How to use misdirection in basketball

Kuroko's Basketball: The Magic Behind Misdirection

Kuroko's Basketball, a popular shounen sports anime series, plays with the idea of misdirection, a real-world magic technique, that is used by modern-day magicians. The show's main protagonist, Tetsuya Kuroko turns this magic theory into a reality when he applies it to the realm of sports, specifically middle school and high school basketball.

In collaboration with the original manga artist, Tadatoshi Fujimaki, and Production I.G, the Kuroko's Basketball anime series put out three seasons during its runtime from April 2012 to June 2015 and became a fan favorite among avid anime sports watchers. It follows the main protagonist, Tetsuya Kuroko, also known as the Phantom Sixth Man, as he gains new friends/allies such as Taiga Kagami, a returnee student from America, and Seirin High's basketball team members in order to fight his former teammates, The Generation of Miracles, at the Summer Interhigh and Winter Cup tournaments.

RELATED: Kuroko’s Basketball vs. Haikyuu!!: Which Is the Better Sports Anime

Many sports series such as Haikyuu! and Diamond no Ace mimic real-life sports techniques and play styles in their fictional worlds; however, what sets Kuroko's Basketball apart is the merging of a non-sports-related technique into its core storytelling foundation. Misdirection, as defined in Season 3, Episode 13, “A Day with Blue Skies,” is a technique commonly used by magicians in order to direct a target's attention or focus to a different person or object through subtle shifts in gaze and movements. Likewise, it is established that this technique is further amplified by Kuroko's natural lack of presence making it more potent and plausible within a stressful environment like matches, where it is easy to forget the position of other players.

According to Psychology Today, this is a very common psychological phenomenon to occur, as the brain blurs out details if they are not essential to daily life such as the location of a fire extinguisher, an extra "the" in a sentence, or passerby on the way to work. Another relevant research performed was published by Gustav Kuhn, Patricia Kingori, and Koen Peeters Grietens titled, "Misdirection – Magic, Psychology and its application."

In one of the studies mentioned in Kuhn's research, a group of participants was asked to count the number of times a ball was passed during a basketball game. Sixty percent of the participants failed to notice that there was a man in a gorilla outfit crossing the basketball court at the same time the players were passing the ball during the study. This study's significance in terms of Kuroko's Basketball is that the scope of misdirection can not only be applied to a magician pulling a rabbit from a hat, but it also can be applied to nearly anything from politics, sports, and espionage.

The four key components that are used to perform misdirection, as defined by Gustav Kuhn and his colleagues, are attention, memory, reasoning, and awareness. Kuroko utilizes all of these components in order to lay the foundation for his basketball techniques (e.g. Ignite Pass Kai, Misdirection Overflow, and Vanishing Drive).

The first of the four components is attention, specifically attentional distraction. Attentional distraction is defined as the ability to redirect the target's focus to a different person or object. In order to create this effect, Kuroko uses his natural lack of presence and his deep knowledge of the sport to create the illusion of invisibility and force focus away from him, using more prominent presences such as the basketball and Taiga Kagami to avoid attention.

The second of the four components is memory, specifically memory manipulation. Memory manipulation is defined as the ability to make it difficult for the audience to know how a trick is performed. In order to create this effect, Kuroko limits his contact with the ball to a minimum and does not make exaggerated movements or facial expressions when performing them, creating confusion in the target of his technique, in this case, the enemy team.

The third of the four components is reasoning, specifically the theory of false solutions. The theory of false solutions is defined as the ability to use pre-existing assumptions to mislead the target to reach the wrong answer. In order to create this effect, Kuroko doesn't normally explain his techniques and allows the opponents to guess what is happening.

RELATED: Kuroko's Basketball: Who Are the Uncrowned Kings?

For example, in the episode where Kuroko uses his special shooting form, Phantom Shot, the enemy team falsely believes that the ball is being shot from a lower trajectory than it actually was. Because the enemy team was stuck under their false solutions, they weren't able to uncover the fact that he was throwing the ball from a higher trajectory.

The fourth and final component is awareness, specifically the awareness of failing perceptions. This concept is described as the specific moment when the target realizes that he has been deceived, no longer being under the magical effect. In order to avoid this from happening, Kuroko is swapped out several times during a game so that the enemy team doesn't become accustomed to the misdirection techniques and becomes dull in its effectiveness.

The research necessary to create realism in any anime is intensive and its application of it in sports anime is even more arduous, as the artists need to adhere to the rules of the sport and make it believable. Kuroko's Basketball applied a very complicated magical and psychological set of theories and techniques into the world of sports anime. As a whole, it implemented these misdirection techniques fairly realistically, even as it incorporates supernatural abilities like Seijuro Akashi's Emperor Eye and Ryota Kise's Perfect Copy.

