I'm pulling out of the driveway. We all know what that means. It's time another drive to work.

Okay. So I've been doing a series called 30 years where I've been talking about the 30 design

innovations that have happened since I started working at Wizards in October of 1995.

So when last we left, I was up to number 24, which is disciplined as subgroups.

And the very first one, I believe, was the Council of Colors in August of 2015.

So essentially, the way I first got to Wizards in 1995, and the color by was something that I was

always fascinated by.

But one of the things I noticed is, in one of the previous podcasts, I talked about how

the rules were sort of, every rule was made to make each card make sense in a vacuum.

And that the six edition rules sort of consolidated the rules.

Well, there was something similar that I had to do with the color pie, which was kind of like color pie was chosen, like, in a vacuum.

Like, oh, this card, what's the flavor for this card?

Okay, I'll put it in that color.

And there wasn't necessarily as much design cohesion as you would think. Now, some colors definitely did certain things that, you know, this card tended to be in black, see it in black, but every once in a while, you would see things in other colors. And the idea was, well, as long as I flavor it correctly, I can put it whatever color I want.

And I was like, whoa, whoa, whoa, whoa.

Like, the really important part of the color pie was that there are limitations.

Like, Richard really got that when he made magic.

Like, he really, you know, he made the color buy to separate things. And in Alpha, things were pretty separated.

But as people continued on, you know, that it wasn't any sort of, like, something was red

because the flavor of the card was red, not because red definitionally mechanically meant

something.

And that there started to be a lot of drift.

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