I'm pulling on my driveway. We all know what that means. It's time to drive to work.

Okay guys, today I'm going to talk about what it's like to work with world building.

So one thing about being in vision design is I'm way sort of upstream of most people who work on the set.

So, you know, when we work on the set, we're

mostly working by ourselves. You know, when you get into set design, there's lots and

lots of different parts of the company you have to start interacting with. Most of those I don't

need to interact with. There is one exception. Vision design has to work very closely with world building.

So I'm going to talk through today, sort of new worlds, returning worlds, what all is entailed from the design side working with world building.

And like I said, they're the one partner that we have to get involved with very early. And the reason is,

we are trying to build a world in which the creative of the world and the mechanics of the

world feel ingrained. Now, I've talked before about top down, bottoms up, you know, top

down is you start with a creative idea, bottoms up, you start more mechanically.

But regardless of whether the set is top down or bottom up, you, the audience really at some level shouldn't be able to tell.

I mean, unless you're really into it, maybe you can tell.

But, you know, on the surface, it should seem like every world is super flavorful, you know, and the mechanics

and the, you know, and the creative all interact and seem like one seamless whole. That is our

goal. So the question is, how do we do that? Now, my equivalent on the world building is Doug

buyer. I worked with Doug for a long, long time. Um, My equivalent on World Building is Doug Beyer.

I've worked with Doug for a long, long time.

And usually Doug or not always Doug, sometimes it's somebody else,

but there's always a representative of World Building who's on the exploratory team and the vision design team.

And the reason is, so what's going on is roughly the same time.

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