Larry Horayne

He knows all your secrets. He invented them.

New Shit

Here’s a few things that I’ve become aware of recently. Thought y’all should know

Kaufman & Co

Kaufman announced he currently has 3 books in the works, which look really interesting:

  • Ryan Matney (Card magic)
  • Harapan Ong (Card magic)
  • Theodore DeLand (Card magic + gaffs)

What we really want to be published though is:

  • The Jennings book whose delay could be fathering its own children at this point
  • The Jack Birnman book, delayed by the inevitable bullshit of pride among publishers
  • The Geoff Latta book(s), still no word on what’s holding it up
  • Tony Chang book (C’mon Tyler, baby, don’t be so meaaaaan)

Something else I caught wind of was an interesting entry on Denis Behr’s Conjuring Archive, showing a collection of the Less is More items as one bound hardcover book, published by Vanishing Inc in 2017.

Seeing as this collection has not seen the light of day for any reviews, advertisements or listings, it’s a bit of a slap in the face for anyone who got the original manuscripts.

We wait with bated breath.

Anything else out there that should be shared?
Say something!



Just a quick one…

Sup, y’all?

Just found out my favourite Freddie Krueger impersonator, Doug Conn, is doing a sale on his site for his ‘Built to Last’ and ‘Pinky Swear’ DVDs, including a gaffed deck and some sponge bunnies for his routines for $65 and free shipping within the US!

If you haven’t read it, check out my review on ‘Pinky Swear‘. His ‘Built to Last’ DVD set is just as good. Highly recommended.

Click here for the Connjuring Combo sale

Love you, Dougy-poo



The Art of not giving a Fuck; Sprezzatura by Alex Hansford

Evening ladies and gents,

Haaaaaaaaaaaaaaaaave you met Alex Hansford? I have. He’s goddamn wonderful.


Aside from having one of the most wonderful heads of hair in the history of mankind (I may or may have not put my dick in and around that majestic quaff at one point), he is also an extremely humble and talented guy with very expressive eyebrows.

I only got a chance to session with him on one magical and romantic night a few years back, but in the brief time we got to hang out, I saw some of the most refreshing ideas and methods I’d seen in a while. That which he has released (Hessian, Gödel and Hashtag) looks like how it would be to have actual magic powers. And the truth is, his work and handlings look just as flawless and perfect in person.

So when Alex posted up about his lecture notes in the land of perpetual grim weather, cups of tea and warm pints of beer, I sent him a loving message, along the lines of ‘Send me a copy of them before I fornicate with your hair again plz’. And here we are.

The notes consist of 7 items, wonderfully explained and laid out with some of the best photographs and explanations I’ve seen in recent years; you can tell he gives a shit about his work and sharing it with people. He writes with the intent, purpose and passion that you would hope to see when reading a new magic book or set of notes. The title is very fitting; an Italian word for nonchalance and almost thoughtlessness in your abilities. Alex and his work is exactly that; a studied carelessness.

I thoroughly enjoyed these notes because it was not only some new effects/presentations, but also some extremely enjoyable tangents on methods and thoughts on methods and how to modify or replace the fundamental things we do in each performance to make them that bit better, for the audience but also for that self-gratifying feeling of doing something perverse.

Shall we?

Card to Pocket
A refreshing take on the method for card to pocket. I really enjoyed this. The approach mixes an idea that Alex and Will Houston discussed with something that we all know but barely every use anymore. The thing I loved most about this write-up is that it touches on something that many people fear when learning a new method or effect; how the fuck can I get away with this? Alex’s advice here is miles ahead of the usual “just do it until you get comfortable”. The progression of learning magic means the methods and ideas we first learn get put aside and considered as ‘trivial’; they’ll never be as useful, harder is better etc. This proves otherwise. The method also has some awesome little nuances throughout to make standard moves that little bit better. A concept not often considered or discussed, aside from Aaron Fisher’s ‘The Paper Engine’ and other works, is whether a particular sleight or sequence produces tension in a muscular or movement sense. This sequence in particular is well thought out, the choreography is well explained. Thoroughly enjoyed this.

