I'm pulling on my driveway. We all know what that means. It's time north their drive to work.

Okay, so today's episode is called Right for This Set.

So I'm going to talk about one of the biggest challenges of making mechanics.

And I think that one of the thought processes, like what we do is we just go in our meetings and do our exploratory design and vision design, and we just find the absolute best mechanics and put them in the set, and then we're done.

And that actually is not what we do.

So a lot of trying to find new mechanics, I i mean clearly during the exploratory portion of design

we're just testing grounds and finding new areas and normally there is something i mean there is

some mechanic that you are centering the set in and that mechanic usually can it can do whatever it

wants um because it's the most important it's the grounded

center mechanic it's the heart of the set and whatever you put into the set first you know

gets to be um gets to sort of have the space it needs so there So there is one mechanic that goes in every set

that we just wanted to be the best that can be in a vacuum

because it is trying to capture the set.

But even then, that first mechanic we pick is chosen

not because it's a great mechanic in a vacuum,

but because it fits what we're trying to do.

The key to design,

and this is sort of the essence of today's show,

our job is not to design the best set sort of in a vacuum,

is to design the best set given the parameters that we're doing.

And that what, like magic, for example, this is the 30 30 second year 30 second year of magic right and we make a lot of sets and the answer is each set

wants of its own identity that it's not like we're trying to make any one set better than the

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