I am just completely burnt out on Doctor Who mystery arcs. And RTD2 ones are being pushed so aggressively. woah look it's Mrs. Flood and Belinda looks like the future and oh nooooo end of the world just please stop.
Like compared to this the Moffat-era stuff was as subtle as a feather landing on a mattress.
For some reason there is a theory bouncing around that the Tarkir Dragonlords will show up on Arcavios and found an allied-colour school. I don't like it for a few reasons.
Now, it's clear that Strixhaven's five colleges provide a complete set of five enemy colour pairs, with nothing missing. The plane does not need, and will never need, a set of allied colour colleges. That would just be making Arcavios into Ravnica: School Edition.
Less clear outside of the Planeswalker's Guide to Strixhaven and other materials is that Arcavios, as a plane, is enemy-coloured down to its very bones. From the guide, we learn this about the origin of Arcavios' Elder Dragons:
At the birth of the plane, as the mana of two planes overlapped in conflicting ways, many forms of life adapted to the new structure and many new forms of life were spawned. Five particularly powerful vortices of overlapping mana became luminous spheres, from which were hatched five dragons. These dragons have become emblems of the magic of the plane, living symbols of the clashing forces of the five dichotomies.
The information provided on the Snarls is also interesting in this regard:
Mana flows through all the plane of Arcavios. But in certain sites, the mana becomes knotted and tangled. At these places, magic and spells can be at their most powerful—and at their most dangerous. These places are known as Snarls. According to the Archaics, the Snarls are places where two conflicting sources of antagonistic mana overlapped together at the birth of the plane.
The tension and conflict between enemy colours isn't just restricted to Strixhaven - it permeates the very structure of the plane. You can't add allied-coloured factions to the plane because they simply don't belong.
Of course, those are mostly aesthetic objections. Now, I could point out that since Strixhaven is also has a mechanical enemy-colour focus, there's no room for the Dragonlords. The same issue that got them kicked out of Tarkir: Dragonstorm.
But I think there are a few blindingly obvious reasons why the Dragonlords will not be founding a school together.
Atarka and Kolaghan do not have the temperament to found a school. Also, Silumgar eats people, which is unlikely to go down well with the locals. Theoretically Dromoka might be able to do it but given she exterminated the Abzan for practicing entirely ethical necromancy, she'll probably be too busy getting killed after attacking Lorehold.
That leaves Ojutai, who might just decide to enroll in the existing school.
In conclusion: Founders rule, Dragonlords drool.
A mildly amusing thing is that if set boosters were still around for Tarkir: Dragonstorm, that would be a perfect place to stick a new cycle for the Dragonlords. That would be outside of the requirements of main set structure. But, alas, that was not an option.
(technically there is another kind of booster you could make them exclusive to, but I won't speak that evil into the world)
It's actually kind of funny how up in arms people are getting over Aetherdrift having a mechanic named "Start your engines!". Oh no the going fast mechanic doesn't have an easily reusable name how will the game survive.
Meanwhile if you actually look at a list of keyword mechanics, it's a graveyard of one-and-done mechanics that never came back. A mechanic getting reused is the exception, not the rule. There's a whole pile of "generically" named mechanics like Amplify, Recover, Champion, Offering, Conspire, and a whole lot more, and it's not the mechanics' names that are stopping them from coming back. Even mechanics that are good often have years between appearances.
Also if speed was a perfect fit for a set other than the keyword name, they could just make a new keyword that does the same thing as SYE. This is possible. There is literally no barrier to that. While the game is called Magic: The Gathering, its developement is not beholden to actual magic.
my Aetherdrift theory: Gonti killed Sita Varma's mother (directly or otherwise)
So far there's no strong evidence, but given how Mohar reacts to hearing Gonti's name:
The moment Gonti's name is announced on the radio, Mohar hurls it across the room. His eyes go small as pinpricks, a vein pulses at his temple; her jaw aches just looking at the set of his. "That … criminal."
There's definitely something stronger going on than Mohar's more general "hmm these renegades and their new ideas can' be trusted" angle. And while Sita disagrees with her father politically, she seams much more sympathetic to his reaction to Gonti:
Here is the horror of a father like Mohar: he has shown her tenderness, he has shown her recalcitrance, and sometimes, he shows her the cruel anger for which he's famous. "Papa," Sita says. As afraid as she is at the outburst, she can't shake the need to run over and try to soothe him. "Papa, it's all right. It's just the news, that's all."
Sita knows her father has a temper, but in this particular case she wants to comfort him. She says "It's just the news". This isn't political - this is personal.
