© Crosbie Fitch 1998 First published in Pinball Player.
First Draft: 18th May 98
This article is my first in the field of Pinball, and rather than cover the same ground again with playing tips that I have seen in many other articles, I thought I’d make my debut with what I regard as the best of what I’ve learnt in a quarter of a century of playing.
This article focuses entirely upon those particular skills that aren’t so much about what to do with the ball when it’s on the flippers, but what to do with the flippers at other times. Therefore I will be discussing such things as flipper stance, pre-emptive flipper moves, observation skills, preparatory manoeuvres and mind state, among other things…
I suspect most players, particularly those who don’t play regularly, only have the vaguest of suspicions that there is any more skill to pinball than keeping an eye on the ball and having fast reactions. However, the more experienced players can score consistently better. It’s not just knowing a particular machine well that provides the biggest edge. Even after only a few plays, a very good player can soon overtake a lesser but more experienced player (in a particular machine).
A lot of what separates good play from bad may be trivially put down to differences in skill, reaction times, concentration, strength, etc. The same can be said for fighting though, and we know there are ways to obtain skills by training rather than unguided experience, i.e. martial arts. These fighting philosophies such as Karate and Kung Fu aim to develop defensive skills (some offensive ones too) in this way. These are often accompanied by spiritual advice to adopt an almost holistic mind state where the person is entirely aware of all opponents and weapons, and is able to flow their body, avoiding and deflecting harm, and thus escape their opponents’ intentions. Of course, martial arts are only required where the person has failed to avoid a violent encounter…
Martial arts training often involves learning particular moves, apparently artistic poses and balletic sequences. These all end up preparing the body and its limbs with reflex sequences and training the mind to execute these sequences in response to particular threats.
But that’s enough conventional martial arts - this isn’t an article on Karate. However, I do hope you know enough about martial arts to recognise a similar vein running through what I say regarding how to play pinball using set moves. It’s all a matter of conditioning one’s mind and body with certain reflexes and manoeuvres so that when the time comes, the ball will not go SDTM (straight down the middle) - and once you become a grand master, not even out the outlanes).
In the following sections I will cover various aspects of pinball play. Sometimes this will be generally applicable, i.e. concerns a general skill, and sometimes it will apply only to particular or individual machines – I don’t think it should be too difficult to deduce which. I’m also addressing more the lone player than the tournament or team player, when other strategies, which I don’t discuss here, may come into play.
A lot of things are fairly obvious about playing pinball, not least is the fact that it does help to know the game - competence tends to come with experience. So know your enemy! Get to know how the ball behaves on each game. Obviously, high scores rely on a good understanding of the rules, but the ball will tend to behave slightly differently on each game (even the same model). The condition of the playfield, how steep and level it is, how the ramps are adjusted, etc. These will all combine to give a characteristic behaviour of a particular machine.
Playing the game can operate at two levels: keeping the ball in play, and obtaining score. This is comparable to defence and offence. Three bad wounds (drains) and you’ve lost the fight (game). What damage (shots) you can do your opponent (the game) is a measure of your skill (score). Good score comes of being able to maintain a good balance between offence and defence, because like any fight, you are limited by stamina in maintaining your co-ordination and concentration. So perfect defence for five minutes is no good if during that time you have not allowed yourself the opportunity to attack.
As you develop your skills, it may be best to identify the particular balance of offence and defence that you are applying at any particular moment. Practice maintaining the same balance throughout the entire game, e.g. one game pure offence, one pure defence, and the others a mixture. Eventually you should have a good background level of defence with room to take risks for score.
The primary controls in a pinball game are the flippers. From each flipper you can imagine a set of routes fanning out to a variety of shots: each accessible target, ramp, playfield area, etc. Some of the shots will be more difficult than others (their fan section is narrower), and some will be easier such as a nearby loop shot or pop-bumper cluster. It is useful to get a feel for these fans in terms of how wide each section is and whether it represents a score benefit, a defence benefit, a combination of both or neither (a probable drain or outlane).
You should map each flipper in terms of fans for only the wider sections, and have two fan maps for each flipper: one for easier defence shots and one for easier score shots. You might think all this terminology gets in the way, but it is useful in communicating what most players probably do anyway. So bear with me, you don’t have to think of flipper shots in terms of fans once you know what I’m talking about.