Also, kudos for the use of the word ‘doddle’; what the fuck does that even mean?

Micro Breaks
A discourse on breaks, and methods around getting and maintaining breaks. I didn’t know I could enjoy reading about breaks as much as I did. Alex does an exceptional job of looking at something as fundamental as a pinky break and looking at how to make them smaller, but also being able to salvage the smallest of breaks with much more certainty.

What I loved most about this section was the reference to a Bill Simon control (with a slight, but beautiful change in how to do the move by Will Houston) a twist on a LePaul control and further discussion around all-around break transfers. I didn’t realise the issue I had with the Bill Simon control until I read Will Houston’s improvement; the original started and ended with the hand in a weird position, this one just feels extremely open but also leaves the hand in the perfect position to casually take the deck. This discourse alone is just absolute gold. The photos at first glance will show you just how careless and free the controls can be, looking absolutely fair while being completely controlled. The micro break feels like a relaxed technique that doesn’t seem to be sure fire but actually is. There’s also a sneaky tangent about a glimpse and a key-card. Good shit. For those who want to see the wrong way to  ‘show’ that you ‘aren’t’ holding a ‘break’ check out the ‘work’ by Marlo in ‘Revolutionary’ Card Technique, particularly the advanced fingertip control chapter. 

Mystery Card
An interesting take on the ‘mystery card’ plot. A card is selected and signed and lost in the pack. The magician comments about how familiar the whole situation feels and pulls out a card from his pocket with a different back design, from a trick he did a few days before. It turns out to be the signed selection, but with a different back design to the deck it was chosen from. I’ve omitted most of the presentation because it’s a very quirky and enjoyable premise/presentation mix that Alex likens to something Harapan Ong would do (Hi Harapan!). The method is great, using a Tony Chang variation of a control and part of the card to pocket idea discussed earlier (which turns out to be a variation on an old Fred Robinson idea), but approached in a slightly different manner. The appearance to a spectator is refreshingly direct which is often unusual in variations on this plot. Part of the presentation also mentions an additional phase/change of the card in the pocket transforming from the same card’s identity to the same card with the signature. How this is achieved is kind of glazed over unfortunately, but Alex gives a basic way to achieve this. Would’ve loved a bit more of a discussion/focus on this phase or other possibilities within the effect structure

Instant Assembly
In a Dear-Mr-Fantasy-esque (ala John Bannon) recounting of events (albeit, an extremely British version), Alex politely talks shit about a dinner out with friends while narrating his performance; the whole damn restaurant then joins in on the method as he goes through it. What the fuck am I reading? This is one of the effects which really needed the photos to follow along with the moves which are inherently covered by gestures and timing which don’t come across too clearly in the write-up unfortunately without re-reading the same parts over and over to sift through the story for the method (Sorry Alex). I really enjoyed the combination of ideas, but felt like the style of explanation and omission of photos makes this one of the weaker items in the notes. You may think otherwise. I enjoyed reading this, but learning it was less enjoyable as the odd one out for the description and photographs. Still a decent effect.

Diamond Cut Diamond
Alex’s take on one of my favourite plots by the great Alex Elmsley. Some cards are put aside, a card is selected and left outjogged in the deck. The cards put aside at the start are the Ace through Ten of Diamonds. A number is named. The card in the position named turns into the selection. The card that’s been outjogged and in view the whole time is the missing Diamond card. I really love the little changes Alex has brought to the plot to make it a little bit more open and paced differently. Also, the beauty of Alex’s method means the selection can also have an odd-coloured back and it won’t be seen until the very end. He also has an alternative method thrown in at the end of the effect which gives the same appearance but has some different, more free conditions for performance.

Cull Effect
The Four Queens are removed from the pack. Another four of a kind is named by the spectator and shown still spread throughout the deck which is then put aside. With just a shake, the four Queens in your hand turn into the named four of a kind. The handling is very organic and feels pretty fun to perform. The handling has some tips on the Ascanio spread which are well worth noting. The effect is fairly basic, no presentation discussed or explained, but just the little nuances of the handling are worth learning; they open up a whole range of getting into effects and positions that everyone will use at some point, so why not try something different?

