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  • High Level Magic by Simon

High Level Magic by Simon

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  • High Level Magic by Simon
  • High Level Magic by Simon
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  • High Level Magic by Simon
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HIGH LEVEL MAGIC BY SIMON
Forbidden Illusions for Open Minds

READ AT YOUR OWN RISK:
THIS BOOK WILL MAKE YOUR MAGIC DANGEROUS IN REAL LIFE.
Some things are better experienced than explained.
Some moments are not meant to be repeated.
This is not about performance.
This is about interference.

WHAT THIS BOOK IS
Most magic books teach tricks for perfect conditions.
Quiet rooms. Seated audiences. Controlled environments.
This one teaches you how to hunt in the wild.
Let's get one thing straight:
This is not another collection of "cool effects."
It's not theory you'll never use.
It's not material that only works when everything goes right.
High Level Magic is a field manual - Sharp, practical, and uncompromising - for performers who want their magic to hit hard when it matters most.
Not on stage.
Not in a studio.
In real life.
Where people are distracted.
Where attention is unstable.
Where reactions are genuine.
And where ordinary objects become extraordinary illusions.
This book isn't for hobbyists hunting for applause.
It's for performers who want to create moments that break reality in unpredictable environments.
If that's you - keep reading.

A GLIMPSE INTO A DIFFERENT UNIVERSE
Every book I write exists in its own universe, and what you're about to read is a glimpse into one of them.
This is not a collection of tricks. It is a body of work built around moments that feel unstable, unexpected, and real in a way they shouldn't.
Most of these effects rely on everyday objects - Lighters, cigarettes, coins, leaves, borrowed items. Nothing is unnecessarily complex, but everything has been shaped with intention and real-world use in mind.
This is not about showing skill.
It is about creating moments that people cannot fully process, even when they try.

MAGIC RARELY HAPPENS UNDER IDEAL CONDITIONS
In real environments, people are distracted, engaged in conversations, moving around, and only partially paying attention.
That is exactly where this material is meant to exist.
You are not performing for a seated audience.
You are stepping into an ongoing situation and shifting it.
To do that effectively, technique alone is not enough.
Control over attention becomes essential.
This kind of work depends on timing, awareness, and restraint.
Knowing when to act is often more important than how.
In many cases, doing less creates a stronger and more believable moment.
The effects in this book were designed to function under these conditions. They are direct, adaptable, and built for real-time performance.

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