Cardopia by József Kovács

[Tom Frame]

Cardopia (Ebook) by József Kovács £9.59 / $15.10
16 pages, 2 photographs, 7 illustrations
Available at: http://the-magic-of-jozsef-kovacs.webno ... product-1/


In his introduction to Ken Krenzel’s Ingenuities (Minch, 1997), Jon Racherbaumer noted:

“Stephen Minch concocted this term [Cardopia] for the utopian world where cardmen aspire, inspire and perspire. It is a world of dysphoric, driven souls who seek, celebrate and sometimes create the Real Work. It is a wild arena of abstractions.”

József Kovács hails from Hungary, but he spends much of his time toiling in Cardopia. In this ebook, he shares the fruits of his labors in that pasteboard paradise.

Most of the material requires only an intermediate level of skill. A number of the effects are accomplished by the use of stacks and/or special cards.

Considering that English is not his primary language, Mr. Kovács writes well and does a good job of teaching the material. He dutifully cites his inspirational sources. Unfortunately, he doesn’t provide presentations for any of the effects. I would have liked to see how he clothes his magical mannequins.

The photographs and illustrations are clear and helpful.


Fares: The performer removes about half of the deck and tables the remainder of the deck face-down. He fans the cards toward a participant and she freely thinks of any card she sees. He squares the fan and deposits the cards on top of the tabled portion.

The performer deals cards into a row of seven piles, with three cards in each pile. The participant guesses which pile contains her card. The performer shows her the faces of the cards in the selected pile and then he tables the pile face down in its former position. He continues this guessing game until the participant she finds the pile containing her card. She assembles the piles in any order and drops the cards onto the tabled portion.

The performer deals cards into a row of three piles, with seven cards in each pile. The participant again guesses which pile contains her card. The performer shows her the faces of the cards in the selected pile and then he tables the pile face down in its former position. He continues this guessing game until the participant she finds the pile containing her card. She assembles the piles in any order, shuffles the cards and drops them onto the tabled portion. She cuts the deck several times.

The performer cuts the deck and tables it face-down. He immediately names the participant’s selection and announces its position in the deck. He deals/counts to that position in the deck and reveals the selection.


I like the method on an intellectual level, but the resultant effect is procedurally bloated.

I don’t like it.


Or…: The performer removes the Kings from the deck and tables them in a face-up packet. A participant cuts the deck into a row of four piles.

The performer picks up the King packet, turns it face-down and deals a King on top of each pile. He shuffles two of the piles and the participant shuffles the other two piles. The piles are returned to their former positions. The performer assembles the piles and the participant cuts the deck.

The performer cuts the deck and tables the top card face-down in front of him. The participant cuts the deck and tables the top card face-down in front of her. The performer cuts the deck again and places the top card face-down on top of the card in front of him. The participant cuts the deck again and places the top card face-down on top of the card in front of her. The performer places her two cards on top of his pair of cards.

He picks up the four cards and counts them into his left hand. He turns the cards face-up and displays the four Kings.


I like it.


Passes: A participant takes a face-down deck of ESP cards and cuts it several times. The performer turns his back.

The participant deals five cards off the top of the deck into a face-down row. She gets rid of the rest of the deck.

She freely turns any card in the row face-up, as her selection. She turns any other card in the row face-up. She switches the positions of the two face-up cards. She switches the position of her card with one of the face-down cards. She switches the positions of the other two face-down cards. Then, she switches the positions of the face-up cards. Finally, she turns the face-up cards face-down.

The performer turns around, names her selected ESP card and turns it face-up.


This effect was inspired by Karl Fulves’ “Square One” from his Four Color Problems booklet. While I would never perform an effect using ESP cards, I understand how it could appeal to less rigid performers.

I like it.


Please: A participant shuffles the deck. The performer cuts it, tables it face-down and turns his back.

The participant cuts off a third of the deck and tables it off to the side. She cuts a small packet off the top of the remaining cards. She silently counts the cards and remembers her secret number. She shuffles the cards and remembers the new face card of the packet. She places the packet on top of the cards in front of her and cuts the cards several times.

The participant deals cards into the number of piles determined by her secret number. She assembles the piles in any order and places the cards on top of the portion that she set aside earlier. She cuts the complete deck several times.

