Magic: The Gathering Drive to Work Podcast - #998: Budget

Episode Date: January 6, 2023

I've covered almost every aspect of designing a new set but haven't talked about how our budget impacts design. Today's podcast is all about designing under a budget.

I'm pulling out of the driveway. We all know what that means. It's time for another drive to work. Okay, so today I decided to discuss something I've never discussed before. I'm going to talk about budgets. So one of the things I want to talk about in today's thing is that when designing, there's a lot of elements about design that have all to do with the creative aspects or, I mean, there's a lot of design is about sort of making, you know, the best set in a vacuum. But the reality is, you know, we are a business. And so one of the things that happens with the set is a set has a budget. And so I want to talk through about how

the budget impacts design. The fact that design has to think about the budget. Now something I've never talked about, but one of the things I got from people is they seem to really enjoy the nitty-gritty that deals with actually having to make a magic set. And one of the things about actually having to make a magic set is you actually have a budget. And so I thought I'd talk about it today. So what I would talk about, so the way it works is there is a default, meaning everything exists at a certain default, and then there's sort of bonus money put in so that you can figure out what is this set to need to do that's different. So the idea that you want sets to do things they don't normally do is built into the budget but you only have so much budget. So as well I'll explain today you have to pick and

choose sometimes what you want to do. So first off let's talk about what what the budget pertains to. How does the budget care? So first up is art and what that means is you have a budget for a specific number of pieces of art. Each piece of art costs money. You have to go get a freelance artist and have them draw it. And when I talk about art, I mean specifically each unique piece of art. You know, there's a cost for that. Now, one of the things that, I'll get into the nitty gritty here.

The main set has a budget, and the booster fund has a budget, and those two budgets are technically separate from one another. But sometimes, as you'll see today, sometimes you can lean into sort of other budgets to help you. So one of the things about having...

Like, when you're trying to figure out how to do things, the fact that there's different budgets in different places, that is something that you can sort of take advantage of at times. But, so, but the key is, you only get so many pieces of art. That is a

locked number of thing. That it's assigned. It's budgeted. So, usually the way it's figured out is that you figure out how many cards you have in the set. And that has to do with printing and collation, which I'll get to in a second. Um, but you'll figure out how many cards you have in the set. Uh, let's take, um, uh, booster fun away for a second. Uh, and then you have so many tokens.

Um, oh, also, uh, also for the art budget, uh, you're going to want to have key art. That's the art that goes in the packaging. You're going to have... Well, oftentimes the art that goes... Well, the art for the booster boxes is usually done separately. The art for the booster packs usually is picked up from art for cards. Not always. And sometimes there's needs for you to commission specific art

for packaging. I can get to that in a second. But basically, like, there's so much art you need. It's all the cards, it's all the packaging. Like, there's so much art that the set needs, and that stuff's baked in. Token art is interesting. Token art is where

one of the places where it most rears its head because normally you have so many cards in the set well not so many cards in the set so you don't have to think too much about the art with a few exceptions that I'll get to but anyway the idea is where it gets tricky

is tokens so tokens is I have some number of pieces of token art and what that means is I have so many unique tokens I get to use. Now, maybe, maybe I'm using a token so much that I want to have multiple pieces of art for it. For example, in Infinity, we had two different pieces of food art and two different pieces of treasure art and two different pieces of a clown token art. So you get a certain number of pieces,

and you have to decide how you want to spend them. Sometimes you might put multiples of something that's really key to the set. Maybe you want multiple pieces of art so people get to see multiple things. Or sometimes, maybe I want to spread them out. Maybe I want a lot of unique tokens that each require their own art. So one of the things that happens, because you have a lock on your token art is, and you'll notice this in sets,

a lot of times cards try to use the same token. Like, oh, well, this card's using a 1-1 token. I guess this could use the same 1-1 token. So one of the things we try hard to do is overlap our tokens where we can. And the reason for that is each token has its own art. So if I overlap two cards, that means I'm saving on a piece of art so that I can use that art somewhere else.

