Toshiro Kageyama

Lessons in the fundamentals of go

1
 About the Author
Toshiro Kageyama was born in 1926 in Shizuoka Prefec-
ture in Japan. A go player since his youth, he won the All-
Japan Amateur Honinbo Tournament in 1948 and turned pro-
fessional the following year. His promotion record is:

Shodan 1949
2 dan 1950
3 dan 1951
4 dan 1953
5 dan 1955
6 dan 1961
7 dan 1977

In 1953 he took first place in the second division of the

Oteai, (the professional ranking tournament), and in 1965 and
1966 he was runner-up in the Kodansha Tournament (a com-
petition among 5- to 7-dan professionals). In 1967 he wan the
Takamatsu-no-miya Prize.
He is known for his steady style of play and accuracy at
calculation. He is still active in the amateur go world, where
he has many contacts, and is the author of several go books.
Also available in English is Kage's Secret Chronicles of Handicap
Go.

2
 LESSONS IN THE
FUNDAMENTALS OF GO

by Toshiro Kageyama

translated by James Davies

THE ISHI PRESS, INC. Tokyo

3
 Published by The Ishi Press, Inc.
CPO Box 2126 - Tokyo, Japan
©Copyright 1978 in Japan by The Ishi Press

All rights reserved according to international law. This

book or any parts thereof may not be reproduced in any form
without written permission from the publisher.

Originally published in Japanese by the Nihon Kiin as Ama to Pro

(Go Super Books, Vol. 11)
First printing July 1978 Printed in Japan
by the Sokosha Printing Co., Ltd.

4
 PREFACE

`If you want to get stronger, read this book.' This call is
addressed to a wide range of go players, from beginners who
have barely learned the rules to experts with dan rankings. In
the following pages I bequeath to the world the essence of all
the experience and knowledge that seven years as an amateur
and twenty-two more as a professional have given me.
The book's main themes are the importance of fundamen-
tals, the philosophy of go, and hew to study. All I ask is that
the reader not do anything so foolish as to finish it in one day.
It should be read deliberately, a chapter a day at the fastest,
and a fortnight to finish the whole book. If the reader will
then spend another fortnight rereading it and learning from it
as he would from a good instructor, I think I can promise that
he will surmount the barrier of his present rank.
Toshiro Kageyama
Summer, 1970

5
 TABLE CONTENTS

Chapter 1 ............................. 9
Ladders and Nets

Chapter 2 ..........................35
Cutting and Connecting

Chapter 3 ............................55
The Stones Go Walking

Chapter 4 ...........................65
The Struggle to Get Ahead

Chapter 5 ............................87
Territory and Spheres of Influence

Interlude ............................110
Lecturing on NHK-TV

Chapter 6 ............................117
Life and Death

6
 Chapter 7 ............................139
How to Study Joseki

Chapter 8 ............................159
Good Shape and Bad
Chapter 9 .............................179
Proper and Improper Moves

Chapter 10 ............................191
Tesuji: the Snap-Back; Shortage of Liberties; the Spiral
Ladder; the Placement; the Attachment; Under the Stones.

Chapter 11 ............................ 243

Endgame Pointers

Appendix............................255
Game Commentary: Beating the Meijin

7
8
CHAPTER 1
Ladders and Nets

9
 INTRODUCTION

The wish to become stronger - half a stone stronger, one

stone stronger - is shared by all lovers of go, amateur and
professional alike, regardless of their rank. It is one manifest-
ation of human spirit and ambition, which continue until
death. There is a difference, however, between amateurs and
professionals. To put it simply, amateurs play at the game;
professionals labour at it. Once it was thought that this put
amateurs and professionals on parallel tracks that never met -
that amateurs could not even approach the professional level.
Nowadays, however, the great surge in the size of the go-
playing public has narrowed the distance between the tracks
and even made them tangent. Already there are, among the
top class of amateurs, those who can acquit themselves quite
well on even terms against professionals. This serves to point
up how go is flourishing.
But these are only a special few, chosen out of a mass of
millions. Almost all the rest seem to remain far below where
they would like to be, despite their hardest efforts to improve.
What should one do to become stronger at go? This must
be something that every go enthusiast wants to know. I can
recall many times that I have been asked this question. The
real answer may be that there is no single, definite answer,
but saying that amounts to saying nothing. I always wanted to
answer the question, but it seemed impossible to deal with in
a few words. I wanted to try writing a book, one about which
I could boast, 'If you want to get stronger, read this.' Now that
I have the chance to do so, I am thrilled at the prospect of

10
taking all of my own experience and distilling it into one vol-
ume to offer the world.
After you have learned the rules, your first step should be
just to play for a while, and by `a while' I am not referring to
any length of time, but rather a number of games, say fifty or
a hundred. During this period, if you see an enemy stone, try
to capture it, try to cut it off. If you see a friendly stone, try to
save it from capture, try to connect it. Concentrate on this
alone as you build up some practical experience. There is a
paying about being `tempered in a hundred battles.' You can-
not expect to do all your studying and gain all your knowl-
edge from books. I would like to recommend that you play
according to your own ideas, with an open mind. If possible,
choose other beginners as your opponents. If you are to learn
go, open-mindedness is the most important thing.
Next, although it depends on the individual, in my experi-
ence you will encounter four barriers: at 12-13 kyu, at 8-9
kyu, at 4-5 kyu, and at 1-2 kyu. You are at a barrier when
your strength ceases to rise and you find yourself playing for
fun, as an exchange of ideas - any opponent will do. Studying
books gets you nowhere. The thickness of these barriers
varies from person to person. Some break through them easi-
ly. Some do not. I know that there are many who spend morn-
ing to evening every day in go clubs, playing tens of games a
day, but make no progress. No matter how ardent their will to
learn was at the beginning, let this condition continue for two
or three months, not to mention one or two years, and hope is
abandoned. The player comes to recognize himself as `a per-
manent 6 kyu' and everyone else does too.
This condition is unbearable, yet how many go players
find themselves in it? Almost all? If so, it would be a crime

11
just to let them go on as they are, and that is why I am writing
this book - to explain in detail what is needed to break
through the barriers. I feel that what I have to say will be
most welcome news to those who do not know what to study,
or how to study it.
Of course one cannot make progress in any discipline
without effort. 'There is no pleasure without pain.' Pleasure is
progress, and pain the pain of effort. Study in the wrong way,
however, and the result may he just pain with no pleasure at
all. One must, without fail, learn the correct way to study.

12
 Ladders

Still on ladders? Ridiculous! Even looking at this page is

beneath me.
Yes, but even if you feel you are being cheated, read on a
little further. Don't forget the fundamentals. Our study begins
with ladders.
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Dia. 1
Dia. 1 (the opening of as even game). The outcome of
this game hangs on whether or not Black can capture the
white stone in the ladder that starts with 1. Many amateurs,
sometimes even dan-ranked amateurs, are apt to become im-

13
patient when confronted with long ladders like this and resort
to stooping down and sighting diagonally or running their
fingers zig-zag across the board, or in extreme cases to argu-
ing their opponents into submission verbally. All this I find a
bit silly.
When the ladder becomes slightly difficult like this, there
is a widespread tendency to give up, and wonder if there is
not something like a triangle theorem, some mechanism one
can apply and get the answer instantly. If you want to create
such a thing it is not much trouble to do so, but having it will
only prove destructive to your game.
Ladders should be the school that teaches you to read pa-
tiently, move by move - black, white, black, white, black,
white - which is the only way.
Some will say, `Phooey, that much I know already; it's
just that it's too much bother actually to do it.' Others will
say, `Look, I'm still weak at the game; I can't do anything dif-
ficult like reading.' So much for these lazy students, let them
do as they please. They are not going to get anywhere. They
need to be grabbed by the scruff of the neck and have some
sense knocked into them.
++++++++++|
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Dia. 2. Well then, how about
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this diagram? Can Black capture
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this stone in a ladder? Without lay-
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{`~{{{{{{{] white, black - to the very end by
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Dia. 2

14
++++++++++| Dia. 3. (next page) Black grips
{{{{{{~~{{] the white stone,White escapes, Black
{{{{{`~`~{] blocks in front of him, White escapes,
{}{{ B ~`}{{] black, white, black, white, black, and
{`` B W W `{`{] there White loses seven stones. See?
{`~ W W B {{{{] You can read it. Look at Dia. 2 once
{`~{ B {{{{{] again - black, white, black, white -
you can read it. Again! Do some re-
{~ B {{{{{{{] petition practice. When you feel se-
{~{{{{{{{{] cure, move the left-hand bunch of
{{{{{{{{{{] black and white stones a line, or two
Dia. 3 lines, or three lines out diagonally.
Read it again. Anyone whose eyes start to prickle or who gets a head-
ache has a bad case of astigmatism and should see an optometrist at
once. Confine your practice to this one exercise every day until you can
read the long-distance ladder in Dia. 1 with the greatest of ease, right
out to its end. When you can do that, rearrange the black and white
stones in the lower left corner - use your ingenuity - and try reading
again. That's the way.
This exercise will earn you a valuable reward: the confi-
dence that you can read any ladder anywhere, anytime. This
confidence heralds your next big stride. A great many people
have broken through their barriers by sticking persistently to
this method of mine. Habit is a frightening thing. Keep at it
every day, and soon the ladders that used to plague you will
become the easiest things in the world to read out. You will
not base the slightest difficulty reading out a straight ladder
like the one in Dia. I in a few seconds - a superhuman feat to
anyone who does not know the game of go, although a feat
hardly worth mentioning to a professional. Even a beginner
should be able to make short work of something like this.
Let's go on.

15
 +++++++++|
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Dia. 4

Dia. 4. Black to play. Obviously if the ladder works he

should play `a', but what should he do when the ladder does
not work? This may give one pause.

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Dia. 5 Dia. 6
Dia. 5. In certain circumstances Dia. 6. Locally, one's first in-
a shoulder play like Black 1 is stinct is to jump out to Back 1,
effective, but here White comes but after Whit: 2 to 6 Black's
out with 2 to 6 and Black ac- three stones are in a very tight
complishes nothing. spot. This is no good either.

16
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Dia. 7
Dia. 7. Let's look at the whole board. If the formation in
the upper right corner occurred in this opening, what should
Black do? How about playing a ladder black at 1? Locally, at
least, White has to defend at 2, and now the question is
whether the ladder works or not. Well?
Answer: given the exchange of Black 1 for White 2,
Black can capture White in a ladder. Naturally Black has to
have anticipated White 2 and read out that the ladder at 3
works before he plays 1.
Next White shifts to 4, or to some such point. Here Black
captures at 5. This is important. I imagine there are those who
think Black ought to wait until the ladder becomes broken
and then capture, but that is the shallow thinking of an ama-

17
teur. Black 5 is the proper time to capture; to leave this move
unplayed and turn elsewhere would be like trying to run a
business while in debt. That would give me, at least, a very
uneasy feeling. Of course if you ask how a person who is
afraid of going into debt can run a business anyway, I will
have to confess that I have little experience in that line, so I
cannot really say anything, but still —

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Dia. 8
.
Dia. 8. To go back to the moment when Black 1 definite-
ly establishes the ladder, is there not the danger that White
will ignore 1 and resist with 2? Depending on the situation,
this is naturally a possible move. In this game, however, it is

18
not one that White should adopt. Given Black `a', White `b',
Black `c' after White 2 and 4, Black has decidedly the better
position.
But if Black were to switch and answer White 2 at 'd', let-
ting White play 3, he would have had his way in neither the
upper right nor the lower left corner. Irresolution is a vice.
There are various other things to be said about ladders,
but the main point is that they branch into no variations, so
don't be lazy - practice reading them.
Occasionally some periodical proudly announces that it
has discovered a shortcut to reading ladders - some worthless
white elephant with four or five dotted diagonals and heavy
black lines. Even if you could understand it, it would not do
your game the least good. Such things are ridiculous.
One hardly ever hears of a professional misreading a lad-
der, but there was a famous tragic case around 1925 where
one side misread a ladder in the opening, played it out for
about three stones, realized his error, and resigned at barely
the thirtieth move. Don't make light of ladders. Those who
laugh at them will weep later.
Next I would like to show you an unusual game with si-
multaneous ladders.

Dia. 9 (next page). Perhaps you think that this sort of

thing would never happen in a good game, and are wondering
what kind of duffers Black and White were, but this sequence
occurred in a game between Hosai Fujisawa, 9-dan (white)
and Masao Sugiuchi, 9-dan (black). It comes from the first
Meijin League, over a decade ago.

19
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Dia. 9

Imitative play - @ etc. - is Fujisawa's specialty, and it

can lead to extraordinary happenings like this, even at the
highest professional levels. Of course if one side could first
escape, then capture the other, he would win hands down, but
it was because both sides had read out that this could not hap-
pen that the game ended up as shown. Since it is bad to chase
the enemy in a ladder that does not work, we can understand
Sugiuchi's reasoning; when he escaped with m, White had
chased him one stone farther (V) than he had chased the
white group in the lower left. We can also understand the rea-
soning of Maeda, 9-dan, the observer, who pointed out that
since White was able to start in first on the double atari

20
points like 'a', he was not necessarily worse off. At any rate,
this game will probably go down in the annals of professional
play as an all-time freak.
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Dia. 10

Dia. 10. This next curiosity is of a player deliberately

chasing his opponent, not in a ladder that he had misread but
in a ladder he knew ahead of time would fail. It comes from
the elimination rounds of the Nihon Kiin Championship (Jan-
uary, 1970): Kudo, 8-dan (black) vs. Kageyama, 6-dan
(white). My plan was to make use of ! etc. to live on the up-
per side. In a post-game discussion that was joined by Rin
Kaiho and others it was decided that instead of !, just D,
s, O, 3 (stopping the ladder), F, p, G, h, Z would

21
have been a better way to live. I chose the ladder sequence
because it was unbranched, easy to understand, and left the
lead unclear, but perhaps what was unclear was not so much
the lead as my vision in judging it. I lost by resignation.
No doubt the first requirement for becoming strong at go
is to like it, like it more than food or drink, and a second re-
quirement is the desire to learn. A third requirement is to
study it, using proper methods, patiently, little by little, with-
out cramming. Ash dan-level amateurs and you will find that
they did nut become stronger just by playing their opponents
for fun. Each one kindled the desire to learn more, and put in
no small amount of time studying. Each one will have a few
tales of hardship along the way to tell. Rome was not built in
a day. It may not take years of devoted study to the exclusion
of all else, but it does take effort piled upon effort to became
strong at go. Tile only ones who fall by the wayside are those,
be they gifted our otherwise, who forget the word 'effort'.

Nets

What comes after ladders? Why, nets of course - what

else? The two are like brothers. They are the basic ways of
capturing stones. One of the precepts I always teach begin-
ners is, `When it looks as if you can capture something, hold
up two fingers and ask yourself two questions: (1) Can I
catch it in a ladder? (2) Can I catch it in a net?'
The Japanese term for a ladder is 'shicho', which is a
shorting of 'shitsuyo ni ou', meaning 'pursue doggedly'. The
origin of the Japanese term for a net, 'geta', takes a well-forti-
fied imagination to understand. Literally 'geta' means `wood-

22
en clog', a common type of foot wear in Japan, and if you can
see that in the four black stones in Dia. 1, then " becomes
the foot and 1 the thong that keeps the foot from escaping.
Playing 1 completes the picture of the 'geta'. These are my
own private etymologies for the two terms, but don't you
agree that they fit quite well?
+++++++++|
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Dia. 1

I dare say everyone would play 1 in Dia. 1 and capture

the stone by netting it. Another possibility would be to cap-
ture it in a ladder, if the ladder was working; that would do
the job, but sooner or later Black would have to play another
stone and capture it completely, or else face a ladder block.
In other words, the net captures with one stone, while the lad-
der would require two. This is the main reason why nets are
better than ladders.
Next I would like to show you an example of a net from
actual play. In 1966 I became the final recipient of the Taka-
matsu-no-miya Prize. I had white in the deciding game
against T. Kajiwara and countered his: taisha joseki opening
with a new move.

23
 _+++++++++++++++++|
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Dia. 2

Dia. 2. Kajiwara followed one of his favourite variations

from Black 7 to the extension at 17. I answered by departing
from the joseki (`a') at 20 and trotting out my new hane at 22.
The next day I discussed this move with T. Yamabe, 9-dan.
Yamabe: `How could anybody be so dumb as to hane at
22 and let Black extend to a point like 23? And whatever
possessed you to ignore this and play White 24'? All I can say
is `I'm astounded at you.'
He and I have always been on informal terms, and he al-
ways speaks bluntly, even if I do not.

24
 Kageyama: `I thought I was getting a pretty good result
when I played White 26 and Hashimoto (Utaro of the Kansai
Ki-in) genuinely admired my moves.
Yamabe: `That just proves you can't tell when he's being
sarcastic; and speaking of White 26, that narrow extension
was too miserable for words. Once you let Black take a prime
point like 23, the game is over; there's no question about it. I
know Kajiwara lost, but the way you play is so asinine that it
makes your opponents light-headed, that's all.
Now that I set these words down on paper and reread
them, they sound almost insulting, so let me make it clear that
for the sake of the art, strong and outspoken language, which
makes a deep impression, is most welcome. Even though
there may have been an element of insult present, the hearer
definitely did not feel insulted.
When I asked Kojima, 6-dan, and Yokoyama, 5-dan, they
agreed that White 22 was bad because of Black 23; my
proudly played new move was getting a poor reception on all
sides. The next day, however, Sugiuchi, 9-dan, described
White 22-26 in the go column of the Tokyo Newspaper as `a
new pattern that gives a fair result.' This was more like it. My
sinking spirits revived a little.
How can professionals have such widely differing views?
It comes from two different ways of looking at the game: the
intuitive approach and the profit approach. Professionals in
particular tend to stress the intuitive approach at the expense
of the other, which may be only natural since it is the intuit-
ive players who usually have in them some spark of genius.
To these intuitionists, players like me, whose fortes are the
diagonal move, the hane and the connection, must seem like
the bottom of the heap, and this too may be only natural.

25
 For some reason Suigiuchi, on more than one occasion,
has expressed a high opinion of my game. 'Interesting open-
ings, powerful, clear judgment, and artistry of the highest cal-
iber,' are the words in which he has extolled it. If anyone else
said this I would think he was joking, but Sugiuchi, `the god ,
of go', is so straight-laced that I am not sure what to think.
Listen to him continue: 'You ought to have more confidence
in yourself, Kageyama. It's a pity that your momentary lapses
of confidence keep letting you down.'
I am definitely not trying to belittle myself, but almost ev-
eryone, including me, regards me as a kind of slow witted,
overgrown amateur. The thought that at least one of my supe-
riors sees some promise in me makes me take heart and face
tomorrow with the determination to do my best.
I have gotten off the subject. To return —
Dia. 3 (next page). Black 1 epitomizes a net. This one
move ends all chances for the three white stones to escape. Y.
Nakamatsu, 5-dan, a top-ranking amateur, however, made the
following comment. `I don't know what a beginner would
think, but the way I feel is that Black 1 is too tight. White has
forcing moves at `a', `b', and so on. Isn't that a bit hard to
take? Black ought to play 1 at `a', at least.'
Black 1 or Black `a'? Which do you prefer? I put this
question to every dan-ranked amateur I met for a while, and
almost everybody answered `a'. What about professionals?
They held Black 1 to be so natural and obvious that the ques-
tion was not worth discussing. I found this extremely interest-
ing.
A beginner would probably play Black 1 in high spirits,
rejoicing at having found a way to capture the three white
stones. That is, the beginner's move would the same as the

26
 _+++++++++++++++++|
[{{{{{{{{{{{{{{{{{]
[{```ß1{{{{{{{{{~{]
[{~`~~{Ý{}{{{{~}`{]
[{~~`~{Ó{{{{{{{{{{]
[{~````{{{{{{{{{{{]
[{~`{{{{{{{{{{{{{{]
[{{~{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
[{{}{{{{{}{{{{{}{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
[{{~{{{{{}{{{{{}{{]
[{{{{{{{{{{{{{{~{{]
[{{{{{{{{{{{{{{{{{]
-=================\
Dia. 3

professional's (although they would be thinking differently).

A stronger amateur would glare at the position and play
Black `a', for a larger capture. A professional, however,
would find the threat of white `c' after Black `a' disquieting,
regardless of whether it works immediately or not. To him
Black 1 would be the natural and proper move, the only move
to make.
Black 1 or. Black `a'? Only an amateur would ask himself
this question. A professional would simply dismiss the issue.
Neither the intuitive school nor the profit school would give
it a second thought. Here we can see another difference be-
tween amateur and professional.

27
 That is what I say now, but what was I thinking during
the game? To be, honest, I was expecting Black to play `a',
which means' that if it had been me, I might have played 'a'
myself. I even felt a little grateful to Kajiwara for playing
Black 1. As time went on, however, 1 began to realize the
virtues of Black 1.
Faithfulness to the fundamentals is something that be-
comes second nature to a professional. Call it a matter of
training if you will, but what changed me from an amateur
into a professional was getting a really firm grip on the fun-
damentals. Yet here I am, twenty years later, and I still have
not acquired this one fundamental. 'The. amateurish profes-
sional' - that's my other name. I am not bragging about this or
feeling smug. I want to become a 'professional professional',
even if it takes me the rest of my life.
+++++++++|
{{{{{`~{{]
{{`{{`~{~]
}{{{Ý~`~{]
{{{{{Ó`{{]
{{{{{{{{~]
{{{{{{{{{]
{{{{{{{{{]
{{{{{{{{{]
{{{{{{{{{]
Dia. 4

Dia. 4. Black, for whom the ladder is on, is asking him-

self, 'Should I grip the white stone with `a', or not?' Let's an-
swer him. `If you play 'a', you'll have to add another stone at
`b'. If you can finish capturing White with one move, why
look for anything better?'

28
 +++++++++|
{{{{5`~{{]
{{`{$`~{~]
}{{3@~`~{]
{{{{1{`{{]
{{{{{{{{~]
{{{{{{{{{]
{{{{{{{{{]
{{{{{{{{{]
{{{{{{{{{]
Dia. 5
Dia. 5 (correct). Black nets White with 1, White 2 etc.
show that escape is impossible. Black 1 captures White with
one move, that is, it is more efficient than Black `a' in the
previous diagram. This is the main reason that it is correct.
Neither this diagram nor Dia. 3 looks very much like a
wooden clog, so my etymology for the term `geta' begins to
seem suspect. Surely it did not come from English, a play on
the phrase `get her', but K. Kodama, 5-dan, has a theory that
it is derived from a similar witticism in Japanese, and he is
probably right.
+++++++++|
{{{{{`~{{]
{~{`{`~{~]
}{{{{~`~{]
{~{{{{`{{]
{{{{{{{{~]
{{{{{{{{{]
{{{{{{{{{]
{{{{{{{{{]
{{{{{{{{{]
Dia. 6: Problem 1
Dia. 6. Problem 1. Black to play - what should he do?

29
 Dia. 7. I dare say this will
+++++++++| be the most common answer.
{{{{{`~{{] `You mean it's wrong?'
{~{`{`~{~]
`That's right, it's wrong.'
}{{{{~`~{]
{~{{1{`{{] `Look, you can't be trying
{{{{{{{{~] to tell me to capture the stone
{{{{{{{{{] in a ladder.'
{{{{{{{{{] `God forbid the thought,
{{{{{{{{{] but look at Dia. 8. You have
{{{{{{{{{] this option here too. It's the
Dia. 7 kind of move that's easy to
overlook.'

Dia. 8.The atari at 1 is the

+++++++++| correct answer. If White comes
{{{{{`~{{] out at `a', Black nets him with
{~{`{`~{~] `b'. Of course
}{{{Ý~`~{] Black 1 in Dia. 7 captures
{~{Ó{1`{{]
{{{{{{{{~]
White just as surely, but when
{{{{{{{{{] there are two ways to capture
{{{{{{{{{] with one move, the firmer way
{{{{{{{{{] is correct. It's worth reflecting
{{{{{{{{{] upon the value of the firmness
Dia. 8 of Black 1 in Dia. 8.

