Magic: The Gathering Drive to Work Podcast - #1250: Exodus

Episode Date: June 13, 2025

In this podcast, I talk all about Exodus (the third expansion of the Tempest block).

I'm pulling out the driveway. We all know what that means. It's time to drive to work. Okay, recently I did a podcast all about Stronghold. So today is about Exodus. This is in my quest to have a podcast about every Magic expansion ever. I'm moving my way. I've been going through all the ones I haven't done yet. But anyway, I did Tempest. My very first podcast ever was Tempest. But it's taken me a while to do Stronghold and Exodus. I did Stronghold. Today I'm doing Exodus.

So Exodus is a small set, 143 cards, 55 commons, 44 uncommons, 44 rares. It's the third set in the Tempest block. The design was led by Mike Elliott. The design team was Mike, Bill, Rose, and myself. And the development team led by William Jocish was the five Magic R&D people at the time. William, Mike, Bill, Henry Stern, and me. This is back when Magic Design was small enough that there were five of us, and we were every development team. Anyway, so if you remember from Exodus, the Tempest story

basically boiled down to Cisse, the captain of the Weatherlight, has been kidnapped, along with Takara, who's the daughter of Stark, because he was showing them how to get there, how to get to Wrath. Anyway, they have to go rescue him. So in Tempest, they arrive in Wrath, which is an artificial plane created by we-don't-know-who. They get attacked by the Predator, which is another flying ship run by Grevenel Vak, who is the right-hand man of Volrath. Volrath being the main bad guy. During that, Jorah gets knocked overboard, apparently killed, but he's

actually not killed. He is saved. And then they end up taking all the legacy including Karn who's part of a legacy. Tangarth jumps aboard the predator ship, ends up getting captured. So now they have to rescue Sisay and Takara and Karn and Tangarth. A lot of people to rescue. So they travel there, they meet the elves. Eladamri is the head of the elves there's a master plan where they will break into the stronghold and then open up the gate to allow the attacking army of elves to attack that's the master plan. So the end of the tempestory is that the death pits of wrath and the furnace of wrath and fight the slivers and anyway they end up getting to the stronghold so the second set stronghold is at Volro stronghold and they break in um uh the one of the big events

is they meet the angel selenia which is a long story but uh she's trying to kill um krovacs uh mary uh stops mary uh jumps in the way gets injured instead of Krovax, and Krovax has to kill Selenia. That finishes his curse, and he is turned into a vampire. When we built the Weatherlight crew, we wanted to have all the different colors represented. We wanted to have the color black represented, and we thought it would be cool to have a vampire on the ship, but we're like, well, they just let a vampire on the ship. So the idea was he didn't start as a vampire, but he became a vampire with the ship but we're like well they just let a vampire on the ship so the idea was he didn't start as a vampire but he became a vampire with the plan. Obviously the Kurnit crew has a

vampire on the ship but anyway so what happened was they basically freed the people they needed to free and there's a sweet scene between Khan and the sliver queen anyway They they're trying to escape so the story of Exodus. It's the Exodus. It's believing So basically what happened is when the ship gets attacked by the predator the device that lets them travel through the plains gets injured So they don't have a means to escape from wrath but there's a gate a Planar gate that they can use And it is being there's a sultari emissary named Lena who's overseeing it They drop off or tied and or tie is supposed to convince Lena to open up the gate

So that that that is going on while they're in the stronghold or ties not with them in the stronghold So anyway, they managed to get back to the ship So the ending of stronghold is they get back to their ship And they're about to leave when a series of events happens that gets us into Exodus basically Greven and Ovec shows up. Gerard and Greven and Ovek get into a fight. Also, Mirri, Krovak leaves the ship. Mirri follows Krovak, although she's injured, but she is curious. It's on curiosity. And there ends up being a fight between Mary and Krovac, where Krovac is trying to kill Mary.

