Magic: The Gathering Drive to Work Podcast - #1258: History of Colorless

Episode Date: July 11, 2025

In this podcast, I walk through the history of how we've used colorless in design.

I'm pulling my driveway. We all know what that means. It's time to drive to work Okay. So today my topic is colorless now. I've had a couple podcasts before in colorless I had been whites who at the time was the counselor of colorless on the council of colors and we talked philosophy of colorless and I did another podcast on how to design for colorless But today is on the history of Colorless and I did another podcast on how to design for Colorless. But today is on the history of Colorless. So we're going to talk through about why we do Colorless, how it came about, and sort of how it's evolved over time.

Um, it's an important tool in our tool belt. Uh, and so today we'll talk all about it. Okay. So Colorless goes all the way back to alpha. So Richard Garfield, umfield was making magic and he knew that one of the things that he wanted to have was powerful artifacts. That you know that met magical items are as ingrained into the history of fantasy as anything and that he knew that he wanted he wanted the players as as

claimswalkers as mighty wizards to have access to these artifacts and the idea he came up with was that it'd be cool if anybody had access to it like a magical item you know if you're learning magic maybe if you learn blue magic cast a blue spell but if I was powerful whatever whatever magical item I have an orb or a sword or some magical thing well anybody could use that right so Richard came up with the idea of what if some what if the artifacts just use generic mana now obviously generic mana had been made already for the game that most cards that cost more than one mana, you know, had some amount of generic mana in them.

A particle sorcerer was two generic mana and a blue. And so generic mana already existed as a concept. In fact, real quickly, a little site, because it's, because of the podcast that I can share like this, when Richard originally did mana costs He actually didn't include generic cost the way it worked originally Well sort of the way it worked originally is there would be a number Followed by some amount of colored mana So if you saw so for example prodigal sorcerer instead of being two generic met two to jerk Two generic mana and one blue mana,

would say three and then have a blue mana. And what that meant is you have to pay three for this, one of which had to be blue. That was very confusing to people, and so they ended up with a system of, okay, I'll tell you how much colored mana you have to cast, and then I'll tell you how much colorless mana you have to cast. And so that's sort of where generic mana came from.

So in early Magic, basically every card type other than, we'll get to land in a second, other than land and artifacts was colored. Instance and sorceries and interrupts in the beginning were colored. Artifacts, I'm sorry, Enchantments and creatures were colored. No planeswalkers yet. So everything else was colored. But artifacts were defined by their colorlessness. Richard had made a decision early on that how you define

color is look to the mana value of the card. Like if it costs red mana to cast the card, well, it's a red card. Like if it costs red mana to cast the card, well, it's a red card. And because artifacts didn't have a color in them, OK, we have to define them. What are they? Whether colorless. Now, regular readers of my blog will know.

This comes up all the time. Colorless is not the sixth color. Colorless is not a color. Colorless is the the sixth color. Colorless is not a color. Colorless is the absence of color. The line I use all the time, people who read my blog, is barefoot is not a shoe, not a type of shoe. The idea is barefoot means I have no shoes on, not that it's a kind of shoe. Colorless means you have no color.

So there isn't a particular philosophy. It's just a lack of something. And so while we do, and you can listen to my podcast with Ben where we talk about how we handle colorless and sort of the philosophy of colorless, but it is not, colorless does not act like the five colors. It is different from that. And once again, it is not a color, it's the absence of color. So let me get into lands real quick before we move on. I think Richard decided early on

that things that were in order to be colored, you had to actually cast it. You know, that you had to spend the colored mana. A red spell requires red mana and lands didn't do that. Lands you didn't have, like I could I could have a deck of nothing but blue cards and I could put a mountain in the deck if I want to. There's nothing and I can put the mountain into play you know that lands function very differently than, especially basic lands. Alpha, for those who don't know, there were the five basic lands, and then there were the 10 dual lands that tap for either color. But the only lands in alpha just tap for mana, either one

mana or two mana. In fact, the dual lands were just both types mixed together. So the dual lands were just sort of mixed basic lands, and they're not technically basic. And and so Richard made the decision that okay, they're colorless because they they're not really they're not a color by definition How would you color so lands were also colorless? So when magic started colorless was the thing all artifacts were colorless all lands were colorless And that that really for much of magic, set the standard. For a long time, the idea was if you were an artifact, you were colorless. And if you were colorless, you were an artifact.

