BPaulsen wrote on 12/15/09 at 06:36:29:
You couldn't see a reason for his suggestions, when the avoidance of Pure Symmetricals (1. c4 c5 2. Nc3/g3 Nc6/g6, etc., without transposition to ECO A-39) is the primary point.
Fair enough. Actually I did understand that, I just wanted to hear someone to argue the case that avoiding the "Pure Symmetrical" is enough reason to build up such a vast repertoire just to deal with the English. The opportunity to play the early ...e5 is the reason I personally like 2...Nc6.
My point about "interesting" was only that it's rather circular to defend a repertoire choice based on what's interesting, since as you point out, one's interest is subjective, and naturally tends to follow one's repertoire choices.
To come back to the "Pure Symmetrical," personally I'm always happy to enter, I'm not sure what to call them, highly closed but rather balanced positions, as Black. For example, the Closed Sicilian with 2...Nc6 or the Symmetrical English. Closed positions where, unlike the Mar del Plata or the French, Black hasn't radically conceded half the board (all right, I admit that I find those intriguing also). On the one hand the value of the tempo diminishes, and on the other one's ability to unbalance the game in one way or another seems to be enhanced. But I'm off in Meta-Theory Land or at any rate, expressing mere personal preference.
Really I think the strongest criticism of 1...Nf6 is that it offers White the golden opportunity to return to 1.d4, 2.c4, but I suppose that playing 1.c4 is a kind of signal that White isn't going to do that.