Also, Ertai has communicated with Lena, the Sotari emissary, and what he says is, Hey guys, I got the gate open, but you can only have it open for so long. You need to hurry, otherwise we're going to miss our opportunity to get out of wrath. Oh, the other thing that happened in Stronghold is they learn the plans that this is actually an invasion plan by the Phyrexians and that there's a larger, they understand the larger thing at play that the Phyrexians want to invade Dominaria. Okay, so from behind the scenes, I'm starting with the story, we'll get to the mechanics in a sec, the reason I'm starting with the story is to me the major behind the scenes story of

Exodus has to do with the story. So Michael, Ryan and I, as I explained during our Tempest and Stronghold podcast, we had pitched the idea of an ongoing story, the Weatherlight Saga. We pitched it to Rick Aarons who's the head of the Magic Brand manager at the time. He was very excited. So excited that he wanted to start right away. So the preamble was actually done in weather light and then the story starts in earnest in Tempest. So Michael and I were the representatives. I was still in R&D but I was like the representative and Michael was brought

over to the creative team and then we created a whole new creative team full of all sorts of people to do our first real world building. Wrath was built by a group of artists that did actual internal world building. Magic now does it all the time. This was sort of the beginning of us actually. Like, if you go back to really early Magic,

they would just ask the artist to draw things, but there was no necessary cohesiveness to it. That how one person looked versus another. Nowadays we build worlds and like this is what the world looks like, these are different people, and this is what the different characters of the world look like, and what the different species of the world look like, and here's the clothing and the weapons, and there's a lot done to really unify things so it feels like one cohesive world. Early magic was a little less cohesive. Each individual artist was sort of drawing their own thing. And we'd have connective tissue like,

oh, it's sort of Nordic or it has an African feel or whatever. But it wasn't like we do now, we really have world building. And the first real world we built was Wrath. So what happens is, Michael and I are in charge of the story and they make a creative team. They bring a creative team to do all this big lifting and design the character looks and do the world building and all the stuff that you

guys take for granted now as part of what the creative team does, but at the time wasn't something they necessarily did. So there was, I'm not going to get into names or anything, I will suffice to say there was some tension between an individual on the creative team and Michael and myself. And that person did not agree with a lot of choices that Michael and I were making about the story. So as I explained last time, we were using Joseph Campbell as our structure. We were doing the hero, uh, the, the, uh, myth of the epic hero,

I believe is the story. Joseph Campbell, for those that don't know, believes that there are certain stories that humans keep telling because they're to the core of our experience. One of which is the myth of the epic hero. Um, star wars is the myth of the epic hero. Star Wars is the myth of the epic hero. Moses. There's a lot of stories where the idea is a character who doesn't know sort of how special they are.

Who just seem to be living a mundane life. Turns out to be really important in ways they didn't realize and they have to step up. Anyway, there's a whole, Michael and I very much followed the mold of that. And we were very careful. We wanted all the crew for example we put together the Weather Lake crew we wanted to embody all the different aspects of magic we wanted to hit the different colors of magic we wanted to hit a lot of different iconic elements of magic so we spent a lot of time sort of crafting it and building our story this particular person did not share our vision. For example, they didn't like

cat warriors, for example. There were some things that we did that they just disagreed with and as time went on, the tension grew and it finally got to a point where it was clear that Michael and I or this other person, we couldn't coexist. It just was getting too hard. And so we went to the brand manager, which was Rick, and said, OK, look, one of these two things has to go. And Rick chose not Michael and I, he chose the other person to stay. So Michael and I left the story.

