Magic: The Gathering Drive to Work Podcast - #1376: Getting the Banned Together, Part 6

Episode Date: August 28, 2026

This is the part six of a seven-part series, based on a talk I gave at MagicCon: Amsterdam where I discussed the design of all the cards I had a major hand in that would later get banned or restricted.

I'm pulling on my driveway. We all know what that means. It's time right there. Drive to work. Okay, so this is another in my series getting the band together based on a speech I gave at MagicCon, Amsterdam. In it, in an hour talk,

I talked about every single card I ever made that got banned or restricted, which is a lot of cards. But I decided, because I was rushed, when I only had an hour, and I had a lot of cards to talk about. So I'm doing the series I'm going in more depth on all the cars that get banned and restricted.

This is part six. I've done a bunch of them. And I'm still a little ways from being done. I have made a lot of band and restrictive cards. Okay. So let's pick up where we left off. January of 2016, what was this band?

Banned and modern. Splinter twin. Two red red is an enchantment that's an aura. Enchanted creature has. tap, make a token copy of target creature, and then it goes away at end of turn. It gains haste. It goes away at end of turn. So, basically, I guess the story of this card is that in Alpha, a lot of my stories begin in Alpha.

In Alpha, there were two cards that caught my eye. Clone and the Suven Dopplaganger. and I just thought the idea of copying things was so much fun. I just, the number of decks I made with those two cards were so high. I just thought it was so much fun. One of the things I really like about cloning is I'm a Johnny at heart, and I love the idea that I have so much flexibility in what I do, and there's all these sort of cool things that can happen.

And then in the dark, there was a card called Dance of Many, and it made a token, a copy token. And that's like a copy token, that sounds. So anyway, one of my things, I mean, there's definitely, one of the things about design is that you get areas that you just sort of are enamored by and you make it. And a lot of times, especially early magic where there weren't a lot of us. Like if I was a champion of something, I would make it because no one else necessarily was making it. And so I was doing a lot of copy effects.

I like clone tokens. So anyway, in Champions of Kamagawa, I make a card called Kiki Jee Kee Jee. Giki. Mirror breaker, I think. Kikijiki Mirabaker, I think this is name.

So Kikijiki basically is Flinter Twin, but on a creature. And I like that card a lot. I thought the car was super fun.

There's something, what we refer to as heat shimmer. The idea of, I make a copy, but only for the turn. I just temporarily get a copy.

It's something that Red does that we think is fun. And the neat thing is it's fun that repeatable. Like each turn you can make

different things, and so anyway, Splinter Twin was just me making Kiki-Jiki as an aura. One of the things that's fun to do is when you like a creature, it's fun to make an aura that turns things into that creature. I thought the Kiki-jiki ability was cool, so I put it on an aura. Now, obviously, one of the things about oras is that you can choose what creature goes on to and you can mix and match. As I've been stating throughout this whole process,

well, I might be an expert in how the cards got made. I'm not always an expert in why the car got banned. Pretty sure this was a combo problem, which is why I got banned. But anyway, I do have a softness for Splinter Twin and Kiki Chiki and the like. Okay, next up, January 2016, Bond. Banned in Popper.

Cloud of Ferrys, one in a blue for a one-one flying creature. It's got cycling two, and it's a free creature, which means when it enters, it untaps lands equal to the number to its man. value, so two lands in this case.

I already talked a little bit about the free mechanics, the origin of the free mechanic. Obviously, it was broken then, it's broken now. I think what we've learned about the free mechanic is it actually is okay in reactive spells. Like, we have a counter spell that's a free

like, it's bad when it's proactive because the combo potential is so strong, but when it's reactive, it's not quite as problematic. I'm not going to say it's not strong still, but it's not quite. The other thing is we also have stopped really making lands that tap for more than one mana. We definitely have been pulling way back on that.

So as we do more of that, the ability to untapped lands net you less mana than it. The days of Tularean Academy is like, oh, I play cloud of fairies and I gain eight mana, you know. So one other thing I want to talk about real quickly is I used to do a lot more naming back in the day. and one of the fun things is that you get into patterns of things that you think are fun. So one of the things that we did back when I was doing naming, like in the Mirage era, is collective animal names. Things like Crash of Rhinos, Murder of Crows. So it turns out, what's his name? James Lipton, the guy who interviews in the actor's studio, wrote a book.

and just made them up. He just thought it was fun. And so a lot of the collective name for animals is just this book where he literally just made him up because he made cool sounding names. So one of the things that's been fun is when we get to do the same for fantasy things. For example, I named this card.

