Magic: The Gathering Drive to Work Podcast - Drive to Work #21 - Innistrad, Part Three

Episode Date: February 15, 2013

Mark Rosewater finishes his Innistrad series.

Hello, everyone. I am pulling out of my driveway, so we all know what that means. It's another episode of Drive to Make Innistrad! Okay, for the last couple podcasts, I've been trying to tell the story, and for some reason, it just won't end. So today, I give my vow. Today, the Innistrad story will end! I hope. It should. It should. I'm going to make it end today. I don't have that much left to tell. But it drives for it. Okay. So two times ago,

I started talking about my team and how we came up with the idea. And then I started talking about day-night. And then last time I talked about double-faced cards. And that took a lot of time. So today, I want to talk about End the Rest. It's the

Professor and Marianne part of the podcast. Okay, and if you get that joke, I don't know if I'm happy or sad for you. Okay, so let's talk about flashback. So when I made Innistrad, I knew a couple things. Number one, I knew it was going to have a tribal component. I knew there were monsters. I knew the part of making horror work was, you know, all the monsters. I also knew there was going to be

a graveyard component because, like I said, the whole inspiration for this thing in the first place was saying, hey, Odyssey, the graveyard set, should have had this theme. So I knew there was going to be a graveyard component. So when we walked into it, what I said to my team was, I want a graveyard component.

I want at least one mechanic that cares about the graveyard. And originally I said to them, not flashback. Why not flashback? Because Odyssey was the last set that really had a strong graveyard theme. And Odyssey used flashback. So I'm sort of like, well, last time whenever we revisit a theme what we tend to do is say, well, we did this last time we did the theme let's do something different

Invasion made you play lots of colors well, Ravnica will make you play multicolored but less colors we always sort of go a different direction so I'm sort of like, well, last time we did the graveyard theme we did flashback so I said, okay, let's not do the Graveyard theme, we did Flashback. So I said, okay, let's not do Flashback.

And then as I'm starting to put things together, I just, like, at every waking moment I would turn and, like, Flashback would be there going, I'd be perfect. And I'm like, no Flashback.

I must find something else. You know? And then, like, Flashback just always around the corner, like, hey, I think I could help you. And it's like, ah, Flashback, no, I must find something else. And what happened was, as the sets slowly came together,

I realized that it just had a very different vibe than Odyssey. It wasn't feeling at all like Odyssey. So finally I said, okay, okay, let's try Flashback. And Flashback worked perfectly. You know, I mean mean one of the things that it's interesting is that um when you're trying to make a theme what you want to do is find cross synergies you know like a big part of making a set is uh figuring out the different elements of it and making sure that the elements sort of play, I think of it like a puzzle that sort of all interconnects

and where things work together. And flashback definitely is one of those things where, like, it played nicely with other themes that we wanted. For example, one of the things I found in a graveyard set was you kind of want goodies in the graveyard, right? In a graveyard set, what it means is the graveyard is a resource. Now, there's other things like delve, and I talked about that last time, about how, you know, you could chew up your graveyard.

But I find what's more fun is that just you get goodies in your graveyard, and now you can use things you normally can't. Flashback falls right into that, obviously. But, for example, another thing, like, green had a theme of liking creatures in its graveyard, playing up green sort of ancestral elements. It likes its past, and it really honors its history. And so, you kind of want creatures in your graveyard for that. Meanwhile, you know, having graveyard matter meant that having blue have mill meant it was interesting. So all

of a sudden, you want to have this component of blue milling and green cares about the graveyard and then once blue's milling, oh, the flashback's interesting. If you mill stuff, you can mill flashback things. It all starts coalescing together. Now the interesting thing about flashback is one of the most telling things

about it, which was the cross-color stuff, I didn't do at all. That was not done in design. That was done in development. Eric Lauer was the lead developer for Innistrad. And I know that he is very big. I mean, design has been thinking about this more and more. But something Eric has been hammering into us is pick each color combination, your two-color combination. What happens if you draft that?

