Thanks to technology, we are seeing industries become more open to people. Take the animation ecosystem for example. What once was very much like a private club now has the potential to be more accessible to both creators and their communities. This episode’s guest is making this possible, and he takes us deep into the captivating world of AI, Web3, and entertainment. John Attanasio is the Co-founder and CEO of Toonstar, a next-generation animation network at the forefront of revolutionizing storytelling and community experiences. Drawing from his extensive background in the studio world, John shares the genesis of Toonstar and its groundbreaking approach. He talks about AI's role in animation production, where Toonstar's innovative animation tech stack automates labor-intensive processes and facilitates the creation of high-quality animation at a faster pace. John then shares his thoughts on AI-powered social interactions, especially on empowering creators and fans and pushing for community-driven storytelling. For more great insights on the transformative power of AI and Web3 and their pivotal roles in shaping the future of entertainment and animation, tune in to this conversation!
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TOONSTAR With John Attanasio
Join us as we delve into the fascinating world of AI, Web3, and entertainment with our guest John Attanasio from Toonstar. This is a special episode. Let's meet John, the Cofounder and CEO of Toonstar, a next-generation animation network designed for the Mobile H. John is an alumnus of the University of Southern California, Marshall School of Business. Toonstar is a Web3 animation studio at the forefront of interactive storytelling and community experiences.
They are the creative minds behind The Gimmicks, an amazing project, innovative community-driven animation NFT project that empowers creators and fans with creative control and commercial benefits. Let's give it up for John. Toonstar is pretty amazing. It's creating a new world of possibility for creators. I love to kick it off and engage folks with the genesis of it all.
The best way to describe Toonstar is we call ourselves a Web3 story studio. I'm one of the founders. The other Founder is Luisa Huang, and we both come from the studio world. We met at Warner Bros. Before that, I was a Dreamworks and she was at Disney. We spent a long time in the studio, where we would say better or worse, and there are some good parts. There are some things that we think need some challenges. We basically came up with the idea for Toonstar. There were a couple of things, like we were in the digital media group was our last role and we were doing a lot of experimentation at the intersection of technology and storytelling. We were involved with the group.
I don’t know how many people remember Maker Studios. It was one of the original or OG MCNs. We were on the team that was trying to figure out how to take the relationship with Maker Studios and integrate that into the broader studio. That was a great experience and a lot of learning. What it did is it opened our eyes to this idea of the creator economy and the notion that creators can connect with fans directly.
There was this interesting type of storytelling that was taking place. The first a-ha moment for us was like, “This whole idea of direct-to-community or direct-to-consumer is fundamentally changing in a lot of ways. Thanks to technology.” The other part of it is, being in the studio system, we had a chance to work on a lot of animated properties.
Fortunately and spoiler alert, I'm Gen X. I'm a child of Saturday morning cartoons. My brother's a comic book artist. I grew up going to Comic-Con before it became what it is now. Animation has always been an amazing storytelling medium to myself and my Cofounder. It's such a great way to build characters and character worlds. It's also a great commercial medium. When you look at some of the most successful IP properties, they are animated properties.
It was always odd to us that when you looked at the animation ecosystem, it was very much like a private club and it was the same people on rinse and repeat, whether it was writers, showrunners, or voice talent. That was always a headscratcher because, to us, it's like, “This is such a great storytelling medium. Why don't more people have access to it?”
Do they all live in the valley too?
Maybe. I don't know. They are from everywhere. That was the moment when there were many creative voices and diverse voices out there that weren't getting a chance to tell their stories in animation. You put those two things together, and that was the inspiration for launching Toonstar. The idea at the beginning was, “What would Disney or Dreamworks look like nowadays given the tools, technologies, and what's happening with creators and communities?” That's enter of Toonstar.
Because you're smaller, it comes with some nimbleness and agility to try some new things. Along those lines, you guys have been pioneers on the AI front. We came talking about AI and I understand you've been doing a lot of speaking on the topic given how newsworthy it is and how important it's in terms of where things are going.
I'd like to dive into how you're using AI specifically because these broader conversations are exciting, but let's get specific and understand the use cases of this and how it applies to the entertainment industry, which we're all part of in some shape or form if we live in LA or we turn on the TV or our phones. Let's start with the production side of the house and in AI. What have you done with ai? What's been your AI journey with production?
