Archive for the ‘Chess’ Category

How a chess grandmaster tried to outwit the computer – Prospect Magazine

Thinking that chess had lost much of its spontaneity, American grandmaster Bobby Fischer developed his own variation of the game that is still played today Photo: David Attie/Getty Images

On Sunday 23rd July 1972, the Americangrandmaster Bobby Fischer made the first move of the sixth game in the world chess championshipshunting his pawn two squares up the board.

Nothing, in itself, was unusual about that. Pushing either of the middle d or e pawns two squares forward is the most common way to begin a game. But this move involved neither of these pawns and took Fischers opponentthe reigning world champion Boris Spasskyby complete surprise. Moreover, because he had not expected it, he had not prepared for it.

Fischer began with square c2 to c4the English Opening (so called because it was a favourite of a 19th-century English chess champion, Howard Staunton). To those who dont follow chess, it might sound a comically small twistthe same move, just one or two spaces along. But it shook everything up, and shook Spassky up in particular. During the months he had been in training, the indolent Russian had pooh-poohed the notion that he had to be ready to respond to all of whites opening options. Fischer almost unfailingly played e4. Surely he would not unleash a new opening in the most important match of his lifetime? Its not easy to think of analogies, but imagine a fast bowler in cricket suddenly bamboozling the batsman with an over of leg-spin.

With both sides in unfamiliar territory, the game itself proved the most beautiful of the championship. After resigning, Spassky joined the spectators in applause at his opponents brilliance. Fischer was now ahead in the match; six weeks later he would be crowned the 11th world champion.

A quarter of a century on, Fischer called a shock press conference in Argentina. Since his headline-grabbing battle with Spassky, the American genius had become a recluse. In the past hed been described as troubled, turbulent, mercurial, and had engaged in crude antisemitism despite being of Jewish descent; it was now clear that hed tipped into paranoia. Hed resurfaced from isolation in 1992 to play a rematch against Spassky in war-torn former Yugoslavia, in defiance of US sanctions. After winning, Fischer disappeared yet again, this time as a wanted criminal.

The 1996 Buenos Aires press conference was packed. In his meandering remarks, Fischer denounced the arrest warrant against him and complained that hed been denied payments from various books and films that supposedly exploited his name. But eventually, he got to his point: the promotion of a new type of chess, Fischer Random, which built-in far twistier twists than his celebrated opener in 1972.

This game would be like ordinary chess in most respects. Each side would have eight pawns, arrayed on the second (white) and seventh (black) ranks. Each side would have two rooks, two knights, two bishops, a king and a queen. The pieces would move as before, and the object of the game would still be to checkmate the other side. But there would be one radical -departure: the pieces on the back ranks would be orderedor maybe that should be disorderedrandomly.

For what reason? Well, four months earlier the IBM computer, Deep Blue, had taken on the world champion Garry Kasparov. Deep Blue had humiliated Kasparov in the first game, and although it lost the series, it was clear that the era of mans superiority over the machine was approaching its end. In 1997, Kasparov would be crushed by a new and improved Deep Blue.

One might have expected Fischer to take some schadenfreude from Kasparovs struggles against the chess supercomputer. Fischer was a child of the Cold War, and despite the collapse of the Soviet Union five years earlier, he retained an enduring conviction that the Russians were cheats, frauds and schemers. During the Argentine press conference, he defamed his two successors, Kasparov and Anatoly Karpovtheir games against each other were fixed, he said. If supposed Russian rigging were the problem, then Fischer Random could have helped: when you have no idea what the set up of the pieces is in advance, collusion becomes impossible.

Some chess matches are so methodical they conclude before players are out of their rote-learned opening moves

But the tilting of the scales against humans of all nations was even more of an affront to Fischer. Computers, he grumbled, had an unfair edge. No human could memorise the millions of opening variations that programmers could simply enter into Deep Blues database. Without that advantage, he insisted, human creativity could still vanquish any silicon wannabe. His aim, then, was to provide an answer of sorts to the creeping digital dominance of the game.

Twenty-four years on and Fischer Random, though still a minority pursuit, grows ever-more popular: you can buy chess clocks that double-up as gadgets that shuffle the starting order of the pieces around. For ordinary fans, the appeal is simple: the variant rescues the top-level game from what had increasingly become a struggle between human databases.