Usually, usually, if I have a set amount. Now, the other thing that happens sometimes is, let's say for some reason I'm light on tokens, I'm light on tokens, maybe I save that art and I use that slot somewhere else. The key to the art budget is that it's one lump sum. I get so many pieces of art. And so you also can sometimes, like, let's say, for example,

I need extra art for tokens or something. Sometimes I can steal that from other places. And once again, I always have the slush fund, if you will. Every set has extra slush art, not slush art, sorry, slush fund. There's a little bit of money, not a little bit. There's a bunch of money that every set has that isn't assigned to something up front that could be assigned to something. So you have a little bit of that. Sometimes some of that can go toward art. I'll

get to that when I get to some of my examples. Okay, the next thing you have to think about is printing. You have to print the set. Well, there's a budget for printing the set. Usually what that means is there's a set number of sheets. Normally for a normal set, I'll try to think about the default. I think there is two common sheets, two uncommon sheets, and a rarer sheet. Mythic rare is on the rarer sheet. common sheets, two uncommon sheets, and a rare sheet. Mythic rare is on the

rare sheet. The reason you want some extra sheets rather than just have one single common sheet or one single uncommon sheet is you want to sort of mix things up for purposes of randomization and for limited. If there's only one common sheet, the way we

drop cards, you get what we call runs. You get certain cards that are next to each other. If we break up and have more common sheets and more uncommon sheets, it's harder to trace those, and those patterns aren't as discernible because different sheets will cut at different places. So it's custom to have multiple common sheets and multiple uncommon sheets.

Now note, it depends, for example, whether your product is randomized. If your product is not randomized, meaning everything has the exact same cards in it, well, that just goes on one sheet. So if you're making like a dual deck or something where it's always the exact same cards, then that just gets printed all together. It rarely doesn't matter. it all together. Rarity doesn't matter. But if you're doing, if you're doing the, you know, if you're doing it for a randomized booster, then you need the, there's different slots for different rarities. I talked about this in another podcast about how when we drop a set,

there's different slots in the booster and each slot is represented by different sheets. different slots in the booster and each slot is represented by different sheets. Now, there's a default and so a normal set that's not doing anything might not have to worry about that. But if you're going to do something that requires extra sheets, like I said, I will get to some of these examples. I have a bunch of examples. I'll get to them when I get to my examples. But the idea is, oh, if I want to have a sheet that's not,

it's beyond the normal number of sheets, I want to have extra sheets or, you know, a bonus sheet, or I'm using some mechanic that requires its own sheet, you have to take that into account. The other thing, by the way, that could happen with printing, this happens to something like an unset, if you want to print in such a way, for example, if you want to go all the way to the edge of the card, the reason that the card has a little border is it allows you a little bit of give, that if you're off by a little bit, well,

the black around it sort of hides that. Sometimes, for example, with an unset, let's say you want to go all the way to the edge of the card that requires special printing. What we call what do they call it? I'm blanking on the name of it. But basically the idea is you put less cards on the sheet. Oh, gutter cut. It's called the gutter cut. So that you have space. Anyway, a gutter cut is a different kind of printing. And as we're talking about printing, I also get into premium or foils and stuff.

Different foils require different treatments. And there's a default foil that we do. But let's say we want to upgrade and do an additional foil. Those can have additional costs. So, you know, when you're planning out your set, you want to think about that. Now, I think that, once again, the budgets are in different places. I think the foiling budget is in a different place than the main budget.

So I think the way it works is the people that are doing all the foiling have their own budget that they have to stay within that is for their budget of doing foiling. I think if we're doing something extra special with foiling, they might come to the slush fund to try to borrow from that. But anyway, printing could be extra cost. You have to think about what you're doing and how it affects printing. Next is collation. So collation is how we drop things in sheet.

I talked about this in a previous podcast, how you have your different slots in your booster. Um, some products require extra collation. Um, jumpstart is sort of the, the, the best example here. Um, but like battle bond, for example, had to have partners show up together. Um, there's just different requirements that can happen where I need certain combinations of cards to come together. And the more complex it is, the more extra steps have to be taken. There is a normal default for collation, but sometimes if you want to do extra things, that costs extra money. So then you have to think about that and think, oh, well this might have a collation cost.

And so then you have to account for that in the collation cost. And the interesting thing about that is we can do a lot with printing. When you are designing something, one of the things the architects tell us is, well, dream, figure out what you want to do, then come talk to us. And we'll talk about whether, how viable it is to do it. Usually, well, viable means one of two things. Sometimes you want to do something the printers can't currently do, or maybe one printer can do it, but not enough volume that we could do it for a Premiere set, let's say. Like BattleBond, for example, when we made BattleBond, that was done.

