Magic: The Gathering Drive to Work Podcast - #1307: Why Blocks Aren't Returning

Episode Date: January 23, 2026

A common topic on my blog is why some players want to return to blocks. I spend this podcast talking through the various reasons this is unlikely to happen.

I'm pulling on my driveway. We all know what that means. It's time to have the drive to work. Okay, so sometimes I like to use my blog to just go in deep on the topic that I get asked a lot about. And so the topic today is why blocks are not returning. I'm going to talk a little bit

about the history of blocks. Now, I have a whole bunch of podcasts talking about blocks as a structure. So I'm just going to talk to history a little bit. If I'm going to get more in the history, I did podcasts on that already. Really, the topic of the podcast. today is why did blocks go away? And why are they coming back? So I'm going to talk all about that.

But in order to do that, let's first, I just need a little bit of history of blocks. Like I said, I go more in depth on another podcast, but I at least need the basics here to explain some stuff. So first and foremost, blocks started during Mirage. Mirage, I mean, Ice Age made a set. The same team that made the Ice Age set, the East Coast Played Defters, then made alliances. When they made alliances, there was no idea in their mind that those were connected. They were not trying to make it connected. We mostly connected them after the fact and development. So, yeah, the pseudo first block, maybe is Ice Age, but the real block that we actually meant it, where it wasn't sort of done after the fact, was Mirage. Mirage and visions have been designed together as a large set called Menagerie.

They got broken into two sets. We then add weather light at the end of it. But the idea, so where do blocks come from? Why do we do blocks in the first place? So the idea of a block for those that might be newer was there's a period in time where we would have a large set in the fall, I'm using northern hemisphere seasons here, then in the winter we'd have a small set, and in the spring we'd have a small set. And all three of those sets would take place in the same world. And usually there was a connective story that took place there. Early magic, we're talking Mirage, we were still on Dominaria, although the very, the second ever

block, which is Tempest, we actually do leave Dominaria, and we go to Tarath, and then we're at Mercadia, and then we're back a little while to Dominaria. But we do sort of get away

for a little bit, then we're back in Dominaria for a couple blocks, and then we start doing starting with what would be the first one, where we really start going to other blocks. I guess it's champions of Kamagawa where we start saying, okay, we're doing other blocks and other things.

But anyway, why did blocks start? Why did we do blocks? Why did we have three sets? Oh, and not only were the three sets all on the same world, they usually were connective with mechanics. So in the early days, like Mirage, Tempest, Erza Saga,

we would literally have two mechanics. We'd introduce in the first large set and those two mechanics, although we tweak them some, would be the name mechanics. would run through the block, meaning in the early days, the small stitch didn't even introduce new named mechanics.

Sometimes they introduced new unnamed mechanics. Eventually, we started having the later sets introduce new things, and then we started experimenting. And the reason, so the reason we did in the first place, why did we do blocks in the first place,

was it was a matter of resources. We really had enough people that we could make kind of one new world a year. That's what we were capable of making. The creative team was four people. It wasn't very big. So we had enough people that we can invent sort of one, the team could make one new thing a year.

And so one of the major reasons we stayed on the world was it just pure economics of being able to do it. Magic was a lot smaller. The teams were a lot smaller. Even R&D that point, you know, when I first joined, there were four people full time working on magic. There are other people that worked on magic some, but there were four dedicated people.

It was me, Bill Rose, Mike Elliott, and William Jockish, and, like, for a while, we did every development team. Like, nowadays, each development team is unique and different. No, we were the development team every time for a while because we were the four people working full-time on Magic.

So, eventually what we realized was, so here's the block, core block problem from a business standpoint, is we would go to the large set, and let's say that it's 100%. That marks 100%. We then go to the small set,

and that set, and these percentages are... The sales are against how big they were, so be aware that we're taking to account. I'm talking about the sales given the number of cards in the set. So the fact that the numbers go down wasn't just it was large than small. This is accounted for it. The first set would sell 100%.

The second cell would sell 80%. and the third set would sell 60%. So no matter what we did, the second set would sell 80% of the first set, and the third set would sell 6% on the first set. So we started experimenting. We said, well, what if the third set wasn't small? What if we, you know, when we did Lorwin, actually, Laura Wynn, we were trying to do four sets for the first time.

