I'm not pulling out the driveway. We all know what that means. It's time for another drive to work.

Coronavirus edition. Okay, so as you know, I've been using my time at home to do interviews, which are hard to do in the car.

And so today I got Glenn Jones, and he and I are going to talk about unstable. Hey, Glenn.

Hey, Mark. How's it going? So nowadays, you do a lot of game design, but back in the day, which we're going to talk about today, you were an editor, correct?

Yeah, that was how I got my start at Wizards.

So a lot of the talk today, and I had another podcast with Matt Tabak, so you're my second editor.

But one of the things I've been trying to do with these interviews is just show different facets of magic design, because there are a lot of moving pieces that I don't think the audience quite realizes until you start interviewing all the different people that do all the different jobs.

Yeah, I agree. Certainly, as a former editor, I know that they're just skills and knowledge that I bring to the role that not everyone necessarily has. And that's true of everyone who came from a different background, which we have a super diverse set of professional backgrounds among our designers.

Okay, so let's dive in. So unstablestable is a really weird thing to edit.

So what, let's just jump into, like, what, what was the biggest challenge for you as the

editor of Unstable?

Well, one of the interesting things about it was it was, if I recall correctly, the

second set that I was the lead editor of.

It went Conspiracy 2 and then Unstable, which I recall correctly, the second set that I was the lead editor of. It went conspiracy

two and then unstable, which are themselves both like different sets from conventional magic as

well. So I was kind of like learning the learning on the job, but also, you know, learning with

some instruction manuals that didn't quite match up with what we might be doing.

So for me, it was a lot of, you know, how much are we supposed to kind of like hand wave through and just be like, yeah, that's how it works?

Or people will get this and how much of it do we need to try and find, like, clean magic language that we can lean on to communicate the rules more cleanly, which I think we wound up going a little harder into like, this is a magic card, it reads mechanically and

functionally like a magic card than the previous unsets had done with unstable.

And I think part of that maybe was just a symptom of my trying to be like more

precise as a newer editor as well. And also a lot of time. I mean, the other big thing is

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