Subseription; t5

(US
$tO)
per year, that is for 6 successive
ISSN A267-36gX
,^.^,,--'
*o^
Incorporating C HESSICS
A
Issue
kseptemberOctober
tq"
1e87
(9
Copyright
Editor and Publisher:
G.P.Jelliss, 99 Bohemia Road,
St Leonards on Sea, TN37 6RJ.
Single sample copy 81
(US
$Z).
issues starting at any time"
01. FR,ONT PAGE
02. FACT & FANCY
03. POSTAL PLAY
04. DOMINOES
05. CARD-PLAY
06. CHESS VARIANTS
07. CHESS PRORLEMS
08. TRANSITIONS
09. DISSECTIONS
10. GEOMETRY
I.1. NUMBERS
t2. BAROQUE GAMES
13. LOGIC
L4. VERSIFICATION
15. WORDS
16. PATTERN-PIAY
Contents
Publication Data. Contents. Introduction. PQR.
zine scene. I'rom Letters. Professor cranium.
An Outline of Diplomacy.
Threes & Fives. Odd Primes.
Quadrilles.
Carpet Squares. Space Rummy. Carpet Rummy.
Series-Play Variants. A Series-Play Synthetic Game.
Series-Play Chess Problems. Twelve Originals.
Step-by*Step Transformations. Sliding Block Puzzles.
Grid Dissections. A Chessboard
Question.
Parallels"
Triangular Biltiards. Corner Paradox.
Cryptarithms. An Enumeration. Magic Knight Tours.
Custodian Capture Games. Take.
Probable Inequality. Wheels. Grocery. Saw-Seeing.
Structural Analysis of Verse.
Cryptic Crossword. Change-Chains.
Mathematical Art. Pair Trees. Polygrams.
Intavld.rctton
ta the Journq.l
The Games and Puzzles Journal has developed in part
out of my very much more
speciics,whichwassubtitled''TheJournalofGeneral-
ised Chess" and explored tne teriiT6frEtween Chess and Mathematics. Consequently
there is likely to be much of a chessic nature in the G&PJ, at least initially, but th!
intention is for the Journal to cover as wide a range oflames and puzzler
ar'possible,
and to include sometIliffir everyone in every issie. To do this I will of course need
quite
a bit of help from readers, so donrt hesitate to write to me, saying what you want
to see in the Journal that isntt there, putting me right on any errors, and eipeciaily
contributi ng oriffiIE-aterial f or publi cation.
^
Before my discovery of the world of chess problerrls,
through The
problemist,
and
of chess variants, thrortgh Anthony Dickins's A duide to Fairy bn6G-TnlEfr-I6m-U1r1s6
withaninterestinprintingandpublishingtop@gbeeninterested
in Mathematical Rqcrggtions, mainly via tng excelleilT-EofrFilations oy w.w.nouse Ball
anO
also of course H.E.Dudeney's Amusemenis in Mathematics.
otherimportantinfluenceshavebeenR.C.Bel1'stwovoIum
{lom
mqny.cjviJizgti_ons, H.J.R.Murrayts A
tlistory
of Chess, Roffi
Games (which
includes the chess multi-variant Ultima) and Sid Sackson's A eEmnt nf
Games.Thusitwillbeevidentthatthethemesofhistoryofgames,tneircffii
Ii[i6ilTion and mathematical analysis will continually recur throughout these pages and
will guide the presentation
and choice of material.
Particular attention is drawn to the two new Magic Knight Tours by Tom Marlow
9n-page
1L. They are the first new 8x8 examples to be discovered for nearly b0 years!
ft
l99ts- as
.though
Mr Marlow's work, when completed, will round off an important chapter
in this fascinating subject.
PQR.
- Throughout the pages various puzzles will be found. These may be classified
as Problems, which have a definite solution,
Questions, which have less ceiinite answers
(sometimes
unknown to the Editor!), and Recreations, which take the form of activities
usually leading to constructions. The resuJts of readersr work on all these are invited.
A solvers' ladder, with a prize for the leading solver at the end of a year, is proposed
for the Chess Problems (which
are numbereC). e similar competition
-may
be poisible
for the other puzzles, if sufficient entries are received.
page
1
N
b
THE GAMES AND PUZZLES JOURNAL
Ztne Srene
It was only recently that i became aware of the extensive activity in this country
among games players in the production of small-circulation home-produced magazines
(known
as zines) for the promotion, mainly, of postal games play. These publications
naturally vary vastly in size, quality, frequency, reliability, and any other variable you
can think of. The dividing line between zine and mag is somewhat elusive. Many of the
games zines also double as
pop music/film bufflpolitical/sci-fi pamphlets.
A tist of current postal-games-playing zines is included as a supplement. The number
of zines currently alive and kicking is at least 50 in the UK alone
(overseas
zines will
be listed next time). There are new zines appearing, and old ones disappearing, every
few months, also many of them are infested with sub-zines, so that any supposedly
complete listing is inevitably out of date even before publication. The bold figure after
the zine name is the last issue number Irve heard of. Those marked with an asterisk have
actually thudded onto my doormat. The others listed have been reviewed in other zines
or are mentioned in the zine directory Mission from God by Iain Bowen
(Feb
87 issue)
published by Pete Tulk, 76 Portland Road, Edgbaston, Birmingham, BL6 9QU.
The supplement also gives a rough guide'to the 180 different games that are available
for postal play through the zines. It is obviously impossible to give here an explanation
of all the games
(even
if I knew them all) but I hope to include all the main types at least
in the next few issues. By far the most played single game is Diplomacy, and a good pro-
portion of the other games listed are Diplomacy variants or offshoots. We therefore
begin with a sketch of Diplomacy, strictly for beginners
(iike
myself).
Many games, such as Diplomacy, are invented ostensibiy as the result of an attempt
to model or simulate some real-iife situation
(such
as wars, market trading, football
leagues, crime detection) or to bring to life some fictional fantasy world
(such
as Tolkein's
Middle Earth) or a combination of both
(e.9.
Conan Doylets fictional Sherlock Holmes
in the historical context of Victorian or Edwardian London). But once created the game
takes on a life of its own. The principlei underlying the working of a game, its basic
structure or mechanism, are generally applicable to the generation of other, variant,
games
which do not necessarily simulate any real or imagined situation but simply exist
in their own right. The underlying structure. of Diplomacy is particularly coherent.
