The Prisoner by Christopher Taylor

Created by: Christopher Taylor

The Prisoner is an electronic mentalism effect where the magician appears to demonstrate a profound psychological connection or prediction. In performance, the spectator is guided through a narrative-driven experience, often involving choices or thoughts that seem impossible for the magician to know, culminating in a revelation that feels eerily accurate and personal. This trick leverages modern technology to create a seamless, realistic illusion that can be performed in close-up or parlour settings, making it ideal for magicians who want to explore deep, story-based mentalism. Buyers should note that it requires some setup with electronic devices and benefits from strong storytelling skills to maximize impact.

Key features

Electronic mentalism effect that looks realistic and impossible to detect
Heavily relies on storytelling to engage the audience before the magic occurs
Part of Christopher Taylor's innovative lineup, designed for narrative-driven performances
Can be adapted for various settings like close-up or parlour magic
Integrates technology seamlessly to enhance the illusion of genuine mental powers

Pros

Creates a powerful, memorable experience for spectators through compelling narratives
Uses technology to achieve effects that appear authentic and unexplainable
Highly regarded by creators like Christopher Taylor, who includes it in his desert island picks

Cons

Requires access to and comfort with electronic devices for setup and performance
May need practice in storytelling to fully realize its potential impact
Could be less effective if the narrative element is not well-executed

Effect

The Prisoner magic trick creates a powerful mentalism effect. A spectator freely names a playing card. The magician then reveals that this exact card has been predicted from the start. The prediction is often presented in a surprising and impossible way, making the revelation very strong for the audience.

Full details

The Prisoner is a creation of Christopher Taylor, a developer known for electronic mentalism. This trick uses a principle that makes the effect look very realistic. It is designed to be a complete routine with a clear structure. The method is clever and allows for a clean performance with no suspicious moves. The trick includes all necessary components to perform it right away. It is a self-contained effect that does not require extra gimmicks or complicated setup.

Who should consider the trick

The Prisoner is a good choice for mentalists and magicians who perform for small groups or one-on-one. It suits performers who enjoy strong, direct mentalism effects. It is also ideal for those who value storytelling in their magic. Christopher Taylor believes a good story makes the magic more powerful. This trick provides a framework where a narrative can be easily applied. It is well suited for performers looking for a reliable and impactful card prediction.

Information on how difficult it is to perform

The Prisoner is not a difficult trick to perform. The method is straightforward and can be learned quickly. The technical skill required is minimal. This allows the performer to focus on presentation and audience management. The trick is designed to be practical for real-world conditions. It is a good option for magicians of various skill levels, including those who are newer to mentalism.

What magicians say

Christopher Taylor himself includes The Prisoner on his list of essential tricks. He selected it as one of the effects he would take to a desert island. This shows he considers it a foundational and powerful piece of magic. Taylor is known for creating effects that look "as if they could be done for real," and The Prisoner follows this philosophy. The trick is built to create a genuine sense of astonishment through a clear and compelling method.

What people are saying about The Prisoner

AlakazamMagicUK says...

Christopher Taylor selected The Prisoner as one of his desert island picks, reflecting his innovative and narrative-driven style. [...] He believes that a well-told story must be compelling on its own before any magic is introduced, arguing that 'the story is what makes the audience hungry.'