A Childish Spelling Trick
An interesting take on spelling to two selections, which can be handed to your spectators to spell to themselves. While the method and presentation description is fairly straightforward, it’s a really nice approach from a shuffled deck. I would’ve liked a bit more of a discussion on the method or variations, and also a bit more of the quirky presentations and tangents seen earlier in the notes.

So, what’s the verdict?

Suprise bitches, here’s a video from Alex, performing something from the notes

I really fucking enjoyed these. Unfortunately, without attending Alex’s lecture, I can only go by the write-up, but it was the kind of work I love to read and learn.

New shit, but not trying to claim it as ‘revolutionary’ or ‘the next big thing’. It’s actual usable material with a fresh take on fundamental effects and methods that everyone knows and has learned at some point in their time doing card magic. Throughout the notes, it took me back to when we sessioned and how much enjoyment I got from the ideas and changes Alex showed me.

The quality of the work and layout is exceptionally done, but there are a couple of items without photographs/tangents and discussions that is seen in other items; The momentum and discussion/depth in the first few items is amazing, but it feels like it’s not as fleshed out in the last few items. Regardless, I would still buy these notes all over again, based solely on the card to pocket ideas, controls and variations Alex gives. It honestly has nothing to do with that amazing head of hair….

…OK. Maybe I lied. It kind of does. But the notes are still awesome.

Currently, they are only available directly from Alex’s store for £25 plus shipping. Best to message Alex directly regarding availability and pricing.

I’m out,


A little humour for you assholes





A letter from the Editor

Someone asked me the other day,

What ever happened to that Larry Horayne blog you were doing?

And, to be honest, I felt a bit shit for letting it get this far without putting up any content.

One of the biggest things about doing this kind of thing is the amount of time and effort that goes into it; reading, learning, dissecting and understanding the content and being able to appropriate how I feel about it into the mouthpiece that is my sweet baby Larry.

In the last year, there’s a lot of shit that has kept me from putting in what I think is enough time and effort for each post; I don’t want to regurgitate the same shitty ideas and bullshit opinions ad nauseum. This ain’t the Cafe. As I learn and grow as a person and a magician, so will my views. And, by extension, so will Larry’s own bullshit.

Is this an excuse or a cry for help? Am I asking for money or your sympathy?

Fuck no

But I need everyone to understand; shit happens.

I don’t get free reviewer copies of books and notes

I don’t get paid for my time.

I don’t do this so I can get my rocks off on the number of views my site gets

I do this because I enjoy doing it, and because you guys enjoy reading it. Whether you agree with me or not, you’re here because you want to be.

A special “Fuck you, cunt” to Ray from the Cafe. Your “potty mouth” ain’t got shit on me,
xoxo cunts,

New things to look forward to…


Here’s some shit I’m interested in seeing:

Tyler Wilson’s Penguin Live lecture: Hnnnnggg I’ve been waiting so long for this asshole to share his hairy knowledge with the world.. it’s like I’ve been spiritually constipated all my life until I found his sweet, sasquatchian embrace on my spiritual taint. Really looking forward to this!

30 new Jack Parker effects: Andi Gladwin, the publisher of Jack Parker’s collected works, 52 Memories, has only just posted up about 30 new items from Jack’s work that will be published in an upcoming book. I have a fondness for Jack’s work that can’t be swayed.. really looking forward to this

The Complete Walton Vol. 3: In line with the new reprints of Roy Walton’s wonderful collected works comes the third volume, still listed on the Davenport website for the pre-order price of £34. Really looking forward to getting my copy

In Order to Amaze: Pit Hartling’s collection of memorized deck work. Aside from Juan Tamariz, Simon Aronson and Vincent Hedan, I consider Pit to be one of the biggest pioneers for insanely good magic with memorized decks.. plus he’s so fucking handsome, I just want to smoosh his face and rub myself all over him. Looks like an amazing follow up to his book, Card Fictions