Frcm Letterc to the Editor
Paul SIMPKINS:
"I
wondered at first about your flyer and whether it was a spoof - anyone
who has an interest in Diplomaey and who lives on Bohemia Road ...r'
lBohemia is the only doubly land-locked area on the Diplomacy
board.l
Paul EVANS
(alias
Pevans):
ttThe
SFCP's main
game
is En Garde!,
a role-playing (of
sorts)
game set in the fictional 1?th century Paris of the Three N{usketeers, Cyrano oe"Bergerac-
and Harry Flashman! The players
submit orders for their characters ior one ronih at
a time and the Games Master/Referee works out all the interactions. These are then
published
in narrative form, together with various tables to give players
a picture of
whatrs going on
(individual
players
also get a sheet of details ior tneii. charatter). The
En Garde! game
came about because we started running a game at GamesFair
(held
at Reading University each spring). To enable us to handle that successfully we developed
some computer software to help us administer the gamci. Once wetd got that, it seemed
silly to use it only once a year, and so The Small Furry Creatures Press was born! lVe
have since added other games,
but En Car
[It is interesting to see role-playing games getting
away from wizards and dragonslJ
Pruf.
quniurn
-$
ROAD TO THE
page
P"X*
WORLD
PROBLEM
SOLVII{G
CONTEST
FOU RT}1
PRIZE
FOLLOWS THE RED-BRICK
THE GAMES AND PUZZLESJOURNAL
b"^
?
An Outline of Dtplomacy
'
o,
Diplomacy is best for ? players. It is played on a board representing Europe c1g00.
'4?
The playsrs
represent Austria, England, France, Germany, Italy, Russia inC turt<ey. The
areas into which the board is divided are connected as ihown-in the simplified Oiagram
beldw. only one piece at a time can occupy any one area. Switzerland, shown otaikec
in, is not one of the playing
areas; it is considered impassable.
One of the main original features special to the Diplomacy family of games is that
all the players
make their moves simultaneously! This is Oone uy eacn ptayer writing
down, privately,
the moves he chooses. These
r?orders'r
are then pasied
to the next player
round the circle (or
in postal play to the
[games
master'r who is usually the zine ebitor).
The orders are read, and where they conflict
(e.g.
two players ordering a piece
to the
same area) decision'is made by applying the
"lawi
of wai", which are Uisicalty that the
'tstrongerrt
force wins and equal forces result in a
"stand-off"
(neither
moves).
At each turn of play (known
as a
"campaign!'
since all the players move)-each piece
is allowed one mover but instead may
I'stand'r
br etse
'rsupport'r anotf'er piece
that occupies,
or wishes to move to, an area the support piece could move to. The
"strength'r
of
"
pi"c"
c^ounts the piece plus all those supporting it. The support action of a piece ijrr"ulrr however
if the supporting piece is itself attackeb
(it
nas to
-use
its powers
to defend itsetf). ti an
attack succeeds the ousted piece retreats to an adjacent area, or else is
"disbandedr'.
The small circles in the diagram
mark the 34
t'supply
centres'r.
For an outright win one player
m ust control 1 8 of these. Every
area is adjacent to at least one
centre. The pieces
are of two
types: Fleets and Arm ies. The
7 5 areas com prise 1
g
of sea
(f
or
Fleets only) L4 larrd-locked areas
(for
Armies only) and 42 coastal
areas
(for
either type of piece).
A Fleet may move directly from
one coastal area to another with
a com mon coastline. Fleets at
sea, instead of m ovitrS, m ay
"convoy"
an Arm y across the
sea (or
seas). This is the only
occasion when a piece
can get
to a non-adjacent
area in one go.
Entry to the Baltic is in two
moves,
through Kiel, Denmark
or Sweden; and to the Black Sea
through Constantinople.
Initially (at
Winter 1900) each player has three pieces (Russia
exceptionalty four)
oc_cupying supply centres. There are two campaigns euery
"year"
(in
spring ano eltumni
followed by a round of readjustments. A player-
is held to
',control'r
all the centres he
is occupying at the end of the year plus
any others he controlled last winter that are
not now occupied by others. The numbers
-of
pieces
a player
has on the board is now equal-
is.ed as
.far
as possible
with the number of centres hs
-controls,
either by removing excess
pieces (any
he chooses). or raising- new ones on any of his oriiin"i nome centres that are
vacant but still under his control. The game
thus cannot be i,rron outright before winter
1904
(by
Russia) or winter 1905
(by
any other player).
The other original feature of Diploinacy, from which it gets its name, is that one
player
Ta-y
s-upport or convoy pieces
of anotner provided
agreemient can be reached during
the period
of
"diplomacyrr
an- ,- precedes
the writing of ord6rs. But there is nothing binding
in these agreements, so that a prudent player w-ill never stake everything on such an
uncertain
alliance, and the value of
"diplomacy"
in the game is somewhat-impo"nderable.
Diplomacy is distributed in the UK by Gibsonts Games,
Greenlea
park,
London Swlg 2RB.
page
3
a
I
t
I
s
THE GAMES AND PUZZLES JOURNAL
Domtno Ttvees S< Fives
Having consulted a few
trHoylestr
at random I was surprised to find that the form
of Dominoes played in my circles was not described, so I give a sketch of it here. The
double-6 set is used. Each player takes ?
(or
if three or four play each takes 5). Each
player in turn either places one of his tiles in the centre or draws one from' the stock.
The first tile played can be any the player chooses, but each subsequent tile must match
one of its ends with one of the two free ends of the dominoes previously placed, so that
they form a chain. Doubles are placed sideways on, purely for aesthetic reasons.
A peg-board (such
as is made for Cribbage) is used for scoring. At each placement
of a tile the two free ends are added and the player scores the number of threes and
fives in the total. A double counts double. Thus, for example, if the first player puts
out the [4,5] he scores 3 points, since 4+5
=
9
=
3x3. If the next player puts down the
[5,1] he scores 1 point, since 4+t
=
5
=
1x5. The maximum score that can be achieved
in one go is 8, from a total of 15, which scores 3 for fives and 5 for threes. The game
ends when one of the players has played all his tiles, or no more play is possible.
Domino Odd Prtmes
An elaboration of the game of
'?Threes
and Fives" that I have devised for those
with a more intense interest in number theory is the game of
"Odd
Primes". The rules
are the same as for
"Threes
and Fives'r but scores are eounted also for sevens, elevens,
thirteens and seventeens. This becomes even more interesting if the game is played
with a double-nine set, since totals up to 34 can be formed and scores up to 16, but
there are only two more primes, 19 and 23,to be looked for.
Frcnch &. English
elcdrtlles
In a double-N set of dominoes, numbered [0,0] to [N,N], each number occurs the
same number of times, viz N+2 times: twice on the double and once in combination
with each of the other N numbers. When N is of the form 4n+2 then N+2
=
4n+4r a multiple
of 4, and it is possible to form the patterns known as quadrilles in which the dominoes
are arranged so that their ends are grouped into squares of four alike. For example,
with the double-Z set we can form the pattern A below. The next case in which quadr-
illes are possible is with the [6,6] set. Solutions for this case, by Henri Delannoy, were
published by Edouard Lucas in Vol II of his RcrdationlMatlhtlma'llques
(1883).
He comm-
entedhoweverthatl'ThisprobIemnasueonsieurLaquidre,
but the notes drawn up on the subject were lost during the siege of Strasbourg". The
siege took place in 1870. Recreation: Construct a quadrille (hopefully
a new example).
