Friends, let’s take a closer look at this calmly. In this magazine we’ve material to digest, study, and, above all, experiment with.

Here is an item-by-item overview with the substance that the content deserves. The magazine opens with the Welcome all by François Montmirel. This text is our baptism in this edition. It is important to realize that this project did not come out of nowhere; it is the realization of the international expansion of work that began with the French version (Les Cahiers du Mentalisme) in 2023.

The Welcome all is the moment when the manager explains this leap to this English version in 2026, inviting us to join a lineage that brings with it all the rigor of the French school. In a single page, François explains how this publication was born, mentions the renowned names contributing to the project, summarizes the magazine's content, and even gives us a teaser about the theme of the next issue.

Right after, Rock Paper Winner by Mark Elsdon is one of those routines that always leaves me thinking: "How did I not think of this?" It is proof that mentalism doesn’t need complex props to be devastating. If you like Rock Paper Scissors and the Free Will Principle, you have to read this version.

Next: Felony by Fred Darevil

Hélder

PS: This magazine can be found here: https://www.fantaisium.fr/fr/mentalisme-......433.html and will soon be available at all magic dealers.

https://www.youtube.com/watch?v=8f3pxDxEJfE

Felony by Fred Darevil is an interesting approach to Max Maven’s B’Wave routine; here you have an ungimmicked version that puts storytelling at the center of the action, proving that you don’t need special cards to create impact. This effect brings a sense of suspense that works well as a counterpoint before we move on to Today’s the Day by Marc Paul. Anyone who knows Marc knows the pragmatism he brings to the stage. He argues that mentalism has much more impact when the environment is taken into account, focusing on simple, direct, and high-impact routines. What he shares here is not just a fabulous routine; it is, in fact, the framework for a full 20-minute act. If you work in weddings, this reading is, purely and simply, indispensable.

We follow up with Perfect Murder by Lionel Boïdo. The initial hook is very good and quite interesting. Here, the narrative is not a mere accessory — it is the true backbone of the effect. Boïdo creates an atmosphere that reminds us of a game of Cluedo, mixing the art of lying and telling the truth, almost as if we were in a Sherlock Holmes investigation. If you know the Zephyr routine by Cervier or Human Cluedo by Kaleb Wade, you will really enjoy reading this version. I am not a fan of this methodology, but I really enjoyed the presentation.



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Hammer Time by Mark Strivings, for those who like the classic 7 Keys to Baldpate routine, has a very interesting version here and, better yet, totally ungimmicked.

I confess that I really like the switch he uses in this routine — it is simple, effective, and elegant.

Right after, we have NumShape Reading by Fabien Arcole.

I am a declared fan of Fabien’s work — the books Mental Sweets 1 & 2, by Fabien and Eric Bertrand, are mandatory on my bookshelf — so I was curious to see this new proposal. In this system, he makes use of George Anderson’s Dynamite Mentalism, but Fabien elevates the concept.

It is an approach to readings based on symbols and numbers that serve as psychological anchors; it takes the weight of "divination" off the mentalist's shoulders and passes it to a logical system that the spectator can easily follow.

The beauty of this is its simplicity: you only need paper and a pencil, which you can even borrow, allowing you to do these readings anywhere. It is extremely versatile and adaptable to different performance styles.

To close the article, the author presents two practical examples of readings using this system, which helps a lot to crystallize the theory.


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In I Believe by Peter Turner, the highlight goes to his innovative application of the one-ahead principle, something very different from what we are used to seeing. Peter manages to remove the force from the equation, which makes the routine much more organic.

It is the type of routine that reminds us that, when technique is impeccable, the true gimmick in mentalism is the performer themselves and how they manage the audience’s perception. Near the end, there is also a valuable tip to apply to our work with envelopes.

The Little Shop of Wonders by Antoine Salembier is a brilliant immersion exercise. Antoine describes with magnificent detail his visit as a child with his mother to a shop that no longer exists, the path there, and the growing expectation, culminating in the encounter with Miss Alice, the fortune teller.

It is a narrative that transports us completely into that experience; you can feel the character’s presence and the shop's atmosphere in a very vivid way.

I confess that the method presented made me smile when I tried it with cards in hand; it is astute, but personally, in this routine, I would probably use Steve Dela’s Night FlightDeck, with the participant covering the card with their own hand or the deck box — a detail that reminds me a lot of Paul Voodini’s approach in his The Hand of Destiny routine.

