Chess For Dummies®, 4th Edition
Published by: John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030-5774, www.wiley.com
Copyright © 2016 by John Wiley & Sons, Inc., Hoboken, New Jersey
Published simultaneously in Canada
No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the Publisher. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at http://www.wiley.com/go/permissions.
Trademarks: Wiley, For Dummies, the Dummies Man logo, Dummies.com, Making Everything Easier, and related trade dress are trademarks or registered trademarks of John Wiley & Sons, Inc., and may not be used without written permission. All other trademarks are the property of their respective owners. John Wiley & Sons, Inc., is not associated with any product or vendor mentioned in this book.
LIMIT OF LIABILITY/DISCLAIMER OF WARRANTY: WHILE THE PUBLISHER AND AUTHOR HAVE USED THEIR BEST EFFORTS IN PREPARING THIS BOOK, THEY MAKE NO REPRESENTATIONS OR WARRANTIES WITH RESPECT TO THE ACCURACY OR COMPLETENESS OF THE CONTENTS OF THIS BOOK AND SPECIFICALLY DISCLAIM ANY IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. NO WARRANTY MAY BE CREATED OR EXTENDED BY SALES REPRESENTATIVES OR WRITTEN SALES MATERIALS. THE ADVICE AND STRATEGIES CONTAINED HEREIN MAY NOT BE SUITABLE FOR YOUR SITUATION. YOU SHOULD CONSULT WITH A PROFESSIONAL WHERE APPROPRIATE. NEITHER THE PUBLISHER NOR THE AUTHOR SHALL BE LIABLE FOR DAMAGES ARISING HEREFROM.
For general information on our other products and services, please contact our Customer Care Department within the U.S. at 877-762-2974, outside the U.S. at 317-572-3993, or fax 317-572-4002. For technical support, please visit https://hub.wiley.com/community/support/dummies.
Wiley publishes in a variety of print and electronic formats and by print-on-demand. Some material included with standard print versions of this book may not be included in e-books or in print-on-demand. If this book refers to media such as a CD or DVD that is not included in the version you purchased, you may download this material at http://booksupport.wiley.com. For more information about Wiley products, visit www.wiley.com.
Library of Congress Control Number: 2016945527
ISBN 978-1-119-28001-9 (pbk); ISBN 978-1-119-28003-3 (ePub); ISBN 978-1-119-28002-6 (ePDF)
Some chess players hate to hear someone call chess a game. They think that doing so trivializes what is actually a profound intellectual activity. Try as they may, however, chess enthusiasts seem incapable of convincingly placing chess solely in the context of art, science, or sport. Uncannily, chess contains elements of all three — and yet chess remains a game.
Actually, I prefer to think of chess as a game — the best game ever invented. Chess is a game loved by engineers and free-verse poets alike. It imposes a set of rules and has finite limits, but just as you start to think that you’re finally solving its mysteries, it thwarts you. As a result, sometimes the game is frustrating, but far more often chess proves to be both surprising and delightful. The deeper you dig into chess, the more of its secrets you unearth — but interestingly enough, the game has never been tapped out. Even today’s monster computers are far from playing the theoretically perfect chess game.
To master chess, you must combine a kind of discipline normally associated with the hard sciences and a creative freedom akin to the inspiration of artists. Few people develop both aspects equally well, and few activities can help you do so. Chess, however, is one such activity. The methodical scientist is forced to tap into his creative energies to play well. The fanciful artist must, in turn, conform to certain specific principles or face the harsh reality of a lost game. Not only is chess an excellent educational tool that helps strengthen both sides of your brain, but the game is also an endless source of pleasure.
After most people discover that I play chess, they usually say, “You must be very smart.” They should instead say, “You must have a lot of spare time.” Chess has been played throughout history by people with above-average leisure time, not necessarily by people with far-above-average intelligence — so if you don’t consider yourself in the “I-aced-the-MCAT” crowd, fear no more.
