Next week is the start of Reality Fracture previews. One of the coolest things about the story of Reality Fracture is that it will be the first time that the five characters who appeared on the very first planeswalker cards (Ajani, Jace, Liliana, Chandra, and Garruk, known as the Lorwyn Five) will appear together in a story. (And no, they didn't appear in the Lorwyn story. I'll get to that.) So, I thought it would be fun to tell the story of how the Lorwyn Five came to be, both as characters and a brand-new card type.

You Are a Planeswalker

0005_MTGMBC_ComNew: Worzel, the Protector 0019_MTGMBC_ComNew: Thomil, the Destroyer

In the Limited Edition (Alpha) rulebook, published in August 1993, Richard Garfield wrote a story about two Planeswalkers, Worzel and Thomil, dueling. (You can see Worzel and Thomil's recent appearance in Mystery Booster Commander Edition.) He didn't use the word "Planeswalker" and called them "magicians." But the concept that you, the player, were a mighty mage was there from the very beginning. Alpha did include the name of a Planeswalker, Urza, in the title of two cards (both of which were his glasses, for some reason), but there was no flavor text that revealed anything about Urza.

In December of 1996, the first issue of The Duelist was released. In it, there was an interview with Richard Garfield where he talked about the concept of a Multiverse in Magic: The Gathering:

"The concept for Dominaria naturally extends from the concept of the game itself. In the game, players are given a piece of an unknown world. They will learn about the game universe by playing in it, talking about it, by trading, experimenting with cards. The natural evolution of the game involves the release of more cards so the game doesn't remain finite, but is always growing and changing. This extends to the concept of a multiverse, where there is endless possibility—not one world but many worlds. In Magic, the way the cards mix and match is weird; why, for example, would Arabian Nights cards be mixed in with the Ice Age cards? One way to understand this is through a multiverse of planes; the cards describe some small collection of planes, which expands and becomes more comprehensible as more cards are encountered."

In March of 1994, Antiquities was released. This was the first set to have an element of a story. Parts of the Brothers' War were told through artifacts from the event. The cards' art, names, and flavor text hinted at this larger story about two brothers fighting. One of those brothers was Urza, whose name showed up throughout the set. The word "Planeswalker" was never used.

In April of 1994, Revised Edition came out. As part of that, a book called The Pocket Player's Guide was released. In it, Richard wrote an article called "Dominia and Its Walkers." Dominia was the original name for the Magic Multiverse, but as it constantly got confused with Dominaria, we stopped using it. This was the first time that the word "Planeswalker" was used.

▲ Click Here to Reveal Richard's Article


Dominia and Its Walkers

By Richard Garfield

Imagine a vast beach. The sand shifts constantly, moved mostly by the tide and the wind, but also by the creatures that scurry across it or burrow beneath. Subtler effects, like compression or changes in temperature, also make their mark. Sometimes the grains cling together, weathering as a single stone until they are broken apart by some other force.

Now, imagine that each of these grains of sand is its own world, and you begin to get a picture of how Dominia works. Dominia is a multiverse, a collection of universes. Usually, the inhabitants of a particular world have no interaction with the other universes; they live out their lives believing that their home is the "One World." Even when some cataclysm on a nearby plane affects the surrounding worlds, the occupants of those worlds can blame the gods, or perhaps invent nonexistent natural laws to explain the changes in their plane.

A small number of the multiverse's inhabitants, however, are fully aware of the existence of worlds outside their home plane. These planeswalkers, often called wizards, have learned to travel between planes. Most have also developed secret methods of tapping the resources of the various worlds, and rich worlds are guarded jealously.

The simplest form of planeswalking is to travel between touching planes. If two planes in Dominia touch, a wizard familiar with both planes can usually travel from anywhere on one of the planes to some location on the other. Of course, experienced wizards can control where they arrive better than less experienced ones can. A planeswalker can also travel between worlds that don't touch each other by walking through a potentially long series of intermediate planes that span the gap. Distance between two planes can be approximated by the number of intermediate worlds traveled through. Since travel between planes is rapid, even trips to extremely distant planes can be quick. However, if the region is unfamiliar, or the paths between planes even slightly unstable, the wizards may accidentally travel far astray or become lost. For this reason, planeswalkers traversing unfamiliar or shifting paths will take their time to make sure they are going to the correct plane each step of the way.