30
 Dia. 9. Problem 2. Black to play - should he capture with
`a' or `b'? Both plays do the job in one move, but one is quite
clearly better than the other.

++++++~++| +++++++++|
{{{{`~{{{] {{{{{{{{{]
{{{```~~~] {{{{{~{{{]
}{{{{~``~] }{{~{~``{]
{{{{ÓÝ{{`] {{{{~`~{ß]
{{{{{{{`{] {{{{{`~{‹]
{{{{{{{{{] {{{{{`ÝÓ{]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
Dia. 9: Problem 2 Dia. 10: Problem 3

The correct answer is Black `a'. If White tries to get out,

Black can net him, and if White keeps trying to get out,
Black has a squeezing tesuji (page 211). The reason Black
`a' is better than Black `b' is the same as in the previous
problem.
Dia. 10. Problem 3. Black to play. How should he cap-
ture the two white stones? If you got the first two problems
right and slip up on this one, you did not really understand
the first two, for this is just an application of them. The an-
swer is restricted to two points, `a' and `b'. Which?
The answer is a', If White tries to escape at `c', Black
stops him at `d'.

31
 ++++++++++| ++++++++++|
{{{{{{{{~{] {{{{{{{{{{]
{{~{~{```~] {{{{{{{~{{]
{}{{{{{`~{] {}{`{``~~{]
{{{{{{{`~~~ {{{{`~~`~{]
{{{{{{{"``] {{{{{~{``{]
{{{{{{{{{{] {{{{{{{`{{]
{{{{{{{{`{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{}{{] {{{{{{~}`{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 11: Problem 4 Dia. 12: Problem 5

Dia. 11. Problem 4. Can Black capture the " stone?

Dia. 12. Problem 5. Black to play. Can he capture the
three white stones?
We are getting into difficult terrain now, but even a be-
ginner should not give up. Read it out move by move to the
end - that is the only way. If you cannot guess even the first
move, then, well —
++++++++++| ++++++++++|
{{{{{{{{~{] {{{{{{{{~{]
{{~{~{```~] {{~{~{```~]
{}{{{{{`~{] {}{{{{{`~{]
{{{{Ý{7`~~~ {{{{{{{`~~~
{{{{{^1~``] {{{{{‹ß~``]
{{{{95$@e{] {{{{{{1Ý{{]
{{{{{*3)`{] {{{{{{Ó{`{]
{{{{{{Wq{{] {{{{{{{{{{]
{{{{{{{}{{] {{{{{{{}{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 13 R : connects Dia. 14

32
 Dia. 13. Black 1 and 3 are good style, but they are the
wrong answer to Problem 4. In this particular case, after the
forced sequence to White's connection at 14, Black is faced
with both `a' and `b', so his result is unfavorable:
Dia. 14. This Black 1, the correct answer, is an interest-
ing net tesuji, one that even White might overlook. If White
plays `a', Black gives way with `b'. This contradicts common
sense, which would dictate blocking at the point below `a',
but Black has it read out. Next if White plays `c', Black can
capture him with `d'.
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{~{{] {{{{{{{~{{]
{}{`{``~~{] {}{`{``~~{]
{{{{`~~`~{] {{{{`~~`~{]
{{{{{~{``{] {{{{{~{``{]
{{{{1@^`{{] {{{{`~~`&48
{{{{{3$*9{] {{{{{`~~`#%
{{{{{57){{] {{{{{``~!26
{{{{{{~q`{] {{{{{{~``{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 15 Dia. 16

Dia. 15. Black 1 and so on, which are the answer to

Problem 5, have to be thoroughly read out through the next
diagram before Black can play them.
Dia. 16. If White keeps trying to escape, Black holds
him fast with the sequence up to 8. It takes almost twenty
moves, but ends in White's utter defeat. Were you able to
read this out?
When it looks as if you can capture something, hold up
two fingers and ask yourself: (1) Can I catch it in a net? (2)

33
Can I catch it in a ladder? This is one of the first things
taught in a beginner's manual, but that does not mean that, a
stronger player can afford to forget it. The reason that so
many people never master this elementary skill is that they
keep ignoring it as being beneath them. They are the people
who cannot be bothered to `read'; who try to capture the un-
capturable group because it just looks as if it can be done or
because they figure they can muddle through somehow, and
so they rush headlong into disaster. They are also the people
who, when they face a slightly stronger opponent, do not try
to capture the capturable group because with their fuzzy
reading they are afraid of messing it up; who innocently add
unnecessary stones to their own already alive groups; who
take fright without cause; who tremble when they sit dawn at
the go board; who play through the whole game with a sullen
expression; who lose every fight; who eventually come to
hate go. Sorry wretches, through choice they have aban-
doned the most interesting and enjoyable of all games.
No matter what age he is, a man's brain cells are sharp-
ened and work better the more he uses them. Go is perfect
mental exercise. It is worth a few leisure moments. Think of
it, if you like, as the game that prevents brain degeneration.

34
 CHAPTER 2

Cutting and Connecting

35
 Concerning Fundamentals

Each spring sees the opening of another baseball season.

This is one of my favorite spectator sports, but every year
there is one thing that bothers me about it. That is the way
that semi-professional, university, and sometimes even high-
school stars enter the professional leagues and immediately
display a skill that puts their veteran teammates to shame.
There hardly seems to be any difference at all between ama-
teurs and professionals. Amateurs play for pure enjoyment,
while professionals play to make a living. The difference be-
tween them ought to be much greater:
In every confrontation with a real American professional
team it seems that what we need to learn from them, besides
their technique of course, is how uniformly faithful their
players are to the fundamentals. Faithfulness to fundamentals
seems to be a common thread linking professionalism in all
areas. If we consider the American professionals as the real
professionals in baseball, then I think we have to consider
their Japanese counterparts, who tend to pass over the funda-
mentals, as nothing more than advanced amateurs.
The reason for the lack of polish in Japanese baseball is
probably just the short history it has in this country. Each
year, when the visiting American team makes its tour, I
sense an improvement on the Japanese side, so that in anoth-
er few decades, or another century perhaps, when the neces-
sary progress in technique and mental attitude has been made,
I expect to see a world championship spanning the Pacific. I

36
feel certain that no racial physical inferiority consigns us to
second place.
The opposite case, where the difference between amateur
and professional is most striking, is Japanese sumo
wrestling. There even the collegiate grand champion has to
enter the professional ranks in the third division down from
the top and work his way up while being treated like any oth-
er raw recruit. Collegiate wrestlers lack nothing in body,
weight, or strength, and they are gifted with the advantage of
intelligence. The potential is there, all right, but on the other
side there seems to be what can only be termed a thick barri-
er between amateur and professional, built by a long tradi-
tion among professionals of almost superhuman effort. It
takes more than just bodily size and strength to become a
professional sumo wrestler.
In the world of go also, a long tradition of intellectual
combat has distilled the professional into something that an
amateur can never hope to become. A professional has un-
dergone elite training in competition from childhood; he has
learned to view every other person as an opponent to be
beaten down and crushed. His mental, physical, and emo-
tional strength all have to be fully developed. If he lets up
anywhere, it will show in his performance on the board and
he will fail the professional test. The realm of competition is
stark.
No professional regrets the time he has had to spend
studying. `I've never spent a minute studying in my life,' de-
clares Yamabe, 9-dan. Let two professionals get into a post
game analysis, however, and they will go on endlessly, com-
pletely forgetting about time. Who will say that is not study-
ing? The way young players have taken over the game can

37
only be called terrifying. The time they spend studying every
day defies the imagination.
Professionals do this unquestioningly. Even a gemstone
has to be polished. `A man is always moving either forward
or backward,' says Kano, 9-dan. `He never stands still. This
should be every go player's motto, and he should keep piling
effort on top of effort no matter what his age. He can be con-
fident of always making progress.
There was a game once in which Kano played the fol-
lowing move.
Dia. 1. (next page) Black 1 is the move that caught my
attention. Looking at the commentary in the newspaper, I
found the writer (Bokushintaro) saying, '...and Black 1
firmly captured the white stone. Had it been us, we would
have wanted to expand around `a' and swallow up the stone
on a larger scale. Sugiuchi, 9-dan, the commentator, had ap-
parently read our mind, for when he reached this point he
said, „Lack's being exceptionally thorough, but this seems to
make the game close. It's probably correct. If he were be-
hind, he would try a larger move - Black `a', for instance.“ '
Provided it does not put him behind in the game, the
move Black wants to make is the `correct' one at 1. Any true
professional would feel this way. As Sugiuchi said, however,
a condition is that it not put Black behind, and if it does, then
he can only try to enlarge his framework with some move
like `a', whether it be correct or not. The point of all this is
that moves have to be chosen with regard to the balance of
the whole board. To be overcome with admiration for the su-
perficial correctness of Black 1 is to miss the real profession-
al attitude.

38
 _++++++++++++++`+~`
[{{{{{{{{{{{{~`~``]
[{{~{~{{{{~~{~`{`~`
[{~}{{{{{}~`{`{`{~]
[{~`{{~{~{~{`~{`~{]
[{``{{{{{{{`{~{`~{]
[{{{{{~{`{`{{~`~{{]
[{`{{~{`~~{{{~{~~~]
[{{{`~{`{{`{{{{~``]
[{`}`~{{{}{{{{{`{{`
[{{{{~`{{{{{{{{``{`
[{~{~{~`{{{{{{{{{`]
[{{{{{`{{{{{{{{{{{]
[{{{~{{{{{{{{{{{{{]
[{{```{`{{Ý{{â{{{ß]
[{~}{{`~~{{{{{{``Ó]
[{{~{~~{{{`{{`{1~{]
[{{{{{{~`{{{{{{á{‹]
-=================\
Dia. 1
What actually went on in Black's mind before he
played 1?
First of all, White has 60 points of territory, to which a 5-
point komi must be added. Black is countering with 15
points on the left side and in the upper right corner, so he
needs 50 points from his double-wing framework in the low-
er right or he will lose. This is a busy moment; he would like
to expand his framework the very first chance he gets. How
can he so calmly play 1? He certainly could not play it if he
were not confident about his judgment of the balance of ter-
ritories and about his endgame. What we seem to be glimps-
ing here is the astonishing amount of confidence a profes-
sional has in himself.

39
 [{~{~{~`{{{{{{{{{`]
[{{{{{`{{{{{{{{{{{]
[{{{~{{{{{{{{{{{{{]
[{{```{`{{Ý{{â{{{ß]
[{~}{{`~~}{{{{{``Ó]
[{{~{~~{{{`{{`{1~{]
[{{{{{{~`{{{{{{á{‹]
-=================\
If Black omits 1, what exactly is there in the lower right
corner? The answer is that there is the bad potential created
by the sequence White `b', Black `c', White `d', Black `e',
White 1.
Here a stronger amateur interrupts to say, `That may be
so, but isn't Black 1 too tight? If a professional is so good at
reading, shouldn't he have White `b' etc. read out, and can't he
play Black `f' or some such move, that would serve both to se-
cure the corner and to organize his framework a little more?'
Absolutely right! Why can't he? The answer is that Black
'f' neither fully kills the potential in the corner nor fully takes
control of the outside. It is a half measure all around. There
are mere examples like this in professional games than I
could ever hope to mention. Any strong player, even an ama-
teur, has the right to doubt, and wonder why professionals do
not make more ambitious moves. One might even go so far as
to wonder if professionals, too, are not subject to attacks of
nerves. In the end, however, it all comes down to the profes-
sional's faithfulness to fundamentals.
— and so forth and so on. What I am trying to show here
is how important the fundamentals are. When a beginner
learns the game, the first things he should learn are the funda-
mental skills. When he advances to the point where he begins
to think of himself as a strong player, the thing he needs to do

40
to become even stronger is to go back and study the funda-
mentals once more.

Cutting and Connecting

Dias. 1 and 2. Black makes the cut at 1. If it is Black's

turn in these two diagrams, he need not consider anything
else. The cut is the only move. Cutting is the most basic tactic
of all.
+++++++| +++++++|
{{{{{{{] {{{{{{{]
{{~``{{] {{{{{{{]
{{1~}`{] {{1~}`{]
{{{{{{{] {{~``{{]
{{{{{{{] {{~{{{{]
{{{{{{{] {{{{{{{]
Dia. 1 Dia. 2
Dia. 3. If it is White's turn, the only move he need con-
sider is connecting at 1 (or Ý). If he does not connect, Black
will cut. It's that simple.
+++++++| +++++++|
{{{{{{{] {{{{{{{]
{{~``{{] {{Ó{{{{]
{Ý!~}`{] {!Ý~}`{]
{{{{{{{] {{~``{{]
{{{{{{{] {àß{{{{]
{{{{{{{] {{{{{{{]
Dia. 3 Dia. 4
Dia. 4. When White connects in this position 1 is the only
move. White `a', `b', etc. would weaken the resistance at `d'
that he can offer to Black 'c'. White 1 is the best preparation
for Black 'c', White 'd'.

41
 The cuts and connections in Dias. 1 to 4 are especially
strong because they occur in close combat. They are urgent
moves at any time, whether in the opening or in the middle
game.
++++++++++++|
{{{{{{{{{{{{]
{{{`~{{`{{{{]
{`{`~{{{{`{{]
{{{~@1{`{{{{]
{{{{{{{{{{~{]
{{{{{3{{{{{{]
{{{{{{{{{{{{]
Dia. 5
Dia. 5. Don't peep where you can cut.
Can you perhaps recall a position like this where you
peeped with 1 , made your opponent connect with 2, then em-
barked on an attack with 3? Black 1, which peeps where a cut
was possible, is a classic bad move, a so-called `raw peep' in
Japanese. This is not in the fundamentals.
++++++++++++|
{{{{{{{{{{{{]
{{{`~{{`{{{{]
{`{`~{Ý{{`{{]
{{{~1{Ó`{{{{]
{{{{{{{{{{~{]
{{{{{{{{{{{{]
{{{{{{{{{{{{]
Dia. 6
Dia. 6. Cut where you can cut.
Black has to cut directly at 1. There are those who refuse
to cut even though they know they should because they feel
uneasy about White `a' or `b', especially if White is a stronger
player. They are frightening themselves unnecessarily. Leave

42
the continuation for later. Right now, with the stones as they
stand, the best move is the cut at 1, and if you can play it,
why not? Cut where you can cut. That is a simple principle,
and what is wrong with simple principles?
++++++++++++|
{{{{{{{{{{{{]
{{{`~{{`{{{{]
{`{`~{{{{`{{]
{{{~@1{`{{3{]
{{{{~{{{{$~{]
{{{{{{{{{{{{]
{{{{{{5{{{{{]
{{{{{{{{{{{{]
Dia. 7
Dia. 7. A good peep
Here Black cannot cut no matter how much he wants to be-
cause White has already connected. Black 1, White 2 is an un-
wasteful forcing exchange. Black 1 is a good peep. Black 5,
jumping out to attack White, is a good continuation, although
not as absolute as Black 1.
What counts is being able to comprehend the whole posi-
tion and find the move that fits it.
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{!{{{]
{`{{{`2`{{] {`{{{`2`{{]
{{{{{{!{{{] {{{{{{{{{{]
{{{{{{{{~{] {{{{{{{{~{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 8 Dia. 9
Dia. 8 and 9. Even a moron connects against a peep.
White sometimes peeps as shown. If Black does nut con-
nect, White will cut. Black's connection at 2 is correct, linking
his stones firmly together.

43
 In actual play, however, there are times when this natural
connection cannot be made. That is part of what makes go in-
teresting.
_+++++++++++++++++|
[{{{{{{{{{{{{{{{{{]
[!`{{{{{{{{{{{{{{{]
[2~```{{{`{{{`{`{{]
[#4~{{{{{{{{{{%{{{]
[{~{{{{{{{{{{{{{~{]
[{{`{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
[{{`{~{{{}{{{{{`{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
[{{~{{{{{{{{{{{~{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
[{{`{`{{{`{{{`{`{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
-=================\
Dia. 10
Dia. 10. This is an actual eight-stone handicap game in
which an early ko fight has started in the upper left corner. The
ko is large, and as the proverb says, there are no ko threats at
the beginning of the game. No matter where White plays 5,
Black intends to connect the ko. The difference between win-
ning it and losing it is so great from all standpoints - territory,
influence, thickness, thinness - as practically to decide the
game. If you keep looking at White 5, you start wanting to an-
swer it, so when this kind of ko arises in an informal game, my
advice is to capture at 4, then, while your opponent is thinking
over his ko threat, connect the ko and invite him to make two

44
moves in a row wherever he likes, thus guarding yourself from
temptation. That is how big this ko is.
Dia. 11. Problem for Black: when White pushes through at
1, how should he reply? Middle and upper level players miss
this surprisingly often, which only proves that they have not
grasped the fundamentals.
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{@1{{]
{`{{{`!`{{] {`{{{`~`{3]
{{{{{{~{{{] {{{{{{~{{{]
{{{{{{{{~{] {{{{{{{{~{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 11 Dia. 12

Dia.12. Black can stress the corner and live with 1 and 3.
++++++++++| ++++++++++|
{{{{{53${{] {{{{{{{{{{]
{{{{{1@^{{] {{{{{{~`{{]
{`{{{`~`{{] {`{{{`{`{{]
{{{{{{~{{{] {{{{{{~{{{]
{{{{{{{{~{] {{{{{{{{~{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 13 Dia. 14

Did. 13. Or he can stress the side and give up the corner
with 1 to 5, a consistent sente sequence.
Dia. 14. A problem from a beginners' manual: Black to play
-where should he move? White to play: where should he move?
Can you see what I am driving at? Dias. 12 and 13 are a flop.
Dia. 14 is an extreme case of cutting and connecting. If
White occupies the key point, Black has the same kind of re-
sult as in Dias. 12 and 13. How can it be good?

45
++++++++++| Dia. 15. (correct) No matter
{{{{{{{{{{] what happens next, Black has to
{{{{{{1{{{] stop White at 1. If you start to
{`{{{`~`{{] think about what will happen if
{{{{{{~{{{]
{{{{{{{{~{]
White cuts next you may lose
{{{{{{{{{{] your nerve, so don't think, just
Dia. 15 play Black 1. You can start
thinking about White's cut after
he makes it.

Dia. 16. If White cuts at 2, Black 3 and 5 are better than

Dia. 13 was. Do you understand why?
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{{{{{31@${] {{{{Ý@13{{]
{`{{{`~`{{] {`{{$`~`{{]
{{{{{5~{{{] {{{{{{~5{{]
{{{{{{{{~{] {{{{{{{Ó~{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 16 Dia. 17

Dia. 17. Cutting on the outside with White 2 is reckless.

White is at at loss for a reply when Black pushes out at 5, and
if he plays 4 at `a', then his position collapses after Black 5,
White `b', Black 4. This is good for Black without question.
In close combat situations, where the opposing stones
touch each other, you cut if you can and connect if you can.
Many people know that much, but fail to realize that the idea
of cutting and connecting applies to much more.

46
 _+++++++++++++++++|
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-=================\
Dia. 18
Dia. 18. Along the upper side we have a knight's move by
Black, a two-space extension by White, a one-space jump by
Black, and a large knight's move by White, all basic patterns.
Everyone should recognize these as evolved forms of con-
tinuity, that is, connection.
On the lower side both Black and White are surrounding
territory, but there is another way of looking of their posi-
tions, namely that both are made up of essentially continuous
chains of stones.

47
 ++++++++++|
{{{{{{{{{{]
{{'24{{{`{]
{{{!#'{`{~]
{{{{{{{{{{]
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Dia. 19
Dia. 19. If White attacked Black's position with 1 and 3,
anyone would answer with 2 and 4, but most people would
think they were defending Black's territory. Few seem to
think of these moves as preserving the continuity between the
two marked stones.
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{'{{{{{{{{] {`{!{{{{{{]
{}{{{'{`{{] {}{2{`{`{{]
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Dia. 20 Dia. 21
Dia. 20. This is a position that arises often in both handi-
cap and even games. The marked stones form a three-space
knigt's move, which is quasi-continuous, the upper limit of
continuity. If we think mainly of the continuity between these
two stones, then
Dia. 21. When White invades at 1, we will try to maintain
the continuity with the contact play at 2. This is naturally a
good move. What can those who fail to play it be thinking?

48
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{`{!2{{{{{] ~{`{!{`{~{]
{}{#{`{`{{] {}{{{{{}{{]
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Dia. 22 Dia. 23
Dia. 22. Perhaps they covet the upper side as territory.
They dislike Black 2 in the previous diagram because it lets
White live, ruining their territory. This they consider a loss,
so they make two bad moves in a row at 2 and 4. To make
matters even worse, they think they are doing well because
they are attacking White. `What's wrong with Black 2 and 4?'
they demand in offended tones.
What's wrong is that they have completely missed the
fundamental point. By playing 2 in Dia. 22, Black is destroy-
ing his own chances to connect. By making White play 3 and
5, he is cutting himself in half. Surprisingly many self-styled
`experts' play the game without comprehending this simple
principle.

Dia. 23. All go players must have experienced many

times the devastation caused by White 1 in a position like
this. What makes Black's plight especially bad is that White 1
cuts him in two - destroys the continuity between his stone.

How, one may ask, can even a beginner, let alone a

stronger player, play at all if he stops to think over every
move like this? From my own experience I would have to say
that to play while constantly reminding yourself of these fun-

49
damentals is impossible. In fact, I would say that while play-
ing, the fundamentals have to be handled subconsciously. For
example, if you watch the way a star infielder moves in base-
ball, you will observe that no matter how difficult the bounce
or how hard the line drive, he meets it frontally, faithfully
following the fundamentals. The ball comes at him in a frac-
tion of a second. The question is not how well he understands
the fundamentals intellectually, but whether or not his body
can respond instantly. What you are seeing is the result of
long days of practice and effort.
But Go is different, isn't it? One does not have to play in-
stantly. One has time to think during each move. True, but
the game lasts for two or three hundred moves, and you can-
not stop at each one to consider each of the fundamentals.
You have to soak up the fundamentals as you practice on
your own, studying them until they become a part of your
very being. If the fundamentals do not operate subconscious-
ly when you sit down to play, you have not mastered them
yet.
Once there was a 1-kyu player who boasted that he would
never lose at nine stones. `I'll defend so firmly you won't
have a chance,' he said. `All right, we'll see,' was my reply,
and this opponent, who beat me about half the time at six
stones in practice games, put nine stones down on the board.
How easily a few careless words can get one into things like
this. I certainly had no confidence in the outcome.
Dia. 24. This is the game. It may be interesting as an ex-
ample of what a professional can do in a handicap game
when he applies himself. Although one notes a slack move
here and there, Black did not make any really bad mistakes,
yet by white 89 the game was already close, and by the end I

50
 _+++++++++++++++++|
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-=================\
Dia. 24
(nine-stone game, to move 89)
had won an easy victory. My 1-kyu opponent was staggered.
He began to look upon professionals with new respect. That I
liked, but I was startled when he next accused me of just hav-
ing gone through the motions in our previous six-stone
games. If I had told him he was right, I would have lost a
valuable pupil. This was a grave situation. I said, `For you to
lose at nine stones, when you usually give me an even fight at
six, ought to be unthinkable, but now it's happened. There are
various reasons why you lost, but the biggest ones were: (1)
You got out of gear by thinking that with the extra stones, all
you had to do was defend - make everything live - and you

51
would win. If you had played your normal relaxed game, you
wouldn't have lost so easily. (2) You completely ignored the
first fundamental of cutting and connecting. It's not just a
question of cutting or connecting during in fighting. Look at
the position up to White 89. Black's upper right corner, right
side, lower right corner, lower side, lower left corner, left
side, and upper left corner have all, in the large sense, been
cut off by White. Each one is isolated. White's stones, in the
large sense, are all connected, therefore strong.
'This is where you lost. This is a good example of what
happens when you forget or ignore the fundamentals. I may
have been playing with more than usual determination, but I
think that is only natural for a person who has dared to give
nine stones to an opponent who needs at most six.' .
My opponent gave a deep nod, and I heaved a sigh of re-
lief at having passed this crisis without losing one of my
pupils.
When a beginners' text was being prepared for the start of
a course in go at the Nihon Kiin's Central Hall in the Interna-
tional Tourism building next to Tokyo Station, S. Nakagawa,
7-dan, who is erudite in such matters, remarked that 'It's not
just true in handicap go. The same can be said in even games.
Usually when you have five of six isolated groups of stones
on the board, you're losing.'
Without pressing this point further; I would like to offer
you one last diagram, worth the proverbial thousand words.
Look at Dia. 25. Black has three isolated territories on the
right side, nine points each. With a total of 25 stones he has
surrounded 9+ 9+9= 27 points of territory.
White, using the same 25 stones, has surrounded 45
points in the center and upper side.