As a matter of fact, chess tutors can teach preschoolers the rules of the game. (So maybe they can’t get the tots to stop chewing on the pieces, but they can teach the youngsters how to play.) In fact, anyone can learn how to play chess with a bit of spare time. And you don’t even need too much of that to learn the rules.
This book is designed to help you become a better chess player in several ways:
If you’re a beginner, the great joys of chess await you. If you’re an intermediate player, you can find in this book a wealth of material to help you improve your game and to enjoy chess even more.
Throughout this book, I use diagrams of actual chessboards to show the positions I discuss. This convention should sometimes eliminate the need for you to have a chessboard and set in order to use the book — but even so, following along with an actual board and set is better. Just note that in these diagrams, the white pieces always start at the bottom of the chessboards, and the black pieces start at the top.
Here are a few other conventions to keep in mind:
I use italics whenever I define a chess term. You can use the glossary as a quick reference for these terms, as well as a resource to discover other chess words.
When this book was printed, some web addresses may have needed to break across two lines of text. If that happened, rest assured that I haven’t put in any extra characters (such as hyphens) to indicate the break. So, when using one of these web addresses, just type in exactly what you see in this book, pretending as though the line break doesn’t exist.
I assume that either you want to learn how to play chess, or you already know how to play chess and want to get better. I also assume that you’ll be able to find someone to help you if you’re a beginner and have any problems with the material in this book. (And if you don’t know anyone who can, I provide plenty of websites and computer programs that can help you navigate the road through the world of chess.) After all, everyone has to start somewhere.
The icons used in this book point you to important topics and help you pick out what you want to know. Make a mental note of the following icons to guide you on your path to chess greatness.
This icon wouldn’t be necessary if chess didn’t have so many good, general rules. Keep the rules of thumb in mind when you play. You’ll be surprised how many you can retain — and how helpful they can be.
This icon points to helpful hints — anything from playing better chess to where you can find more chess stuff.
This icon warns you of impending danger that you just may be able to avoid.
Throughout this book, I also use sidebars (in shaded gray boxes) to introduce famous chess players or to add miscellaneous information you don’t really need to know to play chess. I’ve included this information to increase your sheer enjoyment of the game. If you’re crunched for time, feel free to skip the sidebars.
In addition to what you’re reading right now, this product also comes with a free access-anywhere Cheat Sheet that summarizes some key info, such as setting up your board, naming ranks and files, knowing how each type of piece can move, and understanding check and the different types of mate — plus a few chess-related articles on topics that just wouldn’t quite fit here. To see this Cheat Sheet and articles, simply go to www.dummies.com and search for “Chess” in the Search box.
If you have no knowledge of chess whatsoever, I highly suggest that you start right at the beginning with Chapter 1. Otherwise, just remember that it’s perfectly okay to skip around the book to locate the chapters and sections of most interest or use to you. Dig in!
Part 1
IN THIS PART …
Discover how to set up a chessboard and explore the chess pieces and the ways they move.
Get familiar with the fundamental elements of chess: the concepts of material, development, space, pawn structure, and king safety.
Glimpse the end of the game with definitions of check, stalemate, and checkmate and see what they look like in play.
Check out a few special chess moves, such as castling, and decipher chess notation — a written record of the moves in a game.
Chapter 1
IN THIS CHAPTER
Discovering what chess is all about
Familiarizing yourself with the chessboard
Setting up your army
If you’re interested in participating in an endlessly fascinating and stimulating mental activity — an activity that sports a rich history and may provide you with countless hours of amusement — you’re in luck. You can play chess.
If you’re new to chess, don’t despair. No chess gene decides who can and can’t play; take my word for it. Everyone can learn to play a passable game of chess, and after you come on-board (no pun intended!), it’s just a matter of time until you find someone you can play well against.
In this chapter, I define the game of chess, discuss the basics of how you play, and describe the materials you need.
Chess, simply stated, is a board game for two — one player uses white pieces, and the other uses black. Each player gets 16 pieces to maneuver (although, technically, pawns aren’t pieces, but I’ll get to that). Players take turns moving one piece at a time, with the ultimate objective of checkmating their opponent’s king.
