Especially two men's singles players, Jonatan and Ginting, the former won the men's singles championship, and the latter beat favorites such as Kento Momota and Shi Yuqi in individual events. Since Kento Momota's comeback, he has almost dominated the men's singles field this year

In the previously concluded Asian Games badminton match, the Indonesian team at home performed well. In particular, two men's singles players, Jonatan and Jin Ting, the former won the men's singles championship, and the latter won consecutive championships in individual events such as Momota Kento and Shi Yuqi.

Since Momota Kento's comeback, he has almost dominated the men's singles field this year, and the Asian Games men's singles championship is even considered to be within his grasp. However, in the men's singles quarterfinals, Ginting actually defeated him in two games. Ginting, who was born in 1996, is only 1.71 meters tall, not impressive in appearance, and had a mediocre record before the Asian Games. He was able to beat Kento Momota in the Asian Games. What’s the secret? Momota Kento said after the game that maybe the noise from the audience affected his performance. Is this really the case? Noise is of course a small part of the factor, but the key is that Ginting created specific devil results by integrating a specific devil's home court with a specific devil's play style.

Most badminton players refer to the competition venue in Indonesia as the "Devil Arena". Its main feature is that the cheering sound of the audience in the venue is extremely high and lasts for a long time. But the author believes that what really affects the performance of the game is not the noise, but the capacity of the Indonesian venues. This competition hall is very small, just big enough for four courts. The ball speed is relatively fast, and the impact of wind speed is also relatively large. In such a venue, it is more difficult to play a control style, and a simple offensive style can better reflect the advantages. Ginting, on the other hand, has a relatively single offensive style of hitting the net. He is at home in such a home court and fully demonstrates his technical level. Below, let us appreciate Ginting's wonderful performance of overturning Kento Momota.

Ginting's simple and crude offensive style is more suitable for specific competition venues

Ginting's offensive style seems very simple, just three moves: grabbing the ball, jumping to kill the ball, and pushing the ball online. As shown in Figure 1, Momota serves and Ginting (in white) receives the serve and rubs the ball. Momota picked up the ball, Ginting retreated and smashed the ball, killing the opponent with a forehand. Momota blocked the straight line with his backhand, and Ginting quickly went to the net and pushed back to catch up. Momota blocked the straight line with his forehand, Ginting pushed twice, and pushed the straight sideline with his forehand, scoring directly. This routine is basically the core of Ginting's style of play. Why don't opponents follow such a simple style of play? Ginting can attack, and Momota can attack. Why is it that Ginting can attack, but Momota can't? I believe this question must be of most interest to all fans.

Figure 1 Ginting’s way of killing the net is simple yet mysterious.

Badminton is a confrontational event across the net. There is no physical contact between the two sides, and there is no direct confrontation or interference. In terms of playing style, one can give full play to his own subjective initiative. What style of play is reflected on the field mainly depends on one's own tactical guiding ideology, technical habits and tactical formulas.

Momota's playing style is a fast attack in the control of the pull. He is accustomed to controlling the rhythm first, and then attacking with a variable speed. Its distinctive feature is that the rhythm of the variable speed is particularly strong, emphasizing sudden acceleration in smooth control; Ginting's attack Fa's style is fast attack (powerful attack + assault). He is used to fast-paced processing, fast grabbing, fast attack, fast continuity, basically all "fast-paced", with relatively few control elements, and he is not good at control. Because the shots are quick and consistent, it is relatively easy to seize active offensive opportunities. If the attack goes smoothly, the success rate of this style of play will be very high; if the attack does not go well and a multi-shot stalemate occurs, the shortcomings of this play style of "high consumption and gradual increase in mistakes" will be fully exposed. The badminton competition hall in this Asian Games is relatively small, the ball speed is fast, the wind and wind are obvious, and the defense is very difficult, so it is particularly conducive to the performance of purely offensive play. This is an objective reason why Ginting defeated Momota.