We had one printer at the time that were able to print two cards right next to each other. No other printers at the time could do that. I think they can now, but they couldn't then. And so, because Battlebond was a smaller supplemental set, meaning it didn't need to be printed as much volume as a Premiere set, we were able to do it. But had we tried to do the same thing in a Premiere set, we can't print all of a Premiere set at one printer. It's too big.

So that wouldn't have worked. We couldn't, if we have a coalition need that only one printer can do, that can work on a smaller product, but not a big product like a Premiere set that's printed in pretty large volume. Next up is packaging. The biggest impact on packaging, there is a default for our packaging. There's a certain size to our packaging. You get 15 cards plus a token card, you know, ad card. And that's what fits in a booster. If you try to stick a 17th card in there, it won't fit. Meaning, as the booster pack is currently designed, it won't fit. And that means you have to change the flow wrap, the booster wrap. And now you have to change that.

But if you start making the boosters bigger, they don't fit in the box the same way. So you have to change the box. So one of the things when you're making a product is you have to understand the implications to packaging. Now, one of the things that goes on is the packaging people have every packaging we've ever done, they have the specs for it. So if we want to do something that requires new packaging, they can go and look at all the existing specs they have. And what I mean by that is, in order to understand how to do a packaging, there's a lot of work that has to be done to figure out the specifications. And there's a lot on the technical side of it. You know, can the printer do this? What does it require?

So in order to make a new piece of packaging, they have to do what's called a spec, which is they have to sort of make a sample and run it through and make sure that it's possible. Once something has been specced out, it can be done. And usually the reason something was specced out is most often we were going to use it and we used it for another product. So whenever we're coming up with something new they can say, okay, well, let's show it. We'll show you everything we have. These are all the things we know we can do because we've done them. And or they might have been spec'd but never used in production.

But anything that's spec'd they know they're capable of. And then so the first thing you do whenever you want a packaging need is see whether something we've already done can meet it. If not, then you have to do and talk about a new packaging need. Packaging needs get expensive. That doesn't mean, once again, that the key to all these budget issues

are not that we can't spend money. We do spend money. The budgets for individual sets are pretty healthy. We spend a lot of money on sets. But packaging can really, really, really chew into your budget. New packaging. That is why we don't tend to change packaging very often. That most often we treat the packaging as kind of a default that we stick to.

There are exceptions. And like I said, we can change the packaging. It's just one of the most expensive costs. And another thing about that is changing one thing often means lots of other things. Adding one card to a booster might not sound like a lot, but it requires changing the flow wrap. It requires changing the boxes.

It might change how we do security wrap. It might change shipping. Like, there's all sorts of ramifications that happen. So making one tiny change might not seem like a big deal, but it's very possible, you know, it could be quite expensive. Okay, next is other components. Let's say you want dice or stickers or you want something that we don't normally have, something outside the ordinary. That costs money.

The most common place you'll see something like this might be we're trying to do something special for the pre-release kits and we want to put something in it that we haven't done before because it fits the theme of the set. Well, if it's a component that we don't have, well, once again, we have to spec components. Spec just means that we have to do the work to understand what it costs to do. So like when you spec a packaging, you make a packaging so you understand it.

When you spec a component, it's like going to people that sell the component, understanding what have it cost and the volume. Oh, that's another big issue about budgeting is it depends what the set is. For example, collation is a lot easier to absorb in a larger set with a bigger print run than in a smaller set. Not that it's more expensive per se, but the cost, it's a lot easier to absorb the cost. When you're thinking about budget, you're running it over how many things you're making. So a Premiere set that's just making lots and lots of cards has a bigger budget for printing, so a collation change a much smaller percentage of what's going on, meaning it's easier to manipulate.

But anyway, if you're doing other components, you've got to think about the other components. a much smaller percentage of what's going on. It's easier to manipulate. But anyway, if you're doing other components, you've got to think about the other components. Next, is there special graphic design, special frames, special symbols? Now, graphic design, it's an internal cost. Now we're getting into the internal cost. A lot of the stuff before I was talking about were external. Art and printing and collation and packaging and other components means we're not dealing with ourselves.

We're dealing with people outside. We're dealing with the printer. We're dealing with the artists. We're dealing with the people that are making whatever component we're buying. Now I'm getting into what we call soft costs, which is internal things. So if we need to do new frames, somebody's got to spend that time. So people have to be budgeted. That's the next thing.