Because chess has so many great rules and because the pieces all exercise their individuality with different moves and abilities, the game has lots of interesting nuances that you’ll want to keep in mind as you play. I cover each aspect of the game in this book, so if you’re a novice, you’ll find sufficient information to get acquainted with chess; if you already know how to play but want to hone your prowess, you’ll find plenty of information to help you do just that. This section gives you the nutshell version of all this book has to offer.
Components of a chess game can be broken down into categories that are so fundamental that they’re referred to as elements. The element of time, known as development, is one example. The element of force, known as material, is another. If one player deploys more force more quickly than the other player, it may be impossible for the latter player to defend against a subsequent invasion. The first step in a player’s progress is learning how the pieces move, so I cover the bases in Chapter 2. Gaining an appreciation of the importance of the game’s elements is usually the next step, so I describe all the chess elements in Chapter 3.
The elements are all a part of what drives a game to the desired end result: checkmate. If the king is attacked and can’t escape the attack, the aggressor has secured checkmate, and the game is over. However, checkmate doesn’t always come to fruition — sometimes a game ends in stalemate, which is one way to draw. You can also have a situation called check, which is an attack on the king. One thing to note, however, is that placing your opponent in check doesn’t necessarily mean you’ll win — check can actually happen several times in a game, and if your opponent can effectively escape from check, you may just be wasting your time. I discuss all these events in Chapter 4.
You also have some special moves at your disposal that your opponent (if a novice) may not know about — namely, en passant, promotion, and castling. To give you an edge (and a resource to help quell any arguments that may arise after you make one of these tricky moves!), I provide the inside scoop on these special moves in Chapter 5.
To make it easier to talk about what’s happening on the board, someone, somewhere, at some point in time came up with a naming system for the exact pieces and squares, and I use those conventions throughout this book. In Chapter 6, I dive into the subject of notation, which expands on these naming conventions and shows you how to write the moves of a game. You really don’t need to know this stuff to enjoy playing chess, but it does help to have the basic terminology under your belt, and throughout this book, you can read the extra notation information I give to you as I explain moves.
Holding an advantage in one or more of the elements of chess doesn’t guarantee victory. It does, however, increase the likelihood of success. When the inevitable clash of opposing armies takes place, the resulting tactical possibilities generally favor the one with elemental advantages. These clashes usually feature common tactics and combinations such as the ones that I present in Chapter 7. Tactics decide the outcome of most of the games played at a fairly competitive level, so a good understanding of the basic tactics and combinations pays off extremely well.
One of the ways an advantage can be transformed into victory is through sacrifice. A game of chess is a constant process of giving up something to get something else. Giving up some of your force makes sense, for example, if doing so allows you to checkmate the enemy king. Chapter 8 provides examples of when sacrifices are justified.
Another key to playing chess well is the ability to recognize patterns. When you spot a pattern with which you’re familiar, the right moves suddenly suggest themselves. Chapter 9 deals with building pattern recognition in chess.
Due to the starting lineup and the piece movement limitations, the only piece that can move at the very start of the game is the knight. So you have to move some pawns in order to get your other pieces out. The positioning of the pawns often determines the optimal positioning of the pieces. Certain pawn positions, or formations as players often call them, have occurred in so many games that they have their own names. Chapter 10 presents some of the more common ones and shows how the pawns guide you on where to put the pieces.
Chapter 11 illustrates a number of common ways to deliver checkmate. These types of checkmates appear so often in chess games that players refer to them as mating patterns.
There usually comes a time in every player’s development when she’s at a loss as to what to do next. Sometimes a player will see a move by a stronger player and have no idea why that move was made. At this point, the principles of play, or strategies, are necessary to make further progress. Chapter 12 provides an introduction to chess strategy.
