Magic: The Gathering Drive to Work Podcast - #1238: Top 20 Worst Mechanics, Part 2

Episode Date: May 2, 2025

This podcast is part two of three on my series about the 20 worst mechanics of all time, based on my talk at last year's MagicCon: Las Vegas.

I'm pulling out of my driveway. We all know what that means. It's time for their drive to work Okay, so last time I started talking about the top 20 worst mechanics based on a speech I gave at Magiccon Las Vegas 2024 so last time I got through the first seven So we're up to number 13 for six and things I've rubbed a number of 13. I believe So last time it was stickers Megamorph, companion, Haunt, Annihilator, Devoid, Partner and today we get to number 13, Miracle. So Miracle was a mechanic in Abyssin Restore. The idea of Miracle is when you draw a miracle, the turn you draw it, it has a special miracle cost that you could cast it for less.

So the idea is you can cast it for less the turn you draw it. So the interesting story here is, this goes way back, when I was working on my very first set that I led, Tempest, Richard Garfield and I were playing around the idea of draw triggers. So imagine having a card that does damage to somebody and it's very efficient, but it does damage to me when I draw it. And so the idea, it could be a positive, maybe you gain life when you draw it. The idea is it just, the act of drawing it triggers and does something.

And we thought that was really cool. There were a lot of fun designs. The problem was if it was a digital game would be fine. The computer could track it. But okay, I draw this thing. How does my opponent know I drew it? How do they know? And it's like, and the worst is, let's say it's bad for me. Let's say it's one of these direct damage spells where it damages me and I'm at two life and it is two damage to me. Now, if I'm an honest player, I go, Oh, I guess I lost the game. But a slightly less scrupulous player might just go, Oh, I'll just hide this information. I won't cast

it because if I cast it, they'll know I have it, but I just will never cast it and they'll never know. Um, and one of the things about making mechanics is you have to like, you have to assume that people won't always be honest about things. You want to make sure that there's, you know, we don't want to make a system where honest people play it fairly and then dishonest people just cheat with it because there's no way to monitor it. And we tried a bunch of things. We tried a version where it was voluntary, whether you showed it. So it was only upside and not downside. But anyway, we abandoned it. We ended up doing other things. And from time to time we get a new designer in the building and they go, oh, draw triggers and they would try to draw triggers. So anyway, this was Brian Tinsman's

turn to do draw triggers, but he found a way to do it. So the way he did it was it cared about the turn you drew it. Now the problem, this is why it's on the list is in order for you to show that what I need to do is I need to draw the top card, look at it without it yet being in my hand, and then I can say to my opponent, you see, I picked the card, I haven't put it in my hand yet, I can now reveal it to you, and you know that it's off the top of my library because I haven't yet put it in my hand, right? But what that meant was in order to play this card, you had to sort of change how you drew from the deck. And it gets even worse than that.

Let's say for example, you're not even playing with miracles in your deck, but you don't want your opponent to know you're not playing with miracles. So there's this incentive to draw that way, even if you don't care about the mechanic. And it was, once again, I talked a lot about logistics, like right, it's not the mechanic in a vacuum. I think if this was a only online mechanic,

it's not that bad. It's a cool mechanic. I actually like the mechanic. I think there's nothing wrong with draw triggers from a pure gameplay standpoint. It's interesting. There's deck building. I mean, there's neat things to it. The problem is that there's no way to monitor it. and the way to make it work in this case is at least doable, unlike some stuff Richard and I were doing. Oh, Richard and I did toy with that idea for a while of just changing the back of the car so they had a different back because this is before sleeves or before opaque sleeves. Anyway, so that is why it's on my list. Not because it's not inherently a fun mechanic, not because people might not enjoy it.

There's the classic Pro Tour where Miracle saved the day. I mean, there's fun things that can happen with it. The thing that's bad about it and the lesson here is that you have to think about the impact on the rest of the game of your mechanics. And that if the mechanic does something as big as makes you change how you physically handle the cards, you really have to be wary of that. Like, what kind of gain are we getting? And the idea that you might make people have to draw differently even if in their deck

they're not even playing the mechanic really speaks volumes to some of the trouble of it. So that was the miracle mechanic and why it's on my list at number 13. Number 12, Forecast. So this was in dissension. So Forecast was inspired by an unglued card of all things. So in unglued, I made a card, what was the name of the card? It was Infernal Spawn of Evil. So the idea was there was an artist named Ron Spencer that was drawing art for a card that was like a mean something mean.

