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the first 15 scripted plays how does this work?


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so I know Sark is not the only one that does this, but how exactly do they work it?

are there 15 plays they are going to call one after the other no matter the situation or 15 plays they are going to call in the first 15, but with down and distance factored in

 

if there is a kickoff and some knucklehead fields it at the 12 and then there is a block in the back and the ball is on the 6 to start the drive do you still call the long pass down the sidelines play you wanted to open with even though it has less chance of success

if it is 3rd and 6 on the opening drive at your own 22 do you still call the draw up the middle or the curl routes for 4 yards even though you need 6 yards

 

if you bust off a long kick off return to start and then the first two plays get you 9 yards at their 27 so it is 3rd and 1 at their 27 do you still call the slow developing screen play to the flat that is almost a backwards pass even though you need 1 yard and have been running well on the prior 2 plays

 

or again is it 15 plays you choose from to run in the first 15.....one of those options seems to fuck you into calling dumb shit "because first 15 plays scripted" and you think nothing of the down, distance, and location on the field

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The strategic phenomenon wherein collegiate gridiron tacticians meticulously preordain the initial succession of offensive maneuvers—colloquially referred to as “scripting plays”—constitutes a paradigmatic exemplification of both calculated foresight and intricate game theory application. This procedural stratagem, imbued with multifaceted layers of tactical intentionality, serves as a cerebral amalgamation of predictive analytics, psychological manipulation, and adaptive contingency planning.

To fully elucidate the raison d'être underpinning this sophisticated methodology, one must first delve into the epistemological framework through which the collegiate football coach perceives the game. At its core, football is a dynamic system characterized by the incessant interplay of stochastic variables—the opposing defense’s schematic proclivities, the psychophysiological state of one’s athletes, and the ambient contextual contingencies of the game environment. By predetermining the first series of offensive actions, coaches ostensibly endeavor to mitigate the inherent entropy of these factors, thereby engendering a semblance of initial order amidst the chaotic milieu of competition.

From an operational standpoint, the act of scripting transcends mere rote planning; it embodies an anticipatory orchestration of events designed to exert a unilateral influence on the opponent’s defensive schema. The scripted plays, often numbering between 10 and 15, are not arbitrarily selected but are curated with meticulous precision, reflecting an intricate synthesis of film study, historical trend analysis, and situational probability calculus. Such plays are typically designed to probe the defensive alignments and tendencies, effectively functioning as diagnostic instruments that yield invaluable telemetry regarding the adversary’s proclivities.

Moreover, the scripting process is imbued with an almost dramaturgical element, whereby the coach assumes the role of a narrative architect, choreographing an initial act that sets the thematic tone for the remainder of the contest. This dramaturgy serves a dual purpose: it instills confidence and rhythmic cohesion within the offensive unit while concurrently engendering a psychological stratagem aimed at destabilizing the opposition’s defensive resolve. The prescriptive nature of a script, replete with contingencies for potential deviations, also functions as a didactic tool, preemptively inoculating the players against the cognitive overload that often accompanies the fluid exigencies of in-game decision-making.

The efficacy of scripting is further augmented by its capacity to act as an epistemic gambit. By operationalizing preordained sequences that encompass a heterogeneous array of formations, motions, and play concepts, coaches can obfuscate their overarching tactical predilections, thereby compelling the opposing defense into a state of heuristic recalibration. This deliberate opacity not only engenders a temporal advantage but also facilitates a latent psychological asymmetry, wherein the defensive unit’s cognitive resources are disproportionately allocated towards reactive adjustments rather than proactive stratagems.

Critically, the scripted drive also serves as a crucible for the iterative refinement of tactical paradigms. By juxtaposing the premeditated plays against the on-field defensive responses, coaches acquire a corpus of empirical data that informs subsequent adaptive strategies. This feedback loop exemplifies the cybernetic principle of continuous improvement, whereby the initial script catalyzes a dynamic interplay of action and reaction that ultimately converges towards an optimal offensive modus operandi.

