community-building meets music technology at Wavelengths Summit 2023

Crypto natives and newbies alike came together to build community and share alpha on the latest in music technology and decentralization.

Web3 has become one of the hottest buzzwords in the music industry, with everyone from independent musicians to major label artists dropping nonfungible token (NFT) collections and throwing concerts in the metaverse. But for many, the actual use cases and potential of these technologies remain shrouded in mystery and confusion.

On May 6, Water & Music held its inaugural Wavelengths Summit, a one-day event bringing together musicians, industry executives, artist managers, researchers and technologists to explore the bleeding edge of music technology and democratize access to information. On the agenda were talks about blockchain-based communities, the growing influence of artificial intelligence on the music industry and the future of artist revenue streams.

Water & Music is a collaborative music technology research network founded in 2016 by writer Cherie Hu as a free newsletter. It has since evolved to encompass a paid membership structure, an extensive online collaboration network and in-person events. Its research often touches upon Web3 and how blockchain impacts the music industry.

“I think the music industry, in particular, has suffered from information silos,” Hu told Cointelegraph. “If you’re trying to figure out how fans interact with your music in a holistic way, it’s actually a huge challenge.” Enter Water & Music, which seeks to empower its community with the knowledge needed to thrive in the digital era.

Community

A central focus of both Water & Music as an organization and its Wavelengths Summit was building a sense of community. The event’s emphasis on the importance of community-building in music and Web3 was ever-present, from the topics chosen for discussion — including sessions titled “Music Community Building and Decentralization: Lessons from History” and “URL to IRL: Uniting Music Communities Online and Offline” — to the way the event itself was hosted and organized.

For instance, Hu opened the summit by laying out four ground rules for positive community-building: “Be kind and respectful,” “Stay critical, “No shilling,” and “Have fun!” She also announced that there would be no panels; instead, experts would facilitate conversations, with audience members encouraged to jump in at any point. Talks on the main stage were accompanied by a large screen displaying live comments and questions from audience members via an app called Slido.

“I think what we were really aiming for is recreating the magic of our Water & Music Discord,” Diana Gremore, Water & Music’s events director, told Cointelegraph. “We have such a thoughtful, articulate, critical, passionate, curious community, so we wanted to do our best to facilitate how that URL community translates into an IRL experience.”

Web3 community building for musicians

Throughout the day, many of the conversations touched on how Web3 and blockchain technologies are being explored in the world of music. During the “Music Community Building and Decentralization” session, participants discussed how online communities such as decentralized autonomous organizations (DAOs) are the next step in a long history of decentralization.

As pointed out by Austin Robey, co-founder of Metalabel — which is building a blockchain-based platform for collaborative artist releases — on-chain voting and governance are digital versions of what real-world communities have always done. Social spaces are always governed, and communities are always decision-making. And while DAOs may be subject to “code,” real-world communities have always been subject to social “codes.”

The discussion was moderated by Kaitlyn Davies, membership lead at Friends With Benefits — a social DAO for creatives — and head of curatorial partnerships at Refraction — a DAO for artists and creators with a particular focus on live music events. Davies told Cointelegraph that the preexisting decentralization in music communities helps explain why so many in the music world gravitate toward Web3.

“You see a lot of people who have always been interested in decentralized ways of organizing or sort of left-of-center means of organizing look to this technology to keep doing their work — not even to get bigger or to cast a further net but just to enable what they were already doing,” she said, adding:

“Cultivating a scene or a community, that’s really important, and that’s what drives culture. [...] My hope still is that decentralized tech helps us do that better and helps us do that in more equitable ways.”

During the “Web3: Balancing Niche and Mainstream on the Road to Adoption” session, participants discussed the importance of first understanding one’s community before launching crypto music projects. Melanie McClain, a Web3 consultant and founder of Blurred Lines — a community of Web3 tastemakers supporting left-of-center Black music — said that if fans want free shows, artists can experiment with NFTs that give collectors free access to concerts. And if the artist blows up, that free-performance NFT will suddenly become much more valuable.

Related: Music NFTs are helping independent creators monetize and build a fanbase

Speaking to Cointelegraph, McClain said that crypto-native and crypto-newbie artists alike could use blockchain tech to build stronger communities, but each approach must be tailored. “They have to be self-aware,” she said. If a musician’s community is not native to Web3, “they might not say words like NFTs or social tokens. They can lead the conversation in other ways while still using the tools in the back end.”

