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Elis Riebow
An increasing number of countries across the world are planning for the eradication of the tobacco epidemic. The actions necessary to realise this ambition have been termed the tobacco endgame. The focus of this paper is on the intersection between the tobacco endgame with place, a neglected theme in recent academic and policy debates. We begin with an overview of the key themes in the literature on endgame strategies before detailing the international landscape of engame initiatives, paying particular attention to the opportunities and challenges of endgame strategies in low and middle income countries. Finally, we critically assess the current endgame debates and suggest a novel agenda for integrating geographical perspectives into research on the endgame that provides enhanced understanding of the challenges associated with this important global health vision.
Of course, these mistakes can occur at any stage of the game, and in all cases they are worth attention, but I decided to focus in the first place on endgame positions, first theoretical endings and then practical ones, and I set to work compiling interesting examples.
This book is not exactly a continuation of my earlier book 100 Endgames You Must Know. It would be more accurate to say that they complement each other, since 100 Endgames You Must Know concentrates on theoretical endgames, while this book deals precisely with the stage of the game that precedes the appearance of the theoretical endgames.
For the student who began with 100 Endgames You Must Know, this new book is a further step in his immersion in the world of endgames. In order to take this step it is most advisable, and in some cases necessary, to be familiar with the theoretical endgames, in order to analyse, and consequently to fully understand, the basic-level practical endgames, which are the ones presented in this book.
It is a fact that positions which are usually called endgames coincide with those where there is little danger of mate. Nonetheless, in some cases positions with quite a lot of pieces are spoken of as endgames, simply because the queen has been exchanged, which is clearly incorrect. I think that a reasonable definition would be to consider as endgames those positions where the player with more material has a maximum of two pieces, provided that one of them is not the queen. This would rule out, among others, positions with queens and bishops, which we can consider borderline and which in many places are studied as endgames; and of course many people will not agree, but it comes very close to the general sense of what an endgame is, and tries to confine it to a classification by material, which for some questions is useful and almost necessary.
I propose therefore to consider as endgames those positions where the stronger side has a maximum of two pieces, without counting the king and the pawns, and provided that the queen is not one of them. However, in this book I shall look only at positions where the stronger side has one piece. The first reason is that the idea of patterns lends itself much better to positions with one piece, because the patterns arise from the properties and limitations inherent in the movement of each piece. The second reason, equally decisive, is that to include patterns found in two-piece endgames would require much more research and more space. Patterns with two pieces introduce many new elements and are also very interesting; I do not know whether I shall return to this at some time.
So, knowing the pattern is essential. Sometimes you will be able to find the right idea without it, but on many more occasions you will not manage it. Some patterns are very well known (for example, players quickly learn that two pawns on the sixth rank beat a rook, if no other piece intervenes); others are less well known, even some very common ones, just because we have not come across them with an inspirational example. After the chapter on the distinctive features of the endgame, we shall begin to study the 100 patterns which I have chosen because I consider them to be the most important.
Nonetheless, in practice it is unusual for an endgame to be based on just one idea; perhaps one theme stands out more, but there are many more in the background. Inevitably in most of the examples more than one pattern will appear, although in each case we shall highlight the pattern featured in that section.
Finally, I want to comment on another important decision. In a few cases, some patterns are studied in only one chapter, i.e. in one type of endgame, although they are not exclusive to that endgame; for example the highway theme, studied under bishops of the same colour, could also appear in bishop vs knight and in rook vs bishop. I could have repeated it in each of these chapters, with different examples, but I chose not to do so, because I felt it added little to the topic. With other patterns I did decide to repeat the theme, but only when I considered that it had different connotations; this was another subjective decision, which may not always have been the best one. One example of a theme which I could repeat is the great detour in knight vs bishop endings, but it seems to me that the concept is exactly the same. In contrast, I have repeated the stalemate theme in both rook endings and queen endings, because typical and very different constructions appear.
One prerequisite to improving endgame play is an attitude of constant curiosity. This is useful for everything, but as the study of endgames has a reputation of being dry, it is a little more difficult to achieve it. Curiosity must be applied to the study of any book or game. A player should be constantly prepared to ask himself all kinds of questions about what will happen or what could happen if there should be a slight variation from the game continuation. Approaching our own games in this way is fundamental, although it seems easier; we could say that if we have no curiosity about what should have happened in one of our endgames, then our progress will be slow at best, too slow to be of use.
As for the order, studying theoretical endgames first is the most logical, because otherwise unanswered questions will endlessly arise in other endgames. The most common are absolutely essential, then the rest can be added more slowly, and at the same time as practical patterns are being studied. And after they have read this book, I believe that all readers will be prepared to recognise (or to think they recognise) new patterns in their games, if they did not already do so before, as well as using and perfecting the ones they have already studied, of course.
How often in our games does a theoretical ending arise and how often do we see a typical pattern in an ending with one or two pieces? It depends on many things, but one of the most important is how well we know them; the more of them we know, the less often they arise for us. How can that be? Well, very easily: as both players become acquainted with the theoretical result of a position, it is usual for one of them to avoid it, if there are alternatives. The same thing will happen with typical patterns, but as they are much less concrete, and as they require a higher level of knowledge, they will be avoided far fewer times and therefore they will arise much more often. Try playing a few dozen games against beginners and you will certainly manage to profit from endgame knowledge which you will not be able to apply in games against players of your own level. How many games by elite players do you see with typical well-known mating combinations? Relatively few, as both players know them. And this search for complexity extends also to strategy and to the study of openings.
As we have already outlined in the general introduction, we are starting with positions with less material, in this case pawn endings. It is natural to start with these, because other endgames can turn into pawn endings at some point, whereas although pawn endings can sometimes turn into queen endings, they almost never turn into other types of ending.
The distant passed pawn (also known as outside passed pawn) is important in various kinds of endgames, but above all in pawn endings. This is so for three reasons: its frequency, its strong influence on the outcome, and the ease with which it can be exploited. While it is just an advantage in other endgames (and not in all of them), in pawn endings it is usual for the distant passed pawn to win the game; it can even win with a disadvantage in the number of pawns. The reason is very easy to understand: the king is the only piece that can deal with it, and to do so he has to travel a long distance. As a consequence of moving his king so far away, the player loses all his pawns on the other wing.
You've made it! Here's the ending, the final phase of a chess game; material is much reduced and it's time to convert advantages into a win or defend to a draw. The endgame in chess is most interesting, with knowledge available on general principles and specialized e-books on techniques for handling particular pieces. Of course there are general manuals to provide a foundation in basic chess endings. All top chess players are great experts in the endgame - go thou and do likewise!
i wanted to know if Dvoretsky endgame manual is available free in the format of doc,pdf etc. I searched but found some fake links and one link gave me only the first 87 pages of the book which was only content and foreward by GMs.
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