Category: Uncategorized

LISP is the perfect programming language. It is so perfect, it is shit. Well, okay it is not shit, it’s awesome, but when you first try to learn it, it is completely shit. It is the most obscure, abstract, whacked out language ever thought up. But it’s perfect. It is so elegant, and so simple, that  you just can’t believe it works that way. What makes LISP difficult to learn is that you spend half your time unlearning deeply ingrained prejudices about how things can or should be done.

Getting over this initial hump is the hardest thing about learning LISP. Oh, and the documentation can sometimes really suck. If LISP had PHP style documentation, it would totally rule. It would rule everything.

First run apt-get install curl sbcl

Second run curl -O http://beta.quicklisp.org/quicklisp.lisp

Third run sbcl –load quicklisp.lisp

Fourth Inside the REPL run (quicklisp-quickstart:install)

Fifth Inside the REPL run (ql:add-to-init-file)

And you are good to go!

I would suggest running (ql:quickload “cl-ppcre”) to get easy PC RegEx in your environment, as a programmer, PCRE is a must, and basic language requirement for just general purpose programming.

 

 

 

What is necessary to learn chess, and to become good at it, is to take on a kind of chess apprenticeship. Of course finding a chess coach is one way to do this, however; the problem with a chess coach is that he monetarily benefits the slower you learn. In the old days of an apprenticeship, the faster you mastered your trade, the more valuable you were to the master.

This system[apprenticeships] arose as a solution to a problem: As business expanded in the Middle Ages, Masters of various crafts could no longer depend on family members to work in the shop. They needed more hands. But it was not worth it for them to bring in people who could come and go – they needed stability and time to build up skills in their workers. And so they developed the apprenticeship system, in which young people from approximately the ages of twelve to seventeen would enter work in a shop, signing a contract that would commit them for the term of seven years. At the end of this term, apprentices would have to pass a master test, or produce a master work, to prove their level of skill. Once passed, they were now elevated to the rank of journeymen and could travel wherever there was work, practicing the craft.

Because few books or drawings existed at the time, apprentices would learn the trade by watching Masters and imitating them as closely as possible. They learned through endless repetition and hands-on work, with very little verbal instruction…

Mastery – Robert Greene(p59)

 

Apprenticeship is an inherently social learning method with a long history of helping novices become experts in fields as diverse as midwifery, construction, and law. At the center of apprenticeship is the concept of more experienced people assisting less experienced ones, providing structure and examples to support the attainment of goals. …  Apprenticeship as a method of teaching and learning is just as relevant within the cognitive and metacognitive domain as it is in the psychomotor domain.

Teaching and learning through cognitive apprenticeship requires making tacit processes visible to learners so they can observe and then practice them (Collins et al., 1989). The following methods support the goals of cognitive apprenticeship.

  1. Modeling: meaning the demonstration of the temporal process of
    thinking.
  2. Explanation: explaining why activities take place as they do.
  3. Coaching: meaning the monitoring of students’ activities and
    assisting and supporting them where necessary.
  4. Scaffolding: meaning support of students so that they can cope with
    the task situation. The strategy also entails the gradual withdrawal of
    teacher from the process, when the students can manage on their
    own.
  5. Reflection: the student assesses and analyses his performance.
  6. Articulation: the results of reflection are put into verbal form.
  7. Explorations: the students are encouraged to form hypotheses, to
    test them, and to find new ideas and viewpoints. (Enkenberg, 2001,
    p. 503)

 

Cognitive Apprenticeship in Educational Practice – Vanessa Dennen

 

All great chess masters have attained their mastery by evaluating and memorizing the elegant games of past masters. The most essential thing to victory in chess is a “Good Plan,” though at the lower levels, almost any plan is better than no plan and can lead to victory. The only problem is: No one can really explain what a good plan is. I have yet to encounter a writer who can give a satisfactory explanation of the principles of a good plan. That doesn’t mean many haven’t tried, it’s just that their definitions don’t really define anything, and always they must take refuge in presenting a game from a master to illustrate their idea of a “plan.”

