Mystery Method

Understanding structure is crucial. Many students come to our program with a variety of

ideas and possibilities that they've used on women in the past with little sense of their

proper organization. A particular story or technique may do wonders for you in one segment

of your interaction with a woman but fall flat - or make her run away - if used at a

different point in the interaction. We teach you how and why different pieces work at

different stages of the pickup. We also break the pickup down to manageable chunks. For

example your first objective when seeing a social group which includes a woman in whom you

are interested is not to sleep with her but simply to open. We teach you what opening is how

to know when it's time to open and when you know that you've successfully opened - and can

move into the next stage attraction. We do the same for attraction. And so on for

qualification comfort until we hit all of the phases. Now you'll have a plan and you know

what to do and why the Mystery Method works.

Stimulate her emotions

The venusian artist uses emotional stimulation instead of rational discourse. As long as it feels right, your romantic interest will invent her own reasons for what is happening. In other words, when you can give her the right feelings, her rationalization process starts to work in your favor instead of against it.

A woman knows how susceptible she can be when she is in an emotional state.

Often her solution to this is to avoid becoming emotionally engaged in an interaction where she doesn't feel trust or safety, or where the man gaming her doesn't seem to have enough S and R value. When this happens she will seem non-responsive. Thus, if you can engage a woman on an emotional level, even if it's a "bad"' emotion such as frustration or jealousy, this is much preferable to her remaining non-responsive.

Also, instead of only trying to give her "good" emotions or avoid "bad" emotions, stimulate her with a range of emotions such as curiosity, fascination, fear of loss, connection, indignation, validation and devalidation, humor, embarrassment, happiness, sadness, and so on. The more she is stimulated, the more compelling the experience will be for her. Chapter 5 describes various techniques for this.

Social Status and Behavioral

Emotions are circuits in the brain that judge value and create motivation. They are designed to keep you alive and to replicate your genes. It is interesting to note that the various emotions don't have to be in agreement with each other. You can be happy about something but simultaneously disappointed about it as well. You can enjoy someone's company but also find them completely unattractive sexually. You can yearn for something but then be unhappy when you get it. It isn't necessary for these emotions (and the behavior they generate) to be logically consistent — it is only necessary that they keep your genes alive.

What do woman want? Their various drives and motivations are often in conflict. She may desire a strong, alpha man. But when she acquires one, she may set about turning him into a beta male, bit-by-bit, as a natural nesting instinct. If she succeeds and he is tamed, then she will feel reassured in her feminine power but simultaneously she will find him less attractive as a result.

The Woman's Point of View

While Janine did enjoy making out with Joe, he did not take it upon himself to slow down the sexual escalation and remain in the comfort building stage. She truly did wish see him again, but only in the moment. When Joe called the next day, Janine wasn't in the same aroused emotional state as the night before. Due to cultural programming she felt a little guilty for doing what she did with someone she didn't really know. She knew the only reason Joe even called was to continue what was now making her feel uncomfortable just thinking about. If she did see him again. she didn't know how he would behave. Would he grope her and make her feel even more uncomfortable? She just didn't know him well enough to trust his future actions. Being one to indulge in her emotions, she allowed her emotions to once again make her decisions. Uncomfortable even talking to him on the phone, Janine is cold to him and lies, saying she's too busy to talk

When the confused Joe tried to change her mind, Janine took this as an attempt to manipulate her. She just didn't want to be pressured into having sex with someone she didn't feel comfortable and safe with, especially when she was not even aroused.

Joe was hard-pressed to change her emotional state on the phone. For all he knew at the time, with so many elements out of his control. Janine may have just had a fight with her room mate or just changed the kitty litter box. Over the next week or two, every time he left a message, her feelings of discomfort grew. She has no intention of ever seeing this guy again.

Joe shouldn't blame Janine for her stringing him along After all, it was he who ultimately designed this situation by not staying in the comfort stage for an appropriate length of time.

As hand holding escalates to kissing (more on how to perform Mystery's kiss tactic later), you will quickly approach a point of no return in which buyer's remorse is likely.

Fun and Stimulation

Just as she tends to avoid discomfort, so she is also attracted to fun and stimulation. (Once her safety has been secured, of course.) Attractive women are often found on boats or dance floors, in parties or nice cars, and around bad boys and rich men. These tilings are much more compelling than being a nice guy.

• Be a fun and playful person. This is preferable to appearing tough or 'deep.'

• Be challenging to women. They love this.

• Be slightly unpredictable. Familiarity breeds contempt.

• Embrace your passions and be involved in activities. (See chapter 7 for more info on building a strong identity.)

• Develop your social circle. Put time and energy into this.