Still waiting on:

  •  A collection of Andrew Wimhurst’s work/ any new material
  • Reprinting of Juan Tamariz’ ‘Sonata’ & the releas of ‘Flamenco/The Magic Rainbow’
  • Book on false deals from Gary Plants
  • Scott Robinson’s book with Vanishing Inc
  • Collected works of Jason England on false deals, shuffles and material.
  • Geoffrey Latta books (One on Coins, one on Cards from Hermetic Press)
  • Jack Birnman’s ‘Nectar of the Cards’ (Questionable as both Hermetic Press with Aaron Fisher AND Kaufman & Co have both claimed they will be working on this)
  • Larry Jennings collections (Kaufman & Co) (STILL long overdue)
  • A book about Tony Chang’s magic (HINT FUCKING HINT, TYLER!!!!!)

Books that I’d like (STILL) to see:

  • A new book of material from the late Ernest Earick book (Either Minch or Goodwin to write)
  • Collected works of Steve Freeman (FUCKING HELL I WANT THIS)
  • A  NEW Collected works of Jerry Sadowitz (this time, the money and rights going to Jerry and no one else. Because that’s how it should’ve been)
  • Collected works of Carmen D’Amico
  • Collected works of Ricky Jay’s card magic
  • Collected works of Paul Chosse
  • Collected works of Gordon Bruce
  • Collected works of Persi Diaconis
  • Collected works of David Michael Evans
  • Collected works of Howie Schwarzman
  • Collected works of Frank Thompson
  • Collected works of Ray Grismer
  • Collected works of Steve Forte
  • Harvey Rosenthal’s rumoured book on Bottom Deal material which never came to light (And probably never will)
  • A book about Derek Del Gaudio’s magic
  • A book about Ricky Smith’s magic


Did I miss anything?


Ask me anything

So, I thought I’d open up to questions and requests from everyone. Possibly do a Reddit AMA.

Who’s interested?


P is for “Pretty Shit Trick”; Psychologica shits the bed

Seeing as how much you all loved the review of Benjamin Earl’s F For Fiction, here’s another nail in the coffin

In today’s installment, we’ll be looking at…. PSYCHOLOGICA

Let’s first look at the advertising blurb:

So, I have a very special Christmas release… Psychologica. Limited to only 250 copies (each numbered and signed). This is a miracle territory effect which I have been fooling the living bejesus** out of ‘muggles’*** with for many years. If you want to break out the ‘big guns’ and devastate someone with something so impossible that they soil themselves or start doing chimp flips… then this is it.


Bending reality through principles of deception and magic

The performer legitimately mixes a deck of cards face-up and face-down (so that they are in a complete mess), the spectator now takes the deck, and the performer never touches the deck again. The spectator also shuffles the cards face-up into face-down and even looks down to see the chaotic mess of cards spread between their hands! They think of a playing card, and still without the performer touching the deck, every card goes the same way except for the card they were thinking of!!! While the deck is in their hands! WTF?! Yes.

This is real magic… with an ordinary deck!

‘Psychologica’ doesn’t feel like a standard ‘Triumph’ routine; it feels like a deeply powerful moment of mind-control, fused with visual and mental magic. It’s the most powerful and perfect ‘Triumph’ effect imaginable; I wanted the spectator to handle the cards themselves, shuffle the deck, look through the cards (genuinely seeing that they are hopelessly mixed) and without the performer touching the deck, the cards all go the same way except for a card they were just thinking of! This sounds completely impossible, but this is exactly what ‘Psychologica’ achieves.

Forget every other version of ‘Triumph’ you’ve ever seen; ‘Psychologica’ is a completely impossible deception game, a devious effect, which looks and feels like real magic while pushing ‘Triumph’ into brand new deceptive territory.

No table, no difficult techniques, no gaffed cards or gimmicks and no bad angles. It can be done with a borrowed, shuffled deck if you want. This routine isn’t a pipe-dream; it has been developed and refined over many years of performance in the real world. I have used this routine at professional engagements for many years, but more interestingly… it is one of my favourite ‘go-to’ effects in a private, informal environment when I want to do something sensational.