So Exodus is the point at which we left. So basically what was supposed to happen is, so in our version of the story, Mirri is injured and Korvax turns into a vampire, but they don't fight to the death. That isn't something that was in our version. Mirri being injured ends up being a big part of our version of the Roketi story. The storyline did end up going Roketi and going back to Dominaria, but once you get beyond wrath it really really starts deviating from our story. There's little tiny components but mostly the Tempest block story is mostly our story and then the rest of the story really isn't our story. For example, while we did

tie into the old story by having Hannah be the son of Barron and Urtai's students learning Kat, we did a little bit of tying into the old story but Urza was not part of our story. That was added later. The idea that this was all master plan of Urza, that was not Michael and my doing. So anyway, in our version of the story, Mirri is not injured, I'm talking about Mirri is injured, but Mirri does not die, because she died. In the version of the Exodus, what happens is Korvax ends up killing Mirri.

And we made a big pitch at the time, we're like, look, if you're going to have Korvax fight Mirri, at least let Gerard save Mirri, right? Because the setting, like I said, the story is Jirard is fighting Brevin, Mirri is fighting Krovax, and Urtau is saying hey if we don't leave we're in trouble. So what we said is look if you really have to have Krovax fighting Mirri, which is not what we wanted, but at least Jirard has to like look stop fighting Brevin,, it'll come back to haunt you, whatever, fine, it's a good story. Go save your best friend, you know, and then, you know, you'll be delayed getting to the gate. But that means, so, and what happens in the story,

which was part of our story, is they end up using what's called the Wind Shaper, which is this legacy artifact that produces wind, and it gets them to the gate on time just before it closes, but in our version of the story, they crash land on the other side, that they're going too fast. And yes, they manage to escape. Now, in our version, they do strand Ur-Tai behind, as they do in the actual story. I did a whole podcast on the alternate version of the story. I did a whole podcast on the alternate version of the story. Basically our version involved them going to Rokadia. When they get back to Dominaria there's a time jump. Urtaï shows up as an old man. That's our

version story. Anyway in our version, Mirri stays on the ship but injured. Krovac stays on the ship but now Vampire. They have to deal with that. We were trying to... we wanted all the different colors of magic, but in the story that we... Not our version. Miria gets killed. The one green character on the Weatherlight crew killed. Krovox is the one black character. He ends up going to...

He leaves. Urtaigh gets stranded. So we have nothing but red and white characters left on the ship. So Gerard is white. Orim is white. Hannah is like maybe white and blue. And we have Tungoth is red, Sissy is white, Squee is red. So we have a lot of white and red. I used a little tiny bit of blue and Hannah.

No black, no green um so anyway uh the way the story plays out there Krobeck kills Mary, Mary dies, Krobeck leaves and goes off and he sort of becomes evil. In our version he didn't I mean he was a vampire but he wasn't evil um so anyway Michael and I sort of leave in the middle of this that that there's a behind the scenes to me, that's my big memory of Exodus. It's really the breakup where Michael and I stopped doing the story. Anyway, I've now talked about that for probably more than I need to. Let's move on to the making of the set. Okay, so Exodus is the third set in the block. And what that means is, back in the day, when we back in the early blocks, we would have two named mechanics. And Mirage was flanking and phasing. And Urza Saga, it was

Echo and Cycling. So our two were Byback and Shadow. So Byback we had done in the first set. In the first set in Tempest, it's only generic mana costs. Then in Stronghold we try colored mana costs, and we want cards that doesn't have mana costs. And then really it's in this set, in Exodus, that we start exploring other costs other than mana. We have paying life, we have discarding cards, we have sacking lands. The idea that there's ways and things you can buy back that just don't cost mana, cost them other resource. There are six new shadow cards.

There were, I think, 12 in the original Tempest, three in Stronghold, and six more. They definitely do some things that help, like one of them is equal to the size of your shadow creatures and stuff. So just more things to kind size of your shadow features and stuff, so just more things to build your shadow deck. Some card by card innovation, but nothing, no larger scale innovation like with Buyback. There are no new slivers, but there are two new elicits. And then the new things in the set is,

we have some more spikes that we introduced. There's one spike in Tempest and we did a bunch of them in Toronto. There's a few more in the set. The two things we did that were brand new is we did two cycles. The oath cycle and the keeper cycle. So oath of leges in white. Oh, so the way it worked was the oaths were if you were down on some resource, you got access to that resource. Oath of legions was if you were down on lands.