So I came up with this large, small, large, small thing, where there were two mini blocks. So we tried a period of time where not all the second or third sets were small. We did large, small, large. We eventually did a large, large medium when we went back to Ravnikah. We tried resetting things. So we tried, the first one was Rizzi-I-L-Drazi, where we're on Zendikar, but then the Odrazi escape. And Riza-O-Drazi has none of the mechanics from Zendikar block. It's almost a complete, I mean, it's the same technical area, but it's a radically different things, and things are different. Mechanics are all different. We then tried a period of

with Avson restored where like most of the mechanics are different but we carry a little bit over we just experimented and I tried

you know I became head designer in Ravnikas so I was just I did a lot of experimentation with the block Ravnik is like

what if we chop it up it's like a pie and different potence and go to different things or what if we past present and future or what if we go back in time

and the middle set drafts with the first set and the third set like we tried a lot of different things we eventually then tried to where instead of

having blacks be three sets, they're two sets. And we tried that for a little bit. Um, the problem is, no matter what we did, no matter what we did, the inherent problem was, people were excited for the new thing. And as soon as the next thing was more of the same, some number of players just kind of checked out. Like, eh, I'll wait to do something new. And then when we do a new set, boom, back up to 100, right? People were excited from the new thing. Um, and so eventually we said, well, okay, let's stop saying we have to stay. We, we, R&D had gotten big enough. We had enough creative teams that we could make different sets be in different worlds.

And so we then got to the point and said, okay, well, what if we say we can stay on the same plane if it makes sense, but we don't need to. And so mostly we sort of went around and jumped from place to place and did different things. And then every once in a while we say, okay, well, we're going to stay on Innistrade for two sets. Okay, we're going to stay on Dominaria for two sets. And we've experimented. Even in this modern era where we go to different things, we do try occasionally staying in the same world, and it's 100% to 80%.

It goes down to say nothing has changed. That when you stay in the same world, there's just a number of players that are going, eh, even when, and once again, both on Indistrade Midnight Hutton, Instrait Crimson Bow, and on Dominaria, what was it called? Dominaria, what was it just Dominaria? It was Dominaria, Uprising, Dominaria, and Brothers War.

I'm misnaming Dominaria. Those were, you know, decades apart. The Brothers War is a completely different time period. It's going back in time. I mean, they're not remotely related sets. They both happen to be in Dominaria, and even then, even then we saw the drop-off, even though we were like, they're not connected,

they're not mechanically connected, they're very different things. In fact, the only... time I believe that we ever had a set in a block take place, or this wasn't even technically a block, but a set takes place later in the same block. And it is, once again, whenever I talk money, it's proportional to the size. Obviously, we had large sets follow small sets and a large set did better than the small set in total gross. I'm talking percentage to how many cards it has. The only set that I believe ever broke that ever

In the history of 33 years of magic Of which most of it we had blocks Was I believe war of the spark Where we have a giant Slugout big finet our first ever event set We had 36 Plainswalkers in it And a lot of ways once again It took place on Ravnika

It technically was on Ravnika It was very very not about Ravnika And that is the only time that I believe where percentage to the size of the set, like, sales go up. And the whole history of magic. And so,

a lot of people are sort of like, I, you know, there are some advantages to blocks. I'm not, I'm not saying there aren't. You know, the, you have some connective story tissue, you have some connective mechanical tissue.

But one of the things is, let me walk through those. So let me walk through some of the things. First story. Obviously, there are, one of the limitations for quite a while was that characters barring planeswalkers were locked to the world

they were on, right? So if we went to world A than world B, there was no way for a character in set A to B in set B, other than being a Plainswalker. Although, once again, we did do a lot of planeswalkers. We did the whole period of time. The Gatewatch where we were carrying over characters. You see the same characters show up. And even then, the kind of feedback we got is, hey, can we see more planeswalkers? Stop showing us the same plains walkers. So it was tricky that. We then changed things. The Owen Fast exists now.

If a character, Kellan was not, I mean, he was able to go between worlds, even though he was could not planes walk. I mean, we do have the means by which we can have characters move worlds. That in general has not been, players are less excited about seeing characters in other worlds than other main world. But here's my, I guess here's my real argument about this is the idea that a story, so stories are three acts, right? I won't get deep into it, but the idea is all stories have three major acts. You do not need to have the act take place in the same place. You want a protagonist. But given, we do with Plainswalkers, you have people that can move between worlds,

and they are our main characters. It makes sense that the protagonist. But you can have, you don't need to be in the same locale to tell a story. The classic example of this would be James Bond. James Bond famously, the way James Bond works is each act is in a different location. That the first act is in Kuala Lumpur, you know, and the second act is in Rio de Janeiro. and the third acts in Singapore.

