Okay, I'm pulling on my driveway. We all know what that means. It's time for another drive to work.

Okay, so last time I started talking about something called communications theory, which I had done an article on.

And for those that might not have listened to the last podcast, I'll go listen to it. This is part two.

I was talking about what I had learned in school. I went to communication school, to be accurate,

Boston University's College of Communication School. And what I realized is what I learned about

communications has lots of applications for game design. And so I'm talking about sort of what I learned, this one particular theory I learned,

and then I'm talking about how it affects game design and other aspects of media and such.

Okay, when last we left, there are three major things that communication says that you need for your audience

to make them happy, essentially.

So one is comfort, and I talked a lot about that last week.

Oh, the one thing I did forget last week, let me quickly sum this up, is I talked a lot

about individual game design, but I didn't talk about sets of making magic sets and being that,

hey, this is about making magic sets.

When we talk about comfort, I forgot to get the same before I get to the next part, is when you're making a set,

one of the things that people think a lot about is, and we'll get today to surprise, is the new

thing. But another very important part of a magic set is if the magic set doesn't feel enough like magic, the audience will reject it.

You know, if we made a set where everything's different and people just go, well, I can't, I can't connect to this.

It's too different.

It would be a problem.

Now, people like new things.

I'm going to get to surprise in a second.

But it's important when designing a magic set that you have enough comfort.

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