Share Your Version - Ambitious Card Routine

[thetrilogy-corE]

nice ideas guys

my ACR routine is pretty similar to some of yours but i allways like to end up by vanishing their card from the deck completly.
Almost Everytime with the Patter: Y´know what the weired part of that trick is? There never was a possible way to make the card jump. There never was a possible way for the card itself to be picked by your hand. Becuz.....there is no 7 of diamonds (example) in the entire deck. Showing ´em one card after the other.

My technics to get rid if the card are different everytime depending on my audience.

My Regards

 

[Ben Long]

Card to top, card to top, card to mouth, White or Wheat. Last part isn't technically ACR, but since it works with a signed card, why not?

 

[Brewery Rabbit]

I have been wanting to try card to box..

i should do that tomorrow. Let you guys know how it went..

HMM....

The possibilitys.

 

[conjure_pitch]

I love that wrong card variation. Its a brilliant idea.


My ACR is as follows:

A card is selected, signed and placed into the center by the magician. With a flick of the wrist the card jumps to the top.

The card is then placed outjogged on the top of half of the deck (half the deck is in either hand of the magician) It is then pushed back down onto the top of the bottom half by the spec, taken off the top of the bottom packet into the middle of the top packet and the bottom packet is cut so that the other packet goes into the middle of the bottom packet. Snap of fingers, card rises to top.

Same thing repeated, only by magician only.

The card is placed face up into the middle of the deck, a flick of the wrist causes it to rise, still face up to the top.

The magican then explains that the deck works against gravity, so when the deck is turned upside down, the card will rise to the other side of the deck.

This is repeated several times, in various ways.

The magician then cuts the card very very very clearly into the middle and the packet is held sideways, in straddle grip. The magician asks the spectator where the card is going to go, if it works against gravity, and is held sideways. The spec replies with a confused answer and then the card flies out of the deck and is caught by the magician.


Its very very effective, quite short, and very rediculously hard to describe in words, as I think all magic should be.

 

[Bizzaro]

Roll this around in yer melon.

ABC is a lot like card manip and linking rings. If you can link two rings.. who is to say you can't link 8.. or 50? Just because you can Do every move with a trick doesn't mean you SHOULD.

I have a long ABC routine. Is it necessary? No. I now use a three phase with one last "cincher" at the end. (Card upside down in the middle of the deck visually comes to the top ala' the spring flip I perform.) A seldom used, but really good subtlety is to let them turn over the top card themselves. Dunno why really, but it hits them harder.. especially if you do it a few phases in.

Recently I have been working on a routine that uses NO multiple lifts... so here is a challenge to all of you. To stretch that old brain of yours - create a three phase ABC routine that uses NO double lifts.. at all. See what you can come up with. Post them here. Amuse yourself and others.

 

[Shodan]

A challenge, yes, but not one I am too interested in. You make a good point about "just because you can do every move with a trick does not mean that you SHOULD". This is true, but then you are left with the task of deciding what the best moves for the job are. I think that multiple lifts - doubles to be precise - are the best suited sleights for the job, and so that's where you should focus.

For the record though:

Drop Addition -> Miracle Move -> Backstage Pass

This is a three phase routine using no multiple lifts. It builds, as the card is seen clearly in the middle of the deck in the last phase. It is weak though, as being unable to use multiple lifts means that you are unable to show the card NOT on top before making it rise. I guess you could accomplish this with a second deal and a top change, but neither of those moves can take a lot of heat.

 

[Bizzaro]

Actually there are subtlety moves that allow you to "show" it in the middle instead of having to prove the top. Showing that it is not on top in many cases tends to be a running when yer not being shased kind of thing I have found. if the card is signed especially, there is no question. I have NEVER had anyone think it is still on top, (At least not during an ambitious routine) but I have had some people who have had experience with magicians be looking for a multiple turnover. (Some people expect an apple turnover, but they're just silly.)

People tend to believe what you tell them and if you tell them it's supposed to be amazing they will think it is.

