I’m pulling out of my driveway! We all know what that means!
It’s time for another Drive to Work.
Okay. So today is another one of my series! So today I’m
going to revisit a series I’m calling Ten Things Every Game Needs. So I had
done a—started with a speech I gave my daughter’s fifth grade class, which
turned into
an article, which turned into a
podcast, which has now turned into a series of podcasts!
So in my speech/article/podcast, I talk about ten things
that every game needs. I’m now doing ten individual podcasts where I talk about
each one of those things by itself. So the first one in the series was all
about a goal or goals. So the second one is rules. So today I’m going to talk
about why a game needs rules, and what rules do for a game.
Okay. So to start, last time I talked about needing a goal.
So the first thing you have to say is, what are your players trying to do? How
do you win the game? What’s the point of the game? The next thing you need is
you start to make rules.
So let me explain what that means exactly, and why they’re
so important. So what rules are, is it tells players what they can and can’t
do. And the reason is, when I talk about the point of games, the idea of a game
is something that creates—allows you to have a mental challenge. And part of
having a challenge is, games by their nature need to have obstacles in them.
So I talked about this a bit in my article, I think on the
podcast too, about how normally when you design something, what you’re trying
to do is make it as obvious and as simple as possible. An example I always use
is, you’re designing a lamp.
Well, what do you want a lamp to do? Well, normally you want
the lamp—you want to understand very simply how to use the lamp. How do I turn
it on? How do I turn it off? If I need to move it, how do I move it? Everything
about it needs to be as simple as possible. That good design is elegant and
obvious.
But games are a little bit different. The point of a game is
to create the challenge. So part of creating the challenge is, you the person
making the game have to build obstacles in. If the goal is to do Thing A, and
Thing A is simple to do, then there’s no challenge there.
So one of the reasons the rules exist is that you’re trying
to create obstacles. Rules help you make obstacles. So for example, let’s say
the goal is “Go do A.” Well, what you want to think of when you’re writing your
rules are, what are the simplest and easiest ways you would accomplish that?
And then make rules that prevent you from doing that.
That the rules are designed to create the challenge. To make
the obstacles. So the very first thing rules want to do is make sure that your
goal is not easy. Because the point of a game, and a puzzle, is to make sure
that your goal is hard to get. That the fun of a game is overcoming the
obstacles to get to the goal.
Now, be aware, there’s a couple different types of
obstacles. But really I’ll boil down to there’s two major types of obstacles.
Obstacle one is the game, obstacle two are the other players. So when you
create your rules, you are doing both.
So obstacles for the game means, to win the game players
have to do Thing X. So the rules might say, “Oh, well you can’t…” Like for
example, there’s a game called Taboo.
So the game of Taboo is, here’s a word. You have to get your players to say a
word. You can say anything you want to get your players to say this word. You
can talk, and they’ve got to say the word. Oh wait, oh wait a minute, there is
one small thing. There are five words you can’t say.
Now, those five words aren’t any five words. They’re the
five words that are the most obvious words you’d want to use. Right? So Taboo,
right off the bat, says, “Okay, we’re giving you a challenge, but then we’re
going to make it hard by taking away the very things you would go to first.”
So if I’m trying to describe Elvis, and it doesn’t let
me say “singer” or… I don't know, “Presley,” or “country,” or “song,” or
“music,” it gets harder to go, “Oh, well how do I get there?” And that’s the
key of a game is that they’re trying to create the obstacles in there.
Scattergories,
for example. I’m going to give you some party games today. So Scattergories is
a game where you have categories, and you have to find things in categories.
But it gives you the letters you have to use. So it might say, “Okay, think of
animals,” but then you get the letter N. Well, thinking of animals in a vacuum
is not hard. Thinking of animals starting with N? A little trickier. Turns out
there’s not a lot of animals that start with N. Nightingale, narwhal. There’s a
few.
Okay. So number one is, your game is creating obstacles for
the game to get in the way of the players. That’s number one. The second thing
is, it is creating obstacles by usually pitting the players against each other.
Now, there are cooperative
games. But a traditional game, there’s one winner. I’m talking about that
today. There are plenty of cooperational games.
So there are games in which the teams are all working
together, like… there are definitely games in which it’s you,
the players, vs. the game, and that would be more of the first category,
where the game creates the obstacles.