Many facilitators and other attendees expressed that Web3 solutions offer particularly unique advantages for musicians, with Gremore telling Cointelegraph that “one of the biggest strengths of [Web3] is the ability to build community and sustain community.”

Perhaps part of the reason for this is that blockchains are generally designed for efficiency. According to Hu, this allows artists and their teams to better utilize “smart money” — when a musician doesn’t have much money to spend and therefore must use their funds as efficiently as possible.

“In music and Web3, I’m noticing instead of just random artists dropping NFT projects that happen to gain a lot of money, there’s more focus on ‘what’s the actual use case?’” Hu told Cointelegraph. “What is blockchain actually adding to music in a way that makes things easier and not harder from a technical standpoint?”

URL meets IRL

One thing that stood out at the Wavelengths Summit was how many online friends were meeting IRL — in real life — for the first time. Having many internet friends is not unique to crypto, but it is particularly pronounced in the space, given its inherently decentralized nature. For most people, meeting an online friend in person is special, and the summit was designed to facilitate those connections.

The internet allows for a level of community building previously impossible, especially between musicians and their fans. But as Gremore told Cointelegraph, “There’s a magic in IRL that just can’t be replaced.” She added, “URL is where so many of the conversations start happening, and then IRL — it’s a chance to deepen those bonds.”

Summit attendees connect and network during the “Web3 Happy Hour.” Source: Jonathan DeYoung

For Hu, building in-person relationships is critical for the long-term success of Web3 communities. “IRL events make or break trust in a community,” she said. When internet-based communities meet in person, that community’s carefully curated online image disappears, and people see it for what it really is — whether good or bad.

“Events are so important for online communities because if the name of the game is long-term sustainability, that will make or break trust. If it succeeds, it could be a huge kickstarter to a whole new stage or a whole new level for the community or for the brand. But I’ve definitely seen it go the other way around also.”

For those unable to participate in IRL experiences, online ones still offer opportunities, such as allowing fans to connect virtually with their favorite music artists. “I think using virtual things, not necessarily the metaverse but using live-streaming platforms, things like that — I think you can simulate the same thing,” McClain said. “Everybody can participate no matter where they are.”

“I think online spaces are safe havens for a lot of people, and I think that that should never be discounted,” believes Davies. “But I think the power of meeting somebody in person and being like, oh, you’re like a real human being, and we have similar thoughts about this, and maybe a block on a chain helped us find each other — but really what it’s about is us hanging out in person.”

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Ultimately, the main takeaway of the Wavelengths Summit was that community-building is a critical component for success in both music and Web3, and Water & Music intentionally designed its inaugural summit to set an example of how it believes community-building should look.

To close out the day, Gremore shared with the audience that Water & Music wanted attendees to leave empowered — that even though it may seem like the music industry is broken, there is still light at the end of the tunnel. And as the summit revealed, some of that hope may come in the form of DAOs, NFTs or other blockchain-based tools that help artists build community directly with their fans. Or, as Gremore told the audience:

“We’re fucked — but maybe we can do something about it.”

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Hong Kong Judge Rules Crypto Assets as ‘Property,’ Following Similar Rulings Worldwide

Hong Kong Judge Rules Crypto Assets as ‘Property,’ Following Similar Rulings WorldwideIn a court case linked to the now-defunct crypto exchange Gatecoin, a Hong Kong judge has ruled that cryptocurrencies are “property” which is “capable of being held on trust.” According to the law firm Hogan Lovells, this case should provide greater clarity to insolvency practitioners and other common law jurisdictions. Hong Kong Judge Designates Crypto […]

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Building communities and ensuring NFT success: Insights for artists

Building communities has become more crucial than ever in today’s rapidly changing art space, especially with the rise of NFTs.

The importance of building communities cannot be underestimated in the rapidly changing art world, driven by technology and the explosion of nonfungible tokens (NFTs) in the last two years. An audience is a social media following, but a community is a group of people working toward a common goal.

Art market economist and academic Magnus Resch has extensively researched the importance of communities and networks for artists.

Resch holds a Ph.D. in economics and has studied at the University of St. Gallen, the London School of Economics and Harvard. In addition to lecturing at Yale, he has produced several publications about the economics of the art world. He has appeared in academic journals and major publications like The Wall Street Journal, The New York Times and Vanity Fair.