With the assistance of chess software engines, todays top players can spend hours on openings each day, endlessly analysing innovations that have been made in games by others, becoming encyclopaedias of past play. Its a lot to keep up with, says Britains leading player, Michael Adams. If thats exhausting for them, its also deadening for those who watchit can mean it takes 15 or 20 moves before any novel position appears. Indeed, some games nowconcludebefore one or even both of the players are out of their rote-learned preparation. When the player on each side of the board is going through a drill, there is little drama, and the upshot, far too often, is a crowd-displeasing draw.

Look only at how many people areplayingchess, and it seems as popular as everthere have not been many winners from the Covid-19 pandemic, but with millions stuck at home the online game has boomed. On the website chess.com, there were 204m games between humans in February 2020, but 323m by June, growth of over 50 per cent in those few locked-down months. Still, there is a nagging sense that there is something missing in the spirit of the game, particularly at the top, which has sparked many different ideas to revive it. The AI company Deep Mind has been analysing various radical options, assessing the permutations and whether potential new laws could create a dynamic but balanced game. One mooted idea is that castling, the manoeuvre that allows you to shuffle around a king and a rook in a single move, should be abolished. Anotherwhich opens up what to chess players would seem like almost psychedelic strategiespermits players to capture their own pieces.

Fischer Random was supposed to give humans the upper hand against computers. Instead the opposite happened

But among many weird variations, Fischer Random remains the front runner, becauseby subjecting the starting position to the luck of the drawit directly attacks the curse of over-preparation in the database age. The alien piece arrangement can flummox players from the very first move. The long years in which a grandmaster has deepened his (and it is usually his) knowledge of the Ruy Lopez, the Sicilian Najdorf, the Nimzo-Indian or any other openings for white and black suddenly count for nothing. All the cognitive sweat from memorising innumerable opening lines yields no advantage. The thousands of hours top players put into opening training and development are redundant: what matters is raw talent.

The first Fischer Random tournament was held the same year as Fischers press conference. In 2001, the Hungarian grandmaster Peter Leko defeated Michael Adams to become the first unofficial Fischer Random champion. Only last year, however, 11 years after Fischer died, did the game truly hit the big time: receiving the imprimatur of the International Chess Federation, which held a formal Fischer Random tournament featuring some of the worlds top players and a respectable prize fund ($375,000). The introduction of chance in the ultimate game of skill gave rise to a new little ritual: 15 minutes before each game begins, and with the players present, a computer runs software to generate and reveal the piece set up. The Federation President Arkady Dvorkovich described the tournament as an unprecedented move.

There are, however, still plenty of naysayersand sometimes the critics have a point. In normal chess, learning from the mistakes made in previous openings is one of the main ways to improve; in the opening of Fischer Random, theres virtually no scope for learning by doing and the satisfaction that comes with that. Whats more, depending on how the pieces are originally arranged, the first mover advantage of white (which is negligible in ordinary chess) may be greatly enhanced, creating an uneven contest.

But the most common objection to Fischer Random is less well grounded; namely, that its not real chess. This is a variant of a moan heard across many sports. Test cricket fans grumble that Twenty20the fast-paced 20-overs-a-team game that has drawn huge interest and many new fansis not real cricket. Its as though there were an ideal, Platonic form of chess or cricket, against which every variation is merely a shadow approximation.

But it is of course a mistake to imagine that Test cricket or chess materialised fully formed into the world. Games evolve, and chess certainly has. Several hundred years ago, for example, the queen was a less potent piece than she is today. Rules are modified for a variety of reasonsto make the competition more tense and exciting, for example, or, as with the 1992 change to the back-pass-to-goalkeeper rule in football, to make the game more fluid and aesthetically pleasing.

If the rules diverge sufficiently, of course, the novel game may be too different from the original for the old label to be sensibly attached. One could imagine the rules of chess being adjusted bit by bit, until chess became draughts. But chess is not draughtsand it was important to Fischer that Fischer Random remained recognisable as the child of its parent. Constraints have been imposed on how the back pieces are to be shuffled: for example, the king has to sit between the two rooks, which allows for a rather baffling form of castling and, to retain another central feature of the game, the two bishops must occupy opposite coloured squares. Most fundamentally, just like the original white and black setups, the two shuffled back ranks have to mirror each other. Within these limitations, there are still 960 possible starting combinationsand so Fischer Random is now sometimes called Chess 960.

