Magic: The Gathering Drive to Work Podcast - #1172: Lessons Learned – March of the Machine

Episode Date: September 13, 2024

This is another episode in my "Lessons Learned" series where I look back at sets I led or co-led and walk through the many lessons I learned from doing the design. In this podcast, I talk about what I learned designing March of the Machine.

I'm pulling on my driveway. We all know what that means. It's time to drive to work. Okay, so from time to time I do what I call lessons learned where I talk about a set that I led or co-led and explain all the things I learned from designing that set because everything you do, you learn from. It's important to look back. We do what we call retrospectives at Wizards where we look at sets we've done. So this is my own little personal retrospective. Okay so last time I had done one of these I did Forexian all will be one. Well it turns out I also led the very next set which is March of the Machine. So today's podcast will be on the lessons learned from March of the Machine. Okay first off so a while back we did War of the Spark. And I remember when it first got pitched,

the idea was it was a battle between the Kobolus and all the planeswalkers that exist. And I said that was very large in scale. And I did a whole podcast on making War of the Spark. So this time, Martian Machine is another sort of capstone event set, right? It's the big finale of a story, and a giant thing happens, and it's like the idea of these things is they're

most driven by the story. And so apparently, having every planeswalker all attack each other was not a grand enough scale. So this time I was informed, here's what happens. The Phraxians invade the multiverse. They're going to attack basically every world we've ever visited. And so I'm like, oh, okay, well, if you want to make War of the Sparks seem not as grandiose. So that was the challenge going into this. This was the largest scope thing we'd ever done, ever,

by a lot. And so one of the big challenges was trying to wrap your brain around that. So first lesson is, like one of the things that I enjoy, although it's a challenge at times, is there's something about, not all the time, but some of the time, just shooting for the stars, trying something that is so grandiose in concept.

You're like, I don't know how in the world we're going to do this. And then figuring out how to do it um Now one of the things that I think we learned from this set was I Think it was so grandiose that condensing it down to one set with a little endoclimatic for people meaning

Like we sort of found out that Frexsians invaded the multiverse and the Frexsians lost invasion of the multiverse all at once Even though the set has a whole story. I mean the actual story, you know There's a period where they're winning but all that gets condensed onto a single set and it didn't feel that's one of the big notes we got was it people sort of felt like it the Speed of it kept the scope from feeling as big as we wanted it to feel so that's the first thing I mean one of the challenges and I talked about this during my Frexie all will be one podcast is the Frexians are somewhat polarizing as villains there are people that adore adore the Frexians but there are other people that are like they're gross like you know there's a lot of body horror and like There are people that adore adore the Phyrexians, but there are other people that are like, yeah they're gross, like you know there's a lot of body

horror and like there's people that just really aren't into the Phyrexians and so we had made the choice early on that the Phyrexians were going to be the main villain, but we were going to be careful how much Phyrexians you saw. So early on you literally like the first time they showed up there was one Phyrexian and then we slowly ramped it up and you know So up until Domino United, you only saw a handful of fractions You can see a lot of fractions and Domino United there is a faction I think we left it mostly in black. So if you just want to play fractions don't play black

But then fresh all the one we went all out You were on we're on new frexia and then the idea of March of the Machine was it was more about the war than it was about the Phyrexians. So the Phyrexians needed to be there, they were the main villain, so I needed to make sure there was a Phyrexian presence. But the set was really more about the multiverse defending than what the Phyrexians were. I mean, the Phyrexians were there in, I don't know, like a third or something, but more of the set was about the whole multiverse. That was the part that I really leaned into.

Like the cool part about me was... So, when we made War of the Spark, I realized early on, there was a big epiphany I had, that we kept talking about the Phrexian War. And I spent a lot of the early thing focused on the war and eventually what I realized is I needed to focus on the Planeswalkers that the planeswalker the planeswalker part of the planeswalker war was the more important part that the cool thing the unique Thing about this set was how many planeswalkers were in it and that's what we figured out How how many planeswalkers could be in the set and How do we normally there's like three and the set had 36.

So it definitely did something in a way and a scale that made it different. So I took that lesson to this set and I decided early on, very early on in exploratory that the thing that mattered most about this set was the planes. That part of the cool thing about the Frexan's invading the multiverse is you get to actually see the multiverse. So the lens that I wanted to do the set through was planes. I got the idea very early on that I wanted cards to represent the planes.