On the production side and our company, we've been around for a couple of years. When we launched the company, the idea was that we were focused on the notion of if you are going to build characters and tell stories direct to communities, and when we started, our focus was on social media. If you're going to do it on those platforms, you're going to need to come up with a completely different production process and also build a new animation technology. That's exactly what we did.
We built an animation tech stack that allows us to do high-quality animation very quickly. It's analogous to a gaming engine. There are other types of technologies out there that do a similar type of thing, but what it's doing is it's automating a lot of labor-intensive processes of animation, whether that's lip-syncing, facial expressions, or certain movements. In this case, we're using machine learning, which is a type of AI. That's what it's doing and it's very effective.
We've had a lot of success with that primarily because 1) We're able to produce, first and foremost, a quality product, but 2) It gives us this speed. This is one of our thesis. To go direct-to-community and direct-to-consumer, you need to be able to produce at a speed that they're accustomed to. If you think about social media, I see people with phones. You're on it every five minutes sometimes. Certainly, every hour. You're on there and there's a cadence that you expect. That's what you're looking for in terms of content and conversations.
Our belief is that you need to be able to produce somewhere in that area if you want to have success on social media. The tech stack is machine learning that's helping us do this production. The real benefit is the quality and the speed. What that does is it allows you to have these unique interactions with the audience because, all of a sudden, now you're creating characters that live in social media and you can have these conversations almost real-time, but there's a heavy cadence to it. Now all of a sudden, you have a deeper connection to the characters and the content.
Also, the content becomes more relatable because what you can do is drop in timely topical things. We do a lot of pop culture-type of narratives. We can take something that's trending and, all of a sudden, drop that into the storyline. Now it feels more relevant and relatable. In all those things, the goal is to deepen the connection with the audience and that character. That's an interesting use on the production side.
It seems like a critical part of the puzzle that was missing otherwise to create a type of animated content that is very relatable to the attention span of the consumer. What's the time savings there if you could quantify it? You're an OG in the world of animation relative to where we were before.
There's a spectrum of how long it can take to do animated content. Traditionally, animated content, if you look at a series that was on the network, can take up to 18 months or sometimes up to 2 years to produce. There's a variation on that, but that's what you're looking at in terms of something you might see on network TV.
We're doing episodes in a week. This is a fun fact, and this is some of the stuff we were doing prior to Web3. We've got the largest animated channel on Snap Discover. The thing that is underappreciated about Snap is that the audience we get is bigger than what you would see on a network TV. A lot of people don't either know that or don't give it the credit that it probably should get. That's a key way to leverage it.
It's at least 60 to 80 times faster. That's pretty incredible.
To break it down, we can do a 5 to 8-minute episode in a few days. That gives you a sense of how quickly you can do it. Bump that up against a network episode. Generally, those run about 22 minutes, but that's about the speed that we can do. Interestingly, the thing that slows it down a bit is less on the production side. It's more on the creative development side, which is the story writing and storytelling part of it.
This crazy flashback came to my mind that I probably am not supposed to share out loud, but with the old election with Obama there in the Gangnam Style trend, I had this idea to make a Gangnam Style Obama video go viral. I ran out of time, and someone else did it because it took too long for my animator to do his magic, but if I had the technology he had, I would've beat CollegeHumor to the punch. You're also messing around on other sides with the characters.
That's one use case. On the production side, we've been using that for years. Our first project in Web3 was a project called The Gimmicks. We co-produced it with Mila Kunis. It was the first weekly community-driven animated series in Web3. We had a lot of success with that. The community has been great. We launched our third Web3 in a year called Space Junk, which stars John Heater and Tony Cavalero from Righteous Gemstones. It was created by Dominic Russo, the creator of Workaholics. You've got this crazy talented team behind Space Junk. The concept is awesome. It's about the unsung heroes that are garbage men and women in lower Earth orbit.
It could be all of us after AI.
That could be where we're heading, but we call it a workspace comedy. It’s creatively biased but we think it's very funny. The AI part of it is we have the first AI voice character in an animated series that's in Space Junk, which certainly got a lot of attention. For us, we thought it was appropriate because it's AI voicing a robot. It's a robot voicing a robot. We thought there was something inherently funny about that.