With a double-3 set it is not possible
to form quadrilles
of the usual type, but
it is possible
to create similar formations composed of squares-of-four
each of them
containing four diffgrent digits. Let us call patterns
of inir typ" English
euadrilles
t-o distinguish tnffiJ?6m the French ones. B is an example. For this new type of quadr-
ille to be possible
the number of dominoes must be even, so that the number of faces
is a multiple of 4. This occurs when N is of the form 4n+2 or 4n+3. We must also have
at least four different digits, which implies N)2. Thus the next case in which a solution
may be possible
is again when N=6. Recreation:
Construct
an English quadrille with
the double-six
set, nq two sets of fog1 !el-1g slile.
B
A
o
o
o
O
o
o
.a
o
o
o
o
o
o
o
o
o t
o o
o o
o o
o
o
o
o
o
o
o
I
o
O
o
a
o
o
o
o o
t
o
page
4
THE GAMES AND PUZZLES JOURNAL
Carpet Sflrares
This is a new card game, for children of all ages
(as
they say). The cards are shuffled
and 24 or 25 are dealt out equally between the players (i.e.
2 get 12, 3 get 8, 4 get 6,
5 get 5' 6 get 4r each). The rest of the pack makes a face-up pile in the centre of tne
playing area
(with
room to form three rings of cards round it). Each player in turn removes
the top card from the centre and plays it, or one of the others in hand, face-up, next
to the centre or next to a card previously played; ("nextil
meaning edge-to-edge or corner-
to-corner). When all the cards have been removed from the centre, play
-continues
by.
each player placing one card from his hand. When the ?x? array is complete the remain-
ing three cards are played on top of existing cards in the array.
Scores are made during the play for matchings, that is for placing your card next
to another
(a)
of the sams rank lthere are L3 ranks, Ar2r3,4ri,6,?,8,9;10,J,e,K] or
(b)
of the same suit [there are 4 suits, Clubs, Diamonds, Hearts and Spades]' or
-(c)
adding
to 14, i.e. complementary,
[there are ? matchings of this type: A+K,2+e,B+J,4+10,S+9;
6+817+71. A pair of sevens scores twice, since they are equal and also complementary.
Furthermore, for N matchings you score not N but N squared
(i.e.
NxN). Thus r.
matching scores 1, 2 score 4, 3 score 9, 4 score 16, 5 seore 25, and so on. Scoring can
be done on a peg board. When playing a card on top of another the card below shouid
also be considered when counting
I'matchings".
The theoretical maximum single score
is thus 144 from 12 matchings, but is extremely unlikely to occur.
S-pace Rummy
The distinctive features of this type of Rummy are the wider range of
"matched
setsrt allowed and the method of scoring by
"weighingt'
the hands. The aim is to achieve
r?weightlessness"
(as
in space travel, whence the name).
Two play' the usual pack is shuffled and cut and each player
is dealt 13 cards. The
rest of the cards form a face-down stock pile between ths pl-ayers. Each in turn, non-
dealer first, draws a card and discards one. The disearo may UL tne one drawn or one
of the 13 held. The discards form a face-up pile next to the stock. The object of play
is to build up matching sets in your hand.
A showdown occurs when either
(a)
no stock card is left to be drawn or
(b)
one
player
decides to declare instead of drawing and discarding. This may be done any time
after the first eight drawings. At the showdown each player displays his hand and its
weight is calculated. The weight of eaeh hand is scored to the opponent.-
The
"weightr?
of a hand is basically the sum of the face values of its cards, Aces
counting l and Court cards 10, but this can be reduced by forming matched sets which
weigh zero. These are: Four of the same rank; Four cards in sequence, one of each suit;
Four or more cards in sequence, all of the same suit. Unlike usual Rummy@ffi cafu
is allowed to form part
of two maffi
There are
.
also the following bonuses: (a)
5 points f or each card tef t in the stoek
pile (maximum
5x18
=
90) scored to the
declarer if his hand has the lowest weight,
but otherwise" to the non-declarer. This
rewards an early successf uI declaration
but penalises
a rash one;
(b)
S O points f or
a zero hand;
(c)
S O points f or a
"triangle"
of intersecting matched sets;
(d)
SO po;nts
f or a sequence A tp K regardless of suits.
Corpet Rummy
.
The two games
describecl above can be combined in one, as follows. Two ptay
and
receive 13 cards each, the rest forming the stock pile, which is placed
face ,p. inl piuv
proceeds
by drawing from the stoekrand discarding to the
"carpet".
Scores are made
in play
for matchings made in the carpet. The shoirdown occurs when there is no carc
left in the centre
(or
earlier if there il a declaration).
J,e,K
"ountl'ii,rz,13
for weigh-
ing purposes (in
line with their values in_
_carpet
playj
uno-in f;;id matched sets any
card can stand in for its complement (e.g.
zc.,qD,z{,e-s counts as four oi a kind).
page
S
Qoo
2r,
An example of a fully matched hand,
including a triangle is:
a
I
a
I
P
a
*
2-3:-4-5
I
toi
v\i
; Ltu
-s
THE GAMES AND PUZZLES JOURNAL
Se rres' P Lay Che&s Y artonts
One way of
ttspeeding
uptt chess is to allow one player to make a series of moves
instead of
Just
one per go. Thus one has Double-move Chess in which each player makes
two moves at a time, and Progressive Chess in which White plays one move' Black two'
White three, Black Four, and so on. Slightly less hectic would be Semi-progressive Chess
in which the Nth go by either side is of N moves.
Various conventions with regard to check are possible in series-play. The usual
Single-check rule adopted is that check may only be given on the last move of the series
and must be defended on the first move of the reply. Single-check Double-move Chess
is known as Marseilles Chess and Single-check Progressive Chess is Scotch Chess.
Alternative conventions of interest are for example: Multi-check - in which a player
is allowed to check the opposing King freely
(but
not to capture it) and the opponenfs
reply-series must eliminate all the checks
(otherwise
it is mate). ' Abstract-theck - in
wnicn a King is considered to be in check if it coutd be captured by the opponent in one
or more movls of his next turn to play. e.g. in Abstract Double-move Chess after 1.e4'Bb5
AffiK is in check
(since
W could next play Bxd?'BxK)
Numerous examples of
(Single-check) Progressive Chess are given in the recent
Informatore e.f.s.B fro. 11 tiroti
Alessandro
-astelli,
Via Potenza 11, Villa Fotenza
ctuntofthegamewaS.apparentlyfirstgivenbyE.Znosko-
iorovsky
(whro, improbably, saw it played in Scotland) in 1947.
Marseilles in"5 was poputarislO by Albert Fortis in the 1920s. Here is the score
of a game he played against etiXnine
(reported in L'Eclriquier, May 1926'
p88)'
.
White Black
'/.
Ba3, BxfB
A. Al e kh i ne A. Forti s
B.
Qc
1
, Qa3+
1.