MORE: Like Team Spirit: What Makes Sports Anime So Exciting?

Source: Psychology Today & Gustav Kuhn

How To Use Misdirection In Basketball?

Subsequently, can you actually use misdirection in basketball? The player has to make eye contact with the target Misdirection cannot be used by everyone. … In order to use Misdirection, the user has to make eye contact with the player who is in control of the ball, creating a mirror like effect.

Similarly, is Kuroko no basket realistic? Is Kuroko no Basket really adheres to rules of basketball? – Quora. Yes, it’s pretty realistic – MINUS the powers. Any form of bodily contact is considered a foul, so slapping the ball off a player while he dunks is a clean dunk. Aside from which, no one would actually watch it if it doesn’t follow bball rules.

Furthermore, can you use misdirection in sports? As basketball coach I would say yes. Most of the things in basketball are based on misdirection when you think about it. One coach from my country used to say “Goal of this game is to fool the opponents, that’s easiest way to win. ”.

Also, how does Kuroko vanishing drive work? The skill is basically a cross-diagonal move (a duck-in) to where the opponent’s eye field can’t see. Kuroko bends over in a specific angle at drives following a specific route, that the opponent has it very difficult to follow.Use positive, not negative attention. When designing misdirection, don’t think of it as worriedly steering the audience’s attention away from something important and secret. Instead, shift focus toward something interesting but unrelated. Thinking this way will make your secret actions imperceptible.

Contents

• Did Kuroko lose his misdirection?
• What is the barrier jumper?
• How can I be invisible like Kuroko?
• What is misdirection overflow?
• How do you play like Aomine?
• Why is Kise obsessed with Kuroko?
• Who is the best player in Kuroko no basket?
• How does Kuroko do his phantom shot?
• Is Kuroko and Momoi together?
• Can Kuroko enter the zone?

Did Kuroko lose his misdirection?

Kuroko makes his final pass With Kuroko back in the game at his full Misdirection level, Seirin manages to close in on Kaijō with a tie.

What is the barrier jumper?

Barrier Jumper He takes a quick jab step away from the goal and takes a normal jump shot. Not only he can score over a far distance, but the shot is also very fast and makes it hard to block.

How can I be invisible like Kuroko?

1. Hold Your Breath. Breathing is one of the ways for others to notice our presence.
2. Walking with No Sound. People may notice your presence because they hear your footsteps.
3. Take a Seat at the Back End.
4. Anti-Social.
5. Don’t Attract Attention.

What is misdirection overflow?

Most coaches and players define misdirection as putting their attention on themselves to create space for others (which is Overflow). Kuroko’s misdirection if applied in real-life only allows for, at most 3 1/2 feet of separation.

How do you play like Aomine?

Why is Kise obsessed with Kuroko?

Because Kuroko was Kise’s personal instructor in Junior High school when he first started playing basketball, and also because Kuroko is strong in his own unique way, Kise deeply respects Kuroko – almost to the point of obsession.

Who is the best player in Kuroko no basket?

1 Seijuro Akashi Is The Perfect Point Guard Despite his relatively small stature, he is the best player in Kuroko’s Basketball thanks to his combination of leadership skills, basketball IQ, passing ability, and ball-handling skills.

How does Kuroko do his phantom shot?

When one attempts to block, one would look up and go for the block, but Kuroko’s shooting form is such that it is placed low at his chest, so that the defender looks downwards instead, and when the shot goes, it temporarily leaves the defender’s side of view.

Is Kuroko and Momoi together?

Satsuki Momoi (桃井 さつき Momoi Satsuki) is the manager of Tōō Academy and the previous manager of the Generation of Miracles at Teikō Junior High who is in love with Tetsuya Kuroko that she sees herself as his girlfriend.

Can Kuroko enter the zone?

According to Aomine and Kise, in terms of ability, he meets the talent required to enter the Zone, but unfortunately, he would never be able to because he was assumed to not have the most basic term needed: the love for basketball.

general principles of interaction between players in basketball

Cylinder principle

To regulate the correct sports behavior, a fictitious cylinder is presented above each player, the boundaries of which directly depend on the height and size of the athlete. The space within it is called the Cylinder Principle. It is limited to the boundaries of the cylinder of the defender and the attacker without the ball. In front, these include the palms of the player, behind - the buttocks, and on the sides - the outer surfaces of the arms and legs.