And he drew this cute little mouse drinking cocoa as a joke as like descendant for a sketch just to ha ha and then here's my real sketch. I liked that sketch, so I decided that it would be fun to make a card, you know, get Ron Spencer to actually draw that picture, not to sketch it. And so the idea was, I loved the flavor of it, like playing into what he was doing. It's the cruelest creature you'd ever imagine,

except it looks like a little tiny mouse, dripping, sipping cocoa. And so I wanted it to be really powerful. So I made this really expensive card, and when it came out it was really scary. But I wanted it to do something. I didn't want it like, oh, you know, every once in a blue moon we have lots of mana, you can cast it. So I gave it an ability, and once again this is an unset, where you could pay mana, you

could show it to your opponent, you had to say, it's coming, and the idea was just knowing that it was out there, knowing that one day it would come was so scary, it made them lose life. That was the flavor. So anyway, I thought about that. So we were trying to do Azorius. This was in dissension. We wanted to get the Azorius mechanic.

And I liked the idea of mechanics that worked in the hand. That was the idea. Oh, imagine you have cards that had an ability that you could activate in your hand hand and they did a small ability. The idea was the forecastability was something small and then when you cast the card it did something bigger but that was synergistic with what you were doing with the forecastability. So basically what we ended up finding out was A the design space is narrow like I have to have a small effect that didn't

work so well with the big effect when I cast the card. It also had a lot of other issues like it's hard to interact with cards in hand. The only color really that can interact with it is black because black has discard. I mean blue and has a little bit of counter and activation but we don't do a lot of that so it was hard to interact with there wasn't a lot of of counter and activation, but we don't do a lot of that. So it was hard to interact with, there wasn't a lot of design space, and it ended up being just a little bit clunkier. I think there are, it's just one of those things that's like, sometimes you come up with an idea, and an execution, sorry, in concept it's a really cool idea, but in execution it is not. Another classic example this might

be like suspend, where the idea of spending time for like, oh instead of spending mana I'm spending time. That is a really cool concept. The problem is it like takes four lines of text to explain what it is and there's a lot of bookkeeping and there's just a lot you have to do. And so one of the things you have to be careful about when making it is thinking about the practicality of it. Not just the concept of it. I think forecast is cool in concept, but it's just not that cool in actual practice.

Okay, next up, initiative number 11. So initiative first showed up, or showed up, in Commander of Legends Battle for Baldur's Gate. So there had previously been a Dungeon Dragon set, Adventures of the Gone Realm, where you can go to a dungeon, venture into a dungeon. There are three different dungeons. And so the idea for this set was they decided

they were gonna make sort of an extension of that. So the idea of initiative is you went into a particular dungeon, and then the idea was you would advance in a dungeon you're already in, if you weren't in a dungeon you go in this particular dungeon and this particular dungeon made sense with Battle for Baldur's Gate and stuff like that. Anyway, so here's the interesting thing about this mechanic. The mechanic for its intended use is fine. It was made for commander play and here's the fun thing and I don't think it's getting abused in commander plays the best of my Knowledge the problem is that when we make magic cards other formats get to use it and it turns out that initiative Just gives you too much value in a place where you can take advantage of it in a way that you can't really in a commander Game and so it turns out that in

formats like vintage And so it turns out that in formats like vintage, so, and this is one of the challenges. And one of the harder things is when we make cards for Magic, we make cards for Magic and do whatever you want to do with them. And so this is a good example of we made a mechanic for one place that ended up being broken in another place. That it turns out when you have access to sort of more resources and you can get there faster and you can do things to get through the dungeon faster, it just gives you a lot of kind of free resources in a way that when we were testing it for Commander didn't come up.