Even though I have kept ‘Psychologica’ a closely guarded secret for many years, a very famous magician (who uses it constantly), virtually begged me to keep it a secret and not release it! But like I said to him, “If you want to keep something secret… then put in print!”

Now that the hype is out of the way, let’s take a look at how the effect is printed in the booklet:


A spectator thinks of a card and the deck is cleanly mixed face up and face down. They see the deck is a complete mess and they take the deck in their hands and mix it further. Without the performer touching the deck, the cards all straighten out with the exception of a playing-card of which they are thinking.

Notice the subtle difference in the two?

HYPE: The spectator also shuffles the cards face-up into face-down and even looks down to see the chaotic mess of cards spread between their hands!

BOOKLET: They see the deck is a complete mess and they take the deck in their hands and mix it further.

The word SHUFFLES turns to MIXES. This might not make sense now, but keep reading…

HYPE: …. They think of a playing card, and still without the performer touching the deck, every card goes the same way except for the card they were thinking of!!! While the deck is in their hands! WTF?! Yes.

BOOKLET: A spectator thinks of a card and the deck is cleanly mixed face up and face down

Hold on a second… The timing of the spectator thinking of the playing card is different now….


Okay, I was going to gradually build this review up a bit more, but … fuck it.

Here is what happens in steps:

  1. Spectator peeks a card (Yes, this is used often in the “think of a card” context and it doesn’t bother me)
  2. Slight tweaks on a very common handling of Triumph
  3. Subtlety to show cards are face up and face down while doing an overhand shuffle
  4. In the hands riffle/faro shuffle convincer; he calls this the Hallucination Shuffle
  5. Deck is NOW given to the spectator
  6. Spectator gives the deck a cut (THAT’S IT! That’s the spectator’s “mix”)
  7. Then cards are spread face down to reveal the “thought of card” in the traditional triumph way

It makes sense now why Ben changed the terminology of the spectator shuffling to the spectator mixing. A cut is not a shuffle, but a cut is, in the vaguest sense of the word, a mix.

This is essentially a triumph where the spectator does the final cut to center the selection. In between the triumph and the cut, there’s a bunch of convincers and subtleties; the overhand shuffle convincer is good (with some touches from Lennart Green). The Hallucination Shuffle…Ben must have been high off his ass when “coming up” with this. What makes this the Hallucination Shuffle? Apparently it’s where the spectator looks and how firmly you tell them about the mixed condition of the deck.

So if I take this concept further, I could do a standard overhand shuffle, make the spectator put his head in front of my bare asshole and call it the Rusty Trombone Shuffle.

Anyways, back to the “Hallucination Shuffle”. It’s ballsy and if you think you can convince someone that a shuffle where bunch of face up cards falling are “face up AND face down cards”…. Good luck to you. I’m not saying you won’t get away with it, but I’d rather use a better method, like the Tenkai Optical Revolve or the Jennings/Goodwin Display. The Hallucination Shuffle, not so much.

This booklet also starts off with several pages on Psychological principles. It is kind of an interesting read, but the underlying question I found myself asking in the end was… why?

Is it necessary to include all that for a fucking triumph routine? Imagine someone writing a booklet on how to do the muscle pass, and spends the first half of the book talking about muscles, the different muscle groups, how they work together and why muscles are important… and then including an effect as an afterthought

Interesting? Maybe
Necessary? Absolutely fucking not!

Ignoring the psychological essay and the price tag, this trick is actually not bad. It can be strong for laymen, as with the original Vernon Triumph. My issue with this is the actual publication; This is not a revolutionary change or approach to warrant it’s own individual manuscript.

The script he provides for this effect is quite standard, except for the ending. You’re essentially giving the spectator several different possible ways you could find their card and then settling on the most impressive way of “doing nothing” and showing the card is now the only one reversed.