You get so many people to work on your set. And so one of the things you always have to keep in mind is if you're asking for extra things, you have to keep that. Now, some amount of graphic design is budgeted to each set. We assume there's going to be, usually we assume there's going to be one frame, like one new frame or something. And there's going to maybe be a symbol. But anyway, it still has to be budgeted.

And the more complex your needs, the more you have to budget for that. Now, it's not as, like, graphic design. Oh, now we get into another thing. Budget is not just money budget is also time and other resources for example when I talk about art it's not just the money it costs to get an artist it's also we have a lot of things going on

and we have only so many artists we could have every artist that is working for us working on something, and we just don't have the, like, it's like, oh, maybe we have the budget for an extra artist, but maybe we don't have the artist for an extra, you know, like, that a lot of times when we're talking about budget, it's not just money. It also might be time. For example, we're talking about the graphic designer. Maybe we can afford the graphic designer, but they have another project they're working on. There's only so many people doing graphic design. So we have to share them between all the products. So when I talk about budget, it's not always a money budget. Sometimes it's a time budget

or a people budget. But anyway, graphic design requires budgetary things. And in general, people in general, the biggest thing might be playtesting. Let's say we're doing a set that requires extra playtesting. We might need to get people in. Might need to get some freelancers or whatever we need to do. We might need to get them in. Sometimes we have work that needs to get done that can be outsourced, meaning we get to a freelancer that does it.

Certain work like flavor text and some story writing and stuff is purposely always outsourced. And that's another big thing is like, let's say we want to do more of the story than normal because of the nature of the set. Like whenever we want to do anything that's out of the ordinary,

that is pushing on the budget. Okay, so now what I want to do is talk about some examples of things we might do and then explain how that feeds into the budget. So the classic example are double-faced cards. Okay, first up, if I want to do double-faced cards, a double-faced

card needs its own sheet. Normal magic sheets have a magic back on the back and then a front. Believe it or not, printing a magic back is a little bit different than printing a magic front. And the way we print magic cards is we do all the backs in the same place and then we take those things and put them to then print on. When you have to do double-faced cards, you're printing twice. So printing a back is not quite the same as printing a front. Printing a front is more expensive than printing a back. So first off, when you do a double-faced sheet, A, you have extra sheets.

And B, you have a double-sided sheet. Those are more expensive. And a double-faced sheet is in addition to doing the normal sheets like when you print a set normally you it's you're not you know you're not replacing something it's in its own additional sheet okay next is oh sorry and then the other thing to keep in mind if I'm doing double-faced cards is both sides of the card have art on them. I'm upping the art budget. So let's say I decide to add DFCs to my set. Usually the DFCs don't come out of your normal slots because for collation purposes, they're on their own sheet. So you have to, you

have to pay for the extra sheet and then you have to pay for the extra art, both the front of the art and the back of the art. That's all extra. Double-faced cards can cause collation issues. Not always. If you put them in their own slot, meaning every set has one slot that's the double-faced card slot, that's the easiest way to do it. If we want to do something where, like, you have the as-fan of 1.5, which means half the time you get one double-faced card and half the time you get two double-faced cards, now you're getting into a little bit of collation. Not super difficult to do. That's a drop rate issue.

But as you start, the more you get away from the base, the more you start eating into, okay, there might be some printing costs that we have to deal with. So DFCs, for example, there's a lot there. It's a lot to add a DFC to a product. Once again, it's not that we can to deal with. So DFCs, for example, there's a lot there. It's a lot to add a DFC to a product. Once again, it's not that we can't do it, but it eats into the budget. There's a lot going on.

Okay, let's look at a bonus sheet. So a bonus sheet has a collation issue. So a bonus sheet is like the Mystic... What was it called? In Shrickshaven, the Mystic Archive. What was it called? In Shrickshaven. The Mystic Archive.

