I’m taking the title of this essay from a Bankless podcast snippet I found on YouTube. I haven’t found the full episode but the clip sets up what I want to talk about today …

Composability, which Wikipedia defines as “a system design principle that deals with the inter-relationships of systems.”

Detailed. Comprehensive. But not so clear or helpful. For my purposes, anyway. Let’s break that down a bit more.

Further digging through the Googles gives us the following definition, with respect to crypto:

“Within crypto, composability is the ability of decentralized applications (dApps) and DAOs to effectively clone and integrate one another (syntactic composability), and for software components such as tokens and messages to be interoperable between them (morphological composability). — Aragon’s Blog

(Note: I highly recommend reading the entire article if you want a deep dive into crypto composability concepts).

The Aragon blog starts the article with an even simpler, more applicable definition: “Composability is the general ability of components of a system to be recombined into larger structures and for the output of one to be the input of another.” — (same link as above)

Composability is the ability to build on what someone else has already created.

The Aragon blog post and the YouTube clip are both talking about the power and potential of dApps. However, if we take a step back from the DeFi-focused POV of both of these references, we see that composability has applications far beyond this initial concept.

It applies, in our case, to the concepts of decentralized storytelling and open source character IPs.

In fact, the Aragon blog expands on the core idea precisely dealing with story further down in that post.

Beyond finance, characters or chattels from Web3 games like Axie Infinity or Guild of Guardians are instances of non-fungible tokens (NFTs) - unique digital property, standardized in ERC721. Because they are actually owned by users, they can be transferred freely between different games, sold on secondary markets, or even used as collateral for loans. — (same link as above)

And that is the key point for me. I’m not a game maker; I’m a fiction author. But, again, the core idea is transferable to fiction … web3 fiction.

To paraphrase, individual stories (a short story or a novel, for example) or the characters from any piece of Web3 fiction can be instances of NFTs. Each a unique digital property.

In the case of the short stories, it is a matter of sponsoring the story and the act of creation, i.e., financially supporting the creator, allowing her to focus on what she does best — create the stories. Sponsors also enable the story to remain free and accessible to anyone who wants to read and enjoy the story. No gates; no emails required; no payments required. A sort of public good, if you will.

This method of providing the story to readers free, while remaining supported by selector sponsors is tried-and-true in literature, and by a few forward-thinking academic publishers. It is the freemium model at work.

Paulo Coelho is one of the most widely read authors in the world today, author of such books as THE ALCHEMIST, THE FIFTH MOUNTAIN and others.

In 1999, he sold 1,000 books in Russia so he decided to publish THE ALCHEMIST on his website for free. He sold 10,000 the first year and 100,000 copies the next. That is not how many people read his free book; it is how many spent money to buy it … presumably because they were exposed to it via the free website copy.

“I’m convinced,” he said at the Davos World Economic Forum, “it was putting up for free on the internet that made the difference.”

In the case of characters, they can become the basis for an entirely new, fully decentralized, potentially 100% open source character IPs that allow creation of a DAO around the character itself.

What Cuy Sheffield (@cuysheffield) defines in his article “Fantasy Hollywood” — Crypto and Community-Owned Characters”.

Today, crypto technologies like decentralized autonomous organizations (DAOs) and non-fungible tokens (NFTs) enable a new model of character development and ownership that could not only unbundle creative media, but also lower the barrier to entry for online communities to bring new characters into the world. It could also lead to characters that are more fully representative of the communities that support them.

It is a fascinating article, one that sparked all manner of wild ideas as I read it. And one I highly recommend.

The essential message is that traditionally, character IPs have been closely held by the mega-corporations that owned them.

Fans, going back easily to the original Star Wars or even further to the 1960s Star Trek, have fallen in love with characters and created their own “fan-zines” around them. Go so far as to create their own novels and other stories using the well-loved characters.

These corporations found themselves fighting the very fans they had created for control of the characters. Valuable property, for sure. And someone worth protecting.

Wait, which is the most valuable property? The character, or the fan?

In 2007, a new show, Mad Men, launched that, according to the book THE ART OF IMMERSION by Frank Rose, shows a glimmer of understanding by IP owners as to the value of the fan fiction and fan involvement.

The show centers around the 1960s alpha male dominated world of Madison Avenue advertising agencies. It featured and explored all the issues around gender roles and more.