Another example of female intuition

Women often look for the "real meaning" behind what you say. For example, if you tell a story about your "friend-" she will usually assume that you are actually talking about yourself. This can be useful when the story demonstrates higher value. For example, if you don't want to look like a braggart, you could say, "My friend hooked up with this amazing girl and they had wild sex all weekend..."

On the flipside, if you want her to believe that the story really is about someone else (like if it demonstrates lower value) then use a specific name. For example, "My friend Craig woke up last weekend with a condom in his ass and..."

Shell assume you really are talking about someone else if you give him a name.

mysterymethod

So how can you avoid rejection?

The answer is: you can't. It isn't the solution to avoid being vulnerable. Rather, the solution is to embrace your vulnerability, to embrace rejection, and let the Field show you what is good and what is bad. Most approach anxiety is a result of imagined rejections, not real ones. Eventually, time in the Field will desensitize you to the smotion of rejection. In a game where you might play five or ten sets every night, losing a few of them here and there never really seems like a big deal.

Rating Women

A woman's S and R value can be rated almost purely based on her looks. That is a ternble thing to say. But it's not denigration — it's a statement of fact. Men are programmed to inseminate as many pretty women as possible. Thus a woman's sexual value to a man can be easily determined by her physical appearance.

Men often employ a decimal rating system, ranging from 1 to 10, with a 7 being a cute girl and a 10 being a supermodel. It may seem uncouth to refer to a woman as a number, such as a 5 or a 9. But the truth is that woman of different ratings do behave differently, to a great degree. And furthermore, men and women will also respond differently to other people based on perception of their relative difference in social status. This prejudice is a fundamental human behavior — it's hardwired.

Here is one example of responding based on social status: Seeking rapport is often an easy way to open a conversation with a set of 5s, but will only get you blown out with a set of 10s. Whereas being cocky and challenging, which 9s and 10s absolutely love, will often cause a 4 or 5 to react in a nasty way.

The Mystery Method , with its emphasis on negs, group theory, and preselection,

is geared towards attracting 10s. In fact, you may have to tone down these aspects of your game if you are dealing with a lesser-caliber woman, otherwise she may reject you in order to protect her own ego. It's easier for her to take the immediate ego boost of shooting down a guy, rather than risk being rejected by one whom she doesn't feel qualified for in the first place.

Attractive women are found in groups

Seldom will you see women of beauty alone in such locations. Many have grown accustomed to the constant threat of nice guys that plague these gatherings. They learn to band together with trusted friends to help protect them from these everyday public nuisances.

A meeting location is said to be target rich if it offers multiple approach opportunities with attractive women in short succession; whereas a location with few such opportunities is said to be target poor. Target rich environments not only improve your chances of finding and attracting a beautiful woman, they also substantially accelerate your learning curve by providing more chances to practice your social skills in less time. Proactively choose to go to the very best meeting locations ahead of time.

Proximity

When you are in the field, a shy woman, reluctant to even make eye contact with you, may find you visually appealing and on a conscious or unconscious level reveal her interest through her proximity.

Typically if a girl is giving you proximity, she will be standing five or six feet away and she won't be facing your direction. Dynamic social homeostasis brings her to the perimeter, but prevents her from coming too close.

If you open her, she will open receptively.

Have you ever walked into a nightclub and found yourself standing near a woman you were attracted to, if only to be near her and check her out more? Maybe instead of approaching her, you ordered a drink at the bar right next to her. Have you ever been in a store shopping where it seemed that a woman you had seen earlier stood near you several times over a short period of time?

Her repeated proximity indicates a potential interest. She may be putting herself near you on purpose hoping that you might start something. It's also quite possible that her replication circuitry is placing her near you, even though she is not consciously aware of what her body is doing. She will still open receptively.

These opportunities occur with more frequency than you may have previously noticed, so pay attention.

The "Have you seen Michelle?" method

• The Player has opened a set and has had enough time to pass the social hook point. The Wing approaches the Player.

• Player faces Wing and greets him.

• Wing says, "Hey man, have you seen Michelle?"

• Player says, "Nope, sorry* man."

• Wing says, "I'm going to go find her."

• Wing turns to leave and starts walking away.

• Player interrupts, grabs Wing's arm and pulls him back into set.

Notice that at this point, the player has the option NOT to pull the wing back into the set. It's the player's choice what happens here.

• Player says, "Hey wait man, you should meet these girls. These girls are pretty cool."

• Wing says, "Cool, how do you guys know Player?'

• Girls say, "We just met him, just now."

• Wing says, "Cool. Get this. Last weekend," [Wing goes into routine]

At some point soon the player is talking to one girl while the wing is talking to the other girl. Now they have split the set and can go into A3.

Canned Material

The Mystery Method makes use of canned material. If a particular value-demonstrating routine has been internalized, and is ready for use in set, then that routine is said to be in the can.