Fast continuity and quick shots are the magic weapons for Anthony to take the initiative.

Objective conditions are conducive to offensive play, but it does not mean that there will definitely be a chance to attack. Attack opportunities are equal for both sides of the game. Who has more offensive opportunities mainly depends on their own subjective conditions (technical and tactical characteristics).In this regard, Ginting does have unique features, which are manifested in fast technical continuity, high grabbing points, fast shots, and strong consistency of movements. This is the secret that helps him defeat many masters in this specific venue.

As shown in Figure 2, Ginting serves the ball in front of the net in the right area, and Momota receives the serve and pushes the ball straight with his backhand. Because the arc of the push ball is relatively low, Ginting quickly grabs the ball and hits the baseline quickly. The ball passes past the opponent in an instant, causing Momota to be passive at the baseline. Momota passively counterattacked the high ball from the baseline, but it was obviously not in place. Ginting jumped decisively to attack, and the forehand hit a straight line, which was the final word.

Figure 2 Fast continuity and quick release are the magic weapons for Anthony to take the initiative.

The coherent speed between two shots . In addition to the movement speed and release speed, there is another important factor: "foresight", that is, the ability to The accuracy of predicting the opponent's next shot and route.

As shown in Figure 3, Momota hit a straight line with his head, and Ginting counterattacked with a backhand straight line. The mystery appeared at this moment. As shown in Figure 3-6, when Momota was preparing to hit the ball (but not yet hitting the ball), Ginting's body center of gravity had tilted towards the net and he was ready to grab the net, indicating that he had predicted that his opponent's response would be to block the ball. In front of the net. Sure enough, Momota's choice was to block the straight line with a forehand. Because of the correct prediction and early start, the continuous speed between the two shots was greatly shortened. So when the ball just crossed the net, Ginting grabbed the commanding height. He quickly hooked the ball to the opposite corner without hesitation. falling. Although Momota tried his best to save the ball, he was still half a beat too late.

Of course, there are risks in such prediction and early start in singles matches. Once the prediction is wrong, the consequences will be fatal. Therefore, the success rate of prediction mainly depends on the athlete's tactical experience and special awareness.

Figure 3 Ginting followed up with a doubles-style counterattack to seize the commanding heights and take full initiative.

Ginting is good at using fast and continuous play to create pressure on his opponents.

In actual combat, Ginting uses a similar fast and continuous play to put pressure on his opponents. He created a lot of pressure and succeeded frequently, scoring directly.

As shown in Figure 4, Momota served the ball in front of the net in the right area. Because Ginting's usual tactic is to receive the serve, grab the rub, and strengthen the attack, Momota's positioning preparation after serving is relatively advanced. This is also a kind of experience and preparation based on the opponent's playing habits, and the purpose is to speed up the third shot. continuous speed. The charm of badminton lies in taking the opponent by surprise. Just when Momota was about to catch the ball in front of the net, Ginting suddenly changed his shot, changing from a grab to a quick push to the baseline, which directly caused Momota to be passive in the backhand area of ​​the baseline. At this moment, Ginting boldly pressed the ball in front of the net, because in such a passive situation, the probability of the opponent passing the ball in front of the net was very high. As shown in Figure 4, Momota used a backhand to make a straight transition to the net, and was caught by Ginting again. He decisively pushed backhand at a high point in front of the net to catch up and scored directly.

Picture 4. Ginting pushed and pushed quickly and continuously in front of the net, scoring directly.

