4/5/2013 Episode 28: Planar Chaos

All podcast content by Mark Rosewater

Okay, I’m pulling out of my driveway! We know what that means! It’s time for another Drive to Work.

Okay. So I realized, as I look back at the different sets I’ve talked about, that I tend to mostly talk about the first sets. Only because I think—I guess as I’m telling stories, I want to start from the beginning. But I thought today I’d do a middle set. Although I’ve done the first set already. So the set I’m going to talk about today is Planar Chaos. I’ve already done a podcast on Time Spiral, so listen to that if you haven’t listened to it yet.

So Planar Chaos was a very intriguing set. For starters, let me explain. So what happened at the time was, this is the second block that I was Head Designer for, and one of my big goals when I took over as Head Designer was I wanted to institute what I called block design, which was to make us much more conscious of the whole block, thinking as a unit.

We kind of stumbled into it for Invasion, that we came up with the idea that we’d hold back he enemy stuff, that Apocalypse would be delivering on something that we hadn’t given you. And that went over really well. And I really liked the idea that—because what we used to do was we would just make a set, and then make more, and make more. And we’d get ourselves in a corner a lot of times.

And I felt like if we planned it ahead of time and we knew what we were doing, then we could set ourselves up. And we wouldn’t have these problems where oftentimes we’d be in the third set and we’d be like, “Oh, well, it would be awesome if…”

I remember like when I did Mirrodin, we got to Fifth Dawn, we figured out we wanted to do a five color thing, but we hadn’t set it up. And so we were able to stick a few things in Darksteel, but it was too late to do anything in Mirrodin itself. And I’m like, “Oh, if we’d just known that, we could have front-loaded some stuff to help us.” And we didn’t. And back then, you didn’t draft backwards, you drafted forwards, so anyway…

So I took over as Head Designer, and I said, “Okay. We’re going to do block design.” So Ravnica was first. It very cleanly fell in what I call “pie method,” which is I kind of had the whole thing, and then I just chop it into pieces. The guild structure is kind of a whole entity, and then I’m just chopping it up.

But I was also interested in trying other things. And so when I got to Time Spiral, I did not lead the design of Time Spiral, the set, Brian Tinsman did. I was on the team. But as Head Designer, my goal was to sort of figure out what the block was going to be about. Back then, we would figure that out while we were making the first large set.

And so it became very clear, we started Time Spiral being a time set, that it was going to be about time mechanics. That basically suspend we had saved, I thought it would be neat to have this mechanic about suspend, and at the time originally it was going to be about hybrid. If you listen to my podcast on Time Spiral.

But anyway, it crystallized pretty fast. That part of time seemed to be, it was fun to pull things from the past. And I think what happened was, I knew I had to break time into three parts. And so the pretty logical conclusion, when you wanted to break time into three parts is, “Oh, there is three parts to time, past, present, and future.”

And so past is very clear. You’ve got to do nostalgia, you’ve got to bring things back, you’ve got to show things people haven’t seen in a long time. We brought back old cards, the whole idea of a [timeshifted] sheet. All that, very simple. And the future set, which was going to be weird, but I knew what I wanted to do, which is show you things you’ve never seen. I’m going to give you glimpses of the future. So I understood what the past set wanted, and I understood what the future set wanted. Both were very clear. I mean, not saying either would be easy to make, but both were clear what they wanted.

But what do you do with the present set? That was the hard one. And I’m like, “Well, it can’t just be set in the present, because every set is set in the present.” It can’t be like, “Here’s this neat set, here’s a neat set, ehh, just a normal set like you see every day.” It had to have something about it. And that’s when I stumbled upon the idea of an alternate reality present set.

Now, for those that don’t know, I am a huge fan of science fiction. In fact, probably my favorite genre. And one of the types of science fiction is what they call “alternate realities.” The show Sliders was all about that, don’t want to give too much away, but Fringe dips its toe there as well.

So the idea is that, in some time travel stories, there’s a world that’s like your world, but different in some way. And time travel stories love delving into that. Usually the way it will work in time travel is some fundamental things shifted, like the South won the civil war. Or somehow Kennedy wasn’t assassinated. Or just something which one thing was different, and then whoom! How everything changes from that one thing.