The militaristic character of chess is undeniable, but it also holds appeal for the confirmed peacenik. Although many of the strategies of war apply equally well to chess (divide and conquer, for example), many people gain ascetic pleasure from playing or watching a well-played game. Well-known patterns can appear with an unexpected twist and delight the observer. At an advanced level, you’ll discover harmonies that lie just below the surface of the moves, and a move that breaks that harmony will feel as discordant as an off-key note in music. So take heart, consider the information this book provides, and allow yourself to get comfortable with the pieces, their powers, and all the exciting aspects of this strategic, creative game. Besides, unlike real warfare, the worst you’ll suffer in your chess career is a bruised ego.
Players divide the chess game into three phases — opening, middlegame, and endgame — to better understand the different demands of each one, but you really need to understand the game as a whole and not just in terms of its separate parts. Otherwise, playing the game can be a bit like eating Chinese food with one chopstick.
Here’s a quick breakdown of what each phase entails (see Chapters 13 through 15 for an in-depth look):
If you’re the type of player who wants to be tested in competition, check out Chapter 16. Chess tournaments come in a variety of flavors, and that chapter gives you the scoop. You need to know how to act as well as how to play, so I also cover chess etiquette in that chapter.
In this day and age, you don’t need to be physically located next to an opponent in order to play, and Chapter 17 gives the lowdown on computer chess and chess in cyberspace. Chess on the Internet has blossomed, but you need to be aware that nothing is permanent. Although the web is ever-changing, the addresses I provide have proven to be very stable, so they should take you where you want to go.
So you’ve decided all this chess stuff is up your alley. Well, first things first — you need a chessboard and chess set (the collection of chess pieces). If you don’t own a board and chess set, you can turn to Appendix B for mail-order information. You’ll find it extremely helpful to have a board and chess set on hand when reading chess books. Some people can do without one — but some people can memorize the works of John Milton, too. (And who wants to be like that?)
In the following sections, I explain different types of boards and chess sets that are available, and I break down the layout of the board.
Throughout this book I include numerous diagrams to help you understand the game, but they don’t take the place of a real set and board; these diagrams serve primarily to make certain your board is set up correctly. I urge you to get out your chessboard and set when you’re reading and set up the board as the diagrams show you. That way, you get a real-life view of the moves I describe.
Your first challenge in finding a chessboard and set is to sort through the many available types. A tremendous range in sizes, colors, and quality exists.
The name of the standard design, which is distinguished by the look of the pieces, is the Staunton. This design bears the name of the great English player Howard Staunton and was registered in 1849. Its popularity was so great that it was adopted as the one and only design allowed in official tournaments. If you play with strangers and bring anything other than a Staunton-designed set, people may assume that you’re trying to psych them out by using equipment that they aren’t familiar with. You probably don’t want to start off on the wrong foot.
Wood sets and boards in the Staunton design are more popular at higher levels of competition, but a typical tournament set can be made of plastic pieces in classic white and black. The board is generally of a vinyl roll-up variety with white and green squares. “Why not black squares?” you may justifiably ask. “Headaches,” I would answer. I’ve learned that staring at a high-contrast board is not advisable. Miniature traveling sets are the only exception. It doesn’t matter what color they are, because the makers assume that you won’t be staring at them too long (especially if you’re driving!).
If price is no object, wood pieces and boards are the way to go. Wood boards provide the most soothing background possible, and the weight and feel of wood pieces are generally far more satisfying to the touch. In case you’re really getting into chess and admire sets meant to be looked at rather than played with, collectible sets have a small cottage industry of their own, and these sets vary in design as well as in quality.
After you pick up your soon-to-be-beloved chessboard and set, you need to get familiar with them. The first thing to notice about the chessboard is that all the squares are the same size but alternate between two colors (a light color and a darker color). Colors are important in chess (bishops are confined to only one of them, knights go back and forth between them, and so on), which is why chess players insist that a white square needs to be in the lower right-hand corner at the start of the game. Start by whipping out the board and making sure it’s facing the right direction in front of you — Figure 1-1 shows the correct orientation (if you set this book on your lap and look at the figure, you get a better idea).
© John Wiley & Sons, Inc.
