Mystery Method - Indicator of Interest

An indicator of interest is seduction community jargon for either verbal and nonverbal ommunications between two people that conveys (usually sexual) interest. [4] The term was coined by Mystery, and is often abbreviated "IOI."

Indicators of interest are part of flirting. Examples of nonverbal indicators of interest an involve touching (kino), fidgeting, eye contact, and body language cues, such as Proteans. Verbal indicators of interest can range in subtlety from statements such as "Did that hurt?" (referring to a piercing), to "Wow, you're amazing." Generally, after three indicators of interest, one has built enough attraction to move to A3.

Peacocking

Peacocking is the use of attention-getting clothes to amplify your responses in the field. If you are peacocked, girls will look at you more often, and guys will make sniggering comments. This means that there will be more social pressure on you than you would normally experience.

It is a demonstration of higher value when people perceive that you are accustomed to this social pressure and otherwise unaffected by it. (In other words, when people see that you are congruent with your image.)

This congruence is the critical point. A man with a top hat and a feather boa, with two women on his arms and surrounded by laughing friends, looks like the man. Everyone in the room will notice him and women will whisper to one another that they want to be introduced to him. But the same man sitting by himself in the corner could end up looking like a social reject.

Try wearing at least one item that is cool and attention-getting. It may be used as a lock-in prop (chapter 5) as well as allow women to make a comment, good or bad, if they wish to open or sustain a conversation with you.

For example, one tiling she might do if you are talking to her and she senses that the conversation is winding down, she may suddenly say, "Oh that's a cool necklace." This is her way of continuing the interaction in a perfectly reasonable way, while reserving some element of plausible deniability.

On more than one occasion Mystery has had women walk up to him and tell him that they hate his goggles. He would reply, "No you don't, you're attracted to me."

This is why it's important that the prop be genuinely cool. Otherwise she would look like a try-hard for commenting on it and she'll lose the courage to do so. (Incidentally you also look like a try-hard every time you tell a girl how cool her necklace looks.)

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 women 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.

A woman's indicators of interest, or IOIs, notify when to go from the attract stage to the comfort stage, but you must not do so until she has legitimately earned your IOIs as well! Getting IOIs from a woman is simply not enough reason to begin returning them. If you are too easy, she will mark you as another notch in her belt and move on in search of more challenging conquests.

Some IOI Examples:

• She touches you. When you say, "Hands off the merchandise", she touches you again.

• When you grab her hands and hold them, she holds back.

• She laughs at all your humorous remarks, and the ones that aren't funny.

• When you ask her to bite your neck, she does.

• She asks you for your name.

Logically, rejection causes us no harm. But emotionally, rejection can be a punishing experience. To understand this, we must look at the ancient environment for which we were designed.

In a tribal group, there will be some small number of available women of breeding age. When a man approaches one, he risks rejection, and if that happens, all the other women will know, which will diminish his value in their eyes — maybe to the point where none of the women will mate with him. This is called preselection — women look for social validation of their choices. A suitor who is preselected will be more attractive, whereas a man who has been rejected will be less so.

Another factor regarding approach anxiety is the possibility that she may already be taken, in which case there is a component of real, physical danger to any male who approaches her.

For all these reasons and more, men are naturally selected to experience approach anxiety. Logically, of course, modern society fixes these problems. If I am rejected, I can simply go to another part of the bar, or leave the bar entirely. I will probably never see any of those people again. But my emotions don't know that. My emotions are trying to do what's best for me.

Discomfort and Confrontation

Women tend to avoid discomfort and confrontation. This may seem rather common-sense, but these points are critical to achieving success in the game:

• Have a positive, open attitude. Don't be judgmental or jealous.

• Don't act as if tilings are a big deal. They aren't.

• Don't complain or be emotionally punishing. If you call her on her shit while talking on the phone, she will just avoid talking to you on the phone. Instead of being the whiny or emotionally abusive boyfriend whenever she pulls a fast one, be the guy who has plenty of options.

• If she flakes on you, don't confront her about it next time you see her. Are you the guy who sat around and got upset? Or are you the guy who called over another girl and then forgot all about it?