What is interesting, according to Rose’s book, is that a fan of the show created a Twitter account in the name of one of the housewives and began tweeting in character. Other character-based accounts soon followed.

At first, the producers were appalled at this breach of their IP and sent cease-and-desist letters to the account holder and demanded Twitter kill off the (already very popular) accounts.

But someone within the production company was smart enough to recognize the value of what these fans were doing.

The speech must have gone something like this, “Look, these people are so in love with our characters and the story world we’ve created that they want to take on a greater role in the story.”

A greater role in the story. No longer (perhaps never) were readers of novels, or viewers of TV shows and movies satisfied with merely consuming the story.

They wanted to be a part of it.

Rose also provides examples from the 2008 film THE DARK KNIGHT, featuring actor Heath Ledger as the Joker. The pre-launch advertising campaign for the movie included an elaborate, IRL scavenger hunt that culminated in players buying a cake from some obscure bakery at a given day and time. Then discovering a ringing phone inside the cake that gave them access to more clues. And eventually, enabling them to become part of the Joker’s gang of thugs.

Story and characters stepping beyond the page or the screen.

This is what I was referring to in last week’s essay … IRL utility. It begins, I believe, with creators like me opening the doors to our creations. It means giving up certain control of our characters, not unlike, I suppose, seeing your kids go off to college or start their own lives. Lives outside of our control.

But that opens so many doors to amazing stories. And for those of you who are storytellers (whether writers, poets, filmmakers, game makers), this idea of letting your idea go into the world and letting others take it and remold it in their (possibly warped) imaginations into new forms we do not control is not new.

Screenwriter and screenwriting teacher William Martell recently posted a quote from Rita Mae Brown, American feminist writer and author of RUBYFRUIT JUNGLE.

A terrifying prospect for any creator to let go of the reins. But one that I am finding to be particularly liberating. Especially in light of the possibilities of tapping into the hive mind to create more and better stories.

And use the characters, themselves, in new and untested ways. Even, or especially, for those who are not novelists or screenwriters but love the idea of exploring the worlds of a favorite character beyond the original concepts of the creator.

For example, imagine a story world, maybe Star Wars. Or better yet (because I’m free to yammer on about it since I created it), the world of Joe Sputnik, PI.

Characters include Joe, himself. He’s the main character; what writers like to call the PROTAGONIST.

And a protagonist needs an ANTAGONIST … someone to fight against. I won’t tell you who that is. You have to read my stories to find out! ;-) The first short story is available by going to www.jspi.xyz and clicking the link to read LIKE A MOTH TO A FLAME.

This being a hardboiled detective story, there must be victims of whatever crime is the focus of the individual story; for example, the young, elaborately tattooed women who are being murdered by the antagonist in my Sputnik novel THE BUTTERFLY COLLECTOR (originally drafted in about 2012 and now getting a page one rewrite to integrate concepts of web3, blockchain, crypto, decentralization, etc., into the main plot … details soon about this NFT project!).

And, naturally, there are loads of other characters with more or less importance to this story.

Now, imagine a collection of the good old jpg-type NFTs. Say the traditional 10,000 … some fairly common like the group of semi-secret police who protect the uber-wealthy of 2047 New York City.

Or semi-rare, like the limited number of Painted Ladies (those with the elaborate tattoos that mark them as members of a special society).

Or 1/1, like Joe and other main characters.

Fairly standard.

But what if each NFT, whether representing a 1/100 or a 1/1, each had hit points (like characters we created when playing D&D or other role playing games). Values assigned to them based on various factors:

• role in an individual story

• specific skills or abilities

• reactions to events of a story … say Joe gets his ass kicked by some goon, his strength could go down

• what else can you imagine?

If you own a given character NFT, you reap the value of that character’s position in the overall Sputnik metaverse (imagine if you had the Han Solo character NFT? How would that change your world?).

But you also have the ability to commission or create your own stories or editions around that character NFT. Perhaps with some level of community vote.

You own a minor character. She has low value and is a 1/100. But you create a story, or build a game/graphic novel/you-name-it around her and it becomes popular … the value of your character NFT goes up.

I’ll date myself here but what I’m talking about is what happened to what was supposed to be a minor character for a single season in the 1982 sitcom CHEERS.

Dr. Frasier Crane (played by actor Kelsey Grammer), however, was so popular that the producers kept him on after he first appeared in CHEERS: “Rebound (Part 1)”, season 3, episode 1.