FIGURE 1-1: The correct orientation of a chessboard.
A white square should be in the lower right-hand corner as you face the board. The most common mistake among beginners is to position the board incorrectly at the start of the game. (As a matter of fact, Hollywood and television make this common mistake, too. Whenever you see a chessboard positioned in a movie or on TV, check to see whether the lower right-hand square is white. Chances are it won’t be!)
Consider a few fun facts while you’re scoping out your chessboard:
In the following sections, I go into more detail on the ranks, files, diagonals, and squares.
Ranks are rows that go from side to side across the chessboard and are referred to by numbers. Each chessboard has eight ranks, which are numbered from the bottom of the board (where the white pieces start) on up; see Figure 1-2.
© John Wiley & Sons, Inc.
FIGURE 1-2: The ranks of a chessboard go from side to side.
Files are columns that go up and down the chessboard, and each board has eight of them. Because numbers indicate ranks, letters indicate files, which are labeled from left to right. Figure 1-3 shows the files.
© John Wiley & Sons, Inc.
FIGURE 1-3: A chessboard’s files go from top to bottom.
The naming convention for ranks and files allows you to give a unique identifier to every square by using what chess people call the file-first method. For example, the lower right-hand square (which is white, of course) is called h1. This name is shorthand for h-file, first rank. Figure 1-4 gives the name for every square.
© John Wiley & Sons, Inc.
FIGURE 1-4: The squares are marked to show the letter of the file and the number of the rank.
When figuring out the names of individual squares, it may be helpful to think of the games Bingo and Battleship, where every square has a letter and a number (and the names may be easier to figure out if you’re sitting on the “white” side — or bottom — of the chessboard). Of course, in Battleship you get to see only your pieces and have to guess where your enemy’s are. In chess, however, you know where your opponent’s pieces are — you just have to guess where she’s going to move them!
As you probably expect, diagonals have names, too. Unlike ranks and files, diagonals are defined by their starting and ending squares. The starting square is conventionally given as the one with the lower rank. For example, Figure 1-5 shows the h1-a8 diagonal. Diagonals are always composed of like-colored squares. You can have light-squared diagonals and dark-squared diagonals — but never two-toned ones.
© John Wiley & Sons, Inc.
FIGURE 1-5: The diagonals on a chessboard always contain like-colored squares.
To depict the chessboard in a way that everyone around the world can understand, chess players have developed a set of symbols to represent the chessmen. Each may be represented by a one-letter abbreviation or by an icon. (See Table 1-1 for a list of all the pieces and their symbols.)
TABLE 1-1 Chess Pieces and Their Symbols
Piece |
Symbol |
|
King |
|
|
Queen |
|
|
Knight |
|
|
Bishop |
|
|
Rook |
|
|
Pawn |
|
|
I use the piece symbols here to show you how to set up the board, and I use them throughout this book to demonstrate various moves and positions. You may find it helpful to set up your own board piece by piece.
Start with the corners. The rooks go on the corner squares, as shown in Figure 1-6.
© John Wiley & Sons, Inc.
FIGURE 1-6: The rooks take the corner squares.
Next come the knights. Place them next to the rooks (see Figure 1-7).
© John Wiley & Sons, Inc.
FIGURE 1-7: The knights stand by their rooks, along the same rank.
Then put the bishops on the board next to the knights (see Figure 1-8).
© John Wiley & Sons, Inc.
FIGURE 1-8: The bishops stand guard by the knights.
After the bishops come the queens. Your board should now look like the one in Figure 1-9.
© John Wiley & Sons, Inc.
FIGURE 1-9: The queens perch on the squares of their own shade.
The queens always start on a square of the same shade — the white queen starts on a light square, and the black queen starts on a dark square.
Next, place the kings next to the queens, which is only fitting (see Figure 1-10).
© John Wiley & Sons, Inc.
FIGURE 1-10: The kings take their thrones, next to their ladies.
Finally, add the pawns straight across the rank in front of the other pieces, as shown in Figure 1-11.
© John Wiley & Sons, Inc.