It's like, oh, what's the collective of fairies called? So I called it a cloud of fairies, which I thought was pretty clever. So I don't know if magic cards making collective names for Fantasy creature types has caught on beyond magic. But if it has, Cloud Affairs was mine. I'm very proud of that.

Okay, moving on to April 2016, banned in modern. I have Ugin. It's a legendary land. Cullus Eldrazi cost two less, and the seven-un-tap, and you can tutor for a colorless creature. So the most interesting thing about this card is when we made it, when it came out,

so it came on World Wake, the word colorless Eldrazi cost two less. was very confusing to the audience because there was no Eldrazi. The word had showed up. The word Aldrazi did show up on cards, I think, in Zendekar and maybe in World Wake. So, like, the name was there,

but what did it mean? What was the Aldrazi? And we mechanically referred to things. So the first time I remember doing this, and I know early Magic had some cards that referenced other cards by name. Keeper Ocuckus and Cucas, I remember. there was

Mirage also had Spirit of the Night there were three creatures that came together to make Speer of the Night but in all those cases it was referencing cards that existed

usually in the set so in a mirrored-in block I decided to, I was really enamored with this idea of making a cycle of equipment what we call the Caldra Equipment and the idea is

that if you have all three, it makes a token called Caldra. And it puts them all together. And so we could have just referenced all three at the end on the third card. So the first set had sword of Caldra, second set at Shield of Caldra, third set at Helm of Caldra. But one of the things I was enamored by was, so Shield of Caldra was in the second set in

Darksteel. That I had the second card, Shield de Caldra, reference. reference all three cards, which meant it referenced a card called Helm of Caldra at a time where there was no Helm of Caldra. It's like, oh, if you get the shield and the sword and the helm, this happens. And the audience is like, Helm, there is no helm. And obviously, you figure out that if the swords in the first set and the shields in the second set, oh, well, the helm must be in the third. It wasn't like we were being mysterious.

But I think it's the first time we ever referenced something that didn't yet exist. And I'm enamored by that. I think it's super fun. I mean, one of the things about magic is we're going to put our sets, and we know the sets are coming out. Like, you know, one of the cool things, like a lot of games, you don't know whether the expansion will happen or not. See how the game does, right?

But magic, okay, we're making expansions. You know, I'm working on stuff like the expansion that comes next, we know is coming out. And so it allows us to have some fun. So what's going on, so just refresh everyone's memory. So originally, Zendikar was going to be two sets. large set and a small set. And the third set,

the large set in the block, was going to be on a different plane. We had been messing around with sort of changing around block structure and we were trying the third set being a large set.

And then we were interested in trying a third set that was just a different thing, different mechanics. And so the original idea was we were just going to go to a different... Zendikar, Zendikar, different world with new mechanics.

But the creative team at the time wasn't that big. They're like, look, that's a whole other world. do two worlds in one year. Why don't we... Here's what we'll do. We will make a big event

happen on Zendikar that justifies changing everything. Something major will happen on Zendikar. So it turns out when they were to do the world building for Zendikar,

I think Mark Tadine, who was on the world building team, kept drawing these little hedrons that he thought was interesting. So all around, all around, whenever you looked at pieces of Zendikar,

there's these hedrons. and I think originally they were made as affectations. They were just, here's this, why they're hedrons. I don't know. Heedrons are on this. Like, it just was, okay, it's a thing about this world. There's floating hedrons. But then the creative team said, well, what if?

And the world, Zendikar had always been kind of a world versus the environment, people versus the environment sort of conflict. Like, the world of Zendikar was rebelling against the people of Zendikar. And because we had made Zendikar to be a land-focused blind. and we wanted to show a lot of cars on lands. We needed the land to have some personality to it. And so it was rebelling against something.

So what the creative team said is, what if those hedrons aren't accidental? What if there's something trapped in the world? And that's when they came up the idea of the Aldrazi. And the idea was what are these creatures that are ancient and mysterious and like predate colored mana, you know,

And they come and, you know, they are just dangerous creatures that seem to want to eat the world and, you know, no one knows what to make them. So we made the story. And then in the story, three plainswalkers, Soren, Nahiri, and Ugin trapped the three Aldrazi. So Emrakul, Ulamog, and Kosele, trapped them inside. And then the idea was that three plainswalkers, unaware of what was going on, it was Chandra and Jace and Sarkin, I believe, who uninventedly, the eye of Ugin is kind of a lock to the jail, if you will, and they let the Aldrazi out. I mean, accidentally not on purpose.