52
 Compare Dias. 24 and 25. This should make very clear
what the 1-kyu player who thought he could win by just liv-
ing and avoiding capture had lost sight of.
For reference, note that along the left side Black has sur-
rounded 75 points of territory with, again, 25 stones.

_++`+++~+++++~+`++|
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-========`=====`==\
Dia. 25

53
 Somewhere in the course of advancing from tesuji to
shape to life and death, one forgets the simplest and most im-
portant things of all. Are there not many among even my
stronger readers who received a mild shock at seeing this ex-
ample?

_++++++++++
[{{{``~{{{{
[{{{`~ÝÓ{{{
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[{~{~{{{{{{
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Dia. 26

Dia. 26. If it is Black's turn, there is no room for delibera-

tion - just cut at `a'. If it is White's turn, however, he can pre-
vent the cut in various ways, so there is room for delibera-
tion. Whether `b' or `c' is better is a difficult question, de-
pending on the arrangement of stones to the right. Many
cases are like this. There is only one way to cut, but several
ways to connect, each with its advantages and disadvantages.
If you thoughtlessly choose the wrong way, your connection
may even turn out to be bad.

54
 CHAPTER 3

The Stones Go Walking

55
 The Stones Go Walking

Go is the kind of game in which you are an expert if you

can just keep on making ordinary moves. You need not play
any especially brilliant moves at all. Amateurs' moves, how-
ever, are frequently far from ordinary; in fact, I see them
making the most nonsensical moves imaginable, one after an-
other, so often that I had difficulty knowing where to start in
on a subject as broad as `the stones go walking'. All I will
speak of in this chapter is one part of what happens when
stones come in contact with each other in the opening.
To begin with, what does `the stones go walking' mean?
It means exactly what it says: `walking', a kind of motion.
When a human being walks he puts his feet forward in turn -
right, left, right, left - without any conscious effort, and
swings his arms - left, right, left, right again with no con-
scious effort. Why? Because man was born to walk. The go
stones were born to walk, too. When they are widely separat-
ed they can get out of step a little with no serious conse-
quences, but when they are in contact and get out of step, the
results are frightening to see. For that reason, let us watch
how the stones walk when they are in contact.
Dia. 1. (next page) This is an even-game opening pattern
in which White has played 1 to 7 against Black's one-space
pincer. The stones walk for just a few moves here; is there
anything unnatural or out of the ordinary about it? Let's think.

56
 _+++++++++++++++++|
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[{{{{{{{{&{{`{~{{{]
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Dia. 1
The pattern is one that appears frequently in games be-
tween shodan and 2-dan players. The fact is that neither side
has anything to complain of in this walk. But if you ask them
which seems to have the better of it up to 7, the almost uni-
versal reply is 'White - there's no question about it.' No ques-
tion, mind you. There goes 'Black stretching out grandly
along the so-called line of victory, but they prefer the larger
framework that White gets with 7. The saying that what the
other person has always looks better seems to be true not just
of children.
That being the case, instead of extending to 6, as they
must to keep the stores walking, these players shift Black 6 to
7. Furthermore, they seriously think that this ridiculous two-
space extension is a splendid move, giving them good results
on both sides. They look as pleased as if they had found a di-
amond in the desert.
The frightening thing about this is the warped vision that
perceives the correct as incorrect. One such illusion leads to
the next, and the quality of the game quickly deteriorates.

57
 _+++++++++++++++++|
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[{{{{{{{{1{{`{~{{{]
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Dia. 2

Dia. 2. The moment Black makes his blunder at 1, White

hanes at the head of his stones with 2. Black hanes at 3 in
reply, but then White plays the wonderful, powerful double
hane at 4. The rest of the moves up to 8 are a forced walk.
Black's result is too pitiful for words.
`Are White 2 to 8 really so bad for Black?' I can hear the
question coming, so here is my answer. `Bad? Preposterous
would be a better word. Look at Black's compressed position.
Look at White's outer influence. Fall in love with that thick
white wall. Realize how good White's result is. If you cannot
understand this, lay the position out on the go board every
morning as soon as you get up and chant the words, "White's
thickness is superior.“ '
Dia. 3. (next page) This is a sequence from a teaching
game I played recently at six stones against a shodan. It star-
ted with the invasion at Black 1. For White to jump out one
line below 7, inviting a black jump two lines below 1, and
fight head-on was unappealing because of the solidity of
Black's upper left corner.

58
 _+++++++++++++++++|
[{{{{{{{{5{{{{{{{{]
[{{{{`{"{1${{~{{{{]
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[{{{{{{{{{{{{{{{{{]
Dia. 3
The position called for White to sacrifice his stone, So I
played White 2, which seemed to catch my shodan opponent
by surprise. After a moment's thought he played Black 3, a
spineless move that clearly violated the rules by which stones
should walk. I lost no time in exposing the looseness of his
shape by blocking at 4. Next I sprang out to 6, gaining power
and threatening either to pull out " or to invade the right
side. I came out one ahead in this fight, and the reason was
Black 3.

++++++++++++|
{{{{{{{{{{{{]
{~{`{{{~{{{{] Dia. 4. Black has to
{{{1~{{{{`{{] push out at 1, no matter
{{{@{{{{{{{{] what. White hanes at 2.
{{{{{{{{{`{{] Black's next move?
{{{{{{{{{{{{]
{{{{{{{{{{{{]
{{{{{{{{{{{{]
Dia. 4

59
 ++++++++++++|
{{{{{{{{{{{{]
{~{`@{{~{{{{]
{{3`~{{{{`{{]
{{1"ß{{{{{{{]
{{ÝÓ{{{{{`{{]
{{{{{{{{{{{{]
Dia. 5
Dia. 5. The hane at Black 1 is a failure. White 2 is a good
reply, and Black is forced to make an inefficient, bad shape
with 3. White 2 is a move that any professional would see im-
mediately, but that an amateur would tend to miss. This is an
amateur's blind spot. Black has just haned toward the centre
at 1, so he expects White to move in the same general direc-
tion, at 'a', `b', or `c', or to cut at 3. He never dreams that
White will back-pedal to 2. It is not usually wrong to look to-
ward the centre, but this case is different.

+++++++++++|+++++++++++|
{{3{{{{{{{{]{{{{{{{{{{{]
~{`@{{~{{{{]~{`1{{~{{{{]
1{`~{{{{`{{]3{`~@{{{`{{]
{{~{{{{{{{{] {{~{{{{{{{{]
{{{{{{{{`{{]{{{{{{{{`{{]
{{{{{{{{{{{]{{{{{{{{{{{]
Dia. 6 Dia. 7

Dia. 6. Black 1 is another possible move, but White will

play 2 just as in the last diagram. At 3, Black seems to have
been very badly forced:
Dia. 7. Black 1 is correct. Now after White 2 and Black
3, Black's shape is indestructible. `The enemy's key point is
your own.'

60
 _+++++++++++++++++|
[{{{{{{{{{{{{{{!{{]
[{{{{`{~{'{#{~{{2{]
[{``{{{{4}{{{{{`{{]
[{{{{{{{{{{{{{{{{{]
[{~{{{{{{{{{{{{`{{]
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[{{~{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
Dia. 8
Dia. 8. The ordinary reply to Black's invasion at '
would be White 1 and 3, and now Black 4 is quite a good
move. Wait a moment. Isn't this Black 4 exactly the same as
Black 3 in Dia. 3? Yes, but the locations of the neighbouring
white stones are a lot different. If you lump these two moves
together, you're in for trouble. Black 2 and 4 in this diagram
earn full marks. `Aha,' said our shodan, slapping his knee.
Apparently he had memorized this pattern, and that had made
him play Dia. 3.
Play the same move with no regard to the surrounding
conditions, and this is what will happen. At times you will re-
ceive praise, at times scorn. Look again at the relations
between friendly and enemy stones - is that what I'm trying to
say? But when it comes down to actual play, there isn't time
to study and ponder all those relationships. In the first place,
if you think that long, the other player doesn't like it. `What's
going on? he'll start to wonder. Well then, it's a matter of
gaining experience, and not shirking your studies of the fun-
damentals. Study the fundamentals, that's what you have to
do. Study the fundamentals.
'The stones go walking' is something that could be said
about every move of the game. The subject is too large to be

61
treated in its entirety. Let's look at just a few more elementary
examples of natural walking moves, then go on.

++++++++++| ++++++++++|
{{{{#4{{{{] {{{{{{{{{{]
{{{!2{{{{{] {{~{`{{#2{]
{~{{`{{`{{] {}{{{{{`!{]
{{{{{{{{``] {{{{{{{{{{]
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{{{{{{{{~{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{~{{] {{{{{{{{{{]
{{{{{{{{{{]
Dia. 9 Dia. 10
Dia. 9. Given that the aim is to defend Black's upper right
corner, die reply to a move like White 1 should be obvious.
Black 2 is correct, and if White plays 3, Black should defend
at 4.
Even a beginner' can perform natural steps of stones
without difficulty. Difficulties arise only if you do not see
what white is trying to do with 1, make some outlandish re-
ply, and let him push in at 2. The difference between Black 2
and White 2 is too great for the latter to be allowed.
Dia. 10. Weak players fear cross-cuts like White 1 and 3,
but that is no excuse to play Black 2 at 3, for example, and al-
low White 2. The loss from doing that would not stop at the
corner. The number of variations is not so large, so it is worth
practising the countermeasures to this cross-cut and having
them ready. Beware, however, of the rule about extending
from a cross-cut. It will not do you any good unless you
really understand it.

62
 +++++++++++|
{{{{{{{{{{{]
{{{{{{{{{{{]
{{`{{~{{`{{]
{{{{{{31{{{]
{{{{{{{@~{{]
{{{{{{{{{{{]
{{{{{{{{{{{]
Dia. 11
Dia. 11. When faced with a white double approach, you
should forget such ideas as making the black corner stone
live, or defending the corner territory. The main point is to
get out and break through the enemy's enclosing net, that is,
to cut White aggressively in two. Black 1 and 3 may seem
like slow moves, but they are not. Dividing White in half,
they are the strongest moves of all.
_+++++++++++++++++|
[{{{{{{{{{{{{{{{{{]
[{{{{{4{{{{{#2{{{{]
[{{`{{{{{`{{!Ó{`{{]
[{{{{{{{{{{{ß{{{{{]
[{{{{{{{{{{{{{{Ý{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
Dia. 12

Dia. 12. Here is a bad example. Ordinarily Black 2 is

played at `a', but Black wants to exchange 2 for 3 to
strengthen the upper right, then play 4 and strengthen the up-
per left too. This is no way, however, for the stones to go
walking. In particular playing Black 2, then leaving it, is
something I'll thank you not to do again. If you must play

63
Black 2, then at least you have to follow it with Black `b',
White 'c' before going on to 4.
Now look at Dias: 13 and 14. There should be no com-
plaints about the way the black stones are walking in these
two diagrams. Complaints - how could there be any? Both di-
agrams are josekis, aren't they?
_++++++++++ _++++++++++
[{{{{{{{{{{ [{{{{{{{{{{
[{{5$"{{{{{ [{{{1~{^5{{
[{{`{1@{{`{ [{{`{@{${`{
[{{{{3^{*{{ [{{{{{{{{{{
[{{9{{7){{{ [{{3{{{{{7{
[{{{{{{{{{{ [{{{{{*{{{{
[{{{{{{{{{{ [{{{{{{{{{{
Dia. 13 Dia. 14
Dia. 13. A word of advice to those who pin too much
faith on josekis: there is nothing absolute about them. In fact,
when White enters Black's sphere of influence with ",
whether in an even or a handicap game, to greet him with the
old faithful attach-and-extend joseki from Black 1 to 9 is def-
initely wrong.
Why? Because White is caught in a pincer attack, and this
is Black's golden opportunity to take the initiative and attack.
He must not make life so easy for White with 1 to 10.
Dia. 14. Much better is the diagonal contact play at Black
1, which keeps White from settling himself. Walking through
the ordinary sequence up to 8, White feels as if caught in a
cross-fire between the black groups to the right and left.
A word of advice, just to be sure: josekis must be selected
to fit the occasion.

64
 CHAPTER 4

The Struggle to Get Ahead

65
 The Struggle to Get Ahead

There is a certain kind of racehorse that can settle the out-

come of a race at the starting line. Let him dash out to a good
start and take the lead, and although other horses may draw
even with him from time to time, if he runs true to form you
don't have to watch the race to know who will win.
What does this have to do with go? The stones do not run
around on four legs, but the struggle to get ahead occupies an
important place in the game.
+++++++++++| Dia. 1. When opposing
{{{{{{{{{{{] stones touch each other
{{{{{áßÝ``{] like this, the question of
{{{{{â‹Ó~~{] who gets ahead and who
{{{{{{{{{{{]
falls behind can decide
{{{{{{{{{{{]
{{{{{{{{{{{] who takes the lead in the
Dia. 1 whole game.
In spite of this being
such a critical position, one often sees beginners leave it as it
is, both sides forgetting about it as they trade moves else-
where. Watch a stronger player's game; you will rarely see a
row of black and white stones like this, lined up shoulder to
shoulder, left to stand as it is.
How should Black play if he has sente? If he plays `a', he
is getting one step ahead of White all right, but then White
plays `b'. If Black keeps straight on with Black `c', White `d',
Black `e', White `f , he gets a straight line of stones, but so
does White. If they continue in the same way to the left edge
of the board, the end result is the same as if White had started

66
at `h', followed by Black 'a', White `d', Black `c', etc. It does
not matter who takes the lead. This is not the way to get
ahead.
We will have to modify our thinking. The real meaning of
'getting ahead' is `bending around the enemy's leading edge.'
If Black realizes that, he will use his turn differently.
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{642{{{]
{{{{{{{``{] {{{&%#!``{]
{}{{{31~~{] {}{{{{{~~{]
{{975$@Ý{{] {{{{{{{{{{]
{{{*^{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 2 Dia. 3
Dia. 2. He will bend around White's edge with 1. The
proverb that says to `hane at the head of two stones without
even looking' refers to situations like this. White 2 to Black 9
show Black playing very conservatively, but even so, he is
opening out grandly at every step, while White is retreating at
every step. Not only that, but White cannot really expect to
get away with this sequence. Somewhere along the line Black
will cut at 'a' and White's position will crumble.
Dia. 3. If White has sente, he will play 1 to 7. Black can
crawl on the second line - the line of defeat - all he wants,
and White will answer him gladly at every step. Compare this
diagram with the last one. The more you look at them, the
more forcibly the difference strikes you. There should be no
need to explain the meaning of 'getting ahead' any further.
Dias. 2 and 3 are enough.

67
 ++++++++++| ++++++++++|
{{{{{5${{{] {{{{{&%{{{]
{{{{{3@``{] {{{{864#!Q]
{}{{{{1~~{] {}{{{{Ý`2(]
{{{{{{{{{{] {{{{{{{{{0]
{{{{{{{{{{] {{{{{{{{w{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 4 Dia. 5
Dia. 4. What Black must be careful of in playing his hane
at 1 is the cut at 2, which is the only counter-attack White can
muster. Here White 2 ends in simple failure as Black plays 3
and 5, but there are times when it is not so. When you hane,
be prepared for the cut or your haves will frequently get you
into unexpected trouble.
Dia. 5. This shoulder-to-shoulder formation arises in ac-
tual play when White invades immediately at the three-three
point under Black's four-four point stone. If White cuts with
5 at `a', Black 5 (or 6) means trouble, or rather disaster, for
him. The sequence walks itself out to 12 and comes to a
pause, with White getting actual profit and Black getting out-
er influence. Whose result is better? That should go without
saying, but I'll say it: Black's is definitely better. For that
reason White never invades immediately at the three-three
point under a black four-four point stone, except in special
circumstances.
Dia. 6. (next page) Players with a little experience invari-
ably know the sequence in which Black presses with 1 and 3
and White answers with 2 and 4. It is a joseki. Few people,
however, seem to know the real meaning of these moves
when they play them.

68
 +++++++++++|
{{{{{{‹á{{{]
{{{{{$Ý@~{{]
{{{{ßÓ31}{{]
{{{{{{{{{`{]
{{{{{{{{{{{]
{{{{{{{{{{{]
{{{{{{{{{{{]
Dia. 6

What is Black trying to do with 1 and 3? The answer is

the same as in the last position: he is trying to get one step
ahead of White, to gain the advantage.
Hearken, ye who casually play white 4 just because it is
the joseki, and learn its true meaning.
`Why bother? The move is the same whether you know
what it means or not.'
Yes, but that is why you don't improve. Try playing
moves you understand, for a change. For one thing, it will
make the game twice as interesting.
Black 3 goes one step ahead of white 2. To even the
score, White goes one step ahead of Black at 4: If White
plays 4 at `a', followed by Black `b', White 4, Black `c', etc.,
he will never get ahead of Black.
Of course when he jumps ahead to 4, White has to worry
about Black `a', White `d', and the black cut at `e', but if he
has an answer ready to that, then he wants to try to get ahead
at the earliest possible moment, namely 4. His answer is on
the next page.

69
 ++++++++++| ++++++++++|
{{{{$@357*] {{{{{{{{{{]
{{{{~1~~^{] {{{~{!~~{{]
{}{{{``}{{] {}{{2``}{{]
{{{{{{{{`{] {{{{{{{{`{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 7 Dia. 8
Dia. 7. If Black pushes through and cuts with 1 and 3,
White stubbornly connects at 4 and wins the fight through 8.
Provided he has this read out, he is safe. If he still feels un-
easy, however, he may find himself in the next diagram.
Dia. 8. `Isn't it all right for White to crawl once more at 1,
then jump ahead to 3?'
No, it isn't. You have to take the earliest possible oppor-
tunity to get ahead.
Dia. 9. `In that case, when Black makes his first pressing
move at 1, although there may be some risk, why doesn't
White jump ahead with 2?'
That's naturally worth considering. All I can say is that it
depends on the time and the circumstances, or rather that it
does not do to play thoughtlessly and at random, or just to de-
pend on intuition. In this local encounter White 2 is un-
playable. That is a definite fact.
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{^@579]
{{{{{@{~{{] {{{{{~1~$*]
{}{{{{1}{{] {}{{{{`3{{]
{{{{{{{{`{] {{{{{{{{`{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 9 Dia. 10

70
 Dia. 10. Here is why it is unplayable. Black 1 and 3 def-
initely work now, which means White's position is clearly
bad. If White plays 4, Black cuts at 5, and if White connects
at 6, Black captures the corner with 7 and 9. White certainly
cannot play this way.
Black must not cut at 6 instead of 5, however, or Whit
will gladly capture the cutting stone and get a pon-nuki.

+++++++*++| ++++++++++|
{{{{{7@5^{] {{{{{{@${{]
{{{{9~1~${] {{{{{~1~{{]
{}{{{{`3{{] {}{{{{`3{{]
{{{{{{{{`{] {{{{5{{{`{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 11 Dia. 12

Dia. 11. When Black plays 5, suppose White follows the

proverb about capturing the cutting stone with 6. The out-
ward might Black gets from 7 and 9 gives him an unquestion-
ably superior result. If the ladder is against him, he should first
play a ladder block to establish it, then embark on 1 and 3.

Dia. 12. Accordingly, White has to reply to Black 3 by

connecting with 4, but the thick wall Black gets gives him
fine momentum. White's position is low and lacks mo-
mentum. This is not a very good result for him.

71
++++++++++| Dia. 13. Having gotten a
{{{{{{{{{{] step ahead of Black with 1, is
{{{#!{~~{{] White going to hold his advant-
{{%42``}{{] age? What will he the result?
{&6{{{{{`{]
{{{{{{{{{{]
Black will push onward with 2
Dia. 13 and 4, but White has a firm grip
on the lead and bends around
him with 5 and 7, a double hane. By now we are into moves
that beginners should not lightly imitate, but White is devel-
oping beautifully, in full swing.
Looking back to Dia. 6, we see that although Black cer-
tainly seemed to be one step ahead when he made his original
pressing moves at 1 and 3, White 1 in Dia. 13 has turned the
tables on him. Black has to select the occasion for his press-
ing moves with care, or he may end up just giving White a
huge amount of profit.
If Black could stay ahead forever with his pressing
moves, then all players would use them more often. One of
the reasons they are not played constantly is that White can
turn the tables with 1.
Dia. 14. (next page) This is an actual game from a profes-
sional tournament in March, 1970, between Masao Kato, cur-
rently a leading star in the go world, and Reiko Kitani (now
Reiko Kobayashi. She had black in this game and won by
resignation.) Black 1 and 3 and White 2 and 4, leaving gaps
open everywhere, may seem like a very dangerous way to
play, but both players were struggling to get ahead in full
awareness of the risks. Lock at the way they fought for the
lead up to Black 23 and you will have a glimpse of what profes-
sionals go after, and how they think. After the game it was de-
cided that Black got an unsatisfactory result on the right side.

72
_+++++++++++++++++|
[{{{{{{{{{{{{{~{~{]
[{{`{{{{{{{{{{{~`{]
[{{}{{{{{}{{~{{}`{]
[{{{{{{{{{{{{{{`{{]
[{{{{{{{{{{{{{`{{{]
[{{{{{{{{{{{{{{{~{]
[{{{{{{{{{{{{{{1{*]
[{{{{{{{{{{{{{q)@{]
[{{}{{{{{}{{{{e35^]
[{{{{{{{{{{{{{oW$7P
[{{{{{{{{{{{{{tY9R]
[{{{{{{{{{{{{{{uI{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{] Dia. 14
[{{`{{{{{}{{{da}{{]
[{{{{{{{{{{{{{S~{{]
[{{{{{{{{{{{{{{{{{]
-=================\

++++++++++|
{{{{{{~{~{]
{{{{{{{~`{]
{}{{~{{}`{]
{{{{{{{`{{]
{{{{{{`{{{] Dia. 15. Black 1 to 7
{{{{{{{{~{] here would have been
{{{{{{{`{$] better. Next the players
{{{{{{{5~3^ focused their study on
{}{{{{{`1@]
{{{{{{ÓÝ~{] White `a', Black `b',
{{{{{{ß7{{] white 'c', and the ensuing
{{{{{{{{{{] fight.
{{{{{{{{{{]
{{{{{{{{{{] Dia. 15
{}{{{{{}{{]
{{{{{{{~{{]
{{{{{{{{{{]
==========\

73
 +++++++++|
{{{{!{{{{]
{{{{Ý{~~{]
{{{{{``{{]
{{{{{{{{~]
{{{{{{{{Ó]
{{{{{{`{{]
{{{{{{{ß{]
{{{{{{{{{]
{{{{{{{{{]
Dia. 16

Dia. 16. Look at White 1. Why is it that even profession-

als choose this low, stooping knight's move instead of jump-
ing out to `a'?
White would not be in any immediate danger if he
jumped out to `a', The question is one of potential, which pro-
fessionals worry about a great deal. If White plays `a', Black
can push through and cut; that threat makes Black `b' etc,
sente, which means White cannot hope to jump out to 'c'.
Dia. 17. (next page) A shoulder play like White 1 is fre-
quently used to reduce a large enemy framework. Black
pushes at 2 and White answers wish 3. As long as White
stays ahead, satisfied with a modest reduction of Black's
framework, he is in negligible danger. Next Black makes the
knight's move at 4, and readers who do not understand why
he does so should read the next paragraphs carefully.
If Black plays 4 at 5 and keeps pushing, he will always be
pushing from behind and White will always be out in front.
In this situation there is no way for Black to turn the tables.
The wall he makes for himself is neutralized by the secure
white stones lying just below. For those reasons Black does
not play 4 at 5.

