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The Magic Cafe Forum Index » » The workers » » Structure of Chicago Opener (35 Likes) Printer Friendly Version

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Bob G
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Hi DerekG, Sorry about not acknowledging your interesting thoughts about passes and ACR's. For some reason I missed it -- didn't even know more posts were being added to this thread.


And Marty, do you know where I can find the complete handling, in words or video, of Aldo Colombini's "bombproof" DL?


Thanks, guys.


Bob
Darth_Prime
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I haven't read the entire topic, so maybe someone else has brought this up, but another two elements about this Trick that should also be mentioned is 1. The Force, and 2. how the trick is being related to the audience


I think the force is the weakest part of the routine, because the first selection is a free choicee, if the second selection even feels a little bit forced they can re-work the routine back to that point, and the last revelation will in fact explain the rest of the trick

and second, how is this trick being presented to the audience


I know someone that performs the routine with one person freely selecting a card, and one person freely thinking of a card
Nikodemus
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Quote:
On Jun 1, 2021, Bob G wrote:
didn't even know more posts were being added to this thread.


The thread that never dies!!!
Nikodemus
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Quote:
On Jun 1, 2021, Darth_Prime wrote:
I haven't read the entire topic, so maybe someone else has brought this up, but another two elements about this Trick that should also be mentioned is 1. The Force, and 2. how the trick is being related to the audience


I think the force is the weakest part of the routine, because the first selection is a free choicee, if the second selection even feels a little bit forced they can re-work the routine back to that point, and the last revelation will in fact explain the rest of the trick

and second, how is this trick being presented to the audience


I know someone that performs the routine with one person freely selecting a card, and one person freely thinking of a card



Hi Darth,
It's a long thread, but very interesting (if you like digging into theory of magic as applied to a specific routine).
The force has been discussed in considerable detail - worth reading.
Darth_Prime
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On Jun 1, 2021, Nikodemus wrote:


Hi Darth,
It's a long thread, but very interesting (if you like digging into theory of magic as applied to a specific routine).
The force has been discussed in considerable detail - worth reading.


I will look for it
Nikodemus
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Https://cdn.knightlab.com/libs/timeline3......ight=650

This timeline from Marty Jacobs has lots of interesting variants with assorted presentational styles.
Bill Malone's starts with a face-up "thought of" selection.

I have been playing around with this "observation test" idea for phase 1 -
Look at your card, and put it back in the deck please. Would you recognise it if you saw it again? Did you notice any distinguishing features? Of course, it has marking on the front - that's what cards are. But all the backs look the same - so it could be ANY of these cards. Oh - except for this one! How did that get in there? So there is just one card that could NOT possibly be yours. It must be one of the others, mustn't it? In fact maybe we could have a little wager? You don't want to? Why ever not?.....

Also I like the idea of the spectator trying to send you their card telepathically.
qkeli
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paris,france
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Nikodemus, thanks a lot for those information.
The link provided is awesome, do you know if others are available on others topics, cards across, rising cards.....
SleightlySpooky
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The Impossible Co’s Pygmalion bundle has a really good take on the chicago opener (Compatibility Test, my personal favorite).
Nikodemus
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I've been thinking more(!) about the quote from Eugene Burger that kicked off this thread. Specially the bit about the DL/DT being when eyes are on the card. For a while, I was thinking that a DL/DT is always done when eyes are on the card. So maybe EB meant the DL is a poor technique per se. (Apparently he decided to stop doing effects with DL/DT).

I am starting to come around to the idea that in most situations it is better to use a Top Change (or maybe Lorayne Illogical Double) rather than DL/DT. This allows the spectators to actually handle the single card. Then the switch is then done on the off-beat afterwards.

But there are also probably good/bad situations to do a DL/DT. Let's say in an Ambitious Card Routine, the selection is on top of the deck. You do a DL to show their card is "not on the top". This is a very casual moment - there is no pressure. Then you turn over the actual top card - it is the signed selection. NOW they want to examine the card - and they can.

The opposite situation is the selection is second from top. You genuinely show the top card. Then DL to show the selection has "come to the top". In this situation the card IS under scrutiny - but cannot be examined. This is akin to the situation in Chicago Opener. I wonder if this was what EB didn't like?
Nikodemus
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On Jun 3, 2021, qkeli wrote:
Nikodemus, thanks a lot for those information.
The link provided is awesome, do you know if others are available on others topics, cards across, rising cards.....


That timeline was created by Marty Jacobs, and he provided the link in an earlier post. I just posted another link to it. I don't know if he has done similar for other classic effects.

BTW - He has mentioned he has his own version of CO, which I would love to hear about. I think I know (roughly) the method he has probably adopted - it would allow the stranger card to be handled much more freely in phase 1.
qkeli
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paris,france
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Quote:
On May 31, 2021, Nikodemus wrote:
Another one for Marty's timeline -

JAMES BROWN (from Hide & Seek DVD)
https://www.youtube.com/watch?v=G-XRiff2q6I

He uses a Riffle Slip Force in phase 2. But then adds a two more phases. The last one is Signed Card To Wallet - at which point I guess no one is worrying about phase 2!

If you like this one, please check Gary Kurtz’s handling which is awesome...it’s on the timeline
cuchullain
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That timeline was awesome! I had fun seeking out the variations and wondering at how creativity can take an idea and make it totally new. That is an inspiration and a lesson.
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