And once Mohar calms, where does his mind go?
Over the next minute, he collects himself enough to recover. The knit of his brow loosens, and he looks up at Sita. "Thank you. My dear, you are the future of our family. We must find you an advantageous marriage somewhere—"
To securing his daughter's future. An interesting line of thought.
Given that Gonti is sponsering the Ghirapur Grand Prix, and Situa is competing, I think this is going to come up and Cause Problems.
And in terms of the story beyond Aetherdrift, it illustrates that despite two revolutions, there are still cracks in the foundations of Avishkar's society. Cracks that can only be widened by putting someone like Gonti into an official position of power.
It's the end of the year. So that clearly means it's time to look at some Magic: The Gathering mechanics!
People have claimed that this year's sets have been too tropey, and moreso, that the mechanics themselves have a flavour that's too restrictive. As with many wide-ranging statements about Magic mechanics, all I can think is "Is that really true?". So let's have a look!
I'll be looking at new mechanics from six sets: the four Standard releases, along with the Fallout commander decks, and the Assassin's Creed miniset. How "reusable" the mechanics are will mostly be considered in terms of Standard sets, as supplemental sets have much looser flavour requirements, as they often draw from the entire Magic canon.
MKM is perhaps the set people are getting most up in arms about, to the point where they make ludicrous statements. No, this couldn't have been done on New Cappena, there are like a million issues with that idea. (But a new plane would have been fine since it wouldn't have all of SNC's baggage)
Disguise/Cloak - These two are variants on morph and manifest respectively, and the flavour is flexible, while being an accurate description of what the mechanics do. When you cast a spell for its disguise cost, you are literally disguising what it is. Cloak is a little less clean, but there's a similar conceptual throughline. While there's a little bit of baggage around why creatures (or other stuff) would be wearing disguises, it's still a pretty universal thing to be happening.
Cases - A new enchantment subtype with a condition to unlock additional abilities. The flavour is slightly restrictive here, but you can have a case outside of criminal investigations. Bloomburrow's use of the Class subtype also suggests that you can mostly ignore the subtype's flavour as long as the card name is evocative enough. Since a lot can be done with Cases, this is likely a situation where the flavour can be stretched in such a way, as opposed to other keywords and subtypes.
Collect Evidence - Now we're getting somewhere. Collecting evidence requires you to exile cards from your graveyard, which makes a lot of sense in terms of a murder investigation, but less so outside of one. The name is less of a problem, as like with Cases, collecting evidence isn't limited to crime solving. Still more restricted than the previous two, however. (Of course if it was just "Collect" it would be so open as to be usable anywhere.)
Suspect - Last and least for MKM is suspect. On its face, suspect is already quite restrictive, since you generally suspect people of doing crimes. Even in a slightly wider context, it's still tied into investigating implicitly bad things. But the specific mechanical implementation makes suspect incredibly clunky, as being suspected grants menace. So it somewhat implies that a suspect creature is suspected of doing something bad enough to make them scary.
In an attempt to avoid the problems with the Western genre, OTJ ended up being set on a world that's kind of weird and empty. Would a Thunder Junction Planeswalker's Guide helped things, or merely revealed that the plane is naught but a dusty canvas?
Mount + Saddle - A very open-ended subtype-mechanic pair, much like Vehicle and crew. If a plane has rideable animals and people to ride them, it can have Mounts to saddle. There's really not much else to say here.
Spree - Like Cases, there's enough leeway in the concept of sprees that this is a less restrictive name that it first appears. You can go on a crime spree or killing spree, but also a shopping spree! Which is nice, because "modular spell with modular cost" is a very usefull design tool. This might not be as stretchable as Cases, but it's not fully fixed to the crime and villain themes of OTJ.
Plot - This is an interesting one, because OTJ already ignores the implicit flavour restrictions. You can plot creatures, including wild animals. What does that even mean? So while this is theoretically narrow, it turns out in practice you can just do whatever you want with it. Perhaps this is a somewhat meta thing, as Magic is all about plotting your opponent's downfall.
Outlaws - Yeah, this batch of baddies is a very narrow idea, requiring a setting where being an outlaw is a Big Deal. I think this will be a general issue with batching going forward - it works very well to tied together specific set theme, but outside of the theme it ends up being too clunky. But batches are cheap, so it's not too much of an issue.