So the idea is, the next set is the rise of the Aldrazi. The Aldrazi get out. And then the set's all about dealing with the Aldrazi, right? So, like, the set's not really about the things that Zendikar's normally about. It's now about the Odrazi and it's focused on the Odrazi. So anyway, it was World Wake, and, like, we knew that was the next step. And we knew the story, the Zendikar part of the story ends with the Three Plainswalkers going to Ayavugan. So we wanted to have the I of Ugan in the set.

And we wanted to kind of tip her hands of where we were going. And I thought, so if you notice, the card does two things. First off, it makes Eldrazi spells too cheaper. Well, Aldrazi's both don't exist yet. So that is kind of gobbly good text. I mean, obviously, text that would mean something, but didn't mean something when the card came out. So we put a second thing on it,

which was seven tap two to four a colorless creature. And the idea there is seven man to go get a colus creature is a lot, right? That's only valuable if the creatures are big enough that it makes sense that you would do that. Now, we knew with the Adrazi, we were making giant, giant colorless creatures, where it might actually make sense.

One's that costs way more than seven. So the idea that you would for seven man a go to do with them. But that ability wasn't meaningless. There were a few giant colorless things. So the card did function when it came out. Obviously, it didn't shine until the Aldrazi came out. And then the reason it eventually got banned, I assume, was as we get more Adrosi, you know. I'm not even sure.

Probably is banned for something that is... I mean, I assume it's Aldrizzi-related, but I'm 100%. But anyway, it was a fun, like I said, I would almost like to do more. We don't do as much as we used to of just kind of throw forwards, especially the things where like, I don't know what that means. I mean, we do some. Sometimes we do story throw-forwards and stuff. But anyway, I do like the idea of referencing things that don't exist yet.

I'm a big fan of that. Okay, November 2016, Band and Popper, Parigan Drake, four in a blue for a two-three flying creature that on top. Five land when entered. This is another free spell. So, yeah, there's not too much more to say. I talked about Cloud of Fairies,

and I talked about, mostly original one I talked about, was, I'm flicking what it was. So there's three different free spells. Oh, the, yeah, the one that drew to discard to. Blake on its name.

You all know his name. Not too much else to say. It is funny looking back, The one quirky thing about the free mechanic was it was made in such a way that there wasn't a good fix to it. Like even now, we say, I want to make the, well, actually, here's the fix to it. Okay, I guess we've learned. In fact, we later do it. If we want to pay you back for what you paid, don't untapped lands.

The reason for that is lands could tap for more than one mana. So if I let you untap five lands, the danger is I'm giving more than five mana. So what we've learned to do now, if we wanted to do a modern-age free spell, I think what we do is we add the mana that you paid back, meaning what the card would be now, and I'll admit this is not super blue. Untaping lands feels more blue than adding mana. So imagine this is four blue, a two-three flying creature, when it enters, add four in a blue.

And we've done this in black. We've actually done this creatures in black, where you get what the creature costs when you play the creature. So that's kind of the modern type of free. The open-ended untapped a land actually is what caused us problem. If I just give you back exactly what you spent, I mean, I'm not saying there's not issues with it,

but the little less problematic. Okay, moving on to November 2016, banned and standard. Etherwork Marvel. It's a legendary artifact for four. You tap, you pay six energy. Oh, yeah. Whenever a creature dies, you get an energy.

I think, I didn't know where I was. wrote you control or not. I'm not sure whether it's because of all. Everything dying or just your thing is dying. Anyway, you can tap it, spend six energy. You can look at the top six cards of your library and cast one for free at the rest of the bottom in random order. So the history of energy is a very interesting one. So when I was making Mirridan, original Mirridan, I was looking for cool things to do with artifacts. So I went back and I looked at all the artifacts of the past that I, there was something about them I thought was neat. one of the cards,

actually one of the few homelands cards that I probably was ever inspired me to make more cards. Serrated arrows. So serrated arrows was this idea that you had three arrows and so you could only use it three times.

It came to three counters and you could only use it three times. And that was really cool. If you look in sort of like, you know, playing D&D and stuff, like the idea of a magical artifact was like limits, I can use this so many times.