It is my personal opinion that you should simply cut out the middle man and go directly to the master’s game, learn it, and try to imitate it. Imitation is the most natural form of human learning due to our mirror neurons and other factors. All people learn first by imitation. The modern age of education has erroneously convinced us that we can learn by reading, we cannot. We all learn best by doing.

Simply playing through a master game can be very instructive, but the most important step in chess education is the act of memorizing games.

It is a basic truth that to be very good at chess you must have a very good memory. It is lucky for you that good memories are as easily made as they are born, and with some small amount of preparatory work you too can have a good memory, even if you have always thought you did not.

There are many scientific theories about how memory works or where it is located, and all of them are useless for our purposes. The main secret to memory is attention, and the main secret of attention is interest. The main focus of modern research into this domain, which is comically called edutainment comes with the unfortunate problem that compelling attention for one person doesn’t not always work for another. Systems of learning which attempt to generate interest must be tailored to a specific person, unfortunately the only person who thoroughly knows someone’s interests is themselves.

At the core of interest is something called the Von Restorff Effect

The Von Restorff effect (named after psychiatrist and children’s paediatrician Hedwig von Restorff 1906–1962), also called the isolation effect, predicts that an item that “stands out like a sore thumb” (called distinctive encoding) is more likely to be remembered than other items. It is a bias in favour of remembering the unusual.

Modern theory of the isolation effect emphasizes perceptual salience and accompanying differential attention to the isolated item as necessary for enhanced memory. In fact, von Restorff, whose paper is not available in English, presented evidence that perceptual salience is not necessary for the isolation effect. She further argued that the difference between the isolated and surrounding items is not sufficient to produce isolation effects but must be considered in the context of similarity.

Source: Wikipedia

You can actually use this effect to remember the effect, that is Hedwig was the name of Harry Potter’s Owl. The name Hedwig is very unusual, and you can use the memory method of association to the unusual (A fictional bird that delivers mail to Wizards should be rather unsual). Our brains are naturally interested in the unusual, images and situations that are outside of our normal day to day experience cause us to focus more attention on them.

To save you the trouble of trying to figure all of this out, I will cut to the chase: The two topics that are almost universally guaranteed to keep your interest are sex and the macabre. You will notice that modern news shows tend to focus on these two, so I think I shall rest my case as to their effectiveness and move on.

The training of your memory begins with building a basic foundation for remembering things by creating in your mind a series of explicit or macabre images and motifs that you will attach to pieces of information. Since this is a private matter, I will leave it up to you to decide what those are. The simple test to the effectiveness of your memory motifs is your complete lack of desire to tell anyone else about them. If you can imagine telling someone about your motifs, then they aren’t messed up enough and you should try to refine them. After the prurient and macabre themes come basic comedy. If you can mash up all three, all the better. Comic motifs, slapstick especially, are useful. Whatever you find, you must find subjects that really captivate your interest.

You might want to note down some of these motifs under the category of prurient, macabre and comedic and learn them well, explore them and add details.

For the purposes of education, I will give you some mild examples of each:

Prurient + Comedic

An individual or item, brought to life, that is so over-excited at the prospect of consummation that he/she/it cannot manage to find the right orifice.

Comedic + Macabre

A malevolent individual or item intent on some violent criminal act constantly defeated by his/her/its own incompetence.

These motifs become the consistent way in which you animate information in your mind in order to focus on the ‘facts’ by surrounding them with fantastic details which are not ‘salient’ but compel interest. The purpose of creating these motifs beforehand is so that when you are attempting to learn some information you are not wasting any time coming up with ideas about how to make them interesting. You already have a nice ready-made repertoire of motifs that you can go to in a pinch if nothing else suggests itself in the moment. You are not forced to use these motifs, for instance in the case of Hedwig Von Restorff, it wasn’t necessary as there was already plenty of narrative and mnemonic capital from the Harry Potter series to work with.

