| Well, I think this section of Lovedrop's "Revelation" book will help you:
BODY ROCKING
First, it is important to understand that people have more powerful
emotional reactions to more subtle indicators, because those indicators
are perceived as genuine, whereas harsh indicators are not as
effective, because they come across as deliberate—as staged or
rehearsed—and so are not taken seriously.
For example, if you say something stupid, and then you see a
subtle expression of disgust briefly flash across my face, then you will
feel embarrassed, because it seems that I genuinely felt disgust. I
really felt the emotion inside.
The key is that my pong, my look of disgust, is not something
I am faking, but rather that it must have come from a pang that I
really did feel inside. It must have been a real emotion.
It’s not my fault. No one can blame me just because I felt something.
I’m not trying to make you look bad with my disgust, or to
make you feel bad. The emotion hit me out of the blue, like a bolt of
lightning. It’s not something I did—it’s just something that happened.
This is no different than if you poked me with a cattle prod and then
a look of pain flashed across my face.
Now imagine you say something halfway reasonable, but I make
a big deal about it as if it’s the most stupid and disgusting thing I
have ever heard. I exclaim loudly, “Oh JEEZ that was so STUPID, what
are you some kind of RETARD??!! You have GOT to be joking . . .” I roll
my eyes and throw up my hands in an exaggerated fashion.
In this example, my manners seem insincere, as if I am trying to
make you feel bad—deliberately. It doesn’t seem like I actually feel
the emotion, and thus other people will not feel it either. The more
genuine your indicators seem, the more power you have to influence
other people’s emotions. This is the difference between a good actor
and a bad actor: good actors make you feel it.
Now . . .
Stand with your feet at shoulder width. Begin to sway your upper
body, slowly and gently, in a figure-8 pattern. Don’t move your feet;
just put a lazy, swaying motion into your upper body. Do this for a
moment and get a feel for it. Meditate on it.
Next, as you sway to the left, slowly turn your head to look in that
direction also. Then, when your body sways to the right, turn your
head to the right as well.
Next add your shoulders. As you sway to the left, lazily turn your
head and shoulders more to the left. Continue around your figure-8
and as you begin to sway to the right, turn your head and shoulders
more to the right also.
Notice how this movement allows you to shift your attention
softly without sending harsh vibes of interest or disinterest.
For example, imagine if you were to turn your entire body
towards a woman in one single motion, so that your feet are pointed towards her, your hips and shoulders are turned towards her, and
you face her and even stare at her with your eyes, so that every part
of you is giving attention to her and seeking rapport with her.
Do you see how this movement is a harsh IOI? It indicates far too
much interest. It causes your value to drop. It also conveys that you
want something, which makes her feel defensive and activates her
shielding behaviors.
Similarly, imagine now that you turn completely around 180
degrees, so that in a single motion, your feet are pointed away from her,
and your body and head are also facing away from her. Do you see
how this backturn is a harsh IOD? It indicates far too much disinterest,
and thus will come across as though you did it on purpose, instead of as
if it were genuinely emotionally motivated. It’s too obvious.
Subtle movements are interpreted as more genuine, as though
they came out of some real emotion, and thus they cause more powerful
emotional reactions in other people, whereas harsh movements
are interpreted as deliberate, as if you are trying to make a point, and
thus do not affect people.
Now go back to your sway. Imagine that you sway to the right
and start a conversation with some girls over your right shoulder. In
this example, you simply say, “Hi.” (By the way, “hi” is Mystery’s
favorite opener.)
Of course this does indicate some interest, because you have
started a conversation. But it is not such a harsh indicator of interest.
After all, your body is not facing the group. Only your face has turned
towards them, and even that will turn away again as you begin to
sway to the left.
The sway to the left is a soft IOD. It is not a harsh backturn. And
because it is subtle, it will come across as genuine. It creates the impression that you are in your own reality and that you have your
own things going on. You often get distracted by your own friends
and thoughts. You might wander off at any time. All of this disinterest
is very disarming to people whom you have just met, causing
them to lower their guard. Disinterest also conveys higher value,
enticing the group to vibe with you even more.
This is body rocking. As you rock out, the people in the group feel
more drawn towards you, and their body language turns ever so
slightly more in your direction, as if pulled by an invisible string. You
can feel that they are hooking to you, then you rock back in—giving
them a bit of interest to reward them for hooking—and then you say
the next thing. Mystery might say, “Black nails, first impressions?” Then
he rocks back out again.
If the group doesn’t respond, that’s ok. He has already rocked out
anyway and isn’t losing value in the meantime. He can always rock
back in to reward them if they hook.
Notice that in advanced game, we are replacing the concept of
canned openers with a combination of body-rocking, sound bites,
and microcalibration—subjects that are more heavily explored in this
book than the previous book (The Mystery Method.)
As you practice swaying, begin to allow your feet to move as well.
Nothing too drastic—just the same lazy movement but now with a
greater range of motion.
Some points to remember when you practice body rocking:
1 The rocking motion should appear inadvertent, as if your emotions are managing it at an unconscious level. You aren’t
aware of it or thinking about it.
2 By keeping the movements soft and subtle, you are never
indicating too much interest or disinterest. There are no harsh
indicators. Nothing sticks out.
3 By continually balancing your IOIs with IOD calibrators, and
your IODs with IOI calibrators, your interest is always disarming,
and your disinterest is never try-hard.
4 People always feel like you are leaving, even after talking to
you for five or ten minutes.
5 At moments when you rock out, you can feel the pull that it
exerts on other people. You can feel it as though you had tied
a rope around their waist and had physically pulled them
towards you.
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