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Evolution 2: Stasis

May 1, 2010

Part Two of Four: The Current Structure of My Game

Each time I go out I have something new I want to work on â a little tweak in technique or attitude, perhaps a different opener or DHV story. While my conscious mind is focused on that, thereâll be a whole bunch of other internalised behaviours (good and bad) which are expressing themselves without much conscious direction from me. So I thought Iâd try and step back and analyse what factors Iâm employing in one of my standard daygame pick ups.

Pre Approach
-Babble endlessly with my wing about whatever is interesting me, which is usually about 50% game related and 50% whatever. Poor Suave is usually on the receiving end of this prattle. The purpose is to get outside of my head, socially lubricated, and not allow AA to fester.
-Constantly scanning the horizon to sort girls into the three categories of approach, maybe approach, and invisible. Usually Iâm looking for single girls ambling aimlessly and displaying strongly feminine presence. I also keep an eye out for other demographic niches such as tall bitchy Russians, timid colourful Japanese and dusky brown Mediterraneans. I always avoid the blonde Essex types.
-When a target gets close, I tell my wing Iâm going in, click the spycam on then will either (i) run my two-second NLP state building routine or (ii) mutter âfuck it, letâs get blown outâ. Both are pre-frames to minimise the emotional impact of rejection.
-As I jog after the girl Iâm more likely to be laughing at the ludicrousness of dodging through traffic to get to her, or thinking where is the best spot to open where thereâs a lock-in post near.

Opening and Stack
-Iâve got a few basic opening types and usually donât make my mind up which Iâll use till Iâm a second or two away. I go through phases where Iâll use one type for several sessions in a row. It used to be direct, now itâs more indirect-direct. Apocalypse openers are usually for when Iâm in a funny mood, the girl has barely beaten my approach quality threshold, or thereâs just something about her that is far from my usual type.
-I always without exception command her attention in a strongly dominant manner, so much so that six months ago it wouldâve felt extremely intrusive. Itâs taken hundreds of approaches to build this basic confidence. Itâs the single biggest reason why nearly all my sets hook.
-My eye contact is very strong now. I try to mesmerise the girl and use my eyes to glue her feet to the ground. My frame is usually âthis woman will hear what I have to say.â
-The stack is usually a comment about her appearance that immediately becomes a colourful story showing imagination and confidence. For example Iâll describe the fantastical world where sheâd fit in. Itâll contain a tease that is partly flattering and partly makes her self conscious.
-When then thread is about half done Iâll switch to a question on what sheâs doing today and be ready to pick up the conversational slack with a story on what Iâm doing, which will contain a mild DHV. That will be the jumping off point to ask mild screening questions and go off onto whatever tangent she provides.
-Every single set is different. Even when Iâm working on integrating a particular story, things get juggled and personalised to the girl. Iâm trying to project naturalness and making it a real conversation tailored to the girl.

-After a minute or so I look to lock in. First Iâll turn her by sidestepping around her while I keep eye contact and talking. I donât do it during a gap in conversation â always when Iâm in midflow of an interesting sentence. If she doesnât follow I nudge her round.
-Then I do the âshameless Suave lock inâ. I lean back and work on steadfast alpha body language. By this point Iâm pausing more and letting her carry the conversation. This is the momentum shift into her qualifying for me.
-Iâll be kinoing and laughing more by now, having implicitly agreed that she was worth the effort of approaching, even if Iâm not sold on whether sheâs worth seeing again (this is just the frame â obviously I only approach girls I do want to bang).
-Iâll now be working rapport and comfort, throwing only light hit and run DHVs of a sentence here and there. Usually itâll be a cultural / geographical observation prefaced with âWhen I lived in Japanâ¦â or a âMy girlfriend at the time used toâ¦.â
-Iâll really amp up the emotionally evocative language and use my words like paint on the canvas of life. The love bubble is building and Iâm taking her out of the humdrum of mediocre life and into the fantasy world of pleasant emotion. All anchored with kino, of course.
-Iâll be seeding the bounce. My favourite is the childhood sweetshop story.

-I shouldâve gotten a good feel for her mood and logistics by now so if neither of us is time constrained Iâll start to work the bounce. Itâll normally involve a leading gesture and then start walking with the implicit assumption that sheâll follow. If it fails, Iâll immediately go off onto another story as if it never happened â I want to obliterate the memory of her refusal before itâs had a chance to enter the historical record.
-Lately Iâll begin the close with Facebook. Iâll throw a mild qualifier (âI was right, you really are funâ) then go for the add usually assuming the sale (âOk, Iâll add youâ then get out the phone).
-While taking the Facebook I soften and distract by starting a new thread even if itâs AFC stuff about the nice weather today.
-I transition to the number with a âThere must be hundreds of you with that name. If I canât find you Iâll text, hereâ and hand the phone. Not convinced yet how effective this is.
-Talk some more so it doesnât frame the entire action as being about me trying to get her number. If sheâs still relaxed and enjoying the interaction Iâll try for an instant date again.
-When we do say goodbyes Iâll give an oblique statement of intent along the lines of âYou know, I think Iâm going to like you.â
-As I walk away, turn off the camera, grin widely, then say something positive to my wing about what I enjoyed about the set so I lock in a positive reference experience.

Now that Iâve written it out it seemed awfully mechanical for ânatural gameâ. Hmmmm.

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Post Information
Title Evolution 2: Stasis
Author krauserpua
Date May 1, 2010 6:53 AM UTC (13 years ago)
Blog Krauser PUA
Archive Link
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You can kill a man, but you can't kill an idea.

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