Commander is not as fast. Like there's just a lot of component pieces why it wouldn't matter in Commander, but it would matter in something like Vintage. And that's one of the things to be careful of is We made and the funny thing is it didn't see a lot of playing commander meaning the format It was meant to go in it didn't have much impact and then a format It was not at all it has a lot of impact and so that's one of the problems with that and one of the signs of this is

You have to be careful where and how your mechanics can be used and one of the lessons so the initiative lesson is we have to keep an eye on all the major formats because making something for one format but ignoring its impact in other formats you have to be careful and initiative is a really good example of something that's causing problem in a place that was not at all designed for. Okay, that's number 11 initiative. Okay, number 10 is Cleave. So this is from Crimson Vow. So Cleave, there was text on the card and if you pay the Cleave cost,

you cleave the text from the card. It no longer has the text. And the idea is it would do cards that like, you know, destroy all black creatures, but then you could cleave off the word black and destroy all creatures, stuff like that, or destroy a creature with, you know, some restriction, but then you can cleave off the restriction. So where cleave came from was, it actually came from Streets of Nuka Pena of all places. So we were trying to figure out, there are five clans in Streets of Nuka Pena of all places. So we were trying to figure out, there are five clans in streets of Nuka Pena.

There are three color arc clans, charred clans. And we were trying to figure out something, which one we were trying to figure out for? I think it was the maestros, I think. But anyway, they were very clever. They're the, all of the different clans are based on different sort of criminal tropes from pop culture. And the smart criminals, they execute very elaborate crimes and they think everything through.

So the idea of having a mechanic that was very clever and kind of very meta, like they're messing with the very cards that they're using, felt kind of cool. I believe Ari Ne came up with this mechanic Anyway, crimson bow to the crimson bow came out before Shusha Nuka better They were looking for mechanics and so they stumbled across this mechanic and they said could we take this mechanic? We're like, okay we you know, we've time to come up with other mechanics and I don't even know whether or not we'd use cleave in the set but And I'm not so cleave has a couple issues

number one, I think it's a little backwards and how it functions with meaning I pay extra mana and I get rid of text is Normally if you say I'm going to make the spell better You'd think getting rid of text makes it worse that the idea that I'm getting rid of text and that improves the card is a little bit intuitively hard to wrap your brain around. You know, the idea that I'm chopping, it didn't do a great job of sort of getting the right feel. And then also the separate problem that I'm not sure why Cleve was in Crimson Vow. Like the reason we had it in Shreve's New Cappenta was it represents like this cool meta smart clever thing but that really wasn't what the vampire wedding said that wasn't what was going on so

it kind of fed out of place I think the execution of it was a little unintuitive in the nature of how it worked and it was very hard to wrap your brain around to understand like what's going on like if I cast a cleave card and I paid the cleave cost I'm like okay so now you do the spell but you don't have these things and you're like okay And it was very hard to wrap your brain around to understand like what's going on. Like if I cast a cleave card and I paid the cleave cost, I'm like, okay, so now you do the spell, but you don't have these texts. Like it was really hard to understand what was happening. Um, and I'm not sure. I mean, it's a, there's a number of factors here.

I think it was a little too clever for its own good that I mean, I, I understand, I understand the it's definitely a mechanic that's kind of novel in that oh what am I doing I'm removing text from the car like there's something really clever about that that's fun and the reason we were excited when we first saw it is there's a novelty to it there's something that's really different but a couple things one is whenever you have novelty use it in the right place novelty for the sake of novelty like maybe there's a set where something like Cleave

makes sense. Crimson Bow was not that set. So first and foremost, I don't think you should be in Crimson Bow. Second, I think there needs to be a certain intuition to the card that people sort of grok what's going on. They understand what's going on. And there's something about the way

that Cleave works that's just hard to wrap your mind around. I talked about Haunt last time, stickiness there's a little bit lack of stickiness here and a little bit of just it's not quite intuitively doing what you want. There is something weird about I hack away text and then the card gets better because I hack away text that feels little counterintuitive to you know to that. So I'm not sure I mean I do think there's some kernel of a cool idea. I don't think the current execution is right. And I don't think Crimson Bow was the right set for it. So Cleave is number 10. Okay, next number nine. Okay, so this was my catchall. I called unmemorable.

I use multiple examples. I used cohort, cons Conspire, Pack Tactics, Reinforce, and Support. And the idea was I was using mechanics that just made people go, what was that mechanic again? And one of the harder things I realize now is I just wrote them down in front of me. Like all the other ones, I wrote down the name of the mechanic and just remind myself what sentence it's from.