Narrative Capital

Narrative capital refers to stories and plots from movies, books, or real life anecdotes which titillate your mind, or did so in the past. If you really loved the Greek Myth of Pyramis and Thisbe, then you can use that plot line to remember things. If Winnie the Pooh story lines and characters really captivated you as a child, and the memory of them has remained, then you can make use of those characters and situations to aid you in memorizing new information.

As a for instance, instead of imagining some non-descript psychopathic axe murderer, why not turn Winnie the Pooh into a loveable but inept chainsaw wielding revenge killer of stuffed animals?

Mnemonic Capital

Mnemonic capital are things you already remember, very well and vividly. The journey method and loci method of memorization is based on pre-existing mnemonic capital. Now you either have it, or you want to build it. For instance, if you would like to use the Loci method, you should spend a week walking around your house, or yard, or a forest you really like and taking notes about your path and what you encounter. Each time you would make the notes more detailed, noticing more and more things until you have a large base of mnemonic capital to work with.

 

You must resist the temptation to be high-brow. This is why you should never tell people what narrative, mnemonic capital you use or what motifs you use, because you will then be tempted to use less interesting and less compelling elements of human experience. For instance James Joyce’s Ulysses is NOT a good source of narrative capital, and is also the choice of a pretentious bohemian douche, so stay away from high brow. The most important reason of course is that it simply will not work. No matter how hard you try, characters from Edith Wharton’s Age of Innocence just won’t cut it. Pride and Prejudice may work, as Elizabeth Bennet is a very compelling character in my opinion, and of course completely loveable. If you aren’t totally in love with Ms. Bennet by the end of the book, you have no soul. Or you don’t swing that way, in which case you should be in love with Mr. Darcy. If you are gay and not in love with Mr. Darcy by the end of that book, then you have no soul. Or at least no taste.

The Grand Chess Board

A man’s real possession is his memory. In nothing else is he so rich or so poor.

Alexander Smith

Being able to properly imagine the chess board, and to find ones way around it, you will need to become familiar with how it is structured. The chess board has 64 squares, half are dark, the other half white. The rows or ranks of squares alternate in color and each column or file begins on either a dark or light square. The bottom left square is always dark. The files are each given a letter, A B C D E F G H.  The files A C E G begin on a dark square, and you can remember this by the Mnemonic from music All Cars Eat Gas. The files B D F H all begin on a white square, and you can remember these with Boys Do Find Heaven, or Bill Did Fuck Heather. It helps if you know a person named Bill and another named Heather. Also you will notice that these things alternate. For instance ranks 1, 3, 5, and 7 all follow the A C E G Mnemonic. For ranks 2, 4, 6, and 8 it is the inverse. So All Cars Eat Gas are white squares and so on.

To know the color of any square on the chessboard you simply follow this rule: If the number is odd, it is the same as the start, if it is even, it is the opposite.

For instance d5 is white, because D starts on white and the number 5 is odd. g4 is white because G starts on a dark square and 4 is even. After some small amount of time you will no longer need to even think this way, you will just know what color the square is from basic practice.

From this you can extrapolate several interesting rules. If a Knight is on a dark square, say e5 (E starts on dark, and 5 is odd) then it can only attack or defend white squares. You will also always know which Bishop is the one moving in your mind because Bishops are restricted to only one color.

These bits of information help you with something called board vision, that is the ability to accurately imagine the chess board in your mind, and to see the movements of the pieces.

The Pieces

When most people think about chess pieces they say: There are 8 pawns, 2 Rooks, 2 Knights, 2 Bishops, and a King and Queen for each side, totaling 32 pieces. Unfortunately this is terribly inaccurate, we must be able to trace each and every piece through the game, and knowing the pieces starting point is not always helpful when reviewing long games. You will need to attach and name and personality to each and every piece on the board. This is something I cannot help you with, because you will need to find people or characters that are compelling to you. I will give you a few examples.