And sometimes when you do parallel worlds, the differences are subtle. And so one of the things I’ve always been fascinated by—now, I’m a color pie guru. I love the color pie. Did a podcast on that as well. It’s easier in my column—when I have to, I just hyperlink and you can click and go read it. [^_^] But I’ll mention stuff I’ve done before, just so I let people sort of who are new and haven’t listened to everything to know stuff that’s in the past that I’ve done.

But I love the color pie. And so let me talk a little bit about the color pie, because there’s a facet to the color pie that is very interesting. That basically the whole idea of Planar Chaos came out of. Sorry, drinking some water to keep my voice nice and… I don't know. Well-lubricated.

Okay. So when you look at the color pie, there is what I call the philosophies. Meaning that each color has a core philosophy. I’ve talked about this in articles. Each color does something specific. Okay?

Now, the mechanics come out of the color pie, meaning all the mechanics fit the justification of what the color can do philosophically. But, and here’s the rub, the color pie philosophies are broader than the mechanics. Meaning we had to make decisions on mechanics. We had to choose where to put things.

Now, some things are just super clear. Like who gets direct damage? How about the color about destruction. That seems pretty clear. Who gets counterspells? How about the introspective sneaky mental color, right? That some things go really clear.

But some things aren’t as clear. Some things—like discard makes a lot of sense in black, because black is all about—it goes after the mind, and it’s willing to do whatever to win. But hey, blue is also very much about mental facilities, and we showed that up as milling and everything, but I could mess with you mentally. I could take spells out of your hand. I mean, flavorwise, that could work.

And so what I realized was that the color pie has two kind of functions to it. There is kind of the philosophical color pie, and there’s the functional color pie. And by functional, what I mean is it’s actually what we do. It’s how the mechanics work.

So I divvied that up into a three-ring system which I call the core, the mantle, and the crust. So the core, the idea of the core is, that is how we’ve chosen to do Magic. That’s a mechanical identity we have. Discard is black. Life gain is white and a little bit green. Direct damage is red. Counterspells are blue. You know, that it locks in where things are. So the core is where we are.

So we go out a ring. The ring is the mantle. The mantle is—so one of the things about Magic is, every year we go and we do new things, we have new themes. And in order to make themes work, sometimes we have to shift a little bit.

So for example, if we have a graveyard set, a graveyard-themed set, well, black does stuff in the graveyard. White does stuff in the graveyard. Green does stuff in the graveyard. Blue and red, not really. A little bit. But what we did is, when we got to the graveyard set, we started sort of defining some stuff so that red and blue would have some graveyard stuff. And that’s true every year. Every year, we kind of push in different directions, because we need to make sure that when we get to certain areas, that all the colors have access to something.

So what happens is, we stretch the color pie a little bit. Every year, we’ll push on the color pie in a different direction. Now, usually we’re not pushing too hard. It’s not in the core, but it’s adjacent to the core. It’s stuff that doesn’t really feel that bad. It generally feels like it’s pretty close.

An example of that, like I said, like in the graveyard set, we’ll push like do a cycle where everybody regrows a certain card type. And we let blue get instants and red get sorceries. That’s not normal. Red doesn’t normally get to regrow sorceries. It’s not a normal red thing. But we bleed it a little bit when we need to. And the reality is, it’s okay. We’ve made room for it so it fits. So the mantle is kind of where we go when we need to go to stretch.

So the crust, the crust is where we can go. Philosophically it makes sense, but we tend not to go because it just feels a little weird. And so the idea with Planar Chaos I had was, “Okay, well we’ll play in the mantle, and we’ll dip our toe into the crust.” So we’ll get as much mantle as we can, and we’ll get just enough crust to give us that little bit of, (gasps), you know, oohs and ahhs.

Okay. So now, the set was led by Bill Rose. Who is currently the VP of R&D. Real quickly on Bill Rose, I’ve talked about him a little bit, but Bill was one of the original playtesters. I think he met Richard because they played bridge together. Bill, by the way, is an amazing card player, especially trick-taking games. I mean, he’s one of those people who are like, the game ends, and he’s like, “Oh, you had the three of clubs.” “How did you know that?” “Well, on turn seven, you played this card instead of that card on this, so that implied this and that, and you had the three of clubs.” And like, “How do you know that?” I don't know.