74
 ++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{{`{{{{{{{] {{`{{{{{{{]
{}{{{{`}`{] {}{{{{`}`{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{&8{]
{{{{{{{{{{] {{{{{{{%6{]
{{{{{{{{{4] {{{{{{{#4{]
{{{{{{#!Ý{] {{{{{{{!2{]
{}{{{{%2`{] {}{{{{{{`{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{~{] {{{{{{{{~{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{}{{{{{}~{] {}{{{{{}~{]
{{{{{~{{{{] {{{{{~{{{{]
{{{{{{{{{{] {{{{{{{{{{]
==========\ ==========\
Dia. 17 Dia. 18
Black 4 gives Black's own stones a solid base. At the
same time, it robs the white stones of their base and sets them
drifting. If Black omitted 4 and let White block at `a', every-
thing would be reversed and he would be in trouble. White 1
to Black 4 have become a middle-game joseki.
A (3 kyu): `I always feel reluctant to play moves like
White 1 because they let Black make territory with 2 to 8 in
Dia. 18. I would never play White 1 in this position.'
I understand how A feels, but the territory Black gets
with 2 to 8 in Dia. 18 amounts to at most about ten points.
The value of White's outer influence cannot be calculated
precisely, but he does not seem to have come out behind on
the exchange. Well, amateurs always tend to overestimate the

75
importance of actual territory, but if White feels this way and
just looks on without doing anything. Black will enlarge his
framework with 1, and next 'a', in Dia. 19, and then it will be
too late. Before that happens White has to take the plunge,
pull himself together and make some move into Black's
framework.
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{{`{{{{{{{] {{`{{{{{{{]
{}{{{{`}`{] {}{{{{`}`{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{Ý{%{#{!{]
{{{{{{{{{{] {{{{{{{{{{]
{}{Ý{{1{`{] {}6{4{2{`{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{~{] {{{{{{{{~{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{}{{{{{}~{] {}{{{{{}~{]
{{{{{~{{{{] {{{{{~{{{{]
{{{{{{{{{{] {{{{{{{{{{]
==========\ ==========\
Dia. 19 Dia. 20

Dia. 20. The single-handed invasion at White 1 is also

possible. It looks a little risky, but that depends on the whole-
board situation. Black's one-space jump to 2 is the normal re-
sponse - there is a saying that a one-space jump is never bad -
and if both sides keep jumping all the way across the board
Black gets a fair result.

76
++++++++++++| But wait a moment.
{{{{{{{{{{{{] This is the struggle to get
{{{`{{{{{{{{] ahead all over again.
{{}{{{{{`}`{] What is the point in
{{{{{{{{{{{{]
Black's jumping first if
{{{{{{{{{{{{]
{{{5${{{{{{{] he and White are just go-
{{{3@{%{#{!{] ing to go straight across
{{{{1Óß{{{{{] the board? He may as
{{{}{Ý4{2{`{] well let White jump first.
{{{{{{‹{{{{{] The struggle to get ahead
{{{{{{{{{{{{] ought to be carried on
{{{{{{{{{{~{] more vigorously than
{{{{{{{{{{{{] this. Of course, if White
{{{{{{{{{{{{]
ignores 6 Black `a' will
{{}{{{{{{}~{]
{{{{{{{~{{{{] put him in a tight spot,
{{{{{{{{{{{{] but Black should not wait
============\ for White to make a mis-
Dia. 21 take like that. He should
learn to look for ways to
press his one-step advantage more forcefully.
Dia. 21. The knight's move at Black 1 is the key point in
the struggle. If White plays 2 and 4, Black keeps full pressure
on him with 3 and 5. Black 1 is the move that puts Black on
the offensive and White on the defensive. This is where the
attack begins. If Black were to let White play 1, the situation
would be reversed. The side that leads should have its eyes
peeled for the first opportunity to shift to a knight's move and
start attacking.

77
 Now that I have that marvel of civilization, a television
set, in my house, I rarely go to the movies, but up until ten or
fifteen years ago I used to go five or six times a month. It was
nicest to go to the first-class theaters in the Ginza and Shin-
juku, but a scarcity of pocket money often sent me to spend
the day watching a triple feature in some small, dirty, cheap,
third-or-fourth-class theater in some unheard-of place on the
outskirts of town. There would be children raising a racket,
adults chain-smoking to their hearts' content, and all sorts of
odors combining into a stuffy crowd smell - anything but a
pleasant atmosphere. Many times, as I wrinkled my brow and
held a handkerchief to my nose, I wondered what ever pos-
sessed me to enter such a place.
But once I had accustomed myself to the frightful atmo-
sphere, I would find myself taking a strange kind of childish
delight in it. Was the man in the next seat smacking his lips
over a fried cuttlefish? Then what could be more natural than
to go get ten crunchy rice crackers (five yen a piece) and
munch away on them while watching the show? Who was
that shouting, `Look out, Kinchan (Kinnosuke Nakamura),
there's a bad guy behind you!' as this hero of the pre-teen set
charged like a mad lion, surrounded by a throng of enemies?
His cheering squad was composed mostly of neighborhood
housewives. Surely they realized that their vocal support
made no difference to the movie; no doubt they were just try-
ing to enjoy their leisure time to the fullest. Pardon me for
laughing, but the sight was just too funny for words. My
whole body would shake with mirth.
And pretty soon I would be joining in with this crazy
crowd, shouting, `That's the way,' and so on. There were faint
traces of nostalgia that never seemed to leave me. I was born

78
poor and raised in poverty. I know inside out the plan and the
action of the battles in which Yasubei Nakayama felled eigh-
teen foes, and Matsemon Araki felled thirty-six foes, but the
enjoyment of watching the lone hero beat down a horde of
enemy swordsmen never changed, no matter how often seen.
It was just like watching one stone enter a large enemy
framework the moment before it became actual territory and
stand the enemy stones that rushed to capture it on their
heads.
This has been a strange way to introduce the topic, but
thinking about challenging enemy spheres of influence re-
vived stale old memories which I could not restrain. Now we
can return to the subject. To go from the struggle to get ahead
to entering enemy spheres of influence seems to be getting a
little off the track, but amateurs are always bungling in the
latter situation, so I want to be sure to touch upon it before 1
forget.

*******************************

Dia. 22. (next page) White enters Black's sphere of influ-

ence on the right side with 1. This is an invasion, and it
seems like a natural move.

79
 _+++++++++++++++++|
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{`{{]
[{{~{{{{{}{{{{{}{{]
[{{{{{{{{{{{{{{{`{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
[{~{{{{{{{{{{{{{!{]
[{{{{{{{{{{{{{{{{{]
[{`}{{{{{}{{{{{}{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{`{{]
[{`{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{`{]
[{{{{{{{{{{{{{{{~`]
[{{~{~{{{}{{{{~~`{]
[{{{{{{{{{~{{{~```]
[{{{{{{{{{{{{{{~`{]
-=================\
Dia. 22
Those who feel no doubts about this strategy probably be-
long to the school that holds that the best way to play, when
you see an enemy sphere of influence, is to break right into
the middle of it. This is the creed of the jealousy sect; rush
right in wherever your opponent has an open extension. No
one can expect to make progress with this approach. White 1
is the kind of move that sows the seeds of one's own distress
on enemy ground.
The same person who approves of 1 will, when he has
Black and White plays 1, feel as if a time bomb has been
dropped inside his territory. Then he will rush into a frenzied
attack on it, steam spouting from his ears and nostrils, and
here will go his game.

80
 _+++++++++++++++++|
[{{{{{{{{{{{{{{{{{]
[{{{{{~{{`{{{{`~{{]
[{{~{{{{ß}{`{{```{]
[{~{{{{{{~{{{{{{{{]
[{{{{{{{{{{~{{{{{{]
[{{{{{{{{{{{{{{{{{]
[{{Ý{{{{{{~{~{~{`{]
[{{{{{{{{{{{{{{~{{]
[{{~{{{{Ó}`{`{```{]
[{{{{{{{{{{{{{{{{`]
[{{{{{{{{{{{{{~{~~]
[{{{{{{{{{{{{{{{{{]
[{~{~{{{{{{{{{{{{{]
[{{{{{{{{{{{{{~{{{]
[~{`{`{{{}{{``~}~{]
[{`{{{{{{`{{{{``~{]
[{{{{{{{{{{{{{{{{{]
-=================\
Dia. 23
Dia. 23. This is a game between high-level amateurs, in
the transition phase between the opening and the middle
game. It is Black's turn: where should he play? Let's hear two
amateurs' answers.
N (shodan): 'I don't know what will happen, but seeing
that White's framework is so big, Black has to invade it at `a'.
If he lives or escapes, perhaps he can win. Of course if he
dies, he loses, but he can probably manage somehow.'
M (3-dan): `„Manage somehow“ doesn't give us much to
go on. Black should stick close to his own forces and work
his way slowly into White's framework with 'b' or `c'. That's
safer and more reasonable.'

81
 Both these answer are fairly good, but they overlook one
important point. They miss the crux of the matter.
The crux lies in estimating the score. One ought to think,
„The score stands thus, so I'll play thus,' adopting emergency
measures or just plodding along as the case requires.
+++++++++| Whether because they do not care
{{{{{{{{{] about the score or whether be-
{{{{{`{{{] cause it is too abstruse, amateurs
}{{{{{}`{] regard estimating it as a terrible
{{{{{{{{{]
nuisance. Many claim not to have
{{{{{{{{{]
{{{{{{{{{] estimated it once during their
{{{{{{{{{] whole go-playing careers. Profes-
{{{{{{{{{] sionals worry about the score con-
}{{{{{}`{] stantly. Even when they are play-
{{{{{{{{{] ing very inconsequential teaching
{{{{{{{{{] games, they estimate it two or
{{{{{{{{{] three times. It becomes a habit. In
{{{{{{{~{] extreme cases, which are not so
{{{{{{{{{]
rare in professional competition, a
}{{{{{}{{]
{{{{{{~{{] player will estimate the score at
{{{{{{{{{] every single move.
=========\
Dia. 24 What a difference! Ability to esti-
mate the score may account for a
fair percentage of a professional's strength. From my own ob-
servation, I would say that it is the upper-level professionals
who are outstanding in this area. At any rate, knowing the
score can profoundly affect the way you play.

Dia. 24. White to play. How should he challenge Black's

sphere of influence?

82
 +++++++++| +++++++++|
{{{{{{{{{] {{{{{{{{{]
{{{{{`{âá] {{{{{`{64]
}{{{{{Ô`!] }{{{{{%`!8
{{{{{{{‹ß] {{{{{{{#2]
{{{{{{{{{] {{{{{{{0&]
{{{{{{{Ý{] {{{{{{{{{]
{{{{{{{Ó{] {{{{{{({{]
{{{{{{{{{] {{{{{Q{{{]
}{{{{{}`{] }{{{{{}`{]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{~{] {{{{{{{~{]
{{{{{{{{{] {{{{{{{{{]
}{{{{{}{{] }{{{{{}{{]
{{{{{{~{{] {{{{{{~{{]
{{{{{{{{{] {{{{{{{{{]
=========\ =========\
Dia. 25 Dia. 26
Dia. 25. I dare say a large number of people would give
White `a' or `b' as the answer, but White 1 is correct. Profes-
sionals know this move as a standard probe (Black may an-
swer at `c', `d', `e', `f', or `g'), but to a beginner it must seem
strange indeed, while a slightly stronger player will ask why
it cannot be captured.
Dia. 26. It is no mistake to think that White 1 can be cap-
tured. White's strategy is to sacrifice it, but to use the sacri-
fice to help himself find a way into Black's sphere of influ-
ence. We may regard the sequence up to Black 8 as forced,
but then White 9 comes as another surprise. Why doesn't
White connect with 9 at 10, or one point to the left of 10?

83
 +++++++++| +++++++++|
{{{{{{{{{] {{{{{{{{{]
{{{{{`{``] {{{{{`{``]
}{{{{{~`{` }{{{{{~`{`
{{{{{{{~`] {{{{{{{~`]
{{{{{{{2~] {{{{{{!#~]
{{{{{{{{{] {{{{{{{2{]
{{{{{{!{{] {{{{{{{{{]
{{{{{#{{{] {{{{{{{{{]
}{{{{{}'{] }{{{{4}`{]
{{{{{{{{{] {{{{{{{{{]
Dia. 27 Dia. 28

Dia. 27. White considers his three stones in the upper

right as forcing stones that have already done their job and
need not be bothered about. This point is a little hard to
grasp, but when White enters Black's sphere of influence he
must be prepared to fight on unfavourable terms. By offering
a small sacrifice in the upper right corner, he has turned the
odds on the right side, between Black ' and White 1 and 3,
in his favour. This Way of looking at his moves may make
them easier to understand.
Dia. 28. See what happens if White connects with 1. He
makes his light stones heavy, and the roles of attacker and de-
fender are suddenly reversed. Needless to say, White's moves
in Dia. 27 are rather high-level, and weaker players should
not copy them indiscriminately, but if you can understand the
essential feeling behind them and find similar moves on your
own, you will have crossed another border into fresh territ-
ory, and the game will become that much more enjoyable.
Professionals go to great lengths to find ways to fight
back on unequal ground. Amateurs feels happy just to have

84
broken into enemy territory; if the group lives, who cares
whether it is heavy or light? This is another deep-seated dif-
ference between professionals and amateurs.
Let's return to the original topic and close it. The follow-
ing diagrams all show commonly occurring patterns or
josekis, but it may be worth while taking a fresh look at them
from the standpoint of the struggle to get ahead.
Black 1 and White 2 in Dia. 29; White 1, Black 2 and
White 3 in Dia. 30; White 1 and Black 2 in Dia. 31: are not
all these stones in energetic motion, struggling to get ahead?
Dia. 32. The sequence starts from the corner with Black
1, and finds both sides struggling and striving in the hope of
gaining domination in the centre. The struggle will continue
after White 10. If this is not a struggle to get ahead, I do not
know what to call it.
+++++++++| +++++++++|
{{{{{{{{{] {{{{{{{{{]
{{{@{~{{{] {{{`{~{{{]
}{{{1{}`{] }{#{{{}`{]
{{{{{{`{{] {{{{{!{{{]
{{{{{{{{{] {{{{{{2{{]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
Dia. 29 Dia. 31
+++++++++| +++++++++|
{{{{{{{{{] {{{{{{{{{]
{{{{{~{{{] {{{{{{{{{]
}{`{{{}`{] }{{${~}`{]
{{{{{{{{{] {{{{@13{{]
{{{{{!{{{] {{)^59{{{]
{{{{{{{2{] {{{7*{{{{]
{{{{{{{{{] {{{{{{{{{]
Dia. 30 Dia. 32

85
 ++++++++++| ++++++++++|
{{%{{{{#{{] {{{{{{{{{{]
{{{{{~{{4{] {R{)*@{~{{]
{}`{{{{`{{] {}q931W}^{]
{{{{{!{{{{] {{{{{{e`${]
{{{{{{{2{{] {{{{{{{{5{]
{{{{{6{{{{] {{{{{{{7{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 33 Dia. 34
Dia. 33. The stones are more separated, and the way of
thinking is much different, but there is still a sense in which
both sides are fighting to get ahead.
Dia. 34. This is another joseki in which White gets profit
while Black gets outer influence, but it is also one in which
the stones are struggling with might and main to get ahead of
each other.
++++++++++| ++++++++++|
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Dia. 35 Dia. 36

Dia. 35. This is in the same family as the last diagram.

Dia. 36. This could be the commencement of the middle
game. Black 1 to 9 are a common walking sequence. Next the
two sides will continue their struggle to get ahead with a
series of one-space jumps in the centre.

86
 CHAPTER 5

Territory and Spheres of Influence

87
 Territory and Spheres of Influence

While reading a newspaper the other day, I came upon a

three-column article entitled,
“Tsuke-Aji ni Kihon no Katachi; Jikoryu o Yamenasai.”*
I started to read, under the impression that it would be
about go, but I was wrong. The article dealt with techniques
of Japanese cooking, such as the flavouring of clear and
bean-paste soups. My attention had been caught, however, so
I read on. The gist of it was that there are basic fixed percent-
age's of bean-paste and salt to put into soup, stock. I used to
make bean-past soup myself during my bachelor existence,
but far from following fixed percentages, I made it without
preparing any stock at all. No wonder it never turned out
_+++++++++++++++++|
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Dia. 1

*Literally, „'Fundamental forms for flavouring; don't be a noncon-

formist“, but tsuke, aji, and katachi are also go terms.

88
well. Once again I was impressed by the importance of fun-
damentals in all areas.
Territory and spheres of influence: inability to distinguish
between them is one of the weaknesses of amateur go.
Dia. 1. White 1 to 9 might appear in the opening. It seems
to be very difficult to make a correct assessment of this and
similar opening positions.
`White will probably get forty or fifty points of territory
on the upper side,' say some. If they are playing black, they
already feel overwhelmed at this early stage of the game. It is
no surprise to see them go on to lose.
The correct view is that the upper side is White's sphere
of influence and nothing more. It cannot be called territory.
What about Black? He may
_++++++++
[{{{{{{{{ count ten points or so of territory in
[{{`{`{{{ the upper right corner, but the left
[{`}{{{{{ side, although it is his sphere of in-
[{`~{{{{{ fluence, is not his territory yet at
[{~{{{{{{ all. One must learn to view the
[Ó{~{{{{{ board with detachment.
[{Ý{{{{{{
[ˆ{áâ{{{{ Dia. 2. Black has x-teen points
[äß‹{{{{{
of territory in the upper left corner.
[Ô~{~{{{{
[{{{{{{{{ He has a sphere of influence in the
[{`{{{{{{ lower left corner. White has a
[{{{{{{{{ sphere of influence on the left side.
[{{{{{{{{ (What - even this isn't territory?
[{{`{{{{{ That's right; Black can still invade
[{{{{{{{{ at `a', white `b', Black `c', etc. up to
[{{{{{{{{ Black `j' and get a ko, for instance.)
-========
Dia. 2

89
 _+++++++++++++++++|
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Dia. 3

Dia. 3. What is the reader's view of this opening

position? Do I hear him muttering. `Ten or twenty points for
White on the upper side, twenty or thirty for Black on the
right side, and about fifteen for him on the left side'? Do I
hear him adding that he may not be a go wizard, but at least
he knows how to 'count? It's surprising how many people do
not realize that to count territory when the stones are as
sparsely scattered as this is Fundamentally impossible.
A shodan opponent in a seven-stone game once amazed
me by counting the territories, ticking them of with nods of
his head, before twenty moves had been played in the open-
ing. Even `Head shaking' Kano, as Kano, 9-dan, sometimes
called, does not start his headshaking in the opening. He only
does it in the endgame, and at that then he is ahead, as a way
of unnerving his opponent.
The correct view of Dia. 3 is that both Black and White
have only spheres of influence, which must-not be considered
territory.

90
 _+++++++++++++++++|
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Dia. 4
In a handicap game, however, White can hardly avoid
thinking in terms of getting more territory than he has a right
to expect, while Black never knows what his opponent, who
let's say is five or six stones stronger, will do to him.
Dia. 4. Black's territory quickly comes apart when White
plays 1, or some other standard move. Given the right time
and circumstances, White can easily charge right into the
middle of Black's position at 'a' or `b' and get away with it. In
the upper left corner he can reduce Black's territory to noth-
ing with `c' etc.; in fact, the idea of the upper left corner be-
coming White's territory is not to be laughed at.
The right side is not Black's territory. The upper left cor-
ner may not be White's territory - that would be too much of
an assumption to make - but the point is that it takes a great
deal of work to surround territory and secure it or. your own.
If Black can complete his encirclement with `a' before White
plays t he may then have territory, but White can still invade
with the feeling that if he gets killed, he hasn't lost anything,
while if he lives, he has a windfall. What about that, Mr.
Black?

91
 ++++++++++| ++++++++++|
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Dia. 5 Dia. 6
Dia. 5. For the benefit of those who wonder if White's in-
vasion at 1 is not a bit reckless, Black usually has no better
way to meet it than with the natural reply at 2. White's attach-
ment at 3 is a common tesuji. All right then, Black is happy
to defend with 4 and 6; now can he count territory in the up-
per right? Certainly, but don't look at just Black's position.
We can't ignore the fact that White's upper-side position has
been made much stronger by 3 and 5.
Dia. 6. What if Black blocks from this side with 4? Then
White can live easily with 5 to 9. Note Black 10. Many
people do not seem to realize what an important stone it is.
Now for a question: from the starting position in Dia. 3,
which do you think is a better development for Black - Dia. 5
or Dia. 6?
Answer: Dia. 6 is better. Suppress that guilty gasp of sur-
prise. The difference between White's thickness (Dia. 5) and
thinness (Dia. 6) on the upper side is worth more than the
profit or loss in the corner. Beat in mind, however, that if
White's upper-side position were already a little stronger,

92
Dia. 5 would become better for Black. There is no rule that
says Dia. 6 is always best.
++++++++++| ++++++++++|
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Dia. 7 Dia. 8
Dia. 7. Black would prefer to ignore White 1, and if he
answers it, he should block at 3. Instead, he has fallen back to
2, then fallen backwards again at 4. How humiliating! Yet
this is practically the same as Dia. 5. This way of looking at
the moves in a different order provides part of the irony of
go.
Dia. 8. Black makes a one-space pincer at 1, White jumps
out to 2, and Black plays 3. If this Black 3 strikes you as ex-
cellent - the only move - you have the right idea. The man
who said, `Not so - I saw a game in a newspaper where so-
and-so, 9-dan, made a two-space extension to `a' instead of
3,' was expelled from the Kageyama school of go. From the
standpoint of struggling to get ahead, for example, Black 3 is
just perfect.
The pincer attack at White 8 is not really worth the ex-
pense of playing White 4 and 6. After being given so much,
Black will be happy to let White have Black 1.

93
 ++++++++++|
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Dia. 9

Dia. 9. He will play 1 and 3. Professionals do not make

pushing moves like the White "'s except perhaps when they
have to avoid being captured, or when they have a stone out
toward `a' that will stop Black's advance.

I may have said that secure territory rarely appears in the

opening, but there are exceptions. This case, where Black ex-
tends step by step along the fourth line, is one of them. The
basic reason the triangled moves are wrong is that they give
Black definite possession of this secure territory. They force
him along the fourth line, the so called line of victory.
What White should have done in Dia. 8 was to play 4 at
7, or immediately at 8.

94
 _+++++++++++++++++|
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-=================\
Dia. 10

S. (2-dan): `You were right, Kageyama, when you said

that against a stronger opponent White's territories look big-
ger, while Black's territories look smaller, or at least Black
does not have any confidence in them. Dia. 10 for example
may be a good opening for both sides, but White will invade
Black's position at `a', `b', `c', and so on. Black knows he can
enter the lower side at `d' and `e', but he also knows from ex-
perience that he'll be in for trouble if he does because White
is stronger. Taking this difference in strength into considera-
tion, I'd like to know what Black should do about White's
sphere of influence.'