And that just kind of went in lockstep. For quite a while, in fact. It's not until I believe Future Sight that we make a card that is colorless but does not have a generic mana cost. That card is of course Ghostfire. So basically we were doing Future Sight, we made what we call the future shift in seat. Each set in the time spiral block had a bonus sheet. It was the first set of bonus sheets. And each one of them leaned into the theme. So originally it came up because time spiral, we thought it'd be cool if occasionally you opened up old cards in your booster.

And not just old cards, but old cards in the old frame. Like it was just sort of this dip into the past. And we so enjoyed that. When we did Planar Chaos, the second set, that was all about sort of alternate reality where we changed the color pie and what if magic was different. So there what we did on the bonus sheet there is we took classic cards of magic that we felt we could move into another color. The poster child was Demnation, which was just Wrath of God button black. And we did cards and we, you know, we kind of said, like, what if Wrath

of God had originally been a black card? And so that was the bonus sheet. So the future, the future site, future shifted bonus sheet. The idea there was it had, each set had a different frame. The time spiral had the old frame at the time. We'd just changed the 8th edition frame. Planet of Chaos had this sort of alternate reality frame, which was based on there was one point we were going to change magic. We ended up not changing it. But we used a lot of those frame elements in Planet of

Chaos. And then, future side, we sort of look at what kind of future ship. And we changed where the Manakos was. And we added in symbols for the land type, for the car types. We just did a bunch of stuff that like, well, maybe in Magic's future we could do this.

And the idea of the future shift at Seat was, the future shifted, sheet, that's hard to say, was that we wanted to hint at potential futures. We didn't really want to show a lot of things that were just brand new you've never seen, but more take things that you have seen and show how we might do them in different ways. So one of the ideas, which was interesting to me, was

what if we had a colorless card that wasn't a generic mana card? So the idea of Ghostfire was it was a direct damage spell and it cost red man in the cast But it was colorless so you couldn't stop it with their circle protection red and it could kill a creature with protection from red That it you know it was red sort of and then it required red to cast Obviously this card would be the precursor of lots of things. I would be the precursor of the devoid mechanic It would be It introduced Oogan for the first time. Hugen was just like flavor text on the card.

We didn't know who Hugen was when we wrote that flavor text. And that would spawn Hugen, it would spawn the Andrazi on some level. There's a lot of things it did that inspired a lot of stuff. It definitely hinted at things. So the first time we really did color lists without artifacts. So we were working, so the original plan for Zendikar, original trip to Zendikar, was the first two sets we set on Zendikar, big set, small set, and the third set on the block, which would be a large set, would be set on a completely different world, with all the mechanics. So the idea was, we were really playing around with how blocks function, and we had done

this experiment where we had done shadow more and it had been large small large small do too many blocks and it's the first time we've done a large set outside the fall and it sold well and we're like you know we could do more large sets and so the idea was Bill Rose was very enamored by the idea of okay what if what if we do large, small, large, but the large is different? It's not just more of the same thing. And you can see a lot of the early sort of understandings of what else can blocks be,

or maybe the eventual move away from blocks. You can see the seeds of it here, right? What if we had a large set that's by itself and had its own mechanics and wasn't tied to the rest of the block. The problem was our creative team at the time wasn't very big, four people, five people, and they're like look we just don't have the resources to make two worlds. I mean now we're much more staffed up, we do have those resources, but at the time we didn't have those resources. And so they said what if we made some event that happened on we stay on Zendikar, but the event is so so

monumental This it fundamentally changes the world so much. There was a straight face. We just do all the mechanics and so They went back and they looked at the world guide and there's these Hexagons, I think Mark Taddeen had done during the world building. There's these floating hexagons. They're really cool looking and they're like what if what if those have some function? What if they were not just there to be there? What if they were something? And then the creative team came up with this idea of well what if it represented a prison? What if there were these ancient beings that had been trapped?

And the reason Zendikar is sort of reacting the way it is, is because of this ancient being trapped inside. And so they worked this whole thing out and I know that Brian Tinsman, who ran Rise of the Odrazi, was a huge fan of like Cthulhu and the sort of cosmic horror and really was enamored by the idea of could the Audrazi tap into that sort of that feel of cosmic horror and so the idea is we really leaned into okay the Audrazi are a couple things one is they're these ancient beings, ancient, ancient beings. Two, they're gigantic.

