I'm pulling out of the parking lot.

We all know what that means.

It's time for another drive to work.

And I dropped my daughter off to camp again.

Okay, so today is another in my series, 20 Lessons, 20 podcasts,

where I'm talking about the 20 lessons I've learned over 20 years of designing magic

that I gave in my GDC speech.

So so far, I've talked about how fighting against human nature is a losing battle,

how aesthetics matter, how resonance is important, how to make use of it to piggybacking,

and how to not confuse interesting with fun.

Today is all about understanding what emotion your game is trying to evoke.

And so I'm going to talk about emotions today and emotional responses.

I have all sorts of stuff to say. Luckily, I have a whole talk about emotions today and emotional responses. I've all sorts of

stuff to say. Luckily, I have a whole car ride to save them in. Okay, so let's start with my examples.

For each one of these, I start with my example, and then I sort of get into the lesson as a whole.

Okay. So first, okay, oops, sorry. Got to avoid hitting other cars.

That's my, once again, number one rule here on Drive to Work is Drive Safely to Work.

Okay, so let me talk about my example.

So my example was Innestrade.

Okay, so when I sat down to make Indistrade, Magic had done top-down design before.

Richard Garfield had done Arabian Nights. Brian Tins Magic had done top-down design before. Richard Garfield had done Arabian Knights.

Brian Tinsman had done Champions of Kamagawa. We had definitely done a few sets where we sort of started with flavor and designed to match the flavor. But I had never done that. So my first chance

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