Further to a discussion on the Daring Defences forum, I said I would start a new thread here, so here goes.
I reproduce here Michael Ayton's post, which prompted me to do this:
Quote:I wonder if you could tell us why you believe 4 Nf3 is better for White. Why isn't Black OK after 4 ...c5 5 c3 Nf6? E.g.:
(1) 6 e5 Nd5 7 dc Bc5 8 0-0 f5!
(2) 6 Nbd2 Nc6 7 0-0 Qc7 -- scoring very well for Black, I believe.
(3) 6 Qe2 Be7 7 0-0 d5 8 e5 Nfd7 9 a3!? (9 Be3!? Nc6 then ...g5, ...a6 or ...c4) Nc6 (9 ...a5!?) 10 Nbd2 g5!?
Which of these lines do you consider the most critical for Black and why? Or do you have another recipe?
Quite tricky, but of those options, I definitely go for 6.Qe2 - it seems to be the most flexible, and also makes ...Ba6 ideas more difficult for Black. Essentially the position resembles the 2.c3 b6 line of the Sicilian, but one where Black has eschewed the option of hunting down and exchanging the W Bd3 with his Nb8 [1.e4 c5 2.c3 b6 3.d4 Bb7 4.Bd3 cxd4 5.cxd4 Nc6(!) 6.Nf3 Nb4]. This
ought to favour White, but admittedly it is not so easy to prove.
I think I would vary later in the line Michael suggests, so after 6.Qe2 Be7 I would be tempted to delay castling for a bit to see if I can't make use of h2-h4!? in some positions. An immediate 7.a3!? springs to mind as an alternative for White here.
However, there is also another way to play this line with White: once Black is committed to 4...c5 I am tempted to try to transpose to an Open Sicilian in which Black's ...b6 looks a bit slow. So maybe 5.0-0 intending to meet 5...Nf6 with 6.Nc3!?