Strict requirements are placed on the cylinder principle. For example, a player can put his hands in front of him, but only so that they do not go beyond the boundaries of the position of the feet and knees. At the same time, they must be bent at the elbows so that the forearm and hands are raised in the correct protective stance.

A defender is prohibited from infringing on the offensive player's ball-carrying cylinder during normal basketball movements within his cylinder. Such a violation is equated to improper contact with the enemy.

The boundaries of the attacker's cylinder with the ball are defined by three key points:

• Front - feet, bent knees and hands holding the ball above the level of the hips;
• Behind - buttocks;
• On the sides - the outer surfaces of the elbows and legs.

The attacker with the ball must have enough free space inside his cylinder. Nothing should prevent him from performing the correct basketball actions, which include dribbling, turning, shooting and passing. Violating the boundaries of the attacker's cylinder with the ball is also prohibited for him. That is, he cannot put his arms and legs outside of them in order to capture more space. Such behavior is equated with incorrect contact and is punished in accordance with the rules.

Vertical principle

During the match, players can independently choose a position that is advantageous for themselves. In this case, it is important not to violate the boundaries of the opponent's cylinder. The principle of verticality provides protection for both the floor and airspace of the player. That is, it provides control over the integrity of the boundaries of the players' cylinder during their jumps. If, during a jump, a player violates the boundaries of his cylinder and makes contact with the opponent's body, he is considered responsible for the contact and must be penalized in accordance with the rules.

At the same time, a defender jumping vertically upwards without violating the boundaries of his cylinder, as well as raising his arms upwards strictly above himself, is not a violation. An attacker who is both on the floor and in the air is considered a fouler if he makes contact with a defender in legal guarding position if he:

• Pushes the defender away with his hands in order to gain more space;
• Extends the limbs in front of the body to cause contact both during the game and immediately after the ball is thrown.

Correct guardianship position

To assume a legal guarding position, the defender must:

• To be face to face with one's opponent;
• Stand on the floor with both feet.

When marking, the defender's correct position extends to the vertical space above him. Moreover, there are no height restrictions, that is, the entire space from floor to ceiling is considered permitted, but limited by the boundaries of the defender's cylinder. This means that he is allowed to both jump vertically upwards and raise his arms. The main condition here is to respect the boundaries of your cylinder.

Marking of a player in control of the ball

Marking a player who holds or dribbles the ball does not take into account time and distance factors.

The player with the ball is subject to more guardianship, so he must always be alert at all times. That is, each time the opponent takes the correct starting position of guardianship over him, he must be ready to stop or change the direction of his movement on the playing field. This does not take into account the time during which this was done.

While in a legal starting marking position, the defender must not make contact with the ball carrier. After taking the correct starting position of guardianship, the defender can move parallel with the guarded opponent, but at the same time he cannot interfere with his movement on the playing field by exposing various parts of his body (arms, legs, shoulders, hips).

The following factors shall be taken into account when the referee makes a decision in a situation where a defender collides or blocks a player in possession of the ball:

1. Defender getting into the correct starting position while marking, standing face to face with the opponent in possession of the ball, and touching the floor with both feet at once.
2. The defender is allowed to either stand still or jump vertically upwards or move around the playing field in order to maintain the correct starting position. At the same time, it is important to take into account the fact that he is allowed to move only to the sides or back in relation to the enemy guarded by him.
3. A defender is allowed to leave the floor with either one or both feet for a moment in order to maintain the correct starting position while guarding, and provided that he moves to the side or back of the opponent he guards. It is strictly forbidden for a defender to move forward towards an opponent in possession of the ball.
4. When a defender collides with the torso of a player he is marking, he is considered to be at the point of contact first.
5. After taking legal guarding position, the defender must always face the player he is guarding. However, he is allowed to make a turn inside his cylinder in order to avoid injury.

If the defender complied with all of the above points, the opponent in possession of the ball is recognized as the offender and the person responsible for the contact.

Warning of a player not in control of the ball

A player who is not in possession of the ball can freely move around the basketball court, choose and occupy any position convenient for him. The main thing is not to violate the boundaries of another player.

As time and distance factors are taken into account when marking a player not in possession of the ball, the defender is not allowed to restrict him in choosing his position. That is, he must give him enough time and distance to stop or change direction.

The distance directly depends on the speed of the enemy. It must correspond to or exceed 1 normal step, but in no case should it be less than it.

In the event that a defender first assumes his correct starting position in marking, while ignoring the important factors of time and distance, which subsequently leads to contact with the opponent, he will be liable for him.

After a defender has acquired the correct starting position while marking, he is allowed to move in parallel with the player he is marking. However, at the same time, he cannot prevent his movement by exposing various parts of his body: arms, legs, shoulders and hips. At the same time, he is allowed to turn away from his guarded opponent by turning inside his cylinder in order to avoid injury.