Committing Crime - It has crime in the name. Although in terms of putting a name to "targeting your opponent's stuff", I think that's as about as good as you can get. At least without coming up with a really weird technical-sounding term nobody likes. But yeah, it specifically uses the word crime, which brings a certain level of "caring about the law" into things that most Magic sets tend not to.
Everybody loves BLB, the set that's very original, assuming you aren't familiar with the material being referenced. It's cute and cuddly, except for the Calamity Beasts, living embodiments of natural disasters. Also it has a lot of mechanics.
Expend - This mechanic has basically zero flavour beyond what it is. You expend mana on spells, you get an effect. Since that's a thing happening in any set, expend has essentially no flavour restrictions.
Valiant - The updated version of heroic, which works with abilities, but only once a turn. Much like heroic, the flavour here is pretty flexible, since being heroic or valiant is something a lot of things do on a lot of planes. Not as extremely open-ended as expend, but still no serious restrictions.
Forage - Another funky cost mechanic like collect evidence. Unlike collect evidence, it's a bit more flexible, although the graveyard component is linked to the specific thing Bloomburrow's squirrels have going on. That's still something that bends fairly easily, but it's a restriction that the previous two didn't quite have.
Pawprints - A different way to do modular spells with modular costs, BLB featured a cycle of cards letting you chooses modes costing a total amount of pawprints. While this specific implementation is somewhat restrictive, the underlying technology can easily swap out the symbols. It's a little extra work, but it gets you where you want to go.
Gift - The first of the fun cute mechanics. Gift is essentially a kicker variant, where you get your kicks by being nice instead of paying more. While gifting is a universal concept, in the wizard-fights of Magic, the specific vibes of Bloomburrow are doing a non-trivial amout of work here. However, it's more a case that specific settings are broadly incompatible with the flavour of gift, rather than gift being locked to Bloomburrow.
Offspring - At first, offspring seems very flexible. Sure, maybe you can't put it on an angel or a construct, but lots of things have offspring. It's fine. Except when you think about it, Bloomburrow's cutesy flavour and funtime vibes manage to cover up that in some ways, offspring is a child soldier mechanic. It's right in the name! Perhaps that's a little bit of a mean reading... but March of the Machine did the same thing, just in the opposite direction. The scariness of Phyrexia covers for what exactly comes out of an incubator token. Which is also a mean reading I guess. Either way, offspring does have some peculiar flavour restrictions going on to avoid Big Troubles.
I'm not going to lie to you: I love Duskmourn. It's a great concept for a plane and no amount of "but the cheerleaders" counts as an actual argument against it's strengths. Did you ever consider that Valgavoth wants the cheerleaders there, for his own sinister purposes? I thought not.
Rooms - Another new enchantment subtype, bringing the previously theoretical "split permanent" to life. Most planes have rooms. And since Rooms are enchantments, in some sense they represent the idea of a room more than the actually physical space. A tent could be a room. Or a cave. Or a cabin in the wood and it's princess-holding basement. But I digress. Flavourwise, Rooms can be dropped into essentially any set without serious work being needed to justify them. Can you believe people actually think otherwise?
Impending - It's like suspend, but on the battlefield. Plently of things can impend, although the word and time delay imply a certain level of grandness. An ordinary Ravnican does not impend, but Rakdos might. There's a bit of a catch in that an impending creature needs to also be an artifact or enchantment, but that's a fairly small hurdle to clear in terms of flavour. There's a lot of space to play in when it comes to "creature that shows up after a delay" that means the restrictions aren't too tough.
Survival - A little bit of a weird one, as it carries the implication that surviving isn't a normal thing. Many Magic planes are dangerous, but a certain level of survivability is generally implied. While this isn't entirely pinned to Duskmourn, there's a possible grimness to it that boxes survival into a more limited numbe of locations.
Manifest Dread - A second twist on manifest, for fun. Or terror, I suppose. Dread is a bit of a weird thing to manifest outside of places like Duskmourn and Innistrad, so this one definitely has a certain level of flavour baggage. While not entirely insurmountable, the flavour isn't quite as stretchable as some other mechanics.
Eerie - Like constellation, but it also works when fully opening a Room. This one actually feels very restrictive, because an enchantment entering or a Room unlocking is only eerie in the specific context of Duskmourn. In other contexts, that makes less sense. This might not be a large problem, since Rooms were used in a specific way in DSK, but eerie is still very glued to that.
Pip pip, it's PIP. War never changes, but war has changed. I guess there's technically three mechanics here.