The cool part is when you hear the voice, and this is part of the creative process, as we were doing the voice, it sounded too human for us at the beginning. We're like, “We need to make this sound more like a robot.” We made it sound more like a robot because part of the idea and the character arc of Wellbecca is that she's a robot, but as she hangs out with this crew, she starts to sound and act more human over time. It's by design. We had to back it up and say, “Let's go more robotic, then over time she's going to start to sound more human.” All that's done through AI.
You didn't stop there in terms of your use of AI because you've also applied it to social, which is one of the more interesting use cases. I was talking to someone before I was going to interview you, and they're like, “I haven't heard about that.” It seems relevant in terms of how AI is going to integrate into the social experience of learning about content and being engaged and part of a community. I'd love to hear about those use cases.
That's another use case we got into with Space Junk. The idea was first like, “How can we use AI in new different ways beyond the production side?” We're like, “This is cool. We have a character named Wellbecca, who's voiced by AI. What if we take her and make her the creative co-pilot for the community?” We're like, “This could be a great use case for character and story generation,” because the core theme to our projects is they're community-driven.
Storytelling is the community-driven on-chain experience, but it's all about the community and the community drives it for us. It's like, “Why can't we take AI, put the AI in the hands of the community, and let them use it like ChatGPT or DALL-E and Midjourney and help them create their own characters and backstories but all within the Space Junk canon?”
What we did is we have a character, Wellbecca, who is just that. If you are a token holder in Space Junk, you get to go to her and she's going to help you write your backstory for your character. She'll also then help you take your backstory and then turn that into a visual representation of your character, and then she'll help you turn that into a comic panel and turn it into an animated short. That all is being powered by AI in cooperation with the user, the community member. They're working together to create this cool thing within Space Junk canon.
I would wager that the opportunity to co-create that experience is as valuable to the community as the output that they create.
That's what we've noticed. We have an AB test. The AB test is we used AI on the production side for The Gimmicks, but we didn't use AI on the community-facing side. What we did for The Gimmicks is we allowed the community to do the same thing. I can't make this up, but we created a social layer. We were told it was the first social layer in Web3. It's called the DIC Punch.
It stands for Decentralized Inclusive Community. It's very thematic to the ethos of Web3. The cool part about it is it was a social layer. It was our version of the Facebook Poke. What it allowed the community to do is like if someone goes in there and you write your backstory, in this case, you weren't being helped by AI, you'd just go write your backstory.
If the community thought your backstory was the coolest, they'd give you the most DIC punches. You'd get to voice your character as a cameo in an episode, which now all of a sudden becomes cool because you get IMDb credit in a Mila Kunis-produced animated series. The community loved it. All of a sudden, now your character comes to life, you get to voice it, and you show up in this series.
The first version of that was we didn't use AI. It was a very manual process. You did it yourself. For Space Junk, we're using AI as a creative co-pilot. The stuff, amount of output, and conversion have gone 10X. What that told us is it helps. There are some creatives that don't want help, don't need it and they're great with a blank sheet of paper. There are a lot of aspiring creatives and people that want to tell stories that could use some help.
Maybe you want some structure or some ideas to riff off. When you are some of the greatest storytellers of all time, they'll tell you some of their work is derivative. Tarantino worked in Blockbuster. It was a movie rental. He notoriously is someone that has watched many movies and they clearly have influenced his storytelling. There are a lot of people that can use help in certain ways to still have the essence that they want to be part of the output but a little bit of help along the way.
It's interesting from the perspective of how people think about disabilities or impairments now versus several years ago. I feel like we all have blockers in our lives where we're better at some things than others, yet if we didn't have those blockers, why not create a story? Why not do something outside your comfort zone and, essentially, you're enabling the community to accelerate getting uncomfortable?
The other thing we found is prompts are very helpful because we've done a lot of AB testing. We're always trying to figure out ways to have our community participate in the narrative, whether they're creating characters or helping drive where the narrative is going to go and story arcs go. Prompts are always more effective because it's a starting point and something you can riff off. It's something that you know and you can move from there. That's it. It's the aid of that prompt versus a complete blank.
You built up your own stack, but are there tools and technologies that you recommend to folks that they can use that you've messed around with and that the audience can take with them and mess around with at home?
To your point, we built our own tech stack. If you want to experiment with AI, go play with ChatGPT. There's a lot you can do with it. Play with Midjourney, DALL-E, or ChatGPT. If you want to produce text or images, Dolly and Midjourney are great. Experiment with it because what happens, and co-pilot is a good way to see this, is it's like an assistant. It's a co-pilot, but essentially you're in the director's chair.