95
 Some players might be quite unimpressed by large frame-
works, but most probably feel as S. does. If you dislike large
enemy frameworks, then forget about the usual opening
strategy of corner enclosure, corner approach, then extension
along the side. Never mind what others say; the best opening
is the one you yourself find easiest to handle. If you have
trouble dealing with a white san-ren-sei, then quick - invade
the lower side with Black 5 in Dia. 11 and prevent trouble be-
fore it happens. Use your imagination. If your games go sour
from the opening, you might as well not play.
_+++++++++++++++++|
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-=================\
Dia. 11
Furthermore, if White invades Black's sphere of influence
at `a', `b', or `c' in Dia. 10, he offers a sitting target for attack.
Black should rejoice. It is only if he was counting these

96
places as his territory that his calculations are upset, his tem-
per flares, his composure departs, and he rushes headlong to-
ward some mighty failure. If you worry that much about your
spheres of influence, then play an opening in which you do
not make any spheres of influence. Go is supposed to be en-
joyable, so find openings that fit your own style and learn to
enjoy yourself at it.
_+++++++++++++++++|
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_+++++++++++++++++|
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Dia. 13
Spheres of influence and territory - what is so important
about spheres of influence in the opening? Without my wast-
ing words, look at Dias. 12 and 13. If Black plays as tightly
as in these two diagrams, his areas can be considered - terri-
tory. White has spheres of influence which cannot be counted

97
as territory at all, but even a beginner would agree that
White's opening is good and Black's is bad.
I certainly do not mean, however, that it is always good to
construct large spheres of influence.
+++++++++| +++++++++|
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=========\ =========\
Dia. 14 Dia.15
Dia. 14. In view of the strong black position in the upper
right, for instance, White is correct in holding himself to 1. If
he tries to establish a larger sphere of influence with `a' in-
stead, he invites a lightning black invasion at `b', which will
cause him plenty of grief. White 'a' ignores the golden rule
about not approaching enemy thickness, and to those who
think that after White 1 it is good for Black to extend to `a',
or one line lower, and expand his right-side territory, I offer
another golden rule: don't use thickness to surround territory.

98
 Dia. 15. This is part of a game between two amateur 3-
dans. White extended to 1 and Black capped him at 2, waited
for White 3, then probed his defences with 4. As I was
watching all this Black asked me, 'What about these moves,
Kageyama? I'm starting to climb out of the amateur rut, aren't
I?' I thought he must be joking, but when I looked at his face,
he seemed perfectly serious.
Black has lots of amateur company in thinking that the
capping play and three-three attachment against a corner en-
closure are professional moves, but they are mere imitations
of professional moves, played without any understanding.
The most important thing to learn from professionals is not
where they play but why they play there.
+++++++++|
{{{{{{`~{] Dia. 16. White's marked stone
{{{~~{`~{] came too close to Black's strong-
}{{~``{{~] hold above to begin with. It
{{{~{{{~{~
should have been held back to 'a'
{~~``{``~]
{{`{{{`{`] in - this situation. Since White
{{{{{{{`{] had gone too far, Black should
{{{{{{{{{] have invaded immediately at 1
}{{{{{}{{] and punished him for his mistake.
{{{{{{{"{] The principle is exactly the same
{{{{{{{{{] as with White `a', Black `b' in
{{{{{{{Ý{] Dia. 14. `You're 3-dans and you
{{{{{{{1{] still don't understand this?' I asked
{{{{{{{{{]
sharply of Black and his oppon-
}{{{{{}~{]
{{{{~{{{{] ent.
{{{{{{{{{] If Black were to play first in-
=========\ stead of White, he should extend
Dia. 16 all the way to 1 in Dia. 16.

99
 _+++++++++++++++++|
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-=================\
Dia. 17
Dia. 17. This is an even game at the end of the opening.
Black has placed overall stress on thick outer influence,
while White is countering with actual profit at the expense of
a little thinness. As far as the balance of territories goes,
White has a fair amount of prospective territory in several
places, while Black's only prospective territory is about
twenty points in the lower right. Perhaps, most people would
conclude that Black's opening is bad. Amateurs, who are poor
at making use of outer walls, tend to have trouble playing this
kind of opening because Black is weak in territory. I would
like to give two or three examples, starting with this one, of
games in which Black has superior thickness, and explain the
strategy he should follow in the middle game.

100
 Black to play: how should he proceed?

_+++++++++++++++++|
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-=================\
Dia. 18

Dia. 18. (bad strategy) Most amateurs would employ the

following strategy: they would use the solid black wall in the
lower left to embark on a project to surround territory in the
centre by holding White down at 1 and . capping him at 3 and
5. Assume White 6 to 20 and try estimating the score. Black
has had thing just about the way he wanted, but he is behind
in the balance of territory. White has a fairly clear lead on the
board, not counting any komi.

101
 _+++++++++++++++++|
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-=================\
Dia. 19
Dia. 19. (good strategy) Black should search out White's
thin spots. There are not any to be found in the lower left or
lower right; that leaves only Black 1 on the upper side. Black 1,
however, is such a good move that it is practically absolute.
White 2 is rather a nice defense, but Black settles himself
quickly and in good style with 3 to 9. Besides settling him-
self, he has his eye on the white group in the upper left. Now
the balance of territory is more even, and Black's overall
thickness should see to the rest.
One cannot expect to turn thickness directly into territory.
The correct strategy is to have it stare down at the enemy,
silent and threatening.
Black 1 at 'a' would be another damaging invasion.

102
 _+++++++++++++++++|
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-=================\
Dia. 20
Dia. 20. (a four-stone game) Black to play: where? He
has built that beautiful outer wall on the upper side by push-
ing straight forward from the attach-and extend joseki in the
upper right corner. White has just turned at ", since he does
not want to be forced to defend by having Black play there.
Now the most natural thing in the world, in most circum-
stances, would be for Black to answer at `a' or `b', but if he
does not rid himself of this habit of answering, he cannot
hope to make progress. Even if he ignores ", does White
have any outstanding follow-up move? Cannot Black find a
better move elsewhere? This is his perfect opportunity to take
the initiative in the game. He must not let it slip.

103
_+++++++++++++++++|
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[{{`~{~{{{{{{{{~~~] Dia. 21
-=================\
Dia. 21. (bad strategy) Black 1 is terrible. Again Black is
trying to use his outer wall as a base from which to surround
territory. The way the fighting after White's invasion of the
right side at 6 goes is not fixed, but since Black's aim was to
surround the centre he will probably be gloating over the res-
ult up to 19. When White makes the shallow reducing move
at 22, Black stops him and completes his territory with 23.
The middle game is going just as he wanted.
An unbiased estimate of the score reveals how bad Black's
strategy is. He has thirty-plus points in the center and about thir-
ty in other places for a total of sixty-plus. White's territories also
add up to sixty-plus. The balance of power is fifty-fifty. Some-
how, in spite of Black's having had his own way, he has al-
ready lost his handicap advantage. He has lost the game.

104
_+++++++++++++++++|
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[{{`~{~{{{{{{{{~~~] Dia. 22
-=================\
Dia. 22. (winning strategy) White's only thinness is on
the left side. Black's best policy is to strike there by invading
at 1. Not just any invasion will do. In particular, if he plays 1
at `a', then White 1, Black `b', and White will cross-cut at 13,
a tesuji for dodging around Black's attack, so some care is ne-
cessary.
If White answers Black 1 with 2, Black attacks him
wholeheartedly up to 13 then, seeing his opportunity, deto-
nates a bomb at 15 inside the white group below. White is
going to have his hands full answering that. Black's outer
walls and outward power really come to life now. White's
plight is so bad that I would like to know myself what he is
supposed to do next. This is the way for Black to make use of
his outward influence.

105
_+++++++++++++++++|
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[{~{{{{~~{{{{{{{{{]
-=================\
Dia. 23. (an even game) Black to play: where? We are
between the opening and the middle game and White, with
all four corners, has a definite lead in territory. This is what
the ancients meant when they said, `If you lose all four
corners, resign.' Actually, when one side has given up all four
corners he usually has a good, thick game; the only reason he
loses is that he does not know how to use his outer walls.
Given Black to play in this position, a glance suffices to
tell that he has the upper hand. If he takes the wrong course
with his next move, however, White will quickly be able to
neutralize his outer influence and make him contest the issue
on the basis of territory.
Well Black, what will you do? Attack the rootless, naked
white stones on the right side, or do you have another idea?

106
_+++++++++++++++++|
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-=================\
Dia. 24
Dia. 24. (unfavourable) First of all Black has to play 1
and 3 to keep White from linking up. That seems obvious.
It is wrong, however. This kind of resourceless splitting
strategy has no place in the game. White goes loping ahead
with 2 and 4, while Black 1 and 3 occupy worthless points.
By now Black has no hope of attacking White. Black 5 to 11
take a nice profit in the upper left corner, but once White de-
fends at 12, it is not going to be easy to beat him.
Black 1 and 3 are wrong. Do they look natural to you?
Then you will have to reverse your thought processes one
hundred eighty degrees if you ever want to play correctly.

107
 _+++++++++++++++++|
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-==============)==\
Dia. 25

Dia. 25. (winning strategy) First of all you have to be

able to find Black 1. White defends skilfully with 2 to 10, but
then you confront him head-on and, like the dauntless
Matabei Goto, refuse to budge a step. White runs toward the
top with 14 and 18, and you make no futile efforts to cut him
off, because he is only running away, not taking any profit at
all. As he plays all his stones on neutral points, you seal off
the centrer with 11, 15, and 17, and lo and behold, you have
yourself a magnificent outside wall. Next comes the long-
awaited raid into the upper left corner. with Black 25 the

108
game is as good as won. Black has thickness and more territ-
ory as well. He could not have run a better race.
_+++++++++++++++++|
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Dia. 26
Dia. 26. In this type of position White cannot afford to let
Black approach at 'a'. If it is his turn he has to make the two-
space extension to 1. This is common sense. The player who
would not extend to 1 does not exist.
_+++++++++++++++++|
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Dia. 27
Dia. 27. This time the `common sense' two-space exten-
sion to `a' would be like banging one's head against Black's
strong wall. One has to develop the instinct not to play like
that. White should defend himself with the knight's move at 1
, or with an extension in the other direction to `b'. There is
brooding menace in Black's thickness in the upper left, and
two-space extensions are not automatically correct.

109
 INTERLUDE
Lecturing on NHK-TV

NHK-TV fills the gaps between annual runnings of the

NHK-Cup Tournament with lectures on go on Sunday at
noon. Recently these have been doing rather well. The viewer
rating, which used to be a fraction per cent, has climbed to
1.5%, and two or three thousand solutions to the life-and-
death problems are sent in each time. A viewer rating of 1%
on NHK is considered to represent 700.000 households, so
each lecture is watched by over a million people.
The first fifteen minutes of the lecture are a basic 'ele-
mentary corner', and the lecturer who took over this part of
the program in April, 1969 (T. Kageyama) drew favorable
comment for the clarity and usefulness of what he said. The
television production director had a theory to account for his
popularity: 'It must be because having been an amateur him-
self, Kageyama knows what it's like to face a stronger oppo-
nent, so he can explain things from the amateur point of
view.' This line appeared in a five-column article about me,
complete with photograph, in the television guide section of a
newspaper. Now that my highly successful, if I may say so,
stint as lecturer is over, I would like to write a bit about it.
When I was given the elementary corner, I felt right at
home. Already, for upward of ten years at the Central Hall
and other places, I had been mounting the stand, microphone
in hand, before audiences of beginners, so I thought I had the
rules and elements down pat. At least I was not concerned
about falling victim to stage-fright, but when the time came,

110
things were a little different. Before the unblinking stare of a
dozen large camera lenses that were sending their signals
over the length and breadth of the country, I lost control. My
heart pounded, my throat dried up, my voice boomed in the
silence of the crucial scene, and to make matters worse, there
had been the countdown: `One minute to go... thirty sec-
onds... ten seconds... start!' Haw could anyone keep his com-
posure after that? I had a full-blown case of stage-fright. Nor-
mally I don't faze easily -the counting off of seconds during a
game never bothers me - but this countdown had me going
out of my mind.
I went through the short fifteen-minute tune in such a
state that afterward I could not recall a thing I had said, and
just when I was beginning to get warmed up, it was, `Three
minutes to go... two minutes to go...' Between wondering,
how to bring the lecture to a close and trying not to rush, I
was at my wit's end. At least I had done my best. The next
couple of sessions were similar ordeals.
As the people at the studio had said, however, after I be-
came accustomed to the conditions, they gradually ceased to
bother me. Once the course got off the ground and my usual
fine (?) form returned, I even began to enjoy these television
appearances. One thing that helped me make a rapid adjust-
ment was seeing Okubo, 9-dan, the lecturer for the intermedi-
ate class, stiffen up too. Knowing exactly what he was going
through enabled me to relax.
Okubo and I took turns submitting the life-and-death prob-
lems. This being a television show, the easier the problems, the
greater the number of responses. It was a bit upsetting to receive
fewer tha1n five hundred cards, a steep drop, as I did when I set
the problem shown in Dia. 1 (Black to play and live).

111
_++++~`+++ _+3@1~`+++
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[{``~~{{{{ [{``~~{{{{
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Dia.1 Dia.2
Black to live 4: captures three stones
6: connects
The answer is shown in Dia. 2. White captures three
stones with 4 and connects one point below Black 1 with 6. If
he fails to connect, Black can cut there. Black lives with 7. I
had not though of this as an advanced problem, though just a
bit on the hard side because of the non obvious under-the-
stones play, but I seem to have misjudged it. The fact that the
number of replies went back up to the two- or three-thousand
level when I avoided any more such difficult problems made
that fairly clear.
What the deviser of problems had to pay heed to even
more than making them easy to solve was making them easy
to remember on sight. Simplicity was desirable - Dia. 3
(White to play and live) for example. (Answer: White `a').
The idea was to produce a position the viewer could copy
down in a short space of time.
Only two minutes of air time were allotted for the solu-
tions of the life-and-death problems. Once or twice I slipped
somewhere in going through the variations, and even if I
caught my mistake immediately, before I had time to correct
it, `Cut!' the lecture was over.

112
 _~+++`+++
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Dia.3
What hurt afterward were the gently chiding letters from
sharp-eyed viewers. To answer all of them was a time con-
suming task, but I did not want to be accused of evading a
question. Some of the writers forgot that the subject was life
and death and demanded to know why such-and-such was not
the correct answer because it gave one more point of profit.
Notwithstanding all the trouble I went to in composing un-
equivocal answers, no one ever sent me a word of thanks in
reply. Can I be blamed for sometimes getting fed up? Such is
the price of fame, however, so I am not going to complain.
Just what kyu level to address myself to was always a dif-
ficult question. This was supposed to be an elementary
course, but Kawai, the first announcer I worked with, played
as a 3-kyu, and the program came to rest at his level. I kept
wondering if we were not going to lose our audience by go-
ing over their heads, but in spite of that the level tended to
get higher and higher.
Since I happened to be a 10-kyu shogi player, I tried
putting myself in my viewers' place by watching the elemen-
tary shogi lectures of Sekine, 8-dan. His discussion of `the
way to use pawns' was like a sermon from the clouds to me. I
met Sekine at the studio frequently, so I took the liberty of
asking him once if he couldn't bring his lectures down to a

113
much lower level, and this he did. `The way to use rooks' was
intelligible even to, a beginner like me, and I began to enjoy
the shogi lectures. `At times you should post your rook as far
away as possible, the reason being that the farther it is from
the enemy's pieces, the more ranks and files are open to it.'
This was reasoning that I could understand.
This had a great effect on my go lectures. I too began to
give basic advice, backed up by reasoned arguments, explain-
ing everything thoroughly, in an exaggerated voice, down to
the last stone, adding gestures and bodily movements, stress-
ing and repeating the important parts, until I was sure that
even a complete duffer could understand me. Each time I
would tell myself, `It doesn't matter if the stronger viewers
drop out; this program isn't for them,' but oddly enough, even
stronger players seemed extremely interested in my elemen-
tary advice. Wherever I went I was told how interesting my
lectures were.
I was gaining confidence, and Kawai and I had gotten
perfectly in step with each other, when disaster struck. Kawai
was transferred to Shikoku, and his place in the line-up taken
by an announcer named Mikami, a real beginner who hardly
knew what `atari' meant, let alone any more technical terms.
The questions he asked were completely off base, and if we
rehearsed beforehand, he promptly forgot everything he was
supposed to say during the show itself, as was only to be ex-
pected. We had serious communication gap. `Oh dear,' I
thought to myself, and the production director even suggested
that I do the lectures by myself, but Mikami, in a rare display
of energy, took time from his busy schedule, or rather made it
a part of his busy schedule, to attend first the beginners'
course at the Central Hall, then the inter mediate course, and

114
so on, and went out of his way to create opportunities to talk
with me. Gradually we became a better combination, he play-
ing a kind of jester's role. After this I thoroughly enjoyed my-
self at the videotaping sessions.
_+++++++++++++++++|
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-=================\
Dia. 4
I have many pleasant memories associated with the
choose-the-next-move problems that were presented to the
guest on each show. My masterpiece was the one in Dia. 4,
which I set for a professional comic storyteller named En-
raku. Black `a' is the correct answer, and the fact that he
guessed it gives you an idea of his strength. What made me
choose this problem was that Black 'a' is the so-called horse-
head move, and Enraku has a long, narrow head. The name
`horse-head' comes from picturing the marked stones as the

115
two eyes and Black `a' as the nose. If you picture this image,
you should be able to play the move easily (raku ni), and this
was the start of a whole series of untranslatable puns on the
name of my guest that left him helpless. Looking back on the
year's experience, I am sure that the person who enjoyed it
more than any viewer, more than anyone else, was me.

_+++++++++++++++++|
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-=================\
Dia. 4

116
 CHAPTER 6

Life and Death

117
 Life and Death

Japan, the loser in the Second World War, has passed the
succeeding twenty-some years in peace, but the cold war be-
tween the two powers that seem to control the world,. the So-
viet Union and the United States, still continues, while the
rise of a third power threatens to complicate the world situa-
tion to such a point that we cannot hope to understand it. Ev-
eryone realizes that if there is a real Third World War, using
the atomic and hydrogen bombs that in this scientific age
both sides have prepared, the world may end in a flash and a
boom. No one would start a war like that - not, at least, if he
had any sense, but human beings sometimes get carried away.
They get carried away and cut, for example, with no regard to
who is helped and who is hurt, who gains and who loses.
This is to be feared. Let a war start, and a small country like
Japan will surely be destroyed. When I worry about this, I
lose the urge to do anything; everything becomes meaning-
less. At least this is not a private fear. Everyone on earth
shares it, so ordinarily I dismiss it from my mind. Anyone
who leads an abandoned and dissipated life because the end
of the world is near is going to experience his own personal
destruction first. Desperation and despair are to be feared
most of all.
To kill or to let live? I would like to see this disturb-ques-
tion confined to the stones on the go board.

118
 ++++++++|
{{`~~~{~~
{`{`{`~`]
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Dia.1
Dia. 1. Problem: Black to play and kill. A dan-ranked
(player should have the answer the moment he sees the dia-
gram. Anyone who cannot solve it at all has a doubtful fu-
ture.

++++++++| ++++~++Ý|
{`~~{{~~] {{`{`~{Óß
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Dia.2 Dia.3
Dia. 2. Problem: Black to play and kill. If you miss the
first move you miss the answer.
Dia. 3. Problem: Black to play and kill. There are any
number of corner positions that look like this one but are not
quite the same, so beware of just memorizing patterns. Black
has vital points at `a', `b', and `c' to aim at, but will any of
them work?

119
 +++++$1@| +++1@+3$|
{{`~~~3~~ {{`~~~5~~
{`{`{`~`] {`{`{`~`]
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Dia.4 Dia.5
Dia. 4. (wrong) Black bangs down his first stone on what
he thinks is the vital point, but he should have looked harder.
White lives with 2 and 4.
Dia. 5. (right) Black hanes at 1 to narrow his opponent's
eye space, and plays 3 after White answers at 2. This is more
like it. White is now completely dead.

+++++++++|
{{{4!#&{(Q
{{`{2{6%8]
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{{{{{{{`{]
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Dia.6
Dia. 6. When Black has a formation like the one shown
and White invades at 1, Black 10 is the killing move. Black
may be tempted to shift it one point to the left and give atari,
but then White cannot be killed unconditionally.

120
 ++++1$+5| ++5+@+++|
{`~~^{~~3 {`~~{3~~1
{``~~@{`] {``~~${`]
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{{{{{{{{] {{{{{{{{]
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Dia.7 Dia.8
Dia. 7. (wrong) Players who have reached a certain level
tend to fire at random at what look like vital points. A move
like Black 1 is called a life-giving move. White's reply at 2 il-
lustrates tree correctness of widening one's eye space.
Dia. 8 (right) The hane at 1 is the only move. It is a fatal
blow; White cannot live.
++++++‹+++|
{{{6%&{ÓQÝ]
{{~8`#!{{ß]
{}{{4(2``{]
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Dia.9

Dia. 9. White has invaded the corner and Black has

answered with 2 to 12. If White now plays elsewhere, then
Black `c', White `a' produces the problem. Black may be
tempted to make the contact play at 'a', but after Black `a',
white `b', Black `c', White 'd', White is alive.

121
 +++7~^51| ++++~^57|
{{`{`~{$3 {{`{`~)@1
{{{{`~~~] {{{{`~~~$
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{{{{{{{`] {{{{{{{`*
{{{{{{`{] {{{{{{`{9
{{{{{{{{] {{{{{{{{]
{{{{{{{{] {{{{{{{{]
Dia.10 Dia.11

Dia. 10. (wrong) Black 1 is another random shot at a vital

point, and another failure. With maddening calmness White
widens his eye space at 2. The result up to Black 7 is a seki,
and that is equal to life.
Dia. 11. (wrong) This Black 1 is yet another failure.
Black keeps on aiming for the vital points, but White
squeezes him with 2 to 10 and lives.

+++++~3$+|
{{{`{`~{5]
{{{{{`~~~@
{{{{{{``~1
{{{{{{{{`]
{{{{{{{`{]
{{{{{{{{{]
{{{{{{{{{]
{{{{{{{{{]
Dia.12
Dia. 12. (right) The hane at Black 1 is correct. If White,
plays 2, Black 3 and White 4 give him the bulky-five shape,
and then Black strikes at the vital point.

122
 The preceding three problems belong in the elementary
class, so it is a bit irritating to see them missed in actual play.
That shows only one thing: an ignorance of the fundamentals
of life and death.

Fundamentals of Life and Death

Life
1. Get more room (widen your eye space).
2. Occupy a central eye-making point (vital point).
Death
1. Reduce the enemy's room (narrow his eye space).
2. Occupy a central eye-making point (vital point).

The saying that `there is death in the hane' means that the
first fundamental rule for killing enemy groups is to narrow
their eye space. Learn this as the fundamental rule, then turn
back to page 119 and look at the problems again. If you had
no idea where to start in on them before, you have a clue now
to help you. If you are looking for a general approach to life-
and-death problems, try the following. First check the funda-
mental rule. If it works, you need look no further. If it does
not, - then try something else, but the fundamental rule
should come first. The cases where the fundamental rule
works without any alteration may be in the minority, but it is
where you should start nonetheless.
Now that we have the fundamentals, let's look at some
more life-anti-death problems. Some of them can be solved in
the fundamental way and some cannot. Try to foresee enemy
counter-moves. The level is elementary to intermediate.

123
 Problem 1 Problem 2
++++``+~++| ++++++++++|
{{{{`~~{{{] {{{{{{`{{{]
{{{{`~`~~~~ {{{{{{`~~`]
{}{{``````` {}{{{{`~{~]
{{{{{{{{{{] {{{{{{{`~~]
{{{{{{{{{{] {{{{{{`{`{]
{{{{{{{{{{] {{{{{{{{`{]
{{{{{{{{{{] {{{{{{{{{{]

Black to kill Black to kill

Hint: put all your effort into Hint: don't let it become a ko
the first move.

Problem 3 Problem 4
++++++~~+`| +++++++++`|
{{{{`~{{``~ {{{{{{{`{~~
{{{{``~~~~] {{{{{~~```]
{{{{{{``{{] {{{{{{{`~~]
{{{{{{{{``] {{{{{~~`{{]
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{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]

Black to kill Black to live

Hint: no hint Hint: no hint

124
 The next four problems may seem somewhat harder, but
the number of variations is highly restricted, so even elemen-
tary readers should not dive up.