It's pretty cool. And so at first I said, okay, what if I make some artifacts that just have limited uses to them? That fell neat. Then the next stage I got was, oh, well, what if these, you know, let's say there's artifact A, B, and C. A can be used three times, B can use three times, C can use three times. Well, what if I use the, I think I use charge counters? What if I use the same kind of counter? And instead of requiring you to remove a counter from this artifact, you can remove it from any of your artifacts.

So the idea is instead of I use A3 times, B three times, and C three times, I use A, B, and C three, A, B, and C, a combination of nine times. Meaning, if I want to use A four times and B two times, I could do that and C three times. So for a while then, I just worded them, so instead of removing charge counter from it, I remove charge counter from an artifact I controlled. And then what I realized was there just was a lot of bookkeeping because what would happen is now if my opponent's going to say I'm using my artifacts, A, B, and C. Well, I don't want to use all of them off A because if I use all up of A and then they destroy B, I've now lost three things.

But if I use them evenly and they destroy one of them, I've lost less. So there's like this management of trying to maximize how you're using your counters. And one of the things we learn in design is how much energy am I making you spend, like how much mental energy am I making you spend that doesn't really matter, that isn't important? Meaning there's a lot of energy going into like, okay, what's at risk and where do I?

It was a lot of thought. And like, was it fun? Like, eh, it was minimal, you know, you know what I'm saying? Like, you did it. You thought you had to do it because it mattered. So then I said, okay, what if we just take away, what if we didn't tie it to the artifact?

What if destroying the artifact didn't lose it? So that's when we originally came up with energy. Okay, well, what if instead of putting counters on the card, I just give you the player counters? So, A, gives you three counters, B gives you three counters, C gives you three counters. Now, you still have the nine uses, but now there's not this tension of caring about which one you're using and how many counters are on and if your opponent destroys it. It was just a lot cleaner, and it removed the mental strain that this wasn't really necessary. And that's important. I mean, like I said, I do want to stress that, like, it's not that we don't want players to think.

It's just are you spending mental energy in places that are fun? Like, is it fun mental energy? Or is it like, eh, it's kind of bookkeeping. And we've got to be careful on bookkeeping. I'm going to careful, like, I only get to, the way I like to think of it is, imagine your brain having RPMs like a car, right? I only get to rev your brain so much. And I want to make sure I'm revving your brain in ways that are enjoyable

and not revving in places that don't matter. And this was a good example where it didn't matter. Anyway, so what happens is I put energy in this at, Mirren just says too much in it. Bill, who's the head designer at the time, says to me, there's too much in it, Mark, you got to take something out. And the reason I removed energy was it was less tied into other things than the set.

It was easier to move out. And I said, okay, it's a cool system. I'll find it. I'll find a home for it one day. And so that one day took a while. I think it took 13 years to find a home for it. And I looked. Like, we would do sets like, oh, is this stuff for energy?

And I try energy out. We actually had energy in a couple different sets. but none of them quite made sense until we get to Caladesh, the set Kaladesh, on the plane now known as Average Car.

And the idea was we wanted to do this steampunk sort of inspired set and end up being what we called Ather Punk. But we like the idea of steampunk but happier. A lot of steampunk gets a little more depressing. We like a happier, shinier

steampunk. and it was a world about invention and oh, an artifact world like energy just made perfect sense and we tried it in exploratory design in fact what I did exploratory design is I didn't give the parameter I sort of said to the player to the team

look there's a bunch of ways we can do this I'll walk you through the different ways and then we as a group decide which one we like best and after experimentation without any input from me the group did decide that energy back that execution was right so we sort of repeated what we done before and came to the same conclusion.

And once we introduced energy, the creative team built energy into the world in a very organic way. It's a core part of what Averagecar is, is the fact that it has this energy. So anyway, we were making the set, and we wanted to make something super splashy. So we wanted to make something that just used a lot of energy. And so this is what, we came up with Aetherworks Marble.

So the idea was that it gave you a way to get energy, and then it used, like, it's used with a lot of energy. energy. Big, big, big. Now, what ended up happening, the reason this card got banned as well as a few other things is we, so whenever you, we were making what we call an economy in R&D, right? Like, manna is an economy, and we spent years balancing the mana economy. We know exactly how much you get for so much mana. Like we have a really good idea like, oh, I'm spending four, you know, four generic and a red mana. How big a creature do I get? Okay, we understand the dynamics of that. The problem with making a new resource, is we don't have that expertise yet.

Like you're making a new economy. So energy was a brand new economy. We spent a lot of time on it. To be honest, it's not even that, I think Irony did a pretty good job, but it's brand new. It's not something you quite understand yet. And we ended up making it a little bit too easy to get energy.

