Magic: The Gathering Drive to Work Podcast - #1278: History of Blocks

Episode Date: September 19, 2025

In this podcast, I talk about the rise and fall of the block set structure.

I'm pulling on my driveway. We all know what that means. It's time for their drive to work. Okay. So today's topic is based on a request for my blog. Today is about the history of returns. So I'm going to talk about all the different times we went back to a world and explain why. Why did we go back and sort of talk through the reasoning of why we went back to different places. Okay, so to start with magic for the first, I don't know, 10 plus years, 10 to 15 years, mostly stayed in the same place. It was most, it was on Dominaria. We moved around pieces of Dominaria. We were Teresier, we're in Jamura, we're in Otaria.

Like we'd go to different places, different continents. But we didn't, in the early days, we didn't do a lot of plane swapping. There's a few things. Arabianites was Rabia. Homelands was Agrotha. Tempest Block was on Rath, which Rath later got to. overlaid with Dominaria. We also went to Mercadia.

But really, the story picks up, there's a period of time when we start deciding to just go to other worlds and make that a regular thing, where every year we're going to, you know, every at the time, there were blocks. Every block we'd be going to a different world. So I'm going to pick up past the point where we started going to different worlds. I think Meriden is kind of the start of that because before that, Onslaught and Odyssey and Onslaught

we're still on Dominaria. But then Mirrodin, it's a brand new plane and Champs of Kamagawa and stuff. So we're starting to go to New Plain. So our first return, I'm going to say time spiral is our first return because we went back to Dominaria and we at least been away.

We were at Mirren, we were at Champions of Kamagawa, we were in Ravnika. Okay, we spent a, at least there was a gap. Before that, if there was a set off Dominaria, it was not very long. But this was, okay, four years. So, time spiral came about because we wanted to revamp magic, the story of magic. One of the things we were excited to do was we wanted to bring Plainswalkers to the game. But Plainswalkers were like, super powerful gods at the time.

So we're like, okay, let's kind of redo the story, revamp it, and, like, power down what planeswalkers are. You know, they still move from place to place, which is the event. important part. And they are more powerful than the average person, and they have magical abilities and such. But not quite like, I'm a god. A little lower down than that.

And so time spire, we went back to Dominaria. It was the closest thing we've done to a post-apocalyptic set. And the idea really was that we wanted to go back. I was really interested in messing with time

as a theme. I had a bunch of mechanics. We had suspend. We were trying to introduce Flash. We had split second. We had a bunch of different things that sort of were time-related. And then I came up with this idea of branching of like the block plan being past, present and future, although alternate present. And so anyway, going back to sort of the center of it all to have this giant temporal disaster felt like the right place to do. I will say as returns go, we definitely in the first that were playing into the past.

So there was a lot of drawing and characters you recognize. And so we definitely were playing around the fact that we were on Dominaria and there could be a lot of things that were from the past on Dominaria. So, I mean, the fact that Dominaria wasn't irrelevant. It mattered. But anyway, that is our first return, as I'm labeling it. Our second return was Scars of Mirridon. So we were going back to Mirridon.

So what had happened was during the Weatherlight saga, the main villains were the Phorexians. And at the end of the Weatherlight saga, Erza purges the multiverse of the Phorexians. But Brady Dommermuth, who was the head of the creative director of the time and myself, were huge fans of the phrexians. We felt like we can't completely get rid of the phrexians. So we came up with actually this pretty long story idea. We planted seeds in original Meredin. In fact, if you read the novel, like the villain of it, like in the, I don't know, page two, like, finds this oil and he sort of rubs it in and it goes into it, and then he just, we don't even talk about it anymore.

But that was the Frexian oil, and it turns out that Karn, when he made Mirrodin, unwillingly brought some Frexian oil to the place and it got infected. So the original plan for the return was it wasn't even going to be an obvious return. The original plan was it was just going to be new phrexia and, oh, the Frexion is. are back and only at the end of the block would you learn that actually this was Mirrodin that Miriden had fallen. And we later learned that, you know, we were missing a fun

story, the fall of Mirrodin. Like, we really wanted to establish the Frexians as a bad guy. Mirren had been in a pretty potent place. It was thought of as being a very powerful block because we made a lot of broken cards in it. So the idea that the Frexians came and defeat the Mirren that are no slouches really helped put them on the map.