Like, one of the things that the James Bond franchise really wants to communicate is that he is a secret agent and he travels the world and sort of the seeing the world is a big part of a James Bond movie. So they consciously tell the story. And once again, it's a cohesive three-act story that's just told in three different places. Being in different places doesn't mean we can't tell a three-act story if you choose to. I mean, one of the ongoing things is another big note we get from players

is they want to hear stories, the local stories. So there's a balance between doing a bigger story and a smaller story. We do with bigger stories. Obviously, we're building up this year. Reality fractures the big finale of a story that's been ongoing, but a little more in the background. So things that have been building up, but maybe not as in your face. We've been sort of being a little subtler with some of the larger stories

so that you can enjoy the minor stories, but there are bigger things going on. So that's a lot of people. is like, oh, we got to tell stories better if they're in the same place. I mean, it is not, I'm not saying they're not some advantages of staying in the same place. You do a little more cohesiveness of character. But, once again,

assuming you have a protagonist that stays through, I do believe, I believe that, I mean, magic has, the one challenge of telling stories in magic is it's a trading card game. It is a medium by which you don't control the order by which people see things. Now, given we do story online, and that goes in order and such.

But anyway, I do believe we are capable of telling stories even when each set is in a different place. Let's talk to the next thing. Mechanics. So one of the things that was, quote-unquote, nice about the blocks was we had evolution of mechanics.

What we've discovered there is we, mechanics are free to return. If we make a mechanic and we like it, we can bring it back. So this idea of we want to evolve things, we do evolve things. If it's a good mechanic, we do more with a mechanic. It is not as if, I mean, but once again, committing ourselves up front saying these are the two mechanics that we'll work with could get limiting. Because sometimes you start working on mechanic, and by the time you get to the third set, you're like, there's not either, there's been a couple problems.

So one of the problems we ran into is sometimes you work with something, and by the third block, you realize it's problematic. The classic there is mirrored block, right? Like, we had affinity for artifacts, and we realized as we went along, uh-oh, this was causing problems. And we literally, I don't even know if there's any affinity for artifacts from the third set or very, very few if there are. You know, that like we do, same thing happened, Erza-Syga Block,

but the free mechanic. Like, we do something. we figure out part along the way the problem of it. And so, like, sometimes the mechanics you pick to work on, you can't. The other big thing that happened about the three-act

of doing blocks was because people would get bored, we had to come up with ways to get twists. And so more and more, we were trying to do giant twists or we'd save things. We kept trying to find ways to save excitement for the third set. So a lot of time,

we weren't even necessarily keeping the mechanic straight through. We started not, like one of the ways to keep the set exciting was not doing the same mechanics. So first and foremost, I don't believe the continuity of just mechanic A and the more mechanic A. I do believe if we find a place where we have mechanic A, we have a mechanic we like, and the second set can use the mechanic an interesting way

that's different from the first set, we could have back-to-back with the same mechanic. I mean, obviously we did it on, like we did it, I guess when we stay in the same block we've done it, the same setting we've done it, because like day night stayed when we were in Crimson Vial, which was after a midnight hunt. I do think if we want to keep a mechanic,

if it makes sense, if there's really interesting things to do with it in two consecutive sets, that's not off the table. That's not an easy thing to do. I don't think we've particularly done it. So it's not the easiest thing to do, but it's not off the table. And we can evolve mechanics over time,

meaning we don't need a block to evolve mechanics if we like mechanics, if they prove their worth, they will come back, and then we can experiment more with them. But in some ways, that allows us to test them with the audience, get a sense of how they are, see how they play. Like, we can test things and have some general guess of where things are going to be, or we can watch and see where they actually are. And that allows us to get lots of data, including what do players like, what works well in constructed, what works well in commander. Like, we can sort of make things and see how they do and then use that data and decide when we expand upon things. So instead of sort of forcing ourselves to expand,

expand where it makes the most sense. The second thing is, we do make conscious effort to make sure our mechanics are synergistic with each other. For example, there have been a lot of mechanics over last year that care a lot about tapped creatures. That there are mechanics that tap creatures, like stations and things,

and the mechanics that care about creatures being tapped. like Dustmore the Survivor the Survivor Mechanic you know we do think about a lot of

how this connects to that like there is a lot of interconnected tissue we're aware of and we in the future future league

build decks to make sure that we understand what happens so it is not as if jumping around from place to place

changes our ability to do some synergy we do create synergy now I will say the synergy we make

it a little subtler I do admit when we make a mechanic that has a name on it and we make more cards with the same name on it, it's a lot easier to go, oh, I just take all these cards with the same name and put them in a deck. I get that.