In a lot of games, though, there is the other players. And
the reason the other players are a good obstacle is a couple things. Number
one, which is part of the fun of playing a game is having interesting
obstacles. Well, other players create very interesting obstacles. You as a game
designer, you can build things in, but you’re not going to come up with some of
the things that the players will come up with.
Especially because the players usually know each other and
have some dynamic, and that part of the fun of a game is social interaction. I
did not list social interaction as one of the ten things every game needs, but
it is one of the things that every game, through the things I’ve already
listed, one of the things we’re trying to create is social interaction. I mean,
games are about mental challenge, but they also are about interacting with
other people. I mean, obviously not solitaire
games. But most games aren’t solitaire.
So making the other players obstacles does a bunch of
things. One, it creates more challenges that the game designer doesn’t have to
distinctively make. Two, it also makes a lot of interesting dynamics, which is
if you and I both want the same thing, oh, well now I have to sort of think
about what you’re going to do.
And trying to outthink other players is very, very
interesting. When a game designer makes a game, there is only so many things
that they can do to sort of provide
obstacles. Having that extra layer, having other players means that you have to
sort of fight the elements of the game, which the game designer did, but also
the other players that can come up with stuff that the game designer won’t.
A very—so the most common way to do this is, if you have a
singular winner, and there’s a singular goal, and only one person can win, then
the other players become obstacles because they want to do the thing before you
do the thing.
So for example, I’ll use—so Diplomacy.
Or Risk,
really. Where you have a map and you’re trying to get control of
certain—certain areas are valuable, and if you can get control of them you up
the strength of your army, if you will.
And so the game is about conflict, where you’re fighting other
people to try to get control of that. So in this kind of game, what’s
interesting is, I have to interact with other players to figure out how to
maneuver this, and the game designer can create a board that allows interesting
dynamics, but then the players get to add on top of that… for example, the way
Diplomacy works is, you have to talk with other people and try to—there’s a lot
of—in order for me to do what I need to do, I need other people to help me and
support me. And there’s a lot of tradeoffs. And so Diplomacy’s all about,
“Okay, I will help you here if you help me there.”
But there’s a lot—a thing about Diplomacy is sometimes, you
have to betray somebody. Or you do something where you change alliances
because you realize the alliance you
have isn’t going to get you as far as a different alliance.
And all of that, all the interaction and stuff, I mean
Diplomacy built into it means to make people have to do this kind of
interaction. But still, there’s also great fun in the interaction. Like, one of
the things I noticed is, when you play a game, and we’ll get to strategy later
on in this series. But one of the fun things is, as you play, you start to
learn new and different ways to handle things.
And so the nice thing about having people as one of your
obstacles is, people will learn, and that means the game will stay with the
player. The game sort of increases in difficulty level as the players increase
because it has other players learning along with them.
Okay. So that’s the number one thing. Rules will provide
obstacles, and obstacles are crucial to any game. The other thing that’s really
important, or there’s a bunch of things, is rules create structure. So one of
the things that is very important is, structure is a very important part of games.
That what you’re trying to do is create a system. And if the system is too
chaotic, then it breaks down. If players could just do anything they want, then
it starts to become problematic, because where are the lines drawn?
I have definitely played some games that played fast and
loose with the rules, and the problem you run into with gamers is, they assume
that if you don’t say you can’t do it, then you can do it, and all of a sudden there’s things that get
very meta in the game.
There’s things in which the game designer assumed no one
could ever change that, so they don’t state it. And the… game players are… one
of the things you’ll learn, I like to joke that the game players are the Borg. So
the Borg on the show Star Trek, Star Trek the Next Generation, were this alien
race that whenever you threw a weapon at them, they learned from it. And then
the next time you tried to use that weapon, it was immune to it because they’d
figured out how to counteract it.
And so I joke that the game players are kind of like the Borg. Like,
whatever trick you throw at them, they’re going to learn from it. You can’t use
the same thing twice. And that Magic
is always bending over backwards trying to figure out new ways to sort of throw
things at the players that they don’t expect. Because stuff we’ve done before,
they do expect.
So one of the things that rules do that’s very, very
important is you need to create a sense of structure for your audience. That
you need to let them know what they can and can’t do. And sort of connected to
this is boundaries. So create structure, so it allows you to know what you can
do within the context, and it creates a boundary that tells you what’s out of
bounds.