And I didn't write that down. And just off the bat, by the way, just a little side note of how hard it is. Like, okay, Conspire I know was in shadow more it had to do with popping spells when you tap two creatures that share a color with the spell and pack tactics was the only ability word in adventures and forgotten realm that it was full of flavor words and cared about you tack with certain power creature reinforce wasn't morning tide and you could discard cards kind of like cycling, but instead

of drawing a card, you can get plus one plus one counters. Support was the thing that added plus one plus one counters to things, but originally right before we were going to hand it off, it was also going to put on planeswalker counters, but we removed it for, I don't even remember why we removed it. So these are abilities that like it's hard. You have to dredge up and remember where the ability comes from. So my point here was, we make a lot of cards in Magic, a lot of abilities in Magic, a lot of mechanics in Magic.

And some of them are very flavorful. You know, cycling and kicker and flashback and landfall. And we make a lot of exciting mechanics. They do really cool, memorable things. But sometimes we make a mechanic and it's like, ah, ah, and so this was kind of my catch all. None of these felt worthy enough of being a whole category because they were just,

it wasn't even that they're bad mechanics. It's just, they just didn't hit the bar that people could bother to remember them, which really is a sign that mechanic isn't doing the work it needs to do. And different mechanics, like supports a good mechanic where it kind of, at the last minute was changed and we probably should have just D key worded it. Like reinforce, I don't think reinforce, I think we made bad designs for reinforce, maybe

reinforce is something, but once again, trading in your card for other cards is more universally useful than trading in for plus one plus one counters. Maybe in the right set. So anyway, the point of this whole category is, hey, we make a lot of mechanics. Some of the mechanics, the great crime mechanic is, eh. It just didn't do anything that really

caught attention to itself. It didn't break new ground. It just didn't do anything that really caught attention to itself. It didn't break new ground. It didn't inspire. It's not, like I said, it's not even memorable. And that is pretty telling. When I name a mechanic, you're like, what did I do again? And you can't remember what it did.

That is a sign that it is, that the mechanic on some level was not functioning as best it can. We make a lot of mechanics now that everybody needs to remember every mechanic. I get that But I guess I just what happened was the reason that I just kind of a head up is I was making a list and I Had a bunch of cards that were kind of unmemorable and none of them wanted to make a slot because I'm like what am I going To say about it. It's like yeah, what did this and you know, and I finally decided that

That it was okay for one thing to sort of collect a bunch of things just to sort of make the point and really what the point I was making is that hey sometimes you just don't reach the bar you just make something like is that worth it and oftentimes it's just not worth it okay up next at number eight epic so epic was what's that was Epic was in Sages of Kamigawa. I think it started because Brian Tinsman was trying to figure out a way to make legendary spells is how it started. So magic has had since legends, we've had legendary creatures and legendary lands.

We've had legendary permanent. So I think legendary lands and legendary creatures, although they were creature type legend at the time, legendary but those were introduced in legends we later got you know legendary artifacts and enchantments and we really at the time hadn't done spells but I want to make a legendary instant or sorcery what would that mean that that was his inspiration so what it ended up coming with was actually I think they ended up being enchantments. I think. But anyway, what Epic says is, Epic says you can't cast spells for the rest of the game. Oh, sorry. First it says every turn do this effect.

Every turn you get this effect. That sounds pretty cool. But then you keep reading the card and then it says you can't cast any other spells ever. Like, wait, wait, wait, what? I like that I get the spell of return, that's cool, but I can't cast any other spells ever. Like, wait, wait, wait, what? I like that I get the spell return, that's cool, but I can't cast spells ever again? Like that is quite the downside. And one of the lessons of magic,

which is an important lesson is, I think a lot of magic, we worry too much about this thing. We go, oh no, it might be a problem. And we kind of self-censor ourselves and we put on restrictions that in the end, we don't need. Like there are restrictions that are the end we don't need. Like there are restrictions that are less onerous than you can never cast a spell again

for the rest of the game. Like even if you limit it to one per turn, I mean there's things you can do that actually mean something, you know, and Epic is interesting in that it had the most, one of the most exciting lines it's actually a read. You get to do this every turn for free. For free, every turn you get to do this. That's very exciting. Followed by one of the most like horrible texts.