Similar scenes are common in games. Figure 5 shows Ginting's serve and Momota's return of serve, forehand and release to the net . Also because Ginting has a higher proportion of grabbing and rubbing in front of the net, Momota presses forward after releasing the net. However, Ginting's third shot suddenly turned into a quick push to the diagonal baseline, which immediately caused Momota to be hugely passive in the baseline backhand area. There is no doubt that the probability of transitioning to the net in this case is extremely high. As can be seen from Figure 5, before Momota hits the ball, Ginting has boldly started to move to the net, and when Momota completes the ball, Ginting is already waiting for him. In front of the net, high-scoring players are coming. It's just that the quality of Momota's transition this time was extremely high. Ginting couldn't continue to push and attack, but he didn't suffer a loss. After all, he shot from a high point and took the initiative no matter how he dealt with it. So, Jin Ting very calmly grabbed the rub again. The ball was very close to the net, so Momota had no choice but to lift the ball high, and the quality of the ball was not ideal. Ginting took off decisively and hit the opponent with a forehand to score directly.

Figure 5 Ginting constantly uses quick push and press to create offensive opportunities.

Ginting’s fast and consistent style inherits the pedigree of Indonesian men’s doubles.

The threat brought by the quick push and press in front of the net forces the opponent to have to worry about his own bottom line. This It also broadens the space for Ginting to perform in front of the net.

As shown in Figure 6, after Ginting serves, Momota receives the serve and puts it in the net. Ginting quickly hit the third shot in succession, raised his racket to meet the ball, and assumed a posture of pushing the ball, and then after a slight pause, he turned into releasing the net. Judging from Momota's preparation posture in Figure 6, his body's center of gravity has tilted backwards, which is obviously a sign of being deceived. Then he restarted and went to the net again. It was obviously too late and he could only watch the ball fall to the ground.

Picture 6. Ginting's sudden pause in rapid succession achieved an unexpected effect.

Picture 7. Ginting followed the same pattern and feinted a shot again with a pushing motion at the same batting position in the same area. After a slight pause, he released the net. Momota took precautions after suffering a loss, but was still feinted. However, this time Momota struggled to catch the ball, but could not escape the extremely passive situation. He had to try his best to pick up the ball, but the quality was greatly reduced. Ginting jumped up decisively to attack, and scored directly with a forehand kill from the opposite corner.

Figure 7 Ginting uses pause movements in quick succession to create offensive opportunities

Ginting's quick succession style seems to have inherited the bloodline of Indonesian men's doubles. The quick succession has won him a time and space advantage, and grabbing high points has helped him win a space advantage. Create conditions for pause action. The deceptive feints make the opponent lose their center of gravity and gain a time advantage for themselves, so they appear to be at home on the court.

As shown in Figure 8, Momota hits the ball backhand from the baseline. Seeing this situation, Ginting focused all his attention on the left front court because he predicted that the probability of his opponent's transition to the straight line to the net was very high. Sure enough, Momota made a backhand transition to the front of the net and caught Ginting's ambush. Just when Momota turned around, Ginting was already grabbing points in front of the net and preparing to take action. However, the cunning Ginting was not in a hurry to take action, but used a net-releasing action to attract Momota's center of gravity forward. As can be seen in Figure 8, Momota is indeed ready to move forward, then slightly downwards to meet the shot, and then quickly pushes the baseline. Momota realized that he had been deceived and quickly adjusted his footwork. When he turned around and retreated to the baseline, the ball had passed too many people and it was very difficult to fight back. He had to watch the ball fall to the ground.

Figure 8. Ginting used fake moves to push the ball to score in quick succession.

The game is like war. "Soldiers never tire of deceit" can defeat the enemy, but it is not unconditional. All false moves in a badminton match require space-time advantage as the premise, and then false and true, true and false, can make the opponent hard to guard against, and fast continuity is a necessary condition for creating time-space advantage.

Fast continuity means to prepare as quickly as possible for the next shot. This is unconditional and absolute. Fast continuity is required under any circumstances. Then the move is relative and can change at any time. The reality and truth are mainly reflected in the change of the move. The combination of fast continuity + fast shot and fast continuity + slow shot constitutes technical and tactical changes of virtual and real, true and false. At this point, friends who like to play ball may wish to try to learn from it.