The performer turns around, retrieves the deck, shuffles it and cuts it. The participant’s selection is now the face card of the deck. The performer reveals it in a manner that best buoys his boat.


This control was inspired by Stewart James’ “Vida Pack.” Once again, I like the method intellectually, but the effect is procedurally turgid.

I don’t like it.


Odd Backed Triumph: A participant selects a card and inserts it face-down into the center of the face-down, blue deck.

The performer turns half of the deck face-up and shuffles it into the face-down portion. He cuts the deck. He spreads the deck on the table and all of the cards are face-down except for the face-up selection. He removes it from the spread and turns it over, revealing its red back.


This effect was inspired by Nick Trost’s “Dingle’s Royal Triumph”, from The Card Magic of Nick Trost.

I like it.


Mathemagic: The performer displays four blank-faced cards which bear one of the following mathematical symbols on each face: “+”, “-“, “x” and “÷”. The participant takes the cards and a die. She rolls the die and selects one of the symbol cards based upon the number she rolled. She tables the packet face-up, with her chosen symbol at its face.

The performer shuffles the deck. He deals cards into a row of six piles, with three cards in each pile.

He shuffles the deck and the participant freely selects a card, which is then lost in the deck. He shuffles the deck again and tables it.

The participant selects one of the piles by rolling the die and counting to the pile that corresponds with the number she rolled. The performer turns over the piles on either side of her chosen pile to show that those piles contain different cards. He turns them face-down again. The participant assembles the five piles that she didn’t select and adds them to the deck.

If she chose the “+” symbol, she adds the values of the cards in her pile. If she chose the “x” symbol, she multiplies the values of the cards in her pile. Let’s say the resultant number is 20. The participant deals 20 cards onto the table. She turns the next card face-up and discovers her selection.


Mr. Kovács suggests another version that dispenses with the symbol cards and the die. The participant rolls an imaginary die to select one of the piles. She is given the choice of adding or multiplying the values of the cards in her selected pile. She deals the resultant number of cards and discovers her selection. I prefer this leaner version.

I like it.


Demi Sec: Participants freely select two cards. The performer displays the face-up selections on top of the face-down deck and then cuts them into the deck.

A participant cuts a packet of cards off the top of the deck, turns it face-up and replaces it on top of the deck. The performer spreads through the face-up section of cards until he reaches the first face-down card. He removes the card and tables it. He flips the face-up section of cards face-down onto the deck and tables it.

A participant turns the tabled card face-up and it is a King. She waves the King over the deck. The performer spreads the face-down deck on the table. The other three Kings are seen face-up in the spread, with two face-down cards between them. The performer removes them and they are the selections.


This effect was inspired by Peter Duffie’s “The 21st Card Trick”, from Cards Insight.

I like it.


Twin Giants: Two participants write a number between one and ten on pieces of paper. The performer retrieves the papers and writes secret predictions on their backs. He tables the papers with the participants’ numbers uppermost.

Participant #1 deals cards off the top of the deck in a pile, and stops dealing whenever she likes. The performer places her paper, number side up, on top of the pile. She places the remaining cards on top of her paper.

Participant #2 and the performer execute the same procedure.

The performer spreads the face-down deck on the table. The participant’s numbered papers are seen in the spread. Let’s say that they bear the numbers “5” and “4”. The performer counts five cards to the right of the “5” paper and turns that card face-up. It is the first participant’s card.

He counts four cards to the right of the “4” paper and turns that card face-up. It is the second participant’s card. He turns over the papers and reveals that he correctly predicted the participants’ selections.


This effect was inspired by Karl Fulves’ “Gemini Twins” and Jack Avis’ “Predicted Stopping Place.”

I like it.


Paddle Hofzinser: The performer removes several cards from the deck and tables them in a face-down packet. A participant shuffles the deck and tables it face-up.

The performer picks up the tabled packet and spreads it, displaying four cards. He squares the cards and places the packet onto the face of the deck.

He picks up the deck and turns it over, stating that he wants to see what card the participant shuffled to the top. He turns the top card face-up onto the deck, displaying the Jack of Spades. He turns the Jack face-down onto the deck and then deals it to the table.

