I bought this yesterday, and as with many things I buy, it wasn't the simple magic bullet I was hoping it would be (I should know better by now). I have no doubt that it could be an amazing piece in the right hands, but as with many worthy effects, it will take time.

While from a technical point of view it's not that difficult, its still going to take (in my opinion) quite a lot of practice to get this to performance level. And given the nature of the effect, it would also be very difficult to practice this without an audience! That is, unlike a card effect (where you can easily practice the moves alone at home) this one would be difficult to practice without actually performing it for real. This creates something of a conundrum, particularly for those not so well versed in mentalism.

I'm also not entirely convinced that it features the quick and easy reset, nor that it's the most practical of things if you're hoping to do this at every table, or every second table, as the pdf and description imply you might. Not a huge setup involved, but to repeat it you will need to add another six or so business cards to a stack, in a specific order, with some cards written on and pre folded (I guess you could write what you need to in advance). You'll also need a new envelope each time if performing in the manner suggested...

And at the end of each performance you'll have an envelope and a couple of business cards you'll have to take away as trash. It wouldn't take too many performances of this before you need to visit a trash can to get rid of some things.

This is very much sold as being a perfect piece for performing at tables, as you might do in a corporate banquet setting. Again, I'm not convinced! There is the significant issue of how practical it would be for a spectator to place 5-7 objects on a table, as is required at one point in the performance. Even when food hasn't been served, in my experience table space is generally already very sparse - the table being littered with clean plates, bread rolls, glasses, cutlery, etc. Is this going to be practical in that environment? Unlikely. As with most mentalism it also relies a lot upon being clearly heard, and again, I think this would be a challenge in a large banquet setting where there is lots of ambient noise.

I also felt the pdf could have been written a little better, with some details further explained. Some comments regarding reset would have been nice, though no comments are offered.
Again, this could well be a very good effect, though I think the description is a little misleading, and paints it as perhaps being better suited to these environments that it really is. Probably not for me.

I like this piece a lot for various reasons - and honestly, I personally don't see the issues the former reviewer mentioned.

Even keeping pocket space in mind, for me it isn't that much of an issue to have let's say 4 times 6 business cards stacked in my pocket, prepared to perform. All what it takes fits in my wallet!
Trashing used cards at some point between two tables? No issue for me at least.
And with regard to the space on the table I personally build "my stage" on the table anyway. So if people want to see me perform, they will generate the space I need for me ... my stage on their table. A question of confidence, self-esteem and persuasiveness from my point of view.
Obviously this book doesn't solve issues with this.

It is a lesson in practicability and self-limitation (prop-wise). I definitively recommend it to those who can make someone elses ideas to their own, adapting practical ideas to their needs.

This follows on from A 'SAD' Night in Hamburg and takes one of the strongest effects (Nod To Pocket Watch) and builds a whole routine around it. This routine can be done with very few props (simply some business cards, a small envelope and some pens)in a short space of time (hence the title) but also achieves a great deal, including a prediction of the spectators actions, a nice drawing duplication and an impossible prediction of a spectators thought (completely free choice, no forcing) which gives a killer ending. As several spectators are required it is ideal for occasions like a close-up gig where you're booked for 2 hours and have 250-300 guests to get around and want to leave a strong impression in a short space of time. Probably not for the beginner (I'd recommend A 'SAD' Night in Hamburg in that case) but certainly something for any worker who wants to add something to their walkaround set with props they're probably already carrying. It's worth mentioning if you didn't like the entire routine, or particularly favoured one or two areas of it you could either remove that area of the routine or just perform that one effect e.g the drawing duplication, as single routine by itself. Overall highly recommended for anyone performing close-up and is looking for ideas and inspiration on how to build a strong, short, memorable routine.

This release from Looch is something I've read quite sometime ago, and while I do agree to some extent with other people's opinions about the nature of the reset and the writing style in the ebook, I think this has it's merits.

The routine, in it's barebones, features a string of effects put together into a nice sequence. Currently, I perform a similar routine as to the one in 4.8 but in mine it instantly resets, and I've also substituted the phase that uses physical objects, to using objects that are imagined by a spectator - thus table space isn't an issue anymore. My changes to the routine have made it fit my own requirements for table hopping.

My main point I'd like to bring across is that at the end of the day, this release got me thinking - which is something I quite like when buying a product. The routine exactly as described might work for Looch. But on my end, since liking the routine, it required work on my part to make it work for me.

That is the real value of this release.