And that is very important, because game players—there is no
out of bounds for a game player. That game players will like, I need to do
this, okay. And you need to tell them what they can’t do. So one of the things
that’s really important when creating rules is it’s just as important to define
what they can’t do as what they can do. Because if you tell them what they can
do, and assume that it will imply what they can’t do, players will take it very
literally.
Rules, for example—since rules are a sort of mental challenge,
a game player says, “Okay. I will follow the rules to the letter of the law.
But anything the rules allow that they don’t expressly forbid are within the
context.
And so as a designer—on some level, so one of the things that’s very interesting, by the way, when you make rules, is you kind of have to put on a lawyer hat. You kind of have to act like a lawyer. Because your players will try—you need to be crystal clear and letter perfect in what you are trying to say, because the players will work under your rules to try to figure out what they can and can’t do. And if you’re not explicit, they will take advantage of loopholes. They will definitively take advantage of loopholes.
And so one of the things I always say is, when you think you
understand your game, you have your rules, write the rules down. And then what
you need to do is show it to somebody who doesn’t know your game. And then,
after they read the rules, without any guidance from you—in fact, probably you
don’t even want to be in the room. One of the things we often do when we’re
testing out games is we do—we put them behind a two-way mirror. It’s what’s
called “focus testing.”
For example, some of the times we’ll put the game in a room,
have two new players that have never played before, and nothing else. Nothing.
The game. They have the rules as written in the game. No other person to help
them. And see what they can do.
And people go astray really, really easily. In fact,
rule-writing is insanely hard. And so what I recommend is, once you think you
have your rules, get a person that doesn’t know your game. What I would
recommend is, giving them the rules, and then getting some questions. But first
let them look at the rules. Put your questions in like a little envelope or
something. And say, okay. Read the rules. Once you think you understand the
rules, answer these questions.
And then see how they answer the questions. You will be
quite surprised. The other thing like we do in focus testing also is you can
give them the instructions and just let them start playing. And see what they
do. That also is very, very valuable. But just let them start playing. How do
they think the game works when reading the rules.
Rules are insanely, insanely hard, and you need to have the
rules early, and you need to work on them. Just as you need to iterate the
game, you need to iterate your rules. And one of the things that’s very—so one
of the things I’ll often talk to new designers is, okay.
You want to understand rules, so let’s start by not even making
your own game. Let’s take an existing game. The game I always recommend is Tic-Tac-Toe. Let’s take
Tic-Tac-Toe and write out the rules for Tic-Tac-Toe. Write them all. And then,
what you’ve got to do is you’ve got to look back at them and see, did you
really list everything?
And what I find is, as a good experiment, when I have people
write the rules to Tic-Tac-Toe, usually when I look at them, they leave things
out. They don’t have all of them. That they don’t assume corner cases or they
don’t answer things like something as simple as who goes first. That there’s
lots of questions that—and Tic-Tac-Toe is a simple game. That is not a complex
game. But when you write out Tic-Tac-Toe, you will realize how many rules you
have to write. That even a game as simple as Tic-Tac-Toe has a lot of rules,
and that it is a lot more complex than you think.
Rule-writing is the kind of skill that will take you a
lifetime to master. It’s that hard. But I do say if you’re trying to make a
game, write the rules down, write it often. And so once again, make sure you
declare what your boundaries are, what is off-limits for the game. And then,
make sure that the rule are properly structuring your game.
One of the things I recommend when writing rules is to have
a turn sequence. It’s to let players know—well, what you want to do is you want
to bite-size your rules, which says, the game has an increment. It’s usually a
turn, it may not be a turn. Your game has an increment. For that increment,
explain exactly to the players what happens each time during the run of the
increment. Usually it’s a turn.
But it’s sort of like, okay, beginning of the turn, this
happens. And then this happens. And that what players really need is, they need
a schedule. They need an outline. They need something that says, okay, when
you’re playing, and it is very, very handy to give the player something visual
that breaks down what they need to do.
Figure out the most important things you need. Not
everything, but the most important things. And give them a nice strong visual
so they can see, okay. On a normal turn, or whatever the increment is, I do the
following things in the following order.
Okay, next. Rules also set expectations. So one of the
things about rules is, when you first start teaching somebody a game, the very
first thing you teach them, I talked about this last time, is the goal. What’s
the point of the game? The second thing you teach them are the rules.
