by seige » Apr 14th, '07, 09:09
Gunnark is spot on here...
THERE IS NO DECK involved. That's the strength.
Thererefore, by nature of not even touching a deck, you're:
1. Not using a force card or duplicate card of any sort
2. Not creating a premise that a full deck is being used (i.e. there only ever IS one card involved)
3. Not using sleights, manipulations, counts, guesses or 'magic'
The bottom line here is that this effect simply is the strongest 'think of any card' routine I've seen, ever.
There isn't a need to show 'a deck with the card missing' or any other additional proof, because the proof is, you immediately take out your wallet, open it, remove the only envelope in there, and tip the only card in the envelope onto the table.
This is getting so much discussion now about intricacies, and there really is no need to dig any further than this. The point being... the thought-of card is the ONLY card in play. No other cards are used.
What I am about to say may sound a little pompous, but have any of you 'doubters' ever performed a live set? Have you ever been the centre of attention and performed to a bunch of total strangers?
I am guessing that the answer is no. Because, quite simply, managing your own act and interspersing your range of effects in a flow, and keeping control of the act at all times is totally paramount to your performance's effectiveness.
I also notice there's a lot of 'fishing' for the method going on. I won't go into details, but you're all on the wrong lines entirely. "Can the wallet be used with Heirloom?"... WHAT SORT OF QUESTION IS THAT?
One of the most amusing suggestions I've had via PM is that there's an ID in your pocket, which you use to get the right card and load in the envelope under guise of trying to find your wallet!!!!
Trust me, the actual method is much simpler, and your hand is in your pocket no longer than it takes to grab the wallet.
Discussing again the 'value' of this: I was actually with Costas from WMS in his workshops last weekend, and saw the effort which had gone into the production, including WMS's own ingenious manufacture of the props (courtesy of Jim Trainer, Costas's business partner).
The whole of Bang On is brainchilded by Marc Oberon, but it was the skill, resourcefulness and hard-work of the WMS team which over several months took Marc's own hand-made version into mass production.
As far as RRP goes, the actual props you get are worth the price alone, even if you take the routine out of the equation. And once you receive this, you'll be amazed at how quickly your cogs are whirring for devising new effects of your own. The Bang On effect is the sum of about five different magic principles, all wrapped together to give a great effect.
As for performing, something I'm hearing talked of is the way it's done to a spectator, and in my opinion, the effect should be described similarly to an ID routine. You can wrap as much mystery or ham into it, but the basics are:
1. Transmit, or recieve? Well... here's a misconception which is a dividing line in mentalism and magic, I think...
For example, if you ask the spectator to think of an object and you will draw it, you are seen to be 'receiving' from them an image, which you duplicate. That's mentalism.
If you, however, ask them to think of a card, and you 'receive' it, and produce it from your pocket, that's magic.
Why?
Because, you must have already known the card they were going to choose. So, no matter WHAT they transmitted, you always knew it was the card in the wallet. What's so amazing about that? You didn't read their mind after they'd thought of a card, because the outcome was already set in stone before you even met them. Mentalism no-no.
BUT...
Take this scenario... using Bang On near the end of your performance, you could ask a spectator 'Do you believe in thought transmission?'.
You would then proceed to ask them to have a blank canvas in their mind, onto which you were going to project a card. A single card which you chose before the show and placed in an envelope, which was then placed in your pocket. This was done without anyone seeing, and with no pre-show work.
Mentalists often drop in the line 'and we've never met before or discussed this effect or perfomance before the show?' type of thing.
So, under this scenario, it is seen that somehow you are transmitting the card value to the spectator. Of course, due to the nature of the effect, no matter what card they choose, it will be the one in the wallet.
This is a FAR MORE CREDIBLE way to perform this type of effect. And using the same method for, for example, the ID, you get a much stronger routine.
Of course, you can add as much drama and additional storytelling as you like, but Bang On demonstrates the 'thought transmission' from performer to spectator in a much more dramatic way.
I'm not a fan of the 'I KNEW you would choose that card' method. As you can tell. I believe that the projection method is much closer to ideal.
A sample script may be:
Performer:
"I'd like you to empty your mind, and imagine a blank canvas, just sitting there in space. Nod for me when you have this. Closing your eyes makes it easier.
"Now, I made a prediction (do NOT mention cards at this point) which I placed in an envelope, tucked in my wallet, which is then tucked in my pocket. This was done before the show, before I even met you. We haven't met before or discussed this show, have we?"
Spectator:
"No"
Performer:
"I want to take you on a journey, and I want you to follow my voice carefully, and see nothing but the blank canvas for now. As I speak, see nothing but the blank canvas.
"I want to try and paint on your blank canvas an image. An image which I will attempt to place inside your mind. I already have this image in my mind, and without using precise description of any sort, I will attempt to recreate that image in your own mind.
"You still have the blank canvas? Good. Now, I want you to imagine you are sat at small green table, at which are sat three people who are close to you, and one complete stranger. The blank canvas hovers above the table. The room is dimly lit by the glow of the canvas, and all you see are the faces of your friends, and the top of the table.
"The complete stranger begins to deal playing cards face-down. You each receive five cards, as in a game of draw poker. I don't want you to even think of cards at this point, just see the backs of the cards.
"Your friends now all pick up their cards, and hold the faces of the cards up in front of them—at eye level. All you see are the backs of the cards facing you. The complete stranger does the same, holding his cards up to his face.
"Now, I want you to see the complete stranger's face. As you peer into the dim light, you can see it is me. It is me who is the complete stranger, looking back at you with a gentle smile.
"Suddenly, the stranger's eyes catch the light. In the reflection of their eyes—of MY eyes—you see the faces of the cards they are holding—the cards I AM holding.
"The foremost card is easy to read, with the four behind it in the fan being more obscured. But the face of the foremost card that they are holding—that I AM holding—is clearly shown in the reflection in the eyes.
"As you see that card, paint it on the canvas above the table. As you visualise that card on the canvas, commit to it... do not deviate.
"As the card becomes clearer and clearer, everything else fades—the cards, the table, the friends, and the stranger—until only the canvas remains.
"See that card. You saw it in MY EYES whilst I was in YOUR MIND. See clearly now that card —open your eyes—and name it loud and clear..."
(as this happens, go towards your pockets, so that the instant the card is named, you can withdraw your wallet)
Spectator:
"Six of hearts"
(Immediately remove the wallet, open it on the table, remove the envelope, open it, and shake the card out, face-up)
That should be enough to end the effect with no further words.