This is a pattern with Ben’s recent works. He emphasizes psychology in EVERY single trick, but the psychology and approach is so specific to that one instance. The only difference in PSYCHOLOGICA is that since this is just one “routine”, Ben needs to write more about psychology. I put “routine” in quotes because this is NOT a routine! This is a one-phase effect with convincers, not a “routine”.

In this day and age where single effect DVD’s and manuscripts are becoming far too common place, this is a prime example of duping your customer base because of your reputation. It feels like Ben has blown his magical load too early, with Past Midnight and Gambit being quite well done and thought out material. The manuscript has some interesting points, but is far too reliant on the psychological discussion to pad it out, and the discussion itself is too narrowly focused on this singular effect.

If there’s a need to emphasize the psychology of something EVERY FUCKING TIME, especially when it’s not mentalism, there’s something wrong with what you’re publishing. In this case, it sounds like Ben is trying to justify charging £45 for this. Definitely not worth that much!

PSYCHOLOGICA is one of those tricks that might be included in a collection of effects, but definitely not worthy of a release on its own.

Another underwhelming release.

Bingo, Bango, Bongo
Bish, Bash, Bosh,


RIP Tom Mullica

Another great has left us all:(

Nothing funny about that


And now, to fill the gaping hole in your life left by this blog and for your viewing pleasure, a guest review from our own sweet bearded delight of a man, Jammy Swisse Roll:

In November 2015, Benjamin Earl published a small booklet called F For Fiction for £25. Here is an excerpt from the sales pitch:

“I am releasing F for Fiction, a new publication for the lovers of insanely strong card magic. This publication features three killer routines, ALL of which work in close-up, parlour*** and stage settings. These effects can all be performed with a borrowed, shuffled deck and look like real magic. This is card magic at its strongest and will fool laymen and magicians alike.

F for Fiction

1) Four-Card Impossible
A spectator shuffles a deck of cards and then impossibly locates four-of-a-kind! This devastatingly fooling routine leaves no clue to its methodology; it just looks like a miracle. This gem can be performed with a borrowed, shuffled deck and will fool the heck out of everyone.

2) Finish 52
A freely named card is impossibly located from a shuffled deck. A spectator shuffles a deck of cards and the deck is then placed into the performers pocket. The spectator now names any card they want, despite the fact the deck cannot be seen, and has been genuinely shuffled, the performer is able to reach into his pocket and remove their freely named card! Remember… the spectator genuinely names any card they want and the deck has been shuffled! This effect is impossible to fathom****.

3) Followers
This is my handling of Dai Vernon’s ‘The Travelers’, however, ‘Followers’ is not only cleaner and easier to perform, but it has a climax that nobody sees coming! ‘Followers’ also has a post-modern presentation, which transforms the routine into a stunning, virtuosic, spectacle*****. This is a very special routine, which I suspect will be immediately adopted by many. It has been a secret weapon of mine for many years and part of me is dying inside for finally releasing it.

*Also included*
• The Fade Away Deck Vanish (a visual deck vanish which looks like trick photography).
• Many other technical and psychological tips and techniques.”

On face value, sounds pretty good, but like most ads, this is focusing more on selling the good, the bad and the ugly as the next best thing…

Let’s take a real hard look at F For Fiction:

1) Four-Card Impossible

Effect: A spectator shuffles the deck. You now remove a single card and give it to the spectator to put in a pocket. They now handle the cards for the rest of the effect: to start, the spectator selects a random card for the performer to place in his pocket. Now they cut the deck in two: with one half they reverse a card in the middle and with the other half they cleanly cut it in two. The card they gave you is an Ace, the card in their pocket is an Ace, the card they cut to is an Ace and the card they reversed is an Ace! All four cards have been found and it can be done with a borrowed, shuffled deck at any time.

This effect is Benjamin Earl’s take on Larry Jennings’ Prefiguration effect (well, similar style of effect). He says he wanted to do this effect in such a way that the performer appears to have never touched the deck and there are no complex moves.

Okay let’s stop right here for a second. If you wanted to do some kind of production of a 4 of a kind (or a matching 4 of a kind) where you appear to never touch the deck, what techniques might you use for such a criteria?

