“Visual magic tricks are killing magic. Now that is a bombshell I am dropping right here, right now!”

'Ben Williams came into the shop the other day and said these exact words. These words were something I never imagined him to say. We laughed as we thought it was a joke, but when Ben began to explain his point of view, we began to think he may have a point…' – Mark Henderson

Visual Magic Tricks are Killing Magic

I can already feel the backlash against this statement. So I will begin to explain my reasoning for this bold statement.

I was driving to work one day and thinking about the plethora of magic tricks that are released nowadays and how much emphasis is put on the ‘visual’ aspect of each magic trick sold. It seems the more visual the magic trick, the better the ad copy and description is received by the public. Initial interest in these products goes sky high and causes quite a stir within the magic community.

Magic has been given an amazing spotlight on TV over the past decade. Huge thanks must go to David Blaine, Derren Brown, Dynamo, Ben Hanlin, Barry and Stuart and Troy and their teams who collectively have inspired a generation of young magicians to learn the art form. There are a few problems that have arisen due to this explosion of interest in magic tricks.

Seeing is Believing

The world of magic is craving magic tricks that are more and more visual. For a street magic trick to be deemed as amazing street magic, it must be visual. The fashion is to show the moment of magic in all its glory. I don’t know whether this stems from the saying,

‘You have to see it to believe it.’

Surely you would think that seeing the magic happen would make it better, more impossible and ultimately a more magical experience for the spectators? I think though, that if you are doing something super visual you should follow some basic rules like, you should be able to hand them the object in question should they wish to check it, also the method should not really be the obvious answer, or if it is the most obvious method then this should be eliminated from the spectator’s mind be disproving it. By making all of your magic tricks as visual as possible you are robbing your spectators somewhat, rather than gifting them with something special.

By making our magic increasingly visual, you are removing more and more mystery from the spectator.

Mystery is the core product you are selling as a magician, why would you want to filter it out of your performance?

Magic only happens in the mind of a spectator. Your fingers are not magical, your wide eyed stare is not magical, magic is a feeling or experience that a spectator gets inside. If you show them the exact moment of magic and then take it away because it is heavily gimmicked and they cannot check anything then, the magic will be lost no matter how visual it is. Their belief kicks in when they feel the props and know that there is no trickery behind them. For example, if you perform the Kozlowski $100 Bill Switch then, you can instantly, with empty hands hand them a banknote that has literally changed in front of their eyes with no funny moves. They can see there is nothing hidden in your hands, they can feel the note and know there aren’t two stuck together or anything strange. This is the moment it becomes a true mystery and your spectators experience the feeling of magic. With gimmicked notes that you have to switch out, (depending on your performance and routine structure) a spectator will lose that feel of magic as soon as that banknote goes out of view. I will stress that this is not ALWAYS the case. With a careful look at how you structure your routine and patter, etc., for example if they have checked and were honestly 100% happy with the props you are using before the magic happens; then you may have a situation where the spectators are not questioning the props just after the magic. However, this is only achieved with great care and attention to detail with respect to your routine.

Remember though, just because your spectators have seen it does not mean they will ultimately believe it.

The Instant Access Generation

Another problem is that young aspiring magicians are being thrust into this world and learning magic tricks that are sold on visual appeal. The visual of each specific magic trick is the main selling point and not the performance.

The magic tricks are usually able to be performed instantly out of the pack with a gimmick that does all of the work. Either this or they watch a video on YouTube that teaches them how to make a prop or perform a magic trick.

These magic tricks may be visual, but they lack the teaching of how to make it magical and not just a clever prop that anyone could use. There is a distinct lack of tutorials that include performing advice and the real work on astonishing your spectators.

Not long ago you had to get someone to tutor, or coach you and read books with the odd VHS tape to help out. It was this method of passing secrets on that allowed all the finer details of why magic works to be shared. Now there is very little of this. Tricks are sold and it is up to the customer to make it magical for them. This is why a lot of people feel like the magic tricks are not amazing when they receive them. They see magicians getting huge reactions on a video demo for a product that is sold as easy to do and the gimmick does all the work for you yet they fail to get the same results, this is usually down to performance. This is one reason why visual magic tricks are killing magic. They may well be clever props and ideas, true, but they lack the relevant instruction to help make the student better at performing them.

Too Perfect Theory

There is a theory in magic called the Too Perfect Theory. This means that if the effect is too perfect it ceases to be magical. For example, if you had a signed playing card vanish and then reappear on the Moon. The spectator could look through a telescope to the surface of the moon and clearly see their playing card, with their signature written upon it. This would seem to be too perfect, your spectators will not truly believe their card is there, even though they can see it through a telescope. Even if they flew to the Moon to get it and it was there they would have to concoct a theory that the telescope was a fake telescope and you simply had someone fly up before them and place it there (which in all likelihood will be the exact method employed). If, however, it was a signed card that appeared inside a sealed envelope that has been in full view (but within reach) all the time it suddenly becomes more magical and more believable.