Even experienced planeswalkers cannot easily predict how the paths between planes will form and change. Some areas of Dominia remain in the same configuration for ages, and the paths that bind them shift only slightly. Others are in constant turmoil, making walking between worlds perilous. Sometimes a set of planes will crystallize, like sandstone on the beach; in these cases, travel between the united planes stabilizes, but the entire region may shift in relation to the rest of Dominia. Planeswalkers have been known to disappear entirely if the universe they currently inhabit relocates radically, or shifts free of Dominia itself.

Each plane has its own laws, though these can change as the plane shifts into new regions. Some planes have no domestic magic at all: wizards traveling in these regions must draw entirely on extraplanar resources. Others are so replete with magic that the occupants can be dangerous, even to wizards with the forces of many planes at their call. Planeswalkers who spend a great deal of time on a particular plane can often master the laws that govern it, allowing them to control the plane or at least tap its resources more effectively.

The resources of a plane can be called upon by lines which connect to that plane. These are invisible except to one who knows how to perceive them. The lines carried by a typical wizard will connect to many worlds of Dominia. The lines which provide wizards with raw energy for their spells, the mana lines, usually connect to the lands of the various planes. Lands in most parts of Dominia can be divided into five basic types, each of which provides energy for a different kind of magic. There is white mana, stemming from the more serene lands of the planes, which enables the magic of order, protection, and construction. There is black mana, bubbling forth from the more corrupt lands of the planes, and powers the magic of ruin, death and decay. Green mana emanates from the wild lands and generates the magic of life and nature. From the oceans and islands of Dominia's planes comes blue mana, fueling the magic of artifice, water and air. Finally there is red mana, drawn from the mountainous regions, which drives the magic of destruction and chaos. Other lines will link to a wizard's minions, spells, or to artifacts from other worlds whose powers the wizards can draw on. A wizard uses the energy provided by the mana lines to call upon these other resources.

Lines will fade and become unreliable at great distances from the source; at extreme distances, they can vanish altogether. Extreme care is practiced by wizards that deal with these lines for any length of time. The others die out. The lines carry the power of worlds.

Planeswalkers answer to no higher authority, for no code of law is enforceable. You can't restrain a wizard because wizards can leave a plane they are on at any time. You can't banish a wizard because you can't effectively keep a wizard from entering a plane. Killing a wizard is possible, but difficult, since at a moment's notice the intended victim could be dozens of planes away. Once they flee, you have no hope of tracking them through all the shifting worlds of Dominia. Even if you do manage to kill one there is no guarantee that a wizard will stay dead. Wizards have been known to plan for their contingency, creating completely new bodies once their old ones are destroyed.

Planeswalkers tend to be individualistic and territorial. While there is some collusion between wizards and even a political structure of sorts in certain areas of Dominia, these are unstable as the paths between planes. Occasionally lesser wizards will form alliances to prevent more experienced hands from seizing anything of value. Just as often, though, these inexperienced wizards will search on their own for lines in out-of-the-way planes. Occasionally the more enterprising or foolhardy among them will attempt to jump another wizard's claim, but the results are unpredictable. They may have the stealth and speed to avoid a confrontation, but they often sacrifice control of the claim, and lose their own lines in the process. Yet no matter how inexperienced they are, no wizard can be taken lightly. They are travelers of the multiverse; only they can fully explore its infinite planes and harness its vast, unpredictable power.

Anything you can conceive of can be found in Dominia—but it is as hard to find as a specific grain of sand on an ever-shifting beach. And in your search you will have to contend with the planeswalkers, who, while not numerous, have a very wide influence.

This is the first article that publicly acknowledged Planeswalkers and how they move between planes.

In October 1994, Arena, the very first Magic: The Gathering novel, was published. It describes Planeswalkers but uses the term "walker" rather than "Planeswalker." Planeswalkers would be regularly featured in Magic novels.

In 1995, John Tynes, who was in charge of the earliest version of the Creative team, wrote an essay that spelled out a little more about how Planeswalkers function.

▲ Click Here to Reveal John's Article


Nature of Dominia

By John Tynes

Dominia is a multiverse of constant change and unorthodox challenges. Worlds spin, planes shift, and realities collide more often than you or I blink our eyes. In an infinite multiverse of unguessable possibility and unending change, what is the most precious commodity to those who understand the nature of Dominia?

Stability.