So what that meant is large energy uses that were just very powerful, like Aetherworks Marvel, ended up being really strong. I mean, essentially this is U6 energy, cast a free spell, and you have, from your top, six cards. So, you know, if you build your deck correctly, you can do some pretty big, powerful things. But anyway, like I said, I, energy is a really interesting thing in that I,

I like the general system of it. Part of me sort of thinks like we should use it more in small doses where it makes sense within sets. Not that I've said it has to be about energy, but, you know, if you make one energy cart in a set in a vacuum, it's just serrated arrows, right? That's all it is. It's just, it's serrated arrows in a slightly different form. But, ties into the bigger system in a way that's kind of interesting. Anyway, I would like to sort of explore the idea of using a little bit of energy in smaller doses. Okay, January of 2019, I think, banned in modern, Clark Clan Ironworks. So this is an artifact that costs four.

You sack an artifact to produce two mana, two colors mana. This is from Fifth Dawn. So Fifth Dawn was part of the original Meriden set. We were trying to, again, make an... Well, I just talked about Caledash. We were trying to make an... We had a lot of artifact blocks. Artifact blocks are fun.

They're kind of dangerous. Historically speaking, we've caused some problems in artifact blocks. This card, as I talked about in my early on in the series, is an engine card. It turns an artifact into mana. So I'm not quite sure what caused this problem. I will say that we've started doing a proliferation of artifact tokens because they're a lot of fun. One of which is treasure.

So treasure is an artifact token that you tap to produce one manna of any color. Well, with the Kruklam Iron Works, you can turn one treasure into two mana. I'm not colored. But, you know, and there's just a lot of ways. There's a lot of ways to get artifacts out that have less value. you can, like, when you have, when every artifact you cast is a card, that's at least a little more investment. Now that we have more tokens, it just, you know, like, anyway, I mean, the card for no, like,

really turns, the, the, the reason you can see is problematic is, I just need an artifacts, there's lots of ways to get artifacts. I can turn artifacts with no manna investment into mana. And so it's very combo enabler. I mean, one of the things I will say, as the one of people who keeps making, making engines, Engine cards are fun. I do get it. I mean, I'm a Johnny at heart, right?

There's a lot of neat things. There are a lot of neat things you can do with this card that are what I will call honest. But there's a lot of cheesy ways to just make infinite mana and do all sorts of crazy things, which is why I got banned. But it is a fun card. I do like the card. May 2019, banned in pauper. Days. One in a blue.

Counter-despel, unless they pay one. And you can bounce an island. instead of paying its mana cost. I talked earlier and I talked for gush about why we made

alternate casting costs in Rican mass block. Alternate casting costs are very fun. They are dangerous. You know, one of the themes

of this whole series is there are certain things like avoiding mana or drawing cards or making engines that are dangerous and letting you do things for free

in general. this spell has a cost, but you're going to avoid that cost. And in general, the thing going on here is countering a spell is pretty powerful. Now, given, it's, you know, it's countering unless they pay one. So it's only really countering it if they tap out. But the idea that I, while tapped out,

can stop them with any spell while they're tapped out, is pretty potent. And the idea is, look, you can just spend one in a blue if you have it. You're not forced to bounce your island. And the other thing about this is bouncing your land is a lot more of a big deal early on in your development. Like doing it on the early turns

is a big drawback. But counts on a spell, this is the kind of thing that has value later on, especially when I have a lot of mana. But even if I need to counter things sort of midway through, if it's a spell, like the thing is I'm willing to go back on mana

if what I'm stopping from you is going to wreck me. If I can stop something big, And so, anyway, the past worked really well. It's interesting to note when we look back at the free spells, at least are the ones that I made that got banned. There were some blue ones and one of the green ones that invigorate. But I don't remember any of the red, white or black ones. Oh, no, no, no.

I had one banned where you flashback by second creature, so that wasn't a fricating mask, but it's similar. Anyway, you do have to be careful. Free, free is dangerous. It's exciting. Exciting, but dangerous. Okay, now we go to July 2019,

Bandon Modern. Bridge from below. So it's an enchantment. If it's in your graveyard, it only works in your graveyard, if you have, if a non-token creature dies, you make a two-two zombie.