Visual magic tricks follow the same theory, I believe. You can make a trick too visual, so visual it just ceases to be believable as possible. I do understand that we as magicians are supposed to do the impossible, but, you want the spectators to be on that ride with you and carry the impossibility all the way through to the end. You do not want them to switch off and think,

‘well it must be a magic prop and I could do it too if I had that magic bottle’ (or whatever prop you are using).

Let's take a look at the pen through banknote. If you could push a pen slowly and 100% visually through a flat banknote so the spectator could see everything then, it would be un-mistakenly magical. But the props would need to be checked in order for the spectator to truly believe what they saw and conclude it was a magical experience for them. If you performed this miracle all a spectator would be thinking is that can’t be real, that cannot be a real banknote. If you had to, (even for a moment) take the note out of view to switch it then the magic would be lost. However, if you perform the version where you fold the note and the penetration happens under the cover of the fold. The spectator then cannot see the exact area or how it was penetrating the note then there is a lot of mystery clouding the routine. The spectators have a ‘blank’ they have to fill in themselves, ideas of slits or holes can be ruled out as the note can be handed straight to them with the pen or pencil and there is no evidence left over to give them any more ammo. This is the moment they concede and give in to the magic.

A flat banknote with a pen slowly pushed through in full view begs the spectator to look for a hole, it is almost a challenge situation you are setting up for them. Unless you are doing real magic, there will be a hole in the note, there has to be. Unless you can hand the exact same note directly to the spectator and have them examine it with no worry of the method being discovered, the spectator will know there was a hole there as they saw the pen go through it. Even in this case you run the risk of them conceding that, in this case, you have an ingenious method for hiding a hole on a banknote, not magical skill.

Spectators are not Stupid

Spectators may be polite, but they are not fools. We have all seen magic props that look like magic props, but spectators still think things that look like everyday items are special magician’s props. I cannot tell you how many times people have thought a bent coin was really a special coin. I have had to remind them that I borrowed it from them in the first place AND had them sign it to prevent switches, only then do they accept it as a real coin.

A lot of spectators will also be too polite to say anything about your prop you are using; however, they will certainly go away thinking, that cup must have been a special as it is the only method they can think of. Unless you cancel this method out that is exactly what a spectator will think. If it is a special cup (or prop) then you have essentially fooled no one. A spectator will have a method in their mind for what you are doing, the more visual the magic trick, the more you will lead them (in most cases) straight to the method, maybe not the exact workings but it will lead them to the general idea.

For example, looking at Envylope, a magic trick where a deck of playing cards instantly and visually turn into an envelope. The spectator's signed card is inside the envelope, fantastic magic trick! I perform Envylope all the time, but I perform the change on the off beat, when no one is looking. One moment I have a deck with their signed card in it, the next I have an envelope with their signed card in it. It happens very quickly, but I do nothing whilst the spectator’s eyes are on it. I get much better reactions performing it this way, rather than performing the change visually in front of them.

Performing it on the off beat means they credit the deck as being normal and the envelope as a normal envelope but they credit me with the skill of being able to do it so quickly without them seeing anything. When I have performed it visually, I see people looking at the envelope, wanting to ask to look at it before I put it away or take it out of sight to switch it. The thought process the spectators have is that as they saw it change, although they don’t know how it worked exactly, they know it was not a real deck of playing cards or a real envelope, it was simply a special magic prop. By removing the visual moment in the magic trick I retain the mystery, and not only the question of ‘how’ but also the question of ‘when’ plays on the spectator’s mind. The fact that they cannot believe they didn’t ‘see’ the move happen instantly creates a moment of astonishment and mystery that is unsolvable for them.

Summary

Well, thank you for listening to my wild ramblings! These thoughts on visual magic tricks are, of course, my opinion and subject to interpretation and even plain outright denial! I have been changing the way I perform over the past year of two and I have been trying to find out what a spectator truly feels is magical and I have certainly found that by clouding the visual nature of my magic with cover or misdirection to retain the mystery certainly has my spectators reeling and questioning reality a lot more than when I perform something ultra visually.

Another by-product is that the spectators think about the magic more, the bug that eats at them continues to do so for much longer. They cannot make any sense of what they saw (or didn’t see) and I have eliminated the thought that the prop could be a magic prop by reframing the presentation.

So in conclusion I have had a look at how and why I believe that certain visual magic tricks may be detrimental to our art-form. Maybe try out performing a visual magic trick with less emphasis on the visual part of the effect, see how it goes.

Do you agree or disagree with me? What's your opinion? Let me know in the comments section below

How Magicians Control Your Mind – Playing Card Control

by Dominic Reyes Leave a Comment

By Ben Williams

Simon is having trouble controlling spectators when he asks them to cover a pile of playing cards with their hands.