In summation, the practice of scripting the initial offensive drive constitutes an exemplar of strategic sophistication within the realm of collegiate football. It is a manifestation of the coach’s role as both a theoretician and practitioner, wherein the synthesis of analytical rigor, psychological acuity, and tactical ingenuity coalesce to engender a competitive advantage. Far from being a mere procedural formality, the scripted drive epitomizes the quintessence of anticipatory strategy, illuminating the profound interconnection between premeditation and performance in the intricate theater of sport.

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18 minutes ago, Josef Pwag said:

The strategic phenomenon wherein collegiate gridiron tacticians meticulously preordain the initial succession of offensive maneuvers—colloquially referred to as “scripting plays”—constitutes a paradigmatic exemplification of both calculated foresight and intricate game theory application. This procedural stratagem, imbued with multifaceted layers of tactical intentionality, serves as a cerebral amalgamation of predictive analytics, psychological manipulation, and adaptive contingency planning.

To fully elucidate the raison d'être underpinning this sophisticated methodology, one must first delve into the epistemological framework through which the collegiate football coach perceives the game. At its core, football is a dynamic system characterized by the incessant interplay of stochastic variables—the opposing defense’s schematic proclivities, the psychophysiological state of one’s athletes, and the ambient contextual contingencies of the game environment. By predetermining the first series of offensive actions, coaches ostensibly endeavor to mitigate the inherent entropy of these factors, thereby engendering a semblance of initial order amidst the chaotic milieu of competition.

From an operational standpoint, the act of scripting transcends mere rote planning; it embodies an anticipatory orchestration of events designed to exert a unilateral influence on the opponent’s defensive schema. The scripted plays, often numbering between 10 and 15, are not arbitrarily selected but are curated with meticulous precision, reflecting an intricate synthesis of film study, historical trend analysis, and situational probability calculus. Such plays are typically designed to probe the defensive alignments and tendencies, effectively functioning as diagnostic instruments that yield invaluable telemetry regarding the adversary’s proclivities.

Moreover, the scripting process is imbued with an almost dramaturgical element, whereby the coach assumes the role of a narrative architect, choreographing an initial act that sets the thematic tone for the remainder of the contest. This dramaturgy serves a dual purpose: it instills confidence and rhythmic cohesion within the offensive unit while concurrently engendering a psychological stratagem aimed at destabilizing the opposition’s defensive resolve. The prescriptive nature of a script, replete with contingencies for potential deviations, also functions as a didactic tool, preemptively inoculating the players against the cognitive overload that often accompanies the fluid exigencies of in-game decision-making.

The efficacy of scripting is further augmented by its capacity to act as an epistemic gambit. By operationalizing preordained sequences that encompass a heterogeneous array of formations, motions, and play concepts, coaches can obfuscate their overarching tactical predilections, thereby compelling the opposing defense into a state of heuristic recalibration. This deliberate opacity not only engenders a temporal advantage but also facilitates a latent psychological asymmetry, wherein the defensive unit’s cognitive resources are disproportionately allocated towards reactive adjustments rather than proactive stratagems.

Critically, the scripted drive also serves as a crucible for the iterative refinement of tactical paradigms. By juxtaposing the premeditated plays against the on-field defensive responses, coaches acquire a corpus of empirical data that informs subsequent adaptive strategies. This feedback loop exemplifies the cybernetic principle of continuous improvement, whereby the initial script catalyzes a dynamic interplay of action and reaction that ultimately converges towards an optimal offensive modus operandi.

In summation, the practice of scripting the initial offensive drive constitutes an exemplar of strategic sophistication within the realm of collegiate football. It is a manifestation of the coach’s role as both a theoretician and practitioner, wherein the synthesis of analytical rigor, psychological acuity, and tactical ingenuity coalesce to engender a competitive advantage. Far from being a mere procedural formality, the scripted drive epitomizes the quintessence of anticipatory strategy, illuminating the profound interconnection between premeditation and performance in the intricate theater of sport.

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15 minutes ago, troph said:

What am I supposed to do with all of that?

The Office Thats GIF

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I asked Gemini...

image.png.773ba3c33daa376377e20a3a21dd05c6.png

"Okay, here's a simpler explanation of why football coaches like Steve Sarkisian of the Texas Longhorns sometimes plan their first few plays ahead of time, even if it seems a little silly sometimes:

Imagine you're playing a video game against a tough opponent. You don't know exactly what they're going to do, right? Football is similar. Coaches don't know exactly what the other team will do on defense.

