One classic example is
given here, at about time 1:55. It's Corey Deuel making the CB bend a huge amount with draw, after hitting the rail.
The entire crowd (including Mika Immonen--we're told by Jim Wych) is unable to inhibit their oohs and aahs. Even Billy Incardona is overcome.
If only the CB contact point and speed matter, why are all these highly experienced players (like Mika and Billy--and Jim Wych) so blown away by the extent of the draw?
One reason is that he really doesn't even seem to hit the ball that hard. Looking at the time the CB takes to travel to the OB, it would look to me about HALF the speed of a break shot.
It's these types of shots that create the idea of "superstroke."
Did someone say "superstroke?" (inside joke for some here.)
Here's my thought about superstroke: sometimes, something almost magical happens on a pool table. The cue ball moves in wondeous ways; the object balls make a different sound; your cue feels alive and you can almost feel the cue ball on your tip, right through five feet of wood, up into your arm, brain, and soul.
When I'm playing well, I feel like I can go through the cue ball at all different kinds of angles, with all kinds of different motions, at a wide variety of speeds. I truly believe the expression, "How'd he dab that one?!" is more expressive and insightful that most folks understand. Because that's what I feel when I'm running racks: I'm "dabbing" the ball -- not stroking it. It's like being in front of a canvas and creating something beyond the scientific formulas
Sometimes, it's almost hard to keep from overdrawing the ball with hardly any effort or speed. (Other times, the cue ball seems like it's made of lead.) I have my own set of balls and usually practice on the same table, so I don't subscribe to the idea of this being equipment related. And, I'm usually pretty methodical about setting up,so I also don't subscribe to this being an issue of how low you hit the ball. So what's left?
Here's my own personal pet theory, which to a certain extent, I've tested out: I think on some days my grip is slightly cocked to the rear. As you sit at your computer, hold your grip hand down as if holding a cue. Now, if you're a right-hander, rotate it slightly counterclockwise. Now compare the wrist action between the two. When you cock your wrist, the action, at least for me, becomes much more fluid, faster, and feels more powerful. I think this wrist position, perhaps with some additional elements related to how tight or loose the grip is, how far back the wrist is cocked, and maybe how much elevation is created, combine for the "superstoke" effect, for Lou. Somehow the delivery is altered and whether it's tip speed, contact time, or whatever, there's a significant difference in what happens on the table. The trick then becomes creating this effect and sustaining maximum accuracy.
I'm not quite there yet, but I be trying.
Lou Figueroa