Scholars if you were down on cards in hand. Oath of ghouls is you were down on creatures in graveyard. Oath of mages if you had less light. Oath of druids if you had less creatures. Oath of druids would be the standout card, ended up getting banned and restricted in different formats. Basically, if you're down on creatures, you get to go get a creature out of your library, quite powerful. Oath of ghouls, which lets you get stuff into your grave,

is also a powerful card, not quite as good as oath of druids the worst was oath of mages There's a big ongoing theme for a while that we make cycles and red would have the worst run the cycle Which oath of mages continued the keepers cost two colored mana of the respective color they were one two creatures with that color tap and They allowed you to do something basically like blue cared about card So you could draw a card if you had less cards your opponent stuff like that So the oath and the keepers were new

New you know something new to the set back then when we weren't adding new keywords We would do things like add new cycles. That was a common thing we would do. So with the Oaths and the Keepers were added here. Probably though, the thing that Exodus is most remembered for is there were a bunch of very powerful cards, a bunch of which got banned or restricted. So I'm gonna walk through some of the very powerful cards that were in Exodus. Obviously, I already talked about Oath of Druids.

That was one in a green. If you had enchantment, if you have less creatures than your opponent, I think it's beginning of upkeep, then you're allowed to go get a creature out of your deck and put it, I believe, on the battlefield, I believe. It was very good. OK, but that's not it. There were some more powerful cards.

Survival of the Fittest. So Survival of the Fittest was one in a green enchantment. You could spend a green mana, discard a creature from your hand, to go to get a creature from your library and put it into your hand. So it allowed you to turn one creature into another creature. So you could tutor for creatures, which was very powerful. So interestingly, I'm going to talk about four cards here. So Survival of the Fiddits, three of the four of them I made. I think Survival of the Fiddits came from, I really was enamored, there was a card called Transmute Artifact that allowed you to take an artifact and play and then turn it into another

artifact in your library except you paid the difference in Manakai. I would fix that card in, I'm not sure if fix is the right word, I would make it cleaner and way more broken and tinker. I would do that in Ursa Psyga. But we'll get to that in Ursa Psyga. But Survival of the Fittest was playing similar space. I really like engine cards. You can see here all my broken cards. A lot of them are engine cards. What we mean by that is an engine card lets you turn one resource into another resource. So the idea, I could turn any card in my hand to any card in my library. It's not any creature in my hand, creature card, to any creature card in my library,

which is very powerful. Next was Mind Over matter also one of my cards two blue blue blue blue so six mana total four which is blue it's an enchantment you can discard a card to tap or untap any permanent. That ended up being crazy good probably the most useful thing of it is it allows you to untap your land, meaning it allows you to turn cards in hand into mana. And then you can use that mana to get more cards into hand. And so it creates some fun loops. Obviously it sits mana for blue, so it was costed to be like, well, you know, but it turns out in the right deck it's just so powerful that you still played it.

So mind never matter is it just led you to do a lot of things. And on top of it, we also made a bunch of lands that tap for more than one mana. Obviously there's a saga, we make the most broken one, which is Tullian Academy, that tapped for blue equals number of artifacts you had. So the idea that you could tap, like you could tap for lots of mana, in fact enough mana to cast Mind Over Manor, and then discard a card to untap Flannery and Academy to get six more blue mana or whatever. Okay next up Limited Resources, it's the one I did make of these four. Limited Resources was an enchantment for one white mana and it said each player chooses five lands, oh sorry, it's a, yeah it's in German. Each player, when it enters, each player chooses five lands and then has