125
 Problem 5 Problem 6
++++++~++`| ++++~++++~|
{{{{~{``~{] {{{{~``{`{`
{{{{{~~~``] {{{{~~{`{`~
{{{{{{{`{{] {{{{{{~~~~~
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{{{{{{{{~~~ {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Black to live. Black to live.
Hint: you can give up one or Hint: this is not so hard, but
two stones as long as you don't be careful of shortage of liber-
lose everything ties.

Problem 7 Problem 8
+++++`{~+~| ++++++++++|
{{{{{`{{{{` {{{{`~{{`~]
{{{{{`{{~~] {{{{{`{~`~]
{{{{{`{{{{~ {{{{`{{~~`]
{{{{{`{~{~` {{{{{`{{{`]
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{{{{{{{{{{] {{{{{{{{{{]
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{{{{{{{{{{] {{{{{{{{{{]

Black to kill Black to kill

Hint: pay attention to the or- Hint: main the order is im-
der of moves. Carelessness in- portant, and carelessness will
vites an unexpected ko probably lead to a ko

126
 Wrong Answers
++++``1~5@| +++++++53$|
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P1: White 2 is a good reply to P2: Black 1 and White 2 are
Black 1. White keeps retreat- forced. Black 3 is the mistake;
ing, but in the end he lives. White gets a ko with 4. If
Black 1 at `a' would also be Black plays 5 on the corner
wrong: White 2, Black 4, point to capture White 4,
White 6. White 5 gives another ko.
++++++~~@`| +++++++++`|
{{{{`~{1``~ {{{{{{Ý`{~~
{{{{``~~~~] {{{{{~~```@
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P3: Black complacently ex- P4: Black 1 is a failure. White
pects White to connect to the sneaks out with 2 etc. and
left of 1, after which Black 2 links up, leaving Black with
would give him the dead no eyes at all. If Black plays 1
bully-five shape, but as you at 2, however, White `a' kills
can see, White lives with 2. him.

127
 Problem 5 Problem 6
+++++3~1+`| ++++~$571~|
{{{{~@``~5$ {{{{~``^`3`
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White answers Black 1 by At first it looks as if Black can
connecting for safety at 2, then live by blocking at 1, but White
making the placement at 4. I doggedly presses his attack and
suppose the reader understands catches Black short of liberties with
the throw-in at 6.
why the cut at 8 prevents
Black from making his second
eye.
Problem 7 Problem 8
+++++`{~+~| +++++++++3$
{{{{{`{1{{` {{{{`~{{`~1
{{{{{`{{~~3 {{{{{`{~`~@
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{{{{{{{{{{] {{{{{{{{{{]

Black 1 fails. Black probably Black 1 is a tesuji, but that

read out the sequence White 2, does not automatically make it
Black 3, White 'a', Black `b', correct. White 2 means a ko.
White is dead, but White plays
4 and has a two-step ko.

128
 Right Answers
++++``+~513 +++++++5$3|
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P1: Black 1 to 5 make a bent P2: Black 3 is a deadly calm
four in the corner. This is not a move. White proceeds to cap-
seki; White is unconditionally ture the three black stones, but
dead. If he plays 4 at 5, Black dies anyway.
has a throw-in at 4.

++++1@~~5`| +++++++7+`|
{{{{`~$3``~ {{{{{{^`5~~
{{{{``~~~~] {{{{{~~```]
{{{{{{``{{] {{{{{{{`~~3
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{{{{{{{{{{] {{{{{{{{{{]

P3: Black 1 kills White from P4: Black 1 may lack sub-
the outside. If White plays 2, tlety, but it is the only move.
Black 3 leaves him only 4, Now White has no choice but
and then Black can make the to answer 3 at 4, and Black
bulky-five shape with 5. lives with 5 and 7.

129
 ++++~1+@$~|
++++++~@+`| {{{{~``{`5`
{{{{~{``~{1 {{{{~~{`3`~
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{{{{{~~~{{] {{{{{{{{{{]
{{{{{{{{~~~ {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] P6: Black widens his eye
space to the fullest extent with
P5: Black withdraws at 1, 1 and 3. White 2 and 4 create a
then lives with either 2 or 3. seki, but that is fine will
Black, since for him a seki
equals life.

+++++`+~+~| +++++++7*3|
{{{{{`73^{` {{{{`~5^`~@
{{{{{`5$~~1 {{{{{`{~`~1
{{{{{`{}{@~ {{{{`{{~~`$
{{{{{`{~Ý~` {{{{{`{{{`]
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{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
P7: Black strikes from within,
reversing the fundamental P8: Black 1, 3, and 5 are a
rule, because he has read out carefully planned operation.
that he can kill White with 3 to After White 8 captures two
7. If he carelessly plays 5 at 7, stones, Black recaptures by
however, White lives with `a'. playing one point below 8 and
Carelessness is taboo any- White is dead.
where.

130
 _+++++++++++++++++|
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-=================\
Dia. 1
Dia. 1. This is the opening of an even game. White 1 and
3 are feasible, a slow and steady way of playing. Black ap-
plies pressure from the outside at 4, intending to occupy the
ideal point at 5 if White responds at `a'. If Black played 4 imme-
diately at 5, White 4 would leave him too low on the right side.
White, however, upsets Black's strategy by occupying 5
himself. Does the blood rush to Black's head at being thwart-
ed? I think I have seen a traffic safety poster that says `Tem-
per causes accidents.' Driving a car and playing go are both
human activities, so what applies to one applies to the other.
How should Black attack White 1 and 3? Let's think about his
next move.

131
 Don't think that because I am bringing up an unrelated
opening question in the chapter on life and death I am letting
my mind wander. The problem is quite relevant. Have more
faith in me. A professional go player is not likely to be so
scatterbrained. Now how should Black tackle those two white
stones on the upper side?
++++++++++|
{{Ó531{{{{]
{`Ý~$@~{`{]
{ß{{{{{}{{]
{{{{{{`{`{]
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{{{{{{{{{{]
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Dia.2
Dia. 2. Confident players at the shodan or 2-dan level
would mostly play Black 1, a sort of disembowelling attack.
At times this is indeed effective, so I do not want to reject it
out of hand, but what about the present circumstances? Next
comes White `a', Black `b', White 'c', and White is in very
little danger. This is not an adequate attack.
It would be better to encircle White's two-space extension
inside a ring of black stones. That would give Black powerful
outward influence. Isn't the basic purpose in the game of go
to surround things? One of the Japanese characters used to
write the name of the game even means `surround'. If Black
can surround white successfully and gain outward influence,
that is enough. If at the same time he can contrive to inject
some uncertainty into the question of whether White is alive
or read or what, then he will be ecstatic.

132
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{`{~{$~{`{] {`{~{5~{`{]
{}{{53{}{{] {{{{{3{}{{]
{{1{@{`{`{] {{1$@{`{`{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 3 Dia. 4
Dia. 3. Black's strategy is to surround White gently with
1. White will naturally try to break through the encirclement
with 2, but there is a gaping flaw in this move, and Black 3
strikes it. White is in a pinch. If he plays 4, Black 5 cuts off
White 2 and leaves White's main group encircled. White cer-
tainly cannot allow this.
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{`{~{{~{`{] {`{~{6~{`{]
{}{{@{{}{{] {}{{~4{}{{]
{{`#`!`{`{]
{{1{3{`{`{] {{{%{2{{{{]
{{{{Ý{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] Dia. 6
Dia. 5 Ideal or rot, can't White break
past Black 3 in the last dia-
Should White hold himself to gram with 1 to 5 here? Yes,
2, then? Black can wall him in but then Black plays 6. If he
smartly with 3. Black 3 at `a' was happy with Dia. 4, I don't
would be a concession; the see how he can complain
contact play at 3 is ideal about this result.
Dia. 4. But if White makes his escape with 4, the damage
done by Black 5 is unbearable. This is a perfect example of
Black gaining profit while attacking.

133
 But what is wrong with stopping White more gently at `a'
in Dia. 5? In a word, Black `a' would be an amateurish move.
A good, severe move like Black 3, if it exists, is always best.
Black 3 is an emphatic, professional move.

++++++++++|
{{{{{{{{{{]
{`{~{{~{`{]
{{{{{{{}{{]
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{{{35{{{{{]
{{{{{{{{{{]
{{{{{{{{{{]
{{{{{{{{{{]
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Dia.7
Dia. 7. If White attaches himself directly to Black 1 with
2, Black should shut him in with 3 and 5. White may have no
trouble living, but it is not hard to imagine the outer wall he
lets Black make becoming strong enough to dominate the en-
tire game, creating no end of problems for White. This type
of manoeuvre is important between the opening and the
middle game.
I do not claim that the knight's move enclosure at Black 1
shown in Dias. 3 to 7 is always good. I simply mean it as one
example to explain the philosophy of enclosing. There may
be a better move, or there may not. What counts is Black's at-
titude in playing 1, but I am not saying he has to play this
way. His skill or otherwise in executing the maneuver is an-
other factor. I guess the best move is the one that fits his
strength and expresses his philosophy best.

134
 ++++++++++|
{{{{{{{{{{]
{`{~{{~{`{]
{}@{{{{}{{]
{{{1{{`{`{]
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{{{{{{{{{{]
{}{{{{{}{{]
Dia.8
Dia. 8. If Black really understands what he is doing, a
move like this may be good. (If he does not really understand,
that will come out in the continuation.) What he must avoid is
blind imitation - playing 1 because he remembers having seen
some professional play it - monkey see, monkey do. White
will come through the gap at 2, and Black will not know what
to do next.
++++++++++|
{4#{{{{%{{]
{`{~{{~{`{]
{{{{~!{}{{]
{{`{`2`{`{]
{{{{{{{{{{]
{{{{{{{{{{]
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Dia.9
Dia. 9. I would like to continue a little from Dia. 5. White
1, 3, and 5 and the like, although not very high-class moves,
are good from the standpoint of widening White's eye-space.
This is the type of move to make when you have to live. If

135
you want something a tittle more advanced, try playing 3 at 4,
for example, and widening White's formation to the limit.
If Black blocks with 6 to the right of 5, White will stil1
be alive, so he should leave this part of the board as it is and
use sente to take the initiative elsewhere. This is important.
One often sees Black answering White so dutifully that
White lives in sente.

++++++++++|
{{1@{{$3{{]
{`{~{{~{`{]
{{{{~~{}{{]
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{{{{{{{{{{]
{{{{{{{{{{]
{{{{{{{{{{]
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{{{{{{{}{{]
Dia.10
Dia. 10. If White leaves his precarious group to play else-
where, in the expectation that Black will answer, Black has a
chance to kill him. The basic way of killing is to narrow the
enemy's eye space, so Black plays 1 and 3. Even in the event
of his failing to kill White, if he plays like this he cannot do
himself any harm. Is my point clear?

136
 ++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{`{Ý{@{`{{] {`{o{`{`{{]
{{{{{{{{{{] {{{{{{{{e{]
{{{{{{&{!{] {P{I{Y{R~{]
{{{{{0Q{{{] {{{{{{{{{{]
{{{{E(8{6{] {g{{{{{t{{]
{{{{Twr{{{] {{{uq9{{{{]
{`{{{%{`{{] {`a)7~{`{{]
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{{{{{{O#Up] {{{WF@{~{{]
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{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
==========\ ==========\
Dia. 11 Dia. 12
Dia. 11. This is an example of bad play (by Black) that
sometimes appears in six to nine-stone handicap games.
Black 6 to 22, trying to seize the territory on the right side
and get settled quickly, are a despicable way to counter
White's common opening at 1, 3, and 5. Look at the expres-
sion on Black's face. How relieved he is to have seen the se-
quence up to Black 22 go exactly as he was hoping it would.
Little does he realize how fundamentally wrong this way of
playing is. Essentially, he has helped surround his own group.
The more handicap stones he places, the more he should be
able to do well in the opening and not have to let himself be
surrounded like this.

137
 The side that surrounds the other, as White docs through
23, always gains outward influence and has the better posi-
tion. Next White's power will make itself known in all direc-
tions. To begin with, he can give Black a hard time by invad-
ing at `a' and `b'. If Black loses the game, it will only stand to
reason. Refer back to Dia. 24 on page 51. As far as making
life goes, Black's play is correct, but he should only live like
this when he is already completely surrounded by White.
Dia. 12. This is an example of good play. Black has vari-
ous other good moves besides I, but whichever of them he
picks, the important point is not perfection in executing the
manoeuvre, but whether or not he has a firm grasp of the
thinking that underlies it. Experts can finesse their way out,
bunglers can bungle their way out, but everyone should break
out somehow through White's encirclement. Let that never be
forgotten.
Black 1 to White 12 form the first part of the sequence. If
Black uses 9 to go to the aid of 5, the fight can become so
confused that it will be hard to tell where the focus lies. First
Black should get his main force out into the open.
Black 13 and so on are given to show how strongly Black
can continue. Faced with such a heavy attack, White has no
opportunity to hand out surprises. Black has completely taken
over the initiative. There is nothing difficult in playing like
this. If Black can keep on in this spirit, he can reverse the ta-
bles on White. Usually it is Black who is chased around and
forced to heed where he puts each stone, always on the de-
fensive.
Break through the enemy's encirclement and get your
head out into the fresh air, and you will not haw to contend
with troublesome questions of life and death. The preceding

138
two diagrams are as different as day and night; I hope you
understand why.
No matter how determined you are not to let yourself be
surrounded, however, when you have a stronger opponent
you may be forced or fooled into letting him fence in one of
your large groups. For a player who is weak at life and death,
nothing else holds such great terror. In view of that, life and
death are important to study after all.
If White manages to build a position like the ones in
Dias. 13 and 14 and you refuse to enter it, you then have to
concede it as territory to him. If Black plays I on the theory
that even if he dies, he has nothing to lose, then he cannot
avoid being surrounded by White. Situations like these arise,
so you cannot just decide never to let yourself be surrounded
and ignore the study of life and death: If Black can live after
1 in these diagrams, he gains a large profit inside White's ter-
ritory.
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{{{{~{{{1{] {{{~{{{`1{]
{}{{{{{~{{] {}{{{{~~~{]
{{{{~{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{~{~{{]
{{{{{{{{{{] {{{{```{~{]
{{{~{{{{{{] {{{{{{{{{{]
{{{{{{~}~{] {{{{`{~}~{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 13 Dia. 14

139
 CHAPTER 7

How to Study Joseki

140
 How to Study Joseki

A remark overheard one clear morning: `I'm going to fol-

low my joseki and take the dog out for a walk.' A conversa-
tion overheard in a crowd of people leaving a theater: `Every-
thing was arranged to bring about a happy ending.' `Yes, just
like a joseki, but it was still interesting.' A television
sportscaster describing a baseball game: `Here the joseki
would be to bunt the runner up to second and hope the next
batter drives him home, but let's see what they do.'
These days the word 'joseki' has come into general use to
describe any fixed form of behavior. There can hardly be
anyone who does not know what a joseki is, but just to be
sure, let's look in the dictionary, where it is defined as `stones
played in accordance with a fixed formula in the game of go.'
To those who brink that one way to become stronger at
go is to learn forty or fifty josekis by heart I say go ahead and
try it. Any thing you do will add to your experience. At the
same time I wonder what good it does to learn forty or fifty
out of the tens of thousands of josekis.
Let's imagine that someone, deciding that he ought at
least to know the currently popular josekis, has pretty well
memorized the ones coming from the two-space high pincer
(he has a good memory) and sets out to put his knowledge to
the test.
Dia. 1. (next page) He plays the two-space high pincer
with Black 1. His colleague White replies with 2. `Aha,' says
Black and pushes through and cuts with 3 and 5, the moves
he has learned. White, however, who does not know any

141
josekis, blocks him at 6, muttering something black. If any-
one is so insensitive as to ignore this difference and play 1
and 3, I am past the point of anger. All I can do is burst out
laughing. Black plays 4 as he did in the last diagram, and
White is already in trouble. What else did he expect?

++++++++++|
{{{{{{{{{{]
{{{{{{"{{{]
{}{1Ó{$3`{]
{{{{{{5@^Ý]
{{{{{{{{{{]
{{{{{{{{{{]
{{{{{{{{{{]
Dia.1

`I can't handle players who don't know josekis, suggests

that those who are ignorant of josekis are stronger that those
who know them. The latter tend to become too dependent on
patterns, thereby crippling their innate strength, and fall easy
prey to the former, who have nothing but innate strength to
rely on.
There is something fundamentally amiss to handle oppo-
nents who follow the unable to handle those, who do not.
Josekis are composed of the best moves for both sides, or of
essentially equal variations. Moves that depart from the jose-
ki are usually bad and deserve to be punished. White 6 in
Dia. 1 is unreasonable, and can be punished by the black
hane at `a', after which White is divided in two and Black's
cutting-stone at 5 is shining brightly. For that reason it is bet-
ter for White to play 6. at `b' and center his efforts on: devel-
oping 4 and the triangled stone.

142
 Dia. 2. This is the joseki. If Black answers White 1 with
2, White 3 and 5 complete one of the variations.

++++++++++|
{{{{{{{{{{]
{{{%{{~{{{]
{}{`!{~``{]
{{{{#{`~{{]
{{{{{{2{{{]
{{{{{{{{4{]
{{{{{{{{{{]
Dia. 2

Most players, however, do not know how to handle non-

joseki moves. In fact, they exhaust themselves so much in
worrying about josekis that by the time they get to the impor-
tant places in the middle game and beyond, they are in no
condition to fight and win. All the trouble they have taken to
learn josekis turns out not to do them the least good. It even
weakens their game. I dare say that many people have been
through this experience.

Joseki scholarship = weakness

Total self-reliance = strength

We see these equations every day.
One big question, then, is left. What of the large number
of joseki books that float around the country? If their mission
was to help go players become stronger, what has corrupted
them into worse-than-useless bookshelf decorations? The an-
swer lies in the doubtful ways in which they are studied.

143
++++++++++|
{{{{{{{{{{]
Personally, I consider study-
{{{{{{~Ý{{] ing joseki to be one of the first
{}{1{{Ó{`{] steps in getting stronger. That is
{{{{{{{{{{] why there are so many joseki
{{{{{{@{ß{] books in existence. Now let's
{{{{{{{{3{] look at the proper way to study
{{{{{{{{{{] them.
Dia.3
The Proper Way to Study Josekis

1. Don't think that all you have to do is learn the moves.

That is not studying the joseki.
2. Every stone played by both sides in a joseki is the
best move, so it is important to know the reason for it - its
content, its meaning. If you can convince yourself as to why
the stone is played where it is and why it is a good move,
then you have done some studying.
3. Joseki moves are always the best moves on a local
scale, but they sometimes become the worst moves in relation
to the surrounding positions. This is what keeps go from be-
coming dull, what makes it interesting.

The above can be condensed into the single phrase:

`Josekis are not to be learned, but to be created.' Do you un-
derstand what I am saying?
Professionals have, as might be expected, a detailed
knowledge of josekis, but that does not mean they know all
the tens of thousands of them. From time to time they en-
counter josekis they do not know in play, and put all their en-
ergies into figuring them out, sometimes reproducing the ex-

144
isting pattern, sometimes improving on it and creating a new
joseki. The latter case is by no means rare.

Dia. 3. This is a joseki that anyone can memorize quickly,

but don't let yourself just memorize it. Work out the meaning
of each stone in it. Why does White jump out two spaces to
2? To blunt the effect of a black attack at `a' or `b', lightly, in
sente.
Why does Black play 3? To avoid having his corner stone
surrounded. Of course moves other than Black 3 are possible,
but this is one pattern. From a local standpoint it is some-
times complete as it stands, and sometimes wants further de-
velopment. If you do not know at least this much when you
play it, you deserve to be ridiculed for just copying moves.
Now let's see White's light two-space jump in actual use.
Dia. 4. (good) To exchange 1 for 2, then play 3 is ex-
tremely good in this position. White 3 is both an extension
from the enclosure in the upper left corner and an attack on
' – two birds with one stone – brilliant!
Black 4 is a key attacking point, aiming at slicing through
the gap between " and ! if the chance arises. White 5 and
7 are not desirable moves, but their meaning is clear: you
shall not slice through the gap (White 5); you shall not shut
me in (White 7). Now that White is safely out into the open
he can counterattack against Black's two stones to the left.
Dia. 5. (bad) The difference between these two diagrams
is that the corner enclosure in the upper left is now black. If
anyone is so insensitive as to ignore this difference and play
1 and 3, I am past the point of anger. All I can do is burst out
laughing. Black plays 4 as he did in the last diagram, and
White is already in trouble. What else did he expect?

145
 _+++++++++++++++++|
[{{{{{{{{{{{{{{{{{]
[{{{~{{{{{{{{{"{{{]
[{~}{{{{{#{'{{{}`{]
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Dia.4

Now White shows his skill with 5 to 15, but Black simply
plays 16 and jumps out to 18 and the situation is exactly op-
posite from the last diagram. White has stones in trouble on
both sides, and is being forced to fight under the burden of a
large eyeless group. Locally, this is pure joseki, but from the
overall standpoint it is a disaster for White.

_+++++++++++++++++|
[{{{{{{{{{{{{{{{0{]
[{{{`{{{{{{{{{~E%6]
[{`}{{{{{#{`{y{&`{]
[{{{{{{{{{{{{{{U8r]
[{{{{{{{{{{{4{!(Qw]
[{{{{{{{{{{{{{{{2{]
[{{{{{{{{{{{i{T{{{]
[{{{{{{{{{{{{{{{{{]
[{{}{{{{{}{{{{{}{{]
Dia.5

146
 _+++++++++++++++++|
[{{{{{{{{{{{{{{{#{]
[{{{`{{{{%{{{{~{{{]
[{`}{{{{{}{`{!{}`{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{2{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{4{]
[{{}{{{{{}{{{{{}{{]
Dia.6
Dia. 6. (better) Since the two-space jump gave a dubious
result in the position in the last diagram, White starts by mak-
ing himself safe with 1 and 3. Then, more deliberately, he in-
vades at 5. White 1 to Black 4 are another joseki; you should
seek the meaning of each of these moves on your own. Com-
pared with Dia. 5, White now has more leeway to work with.
_+++++++++++++++++|
[{{{{{{{{{{{{{%{{{]
[{{{`{{{{{{(6{~4{{]
[{`}{{{{{}{`#&2}`{]
[{{{{{{{{{{{!{8{{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{] Dia.7
[{{{{{{{{{{{{{{{{{]
[{{}{{{{{}{{{{{}{{]
Dia. 7. (another idea) White 1 is also a joseki move. Even
amateurs, if they have advanced a little, know the joseki up to
the cut at 9. If they do not comprehend the reasons for each
move in between, however, and make a mistake, then be-
cause this is close combat, the damage they suffer will natur-
ally be large.

147
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{~{{{] {{{{{3~@{{]
{}{`{#2}`{] {}{`{~`}`{]
{{{{{%4{{{] {{{{{~`{{{]
{{{{{{!{{{] {{{{{1~{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{}{{] {{{{{{{}{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 8 Dia. 9

Dia. 8. Returning to the two-space jump, Black 2 and 4 in

reply are definitely not the joseki, but there are plenty of
brute-force advocates who will play Black 2 and 4 and such
moves whenever the shape permits them, only too happy to
be getting embroiled in a fight. One must be able to meet
force with force. Recently a fairly strong player failed to do
this in a game I was watching. He was White and played 3
and 5.
Dia. 9. After the previous diagram Black cut and cut
again with 1 and 3, hell-bent on destruction, and the side that
was destroyed was White. If all these high-handed moves
really worked, then they would become the joseki, Black's
two-space extension to 3 in Dia. 3 would became a slack
move, and White's two-space jump to 1 in Dia. 3 would be a
mistake. Such is not the case, so there must be a flaw in
Black's play somewhere. If White cannot find it and lets him-
self be destroyed, he will just have to admit that he is not
strong enough to punish Black for his mistake.

