![]() |
![]() |
|
At
The Shop
Click here to read the review policy of Visions "The
Kyoto Deck"/"The Gion Deck" by Yuji Murakami and Masuda "The Kyoto Deck" and "The Gion Deck", both by Yuji Murakami and Masuda, are among the cleanest, easiest, force decks out there, but lose more to cultural differences than any issue with the methods themselves. We'll get to that in a little bit. First, let's take a look at these little wonders. At their most basic, the decks -- and their handling -- look something like this: A deck is shown to be mixed and then is shuffled by the performer, who gives the deck to the spectator for further shuffling. The spectator stops shuffling the deck at any time, then deals cards facedown one the table, one at a time, stopping whenever they feel like it. At that point, they've stopped on a force card. That's the basic handling of "The Kyoto Deck"; "The Gion Deck" is pretty much the same except two different cards can be forced. Both decks have a ton going for them: they are extremely practical, there are no difficult sleights to worry with, no angle issues, no memorization, and no rough/smooth. Looking at the presentation, the displays with these decks are very fair and the handling quite open. Unfortunately, the one thing that sets these decks apart from other force decks -- a completely hands-off handling where the spectator shuffles the deck -- is just not possible in these parts. It's that cultural thing I said I'd hit on later. Well, now's the time. The most enticing pieces of these decks is pulling out the deck, handing it to a spectator, letting them shuffle and cut to their heart's content, and still having them end with a force card. While this is not only possible but beautifully done in these decks' native Japan, it's going to be all but impossible in my native US of A. Why? Simple: most people here shuffle here either riflle shuffles or overhand shuffles; only a Hindu shuffle can be used on these decks to pull off their most beautiful of forces. Hindu shuffles just aren't that used over here by your average spectator, and these decks cannot be modified to be used with those other shuffles. So while that dreamy handling is available in Japan, in the US the handling looks something like this: The performer produces a deck, which he shows front and back, allowing the spectators to see the cards are already mixed. The performer proceeds to shuffle the deck then, when finished, places it before a spectator to cut. The spectator does so, noting the card cut to as their card. Of course, that's the force card. And with that, this deck doesn't sound all the much more special over a few other decks on the market (or even a couple of sleight-based workings). This is not to say that "The Kyoto Deck" and "The Gion Deck" are bad; I'm quite enamored with them to be honest because of the flexibility in forces these things bring (cut, count, deal, dribble... you get the idea). But minus the "hands-off" approach, these decks fall in my estimation and land next to Casbahs and Prophecy Packs and Svengalis and Pop-Eyed Poppers. In other words, they're great decks, but not as great as they could be to elevate them to the miracle or "have-to-have" class. Do I recommend these decks? If you don't already have another method in your arsenal to pull off what these decks do, then, yes, I recommend them wholeheartedly. They are clever, workable, and will get the job done. If you've already got another working going for you, then you'll likely still be happy with it after you purchase these. After all, they're good stuff, if just a little less powerful on this side of the Pacific. "The
Kyoto Deck"/"The Gion Deck" by Yuji Murakami and Masuda Workmanship:10 Documentation:
8 Effect: 10 Presentation: 10
Available direct from your favorite dealer. Dealers, please contact Murphy's Magic Supplies, Inc. toll-free at 1-800-853-7403 or visit Murphy's Magic Supplies website. |
All
content ©2008 The Visions Group. All Rights Reserved. Any duplication
without expressed written permission is strictly prohibited. The views expressed are solely those of the contributors and may not necessarily be those of TVG, its clients, sponsors, or affiliates. |