I'm not pulling in my driveway. We all know what that means. It's time for another drive-to-work,

coronavirus edition. And Mark has a cold. Anyway, I'm here today with Chris Mooney, and we're going

to talk about Crimson Vow. T'da-da-da-da. Hey, Chris. Hello. Happy to be here. Okay, so I

worked on the, I led the vision team, and you were on set design, so we did not overlap, I don't think.

Yes, that is correct.

So, I have a whole different podcast about the vision design, so we're going to talk a little bit more about set design since I have you as my guest.

So what is your earliest memory of Crimson Val?

My earliest memory was probably, I sort of heard that we were doing the set because, you know,

the schedule was a little bit in flux.

So this set sort of got dropped in and I was like, oh, interesting. You know, I'm was a little bit in flux. So this set sort of got dropped in, and I was like, oh, interesting.

You know, I'm a huge Inestrade fan.

The original Inestrade is one of my favorite sets of all time,

and I love the world and the flavor and the mechanics of most of the times that we've returned.

So I was excited, but I was also kind of, in the beginning, it wasn't yet clear what the theme was going to be.

And I think my first memory was hearing somebody say, vampire wedding.

And I was like, what?

What?

That sounds crazy.

At first, I was very skeptical of the idea, which was funny because as the set design went on, I became one of the biggest champions of the vampire wedding. I was like, it's such an awesome theme. We have to do all these vampire cards and all these wedding cards. I was really, really excited about it. But I definitely remember at the beginning being like, how is that going to work?

I have no idea.

Like, what's going on?

Can't two vampires-in-law to get married?

...