FIGURE 1-11: The pawns take their posts on the front line.
If you set up your chessboard by using the preceding directions and it looks like the finished one in Figure 1-11, pat yourself on the back! You’re ready for a game.
Chapter 2
IN THIS CHAPTER
Speeding along with the rook
Seeing the bishop outside church
Kissing the queen’s hand and bowing before the king
Mounting the knight
Giving the pawn the time of day
After years of teaching chess to elementary school children, I think I’ve found the easiest way to introduce the pieces. So in this chapter I use the same method. I start with the rook because its simple up, down, and side-to-side movement is easy to grasp. Then I move on to the bishop because it, too, moves in straight lines and boldly goes where the rook can’t. Kids seem to pick up these ideas right away. And what’s good for kids is certainly good for older students of the game, right?
After you understand the moves of the rook and the bishop, figuring out how the queen moves is a breeze. The queen simply has the combined powers of the rook and bishop. And the king follows his queen. He moves just like her, except only one square at a time. I leave the knight and the pawn for the end because they’re the trickiest to explain.
Keep in mind that chess is a science when you consider the pieces in isolation from one another, but it approaches an art when you combine the pieces in various ways. All pieces like to have company, but they’re fickle; for example, sometimes a queen and a knight are happy together, and sometimes they aren’t. No easy rules explain this relationship. The chess genius seems to know how to make the pieces work together seamlessly, but everyone else has to muddle along by trial and error. In Chapter 3, I consider the elements of chess from the scientific and artistic viewpoints — in isolation from one another and in combinations.
Sure, you may believe the rook is a tower or castle, but au contraire! In the history of chess, the rook actually developed from the chariot: This piece is both fast and strong, and therefore of considerable value. The rook appears a bit squatter than the other pieces, which partly accounts for the perception of it as a heavy piece (see the sidebar “Weighing in on chess heavies,” later in this chapter).
This heavy aspect can be taken too far, of course. The rook is far from a plodding piece, and the player who gets his rooks into the game most effectively often turns out to be the winner. Unfortunately, this piece begins the game tucked into a corner and usually has to wait for the other pieces to settle into their preferred squares before receiving any attention.
Figure 2-1 shows where the rooks go on the chessboard.
© John Wiley & Sons, Inc.
FIGURE 2-1: At the start of a game, the rooks hold down the corners.
The rook has the freedom to move any number of squares, but only in straight lines up and down or side to side, as indicated by the rook on d5 in Figure 2-2a. Again, think of the chariot. After a chariot gets ahead of steam, turning corners isn’t easy. Have you ever seen Ben-Hur? The rook moves just like the chariot in that movie, but without the spikes.
© John Wiley & Sons, Inc.
FIGURE 2-2: A rook can move any number of squares unless a fellow soldier is blocking it.
In Figure 2-2b, you can see that the rook can’t move to a square occupied by one of its own pieces, in this case another rook on f5 — nor can it jump over the piece and move to any of the other squares along that rank.
In Figure 2-3a, a white rook and a black rook are ready for battle. The white rook can’t move beyond the black rook along that rank, but it can capture it by removing the black piece and taking its place, as in Figure 2-3b. (In chess notation, this move is written 1. Rxf5 — see Chapter 6 for details on notation.) This concept is the same for the other chessmen (and woman) with the exception of the king, which is immune to capture. But don’t think that you have to capture when given the opportunity. This isn’t checkers!
© John Wiley & Sons, Inc.
FIGURE 2-3: The white rook attacks and captures the black rook.
When new players discover the power of the rook, they sometimes decide to move the pawns that are in front of the rooks forward at the beginning of the game (these pawns are known as the rook pawns). This action has the advantage of increasing the space available to the rook but is usually a poor way to open the game. The rook must retreat when attacked by an enemy pawn, knight, or bishop because it’s too valuable to be lost in exchange for one of them. Time is then lost shuffling the rook to and fro while the enemy pieces come out in force. The best strategy, especially early in the game, is to move a minimum number of pawns, get the minor pieces (knights and bishops) out, and only then move on to the rooks.