 

[Shodan]

Depends on your performing style. I like to rule out the possibility in my audience's mind before they realise it might be a possibility. By this I mean the following (phase three of my ACR):

Card is placed using tilt. Patter line: "did you see it come to the top? Well, no, that's because it hasn't happened yet!" Turn over top card to reveal an indifferent, whilst preparing for a double. "It doesn't come to the top until I do this" Do a double to show the card.

Clearly, this is not "running without being chased". All that I'm doing is separating the mechanics of the method from the moment of the magic. When it comes down to it, I still stand by my assertion that multiple lifts are the best tools for the job, and rather than set arbitrary handling challenges, I prefer to work on my handling of the double lift until it is flawless - and people with experience of magicians can eat my dust!

 

[Bizzaro]

Well I was just offering a brain stretching excercise for the kids at home. I agree, double lifts all the way around, but sometimes it's fun to challenge yourself... to grow and think around problems. By stepping out of one's comfort zone, only then can your outlook and experience grow. (And sometimes skill)

In reply to your tilt idea, troo it's easy and effective (perhaps.. too easy?) but you could still do the same moves without a double lift. Imagine this if you will:

Doing tilt, and asking if they saw it come to the top. They of course say no and you show the top card showing it has not happened yet. Then performing some sort of move not usually used for this effect (In Your Face Change or One handed Top Palm) you can have them turn over the top card now. No double lift required.

Not saying it's wrong to use said DL.. I just like to poke people's brains with a stick sometimes.

Capice'?

 

[y2john]

Hey Bizzaro, I agree with you.

Although many of these ACR's contain many good ideas, I feel they contain too much.

As for showing the top card... there is no need as if the card is placed in the middle then why would it be on top.
Of course the way Shodan describes shows the top card without it looking funny, but i'd only do that once in the routine.

Bizzaros challenge was a good idea, and I am always challenging myself to come up with things like this, not to use in performance but just to help fuel my creativity.

Some of the things people are adding into there ambitious card routine are actually taking away from the overall effect, and many go off track into other effects.
I like to keep my ACR simple and direct, with each phaze building until the impossible climax.
My ACR is just four phases long, for me thats sufficient and enough to do the effect justice without overdoing it.

Of course I won't be sharing my actual ACR as the way we routine our effects should be unique to us.

Still... some great ideas from those who are contributing there routines, especially the Paperclipped ending.

 

[The Royal JRA]

ok heres my routine of coarse like you said it changes depending on the situation but ill just go through some of the sleights i use

1.i might have a spectator say stop on a card brignt it to the top and say you can have this card or this card and perform shapeshifter if they want that card back i do a twirl or wave change or i will just have spectator sign selected card and place on top
2.cut pack and single fan other half and place card in the middle of the fan and place in back into the middle of the left hand packet i say its not on top yet but if you hide the top of the deck from veiw it comes to the top and simply quickly turn my wrist down and back and the card is on top i then repeat this
3. i then say people dont belive that is acually the card going into the middle so without giving it away i do a "drop off move" and show that is their card i then proceed to do the fan and then in the middle and it is back on top
4.i then do another drop off move jogging the card out and showing it face up put it in the fan and tell them to push it in performing card to mouth.
i will then say maybe im using to many cards i will do drop off and put card in half the pack sticking out push it flush and it ends up on top on the other pile
i then do the same thing but i use the second pack to make them say stop and do a riffle force and have them mark and X on the back of the newly seleced card show them its a indifferent card and say this will be the new top card, place it on top sqaure in "their card" in the deck have them turn over the top card and it is theiers i then say here i have a souivenier for and and show them the card is in a ziipered comartment in my wallet that is more or less my ACR

 

[DdM1991]

nice routine

but after paperclip the card is crunched. won't people notice that?

 

[muhazz]

I don't like my own acr, so I won't post it. And I know only 2 or 3 sleights, so there are no really new or spectacular effects.

But I saw an acr that really impressed me...
It's this one http://www.youtube.com/watch?v=P6o3T91CNgI
It's quite similar to JRA's.
I don't know much about acr's or about all techniques behind them, but this acr just didn't become and I think the order of the tricks produce a nice climax.

I think it's really well thought...