And three, they're kind of alien and unfathomable. We had done the Phyrexians and the Phyrexians, the thing we liked about the Phyrexians were you understood their motives. Their motives was to spread. They were a disease. And not that you could reason with them. You couldn't reason with them.

But at least you understood the motivation of what they're doing. We liked having a villain that was just sort of, you didn't quite understand what they were up to. But I will say, okay, now we're going to make a magic set and we have to make these creatures, okay, they're giant, they're alien, they're really old, and they're inscrutable. What does that mean? But one of the ideas we lean into is, okay, maybe the tool we need here is colorless. And the idea was they were ancient, right? They predated colored magic. Well, the colorless was And the idea was they were ancient right? They were they predated

colored magic. Well the colorless was great right? The reason they don't have color in them is they're so old that they don't even they they don't even connect it. Colored metal wasn't a thing yet. And because other than you know the one future site card like we had so entwined artifacts to Colos that doing Colos and not doing artifacts just felt a little bit transgressive. Like, what are we doing? And it really sort of, I mean, it

was an interesting tool that we realized, I think for many years, we just thought of Colos as, like, artifacts are Colos, Colos is artifacts. Let's just launch that. And I think we realized that, you know, they don't have to be connected. We could disconnect them. And that was really powerful.

And it allowed us to make a through line that was just very impactful and very much in the cards. Like one of the things that's important is you want to find ways to define your, whenever you make an important race or a species, and these were villains, and anyway, we want to make sure that they had an identity, right? And giving them colorless as an identity, really in a very simple primal way,

makes them feel unique in their own thing. And so, mostly colorless became like we came up the new way to colorless which was okay we colorless is a tool in our toolbox that is artifacts into colorless are separate things. Yes you can do them together you don't have to do them together. And that was very that was really eye-opening. Now like I said you listen to them together, you don't have to do them together. And that was very eye-opening. Now like I said, if you listen to the podcast from me and Ben, there's a lot of rules about how to do rates for colorless cards.

You don't want to usurp cards. One of the things we did with the Audrazi is we leaned into weird things. So we leaned into things that weren't really defined in the color pie, like caring but even and odd, like no color cares but even or odd. So we would find like little nibbits of things that were weird so that we can do them there. Okay, a couple other things happen around this time, surely after this,

but I just wanted to sort of talk about the mirroring of colorless and artifacts. Not only did we break colors from artifacts, we also started breaking artifacts from colors. In fact, in FutureSight, not only do we have a colors card with not a generic mana cost, we had an artifact that had colored mana.

It was a little mirror, a little corrupted mirror, a little hint of things to come on Mirrodin for those who are paying attention. And I kind of understood in FutureSight that those paths, like, it's interesting. I saw in FutureSight, like one day we will have colorless without artifacts, and one day we'll have artifacts without colorless.

That was all called shots from FutureSight, which came to be. We eventually did colored mana. We were doing Shards of Alara, and so the way Shards works is it was five mini worlds. It was broken apart, and each world had one color in its allies, but not its enemies. So one of the colors was Esper. In fact, this was the mini team I led. And Esper was a world in which it's all about potential, about growth, or not growth is green, but finding your potential.

And so the world of Esper was very much about artifice. And you can improve yourself. So creatures were inventing things and changing body parts and sort of upgrading themselves. Coming almost cyborgish. Although a little more fantasy than sort of cyborgs are very sci-fi. We just sort of have our fantasy take on it. You know, with ether and stuff. We just sort of have our fantasy take on it, you know, with ether and stuff.

But anyway, we needed to find a way to give a definition to the Esper. And the idea that we came up with that I really liked was, what if all the creatures were artifacts, but we still needed them to be their colors because it was a three-color set. So for the first time, we used colors on colored artifacts on colored cards. Interestingly, by the way, if you look at FutureSight, I knew we were going to eventually make colored artifacts. I thought it was going to be the first time we returned to Myriden and Phyrexia overtook Myriden because we had planned that obviously. That's why FutureSight is kind of hinting at that. But we really needed it in Esper. I'm like, well, no one's saying we can't do that when we go back

to Phyrexia. And so we, for the first time, made colored artifacts. And then I will say with time, when we went to new Phyrexia, we did do some colored artifacts. We went to like, Kaladesh, there was a cycle of colored artifacts. Theros had some colored artifacts. We went to like, Kaladesh. There was a cycle of colored artifacts. Theros had some colored, I think they were artifacts and enchantments, but they were artifacts as well, like the gods' equipment. The gods, you know, the Nellie, the bow and stuff. So anyway, there definitely is this divergent path coming

