I'm pulling out of the driveway.

We all know what that means.

It's time for the drive to work.

Okay.

So today I'm going to talk about jumping off points.

So what that means is one of the things that I do, I mean, I've designed a lot of magic sets, a lot of magic sets.

And one of the things that I try to do is always start from a different place.

I've talked a lot about how neurochemistry works, that your brain will go down the same

pathways if it's solving the same problem, which most of the time is a fine thing to do.

But with creativity, it's not that great because you tend to have repetition.

So one of the things I always try to do is start every design from a totally different place,

from a different jumping off point, if you will.

So what I want to talk about today is go through every set that I led or co-led and talk about

what exactly I did to start with.

Where was the starting point?

Some of them are very obvious. Some of them are

less obvious. Some of them aren't quite what you think they would be based on what they are. So I'm

going to go chronologically through all the sets that I've led, which is a lot of sets. So we best get

started. Okay. We start with Tempest, which was my very first set.

So interestingly, my jumping off point for Tempest, there are a lot of things you might think were the jumping off point.

For example, Michael Ryan and I put together the Weatherlight Saga, and the Tempest was very early in the Weatherlight Saga.

You might think, oh, we were guided by the story. We actually weren't. Design for Tempest started before we

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