Fischer Random chess is radically different from ordinary chess, but not so radically different that its not chess. You could waste a lot of time on puzzles akin to the Ship of Theseus, and ask how many planks can be replaced before it ceases to be the same thing. It is, however, much more instructive simply to look at who plays the game well.

Some professional cricketers who excel in Twenty20 cricket may not thrive in quite the same way in sedate five-day Tests. Still, theres an enormous overlap between the best Twenty20 cricketers and the best Test cricketers, and the same holds for Fischer Random. Last years official championship culminated in a final between Wesley So (a world top-ten player) and the current world champion in ordinary chess, the Norwegian Magnus Carlsen. On this occasion, Wesley So was victorious, but it seems likely, says Michael Adams, that if Fischer Random became the main version of chess, then Carlsen would become the strongest player.

For, disorientating though it feels, Fischer Random requires the same skills as ordinary chess: pattern recognition, insight and intuition, calculation and strategy. Or at least, the same skill set as was required before the technologies that catalogue and crunch openings and past games put such a premium on the retention of desiccated knowledge. For the first part of a Fischer Random game, its as though players are in a familiar but dark room, bumping around the furniture, trying to find the door outbut then they emerge blinking into the light. It can take quite a few moves, but once the players have reconfigured their forces, a position materialises that could have easily appeared in a game played with the usual rules, though perhaps with a stray bishop languishing in a corner somewhere.

It is not only in games but in many other areas of our lives that it is becoming necessary to modify rules and practices to check the might of technology from warping behaviour. What with our data protection regulations, advice on digital detoxing and laws to protect individuals against revenge porn, there are occasions when we admit that digital advances can also have damaging and unforeseen consequences for human interaction. The sapping, stifling dependence on software and searchable databases on the art of top-level chess may not be a harm of the same order, but it is another instance of a negative spillover from silicon processing power on the way that we rub along. Fischer Random is an ingeniously simple way to liberate us from these effects.

In many areas of our lives, beyond games, it is becoming necessary to modify rules and practices

But the irony is this. Fischer believed his invention was a clever means to befuddle silicon opposition, much the way his surprise move wrong-footed Spassky in 1972. He thought that a throw of the dice, the introduction of the random element into a game of pure skill, would readjust the odds in the humans favour. The opposite is true. The exotic set-up disorientates humans and makes much of their training redundant. Judging the state of a position, at least in the early stages of a Fischer Random game, is difficult. But the new chess engines, built on powerful artificial intelligence, operate through reinforced learning and are indifferent to human assessment. They have long dispensed with the need for human opening theory. They arent discombobulated by peculiar piece configurations, or anything else. Far from improving humanitys prospects vs the machine, Fischer Random stretches the gap, cutting off formidable human weaponspreparation and early-stage pattern recognition.

I didnt invent Fischer Random chess to destroy chess, Fischer said in an interview in 1999, I invented Fischer Random chess to keep chess going. It was a noble sentiment, and his beautiful creation really does serve the cause of human vs human chess.But the human vs software chapter of chess history is over.

Excerpt from:
How a chess grandmaster tried to outwit the computer - Prospect Magazine

So Beats Abdusattorov In Speed Chess Match – Chess.com

In the fourth match of the2020 Speed Chess Championship Main Event, GM Wesley So(@GMWSO) defeated GM Nodirbek Abdusattorov (@ChessWarrior7197) 18-10.The next match is Nepomniachtchi vs. Aronian on Wednesday, November 11, at9 a.m. Pacific / 18:00 Central Europe.

How to watch?The games of the Speed Chess Championship Main Event are played on the Chess.com live server. They are also available on our platform for watching live games at Chess.com/events and on our apps under "Watch." Expert commentary can be enjoyed at Chess.com/tv.

Except for a brief comeback from Abdusattorov at the end of the five-minute portion, So dominated the match from start to finish. He brought his great play at the American championship into his next tournament while the Uzbek youngster couldn't find his best form.

The live broadcast of the match.