The performer turns over the deck again, pushes off the top four cards and tables them in a face-down packet. He tables the deck. He picks up the four card packet and holds it in his left hand.

He demonstrates two ways of turning over a card. First, he turns the top card face-up onto the packet, displaying the Ace of Diamonds. Next, he turns his hand (and the packet) palm-down. He says that he won’t use either of those methods.

The performer slides out the bottom, face-down Ace of Diamonds, turns it face-up and places it on the bottom of the packet. He counts the cards, displaying the four Aces.

He says that if he snaps his fingers, the Ace with the same suit as the card on the table, the Jack of Spades, will turn face down. He snaps his fingers and spreads the cards. One face-down card is seen among the face-up Aces. He removes that card and turns it face-up. It is the Jack of Spades. He turns the tabled card face-up and it is the Ace of Spades.


Unfortunately, this effect has nothing to do with Johann’s paraphilic penchant for posterior pummeling. The titular paddle refers to a Francis Carlyle sleight, not a Marquis de Sade delight.

Mr. Kovács’ handling is contrived and unnatural. If the performer wants to see what card the participant shuffled to the top of the deck, why doesn’t he simply display the damn thing right after the participant shuffles the deck? Why does he add the mystery cards to the deck first, and then remove them after they have served no purpose whatsoever?

Why does he demonstrate two methods of turning over a card, and then use neither of them?

He does so because his ill conceived method demands it.

I don’t like it.


Far And Wide: A participant freely selects a card and signs it. The performer buries her face-down card in the center of the face-down deck. He riffles the deck and turns the top card face-up onto the deck, revealing her selection. He turns it face-down onto the deck and then tables it.

The performer cuts the deck twice and turns it face-up, revealing the selection on the face. He turns the selection face-down onto the face-up deck, and then tables it on top of the tabled card. He turns the deck face-down and cuts it.

He riffles the deck and spreads it, revealing the selection face-up in the middle. He cuts the deck, bringing it to the top. He turns it face-down onto the deck and then tables it on top of the other tabled cards.

Finally, the performer produces the selection from his pocket. He uses it to scoop up the tabled cards. He displays the cards and they are all now duplicates of the selection. He turns the cards face-down and displays them. He turns them face-up and reveals that they are now the four Queens.


This is Mr. Kovács’ version of Hofzinser's “Everywhere and Nowhere.”

I like it.


Resignation: The performer holds a face-down packet of cards in his left hand. He turns the top card face-up onto the packet, displaying the Queen of Clubs. He turns it face-down onto the deck and then tables it to his right.

The performer moves the top card of the packet to the bottom. He turns the top card face-up onto the packet, displaying the Jack of Hearts. He turns it face-down onto the deck and then tables it to his left.

The performer moves the top card of the packet to the bottom. He turns the top card face-up onto the packet, displaying the Queen of Hearts. He turns it face-down onto the deck and then tables it on top of the card to his right.

The performer moves the top card of the packet to the bottom. He turns the top card face-up onto the packet, displaying the Jack of Clubs. He turns it face-down onto the deck and then tables it on top of the card to his left.

He turns the cards in his hands face-up and counts them, displaying two Queens and two Jacks. The face card of the packet is a Queen. He removes it, turns it face-down and places it on top of the cards to his right.

The performer removes the Jack from the face of the packet, turns it face-down and places it on top of the cards to his left.

He in-jogs the Jack, revealing the Queen beneath it. He pushes the two cards forward slightly, removes the Queen and places it on top of the Jack. He turns the cards face-down and transfers the top card to the bottom.

The performer turns the top card face-up onto the face-down Jack, displaying the Queen. He turns it face-down onto the Jack and then places it on top of the cards to his right. He places the final, face-down Jack on top of the cards to his left.

The performer picks up the packet on the left and deals the cards face-up onto the table, revealing a Royal Flush in Clubs.

He deals the other packet face-up onto the table, revealing a Royal Flush in Hearts.


This effect was inspired by Stephen Tucker’s “Abdication.”

I like it.


József Kovács’ Cardopia contains solid magic, featuring novel plots and quirky versions of established effects. It will appeal to card men who seek a road less travelled.


Recommended

[József Kovács]

I really appreciate your deep review, Tom! Thank you very much!

József Kovács