The more you play with it and the more you give it commands and a certain prompt and see how it reacts, the more you get comfortable with it. You're going to learn and it's going to learn you because it will start to figure the way you think and it's going to start to give you things where you're like, “This is better.” It's getting better because it's figuring out what you're trying to ask it. Get in and play with those tools. Once you're in there, they're powerful.
We at least have to go down the Web3 rabbit hole a little bit because blockchain has not exactly been fully embraced by the entertainment industry yet. We've had Fox on the show. Fox has done some blockchain work with Studio BCL and Warner Bro has dabbled in it. You've embraced blockchain for Toonstar based on what you learned from Sonar Casts and whatnot. I'd love to understand what you see as the strongest utility for animation and blockchain and the type of community that you're building.
The biggest positive use case is that it's about ownership. It is this idea of you come in and you have ownership in what we're all building together and you have a stake in it. If you come in and the project becomes the next South Park or the next Simpsons and you play a role in that happening, you have some skin in that upside. That is one of the big promises of it.
The other promise is the nature of being decentralized and this idea like we've done work in Web2 prior to Web3 and now we're deep in Web3. One of the challenges of Web2 has been that because it's centralized this idea of, “I build up a community. I build up fans. The algorithm can change overnight and, all of a sudden, now my fans go away, or I reach 5% of my community because the algorithm changed.”
That lack of control is an issue in Web2. Web3 and the blockchain can help solve that. These benefits depend on whether you're a creator storyteller or whether you're fan. The other benefit from the creator standpoint and this is what we're hoping we're trying to build, is that when you look at the traditional studio system, that's a gatekeeper economy.
I don't know how many people here have tried to sell a show to a streamer or you've tried to get something made. It is very difficult. It's become increasingly difficult. Even if you have had success, getting something sold is very hard. It's about, “Can you even get it made?” There are challenges that clearly everybody has seen now in that traditional keeping system. What Web3 provides is this new possibility of like, “I can go get something made. I can reach an audience directly. I can control and own it.” Hopefully, through that, we're going to have new stories and characters that weren't getting made in the traditional system.
A lot of Web3 folks have gone through that hopium experience where they had this full vision of unlimited possibility, but reality has hit. There have been use cases that have worked and use cases that haven't worked in a more sort of precise way. I'm curious for you. What did you try with blockchain that worked well? What did you try that didn't work and you had to adjust the course?
The stuff that worked well was community-driven storytelling, like inviting the community into the canon. When we launch these projects, we're not launching projects that are PFP and then from there, “Let's go build-out.” That's a way to do it. That's not how we've done. There are projects where it's like, “Here's a picture.” We're all going to buy an NFT, take these pictures, and then turn it into something. Our approach has been we're going to have a canon and a very talented, at least as a starting point, writer voice talent attached to these projects. We're going to launch it, and that's going to be almost a prompt for the entire community, then we're going to let everybody come in, use that as a starting point, and then help figure out where we take this thing, where the characters go, where the first season goes, and what new characters spinoffs.
The Gimmicks is a good example. The second season fully came from the community. We did the first season. The best way to describe it is South Park meets WWE. What happened was is we had a character called Chico the Luchador. It is like a Sherlock Holmes mind map where you see the strings and they all point to one character. That's what we saw happening with a character called Chico the Luchador. Everybody was writing about how their character was related to him, a friend, foe, or whatever, but it all went back to Chico. There's something there. We took all that essentially fan fiction. That is the second season.
The second season of The Gimmicks was called House of Chico. It was the first all-Latino animated series in Web3. It came from the community. That is a great success because we let the community participate, and they helped us come up with it in the second season, which was another hit. The social layer probably is the other part of it. It is this idea that we had a social layer. It's funny, but it's on a theme, like the DIC Punch, where you can get social cred. You can vote with that and send each other DMs. That social layer is important because it all probably comes back to the utility. Our projects have this kind of utility about co-creation in the community. That's the biggest positive.
You covered both. At the same time, this is all a “giant experiment.” You've been a pioneer here. I find what you've done at this intersection of AI and blockchain and entertainment remarkable. I'm excited to see where you go next with that. I also think there's an element of controversy in terms of what you're into. If this whole room was full of your community, everyone would be cheering, but we're in the middle of a writer's strike.
