I'm pulling away from the curb.

We all know what that means it's time for another drive to work.

And the minute I drop my daughter off to the bus stop.

Okay, so today is another episode of my Lessons Learned series

where I talk about a set that I led and all the lessons I learned from it.

So today's Lessons Learned Theros.

I'm going to talk all about the lessons of designing Theros.

Okay, so for starters, when I started, so I had done Innestrade two years earlier, and

Innestrade was really the first truly top-down set I had done. I had worked on some development teams.

Like I was on the development team

for champions of Kamagawa. But as far as leading a design, the first time I had led to design

and really was on a design team that was totally top down was Innestrade. So when I got to

Theros, my attitude was like, oh, okay, I got this. I did Inistrade. Okay, I'm doing top down. I got it. And so I started doing

Theros the same way I'd begun doing Inestrade, the same sort of techniques. But what I found

was it didn't work the same. And this is when I made a very important discovery. I mean,

I didn't understand this right away. It took me a while to understand this. But,

Anastrad was horror, gothic horror. So I was borrowing from a lot of pop culture, which meant that, you know, people had a real sense of how vampires acted and how zombies acted, how

werewolves acted. They had a sense of what would you expect a bunch of

vampires or zombies to do? And people had answers because you've just seen a lot of things.

So when I got to Greek mythology, which is obviously what Theris was, what I found was,

well, there was a little bit of pop culture. It was a lot more sort of people had studied it or

read about it. You know, the knowledge

...