It's like the artifact sheet in Brothersworth. It had the old frame artifacts on it. Time Spiral used a bonus sheet. I have a podcast on bonus sheets. So bonus sheets require an extra sheet. So there's extra printing. They can require extra art. Now, you can do a bonus sheet redoing what we call pickups,

which is I'm just printing the cards as they were. The list uses pickups. Pickups are the absolute easiest. What a pickup means is we're not changing anything. We are printing it as we printed before. Normally, when we do a bonus sheet, even if we reuse the art, we have to re-template everything, right? We're using the latest templating. So we're redoing the sheet. And that's another thing you have to think about is, when I'm talking about people, when you make a sheet, not only do you have to print the sheet, somebody has to lay out the sheet. Somebody has to do the templating on this sheet. Like, there's a lot of work. Like, you know, there's, obviously, if we're doing reprints

and you're using old art, there's not new art. But other than that, you know, there's templating. Like, you have to, there's work that goes into making the sheet. It's not as if that sheet

is just to snap your fingers. When we do a pickup, it's easier because you're not changing anything about it. And, like, the list uses pickups. Or the mystery booster uses pickups. Pickups are the easiest thing to do. They're the cheapest thing to do. Or the mystery booster uses pickups.

Pickups are the easiest thing to do. They're the cheapest thing to do. They at least cut into your budget. If you're doing a bonus sheet in which you're reusing art, you have to lay out the cards again, but you don't have the art. Or if you're doing new art, like the Mystical Archive, then you do have to pay for the art.

So there can be an art cost. Now, some of the time, that can be covered by Booster Fund. The Mystical Archive was considered Booster Fund, so they went into the Booster Fund budget. So once again, you can get creative in where and how you pay for things. But a bonus sheet does have that. Punch-out cards.

So like Amiket had punch-out cards. Like Coria had punch-out cards. So the idea is, it's a card that's in the thing that you then punch out. Normally that takes the place of the add slash token card. It's the size of a magic card and roughly the thickness of a magic card. So it doesn't mess up packaging or anything. Although you do have to be careful.

For example, we've not done this yet in Magic, but in Duel Masters, a game we make at Wizards, we've made what are called triple-faced cards, which the easiest way to think of it is, imagine three Magic cards where the long ends are connected, so you can unfold it to make something that has three cards attached side by side. We've put those in dual master boosters, and that affects packaging because there's a weight issue,

meaning it's a little heavier than normal. And so if you don't put one per packaging, people can start telling where they are. So there's weird costs like that, where you want to make sure that everything is randomized. And so sometimes when you change things, in order to keep the audience from detecting it, it requires certain costs. So once again, a lot of times when you want to do something, understand the ramifications of what you're asking for is why you go to your product architect to walk through. Okay, here's what I want to do.

What does that mean? What is the business ramification of that? And that's something you always have to keep in mind. Punch-out cards are not, I mean, it's added expenditure and a punch-out card is more expensive to make than a token card. Not by tons.

Like the printing process, I mean, it's a little bit different. It's a little more expensive. But it also requires, I mean, it's a little bit different. It's a little more expensive, but it also requires, I mean, it's extra expense. Another example of extra expense would be guild kits. So when we do pre-release boxes, we have a set sort of way we do them. Now, let's say you want to add in extra components. You want to change the dice. Let's say you want to add in some element, a pin,

to change the dice let's say you want to add in some element a pin um or let's say you want to do some collation on the card so the guild packs we make it so that you get things that are from your guild well that require we have to there's collation to that there's extra printing to that so that's an additional cost so when we do something like a guild kit that that is something you have to budget for that is not that's beyond the norm um and one of the things you have to budget for. That is beyond the norm. And one of the things you have to figure out when you're doing your set is to figure out where you want to spend this money. Now, we have producers or product architects that it's their job to figure out where the money should be spent. We as the designers will go to them and I often will say, here's what I want to do. And, you know, most of the time if I say this is what the set needs they'll figure out how to make it happen but if what I'm asking for like

extends beyond what they're capable of you know sometimes the product architect will say to me well I can do A, B or C or I can do two of them but I can't do three of them or I can do two of them, but I can't do three of them. Or I can do A and B, or I can do C. They will lay out what sort of the cost of it is. And so that's when you have to think about, okay, let me think about how I want to do this. So one of the things that happens early on in vision design is we are trying to get the general sense of what we want. Usually in vision is when we're starting to get the sense of what are we doing out of the ordinary? Are we doing double-faced cards? Are we doing a bonus sheet? Are we doing punch-out cards? Are we changing the pre-release kits? Is there some outside component like Infinity had stickers? Well, stickers aren't normal. Now, stickers can go on a card, so it

doesn't have to change like the packaging because it can take the place of a normal card, but, hey, the act of making stickers requires technology and things that are different, and, you know, for Infinity, we wanted stickers that were sticky enough that, um, they didn't harm the card, but you could reuse them to, that was our goal, um, so anyway, there's a lot of, um, you know, you have to lay out what you want. And then sometimes what happens is like, if you're doing something we've done before, let's say I want to do double-faced cards. Well, we've done double-faced cards many times.