What is your set giving you? And Eric is very big on, he likes every combination to have something going on. It might be small. Certain color combinations might have a major theme, while others have a minor theme. But he likes everything there's something happening there. And so one of the ways he helped play that up

is by making, I guess they were enemy color combinations, because the ally colors, what happened was I made the tribes ally colored. So those inherently had a nice draft around me flavor to them. So to make the enemies, I mean, there were some themes like the blue-green theme built into the design, but he liked having some of those flashbacks cross over. So that sort of encouraged you to do that kind of thing. Like, oh, this card is good, maybe you'll play it in a mono-color deck, but, oh, in a two-color deck it's really good, now you're

encouraged to play that second color. And a big part, by the way, let's talk about this real quickly, is drafting over time has had a much bigger impact on how we design. Once upon a time, it's like, just make your set, people will play it, whatever, things will happen. And as drafting has become more a component of what Magic is, we have a lot more time thinking about how things

play in draft and what the themes are. For example, right now, we always design uncommons that are specifically designed to be things you'll draft around. And the reason those aren't common, by the way, is it's too high a frequency. I mean, you'll draft around. And the reason those aren't common, by the way, is it's too high a frequency. You'll draft around them, but what you want for the build-around means, also they're a little more complex, is that uncommon. They happen enough that you can make

drafts about them, but they don't happen so much that it just dominates what's going on. So anyway, Flashback fit the bill. I fought it a little bit. Um, now the other thing about flashback was, originally, we were going to do flashback in all three sets. We were going to flashback in Everson Restored.

Um, actually, this is probably more of a Dark Ascension story, but, uh, uh, I mean, flashback was something we were definitely conscious of, uh, winding through the set, and it's the one thing we were thinking about originally, that winds through the whole block. It didn't. I guess when I get to Dark Ascension, when I do that podcast, I will explain why it didn't quite make it all the way.

Or maybe that's an evidence in a store. I don't know. It involves both sets. Okay, so let's talk about the tribes a little bit. Okay, so one of the things that I was trying to do was I wanted top-down flavor. I wanted the set to act the way you thought it would act. And the nice thing about the tribes was the monsters have a lot of pop culture history.

Meaning, when I say to you, how does a werewolf act? How does a vampire act? How does a zombie act? You know, you can start saying, oh, well, I've seen movie A, movie B, movie C, TV show A, TV show B, you know, that there's a certain sense of how they act. So for each monster, I said, okay, I want to play to the core of what the monster is. So let's start with my favorite of the five. It's my personal favorite, zombies. Now, zombies for me, I felt like werewolves had never gotten there, had never shined because they hadn't done them. You know, they're, like I said, there was three in the past. So I did want werewolves, werewolves were important.

I knew that. But one of the other things that mattered to me was zombies for two reasons. One is I never felt zombies, even though we've made a lot of zombies, I've never felt that there's been a zombie deck that really felt the way zombies feel in movies. Somehow, every time we've made a zombie deck, and I'm responsible for this, like in Tempest,

I'm the one that made two one-drop zombies. And surprise, surprise, there's this mono-black hatred deck, basically for those that don't know their history. You had all these little weenie zombies that would smash in really fast, and then you had hatred, which allowed you to trade life to boost the, it's like a howl from beyond, but you can use your life to boost it. And so basically, it was like, I smash you real fast, and then I kill you with hatred. And anyway, that was like

this blindingly fast zombie deck. And now, you know, if you look at zombies, zombies in movies and television, video games are a little different, I'll get to that in a second, but zombies are slow in plotting. One of my favorite writers, a guy named Robert Kirkman, who designed Walking Dead, who some of you might know, he's the guy who wrote the comic. And he said that he always liked, he never liked fast zombies.

So what happened was, real quickly, I guess, a little history of zombies. Zombies have always been slow in plotting. If you look at, I mean, the big real set the stake in the ground was George Romero's Night of the Living Dead. And in it, he really sort of defined what we think of as modern zombies. And I will point out, by the way, even though we're doing fantasy and we're doing, you know, old time stuff, I still wanted a modern sensibility. So I was trying to do what people associate with modern zombies. If you go back to actual olden times,

zombies weren't even really a monster back then. I mean, they had Frankenstein, that kind of zombie existed, but modern zombies, Night of the Living Dead zombies, those didn't exist yet. Anyway, so what happened was zombies proved to be good for video games

because the whole idea of a zombie is that anyone sorry, I jumped off here. So Robert Kirkman's thing about zombies, he says here's what's great about a zombie. Zombies, any one zombie you can take. You got a weapon, bam!