So played the match from his home in Minnetonka, Minnesota; Abdusattorov played from Tashkent, Uzbekistan. The players in this competition play with two cameras (for fair play reasons). Since both of them had no problem with Chess.com showing the cameras in the broadcast, the fans had the opportunity to see their setup:

So, who played with a relatively small board in the corner of a big computer screen,started with three winsall three scored in endgames. His opponent was fairly close to a draw in game two but couldn't hold it in the end. "Wesley stole that one!" said commentator GM Maurice Ashley.

After a draw, So won a quick game in a Two Knights Defense that gave him a four-point lead. Abdusattorov referred to this game afterward: "His opening preparation was amazing. [In this game] he just crushed me."

The author has added some engine lines to this game, which is very hard to understand in general without using a computer. It's worth noting that it was theory for 18 moves.

In game six, Abdusattorov finally got his first win. "I said to myself, OK, I need to play faster and my best. And then it became very close," he said afterward.

The next game ended in a draw, but then the Uzbek GM won two more. Suddenly he was just one point behind. So later admitted that this was the first of two times in the match that he "tilted."

The five-minute portion ended with one more draw, which meant the score was 5.5-4.5 with So leading. The American player started the three-minute segment with a win but then blundered again. Did commentator IM Danny Rensch jinx him?

Were we going to see a close battle after all? Alas, it didn't happen. At this point,So won five games in a row to take a commanding six-point lead. That blow Abdusattorov couldn't recover from.

"He's just a little off," said commentator Ashley. "This youngster is stronger than me and you, no question about it. We should not be seeing moves that he doesn't see. When that starts to happen, I get scared in commentary."

So could even have entered the bullet portion with a slightly bigger lead as he missed a win in game 19. Somehow, pawn endings are always interesting, so let's look at this one and learn:

By winning the first three bullet games, So made it clear that he wasn't going to allow another comeback. In this phase, he also used the well-known technique of winning time on the match clock by, for example, not resigning in this game:

The second moment So went on "tilt" was at the very end. Leading 18-8, he lost the last two bullet games that gave Abdusattorov both a more decent-looking final score and some extra prize money.These were the last moves of the match:

So said he got "a bit careless" halfway in the five-minute segment: "Actually, I was quite angry with myself because first of all, I lost on time in two or three games. That's frustrating. After the first four wins, I thought the match would be comfortable, but then Nodirbek played very well today. He is always looking for a fight. He gets fighting positions with both white and black, so it's hard for me to consolidate."

Abdusattorov won $714.29 based on win percentage; So won $2,000 for the victory plus $1,285.71 on percentage, totaling $3,285.71. He moves on to the quarterfinals, where he will play the winner of GMsFabiano Caruana and Jan-Krzysztof Duda.

All games

Here's the remaining schedule for the round of 16:

The 2020 Speed Chess Championship Main Event is a knockout tournament among 16 of the best grandmasters in the world who will play for a $100,000 prize fund, double the amount of last year. The tournament will run November 1-December 13, 2020 on Chess.com. Each individual match will feature 90 minutes of 5+1 blitz, 60 minutes of 3+1 blitz, and 30 minutes of 1+1 bullet chess.

See also:

Excerpt from:
So Beats Abdusattorov In Speed Chess Match - Chess.com

Should Open Tournaments Be Included In World Chess Championship Cycle? – Chess.com

In a statement published on its website, the Association of Chess Professionals (ACP) makes a proposal for changing the world championship cycle. The main change the ACP proposes is to include open tournaments.

The association, a non-profit founded in 2003 to protectchess professionals rights,makes a comparison with tennis: "In tennis, we have the Grand Slams at the top, but also the local Futures tournaments at the bottom. The structure is clear, easy to understand and the players see the way to the top ahead of them."

Chess is described as a pyramid with the world championship match at the top, and below that the Candidates tournament,the Grand Prix tournaments, the World Cup, and the continental championshipsthe latter being the only entry point for a large majority of the players.

The ACP calls this system "elitist." The association claims that the continental championships are "not easily accessible to the lower-rated professionals, among other things because they are very expensive tournaments to play in."

The ACP likes to add another, bottom layer to the pyramid: open tournaments, describing them as "the bread and butter of the chess world." Although concrete research is not mentioned, the ACP states that many chess players "feel trapped in this 'swamp' of opens without a clear idea how to go 'upwards,' how to feel integrated in the big picture and feel part of the whole chess family. In its current state the chess world is a segregated place with the elite and the rest living in different worlds."