I honestly didn't know whether or not they were going to be a new car type or not. I was willing to do a new car type. We had done a new car type really since Planeswalkers. I was willing to do a new card type. We hadn't done a new card type really since Planeswalkers. I was willing to do a new card type but it wasn't a requirement. In fact, I think what we handed off were they were transforming double-faced cards where there was a land on front and they transformed on the back into a plane. And once again when I say plane, I don't know what they actually would have been called. We do have planar cards like plane chase so those are technically planes. So I'm not quite sure but the idea was that you would come to a land and then you have certain circumstances

you would transform it. The thing I did know was I wanted a cycle of cards, a big cycle I guess, I don't know if cycles are a word worth a group of cards that represented all the different planes that you knew And in the end we had how much I'm at 32 Kind of like planeswalkers. Maybe there's 36 Very similar to how there's 32 planes walkers in what's like. I think there was 36 planes there was like a number of planes that represented all the different places and We made a tiered list like here are planes that we've visited, here are planes that we've sort of poked our head in, here are planes we've referenced but never

been to. And we knew tier one was we like look these are places we've visited they have to be here you know we have to have Ravnica and Innistrad and all the places you know. Tier two was and all the places, you know, tier two was places that we've shown up on cards, Boraganda or what's the land of the little guys, Asagovia, and then three was, well, we've referenced them, they could, if we need them, they could be here, they don't have to be here, Xerox and stuff like that. So the interesting thing on this particular set was, I was more, so a lot of what I do early on, one of the things that I like to do in vision is I make what I call the pillars of the set. What do we care about? So the big thing for me about this set was I liked the lens of the

multiverse and the lens of the planes, showing off the planes. So I wanted to see a lot of diversity of different characters from different planes. And I wanted the other big tenet was I wanted to show off that it was a war because it's a giant conflict. And the third thing was I really wanted to show off the Frexians, so the bad guys. I wanted to give them an identity. So each one of those had their challenge. The idea of the planes was one, I wanted cars to individually represent the planes. I wanted that.

And I wanted to, so one of the things we did, for example, is we made cycles where each member of the cycle was from a different plane. Right? And that you could show off, one of the things I thought was cool was, and not all these ended up in the finished product But like the idea of oh imagine there's a cycle of nights

Because nights look different in different worlds, and I was really trying to play up how we could show things that are different So there's a lot of focus there, and I think like I said Other than the scope issues where I think we might have like, I talked about this during my podcast on Frexia All We Want, I think we wanted the war to start in Frexia All We Want. I think we went to New Frexia and then we needed to start, we needed to have the war start right away so that the end of Frexia All We Want should be, and they're winning the war, it looks like, you know, it looks like the multiverse is doomed and end on that note.

And then the next set is, you know, the denizens of the multiverse rally back to save the day. Right. I think that would have been better. I do like, so battles ended up being a set design thing. We had handed off something different. Set design had the idea that we wanted every um every plane represented on a car so they ended up making battles i like how battles ended up i think battles were cool and they were they were something that really like so they were roughly based on richard garfield had made these

things called structures um when we made original Ravnica. They represented physical buildings and things so we were in the city. We didn't need it in Ravnica. Ravnica was pretty full with all the guilds and everything. And when we made the planeswalkers, I borrowed some of that structure from structures to make planeswalkers. The idea that they were attackable permits, I thought that was really cool. One thing that we realized, though, is that there's more space in attackable permanents. So the idea of battles where it's an attackable permanent.

It does something. It's enchantment-y, artifact-y. It has a global enchantment. It does something. Or in this particular case of a bat of sieges, sieges were like they sort of replicate a spell effect and the reason you attack them is you you get to flip them over and get something when you defeat them. I should note that not all battles have to be sieges. We actually

chose a more complex, normally when we do something for the first time we do the simplest version of it. That was not the cases with battles which which is interesting. I think we were like, we were introducing it and we were trying to sort of hit a very specific note. And I think battles did a good job. Battles were nice in that, remember I said we had the three, the three tenants, we were trying to show the expansiveness of the multiverse. We were trying to show that it was an epic war. We were trying to show the Phraxians were involved. So the idea of the battles hitting two of those, that it showed each one was representative of a specific

world, but it also showed that world in conflict and showed a battle was pretty cool. And the thing you flipped over was something iconic of the world, very key of the world, which I thought was cool. And so I think battles did a good job. As far as capturing the Phyrexians, so one of the challenges of capturing the Phyrexians was the set before it was all in on Phyrexia.