Dominia has gods, though it was not created by gods. These gods roam from world to world, plane to plane, reaping the energies of each in the form of mana—magical energy. They know each other by the common name of Planeswalkers. They are not omnipotent, or omniscient, but they are worlds beyond the vast majority of Dominia's inhabitants in both power and intellect. Planeswalkers alone know what mana is, and know the forms it takes.

There are many wizards in Dominia who are not Planeswalkers, and who therefore know nothing of the five forms of mana. Nor do they know the secrets of planar travel, or of summoning creatures to your side in battle. These secrets, like all the spells seen in the game, are the exclusive provenance of the planeswalkers. Yet even these mighty beings, who can call to their service creatures from across space and time, fear change … and seek stability.

A planeswalker cannot travel with complete freedom—like all of nature, they are subject to the shifting planes. A sudden (but naturally occurring) wrench in the fabric of one plane's reality can leave a planeswalker cut off from the routes of travel they know best. To a planeswalker, the multiverse is a labyrinth of roads, gates, and mystical passages that is partially understood at best. Most planeswalkers can navigate fairly well as long as they stay on planes that are known to them. But if they should find themselves on an unknown plane, they must find a new way, a new passage, back to the planes they do know. Some planes, however, are moving so fast and so far that it could be years before a passage is again available. Planeswalkers do not routinely fear death, but they do fear loss of freedom and mobility. Many planeswalkers have been lost on strange planes so long that when they finally could return not only were they long-forgotten, but their knowledge of the paths between planes and the power sources they used to tap was hopelessly out of date.

To counter this fear, planeswalkers seek stability. They seek planes that have reliable, well-worn passages among them. They also seek diversity in both magical energy and natural life: energy to power their magics, and life to bend to their will. All of these things have been found, surrounding and enveloping a world known to the planeswalkers as Dominaria (DAH-min-ARR-ee-uh)—"the song of Dominia." It is on Dominaria and the planes it routinely touches that many Planeswalkers have come to reside.

Dominaria is a massive world, supporting a staggering variety of beings and cultures. The surface of Dominaria is divided into dozens of small continents, each of which developed more or less independently up to the point at which extended ocean travel and trade became common. The result is a nexus of small civilizations with very different beliefs, customs, and life forms.

But the influence of Dominaria extends beyond the surface of the world. For reasons even the planeswalkers do not comprehend, Dominaria has become the focus point for a variety of other planes which maintain either constant or frequent connections with it. These other planes are other universes, which touch Dominaria in a variety of locations and through a variety of methods. Some planes are always "in phase" with Dominaria, and many inhabitants don't even realize that they have passed from one plane to another—the journey is routine and seamless. Other planes come and go, sometimes touching at the same point, sometimes not. Many of these plane-gates are understood by those who live in the area, and the times at which the planes touch are celebrated with festivals and excitement. Still other planes are drawn to Dominaria's stable presence, caress it briefly, and move on.

The stability of Dominaria and its sister planes have drawn the planeswalkers there. Dominaria is vast, and its sources of mana are large and easy to tap. The great variety of creatures present means that the planeswalkers have many, many beings to call on in their great magical duels. The ease with which a planeswalker can slip between Dominaria and its sister planes is very attractive to them. Given that the loser of a magical duel must leave the current plane, the variety and stability of intersecting planes is even more attractive. On other worlds, having to flee to the closest plane means not always knowing where you're going to end up. In the realms of Dominaria, however, the degree of safety in interplanar travel is a known quantity, and a comforting one.

Imagine a large globe, hanging in space, covered in gossamer webs. As it spins, single strands of fine silk unspool and extend from the globe like slender arms. Another smaller globe is drawn to the larger one and as it grows near it is caressed by a single thread. This thread melds with the smaller globe, forming a connection, and the two globes spin together. Other globes approach, and each in turn is caressed and caught by a thread til there are several firmly attached. Still others approach, are caressed and kissed, but then move on. Among those that stay, the threads occasionally break, but momentum keeps them in place until another thread can lay claim to it once more.

The large globe is the plane on which Dominaria resides. The smaller globes are not other worlds, but other planes. Those that are caught and held are the planes with which Dominaria has either constant or very frequent connections. Those that are touched but move on are those planes which form a connection only briefly, and might well never return again.

