Grazie mille ancora! I see what you mean, but I prefer the expresion "scuola classica" instead of "vecchia scuola". 😉 You are lucky to have witnessed Arturo de Ascanio's magic live. Aside from magic, I've been told he was a great human being.
me encanta todo ,que coincidencia ,justo me estaba interesando por la okito, por esa okito en concreto y vuelto a verme todos tus videos y justo subes esto👏👏👏
¡Qué casualidad! 😅 La okito está muy bien, tiene varios puntos fuertes muy bien aprovechados en la rutina, pero todo depende de los gustos y de las preferencias personales. Muchas gracias por ver los vídeos y comentarlos. 👍
どうもありがとう! 😊 While the overall handling is based on classic techniques, some parts of the routine take advantage of the very specific features of this box, so I'd assume it would be very difficult to exactly replicate the routine with a standard box. The "more information" link in the video description contains some insights (but no exposure whatsoever) about this topic you might find interesting.
Yes, parts of the rutine are specific for this box. However, you can't go wrong with anything from David Roth. His coin box routines where miraculous whenever he performed them. Hope you get back soon to Japan and get a nice Okito box that fits your needs. ¡Good luck and best wishes!
Sure! You are more than welcome to develop the handling that best suits you. I believe that tweaking, adapting, modifying, and improving methods and effects is benefitial to the art of magic. Thanks for your kind words and I'm glad you liked the effect. よろしくお願いします。
Your perseverance, humility, and willingness to achieve magic goals will surely bring positive results. Do not despair and work slowly one step at a time: it is not a 50 m race, but a long-term goal. Also, good magic doesn't have to be complicated, convoluted or complex: beauty and good magic are best achieved with simple and direct effects.
I'm really glad that you enjoyed the routine (as of late, it has become one of my pet routines), and that you found something interesting in the additional information section. I appreciate your taking the time to write such a nice feedback! 🤩
Glad to know you are getting this down. It takes a while for all the steps to flow seamlessly and, in the process, you'll naturally adapt them to your style and handling. Congratulations and thanks for your feedback!
Glad to know your magic is improving, and that you are committed to learn this (difficult) routine. If you are patient and perseverant, eventually you'll get it down. Good luck! 👌
Como siempre muy cuidado todo el manejo de cartas en manos, mi enhorabuena de nuevo por los vídeos presentados, hay pequeños detalles a mejorar bajo mi punto de vista, pero es de agradecer crear estos vídeos con el tiempo que lleva aprender y hacer los juegos. 👏🏻👏🏻👏🏻
Muchas gracias por tu sincera respuesta e impresión. Coincido en que varios aspectos son susceptibles de mejora y, en la medida de lo posible, la intención es seguir trabajando para poder redondear estas aristas. 😅
Well done. This is one of my go-to routines. However, I hesitate to do it when I don't have a soft surface, as the Versa Switch can be difficult/unreliable on a hard surface. I've never seen an "in the hands" approach like you do here. I will try that out. Thanks! Cardshark may be my favorite magic book. I do more routines from this one than any other book.
Thanks so much for your feedback! The “in-the-hands” handling is how the switch was described by Pepe Carrol in his book “52 lovers” in the 80s (where I first learned it). I believe it’s also Carney’s original handling. Darwin came up with the tabled version, which provides additional cover but, in my opinion, looks slightly more “closed”. If you give it a try, please take care of the angles and possible flashes, since you’ll surely find some trouble adapting to the new handling. I find all of Darwin’s material worth studying. You might have different opinions on certain points, but it shows that he put a lot of thought and practice into everything that he published. In some cases (such as the Hitchcock aces) you can read both the earliest and the latest version, something that provides insightful information of the magician’s evolution. 😉
@@arthurits After I posted my comment, I started to wonder if the original John Carney Versa Switch was on the table or in the hands, as I've only read the description in Cardshark. Carneycopia is on my list of potential purchases now that it is back in print. Darwin Ortiz is my favorite magic author, and I don't even do gambling routines. I had been out of magic for a long time and got back into it 4 or 5 years ago. Shortly after picking up the cards again, I discovered Michael Vincent's RU-vid channel, which led to me learning about the Darwin Ortiz books. Michael's classic approach to sleight of hand changed the way I learned and performed, and Darwin's books (especially Cardshark) made me a better magician than I ever thought I could be. His books have a good mix of strong but attainable intermediate routines, challenging routines that can be accomplished through disciplined practice, and master-level routines that I'll probably never perform but still serve as an inspiration. Thank you for your channel. I appreciate your style of performance and look forward to the next one.
Thank you very much for your humble and sincere reply. It’s always difficult to recommend books or readings (in general, not only in magic) since what one finds interesting, might not work for others. Each and every one of us has his own path which is unfolded at its own tempi. Having said that, Carneycopia is surely a great book, but I’d say that it’s on the higher end of the sleight-of-hand spectrum. You can’t go wrong with Michael Vincent and Darwin Ortiz… or any other magician whose work is based on the classic principles. The key (again, in general, not only in magic) relies on the fundamentals, which by definitions are classics. Take, for instance, any art form (music, painting, cinema, sculpture, et cetera), you can easily tell the difference when the artist has a solid classic foundation, it just shows. The same happens in magic: you can make modern-looking magic, adapt classical effects the current time and era… but without loosing the fundamentals. In my humble opinion, both Michael and Darwin (and many other magicians) are prime examples of this. It makes me very happy to know the above approach has helped you in your return to magic after some hiatus. Whenever I have the chance, I tell newcomers that we as amateurs (or even aficionados) should focus on performing good quality magic, not flashy nor knuckle-busting. Simple effects well presented and executed will suffice. That, along with humility and eagerness to keep improving, is what makes, in my opinion, a great magician and a great person. Thanks again for your kind words. These “conversations” is what makes, for me, the whole @RU-vid experience worthwhile.
Thanks so much Daniel! I really appreciate your chiming in! I really feel that Darwin has some commercial routines, such as “The new back off” (in “Scams & Fantasies with cards”), that are worth of study for the working pro. I’m happy the video motivates you to dust off your Cardshark copy. ❤️
¡Muchas gracias Miguel! Me alegra que te fijes y que te gusten estos detalles. Parecen trivialidades pero suele costar bastante dar con ellos para que todo quede redondo. Saludos. 😍
Your handling is the state of the art. So clean and so soft...... Thank you for sharing your work, it is an inspiration. You prove that working on our classic tricks is better than always looking for new material.
Thanks for your kind words! While I guess that everyone should find their own way, it's true that classic magic (or music, literature, art, et cetera) will always result in a more holistic approach. Besides that, I feel that's a way to pay tribute to the greatest minds that preceded us, and whose genius pushed the limits we now take for granted.
Just amazing! I love your work. I appreciate your creativity in working out moves that don't require a slot. However, in working hard to make things as clean and as fair as possible in my own work, I'm not sure that the "coziness" of your steals (spectator: "why do your fingers come together?" Magician's answer: "None of your business!") outweigh the extra cost of going with a gimmicked box...with it's cleaner coin dumps. I have been accused of "thinking like a magician" and so I'm always interested in the choices that magicians make, and the reasons behind those choices.
Thanks for your feedback! I believe it's a personal choice. On the one hand, the slot's strongest point is the clean coin dumps but, on the other, it's weakest is the retrieveal of the held coin. In my case, I feel more comfortable going for the steals. But as with any magic effect, one of the key points is detecting the weak points and working to make them go unnoticed.
Nice work! I do the Bill Goodwin version of the Cannibals plot. Darwin Ortiz is my favorite magic book author, but Scams and Fantasies is the one of his I haven't been able to obtain yet.