It is just a personal preference and does not take away any merit from the method Antoine explains.

Next: Coins & Divination by Didier Verner

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Coins & Divination by Didier Verner. Didier makes an interesting bridge to the past, reminding us that before the 70s, mentalism and cartomancy went hand in hand.

He explores how we can use coins as tools for reading, proposing systems from simple direct answers to more complex methods that map time or abstract concepts like "Wisdom" or "Power."

It is work that draws heavily from the tradition of divination, also using classic techniques like the equivoke to guide the spectator's choice.

What I found most curious was the psychokinesis experiment — the sensation of heat on the coins — where he admits that the trick lies more in psychological suggestion and a small prior physical adjustment to the coins than in any supernatural phenomenon.

The great lesson he leaves, which seems essential to me, is that of balance: you can't let the reading be so intense that it becomes a therapy session, nor so vague that it means nothing. You need to know how to measure the dose so that the mentalism effect isn't lost in the story.

The False Widow by Keith Hart and his Interview. Keith doesn't just limit himself to presenting an effect; he shows us how to turn a simple conversation into a supernatural experience.

It is a masterclass on how to use narrative to legitimize the impossible, always keeping the mystery intact. The author based the story on an abandoned house he found during a walk in the Algarve, transforming that real experience into a supernatural narrative.

The effect is quite simple in execution, focusing entirely on the atmosphere and the story told.

In the Interview, Keith addresses his journey, the influences that shaped his style, and what he does currently. He reveals the importance of the 'why' instead of the 'how', and leaves an important tip for those who want to follow the Bizarre Magick path.

It is a useful reminder about the distinction between aesthetics and narrative substance. I enjoyed this deep dive into the darker side of our craft. It is theatrical, dark, and technically challenging, ideal for those who want mentalism that isn't just "tricks," but an experience.

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Erick Fearson introduces Is Love Stronger than Death? a classic example of how Bizarre Magick elevates mentalism beyond a simple guessing game.

He recovers an old idea and dresses it in a gothic and tragic narrative about a scientist, Professor Dorian Carter, who tries to save his beloved, Angela, with an immortality serum that ends up becoming his own poison.

The effect’s structure is that classic survival tension, where liquids are used in test tubes and the danger of a mixture is demonstrated, forcing the audience to feel the real risk of the volunteer’s choice.

The author is very meticulous in how he prepares the ground, using props like wooden stands and other details of an old laboratory that transport the audience to an almost occult environment, which is fundamental for total immersion.

The great lesson here is that this is not a puzzle for the audience to solve; it is a tense piece of theater where the mentalist needs to control the timing and drama so that the climax has the intended impact.

It is work where the technique is there, of course, but serves entirely the atmosphere and the participant's safety.

The Interview accompanying this work is a fascinating portrait of the author, where Erick talks openly about his start in mentalism, his work in television, his grounded view on psychics and Tarot readers, and the fundamental importance of technique balanced with presentation.

We now move on to the legacy of Theodore Annemann. The article on the Impression Card Case describes the construction of the gimmick objectively, being a useful resource for those who want to understand the mechanics behind a classic method.

Next, an original 1924 text from The Sphinx allows us to compare Annemann’s methodology with current standards.

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One of the highlights of this section is the compilation of responses from seven renowned mentalists — Scott Creasey, Erick Fearson, Alain Gesbert, Todd Karr, Julien Losa, Mark Strivings, and Peter Turner — to two fundamental questions about Annemann’s impact on current mentalism and their own work, which offers a multifaceted and very enriching vision.

This debate serves as a pragmatic reminder: regardless of the technological evolution of 2026 — from our digital gadgets to traditional methods — the effectiveness of the performance continues to depend more on simplicity and presentation than on the tool used.

Still regarding Annemann, and right after, on page 72, we have an approach to the circumstances of his death, a theme that, by its nature and context, continues to spark debate and mystery in the community.

The article Synchronicity??? by Alain Gesbert marks a deviation from the merely technical side of mentalism, exploring the philosophical and psychological dimensions of this art.

With a vast journey covering electronics and complementary therapies, Gesbert uses his seven decades of experience to address the Jungian concept of synchronicity.

His premise challenges the mentalist to transcend the superficial entertainment of "mental magic" and dive into the deep understanding of intuitive processes that connect apparently disconnected events.