And we ended up doing this thing where we had we come back to Myrdon the Frexians are there We have a Frexian Watermark that's on like 10% of the cards So we learned for the first time Oh, the Frexins have been here

And they're slowly growing And the middle set Mirrens were the war In which it was 50-50 And at the pre-release You chose whether you wanted to fight for the Mirrens or the Frexians And then you didn't know how to it end We announced two different sets

The final set would either be Mirren Pure meaning mirroen one or new phrexia, meaning phrexia one. And then obviously, new phrexia, I mean, phrexia one became new phrexia. We saw the fall of Mirren and established the phrexians as a big threat. Obviously, we will come back to. Next, return to Ravnika.

So when I had become head designer, the very first block I led, the first block under my reign, I also happened to lead the first set, was Ravnika. And Ravnika was a really radical take. One of the big things I was doing when I was doing, block planning was, I wanted our blocks a little more planned out.

We had a bad habit of doing something and just do throw forwards and then just do more, do more. And so Rafterning was saying, no, no, no, no, it's planned. It's 433. We're doing these four factions, in these three factions, and these three factions, and these three things. Like, you could sort of see what was coming, and clearly each thing had a place. And there was no sort of petering out because everything had, you know, every set was doing something that was expected and wanted. Anyway, Ravnikah was super, super popular. In fact, magic was in a downward trend at the time,

meaning, or down is the right word, but we were trending, we were slowing down our growth. Maybe that's the correct way to say it. Our growth was radically slowing down. Maybe downward trends a little unfair. Our growth was slowing significantly. We were plateauing. And the one bump in that plateauing was Ravnika.

So we realized that we had captured lightning in a bottle. There's something really cool about it. And so, we planned to go back to Ravnika. In fact, there's a video we used to show. We announced it somewhere out east, like Pax East or something. We announced that we were going back to Ravnika. And the audience just, like, erupts. They're screaming.

They're so excited. There's two guys hug. Like, it's just the amount of, like, just pure excitement. They were going back to Ravnika. Now, time spiral had a time theme. it wasn't really mirroring any mechanical elements of Dominaria Scarves of Mirrodin. We touched

a little bit on elements of Mirrodin, but really it was more about being the Frexian invasion, capturing the Frexians. Return to Ravenca's the first return we were like, do it again. The one big change we did in return to Ravenica instead of being 433, so the large set was four factions,

the two small sets were three and three. We did two large sets and one medium-sized set. So the first, the two large sets each were five, and five because that tree and they drafted by themselves so they drafted much better um the original radnick was very popular but the draft format was wonky uh drafting four than three than three it was you ended up other than the first other when you drafted the first set you didn't end up drafting two-color factions you ended up to color three-dard factions and so we like the idea that in ravnikov the two-color

guild world you're inclined to draft two colors so um and then we did dragons's maze was the end where we did all 10 so it was like five five and then a repeat of all 10. Next, battle for Zendekar. So we had left Zendikar on a big cliffhanger. We had come to Zendikar, we saw all about it, and then we'd wanted to, the third set of Zendikar was a block

that had all new mechanics. And to sort of justify having all new mechanics but not leaving the world, the creative team came up with this very giant event, which by the name might tell you, it was Rise of the Odrazi. So the Odrazi were captured and trapped inside Zendikar many years earlier. And they escape, thanks to some unwinding Plainswalkers.

And anyway, the set was all about the Odrazi. So it really had a different feel from the original Zendikar. The Aldrazi were giant and colorless and alien. So when we went back, it's like, okay, we kind of left the giant cliffhanger. I guess we should resolve the cliffhanger. So battle for Zendikar was not. not really at all what Zendikar was. I mean, there was some nods to it.

Landfall was in the set. There were some land-theming and stuff. Allies were on the set. But mostly it was this new two-side-of-conflict of the denizens of Mirrodin, not Mirrodin, of Zendikar versus the Zendikari versus the Eldrazi. And while the Zendikar side had elements of original Zendikar. So there was some stuff. It wasn't, we were back in Zendikar.

but the Aldrazi side was all new things and completely different. So I think one of the things that was going on at the time was we had done Ravenna exactly the same, but we had this philosophy like, well, if we're going back, maybe we should change things up a bit. And so purposely Battle for Zendikar was a very different set than original Zendikar, followed by Shadows over Industrade. So Shadows of Industrade, same philosophy.