So how do we do a set that's all about the Phyrexia, right? The step before, like, so how do we do a set that's all about the Phyrexians and then do a set in which the Phyrexians are the enemies and somehow give them their own space, right? How do we, how am I not repeating what we just did? So the big question on the Phyrexian component of it was how to make them feel unique. We did a couple things. I think the biggest thing we did is we decided that we were going to make use of double-face technology, mostly

transforming double-face technology. And we used that to really good extent to play into the Phyrexians. We did it in a couple ways. One is we made a cycle of cards. So one of the things that's important with the Phyrexians is that the Phyrexians, their modus operandi is they convert things into Phyrexians. So when you're fighting the Phyrexians you often find yourself fighting things that were your allies maybe you know two minutes ago are now your enemy. They've taken them over and Phyrexidized them. So I really wanted to show Phyreuxinization. Early on we

made we just made cards that were fruxinized versions of famous things right. The idea was I wanted to show you iconic things from worlds because remember we have the lens of the planes that we're looking through. So early on like okay well I'm gonna show you fruxinized versions of famous things. They can be legendary creatures, they could just be iconic creatures from that world. Like for example if you see a Phrexani Samurai, we know what world that's from, there's only one world that is samurai.

So we try to look for those things that are uniquely from a specific world. And then we got the idea of, well we could actually show you the Phrexianization. And the cool thing about double face cards was we didn't have double face cards in Phrexia all be1. That I could show you things that I just literally couldn't show you in the last set. And so the idea was we came up with a frixionized creature. So front face is a creature very key to some world, that

you recognize from some world. Also, something we did in vision design that we didn't quite end up doing in the final product, but we labeled where everything was from so you knew. I don't know whether or not we, I think we had talked about that. Actually did we, were there water marks? I'm trying to remember. Probably doing this a little bit later, but anyway the idea of the double-faced cards was you there are things you recognize that were that if I Asked you what it was you would be able to say what world that's from because there were things that usually were unique to that world even though they were only from that world or they the look they had in that world was unique their own and

Then they transformed into Frexian and what we did there is we used Frexian mana transformed into Phrexians and what we did there is we used Phrexian mana. Phrexian mana, one of the challenges of Phrexian mana, it's very popular, but it's powerful and the reason it's fundamentally broken is you have life. You start with life. So it is a resource you already have. You don't have to build up the resource, you start with the resource. But the idea of transformation was that we could build it in like you still had to pay for the creature first so we had that gate before you got it on the battlefield. We liked the Phyrexian of being off color mana and then the back card design was kind of in hybrid space where the first color that you cast it with could do it so it wasn't all color pie but it felt kind of like the second color.

Anyway that all came together in a way that I was pretty happy with. I liked the use of Phrexin Manna in a way that we didn't use in Phrexin All We Want. We didn't use it on Planeswalkers there. But it played out differently. I liked the transformation aspect of it. I liked the lens that we weren't just

Phrexin-izing things. We were Phrexin-izing things that were iconic, that were really reminiscent. So I felt that those did a good job of being the lens of the multiverse and showing off the friexian. We also used the double-phase cards on the incubate mechanic. The idea of the incubate mechanic came about because we were trying to figure out, we like clues, we like treasure, we like food.

We're like, okay, what's another thing that you could, what's a general utility thing that you could end? What we said is tokens. What if we had our version of clues or treasure or food that made tokens? And then we came up with the idea of, well, what if they got some number of plus one plus one counters? And then what you were doing instead of making a token is you were transforming the token. So we made our first double-faced token, which is pretty cool.

It fit into the Phyrexian as well. And we made this a Phyrexian thing. We called it Cocoon, I believe, in that design, and then it became Incubate. That allowed us, the plus one plus one counter technology allowed a lot of variety, meaning you can incubate small things or big things. But it was neat in the same sense that it played well in the idea that, hey, getting a creature is a generally useful thing that you can use. And because that creature was a Phyrexian, we could tap into another thing.

