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True Mysteries 2 by Fraser Parker - Book
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True Mysteries 2 is the sequel to the groundbreaking and highly acclaimed first True Mysteries book and DVD by Fraser Parker. In this book you will learn the real work Fraser and co author Gavin O Rourke- Soccorso use to create the illusion of hypnotic trance and feats of seeming hypnosis, without the use of such states or the need for actual hypnosis.

Imagine being able to instantly freeze someone in place, leaving them with their feet stuck to the floor unable to move. Or causing complete amnesia in your subject to the point where there is absolutely no recollection of the memory whatsoever, as well as being able to cause hypnotic induction at a distance just by simply staring at someone from across the room. And much more...
NO hypnosis or long inductions necessary.

All of this is made possible with the simple use of words and your belief in such things.

You will learn the advanced techniques that make all of this possible as well as gain further insight into how this work can be used to transition into actual trance states as well as how it can be blended with real hypnosis to create effects unlike anything from the past.

  • It's a way of creating hypnotic effects without using actual trance 
  • It's a prop-less effect 
  • The effects from True Mysteries have been taken to an advanced level of application in the sequel 
  • From a technical perspective it's easy to perform
  • From a conceptual perspective it's at an advanced stage
Foreword by Peter Turner and additional ideas from Jerome Finley
A4 Paperback
50 Pages

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Customer Reviews (showing 1 - 1 of 1)
2 of 2 magicians found the following review helpful:
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Pro Privacy ON (login to see reviewer names) on June 23rd, 2014
I've never done a review before, but I felt Fraser Parker's latest release warranted one.

Being a virgin at this, I'm not entirely sure how to set it out, I guess most people use categories. I'll break it down thus:

Introduction
Presentation/layout/quality of explanation
Effects (impact, practicality and difficulty [for which a lower score reflects ease])
Other

Here goes:


Introduction

True Mysteries II is the sequel to a book/DVD combo Fraser released in 2012 with The 1914 (originally released as a pdf with WonderWizards in 2011). The first dealt with the creating hypnotic effects, such as: removing your participants ability to speak, sapping their strength and (controversially) changing their belief in god; without, at any stage, using hypnosis. TM1 is a wonderful collection of ideas, and I thoroughly recommend it. TM2 takes the same way of thinking, and moves it from the creation of micro effects (to be done as part of a routine), to the creation of macro effects - performance pieces in their own right. Whilst there are some exceptions to this rule, it struck me as the key progression made between the two.


Presentation/layout.

TM1 is a dark, hardback A5 tome, which screams underground. I like it for that reason. TM2 is larger, and more colourful - less creepy, but I still think it looks lovely.
Beyond aesthetics, the book is excellently laid out. Following the introduction, in which Fraser outlines his approach, there is a chapter dedicated to the principles. This is something I love in the work of many of Kenton's students, which Fraser does excellently. Methodology is broken down into its simplest components - presenting the reader with tools through which they can create. I think this is a real plus-point of this work. You're paying for more than the 15-odd effects taught. You're paying for the True Mysteries approach - a set of tools. The effects are wonderful, but their real goal is as a vehicle through which Fraser demonstrates the application of this set of principles.
Each effect is outlined and explained in detail by Fraser, and is followed by Gavin's comments (on how it can be tied in with standard hypnosis demos). Fraser's style of writing, as in TM1, is wonderfully concise (alas not a skill I picked up). This really helps with the explanation of the effects, as the methods are quite subtle (blended, as they are, with the effect itself).


Effects


Spatial Hallucination

"An object is shown to the spectator. This can be anything. I use a deck of cards still in their box. The performer then gets the spectator to imagine the deck of cards is a different object. The performer touches the helper on their forehead and they now... see their imaginary object in place of the deck of cards." Besides being an excellent example of the concise style Fraser has, this extract very clearly explains the effect. I love this. It uses a principle touched upon briefly in TM1, but in my opinion this is a far superior use. It is also an excellent example of how Fraser merges realities - making everyone's experience congruent. They can talk freely about what happened after the fact. The method is simple and secure. For impact and practicality, this must therefore get 10/10. As for difficulty, as with all the TM material this will require a certain quantity of chutzpah, as you really are relying on your words for the methods. However once an understanding of the method is gained, it need only be performed with confidence and belief to be effective. So difficulty wise, no higher than 4/10. A lovely variation of this effect by none other than Jerome Finley is also included.