And so anyway, Bill and I started two weeks apart. Bill started two weeks before I did. In fact, Bill took my desk. I had a desk I wanted. But Joel Mick, who was in R&D at the time, was Lead Designer at the time, Head Designer at the time, he and Joel—Joel and Bill were friends, they both had played together, Joel was also a playtester, and Bill and Joel had worked together on Mirage. They were the two leads of Mirage. Anyway, Joel was saving the desk for Bill.

So when I got to work—some people know this. When I first got to work, Wizards was originally in a building. Shortly after I got there, it then moved to a new building, and then many years ago we moved to a third building. So this was the original building. I mean, the original building was Peter’s basement. But once Wizards had a building.

So the first three weeks I was at Wizards, I had no desk. Because we were moving very soon, and it didn’t make sense to sort of scrounge me up a desk when Wizards was moving so soon. And they thought we were moving faster than we did, so I ended up being there a little more than three weeks. I think they thought it was going to be three weeks, it ended up being five or six weeks.

But anyway, for the first month and a half, I had no desk. And what they basically said was, “Well, just grab someone else’s desk.” Because I could log into my account. “Just, whenever you can, someone else isn’t using their desk, use their desk.” So for the first month and a half, I’m just using other people’s desks when they’re not there. I was like a desk nomad. But anyway, Joel took my desk for Bill, so I didn’t get a desk.

So Bill started two weeks before I did. And Bill—I mean, Bill I think, Bill right now is either number three or number four for sets led. He’s either tied for three with Brian Tinsman or he’s in fourth. I mean, Mike Elliott is the number two slot and I am the number one slot. But anyway, Bill’s designed a lot of stuff.

What happened though is Bill was very interested in management. And so Bill was actually the—for a while Bill was the Head Designer/Developer, back when that was one role. And then Bill moved up, and now Bill was the Director, now he’s the VP of R&D.

I mean, I was always interested in doing design. I mean, I think Bill liked design, but that’s not where his heart led. For me, design was the thing I wanted to do. So Bill and I had very different paths. I mean, Bill wanted to manage, I mean I have managed, but I’m very happy, like I’m not managing right now, it’s not my forte.

And I like the creative stuff. I would rather make sets and build blocks and do that. And so Bill and I sort of had our different tracks. Bill jokes with me because he says he and I are the two that will be there forever. Because of our group when we started, which was Mike Elliott, William Jockusch, Henry Stern, that whole group. Bill and I are the ones that are left.

In fact, I think right now at Wizards, I’m number nine for having been at Wizards the longest, and Bill is number seven. So actually, somebody started the week after Bill and before me. And they’re number eight.

Anyway, so I had to go to Bill, and I was trying to convince Bill, because Bill was going to lead the set. And the problem was, alternate reality is definitely a weird concept. Right? It is not the easiest sell. But Bill is pretty open-minded, and like I said, the story about the split cards, like Bill was the one guy who got split cards. He said, “Oh, that’s awesome, we should do that.” When everybody else was like, “What?”

But Bill is pretty good at seeing potential. So anyway, I went to him and I said, “Okay Bill, imagine a set with…” And my example was a white Memory Lapse.  And the idea is, white is all about delaying things. It’s defensive. Now, there is a world in which Memory Lapse could just be white. Well, and eventually it was, although we costed it one more. But what I said to him is, “Look, Memory Lapse can clearly just be a white card.” You can see a world where that is so. I think the other one at the time I pitched it was black Wrath of God. Well, the white Memory Lapse didn’t make it in to the set, the black Wrath of God did. 

And Bill—those two made Bill say, “Oh, I see where you’re going. I got it, I got it.” And the idea was, we would sort of start over and say, “Let’s take the color pie, and let’s not assume anything and start again.”

But before I get there, let me quickly introduce the team. There’s four people on the team, Bill Rose was the lead. I was on the team. The other two were Matt Place, who I’ve talked about before, one of my favorite developers of all time. He was the Dev Rep, the Development rep. We always have a developer on the design team to help give it developers sensibility. And the last person was a guy named Paul Sottasanti.

So Paul was actually brought into Wizards to work on—we had a project called Gleemax. Where we were trying to be a social network, like geared at gamers. It was a big swing we took. A miss, obviously. But we hired a whole bunch of people, he was one of the people we hired. And one of the things we like to do is we always like to bring in other talents into our design team to get some fresh blood. And so we brought Paul in.