I saw a story that the actor skilled is thinking of joining the team. If there are a bunch of writers in the audience, they would be a little bit intimidated by this idea of the potential of crowdsourcing content and then potentially having your audience turn into your actors. To some extent, especially with animation, I'm sure you have a lot of friends that are writers. You've thought about this a lot and you certainly are embracing technology. I wanted to get your perspective on the writer's strike and what we can expect as an outcome here.
The first part of it is embracing and how creatives and writers can embrace community involvement. With our projects, we have two great use cases. I'll take The Gimmicks. This is what I enjoy about our projects. This is not theoretical. It's not conceptual. These are live case studies and they're out there now. For our first project, it was written by David Wright and Dave Ihlenfeld. They wrote for Family Guy and Star Trek: Lower Decks. They were the guys that did The Gimmicks. Talented, successful writers came in and they embraced this idea of, “We're going to let the community come in and play with the story and the characters.”
It's a balance and a mindset. If there's a top-down philosophy, a bottom-up and there's something where I think you do both, studios have traditionally been top-down where it's like, “Here's the thing and it goes out. We're not going to let the community play with it, touch it, do fan fiction.” There are some outliers, but generally, that's the approach. There's the other approach of where it's going to be 100% bottom up where the community's going to drive everything.
Our approach is a combination of the two, where we start top-down, we bring the community in bottom up, and we let it sort of interact together. I'm Gen X. I don't fall in the Z and Y class, but younger audiences, and I think it still even applies to my generation to a certain extent, are now being accustomed to active engagement. They don't need to look anything further than social media. That's how we've been trained.
I want to engage in some way, whether it's a like, share, or follow, which is one level, or whether it's, “I want to get in and co-create and add to the narrative. I want to create my own stories,” that is how younger generations, and in active engagement, is what the future is. My advice is to get comfortable with that notion because there's a lot of success and potential to be had there. The other thing I'd say is it doesn't mean that you have to give up your creative vision because of Space Junk and Dominic Russo. He's the creator of Workaholics. That's a very well-known successful series. He's done the same thing.
These guys are the quarterbacks. David Wright had this great example of, as a creative quarterback, it's like going to the airport. You know where the airport is, but there are a lot of different ways to get to the airport. As long as you have a strong creative vision that's driving, “I'm going to get to the airport, but there are all these different ways I can get there. There are detours and things,” there are some great detours to take and you can learn something from those things. It is being comfortable with that notion but still saying, “I'm going to take the vision here, but being open to that kind of interaction.” We believe it is biased but think that's key to success.
What are other nascent technologies you're exploring and how does the Apple announcement that went down make you think about your industry a little bit differently?
We started talking about AI, but the other thing I'd say is AI is polarizing. There's no doubt. I've been to places where I've been lauded for talking about AI. I've been to places where I've been assaulted, not physically but digitally assaulted about AI and what we believe. AI is a transformative technology. The comparison I use is the printing press.
There is a lot of conversation around AI taking everybody's job and replacing human beings. To me, that's a very extreme narrative. This is interesting. The printing press was invented in the 15th century. You're looking at hundreds of years ago. An interesting narrative hundreds of years ago, people were talking about machines taking their jobs a lot on the printing press, and now you fast forward to what happened with the printing press.
More jobs and industries were created than replaced. A lot of people would attribute the printing press to the Renaissance. That history has said that. This idea of we have new technologies and they're going to open up new ways of stories and open up opportunities for new storytellers, that to me is a big promise. Regarding the Apple question you had around the Vision Pro, to me, Apple has been transformative in my life.
It was Steve Jobs. They're talking about they went from personal computing to mobile computing and now to spatial computing. The first two were transformative for me because, personal computing, when I got my first Word processor, changed my life. I'm Gen X, but I'll never forget that feeling of like, “Now I have a Word processor to do these kinds of things.”
When I think of Toonstar, I think about using this headset to be your character, interacting with other characters and the actual characters in the show, and participating in a live version eventually of the making of the next episode.
I was going to make about Apple. Personally, I'm biased, but I wouldn't bet against Apple because I've seen what they've done with those future iterations. This is probably the thing that gets us closest to that. It's version one.
It’s expensive and it's big, but it could lead to many things like the first computer.
No coincidence, Bob Iger made an appearance at the conversation they were having about the Vision Pro. The reason is there are a lot of applications to what you can do with entertainment. It’s exciting in theory.