- muhazz

 

[thetrilogy-corE]

aaaa i really love KAMMs ACR

But theres one bad thing about his performance style i think...

his double lifting is great....but i EVERYTIME...know, when he is executing one....his "get ready" ...is kina....tooooo....hard....to agressive....i dunno how to explain ^^

but still love it!

 

[sourboarder]

Since no one else is sharing there acr i will

1. it's not exactly improve but if i have time i start with a here-there. wonderfully simple effect that packs too hard. then i say since you have it give it a sign.
2.le paul's bluff pass.
3. signed card put in the middle jumps to top.
4. marlo tilt.
5. i forgot the name of this one but its the one where the deck is cut in half the card is pushed flush with the bottom half and then sticks out of the top half and the bottom half is brought to the top. but for me its modified and I do shapeshifter. <--- soo hard to learn but once you get it it's great!
6. second deal pushed in the center and then deck is flipped face up and winter change is done.

Then i say here you go as a souvenir.

 

[Sharog]

Alot people like getting a small variation in their ACR with a different ending or something fancy somewhere inbetween, but really, 99.9% people use the exact same patter for the ACR regardless of the moves, that is actually something u can work on to make yours different.

 

[MagicUK]

Since I like the ACR so much, I thought I'd contribute to this thread.

Like most things there needs to be a start, a middle and an end. I always use the same start and middle, but I have a two different endings. So:

Start (aim is to introduce the concept and get the spectator involved):
Have a card selected and replaced into the centre, get a break above the card above the selection and execute a pass to get the selection second from top.
Revelation 1: Double lift to show on top.
Spectator then reinserts the card into the centre
Revelation 2: Spectator turns over the top card

That's the end of the start of the routine as at this point you are clean, and you can have a bit of banter with the spectator.

Middle (aim is to repeat what has been done with the spectators burning you even more- if you're confident enough you should tell the spectators to watch more closely! )
Execute the Ellis loading move
Revelation 3: Spectator turns over the top card
Now reinsert the card into the deck, get a break above it and execute a pass
Revelation 4: do a double lift to show an indifferent card and execute the Houdini change
Cut the face up double into the centre and hold a break above it
Revelation 5: Perform the riffle pass

For the middle section you have done a repeat of the first section just to get the spectators more interested, then you show them the exact moment the card comes to the top by showing the indifferent card, then you do the same thing again even more impossibly (providing you can do the riffle pass well!)

End (aim is to do the most impossible thing you can):

Ending 1: The above routine will leave you in the position to do the pop-up move so the first ending is simply the pop-up move

Ending 2: pause, then turn the double face down. Reinsert the top card into the deck, turn the deck over and do a mercury card fold and reveal this card with a shuttle pass from wherever you like.

People have different opinions on the card to impossible location effect at the end of an ACR, but personally I think it works well- especially if it appear in something that the spectator has been holding throughout the routine!

There is also the potential to add a kicker in with a prediction for the card they have chosen. You can reveal this however you want, and obviously requires a force at the start of the routine- up to you...

I've performed this routine hundreds of times. It gets great reactions and I've never been caught with any of the moves. I hope someone can take something useful from it.

B

 

[Shodan]

Jeez, did this topic came back from the grave or what?!

Interesting to look back at where I was a year and a half ago (the date I posted my ACR). After 18 months of practising, learning new techniques, honing old techniques and of course performing not only professionally but for countless friends, family and random passers by I have barely changed my ACR at ALL...other than to make it a little simpler! It has become a solid, dependable "worker" in my repertoire and very difficult to follow.

After years of performing the same trick the same way for a wide variety of audiences I have come to appreciate that although there are flashy moves, complicated sleights and dozens of ways to accomplish an effect like this one, often simplicity is the key to success. Simplicity of method, allowing you to really concentrate on the AUDIENCE and simplicity of action, allowing them to concentrate on the EFFECT.

I think the reason the routine I put together works so well is that it uses contrast and surprise to good effect - rather than repeat the same trick using 10 different methods, the routine has progression. Contrast is set up right from the start by using a tremendous amount of effort to move the card to the top...the "easy way"...whilst the hard way looks effortless. The effect is instantly repeated because that's what the audience WANTS at that stage. Humour is injected in order to release tension (whilst of course increasing impossibility - the card is shown "not on top" immediately before its reappearance) and then the audience is allowed to join in the fun handling the cards themselves (this is the first major change - no colour change anymore, its stronger just to let them turn the card over themselves than to "show off").