93,
BgZ d5, Sc6
9. d3: SgZ
2. Bxd5,Bf3 Sd4,Sxf3+
10.Se2oSxd4
3. Sxf3, b3 b6, Bb7
11. Rbl'
QbZ+
4. 00, KgZ g5,
E4
L2. Rx'b2, Sh4
5. 4, sh+ Ba6, Bxfl+
13. Ke2, Ke3
6. Kxfl ,
Sc3 e6, h5
L4. f3
'
f 4+
KxfB, Sf6 15. d4, de+ Ke6' b5
q5, Kg7 16. Sf5, S97+ Ke7, c4
Sf5, Sd4 17 . bc
,
Sf5+ KfB, bc
Qxd4, QdB
18. 6, e7
+ KgB
'
ReB
Qd4, Q
xb? 19. RbB
,
RxcB RxcB, RbB
Kf6 , Ke 5 20. e=S
,
Sf6+ KfB ,
Rbz
RacB, RhdB 2I , KeZ, 5 Res'i gns
Kf6, 5
For chess players who are used to N for Knight I should explain that in these pages
N witl stand for Nightrider. We use the problemist notation S, for Sir Knight!- Pawn-moves
are indicated simply by the destination square, and Pawn-captures
Just
by the file-names.
A Sertes-Play
Slntheti.c Game
The earliest example of series-play chess that I can trace is the following remark-
able
'tsynthetic
game'r by C.D.Locock, given in the British Chess Meglne October
1909.ItisalsoNo.].15inhisbook120ChessProb1emffioublished
in1912.Problem:Blackconcedednoddsofj0moves
start, on condition that he moved only his King and two Pawns, both of which he promo-
ted. White made such good use of his start that, on the expiration of his 30th move'
he had
(without giving check) captured the entire Black forces with the exception of
one Rook and one Pawn. Black then mated on the move! Solution:
1Pb4 2pb5 3pb6 4pt4 5Kf2 6Kf3 7pfs 8Kf4 9pf6 10Kfs
11 ba7 12 fe7 13 b8R 14 f8S 15 Rc8 16 Rc7 17 Rb7 18 Rd7 19 Rd6 20 Se6
21saB 22TF6 23R'h-7 245f7 2sRrE 26Rs6 27-WJ 28I@ 2sRh7 30 Kh8
for BKxfT mate!
(Note
that 4Pd4 would not do, since the WQ would stop the mate).
Locockrs problem contains all the ingredients of the modern serieshelpmate problem,
save only that the sequence of moves is not completely determinate and that White
has the series and Black the mate, instead of vice versa. The following was one of the
first serieshelpmates
published, and I think still holds the length record for 4 pieces.
Problem: T.R.Dawson, Fairy Chess Review,1947. WKc1, BKa1, WSaS, BPf2, Serieshelp-
mate in 17 moves
(Shm
17). Solution: 1-7 Ke1 8f1R 9Rf2 10-16Ka1 1,TRa2 for Sb3 mate.
A book' The Serieshelpmate by J.M.Rice
and A.S.M.Dickins
was
pubiished
in 1g?1.
page
6
THE GAMES AND PUZZLES JOURNAL
Senes- PIny Che&s Prob lems
Of recent years related stipulations such as serieshelpstalemate
or seriesselfmate
have been investigated. In a seriesselfmate the White pieces play
the series and get
themselves into a position where Black, given the move, must give theckmate, whateier
he plays. The composer of the first five original problems givln here, Nigel Nettheim,
writes:
I'These
problems were composed after a suggestion of Arthur Willmott, Chess
in Augtlalia, September 1986, p268, calling for a seriesselfmate using only two EG[[
men. I have shown each of the five Black men in turn, aiming for an efflct of unity
in the suite.'t The diagrams
(shown
here reduced in size)l werJ printed
by a computer
program
which the composer wrote himself
(the
program
only prints
the diagrams, it
doesn't compose!).
The next four originals, by Theodor Steudel, show serieshelpstalemates.
In these
Blaek plays
the series and reaches a position where White, given the move, can stale-
mate him in one move. These originals all have the added feature that Black can also
autostalemate himself in one move, i.e. in one move he reaches a position
where, if
it were still his turn to move, he could not make any further legal move.
Problem 10. shows a series of two White moves - one backward in time, the other
forward. Problem 11. was inspired by a study of C.E.Kemp's length-record compositions.
Problem 12. was composed as iong ago as 30 April 19?8 but I've been unable to get it
to work without the extra condition which rather gives away the solution.
The following
.abbreviations
are used for the stipulations: S=series, s=self, m=mate
(meaning
checkrnate), p=patt (meaning
stalemate), r=retract, d=double.
%
%%
1. N.NETTHEIM
Ssm L9
2. N.NETTHEIM
Ssm L7
3. N.NETTHEIM
Ssm L7
4. N.NETTHEIM
Ssm 16
:':.:.;.;';.:. A i::.:'::':'
':.;.:.::.:.: z-\ :.i:.:.:.!:
/\
tt
..:.:.:.:':.:. z-5 ..:.:.:.:.:.i
:1:'|f\:;:;
'' ( v:':
:' Ital
.'.
q.,
;:,::.';::
*
i; i' i'i"
........:
t)
........ ...
,'. :...:.:. a: '..:. :..:.
.:.:.:.:':.i:
:':.:.:':.:.:
8. Th. STEUDEL
Shp 19
'%,
%
'%t%
%.%'.%
% % %ft%:&
%%,%%:
%.'%, %.'%
7/, % %W%
'%
% %,%
',%
%,
'%, 'm
L2. G.P.JELLISS
Sh d-pin m 7
(Z
ways)
5. N.NETTHEIM
Ssni 1 9
6. Th. STEUDEL
Shp 6
10. Th. STEUDEL
rlformL
T. Th. STEUDEL
Shp 7
t
ittZ
'&_
9. Th. STEUDEL
Shp L7
11. G.P.JELLISS
Shm 31
Wru
ln*ftinK*'r,;*i l/51,
TIt
t;7):;:7,ii, ,;i,
i
7/t, Titg|fr,H%li
^,,fr/tZE/Z
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:.i:':':.:':. tN ii:.:';.:':.
'.',','.'.'.'. r. \',',,'...'.
"..1.i.,;
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(rl
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:;:;:;;;:;:;:;
':.:.:.:':.:':
i,.:,.'..'...
*
l;i1i;:;.;:;:;
ln
;:;i;l;i;i;i;: .A ;i;i;i;l;i;i;i
:..:'...;. /\ :.:.,.:.:,:,:,
'.:':.' ::
A ;l.i.iii:.i
Hiiiiii:i,i:l.i-h
c.St
'')t1t
.'+
.:.:.:...:.::
Fr
l;l;l.l;i;i;i;
Fd
''.:...:.t.:
l4Fd\
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/%"%,
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ifr, % %,
lft'%A%t% %
l:ffi,t%
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|ffi%%,t%
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% ffi, %E%t
% %, %,:&'%,gl
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'lffi
%
'%%
%
,,%,
'%,
%
%%,
%l
solutions to reach me by lst December.
