I'm not pulling on my driveway.

We all know what that means.

It's time for the drive to work at home edition.

Okay, so I'm going to talk today about the design of Wilds of Eldrain.

Now, I've interviewed both Chris Mooney, who was the vision lead for the set, and Ian Duke, who was the set design lead for the set.

So listen to both of those interviews.

I'm going to talk a little bit more.

I'm going to give some more contextual in my storytelling today.

I want to talk a little bit about the making of throne of Eldrain and how it influenced the making of wilds of Eldrain.

So I'm going to try to give you a little more history to some stuff.

Just to talk about some aspects that maybe when I interview Chris or interview Ian doesn't come out.

Okay, so let's talk a little bit about the making of throat of Eldrain

because it very much informs the making of wilds of Eldrain.

So basically the story is when Indistrade came out and was very successful, I realized the power of what I'll call sort of top-down genre, where your top-down design is based on a genre, meaning a kind of story, horror being

in a strad.

And the thing I realized it was that when you're doing genre top-down, you're really playing

into pop culture, into movies, into books, into, like, TV, all sorts of different things that people are very

familiar with.

And usually it's pretty meaty, you know.

It is allowing you to do something that the audience probably has a decent amount of familiarity

with.

One of the things we've learned about doing, like, mythology and stuff is some people

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