I'm not pulling on my driveway. We all know what that means.

It's time for the drive to work, coronavirus edition.

Okay, so I've been doing a series of interviews recently where I've been talking with people who I've worked with on making sets.

Now, most of those talks have been with other designers, and we talk a lot about the nuts and bolts of mechanics. But today, I have Doug Byer with us.

We're going to talk War of the Spark, and we're going to focus a little more on the creative

side of things.

And, I mean, I'll talk a little bit about how I designed to match the creative side, but the focus

today will be a little bit different.

And the reason we chose War of the Spark is...

Well, hi, Doug.

I guess I should...

I guess I should bring you in here.

Hello, hello, hello.

The reason we chose War the Spark was this is Doug's baby.

So, Doug, why do you talk about sort of how War of the Spark came to be?

Yeah, so we had a thought of doing a big climactic sort of crossover event,

like a big impactful story climax as a magic set.

This was an idea that had bubbled up really early on.

We thought of as an event set, a set that was focused more on the story events that was happening in the set, rather than on the world it was set in.

And we wanted to build an arc. So we actually planned the ending many years in advance and pointed three years of sets toward that endings and

sort of sprinkle details all along that arc to kind of point to this gigantic climax where all

these plains walkers battle in a cabalas so what i want to point out to just that ending was like

...