By tracing a historical link between Richard Wilhelm’s translation of the I Ching and the integration of these concepts into Jung’s theory of the collective unconscious, the author defines synchronicity as a subjective and significant phenomenon that responds to personal concerns, going beyond materialist science.

Gesbert proposes a distancing from dogmatic practices or simple cold reading, arguing that instruments like Tarot or the I Ching should be used as "maps" of internal visualization, and not as prediction methods in the style of "Madame Irma."

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The Mystery Between Knowing and Wonder by Kenton Knepper offers a philosophical reflection that distances mentalism from pure technicality, focusing on its deep intent.

Knepper argues that mentalism shouldn't be reduced to a logical exercise or a technical lecture, at the risk of becoming boring; the true impact arises when the artist transcends intellectual analysis, transforming the audience's skepticism into a feeling of hope and possibility.

For the author, mentalism is a symbolic act where the excess of explanations based on logic, NLP, or body language ends up canceling out the mystery that should be safeguarded.

He suggests that, in the face of the incompleteness of human knowledge, the mentalist should act with humility, serving as a bridge to the subconscious — something that modern science is only just beginning to glimpse — without the pretense of having all the answers.

Ultimately, Knepper underlines that the mentalist's role is to protect the mystery and honor the inexplicable, ensuring that the feeling of wonder remains alive in the audience.

Todd Landman’s Magiculum Oculatus brings Platonic philosophy to the stage, which is a breath of fresh air compared to the more conventional texts we usually find.

Didier Verner’s Introduction to Mentalism is a great starting point.

He begins by laying out the key elements for developing your persona and performance, advising on how to build your background and recommending essential authors and publications to study.

Following this, he provides a technical breakdown of billet manipulation, teaching three fundamental maneuvers: the Baker Switch, the Umbrella Move, and the Gypsy Peek. The article is well-illustrated with photographs.

This article by Gérard Kunian, titled Past in Present, explores the technique of envelope switching and its practical application in mentalism effects involving stories and images.

The author contextualizes the historical importance of Howard Adams and describes an experiment inspired by Larry Becker’s work.

The article details the construction of the Max Cadet Envelope, allowing cards or small objects to be switched imperceptibly through the use of glue and surgical precision to create a hidden compartment.

Gérard suggests that the routine’s effectiveness doesn't depend only on technique, but on the ability to involve the audience with an unsettling story — like the account of a haunted house or the description of disturbing images — ending with the note that, as Albert Goshman used to say, the trick itself isn't the most important thing, you are.

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Shopping compiles several product recommendations and reference works, like The Mystic Monk (Mazarian Arathorn), SAGA Universal Tarot (Andreas Sebring), Moniker (Scott Creasey), The Tarot of A. E. Waite and P. Colman Smith(Taschen edition), and The Karmilovich Collection.

This section reinforces the importance of maintaining a solid reference library, uniting technical practice with historical and symbolic understanding.

This Issue's Dream Team presents the collaborators, a team that reflects the diversity of approaches within the publication, from pure technique to the philosophical and psychological exploration of performance.

Finally, the Glossary serves as a quick reference for technical terms addressed throughout the magazine.

Final Verdict

Having reached this point, the only thing I didn't like is the font size. Personally, I feel a slightly larger typeface would make the reading experience much more comfortable.

At times, the visual effort becomes a small barrier that prevents us from devouring the articles with the fluidity they truly deserve. That, or I'm getting old.

The articles are already well-accompanied by photographs, yet there is a fantastic opportunity to further enhance the learning experience.

In this day and age, where recording a high-quality video with a simple smartphone is incredibly easy, it would be a game-changer if the publication included QR codes linked to video tutorials.

For instance, while some techniques like the Impression Card Case are quite easy to follow due to the excellent photos, others—such as the Max Cadet Envelope—can be challenging, and a visual guide would be invaluable.

Similarly, having video demonstrations for the billet techniques described in the Didier Verner article would add immense value, bridging the gap between theory and execution perfectly.

Just a suggestion.

At the end of the day, The Mentalism Chronicles is a publication of exceptional caliber, crafted for anyone who approaches mentalism with true dedication.

It is serious, dense material meant to be studied, meditated upon, and integrated into practice.

And that's the end of this overview/review.

Hope you like it.

Hélder