So the whole thing was designed to sell more figurines and at one point it was it's working.

It was a straight up working in this house.

It's going on in our house.

For sure.

So at one point it was just about like the game and there was some like kind of straight up

lore, right? Like bad guys, good guys. And then around the third edition, second or third

edition, they hired this writer because they were like, well, we really need to deepen this

because everyone's playing D&D. This was like 84, 85. And they're like,

everyone's playing D&D and what we really need to do is deepen the lore and turn this into

something that people can play collaboratively and without, you know, because British wargames

have some of the most obscure, labyrinthin sets of rules and like, you know, they're like,

well, you don't want to go up on the hill so you get a cycline and you know, just like,

get this so fucking technical. So they were like, we need lore to bring people in.

They got the wrong writer because they got or they got the right writer because they got this guy

who was like, I'm going to turn this into a parody of modern day England, right? Like, there's a

dead monarch and everyone acts like they're still alive and everyone's a fucking asshole.

And the future, everyone's dumb and has forgotten how to make everything. And it's just the most like

religious, anti-scientific, dark world without end xenophobic piece of shit. That's the universe.

And they put that out and the people at Warhammer were like, oh god, maybe we've made a huge mistake

and people fucking loved it. People were like, yes, it's absolutely rules.

It's that. And it's also like, it does the very D&D thing where it's like, here is a popular

fantasy sci-fi universe. It's ours now. So anything in Lord of the Rings, they have made a space

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