where colors and artifacts start becoming independent tools. We still, another thing that was important I guess, just to bring up here is after Kaladesh, things kind of, we had made a bunch of artifact sets over the years. We made original Mirrodin that caused problems. We made scarves of Mirrodin that caused problems. We made Scarza Mirrodin, that caused problems. We made Kaladesh, that caused problems. Whenever we had a strong artifact theme, we'd run into play design problems. Except it didn't happen during Charging the

Lara with Esper. Esper didn't have that problem. What's going on here? And that's when we realized that one of the challenging things about Colorless is when you give something in Colorless, you're giving everybody access to that thing and that it just becomes a lot harder to do new things where you're at all pushing things because like during original Mirrodin, we had a problem where things were so, so broken that we had

a ban, I think eight cards at one point. Like it had the problem called the blob, which is because everybody had access to all the powerful, uh, you know, color stuff, like you could remove some of it and just got replaced by other stuff. Like it wasn't, it was, and because it was a lot of the broken stuff was colorless, like so many of the decks were playing similar things. The whole reason we have the color pie is we want the definition.

And so that is one of the challenges of colorless. We want to give identity to it, but we want, we don't want everybody playing it. And so it is hard to make really powerful artifacts if just everybody can put it in their deck. We can make narrow artifacts. So it's not that we can't make colorless artifacts. We can. They're just actually very niche in what they do. It's hard to make a universally useful powerful colorless artifact. We can make one like I did this

thing and if you want this thing I'm great but everybody wants this thing. That side stuff is fine. We also use it a lot for limited. There's a lot of just general functionality we need. It's easier at common if we make some colorless things, and then anybody who needs it, like we normally make some of the ghosts and fetches you will land. Okay, that's important and limited. We want you to get your colors. We'll make a colorless card that does that. Anybody can play it. Okay so basically the first use of Kalas is the Eldrazi and we make a lot of use of it we make a lot of cards and then a lot of ways we sort of did what we had done with artifacts you're like well Kalas

means artifacts oh and actually Kalas meansacts or Eldrazi. That's what colors means. And then along comes Conspiracy. So conspiracy was a set made by Shawn Mane. Shawn had this idea for a set where you drafted it and there were cards that cared about the draft, cards that affected the draft, and then you played It was a multicolor draft environment that at the time was not a thing And so you could draft and because you could draft your cards cared about the draft and then Then you usually play like a four-person multiplayer game Now in it one of the core elements of the set conspiracy were conspiracies

Now in it, one of the core elements of the set conspiracy were conspiracies. So the idea of conspiracies are these are things that you draft, that you get to have some input in, and then you've got to put them in your deck. And the idea is when you draft them during the draft, because you're aware that you can make certain decisions and that these cards get to go in your deck, you can sort of draft around them. That conspiracies are designed such that they lead toward more linear themes. But linear themes that you have some flexibility with. And in order to maximize the use of those, he put many of them, not all of them, were

colorless. And so the idea is that we just want to maximize access. And that's another important thing we realize about colorless as we sort of advance over time is the utility of colorless. The fact that anybody who needs it can play it. While it can be a downside or not a downside, it can be a challenge from a balancing perspective. It is a boon from a design perspective.

Like, for example, I'm making a limited environment and I need people to have access to something. I can make it colorless and then everybody playing the draft has access to it. You know, Sean needed to make one of people to be able to play conspiracies and lots of different decks, colorless give access to that. So then we get to Battle for Zendikar. That is when I sort of call forth Ghostfire and we make Devoid. Originally Devoid was not supposed to be a mechanic. What happened was we had done Wise of the Eldrazi, we'd seen the Eldrazi, that set was just full of lots of Colossal Eldrazi stuff. Then we were coming back and we knew we had to do a whole block. It turned

out ended up being a large small and we didn't know this when we first started the block. It ended up being two sets, not three sets. But it was kind of this, this was the thing that changed midway from being a three set to a two set. And so we're like, look, we just can't make that many colors cards. And that we said, okay, what exactly, because we were coming back to Zendikar and we left on the cliffhanger we thought we needed to return to the cliffhanger okay to the