So it is true that the block was a little more blunt in the synergy, but I will say mostly what we've learned from players as far as, you know, historical data is that a lot of the fun of sort of, there's an active discovery of finding things that work together that players really enjoy finding. Rather than being spoon-fetted, they enjoy sort of figuring it for themselves. So we sort of like the idea that we make synergies, but don't shout it from the rooftop. We don't label them all the same word all the time. And that said, the other thing we've been doing a little more is when we make a singular set, being a little more conscious of making sure that those mechanics can as a package be used. We allow things to be a little bit more parasitic, meaning things playing well with

each other and that because because we are like one of the other challenges of having mechanics that evolve over time was let's say for example we have a mechanic that's going to be in set A set B and set C it's in the full block. Well if we give you too much in set A we have

no room to do things in set B or set C so we have to be cautious but the problem is if we don't do enough then it doesn't catch on right if we don't give you enough cards and make it work so if we do too much then we get ourselves in trouble like Myriden Block, where we have to, like, not do it later on the block,

and then we don't have the continuity. Or if we sort of pull back too much, then it's not enough and the deck doesn't take off, and then people don't care they're getting more because the deck really hasn't shined yet. And our thought process in the day was, well, we'll give you stuff so you can play with it, but really it's going to come to its own in set two or set three. But the problem is, if it doesn't come to its own in the sets that premieres it, people kind of dismiss it. And so what we've learned now is really what we want, is the set that introduces something new,

at least on the things that we're trying to push for constructed. Not everything is meant for constructed. But we have what we call constructed packages, where we put cards together that are really meant to go to kind of together in a deck. Usually there's some modularity to it, meaning it's not exactly which cards you choose might vary on your themes and stuff.

And we spread across colors, so you have some options of how you want to build things depending what colors you play. But it allows us, like, it allows a lot more nuance from the mechanical side of things. That it doesn't, the old system definitely created problems. So that's the other big thing. I mean, I talk a lot about sales, which is important.

Sales is representative. And when I say it's not even just sales. It sales is marketing research. Like, interest went down on later sets in a block. It just did always. It is just something we saw. It was a trend we always saw. And I get it.

It's just less new. Hey, here's this brand new thing. Here's more of this thing. It's just more of the thing. Or do you want to say this brand new thing? And the other thing, the other thing about going to blocks is it allows for us, if we want to return, if something's really popular, that's another big thing about blocks. So let's say we were on one world for a block. Well, that means all year long, we have one mechanical synergy themes.

So the way you sort of think of uniqueness is year by year. So if we want to change something, do something new, let's say we're doing something five years later. Well, under the old system, five years later, is not that many world later. It's like, you know, four or five years, you know, it's sort of, there's four years in between, if we went to a world, it went back to in five years, there's only four worlds in between that. And so it feels like, ah, we were here not that long ago. But in the modern system where every year there's three different sets that are mostly each of their own world, okay five years later

there's 12 worlds in between right that there's a lot more and it allows us the other big thing is if we do a whole block and we play into a theme

for a whole block it kind of holds us for the next block not to do that theme it creates a lot of like oh we did graveyard the whole year long we did graveyard okay well the next block

let's kind of not do graveyard or if we do graveyard it has to be really focused and very different than one before it It creates a lot of, you were trying really hard to make sure that because you spend so much energy, you're there for so long, we really want a differentiation. But under the new system where we just go, if two sets back-to-back really need a similar theme, as long as other component pieces are different, you know, because things change up, we're more willing to do that. Another big thing about the new system is we can take a lot more risks. For example, right now, as I record this, Lorraine Eclipse is coming out.

Both Kamagawa and Lorwin were classic examples of the original set did badly. Did badly. I mean, both Kamagawa and Lorwin, I think we're two of the worst selling large sets of all time. I think Kamagawa did the absolute worst in the market research on the world itself, the creative. And Lorwyn did second worst. So here we have sets that just did bad on every vector of ways we can measure them. But players, I'm getting some, oh, I'd like to go back there, right? In a world in which we have three sets a year, we can do that.

