Bonuses for speed flow, unique style of play and consecutivity
Many players perceive modern competitive Freestyle to be increasingly focussed on single technically difficult tricks. Flow, the flight of the disc as well as artistic and surprising elements that please the crowd are perceived to be lacking. In order to change this, the committee decided to establish a bonus system that shall encourage
a) Speed flow elements
b) Unique/creative style of play
For detailed descriptions of the categories see below.
All bonuses are decided upon by the judges at the end of the pool that they are judging:
a) Each artistic impression judge can add a bonus of .5 to the overall score of the team with the best speed flow elements.
b) Each execution judge can add a bonus of .5 to the overall score of the team with the most creative/unique style of play.
c) Each difficulty judge can add a bonus of .5 to the overall score of the team with the most consecutive style of play.
As the word ‘can’ indicates, a judge does not have to give a bonus in case (s)he feels unable to decided upon it. This can be the case when multiple teams performed equally well or when no team showed relevant tricks e.g. no speed flow elements. However, a bonus should be given if possible.
Judges are not allowed to split their bonuses and distribute them among teams. A bonus should be a real incentive for teams to change their style of play and the power of the bonuses gets lost if they are split.
Judges are not encouraged to discuss and agree on whom to give the bonus to as we want to avoid a concentration of bonus scores on one team.
In Freestyle Frisbee, Speed Flow refers to a quick exchange of the disc from throw to catch. In most cases this means that a player throws the disc to his/her partner who does a trick catch directly off the throw. Usually players will stand at least a few meters apart from each other, but this doesn’t have to be the case. Also small manipulations of the disc are allowed between the throw and the catch and it can still be called Speed Flow. The key criterion of a Speed Flow is that the disc’s movement is not brought to a hold between the throw and the catch.
Examples of speed flow:
- Player A does a forehand throw, Player B does a UTL catch directly off that throw.
- Player A does a backhand throw up in the air and to his right, Player B extends the flight of the disc by brushing it directly off the throw to Player C who does a scarecrow catch off this brush.
- Player A does an overhand throw to Player B who deflects the disc with his hand and then does a lacer catch directly off this deflection.
- Player A throws a bounce throw to Player B who does an UTL tip off this throw and catches the disc off this tip.
- Player A does a UTL throw to Player C, while Player B hoops the disc’s flight between them.
When a couple of Speed Flows are done in a row, we call it a Speed Flow sequence. A single Speed Flow is called a Speed Flow element.
The distinction between a Speed Flow and a regular combo is vague. Rules of thumb when it’s not a Speed Flow:
- The disc is brought to hold before the catch. This refers to the movement of the disc, not to the spin of the disc.
- A rim delay or a center delay is done.
- A guide is done.
- A padiddle is done.
- A twirl is done.
- A player does more than one brush in a row.
- A player does more than one tip in a row.
The difficulty of Speed Flow elements depends on:
- The difficulty of the throw
- The difficulty of the catch
- The difficulty of the deflection/brush/tip done in between the throw and the catch
- This distance between the players performing the Speed Flow element. Greater distance means a higher need for accuracy, but still closer sequences are more difficult, as the players have less time and less space, so more coordination more timing, more speed is required.
- The speed of exchanges: Quick throws are more risky than slow throws; short breaks between catch and throw are more risky than long breaks.
In general Speed Flow is more difficult than it appears, because it contains a high number of exchanges of the disc between players in a shorter span of time; and a high number of tricks catches (which are the most risky part of each combination of freestyle movements).
This bonus category is created to motivate players to show new kinds of Freestyle moves that differ from the moves shown by the majority of players. On the one hand, this refers to technically creating new moves of any types: rolls, brushes, pulls, shoots, turnovers, tips, deflections, padiddles, guides, twirls, etc.
On the other hand, aspects of Artistic Impression contribute equally to uniqueness/creativity of play. So a team can show ‘standard’ tricks but perform them in a unique/creative way. This contains:
- Ways of choreographing the play to the music
- Ways of teamwork (passes, sets, hoops, etc.)