Notice when I first put this speech together, I put these
things in order for a reason. It’s not in order of importance, but it’s in
order of explaining what things are happening. And they are done in a more
specific order to explain things. So when you talk to someone about a game, the
very first thing is you’ll tell them the goal, what’s the point of the game.
But the thing that follows that is, I’m now going to outline the rules.
So the way I like to talk about rules is, there are broad
rules and narrow rules. So the way to think of it is, make a little triangle if
you will. And at the broad end is “you cannot play the game.” If you don’t know
this rule, you cannot play this game. This rule is essential for this game. Then
on the bottom end, the narrow end is, this will only happen in certain corner
cases. But in this corner case, you need to know this rule.
So in Magic, it’s
very clear that a basic rule might be how to cast a spell. Well, you need to
know that before you can ever possibly play. But a narrow rule might be what
happens in the interaction between two specific cards. Well, it can come up,
those two cards can be played, but unless those two cards come up in the same
game interacting with each other, that’s not going to happen.
So one other thing you want to do with your rules is you
want to write your rules from the broadest rules to the narrowest rules. And
that when you explain to people, as a general rule of thumb, there’s some
exceptions here, you want to start with your broadest rules first. You want to
explain to them what they have to know.
And here’s another important thing, which is that you want
to have in your rules a quick version of the rules. You want to have a
breakdown. And what the quick version is, is only the [broad] stuff. You want
to learn how to play, here’s—essentially what I normally say to players is,
here’s the quick rules. Which implies to the audience, it doesn’t explain
everything, but it explains enough for you to start playing. And here are the
full rules that explain everything.
The reason that you don’t want people to read the full rules
usually is, there’s just a lot of narrow things they don’t need to know. And
having to know things that might not come up for fifty games before they can
play the first game just makes it harder to learn. So quick rules are really,
really important. And quick rules are just your [broadest] rules.
I do find a good practice to write your rules from the
widest to the narrowest. To understand really what your audience needs to know.
You also will find that a lot of those, they’re connective. In that the widest
rules tend to link together, and that there’s a process where you get down to
the narrow rules.
One of the things, by the way, that’s very, very important
about rules, I say this about Magic
all the time, which is, it is not important by the end of your first game that
your players understand everything. They need to understand enough to be able
to play again. I will repeat that, because that is very important. It is not
crucial, when you finish your first game, that your players know everything.
What they need to know at the end of the first game is enough to play the
second game.
It is okay in your game if players come across something
they’ve never come across before, and they have to figure out what to do. You
need to provide the resources for them to figure that out, but don’t be afraid
of that. If you make your players have to understand every rule before they can
play, it will overwhelm them, and a lot of players will stop.
Now, there are definitely people that like to read the whole
rulebook before they start. I’m not saying there aren’t players that want to do
that. But a lot of players, it’s like, “Tell me what I need to know.” And
that’s another very good thing about the spy method of game teaching. Need to
know. Which is, only tell the players the things that at that moment they need
to know.
You’re teaching a game—I mean, this is true in rules, this
is true when you’re teaching a game, is assume your players are going—the
reason I do the widest to the narrowest and the reason I have you go in order
is, when you write rules, assume at any moment your players could stop reading
the rules and start playing.
Because that is what happens. I’ve done a lot of focus
testing. The average player does not get through the whole rules. They read
enough rules until they think they get the gist of it, and then they start to
play. So put your important rules first. Put your widest rules first, so the
players see them. And then the narrow rules can come later.
Because what will happen is, they’ll read a little bit, get
the gist of it, start to play, and when they get in trouble, that’s when they
go back to the rules to figure out what’s going on. They do not read all the
rules first. Because most people do not. So it’s very, very important to
understand that.
Now remember that the rules are the introduction to the
game. When people are trying to learn, it’s the starting point for learning.
And that’s important to realize. That you can’t assume before your players read
the rules that they’ve read anything. Don’t assume they’ve read the box, don’t
assume they’ve talked to people that already played, don’t assume they’ve
looked at the pieces. Assume nothing.
But—and then one of the things, by the way, that’s very
important to do in your rules early on, very early on, is to find the pieces of
your game. Because the players want to look at the pieces, and they might look
at the pieces before the rules. I’m just saying you can’t assume they do. But
what you want to do very early on is to find what’s in the box, assuming it’s a
game in a box. If it’s an online game, video games are different in that they
can hide pieces. That it’s hard to hide in a game that’s in a box.