Zombie dead. Not a big deal. They're slow, they're dumb, they're not particularly that threatening in isolation. What makes zombies scary is that they come in mass. That, sure, I can kill one zombie or six zombies or ten zombies or twenty zombies, but at some point, A, I run out of ammunition or run out of whatever my weapon is, or B, I just get tired. They're never ending.

And that's the quality of zombies that's important. And that when you make zombies speedy, it kind of lessens that. Now, why do speedy zombies exist? The reason they exist is zombies have always made good video game villains, if you will, because there's just lots of them. And a video game is kind of about, like if you want to do a first-person shooter, well, the fun of the game is just constantly shooting things. Well, zombies are awesome

because there's just an endless supply of zombies, you know. And they do what video games, you know, like. It's just this endless stream. That's what video games do. And zombies work that way. The problem was, you know, when you're trying to make your video game harder, you know, video games kind of want the enemy to sort of advance and get harder. So video games started making, I guess what they call them, zombies, which are just fast zombies. And that mindset has bled into movies somewhat, you know. But anyway, video games really introduced the idea of fast zombies, which as a zombie purist,

I'm not real fond of that. And so when all the magic zombies were like, wham, bam, you know, hit you fast. It's like, ah, I long for the day of the slow zombie horde. So I said, okay, okay. We're going to make zombies. Let's try to make zombies that way.

And so my goal was, we figured out they were in black and blue, and I said, okay, we're going to make zombies. Let's try to make zombies that way. And so my goal was, we figured out they were in black and blue, and I said, okay, my goal is the zombie deck is not a speedy deck. The zombie deck is a slow controlling deck. And the idea is, for example, take the Skade Zombies, the 2-2 black zombie. You shouldn't be that afraid.

Skade Zombies, eh, I can deal with Skade Zombies. 2-2, you know. And the reason I loved Army of the Damned was it's sort of making the point is hey, a 2-2's not that scary. Well, how about 13 2-2's? How about another 13 2-2's, you know? That the idea

I built around is I really wanted the zombies to be something that's slowly built. And that's why they're more control-ish. And the idea is zombies will beat you not because they're fast And that's why they were more control-ish. And the idea is, zombies will beat you not because they're fast, but because eventually they'll overwhelm you. And the original design, for example, I had a little more

flashback zombie making. I think Eric cut it down to one or two. And I also had a lot of things coming back from the graveyard, so that you sort of, it kept your threat coming. Some of that got pushed off in Dark Ascension. But anyway, when it all came together,

you could see there was this very plodding zombie deck. And I was very happy with it, especially in Limited. You know, that when you're facing zombies in Limited, it's like not a speed thing. I know in Constructed, people will make speed because speed's a big part of magic. And no matter what you do, people will find a way to make things faster. But in Limited,

I feel like the zombies did, in fact, play like zombies, and I was very happy with that. And, like I said, I was very happy, Army of the Damned was, we were trying to make mythic rares of each of the monsters. I mean, yeah, yeah, we didn't make a werewolf, that one I know. Checked in the box, I'll keep it.

Next time, we will make a mythic rare werewolf. That one I know. Checked in the box. I'll keep it. Next time, we will make a mythic rare werewolf. So, we were trying to make a mythic rare zombie, and what I said is, zombies aren't about, here's the super powerful zombie, you know.

What zombies are about is, hey, here's the horde of zombies. And I said, oh, what if our mythic rare is just a horde of zombies? And that's, oh, well, what if our mythic rare is just a horde of zombies? And that's where we came up with Army of the Damned. Now, originally, by the way, Army of the Damned made 20. Made 20, brought back 20. And I remember when I playtested with Bill Rose, who's the VP of R&D, and that was his favorite card.

In development, they figured out it was a little bit too much, and there was a 13 theme in the set, so we decided to go with 13. I thought that was a nice compromise, a. There was a 13 theme in the set, so we decided to go with 13. I thought that was a nice compromise, a good tweak. Okay, that's zombies. Now we get to werewolves. I also knew werewolves were important. I talked a lot about werewolves in the last couple ones with the double-faced cards.

The thing for the werewolves for me was that I really wanted the werewolves to be this threat that kind of sometimes is not a threat, sometimes it is a threat, and there always was kind of a more mid-range, for zombies was like, they come out, and like at some point they become threatening,

but they're not immediately threatening. I didn't think that werewolves were going to be necessarily super fast, although they have the potential to be fast, you know. But anyway, I feel like the werewolves I talked a lot about, I knew the werewolves were important in that they were the thing

we at least had done and so the definition of them was very important and I knew that like kind of we made the werewolves shine, we were in good shape and the double-faced cards

did that to, you know, a lot. So, obviously it's good. Okay, next, vampires.