We were going back to Inestrade, but we decided instead of Gothic horror, what if we did Cosmic Horror? So the idea was the other thing that had changed were now in the era of two set blocks. So time spread with three sets blocks, the car's a mirroden, turn to Ravenica,

all three set blocks. Battle for Zendkar and Shadows of Innersdraud, two set blocks. And so the idea is the first set is this mystery set where we're trying to figure out sort of what's going on. Jake shows up and starts to run in a trench coat

and like, ooh, what's the mystery? What's the mystery of Inestrade? Well, it turns out that one of the old from the previous block, Emmercool, the gate watch had been formed. They stopped to the Odrazi, but where is the third Odrazi? He had been pulled to Innesrod by Nahiri, who was mad at Soren for things that had to do with the Zdenicar and Aldrazi. The fact that Aldrazi escaped on Zendikar, she wasn't happy about it.

But anyway, Emmercool is now in Innesrod and is causing all sorts of mutations, and it really kept kind of the cosmic horror feel we wanted. But once again, while there's a little bit of tieover, like the monsters are there. I mean, there's a monster typal, but there's a little bit of pullover from Indistrad. But Shadow of Innestrade and Battle for Zendikar, both were trying to be a return that had a different feel to it. And mechanically, really was doing some different things. Okay, then we get to Dominaria. So Dominaria was the first of us starting to do single sets.

And originally it was going to be Dominaria and a small set. It was going to be part of our... But this was the first one we sort of broke from that. Said, okay, no, just one set. One of the challenges of Dominaria was we had been... Like, there's so many past sets of Dominaria that we weren't quite sure, well, what are we... You know, on some levels,

Dominaria had been so many different kind of planes. Like, each continent had been so radically different from other continents. So the thing we ended up doing is we said, Well, what if the idea of Dominiari is all about its history? It's a world that has suffered through so much, but they've thrived through the history. And we really brought Domini back. It flourished again.

It wasn't quite the post-apocalyptic world, the time spiral. But again, we were sort of, like, we played up the history theme, but that was, you know, historic and doing things that were kind of new to the set. The set had a legendary creature in every pack and stuff like that. Okay, then we get to Gilds of Ravnika. That's our third trip to Ravnika. Again, we really don't change our... I mean, because we're doing individual sets,

there's two sets of five factions... Gilds each back to back. Interesting, we started doing our one-ofs and right away we did a two-of. Just kind of demonstrate we could do that. But anyway, yeah, so Gills of Ravnika, once again, as with return to Ravnika, we changed what the guilds

mechanics were. We do, you know, we do slightly different things. Like each trip to, you know, like return to Ravnikah, we had never done charms. We did Gild Charms. Like we, we found ways to lean into the theme that there's some novel stuff. But return to Ravnika and that, uh, Gills of Ravnika were not reinventing anything. Oh, you like Ravnika? You like guilds? You like faction play? Well, that's what we're delivering on. You know, you want to go to your pre-release and choose your faction? Well, we're delivering that. Um, and I think the idea that we realized was that maybe the idea of returns being more of an embrace of the world you knew when you were there the first time. Like, it's kind of, there's an ever-going

thing on returns of like how much they're supposed to be the same and how much they're supposed to be different. And I think what we've sort of come to the conclusion of is, if people really liked the original world, you want to lean toward more of the same. If it's a world where there was some conflict, or when I say conflict, I don't mean within the world. I mean, The player base had some issues or it was polarizing. That's when maybe, okay, we can redo the world some. And so as we'll come up to some, worlds that we really redid. Next, Theros Beyond Death.

I guess this is the last of us trying something a smidge and different, that era. So we went back to Theros. The idea was the focus was on the underworld. Elspeth, one of our Plainswalkers, had gotten, she had died. But because she died on Theros, she went to the underworld of Therow. And she was a big part of our Frexene arc that was coming up. So we needed to free her. So we knew eventually we were going to go back.

It was a long throw forward. When she died in Theros, like there's a little tag telling you, now she's in the underworld. So we had to go back. She actually escapes from the underworld. And once again, the set sort of was reminiscent of Theros to a certain extent. Ferris had been one of the really big first worlds based on enchantments. We went back to that, so definitely had an enchantment field. But we didn't, not...

