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By going through the chapters, you will get acquainted with my way of grandmaster type thinking. I can assure you of one thing: there are better and weaker grandmasters, but you won’t find a GM who is playing without ideas or, let’s say, without his way of thinking! As you will find out, I am basically trying to detect the problem or goal of the position and then I am starting to scan factors which can lead to the solution. That process you will find in many examples in the book.

(Free re-downloadable for those who purchased the first edition!) One of the remarkable things about the Accelerated Dragon is its appeal to players with vastly different styles. In this book International Master Raja Panjwani presents a repertoire for Black demonstrating a dynamic way to fight 1.e4 from the second move.

We live in era of computers (unfortunately!) and we are simply forced to use them often and widely. Chess is no exclusion – it is impossible even to imagine modern chess without computers, engines, databases, online platforms, etc. Modern generations have their first connection with chess through computers, not books, and that is wrong of course! Young players prefer to memorize than to understand; they follow some fashionable line even if they do not know what is going on!

That motivated me to write this book – logic must be included in the process of chess education! Moreover, logic must be the most important part of that education process. Youngsters often neglect logic and not surprisingly they get surprised when their “well-remembered” variation doesn’t work.

Experienced players often lead the game out of theory, to places where understanding will prevail over memory and energy. That is my favorite concept against youngsters –setting static situations on the board – because young players usually go for dynamics, because they are good at calculating and memorizing. Understanding and logic are everything you need with statics on the board.

Dragoljub Velimirovic was a former Yugoslav - Serbian, chess grandmaster whose international career was handicapped by political intrigues and his outspoken temperament. During the heyday of the USSR as the greatest national chess power, the former Yugoslavia was capable of running the Soviet Union a good second. Dragoljub Velimirovic posed a real threat to the men from Moscow.

Velimirovic was born in 1942 to a prominent family from Valjevo, in the former Yugoslavia. He was introduced to chess at the age of seven by his mother, Jovanka Velimirovic, one of Yugoslavia's leading female chess players. He died at the age 72, being one of the last players to develop a system or strategy that is so inventive it bears its creator's name. It is a feat that is unlikely to be repeated in the modern era, when computer-based games and databases so thoroughly dominate competition that it is almost impossible to come up with something new. That does not mean that players were more talented or courageous in the decades when Velimirovic was in his prime. Velimirovic, who became a grandmaster in 1973, was never among the 20 top-ranked players in the world. And that was when there were only 200 or so grandmasters; today, there are about 2,400.

Dragoljub Velimirovic was a former Yugoslav - Serbian, chess grandmaster whose international career was handicapped by political intrigues and his outspoken temperament. During the heyday of the USSR as the greatest national chess power, the former Yugoslavia was capable of running the Soviet Union a good second. Dragoljub Velimirovic posed a real threat to the men from Moscow.

Velimirovic was born in 1942 to a prominent family from Valjevo, in the former Yugoslavia. He was introduced to chess at the age of seven by his mother, Jovanka Velimirovic, one of Yugoslavia's leading female chess players. He died at the age 72, being one of the last players to develop a system or strategy that is so inventive it bears its creator's name. It is a feat that is unlikely to be repeated in the modern era, when computer-based games and databases so thoroughly dominate competition that it is almost impossible to come up with something new. That does not mean that players were more talented or courageous in the decades when Velimirovic was in his prime. Velimirovic, who became a grandmaster in 1973, was never among the 20 top-ranked players in the world. And that was when there were only 200 or so grandmasters; today, there are about 2,400.

The Lighter Side of Chess celebrates the game we love from a refreshingly humorous angle. Beyond deep calculations and serious tournament battles lies a world filled with blunders, bizarre positions, unexpected checkmates, and unforgettable moments of human comedy.

Georg and Adrian brought together a delightful collection of entertaining games, amusing goofs, and curious chess facts that reveal just how funny chess can be. From legendary masters caught in embarrassing mistakes to incredible oversights that defy belief, each chapter reminds us that even the greatest players are human—and that laughter is part of the game.

Perfect for casual reading, coffee-table browsing, or sharing with fellow chess enthusiasts, The Lighter Side of Chess is a joyful tribute to chess as a source of fun, surprise, and endless amusement. Whether you’re a seasoned competitor or a weekend player, this book proves that chess doesn’t always have to be serious to be brilliant.

Beauty in chess manifests itself in different ways!

For chess players who are not sophisticated enough, one of the leading aesthetic criteria is probably the value of the offered piece. An experienced player will primarily value the originality and purity of the idea. It happens that a key to a position is a seemingly discreet move. Situations like these have always impressed me the most.

Firstly, by their mystery: why does one of several apparently equivalent moves turn out to be much stronger than the others? Secondly, a modest move can radically change a well-established position assessment and even change the outcome of the game straight away. Where did the idea for this kind of work come from? 

There are two reasons. 

Firstly, while browsing chess literature, I have not found a publication focusing on quiet moves, as most often, only three to eight examples are given. Secondly, we have always felt sorry for a person who cannot see beauty, for example of mountains (as these are just rocks) or architecture (as the Eiffel Tower is just iron), etc. The same applies to a large group of chess players, who value only the size of the piece they offered or the victory. However, one can lose a game and feel satisfaction because, for example, they found a stunning quiet move in their game.

