Stage Presence of the Master

A while ago I wrote about the Alpha Pause. I explained how it can be used to end a female’s play to put you into a bad frame with emotional investment. I have been reflecting on my Game development, looking for answers. I definitely have some Game, but the resultant bonding is too fragile to close.

The short video below, of Mystery in action, has given me a small epiphany to test in the field for veracity. Notice the pace of Mystery. He is interacting with his audience. He is a performer. He does not rush to the next step’s goal. He is like a quarterback watching the defense commit and toying with them to spot the inevitable open weakness. I will give you my breakdown first, so you can just watch the video straight through and judge for yourself without having to track the time, switch to and from the text, but loose enjoyment.

0:07 He is playing to the camera. He is charismatic as fuck because he is strictly into himself. Women love instinctive narcissism, the kind indicative of the wild-α. Stay away from cultural concerns, too abstract and rational for women. Everyone calls it outcome independence. I call it emotional detachment per the Triune Brain Model. His vibe is perfect, even with that fucking Mr. Rogers voice, boyz and girlz. “Do you want to feed the goldfish?”

0:09 On the approach he makes a preliminary flash of eye contact or an observation. He might have been creating anticipatory social tension with an ‘incidental’ passing side glance. I think he had to reset after the first try failed and got it to hook or stick on the second attempt.

0:11 He says, slowly and somewhat sentimentally, like a lunatic of today or a thesbian of the 1950s, “I never bothered to ask…until this moment…” He is obviously calibrated in his opening. They are like deer in the headlights, and he does not care in a way. He is not putting any pressure on them. All the pressure is on him to lead the enjoyment, the show. If there is anything sheeple want, it’s no responsibility for outcome, no obligation. Perfect.

0:15 This is a bit strange. He goes with a negative emotion, but again the calibration is obviously perfect as evident by their happy captivation. He is not out of control angry, but he is expressing his authority to speak his mind. Then he amuses himself by ignoring them. Now he looks a bit like a space cadet not a gentle pleb of yore. Women are weird not logical, but there must be some underlying logic by which to assess such a move. Maybe at 6’5″ it is important to show a softness to counter the physical intimidation. Big men are usually assumed to be tough, so they should go straight to emotional maturity and awareness.

0:27 After saying hi to the camera three seconds prior, he says NOTHING! That is the alpha pause. She chases by saying, “I thought you were asking us?” Can you believe she is already invested? I don’t know if he warmed the set girls up previously with something mild like eye contact or if this is an opening from true cold.

0:40 He walks around the chick and breaks off conversation as she talks. He seems to be cockblocking potential rivals. At his leisure he signals for her to continue the conversation, now that the ‘danger’ has passed. lol

0:50 Now a stupid canned story that shouldn’t work except, yes, they’re women. Observe the transition and his assertion of dominance, not unlike when he bumped that guy to display dominance. It’s like shades of Tyler Durden, but that’s going by my impression on limited evidence. It seems out of character, at least the previous bump. Notice that as he delivers the canned story, he creates the spaces for them to process each step and to react. Notice the panache of elocution on the punchline. Also notice the low status assigned to the alleged ‘other woman’. Any woman there with boobs worth fondling is feeling good about herself. Women are relativist junkies.

1:21 He has his back against a wall, of a pillar but so what. Classic Mystery. The hotter chick makes eyes at him and he blows her off by having the other chick dance for his pleasure. Just as the dancing chick is about to settle in, he then belittles both, but the dancing pawn he insults more. He is careful about who gets called Tweedledum. I am guessing that perhaps Mystery has adapted to the maturation of the liberation of women with condescending and simplistic leadership. I am not sure, but he is being a dick that dishes it out instead of withholding a privilege, so I don’t get it. Playing women against each other I get. Always create a bidding war if you get the chance.

2:00 Here he is crafting the social narrative that will give her license to go away with him, and he is getting her to design a custom prototype that will be hard to screw up. Brilliant. What were the odds on a match of the word ‘energy’? Next stop, logistics.

Overall, notice that there is never a rush. He enjoys crafting every detail of his interactions. I have always been concerned about escalation, getting high enough before an exogenous impasse develops. He who hesitates and all. However, Mystery is creating a solid foundation that supports multiple women. Since women are herd animals, the herding craftsman may just be better than the linear sniper. Context will matter. In the video setting, it is a herd situation. Thus, the social demonstration of high value (DHV) is very important, the social value is a huge component at a party like that. My R&D for months now has been direct instinctive communication, but after some soul searching for answers to what’s missing, I am definitely going to add social demonstration involving the whole set. It is not hard to get started: you always open the whole set. If you ask a chick to dance, open the whole set with confident expectation to illicit support. Use the held out hand and look around.

Reframe like a boss, savor each moment, and stay self-centered.

—‘Reality’ Doug, 15 April 2015


About ‘Reality’ Doug

I'm feed up with herd people, so civil and uncivilized, these feckless barbarians with manicures. Where is Galt's Gulch? and where are the people to go there? Who am I? Who is John Galt?
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