He did really well. Paul would actually later go on to lead his own set, which was Morningtide. But anyway, we brought Paul on, Paul was awesome. And so what happened was, we said, “Okay.” First meeting, Bill’s like, “Okay, here’s what we’re going to do. The color pie is not decided yet. We have five colors, we have the five philosophies, but let’s start afresh.” And the idea was, let’s go down and look at avenues we could go.

So essentially what we did is we took all the mechanics and we said, “What if this wasn’t what the color is now. What could it be?” And a few things it was hard to move. But mostly, like, “Okay, well what if it could be a different color.” And it wasn’t just a matter of changing things, we had to make an entire new color pie to fit.

But one of the ideas that came up, not sure, somehow I think it was Paul’s idea, but the idea of a sixth color came up. And we had talked about a sixth color on and off. Usually… there’s an article, a magazine called Inquest that no longer exists. And they had dubbed the sixth color “purple.” And so somehow whenever we talk about the sixth color it’s always purple. So we talked about doing purple.

And we actually came up with an interesting way to do it. I don’t want to give away how we were going to do it because we might one day do it. But we had an interesting take on the sixth color and how we’d do it. And the idea was, well if there’s a sixth color, we’ll just give some abilities to the sixth color. And the beauty of having a sixth color was, we could define the flavor of the color however we wanted. So it made it a lot easier for us to stick things in it if we needed to.

And so we started down the path of saying, “What could we do?” And then one of the things that I was very gung ho about is, Time Spiral, I had come up with the idea of the timeshifted sheet, of the idea that in your pack, old cards would just show up. And I really—I thought that was very awesome. And I wanted to have each set have its own timeshifted sheet.

And I knew what the future set was going to do. I knew you were going to have the cards from the future. That was clear. So the idea of the alternate reality set was, “Okay, what if the timeshifted cards were Magic cards you knew, but in a different color?”

And concepted differently. Like, if Serra Angel was a blue thing, because in this world vigilance is blue. And so Serra Angel was a blue card. Except it wasn’t an angel, because it’s in blue. It was a sphinx. And like, well, how would you flavor that card?

And so we tried on the path, and so the idea was all the timeshifted cards were existing Magic cards just shifted in color. And we had a lot of fun coming up with those. They were tricky, they were hard. We were trying to come up with stuff that made sense. A few of them, like Prodigal Pyromancer, which was us redoing Tim, the Prodigal Sorceror, we kind of actually knew maybe we’d really do it. Because we needed to make a few cards that we could shift into real sets. Because at the time, the core sets had to rotate cards in. You couldn’t make new cards.

So we made a few things that Magic had wanted in shifting. So, “Okay, this is a good place to introduce that anyway.” And we came up with the idea of a sixth color. We made it, we put it in the color wheel, we actually made cards. I remember that one of the purple timeshifted cards was Mana Drain. 

And the idea was, if purple was dedicated, and you had to sort of commit to purple to be there, we had to raise the power level a little bit, because it didn’t fit in—it wasn’t like purple was rampant in Magic. If we did purple—if you’re playing a purple deck, that’s all you’ve got. We’re giving it to you. So we were able to push purple a little bit.

But anyway, we played with it. It was interesting. It was a great exercise, I’m glad we did it. In the end we decided we had enough stuff going on that we didn’t need purple. We kind of felt like purple was a little bit of overkill. And we also sort of knew that purple, the sixth color, is a potent thing. Like one day, maybe we really need it, and to use it in a set that had plenty else going on, it just didn’t seem necessary. So we didn’t use it.

But one of the things we did do was we—I had a lot of fun sort of exploring the mantle and the crust. And one of the things I realized was that Magic philosophy is much more flexible than the locked, fixed Magic mechanics. And they have to be. Mechanics have to be—in order to make the system work, you have to kind of commit to things and have to make choices.

But when you explore, like one of the things that we came across was the idea of, we took bounce. Unsummoning things. And we split it into two colors. That white could bounce its own things, and red could bounce the opponent’s things. And the idea was that, “Oh, we’ll give red… red is a tempo color,” and like it can’t do tricks with itself, it can’t save itself, white got it because it could save itself, we made it protective. But red used it as a tempo thing. And it was very interesting. I mean, it was different. I felt like I could see the world where it’s justified. But it was very different.

Now, one of the big problems of Planar Chaos, that I did not think of—in fact, I don’t regret doing it, but it’s caused some problems. So let me talk about that for a second.