Airborne player

A jumping up player can land on the same spot he jumped from. He can land in another place, but on condition that the position and the direct path to it from the place of the jump were not occupied by other players (opponents) at the time of the jump.

If a player, after landing, cannot stand still, as a result of which he collides with an opponent who has taken the correct starting position for marking, he is considered to be the culprit of the contact between them. If a player jumps into the air, the opponent must not move in his path from the jump to the landing.

If, while a player is airborne, any movement is made by an opponent below him that results in further contact between them, this will be considered an unsportsmanlike foul. In some cases, it can be equated to a disqualifying foul.

Screen: correct and incorrect

Screening is understood to be an attempt to delay an opponent or prevent him from taking a desired position on the basketball court.

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A screen is legal if the player placing it:

• Was within its cylinder and was immobile at the time of contact.
• At the time of the contact, both feet were on the floor.

In case of an illegal screen, the player placing it:

• At the time of contact is in motion.
• At the time of contact does not take into account the factors of time and distance in relation to the enemy who is in motion.
• Does not leave enough distance for a stationary opponent. At the same time, he puts a barrier out of sight of his opponent, as a result of which contact occurs.

When in sight of an immobile opponent, the player has the right to place a screen as close to him as he wishes. The main condition for this is to avoid contact with him.

When placing a screen out of sight of a stationary opponent, the player must leave room for him to take 1 normal step towards the screen. Moreover, this step should not lead to their contact.

When an opponent is on the move, the screening player must consider time and distance factors. That is, he must leave enough free space for the enemy so that he can stop or change the direction of his movement at any time. The required distance varies from 1 to 2 normal steps, it must not be less than the minimum and greater than the maximum values.

If contact occurs between a player and an opponent, the one who broke the rule is guilty of it. It means that when the player sets up the correct barrier, the opponent is guilty of the incident, and vice versa. If the contact was due to an incorrect screen, then the player who installed it is to blame.

Collision

Collision is defined as personal contact between a player and an opponent's torso resulting from a push or movement. It doesn't matter if either of them had the ball or not.

Blocking

Blocking refers to incorrect personal contact preventing the opponent from moving across the playing field. It doesn't matter if he owns the ball or not.

A blocking foul is defined as contact between the player attempting to set up the screen and the opponent against whom it was set. In this case, the player must be in motion at the moment of contact, and the opponent must be in a stationary state (or retreat from him).

Any contact that occurs is primarily the responsibility of the player if he is facing the opponent and not paying attention to the ball, but changing his position according to the movement of the opponent. But this rule is valid in the absence of other factors. Other factors include intentional pushes, collisions, or the delay of the screened player.

In some cases, a player is allowed to violate the boundaries of his cylinder by exposing his arms or elbows. However, at the same time, he must take a certain position on the basketball court, and remove them in case of an attempt by the opponent to get around him. If he does not remove his arms or elbows, resulting in contact, the action will be considered a block or hold.

Half circles without collision fouls

On the basketball court, semi-circles with no collision fouls indicate a special area. It is necessary for the interpretation of collisions and blockages occurring under the basket.

After the attacker has passed into this semicircle, any contact between him and the defender shall not amount to a foul by the attacker. This rule has special requirements: during contact, the attacker must be in the air, and the defender must be in this semicircle. There are also exceptions, which include the misuse of the attacker's body parts: arms, legs and torso as a whole. This rule applies if:

• if the attacker is in possession of the ball and is in the air;
• passes the ball or shoots for a field goal;
• At least one defender's foot is in the semi-circle without collision fouls.

Touching the opponent with the hand or hand

Not every touch of a player with a hand or hand is a foul. Whether such contact is a foul is up to the judges to decide. They evaluate the situation, and if as a result they decide that this contact brought some advantage to the player who made it, they recognize it as a foul. This includes limiting the freedom of movement of the opponent on the playing field.

The action when a player, while in a defensive stance, in order to interfere with the movement of the opponent, touches him with his arms or hands, and remains in contact with him, is equated with their misuse. It does not matter whether the opponent held in this way is in possession of the ball or not.

Repeated touches, as well as poking of the opponent by the player, are considered a foul. Such actions can lead to rough play, so possession of the ball by the opponent is not taken into account. That is, all players who use such actions against opponents are punished.

The following actions are considered as a foul by an attacker in possession of the ball:

1. Grabbing or elbowing a defender to gain a playing advantage.
2. Pushing away from a defender, the purpose of which is to try to play the ball himself, or to interfere with the play of a defender, or to create more space for himself.
3. Exposing the forearm or hand while dribbling for the sole purpose of preventing him from gaining possession of the ball.