148
+++++++++| Dia. 10. Problem: White to play.
{{{{{{{{{] When I gave this once at the Friday
{{{‹`~~{{]
}{1{~`ß`{] class at the Central Hall (for players
{{{Ý~`{{{] from 5 kyu to 5 dan) during a lec-
{{{{`~Ó{{] ture using a large go board, hardly
{{{{{{{{{] anyone in an audience of more than
{{{{{{{{{]
Dia.10 a hundred came up with the right
answer.
Even with White's next move restricted to the four points
`a', `b', 'c', and `d', so the chances were one in four, only a
scattering of people guessed the answer. I was filled with
sadness at the inability of amateurs to focus their power in
the right direction. I began to realize why the brute-force
school of `gangster go' prospers so. Those who cannot find
the correct move in not-so-difficult positions like this deserve
to be roughed up a bit. Amateur go seems to be a world
where reason retreats in the face of unreason.
White `a' is bad. Black plays `b'.
White `b' is bad. Black plays `c'.
White `c' is bad. Black stops White by taking the point
below `c'.
With all of these moves disposed of in the above fashion,
only the correct answer, White `d', remains. I asked tine of
the people who had guessed `d', `What should White do if
Black draws out of this atari?' `Connect at the point below
`d',' came back the reply, immediately proving that he had not
solved the problem at all.
Dia. 11. (next page) White 1 is correct, but without the
right continuation it does not do any good. White 3 is wrong.
Black plays 4 and 6, and since his triangled cutting stone is
also active, he has quite a good result.

149
++++++++++| ++++++++++|
{{{{42{{{{] {{{{%2{{{{]
{{{%!`~~6{] {{{{!`~~{{]
{}{`#~`}`{] {}{`{~`}`{]
{{{{{~`{{{] {{{{{~`{{{]
{{{{{'~{{{] {{{{#`~{{{]
{{{{{{{{{{] {{{{{4{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{}{{] {{{{{{{}{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 11 Dia. 12

Dia. 12. White 1, 3, and 5 are good. Once the answer is

given, it is obvious, but that is like the story of Columbus
standing the egg on end. Once they saw how he did it every-
one felt let down, but before they were show the secret they
were all shaking their heads in puzzlement.
A man seated near the front asked a question about 4.

Dia. 13. `Can't Black turn

++++++++++|
out at 1, then take profit with {{{{1`{{{{]
3 if White plays 2?' was his {{{{~`~~3{]
query. {}{`{~`}`{]
`Let White make a pon- {{{{{~`{{{]
nuki like this and the game is {{{{~`~{{{]
over,' was my reply. The rest {{{{{@{{{{]
of the audience nodded in {{{{{{{{{{]
agreement. Compare this dia- Dia. 13
gram with White's bad result
in Dia. 11.

150
 Among the things that occur to me on seeing Dia. 11 are:

++++++r0y%Q ++++(+8+Q%|
{{{{``6#!48 {{{&``0#!4w
{{{~~`~~`&( {{{~~`~~`6]
{}{`~~`2`T] {}{`~~`2`{]
{{{{{~`{U{] {{{{{~`{{{]
{{{{{`~{{O] {{{{{`~{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 14 Dia. 15
If White hanes at 1, Black can Or is this way of capturing
capture him with 2. Black 12 is White, with Black 2 to 12,
a throw-in at 4, which White better?
captures by playing 13 at 8.
Black 18 captures four stones.

++++++++++| ++++++++++|
{{{{``{{{{] {{{Ó``{{{{]
{{{~~`~~`{] {{{~~`~~`{]
{}{`~~`2`{] {}{`~~`{`{]
{{{{{~`{{{] {{{{{~`{{{]
{{{{{`~{{{] {{{{{`~{Ý{]
{{{{#{!{{{] {{{{{2!{{{]
{{{{{{{{{{] {{{{{{#{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{}{{] {{{{{{{}{{]
Dia. 16 Dia. 17
If Black answers White 1 at 2, Black should resist with 2,
White can contain him with 3, then play 4. Black 4 is the only
gaining a thick position, so - move. Black `a' would let
White play 'b' in sente.

151
 It takes quite a bit to have all this register in one's mind
on seeing Dia. 11. Perhaps only a top-level amateur dan play-
er could read it all out. On the other hand, any player with
ambition at least has to be aware of all these possibilities.

+++++++++++|
{{{{{{{{{{{]
{{5{{{{{`{$]
{{}{{{3{}{{]
{{{{{{{{{~{]
{{{{{{{{@{{]
{{{{{{{{{{{]
{{{{{{{{1{{]
{{{{{{{{{{{]
{{}{{{{{}{{]

Dia. 18

Dia. 18. Black 1 to 5 are a very popular variation of the

two-space high pincer joseki. As I have said before, the
moves are easy to learn, but they will not do you any good if
you do not know their meanings. Why does White make the
diagonal move at 2? Why is he in such a rush to slide in to 4?
Isn't White 4 too low, down on the second line? What
thought, what purpose lies behind Black's knight's move to 3?
Is Black 5 necessary? Each stone has a significance which it
will not do to pass over. Study this pattern until you really
understand the meaning of each of its component moves. If
you acquire a true understanding of this one pattern, you will
have a key that will unlock a hundred others.

152
 Dia. 19. If you stop +++++++++++|
short of really studding the {{{{{{{{{{{]
joseki, how will you know {{!{{{{{`{{]
where to move when some {{}{{{`{}{{]
{{{{{{{{{~{]
joseki saboteur plays {{{{{{{{~{{]
White 1 against you, and if {{{{{{{{{{{]
you do not know where to {{{{{{{{`{{]
move, that proves that you {{{{{{{{{{{]
have not studied the joseki Dia. 19
thoroughly. Here is where
rote memorization of
moves will not aid you.
The reason I am pressing this point about studying so
hard is that this kind of situation confronts one all the time in
actual play.

Dia. 20. If you really +++++++++++|

understand the joseki, you {{{{{{{{{{{]
will not be likely to miss {{~{{{{{`{{]
such a good move as {{}{{{`{}1{]
{{{{{{{{{~{]
Black 1, which gives {{{{{{{{~{{]
Black's stones a base and {{{{{{{{{{{]
leaves White's baseless. {{{{{{{{`{{]
Show me the man who {{{{{{{{{{{]
would not drop everything Dia. 20
to play a move like this.
Now we have the reason for White's low-line slide to 4 in
Dia. 18. It was absolutely necessary to gain a base.

153
 _+++++++++++++++++|
[{{{{{{{{{{{{{{{{{]
[{{{"{{{{4{{ßÓ{`{#]
[{`}{{{{{}{{{2{}{{]
[{{{{{{{{{{{{{{{~{]
[Ý{{{{{{{{{{{{{!{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{'{{]
[{{{{{{{{{{{{{{{{{]
[{{}{{{{{}{{{{{}{{]
Dia. 21

Dia. 21. If White aimlessly plays the joseki from 1 to 4 in

this position, Black 4 becomes both an extension from the
upper right and a three-space pincer against White's marked
stone in the upper left, a perfect dual-purpose move. This
opening would be a big success fur Black, and a big failure
for White.
White should use 1 to make a pincer against the upper
left corner, at `a', and start fighting from there. Or if he must
play in the upper right, he should make a counter-pincer at `b'
or `c', or at least do something other than play 1 and wander
into such an uninspired opening.
Making the joseki work well with the whole board is ex-
tremely important. The reason that professionals will use
more than half their time on the opening is that they are
thinking their way thoroughly through the difficulties this
raises. They are not just basking in the passage of time - far
from it. A joseki is not just a local problem; it bears upon the
entire board. It is surprising how many amateurs, even strong
ones, do not realize this.

154
 _+++++t+++++++++++|
[{{{{qWe{{{{{{{{{{]
[{{`7)9Y{5{{{{{`{$]
[{{}^*R{{}{{{3{}{{]
[{~{{{{{{{{{{{{{~{]
[{{{{{{{{{{{{{{@{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{1{{]
[{{{{{{{{{{{{{{{{{]
[{{}{{{{{}{{{{{}{{]
Dia. 22 — u connects
Dia. 22. Given the stones shown in the upper left corner,
the joseki's effect changes again. Black 1 is the usual two-space
high pincer, and 2 to 5 are the joseki. This time it is Black who
gets the poor result. White 6 is a means of giving him an over-
concentrated shape on the upper side - high-level tactics. The
sequence continues up to the connection at 17, and now it is
Black's turn to be accused of uninspired play. Instead of 3 -
_+++++++++++++++++|
[{{{{{{{{{{{{{{{5{]
[tu`{o{{{{{{{73`$)]
[ReYI{{{{}{{9*^@{{]
[{~{{{{{{{{{{{1{~{]
[{{W{{{{{{{{{{{~{{]
[{{{{{{{{{{{{{{{{{]
[{{q{{{{{{{{{{{`{{]
[{{{{{{{{{{{{{{{{{]
[{{}{{{{{}{{{{{}{{]
Dia. 23
Dia. 23. Black does better to use the change-of-pace
joseki that begins with 1. After White 10 ends it (if White
omits 10 he cannot withstand Black 10, which destroys his
base) Black takes sente in the upper left corner. His diagonal

155
contact play at 13 is a clever idea. One's enjoyment of the
opening begins when one can produce ideas like this. Josekis
are inseparable from the opening as a whole.
Eventually all amateurs seem to learn at least the basic
josekis, but they are universally clumsy at putting them to
use. That is one of their weaknesses.

_+++++++++++++++++|
[{{i{U{{{{{{{{{{{{]
[{{{{{{{{%{{T{{{{{]
[{w`{r{{{}{{{{{`{{]
[{Q{{{{{{{{{{{{{{{]
[{&80{{{{{{{{{{y{{]
[{{({{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
[{E}{{{{{}{{{{{6{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
[{{2{{{{{{{{{{{{4{]
[{{{{O{{{{{{{{{{{{]
[{{`{{{{{}{{{{{`{{]
[{{{{!{{{{{#{{{{{{]
[{{{{{{{{{{{{{{{{{]
-=================\
Dia. 24

Dia. 24. This is one of my teaching games. The attach

and extend joseki from Black 8 to 14 was unsuitable in this
case, but let's hear my 3-dan opponent's argument in its de-
fence. `Black is weak on the upper side because of White 5,
so he should settle himself quickly. That's why I played solid-
ly with 8 and so on.'

156
 Well, at least he was thinking. All his thinking lacked
was correctness. A much weaker player would have thought
he was attacking White 7 by attaching Black 8 to it. Out-
landish! There is not a grain of an attack in this attachment.
As Black solidifies himself, observe that White does too with
the moves through 13.
Black's result in the attach-and-extend joseki up to 14 is
disadvantageous even from a local standpoint. He has played
five stones to White's four, but his position does not seem to
be one stone's worth superior.
The advantages of the attach-and-extend joseki are easy
to understand. There is not much White can do to complicate
it, and more important, it can work very well in turning the
upper side into a large territorial framework. Taken as just a
corner pattern, it lacks any attraction.
By now the error in my opponent's way of thinking about
the upper side should be obvious. To make matters worse, his
choice of this pattern let me rob him of the key point that he
should have been trying to occupy at 13 on the left side. For a
four-stone game, his start and the result he got up to 19
would have to be termed unsatisfactory. Part of the fault rests
with the joseki that began at Black 8.
Black 8 should have been played at 1 in Dia. 25 on the
next page. In this position that is the only move - both an ex-
tension and a pincer, a beautiful point.
There are many people who would not like what comes
next, White's double approach at 2, thinking that it makes
things messy for Black, but suppose Black chooses the sim-
plest joseki with the diagonal move at 3 and so on up to 7.
What don't they like about this? What's so messy, I'd like to

157
ask. Compare this diagram with Dia. 24. How much better it
is can be said in one word: infinitely.

_++++++++++ _++++++++++
[{{{{{{{{{{ [{{{{{{{{{{
[{$^{@{{{~{ [{~~{~{{{~{
[{5`{{{{{}{ [‹``!%{{{}{
[{{{3{7{{{{ [ßá2`#`{{{{
[{~{{{{{{{{ [{~{{4Ý{{{{
[{{{{{{{{{{ [{{Ó6{{{{{{
[{{{{{{{{{{ [{{â{{{{{{{
[{{{{{{{{{{ [{{{{{{{{{{
[{1}{{{{{}{ [{`}{{{{{}{
[{{{{{{{{{{ [{{{{{{{{{{
[{{{{{{{{{{ [{{{{{{{{{{
[{{{{{{{{{{ [{{{{{{{{{{
[{{`{{{{{{{ [{{`{{{{{{{
[{{{{{{{{{{ [{{{{{{{{{{
[{{`{{{{{}{ [{{`{{{{{}{
[{{{{~{{{{{ [{{{{{{{{{{
[{{{{{{{{{{ [{{{{{{{{{{
-========== -==========
Dia. 25 Dia. 26

Dia. 26. This continues from Dia. 25. Black has no

trouble in handling White 1 to 5. Anyone who does not like
the white cut at `a' can give atari at 5 before connecting at 2.
What Black must be careful of a White `b' next. Black `c' is
the reply. If Black plays `f', White has `d', Black `c',White `e'.

158
 _++++++++++ _++++++++++
[{{{{{{{{{{ [{{{{{{{{{{
[{~1{~{{{~{ [{{{{{{{{{{
[{@`{{{{{}{ [{5`{7{{{'{
[{{{`*{{{{{ [{${{{{{{{{
[{~{9{{{{{{ [{~13{{{{{{
[{$3{{{{{{{ [{{@{{{{{{{
[{^5{{{{{{{ [{{^{{{{{{{
[{{7{{{{{{{ [{{{{{{{{{{
[{`}{{{{{}{ [{{}{{{{{}{
[{{{{{{{{{{ [{{~{{{{{{{
[{{{{{{{{{{ [{{{{{{{{{{
[{{{{{{{{{{ [{{{{{{{{{{
[{{`{{{{{{{ [{`{{{{{{{{
[{{{{{{{{{{ [{{{{{{{{{{
[{{`{{{W{}{ [{{`{{{{{}{
[{q{{~{{{{{ [{{{{~{{{{{
[{{){{{{{{{ [{{{{{{{{{{
-========== -==========
Dia. 27 Dia. 28
Dia. 27. Anyone who would press on this side with Black
1 does not understand go. White will play 2 to 12 and laugh
that he has never had such an easy game.
Dia. 28. When Black has a stone like the one marked, the
attach-and-extend joseki shines resplendently. The position
on the left side and in the lower left corner is also ideal for
Black. This diagram should be a useful reference.
Now take down the joseki book that has been sleeping on
your bookshelf, open it, and study it once again using the
method I have prescribed.

159
 CHAPTER 8

Good Shape and Bad

160
 Good Shape and Bad

Everyone admires beautiful, things. Everyone, regards them

with a kind of longing. This applies to go, too, where there is an
aesthetic of shape. Watching a professional game, one can
sense beauty in the flow of play and beauty in the shapes creat-
ed. Amateur go does not even begin to approach this.
Weaker players should not become too preoccupied with
shape in the belief that beautiful shapes will make them
stronger. The games of the amateur `shape school' tend to
lack the feeling of power. They imitate the surface patterns of
beauty found in professional go, but miss the content and
meaning. It would be hasty to conclude that good shape is al-
ways correct. Bad shape has its own strength and character
too, and at times it is better. Still, I would not advise turning
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{{{{{~{{{{] {{{{{~1{{{]
{}{{@1{`{{] {}{{~`{`{{]
{{{{{3{{{{] {{{{{`{{{{]
{{{{{{{{${] {{{{{{{{~{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 1 Dia. 2

161
a blind eye toward the aesthetics of shape. I decided this
chapter had to be written to develop the reader's ability to dis-
cern good and bad shape.
Dia. 1. Black 1 and 3 are the attach-and-extend joseki,
from which White 4 is an unheard-of departure, a terrible
move, an idiotic blunder. Black's answer should be on the
board in an instant, without hesitation.
Dia. 2. Black blocks at 1, of course. There is no need for
him to wonder what White may do afterwards. Given a
chance like this, only a feeble-minded player would be uncer-
tain where to play - `not this point, not here either, perhaps I
should leave the position as it is.' Black's hand should be
trembling with eagerness to play
+++++++++| 1. He should be overcome with
{{{{{~`{`] emotion.
{{{{{~`{{]
}{{{{Ý~`{] Dia. 3. Problem: White to
{{{{ßÓ~`{] play. If he ignores this position,
{{{{{``~{]
{{{{{{{~{] Black will wrap it up with `a'.
{{{{{{{{{] You mean White should con-
{{{{{{~{{] nect at `a'?
}{{{{{}{{] That would be bad shape - in-
{{{{{{{{{] efficient.
{{{{{{{{{] Well then, White 'b`?
{{{{{{{{{] What? Incredible! That would
Dia. 3 be the acme of bad shape. If White
plays 'b', Black ataries him with 'c'.
kindly spare me the gruesome
sight.

162
+++++++++| +++++++++|
{{{{{~`{`] {{{{{~`{`]
{{{{{~`{{] {{{{{~`{{]
}{{{!{~`{] }{{{!#~`{]
{{{{{{~`{] {{4{2{~`{]
{{{{{``~{] {{{{{``~{]
{{{{{{{~{] {{{{{{{~{]
{{{{{{{{{] {{{{{{{{{]
{{{{{{~{{] {{{{{{~{{]
}{{{{{}{{] }{{{{{}{{]
Dia. 4 Dia. 5

Dia. 4. Oh, I get it. White 1, as in Dia. 2. Beautiful!

Beautiful? Not so fast, this diagram is only a counterfeit
of Dia. 2. If White plays 1, Black 2 in Dia. 5 takes the key
point, and 4 gives Black a big lead in the struggle to get
ahead. He holds the initiative.

+++++++++| +++++++++|
{{{{{~`{`] {{{{~{{{{]
{{{{{~`{{] {{{{{{~{{]
}{{{{{~`{] }{{{``~{{]
{{{#!{~`{] {{{`~~`{{]
{{{{2``~{] {{{{{{`{{]
{{{{{{{~{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
{{{{{{~{{] {{{{{{{{{]
}{{{{{}{{] }{{{{{}{{]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
Dia. 6 Dia. 7

Dia. 6. White 1 is the only move. Even an amateur, if he

has a dan ranking, should know it. The shape is nice, and

163
from the standpoint of the struggle to get ahead White 1 is an
absolute. Compare this diagram with the last and mark the
importance of getting ahead. This is a crucial scene, where
knowledge or ignorance of good shape can spell the differ-
ence between supremacy and downfall.
Dia. 7. Problem: White to play. Confrontations like this
are frequent enough to make this a problem with a wide
range of application.

+++++++++| +++++++++|
{{{{~{{{{] {{{{~{{{{]
{{{{{{~{{] {{{{{{~{{]
}{{{``~{{] }{{{``~{{]
{{{`~~`{{] {{(`~~`{{]
{{{{{{`{{] {{{%#2`{{]
{{{{{!{{{] {{{&4!{{{]
{{{{{{{{{] {{{{86{{{]
{{{{{{{{{] {{{{{{{{{]
}{{{{{}{{] }{{{{{}{{]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
Dia. 8 Dia. 9

Dia. 8. White's jump to 1 is the same type of move as

White 1 in Dia. 6, a tesuji. Weak players sometimes jump out
to the left of 1 and tragicomically lose two stones on the spot.
White 1 is the only correct move here.
Dia. 9. There are those who know White 1 is correct, but
feel uneasy about it. One reason is that Black can push
through with 2 etc., and they do not like seeing the stone they
have just played captured. Let me place on record the state-
ment that the result up to 9 is good for White.

164
+++++++++| +++++++++|
{{{{~{{{{] {{{{~{{{{]
{{{{{{~{{] {{{{{{~{{]
}{{2``~{{] }{{2``~{{]
{{{`~~`{{] {{{`~~`{{]
{{{{!{`{{] {{{{{{`{{]
{{%{{#{{{] {%{#{!{{{]
{{{{{{{4{] {{{{{{{4{]
{{{{{{{{{] {{{{{{{{{]
}{{{{{}{{] }{{{{{}{{]
Dia. 10 Dia. 11

Dia. 10. The above-mentioned feeling of uneasiness is

betrayed in actual play by moves like White 1. This gives
White far from perfect fighting shape.
Dia. 11. White 1 makes good shape, and the sequence
continues on through 5. If the ladder favours him, White has
a better move for 3.

+++++++++|
{{{{~{{{{]
{{{{{{~{{] Dia. 12. He can stop Black
}{{```~{{] short at 1. The ladder appears at
{{{`~~`{{] 14, but if White can get away with
{{0&%4`{{] 15, Black's position collapses.
{{TQ6~!2{]
{{{rw(8#{]
{{{{{E{{{]
}{{{{{}{{]
Dia. 12

165
+++++++++| +++++++++|
{{{{~{{{{] {{{{~{{{{]
{{{{{{~{{] {{{{{{~{{]
}{{{``~~~] }{{{``~~~]
{{{`~~`~`] {{{`~~`~`]
{{{{{{```] {{{{e@```]
{{{{{!{{{] {{{{1~$^7]
{{{{{{{{{] {{{{{35*)W
{{{{{{{{{] {{{{{{{9q]
}{{{{{}{{] }{{{{{}{{]
{{{{{{{{{] {{{{{{{{{]
Dia. 13 Dia. 14

Dia. 13. There are exceptions, however, to every rule. If

White plays 1 in this position, Black has a counter-tesuji
ready for him.
Dia. 14. Black 1 to 13 are called a one-move open ladder.
Black can play it successfully provided he has the sequence
read out to the end. If he does not, however - if he is just im-
itating, or relying on warped memorization - he is risking dis-
aster. Recall the words of Yukichi Fukuzawa: `Confidence is
born of strength, and strength of confidence.'
+++++++++|
Dia. 15. This is not the place
{{{{~{{{{]
{{{{{{~{{] to quibble about good or bad
}{2{``~~~] shape. White 1 is bad shape and
{{{`~~`~`] the only move. there is no other.
{{{{!{```] A professional would do his best,
{{{{{{{{{] however, to avoid being put in
{{{{{{{{{] White's position.
{{{{{{{{{]
Dia. 15

166
++++++++T++| Dia. 16. Ordinarily this
{{{{{{6%{{{] sequence would stop with
{"{{{`84#!Q]
{{}{{{{&`2(] Black 16, but here White has
{"{{{{{E{{0] supporting troops marked
{{{{{{y{rw{] with triangles around the out-
{{{{{{{{{{{] side.
{{{{{{{{{{{]
{{{{{{{{"{{]
{{}{{{{{}{{] Dia. 17. So he sets out
{{{{{{{{{{{] boldly with 1 etc. Black
Dia. 16 makes the best replies, for-
++++++++~++|
cing White into bad shape,
{T{{{{`~{{{] but White was prepared for
{~r{{```~~~] this, and was determined to
{{}64!#~``~] divide Black in two and fight
{~{w%2(~0{`] anyway.
{{y{{&`8``{]
{{{{{E{{{{{] Surely, you think, no pro-
{{{{{{{{{{{] fessional would do anything
{{{{{{{{~{{] like this, but it occurred in a
{{}{{{{{}{{] game between two estab-
{{{{{{{{{{{]
Dia. 17 – q connects lished professionals. Profes-
sionals? You look doubtful,
++++++++~++| but when the surrounding
{{{{{{`~{{{] conditions favor fighting,
{~{E{```~~~]
{{}{{!2~``~]
even this type of sequence
{~{{64#~0{`] can appear.
{{{{{%`&``{]
{{{{{{(8{{{] Dia. 18. Black 2 is bad.
{{{{{{{w{{{] White 13 puts Black in a dif-
{{{{{{{{~{{]
{{}{{{{{}{{] ficult position.
{{{{{{{{{{{]
Dia. 18 – q connects

167
+++++++++| +++++++++|
{{{{{``{{] {{{{{``{{]
{{{{~~`{{] {{{{~~`{{]
}{{{{{~`{] }{{{{{~`{]
{{{{{{~``] {{{{!{~``]
{{{{{{~`~] {{{{{{~`~]
{{{{{{`~{] {{{{{{`~{]
{{{{{{`~{] {{{{{{`~{]
{{{{{{`{{] {{{{{{`{{]
}{{{{{}~{] }{{{{{}~{]
{{{{{{{{~] {{{{{{{{~]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
Dia. 19 Dia. 20

Dia. 19. Problem: White to play. Should he reinforce his

own group on the upper side, or should he go ahead and at-
tack the three black stones floating in the centre? He is
wavering between these two options.