And, after CHEERS ended its epic run, spun off the character into its own show, FRASIER, which is arguably as successful, if not more so, than the show that originated the character.

Plus, why not use the NFTs you hodl to battle other NFT hodlrs and their collections. Something akin to MAGIC: THE GATHERING or other collector card games.

If the character NFTs were available in sets of 10, but none revealed before initial sale (like baseball cards used to be sold with a stick of gum in cellophane wrappers hiding which cards were included), you have the added thrill of hoping you get the Sputnik rookie card but you may also end up with a bunch of minor characters.

Minor characters that you can still build into major characters. Characters you can combine with others, either from your own collection or by compositing them with other sets of character NFTs owned by other collectors. A practical application of composability.

Play games with them. Build new stories with them. The opportunities are endless.

And this is how I see the broad concept of composability applying to NFT fiction. A single story universe; or to use crypto parlance, a single story metaverse. A core story around which new players can spin off variations … either completely new stories and new characters. Or turn my short stories into a graphic novel. Or TV series. Or the revised novel into a feature film.

The fundamental point is that we are at a crossroads in the development of the ideas of what constitutes an NFT and the value/utility of that NFT. We can continue to focus on the status that ownership gives us, or we can find new and better ways to build utility into our NFT projects.

We have the opportunity to transform what NFTs are all about; not just for ourselves as creators or the fine folks who spend money to buy them in hopes they’ll be the next unicorn moon.

By creating projects with IRL utility, we can transform what NFTs mean. We can show the doubters and the haters that this is not a pyramid scheme. It is not a get-rich-quick, pump and dump ponzi con game.

We can transform the very conception of what NFTs and everything built in this third generation of the web.

We can shift it from something “the cool kids” do to something that has real-world and truly understandable value (you spent how much on a jpg that I can download for free?).

I have had the privilege of meeting and connecting with a number of projects recently that are taking different approaches to this IRL utility … using it to clean the garbage from the oceans, support local farmers and merchants, support local artists.

That is what I am creating with my Joe Sputnik, PI NFT-based fiction project. I may not be saving the whales directly or putting food on the tables of some far off village.

But I believe that story has power to transform lives.

Rudyard Kipling, who wrote such great literary works as THE JUNGLE BOOK, said, “If history were told in the form of story, no one would ever forget it.”

I believe the same is true of our future. We can define the future we want and bring it into reality through the stories we tell.

Don’t believe me? Look at Star Trek and the number of technological innovations that were dreamed up out of pure imagination that we now all take for granted.

If I can dare to remotely compare my story to that, it is what I aim to do. Tell the story of one possible future.

One of a fully decentralized world where the theories and ideas of minds like those at Aragon or Cuy Sheffield or so many others you can find on NFT Twitter come to IRL fruition.

One that holds many promises for true democracy, true equality, true opportunity for all. But one that also holds great potential for darkness. For crime. We are already seeing scams abound. What other crimes have we not yet imagined?

I believe that story — especially decentralized stories, built upon the myriad of ideas from thousands of individual imaginations — can help us understand what we are building and help us avoid many, if not all, of the potential traps.

Next week, I will go deeper into the Joe Sputnik project and detail what I am writing, how I see it developing.

It is, in summary, an experiment to see how the theories of decentralized storytelling and open source character IP can come together and create better story.

In the meantime, if you have any questions, comments, criticisms, or kudos on this essay (or last week’s on the ideas of IRL utility), reach out to me on Twitter (@jspi_nft) or email me at rich@joesputnikpi.com.

Or read last week's essay.

Let’s build something cool together. It begins with the story of what we’re building.

STORY is the new utility.

The Pulpeteer (pronounced pulp·ateer; taken from an essay by pulp writer Lester Dent who created the Doc Savage character and series) is a full time author and the warped mind behind the metaverse fiction NFT project — THE JOE SPUTNIK CHRONICLES, a metaverse hardboiled detective fiction series — where he is exploring the concepts and practical application of decentralized storytelling and open source character IP as a means to tell better stories.

Follow the saga of Joe Sputnik, PI in 2047 New York City as he battles hidden forces that threaten to dominate what has become a fully decentralized world → www.jspi.xyz

Or follow his thoughts on decentalized storytelling and open source character IPs on Twitter → @jspi_nft

I’m taking the title of this essay from a Bankless podcast snippet I found on YouTube. I haven’t found the full episode but the clip sets up what I want to talk about today …

Composability, which Wikipedia defines as “a system design principle that deals with the inter-relationships of systems.”