What the ACP proposes is to make open tournaments part of the world championship cycle, with the current ACP Tour system or a similar one serving as a point-based tournament circuit.

"At the end of the year, the top 20 of the World Open Circuit qualify for the first round of the World Cup, thus providing direct access to the world championship cycle," says the ACP. "This would ensure that chess is as meritocratic as it can be and as it should be."

The International Chess Federation, responsible for the world chess championship cycle, is reacting positively. FIDE Director GeneralEmil Sutovsky likes the idea but also notes that there are more opportunities to qualify for the World Cup than the ACP suggests:

"I like a lot the idea of Swiss events being implemented as a part of the cycle.However, I don't see how the ACP proposal addresses the problem of disproportional opportunities. Actually, FIDE made an effort last year and expanded the World Cup from 128 to 206 participants. One can qualify for it by rating, through continental championships, through numerous zonal events, and now through national championships in most of the countries as well. If we talk about the best opens, their winners would qualify for the World Cup through one of the above-mentioned paths.

"While rewarding one player who was just behind the qualifiers looks logical, it seems odd to allocate 20 spots for these purposes. In addition, it has to be said that a proposal to organize some circuit of 20 strong open events sounds untimely, as most of these events are now canceled or postponed."

"Having said that, I reiterate my opinion: big Swiss events shall be implemented one way or another to the cycle. Of course, it can happen only when normal life gets restored, and we will have a sufficient number of high-level events to call it a circuit.

"Meanwhile, FIDE is planning the Grand Swiss and Women Grand Swiss, which will be announced soon. These events help a lot to all the excellent players who are ranked between 2650 to 2750 (and 2400-2500 ladies)."

The Norwegian grandmaster Jon Ludvig Hammer, a popular chess commentator on national television, has a different opinion. He starts by saying that the ACP is "misleading" about the effects of such a tour system:

"The World Cup will rarely offer opportunities to what they call 'lower-rated professionals' because its a tournament for the very best, and as long as the World Cup remains an attractive tournament financially, the best will adapt to whatever qualification system used, including a tour."

Hammer agrees with the claim that the current state of the chess world is "a segregated place with the elite and the rest living in different worlds" but sees the bottleneck elsewhere:

"I think that separation happens at world rank 25, not the World Cup. In fact, the World Cup is the great equalizer, allowing second- and third-tier players a big payday if they perform their very best. If you are not rated in the top 100 in the world, making a living from exclusively playing will always be a challenging task, and many in that bracket wanting to be chess professionals try establishing themselves as coaches instead."

Australia's former top grandmaster, coach, and journalist Ian Rogers says the ACP proposal is likely going to be "unfair and expensive." According to Rogers, the proposal is too much focused on Europe:

"The proposal seems to have been devised by Europeans for the benefit of Europeans. Unless the ACP circuit includes an equitable number of open tournaments in Asia, the Americas, and Africa, as well as Europe, it is simply a method of tilting the odds against a non-European becoming world champion."

Rogers adds: "The problem which the ACP fails to address, or even acknowledge, is that it was Europe's choice to abolish their zonal tournaments and require everyone but the stars to play in an enormous continental championship in order to qualify for the World Cup. Then they forced the players to pay a lot of money to play in it. So Europe should solve their own problemsnot create a new pathway which is going to benefit them above others."

Since it was founded 17 years ago, the ACP has struggled to play a significant role in the chess world. That role seemed even further diminished when in 2018 the new FIDE leadership under President Arkady Dvorkovich accepted a lot of suggestions from the ACP and installed the now-former ACP President Sutovsky as its Director General.

"The ACP is a very niche organization," says Hammer. "In order to grow to a sustainable size, theyve had to accept more people from outside the top 100 than in it. As a result, we get press releases like this, where the ACP is representing its members, but members who dont have the level needed to live as full-time chess professionals. I think they should focus on bridging the gap between number 40 and number 20 on the world rankings, rather than bridging the gap between 600 and 100.

"I think ACPs true goal is to elevate their own product, the ACP tour, which hasnt been a big success at any point since its inception in 2005, but I fail to see how that qualification method is better than the established one we already have in place."