Does anyone in the audience have a question?
First off, this is fascinating because at the advent of the strike because they're losing royalties and perpetuity, and with the advent of blockchain technology, that can bring it back. For decentralized people that might not know that they're writers, but as they participate, they become writers, my question is, does your production company have the infrastructure to pay out the users, and how is that infrastructure?
That's a great use case for the blockchain and that's what it's intended to do. The short answer is yes. We have that infrastructure. We not only have a production tech stack but over the last few years, we Web3 tech stack. What that is like we're building on these blockchains. Our first project was on Solana. The second project was on Avalanche. We launched Space Junk on Theta.
We're going to do our next project on another chain. We're building on all these different blockchains. Those blockchains are the things that record exactly what you're saying. There is a promise with the combination of when you think about what you can do with AI, blockchain, or creation, we have somebody in our community that creates a story. They create a backstory that is now on the blockchain.
There's provenance to the story they created. They own that. Now, there is a record of that. If that monetizes, that's theirs. They own that. If that potentially ends up as part of another story, there is a scenario where you can get royalties on what they've created. All that stuff is being recorded in a track on a chain. The same thing can happen if you think about using AI for voice performance or writing a story. Those models have to be trained by people. If you opt-in to train a model and part of whatever you contributed becomes part of the output, now there's a scenario where you can get paid wherever that goes because you had part of creating that final product. It's almost like AI is an idea of royalties, but it's like perpetual royalties.
It goes too far on this tangent, but we were at this thing. It was Will.I.am who talked about this idea of essence. As a creator, what is your essence? In music, there is a whole idea of Prince and Michael Jackson. They have an essence. Their essence is influencing other songs that are going to get generated. Is there a way to take that essence? Maybe you're a living artist, or maybe you're not a living artist, but it doesn't matter. If you have that essence and people want to use it and mix it and turn it into something else, then you should probably get paid for that. It could potentially become a passive income. These are all use cases that are out there that are futuristic a little bit, but I would say not that futuristic.
Fyi.ai is Will's new company that he's very passionate about and doing a lot. It's very relevant to where we're at. We have another question.
I'm curious if you could make a bet. You mentioned you have two characters voiced by AI or written by AI dialogue.
Two characters having written dialogue and dating each other's brothers, sisters, and all that stuff.
I'll qualify that by saying whether it's us or somebody. I don't think that's too far off. That's a problem. Predictions are always wrong, but you could see that in a year. We were talking about that earlier. There's a dating app. It's like Tinder or Bumble where you can create a digital version of yourself. The digital version of yourself can go hang out with someone else's digital version of themselves and then they decide whether they like each other or not. If they do, then you can decide to meet in real life. It is this interaction happening in the digital world that's, in theory, supposed to make it more efficient. Personally, I prefer to have that pain myself, like you lose something.
It's all worth it, all that pain, when you finally do meet the right one. You don't have as many stories to tell your friends about the wrong ones either. This has been amazing. I learned a lot. I'm appreciative of your time. Where can folks go to learn more about Toonstar and find you on the web?
If you want to find our work, we're on the web. It's Toonstar.com. You can check out our company there. Also, if you want to check out our projects, it's called TheRealGimmicks.com. The Space junk is on SpaceJunkies.xyz. The best way is to google The Gimmicks and Space Junk, and that will get you to the websites. You can go in there. The content is not token gated. You can watch the content and the episodes. Now we're up to a cosmic DIC Punch. If you are in Space Junk and you want a cosmic DIC Punch somebody, or you want to create your own character, your own backstories, or even get an opportunity to have a cameo in an episode, then you can purchase one of the NFTs and become part of the community.
That is a call to action if I've ever heard one. We've reached the outer limit of the show. Thanks for exploring with us. We've got space for more adventures on this Starship. Invite your friends. Recruit some cool strangers that will make this journey also much better. Go to Spotify or iTunes. Rate us and say something awesome, then go to EdgeOfNft.com to dive further down the rabbit hole. Look us up on all major social platforms by typing @EdgeOfNft and start a fun conversation with us online. Lastly, be sure to tune in next time for more great NFT content. Thanks for sharing this time with us.
Important Links
- Toonstar
- The Gimmicks
- Space Junk
- Fyi.ai
- Spotify – Edge of NFT
- iTunes – Edge of NFT
- @EdgeOfNft – Twitter
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