I mean, we brought back a couple mechanics, but it wasn't... It was definitely us exploring. It was like half what you knew and half something new, definitely in that era. Okay, then is Zendikar Rising. So Zendikar Rising is our third trip to Zendekar, and we decided to kind of go back to the roots. So Zendikar Rising was us really trying to... recapture what people liked about original Zendikar. We leaned a lot more into sort of the adventure world,

like the party mechanic, which was new, was just leaning into that general flavor. Obviously, landfall was back. And so Zendikar Rising was a lot more like original Zendikar than the battle for Zendikar had been. Next, Innesrod, Midnight Hunt. Okay, so this is our third return to Inesrod. We ended up doing two sets, Inestrade, Midnight Hunt, and Crimson Vow, which at the time, we weren't doing a lot of sets back-to-back in the same world.

We had kind of done that because we had added a set to the schedule and decided that just building a whole new world didn't. We'd kind of timed it for that. We ended up sort of leaning into different themes. Midnight Hunt was more about werewolves and Crimson Vow was a little bit more about vampires. One was a midnight festival, one was a wedding, the different events. and I think Innestrade Midnight Hunt and Crimson Valley was a lot like Zendikar Rising let's recapture what made

original Innestrade fun it was like we're back to Gothic core and not Cosmic Core and so we really kind of leaned into the roots of that next Kamagawa Neon Dynasty so I just mentioned earlier if sets were successful

we leaned in we were leaning into what they did successful Kamagawa was pretty famous in that we, the original Kamagawa block did not do well. In fact, it did very bad. It sold poorly. At the time, for many years, was the lowest ranked world based on our market research.

Just, we considered it a failure of a world. But we had this idea of doing a world inspired by Japanese pop culture. Obviously, Kamagawa was more inspired by Japanese mythology. But a lot of people in my blog had really talked about how they wanted to go back to Zandakar, not Zandakar, wanted to go back to Kamagawa. And so while we were working on it, we wove into the set this theme of old versus new,

of modernity versus tradition, allowing to make a place where we could bring back old Kamagawa in a place that fit. So kind of the nature of when we want to reinvent a world, we often do this half and half thing. Half the set is what you know of it, but half this brand new thing. And often there's a conflict between what's the old thing

and what's the new thing. So that's what we did there. The set was super, super successful. So it really definitely invigorated us with going back to worlds that might not have necessarily been as popular the first time out. A lot of our revisits had been, people love Zendekar, we'll go back. People love Ravnika, we'll go back. People love Inistrade, we'll go back.

This is us really being a little bit risky, but it paid off and it really sort of taught as that, hey, there is fans that really enjoy stuff in the past, even if our execution of it wasn't as good as it could have. been. Next up, Dominaria United. So again, we try two back-to-back, Dominion United leading into the Brothers War. We were telling this giant story about the Frexians, the Frexians have a long history with Dominaria, so we decided we would go back to Dominaria.

Again, this set, what we did is we picked a set from Dominaria, which was invasion, and this set was kind of returned to invasion, not completely from a flavor standpoint, but structurally. it really leaned into a lot of the themes from invasion. There was a multicolor theme. Anyway, Dominar United, Jesse was like, let's tap into something that people know from Dominaria, but since Dominaria is so many different things, we'll pick one specific thing.

We picked, um, I'm sorry, what did I say? Yeah, invasion. Wait, we picked invasion. Okay, next, Forexia, all will be one. Uh, so we were doing the Phorexian story, the Frexian arc. We were leaning into this giant Frexian war, but we're like, okay, if you,

The one thing about the Frexians, well, we love them as villains. They're a little, they have some body horror. They're a little, they lean into horror and stuff. And so they're not everybody's cup of tea. So we decided was we wanted to do a Frexian story where most of the time, the fractions aren't that present. You know, so they showed up little over time. And, like, at first they're just one creature,

then a couple creatures, and then Dominaria United, they're like, okay, black has a bunch, but they're sort of isolated. but we say, you know what, if you're a fan of Frexia, we got to deliver on Frexia. So we said, you know what, we're going to do one Frexian set. If you love Frexians, this is Wall to All Frexia. So we went back to Newfrexia,

which was sort of a third return in the fence that Newfrexia itself was returned to Meriden. So this was our first trip back to Newfrexia, but our third trip back to the plane that was Mirrodin and such. And that set leaned very heavily into what Descarves of Meriden did, meaning it was very leaned into the flavor of phrexians. And so Scars Mirren-Block had really introduced poison as a phrexian thing, proliferate as a phrexian thing.