Vampires? So one of the things I know is when you are building your different factions, you have to think about speed. Because you want to make sure that there are different strategies. And so one of the things you always want is you want to have an aggro deck. You want to have a deck that's fast. Like, I'm coming out, I'm going to beat you. So what happened was I wanted our zombies to be slow.

I wanted the werewolves to be a little more mid-range because I wanted the suspense. I wanted you to be able to, you know, I didn't want them immediately becoming werewolves and there wasn't any of that suspense I was trying to build. So I said, okay, well, that means the aggro responsibilities are going to fall on the vampires. And the thing I liked about that was we already put vampires in red as a bleed for this set. So I said, okay, what if our vampires are a little more aggressive, a little more bloodthirsty, and that in this world, vampires are a little more aggressive? Now, it turns out doing that was a challenge.

Black and red, actually, even though you want to think of it as being very aggressive, has a lot of control elements because it's so good at creature kill. So anyway, Eric spent a lot of energy with his design team making that so. They added in the slithability in development to sort of say hey, we want to attack. And they did a lot of good work of really making black red aggressive. Now, design

is basically the note. What we do is when we're about to hand over the set, we make what's called design philosophy document, where the design explains the philosophy of what they're trying to do. Because development a lot of times will change things, of what they're trying to do. Because development a lot of times will change things, but what they're trying to do is keep the essence of the philosophy of what the set's about. And so, we

wanted fast, speedy vampires, and so they respected that and made them. The ghosts, the spirits, a little trickier. I knew that the spirits mostly had to fly, because I think when you think of ghosts, you just think of them flying.

So our spirits all flew. I think they all flew. The vast majority flew, if not all of them. And so I said, okay, well, if they're going to fly, that's kind of the route we're going to be going down, which is I assume that they're going to have a control aspect because it's white-blue, but they're going to beat you in the air with flyers

because spirits are flyers. We definitely, we had a little bit of a theme of humans dying into spirits which the development team, I think we had one or two cards and they ran with it. They made a bunch more cards and made it a bigger theme than we had

just to make sort of a relationship between humans and spirits which I thought was cool. The other thing that most people don't realize is we decided the white was the good guys so the blue spirits, by the way, are the bad spirits and the white spirits, by the way, are the bad spirits and the white spirits are more the benevolent spirits.

I'm not sure that comes across, but it's built in. I do believe that spirits had the least amount of identity. We solved a lot of the identity they got ended up coming in Dark Ascension. So maybe I'll do that for the Dark Ascension. But in Astrod, they, I mean, they flew and they had some invasion and they had Estrad, they, I mean,

they flew and they had some invasion and they had a little bit of, I mean, I feel like we didn't do enough ghost tropes. If anything, it's the tribe I feel like

we slighted the most. And when I did Dark Ascension, I tried to make up for that to give ghosts a little more, a little more flavor. Now, the funny thing is they ended up being good.

You know, we made a couple really good ghosts, spirits. You know, the Geist of St. Traff, for example, is very, very strong. And so it was one of the tribes that actually got the most play just because we had some strong cards in it,

not because it had the flavor synergy as well as some of the others. So that leaves our last tribe, the humans. So the interesting thing is we've made a ton of humans. We might have made more humans than any other creature type in existence but we'd never done human tribal before and so one of my goals was I wanted the humans to have a right feel

so here's the essence the humans were our victims in the sense that the monsters had to fight somebody but I wasn't trying to create a war it wasn't like Zendikar or Skarsgård and Mirrodin, where, like, clearly there was two sides and they were fighting.

This was more like everybody's picking on the humans. Now, the vampires and the werewolves and the zombies and the spirits, they're not working together. They're just doing their own thing. But all of them are picking on the humans. And the feel I wanted was,

and to get the horror movie feel, is the humans, like, are on the brink of extinction. Like, things are bad. Like, you know, and everywhere they turn, the monsters are on them. And, like, what are we going to do? And on top of that, I mean, part of what got us to set up Avacyn was the humans have lost their hope. I mean, literally, they lost Avacyn, which was kind of, because a lot of their magic,

I don't know if you realize this, a lot of their magic was, Avacyn sort of, her magic is what fueled it. So as she disappeared, like, their magical weapon stopped working as well. And so it's like, things are just, you know, it's like in a horror movie where, like, you have your flashlight and it starts dying. You're like, oh no, that symbolically is not good.