One of the things we had tried in Phyrexia all we won was mechanically carrying a Phyrexian, doing Phyrexian-type ball. The problem is because everything but the Rebels on Phyrexia were Phyrexian, doing Phyrexian type-wall. The problem is, because everything but the rebels on Phyrexia were Phyrexians, like 90% of the set was Phyrexian, it didn't mean anything. So we ended up not really using it. So that allowed us, when there's only a third of the set is Phyrexian, making Phyrexian type-wall something you can do

is something we can do. We knew we wanted it for constructed, so that was something we could lean into. So the ideas of the double-faced cards becoming Phyrexian, or the incubate making Phyrexian tokens, played nicely into that Phyrexian theme. And that's a lot. And another important lesson that I've learned is when you

make something and you can't fit something in, trying to figure where that, like we try to make Frexing type of work in Frexing in All We Want, it didn't. But rather than just toss it away, I put it in my back pocket, and then we got to March of the Machine, like okay, I couldn't do it there,

but there's a lot of cool stuff we can do, we know it's something players want, you know. And I think what happened was, when I realized that it didn't make sense in Phyrexia all be one, I saw the opportunity to do March of the Machine, and so sometimes we have cool ideas and it takes a long time to come to fruition, you know, energy took many many years, but sometimes something doesn't quite work out and you have a spot right next door that you can use, and that was that was we were able to do there.

The final thing we did with double face cards and Phyrexians was we had done the thing when we introduced them of showing the Praetors. Like the very first card we showed you when the Phyrexians sort of escaped New Phyrexia was Voronclex. And then we liked the idea that the way we'd slowly ramp up is we keep showing you different Praetors.

So the final Praetor, Elish Norn, was in Phyrexia LB1. So we'd slowly ramp up is we keep showing you different Praetors. So the final Praetor, Ellis Norn, was in Frexy Alibi 1. So we'd finished that cycle, but we had a war and the main bad guys were the Praetors. So we wanted to do a cycle of Praetors and we kind of knew this was our last hurrah. So we wanted to do a cycle of Praetors in March of the Machine, but they needed to be different. And the schtick we had done the first two times we had done them them where I have a positive ability for me and the mirror of it is a negative ability for you there's limited design space there is a cool design space I'm glad we were able to do it twice I didn't want to hit that again and it's hard to do but I said hey we have something that we've never had with

Frexie with Praetors before double-face technology what could the Praetors turn into so we were very excited by the idea that we could, double-faced technology. What could the praetors turn into? So we were very excited by the idea that we could use double-faced technology. I think we wanted it to start the praetors and turn into something. We talked about being something that turned into the praetors, but we sort of wanted you to draw the

praetor and play the praetor. We tried a bunch of things. We actually experimented with a number of things. The thing that we handed off from Design is our favorite, and the one they chose, was the idea that they turn into sagas. The interesting thing there is, in our version, you played the Praetor, it became the Saga, it counted down, and then the Saga went away. And Set Design really said, hey, if you're going to play all this man and go through all this thing, why not get the Praetor back? And so they made it when the Sagadigas went back to the Praetor.

And that's a good lesson in the sense of, I think when you're making something super splashy, Why not get the Praetor back? And so they made there is, you know, not every card has to be, you know, the vault of excitement. You can have a range of things. But with the cards that are meant to be your most exciting cards, hey, you can really push the ceiling. You can sort of have a dream. And that one of the things that's really important is, so when I say a dream, what I mean is you want people when they see a card to imagine

the scenario where things go perfectly. And it's really important for your highest tier of cards to have a high dream, a big dream. Not that that dream has to happen all the time. That dream could even be something that happens rarely, but you have the dream. So, let me explain real quickly, a foreign philosophy of mine. So here in the US we have the lottery, I assume there's a lottery in a lot of places. And the idea of the lottery is you buy a ticket and there's a random drawing and you win a lot of money.

And they have these things called power balls, I think they're called. And the idea is it makes it very hard to win and the money ratchets up. So the idea is that rather than someone winning often someone wins infrequently, but when they win they win huge right they win Multi millions of dollars sometimes, you know tens of billion hundreds of million dollars And the reason for that there was philosophy behind that is What you are selling with the lottery is the dream right most people are not winning the lottery but the idea that I could win the lottery like for example I don't really buy lottery tickets but every

once in a while when the Powerball is like you know 500 million dollars or something I'll buy a lot of okay I'm not expecting to win the thing but the idea is I can pay my dollar and then for whatever a couple days like ooh what if I won 500 million like you buy the fantasy right and that that fantasy is worth a few bucks is worth you know having the fun of dreaming even though yes realistically it's not gonna happen and there's something about that philosophy that I think is important in cards where, I mean, I think you want to be more approachable than the lottery, but the idea is you want your really sexy, exciting cards that have the potential to just do insane things. It's not that they always have to do

insane things, they oftentimes don't do insane things, but the dream of the insane thing, the dream of if the stars align with the call magical Christmas land, if everything works the way, oh I have this dream. And unlike the actual lottery, I do think you get to live the dream some of the time. Not a lot. But I remember back in my Johnny deck building days when I used to do a lot of deck building, like construction deck building, I loved building wacky weird decks that did strange things. And all I needed to do was one time have the strange weird thing happen. And then I've done it.