So there are two ways to play Magic. One way to play is where Magic is an ever-evolving game. Where like you play Standard, for example. Magic keeps changing. What Magic can do keeps changing. And then there’s the static way to play. It’s just additive. Whatever Magic can do, new stuff comes out, now Magic can do that.

And the problem is, R&D cannot design to be additive. It’s just a broken system. It’s just like, if things never leave, it’s just going to fundamentally break under the weight of itself. I mean, you can ban cards and do things for other formats, but Magic really is about the ever-evolving system more than the static system. I mean, the static system exists, hey, if you want to play that way, hey, more fun for you. But R&D kind of more looks at it as an ever-changing game. And so for us, it’s like, “Hey, we’re going to do this thing, it will change Magic for a little bit, it will be quirky.” But then you know, it will go away and then Magic will be back to normal.

But the problem is, it fundamentally changed static Magic. Like all of a sudden, green could now draw cards. Green normally doesn’t draw cards as simply as blue did. And all of a sudden, now it does. Or all of a sudden, red’s bouncing things or blue’s discarding, all the things that were a little more crusty things.

And we can never take that away. It’s added to Magic. And so it’s hard when we explore and experiment, and we want to push boundaries, in a world that’s ever-changing, it’s okay, because the boundaries keep coming back. And that was kind of a problem.

The other big problem is what I call the precedent problem, which is whenever we do something, the audience considers it a precedent. Now, it’s not always a precedent, and one of the things I stressed up and down is, “Planar Chaos is not a precedent!” Now, that doesn’t mean we can never borrow from it, we can, because there’s some ideas in there that are interesting. But just because we did do it doesn’t mean inherently we will do it again.

And players all the time, I mean it’s very common like on my blog, where people are like, “Why can’t you do Thing X? Red can do Thing X. It did it in Planar Chaos.” And I’m like, “That’s Planar Chaos, guys, that’s not the go-to defense of…” I mean, Time Spiral block in general is not the go-to of what we can and can’t do. Time Spiral brought back old things that we no longer do, the alternate reality did things that we could do but don’t do, Future Sight had stuff that maybe we’ll do but we don’t do.

But anyway, I mean the thing I enjoy about the set… the thing I most enjoy about Planar Chaos is, I do like the experimentation that went into it. I do like the thought process. Like, in some ways I joke that Time Spiral block is more of an art house movie. It’s not necessarily for the masses. Because each one of them is really about making you think. And not everybody gets what we’re doing.

Like, Planar Chaos to me is a fascinating set if you really understand the color pie. Because it really says to you, “Hey, here’s all these choices that were made. But you know, they could have been different choices.” Much like time travel. The North won the war, but what if the South had won? Or what if Kennedy wasn’t shot? Or whatever. Each one of those, like “Oh, the world works a certain way, but change a few things and all of a sudden the world’s a bit different from what you know.”

And I like showing that you could make a Magic that’s true to the philosophy of the colors, but radically different from where Magic is today. I thought that was very eye-opening, and I enjoyed that. I enjoyed that aspect of it.

On the downside, A. we changed static Magic forever. Which like I said, not really our concern, but I recognized that it’s a cost that came with it. Also, we caused some confusion. I think we were messing around something that’s a little above a lot of people’s heads.

And plus the other thing is, “Hey. It’s a Magic card. Green doesn’t do it. Yeah it does, here you go!” And it’s hard to argue that green doesn’t do something when we made a card that does it. Even though what we were saying is, we’re shifting Magic in a certain direction for a certain period of time, it still did it.

The other big downside was that if you didn’t—a lot of what made the set work, a lot of the novelty of the set was this knowledge of Magic. And like the reason I think that Time Spiral block did poorly among lesser-experienced players, was Time Spiral made all these references to cards you’ve never played. And loaded up the set with like a billion mechanics, more than you could track. Because you don’t know them. They’re new to you.

Then came Planar Chaos. And Planar Chaos is like, “Get it? Get it? Get it?” And if you don’t understand that it’s going, “Get it?” you’re like, “What? Get what? Huh? What?” And if you don’t know any better, like all of a sudden things are not in colors they’re supposed to be, but you don’t know they’re not supposed to be, so you’re learning the game wrong. It just—I mean, I think Planar Chaos forever kind of just took some beginners and scrambled their brains. [NLH—Hey, that’s me!]