Junk tokens - It's junk. Lots of places have junk, and the junk effect is very generic. Just exiling a card off the top of the library so you can maybe play it. Perhaps the whole flavour package doesn't quite line up, but Blood tokens are in a similar niche. And Junk feels more like a thing that can show up anywhere than Blood does.
Rad counters - The problem here is not the concept of radiation. Every lorehead knows that Kaito and Eiko Skizuki's mother died due to radiation poisoning. Also, some guy called Yawgmoth investigated how powerstone radiation was bad for people, with terrible results. Thus, the multiverse has radiation that is bad for you, although only on planes with a certain technology level. The sticking point to me is that a "rad" is technically a real-world unit. Not as bad as the SI units that are named after actual people, perhaps, but still something to consider.
Bobbleheads - Honestly not quite a mechanic, but this artifact subtype does have a connected theme. This one is very wired in to the specific Fallout aesthetic, which is the first point against it. The other is that a bobblehead is a very particular thing, which most planes probably wouldn't be producing. Maybe pre-Valvagoth Duskmourn, but you know, the whole place got eaten by a demon.
From my understanding, Assassin's Creed involves both an ancient precursor civilization, along with a millennia long conspiracy. So it's basically like Dominaria but less excessive.
Freerunning - An alternate cost, payable if you did combat damage with an Assassin or commander. It's a bit like prowl. It's also entirely wired into the specific details of the Assassin's Creed franchise. "Freerunning assassins" is like the entire point of those games. A very, very restrictive mechanic in terms of flavour, but it does feel like it was designed to be a one-off.
Thematic keywords were not as troublesome as some might say. While a few end up being quite restrictive, others can be stretched further than expected, and some are actually quite generic, even with the context that created them. We also shouldn't forget that Magic has been doing this for a long time. Sometimes baking a little flavour into a mechanic's name is a good thing, especially if it doesn't really have the design space to exist outside of its original context.
Also it's a little weird there were two crime-themed sets in a row, and both 2023 and 2024 had what could uncharitably be described as child soldier mechanics.
There is a new Miraculous special London: At the Edge of Time. It mostly takes place in Paris and an extra-temporal location, neither of which are London. This is to be expected in a show by the French.
Anyhow let's consider how the characters are Going Through It this time around.
Marinette: It turns out that if your boyfriend's father kills himself in front of you that leads to sub-optimal decision making. So many people are in on The Big Lie that it seems like it will inevitably fall apart. This includes Neo Hawk Moth, although to be fair to Marinette she didn't know that when she commited to the plan. Also everyone she tells the plan to is like "hmm sounds dubious but I benefit sooooo I guess it's okay". Plus Marinette's opsec is shot to pieces with a whole bunch of people knowing her secret identity now.
Of course, doing The Big Lie is in fact very bad, especially if The Consequences apply at any point. If not it just becomes another weird thing the writers added to undermine any kind of positive ending. This is like the third one!
But really in this situation I'd probably be like "well the Wish got me into this problem so it's time to Wish my way out" so I guess I can't fault Marinette too much. I would be a bad superhero.
(also it's still incredibly unclear as to whether Marinette knows the Sentitruth)
Adrien: Kind of bad that Adrien is mostly not in the immediate aftermath of his father's defeat. I'm glad that the theories that Adrien would get akumatized over learning the true truth didn't pan out, because that would be a) a repeat of things that happened already b) super awful as a way to justify The Big Lie.
Nathalie: Well someone had to dodge the consequences of their actions and that winner is Nathalie. Once again I feel the need to point out that if she actually wanted to stop Gabriel, she had everything she needed for a while.
Gabriel: I'm glad this guy is dead. Wow he healed Nathalie, simply so she and Marinette could clean up his mess. RIP bozo, don't come back.
Lila/Cerise: The new main villain decides to put on an incredibly strong opening performance. In like ten minutes she accomplishes something that took Gabriel five seasons. Timestalker and Spectral Looter are both great designs, and make for a lovely pair of S-Tier akumas. Overall it's a very clever plan, and writing-wise it's a fun way to do a more subtle time-travel based threat, that also makes sense as something Gabriel wouldn't do.
I guess the downside here is that now Cerise's threat level has to suddenly drop, because if she stays at this level of menace she's basically unstoppable. Also for my sanity's sake I'm assuming Timestalker is limited to either a specific window of time, or is only capable of time-stalking Bug Noire.
Conclusion: I feel like some of this stuff should have been in Re-creation. Especially the bit about the universe not being destroyed by Gabriel's wish. Also the quiet fights like a meter away from people were a little ridiculous. But overall fairly standard Miraculous action I suppose.