to sac all the rest of the lands. And then if there's ten or more lands on the battlefield, nobody can play lands. It's what we call a lockout card. We've stopped doing these mostly. The idea that we just stop you from playing mana. There's a real famous card called land equilibrium that would shut people out. Anyway, cards that don't let you play mana usually aren't great cards. This was one of those. It's just very powerful. It allows you essentially to shut down mana production. And if your deck is made to deal with it, like you have a lot of artifact sources, it

can be really powerful. Okay, and the final of the broken cards. Sorry. These are the four that I think all got restricted and or banned. There's some other cards that are very powerful that I'll get to as well. Recurring Nightmare. So, in Legends was a card called Hell's Caretaker that I really, really, really liked. It was a creature that you could stack a creature you had to go reanimate a creature out of the graveyard. A kind of survival of fitness. It turns one creature on the battlefield into a creature. It trades a creature in the battlefield for a creature in your graveyard. But probably what you're

training is not so good a creature for a very good creature. This one was an enchantment and to keep you from doing it once a turn or to limit you is it would bounce it when you used it. So it's two and a black and then you had to sacrifice a creature and then you would bounce this enchantment and reanimate a creature. The funny thing is bouncing the enchantment which we meant to be a drawback to limit how often you could do it ended up being very powerful because if your opponent tried to get rid of it, and as long as you had a creature in play, you could stack a creature to bounce it to keep it from being destroyed.

So it was very hard to get rid of, and its ability is to constantly get your creatures back, you know, to take your worst creature on the battlefield to get your best creature in your graveyard. There were a lot of shenanigans, so Recurring Nightmare was... Maybe one day I will do a podcast on, here's the card I liked, here's the fixed version I did that was way more powerful. There's an era of time where I did a lot of that. Okay, let's talk about some other cards that I made.

Oh, I'm sorry. Some of them I made. These are cards in the next edition. I made some of them, but I did not make all of them. Although, the next series. I made some of them, but I didn't make all of them. Although the next one I did make. Coat of arms, five mana for an artifact. Each creature gets plus one plus one for every other creature that shares a creature type with it. So, this, so we're talking, this is Tempest Block.

It is not until Onslaught Block that I convinced the powers to be to really push typal as a theme But I really really liked it and I recognized there are players that really liked it so Kota arms was my my love letter to the typal fans saying look I The reality is we only put type of cards up so often we do a lot more now than we used to But we were we did them but they were slow They came out slowly and we tended to, but we did them but they were slow, they came out slowly. And we tended to do them for the most popular creature type.

So let's say you wanted to play something that was a little less popular. It was hard to get a Lord or something that you could build a deck around. So I made Coda Arms just for you. Coda Arms was like, look, just play a lot of the same creature. Doesn't matter what it is,

just play a lot of the same creature and Coda Arms will make them good. So it kind of was made as a sort of a lord for whatever creature type you wanted. Next, City of Traders. The City of Traders was the land. It tapped for two colorless mana, but you sacrifice if you played another land. In the early days, we dabbled a lot with lands that tapped for more than one mana. Obviously, Teleran Academy coming up in Ser of Succinctum, and there's ones coming up in Ursa Saiga that are even more broken, but City of Traders still is over the line.

We really have come to realize that tapping for more than one mana really is not ideal, even with drawbacks. And this drawback mostly like just played this last but anyway it was a good land 732 mana is very good. Next up okay back to cards I made. Hatred. So hatred is three black black it's an instant pay X life and then your creature gets plus X plus zero to end your turn. So the idea of this card the reason it was so good and this might have been ban restricting somewhere. My memory is it was. I didn't have it in my list of things that got ban restricted, but I think it was. So hatred allowed you to turn a

resource in your life into creature power, but it was a resource that could end games. And one of the powerful things from this block was shadow creatures shadow creatures were unblockable So shadow I didn't explain shadow So buyback was a mechanic where you could pay extra mana and the card stayed in your hand rather than go to the discard pile Shadow was an evasion ability that said Creatures with shadow can only be blocked by creatures with shadow kind of like flying except flying can block non-flyer be blocked by creatures with shadow. Kind of like flying except flying can block non-flyers. Shadow can only block shadow, can't block non-shadow. But if I had an aggressive deck and shadow creatures were on the aggressive side, if I had an aggressive deck with shadow it was hard