The stability provided by Dominaria is the reason why so many planeswalkers call it home. There are other planes, to be sure—such as Shandalar, where mana flows like water; Rabiah, where desert kingdoms battle powerful djinns; and others—but for planeswalkers, Dominaria is the place to be.

The sages of Minorad have a saying: "To know a thing, change that thing." Dominia may, to some degree, be understood from the perspective of a human, or even from that of a planeswalker. Its constant shifts and shimmies may, to some degree, be understood and anticipated. But ultimately, none may truly know Dominia for none may truly change it—Dominia changes itself, and knows itself, and that is the nature of Dominia.

While there are some characters pictured on cards that later became Planeswalkers or were retconned to have been Planeswalkers, the first appearance of a Planeswalker in Magic art at the time they were explicitly a Planeswalker was Urza's appearance on Mind Over Matter in Exodus.

The next three sets, the Urza's Saga block, started including Planeswalkers in art on a regular basis, especially Urza. The card Opposition in Urza's Destiny was the first time the word "Planeswalker" appeared in flavor text. There were no cards that represented a Planeswalker until April of 1999 when the fourth release of Vanguard arrived for the Arena in-store play program.

Vanguard was a series of oversized vanguard cards that granted a special ability to the player using it. They also altered your starting hand size and life total. Players played in a special Vanguard Arena league chose one vanguard card to build their deck around. The first release of vanguard cards was released in the summer of 1997. The second and third releases featured characters from the Weatherlight Saga.

The fourth release featured characters from the story of Urza's Saga, some of which were Planeswalkers (including Serra and Urza). This was the first time a card represented a Planeswalker. These were oversized cards, though, so they didn't go into your deck.

Technically, the first time a normal Magic card represented a Planeswalker was Blind Seer from Invasion, released in September of 2000.

Blind Seer represented Urza in disguise. It was designed as if it was a blind seer, not a powerful Planeswalker. This brings me to an important question. If Planeswalkers were such an important part of Magic's story, why didn't they show up as cards? At the time, the thought was that Planeswalkers were too powerful to represent as cards in the game. After all, you, the player, were a Planeswalker. How could a card possibly measure up to that?

Planeshift, in January 2001, was the first time the word "Planewalker" appeared in a card name, used on a rare cycle of enchantments. The art of each card in this cycle shows off a different planeswalker (Commodore Guff, Bo Levar, Tevesh Szat, Lord Windgrace, and Freyalise).

In 2003, I became the head designer for Magic. When I was promoted, I was also put in charge of the Creative team. Bill Rose (the vice president of R&D) felt it was important that design and creative were cohesive. His idea was to have one person oversee both.

This brings me to 2005. One of the common topics I discussed with the Creative team was how to update Magic's creative design. Planeswalkers were central to the game, but their god-like status made it hard to tell stories about them. Was there some way to fix that?

Also, I'd been trying to do more block planning and was looking into new themes we could include in blocks. I'd found a number of mechanics that implied a time theme, which excited me. I ended up dividing this block's three sets into the past, an alternate present, and the future.

Brady Dommermuth, the creative director at that time, thought we could use that theme to restructure how Planeswalkers worked through a massive event. This event would end up being called the Mending. The idea is that the Multiverse was collapsing and required all the Planeswalkers to give up their spark to fix it. This created a new batch of Planeswalkers, ones that were greatly de-powered, allowing us to tell stories about them.

As head of the Creative team, I hired Matt Cavotta. Matt was an artist who had illustrated a lot of Magic cards. I had an open slot for a Creative team member, and I ended up hiring Matt. He was put in charge of card names and flavor text. I liked putting members of the Creative team on design teams. So, I added Matt to Future Sight, the third set in the Time Spiral block.

One of the core conceits of Future Sight was that the set had cards from the future in it. Like the other sets in the Time Spiral block, Future Sight had a bonus sheet. Each of the cards on that bonus sheet had a special futuristic frame and represented cards we could potentially print. One of those cards was called Tarmogoyf. I thought it would be fun to use its reminder text to reference card types that didn't exist yet but potentially could. I modelled Tarmogoyf after Ice Age's Lhurgoyf, except instead of caring about how many creature cards were in your graveyard, it cared about how many card types were in your graveyard. This got the team talking about new potential card types.