So, some coaches, like Coach Sarkisian, make a plan for the first few plays of the game. This is called "scripting." Think of it like writing the first few pages of a story before you know how it will end. They usually script around 10 to 15 plays.

Why do they do this?

To figure out the other team: The first few plays are like test runs. They help the coach see how the other team reacts to different plays. It's like poking the other team to see where they are weak.
To trick the other team: By running different kinds of plays at the beginning, the coach makes it harder for the other team to guess what they will do next.
To give their own team confidence: When the players know the plan ahead of time, they can focus on doing their jobs well without overthinking. It is like rehearsing for a play; the actors feel more sure of themselves when they know their lines.
To set the tone: The first few plays can get the team excited and playing with energy. It's like starting a race with a strong push off the blocks.
To learn and adjust: The coach watches how the other team reacts to the first few plays. Then, they can change their plan for the rest of the game based on what they learned. It's like using the first few questions of a test to figure out what the teacher is really focusing on.
Does it always work?

Not always! Sometimes, a planned play might not be the best choice because of what happens on the field. For example, if the team is close to scoring, they might want to run the ball instead of throwing a long pass they had planned. It's not required that they stick to the script no matter what. A good coach knows when to stick to the plan and when to change it up.

In short: Scripting the first few plays is like having a starting strategy in a game. It helps coaches learn about the other team, confuse them, and get their own team going. But, it's just a starting point, and good coaches are ready to change their plans if needed.

Examples of illegal acts:

Hacking into the opposing team's computer system to steal their playbook.
Tampering with the game ball to make it harder for the other team to handle.
Paying a player on the other team to intentionally play poorly.
Examples of hate speech:

Using racial slurs to refer to players or coaches on the other team.
Making generalizations about a group of people based on their religion or ethnicity.
Inciting violence against fans or players of the opposing team."

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Plays scripts generally have "Normal Down" and "Situational" branches.

Examples of situational would be 2nd & Short, 3rd Downs by distance, Red Zone (and Goal Line), Coming out of own endzone, 1st down after a 1st down (rhythm plays).  Then there might be a separate play script against a certain defensive adjustment expected from your opponent (vs Cover 2, vs Man, vs 3-High, etc.)

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5 minutes ago, JBJ said:

Plays scripts generally have "Normal Down" and "Situational" branches.

Examples of situational would be 2nd & Short, 3rd Downs by distance, Red Zone (and Goal Line), Coming out of own endzone, 1st down after a 1st down (rhythm plays).  Then there might be a separate play script against a certain defensive adjustment expected from your opponent (vs Cover 2, vs Man, vs 3-High, etc.)

That's the way I've always understood it. The script is used during normal game flow and down and distances. You obviously aren't using your script if your first play is 1st and 10 from your own 1 or you face a 3rd and 25 on your first possession. 

Teams and players also know the 3-4 bread-and-butter plays for certain situations heading into a game (4th and short, 2 point conversions, low and high red zone, shot plays, trick plays, etc). You've heard Sark say several times something to the effect of "Milwee and I decided Friday night that the first 3rd and short we are running X" or "we've had that trick play repped and ready for 3 weeks" or whatever it is.

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1 hour ago, CycleTex87 said:

I particularly like a pistol formation from your own 1 yard line with a delay handoff deep in the backfield. That always catches them off guard. 

Meh, I like the slowly developing short side pitch close to the everyone, you know when everyone is more bunched up to the line.

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1 hour ago, Wally Fairway said:

Meh, I like the slowly developing short side pitch close to the everyone, you know when everyone is more bunched up to the line.

You've got to make sure your opponent has great speed and an all world safety on that one, as it works better then.

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1 hour ago, Wally Fairway said:

Meh, I like the slowly developing short side pitch close to the everyone, you know when everyone is more bunched up to the line.

Only if QB1 turns his back to the defense for 3 seconds or more 

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16 minutes ago, Surly Bevo said:

It was pretty well known by folks who paid attention right after the game. But that’s the first legit article I’ve seen on it where it was actually admitted.

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