Hypno Horror Show

Born from a request made to Fraser by Gavin. A room full of people are stuck to the floor - via a Tannoy (public address) system. This is a publicity stunt, primarily, and if I'm honest, I doubt I'll ever be in a situation to perform this. However this is an excellent example of what I said in my introduction - it demonstrates how to apply these tools. This is furthered by Fraser's decision to provide his correspondence with Gavin as they work together creating this effect. We see how Fraser's creative process works. There's also a wonderful usage of playing various spectator's realities against each other, which I'm certain has wider-reaching applications. Impact, would have to be 10/10 - clearly an impressive demonstration. Practicality, I doubt I'll ever use this personally, but the method is entirely sound: 7/10. Difficulty, lots of audacity - but as with everything, simple in execution: 6/10.


Freeze

The participant walks towards the performer, and is made to stop suddenly, their feet welded to the floor. This then spreads up their body until they are frozen solid, head to toe. This is similar to the last effect (the method is entirely different) - but on a smaller scale. I'm likely to use this. Here physical methods (although still propless) are blended with the TM approach, to create a very secure method. Clearly this would be highly impact full, and the combination of physical convincers and verbal deception again merge realities - so everyone leaves with an identical experience. This heightens the impact for all concerned, 10/10. Practically, this seems very sure-fire due to the merging of methods - however is slightly more involved than some of the other effects, thus: 9/10. Difficulty, as I say, slightly more involved - but anyone with a solid understanding of spectator management and routining will be fine: 5/10. Gavin also has a wonderful routine in addition to this.

Post Hypnotic Illusion

A means of applying trigger words etc to the TM approach, to make the effects seem even more direct. Not entirely necessary, as Fraser's methods are already wonderfully direct, however it's a lovely touch - and goes even further to concealing the methodology. Impact - take the effect you're preforming it with and add a few, it adds some serious drama. Difficulty: 4/10 - very easily applied once the other principles are understood. Practicality: 10/10 - solid.


Hypnotic Induction at a Distance

You're performing for a group, you turn and look at someone across the room. They fall into trance after a few seconds. The impact is clearly massive: 10/10. In some senses, this feels more in line with the material in TM1 - as it would presumably be used as a lead into another effect, however it does encapsulate what Fraser perceives to be the main difference between the two, the combination of the TM system with trance states etc. I think the effect is great, and the method is direct - however I personally would be worried about performing this outside of a certain set of circumstances. An overly busy environment, or distracted spectators could ruin this. That said, if your selection of participant is wise - there's no reason this shouldn't be 100% effective. Just be aware that attention must be paid. Practicality: 6/10 - this is hypothetical, I'd need to test it, but if your environment and spectator selection is right - it could be considerably higher. Difficulty: very direct and simple, 3/10.


A Sense of Being Stared At

I love this. Especially the impromptu version (two methods are described). Essentially you demonstrate to the group you're with that you can get people to turn around by staring at them. I think this is a premise we've all played with before outside of performance, so much like "rock, paper, scissors" or "which hand", I think this resonates with people. It's a fun demonstration of how we can apply these things day-to-day. Impact: it's a micro effect, but I think one with power: 9/10. Practicality: the impromptu variation may miss occasionally, but not enough to be significant - the formal version is very solid: 9/10. Difficulty: one of the easiest, 3/10. Again, slightly more in line with TM1.