Resch recently spoke to Cointelegraph about his latest book, How to Create and Sell NFTs — A Guide for All Artists, which explores the importance of building meaningful communities for artists, and how to create and sell NFTs compatible with their artwork.

Cointelegraph: Dr. Resch, how important is community building for artists in today’s rapidly changing art world?

Magnus Resch: Community in the art world matters for the success of any artist, but being in the right one is even more important. In one of my most recent studies, I looked at thousands of communities in the art world to evaluate their impact on the success of any artist. The results were surprising: 99.9% of artists’ communities don’t have any positive effect on the career of an artist.

These communities — I call them “island networks” — consist of museums, galleries, fellow artists of the same level and fans or supporters. These groups mean well but will never make a real impact at the higher end of the market. Instead, there is only one network that leads to success. For an artist who strives to be successful, the goal must be to become part of it. I call it the “holy land.”

CT: Can you share some key strategies for artists to successfully tap into this one community you call the “Holy Land?”

MR: My study shows the art world is a people business. Who you know matters more than what you make. In the absence of objective criteria that define what “good art” is, the network steps in to decide what good art is and what is not. That is why networking is so vital.

For artists, this means don’t spend all your time in the studio. Go out and meet the right people, at best, those that are part of the holy land. Or put bluntly, artists are on their own and need to accept that they are entrepreneurs running a business. Branding, marketing and self-promotion are essential to their success and are more important than their art. Artists who are waiting to be discovered will fail.

CT: What role do social media and digital platforms play in helping artists connect with their audience and foster a sense of community?

MR: Social media is the most relevant marketing tool for artists. They cannot rely on galleries to do the job, as most galleries are part of island networks and close down after a few years. In fact, one-third of all galleries never make any profit.

Getting into the holy land is hard, as only a few spots per year are available. That’s why building a brand is so important for artists. The easiest way to do this is via social media: 45% of art buyers regard social media as the most important channel to discover and find artists. Visits to offline galleries only follow in second place. I argue any artist serious about making it in the art world needs Instagram.

CT: Has this changed with the rise of NFTs?

MR: Not at all. NFT projects have allowed artists to learn what is required to make it without the gallery support. We have seen that the most important pillar in any NFT project is the community. Failed projects have misinterpreted the community as an “audience.”

An audience is the following on social media. A community is a close circle, a tight-knit and active group of people working toward the same goal. They can assemble on social media, but it goes beyond that. Building a community is about building loyal members who are supportive of an artist’s idea. I believe in the future where artists will give their community voting rights, allow them to participate in projects, and exchange ideas and assets. This is considerably different from today’s audience that just “likes” and follows but doesn’t participate.

CT: Can you share some successful examples of traditional art institutions and galleries that have embraced NFTs and the impact it has had on their businesses?

MR: The biggest winner of the NFT hype were digital artists such as Beeple, Justin Aversano, and Jen Stark. Digital art never played a major role in the art market, being the least popular medium after paintings, sculptures and photography. And then suddenly, some of these digital artists neglected by the market made significant money and sold for record prices. The real impact of NFTs, however, is yet to come. NFTs will be the underlying technology to authenticate every artwork — and not just digital art. This will change how art is traded fundamentally. Without an NFT to prove that the work is real, nobody will buy the painting.

CT: What are the main implications of NFTs on the art market?

MR: So far, there have been none. We are only at the beginning of what’s coming. I predict that NFTs will have a lasting impact, which is fourfold: Artists will exert more control over their work and earn royalties from resales; more collectors will populate the market as it has become more transparent; institutions will find it easier to engage their communities, and give them ownership through participation and involvement in governance. And finally, the art market will become more regulated for the better and thereby increase in value. Clearly, this won’t happen overnight, as changes in the art world take time. We are looking at 5–10 years’ until NFTs become the standard of how artworks are transacted and authenticated.

CT: Can you discuss any common mistakes artists should avoid when entering the NFT space and how they can set themselves up for long-term success?

MR: Most artists will never enter the NFT space as NFTs are not art. And those overpriced, celebrity-endorsed JPEGs that often are associated with NFTs will go away. I don’t even think we will talk about the term “NFTs” five years from now, similarly as we don’t talk about mp3 anymore.

NFTs are the underlying technology that will be used whenever artworks are transacted. In the future, it is not unlikely that the artist will register every painting that leaves a studio on the blockchain. So when it’s traded, the artist not only gets royalties but also knows who the new owner is. This allows them to work more independently and not rely on galleries entirely to promote or authenticate their works. As a consequence, artists will earn more on every piece they sell.