A foul by an attacker without the ball is considered to be pushing away from the opponent with the goal:

• Open to receive transmission.
• Preventing an opponent from playing or trying to play the ball himself.
• Making more space for yourself.

Center game

The principle of verticality, as well as of the cylinder, applies to post play. The rights to the vertical position must be respected both by the attacker, who is in the post position, and by the defensive defender guarding him.

All attempts to push one's opponent out of position using the shoulders or hips are considered a foul. The same applies to obstructing his free movement on the playing field with the help of arms, legs, hips, shoulders and other parts of the body.

Mishandling from behind

Illegal guarding from the back is understood as the player making contact with the opponent from his back. It does not matter that in this way he is just trying to take possession of the ball.

Delay

Delay refers to the personal contact of a player with an opponent, as a result of which his freedom of movement is restricted. Any part of the opponent's body can participate in it.

Push

Pushing is defined as improper personal contact by a player with any part of the opponent's body, as a result of which he moves or tries to move the opponent from his place. It does not matter if the opponent is in possession of the ball at that moment.

Fake foul

Imitation refers to the behavior of an allegedly injured player that does not correspond to the truth in order to gain an undeserved advantage.

Basketball referee gestures - Children and sports

Referee gestures in basketball

Details

Category: Rules

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Official Basketball Referee Signals

1) Basketball Referee Signals , which are published in this article and in these Basketball Rules, are the only official basketball referee gestures in the world. They are used by all World Referees in all games.

2) The referees in basketball both on the field and at the table must be familiar with these official basketball rules, and must also know all the official gestures of referees .

I. Detection of the ball (Fig. 1)

Figure 1 - gestures of judges in basketball when counting the ball

1. One point - omit the brush

2. Two points - two points - lower the brush

3. 3-point shot attempt - flick

4. Successful three-point shot - sudden movement

5. Do not count, play action is canceled - quick spread of hands

II. Relating to time (Fig. 2)

Figure 2 – Gestures of referees in basketball related to time

1. Stop the clock (together with a whistle) or do not turn on the clock - open palm

2. foul (together with a whistle) - the palm is directed at the offender

3. Game time start - hand wave

4. New 24 second count - finger spin

III. Administrative violations (Fig. 3)

Figure 3 - Administrative Gestures of judges in basketball

1. Replacement - crossed hands in front of the chest

2. Invitation to the venue - an open palm

3. A wrapped up - palm and finger, form the letter 'T'

4. Communication between court officials and table officials - thumbs up

Official basketball referee gestures

IV. Violations (Fig. 4)

Figure 4 - gestures of judges in basketball with violations of

1. Putting - rotation with fists

2. Incorrect conducting or dual maintenance - upward -down

3. - half rotation, forward

4. Violation of the 3-second rule - outstretched hand with three fingers

5. 5 second rule violation - showing 5 fingers

6. 8 second rule violation - showing 8 fingers

7. 24 second rule violation - fingers touching shoulder

8. Backcourt return - finger pointing

9. Intentional foot play - toe pointing

10. Ball out of bounds and/or direction of attack - finger raised parallel to sideline

11 Jump ball - thumbs up

V. Showing a foul to the scorer's table (3 positions)

POSITION 1 - Player number (fig. 5)

4

2. No. 5

...

6. No. 10

7. No. 11

...

11. no. 15

POSITION 2 - Type of foul (fig. 6)

Figure 6 – Basketball referee gestures indicating the type of foul

1. Improper handplay - hitting the wrist

2. Blocking (offensive or defensive) - both hands on hips

3. Wide elbows - elbow movement 05 05

4. Delay - Cracking the wrist

5. Push or collision of a player without a ball - Imits a push

6. Clamping a player with a ball - a fist in open palm

7. Team in control foul - clenched fist pointing at the offending team's ring

8. Double foul - crossed fists over head

9. Technical foul - two open hands forming a 'T'

10 - Unsportsmanlike foul - wrist interception

11. Disqualifying foul - raised fists

POSITION 3 - Number of free throws awarded (Diagram 7)

Figure 7 - Basketball referee gestures - Number of free throws awarded

1. One free throw - show one finger

2. Two free throws - show two fingers

3. Three free throws - show three fingers 9005 or direction of play (Fig. 8)

Figure 8 - Basketball referee gestures - Direction of play

1. Finger parallel to sideline

2. After a foul by the team in control of the ball, a fist parallel to the touchline

Official basketball referee gestures

VI.

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