And the lesson really there is, hey, can we salvage the really awesome text without having the really horrible text? Maybe, maybe, maybe we don't need the horrible text. And there's a lot of magic in design. Early magic is really interesting. When you look at a lot of like the up keeps and stuff, a lot of early design like early magic is really interesting We look a lot of like the up keeps and stuff a lot of really magic like here's a giant creature But you'll never play it because the upkeep isn't you know?

like even stuff like Lord of the pit or force of nature which were a Little more on the better side early magic is just it is onerous to do that and eventually we said okay Let's stop. Let's stop doing all these other. I mean we do them every once in a rare moon But let's let's stop it with it Here's a giant creature and this you have to do crazy things to keep it around which aren't worth it Oh You want to attack with this serpent sack three islands what? And so this this is my sort of example or my the reason I picked epic is It's not that it didn't have my aspirations. It's not that it didn't do cool things. It's not that it didn't have aspirations it's not that it didn't do

cool things it's not that there wasn't something really lovable about it but I think the thing I said so there's an expression I like which says if you put a thimble you put a thimble full of wine into a barrel full of sewage you get sewage and if you put a thimble full sewage into a barrel full of sewage you get sewage and if you put a thimble full of sewage into a barrel full of wine you get sewage and the idea essentially there is a little bit of bad really muddies all the good you can have a car that's so much good and so much exciting stuff it doesn't take a lot of bad just a little bit of bad to make that really exciting card not exciting anymore And so that really this really is the lesson of you know

Be careful like if you're trying to make something exciting Well back hold back like you know and also a lot of times what we found when we play test stuff things Sometimes things you think that are crazy overpowered aren't and so what we've learned now is, hey, play the crazy version first. See how it plays. If it's too much, we'll pull back, but don't assume you have to pull back. Let's try the unfiltered version first to see how it plays.

Because sometimes it's fun and it's not as onerous as you think. And all of a sudden, you know, in the olden times you would have put a negative on it and make people never play it and you didn't even need the negative. Okay. That is epic. Next, fateful hour. Put a negative on it makes people never play it and you didn't even need the negative Okay That is epic

Next fateful hour So fateful hour was from dark ascension Okay, so the story line of original innistrad block is we come to innistrad we meet the monsters There are vampires werewolves zombies and spirits and they are running havoc on the land and the poor humans are terrified things are going bad for them Well Dark Ascension that the the idea is things get even worse The humans are on the last because obviously the third the third set for those that don't remember is Avacyn restored Liliana through means is gonna release Avacyn mostly to get a crystal brand but Avacyn gets released and because Avacyn gets released she comes and the other angel saved the day so it's sort of the third act is like the humans are saved

so in order to make like we want the story to be as exciting as possible the humans have been jeopardy well they already started in jeopardy in Indostrad but they we have to get them to the brink like the leader of their people, not member, leader of their people, Macias gets turned into a zombie. And so the idea is it's looking bleak. So I wanted to capture the bleakness of the people. And so the idea of the mechanic of Faithful Hour was that when you got to five or less life,

these spells got more powerful. So they did a normal thing, but they did a more powerful thing if you're late at life. So the problem this ended up being is just a point in the game where I'm at five life but not dead is a very narrow point. Mostly because as the game progresses your things rise Then most of the time if I'm at five life my opponent is going to hit me and kill me in one turn I'm not gonna be plinked to four then plinked to three That's not usually what happens at the end of the game

So first and foremost I picked us a total that just the window for it happening was way way too small And I mean there's a little bit of maybe you want to get your own life down but that's just so dangerous. So anyway I made something that just from a practicality standpoint just didn't get much use. There wasn't a lot of time where you're at five or less life. The other thing was like one of the big lessons of that set was I spent so much time like capturing how Hobbit was from the humans.

And Tom Lappili, who was the head developer of Dark Ascension, said to me, hey, shouldn't we play up the positive here? Like, yeah, yeah, yeah, the humans are in trouble, but you know who's having a great time? The monsters. And part of magic is don't you want to tap into the fun part? Well, Dark Ascension wasn't about the plight of the humans, it was about the ruling of the monsters.

Monsters are living big and living large and having a great time. And wouldn't it be fun to be a monster? And that inspired me to make the Undying Mechanics. So anyway, lesson there first off is, I'm not sure how much we need to make mechanics that show people suffering necessarily, that's not necessary to do that

But even then even if we're trying to make something it was kind of made the ideal originally was a catch-up feature Like okay If I'm really low this spell that maybe I play early in the game becomes all more powerful and the idea behind it was oh We'll put it on the kind of spells that can help you catch up and that was the but in practicality It both didn't come up enough. So it wasn't practical and it's just kind of a depressing mechanic It's like oh we're dying. Oh, it's the we're dying mechanic. Yeah, it just it doesn't You know, it doesn't spark joy in anybody And so we want to make sure our mechanics are doing that we want to make sure the mechanics are making something that people um

