Yeah, very, very true. When we do magic, our spectator's know that we're going to be doing the impossible, yet at the same time, they enjoy it and when we accomplish that, our spectators will believe (not literally, but close enough).
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Well, I agree.
We want our spectator's to enjoy the magic and at the same time believe what we did is impossible (I'm not talking about it being REAL magic, but what I mean is them saying, "Wow! He bent my signed coin in hand and this is basically impossible to bend". Ect...).
I agree with you 100%
When spectators first see magic, they "believe" (appreciate) it.
But when spectators see more magic, they as you say, know what to look for. Also, I believe when spectators see a routine of tricks, they see it more as an entertainment.
I would like my spectators to believe (not that its real) but believe what I just did was actually doing the impossible.
I've been thinking about something that connects both magic and belief (from the spectator's eyes).
If we perform to our spectator one trick and you perform it well, they will actually believe it's magic.
But if you perform a different trick to the same spectators (such as in restaurant magic) they will most likely belive it's just "fast fingers" and "fake".
When I performed for my family my first trick, they were amazed, but now that I perform for them now, they seem to lost that magic feeling.
Just a thought I had in my mind, what do you think?
Thanks, but you're very close, but it's a 'coin bend', but with a different element along with it.
I love how powerful the 'coin bend' is, but I wanted to add a new climax into the effect, I didn't want to just borrow a coin and than bend it. It seems too 'plain' to me, but I wanted to add another effect into it, to slowly further the impact.
Hope you know what I mean, haha
Inferno Kasier
Yup, and thanks as well, glad you liked it.
I hinted the effect as 'CB' and I believe if you think for a few seconds, you'll figure out what it means.
Took me a few hours in Photoshop to get the cover almost exactly what I wanted and I'm happy how it turned out.
Inferno Kaiser
I'm contacting here to give YOU an update...check out my 'Album' on my 'Profile'.
P.S. Artwork has been done my me, took me a while though.
Inferno Kaiser
Hi, been a while...
Indeed I'll do so...
Inferno Kaiser
Haha...hopefully I'll be able to pick up some DVDs a few weeks from now and 'Handout 500' is definitely on the list + a few others.
Inferno Kaiser
Haha...True, very true. Imagine the spectator's face when they see blank paper all of a sudden turn into green money, now that's visual.
Inferno Kaiser
Yeah, agreed.
Same thoughts here, but I like to change 'Paper into Money'...that's my choice though. I like to start it off like this:
"Who here likes money?!"..."Well, you all know what money is made of, right?!"..."Yes, paper..."Here I always carry 5 blank pieces of paper, incase I want to print my own money"..."Let me show you what I mean" "What if we could skip the printing process?" "Here, take a look" *Do 'Bill Change*
That is my basic opening for 'Prophet', but imagine if I could do it with 'HandOut 500' and let them examine them...that would be killer.
I have to pick this up
Inferno Kaiser
Haha...Seriously E has a FEW effects that are ok, but most of them are crap.
Have you checked out HandOut 500 yet? this thing looks sweet...I'm gonna have to order it soon.
Inferno Kaiser
Haha...you can probably eat the worst DVD you have and still cr*p out something better than E has put out...I mean their descriptions are so damn stupid...here's one from the Arcane Deck: "Michaelangelo took four years to create the Sistine Chapel masterpiece... these took five."
Haha
Inferno Kaiser
Yeah, with a flick it restores...visually.
And I agree.
Also, haha
Inferno Kaiser
With my T&R Card I wanted to head in a different direction, more of a flash restoration:
A card is selected and signed across the face, where it is shortly ripped into four pieces; which are slowly counted and shown. The pieces are than placed on top of the deck and with a snap, the card instantly and visually restores, with the magician holding a fully restored card in his hand...the selected, signed card.
That's mine and let me tell you, when this effect is done perfectly, this looks sick.
It's going into my new e-book, Project R.
Inferno Kaiser
Yes, making the spectator believe is the ultimate goal of any magician, I should add.
Also, care to elaborate more on what your effect looks like...haha. I'm hoping to evolve my tnr into something better though.
Inferno Kaiser
Thanks and glad someone sees my p.o.v. about magic. I want them to actually believe what they're seeing is true and 'real' and not sleight of hand or gimmicks. I want them to dissolve any methods about the effect and to destroy that bridge...to enjoy the moment for what it is rather than trying to deconstruct it.
'Magic' isn't like what it used to be, where the spectators' enjoyed the moment and treasured it, but now everybody sees it as being fake and some sort of entertaiment.
Haha, yeah, it's an alright T&R, but I'm still trying to create a better one...how is yours coming along?
Inferno Kaiser
Thanks and yes I agree with you, that certain performances need presentation to help the impact of the effect. But like you said, if magic was real, you would be more direct, simple, serious and to-the-point, yet sill believable...which is my style of performance. Also, spectator's see us magicians as ones who entertain them with 'magic' rather than us 'using magic', and that's what I want to change.
Like when I present myself, I use the following lines: "...Now what I'm about to show you is not real magic, but rather the works of magic. Now you may not believe me, but let's take a ride and change that...afterall, seeing is believing.
I like to be mysterious, yet leave the spectator with a memorable, yet unsolvable moment.
Inferno | Kaiser
P.S. Finally finished my T&R after so many months...haha
I've been thinking about something, something about presentation and performances
If he could really do magic, than why must he practice (I'm referencing this to the spectator's point of view) and why must he do those 'fancy cuts' and what not, ect ,ect
I've been thinking, when I'm more direct with the spectator (In this case I'll use Universal Impression) I've found out I get more of a reaction when, as I stated, more direct. For instance, when I tell them to write down their card on a piece of paper, hide it and I reveal their card...it get's an amazing reaction (A friend of my father's is still talking about that trick, for about a week now), but when I add 'silly' patter, such as "Think of the color", "Now think of the value", "Now send me an image of that card into my mind", ect, ect. I find it's good patter, but in the end, the spectator sees it as 'silly', 'yeah right', and believes in their mind it's not really necessary which I sometimes agree with -
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