WEBVTT

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Deus Ex: Human Revolution is
a video game released in 2011.

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Why talk about a

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video game on a magic blog? Because this
game is the occasion to make a parallel

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between
the two worlds, and to find inspiration in the bridges that are created. But

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before I start, here is
the trailer for the game.

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I never asked for this.

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If you want to make enemies.

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Try to change something.

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The year is 2027.

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It's a time of great innovation.

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And technological advancement.

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It's also a time of chaos. And conspiracy.

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I don't even know whose sign I'm on.

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Breaking news.

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The riots continue in
the streets of Detroit.

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Protesters rallying outside of Seraph

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Industries, one of the world's leaders
in the controversial signings of human

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augmentation. Those people.
They're like ghosts.

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Always in the shadows. Always hiding
behind wise, towards the soldiers.

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I need you to find

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them. They cannot stop us.
They could not stop the future.

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I never had a

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choice of what happened to me.

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How do you feel, Adam? The body may heal.

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The mind is not only so resilient.

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Corporations have more
power than the government.

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Everyone's fighting for power.

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For control. Help!

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Please.

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I'll take you to hell! Police
have opened fire on the crowd.

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You'll never find him.

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I'll never stop looking.

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When I saw this video, I
was fascinated by the music.

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The protagonist's voice, a

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kind of Clint Eastwood in a film noir,
and the interesting discrepancy with the

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modern aspect of the game's universe.

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When I played, one of my old ideas was

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confirmed.
The world of gaming, video gaming in particular, and magic, despite their

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apparent differences,
actually have a lot in common.

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If you are looking for

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inspiration, you can find it anywhere.

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And these links between
video games and magic

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can teach us a thing or two.

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So I will talk about
Deus Ex, and from these

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reflections, I will form some conclusions
that can be applied to magic. If you plan

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to play this game and you don't want me to
spoil any surprises for you, don't watch

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the video. Right from the start, an idea
presents itself in the menu during the

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selection of the difficulty level.

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Depending on his experience, the player
has to choose the difficulty level of the

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game, usually entitled
easy, normal, and difficult.

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In Deus Ex, the easy level is

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called Tell Me a Story. Followed by the
explanation: you play games for their story

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and experience, not for their challenge
or competitiveness. Enjoy the Deus Ex

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experience. The normal level
is called Give Me a Challenge.

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Followed by the

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explanation: you enjoy a good
story and a good challenge.

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This is how the game is

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meant to be played. The difficult level
is called Give Me Deus Ex, followed by the

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explanation: hardened enemies and tougher
situations will make your experience quite

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challenging and give you
a good adrenaline rush.

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You are one with the machine. I'm

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not a great gamer, so I
took the easiest level.

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Then I asked myself: if my magic was a

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video game, how would a spectator
describe his experience?

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Tell Me a Story would be

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effects during which the spectator only
watches passively, with little or no

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interaction. For example, a manipulation act
on stage or an oil and water routine in

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close-up. Give Me a Challenge.

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This is how the game is
meant to be played — would be

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magic
during which the spectator participates, all the while staying in his role as

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a spectator. For example, pick-a-card
tricks in close-up.

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And Give Me Deus Ex, you

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are one with the machine — would be when
the spectator loses himself in the magic

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experience, interacts with the artist, to
create an experience that is meaningful

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for himself and the audience.

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I think that magic too often
limits itself to the Tell

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Me a Story level. Sometimes it reaches the normal level, but rarely the Deus Ex level.

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Of course, in a full-length show, one must
alternate the level of participation of

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the audience to let them breathe.

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That being said, think
about your own repertoire.

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Is the spectator too often passive,
or is he asked to participate?

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And even though he is
participating, is he really engaged?

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Really an actor of his perception of your

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magic? I'll give you an example of classic
magic: a cut-to-the-aces routine. If you

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show
that you can cut to the four aces in a shuffled deck, that's the Tell Me a Story

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level. If you show a spectator that he
can cut to the four aces, that's the normal

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level. And if you show a spectator that
he can cut to the four aces, and this has a

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deeper meaning for him,
that's the Deus Ex level.

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Of course, it's very possible that

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playing cards are not the perfect tool
to facilitate your access to the Deus Ex

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level. Once the game starts, you discover
a universe whose technology is futuristic,

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although the social, economic, cultural,
and political structure remains similar to

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that of today. Unlike linear games where
the gamer follows a straight line, Deus Ex

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offers a branching experience.

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You can choose to finish a
quest or not another, and

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this will affect your relationships with
the various characters, as well as the

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future events of the game. Therein lies
yet another common point with the world of

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magic. For now, magic and video games are
probably the only two forms of entertainment

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available to the audience, where
the spectator is also active.

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With his actions, a

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gamer can influence the
narrative of Deus Ex.

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It represents a challenge for the

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programmer
who must create a gaming environment that appears to be large and open, so

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that the gamer feels free, but closed and
controlled enough so that the narrative can

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follow
its course. In the same way, a magician must create an environment in which

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he welcomes the spectator, to discreetly
guide him toward the final denouement. If

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the spectator suspects one of the elements
of the environment, like an object used

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or
actions undertaken or interactions enacted, he will cease to enjoy the moment,

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and will start to question everything.

