Opps some one else said the "CH" Word! Can we get a Mod to edit all the posts in this forum to use the code name for the materials so laymen can't find out please?

Hi all,

I built an automated luna tester that covers all three books.

This is a web application, and a great way to verify your luna knowledge or brush up before a performance.

the link to the web application is on the outlaw forum "luna 1936" or PM me


best,

Bill

Oh .. do people in the UK need a head start?

Amazing work Bill!! I just received my 1935 and started using this today. There may be an error for the man next to the woman for that year. When I check my work it gives me errors for all his entries.

This weekend I am going to have my girlfriend assist me in marking my copy up.

Hi Chris,

Glad you like the tester. Please let me know if there is an error! I am not aware of any problems.

Be aware that in 1935 if a MAN is selected there is guaranteed to be a WOMAN nearby, but if a WOMAN is selected you don't know who is nearby...

Best, Bill

1935 has a male wild card next to the young girl and a male force next to the woman

You always know who is next to the women.

Just checked, you are right Rick. The 1935 man appears in some non-force entries and is always next to the woman.

Thanks I'll make some updates.

This looks so very interesting, great posts.

Someone else said there were errors. Have these since been corrected?

Doug

The error is in the .pdf, not the book. If you have the hard copy inst. booklet there is no error there.

Excellent! Thanks, Rick!

Hi All,

After some discussion with the good Prof BC who wrote So Dark I have a better understanding of what is going on. There was some confusion on my part about the "two way" linked characters. In 1934 and 1935 the Man and Woman are ALWAYS next to each other. This is correctly explained in the 1934 and 1935 instruction manuals.

In 1936 the Man is always next to the Girl, but the Girl is NOT always next to the Man. This is correctly explained in the 1936 instruction manual. The So Dark performance manual shows how to make 1936 "two way" linked like the other books with some markup edits to the patient entries. This is not correcting an error in the book but rather an optional enhancement.

The table below shows the correct links, I will also update my automated Luna Trainer software. Sorry for the confusion.


CORRECT LINKS

1936

W -> ?
G -> ?
M -> G

1935

G -> WC B
W -> M
M -> W

1934

B -> WC G
M -> W
W -> M

Where is this software?

Hi Michael, sent you a PM

I am finding that the performance of L*n@ can be quite short, if say, in 1936 the older woman is chosen. In studying 1935, I see the difference. The additional Wild Card is there. I haven't opened 1934 yet, but in reading So Dark, I see the possibility of another Wild Card which really extends the act considerably.

1935 is not as easy to commit to memory as 1936 was. It justs take repetition, that's all. Knowing where to go if you get the male, or the middle-aged woman...and the possible "h*ts". Before I crack open 1934, I'll have 1935 down pat. This gets better and better. I have not reached the point where 1935 is linked with 1936 yet. One step at a time.

I like where this is going...

Doug

If using Pearly Gates, the oder women will not come up in Luna 1936, thus giving 2 Luna reveals as well as the one from the internment.

The ultimate presentation is to pass out all the books and bounce back and forth between three readers.

That is why I wrote the Luna Trainer software! Gives me quite a bit of confidence going in...

I have a ways to go before that, LOL! But, yes...that's the goal! Then PG...I love it!

Doug

Whenever I see L*na pop up in discussions, it interests me because of how often I've performed it.

Ideally, you want the lights relatively low. I have my volunteer positioned across the table from me. There's a lamp she can read by. Nox Arcana is playing softly in the background and just before starting into the effect, I light a candle. This means nothing except that it tends to get people focused on the flame and as their attention is focused...so are they.

Never EVER underestimate the "power of the pause" in this presentation. I've seen several presentations of this effect where the performer seemed like he could hardly get the words out quickly enough...or where they actually felt a little bored. Silence, used properly, will always enhance the presentation.

Have you ever had to listen carefully for some very soft or hard to hear voice? What does your body posture do at that moment? That's what you want to do when you're listening for the whispers that come out of this presentation.

The other mistake many make with this routine is to minimize the volunteer...which is a huge mistake. They are experiencing the story and the revelations along with you. The represent the audience. You WANT them to be a part of the show...to have to concentrate on the book in their hands and the "person" speaking to them through it. In short, the L*na presentation isn't about you...it's about the journey you are taking the audience on.

Consider a deliberate near miss in what you say. Maybe you are off by a number...or a letter. Correct yourself as you listen for that "voice." You are going to be astounded at how effective this will be in getting the audience on-side...pulling for you. It also goes a long way toward enhancing your credibility.

I try very hard not to think about this as an effect. It really is a journey...a complete story presented and told live to my audience. To optimize this powerful routine, I really DO feel like I'm hearing the story for the first time. It's all about acting after all, right?

Don't be afraid to embellish a little. For example, when discussing the woman next to the violent man, I'll often infer that there once was a strained relationship between them. There's nothing in the book to support this...but that revelation is wedged between hit after hit, confirmed by the volunteer...so the audience gets reeled into the story and they believe it. Describe what she was wearing, a drab grey hospital gown...wild hair. Again -- it's pure embellishment -- but it enhances the whole effect. Did she kill herself at the end? It's your story.

Finally -- if you're not in the right environment -- don't do it. Consider doing another routine. Impact is hugely lessened when you are in a busy place full of other people talking, kids crying etc. I don't think it's impossible to do in these circumstances. It's just not optimal.

Hope these thoughts help a little.

David

Ya, I agree with the embellishment aspect and even adding additional stuff of your own as you go along. Not every performance has to be the same. You can tell background stories, particularly about the scared girl or sadistic man and make them up as you go along. I like to talk about the plight of the nurses as well( after all it is a nurses registry)and tell that in this time of depression, many of them were not much better off than some of the patients.....err residents. I like to tell how often they would turn deaf ears to the pleas of the young woman as she is tormented by the older man. I have made notations here and there in the book ( I use 1936) that would indicate a degree of instability with the nurses as well. Talk about the grounds, the corridors, anything to add ambience to the presentation. One could easily make this an hour long if desired but for my purposes, 10 minutes usually does suffice though one of these days I may attempt to take it further. Interesting to read about the exdperiences of others in this respect.