Most pieces on my board that are duos, the Black Knights are comedic duos, in this case Jay and Silent Bob. Silent Bob being the Queen’s Knight. On the white side they are Buddy Love(Jerry Lewis) and Dean Martin. My pawns are also named, for instance the c2 pawn is Flanders from the Simpsons, while the a7 pawn is Barney Gumble. Most of my pawns are cartoon characters. The Black Queen is Morticia Addams(Angelica Houston) and the White Queen is Emma Frost.

Doing this allows you to use something like the link or story method to remember a game, who killed or captured or threatened who? Why did they do it etc. Because we are social animals, we are naturally built to analyze and recall social interactions, so once your pieces begin to interact socially, or anti-socially, then their movements become more easy to recall.

I have found that using this method allows you to remember even 40-50 move games with relative ease.

The Link & Story Method

I group these two methods together as they tend to work ensemble when memorising a game. The Link method is simply the sequential interaction of elements. You e4 pawn moves, and the e57pawn blocks him, or your d7 pawn “attacks” him and so on. For short games, this is all that is necessary, though it helps if as you play each move you have the pieces interact, and say something, like a child playing with dolls.

The story method is the link method with motivations added in, so the reason that the d7 pawn attacks the e4 pawn is because e4 accidentally killed the d7 pawn’s brother in a tragic farming incident.

For instance the Scandinavian Defense main line could go:

The White Queen was bored one day and so she convinced the e2 pawn to go to e4 and scout out a possible attack against her rival the Black Queen, the d7 pawn, who had a grudge against the e2 pawn for jilting her at the altar jumped forward to attack, but the e4 pawn killed her in the ensuing scuffle. The Black Queen, who really liked the d5 pawn decided to kill d5 in return.

Of course, here you would insert the real names of your pieces. Because my d7 pawn is a dog, and my e2 pawn is a girl, this story wouldn’t work, but you get the basic idea. Naturally this is a trivial example, and you may not want to be so verbose for such a common opening with so few moves.

 

Before going into the actual memorizing, I must explain that your trained memory will be based almost entirely on mental pictures or images. These mental pictures will be easily recalled if they are made as ridiculous as you can possibly make them. Here are the twenty items that you will be able to memorize in sequence in a surprisingly short time.

carpet, paper, bottle, bed, fish, chair, window, telephone, cigarette, nail, typewriter, shoe, microphone, pen, television, plate, donut, car, coffee pot, and brick.

A famous man once said that method is the mother of memory. So, I’ll teach you now, what I call the Link method of memory. I’ve told you that your trained memory will consist mostly of ridiculous mental images, so let’s make ridiculous mental images of the above twenty items! Don’t be alarmed! It is child’s play, as a matter of fact it is almost like a game.
The first thing you have to do is to get a picture of the first item, “carpet,” in your mind. You all know what a carpet is – so just “see” it in your mind’s eye. Don’t just see the word, “carpet,” but actually, for a second, see either any carpet, or, a carpet that is in your own home and is therefore familiar to you. I have already told you that in order to remember anything, it must be associated in some way to something you already know or remember. The thing that you now know or already remember is the item, “carpet.” The new thing, the thing you want to remember will be the second item, “paper.”

Now the, here is your first and most important step towards your trained memory. You must now associate or link carpet to, or with, paper.

How to develop a super power memory – Harry Lorayne

 

Method is truly the mother of memory. Those people who think they have a bad memory only lack method. They imagine that memory is an automatic process only, you either remember or you don’t, but in this they are completely mistaken. You never remember anything you don’t notice first, and you always remember things that are of interest. Your memory must become something that is interesting and interactive. Once the process of memory becomes interactive, there is nothing you cannot recall.

 

 

Chess is absurd. Philosophically it is the ultimate proof that strategic thinking is inherently, and morally flawed. Whatever you have been told about chess, you need to forget it very quickly because it is wrong. Most people think that the point of chess is to checkmate the opponent’s King, this is completely naive. The point of chess is to acquire advantage, and then destroy everything except what you have. This advantage becomes smaller and smaller the better at chess you become, until at high levels, the mere possession of a well placed pawn decides victory. The point of the Opening in chess is to establish a basic position and snatch an advantage, however small. The point of the Middle Game is to perform a series of equal exchanges so that you maintain your advantage. The point of the End Game is finish destroying whatever your opponent has left, then marching your pawn to the other side of the board and converting it into a Queen. At which point check mate is an epiphenomenon. Very few chess games get to this point. Normally the opponent simply resigns once it becomes obvious he cannot win.