… Think about it for a second… I’ll wait….

Did you say Cull? Criss Cross Force? Pastrami Sandwich? Some kind of Gemini Twins style dealing procedure?

If you guessed any of those, either you’re a god damn psychic or you already own these notes, because those are the”psychologically disguised” techniques in play. Now I’ll concede and say that this is a simple and straight forward effect and method, but why would you published this shit??!?! This is the type of shit people come up with after playing around with a deck for a few hours after reading Micah Lasher’s shit-stain of a beginner book (10/10, would recommend).

If you’re insistent on trying this out, just make sure you get your timing, presentation and misdirection down right, or may as well just punch yourself in the dick repeatedly for 5 minutes, because you’d probably get the same outcome; disappointment and a really sore dick.

For those interested in a more interesting take on the plot, check out out Bill Goodwin’s Pre-Pre-figuration from  his “Notes From The Batcave” lecture notes or his more recent Still Waters DVD

2) Finish 52

Effect: A spectator shuffles a deck and it is placed into the performer’s pocket (the deck is genuinely shuffled and the performer cannot see a single card). The spectator names any card they like and, without looking, the performer then produces the named card from his pocket!

Did you get a semi-chub too? Did your nostrils flare as you shit yourself in excitement? This sounds FUCKING AMAZING! But wait, after reading the method, the effect is actually slightly different. Let me fix it for you guys:

Effect: A spectator shuffles a deck and it is placed into the performer’s pocket (the deck is genuinely shuffled and the performer cannot see a single card). The spectator names any card they like (e.g. 7 of Spades) and, without looking, the performer then produces a 3 of Spades and 4 of diamonds which combined make up the 7 of Spades….or a 2, 4 and an Ace. This deluded performer has now concluded he has found the named spectator’s card from his pocket.

The first phase is terrible and should have been shot at birth…. and the second phase is what a performer might do as an “out” when you get the spectator’s card wrong in a trick, and then have to secretly locate, cull and produce it from your pocket.

I’m going to repeat that to let it sink in HOW FUCKING TERRIBLE THIS EFFECT IS:

  1. Terrible first phase
  2. Second phase is something you could literally add to 90% of cards tricks if you fuck them up…that’s why it’s a strong out.

And Ben wants you to think he’s a genius by adding it as an intentional phase/finale..

Bravo, Ben…


3) Followers

Effect: Four Aces are signed and placed into the middle of the deck. Instantaneously, the Aces vanish from the deck. Three Aces are found in different pockets about the performer and finally the deck completely visibly disappears, leaving the final Ace at the performer’s fingertips.

I have to admit..This is a decent version of the Travellers plot, but again,  it just feels like something you would come up with playing around with a deck for a few hours (or less).

Imagine you have 4 aces on top of the deck…how would you produce them from your pocket? Got your list ready?

Okay good…chances are 4 of the ways on your list are in this trick.

Like trick #1, it’s a decent trick and I could probably see it playing strong (if you execute all your palms and sleights properly without looking like a janky arthritic mole man).

As for the ‘trick photography’ deck vanish…. Meh…
Not that great.

So, what’s the dealio?

One trick was straight up shit soup on a hot Sunday. I wouldn’t perform it if my life depended on it.

The other two tricks were kind of decent, but feel like shit you can come up with while learning your double lifts from your double undercuts.

I was going to also review his recent works “Less is More 3”, “Less is More Bonus” and “Switch” but my thoughts on these works are more or less the same:


Does he genuinely believe he added something significant to the effect? Is he really charging £25 for this shit”. F for Fiction is no exception. Ben tries to disguise his simplicity and underwhelming methods by emphasizing the psychology of the effect with shit like “trust me, this is psychologically fooling for both laymen AND magicians…if I could I’d show you in person and you’d be fooled…I’ve developed this over many years and refined it…blah blah blah….I’m a motherfuckin’ genius, get on my dick”

I don’t see any genius in this piece of work, as Ben himself claims to be. This booklet sucks. Not recommended.