Are excited by and so, uh Faithful Hour just failed on that. Okay next up, number six, DayNight. Okay so DayNight was a mechanic in Midnight Hunt, but it actually originated way back in original Innistrad. So when we were figuring out how to make Werewolves work, we tried a bunch of different mechanics. One thing we tried was something akin to the Day-Night mechanic, but at the same time we also tried Double-Faced cards, because Duel Master was doing Double-Faced. We make another game that's made mostly in Japan called Duel Masters. And Tom Lappili, who was going to be, who was, I'm sorry,

what I just talked about being the head developer of Dark Ascension was on the design team for, for Innistrad. And so he said, hey, here's this cool thing they do in this other game. Maybe we could do it here. Cause we had the ability to print double-sided cards, double-faced cards. And so we tried a bunch of different things.

One of the things we tried was Day-Night. And Day-Night actually played interestingly, but double-faced cards were clearly the winner there. So we abandoned Day-Night for double-faced cards. We did take the essence of what we were doing with the werewolves and sort of make it into a mechanic on the werewolves. So there was a little bit of remnant of what we were doing with Day-Night that we put onto the werewolves and sort of make it into a mechanic on the werewolves. So there was a little bit of remnant of what we were doing with day and night that we put onto the werewolves. So anyway in Midnight Hunt we were trying to sort of do something and the idea was well what if we took the essence of

what the we were doing with werewolves and expand it out? What if night being night was scary not just because of the werewolves becoming werewolves but for other reasons. And like, you know, if we track day and night, just like the kind of you have to do for the werewolves, then what will happen is we can have other cards care about it. We give cards that like only come out at night or stronger at night or things that only come out in the day. We can make a lot of cards without it was very flavorful. I thought it was fine.

And we ended up matching exactly what we did with the werewolves to try to match it exactly. So a couple problems happen. I think the biggest thing is when you make a mechanic, one of the things you have to do with that mechanic is you want to make sure that it works well when you template it, when you make the rules for it. And so a lot of what goes on in later part of design is they put a mechanic through its paces and one of the things you have to do is you have to actually write out the mechanic. How many how many words are on it? And one of the things that happens a lot when you write

out the words is it's very long. So you start asking yourselves, hey do we really need this or do we need that? So for example early on day night actually had something that changed werewolves. It was kind of built into it. Okay well when it comes night, anything that can become a werewolf becomes a werewolf. And when it becomes day, anything that can become a human becomes a human. We kind of built it into day night,

so that it was just, oh, well, you know, the act of night turns things into werewolves. So even if your car didn't say that, it would turn you into werewolves. But it added text, and they're like, well, the werewolves already kind of say that, the old werewolves, so maybe we'll just leave them be but I did go to the rules

manager at the time and I said okay so if we don't make that change could we just errata all the old werewolves so they all work the same and the rules manager said yeah we could do that so it turns out by the time the set would get to the final part of the product a a year later, the rules managers had changed, the rules manager there hadn't promised that to me. Anyway, so, and now that change happened. Also originally we had text that made it go away when there was nothing that cared about it, but that was extra text again, they got added to the card so they took that off. And so the card now can sit around and there's things that like, you sort of have to keep

tracking because maybe if I play a werewolf or something, you know, it needs to come in on its night form. And so like it just made the situation where you were tracking things that often didn't matter and there was inconsistency. And anyway, it's a good example how sometimes that the pure idea is good, but a lot of the executions and the way you have to make the set that a lot of the art of making magic mechanics is finding them down to the cleanest version. And sometimes the cleanest version is problematic unto itself. That sometimes when you make the simplest version of something, it itself causes problems. And that was a problem, I think, with DayNight. Not that DayNight in the Vacuum is bad, there's some cool ideas to it, but just the actual sort of the way it ended up playing out and how we had

to write it on the card it just did a lot of things like I'm not a big fan of inconsistency I'm not a big fan of making you waste your time if it's not going to matter most of the time and day and night can do all that so that is why day and night is number six. Anyway guys we are I'm now at work so I will finish the rest of this next time but as I'm'm at work, we all know what that means, it means the end of my drive to work. So instead of talking magic, it's time for me to be making magic. I'll see you all next time. Bye bye. ...to work, so instead of talking magic, it's time for me to be making magic.

I'll see you all next time. Bye bye.