,,ru
i%,
%, %_z
"N
os"
THE GAMES AND PUZZLES JOURNAL
Step-W Step Tl'ans
f
ormation P rcble ms
This subject will I hope provide a regular page in the Journal. Back in Chessics
issue 2 in 1976 I proposed ihe-name Transitions for this clasilTG-athematica-1-iEF
ations, since they form a class as important as the Disseetions. Well known members
of this group of puzzles are the Tiring Irons
(ChinesF
nTffine Tower of Hanoi
(or
Pyramid Puzzle) and Difficult Crossings, and the Rubik Cube. Another large subset
is provided by Sliding Piece Puzzles, which are now catalogued and described in detail
in an excellent new book with this title by Edward llordern. It is number 4 in the Oxford
University Press Recreations in Mathematics series
(price
815 hardback). The only pre-
vious book that covered this subject in any detail that I know of is one by A.Filipiak,
and the solutions in the edition I saw were almost completely haywire. Hordern?s book,
I am glad to say, is admirably accurate. Many of the solutions given are in fact great
improvements on previously published results.
In his preface the author admits that
ttThis
is not a book for readers!'? There are
two introductory chapters, one on classifying, describing and solving the puzzles and
the other on their history. The remaining nine chapters comprise a catalogue of 272
puzzles selected from the author's collection of some 750 sliding piece puzzles
(part
bf a wider collection of some 8000 items). Tne main disappointment of the book, for
me
(particularly
considering the series title) is the absence of any mathematical theory'
apari from a short note on
"parity"
and an Appendix by the Series Editor
(David
Sing-
master) referring the interested reader elsewhere.
By a
"sliding
piece puzzle" the author means any arrangement of pieces in a con-
fined space in which the purpose is to rearrange them by translatory motions. Thus'
rotational puzzles, such as Rubik's cube, are excluded
(they
are dealt with in number
3 in the series). The implication is that there must be an unoccupied space within the
confined area to enable the moves to take place. For the present we will consider only
the very simplest puzzles of this type - we will come back to the subject regularly.
Slidurg Bloek Puzzles
The simplest sliding piece puzzles consist of square blocks, all the same size,
on a squared board, with one vacant square. Any motions of the pieces can be described
equivalently as
rrtours"
of the board by the vacant square. In any transformation the
space will never retrace a series of moves because this merely has the effect of putting
the blocks back where they were at the start of the series. So, if the space returns to
a square it does so by a different route, forming a loop. In our diagrams we will number
the space 0 and the pieces l, 2, 3r..., rt-l.
The smallest board on whieh anything interesting can happen is the 2x2 board.
The only looping motions of the spaee are to go round the board clockwise or anti-clock-
wise, and the transformation requiring the most moves is to transfer each piece to the
opposite corner. This takes 1* loops
(i.e.6
moves) either way, viz:
\
,f,
Problems: Transf orm to
(Z
ways) or to
(4,
ways)
i.e. transpose each end pair top to bottom, or interchange the end pairs left for right.
Each of these transformations takes 20 moves, which is the maximum length transfoim-
ation possible,
if the space is to be left where it started.
-mtr*ml
*till
*ffi
#*ffi
The 2x3 board is the si mplest considered
exam ples,
requiring 1 6 or 17 m oves to solve. For
in Mr Hordernrs book.
solution here however
He quotes two
Ioffer
1
page
8
THE GAMES AND PUZZLESJOURNAL
%
b^
Grid Dtssecttons Q*,
-
The special issue of Chessics (No
28) on chessboard dissections has met with many
favourable comments. It in;vamle as a one-off for 60p
($f
) Uut I am already planning
an expanded Chessay-on.the subJect, to appear next ye-ar. on this page
of the'.lournaj
we will ue c6iGii6o with dissection queiiions
of ail types, not
1usi1n"r"-'*iiffi
restricted to a square grid. But we begin with two rquar!-grid examples. The folowing
is another dissection from Walter Stead's manuscript notebooks. It will serve as a tribute
to C.E.Kemp, the chess problemist
and editor of Fairy Chess Review during its last
twoyears,whodiedinNovemberlastyearageoaa.@esof"6,qu",es
forming a rectangle r2x20 with 30 hores, spelliig out the initials c.E.K;
W.Stead
undated
A chessboord Drssecti.on
@testron
Philip M.Cohen of Aliquippa, Pennsylvania,
USA, sends the following question
ry-nt"n
he says he worked on about 20 years
ago. He achieved 43 in
(a)
and r.g in
(b)
but
did not succeed with
(c).
Can any reader do betler?
Recreation:
,
Dissqct a chgguer.qd 8r8 board into the 12 possible
5-square shapes
and a 2x2 square, in such a way-tnaTG pieces
can be reamanged so that:
("1
in" 1ur*.";i
number of the 112 pairs of squares with a common edge arelhe same colour, in oiher
words so that the board is as
"unch_equered'?
as possibie; (b)
the largest possible conn_
ected single-colour area is formed; (c)
so that a connected single-coiour area is formed
that touches all four sides.
Crussrng
the
parullels
.
A single
.r'beam"
of parallel
equidistant straight lines divides a plane
area into
strips all alike
(except
near the edges which we take Io ue at a large distance and ignore).
Two such beams at an angle divide the plane into paralletograms,
all of the same size,
shape and orientation. These parallelograms
may in special cases be rectangles or dia-
monds or' even more specially, squares. A third beam can always be added to the first
twor crossing all the parallelograms
diagonally, to divide the plane
into triangles all
of the same size and shape, though in two different orientations.
Problem
what is the maximum number of beams that
3
2 7
as to divide the plane into pieces
all of the same size and shape?
dissection is required, not
just
a statement of the number of beams.
can be combined so
An illustration of the
page
I
-d
THE GAMES AND PUZZLES JOURNAL
Trittgulnr Billiards
The earliest mention of Triangular Billiards that I know of is in No. 53 of the Pillgw
Problems of C.L.Dodgson
(Lewis
Carroll) published in 1893.
.lhe
geometrical part of Dodgson's problem involves finding a route PQRSP, from
P to P within a triangle ABC via impingements upon the sides at
Q,
R' S. A construction
for one of the three possible routes is shown below. In this diagram P" and Ps are the
reflections of P in the sides BC and AB of the triangle. Then P"5 and P"g are the
reflections of these
points in side CA. The cross-Joins PaPcb and P"Pu6 meet at R6
on AC, and cut BC and CA at
Qn
and Sp respectively. Then PQ5R5SSP is the required
path. (Similar
constructions lead to the alternative routes PQaRaSaP and PQgRsS.P
with the second impact point Rs on BC or Rs on AB.) Dodgson's diagram omits point
Ps6, but I have put it in to bring out the symmetry of the construction method. Note
ttrat n5 is not the foot of the perpendicular from P to AC unless the angles at A and
C are the same.
>j.n
In the particular
case when SPQ is a straight line, so that the billiard bail will
garry on again roun_d the same path,
the points
Q,R,S
must be the feet of the perpend-
iculars from A, B, C to the sides BC, CA, AB. That is, P must be a point on the
'pedal
triangle'? of ABC, which is the inscribed triangle of least perimeter.'tpo. proof
of tni,
see H.S.M.Coxeter, Introduction to Geometry, 2nd edn, 1g6g, p21.J
Manypuzzting@ular(andgenerallymulti_angular)biltiards,
and we will consider a series of them over the next few issu-es. one oi the paradoxei
of the subject concerns the question of what happens when a ball is cued directly into
a
-corner'
without pocket,
so as to hit both the sides of the angle simultaneously. One
might suppose that what happens at the corner could be deducid by considering what
happens when the ball hits close to the corner and then considering what hapfens as
the distance of the impact from the corner gets less and less. But, consioer
"an
angle
of 1200 and three balls, one cued along the bisector and the others along parallels
to
the bisector. Their routes will wildly diverge!