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.

Tips in the Venue

Bars and clubs are probably not the venues where you plan to find your future wife. Nevertheless, these are target rich environments and thus are perfect for practicing game. Here are some tips:

• As a general rule — but not a dogmatic one — don't offer to buy drinks for girls. If she asks you to buy her a drink, turn her down. Although you can break this rule, it's preferable to get your game so tight that she will be buying you drinks.

• Be willing to crash and burn on every set for the entire night. Do it for fun with your wing.

• Give your wing S200. Then he gives you $20 every time you approach a set. This game is very effective.

• Be willing to go out alone if you have to.

• Don't hold your drink in front of your chest like a security blanket. Hold it low to your hip.

• Don't try to look 'cool' or 'tough,' or you will just look boring. Instead, be comfortable and friendly.

• Enthusiasm is contagious.

• Smile as you walk around the venue. Guys who don't get laid, don't smile.

• Once you open a set, stop smiling so much. You don't want to appear try-hard.

• You ran your opener, but the set didn't hook? Run another one. Stack your material if for no other reason than to get practice. Stacking routines is a useful skill in-and-of itself.

• It usually takes three warm-up approaches to really get in the groove.

• Avoid noisy areas. If you can't talk, you can't run game. Find the quiet areas of the club. And avoid the dance floor — it's a trap.

Mystery's Kiss Close

You ask, "Would you like to kiss me?

If she says yes, kiss hex.

If she says, "Maybe," ''Why?", "What do you mean" or "I donno" it means she does, but is shy about it. Reply with a gleam in your eye, "Let's find out..." *kiss* Remember to caress the back of her neck to show you mean business

If she says no, you reply, "Well I didn't say you could, it just looked like you had something on your mind." (Don't ask "Why not?"This shows low self-esteem.)

If she says, "not yet" or "not here" it means she is open to it but there is a logistical issue. Perhaps her friends are nearby, or she needs more gaming first. Say, "I understand," and continue gaming her.

Does it seem as if most of these lines involve asking her for permission in order to kiss her? Is that wimpy? They are just considerations. We've found that just going for the kiss without indicating your intentions can sometimes lead to embarrassment — more than her saying just saying no. When she says no, that is much easier to save face from than the situation where you try to kiss her and she moves away.

That having been said, feel free to field-test every possible kiss move that you can think of. Just go right in for the kiss without saying a word. If she turns her head, use your hand to turn it back and kiss her anyway. Test it out a hundred times. Be enthusiastically willing to brainstorm and experiment.

Just tell her how you "view" her, and she will become that person for you, but only if she agrees and it is flattering for her. You are building a character for her, and she will play the role because she likes the way that the role makes her feel. Here are some examples of compliments:

• "You seem like someone who really knows what she wants, I admire that."

• "You really care about your friends. I bet you will make a really good mother."

• 'You have a good energy."

• "I notice you're the leader of your friends. Why is that?" • "You're a great conversationalist."

• "You're a very classy girl. What are you doing in a place like this?"

• "Wow you seem so confident with your friends, like you're kinda the leader of your peer group. I just love your energy... -> Are you close with your family?'" [Going into next routine.]

• "You have such an expressive personality ... That's a valuable thing in the entertainment industry. There are a million women who are beautiful; I just came back from Florida, but how many do you think have an outgoing personality like yourself? I'm telling you, that's a very attractive quality and a valuable asset."

Describe in terms of sensation and emotion

When telling stories, men tend to focus on the facts at hand, whereas women look for the sensation and emotion caused by the experience. Structure your language to take this into account. Example:

Bad: This guy grabbed my ass, can you believe that? I looked like an idiot.

Good: Then I felt a strong hand caress my ass and grip it tightly. I turned around, and there was this man with a handlebar mustache smiling suggestively at me. All the girls started laughing. I have never.. .felt so surprised.. .and embarrassed.. .in my entire life!