The reality of chess is that check mate is a secondary consideration, it only occurs outside of the End Game when either party has made a serious error.

The method of chess has very little to do with anything approaching strategy. Chess is, or at least has in the last 100 years become, the art of memorization. This doesn’t mean that there aren’t some basic strategic rules that you should follow, it simply means that they are few, and secondary to memorization. If you memorize the correct sequences of moves for all variations of merit from a specific opening, and your opponent hasn’t, all of his strategic plans will ultimately come to nothing.

This all seems counter-intuitive to early chess experience, because we get beaten badly and often, but these defeats are simply the impetus to learn more moves, more variations, more Opening Theory.

Of course, the term Opening Theory is just as absurd a collection of words as chess is a game of absurdities. There is no theory, there are only Lines. Lines are the arcane magic of the Grand Master, he memorizes them, he studies them, he runs them through Chess Engines (or he pays someone to do it for him). It is entirely possible that some Grand Masters are not quite aware of this, or some Masters of Chess. They actually may think that they have some natural intuitive strategic gift. Show me a Grand Master who has never memorized Games and Lines and I will show you a liar.

The Middle Game of chess is about the only place where cleverness, based on experience(read: how many games you have memorized or played through), can be of any assistance at all. At this point in the game you are to move your pieces around, and around, and around trying to create exchanges that 1) favor you or 2) don’t favor anyone (equal). Of course you are always on the lookout for acquiring a better position during all of this moving about. If your opponent makes an error (played the wrong move order as was said by Vishy Anand in one interview) then you might be able to grab another small or large advantage. At lower levels this error might be so big you can even grab an early check mate.

There is only one way to win chess: Know more than your opponent.

In some instances you may meet a person who has been playing chess for many years, who has never memorized a game, who doesn’t even know the names of the openings, and yet he beats you. Rerum omnium magister usus as the saying goes, experience is the master of all things. Everyone memorizes moves, sometimes over years of play and by a kind of subconscious (hey, this worked before) mechanism. You must study their method of play, what they like, and then work to acquire more information than them. In the end, you will lose all of about 40-50 games to them in the worst case. As you work to master the game (read: memorize lots and lots of games, variations and openings) you will eventually acquire more knowledge than them, and you will win.

In Review:

  1. Chess is a competition of memory (what worked in the past). There are two ways to acquire this, play lots of games, memorize/analyze lots of games. The second option is preferred.

  2. Forget about the god-damned King. Do not try to check mate the King. Do not make a plan to check mate the King. You can’t bury the King until you’ve built his Coffin.

  3. Pragmatism trumps Romanticism. You probably imagine chess as a struggle between mental giants. Actually it’s a struggle between human chess databases. How much you can fit in your head, and how quickly can you get it back out.

  4. You don’t have to be a genius to win at chess, you just have to either a) have a good memory, or b) be willing to work to gain a good memory. Barring some bizarre genetic defect or brain damage, anyone can have a good memory.

This book is the chess book that I have always wanted. I have managed to collect together many chess books, all very good, but each has its flaws. I am not writing this book as a master attempting to explain good chess, but as a student who is learning. Here is where I will gather all the knowledge I have learned thus far, in the hopes that it will help others, as well as myself.

Black is the most important side of the game, because its response to the opening move of white determines the game, the lines, and all the strategies to be employed. White is, in a sense privileged with the first move, but at a disadvantage if black is well prepared. A well prepared black player will also be a well prepared white player.

It is for this reason that this entire book will be from the perspective of black, and that is why it is called The Black Grimoire.

Style Guide

There are many different ways to present and annotate a chess game, most of them are rather irritating. The first is the practice of using chess piece dingbats, which in this book will be conspicuously absent. I prefer the letter notation, it is clearer, and more in line with the internet and fonts.