(Assuming
they do not collide.) Symmetry
suggests that the ball cued directly into the corner wiIl come straight back
- but the
slightest error of aim and it will come out 60o to right or leffl
Problem : Suppose the angle of a corner is V degrees and that a ball is cued
into the corner' to hit one side first, at an angle of U dJgrees to the side
(U
\<
V). At
what angle
(and
from which side) will the ball emlrge?
Question
':
What rule applies if the balf hits both sides simultaneously? will
it come
-straight
back along the same line? WilI it come out at the same angle to the
second side as it had to the first? Or will it stick in the corner? Or does it depend on
the angle, or other conditions? I suspect that no two people,
taken at random, will agree
on the answer to this one! If anyone has the facilitils [o carry out some experimental
tests, I would be interested to hear of their results.
page
10
The term
"cryptarithmIt
describes
some calculation, the problem
being to
first puzzre
below was kindly sent to me
The second is an attempted response by
are used of course two of them represent
has two solutions.
Problems
PUZZL ES
PUZZ L ES
PUZZ L ES
619326128213459
31 62 7 20 33 60 25 22
18 5 64 29 24 27 58 35
63 30 L7 B 57 36 23 26
5047 441 16 95637
1 44 49 46 53 40 15 L2
485142 310133855
43 2 45 52 39 54 11 14
THE GAMES AND PUZZLES JOURNAL
Cryptartthms
an array of letters that represent the digits in
deduce whi ch digit each letter represents. The
as a New Year greeting by Mr T.FLWILLCOCKS.
mer but is far less felicitous. Where 11 letters
the same digit. The GAMES + puzzLES
problem
%o"
MIMIC
UNKNO[^JN
SOLUT I ON
m
GAMES
PUZZLES
GJELLISS AMUSING
An F}tutneltian
we will regularly inelude an enumeration problem
on this page.
Further questions
are invited from readers (you
donrt have
-to
know the answer to pose
a question!).
our first problem
was posed
by T.R.DAWSON in 190?.
problem
In how many different ways
can all the 16 men in the diagrammed solitaire position
be captured
by adding one man and moving only that man?
Magi.e Kni.ght Tour:s
The first Magic Knight Tour of the 8x8 chessboard was published by William Beverley
in the Philosophical Magazine & Journal, August 1848. Over the rrext hundred years the
subject was studied intensively by
a dozen or so devotees who discovered a further
gb
geometrically
distinct examples. A complete catalogue of these was published in Chessics
26
(Summer
1986). Both Beverley's tour and the last to be discovered by MurrayE-mA[;
were formed on the
"quartes'r
system, in which each successive set of four numbers 1-4,
5-8' etc lies in one quarter of the board, one in each rank and file of the quarter. In fact
72 of the 96 tours are formed on this principle. In a note on p121 I commented:',It shoulc
be possible
to apply modern computer mbthods to ascertain whether all the magic
gxg
Knight tours of this type have been discovered.r' Mr T.W.MARLOW has begun to do
just
this' and has turned up the first new magic knight tours for nearly 50 years!
23q
30 27 54 9 52 47 34 7
55103128
33 84946
262912 534851
635
11 56 25 32 5 36 45 50
64 13 4572441 2037
1 60 15 62 17 38 23 44
14 6358 3422140 19
59 2 61 16 39 18 43 22
o1g
352 600 248 306 514 208
Tom Marlow writes:
(3Oth
July 198?):
'rI
have been doing some more computer work
on a check on S magic tours by the quartes method - with some small success. ... you
may be interested to see interim results. I revised the logic of the programme
and rewrote
in machine code which runs much faster. The programme
takes a speclfied starting square
and looks for all tours from there, so it will be necessary to start from each of tne fO
fundamentally different squares. So far I have tried a1, b1 and c1 and used over 1?0 hours
of computer time. For example, starting from a1 the programme
found
g
926 b6b tours,
not counting reflections in a1lh8. Of these only 4 were magic and were 2?a,b,c and d
in your catalogue". [27a is Beverley's tour and Z7brc,d were discovered the following
year, 1849' by Carl Wenzelides.l
"From
c1 it found ... two ... which do not seem to be
in.your catalogue.r'I have reflected the twn diagrams so that the tours are in the
"standard
orientation't used in the catalogue (so
c1 becomes a3). The new tours become OLg and
23q in the catalogue. congratulations
to Mr Marlow for his work.
()
oi o
lc
o
o
o O o O
o
o O
O o
o
page
1 1
"$F
THE GAMES AND PUZZLES JOURNAL
,*t*g
$*"
BarPgue Games
In chess the captures, with the exception of en passant,
are alt by eviction; that
is' the capturer moves to the cell occupied by the victim. The term baroque is applied
(9.g:
in.g!"ts.ict 2., p4, 1976) to any other form of capture. Capture by hopping over the
victim is still current in Draughts or Checkers, but other methods seem onty to Oe found
in games
of historical interest. [I
presume Draughts is still played in the UX? No evidence
of it has come my way recentlylJ. The purpose
of this felture therefore will be to
encourage more exploration in this neglected realm.
Cu,stodi ut C apalrv Games
Custodian capture, in which a piece is trapped between two enemies, was apparenly
the basis of the old Saxon game Hnefatafl, as retonstructed in R.C.Bell's Board and Table
Gurg|(1960).InthisandtheFinnishTablutoneplayer'sforceso""upyiiffi
attd the aim is for the central King to escape to the outer edges of the board, so that
unlike chess or draughts these games are not symmetrical betweeri the two
plavers.
Tg,ke
The game of Take is an attempt to
employ the custodian capture principle
in a game of equal f orces, placed
sym metrically in the opening position.
The version that I have been sent for
review has a roll-up board about a
foot square, printed
red and blue with
white lines on a dark blue background
and chunkv red and blue plastic
disks,
15 per
side, which are placed
at the
points
of the triangles
(shown
shade,c
in the diagrum), The moves are all
straight-line
rides along the lines of
the board, and capture is by sand-
wiching one or more opposing men
between two of yours. A piece
may
not m ove to a point
between two
others, where it would be captured,
unless by so doing it eri minates
the
danger of capture. In the endgaffi,
when both players
have f our stones
or less a
ttm
ust taketr rule com es
into operation
The illustration
on the tube containing the game
is of a white board with black
lines' so presumably
it is available. in. other
-aesignJ.
The suggested retail price
is f 5.g9.
The coordinate system that I have indicated in tn! oi"g.um enables games to be recorded,
and also shows that the board is like a chessboaro riitn two oppo"site corners removed
(a6-a8-c8
and h3-h1-f1), the third set of lines being the diagonals parallel
to al_hg.