The bishop has a slender waist so it can slide between squares along diagonals. (Actually, I don’t really know why the bishop was designed like that, but that’s always how I’ve thought of it.) The bishop is called a minor piece because you can’t deliver checkmate with just a bishop and its king. Go ahead, set up a board and try it (you may want to check out Chapter 4 first). If you can do it, you’ll become world-famous, and I’ll include you in the next edition of this book.
Figure 2-4 shows the bishops and where they start on the chessboard.
© John Wiley & Sons, Inc.
FIGURE 2-4: The bishops take their marks.
A bishop can move any number of squares, but only along the diagonals and until another piece gets in its way. If that piece is the opponent’s, the bishop can capture it, of course, by displacing it.
Figure 2-5a indicates some possible bishop moves. Unlike the rook (which I describe in the previous section), the attacking power of the bishop depends on where the piece is located on the chessboard and ultimately its mobility or scope, which is simply the number of squares it can move to. The bishop attacks more squares in the center, so it’s more powerful when positioned there. Unfortunately, it’s also more easily attacked there. You can see in Figure 2-5a that the bishop attacks 13 squares. How many squares does it attack in Figure 2-5b? (The correct answer is 9 — don’t count the square that it occupies.)
© John Wiley & Sons, Inc.
FIGURE 2-5: The bishop attacks 13 squares and 9 squares, respectively.
You can tell by looking at the board that some diagonals are longer than others. The diagonals that cross the board’s center are longer than the ones that bisect the corners. Because the bishop doesn’t like hand-to-hand combat, players often position the bishop out of the way along a long diagonal, as in Figure 2-5b.
The bishop also has a unique natural restriction of its mobility: If it starts on a light square, it remains forever on the light squares, and if it begins the game on a dark square, it must always stay on dark squares. The bishop is color-bound by birth! Fully half the board is forbidden territory! For that reason, chess people speak of having “the two bishops.” In tandem, bishops can theoretically cover the entire board. However, they can never come to their comrade’s aid directly, and bishops on the same team can never compensate for each other’s loss.
This quality is so unusual that a special category in chess endings, called the opposite-color bishop ending, exists. This ending arises when each side remains with one bishop, but the bishops are on different-colored squares and are thereby sentenced to roam their own mutually exclusive halves of the board. Figure 2-6 illustrates this type of ending. These bishops are close to one another — they can get close enough to blow each other kisses — but never close enough to capture one another. (Flip to Chapter 15 for full details on chess endings.)
© John Wiley & Sons, Inc.
FIGURE 2-6: The thoroughly unsatisfying opposite-color bishop ending.
The bishop, like the rook, can be blocked by its own army. In fact, the least desirable placement of the bishop is behind pawns of its own color: Pawns (which I discuss later in this chapter) are the least mobile of the chessmen and can render the bishop nearly powerless, as shown in Figure 2-7a. A bishop blocked behind its own pawns is often called a “bad bishop.” Enemy pawns can also restrict the bishop’s mobility, as in Figure 2-7b.
© John Wiley & Sons, Inc.
FIGURE 2-7: The bishop, blocked by its own pawns and enemy pawns.
However, restricting a bishop with pawns isn’t always effective, because the bishop may be able to capture one of the enemy pawns. Just look at Figures 2-8a and 2-8b to see how (in chess notation, this move is written 1. Bxf3 — see Chapter 6 for details).
© John Wiley & Sons, Inc.
FIGURE 2-8: The bishop pounces on a pawn.
If you plan on using your pawns to restrict a bishop’s mobility — which is a good thing to do, as long as you aren’t restricting your own bishops — you’d better make certain that the pawns are adequately defended!
Bishop moves are relatively easy to master, but their long-range attacking ability is often surprising. Many are the times when I’ve been shocked to see my opponent’s bishops spring from one corner of the board to the other. Just because your opponent’s bishops aren’t close to your pieces doesn’t mean they aren’t attacking you!