And the other thing about it was, I mean the one mechanic we added in was… what did we add in? The first set had flashback. What I wanted was I wanted each set to have a mechanic that played into the time theme. So the first set had flashback. Because the idea of, “Oh, flashback, the past.” The second set we had vanishing. It used to be called fading.

Real quickly, so what happened was, fading made a lot of sense. I liked the idea of you got it now but it goes away. Like, the idea that it’s about the present because it’s not going to be here for long, so enjoy it now. I thought that made sense in the present set. Scry, by the way, was the one we used for the future set. I’ll get to that when I’m on my Future Sight podcast.

But the problem was, fading had this problem where we had set it up originally, it didn’t go away until the turn after. Like, if you couldn’t remove a counter from it, it went away. But what we found was it’s completely non-intuitive. Why does it stick around for a turn after the last counter’s removed? And that just threw everybody. So like, okay. If we’re going to do it, let’s update it. We’ll call it vanishing, we’ll change the name, it’s the exact same mechanic but I just—we have to get it so people will play it correctly. 

And I believed that vanishing had potential in the future, so like let’s fix it. As it turns out, mechanics that are all downside are not super popular. So I’m not sure if vanishing will come back. It might one day. It’s actually a pretty awesome mechanic. I think if we found a good place to use it. I’ll bet you it comes back one day.

But anyway, we put vanishing in. I mean, we renamed fading, called it vanishing. That was the one kind of new thing. (???) random other new mechanics showed up, but that was the one that represented the present.

But anyway, other than that, the set’s identity was so much about understanding the context that I think a lot of people didn’t get it. That a lot of people were like, “It’s just a random set with random cards! I don’t understand.”

And the timeshifted sheet—oh, the interesting thing about the timeshifted sheet, by the way, was I actually—if I could close my eyes and blink, I really liked the card treatments in the alt frame. It was kind of a cross between the old card frames and the new card frames, and I liked it. I liked how (???). I mean, Future Sight would go a little crazy and we’ll talk about that. But I actually like the Planar Chaos frames a lot. I thought they were really cool. If I could like blink and change Magic, Magic might have those frames. I really liked those frames quite a bit. They just have a nice texture… I don't know. I liked them. I was a big fan. I was one of the persons that worked hard to make them. In fact, all three frames I had to go back and forth with the people who do layouts to try to get the frames, and I really liked the Planar Chaos frames.

So like I said, it’s a little art house film. I see the people that appreciate what we were trying to do, really do love the set. If you like messing with the color pie and all that experimentation, like we’ve never done a set like it. And we probably never will again. So it is the one set that does this thing.

But like I said, if you didn’t appreciate that, it’s a hard set to sort of wrap your brain around. I’m proud of it. I think we did a lot of fun things. I like the thought experiment we did. And it was fascinating as a color pie person to be able to go in and redo the color pie. Like I learned a lot about the color pie kind of taking part in rebuilding it, which I think helped me a lot as a designer, and just as a color pie guru.

But anyway, I have just parked. So I need to wrap this up. Like I said, I’m not unhappy we did Planar Chaos. I think it was a neat idea, I think it was a neat experiment. I do like a lot of what it did. I do believe that it caused lots of problems, and that if I had to rank sets that have kind of to the day causes problems, it’s up there.

It really changed expectations, it really made people believe things that wasn’t where we were planning to go. I mean, to do this day it becomes this set for precedence for things that it’s not supposed to be. But anyway, it was fun. It was the closest we ever came to doing purple. And it was exciting.

Oh, one last story. Real quick, real quick, because I did forget this story. So I had the idea of doing black Wrath of God. Very excited about black Wrath of God. And I got signoff from Development, because black should kill things, so I felt like it made a lot of sense in black. Damnation, obviously.

And I was very gung-ho with the idea of leading with—that’s the card we lead with. And we came up with the idea of what we called the “Day Zero” preview. Where you came to the site, and I think it showed you the art for Wrath of God. And then it turned into Damnation. And then it became the card. That might be my favorite Day Zero preview we’ve ever done. And just the visceral impact. Like one of the reasons I was excited to get Damnation in the set was, I had that image in my mind, and like I said it really started off things pretty cool.

So anyway. Little extra little story there. Thanks for joining me today. And it’s time to go make the Magic.