Notice how the above story segment conveys the emotions of surprise and embarrassment — both of which are useful during a story. Three or four story segments like this put together can lead the listener through a little emotional journey. With skilled delivery, this is a DHV, even if it doesn't reveal some value-raising factoid about your lire.

The 3-Second Rule

You want to be in a set within three seconds of entering the venue. Just walk right up to the first set of people that you see and open them. This is called the 3-second rule. Remember, you are not only working the set, but the entire room-No one else knows whether you are already acquainted with these people. It certainly seems as if you know them — you entered the venue, walked right up to them, and now they are having a fun conversation with you. You must be a social guy with lots of friends!

Then you move on to the next set, and the positive perception of you continues to grow. You are becoming socially proofed in this venue. Notice the magical ease with which sets will open up to you when you have this level of social proof For this reason, it is important not to be too selective in choosing your sets. It's better to be in a set than to get picky and end up alone when you should be working the room.

Another interpretation of the three-second rule states: Within three seconds of spotting a set that you want to open, you must open that set.

This really adds a natural spontaneity to the approach. The difference in your state of mind is noticeable. A woman can usually tell when a man is working up the courage to approach her, which can lower her perception of his value. But if you follow the three second rule, she will have a feeling like you just popped up out of nowhere. A very nice energy is added to the interaction when following this rule.

Male competition. Yes there are other guys — but they don't count. They don't smile; they don't surround themselves with talking and laughing people, they don't walk around with a smile on their face. Instead they hold a beer to their chest and try to look cool' These guys are not really competition at all.

• Befriend the social guys, and practice gaming them. One of the attraction switches in women is the lender of men switch. When ou lead the men, the women will follow.

• Be the observed. There are constantly little events going on in the Field: A flash goes off as a group of people pose for a picture. A man teaches a woman a little dance move. A group of people bust up laughing. A girl gasps at an impressive routine, and people nearby look over to see what is going on. Are you the observer when these things happen, or the observed?

Demonstration of Higher Value (DHV)

Anything you can do that conveys higher survival and replication value is a DHV. For example, if you open a set and you already have two girls with you, you have demonstrated pre-selection, which is a DHV. When girls see that other girls have pre-selected you, they feel more attracted to you as a result.

If a woman discovers that you have a lot of money, it is a DHV. She will find you more attractive, all other factors being the same. But if she perceives that you are trying to impress her with your money, she will then lose attraction. This is because only lower-value people try to impress — such behavior is known as a demonstration of LOWER value, or DLV. If you are trying to impress, you must be of lower status and thus unattractive.

If a woman sees that you have a lot of social proof from gaming the room, she will feel more attracted to you, because social proof is a DHV. If, however, she sees that you are socially unaware and inept, then it is a DLV. When you DLV, it lowers her perception of your S and R value, which makes her feel emotionally less attracted.

Telling stories that are fun, interesting, and emotionally relevant, demonstrates social skill, which is a DHV. A story can also be structured to convey specific characteristics in the subtext, allowing you to surreptitiously flip attraction switches.

Negging is also a DHV, because only a high value guy would talk to her like that, and seem sincere. You must already have girls if you talk in such a way.

The Hotseat Game

"What's your favorite color?" "What did you think of high school?" "What did you eat for dinner last night?"

And so on. Make sure she gives you an answer and if not then say, "Yes, but that's not an answer to my question." That'll show her gently that you are in charge. Now this isn't all of it but what you're doing here is showing a lot of interest. After all you are essentially giving her permission to talk about herself. They get over any self-consciousness pretty quickly by doing this, too. Plus, it gets them to open up and if they hit on something interesting then they'll maybe elaborate for you.

But as I said there is more to it After they relax after the first few questions, you start throwing in some more personal ones such as:

"Have you ever been to the hospital emergency room?"

"How old where you when you first got drunk?"

"Did you and your siblings keep secrets'?"

"Ever bad a very rough breakup?"

"What's your favorite food / vacation / place to visit" (use your imagination)

Try complimenting a girl in a way that directs her to behave the way you want her to, and to play a role that's useful to you.