One day before a Future Sight design meeting, Matt pulled me aside. He had an idea he wanted to run by me. The reason we'd never made cards representing Planeswalkers was because they were too powerful to be represented by cards. But the Mending would change that. Didn't that mean we could make those cards now? While I was intrigued by the concept, Future Sight had its schedule shrunk and I was worried about getting everything done in time, so I was a bit resistant at first. Matt wrote a lengthy letter about it and that got me on board.

I checked in with all the relevant parties, and everyone seemed to be excited by the idea of a planeswalker card type. To help get it done in time, I ended up making a planeswalker design team consisting of Matt (as it was his idea), Brandon Bozzi (from the Creative team), Mark Gottlieb (the rules manager at the time), and myself. We decided to make three futureshifted planeswalkers in blue, black, and green. Here are the cards we created and tested. (Brandon decided to give them all Italian names.)

Fendari
4G
Planeswalker — Fendari
9 (loyalty)
1. Put two 1/1 green Saproling tokens into play. Lose 1 loyalty.
2. For each Saproling you have in play put a 1/1 green Saproling token into play. Lose 1 loyalty.
3. All Saprolings get +5/+5 until end of turn. Lose 3 loyalty.

Bianco
3BB
Planeswalker — Bianco
6 (loyalty)
1. All players discard two cards.
2. All players sacrifice two creatures.
3. Return all creature cards in your graveyard to play. Lose 5 loyalty.

Vittorio
5U
Planeswalker — Vittorio
8 (loyalty)
1. Target player draws two cards. Lose 1 loyalty.
2. Target player gains control of target artifact or creature with a converted mana cost equal to or less than the number of cards in that player's hand. Lose 2 loyalty.

These worked differently than the final design for planeswalker cards. You would cast these, then at the beginning of each turn, you did the next effect in order. When you did the last effect, you would go back to the first effect on the next turn. We also wove in a resource called loyalty to restrict how long they stuck around. The flavor was that they were helping you because they wanted to. If they stopped wanting to help, they left.

These planeswalkers could also be attacked by creatures. We based this part off of a new card type Richard had pitched for Ravnica: City of Guilds called "structures." They represented buildings and had abilities like artifacts or enchantments, but your opponent could get rid of them by attacking them. We didn't have space for "structures" in Ravnica: City of Guilds, but I really liked them and was looking for a place to use them.

We made decks for each of the three planeswalkers and played them extensively with members of R&D. Reactions were mixed, with a number of designers hating the designs. The biggest strike against them was that they felt too robotic. These planeswalkers would follow their scheduled list of activities even if they didn't do much or were actively problematic for you. We would later use this kind of card for Sagas, as stories having a preset order of events is flavorful.

We had agreed we would only make planeswalker cards if we had the right design. It was clear we hadn't gotten there yet, so we pulled from Future Sight. There's one humorous story tied to this. Tarmogoyf had been pulled from the file to make room for "Fendari," as we felt including a planeswalker was better than a creature who told you that planeswalkers were a thing in its reminder text. When Fendari was pulled, Mike Turian (the development lead of Future Sight) put Tarmogoyf back into the set, but he did it from memory. I had designed it as a */* creature. (I personally dislike */*+1.) Mike put it in as a */*+1 as that's how the original Lhurgoyf was designed.

With planeswalkers pushed off to Lorwyn, the new team working on them was Aaron Forsythe, Paul Sottosanti, and myself, all on the Lorwyn Design team. It turns out the initial designs weren't too far off. We gave the player a choice rather than always going in a preset order of abilities, and we played around with planeswalkers having a mix of abilities that added and reduced loyalty, usually with at least one positive ability and one large negative ability (what we called an "ultimate"). Finally, there was a lot of fiddling with the specifics of the card type, including when you could use the abilities, how planeswalkers could be interacted with, how exactly loyalty worked, and more. For a longer version of this story, here's a two-part article I wrote back in 2012 (Part 1 and Part 2).

Because we had already bumped them back one set, we were very cautious with them in Lorwyn. That's why the Lorwyn Five don't show up in the story. We didn't know for sure if they'd actually end up in Lorwyn, so we didn't reference them anywhere else in the set. Also, our initial idea was to have them show up sporadically. The next planeswalker card wouldn't show up until a year later in Shards of Alara.

Brady Dommermuth oversaw creating the five characters for our cycle of planeswalkers. Our goal was straightforward. We were introducing planeswalkers on cards for the first time, so we wanted to start with a clean version of each color.