Remember that a flipper fan also includes tap-flips, held-flips, and non-flips as well as aimed flips.
The defence map comes into play when you only have time for a defensive shot, e.g. during multiball or a particularly fast ball. This map will let you reactively know the most defensive manoeuvre for a given ball onto a particular flipper. Sometimes, the map is such a mixed bag, that it doesn’t really matter what you do with the flipper, i.e. it’s difficult to find a shot that endangers the ball more than any other. This situation tends only to occur for upper playfield flippers.
The offence map comes into play when you are at liberty to make an offensive shot, but do not have much time, e.g. during multiball. This map will let you reactively know the best scoring shot for a given ball on a particular flipper. Very similar in operation to the defence map, but concerned with score. This comes into its own for multiball jackpot shots, i.e. an upper playfield flipper is entirely dedicated to a particular shot without consideration for defence. Whilst you are advisedly concentrating on maintaining a sufficient number of balls in play in order to have the opportunity to have a chance at a jackpot shot, you must still know how to shoot (almost instinctively) when the typically very brief opportunity arises.
So learn the small set of priority shots that each flipper has during times of crisis when you do not have enough concentration to focus on a particular ball or flipper (for more than a couple of microseconds). Eventually, these flippers almost play themselves as if you have a little demon waiting in your brain for that moment of opportunity when they can flip for the jackpot while you’re focussing on defence. Although, I tend to find the opposite sometimes – a bit like driving a car – you have demons quite happily taking care of the lower flippers for defence, while you are the one apparently focussing on making that upper flipper shot.
If you can’t cope with the idea of fans, just pick two easy shots from each flipper, one that keeps the ball in play the longest (typically a loop to upper playfield), and one that is usually the best scoring (a jackpot ramp).
If there are common sequences within the game, learn these, as they can then be performed by heart (even during multiball). I’m reminded of the Extra Ball and Sonic Boom sequences in Dr Who (three different ramps in succession, three times – and one, ten times).
For completeness I point out the obvious: learn all the scoring, the feature scores, extra scoring modes, bonus multipliers, etc. Know how to get all the awards, including extra balls and especially jackpots. If you’re into saving money as well as obtaining score, learn how to get specials, and what the replay levels are (as if you didn’t know).
Every machine is unique, not only can it be set up in a unique way, there is nearly always a fault or impairment with one or more features of a machine.
In general, if there’s anything to know about a machine then know it. Knowledge is usually easier to learn than skills, and its pursuit by the player is taken for granted.
Note that it is better to have a deep understanding of a machine’s core features and to have developed scoring strategies, over and above having a broad but shallow knowledge, even if it extends to knowing various secret features and awards.
Know your standard basic and advanced pinball skills.
Apply the general skill principles to each machine, i.e. relearn the standard skills of aiming, and handling balls: shots, catches, exchanges, co-operative manoeuvres (SDTM saves), bounces, etc. Know how to handle the machine, e.g. in/outlane nudges, SDTM biasing, death saves, operating within tilt level, etc.
For each flipper learn one or more ways of relatively reliably achieving each available shot (from caught balls as well as balls of all incoming angles and speeds).
Explore trick shots, e.g. using the playfield in non-obvious ways.
Developing your standard skills arises naturally out of playing games. Understanding general principles develops with each machine you play.
It is hoped you will be playing a worthy opponent, but sometimes machines may be rather geriatric and worn out. This must be taken into consideration as it will affect how well you may control the machine and how the balls behave. Sometimes the machine may even change in performance within the duration of a single game, ensure you do not ignore tell-tale signs.
Know the playfield and its rules. Learn the critical defence and offence fans from each flipper. Be sure you know how you’re playing - whether for score, duration, or fun. Know your standard skills and exercise these on each machine.
Finally, even if you’re in a tournament, do not go for shots at the expense of entertainment – it’s bad for the spirit. The whole point of playing is for the pleasure. You will not score big unless you enjoy the game. Vary your shots. Do not work out ways (particularly failsafe ones) of amassing score. Even repetitive moves that result in extra balls should be used only in extremis. Make every game new and different, and you’ll be more accomplished in the long run.