for you. All I needed to do to win with hatred is have more life than you. And so now given I had to get to five mana to cast the hatred, but if I'm playing a shadow deck where I'm just being more aggressive than you, I tend to be ahead of you. And the hatred, but if I'm playing a shadow deck where I'm just being more aggressive than you, I tend to be ahead of you and if you're not playing shadow, I have a creature you can't block. And so shadow plus hatred is very powerful. Not the only powerful thing. I think there was also a zombie deck that used hatred. Zombies, there was another very aggressive, I put Sarcomancy in Tempest and that also led to a very powerful zombie deck. Anyway, I made some powerful cards.

Next up, No Brute. So No Brute was an artifact that costs four and for three and tap you discard your hand to counter a non-creature spell. So there's a bunch of things going on. First and foremost, one of the things we decided early magic, we messed around with lots of colors, artifacts, for all sorts of effects. We later realized that we really didn't want counter spells being in every deck. Given this is a restrictive counter spell and obviously you have to discard your hand. So it's not that a particularly great counter spell, but we kind of decided we just didn't want

counterspell. Like really counterspells are mostly in blue, we did a little bit in white and red, do a little bit of redirecting and stuff, but we want to be careful. Counterspells are a very polarizing thing. We do think there's players that enjoy them, we do think it can be fun, but we want to make sure that they're not in too many decks and that there's a lot of people that really dislike counterspells, so we want to sort of keep them in their lane if you will. Now the interesting story about No-Brooch is originally it was not No-

Brooch, it was Jeweled-Brooch. The reason that's important is, people might remember, there is a card in Tempest called Jeweled-Idle and there's a card in Tempest called Jeweled Idol. And there's a card in Stronghold called Jeweled Ring. Originally, my plan was, so each Jeweled Idol and Jeweled Ring, you can do things to give them to your opponent, and then there's some ramifications of it. The way this worked originally was, I made three cards, what we call a mega cycle.

I put one in each set, and the idea was, if I get all three and play at one time I can give them to my opponent and if all three are together the way it would trigger is it basically would win me the game. So I had to get the idea is get all jinx items in play, get all jinx items to your opponent and if you manage to do that, then you will win the game. R&D decided last minute they didn't want to do that and even though we made the first two they changed this. So this card was supposed to be a different card and it got changed. So

anyway, the thing that's most interesting to me is that, stop me at the second one, like if you're gonna make, I don't know, if I'm going to make three and you're not going to do all three, well just let me make one or zero.'t let me make two now given the way the two were made It's not clear that they were a combo. I don't know if people realize they were missing a third piece They are people realize that I built it. So it was a win condition if you got all three together. So Anyway, that's no bridge Spikes spikes cannibal. So spiked Cannibal was the only black spike. So remember, spikes... I originally made spikes during Tempest Design.

We ended up pushing them back to Stronghold, except we left one spike, the one mana spike. We left one spike as a teaser in Tempest. Then the rest of the spikes showed up here, and then we made some more spikes in Exodus. I think Spike's Feeder... I think more spikes in Exodus. I think Spike Feeder, I think was in Exodus, Spike Feeder, so all the spikes what they do is they enter with some number of plus one plus one counters, then for two mana you can move the plus one plus one counters to another creature. The nice thing about the spikes is all the spikes have the ability to move them so that if you move them to another

spike you still can move them around. So spikes can sort of move them around amongst themselves. But you were allowed to move them to any creature, just they got unlocked when they moved them to a non-spike. And then there were means, like SpikeFeeder, where you also could trade in the counters for some resource. SpikeFeeder traded in for life. For life, I don't remember correctly.