.
-.Like
any symmetric tafl game
there is the inherent flaw that a determinedly hedge-
hog like player
cannot be prised
out of his side of the board, though
"
n"* law has been
introduced
to counteract
this in
.part,
namely: In the event of i
',stalement,r
(formed
by stones across the board) the pl-ayer
with most stones on the centre line and beyond
is the winner. The general
aim is of course to reduc" tn" opposition
to one stone.
An important rule is that the edges of the board
are
',regarded
as a continuous
line't for capture purposesr
but not for" moves.
prurr*"bly
this would mean that after
the opening moves: 1- b4-b1 g5-gs
2. e7-h7 alt the
jiu"u,
on cr dl e1 t2
93
h4 h5 h6 are
captured by the two custodians
at ut and h?.
"Black"
can of course immediately
retaliate
by the symmetric d2-a2 with equal devastation, leaving each player
with only z men.
However,
the illustrations provided
only show the capture of one inan at one corner, so
this interpretation
of the rule may not be as intended, but would rn"x" a good
variant.
Take, invented
by Mike woodsr_is
distributed
by classic Games Ltd, 15 East street,
Tewkesbury,
Gloucestershire,
GL20 SHR.
\\
!,),.
\
a
\
A
page
L2
THE GAMES AND PUZZLES JOURNAL
Sense & Nonsense
'This regular page' if we can keep it going, will be on the theme of Logical reasoning,
including paradoxes,
fallacies, sophiitrie-s, aiio miscellaneous
riddles and conundrums,
as well as deduction puzzles.
We will also mix in a little more serious Logic and histori-
cal notes. Please_ send your own questions
too, even
(or
especiatty)- if you don't know
the answer yourself! Also any errors of reasoning you spot in prutication.
Profuble hreqtality
If_the probability
of A
*
B is P, and of B
+
C is
Q,
what is the probability
of e
*
C?
Yes, I' know the obvious answer is R! The answer I require however is a formula for R
in terms of P and
Q.
The sign
f
here of course means
?'not
being equal tor'.
YFheels urittun Wheels
There is a well-known old conundrum concerning two wheels or coins one of which
is held fixed while the other rolls round it without slipping
(e.g.
H.E.Dudeney, Amusements
in Mathematics, problem 203). The question is: How many times does the fiiiiiflvmeei
turn on its own axis in making a complete revolution of the other wheel? The answer
to this conundrum may seem surprising or paradoxical, but it is made to appear more
reasonable if we consider the more general case of a wheel of radius r rolling round
one of radius R. Three related questions can be answered at the same time: What if
the larger diameter wheel rolls round the smaller? Is there any difference if the small
wheel rolls round inside the larger one? Can any meaning be given to the idea of a large
wheel rolling round the inside of a small one?
L;ogical Grtrcers
The following problem is due to H.A.ADAMSON
(well
known for his retroanalytical
chess problems) and dates back to 22 October 1915. A manuscript bearing this date, and
in the handwriting of T.R.Dawson, was found among the problem collection of the late
C.E.Kemp in the British Chess Problem Society Archive.
Given: 1. Alt long-nosed grocers are tee-totallers.
2. No short-nosed grocer is brave.
3. Every brave non-smoker drinks alcohol.
4. Atl dark-haired smokers are grocers.
5. No long-nosed tee-totaller smokes.
What may be deduced of all grocers?
In this type of problem of course all the distinctions are assumed to be rigidly black-
and-white, there are no grey areas. Everyone is either a grocer or not, and no-one has
a medium-sized nose! This lack of realism adds a spice of nonsensical humour to an
otherwise straightforward
piece of logical reasoning.
,r%
%
You are required
necessary? This is not a
Saut Seetng
to saw a' cube of wood into 27
new question, but I disagree with
equal cubes. How many cuts are
the answers given elsewhere.
Saw Sayu'rg
The old adage
rrModeration
in all things[ implies in particular
"Moderation
in modera-
tionrf, but this allows
t'Extremism
in a few things", which contradicts the original principle,
which is therefore not self-consistent. Where is the fallacy, if any, in this argument?
page
13
c$
.<\" THE cAMES AND PvzzLEs JoURNAL
^(,$'
.1'
S'trucfirtul dnctysrs of Verce
.'
\v
Verse is language in which significant use is made of regular visual or aural patterns.
Language without these patterns is prose.
(Wnat
makes verse or prose poetry I will not
attempi to'define here.) The types of pattern used in verse are:
(a)
rhythm and metre,
(u)
altiteration, assonance and rhyme'
(c)
structure'
Rhythm consistsr of repetitions of stresses on syllables. Monosyllabic verse, in
which ati syllables are stressed alike, can only be used in short sections, Iike lists. The
most common rhythm is disyllabic, with simple alternation of stressed and less stressed
syllables, and is either trochaic, 101010... or iambic, 010101.... A regular rhythmic scheme
ii a metre, and the repeated unit pattern of stresses is a foot. The trisyllabic feet 001'
010, 100 are referred to as anapaests, amphibrachs and dactyls respectively' but seldom
does verse split into these
patterns with complete clarity.
(The
other theoretically
poss-
ible forms: 011, 101, 110, are apparently unnamed and unused.) In tetrasyllabic verse
the most common form is 01020102... alternating maJor and minor stresses separated
by unstressed syllables. The stress-patterns of a piece will often depend on the reader's
interpretation, since the author's intention is seldom marked explicitly.
. Alliteration is the repetition of consonants,
particularly the initial letters of words'
while assonance is the repetition of vowels. Rhyme is the repetition of combinations
of consonants and vowels. Purely rhythmic verse' without rhyme, is known as blank
verse. This group of patterns might perhaps be collectively termed tonality.
Structure in verse refers to larger scale
patterns. tt is usual to divide up written
verse into lines, colleeted into stanias, but tiris is often done purely as a matter of
typographical
convenience, rather than to show up the structure. Just as individual
sounOs may be repeated, so may a whole line, providing a refrain, or a whole stanza'
a chorus. irominent features, tike rhymes, tend to mark the ends of lines, but are not
excluded elsewhere. Rhyming vers{e,-strictly interpreted, has a rhyme at the end of
every line. Rhyming coupleti or triplets can only use one
!!Vme:
AA or AAA' but a
quatrain can use two, anO they can be arranged in two different schemes: ABAB or
Anen
(AABB
counts as a pair of rhyming couplets rather than a quatrain). How many
different rhyme-schemes are possible in five-Iine and six-line verses? Can readers
provide
examples of all of them? More on this next time - and not too many Limericks
please!