The objective is to be prepared for any attack the machine may direct at you and to successfully defend against it. Each outlane represents your left and right flank, and the centre drain your heart. Most blows are straightforward to defend against, i.e. with either flipper. Although well defended, a direct blow targeted at your heart (SDTM) is often difficult to defend against, but its slightest imperfection can be utilised to success in a last minute defence. If you suffer any attack to your flank (outlanes) then your defences have effectively been breached, and your only recourse is bodily strength and a deft counter (nudge).
Although easily defended against when occurring sedately and singly, attacks can happen so rapidly and in such quick succession that you simply do not have enough brain power to address each one in turn. Being able to cope with such fierce combat is often easily enough of an edge to outclass a rival without such ability – especially when you are able to do it and maintain inner calm.
When you have mastered fierce combat enough to have concentration to spare then you can not only survive at length, but attack to score point after point against the machine, until its infinite stamina defeats you - at that moment when you make one mistake too many.
The following sections describe procedures that are designed to enable you to cope with fierce combat, but even though you have concentration to spare in sedate play, they
should be practised at all times (where they do not interfere with deliberate control).
Know where to look. Know the most difficult directions and speeds of the ball to cope with. Prioritise observation for dangerous attack modes. Learn how the ball behaves as it exits each kick-out, ramp, loop, lane, etc. You will often only see an attack out of the corner of your eye and in its earliest stages - know how the most dangerous attacks start and when you notice one, prepare your defence against it.
Structure your concentration so that defence takes priority over offence. Only when it is worth sacrificing a ball should you risk otherwise, e.g. a super-jackpot. Focus should generally be on lower flippers, and secondarily on outlanes. Scoring comes in third place.
During multiball it is important not to be too tempted to follow a ball with your eye once you have shot it. Hopefully you are using your defence maps and can rely on shot balls not needing further attention. Either they make their target or they do not, your attention will not change the outcome. Moreover, it is needed to cater for all the other balls attacking your vulnerable centre. You may tend to expect a lot of successful flank attacks during multiball (outlane drains) and these may be tolerated except when you have the opportunity to counter them without neglecting your centre. Remembering that drains during multiball are not serious unless all are successful, you need to make split second decisions as to which attack to counter most at any one time, e.g. sometimes an outlane counter may be safer than a double SDTM counter if both coincide. Do not attempt the defence of so many non-critical attacks that you are ineffective at so many of them that they become critical.
You cannot react to balls if they are not in your field of view. If there is the remotest chance that a ball can attack your defences then you must ensure you observe the area where such an attack may occur. You are not the only one using your eyes, your automatic reactions also use them. So give your reactions a chance, ensure they can see something to react to.
All information concerning an attack is useful, especially an indication of where it will originate and which flipper or manoeuvre is most likely to be a suitable counter. Any early observation of a ball that may indicate subsequent behaviour is useful, but should only occur while other attacks are not in progress.
Try to maintain a holistic view of the playfield rather than focussing on a specific ball or group of balls. Maintain awareness (as complete concentration is a tad difficult) of the entire machine, because this represents your entire world for the duration of the game. Let every ball and playfield feature take part in your strategy, and with an overview of the playfield your subconscious can analyse it while you concentrate on defence. Furthermore, as it often appears that anything can happen at anytime, you have to be prepared for an unexpected ball or behaviour and it’s no good if you are focusing too tightly elsewhere. Expect the unexpected, e.g. drained balls bouncing back into play, balls becoming airborne and bypassing obstacles, high spin or playfield features causing unpredictable behaviour, etc.
Included in observation is hearing. This means listening out for progress messages indicating availability of scoring features (jackpots), warnings of tilt or imminent ball ejections. Hearing can allow you to know when balls have just been auto-launched or dropped into inlanes, when credits and extra balls have been awarded and sometimes even the rumble of a ball coming down a side loop. Occasionally even the absence of noise can give clues to a ball’s behaviour, e.g. the sudden cessation of pop-bumper action can indicate a ball falling into play.
There are a variety of offensive flipper manoeuvres, typically requiring concentration (in addition to skill and technique), and given that they are well described in other articles, I won’t cover them here. I’ll just say that in martial arts terms, standard flipper skills are equivalent to the use of flippers as offensive weapons, i.e. controlling balls and shooting them at targets. Learn them well, for they form the entire skill set in terms of scoring.