There was just a lot of themes that we sort of made phrexian. So we brought all those back. We introduced oil counters and we changed up how poison worked. I mean, we had a new mechanic that interacted with poison a little different than in fact because in fact had been problematic. We continued, there was poison there, it was Frexie, you could poison your opponent, but we'd change things up a little bit. Okay, next up, I'll mention March of the Machine. Technically, it's a brand new story.

It's the big capstone event that finishes the Frexian arc. The Frexians are invading every world. But because they're invading every world, we do a lot of, like, cameo visits. There's a lot of, for example, we did a cycle of battles, which were a new car type. And the battles named a lot of different worlds, we had. had been to or we had referenced and so you got to you got to peek into a lot of worlds we've been before it was a small peak um but for some of those worlds you hadn't ever seen a card on them since we had been there so it did allow us to give you some insight in some worlds that we hadn't been

to a long time okay next is wiles of eldrain so original eldrain had been actually the very first set after the very first capstone event set which was war of the spark was el drane first time we'd visual drain. So there's something it's a pallet cleanser. It's our sort of fairy tale camelot world. It is pretty, it's very resonant and

we've discovered that fairytales are pretty universally known in a way that some of our other tropes are not as well known. And so we went back. Another good example where we leaned into what the original set had done. There were adventures, there was

food. But we added in a new layer. We kind of played up an enchantment theme that had not been strong in the original Thorne Veldrain. I mean, it wasn't one could argue. It wasn't there at all. I mean, there were some enchantments, but it really added this enchantment element that was new.

So there was a new component with rolls and stuff like that. So it was definitely us sort of going back to a world and trying to capture the thing people liked about it. It leaned a little bit harder into the fairy tale aspect than the original one had done. I think people really think of the first one as being fairy tale oriented, but actually it was a much

smaller footprint than people remember. Okay, next, the Lost Caverns of Ixelon. So, this is us trying something a little bit different. Originally, we were going to do an underground world, and we were going to do a brand new world. And as we were working on it, very late, actually Vision had been handed off, or a vision designed to be handed off. We audibald decided, instead of going to a world we didn't know, let's make it

the underground of a world we did know and ended up making it Exelon. Ixelon had this weird thing where people really love the world, but the mechanics of the set had not been quite as beloved. So what we tried was what I called a backdrop set. It's a brand new mechanical theme, but it is using elements of a, like we're

returning to the world. Now once we made an Xelon, I would say that there was maybe 25% of the set was kind of throwback to Xelon. So there's a little bit of that. Lower than a normal return had been. Even a return, even a return like Domini,

like a camera, like Kamagawa, where we kind of 50-50ed it. Ixelon was not 50-50, it was lower than that. We really were doing underground world, but with a phrexian, I keep wanting to say other words, with an Ixelon sort of aspect to it.

Then that was followed by Murders at Karloff Manor, which was us trying right away a backdrop set on Ravnikov. Well, we had, once again, very similar thing. We wanted to do a murder mystery set. The plan was to make a brand new world that was the murder mystery set.

But after making a brand new world, we realized that one of the things we needed was we really wanted familiarity. We wanted the person who died to be someone you know who they were, and we wanted the other characters around them to be things that were familiar. And we looked at a lot of different places. We did look at New Capena. New Capena was missing some things we needed. It didn't have enough really well-known characters.

It didn't really have a legal system in sense. it was crime world but the idea for a detective novel is you have to believe like people want to solve the crimes so anyway we ended up putting it on Ravnica it really really isn't a Ravnikas set like Lost Caverns

there's a little bit of a flavor although I would argue not not enough I think Frexia did a not Frexia I keep saying Frexia for things I mean Xelon Lost Caverns of Ixelon did a much better job of bringing Xelonness to it

now part of it that helps is the original Xelon didn't have that much stuff that people really wanted back. I mean, we did dinosaurs and some pirates. I mean, the things that people wanted, we did do. But Ichlan, because it was less popular mechanically early on, we had less responsibility. Ravenna is a pretty popular world and mechanically.

So the fact that we did Ravenica and didn't do factions and it wasn't much, not as much multicolor. And anyway, probably the lesson of murder color of manner was it should have had a little bit more of the world that we went back to. So I think we've learned on backdrop sets that it's okay to go to a new world and do a new thing. But when you do that, you want to make sure that you have enough of the world that there's some recognizability.