I made the thing happen. And I think the dream is kind of like that. You just, just if one day you live the dream, you know, it's very exciting. And I have fond memories of living the dream of doing something where I make something happen. And I get to tell stories to this day, narrative equity, I did a whole podcast on that. I think the importance of stories

and how making something that people can have the occasional opportunity. And the fact that it happens rarely is part of the story. It happened all the time, it's not much of a story. If it happened once, it's a story. the story. If it happened all the time, it's not much of a story. If it happened once, it's a story. Also in the set, because we were trying to play up the war, I talked about the Phraxians, I talked about the planes, we wanted to make sure that each side, so obviously the Phraxians had some identity, we

wanted the denizens of the multiverse to have an identity as well. So what we ended up doing there is we brought back a mechanic and we made a new mechanic. So what we brought back was Convoke. It's a mechanic that Richard made in original Ravnica. He made it originally for the Boros, but I moved it over to Selesnya. But Convoke is a very fun mechanic. The idea that I can use the resource of my creatures to cast my spells, make my spells cheaper, is pretty potent and powerful. The play pattern is fun. So we brought Convoke back. The funny thing about that was we made a long list of things that we could bring back, and then Convoke was at the top of the list.

We played with it and go, oh, this is awesome. Okay, it's just convoked like Sometimes you just try to know it's right, and then you don't need to try lots of other things um Backup which I think was called boost originally was made by Ari Ari me who won the third great designer search and the idea was We wanted the idea of cooperation that creatures work with other creatures So the way backup worked was when enters the battlefield you could choose another creature, well you put some number of plus one plus one counters, it was a backup N I believe, and then whatever you put the counters on that creature also

got the abilities of this creature until end of turn. Meaning that you could always put the counters on itself to make it bigger, but there's a dream of you know putting on another feature and giving them abilities. And it was a lot of fun. And it really, like the big thing, one of the things that another good lesson here is when you are making sides, we have a conflict.

Magic is a game about conflict. So we make warring factions all the time. One of the things that's really important is look because magic does it all the time you really need to you want your factions of identity right? It can't just be side a and side b you'll get lost we magic has fighting factions most set. So the thing you want to look into is say what is unique about this that's different? How is this different than the norm? And so for the Phraxians it's all about the fractionization right? They take things and turn them into themselves. We really leaned into that, we played in double faith cards, we also were able to do some typo with it which also could help. And then for the denizens of the multiverse, the idea that was

really important to me was cooperation. They worked together. That the one thing that they had is when the Phyrexians invaded the various planes, the planes got together. Oh, another thing we did to reinforce that I thought was really really cool was the idea of making legendary cards that were team ups. Originally, by the way, they were team ups cross plane because in our early versions we thought that the opening of the open path let people go between planes during the fight. Ends up happening after. But so what was cool thing we did is we would take two people from the same world, usually people that wouldn't normally work together, often adversaries, and show cards where they teamed

up together. And that was a lot of fun and really, like I said, the flavor of the denizens was they worked together. Backup shows them working together. Convoke shows them working together. The team up legend show them working together. And like I said, in the Phyrexians, well, we showed them transforming things, right? That we had the creatures that transformed it. We had the Incubate.

We even had transformation of the Praetors themselves. And then we also did a number of, even when we just did Phyrexians that weren't transforming Phyrexians, the rule was that you had to show the Phyrexians having taken over things. We did famous legendary creatures that had been taken over. Not all of them were transforming. Some of them were just like, you've got to see it to let it happen. And so that was important. So once again, staying true to the length of the plane, showing the war, showing sort

of the Phyrexians. At some level, uh, I wanted to show there was a frexian identity because they were the main bad guys. So we get a lot to that. But also, uh, part of the war was showing the denizens. So anyway, um, the thoughts, uh, the said, well, like I said, we've been off a lot. I'm proud of, I thought the design was a good design I thought it showed the grandness of it I think in the end that we probably were a little more grandiose than we needed to be we had talked at one point early on of just showing 10 planes and not showing all the planes I do like the idea that we did a sampler you have to see a lot of different things that I actually did enjoy

I Know the story felt a little rushed The other thing that I guess looking back is there are a lot of moving pieces I guess in a in a capstone event set I'm willing to add a little bit of complexity and I think there was a lot of fun stuff going on there. I Think the set was a little bit overwhelming to people. Part of it was, it felt like it went by too fast. Part of it was the scope was so big, it was kind of hard to wrap your brain around.