First understand the principles by which successful attacks may be made against the player, i.e. balls draining. These apply to nearly all playfield designs, but you will have to use your own insight when addressing peculiar playfields where unusual drain features exist.
There are typically two methods by which a ball may be disadvantageously lost from play (excluding airborne balls or tilts). These are the centre gap and the outlanes. A ball can exit the centre gap either directly, or by going via an inlane. A ball can exit an outlane either directly, or by travelling back up an inlane.
The centre gap is defended from indirect attack by keeping the relevant flipper raised or by making a shot in so doing. It is defended from direct attack by the SDTM defence manoeuvre where the flippers are operated alternately in quick succession such that the ball glances off the tip of one flipper onto the tip of the other and so on until it is deflected. Just one side flip and then the other is usually all that’s necessary, though sometimes the first flip side may need a repeat. This is why it’s important to release the flippers immediately after each flip. This SDTM defence flip sequence should be learnt until it is totally ingrained as a SDTM reflex. Of course, given the opportunity, strength can be used to augment the SDTM defence by shifting the machine as necessary.
The outlane is very difficult (if not impossible) to defend against from direct attack by using the flippers. Indirect attack is also difficult to defend against, except to avoid the opportunity arising in the first place, i.e. do not leave a flipper raised any longer than necessary, and certainly not if you can tell that the ball may whiz up the inlane. Sometimes inlanes are fairly safe from attack in this way, so you don’t have to worry too much. Another related misfortune is an accidental shot from the tip of one flipper up the opposite inlane. This is not too likely if you’re generally timely with your flips.
Out of all this we can observe that there is only one generally applicable defensive flipper sequence and that is the SDTM defence. However, some machines may have others. So as a rule, all flipper sequences having general applicability to particular situations should be learnt as reflexes if such situations may ever need reflex action, i.e. immediate, unthinking response. This tends to happen as a side effect of experience anyway, but it may be prudent to attempt some measure of discipline over what sequences you learn and how you learn them.
One last point, flipper dexterity is impaired when you also use your hands to exert force on the machine, therefore only do this when maximum dexterity is not required, i.e. in sedate single-ball play.
If there is one thing that allows the use of a martial arts metaphor to be applied to the art of playing pinball then it is the flipper stance. These stances are used in absence of balls in close proximity, and are either preparatory or defensive.
There are four static configurations of the conventional lower flipper pair. These are:
· Rest
· Raised
· Right-up
· Left-up
The Rest configuration is not defensive, and represents the ‘ready to attack’ stance, i.e. it is used when about to make a shot, or use the SDTM defence manoeuvre. At other times, Rest should only occur as a deliberate default, i.e. where it is certain that flippers are unlikely to be required for defence, i.e. no active balls on the playfield. Rest should be used where possible (if only to rest the flipper coils) to set the context for all other stances as being deliberate, i.e. rather than a permanent defence stance.
The Raised configuration is a rare configuration, typically used to capture (and retain) incoming inlane balls. It has very little defensive value, but is better than Rest in defence terms.
The Left-up and Right-up stances are the primary defensive stances. They are used at all times when the path of a ball has not yet been determined (is free of any other influence). The defensive stance should be a reflex stance and so should be practised at all opportunities if only to ingrain it. The more ingrained it is, the better.
These defensive stances should be the default stances until you are confident that the Rest stance poses no risk from attack. As you develop your expertise you will be able to use the Rest stance more often.
The Right-up stance defends against nearly all attacks originating from the right-hand side of the playfield. Similarly, the Left-up defends against left-hand originating attacks. The only attack against which they do not defend is the SDTM attack. In such circumstances the Rest stance naturally arises (through the choice of defence stance being difficult to determine) and prepares for the SDTM defence manoeuvre.
Although most playfields aren’t symmetrical, the principle of the defensive flipper stance is. To make it easier to think of I’ll use the Right-up stance as an example for explanation purposes, but the same explanation applies to either stance, albeit reflected.
