I have it orderd from Viking Magic allready.

I think it is an excellent resource, beautifully produced. I have enjoyed reading it tremendously.

I can't say that I have been able to enjoy reading this. Please don't misunderstand me, I think it's spectacular. But I find myself pouring through effect after effect so I can understand the workings, think about applications, etc. I really wish I was low key enough to enjoy it and just read through it.

I tried but it just keeps sucking me back in.

I skipped around a little bit based on some of the discussion here (R. Paul Wilson’s OUT OF THIS WILSON, for example) but it's almost too much.

With that being said, I was able able to calm down and get through 80 or so pages over my 3 day weekend (sick, ugh). There were at least a dozen "What the... how..." moments but the one that really caught me off gaurd was Richard Busch's little take. Very sneaky yet open.

I have no favorites (Galaxy, which is not included, I think and Out of the Universe, which is included, would have been my faves going in but there is just so much that I hesitate to even mention that), I am just sort of going for the ride. And it's a fun one!

Oh, I really enjoyed Aldo's version too, although maybe not with the full deck.

Lem

EDIT: I'm feeling obligated to give credit where it is due. I've performed Curry's original version, Harris' Galaxy, and Lorayne's Out of this Universe. I personally prefer Galaxy but have recently been trying out Out of this Universe and it is just going absolutely amazingly. People LOVE this effect. I was worried about the dealing aspect but I guess I have a good approach because this is getting wonderful reactions. I actually had a paid gig on Sat. but I didn't perform this (due to a "flexible" schedule, I had no idea how much time I had. Long story). Harry Lorayne, big props!

My point in mentioning the gig, btw, was that I regret not performing Out of This Universe. Sorry.

Just for the fun of it, why do you think the name, 'Out of this world' was selected? If this was really an effect/routine that was out of this world, why use cards? Wouldn't you use moon rocks or something else rather than cards? LOL




Ray

I don't know, Ray. I always thought it was one of those "reaction Onomatopoeia" kinds of things.

Other examples: "NFW", "WOW", and (slightly different, I know) "Further Than That".

I see them as distinct from the "effect description" kinds of effect: "[Insert Name] Poker Deal", "Memory Demonstration", "Twisting the Aces" or (again slightly different) "Oil & Water". The obvious difference is that "effect description" names sort of tell you what the effect is, the reaction names don't.

The real question I'd like the answer to is:

What would YOU have called it?

I would have called it WTF, but that name is already taken.

Ok. Had some time this last week and this weekend. Finished reading through the book once. Read through quickly again (to refresh my memories on which effects I wanted to note). Am currently going through it a third time, taking notes (methods, presentations, modifications of effects I already do).

Having said that, several versions have caught my eye. Richard Busch's thoughts really intriqued me. Aldo Colombini's modification of Wagner's approach is pretty slick and I've combined it with one of my own approaches and it seems to be working out. I need to run through it a dozen more times after letting it sit for a few days, though, so I can be objective about it.

Tom Ogden's "Out of Sight" is indeed just that, Out of Sight! I don't think I'm giving too much away by saying it's a modification to the spectacular Lorayne effect, "Out of This Universe". It, by both the nature of the effect and the nature of the method, cleans up all the aspects of the original effect that weren't my favorites.

Let me be clear, since I don't want Harry Lorayne to yell at me ( ;-) ), "Out of This Universe" is an absolutely spectacular effect. There are times when I will use it. However, in a majority of situations, I think I'll prefer Ogden's version.

The essays/thoughts in the latter portion of the book were also very interesting. It was fascinating seeing how some of the most creative minds think OOTW is among the greatest effects ever while others think it's pretty much dead due to overexposure/method/etc.

Highly recommended if you do any version of OOTW.

One small note. Mick Ayres' book is "Noetic License" not "Poetic License", as listed in the back of the book. And the version in that (a great, impromptu thinking similar to many modifications of Kennedy's OOTW), is the basis for my personal version.

Genii just reviewed this book in their April issue.

I personally like the version from Helder Guimaraes the most.

Has anyone got this book from a UK dealer yet?