In a box, I’ve got to give you all the pieces. You’re going
to see the pieces. So what I want to do in a game that you’re getting, a
physical game, is very early, I define the pieces, so you can go, “These are
the things, move on.” Because if you don’t tell the players what they are, what’s
in the box, they want to start figuring them out. If you say to them, “Here’s
the things you have,” and you name them, and say, “Okay, now let’s start
talking,” they’ll go, “Okay, you’ll explain to me as I get along. As I get
there, you’ll explain to me.”
Video games, one of the huge legs up video games have on
rules is, video games can do tutorials in a way that paper games cannot. Which
is, they can hide the pieces in the box. They have a computer that can help
teach people. They can have you do levels that are doing nothing but teaching
you components of how to play.
So video games are very, very different. A lot of the—what
I’m saying today about rules is true for video games, you need these rules. As
far as how you teach them to other players and how it’s presented is very, very
different. I’m talking a little more paper games.
There’s a whole talk on how video games function and how you
teach people video games, which is important. Not my area of expertise. So I’m
going to talk about paper games. A lot of what I’m saying applies. But the way
it’s handled is a little bit different.
But anyway, my point is, it’s always important to remember
that your rules start as the starting point for most players.
So it’s like—early in your rules, another thing you want to
do very early, and you don’t spend a lot of time, make sure you spend just a
little bit of time giving context to what you’re trying to do. I’ll later talk
about why flavor is so important. But this is where flavor links with rules. If
the players get the gist of what’s going on, and the game has spent a lot of
time and energy making that flavor work, use the flavor to your benefit.
For example, Magic
is a game of people dueling with magic. You are summoning creatures. You’re
getting sorceries. You’re doing things the average player might get a general
gist of, “Oh, I see.” And if you can explain to them—like flying is a good
example in Magic. Where a creature
that flies.
Well, once I explain to you the rules of flying, really what
I’m saying is, “You know, flying. If this flies, this creature that doesn’t fly
can’t block it.” And your audience will go, “Oh, right, okay, this flies.” Like
all of a sudden, you’ve taken something that could be complex and simplifies
it, because the flavor simplifies it. And I’ll get to flavor in a different
podcast. When you’re using your rules, make sure your flavor is aiding you,
that you’re using your flavor in the rules to explain them.
Okay. The other thing that the rules do is they help create
a relationship between the different players. Because one of the things that
happens when you start playing the game is, assuming there’s more than one
player, which most games have more than one player, is like, what’s the context
here? Are we all on equal footing? Are we all trying to do the same thing? Are
some of us trying to do one
thing and some of us trying to do other? Are we working together? What exactly
is the parameter and relationship between the players? The rules have to
establish that, and usually do a good job of saying, “Here’s the role we have.”
The most common role is we are fighting over a task that one
of us need to accomplish. Now, by the way, there are some games in which everybody
but one person wins. There are some games obviously where one person wins.
There are some
games in which you’re working together where you all win or you all lose. The
rules have to help define that. And it’s important for the rules to—players
want to know the parameters of who they are and how they interact with other
players. So it’s important that the rules establish that.
Okay. Another thing that rules do is they even the playing
field/provide opportunities for handicaps. So let me explain. What you want is
that when players come, you want to make sure that the players feel as if they
have an equal chance to other players. That there’s a fairness that’s supposed
to come with the rules. There’s certain expectations that players bring to a
game. There’s certain things that come from other games.
Like one of the things I talked a lot about when I studied
movies is, my teacher explained to us that over the years, movies have created shorthand.
And that current movies get to use—not even get to use, have to use the
shorthands that came before them. To a certain extent. That when you do
something, viewers have learned to expect something. That when you cut from one
place to another place, that means something. And that wasn’t always true, but
a film did it, other films built upon it, and it created this language of film.
Games are similar. There’s a language of games. So one of
the things that is assumed when you start a game is that every player has equal
footing. Now, that doesn’t mean that has to be true, but if it’s not, your game
up-front has to make sure players understand that.
Netrunner
was a game created by Richard Garfield, in which each player—there’s two
players, and they played different
sides. Now, the different sides means they have different roles. And that you
have to define that. And there are other
games in which different people are playing different roles. It’s key,
though, the rules need to define that because people walking into it have
expectation that everyone’s playing on equal footing.