We can sort of dedicate, like, and both Kamagawa and looking like Lorwyn, people are really excited by it and really happy. And it's turning out to be really good sets that people are really pumped by. It'd be a lot harder to do that. And in a world's where we only get one set a year, one world a year. man, we have to make sure we're sure of that. Because once again, in that world, your potential is set by the first block there.

So if we said we're going back to Kamagawa for a full year and we do the first set and, man, it does not work, that's a really rough year for us because if the first set is bad, everything measures off how well the first set does proportionally. So the idea there is just there's a lot of risk to staying on the same place. So it makes us much less risk averse. But in the current thing where we do a set and then we move on to the next set,

A, we have more worlds we have to visit. That's the other big thing is we just get to do more things. When you visit one world a year, you do less things than you visit three worlds a year. Three worlds a year is we just get to do a lot more things. We get to try a lot more mechanics. We get to do more themes. And we can have more repetition when we need it. It's not that the lack of blocks doesn't allow us to do repetition where it makes sense.

And another thing you'll see is one of the current things we're doing right now is a lot more of what we call cameos. Where it's like, oh, here's something that's a really good fit. Not in a large way, but in a small way. We can make one card, two cards, three cards. You know, it really is flavorful and fits here. and that we're more willing to do that now in Premiere sets. And I think a lot of that, like one of the things that is just the truism is magic is an ever-changing game,

in a good way, I believe, which is that we, the people making the game, sort of try things, you, the audience, respond to what we try, and we are willing to sort of evolve along. this evolution out of blocks was very much exactly this process which is we tried something, we got feedback. In fact, on some level, we stuck with blocks probably longer than we should.

I mean, looking back, there's a point of which we could support doing more worlds internally that we were cautious because it just was the way magic has been done. And that's one of the funny things. One of the things that tends to hold us back is inertia, right? Well, this is how much.

we've always done it, you know, and that every once in a while we have to sort of ask ourselves, well, yeah, that's how we've done it, but do we need to do it that way? And, you know, for example, original Lorwin, when we did the idea of let's do a place that's kind of light and sunny and it's just, it is not, imagine the time was really sort of dark and moody, you know, and like, what if we didn't do that? What if we had a world that was more sunny and bright? And at the time, there was a lot of resistance just because it wasn't what magic was. But it really opened up with the possibility to maybe we could branch up more what magic is.

And players, little by little, I mean, the funny thing is the first time we sort of did something different, people were like, what are you doing? And then we had to push a little bit to sort of test things. But eventually the players really got into it. And now it's a huge bonus. Obviously, people like the different tones. And it's interesting looking back, the reason that Kamagawa and the...

And Lorwyn sort of have so much nostalgia was they really did something different. They did something that is not what you see all the time. And there's a really big lesson we learn there that magic is at its best when we are pushing boundaries, when we are doing different things. And that, as I talk about all the time, look, fundamentally magic is successful if what we do makes everybody happy with something. Not with everything. Very few people like everything we do.

every player is things they don't like there's a court I recently had online that got some in a Reddit thread which is take the thing you love take the thing that most is magic to you the thing you love most about the game there's somebody and probably many somebody's out there who hate that thing

who would kill it from the game if you allowed them who probably have asked me to get rid of it and the point is different people want different things that's great we want magic to be what you want it to be And so the key for us doing that is trying lots of different things, going a lot of different places, you know, really pushing boundaries in different ways so that each player can kind of customize to what they want magic to be. And that's another big advantage of our current system moving away from the block system is we just get to sample more things. We get to do more different things.

And that, that I think fundamentally the most successful thing magic has shown is the more we can broaden what we do, the more more we can give people lots of options and let magic be the thing they wanted to be, the more successful magic has become. And, you know, whenever we look through the history of magic and talk about things that kind of move the needle, usually the underlying element of the thing that moves the needle is magic is becoming something new in a way that attracts more players. And I get it if you are somebody who enjoyed the old way of things being. Like, I, I, I, I, I, I, I do understand. Like, one of the things that's really...

Magic isn't... The cool thing about magic is the cards we made 33 years ago, you can play today. It is not as if we obsolete anything... I mean, there's a few exceptions here. But mostly, we make cards. We don't obsolete the cards. You can play with the cards.