Detailed. Comprehensive. But not so clear or helpful. For my purposes, anyway. Let’s break that down a bit more.

Further digging through the Googles gives us the following definition, with respect to crypto:

“Within crypto, composability is the ability of decentralized applications (dApps) and DAOs to effectively clone and integrate one another (syntactic composability), and for software components such as tokens and messages to be interoperable between them (morphological composability). — Aragon’s Blog

(Note: I highly recommend reading the entire article if you want a deep dive into crypto composability concepts).

The Aragon blog starts the article with an even simpler, more applicable definition: “Composability is the general ability of components of a system to be recombined into larger structures and for the output of one to be the input of another.” — (same link as above)

Composability is the ability to build on what someone else has already created.

The Aragon blog post and the YouTube clip are both talking about the power and potential of dApps. However, if we take a step back from the DeFi-focused POV of both of these references, we see that composability has applications far beyond this initial concept.

It applies, in our case, to the concepts of decentralized storytelling and open source character IPs.

In fact, the Aragon blog expands on the core idea precisely dealing with story further down in that post.

Beyond finance, characters or chattels from Web3 games like Axie Infinity or Guild of Guardians are instances of non-fungible tokens (NFTs) - unique digital property, standardized in ERC721. Because they are actually owned by users, they can be transferred freely between different games, sold on secondary markets, or even used as collateral for loans. — (same link as above)

And that is the key point for me. I’m not a game maker; I’m a fiction author. But, again, the core idea is transferable to fiction … web3 fiction.

To paraphrase, individual stories (a short story or a novel, for example) or the characters from any piece of Web3 fiction can be instances of NFTs. Each a unique digital property.

In the case of the short stories, it is a matter of sponsoring the story and the act of creation, i.e., financially supporting the creator, allowing her to focus on what she does best — create the stories. Sponsors also enable the story to remain free and accessible to anyone who wants to read and enjoy the story. No gates; no emails required; no payments required. A sort of public good, if you will.

This method of providing the story to readers free, while remaining supported by selector sponsors is tried-and-true in literature, and by a few forward-thinking academic publishers. It is the freemium model at work.

Paulo Coelho is one of the most widely read authors in the world today, author of such books as THE ALCHEMIST, THE FIFTH MOUNTAIN and others.

In 1999, he sold 1,000 books in Russia so he decided to publish THE ALCHEMIST on his website for free. He sold 10,000 the first year and 100,000 copies the next. That is not how many people read his free book; it is how many spent money to buy it … presumably because they were exposed to it via the free website copy.

“I’m convinced,” he said at the Davos World Economic Forum, “it was putting up for free on the internet that made the difference.”

In the case of characters, they can become the basis for an entirely new, fully decentralized, potentially 100% open source character IPs that allow creation of a DAO around the character itself.

What Cuy Sheffield (@cuysheffield) defines in his article “Fantasy Hollywood” — Crypto and Community-Owned Characters”.

Today, crypto technologies like decentralized autonomous organizations (DAOs) and non-fungible tokens (NFTs) enable a new model of character development and ownership that could not only unbundle creative media, but also lower the barrier to entry for online communities to bring new characters into the world. It could also lead to characters that are more fully representative of the communities that support them.

It is a fascinating article, one that sparked all manner of wild ideas as I read it. And one I highly recommend.

The essential message is that traditionally, character IPs have been closely held by the mega-corporations that owned them.

Fans, going back easily to the original Star Wars or even further to the 1960s Star Trek, have fallen in love with characters and created their own “fan-zines” around them. Go so far as to create their own novels and other stories using the well-loved characters.

These corporations found themselves fighting the very fans they had created for control of the characters. Valuable property, for sure. And someone worth protecting.

Wait, which is the most valuable property? The character, or the fan?

In 2007, a new show, Mad Men, launched that, according to the book THE ART OF IMMERSION by Frank Rose, shows a glimmer of understanding by IP owners as to the value of the fan fiction and fan involvement.

The show centers around the 1960s alpha male dominated world of Madison Avenue advertising agencies. It featured and explored all the issues around gender roles and more.