Now, on the flip side, the other thing the rules do or rules
should do is be a tool by which if things aren’t equal, that you can help
handicap. So one of the things that is an important part of the game is, that
you the game [designer], if you believe that all your players are of equal
footing skill-wise, and don’t give your game any ability to adjust, you will
make it harder for different skill levels to play each other.
Now, good game players will often handicap themselves and
such. But it is nice if your game allows the chance for you to do that, and the
rules need to be built in such a way usually—handicap is not something you have
to talk about early, that comes much, much later in the rules. But it’s nice if
you build into your game within the rules means by which if there’s a
differential between the skill level of your players, that the game can handle
that.
Now, there are ways the players will externally do that.
Especially in a team game when you get to pick teams, they can pick teams to
balance on what they think is fair. So a weaker player might be paired with a
stronger player. But it is important, in your rules, that you provide that
ability.
The other thing that rules do, this is my last big point of
the day, is that rules allow connection between the games. So one of the things
to remember is, much like when I talked about the movies, that when I go and
see a movie, every other movie somebody has played has added to the vocabulary
of what movies can and can’t do.
That is true of games as well. That one of the things about
rules is, that you are not building upon nothing. That you are building upon a
known thing. So one of the trends that’s very common right now is, taking
something that’s a known thing and using that as a component of your game. My
example for this one will be King
of Tokyo. It’s a game designed by Richard Garfield. And one of the key
dynamics in the game is a die-rolling thing that for all intents and purposes
makes use of the dynamic of Yahtzee.
So Yahtzee, for those that don’t know, is a dice-rolling
game, you have five dice, and the way it works is you get to roll the five dice
once. You may then pick up any number of dice you want. The ones you like, you
don’t—Yahtzee is six dice, not five dice.
[NLH—False.] You may reroll any number of dice that you want. And then you
may do that a second time. So you basically reroll the ones you choose to reroll,
reroll a second time.
Richard made use of that. So he made use of the Yahtzee
rolling. Now, his game does lots of other things. It’s not remotely Yahtzee.
What the dice mean are completely different than what the dice mean—they’re not
even traditional dice. They have pictures on the sides and they mean things in
the game.
But by doing that, he allowed people to leapfrog in their
understanding of the game. Magic for
example does something similar, which is we have a lot of stuff built into the
game, so when we’re teaching you a new expansion, we make sure that we make use
of things you understand when we’re doing it.
There’s a lot of structure built into Magic to do that. How we template, for example, is a good example
where how we write how rules work—if you understand how the rules work in one
case, you can understand how they work in another case. Because we use similar
language. “Whenever” means something. Things have a consistency. And once you
learn our language, and the game has things, it allows you then to learn other
things quicker. So make sure that when you’re building your rules, you
understand other games and other shorthand that people have built up through
the language of games that they made.
So by the way, one of the things people always ask me is, if
you want to become a game designer, what do you need to do? And the first thing
I always say is, how do you become a good writer? You read. How do you become a
good designer? You play.
And what I’m talking about here is a big part of it. You
need to understand the vocabulary of games to be a game designer. Because other
people will tackle things that you are looking at, and understanding how they
solve the problem is very valuable. And understanding the expectation of the
audience. What they expect.
If something is a popular game, that means that the way you
do of something might differ a little bit, to piggyback on—so piggybacking,
by the way, I did a whole article on this, is what Richard was doing.
Piggybacking is taking a known quantity that people understand and working on
it. Sometimes you piggyback on flavor, sometimes you piggyback on mechanics,
but it’s saying, hey, the audience comes in with expectations, and you work with
those expectations.
So one of the reasons game playing is so important for game design
is that you are piggybacking a lot of your things you’re doing based on the
expectation of the audience knowing other games. And so that is a very
important tool as a game designer that you can make use of.
Anyway… how are we doing today? Not too bad. It was starting
to rain when I first left, and I always when it’s raining… or not worry, for
you guys rain is good. It means a longer podcast. But anyway, today I was just
trying to explain to you the value and the use of the rules. Of how you make
rules, and what rules do for your game.
So next time—well, this is an ongoing series, so you will
from time to time, but I’ve got more coming, so I hope you guys are enjoying
the series. I didn’t know when I first started whether I could dig deep enough
in each of the ten. And I did experiment with goals and it worked, and rules is
working well. So I think this is going to be a fun series.
Anyway, thank you guys. I have now parked in my parking
space, so we all know what that means, it means it’s the end of my drive to work.
And I have to be making Magic. So I’ll
talk to you guys next time.
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