But if your opponent ever has a creature die, then you ex-out from your graveyard. Okay, so this has a pretty fun story. So what happened was we were working on future site. So future site had a future shifted seat. So the idea was the times for a block

was past, present, or alternate present, and future. So the time shifted sheet were cards that did not exist from the future, which did confuse some people since they were in the pack. But what do mean? They're from the future. I have them right now. But anyway, the idea is they hinted at things we could do.

So I was really trying to make really bizarre things And what happened was What happened for the future Shifter cards is they had to be something that kind of I wasn't just trying to make things we hadn't done because obviously we had space we had to do. I was trying to

extrapolate and I was trying to make cards that sort of hinted at spaces we could go that were extrapolated from where we've been if that makes sense. So anyway so normally when we get holes and files we do what we do we put out a post and there's people

not just an R&D, but at Wizards, who are like, hey, it's hole filling. Here are holes we have, and then people submit cards. And then we use those cards and fill holes. Now, whole filling doesn't always work. And sometimes, you know, the leads of the set have to fill the holes. But what, so Mike Turin was the lead developer.

I was the lead vision designer, or wasn't vision design. I was a designer, he was a developer. The vision design hadn't happened yet. So what happened was, Mike put out, we got some holes in the future shifted sheet. Mike put out the hole filling and nothing was useful. It turns out that the future shift sheet was this really weird animal.

So I ended up designing a lot of the cards from the sheet. And in fact, Mike came to me and said, look, we're about to, like, it's almost pencils down. We need two more cards for the future shifted sheet. And look, I. I just need you to do them. We're out of time. Can you make them? And my memory is I had an hour.

I'm sure, like, looking back on it, like, that felt, that now feels like that can't be right. Now, and maybe it wasn't had to be done by end of day and I only had an hour that day or something. My memory is I had an hour. At least I worked on it for an hour. Maybe the deadline was longer than an hour, but I only had an hour of my time. Whatever it was, I had an hour. So I ended up making two cards in that hour. one of which is bridged from below.

So I was enamored by the idea of what have it and chairman that didn't work in play that only worked in your graveyard? So the idea is your job is, how do I get this thing into my graveyard? I have to figure out how to get it into my graveyard. And it didn't sack itself. Like it didn't make it easy for it in your graveyard. So you had to figure out how to get it there. And then I just thought it might be fun to do something that just was, I don't know,

I was trying to do something strange. I was inspired by, we made a serious. of cards, I think Mike Elliott made, then we called the Jedi's. They're named after emotions, like Angers, an example, where while they're in your grave, are they grant abilities to your creatures? I really thought those were cool. So I was just trying to make an enchantment that functioned like that. But not a creature that easily died.

Something is a little more. And so the idea is what it did for you was whenever a creature died, and the reason we say non-token is we didn't want you making tokens with this card, and then whenever they died, make more tokens. It's a common thing where we'll make tokens and say non-token, so it's not counting itself. The idea is whenever one of your creature dies, like a real creature, you get a zombie. Whenever your zombie dies, you don't get another zombie. The other way we could do is we could say whenever a non-zomby dies,

but we wanted you to be able to play this in a deck full of zombies if you wanted to do some sort of zombie type or something, I thought it was fun. So anyway, we said non-token. And then I wanted to have some sort of, how do you deal with it? It's in your graveyard. Most people aren't going to have cards to answer that. So I wanted the card to have an answer to itself. And so I was inspired by Pestulence, a card in Alpha. And Pestrelins goes away if your opponent doesn't have any creatures.

So I liked the idea of some end state that would happen in the game. And since the card cared about your creature's dying, I thought it kind of apropo, okay, what if your creature's dying is good for you, but your opponent's creature's dying isn't good for you. And so the idea is every time your creature dies, non-token, you get a little bit of a little bit. zombie, whenever your opponent's creature dies, then it gets ex-out, goes away. So you have this window, you have to figure out how to get in your graveyard, and then take advantage of it up until your opponent finally has a creature that dies. Now, that felt weird and narrow to me.

It's obviously the case, I'm pretty sure there's some combo potential with it, which is I assume why it got banned. Once again, I'm not, I don't know the deck specifically banned it, but I, I read, Harper is to believe it's not a combo deck. Anyway, the other interesting thing is in that same session, I also did Narco Miba. So I made Bridge from Below Narco Miba in that same hour design session. But anyway, guys, that's the story of Bridge from Below. Okay.

Well, I'm not quite done yet. I'm hoping I do one more part of this. We'll see. But anyway, I hope you guys are enjoying my look at all my band and restricted cards. But I am now at work. 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. I'll see you all next time. Bye-bye.