At this stage the audience is still fascinated - they're NEVER ready for it to be over at this stage. But now the danger is that if the magician keeps going they'll start to get frustrated. So, a big build up leads to a problem - the wrong card rises to the top, and the magician is deflated BUT has the audience on his side - they're happy to give him another attempt, only to have the SAME wrong card rise again. I think this is pretty interesting as a concept - if you did have magic powers, this is an example of how a trick might ACTUALLY go wrong! Frustrated the magician now discards the wrong card. The audience knows of course that he's still in control of the situation - they realise they're on a ride, which does away with the issue of them feeling bad for the "magician in trouble" - this is a topic Tommy Wonder had a lot to say about that was very sensible. They know there's a big finish coming BUT they don't know what it is. Magician says he will try one more time - only to have the same WRONG card rise, despite the fact its supposed to be laying there on the table....the card is turned over and the signed selection is revealed once again, giving a very strong ending that feels like a transposition to the audience but isn't really (bonus!). The nice thing for me about this ending is that although it does deviate from the basic plot its not a million miles away, unlike a card to pocket or something of that nature.

So there you go - the same routine for over two years and can you tell how much of a life I don't have from all the thought that's gone into its workings?!

Cheers,
David.

 

[bd]

Interesting, Chris - both our routines have a card fall instead of rise, as the finale.

Instead of listing a theme for patter, I will simply list the different stages of revelations and the sleights used.

Stage 1: Card selected, signed, cut into middle of the deck. The card is shown to have risen to the top.
Stage 2: Card taken and left outjogged in the middle of the deck. Flashed to spectator(s). Card is then pushed flush, and shown to have risen to the top.
Stage 3: Spectator asked to hold hand out flat (table can be used as well). Card is very fairly cut into the middle of the deck in the spectator's palm. Spectator then squares the deck up, card is found to be on top.
Stage 4: Card is left face-up. Cut into middle of the deck, found to be on top.
Stage 5: Card is taken and left outjogged face-up in middle of deck. Pushed flush with deck. Performer attempts to get the card to rise, only to fail. Laughs all around, only to find the card on the top of the deck again.
Stage 6: Card now starts its decrease downward, falling from near the top to about the middle.
Stage 7: Card falls from middle to 1/3 the way to the bottom.
Stage 8: Card falls from deck to spectator's awaiting hand.
Stage 9: Two different finales, depending on the opportunity. 1) Deck disappears, leaving only the selected card behind. or 2) Deck is shown to be entirely blank, except for the selected card.

Sleights used:
Classic Pass, sometimes with a riffle.
Terry LaGerould's Swingset Control (tabled variation)
A cull.

 

[Chr!s]

That's quite the mammoth routine!

I thinkyou have far too many climaxes, diluting the impact of your routine. There are too many points at which the routine could logically end, and I feel that with that many climaxes you're really just showing off rather than performing magic.

My routine goes like this...


The deck is riffled and upon calling stop, the sepectators selection is cut to, displayed and signed, and returned to the deck. Commenting on how he has been playing around with the abstract, the performer asks the spectator to suppose it were possible that the selection could returnto where it was earlier, on top of the deck. He turns the top card over to illustrate where he means. He flips this indifferent card back over, snaps his fingers and shows it to now be the selection. He pushes it into the deck again, snaps his fingers and it has returned to the top. He asks the spectator if she could see the moment it moved. Offering to make it easier, the performer leaves the card hanging out of the deck. With a slight shake, the card visually jumps to the top of the deck, still jogged out. Now, changing the theme, he asks the spectator to instead imagine the card moving DOWN through the deck. He leaves it jogged out, face up, one card from the top of the deck. With a light shake, it moves down to half way through the deck. Another and it shifts deeper. A final wave and it's close to the bottom. The card then melts right through the bottom of the deck, into the spectators palm. Everything is examinable.

The moves used include a pass, double lift, top change, my elevator move and my DROP effect.



CL