An example of this: "You seem to be very connected with your emotions. You seem to really listen to your woman's intuition." Or if she's being rude, or if you want to misinterpret that she was rude, say, "You're too classy to act like this."

Just tell her how you "view" her, and she will become that person for you, but only if she agrees and it is flattering for her. You are building a character for her, and she will play the role because she likes the way that the role makes her feel. Here are some examples of compliments:

• "You seem like someone who really knows what she wants, I admire that."

• "You really care about your friends. I bet you will make a really good mother."

• 'You have a good energy."

• "I notice you're the leader of your friends. Why is that?" • "You're a great conversationalist."

• "You're a very classy girl. What are you doing in a place like this?"

• "Wow you seem so confident with your friends, like you're kinda the leader of your peer group. I just love your energy... -> Are you close with your family?'" [Going into next routine.]

• "You have such an expressive personality ... That's a valuable thing in the entertainment industry. There are a million women who are beautiful; I just came back from Florida, but how many do you think have an outgoing personality like yourself? I'm telling you, that's a very attractive quality and a valuable asset."

Mystery is speaking to a beautiful woman by the bar of a busy nightclub. Before even approaching the woman in this meeting location he had his game plan already in mind: moving her to the quiet smoking section; a good C1 location. He places his hat on her and says, "I'm going to show you some thing really neat. Come join me for a sec."

The woman replies, "Where are we going?"

"It's a special little place I like to call ... You'll See," he laughs, pointing towards the smoking section. "Just right there." He begins walking off a few feet.

While she is hesitant to leave her friends even for "a sec," she is more apt to join him because he has locked her in with his hat. Though she doesn't even smoke, she has to at least take a few steps forward to return his hat.

Meet Location to C1 Move

"What are you gonna show me?" she asks curiously as he grabs her hand and leads her through the crowd.

"Are you creative?" Mystery asks back, keeping her curious. While they move, he does a subtle interest test on her. He gauges her interest levels by loosening his grip as they walk. Does she hold his hand tightly still or let go of his hand:'

"I want to see how creative you are before I show you," he says as he pulls out a pad of paper and pen and hands them to her. Reaching the smoking section, they sit together and he places her hand on his knee and lets go. Does she leave it there? This is another subtle test.

He leans back and says, 'It's quieter out here. Ok, I need you think up a list of 10 random words, but they can't have any association with any other word you come up with."

And so, with a successful move (and an isolation from her friends as well in this case) from the meeting location to C1, he is able to begin building comfort, in this case by demonstrating his photographic memory using The Peg System and then teaching it to her.

Demonstrations that create jealousy

1. Have a female wing or pivot who is "in the know" with you,

2. Build a pawn while in the club.

So for example, you are in isolation with your target, and you do a brief takeaway.

Use a lock-in prop on her (Mystery often uses his hat) and then go find a girl from a previous set. Tell her, "I'm sitting over there with my friend, let me introduce you,"

So when you come back, you come back with a friend. Of course this 'friend' then sits in your lap. A previous set has now been merged with the new one, but instead of group-to-group, it's isolation-to-isolation. You have two different girls in C1 at the same time.

From the point of view of the girl you brought over, introducing her to one of your other 'friends' is respectful and is a comfort tactic; the fact that this friend is a hot girl helps with social proof. She also feels good when you kino her in front of the other girl.

From your target's point of view — the girl who is still wearing your lock-in prop — she now has a challenge on her hands and jealousy. Bam! Sometimes the moment she first feels jealousy is also when she first consciously realizes that she is into you, and that she wants to have you over the other girl.

If you don't have ready pawns from previous sets, you can make one when you do your takeaway. So you run off and enlist a girl to directly help you by saying, "I like this girl. Will you make her jealous for me?" It's a tool.

If you have a pivot, find her and tell her to find you and sit on your lap in two minutes.

Or just game another set quickly and then when you isolate the girl from that group, say, "I've got my friend over there, let me introduce you."

So there are several options:

1. Find your pivot

2. Enlist a girl to directly help you

3. Backwards merge to a previous set

4. Forwards merge by opening a new set and bringing the new girl back to the main target