Black is one of the most misunderstood colors in Magic: the Gathering, not least because it appears on the surface to be so straightforward. Look at the most iconic black cards of Magic and you'll see deals with demons, necromancy, mass destruction and cruelty and suffering–the trappings of classic fantasy evil. Even the color's symbol itself is a skull, a universal signifier of death and danger.
And in early Magic that seemed to be all it was. White was the color of Fantasy Good, black was the color of Fantasy Evil, and the rest of the colors were... fire magic? Elves? Whatever odd but intriguing skeleton affairs are implied by Time Walk?
Gradually, though, Magic deepened as both a game and a storytelling medium. The color pie grew into itself as a system of complementary philosophies, archetypes whose associated aesthetics were only part of the full picture. Their arrangement around the wheel, below, is highly deliberate; neighboring colors are said to be allies with a high degree of philosophical and mechanical overlap, while colors on opposite sides of the pie are known as enemies, more likely to disagree on fundamental levels.
Black stopped merely representing capital E Evil and became the color of striving for power; unlike its peers, black felt that nothing, least of all morality, could prevent it from seizing what it wanted. Mark Rosewater's 2015 article about black emphasized the color's focus on the self:
"Black's philosophy is very simple: There's no one better suited to look after your own interests than you... Many costs require the sacrifice of others for your own advancement. Because it puts itself first, black is always willing to make this trade. The weak must fall for the strong to thrive." -Mark Rosewater
At its worst, black is an exploitative, amoral color that prioritizes itself at the expense of all others, allowing the "weak" to fall and scorning the very idea of compassion. Rosewater writes that black is "always willing" to trade others for itself. And these can certainly be parts of black's philosophy, when taken to its worst possible extremes, but they're far from the entire story.
Over time, Magic's outlook on black gained nuance. Magic story introduced protagonists like the necromancer Liliana Vess, whose craving for immortality, seemingly exploitative nature, and demonic deals called back to the oldest portrayals of black–and yet she was not one-dimensionally evil. She underwent character development over the years, learning the value of reclaiming herself and standing beside others, and at no point did she become any less mono-black for it. Remember her; we will come back to Liliana and her story later.
In addition to the usual death and decay, black cards began to feature a theme of relentless devotion. On the plane of Eldraine where each color represents a virtue, black's is persistence, explicitly as important as any other color. On the plane of Ikoria, the love between bonder and beast pulls Winota back from the brink of death. Wherever this Oathsworn Vampire printing is set, its flavor text is quintessentially black. It's the same self-driven attitude as before, but cast in a different light: black is nothing if not persistent when it's got its heart set on something (or someone) it cares about. Nothing, least of all the grave, will keep it down. After all, black will always come back for its own.
These newer cards uncovered the true face of black as a color capable of both great love and harm (sometimes even the latter for the sake of the former), and suggested a tantalizing new thread: perhaps putting yourself and yours first isn't all that bad, necessarily. Black is a deeply protective color; it says you don't just have to accept what you're handed, it's okay even to be furious about it (hello, ally color red), but let that galvanize you to do something about it.
Vraska, a gorgon who faces extreme discrimination on her home plane of Ravnica, triumphs by reclaiming herself, gorgon powers and all–and even more radically, loving herself. She displays traits often considered the purview of white and green, such as a love of home and a drive to elevate the oppressed, but they are all filtered through the lens of her black alignment. Vraska staunchly refuses to deny herself or her people, the Golgari Swarm, of their value. Nor does she allow law or propriety to prevent her from championing them by any means necessary–even if that means cold-blooded murder, or aligning herself with a villain like the Planeswalker Nicol Bolas.
"[Vraska] thought of Mazirek, of the kraul, of the rest of the Ochran assassins and the malignant Jarad who reigned with casual ruin over the most downtrodden of the downtrodden. She remembered her years of isolation, and the heinous cruelty of the Azorius, and how no group deserved to suffer as much as those who would subjugate her own. Eliminating that hell was all she ever wanted." -The Talented Captain Vraska, Alison Luhrs
Like Vraska, black loves fierce and hard, willing to break any taboo for the sake of those it cares about. And it whispers, the entire way through, you are enough. You deserve better. No matter what others may say or do, you are enough.
"If I am to be met with disrespect, then I must first love myself with a fierceness no fool can take away." -Vraska in Pride of the Kraul, Alison Luhrs
Even black's "ruthlessness" isn't as fundamentally cruel as it appears, centering a passion for problem-solving (shared by its other ally blue) instead of a blunt disregard for others.