If you love the cards from 33 years ago, you can play... I mean, assuming you can get your hands on them, you can play the cards from 33 years ago. They work just... fine from the cards made yesterday. But we, part of the

optimization process of the people who make this product is that we keep evolving magic in a way that excites the most players, that makes the most players happy, that allows us to make the best magic at all as a game. And what we've discovered is

going to a lot of different worlds just makes a lot of people happy. The other thing you remember is, let's say we went to a world. If you liked that world, then we stayed for three whole sets. You were beside yourself, because you love, oh my goodness, it's this thing that I love. But it's something that you weren't that crazy about, to begin with. You were stuck there for a whole year.

I mean, and the way I think about it is, think of current magic. Pick a set that you didn't like. Pick your least favorite set of the last year. What if we stayed there for all year long? You know, and that one of the nice things about the current system is, like it or dislike it, something else is coming up. And that, you know, by moving around, we just make sure more people find something that they truly love.

It's just less risky. I mean, that's the other big thing. So, mostly what I'm trying to say is blocks existed for a lot of reasons. I'm not saying it was wrong for them to exist. I mean, they needed to exist when they did. But we've kind of evolved away from them. Now, that's not to say we can't stay on the same world,

two sets in a row. I will say the bar is high. I will say the data does not say the players in general want that. And the interesting thing, by the way, is I'm on my blog. My blog is a very enfranchised... I mean, the people that come to

talk to me, I'm the head designer of the game, but the people that follow my blog and talk to me tend to be enfranchised players. And it is true that the people who want blocks to return are most likely the enfranchised players and players who've been playing a long time, who just have memories of things gone by. And I think as things get new, as things change, there is this

desire to have things return to how you remember them, to the heyday. And I get it. I understand the nostalgia of blocks. I understand sort of like, I mean, and be aware, I've been playing magic since, you know, 1993, too. I've been playing magic as long as anybody. And there are things that I finally remember. There are things about magic in the old. that was fun when that happened. But magic keeps evolving and keeps changing, and that the move away from a block structure is just a structure that is more conducive,

conductive, just allows us to make more magic players happy. And I hear notes. There are ways I think we can make the stories a little more cohesive. I think there's ways, you know, we are working really hard to make the mechanics, have more synergy. And I think when we first moved away from blocks,

we were not as good about that. We were not as connective in the story. We were not as synergistic with mechanics. But as time, as we've gotten used to this new system, used to the world where we're making new, going to new worlds all the time, we've started to figure out how to solve these problems. And a lot of them have been solved.

We will never solve the nostalgia issue. We will, you know, in some ways, you know, there's an expression goes, you can never go home again. And what that means is not that you can't actually go home. What it means is the home you left is not necessarily the home you returned to. Like, I remember going back to my hometown.

I went away to college, and I was back, it wasn't even, I don't know, it was six years, seven years later. And so many things had changed to stores that I knew weren't there. And it wasn't that I didn't recognize the bones of my hometown, but so much stuff had changed. And that's what there's.

saying is you can't go home again, it's just that thing you have, that memory you have, the emotional tie, like, it's just things are going to change, and when you try to come back, it's just not the thing that it was. And that's not, I mean, I think magic is becoming exciting in many different ways. There's lots of advancements in technology. There's all these things we can do now, we couldn't do then. Like, we're doing a lot of cool and exciting things that we literally couldn't have done back in the day. But it is true. That means magic evolves, and magic's different than just, it's a different environment. You know, multiplayer is a lot more popular than it once was.

You know, just, there's a lot more splintering of formats. There's all sorts of things that are very true about modern day magic that weren't true back then. But also, magic is now played by more people than it's ever been played for by four. It has higher recognition in the public than ever before. Like, we are on the cusp. Magic is on the cusp of a lot of really big things because it is just growing and more and more people are

coming to appreciate and enjoy magic. Yes, that does fundamentally mean that magic will constantly change as it evolves to meet the audience it has. As its audience changes, magic will change. That's not a bad thing, that it's what has done its whole life, that it's kind of the magic of magic, that it keeps adapting

to the audience. But anyway, that in a whole podcast works is why we are not going back to blocks. It does not make sense. Once again, that doesn't mean we can never repeat worlds on two consecutive blocks, just the bars higher. Okay,

guys, now it works, so I hope so we all know what that means. It means at the end of my drive to work. So instead of talking magic, it's time for me to be making magic. Hope you guys enjoyed today's talk, and I'll see you next time. Bye-bye.