You already know the basic premise of the effect. Somebody feels that they were physically tapped on the shoulder or touched on some other area of their body whilst you stood a major distance from them. As the audience confirms, you never touched the volunteer of the experiment at any time.
No doubt you are also already aware that, in many other effects of this type, you ultimately do have to touch the volunteer -- either yourself or using a gimmick under the cover of misdirection. (Such effects include Steve Banachek Shaw's Psychokinetic Touches, Lior Manor's Invisible Touches, Peter Turner's Midas Touch on the one hand, all the way through to D'Angelo's Touch and Morgan Strebler's Touched.)
With Ghost Kiss
, things are different -- very different. You never have to physically touch the person under the cover of misdirection or, indeed, at any other time during the performance.
It is also entirely true and accurate to state that with Ghost Kiss
, absolutely no invisible threads, elastic or electronic devices of any kind are used at any time.
Indeed, you can perform this surrounded under the closest scrutiny in "test conditions". No matter how observant somebody is or how closely they watch, there is absolutely nothing to be seen -- you genuinely NEVER PHYSICALLY TOUCH THEM AT ANY TIME.
Yet, despite what I have just stated, no pre-show work is required, no stooges, no Hypnosis, no electronic devices, no threads of any kind, etc.
Volunteers will genuinely feel themselves being either touched or, if you so desire, "kissed" by an unknown, invisible spirit energy-type force.
For the record, they do genuinely feel something and it is not just all in their mind. Still, you never physically touch them at any time.
This uses a non-electronic, non-thread-based, self-contained gimmick which you are taught to easily construct for less than five dollars ($5). This package contains a PDF eBook that teaches you how to use the gimmick, as well as giving you access to two training videos with a combined duration of almost 30 minutes long.
For completeness, other methods and the history of this effect are discussed, including the method Ali Bongo taught to Jonathan Royle which is ideal for one-to-one personal performances. To the person experiencing this phenomena, it seems to defy logical explanation.
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