"People don’t understand the word ruthless. They think it means 'mean.' It’s not about being mean. It’s about seeing the bright, clear line that leads from A to B. The line that goes from motive to means. Beginning to end. It’s about seeing that bright, clear line and not caring about anything but the beautiful fact that you can see the solution. Not caring about anything else but the perfection of it." -K. A. Applegate
All of this comes together to make a black a color not of evil but of strength, integrity, and persistence. And that's all well and good, but I'm going to take it even further and put forward a new proposition: that black is the color of hope.
The thing about Doctor Who Series 14 is that I think it would be better if there were more of it.
Not just in a "I want more Doctor Who" sense although that's part of it, but in a "things needed more space" kind of way. There are a few beats here and there that would work better if the relationship between the Doctor and Ruby was more developed, and there could have probably been some more development of other side characters as well.
There's also the problem that two of the episodes are Doctor-lite, in a eight episode series. That's 25% of the series not having the title character. Sure, the bits of Dot and Bubble that the Doctor is in are pretty good, but then he's essentially not in 73 Yards in any meaningful way. It's not great. Plus in the other direction, 75% of the episodes are written by one guy which is perhaps not good for variety, the long term future of the show, and maybe even RTD himself.
A few of the episodes could have maybe done with being longer too, but that's more situational. The Devil's Chord and Rogue could definitely do something with more time, but we don't need more of Space Babies.
I guess this is a product of overall Doctor Who shrinkflation, where once we had 13 episodes a year. Then series started to get shorter, the time between them grew, and there was just less of it. I suppose with only eight episodes you can spend more money per episode, but does it even matter if the output is Space Babies? (I still don't trust those babies)
I don't really have conclusion here other than "I want more Doctor Who on the telly but it's not there".
Empire of Death thoughts. I don't have a fun intro for this one.
In Wilds of Eldraine, the two Kenrith twins, Will and Rowan, each gain an extra colour to show how their characters are developing. But while there's something obvious going on, there's also a few things I find interesting.
The two twins started in a sense of opposition. Rowan is Red, the colour of action and living in the moment. Will is Blue, the colour of planning things out and of waiting for the right moment. Red and Blue are considered enemies, their conflict quite clear.
In Wilds of Eldraine, Rowan picks up Black. Black is the colour of power and doing whatever it takes to reach your goals. But it is also the colour of determination and fighting to the bitter end. Meanwhile Will picks up White. White is the colour of peace and community. But it is also the colour of law and critically, self-righteousness. White's virtues oppose many of Black's vices - but the opposite is very much true, with Black's virtues standing against many of White's own vices.
So the obvious thing to note is that by picking up another pair of enemy colours, Will and Rowan have become more opposed to each. The Scion of Peace against the Scion of War. But the thing is, the five colours come in a wheel. Colours have enemies, but they also have allies.
Black is an ally of Red, both colours distaining attempts by others to control them. But Black's other ally is Blue, both colours seeking self-improvement, both willing to push past the bounds of what is "natural" if needed. White and Red, meanwhile, are as vicious enemy as White and Black, their conflict one of Order versus Chaos.
So when Rowan gains Black, she is taking a step towards her brother. Red's disinterest in planning for the future can be tempered by Black's desires, the knowledge that the first power you must grasp is power over yourself. But when Will gains White, he is moving away from his sister, his need for structure and order putting him into greater opposition to his sister's more free-spirited nature. They move in the same direction around the cricle, they both take on an ally of their original colour, but in the end the one who reaches towards the other is the one who is spurned.
And as a final note, consider their aunt, Eriette. She is White-Black, two enemy colours working together. Their most common shared desire? Control. Something both Rowan and Will seek in Wilds of Eldraine, in their own ways, as does Eriette. The twins each take a colour from their aunt, although one accepts her and the other rejects her.
It's The Legend of Ruby Sunday, an episode that's only so much about Ruby. Anyway on to the thoughts:
Rogue is an episode that is difficult to search for. But if you're an intergalatic bounty hunter, that's probably good. Anyhow, time for some thoughts:
Here in UK politicians love to talk about "Mickey Mouse degrees" when in comes to universities offering "bad" or "low value" degrees and when you think about it that's kind of a weird descriptor.
Mickey Mouse is a globally recognised charater, and the mascot of the most powerful media conglomerate on the planet. Mickey Mouse is incredibly valuable!
Dot and Bubble turned out to be much more than what the trailer offered, yet still I will post my list of words next to dots.