I recently started gathering up Marlo’s Magazines, and I just have a couple more to go. Certainly I have been flipping the pages and taking an inventory of the techniques and utilities they contain. The breadth is tremendous. The interesting thing about these tomes from the 70s and 80s is that the material is evergreen. It is as presentable today as it was back then, and the underlying principles can be reapplied to modern plots and demonstrations. As is usually the case, the prose could use some updating and the figures could be better drawn using modern tools. Aside from the cosmetic aspects, the meat of the effects and utility moves are golden.
Unfortunately, the modern card table is vastly different from the five-card stud tables of the 70s. The blackjack ideas still apply, but I would love to read Marlo’s ideas on Texas Hold’em, Pai Gow, and Caribbean Stud. The good thing about the stacking, marking, and other game table treatments is that they are still applicable to any modern table. Many people still play five-card poker at home among friends. Tipping your abilities with riffle stacking or a table pass will ensure no money is ever wagered in your home, or you get relegated to bartending and dip duty. Either way, the best advice I can give is to only “play” with games not on the table for the evening.
As far as magical effects go, Marlo had a keen sense of effect development, suprise, and magical appearance. He understood well how the progression of the effect could be carried and amplified without becoming “too good” to be real. He left effects right at the point of magical suprise without going for a “blockbusting, impossible kicker that leaves everyone speechless.” In my estimation, this was his greatest skill. For one trick drive-by magicians, this material is useless. For real workers that use a series of effects and a carefully developed storyline, they can be a captivating climax without needing to have the deck change color.
Granted, he does go to some trouble to develop six or seven related methods of an effect. For some, this is not needed and really just a waste of time to read. Actually, I find the multiple methods key to understanding how far an effect can be flexed before it loses it’s impact. There are plenty of multiple methods in his magazines.
Enough about the magazines. These are truly what I consider the cream of the considerable crop from this fertile genius. Marlo left great ideas and techniques in all manner of magazines and newletters, but the material in these tomes clearly came from years of development, re-development, and further development. I am glad I have them.