How the guardians are made, minted and kept.

RYUGAMI is a collection of 2,222 dragon gods of the sea, drawn as ukiyo-e woodblock plates and sumi-e ink studies and issued on Robinhood Chain. It is a work of illustration first and a token second: every plate is hand-composed, printed, scanned and aged before any contract code is written.

This document records what the collection is, how it is issued, where the money goes and what a holder is and is not entitled to. It contains no projections and no yield language, because the collection offers neither.

In the coastal record the dragon gods were never simple monsters. Ryūjin, who kept the tide jewels at the bottom of the sea, is described in the Kojiki as a sovereign owed offerings and capable of mercy — a bureaucrat of the water rather than a beast. Shrines in the fishing provinces still record the terms of that arrangement.

The collection takes that framing literally. Each of the 2,222 is a guardian who has surfaced, and the registers that describe it are drawn from the vocabulary of the source material rather than invented for rarity's sake. Where we depart from the record — and we do — the departure is stated in the lore rather than smoothed over.

Supply is fixed at 2,222 and cannot be extended. 2,022 are offered at mint, 150 are held for the keeper council and long-term partnerships, and 50 are reserved for physical print pairings. Every reserved token is enumerated in the registry before mint opens, so nothing can be quietly added later.

Guardians are drawn from five elemental houses — Water, Fire, Storm, Void and Celestial — each with its own plate treatment and palette discipline. Distribution across the houses is deliberately uneven; the sea has more water in it than sky.

The contract is ERC-721A on Robinhood Chain, chosen so that taking two guardians in one transaction costs meaningfully less than two separate calls. It deploys immutable: no proxy, no admin mint function, no post-hoc metadata authority.

Metadata is pinned to decentralised storage across two independent providers, with the CID frozen once reveal completes. The studio additionally holds a cold offline archive of the source plates. A provenance hash covering the full ordered set is published before mint opens, so the assignment of art to token ID can be verified after the fact by anyone.

Primary proceeds are allocated on a published split and reported quarterly whether or not anyone is still reading. The largest share goes to art production because that is where the cost actually is: plate work, printing, scanning and the animation programme that follows reveal.

Secondary royalties are set at 5%, of which one fifth is routed permanently to a coastal conservation fund. Marketplaces that ignore royalties will ignore these too, and we have chosen not to fight that with blocklists.

Three phases, no tiered price escalation and no stealth extension. Pricing is still to be announced and will be published in full before the first window opens, not revealed on the day. If the collection does not sell out, the remainder stays unminted and the contract is closed at a published block.

A holder receives full commercial rights to their own guardian, a place in the keeper council, access to the archive of source plates at print resolution, and eligibility for the physical print programme. Rights attach to the token and transfer with it.

A holder does not receive yield, revenue share, or any promise of financial return. There is no token, and no plan for one. If that ever changed it would reach the keeper council as a proposal rather than the timeline as a surprise.

The keeper council opens once reveal settles. Voting is one guardian, one vote, with a proposal threshold of twenty guardians to reach the floor and a simple majority of votes cast to pass. Treasury disbursements above ten percent of the remaining balance require a council vote.

The studio retains a veto over matters affecting the artwork itself — what is drawn, and how it is licensed. Everything else is the council's.