Telepathic Influence

HOLY ****. This is amazing. A spectator is told to close their eyes (or, as mentioned in the Additional Thoughts, put into a trance). You claim you are going to send them a thought, and write down "place your hand on your head" (for example) - this is shown to the audience. On your command, they perform the action you wrote down. When questioned about it, they swear blind that they actually felt that thought enter their head, and responded accordingly. Probably my favourite effect in the book. This is a wonderful combination of principles, to create a sure-fire, prop-less and highly impactful demonstration of telepathy. 10/10 on all counts. In the additional thoughts is also included an apparently instant induction with so much scope I can't possibly describe - it takes Fraser's Memoria to another level, and adds justifications and presentations to all sorts of work. Excellent stuff.


Stuck in Time

Gavin's take on Fraser's "Stuck for the Moment" in TM1 - which bears presentational resemblance to Jermay's "Stuck for a Moment" in Building Blocks (confusing, I know) - a spectator is told to stare at a watch, and appear to become frozen in time. The method, however, is entirely different. I like this. The presentation is not a widely-used one, and the method is very direct. The effect is intriguing, so impact: 8/10. Practicality, I see no reasons why this could fail if delivered correctly to a well-selected participant: 10/10. Difficulty, requires a certain level of command and authority; one must be absolutely sure when providing directions: 6/10. In my mind this is perhaps the best demonstration in the book of the fusion between the TM approach and classical suggestion.
>Freeze-ine Idea

A variation, again by Gavin, on the previous effect. Essentially the routine is tied in with a prediction, as to what time the spectator will set the watch to. A nice demonstration of how these ideas can be planted amongst larger routines.


Loss of Memory

This is a really interesting take on the amnesia plot - and is unlike anything I've ever seen in this area. It combines mind-reading with amnesia, to create a blended effect, not dissimilar to Fraser's method of revealing thought of cards in TM1. I really like this, however I feel that one's credibility would have to be very firmly established in order for it to prove effective. For this reason, I'd place practicality at 6/10. I think the method is sound - but this is very much dependant on the quality of the performer. Impact, if done well, astonishing: 10/10. Difficulty, 7/10 - probably the hardest item in the book to pull off, however the method is simple in theory.


Free Choice Prediction

A spectator is given a free choice of objects, then told to jump to another. A prediction is opened to reveal the object they landed on. Similar in part to Fraser's Memoria - I think this is an excellent principle. Practicality: 10/10, I can't see how this could go wrong. Difficulty: 2/10, very simple to perform. Impact: dependant on what you're predicting, but I can certainly see it would add to the impact of an effect. Could also be used in combination with Michael Murray's Springboard to have a spectator name a card placed on the table at the start. A principle with far-reaching uses.


Changing the Weather

Very different from the other stuff in the book, Fraser includes his take on element manipulation. The performer makes an incantation, and gestures with his hand or staff - and the wind is seen to obey, blowing in the direction of his movement. Clearly the impact of this effect is huge (anyone who's ever attempted cloud-bursting etc will understand), as it implies an incomprehensible level of power. The method is very simple, however will take some performing chops to pull off convincingly. Practicality: 10/10 Impact: 10/10. Difficulty: 5/10. An excellent demonstration of Fraser's understanding of perception. Gavin follows this with a Voodoo demonstration utilising the same principle; this I also like very much.


Naked Publicity Stunts

Not what you think. This is a brief essay by Gavin on the application of micro principles to macro effects; in my mind, this is the premise of the whole book. Interesting stuff, to be taken on board. I think those who adopt this approach will be well set to create anytime, anyplace miracles.



There, that's the book. Sorry if I've been at all long-winded in places, as I said I'm new to this. I'd thoroughly recommend this book to owners of TM1 - it takes the principles in entirely different directions, and demonstrates the scope of effects that can be created with the TM approach. I believe those without TM1 would struggle to grasp this second instalment. As Fraser rightly says, it's much more subtle. Instead I suggest they purchase TM1, digest it and use it. Then, once they're happy with the principles therein - *** well get this book. There are pieces in here I will definitely use.

Furthermore, anyone wishing to get into hypnosis would be seriously missing out if they ignored these texts - as they contain sure-fire and stunning demonstrations of influence, which will lay the foundation of belief upon which hypnosis will become so much easier.

I hope this has been helpful for you, and I hope you enjoy the book.

Stay well, all of you.

Ross.
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