Duskmourn: House of Thorns and Roses

Highlights, Lowlights, and a Nightlight for the Future

When I was a Boy Scout, we’d do something called Thorns & Roses. It’s a self-reflective pros and cons exercise where everyone shares aloud the highlights and lowlights of the past adventure. Roses are something positive: a thing you enjoyed, something you learned, or blip that bears special meaning. Thorns are not always negative, but rather something that needs attention in the future or that didn’t go quite right, from gaps in planning to lessons learned.

It’s taken me a moment to write on Magic’s most recent set because I was caught between the devil and the deep blue sea. Duskmourn was not, by any stretch, my thing. I’m not really a horror fan, even the stuff that’s only a little spooky. But I don’t have to like something personally to weigh in on its art, right? 

I originally planned to do a Three Works article as I have for the other sets, but that didn’t fit the bill. I also considered just moving past Duskmourn, as the whole idea of this new space was that I don’t need to cover every single set or thing that happens. But there were some bright spots that bear mention, a direct reflection of the creativity of the art directors and artists. I don’t want to skip that.

So Thorns and Roses gets the nod, to both properly celebrate the successes of the set, without glossing over the areas I think fell short. 

Rose: It was the perfect point of entry for artists old and new

I think the largest triumph was both bringing in, and bringing back, artists that fit this world, so that they may thrive in Magic. 

New folks like Jana Heidersdorf and Babs Webb have found their place in this ecosystem, a near perfect fit will them just doing what they do best. It was a place for John Tedrick to shine again, just as they did on Lost Caverns of Ixalan (another Ovidio Cartegena led set). Tedrick also lent his talents to the concept art for Duskmourn, and really flexed his muscles. He was able to share some of that work with permission of Wizards of the Coast.

Duskmourn was a place where Antonio J. Manzanedo felt comfortable creating his first traditional painting for Magic. A primarily digital artist, and one whose work I covered extensively writing the Grand Art Tour for Hipsters of the Coast, this original for Valvagoth is a game changer for both artist, and for Magic.

The showcases brought back Alexis Ziritt, and brought in folks like Andrew Thompson (SchmandrewART) and Cacho Rubione for their very first cards. And the Double Exposure series, directed by Jameela Wahlgreen, was a brand new way to see Magic cards.

Duskmourn made more space in Magic for folks with different artistic styles, and I’ll always be here for that when it works like this. 

Thorn: It was the third “Magic but make it (blank)” set of the year

This isn’t necessarily Duskmourn’s fault, but after a ‘Magic but Murder Mystery’ and a ‘Magic but Wild West’ this year, it’s just hard to get revved up for something else in that vein. I have nothing against these top-down sets and designs, and know that they are a way to create much faster. It’s the only way Magic can keep pace with the amount of product it intends to release. 

It doesn’t help that many of the quips and callbacks, the things contrived from the parent theme, miss me due to my unfamiliarity with the larger genre. But what does hit, both in art and creative text, feels too on the nose to be fun, especially after several sets of the same thing. Magic recognizes this, and it will take time to adjust. But today Duskmourn bears the brunt of the criticism. 

Thorn: I couldn’t connect, and don’t feel a need to afterwards.

It’s hard to draw a connection with a baseball bat, or a ‘Saw' that is just called “Saw.” Something like Glimmerlight is what I expect here; an elevation of the ordinary in both art and flavor, and something uniquely Magic. It gives staying power, and without it I just can’t get excited. 

I will say, however, that the Rhystic Studies video on Duskmourn saved things for me. I watched it a few weeks back, in the dark with a single earbud in while my son took a contact nap on my lap. It was a look at the things I care about: story, flavor, worldbuilding, lore, and art direction, that was essentially unavailable otherwise. If Sam hadn’t worked with Wizards on that video, interviewed Ovidio, and dug deep, then that information literally wouldn’t exist. It was the reason I didn’t skip writing about Duskmourn, and for those who haven’t watched it yet, it will give you a new appreciation for the set, even if it’s not for you.

Rose: Archenemy is an artistic windmill slam, front to back.

What is for me, however, is the artwork of Duskmourn’s Archenemy series in the Commander decks. This can and should be its own article, and if I can find the time I’m going to do it. But for now, a smorgasbord of wonderful work by a variety of folks: it’s fresh, fun, and interesting, and ultimately will be Duskmourn’s legacy as a set in Magic.

End Step

If Duskmourn: House of Horror came out in early 2024, I do honestly think it would hit differently. The whiplash coming off Bloomburrow coupled with a year of similarly designed releases did the set no favors. There are lots of interesting things to look at from exciting artists, but a lot of things across Flavortown that just don’t resonate.

I hope we see this plane again, perhaps through a different lens, and have a different experience. Kamigawa: Neon Dynasty was one of the best things to happen to Magic, and too had a predecessor that didn’t quite work as intended. The light has been left on; maybe we can see that rejuvenation happen again, and find our way back.

For those headed to IX next week(end), I’ll see you on Wednesday and Thursday, and for those headed to MagicCon Las Vegas, I'll see you Friday, Saturday and Sunday at Justine Jones’s booth! If you catch me out in the wild, please say hello; be safe on your journeys, and I'll be back again next month.