It just represents the power of the people falling as things look worse and worse. Now, we did want some slayers and some Van Helsing-like characters that are fighting the monsters. We wanted all the tropes, basically. It's like, what are the horror tropes? Well, you have your victims, you have your heroes,

you know, all the different things. And we tried to make all those work. The other big thing to me is I really wanted to play up that the strength of humans was their numbers, that they worked well together. Now, luckily, that is one of white's things, so it wasn't hard to do that. But I definitely wanted to play up the idea that

the only chance the humans had was to band together. That one-on-one, they were going to lose to the monsters. It's only when they banded together they had a chance. And I was happy. The thing I liked a lot was... So one of the goals of tribal in the set was, I wanted to have a tribal component, but I didn't want you on rails in drafting. What that meant is, when we made Lorwyn,

we sort of put the pedal to the metal on the tribal, to the point at which you kind of had to pick a tribe. Like, there's eight tribes, pick a tribe. And then once you picked a tribe, like, you're this tribe. You know, we had a few cards to crisscross. We had a few changelings. You know, we had a few things to maybe help you play two, but pretty much you were picking one.

And so my goal for Innistrad was I wanted tribal to be something you could opt into, but that wasn't forced upon you. And so how we did that was we had a little tiny bit of tribal common, you know, zombies and one. I mean, there was a few common, but the draft around the power hitters were all uncommon.

So if you happen to get one of those early, maybe you go, okay, I'm committing to that. That's what I'm doing. But you had to opt into that. And so I like that tribal was something you could do, but wasn't something you were forced to do. And part of Innistrad was trying to prove that that could work, you know, that you can make tribal matter, but not so much that it, you know, it put the draft on rails. Another thing we did, and like I said, a lot of making the set work was finding all the, you know, the bits and pieces and putting them together to create a cohesive whole.

Like I said, what I wanted is when you sat down and you played with it, you just, it felt like it was horror. So another thing, I knew we needed some equipment. So one of our rules for equipment, which I thought was a fun rule, was none of the weapons were weapons, meaning everything you had had an actual other purpose, you know, that you grabbed it and used it as a weapon, but it's not like you were carrying around a weapon. You kind of like, you know, I loved a lot the idea of like, you know, a pitchfork. Well, that's for hay, but you know what?

When the monsters come to your door, hey, that makes a good weapon. And so we try to make our weapons what we call adaptive weapons, which is I kind of use what I have around. One of my favorite things, by the way, is we put in Blazing Torch, I believe. And it was one of those cards that was such a natural fit that Brady Dommermuth, our creative director, actually wrote a note to me and said, because it mentioned zombies, and he goes,

could we not mention zombies? And I'm like, do you understand? This is a repeat. Like, he had not realized. It fits so perfectly. He just assumed we had made it. And he's like, oh, you know, you guys layered some extra flavor, and I don't think we need that. You know. And it was funny. So, yeah, we tried real hard.

We knew we wanted equipment. We knew equipment, like, one of the things about doing a flavorful world is you've got to figure out all the different elements. Part of it was the monsters. Part of it was the weapons. Part of it was just trying to get the right mood and tone. So, a big the monsters, part of it was the weapons, part of it was just trying to get the right mood and tone. So a big part of Innistrad,

like I said, was we wanted players to sort of experience something and feel something. And I talked about this in the previous podcast where, you know, I played off suspense,

I tried to make more unknowns, I tried to definitely make certain things like death matter more so that, like, more often something would happen, you would, you know,

oh my gosh, something died, you know, oh, what does that mean? And also, the other thing I loved about Morbid, real quickly, is I loved how,

I like when there's mechanics that make people act a certain way, but you don't ever know whether or not that's the thing that made them act that way. You know,

so if they killed my creature. Did they just kill because they have morbid? No, they just killed it because they need to kill your creature. And this added to a lot of the suspense quality. I like giving people the second guess that an opponent is like, oh, why is he doing that? And I always think that's kind of fun to have this sort of feel where you're trying to guess what's going on,

but you don't have all the information. So you make sort of assumptions that are based almost on paranoia on some level. And like I said, having paranoia for this set was a plus. Not every set, but this set was a plus. Okay. So, I'm trying to think, any other

we talked about Morbid, we talked about Double-Faced Cards, we talked about Flashback, just individual cards. Oh talk about flashback. Just individual cards. Oh, so, my favorite card, by the way, in the set is Endless Ranks of the Dead for a couple reasons. One is, I love the art. The art is awesome.