So the idea is that I can make creatures bigger and I can get other resources. I can make tokens. Anyway, you can do different things with the spikes. The SpikeCannibal, what it did, it was, I think a single black, no, one black black. It was a zero zero that entered with one plus one plus one counter. Plus, it stole all the counters from all the other spikes. So the idea was it wasn't something to be played with spikes. It was something we played against spikes It was kind of a sideboard card for spikes

So if you're if you're let's say you were playing your friend and they had a spike deck You could play a spike cannibal and eat all their plus and plus encounters. I'm not quite sure why we Back in the day We would sometimes kind of host themes within the set, and we've been a little bit better about that. We like to have answers. Obviously, we want you to have answers for themes, but this one is a little mean. It's also the only black Spidey.

Anyway, I'm almost at work here. Tempest, not Tempest, Exodus, there was a lot of very powerful cards in Exodus. That is a lot of the memory of it. Oh, one more card. I'll tell all those stories. I'm in it for a minute. I'm half the office. There was a card in Exodus called Forbid.

So Forbid is a counterspell, but you can discard two cards to buy it back. The idea is it's a counter spell that you can buy back. Now, you've got to discard two cards, so it's not something you can buy back infinitely, but you can buy back a little bit. So when Exodus came out, we were doing something called the Junior Super Series. And that was people under 18 could play in a tournament and then if they won they would win scholarship money. And we held the event usually down in Florida. Anyway, we flew in the PT winners of that year to be special guests for the Junior Super Series kids. So John Finkel had won

his, in New York, I think, his first Pro Tour. And so I was really interested because John was a control player. So I showed him for bid. And I said, what do you think of this? And his first impression was, he goes, oh yeah, I don't think it's very good. And I said, John, I think it's better than you think it is. And then later that year, I was at Nationals. And John Finkel comes up to me on the first day, and he says, OK, you were right. It's way better than I thought it was.

And that's the Nationals that he played for Forbidian, which was a Fidian in Forbid. So it was a control deck, but For but forbid was a major big player in it So I said that was funny But anyway guys Exodus ended up doing well that in general the tempest block did quite well Like I as you remember from me explaining I Had been hired as a developer. I really wanted to be a designer I had been hired as a developer. I really wanted to be a designer

Tempest block was my first chance to be a designer it went really well so much so that I actually moved from being a developer to becoming a designer and Starting from tempest forward. I was on most of the design sets for a while I didn't leave all of them by let some of them and I think I was on Exodus. I was on stronghold that led tempest So it really, Tempest Block was my transition from being a developer to becoming a designer, which was the first on my steps to becoming a head designer. So I have a very fondness for Tempest Block. Exodus will always have a little bit of a stain on it for me just because of the drama with Michael and I.

I'm very proud of our work on the Weatherlight Saga. I wish we could have told the story that Michael and I wrote. Not to the story that got made, there's lots of cool parts of the story that got made, but I will always have a soft spot for our original story. Which by the way, if you wanna hear, I did a podcast where I went through and I talked about our original stories.

If you really wanna hear that, I did make a podcast for that already But anyway guys, I am here at work. So, uh, I hope you enjoyed my jaunt through Exodus A lot of cool stuff in it was a fun set definitely, um Man, it was a long time ago, but uh, I i'm very proud of exodus mechanically um Sorry, it could have been a little uh, I'm very proud Exodus mechanically Sorry, it could have been a little different but I'm very proud of the mechanical There's a lot of cool stuff in a lot of cool cards a lot of cool designs

And I probably made a few broken things, but at least they're memorable cards. I made a lot of memorable cards I'll say that but anyway guys now that I'm at work. We all know that means instead of talking magic It's time for me to make a magic. So, uh, hope you enjoyed my Instead of talking magic it's time for me to make a magic. So, uh, hope you enjoyed my My journey through Exodus today, but it's time for my Exodus to go to work. So now with that I'll talk to you guys next time. Bye. Bye