The next issue which I have, and perhaps I am alone in this, is that annotations usually serve to confuse and irritate you when trying to play through the game. Most annotations are completely useless, sycophantic, or so obscure as to be pointless to anyone who isn’t a grand-master. In this sense, the average annotated game is written for those who wouldn’t read it and read by those who can’t understand it.

On top of this, games are presented, unnecessarily, as a long unbroken string of text, or broken by the aforementioned pointless comments, which makes them devilishly difficult to follow. I find most chess games harder to read than LISP code, which is saying something. There is of course the argument that one should learn to read the game in the way it is normally presented, which is like saying we should still be programming Python, or Ruby like they used to program Assembly. I think not.

Notation and Symbols

Chess Piece Notation
K King ♔/♚
Q Queen ♕/♛
B Bishop ♗/♝
N Knight ♘/♞
R Rook ♖/♜
P or Absent Pawn ♙/♟

Individual moves are often ‘spiced’ up with long and complicated variations. Not here. Variations and Comments to a move come after a game, in the format of endnotes.

Chess Move Symbols
0 kingside castles
00 queenside castles
? bad or weak move
?? blunder, really bad move
© move is cautious, passive
! good move
!! brilliant move
!? interesting move
?! dubious move
Ω only move, forced move
initiative
lead in development
leads to counterplay
with the idea of e.g. ▲(Nxd5,b5,Bxf2+)
counter, prevents e.g. ▼(e4,Nd3)
black to move
white to move
> better is
= position is equal
== position is drawish
+= white has a slight advantage
=+ black has a slight advantage
+- white has the advantage
-+ black has the advantage
% fork, double attack where only one can be saved
+ check
++ double check
# mate

Games

Games are to be presented in a structured format that is easy to read by people. Presenting them in a format that is easy to parse for a computer, or to produce from a computer program is a mark of laziness. Computers are very good a parsing textual information. They perhaps used to not be, and so presenting textual games in the easy way for a computer to parse them too made sense, however readable formatting hardly interferes with parsing these days, so let’s do away with it entirely.

This presentation format is to ease the most important task when reading chess books: memorization. Each column is given 16 spaces on which to put information about the move. Also, I have done something rather evil, I have altered the symbols for castling kingside and queenside to 0 and 00 respectively, instead of the wholly useless but well recognized O-O and O-O-O. My desire for efficiency overrides my natural traditionalism.

Game annotations appear after the games themselves, not interspersed with the moves.

R. Fischer - R. Burger
San Francisco, 1963

 1. e4 e5       2. Nf3 Nc6     3. Bc4 Nf6     4. Ng5 d5
 5. exd5 Nd4    6. c3 b5       7. Bf1 Nxd5    8. cxd4 Qxg5
 9. Bxb5+ Kd8  10. Qf3 Bb7    11. 0 e4       12. Qxe4 Bd6
13. d3 Bxh2+   14. Kxh2 NF4 0-1

Annotations

1. e4 is the most common, and most logical move to make for white. Anything else is substandard, including 1. d4. 1. e4 does not endanger the King, like 1. d4, and allows both the Bishop on f1 and the Queen to move out freely.

1. … e5 is a common response from black. While it removes some of black’s best defensive lines from the table, it is still a very strong response for the same reasons that 1. e4 is.

2. Nf3 targets black’s e5 pawn, forcing him to defend it. Defending it with f6?? is the worst possible move because [ 2. … f6 3. Nxe5 fxe5 4. Qh5+ g6 5. Qxe5+ Qd8 6. Qxh8 Qg7 7. Qxg7 Bxg7 +-], d6 is very passive, but it can lead to [ 2. … d6© 3. Nc3 Bg4!? 4. d4 Nc6 5. d5 Nd4!? ] which is almost an octopus, but we haven’t traded off the dark square bishops yet, so 6. Be3 wins out, but at least we have [ 6. Be3 Nxf3 7. gxf3Ω Bd7] but white is still somewhat better here and that can only improve over time. Most continuations from here lead to white having the advantage. That is of course if white plays well, or even perfectly, but d6 has to be dubious at best.

