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Al Desmond
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Profile of Al Desmond
"As soon as the magic trick has been done the whole business of the fantasy writer is to keep everything else human and real. Touches of prosaic detail are imperative and a rigorous adherence to the hypothesis. Any extra fantasy outside the cardinal assumption immediately gives a touch of irresponsible silliness to the invention."(H.G. Wells 1933)
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Senseless gibberish that amounts to
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"I've always been mental, I'm sure of it" Boris Pocus Smile

"Someday we'll look back on this and it will all seem funny". . .Bruce Springsteen
Al Desmond
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On Jun 17, 2018, afinemesh wrote:

That quote has nothing to do with KISS.

It means, surround your "magic" with things of reality, that's why we add supporting props to bizarre work. If it was KISS, we wouldn't even worry about other props, backstories or the such.

We don't keep it simple, but we need to frame bizarre inside of what appears to be reality.

That's what H.G. Wells did. War of the Worlds contained many references to real places, governmental departments, newspapers and so on, to make the surroundingings seem more real. That's not simple.
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Profile of WintersNight
That quote (and your subsequent explaination) has really gotten me thinking. I’m new to the world of the bizarre so please forgive any questions that reveal my ignorance.

In an hour long show, how many ‘tricks” would you preform? How much of your time is spent doing “magic” and how much time is spent building the story?
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Lovecraft touched on a similar notion in his Notes on Writing Weird Fiction:

Inconceivable events and conditions have a special handicap to overcome, and this can be accomplished only through the maintenance of a careful realism in every phase of the story except that touching on the one given marvel. This marvel must be treated very impressively and deliberately—with a careful emotional “build-up”—else it will seem flat and unconvincing. Being the principal thing in the story, its mere existence should overshadow the characters and events. But the characters and events must be consistent and natural except where they touch the single marvel. In relation to the central wonder, the characters should shew the same overwhelming emotion which similar characters would shew toward such a wonder in real life. Never have a wonder taken for granted. Even when the characters are supposed to be accustomed to the wonder I try to weave an air of awe and impressiveness corresponding to what the reader should feel. A casual style ruins any serious fantasy.
Philemon Vanderbeck
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A parallel can be drawn between a bizarre show and modern horror movies.

The plethora of modern horror movies rely on a constant barrage of "jump scares." After a while, they become wearisome. However, there are those rare gems that build up horror through calculated suspense and sustained atmosphere, leaving you with an unsettled creepy feeling by the time the end credits roll (e.g., the recent "Annihilation").

I think a bizarre show should be similar in structure. Too many "tricks" are like too many jump scares; it cheapens the atmosphere you are trying to cultivate. Instead, concentrate on the "slow burn," by slowly building up the atmosphere and leaving your participants with an unsettled feeling by the final denouement. I don't want my participants to applaud after each climax, and if I can get total silence at the end of the show, then I know I did my job properly. I want folks to go home and wake up in the middle of the night pondering what they just experienced, as the pieces fall into place.
Professor Philemon Vanderbeck
That Creepy Magician
"I use my sixth sense to create the illusion of possessing the other five."
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Profile of weepinwil
I'm hurt that Al didn't use one of my notable quote: "We promise not to have sex with the Dead!" or, "Nothin' says lovin' like something from the crematory oven!"

Weepin' Willie
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"Til Death us do part!" - Weepin Willie
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