Ajani

Ajani was created to capture several facets of the color white. First, to represent white's sense of "the good of the group over the good of the individual," Ajani's abilities only work on others and not himself. Second, to represent the restorative aspects of white, Ajani was designed as a healer. Third, to show the military aspect of white, Ajani was made a warrior. The injury to his eye plays up all three aspects. It shows he was a battle-tested warrior, but even though he's a healer, he can't heal himself.

Brady wanted most of the planeswalkers to be humans but was interested in one of them being a non-human to show that planeswalkers could be many different species. After some exploration, we made Ajani a leonin.

Jace

Jace needed to capture the many aspects of blue. Brady liked the idea of crossing a famous archetype (the amnesiac warrior with great abilities that doesn't know their own past) with a telepath. The core concept was that Jace was a mage who knew everyone's secrets but not his own. Playing with memories seemed to blend nicely with many blue spells.

We made Jace an illusionist because Brady wanted to demonstrate that Jace's core strength was his intelligence. Illusions can't actually do anything. They have no substance and can't physically interact with an enemy. The strength of an illusion comes from the disparity of knowledge between what the illusionist knows and what their enemy knows. This suite of abilities let Jace show how smart he was by finding ways to make his illusions effective and force his enemies to react.

Liliana

Liliana's core attribute is her willingness to do whatever it takes to get the things she needs. She's the embodiment of black's ambition and focus. To do that, we needed to give her a driving force. Brady loved the idea of a necromancer who was afraid of death. While she uses death as a tool to accomplish what she needs, she herself is deathly afraid of it and will make deals with whomever she needs, demons or otherwise, to avoid having to face her own mortality.

It was important to make her very charismatic, as we wanted the audience to enjoy her as a character. Giving her a dark sense of humor felt very apt and gave her a fun personality to write.

Chandra

Chandra probably uses the most famous character archetype of the Lorwyn Five. She's passionate, hot-headed, and has red, often flaming, hair. We needed her to capture the spontaneous, impetuous quality of red, making big, emotional decisions that often get her into trouble. That character archetype being associated with fire, and because flames are a core element of red in Magic, made this an easy marriage.

The extra twist Brady added is my favorite. Of the five, Chandra is the purest of heart. She fundamentally wants to make the world a better place. Her motives are constructive, but her powers are destructive. How do you build up things when you're best at burning things down? This conflict between her good heart and her impetuous nature makes her lovable and fun to watch.

Garruk

Garruk needed to represent the essence of the color green. Instead of capturing green's serene qualities, Brady chose to push in the other direction. He played up the wild and feral side of green. Garruk, like the beasts he loves, is giant and strong, but he is ill at ease around other people. These five Planeswalkers needed to have conflicts built in, so Garruk being antisocial was a flavorful way to add tension.

Garruk was also chosen to be the largest of the Lorwyn Five, complete with a mask that covers his face. Garruk, along with Jace, was given the lowest starting loyalty, because he can grow tired with you quickly. Keeping Garruk on your side is hard. Plus, he has a feral side that can turn up when you least expect it. Garruk, like nature, can be both helpful and incredibly dangerous.

The Lorwyn Five were a big swing from us, and it's kind of shocking how well we did with the planeswalker cards right out of the gate. All five characters went on to be fan favorites, and planeswalker cards became so popular that we started putting them into every set.

0195_MTGFRA_MainPair: Ajani Resolute 0043_MTGFRA_MainUP: The Theorist, Jace Beleren 0231_MTGFRA_MainPair: Liliana the Repentant 0244_MTGFRA_MainPair: Chandra, Torch of Defiance 0259_MTGFRA_MainPair: Garruk, Curse Breaker

I'm so excited we finally got to tell a story with all five of them in it. And what a story it is! As we've already revealed, all the characters, save for Jace, will come face to face with an alternate version of themselves, each in an enemy color. These doppelgängers show a path they could have taken had things turned out a bit differently.

Join me next week as we dive into Reality Fracture and all the chaos it will bring to the Lorwyn Five.

I hope you enjoyed my stroll through the past. As always, I'm eager for any feedback, be it on this article, any of the Lorwyn Five, or any of the aspects I talked about today. You can email me or contact me through social media (Bluesky, Tumblr, Instagram, TikTok, and Twitter).

Join me next week for the start of Reality Fracture previews.

Until then, may you find the Planeswalker that most speaks to you.