You know, um, the architects understand what double-faced cards mean. When I say we want to do double-faced cards, they go, okay, they understand what that means to the budget. It's clear. And I mean, we understand that we've done it. When I say we want to do something we haven't done before, when I say we want to do stickers, now, Wizards had done stickers on another product, not in a booster pack, so it's something a little bit different and we had to think about it, but we at least had done it before. So, oh, the other thing, by the way, that I didn't really get

into is somebody has to get all the component pieces. So, if I'm using, like, the other thing, by the way, that I didn't really get into is somebody has to get all the component pieces. So if I'm using, like, for example, stickers, we need glue. You don't normally use glue. You want stickers, you need glue. Like, the reason Infinity got delayed was the glue company went out of business. Well, we have to get that. So another thing when I talk about other components, sometimes if we want to do something, and you might not think of stickers as being an outside component, but oh, well, even though everything else was, was printed at the

printers, the glue could not. They had to buy the glue, and so there's that. The real purpose of today's podcast is to say that when you are designing, it's not that the budget has to drive your decisions, but you have to be conscious of the budget. The biggest thing the budget tends to do is you have to figure out where to allocate. So sometimes it's like, oh, I want to do thing A so badly. Okay, I'm willing to sort of not do other things so that I can do that. A good example might be Embalm. So Embalm was a mechanic in Amonkhet.

And the execution of it we really liked was, you had a creature and then you could bring it back from the graveyard. You can make a token of it that's an Embalm version, like a mummy version of it. And we thought that the really clever way to do that was to have a token for each creature. But that really ate into the token, right? That was more arts than we normally had for tokens. So we were eating into our art budget. So it was a cool idea,

but we had to go talk to the architect and say, okay, here's a cool idea. And we need two buy-offs. We need buy-off from a budget standpoint, and we also need buy-off from the art director, right? We had to say to the art director, here's what we want to do. That's extra work for the art director.

Even if they have the budget, they still have to fit it in. They have to find the artist. They have to budget the time that there's a resource cost that comes with it. So whenever you do something, you have to think through what you're doing. So in the case of Embalm, we had to say, okay, we think this is a good use, like

we think this will enhance the set. We go to the architect, the architect has to say, okay, I can pay for this. Now we have to go and make sure that the other resources, the time, the artists, we now have to go to the art director and see that the art director can do it. So there's a lot of steps that when you're trying to figure something out. And like I said, it's not as much as possible the product architect wants to make your set amazing. Whatever you need to do to make it amazing,

they want to do that. So it's not, most of budget is just figuring out how to spend your budget, how to put it in the right place. But it's not endless. And a lot of times decisions you want to do have ramifications you might not want

to think about or might not have thought about and so that's important and a lot of what the project architect is is to remind you of limitations of the budget

but anyway the reason I wanted to bring it up is hey you want to design a game at a natural company that's actually a business well guess what there are budgets

that happen and you have to work within those budgets and that is something that when I'm There are budgets that happen, and you have to work within those budgets. And that is something that when I'm making a set, that if I want to have DFCs and a bonus sheet, okay, I've got to go talk to somebody. If I want to do punch-out cards and guild kits or whatever,

I want to start mixing and matching these. Any one of them I probably can do. Two of them maybe I can do, but I've got to talk it through, and I have to understand the ramifications. the other thing that has to happen is sometimes we're pushing something somewhere in another set oh we're straining the art pipeline artist pipeline for set a well set B maybe that's not where you should be pushing because that's where a is pushing so you also have to look at the sets around you to make sure that you're not pushing on the same resource, that you're not

causing a problem in some area. Anyway, guys, hope you enjoyed that. A very different way to think about magic design, but it came up somewhere else. I was realizing that I was working on something for a set, and I said, you know what? This is kind of interesting, and I've never talked about it.

So anyway, I hope you guys enjoyed it, but I'm now at work. I'm sitting in my parking lot. I'm sitting in the parking lot. So, we all know what that means. It means the end of my drive to work. Instead of talking magic, it's time for me to be making magic. I'll see you guys next time. Bye-bye.