CT: How can collectors effectively determine the value of artwork in today’s dynamic market, particularly with the emergence of NFTs?

MR: Most art is not a good investment. Almost all artists are stuck in island networks and will not see an increase in value. For collectors who are purely interested in making money, they should focus exclusively on artists and galleries who form the population of the holy land. However, if they are interested in collecting art for any other motive (and consider it a cherry on top if the artist increases in value), the whole art market can be their hunting ground.

CT: Has the price transparency and liquidity that NFTs facilitated changed this?

MR: Many of those who bought NFTs as an investment were not able to make a profit with them. They have moved on to other investments. And as the hype faded, the true winners were those who bought works that they liked and wanted to live with. Another phenomenon is visible, too; we are currently seeing the merger of the traditional art market and a few digital artists who had success during the NFT hype. Beeple, Dmitri Cherniak, Tyler Hobbs, Casey Reas, and Artblocks, who exclusively sold on digital platforms like OpenSea and catered to a crypto-native audience, have now started showing their works with established traditional players in the art market, such as Pace Gallery. A representation by Pace Gallery, which is part of the holy land, will help them to manifest their value, even after the hype and their crypto buyers are gone.

CT: If art is not a good investment, why should we buy it?

MR: After having done much data analysis on the art market, one strategy for collecting proven to be the most effective is to buy what you like, as most likely, you will never make any money with the art you buy. I call it “responsible buying” — the notion that buying art is not just an exchange of monetary value but also a philanthropic act. Rather than putting money into an asset, I donate it, knowing that, in all likelihood, I won’t be able to resell the piece. But, by buying it, I am supporting the artist so that she can continue creating art, which inspires her community to continue with this essential form of human creativity. To me, it is a way of doing good, and it comes with an object that I love and a story to tell.

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Snow Crash manuscript that coined the term ‘Metaverse’ to be auctioned by Sotheby’s

The manuscript is part of a larger series of physical and digital items related to the famous book.

The original manuscript of Neil Stephenson’s Snow Crash — the book which coined the term “Metaverse,” — will be auctioned by Sotheby’s, according to a page on Sotheby’s official website. The auction is part of a Feb. 23 series called “Infocalypse” that includes six physical and six digital items related to the famous book.

The original manuscript is in Lot 2 of the series. It is “wrapped in original Xerox 4200 Paper,” secured with masking tape and contains “corrections and notations throughout in Neal Stephenson's hand in blue ink.” It also has the title of the book written on the spine with a sharpie by the author.

A “revised typesetting manuscript” is also up for auction in Lot 4. This is a later version filled with additional handwritten notations and revisions by the author.

Other physical objects being auctioned as part of the series include the original painting used as cover art for the 1993 mass market paperback edition of the book, a leather jacket that was to be used in a video promotion for the graphic novel, slides used for the graphic novel concept, and a real sword inspired by the one the book’s protagonist wielded.

In addition to these physical items, the series will also contain digital art NFTs inspired by the graphic novel concept that preceded Snow Crash.

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Published in 1992, Snow Crash was set in a dystopia where most human beings live in small storage facilities, according to the publisher’s description. It followed the exploits of protagonist Hiro, a pizza delivery man who has to fight off bandits to deliver his pizzas. Hiro spends all of his spare time in a virtual world called “The Metaverse,” where citizens go to escape the misery of everyday life. But a computer virus was causing residents of the Metaverse to become “nothing more than a jittering cloud of bad digital karma.” The plot of the novel revolved around Hiro’s attempts to figure out how to stop the virus.

The book sold over 125,000 copies, according to the Washington Post. Since the book’s release, virtual reality enthusiasts have increasingly used Stephenson’s “Metaverse” term to describe the emerging virtual world being created by VR technology, and in recent years, it has become a frequently searched buzzword.

The rise of the Metaverse has led to new career opportunities for some and has helped to reshape Web3 gaming.

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Metaverse experience to sway real-world travel choices in 2023: Survey

A survey participated by 24,179 respondents across 32 countries reveal that nearly half, or 43% of the respondents, intend to use virtual reality to inspire their choices.