denizens of Zendikar fighting the Eldrazi but we need to represent the Eldrazi and yeah we could have some large colorless things but that can't be more succinct that can't be common there's so much of that we can do and so I remembered back to Ghostfire and said oh well what if we kept the colorlessness as a quality? That's one of the defining qualities of the Eldrazi. They're colorless, but some of them can have color cost. The idea is some of the offspring stuff could have color cost. That way we can make a balanced magic set. You know, we could lock things in the color that we needed to, but we still give an identity to the Eldrazi, and we could do stuff like colorless matters,

which could be fun. Like we could do things that tie the Eldrazi together to their colorlessness theme. Originally, we weren't gonna keyword avoid, it just said it on the card, and then it ended up being easier in the rules to keyword it. With 2021 hindsight,

I wish we had made it a super type with rules baggage rather than a keyword. The problem with it being a keyword is it just really doesn't do anything. Like, hey, I'm your keyword, what do you do? I don't have color. Like, it's just not particularly compelling as a mechanic. I understand, like, we needed it structurally. But anyway, that's us using colorless sort of combined with colored mana, meaning once again, Koas and generic mana don't have to be tied one for one. That's the big lesson of today is there are a lot of component pieces that can be separated. We did, so basically we went back from Battle for Zemmikar, we then went to Indus Rod and

we learned that Emrakul had gotten there. So in Eldritch Moon, we had a whole bunch of double-faced cards that transformed into a colorless card to represent the influence of Eladamri. Not Eladamri, that's an elf, Emrakul. Okay, then there was a conspiracy to take the crown. So they did more conspiracies. They did some hidden agendas, just more things that wanted the openness and freeness of the colorlessness. Then, or actually I jumped past this one. In New Forexia, we decided we wanted to make

a planeswalker card out of a car. And when we originally made the original ones in Lorwin, we had talked about like a Johnny's, cat should he be a cat planeswalker? I'm like, well, no Hey, he's he's a it's a creature subtype. He's not a creature. He's a planeswalker And you know what we said like his planeswalker this kind of Transcend other qualities of him and so we decided not to make other qualities of him. And so we decided not to make Karn an artifact.

He's an artifact in flavor, I guess. And from a balance standpoint, making Planeswalker's other card types just opened up to a lot of potential issues. And so we avoided that. And so Karn was the first colorless Planeswalker. We were going to make more, there's some Hogan, more Karns and stuff, but the idea is that we have the ability to represent even, like Karn is an example where he's an artifact from story, but we can represent him through Colas. So Colas allows us to do that. Okay, then Modern Horizons started playing around a little bit more with some Colos stuff. You see like Morph on the Boundless and other stuff where we're...

That was a card where I wanted... A lot of players had asked for help for... They want a commander for the creature type they like and we added a bunch of stuff like we put a bunch of slivers and changeling, not slivers, not right, we put much of changelings, slivers played well with changeling, we put much of changelings into the set and then made a lot of one of cards that get specific creature types so that you could play them but then I wanted to make a card just for all the ones we didn't make and so I made sort of a generic creature lore called Moribond. But he wanted to be colorless once again so that anybody could play him. It didn't really need to

be an artifact so we did make an artifact. And what you start to see is you start to see occasional one-ofs like in Commander 2020 there's Cryptic Tribolite where this is ancient creature and they wanted to represent how old it was, so they made a colorless. So then we get to Strixhaven. So Strixhaven was playing around with Lessons Learned, which was a mechanic that got you cards from outside the game. And there's a similar thing going on where we only have so many lessons. And the more we lock lessons in the color, the trickier it

is to have the right lessons, especially in limited. So what if we said the way the school works is you don't join a school until your second year. There's five schools, obviously. The five factions are the five schools. But the first year, it's not until your second year that you pick what school you belong to. So we thought, oh, well, what if we have a bunch of intro classes and we made those colorless? And then some of those could be the lessons that you could use. and there was a little pushback at the time of Well, you call us that's that's like that's Eldrazi. Well, it's a tool

Strict savings could use the tool. There's nothing inherent to call this is that mean? Yes, we we define the Eldrazi by being colorless, but we don't find colors by being the old rod Actually, there's colors artifact creatures and we had done one or two color things like Karn, like the Cryptic Trilobite, like we had done. And so really what we said is, look, this is a tool. We need to treat it as a tool. If Strixsaving needs it, Strixsaving gets to use it. And I think Strixsaving did a good job of really sort of introducing the idea that, look, you'll see this in different places.

