Negative runs can better the commerce and bat-ball fairness of T20s

Abstract

It is often said that modern limited-overs cricket is an unfair game between the bat and the ball, and more so the brash-hitting twenty-twenty (T20) cricket where bat heavily dominates the ball. There are many factors that add value to this statement. To start with, most pitches for T20 matches are batsmen friendly to ensure a constant influx of boundaries and sixes that provide viewer satisfaction. Second, bats have become thicker these days, to the extent, even risky edges off the bat go for boundaries and sixes on small grounds. Third, fielding restrictions in the modern T20 (or even ODI) game inside or outside the power play zone are heavily in favor of the batsmen scoring boundary runs. Fourth, no balls result in a free-hit. Fifth, a bowler can only bowl one bouncer an over. Sixth, the white ball used in T20 or ODI cricket, compared to the red ball, is popularly known not to swing enough. Seventh, in certain parts of the world like the Indian subcontinent, the popular ‘dew factor’ plays the role of a dampener to quality bowling during night times. Eight, in some parts of the world, the boundary sizes for limited overs cricket are made too small when compared to the modern bat quality and shot innovations. Finally, in T20 cricket, a bowler is often penalized for bad bowling with a four or a six against his/her name, whereas a batsman is at most out for a good delivery but mostly get off with either a zero or a single run in his/her favor, or sometimes even lucky to get a boundary off inside or outside edges. All of these factors ultimately contribute to increased number of boundaries and sixes in games induced by relatively risk-free and stress-free play by batsmen, and favors increased viewership; a consequent increase in TRP ratings; and the commercial gains to all stakeholders involved with T20 cricket competitions. These stakeholders include advertisers (both print and media), cricket boards, players, team management staff, television and streaming channels, and last but not the least on-field entertainment agencies.