I'm not pulling my driveway. We all know what that means. It's time for other drive-to-work, coronavirus edition.

Okay, so I've been using my time at home to interview people about making magic.

So today, I have Taylor Inverson to talk about art direction. And we're going to talk all about Strickshaven.

Welcome, Taylor.

Hey, Mark. Thanks for having me on.

Okay, so I've talked a lot about Strick-Shaven from the mechanical side of things,

but we've not talked a lot about the world-building art side of things.

So let's start from the very beginning.

What is the earliest memory you have of Strick-Saven?

Oh, my gosh. Earliest memory I have of Strickson? Oh my gosh.

Earliest memory I have of Strick's Haven is people walking up and being like, this is going

to be a set about spells. And my first thought was, holy cow, we make magic. How are we going to

do this one? That sounds like a tall order, but it was also incredibly exciting.

It was a big blue sky, open world to dive into, and it was a really fun challenge that was fun to sink our teeth into.

So when did you first get involved?

Like, what's your earliest memory of what the world was?

Earliest memory of what the world was was in early exploratory world building and

vision design, sort of the enemy color pairs coming together.

And essentially, the top line was just that and that it was

a going to be a fantastical school about wizards and that was that was about it that was a little nugget

where it came in so one of the things that i know that happened a lot during vision design

was the idea of making the

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