- Body movements of the players (form, artistic manoeuvres, dance, etc.). Both the players with the disc and the players without the disc shall be considered here.
However, nothing shall be rewarded that is not related to Freestyle Disc movements e.g. showing breakdance moves during the routine without incorporating them into the actual freestyle play does not add to the uniqueness/creativity.
What should be rewarded, for instance, is if the player without the disc is copying the body movements of the player with the disc, as this is related to Freestyle Disc play.
“Rules of thumb” for measuring uniqueness/creativity:
- How often did the players show tricks or presented unique movements with a disc that no other players from this pool showed?
- How often did the players show music choreographies, teamwork elements and body movements that no other players from this pool showed?
- How often was I surprised about what I saw?
The difficulty of the unique/creative things showed plays a minor role and shall only be considered if two teams perform equally in terms of uniqueness/creativity besides this.
The judges shall try their best to evaluate uniqueness/creativity according to these rules. However, it is clear that it also depends on the experience and the personal taste of the judge what (s)he considers to be unique/creative. Therefore, it is the judge’s responsibility (and integrity) to minimize the influence of subjectivity and be as objective as possible.
Consecutivity in Freestyle disc refers to linking different trick moves together, rather than pausing within a combination of moves with a simple “THE” nail delay. A simple description for Consecutivity would be that one trick is the direct set for the next trick. Specifically, the basic premise is that a combination of moves of a disc shall never be stalled, stopped, or paused with a simple “THE” delay (a simple nail delay in front of your body) without any restrictions. One exception from this rule: when your partner throws you the disc the reception of that throw doesn’t have to be restricted.
Restrictions: A THE delay is the easiest nail delay and anything that makes this harder is called a restriction. A restriction would be, for example: delaying the disc ‘under your leg’ or ‘behind your head’ or ‘behind your back’; or any “blind moves” like a scarecrow brush or a phlaud catch. Also body-rolling a disc is considered a restricted move, because you are not touching the disc with your hand. THE delays, THE tips or THE catches also interrupt Consecutivity because these do not include a player restricting their contact with the disc in any way.
Within a combo there can be different levels of Consecutivity depending on the number of transitions between tricks that are consecutive. For example, when you do 5 tricks within a combo, you have 4 transitions between those 5 tricks to master. If 3 of those 4 transitions are consecutive (i.e. the reception after the trick is restricted), then the combo is more consecutive, than if you have 2 consecutive transitions only. That means that you have the highest level of Consecutivity if all transitions are restricted. However, you can even add to the level of Consecutivity by not only having restricted receptions but also restricted sets. However, sets don’t have to be restricted for Consecutivity! Examples for (non) consecutive combos:
Example for a totally not consecutive combo:
An unrestricted set, to a spinning THE reception, to an under the leg tip, to a THE tip, to a body roll, to a THE catch.
Example for a partly consecutive combo:
A grapevine set, to a behind the back hold, to a THE delay, to a flamingitis catch.
Example for a fully consecutive combo:
An under the leg set, to an arvand pull, to a behind the back tip, to an under the leg pull, to a spinning scarecrow catch.
Example for an extra consecutive combo:
A chair pull reception off a throw, to a behind the back rim shoot, to a scarecrow brush, to a behind the head pull, which goes directly into an under the leg shoot, into a double spinning gitis catch.
In terms of Consecutivity brushing is a special case, because brushing is more dependent on wind conditions, and avoiding THE brushes is more difficult than avoiding THE delays, tips or catches. However, too many “THE” brushes in a row also interrupt Consecutivity. As a rule of thumb, it can be considered that more than 2 “THE” brushes in a row are a break in Consecutivity. The same is true for nesting: more than 2 nesting brushes in a row interrupt Consecutivity.
Why do we want Consecutivity? Because it adds to the difficulty of play and makes combos look much smoother. Even an ordinary person with no experience in Freestyle disc can see a difference between consecutive play and non-consecutive play.
See Dave Lewis’ and Z’s video for illustration (consecutivity is called connectivity in this video): http://www.youtube.com/watch?v=Ng5AOVQming