Simon writes: 'There is a card magic trick I perform that requires the spectators to hold their hand on top of a pile of cards. However, it is crucial that the spectators do not disturb the playing cards, revealing any of the backs of the cards. When the spectator places their hands over the cards, they often slide around and when the spectator lifts his or her hands, sometimes the top one will stick briefly, which reveals the cards below

The only way I can get around this is by telling the spectator to lift their hands ‘really slowly’ and ‘gently’ and almost squaring the cards as they raise their hands. When I say this, they’ll often only raise their hands only a centimetre or so which makes it really awkward for me to square the piles. I find that I appear unnaturally concerned about how square the piles are, and it probably makes the spectator question whether all four cards really are black when I follow on with the routine as the next move is to execute an Elmsley Count.

While I still get great reactions with this card magic trick, I find that this problem detracts from it. Is there anything you could suggest that would minimise this problem or solve it completely?'

How magicians control your mind when you hold playing cards

So this is quite a common problem that can be translated across many areas of close up magic. You don’t want your spectators to do something, or you NEED them to do something, but you want to be casual and magical, not neurotic and panicky!

It is all about spectator management, it is important to keep in control of your spectators but to do it indirectly. I may cover my directions with a comedic line, or I will state my direct instructions with emphasis on certain areas and my actions and body language will do the talking for me, for example, I may place someone’s hand in a certain way and step back only to correct them slightly and then say, ‘perfect, wait right there!!’

In this case, if the reason for the spectator placing their hand on top of the pile is purely to isolate the cards so that you cannot touch them, then you could use any manner of techniques to achieve the same result.

Using another object

You could place a playing card box on top of the cards, or any other small item like a glass. If there are two piles and one item won’t work or doesn't look aesthetically pleasing then you could substitute the spectator’s palm for just a finger, asking the two spectators to rest their finger on top of the pile. You can add a line like,

‘please make sure they do not spread the cards, it would ruin the climax of the trick.’

You can also simply say that you do not want to show the cards until the suspense has been built sufficiently so please do not spread them. Another method you could explore is to add a simple comedy line to it, for example,

'Please, rest your finger (or hand) on top of the cards to isolate them, this way I cannot touch them. Please do not spread the cards, we want to keep the mystery and build suspense. Should these cards spread too early and reveal the climax before the end of the trick, quite simply the universe will implode and it will be all your fault.'

This kind of line will be well recieved but also understood which is what you are gunning for in a situation like this, complete compliance.

Spectators going out of control

If a spectator tries to do something themselves that could ruin the effect, for example, demanding that they turn over a card rather than the magician, I will say something like,

'Whoa whoa whoa! Hang on! We must build suspense! We can't have you revealing the end of the trick willy nilly! These things take care and consideration, the crowd should be built up into a frenzy and anticipating this final reveal like a bunch of kids waiting to open their presents at Christmas! As you can see, neither are the crowd in a frenzy nor are they jumping up and down like kids with ants in their pants! We need theatrics!'

With this sort of sentence, I regain control of the situation, slow down or change the pace to a speed I want, and also communicate in a nice and indirect way not to do anything. Sometimes it stirs up the group and they begin jumping up and down in a frenzy for comedic effect! Which can give off a great energy in the room.

If you need something to be done in a particular way, deflect the reason for your concern towards another subject, for example, saying, ‘the universe will implode’ instead of ‘it will reveal the how the trick works’ then you can be very direct with your actions whilst still having it make sense. Instead of misdirecting their eyes you are misdirecting their mind.

Magicians and Superheroes – Finding Magic That Suits You

by Dominic Reyes Leave a Comment

Can magicians and superheroes work together?

By Mark Henderson

I have recently been looking to develop my performing style, into something more unique than "just another standard magician." Don't get me wrong, I don't want to be famous and have people accost me in the street, but I would like to stand out from the crowd and have my own niche. Understanding your character, and having a unique style is absolutely necessary if you wish to rise to the top of your industry. There are thousands of corporate and wedding magicians that all have a similar performing style. This doesn’t mean that you can’t be successful following the crowd. However, 95% of magicians that tour the world and earn huge sums of money are unique and have spent countless hours crafting their own character.

Superhero magicians

Up to this point I have mostly performed card magic, but that sets me on a level playing field with every other card magician around. I want to go beyond that, so that is exactly what I am doing.

Anyone who knows me, will know how much I love comic books, and after having a very short think, I realised that I know so much magic that resembles the superpowers I read about daily.

My favourite character, without hesitation, is Wolverine. He has the ability to heal instantly from any wound and this got me thinking, “how can I present my magic to tie in with this theme?”

I could talk about Wolverine’s ability to heal then proceed to push a needle through my arm and remove it without being harmed, or I could perform a torn and restored card trick using Wolverine in my patter. To really boost the trick, the torn and restored magic trick could be performed with a photograph of Wolverine instead.

Within the realm of comic books there is scope to perform amazing feats of magic using the relevant story lines. For example, I could freeze the air with my breath into a solid lump of ice like Superman, levitate a coin or bend metal like Magneto, or even ignite a match magically in reference to The Human Torch.

What are your interests and strengths?

These are a few of the ideas I have considered that suit my performance style and personality, hopefully they will inspire you to begin thinking about your own likes and strengths, and adapt your magical performance to suit you as an individual. With a little bit of tweaking and some careful consideration, you can really tailor your patter and performances to reflect exactly who you are.

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