The ‘Anti-Sicilians’ have invariably been a popular choice at all levels of the game. Analysis of this opening in previous literature has rarely been extensive due to the misconception that Anti-Sicilians are simplistic and thus, easy to play ‘by hand’. While maintaining the ideals of straightforward plans and digestible variations, this series of volumes will attempt to integrate ‘Anti-Sicilians’ into mainstream theory – with a particular focus on negating Black’s attempts to achieve any significant activity. This first volume provides significant coverage of the Rossolimo variation – perhaps the most pertinent example of how an ‘Anti-Sicilian’ has emerged to become arguably even more popular than its counterpart, 3.d4 after 2...Nc6. With a particular emphasis on analysing multiple alternatives within each critical variation, this book should appeal to anyone wishing to update and expand their knowledge and understanding of the fashionable Rossolimo.

This second and final volume of my Anti-Sicilian series covers our approach for all alternatives to 2...Nc6. The choice against 2...d6 was obvious. The Moscow variation is the only critical alternative to 3.d4 that has caused any concerns for Black – by developing with a tempo, we force Black to make an immediate decision on move 3 and wait for the right moment to open the position. 

Whilst in the Rossolimo book I tried to achieve an objective advantage against every line, my choices in the Moscow were mainly selected by their ability to create practical difficulties for the opponent. Naturally, it is not possible to find an advantage in every variation but I have ensured to add many detailed explanations to guide plans and aid understanding in the various positions we’ll encounter.

Against 3...Nd7, I analyse two distinct options – either castling immediately with the aim of breaking in the centre with c2-c3 and d2-d4, or first playing 4.a4 and denying Black their typical counterplay on the queenside. Against the solid 3...Bd7, I offer two choices of achieving central control. 5.c4 aims for a more positional Maroczy structure, whereas the alternative 5.0-0 transforms the position into a French advanced-type structure, where we develop interesting chances on the kingside. We already discussed 3...Nc6 in the first volume from the move order 2...Nc6 3.Bb5 d6, but I’ve analysed a second option – 6.h3 instead of 6.c3. The point is to limit Black’s piece activity by suppressing the scope of the c8-bishop. 

It was a bit harder to choose between 3.c3 or 3.g3 against 2...e6 – so I analysed both! The former transposes to an Alapin where my recommendations generally revolve around generating an attack against Black’s king – this is even attempted in the more ‘positional’ lines after 3...d5 4.exd5 Qxd5. The latter aims for a slower build-up before striking in the centre with d2-d4. Particular attention is given to Black’s attempts to generate immediate activity with a ...d7-d5 push, and I think my analysis here makes Black’s path to equality extremely narrow. 

Finally, I thought it was important to also consider the less popular second moves (2...g6, 2...a6, and 2...Nf6). In particular, I examined both 3.c3 and 3.c4 against 2...g6. The latter transposes to an Accelerated Dragon, which I can justify including in an Anti-Sicilian book as I believe it’s correct to enter an ‘Open-Sicilian’ type position if it benefits us. This approach has been emphasised across both volumes and it is made especially clear in the chapter against 2...g6.

This exciting defence, which is characterized by the moves 1.e4 e5 2.Nf3 Nc6 3.Bb5 a6 4.Ba4 Nf6 5.0-0 b5 6.Bb3 Bc5, always amazed me. Quite an aggressive setup, Black is aiming to get very dynamic play (even at the cost of some material in many cases) in order to put a lot of pressure on White players as early as possible! No wonder that great, ambitious players such as Anand, Shirov, and Caruana, just to name of a few, like to employ it regularly. The variation also gained some attention at the Carlsen-Karjakin world championship match from 2016.

The Ark has always been considered one of the theoretically-heaviest defences in meeting the Ruy Lopez, though also the most exciting and definitely the most beautiful of all. It requires tactical vision, good calculation and memory, but not just from us – from the White side too. Let’s not forget that! I also must say that no good lines are absent of theory, so if we’ve decided to learn something “finally”, I argue that it can very well be an ambitious, double-edged line too!

I should also mention that this book is a complete Black repertoire starting from 3.Bb5 a6, the exchange variation being the first chapter. The publisher and me agreed on offering a full package, one that should prove useful for many years to come!

The Barry Attack is somewhat defensive-looking from the start. It tempts Black forward, provocatively. The Barry Attack is, after all, a little rebellious, flouting, as it does, all those common sense development rules. Perhaps your game needs a good shot of tactics to boost your results – it’s one of the fastest ways to improve and this is true not only for young players.

If your opponent plays an early move order that’s not in this book such as 1.d4 Nf6 2.Nf3 g6 3.c5 or 1.d4 Nf6 2.Nf3 g6 3.Nc3 Bg7 for example, the good news is that Black will be forced to transpose back into the mass of material.

The ‘’super repertoire’’ that always keeps Black under pressure in all variations is of course, a total myth. Any reasonable opening set-up can work wonders for White or Black if they know it well. This is always going to outweigh theoretical evolution. Playing strong chess is also very much about your level of self-confidence, emotional and physical health. It’s about who you are and how you feel in many ways at the precise moment of play in addition to your opening knowledge and general technique.

Anyone who takes the trouble to play through each model example, move by move, note by note, will be rewarded. Your strategic play will deepen and your tactics will improve along with your assessment skills, and you’ll end up with a great repertoire!