What is interesting, according to Rose’s book, is that a fan of the show created a Twitter account in the name of one of the housewives and began tweeting in character. Other character-based accounts soon followed.

At first, the producers were appalled at this breach of their IP and sent cease-and-desist letters to the account holder and demanded Twitter kill off the (already very popular) accounts.

But someone within the production company was smart enough to recognize the value of what these fans were doing.

The speech must have gone something like this, “Look, these people are so in love with our characters and the story world we’ve created that they want to take on a greater role in the story.”

A greater role in the story. No longer (perhaps never) were readers of novels, or viewers of TV shows and movies satisfied with merely consuming the story.

They wanted to be a part of it.

Rose also provides examples from the 2008 film THE DARK KNIGHT, featuring actor Heath Ledger as the Joker. The pre-launch advertising campaign for the movie included an elaborate, IRL scavenger hunt that culminated in players buying a cake from some obscure bakery at a given day and time. Then discovering a ringing phone inside the cake that gave them access to more clues. And eventually, enabling them to become part of the Joker’s gang of thugs.

Story and characters stepping beyond the page or the screen.

This is what I was referring to in last week’s essay … IRL utility. It begins, I believe, with creators like me opening the doors to our creations. It means giving up certain control of our characters, not unlike, I suppose, seeing your kids go off to college or start their own lives. Lives outside of our control.

But that opens so many doors to amazing stories. And for those of you who are storytellers (whether writers, poets, filmmakers, game makers), this idea of letting your idea go into the world and letting others take it and remold it in their (possibly warped) imaginations into new forms we do not control is not new.

Screenwriter and screenwriting teacher William Martell recently posted a quote from Rita Mae Brown, American feminist writer and author of RUBYFRUIT JUNGLE.

A terrifying prospect for any creator to let go of the reins. But one that I am finding to be particularly liberating. Especially in light of the possibilities of tapping into the hive mind to create more and better stories.

And use the characters, themselves, in new and untested ways. Even, or especially, for those who are not novelists or screenwriters but love the idea of exploring the worlds of a favorite character beyond the original concepts of the creator.

For example, imagine a story world, maybe Star Wars. Or better yet (because I’m free to yammer on about it since I created it), the world of Joe Sputnik, PI.

Characters include Joe, himself. He’s the main character; what writers like to call the PROTAGONIST.

And a protagonist needs an ANTAGONIST … someone to fight against. I won’t tell you who that is. You have to read my stories to find out! ;-) The first short story is available by going to www.jspi.xyz and clicking the link to read LIKE A MOTH TO A FLAME.

This being a hardboiled detective story, there must be victims of whatever crime is the focus of the individual story; for example, the young, elaborately tattooed women who are being murdered by the antagonist in my Sputnik novel THE BUTTERFLY COLLECTOR (originally drafted in about 2012 and now getting a page one rewrite to integrate concepts of web3, blockchain, crypto, decentralization, etc., into the main plot … details soon about this NFT project!).

And, naturally, there are loads of other characters with more or less importance to this story.

Now, imagine a collection of the good old jpg-type NFTs. Say the traditional 10,000 … some fairly common like the group of semi-secret police who protect the uber-wealthy of 2047 New York City.

Or semi-rare, like the limited number of Painted Ladies (those with the elaborate tattoos that mark them as members of a special society).

Or 1/1, like Joe and other main characters.

Fairly standard.

But what if each NFT, whether representing a 1/100 or a 1/1, each had hit points (like characters we created when playing D&D or other role playing games). Values assigned to them based on various factors:

• role in an individual story

• specific skills or abilities

• reactions to events of a story … say Joe gets his ass kicked by some goon, his strength could go down

• what else can you imagine?

If you own a given character NFT, you reap the value of that character’s position in the overall Sputnik metaverse (imagine if you had the Han Solo character NFT? How would that change your world?).

But you also have the ability to commission or create your own stories or editions around that character NFT. Perhaps with some level of community vote.

You own a minor character. She has low value and is a 1/100. But you create a story, or build a game/graphic novel/you-name-it around her and it becomes popular … the value of your character NFT goes up.

I’ll date myself here but what I’m talking about is what happened to what was supposed to be a minor character for a single season in the 1982 sitcom CHEERS.

Dr. Frasier Crane (played by actor Kelsey Grammer), however, was so popular that the producers kept him on after he first appeared in CHEERS: “Rebound (Part 1)”, season 3, episode 1.