A venusian artist who can deliver canned material properly will be able to generate consistent, powerful responses while he is in set. It is a potent tool. Of course, no single tool should ever become a crutch — it's also vitally important for the open-minded venusian artist to practice spontaneous, natural conversations. There is something to be said for basic social skills! Nevertheless, your skill set is incomplete without the ability to congruently deliver canned material.

It is recommended that you create a routine stack of canned material that you can practice in the field. That is, an opener, a few routines, a few negs, and so on.

While practicing your routine stack, approaches start to become a blur. Patterns emerge over time. Situations and reactions become easily predictable before they occur. Social challenges are discovered and solved. The rest of the world is riving by at hyper-speed.

Once you have performed a particular routine hundreds or thousands of times, you don't even have to think about what you are saying. Your mind is free for other tasks, such as planning logistics. The target is consciously considering her responses, but you have already had this conversation a thousand times before. You have already fully explored all the conversational threads that could possibly arise from this piece of material. It's almost like seeing the future

So how do you all know each other?"

The line "So how do you all know each other?" is a rather crucial one. (If the set is a boy/girl two-set, try asking "So how long have you guys been together?") Because this question is a piece that must occur in every set, it is said to be a waypoint in the game.

It's a harmless, reasonable, sociable question. It generates conversation and provides the venusian artist with oodles of useful information. For example, if the set consists of two girls, and you ask, "So how do you guys know each other?" It's possible that one of them will say, "Oh, she's my boyfriend's sister."

The important information isn't the existence of a boyfriend. If your game is tight, girls will cheat on their boyfriends at the drop of a hat. Rather, the important information is that she is probably not going to cheat on her boyfriend in front of his sister, who is standing right here.

"So how do you all know each other?" might also reveal that the group consists of coworkers,

or that the guy you thought was a threat was actually your target's brother. (Lucky you were doing Mystery Method and befriended him in the first place.)

"Baby, we've got to slow this down.."

Some people think that it's the man's job to escalate, and the woman's job is to resist. Instead, think of it as if it is the man's job to do both. If you are constantly thing to get more kino, like getting yards on a football field, it telegraphs far too much interest and deprives her of the hot/cold, push/pull energy that she finds so compelling.

When you pull in close to a girl, there's this tension in the air. At some point, if she feels too much discomfort, she will pull away. This isn't what you want — you don't want to condition her into a behavior of constantly pulling away from you. Rather, you want her conditioned to chase after you.

So, once that tension has been created, it's now time to push her away. This might be physically ("get off me, geez") or emotionally, such as using a backturn, false disqualifier or some other IOD. You might frame it as though you are the prize and you're not going to let her get anywhere with you tonight 'cause you have work tomorrow.

Bait - Hook - Reel - Release

The "Bait—Hook-Reel-Release" metaphor is one that continually resurfaces in study of the game. One way to apply it is in A3. You want to give IOIs to the target, but you don't want to seem too easy. (Otherwise she won't appreciate your pair bond; instead she will enjoy your IOIs as a validation of her sexual power, but she will lose attraction for you.)

The idea is to make the woman demonstrate higher value to you. Bait her into telling you interesting things about herself (not "what do you dot") so when she replies (the hook) you can IOI her (reel her in) only to push her off again (release her from the pressure of being hit on.) This process repeats several times.

Here is an example for you to use in-field right away

You: [Bait] What nationality are you?

Her: [Hook] French.

You: [Reel] Seriously? No WAY!!! The girl I had the biggest crush on in high school was French! [Release] I can't even talk to you now.

Every time she gives you a demonstration of higher value, you indicate your interest to her. This way she will believe your IOIs, and when you fully SOI her, she will feel like she really deserves it. This allows your attraction for her to legitimately grow over several minutes instead of just IOIing her because she first IOI'd you.

An important aspect of the Mystery Method is to restructure routines to be in context with YOUR IDENTITY in particular. Take the time to write up some personalized routines with this in mind. Again, make yours congruent with your identity. You do not have to be a magician to do the Mystery Method, but you do need a strong identity

Really - Be Talkative

It's vitally important to be talkative. It's easy to say it but actually try it for a few months of practice. If you have so much to talk about, and you bombard her (or her set) with lots of fun and interesting conversation, showing humor, opinion, and passion, then you get to convey your personality.

The talkative person just gets laid way more often. The secret is to put yourself in a talkative mood. Have you ever been in oner Close your eyes for a moment and remember what it was like at the time. Looking back on all the girls Mystery has been with, he just talked their ears off. Then after he saw positive body language and other IOIs he would come out of the blue and say, "Would you like to kiss me?"

That's it — he would just talk passionately about something.. .talk and talk. He wouldn't talk about her. He wouldn't ask questions. He wouldn't really expect her to say anything. If she wants to join in, great, but otherwise, who cares? He does it all.'