Another reason, while stretching out a little bit, might have helped. But I don't know, like I said, from a mechanical standpoint, let's see, let's look real quickly at the mechanics. Backup, I like't know. Like I said, from a mechanical standpoint, let's see, let's look real quickly at the mechanics. Backup, I like a lot. I like the innovation of using, hey, copy what's on me. That technology is something that we can go back to that I thought was really interesting. Obviously, Convoke is awesome. Incubate, I enjoyed. Like I said, I thought it was a neat

take on tokens. I thought it was a good use of a double face Battles are like a lot like I said, I think sieges I think the next time you see battles I'm not sure they'll be sieges just because there's a lot simpler versions of battles that I think are very cool I like the transform double face cards. I like fresh and triple. I like the praetors into the sagas Oh the bonus sheet. I think't get to the bonus sheet. One of the things that's interesting about bonus sheets is bonus sheets can be fun, but I really think the bonus sheets have to really have a role. Just throwing them in when they don't make sense I don't think works as well.

But we had a, you know, this was a fight across the multiverse, right? So the idea of here's all these legendary characters that you didn't see in the main part of the story but they're still fighting for the world, I thought was a good use of the bonus sheet. I thought it was very flavorful, so I like that. So I guess all in all, I'm pretty happy with the design. I think there's some things in the larger structure of how we did it with sets around it that maybe could be a little bit different. So I mean, I do... The end result is the audience,

Merchant the Machine didn't quite get the response that War of the Spark got. War of the Spark was kind of a blow away hit. Merchant the Machine did well, it wasn't bad. And maybe we did, I mean, it might just be our expectations that we wanted to be the next War of the Spark and it wasn't quite the next War of the Spark. I think the thing that War of the Spark had going for it is that it is easier to sell a thing you know in a volume you don't expect than a brand thing you don't know. When I say that there's a planeswalker in every pack, when you're not used to having

a planeswalker in every pack, that message is a very potent message. When I say there's a battle in every pack and you've never heard of battles, you're like, I don't even know what that is. And not that I, like I said, I thought battles were well done. I just think that one of the things in general, I guess the final lesson before I leave for the day is when you are doing a set, you have to make sure that your messaging is bite-sizable, if that makes sense, that in order to get people excited, you really need to focus. And like War of the Spark did a very clean thing, right?

War of the Spark was there's a planeswalker in every pack. Normally sets have three planeswalkers. This set is 36. That is a loud message, a clear message, a simple message, and it reinforces the story. It was a planeswalker war. I think this set had a lot going on and I think that while the battles were cool, I think that the message like, hey this thing you don't know of shows up. I mean new car type, there's something exciting about that, but I just think that this thing didn't quite have the bite-size marketedness that we wanted Looking back that that's sort of my two cents and that

I like the moving piece. I like the component pieces. I like how it played. I think it was a really fun set I really enjoyed it. Dave Humphreys and his set design team did an amazing job. I think it plays real fun. It's a super fun, limited set. But I think the lesson is, when you make your capstone event set, you need to have one strong focal point that people can understand.

And I think we leaned a lot on new card type. And I think new card type is a tricky message because people don't know what it is. And so it is hard, it is hard to lean on that. And I think we leaned a little too hard on that. Anyway, this is for me to look back and make lessons and think about things. And so, like I said, I was generally happy.

I think it played well. I like it. Lots of things in and of like, I think how we sold the war and what we did and how many sets that the flaw in the structure was more larger structural things not that the individual set doing what it was asked to do I think a good did a pretty good job doing what was asked to do other than the marketing focus coming slightly

cleaner anyway guys that is my thoughts on March of the Machine so I like I said I generally like I said I'm sometimes people listen to me here I'm being critical and I'm walking through things and it's not that I didn't enjoy it It's that hey even things that I enjoy I want to make sure can we have done better So anyway guys that is my podcast for today because I'm at work So we all know that means this is the end of my drive to work. So instead of talking magic It's time for me to be making magic. I'll see you guys next time. Bye. Bye