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Should Open Tournaments Be Included In World Chess Championship Cycle? - Chess.com

From the 64 squares to Hollywood: In conversation with chess coach Bruce Pandolfini – Sportskeeda

Bruce Pandolfini is one of the most experienced chess coaches in America, having trained the likes of Fabiano Caruana, Josh Waitzkin, and many other big names. He has given thousands of training sessions and has authored more than thirty books.

Moreover, he has also been one of the main subjects of the book and film "Searching for Bobby Fischer". More recently, he worked on the webseries "The Queen's Gambit" and came up with the name for the show. His vast career in the world of the 64 squares gives us a chance to buzz him with a ton of questions. So, here's to moving on to the Q/A.

1.How did you get into chess? What were the early days like?

My mother showed me the moves at age 9, but I didnt get excited about chess until I was almost 14. I came upon the chess section in a public library. There were 32 books. I was permitted to take out no more than 6 books at a time. I took out 6, and then went back 5 more times to clean out the entire section. I stayed home for the next month and read chess books.

2.You were a solid player with a high rating, but you switched into training players. How and why did this happen?

It happened by chance. I was a television analyst for the Fischer-Spassky Match. Afterward, I had many requests for chess lessons. My schedule became quite full, and I suddenly found myself giving lessons all day long. After that, I never had any time to play. De facto, I had become a chess teacher and coach. Whats more, Im glad it all worked out that way.

3.Tell us about some of your strategies for coaching chess players.

From the beginning of my teaching, I concentrated on the endgame. I also relied on asking lots of questions to help students think more logically. My emphasis was on analysis and guiding students to make relevant decisions. When analyzing, I never let students move the pieces. Everything had to be done in the mind. If the student touched a piece, it was considered automatically wrong, even if the move was correct. To become a perfect master, one must master self-control. I believed, and still do, this method helps to instill true mastery.

4.You have worked with some prodigies like Josh Waitzkin, Caruana, and others. What was your experience working with them?

Ive been very fortunate, blessed with remarkable students. With all such wonderful talents, one quality always comes through. They all love chess. It is easy to teach when your students have a passion for learning.

5.You were one of the main subjects of the film "Searching for Bobby Fischer" and were played by the Oscar winning actor Ben Kingsley. Can you recount your experience about this film?

It was a fascinating experience - one I shall never forget. Mr. Kingsley was very friendly, and a true professional. He worked diligently to get things right. When I initially sat down with the director/screenwriter in his Hollywood office, I noticed a note from his secretary on his desk. It simply said: Spielberg called. I knew I was in another world.

6.How has your teaching chess evolved over the years? What have been some of the biggest moments and learnings from your career?

I didnt know what I was doing at first. I never thought I was entering into a lifelong profession. It just happened over time. From the start, I stressed endgame fundamentals and principles. I was greatly influenced by famous teachers like Capablanca, Tarrasch and Lasker. As far as big moments go, there have been many. Ive enjoyed every students success, and there have been many.

But there have also been abysmal lows. Each major defeat left me depressed. But then one day I had a realization. If I accepted blame for their defeats, should I accept credit for their victories? The answer is, of course not. I always try my best, but I dont play the moves, good ones or bad ones. Its as Ben Kingsley more or less says in Searching for Bobby Fischer: In the end, they are who they are.

7.Apart from being a trainer, you are also a prolific writer. Can you talk about your writing journey, sharing with us some tips?

I am not a natural writer. Ive always had to work hard at my writing. Now, I had a great deal of help. My mother was an editor for Simon & Schuster, Random House, and such. She would show me how to edit pieces practically every day. One thing I learned from her is to just get it down.

That is, write what youre trying to say, without getting fancy. You can refine it afterward. Writers are apt to obsess over each sentence, right from the start. Going about it that way, spending a good deal of time over every nuance, often gets nowhere. The other thing I picked up from her is to use simple language and short sentences.

Long sentences can be troublesome to read. One-syllable words tend to be more effective than multi-syllable words. But good writing also has creative variation. Sometimes, the unexpected is just what a piece might need. Finally, for my own writing, I always like to close (if I can) with a pithy line at the end that kind of summarizes the entire piece.