A ball travelling up the playfield does not generally represent a threat so is not considered here. A ball on the right hand side of the playfield can do one of two things: attack the centre gap (directly or by bouncing off something else on the right-hand side), or indirectly attack the centre gap via the right-hand inlane (or a fast drop-in from a habit-rail). Whichever it does, the raised right-hand flipper will defend the gap against such an attack. If the ball reaches the left-hand side before it meets the right-hand flipper then the Left-up stance comes into operation. Indeed, it should be easy to maintain the particular stance and then start thinking about how to time the opposite stance so that it comes into operation just as the ball changes sides of the playfield.
I’ll put it simply. Whenever a ball is on the right-hand side of the playfield the Right-up stance is the best defence, and when it’s on the left-hand side, the Left-up stance is the best defence. These are fairly simple rules to ingrain as reflex actions and is why you typically have to maintain the lower playfield in your field of view, so that your reflexes can be automatic.
Being defensive, the defence stances naturally come into play whenever you do not have enough time to consider a more appropriate response to a ball. Indeed, they should not be allowed to affect or interfere with your offensive manoeuvres. Once you are certain that you can predict the path of a ball, you can be deliberate in your choice of offensive riposte (and at this point adopt the Rest stance).
Of course, there will be many occasions when the defence was worthwhile, i.e. you did not have time to react offensively. The ball will bounce off the raised flipper and you will continue defence stances (typically as the ball bounces between sling shots) until you have a moment long enough to determine the path of the ball and can direct it as appropriate.
I cannot emphasise enough the benefits of the primary defence stance. It will save many a fast ball and comes into its own in keeping balls in play during multiball. It may look a bit stupid to onlookers and may even feel a bit silly if you’re not used to it, especially when it often seems pointless given the ball is at the top of the playfield. It may also look a bit funny when the ball’s bouncing between slingshots and you continually switch stance in synchrony.
You might think that a defensive stance is only applicable during single-ball play. Au contraire mes amis! It is during multiball that the defence stance really saves the bacon. The only additional rule is that your defence stance is appropriate to the ball representing the greatest threat, typically the lowest ball on the playfield.
In single-ball play, defence ceased once you were certain of the ball: you could Rest and then make a shot. Of course, during multiball, there may be simultaneously conflicting requirements, e.g. both for making a shot with a ball and defending against other balls on the playfield. Avoid this situation is the easiest thing for me to say. Not so easy to do though. This is where the flipper fans come into operation. During multiball you don’t usually have enough time for a considered attack, you just have to know where to direct balls as quickly as possible, i.e. see which part of the flipper fan (in terms of safety or score shot) they are nearest to and make that shot. Return to defence stance as soon as possible. Sometimes, you can briefly defend without compromising other balls, especially caught balls. In general, you want to keep your flippers clear so they can be dedicated to defence. If you can, try to clear balls up ramps (ideally jackpot ramps) or upper loops, so that they’re away as long as possible.
Do make some time to scan the upper playfield, i.e. consider executing manoeuvres on other flippers elsewhere while your eyes roam, but do not wait to see if they were successful, always keep one eye on the lower playfield.
Always keep the score in the back of your mind, perhaps jackpot shots a little nearer the front. When safety shots are compatible with score shots make them, but the priority should be shots that keep balls away. You do not have much time during multiball to play with balls. I certainly don’t advise stacking balls up (caught on a flipper), you often need both flippers, and caught balls aren’t scoring.
Concentrate, focus, keep your eyes on the enemy.
Always seek the correct stance to adopt, so you are prepared and can defend against fast balls.
If you’re overwhelmed then prioritise, fire and forget, do not give up.
Remember, I’m only using fighting as an analogy, pinball should always be played in a positive frame of mind.
You are most effective when your mind is entirely dedicated to the game: co-ordinating your flippers (weapons), focussing on the balls (enemy), and planning your shots (attacks). If you have any other thoughts, whether relating to your environment, other people or even other aspects of the game (“I wonder how old this machine is?”), your performance will not be optimal. Even harbouring resentment that one of the game’s features is not working properly may be more of a distraction than the fault itself.
Be calm. Be at peace with yourself and the machine. Once play commences, then direct 100% of your energies to the game.
It may be necessary to develop this ‘oneness’ with the machine each session, by having a few trial games to warm up, i.e. allowing yourself to merge your perceptions such that the flippers become part of your body and the playfield your environment. This also avoids peaking too soon, and saves mental exertion for when you are ready.