As borders open up following prolonged COVID-induced travel restrictions, the Metaverse, one of the latest sub-crypto ecosystems, is set to help travelers decide on the destinations they want to experience in person, reveals a new survey conducted by Booking.com personally.

Popular online travel agency Booking.com surveyed 24,179 respondents across 32 countries, which revealed travelers’ strong interest in virtually exploring destinations as they decide on their itinerary. Out of the lot, people most likely to try out travel experiences in the metaverse were Gen Z (45%) and Millennials (43%).

Nearly half, or 43% of the respondents, confirmed their will to use virtual reality to inspire their choices. Among this group, around 4574 participants believe in traveling to new places only after experiencing it virtually.

Moreover, over 35% of the respondents are open to spending multiple days in the Metaverse to get the hang of the surroundings offered across popular destinations. According to Booking.com, supporting technologies such as haptic feedback will help improve this experience by allowing users to experience sandy beaches and tropical sun without stepping outside.

Most popular type of vacation. Source: Booking.com

However, 60% of the respondents believe that the experiences the Metaverse and virtual technologies offer don’t come close to in-person experiences. Some of the most popular destinations for 2023 include São Paulo (Brazil), Pondicherry (India), Hobart (Australia) and Bolzano (Italy).

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Tech giant Microsoft’s plan to step into the Metaverse business hit a massive roadblock after the United States Federal Trade Commission (FTC) sought to block the acquisition of Activision Blizzard.

The acquisition of Activision Blizzard for $69 billion would have played “a key role in the development of metaverse platforms,” according to Microsoft CEO and chairman Satya Nadella. However, the FTC pointed out Microsoft’s anti-competitive practices, wherein the company limited the distribution of console games after acquiring rival gaming companies.

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Court in China Recognizes NFTs as Virtual Property Protected by Law

Court in China Recognizes NFTs as Virtual Property Protected by LawA court in the Chinese city of Hangzhou has determined that non-fungible tokens, or NFTs, represent virtual property protected by the laws in the People’s Republic. The ruling comes from a case over a dispute between a customer and a platform hired to sell a collection of tokens. Hangzhou Internet Court Hears Case Involving Property […]

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Metaverse is a new frontier for earning passive income

Those looking to earn passive income in the metaverse have several available options, but how profitable and durable these are isn’t yet clear.

When new technologies and platforms are created, there are incredible discovery phases in which economic activity eventually picks up and starts taking shape. The metaverse is arguably in that discovery phase, with many entrepreneurs finding ways to earn passive income on it.

As economic activity in the metaverse rises, new passive income opportunities are seemingly being created on a regular basis, as are opportunities to actively earn income. While what works and what doesn’t is still up for debate, there are some in the vanguard of metaverse passive income.

What is the metaverse?

Before digging into passive income opportunities in the metaverse, it’s first important to analyze what is actually is. The term “metaverse” has been one of the most popular buzzwords in the Web3 space over the last few months, while millions are moved in digital economies focusing on it.

The word “metaverse” comes from Neal Stephenson’s 1992 cyberpunk sci-fi novel Snow Crash. In the Web3 space, the term is used to describe a digital world where people actually own the assets within it.

The metaverse differs from past digital worlds, like those created in video games, through the use of nonfungible tokens (NFTs). These unique blockchain-based tokens can be freely traded by users but cannot be duplicated or copied. What can be done in the metaverse is still being explored, but so far, real businesses have been created within these metaverses.

Another defining characteristic of the metaverse is interoperability. Virtual worlds like that of popular videogame Roblox could be thought of as metaverses, but unlike the new, blockchain-based iterations, players don’t exercise control or ownership over their assets.

Various companies have been moving into the metaverse, with Walmart seemingly gearing up to enter the space, while fashion brands like Ralph Lauren and Gucci have signaled that virtual clothes could be a major growth area for them. Companies are entering the space as it grows rapidly and is expected to become an $800 billion industry within two years.

Given the potential size, earning passive income in the space could be a great opportunity. Taking advantage of passive income opportunities can be easy for those already deep into the metaverse, but how long each opportunity will allow entrepreneurs to earn isn’t clear.

Renting out metaverse land

One of the most well-known ways of earning passive income in the metaverse is by owning property in it and renting it out. Metaverse platforms like Decentraland and The Sandbox let users rent land for a fee to others.

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There currently isn’t a lot of data on what type of earnings metaverse landlords can expect, as that information isn’t being widely shared. Nevertheless, it’s known to be an attractive market as companies look to host events on the metaverse.