8.Recently, you were the chess consultant for the drama series "The Queen's Gambit" along with the former World Champion and number one player Garry Kasparov. Can you tell us about your role and experience working on this series?

My involvement with the project goes back 38 years. That is, I was the Random House consultant on the original novel. I first saw the manuscript in 1982. The final title, The Queens Gambit, comes from me. I was hired by Netflix in 2018 to be a script consultant for the series and to create all the chess positions. I was also responsible for training the actors.

Originally, I came up with 92 positions to correspond to critical script situations. Garry Kasparov provided cardinal advice on 6-8 of those key positions, devising ingeniously brilliant variations and novelties.

Moreover, he provided the director with an insiders view of chess in Russia. But there were also two very gifted chess experts from Germany who helped immeasurably. Iepe Rubingh (who sadly passed away this past year) and John Paul Atkinson. They were both incredible.

The final game was developed by Kasparov. But because of cinematic necessity, I had to change the ending with minutes to go before filming, and those changes are what the viewer sees on screen. Of course, we had to get the chess as correct as possible. But the series is fiction. Its drama. So, the most important thing was to make sure the chess enhanced the storyline and did not impair the narratives flow. More than anything, we wanted the actors to look like real chess players, and I think they do. Anya-Taylor Joy is brilliant. Director/screenwriter Scott Frank is masterful. I think they, along with the entire cast and crew, did a fantastic job.

9.What can you say about the current online chess model? How have you been adapting to the virtual world?

There are obvious drawbacks to online chess and competition, but there are positives as well. During these difficult days, it has granted aficionados chances to play regularly and stray sharp. It seems that untold new players are being drawn to the game every week. The software is getting better and better.

I can only imagine what Bobby Fischer would have done if he had had access to all these programs and possibilities. For me, I still give lessons online. There are advantages, indeed, because you can look at material more quickly and see more examples over a given time frame. But I do feel something is lost at the same time, at least on the human level. Nevertheless, the future of chess remains quite bright.

10.What advice could you give to the readers?

The best way to improve at chess is to play and be challenged regularly. While playing, I believe you should give it your all. Too many of us take training lightly, playing practice games too casually. Students should practice and train for real, always giving their very best. I will leave the readers this final piece of advice. Play as if the future of humanity depends on your efforts. In fact, it does.

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From the 64 squares to Hollywood: In conversation with chess coach Bruce Pandolfini - Sportskeeda

We Talk ‘Queen’s Gambit’ With Chess Expert And Tiny Desk Winner Linda Diaz – NPR

Anya Taylor-Joy plays Beth in the Netflix series The Queen's Gambit. Phil Bray/Netflix hide caption

Anya Taylor-Joy plays Beth in the Netflix series The Queen's Gambit.

The Netflix series The Queen's Gambit follows a chess prodigy named Beth, played Anya Taylor-Joy, from her childhood in an orphanage through her spectacular career in chess. She learns in a basement from a custodian and grows into a champion.

This year's Tiny Desk Contest winner is Linda Diaz, a musician who, as it turns out, is also a chess expert who had a successful professional career in chess for much of her life. We figured there was no one better to talk to about chess, challenges and what the series does and doesn't get right. Below are some excerpts from the conversation; you can listen to the whole thing below. Her bottom line: "I loved it. I watched the whole thing in two days."

This interview is edited for length and clarity.

On the appearance of Beth's first chess teacher, the custodian at her orphanage

A lot of children's first experiences start with a mentor. So their parents, or their older siblings, or a coach. And I think that is what Beth had, even though it wasn't necessarily called that by name. That was her first coach. Sometimes, especially for young girls who are discouraged from playing chess, I think it really does take someone seeing something in you and motivating you to work harder and be your best. That definitely happened to me at a young age. I had a good disposition to play chess, is what my coaches said. I was really quiet, and I could sit for a long period of time. And I was six years old, so that was a big deal. I was the worst chess player on the chess team, like until fourth grade, from kindergarten to fourth grade, which is a long time. And they were like, "Stick with it, keep her in the game." And then in fourth grade, I just blossomed. I won City's. I got second in State, and then I won SuperNationals, all in a row, and that launched my whole chess career. And that just took people really believing in me and motivating me. So, yeah, I think it's incredibly realistic. I really did relate to that relationship that she had with her coach, the custodian.