Of course black isn’t compelled to defend it, but if he doesn’t he drops a pawn, and an important pawn at that, and gives white a powerful outpost for his knight, or even worse, a powerful lever on the kingside. Best case scenario, [ 2. … Bc5 3. Nxe5 Nc6 4. Nxc6 dxc6 5. Bf2 +-]

3. Bc4 is a classic developing move. The threat here is on f7, a notoriously weak square, where a Scholar’s Mate can take place. A somewhat trivial example, possible only against a very inexperienced player would be [ 3… h7 4. Ng5 hxg5 5. Qf3 g4 6. Qxf7# ] I recently played almost the exact same game against my little sister.

The real intention here is to play the Two Knights Defense, ECO 57 which goes 1. e4 e5 2. Nf3 Nc6 3. Bc4 Nf6 4. Ng5 d5 5. exd5.

3. … Nf6 an excellent developing move to get ready to castle kingside. This Bishop when placed here is an anti-mate piece, and makes the castled King very difficult to assail (if black chooses to castle kingside). A few mates against the kingside start with some method of levering this Knight away. The same is true of the Knight on f3. Consider the following diagram.

Qxf3 2. gxf3 Rg8+ 3. Kh1 Bxf3#

Mate in 3 moves: … Qxf3 2. gxf3 Rg8+ 3. Kh1 Bxf3#
Source: (Venia, The Black and White Jungle)
Diagram made by JolieRouge.

4. Ng5▲( 4. … d5 5. exd5 Nxd5 Two Knights(Fegatello Attack or better known as the Fried Liver) is a bit old school.

4. … d5 naturally defends, develops, and attacks.

5. exd5 seems like a good idea, white invades black’s territory, attacks the knight and levers him away and he is expecting Wilkes-Barre/Traxler Nxd5(C57), only it levers him to

5. … Nd4 has no intention of falling into this classic trap that has been known and played since the 1600s.

6. c3 is about the only response here, white cannot allow black to establish his knight so close.

6. … b5! white’s ideas are crumbling at this point.

7. Bf1 is really passive, white doesn’t know what to think > cxd4 with 7. cxd4 bxc4 8. dxe5 Qxd5 9. 0.

7. … Nxd5 is the best move centralizing the Knight and revealing an attack on white’s Knight on g5.

10. Qf3 is not the best move, castles here would have been a bit safer then [ 10. … Bb7 11. Qf3 exd4 12.
d3 Qg6 ]
but from here on out, it’s pretty standard moves.

11. … e4 puts pressure on the Queen, but c6 is an alternative, as white’s Bishop is too close for comfort. Especially if the Queen takes the e4 pawn, with a sincere mate threat.

12. Qxe4 white is really hanging on, the mate threat is real, but it’s black to move and this is a bit too obvious.

If the white Queen makes it to e8, it's all over.

If the white Queen makes it to e8 with a Rook behind her, it’s all over but the crying.

12. … Bd6 as the rule goes, never make your plans so obvious. Black finds the best move in this situation. It’s still in the air, will white make the best move?

13. d3 doesn’t cut it, Re1 keeps the pressure on and goes for the jugular. Sure white is cramped like hell, and black looks better, but d3 is just too direct.

13. … Bxh2+ is the winning move here, completely disregarding the threat of Bxg5 and sacrificing the Bishop.

14. Kxh2Ω

14. … Nd4 Bobby calls it quits here, because Qh4+ and Bxe4 losing the Queen, he’s cramped, his threats are hosed, and he is down a Queen. Black simply outplayed him.

Color Coding

Unlike most books, colors are easy to use on the web. When I take chess notes in a notebook, I use different color pens to make different types of notes and annotations. This is especially useful when dealing with variations.

Openings appear in this color, this means that it is a known/common opening sequence

[ variations will often appear like this [ second level variations (a1) appear like so [ and rarely, third level (a2) ] ] ] when inline text.