That it has to have some mechanical identity. Not the whole thing. We can do backdrops. I think Luskever-Ixelon worked much better. Okay. Then came Aetherdrift. So Aetherdrift was us trying something new. At the end of the March of the Machines, the Omen Pass opened.

And so now the average person, not just Plainswalkers, could move between the world. And so the idea was We decided to do what we called the travel log And so we said is, okay, we're going to visit different worlds Three different worlds And we ended up having a race set But the thing that connected was Oh, they were racing from world to world

So we went back to Avishkar That's the new name of what originally was Kaladesh And we went back to Aminket So both of those were worlds that we had not revisited I mean I will count it as a review visit because there were cards there and we got to do, we got to go back and do some nods. I mean, there are definitely some smaller nods to both of those worlds, but much, much smaller. In fact, the racing took up, like, in some ways, the set was much, much more about the race.

We could have done a set where like, it's about revisiting the three worlds. That really is what we didn't end up doing. They were backdrops. They got overshadowed both by the race itself and by, we had 10 racing teams, all from other places. So, while there was a little bit of Avishkar, you know, there's some gear hulks and things, and there was a little bit of Aminkat. It was a very light. I think we've learned that if we want to do multiple worlds, we have to bring up a little bit.

Maybe we want to do two and not three. I don't know. Many lessons from either drift were still absorbing. Okay, the last return, the one that just happened, is Tarkir Dragon Storm. So this is another one where we, this is like Kamagawa. had not been there in a long time. Original Tarkir had been Kanz of Tarkir. That was

over 10 years ago. So we were coming back. The weird thing about Tarkir was one of the things we tended to do in the early days was back in the days of the blocks as we'd introduce something and then we'd radically change the world during the course of the block

because we tell environmental stories. And so the story of original concert Tarkir was Sarkinval goes back to Tarkin. And he loves his dragons, but they're all dead. They died. And he time travels and saves Ugen, which saves the dragons. So he returns back in Dragon Cirqueir. And now it's a whole new timeline and dragons reigns supreme. And the wedges, the clans that were wedges that you knew were gone. And so, and the weird thing about that was people really loved the wedge clans and the dragons were okay. There were people that really like the dragons, but was not as beloved

as the wedge clan. So when we're going back, we said, okay. we really want to bring back the wedge clans but also we wanted to keep the dragon so this is the timeline so we had put some seeds into original concert Tarkir block of how the clans could come back because we recognize people might want the clans back

so we did at least seed that like we did with Miriden but anyway so Tarkir when we made it we said it was the best of both worlds we wanted to have wedges we wanted to have dragons so in some ways it was a 50-50 set but 50 of it was one part of the old and 50 was another part. So, in a lot of ways, it was all

Tarkir, but Tarkir had such different elements of to it. Just a mere act of bringing them together really made the set feel brand new because you're mixing different components. So anyway, that in 30 minutes is the history of all the basic returns.

Anyway, I hope you guys enjoyed this. It was fun looking back. And it's definitely over the years our philosophy of how to do returns has shifted. it over time. I think we recognize that you want something new on a return, but people really want to fall in love, they want to see the thing they loved it the first time, with the sole exception of if your set sort of didn't really hit the first time, you get to have a larger amount

of new things, kind of like we did with Kamagawa. Kamagawa did not have a lot of mechanics we needed to save, so it was a much more mechanical relaunch. And we've actually, in design, we we now differentiate that there are there actually are three different types of returns. There are traditional returns and the idea there is deliver on what made it popular. Yeah, you can do new twist to it, you can add

something, but you want it to be the world people fell in love with the first time. Then there's reinventions. This is more of the Kamagawa where, not that you don't want to nod to the original world, but you want to really do something pretty new that there's something about it that is reinventing things in

some way. And the third category that we're still understanding is the idea of the backdrops, which is it's not, the major focus is not the fact that it's this plane, that's secondary, but because it is this plane, we need enough acknowledgement of that plane. I do think Lost County Exelon did do it pretty well, and Murder's Call of Manor did not do it well. So we have sort of one example of it being done better and one example of them being done poor. So I'm not quite sure how backdrop sets will work in the future, but it is something we're still keeping in mind. So anyway, guys, I hope you enjoyed this

jaunt through history, but I'm now at work, so I'll know what that means is the end of my drive-to-work. So instead of talking magic, it's time for me to be making magic. I'll talk you all next time. Bye-bye.