In fact, probably my favorite piece of art in Innistrad, for sure. Maybe one of my all-time favorite arts. For those who don't know, it's a stained glass window and you see the zombies on the other side sort of, you know, leaning up against the stained glass window. And, by the way,

I don't know if you noticed this, the art in the stained glass window is of Avacyn. A lot of people don't realize that. So anyway, that picture, like, it was like... I remember when I did my Comic-Con, when I first announced the set,

the image that I put up at the beginning of the thing was that image. I'm like, the beginning of the thing was that image. It encompasses exactly what Innistrad is. It got sort of the flavor of Avacyn and the zombies and the humans sort of stuck with the monsters attacking.

So that card came about because I just wanted I was trying to make it easier to have this feel of the monsters overwhelming you. And so the idea I had was, okay, look, for every zombie I have, for every two zombies I have, I get one more. And so the idea was, if I get this out, you know, if you do the math, like, even if I have just two zombies, well, then I have three zombies, and then I have four, and then I have six, and then I have nine. You know, it just has this nice progression of the zombies get out of control.

And I even built the deck that I have. I mean, Billy Moreno built it, I should say. But the deck I played for Gunslinging was an Endless Rings of the Dead deck, or built around it at least. Now, the funny thing about a card like that is I really liked the card. And so I don't normally care too much about what's good and what's not. I mean, I tend to point out to, like, one of the things, for example, I said to Eric was I pointed out that I felt zombies, oh, I didn't mention this earlier. I talked about how zombies had two things going for them.

The second thing zombies had going for them, see, I'll wrap up here beforehand, is there's what I call a zeitgeist of pop culture, which means that just at any one moment, there's something that's just, the public is somehow, that's the thing they really are into. And I realized that zombies had eclipsed vampires as being the horror zeitgeist of pop culture.

And so I said to him, look, make sure zombies are good. Make sure you can play zombies. I really believe zombies are going. Make sure you can play zombies. I really believe zombies are going to be the emotional favorite. I believe werewolves are going to be

the tester one. People are going to say, you know, that's when they're going to look to see what they think of the set. But I believe that zombies are going to be

the emotional favorite. I try to do that all the time is figure out where I think the audience is sort of, where they're going to lie. What's the deck that most people

are going to be the most excited about? And I really felt, monster-wise, that it's going to be? What's the deck that most people are going to be the most excited about? And I really felt, monster-wise, that it was going to be zombies. So when Anil's went to the dead, I was definitely pushing a little bit

to say, I think this is going to be a fun card. But they were a little scared of it. It's the kind of card that can get out of control. So they didn't push it.

That's why the card is not a powerhouse beating up tournaments. Now, it's a fun card. I haven't played it a lot. I do enjoy the card. But that is why it is not a powerhouse beating up tournaments. It's a fun card. I haven't played it a lot. I do enjoy the card. But that is why it is not exactly the... not exactly as scary as a horde of zombies might want to be.

So, anyway, I'm now at work, and I believe I've actually talked about Innistrad. I think I said everything I wanted to say. So, thank you very much for listening to all three of these, this monster episode, or monster three these, of this monster episode, or monster three episodes, of, ah,

monster episode, a pun that was, ironically, only subconsciously intended. They're always intended, sometimes consciously, sometimes subconsciously. Anyway,

I had fun talking with Innistrad. I'm very proud of Innistrad. It currently might be the best that I've ever done. I got some stuff coming up I'm very proud of too, but it really hung together. Like, I feel like when I started with the goal of, I want you to immerse yourself in this and say, I'm in a horror film, you know, I mean, I had that horror sensibility. I really am happy with how it did. I feel like emotionally it hit all the

things I wanted. I felt like all the tribes kind of had their thing, and all the mechanics definitely had their day. So anyway, I'm proud of a lot of stuff I've done, but I mean, this is one of the few things I did that quite literally might be the best thing I've ever done. And so it sets the bar higher to try to do better. But anyway, I hope you enjoyed my discussion today on Innistrad, but it's time to go make the magic.