Pavel Sinelnikov, co-founder and CEO of Ethereum layer-2 scaling solution Metis DAO, told Cointelegraph that metaverses aim to achieve “digital land ownership and the ability to buy, sell, and rent land and other virtual items,” adding:

“Metaverses create an abstraction of real-life, where there is a living virtual economy in the game that is not locked and restricted to the digital domain, but instead extends outside of it; these are real and valued assets, holding value outside of the digital realm.”

According to Sinelnikov, the economies seen within metaverses like Decenraland and The Sandbox impact the “greater and real-world DeFi [decentralized finance] ecosystem,” while allowing for more interoperability opportunities.

Leasing assets

Another way to earn passive income in the metaverse involves leasing out assets, as some users may not want to directly purchase expensive NFTs.

One well-known example of NFTs being leased to other users to earn passive income comes from the popular game Axie Infinity. The game is based on NFTs called on Axies that were, at one point, rather expensive as the game’s popularity exploded during the bull market.

In the game, Axies were needed to compete and earn rewards in the form of Smooth Love Potion (SLP) tokens. Players who could not afford Axies would receive them from so-called team managers in exchange for some of the SLP tokens they managed to earn. The managers were, in essence, earning passive income from their Axies as other players — called scholars — used them to earn rewards. The practice was so popular that some “scholars” in Venezuela were making a living off of leased Axies.

Other metaverse assets can be leased, depending on the platform. Sinelnikov commented that lending, renting and asset fractionalization are interactions that have already been formed on the metaverse, with the best part about them being that “no single provider can restrict the usage or control the market, since the assets belong to you and not to an individual provider.”

Secondary market royalties

Some NFT artists have earned extensive royalties through the secondary market as their creations are traded among collectors. The same type of interaction is possible in the metaverse.

Prakash Somosundram, co-founder and CEO of blockchain game launchpad Enjinstarter, told Cointelegraph that “any wearable creator can earn royalties when the assets they create are sold on the secondary market.”

John Burris, chief of strategy at metaverse app IMVU, told Cointelegraph that the metaverse is “filled with opportunities to earn,” stating that while some metaverse worlds are play-to-earn and others “host gig-like economies,” almost all of them offer item creation and sales:

“With blockchain and NFTs we’ve finally unlocked a true ownership and royalty model where royalties can and will continue to flow back to the original creator, providing well-deserved passive income as those items change hands.”

Per Burris, the metaverse “serves as a great way for people to make money no matter who they are, or where they’re from, in the real world.” The ability to create, own and sell goods, he said, opens up opportunities to people that they would not get otherwise.

Virtual games

Gaming is one of the metaverse’s largest use cases, with most metaverse worlds either being completely focused on gaming or having a large portion of users focusing on it. Some involve gambling, while others generate their revenue in other ways.

Decentral Games’ ICE Poker virtual casino is one of the most popular metaverse gambling operations out there and since it’s based in the metaverse, a lot of the costs traditional casinos have aren’t present.

Other games, however, aren’t related to gambling at all. Some generate revenue through asset sales, secondary market royalties or donations. Roderik van der Graff, the founder of global investment firm Lemniscap, told Cointelegraph that one of the firm’s portfolio companies has launched a tower defense game to generate revenue through the metaverse.

The game is called Spark Defense and allows users to “monetize their land and complete quests to collect, earn and own NFTs which they can use across the game,” van der Graff said.

Advertising

Our final way to make passive income in the metaverse is through advertisements. Setting up large billboards in popular areas can draw in advertisers looking to get the crowd’s attention to sell their products or services, whether these are in the metaverse or outside of it.

Finding advertisers for these billboards may mean the income isn’t completely passive, as after a campaign ends, an advertiser may lose interest and the billboard owner may have to start looking for someone else to rent.

In fact, most of the options above are likely to require some involvement from the entrepreneur. Then again, true passive income doesn’t really exist, as even the most passive investments have to be monitored from time to time.

Is passive income in the metaverse worth chasing?

If generated income isn’t entirely passive, some may consider it not worth chasing, given the drawbacks. According to Burris, downsides include engaging in speculation and dealing with the volatility of the cryptocurrency space, as most transactions are conducted in either NFTs or crypto tokens:

“It’s important users and creators looking to create income in the metaverse examine the platforms and metaverses they use, and look at the product as a whole. Is the team experienced? Is the metaverse active? Can it sustain itself through economic downturns?”