And, after CHEERS ended its epic run, spun off the character into its own show, FRASIER, which is arguably as successful, if not more so, than the show that originated the character.

Plus, why not use the NFTs you hodl to battle other NFT hodlrs and their collections. Something akin to MAGIC: THE GATHERING or other collector card games.

If the character NFTs were available in sets of 10, but none revealed before initial sale (like baseball cards used to be sold with a stick of gum in cellophane wrappers hiding which cards were included), you have the added thrill of hoping you get the Sputnik rookie card but you may also end up with a bunch of minor characters.

Minor characters that you can still build into major characters. Characters you can combine with others, either from your own collection or by compositing them with other sets of character NFTs owned by other collectors. A practical application of composability.

Play games with them. Build new stories with them. The opportunities are endless.

And this is how I see the broad concept of composability applying to NFT fiction. A single story universe; or to use crypto parlance, a single story metaverse. A core story around which new players can spin off variations … either completely new stories and new characters. Or turn my short stories into a graphic novel. Or TV series. Or the revised novel into a feature film.

The fundamental point is that we are at a crossroads in the development of the ideas of what constitutes an NFT and the value/utility of that NFT. We can continue to focus on the status that ownership gives us, or we can find new and better ways to build utility into our NFT projects.

We have the opportunity to transform what NFTs are all about; not just for ourselves as creators or the fine folks who spend money to buy them in hopes they’ll be the next unicorn moon.

By creating projects with IRL utility, we can transform what NFTs mean. We can show the doubters and the haters that this is not a pyramid scheme. It is not a get-rich-quick, pump and dump ponzi con game.

We can transform the very conception of what NFTs and everything built in this third generation of the web.

We can shift it from something “the cool kids” do to something that has real-world and truly understandable value (you spent how much on a jpg that I can download for free?).

I have had the privilege of meeting and connecting with a number of projects recently that are taking different approaches to this IRL utility … using it to clean the garbage from the oceans, support local farmers and merchants, support local artists.

That is what I am creating with my Joe Sputnik, PI NFT-based fiction project. I may not be saving the whales directly or putting food on the tables of some far off village.

But I believe that story has power to transform lives.

Rudyard Kipling, who wrote such great literary works as THE JUNGLE BOOK, said, “If history were told in the form of story, no one would ever forget it.”

I believe the same is true of our future. We can define the future we want and bring it into reality through the stories we tell.

Don’t believe me? Look at Star Trek and the number of technological innovations that were dreamed up out of pure imagination that we now all take for granted.

If I can dare to remotely compare my story to that, it is what I aim to do. Tell the story of one possible future.

One of a fully decentralized world where the theories and ideas of minds like those at Aragon or Cuy Sheffield or so many others you can find on NFT Twitter come to IRL fruition.

One that holds many promises for true democracy, true equality, true opportunity for all. But one that also holds great potential for darkness. For crime. We are already seeing scams abound. What other crimes have we not yet imagined?

I believe that story — especially decentralized stories, built upon the myriad of ideas from thousands of individual imaginations — can help us understand what we are building and help us avoid many, if not all, of the potential traps.

Next week, I will go deeper into the Joe Sputnik project and detail what I am writing, how I see it developing.

It is, in summary, an experiment to see how the theories of decentralized storytelling and open source character IP can come together and create better story.

In the meantime, if you have any questions, comments, criticisms, or kudos on this essay (or last week’s on the ideas of IRL utility), reach out to me on Twitter (@jspi_nft) or email me at rich@joesputnikpi.com.

Or read last week's essay.

Let’s build something cool together. It begins with the story of what we’re building.

STORY is the new utility.

The Pulpeteer (pronounced pulp·ateer; taken from an essay by pulp writer Lester Dent who created the Doc Savage character and series) is a full time author and the warped mind behind the metaverse fiction NFT project — THE JOE SPUTNIK CHRONICLES, a metaverse hardboiled detective fiction series — where he is exploring the concepts and practical application of decentralized storytelling and open source character IP as a means to tell better stories.

Follow the saga of Joe Sputnik, PI in 2047 New York City as he battles hidden forces that threaten to dominate what has become a fully decentralized world → www.jspi.xyz

Or follow his thoughts on decentalized storytelling and open source character IPs on Twitter → @jspi_nft