Avoid any unstable emotional state. Anger is misplaced at a machine (even just after the balls have drained). Although you should avoid stress, a little bit of adrenalin is probably a good thing.
I think the best mood to have is one of elation, especially during multiball. Indeed I almost fall into a sort of fugue during particularly successful multiballs, it’s just so great to sustain the juggling of five fast and randomly moving balls.
Rhythm, or synchronicity, as Sting would have it, is probably not often considered as an element of pinball gameplay, but I find it appears in the best games.
There is a point that is reached in a game where there is a certain rhythm that keeps the ball in play - it mysteriously fails to go near the outlanes. I’d like to think this is because the player has become so ‘one’ with the machine that the mind is able to apply a deeper skill set, i.e. you subconsciously prefer flips that your mind has learnt are more successful in the long run.
A more pragmatic argument would be that keeping the ball in play for a long time was simply because most flips were accurate and successfully reached their targets. This has to be supported by the theory that the outlanes only tend to catch balls that do not know what they’re doing, i.e. they’ve failed to reach their targets, have rolled back and either gone straight out, or they’re bouncing aimlessly between the slingshots.
Whatever the case, there is a certain point when play becomes fluid and almost rhythmic. There is no stop/start deliberation evident. Balls smoothly progress from shot to shot, even though the player may still not be entirely sure of their strategy. When this state of play has been attained then the duration of the game is only determined by the stamina of the player in maintaining the rhythm (itself requiring focus and immersion in the machine). It is probably only differences in such stamina that separate grand masters apart.
This section is last, because resorting to physical force is only necessary when you have failed to retain control of the ball through other means. You might think I’m being unrealistic here, but when the machine is played perfectly, the ball will always go down the inlanes and never the outlanes or SDTM. However, given that one may sometimes play less than perfectly (sarcasm here), it is useful to learn sound physical moves that may remedy lapses in perfect play.
It is not absolute strength that matters so much, as knowing how much force is required when and where. Furthermore, if you know your limitations then you won’t waste time exerting insufficient force. Frail old ladies are advised to focus only on flipper control.
Know how to shove (without bruising), know how the tilt mechanism works so you know how far you can push it. A move is often safer than a shove. Know how to handle the machine when the ball is toppling on the inlane/outlane dividing post. Know when the ball is heading for the outlane.
Know how to augment the SDTM defence with deft shoves to the machine. A certain rhythm (resonant frequency) may be useful for bumpers and sling shots (though I never use it for those).
Develop a feel for how different hand techniques can effect the flippers. Finger tips, finger slaps, flicks, hits, wipes, all have subtle differences, e.g. in strength and timing. The distance you place your hand or fingers from the flipper button can also be used to fine tune timing.
Use your feet on the legs of the machine - if it can slide. This useful for the SDTM defence – I often find that a foot can be used to gently but quickly shift a leg of the pin table.
Adopt a stable posture at the machine, and one that does not place any weight on your hands, i.e. don’t lean on the machine.
Dancing, overexertion, or extreme body movement may have a more beneficial effect on an audience than it does on skill. Such movement will tend to distract you from playing within the machine (becoming ‘one’ with it) by reinforcing your perception that you are outside it.
Use of force is a last resort. It conflicts with the need to be one with the machine. Even so, it is inevitable that you will need to use it, so you might as well be skilled in it - for those times when you lapse in maintaining rhythm in a game.
I hope I have enlightened some players and given others enough hints to convince them that there may be reliable ways of progressing pinball skills to the grand master level - rather than consigning such attainment to the gifted. I daresay I’ve missed some, but I think I’ve covered enough for players that have reached a plateau in their skill level, to progress higher.
I’d like to thank the Spaniard who admirably demonstrated the defensive flipper stance to me in ’76 (I was only 13). This was over a couple of evenings in a bar of some port in northern Spain. He was oblivious to my presence and as you may have guessed was playing an electromechanical game (probably a Petaco). It took me a while after seeing his strange style, and practising it myself that I realised its benefit, and that it wasn’t as ridiculous as it had at first seemed.
It surely doesn’t take two decades to ingrain, so I wholeheartedly recommend it.
Any pinball player out there that thinks they’re an old dog that can’t be taught new tricks – think again!