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Steven Spielberg doesn't
want you to admire

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the technical prowess of the
3D Tyrannosaur in Jurassic Park.

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He wants you to be

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afraid for your life or at
least for the characters' lives.

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Examine the universe and

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the experience that you
offer to your audience.

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Is the environment consistent? Does

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it seem open enough to
relax the spectator?

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Is it closed enough to allow you some

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control? I'll give you another example of
classic magic: the book test. If you have a

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page selected in a book by having a deck
shuffled or by doing some calculation, it

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is not consistent, and the spectator will
start to suspect something. If he can

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choose any book, any page, any word, he
will feel like he is free, but you remain

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within
the controlled limits of your environment, because all the books are secretly

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gaffed, and the spectator doesn't realize
his choice of the word is limited. A few

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minutes inside the game,
you start your first quest.

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And you must secretly enter a

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building to rescue hostages.

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Of course, the vast majority
of gamers will have no

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experience whatsoever in terms
of stealth or even combat.

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Fortunately, most games

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contain
tutorials, explanations integrated in the game to show the gamer the basic

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actions that will allow him to
keep moving forward in the game.

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It is an area where magicians, especially
in close-up, are not very good.

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If the spectator has to do

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actions, and the success of the
effect depends on these actions,

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It
would seem logical to insert a clear and quick tutorial in the effect's structure.

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Look
at those effects of yours that require the participation of the audience.

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Are the actions required
clearly expressed?

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If they are difficult
or new to the audience,

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did
the spectators receive a quick explanation, maybe even a demonstration? Are

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these
tutorials seamlessly integrated in the structure of your effects? Pay attention

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to the words chosen to guide the audience,
to the gestures done to illustrate what

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you expect of them, and to the time you
allow them to assimilate their role and

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actions. Rehearse these elements as
much as you rehearse your effect. The

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audience doesn't know your effect, doesn't
know what you expect of them, and may be

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nervous
or distracted. The different stages of Deus Ex are expressed through the

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graphic
design of the environment surrounding you, its rhythm, its story, its

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music and sound effects, and the types of
actions the protagonist does. In the same

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way,
the more you enrich your magic universe, the more you enrich the experience of

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the spectator. For some years now,
video game directors have understood the

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importance of music to immerse
the player in the game.

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The music of the Metal Gear

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Solid
video game has been composed by Harry Gregson-Williams, a member of the famous

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Hans Zimmer team, and to whom we owe music
such as Shrek or Man on Fire and many

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others. Does your magic
need stage design or music?

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If yes, what kind? What

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is the rhythm of the effect?

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And is this particular rhythm
the most appropriate one

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to obtain the best impact? Consider this.

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Video games have long been thought of as a

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form
of entertainment for the young, without any ambition of quality, a product to

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be consumed, without any deep impact on
its audience, almost a waste of time.

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Nowadays, the trailers of some video games
have more views than some of the greatest

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movies, and games themselves represent an
industry whose revenues outweigh those

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of cinema. A video game, when it's done
well, transcends its condition of futile

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entertainment,
and allows itself to even question the gamer on his social role, his

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personality, and to make him come face
to face with choices whose consequences

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outgrow the virtual world
to enter the real one.

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In Deus Ex, you spend much of

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your time fighting enemies
and following missions.

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But you always have a choice, and

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this
choice will define your gaming character as much as it will define yourself.

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Will
you use light force to stun your enemies, or will you prefer heavy artillery

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and systematically kill
everyone who crosses your path?

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Some missions in Deus Ex are

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clearly illegal and dishonest,
others are more idealistic.

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Will you choose to start

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a
war between street gangs, or will you rather send a corrupt politician to prison? At the

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end of the game, an
important change appears.

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All those who were enemies until now

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become crazy because
of an electronic chip implanted in their

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brains. They attack you, mistaking you for
the demons of their hallucinations. Will

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you choose to kill people who are a danger
to you as much as to themselves, or will

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you be more merciful? Worse, if you do not
have the tools of your mercifulness and

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your arsenal only contains deadly weapons,

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how will you deal with your responsibility

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in the massacre of innocent people?

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After having invited
the player to reflect on

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his
behavior throughout the game, the final scene of Deus Ex goes even further, and

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simply puts in your hands
the fate of all humanity.

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The three options that are offered

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to you are all justifiable, but
all have very different results.

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However, they have

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in
common the fact that they give you absolute powers on the world population. Each

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of these three choices triggers
a different end to the game.

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More importantly, your

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choice will reveal a lot, not about your
gaming character, but about yourself.

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Therein lies the strength of a game such
as Deus Ex or Metal Gear Solid or Silent

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Hill. The video game transcends its
condition and becomes an experience with a

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deeper meaning for the gamer.

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Therein also lies the
ultimate bridge between magic

00:13:09.900 --> 00:13:14.380
and video games. If video games succeeded,
despite outsider judgment and tough

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conditions, in impacting their
audience to such a level.

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What about magic? What about

00:13:19.980 --> 00:13:20.980
your magic?