On being a young woman playing elite chess

In terms of the show and Beth's experience, a lot of that was similar to me, and even worse in some ways. I think the show definitely gets it right that she's critiqued for having these traits about her that men have and are praised for. She plays a Sicilian [defense]; I also used to play the Sicilian. She's an intuitive thinker; I also am an intuitive thinker. And she's really aggressive. And I was also an aggressive player. And so it comes off as "you're impatient," and really it's that you're creative and you're naturally gifted. And so I really saw that in her. I had a lot of people say, you know, you need to study your openings, study your end game, you need to do X, Y, Z, which I probably should have also done. But I did have these gifts that really took specific people to nurture those gifts.

I definitely have a lot of guy friends, obviously from chess. However, my experience was just being completely sexualized, not really respected as a person, even if I was respected as a player in some ways. I was oftentimes the youngest person in a lot of these rooms. I would travel internationally and grown adult men, sometimes with intentions, sometimes just out of ignorance, not knowing how old I was, depending on the age, would just be incredibly inappropriate to me in many ways. Like make me feel stupid, make me feel small, emotionally manipulate me. And I think a lot of women have this same experience. And so it was cool on the show to see Beth be very smart, very on it, having friends who are kind of looking out for her.

On Beth's issues with mental health and addiction to prescription medications

There are all these lines that kind of glorify it in the show, like "genius and madness go hand in hand." But I really believe that's true. You know, people whose brains think differently are often wired a little bit differently. And they're often if you're very emotional, then you're susceptible to certain things, or if you're obsessed with a game, you usually have an addictive personality to go along with it. So, yeah, substance abuse was really common in chess. Especially because a lot of the culture, it being so male-dominated, and also [alcohol] being so much of a lot of individual countries' cultures. Drinking is huge in some tournaments; you can even drink at the board when you're younger and you're around adults who can drink and have, and it's not really an issue. Alcoholism is a big issue for chess players. But also a lot of chess players are on prescribed substances for whatever reason. And so it's really easy to fall into addiction that way. You're playing eight-hour games and then waking up in the morning and doing the same thing. So some people it's just like, you know, self-medication.

On Beth's visions of the chess board on the ceiling

I think it's different for everybody. I'm an audio learner, definitely, but a lot of chess players are visual, especially because one of the biggest aspects of chess is space and time and then your position and things. So any chess player that's going to be on any kind of expert professional level has to be able to visualize the board. But for me, I guess it's second nature. It's kind of like translating. For me it feels like, I'm bilingual in Spanish, you know, I'm thinking something in English. Maybe that's my primary language, but then it's easily translated in Spanish. That's kind of the way that it feels with chess for me. Like, OK, I'm sitting and looking at a position, and I see all of these permutations. And the thing that I visualize isn't a totally different, you know, on-the-ceiling board that comes and speaks to me or anything. But it is a similar concept. I just don't think it's so visually apparent to me because it's like second nature.

On the scenes of fans closely following tournaments in real time

You know, there's live streaming chess and there's a whole Twitch world now. But back then, those scenes of the little boy running out to the crowd outside to tell them what moves she played? And then there's the demonstration board? That's all real. I used to play in tournaments in other countries. ... When I'd be done with my game, I would go and watch the super amazing chess players. But you can't stand next to the world champion. You can't just go up behind his game in the way that you can go behind your friend's game. So they would have giant demonstration boards. ... And then they would have them on a projector outside of the room for people to watch. And then you can comment in real time.

On chess and music

The more I talk about chess and the more I talk about music, I'm realizing that I think of them the same way. ... When I write a song, I'm like: That was right. There was no other way to write it. There was no other option. I'm one hundred percent sure that that's the way it was. And it's kind of the same way of being an intuitive chess player. So I learned a lot from chess, as I said, about the intentionality that you need to succeed in something that you love. And I'm really lucky to have been naturally gifted at chess and naturally gifted as a musician. So both chess and music are things that you can get better at just by practicing. But I learned from chess that even if you are the cream of the crop, whatever, you can't get by without practicing and keeping your mind sharp. And it's all so much muscle memory. And the same thing is true, especially of being a singer. It's muscle memory.

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We Talk 'Queen's Gambit' With Chess Expert And Tiny Desk Winner Linda Diaz - NPR