Somosundram said that the sustainability of an income stream “depends on the success of the specific metaverse and/or game where you generate your passive income,” which may mean often moving on to another venture.

It’s also worth pointing out that entrepreneurs may end up betting on a metaverse world that is later on abandoned, making their investment worthless as every passive income opportunity in the metaverse relies on heavy traffic.

On the bright side, Somosundram said that passive income from the metaverse is a “great means of diversification along with traditional financial instruments,” and there can be a rapidly expanding number of opportunities out there as the metaverse industry grows.

As exact figures aren’t widely shared, it’s up to entrepreneurs whether they want to bet on the metaverse and start building their income streams on it or whether they prefer to focus their attention elsewhere. Those who risk making it in the metaverse may have to innovate to stand out, however.

Making it in the digital world

While renting property or a digital billboard won’t require significant innovation, some of the more prolific earners are taking different approaches. Somosundram told Cointelegraph the story of a Singapore-based entrepreneur that created a GameFi guild that built up a pool of assets to lease for a fee.

In another potential example, he pointed to tattoo artists using a service to “mint wearable tattoo art that generates passive income from the secondary market royalties.”

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Burris noted that on the platform he represents, there are “over 200,000 active creators, making over 350,000 new items for sale every month.” He stated:

 “As more and more people spend their time in virtual worlds, and begin looking toward it as a way to earn a living, it’s important to have both passive and active income opportunities — just like in the real world.”

Whether entrepreneurs want to move forward with passive income ideas for the metaverse, it’s worth pointing out that there are no guarantees that the time or money invested will generate returns, as the space is constantly evolving.

Economic activity in the metaverse is still at an embryonic stage, as many are still figuring things out. As the metaverse evolves, new opportunities will likely present themselves the same way they’re presenting themselves in the broader cryptocurrency space.

Crypto.com probe by the SEC has officially closed, says CEO

Bitcoin better than physical property for commoners, says Michael Saylor

Saylor underscored the high maintenance costs and taxes linked with owning and inheriting physical property over the long term, which in the case of Bitcoin, does not exist.

MicroStrategy CEO and Bitcoin (BTC) advocate Michael Saylor doubled down on his support for Bitcoin as he explained the issues related to transferring the value of physical properties such as gold, company stocks or equity and real estate during the Australia Crypto Convention.

Speaking about the underlying proof-of-work (PoW) consensus mechanism, Saylor highlighted that Bitcoin is backed by $20 billion worth of proprietary mining hardware and $20 billion worth of energy. 

He then pointed out that traditional assets such as gold (in high quantity) and land are nearly impossible to carry forward across geographical boundaries, adding:

“If you have a property in Africa, no one's gonna want to rent it from you if they live in London. But if you have a billion dollars of Bitcoin, you can loan it or [...] rent to anybody in the world.”

Saylor further underscored the high maintenance costs and taxes linked with owning and inheriting physical property over the long term, which in the case of Bitcoin, does not exist. Geopolitical tensions across the world also determine the type of assets one would be allowed to carry forward across jurisdictions. He explained:

“Bitcoin represents a property that you can acquire in small pieces that you can carry with you anywhere you go. You can give to your children's children's children's children. And in 250 years, maybe your family still owns the property.”

According to Saylor, only royalties such as King Charles III have the liberty to pass down their wealth without worrying about being taxed away "unless it's Bitcoin." The entrepreneur reiterated that the Bitcoin network has not been hacked for over 13 years and is currently "the most secure network in the world."

On an end note, Saylor emphasized the regular upgrades being made on the Bitcoin network to make it faster and more secure, along with innovations around layer-2 and layer-3 applications.

Related: Possession of Bitcoin still legal in China despite the ban, lawyer says

Bloomberg analyst Mike McGlone recently opined that Bitcoin is a “wild card” that is well-positioned to outperform stocks as traditional finance inches toward a recession.

McGlone took it to social media platforms, including LinkedIn and Twitter, to state:

“Bitcoin is a wild card that’s more ripe to outperform when stocks bottom, but transitioning to be more like gold and bonds.”

As Cointelegraph reported, the analysis notes that while Bitcoin would follow a similar trend to treasury bonds and gold, Ether (ETH) “may have a higher correlation with stocks.”

Crypto.com probe by the SEC has officially closed, says CEO