Other forms of structure of particular recreational interest are visual shgpe
(one
immediately thinks of The Mousers Tale in Wond.erland) and acro-stics
(again,
Lewis,Carroll
provides a
perfect example in the rnyming-tilptets that conclude
-Through
the
Loofing
A;s, the initial letters spelling the full n-ame of the dedicatee). We may a]so mention
mnemonlcs such as. those ior
pi,
the numbers of letters in.the successive words being:
3.14159 26535 89?93 23846 26433 83279 50288 4197L 69399 37510, although Irve not yet
encountered one that goes as far as the 50th decimal place! Such mnemonics are of
doubtful utility, it is as ingenious verses that they command interest'
Original versifications are invited from readers, showing
particular metric, tonal
or structural
patterns. The subject matter can be what you please, serious as well as
light, so long as it is not obscene or libellous. The approach, befitting the
{ourna!
is
of course redreational rather than high art. Here are two examples, in contrasting moods
and of not
particularly regular structure, to set the ball rolling'
A/V ASTRO]V OMIC THO(JGHT
A ptece of sPc cQ, a LumP of nought,
Of utter btaclotess
full
of Ltght,
An lnsubstonttal
grtm
Of photon-f raught, vtbro ttng ntght.
THE LAA/CERS
Pray, Why'vrere you dancing The Lancers,
Wtth those tqll ospidistre-ous
plants, Sirs?
WeLI, therets seve ral reasotls,
But we think that the best oners
Just so \^)e con soyi Those who ask silly questions
Are certain to get silly ons'wers.
G.P.J ELtlSS
G.P.JELLISS
By coincidence, the latest
(albeit
dated Spring 1985!) issue of Jabberwoglcy (The
Journal of the Lewis Carroll Society) is devoted to The Hunting of the Siffii'dldSirlaing
someinterestingnotesonitsmetreandstructur@cietyshould
be addressed to their Secretary, Flat 7, Avondale,109 Truro Road, Wood Green, London,
N22 4DP. The Snark is basically a traditional ballad in anapaestie metre, structured
in quatrains with-Thyme-scheme ABAB, but with many variationi.
page
L4
THE GAMES AND
Crypti.C CfOSSI^tOfd
1. By
Querculus.
PUZZLES JOURNAL
ACROSS
4. Is zero, decimalised, the same size?
(g)
8. Set before
Jury-rig
ran amuck .
(7)
9. This sea becomes most wan.
(?)
10. work_on hand, intercontinental,
in compost. (g)
11. For all practical purposes
unreal. (7)
12. No particular
charge made one turn.
(?)
13. Turning
of faucets to cut off air supply. (g)
17. News :eader in the year uncertainty began. (g)
22. Cosh nun wields without rival .
(T)
23, It's backward in mime to get out of step.
(?)
24. Horse: delay charge! (g)
25. salesman it is not common to give
a new coat. (T)
26. Lines by rhyming poet,
on Auden perhaps
.
(7)
27. Prison TV centre misplace in the wood.
f
gl
DOWN
1. Arrange a march on one instrument. (g)
2. Uranium-Carbon
transmutation comes to a head.
(?)
3. Put aside record a little way.
0)
4. To paint
R in sickli hue shows inherent sense.
(g)
5. Off it Sam! Come backl No-ol Instructions for dog.
(?)
6. Artistic three-piece suite becomes this endless cr-ypt. (8)
7. With immediate
effect, as in TNT.
(T)
14. Chairs the Royal National Institute in future. (g)
15. You sound false and hesitant on this instrument. (g)
16- sport brought to boot in autumn?
(g)
18- In short, I have innate innocencel (T)
19. No M in alphabet begins to appear unrealistic. (?)
20. Sport one slopes off to?
(Z)
2L. The day after may perhaps begin evergreen growth. (T)
[tn cryptic
crossworcls
the punctuation
may also be cryptic.]
%
qq'
C-twrtge*Chcru?s
ttDoublets"
or
ttlVord-
Ladders't
in whi ch one
word is transf orm ed
step by step into another
word by changing
one
letter at a ti rn e were
apparently
invented
by Lewis Carroll.
A rather m ore
flexible
ladder-f orm ing
m ethod is to allow an
anagram to be eom bined
with the letter-change.
The minimum number
of steps in the chain
equals the num ber of
le t te rs that ne ed to
be changed. If the words
have no tw o let ters i n
common this is the number
of letters in each word.
In the case of short
words there are usually
several solutionsl
.g.:
CAT CAT CAT CAT
COT CAD OAT TAG
COG COD DOT GOT
DOG DOG DOG DOG
but longer words give
m ore interesting
results.
It should not be
necessary
to go
m ore
than one step over the
minimum.
This requires
the use of one
neatalyst'r
let terl whi ch appears
in the chain but Cisapp-
ears bef ore the end.
For example R/L in:
QUEEN
QUERN
RUNES
CURSE
C RESS
CHESS
KN IGHT
TH I NGS
SLIGHT
HOLIST
POLISH
B I SHOP
Others to try are: RIG HT-
WRONG, BLACK-WHITE,
LIG HT-HEAVY
or any
others you m ay choose.
Othe
from readers.
page
1 b
$\
AV-
THE GAMES AND PUZZLES JOURNAL
,ds
i\v'
r$'
Mqt:hemcttccl Art?
This regutar section will be concerned with patterns of
.
some complexity' but
yet
of aesthetic appeal, that are nevertheless
produced from. simple basic constructional
directions, usuatly by some type of step-by-step
growth process. Such patterns represent
part of the littlelexptored atea Uet*een Mathematics and Art. Is it possible
!9
have such
i tning as Mathematical Art? Or is it a contradiction in terms? What db you think?
'
The point about these constructions is that they should be formed from as few
and as ri*pfy formulated instructions as possible, and the instructions must be followed
rigorously. tire art lies in choosing the right combination of rules to produce a
pattern
of the most interesting appearance. There is much scope here for a recreational
pastimet
and it is hoped readers will-contribute further results from their own explorations.
Patr llnees
Bifurcation
processes are often fruitful in producing significant
patterns. Our first
picture shows a
,,Pair
Treert which has grown flom a.single upright shoot.,
!911 {"::^:::l
growing shoot sends out two new shooti at right angles to'each other' When two
growtng
shoots meet they fuse and cease to grow fuitner. Shoots only
grow
"towards
the lightr"
i.e. no shoots wiil
irow
towards the
[round
or towards an existing
part of the tree
(thus
a horizontal shoot only
produ"". on" f,ew snoot, stopirig rp*urorl.
"ei
tn" end of 2N years
ii.".
Z, 4, 8, 16, 32, ...)-there are only four shoots ready to bifurcate the next year'
Elsewhere in the Fibonacci Pleasure Gardens there
grows another variety of bifurca-
tion tree. It grows in the same way as the Pair Tree described above exeept that each
new
pair of s=hoots are at 1200 to each other instead of at.right angles. Can you draw
a picture of this tree and say what is unusual about its shape after 2N - 1 years?
Pollryrurns
A
',polygramrr
is a pattern formed by
joining
a number of
points, equally spaced
round the circumference of a circle, by straight tines in succession.
There is one
polygram
of B points, two of four points and four of Tive points. The suffixes give the number of
different orientations in which each
pattern can be seen, if the
points are fixed in place:
QOQO@.GO
Can you draw all the
question of how many
potygrams of 6
polygrams there
poi nts ? It is easy
are of size N.
page
1 6
to miss one. More difficult is the
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