You can see Colus cards that aren't artifacts, that aren't Eldrazi. And that Strixhaven really helped cement that in a larger way because one of us don't do as good a job. It's something where it's showing up in a bunch of places. And so we did that. And then kind of the future of colorless was really defined by like once we opened up the door, once we said, okay, you can make a colorless thing. I mean, you have to watch the rate

and you have to be careful. Like much like anything that's colorless, whether it's an artifact or not, things with generic mana, things that don't have a color in them have some balance issues that we have to worry about. But it just allows us to do a lot of cool things. I remember in Unfinity, we had a card that you've got to go

get things standard bear, that you can get stuff that's in standard, and you copy things that are in standard. But the idea is we like it being open-ended they can give whatever you want And so you know making the base thing colorless made a lot of sense You know, dr. Who Clara was colorless. We made a pack that was colorless in Marvel in murders of carlove manner and You know in, for example, we made Siren of Seven Deaths. And that's, the reason it's in Foundations is really interesting to me.

This is the set that kind of defines what magic can be, and we felt it was important to put a colorless creature in there that wasn't an artifact, that wasn't, I don't think it's an old razzic, maybe it's an old razzic, it might be an old razzic. But we wanted to introduce this idea that colorless creatures are a thing, or not just colorless creatures, colorless magic is a thing. And so I mean, I think when you look at the evolution is it started with a very narrow use set, and then with time, we just realize, hey, it's pretty flexible. And I think that the challenge of colorlessness is, I mean,

the huge upside is the universality of it is great. Sometimes you need every deck to have access to something, and you don't want to have to make five of them. You know, I mean, often we'll make cycles of things, but sometimes you're just like, you know what? I really need everybody to have access to this. I just make a colorless, everybody gets access. It helps a lot in

sealed for like pre-releases and it just for more casual players that might not have access to as many cards, we can put some of this in common and just more people have access to it. But the downside is you have to be careful with it as our mini artifacts set showed. If you are too aggressive and too general in your use of colorlessness, you can make broken environments. So it is something we have to be very careful with. Although the Odrazi also did a good job of, hey, we themed it, we made it very specific in what it was. And there were Odrazi decks that used them, but not every

deck just ran the colorless cards. So we have learned how to use them. And the future of colorlessness is any set that's a, I guess I would call it evergreen. I guess there's very few sets that have zero colorless cards in them, so let's call it evergreen. But the reality is any set who wants to use it, it's a tool. There are some rules for using the tool, and there's some guidelines and such,

but any set that needs it can have it. And I'm sure in the future we will find something else where we're like, you know, we need to tie it together in some way, and the thing that does it cleanly and simplest is colorless. The one thing, by the the way I'll leave with my one my one little funny story I just got here at work but I'll leave with a little funny story at the end. The one challenge the the biggest mistake we keep making with colorless is that when we made the colorless frame we decided

to be cool if we did full art and bleeded it through. So if you ever seen the colorless frame the it's not normal. Normal magic art has art at the top and then the rule text box there's no art behind it. But a colors card has art behind the whole thing. It's different, it gives it a different look, and it's cool, it's a cool addition. But whenever you make a colorsless card, you have to remember that the art ratios are different. They're not the same. And I've told the story once before, but I will tell it again. So we make a card in Infinity. We wanted to make a colorless saga. The greatest show in the multiverse is what the card is called. We wanted to make a colorless saga. The reason we wanted to

colorless is you went and got certain cards that wanted to be open so anybody could get whatever they wanted. It was colorless because it wanted to be for the function of the card. And then we get the art in. It's this real cool looking saga picture. And then we realize like late in the process,

wait a minute, this can't be colorless. We didn't do the right art ratios. And so for the last minute, I ended up making it from just a colorless enchantment to an artifact enchantment. Because if we did that, we could use the artifact frame, which we did have, and then we could keep the art as well. We loved the art. The art came out very beautiful. We could keep the art. And anyway, I always use that example of how there's all sorts of challenges and things you don't think about. And that is one of Colus's thing that we've made this mistake multiple times. Colus has a different art ratio. Gotta remember that. Okay, guys. Today, that was our walk through the history of Colus. Hope you guys enjoyed it.

But I'm at work. So we all know that means this is 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.