Dia. 20. Don't waver, White, play 1. This is good shape,

the proper move. White's first job is to reinforce his own
group. This one stone makes him safe and brings him happi-
ness. He now has in store the pleasure of attacking Black.
Anyone whose gaze is not immediately drawn to a point like
White 1 is treating good shape too coldly. You must become
infatuated with good shape. White 1 has to spring to mind the
moment you see Dia. 19. If you do not feel the same tighten-
ing in your chest as when you close your eyes and picture the
face of a lover, you do not love good shape enough.

168
+++++++++| +++++++++|
{{{{{``{{] {{{{{``{{]
{{{{~~`{{] {{{{~~`{{]
}{{{{{~`{] }{{ß{á~`{]
{{{{Ý{~``] {{{Ó@‹~``]
{{{{{Ó~`~] {{{{Ý1~`~]
{{{{{{`~{] {{{{{{`~{]
{{{{{{`~{] {{{{{{`~{]
{{{{{{`{{] {{{{{{`{{]
}{{{{{}~{] }{{{{{}~{]
{{{{{{{{~] {{{{{{{{~]
{{{{{{{{{] {{{{{{{{{]
Dia. 21 Dia. 22

Dia. 21. Problem: Black to play. He would like to play

`a', but won't White `b' then cause trouble?
Dia. 22. In that case, how about the hane at 1? Not good
enough - White defends at 2.
Well then, Black 1 at `a'? White attaches at 2. Next Black
`b', White `c', Black `d', White `e', but this is not good for
Black.
+++++++++| Dia. 23. Aha! Black should
{{{{{``{{] reinforce himself with 1. `Be pre-
{{{{~~`{{] pared,' as the saying goes.
}{{{{{~`{] Yes, but Black doesn't under-
{{{{@{~``] stand it a bit. White takes the
{{{{{{~`~] words out of his mouth as he
{{{{{{`~{]
plays 2.
{{{1{{`~{]
{{{{{{`{{] These are incredible answers.
}{{{{{}~{] What is Black so scared of, I'd
{{{{{{{{~] like to ask.
{{{{{{{{{]
Dia. 2 3

169
 Dia. 24. What else is there
+++++++++| but to strike at 1? White makes
{{{{{``{{] his troublesome reply at 2, but
{{{{~~`{{] Black refuses to be troubled by it.
}{{{{*~`{]
{{{{1{~``]
He has 3 and 5 all read out. White
{{{{3@~`~] never has a chance to counter-at-
{{{7^$`~{] tack. He must at some point go
{{{95{`~{] back to connect at 8, to keep
{{{{{{`{{] Black from cutting. His shape is
}{{{{{}~{] almost too terrible to bear looking
{{{{{{{{~] at. Black's attack has acquired un-
{{{{{{{{{] stoppable momentum. All this de-
Dia. 24 pends on his hitting the right
point at 1.

++++++++++|
Dia. 25. Here are one or two
{{{{{{``{{] variations. If White just con-
{{{${~~`{{] nects with 2, he precipitates an
{5{{{{@~`{] immediate crisis. Black attacks
{{{3{1{~``] relentlessly with 3 and 5.
{{{{{ÝÓ~`~] White cannot counterattack
{{{{{{{`~{] with 2 at `a', for Black wedges
{{{{{{{`~{] in at `b' and White is stuck for a
{{{{{{{`{{] reply.
{}{{{{{}~{]
{{{{{{{{{~]
Here we have the golden
{{{{{{{{{{] rule that `the enemy's key point
Dia. 2 5 is your own.' Black should play
1 without hesitation. Anyone
who has trouble seeing this kind of key point should practice
Black and White 1 over and over.

170
_`++++`+++++++Ý+++|
~``{{{`~{{{{{~`{{{]
[~~```~~{{{{{~`{{{]
[{{~~~{{{}{{{{~``{]
[{~{{{{{{{{{{{~~`{`
[{{{{{{{{{{{{{{{~`]
[{{{{{{{{{{{{{{{~`~
[{{{{{{{{{{{{{{{~~]
[{{{{{{{{{{{{{{{{{]
[{{}{{{{{}{{{{{}{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
[{{{{~{{{{{{{{{{{{]
[{~~~`~{{~{{{{{{{{]
[{~``{{~{~{{{{{}{{] Dia. 26
[~`{{`{{{`~~{{{{{{]
[~`{{{{`{``~{{{{{{]
-=================\
Dia. 26. The reward of repetitive practice with such key
points is to be able to find vulnerable points in formations
like these, in which one would not know otherwise where to
begin.
Upper right. It would be a pity for White to hane at `a' in
the endgame. He has a sharper move. Black need not die, but
his ten-point-plus territory will be rocked to its foundations,
and if he answers incorrectly, he can get into surprising
trouble. What is White's endgame tesuji?
Upper left. Even those who have heard of a bulky five
have not heard of a bulky seven, but here it is, and White can
kill it.
Lower left. This black group hardly looks as if it could
die, but it can. White to play and kill it.

171
++++++#+%| ++++(6%+&|
{{{{~`{!4] {{{{~`2!T8
{{{{~`{{2] {{{{~`0r#Q
}{{{{~``6] }{{{{~``4w
{{{{{~~`{` {{{{{~~`{`
{{{{{{{~`] {{{{{{{~`]
{{{{{{{~`~ {{{{{{{~`~
{{{{{{{~~] {{{{{{{~~E
{{{{{{{{{] {{{{{{{{{]
}{{{{{}{{] }{{{{{}{{]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
Dia. 27 Dia. 28

Dia. 27. (upper right) If White strikes at the key point

with 1, he can penetrate deeply and finish with sente while
Black barely manages to make two eyes in what had seemed
a large territory.
Dia. 28. Temper flaring, Black determines to resist with
2, but he is not going to get away free. White makes the diag-
onal move at 3, and with 15 he has a two-step ko. For White
this ko is a picnic - if he loses it he is roughly back where he
started, while for Black the matter is grave.

_`+#!+`++ Dia. 29. (upper left) White 1

~``{2Ý`~{ strikes at the centre of Black's
[~~```~~{ shape, and Black is already dead.
[{{~~~{{{ If he plays 2 at 3, he cannot do
[{~{{{{{{ anything after White 'a'. If White
[{{{{{{{{ played 1 at 3, then Black 1, White
[{{{{{{{{ 2, Black 'a' would mean a ko, and
[{{{{{{{{ a white failure.
Dia. 29

172
 [{{{{{{{{{{{{{
[{{{{~{{{{{{{{
[{~~~`~{{~{{{{
[{~``{{~{~{{{{
[~`Er`!{&`~~{{
[~`{#42`8``~{{
-Tw%=6=Q=0(===
Dia. 30
Dia: 30. (lower left) 3 is the point White is aiming for,
and through 15 Black dies. If you read up to White 5 you had
the answer. The rest is just shown to be on the safe side.
What requires caution is the diagonal move at 5. If White
plays the hane at 12, then after 6 to 11 reduce Black to one
eye he can live by blocking at 5.
These three problems are ones that a person with a good
eye for shape could solve at a glance.
Dia. 31. If it is B1ack's turn, then taking endgame consid-
erations into account the moves shown are his best.

_`++++`+++++++++++|
~``{1{`~{{{{{~`{1{]
[~~```~~{{{{{~`{{{]
[{{~~~{{{}{{{{~``{]
[{~{{{{{{{{{{{~~`{`
[{{{{{ {{{{{{{~`]
[{ {{{ {{{{{{~`~
{{{{{{{ {{{{~~]
[{{{{~{{{{{{ {{{{{]
[{~~~`~{{~{{{ {{{]
[{~``{{~{~{{{{{ {{] Dia. 31
[~`{{`@{{`~~{{{{
[~`{$53`{``~{{{{{{]
-1================\

173
++++++++~~ ++++++++~~
{{{{{{~~{] {{{{{{~~{]
{{~`````~~ {{~`````~~
}{~~~~}``` }{~~~~}```
{{{{{{`~~] {{{{{{`~~]
{{{{{`~{{] {{{{{`~{Ý]
{{{{{`~{{] {{{{{`~{1]
{{{{{{~{{] {{{{{{~{{]
{{{{{{{`{] {{{{{{{`{]
}{{{{{}{{] }{{{{{}{{]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
Dia. 32 Dia. 33

Dia. 32. Application problem: Black to play. His whole

force is on the verge of collapse. What one next move will
save him?
Without the lessons so far, middle-level and weaker play-
ers would probably be stumped by having this problem sud-
denly thrust upon them. Difficult as it is, our study of good
and bad shape gives the answer immediately. This is no small
attainment, but one which every reader must by now have
reached.

Dia. 33. Black 1 - the answer is easy to - who's that? You

say you thought it would be Black `a'? How can you bring up
such a non-tesuji? I guarantee that the rest of you, who saw
Black 1 immediately, will be admired for your good form.
Besides that, doesn't Black 1 look elegant - not at all ama-
teurish? If it is White's turn, then of course he will play 1
himself, capturing Black in good shape.

174
 +++++++++++|
{{{{{{{{{{{]
{{{{{{~1{{{]
{{`{{{@{`{{]
{{{{{{{Ó{{{]
{{{{^$3{`{{]
{{{{{5Ý{{{{]
{{{{{{{{{{{]
Dia. 34
Dia. 34. (Black to play) This is a sequence that turns up
repeatedly in handicap go. Anyone can get this far. What they
cannot get is the continuation. I dare say that bright readers
have already guessed what move I want to see played, but
don't forget that Black has the cutting point at 'a', and there is
something unsettling about White `b' too. There may be those
who cannot bring themselves to make the next move even
though they know what it should be.
+++++++++++| +++++++++++|
{{{{{{{{{{{] {{{{{{{{{{{]
{{{{{{~`{{{] {{{{{{~`{{{]
{{`{@{~{`{{] {{`{@{~{`{{]
{{{{{{{{{{{] {{{{{{1{{{{]
{{{{~~`{`{{] {{{{~~`{`{{]
{{{{{`1{{{{] {{{{{`{{{{{]
{{{{{{{{{{{] {{{{{{{{{{{]
{{{{{{{{{{{] {{{{{{{{{{{]
Dia. 35 Dia. 36

Dia. 35. Connecting with Black 1 is cowardly. White

mends his shape with 2. Black has let him off easily.
Dia. 36. Summoning his courage, Black crunches head-
on into White at 1. White springs sideways to 2 and has good
shape again. Stop fooling around, Black.

175
+++++++++++| +++++++++++|
{{{{{{{{{{{] {{{{{{{{{{{]
{{{{{{~`{{{] {{{{{{~`{{{]
{{`{1{~{`{{] {{`{`{~{`{{]
{{{{{@{{{{{] {{{{#{!{{{{]
{{{{~~`{`{{] {{4{~~`{`{{]
{{{{{`{{{{{] {{{{{`2{{{{]
{{{{{{{{{{{] {{{{{{{{{{{]
{{{{{{{{{{{] {{{{{{{{{{{]
Dia. 37 Dia. 38

Dia. 37. Black 1, the key point, is the way to put pressure
on White. White 2 only links up; it does no work; it has no
effect on Black; it is bad shape. This is the infamous `empty
triangle'.
Dia. 38. If White plays 1, Black raises no fuss about con-
necting at 2. White has to play 3 to keep from being cut, and
Black attacks in good formation with 4. His good shape and
White's bad shape make quite a contrast.

+++++++++++| +++++++++++|
{{{{{{{{{{{] {{{{{{{{{{{]
{{{{{{~`{{{] {{{{{{~`{{{]
{{`{{{~{`{{] {{`{1{~{`{{]
{{{{{{{{{{{] {{{{{{~{{{{]
{{{{~~`{`{{] {{{{~~`{`{{]
{{{{{`{{{{{] {{{{{``{{{{]
{{{{{{{{{{{] {{{{{{{{{{{]
{{{{{{{{{{{] {{{{{{{{{{{]
Dia. 39 Dia. 40

Dia. 39 and Dia. 40 are a kind of association test. Does

the sight of the former already suggest giving White bad
shape with Back 1 in the latter?

176
+++++++++++| +++++++++++|
{{{{{{{{~{{] {{{{{{{{~{{]
{{{{{{~{{`{] {{{{{{~{{`{]
{{`{{{{{`{{] {{`2468{`{{]
{{{{{{{{{{{] {{!#%&{{{{{]
{{~13{{{`{{] {{~``{{{`{{]
{{{@{{{{{{{] {{{~{{{{{{{]
{{{{{{{{{{{] {{{{{{{{{{{]
{{{{{{{{{{{] {{{{{{{{{{{]
Dia. 41 Dia. 42

Dia. 41. Black has attached at 1 and extended at 3. Where

should White play his next stone?
Dia. 42. White 1, from analogy with the joseki, is incor-
rect. Black pays 2, and if White pushes through' with 3 etc.,
Black gathers in an enormous profit. Amateurs, with white,
do this kind of think frequently.

+++++++++++| +++++++++++|
{{{{{{{{~{{] {{{{{{{{~{{]
{{{{{{~{{`{] {{{{{{~{{`{]
{}`{!{{{`{{] {}`{!{{{`{{]
{{{2{{{{{{{] {{'{{{{{{{{]
{{~``{{{`{{] {{~``{{{`{{]
{{{~{{{{{{{] {{"~{{{{{{{]
{{{{{{{{{{{] {{{{{{{{{{{]
{{{{{{{{{{{] {{{{{{{{{{{]
Dia. 43 Dia. 44

Dia. 43. This is correct. Black realizes that 2 makes bad

shape, but he cannot help it. If he omits it, he will be cut.
White is settled with good shape, Black is adrift with bad.
What this should suggest is -.
Dia. 44. White 1, with the triangled stones added.

177
+++++++++| +++++++++|
{{{{{{~{{] {{{{{{{6&]
{{{{{~`{{] {{{{~{!2%]
{{{{{1`{`] {{{{{{`#{]
{{{{{{{{{] {{{{{{4{{]
{{{{{{{{{] {{{{{{{{{]
Dia. 45 Dia. 46

Dia. 45. Here Black 1 is not an empty triangle. It makes

good, thick shape. Make sure you under stand the difference
clearly.
Dia. 46. White's crosscut at 1 and 3 is the bane of the
weaker player. Black 4 follows the saving: to `extend - from-
a-crosscuts' but White brashly picks a fight with 5 and 7.

++++++++7| +++++++^+|
{{{{{{1`~* {{{{{5$`~]
{{{{~@~`~] {{{{~3~`~]
{{{{{{`~3] {{{{7{`~@]
{{{{{{`$5] {{{{{{`1{]
{{{{{{{^{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
Dia. 47 Dia. 48
Dia. 47. Never one to shrink from a challenge, Black
flails out right and left with 1 to 5. `Napoleon and I have
erased the word - "sacrifice" from our dictionaries,' he pro-
claims as he slaps down Black 7. This is the wrong time to
invoke Napoleon. White 8 takes Black by surprise and leaves
him defenceless.
Dia. 48. Black 1 to 7 are a beautiful sacrifice manoeuvre,
one worth learning. Black 7 is their crowning glory, a ravish-
ing beauty of a move.

178
+++++++++++| +++++++++++|
{{{{{{{{!{{] {{{{{{{{~{{]
{{{Ý4{~{{2{] {{{{`{~{{`{]
{{}{{{{{`{{] {{}{{{{!`{{]
{{{{{{{{{{{] {{{{{{{{{{{]
{{{{{{{{{`{] {{{{{{{{{`{]
{{{{{{{{{{{] {{{{{{{{{{{]
{{{{{{{{{{{] {{{{{{{{{{{]
{{{{{{{{{{{] {{{{{{{{{{{]
Dia. 49 – # elsewhere Dia. 50

Dia. 49. After White 1 and Black 2, the joseki has White
extending to `a', but we cannot rule out cases where he omits
3. Black 4 is then a strong pincer attack.
Dia. 50. One of White's replies is the diagonal contact
play at 1. Where should Black play next?

+++++++++++| +++++++++++|
{{{{{{{{~{{] {{{{{{{{~{{]
{{{{`{~{1`{] {{{{`{~{$`{]
{{}{{{{~`{{] {{}{{{{~`5{]
{{{{{{{{{{{] {{{{1{{{@3{]
{{{{{{{{{`{] {{{{{{^{{`{]
{{{{{{{{{{{] {{{{{{{{{{{]
{{{{{{{{{{{] {{{{{{{{{{{]
{{{{{{{{{{{] {{{{{{{{{{{]
Dia. 51 Dia. 52

Dia. 51. Black 1 is correct. How can such bad shape be

correct?
Dia. 52. If Black takes the offensive with 1, White will
quickly reach good shape with 2 and 4. Black 1 in the previ-
ous diagram, a `bad-shape good move', wa7 played solely to
deny him this.

179
 CHAPTER 9

Proper and Improper Moves

180
 Proper and Improper Moves

A philosopher of the Meiji era once said that `Knowledge

without love is a hollow echo. The man to preach a sermon
about grain, and cattle is not a saint; but the farmer who loves
them.' If we professionals love go, we can bring our knowl-
edge to life and perhaps even inspire others. Keeping this in
mind, let us continue.

+++++++++++|
Dia. 1. Shortly after
{{{{{{{{{{{] becoming a professional in
{{{{{{{{`{{] the autumn of 1949, I
{{}~{{!{}~{] watched a game between
{{{{{{2Ý``{] high-ranking players in
{{{{{{{{{{{] which White approached
{{{{{{{{{{{] the upper right corner with
{{{{{{{{{{{] 1. I shall never forget
{{{{{{{{{{{] Black's response. He was
{{}{{{{{}`{]
taking his time thinking
{{{{{{{{{{{]
{{{{{{{{{{{] about it, so I started to
Dia. 1 think along with him.
Would he make the con-
tact play at 2 or would he play more solidly at `a'? I was sure
it would be one of these two moves, but I was wrong. The
reader should ask himself where he would have played Black
2. This problem may be easiest for a beginner.

181
 +++++++++++|
{{{{{{{{{{{]
{{{{{{{{`{{]
{{}~{{~{1"{]
{{{{{{{{``{]
{{{{{{{{{{{]
{{{{{{{{{{{]
{{{{{{{{{{{]
{{{{{{{{{{{]
{{}{{{{{}`{]
{{{{{{{{{{{]
{{{{{{{{{{{]
Dia. 2

Dia. 2. Black connected tightly at 1. This was the move

that kept White's triangled stone most safely immobilized but
at the time it had me muttering to myself. 'What lukewarm
professionals there are in this world! How can anyone expect
to win, a hard-fought game with such a sluggish move as 1?
So this is a high-ranking professional!'
A few years later practically the same position occurred
in another game I was watching and a different professional
played the same connection at Black 1. That was when it
dawned on me that his was exactly the kind of quiet, beauti-
ful move that professionals are so fond of. Black 1 was the
proper move. Solid and firm, there was no way it could turn
sour later, so next Black could fight to the limit against
White's thin position on the side. You have to walk before
you can run. Black 1 was a walking move. I blushed inwardly
to recall the ignorant thoughts that had gone through my
mind before, when I had not realized the true worth of Black 1.
To see how much sense you have of what constitutes a
proper move, try the following ten problems. Treat them as if

182
they were a test; write your answers down on a separate piece
of paper before looking at the correct answers that begin on
page 186. The answer to each problem is one move, and re-
member that it should be a proper move, not some half-baked
substitute.

++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{```] {{{{{){$@*]
{}`{{Ý~`~`] {}{{{{5`3^]
{{{{ß{`~~~] {{{{{{{{97]
{{{{‹{`~{{] {{{{{{{{~{]
{{{{{Ó~~{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{1{{]
{}{{{{{}{{] {}{{{{{}{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 3 Dia. 4

Problem 1
Dia. 3. Black to play. Which is the proper move: `a', `b',
`c', or `d'?

Problem 2
Dia. 4. Black 1 to White 10 are a joseki. Where should
Black play 11?
Dia. 5. (Next page) Choose from among `a', `b', `c', an d
`d'.
During these ten problems we are thinking about one cor-
ner in the opening, not inquiring about the middle or end
game.

183
 ++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{Ý!{{]
{{{{{~{~~~] {ß{{Ó{2`{{]
{}{{{ß```~] {‹{{{{{}{{]
{{{{‹{{{``] {{{{{{{{`{]
{{{{{{ÓÝ~{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{`{{] {{{{{{{{{{]
{}{{{{{}{{] {}{{{{{}{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia.5 Dia. 6
Problem 3
Dia. 6. White 1 is a standard probe at Black's corner en-
closure. Black 2 stresses the outside. The question is what
Black should do if White now plays elsewhere. Should he re-
strain White 1 with `a' or `b', or make a large extension to `c'
or `d'? The answer is one of these four moves.
Problem 4
Dia. 7. This is one of the josekis starting with a one-space
high approach. The question comes when White hanes at 14.
Dia. 8. Black to play: choose from among 'a' to 'e'.
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{1{{] {{{{{{{`{{]
{}{{{{5}{{] {}{{{{`}{{]
{{{{{q3@{{] {{{{{``~{{]
{{{{)7${{{] {{{Ó~`~{{{]
{{{{9*{^{{] {{‹{`~{~{{]
{{{{eW{{{{] {{á{`~{{{{]
{{{{R{{{{{] {{{ß~Ý{{{{]
{}{{{{{}{{] {}{{{{{}{{]
Dia. 7 Dia. 8

184
 ++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{~{`{{{{Ý{] {{{{{{{1{{]
{}{{{`ß`Ó{] {}{{57e}{{]
{{{{{‹!{{{] {{{*^$9W@{]
{{{{{{{{~{] {{{{{{)qtu]
{{{{{{{{{{] {{{{{{IRY{]
{{{{{{{{{{] {{{{{{{3{{]
{{{{{{{{{{] {{{{{{{{{{]
{}{{{{{~{{] {}{{{{{}{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 9 Dia. 10
Problem 5
Dia. 9. How should Black answer White's peep at 1?
Should he stress corner territory with `a' or `b', connect
tightly at `c', or resist with `d'?
Problem 6
Dia. 10. Black 1 to White 18 are one of the two-space
high pincer josekis. With 19 -
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{`{{] {~{`{~{{{{]
{}{{```}{{] {{{{`~{~{{]
{{{~~~`~~Ý] {ß{{Ý~{{{{]
{{{{{{~```] {{Ó{`{{{{{]
{{{{{{~~~Ó] {{{{{{{{{{]
{{{{{{{`ß‹] {{{{{{{{{{]
{{{{{{{{á{] {{{{{{{{{{]
{}{{{{{}{{] {}{{{{{}{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 11 Dia. 12
Dia. 11. Should Black play `a', taking gote in order to
capture White's two stones cleanly, or should he crawl out
with `b', White `c', Black `d', White `e', taking sente in order
to turn elsewhere?

185
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{`{{{{{]
{~{`"Ý{`{{] {{{{`~~~~~]
{}{`ß{{}{{] {}{{`Ý````]
{{{{{Ó{{`{] {{{‹Ó{{{{{]
{{{‹{{{{{{] {{{{ß{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 13 Dia. 14
Problem 7
Dia. 12. (last page) Black to play: `a', `b', or 'c'?
Problem 8
Dia. 13. Black to play. This position holds bad potential
for him unless he subdues White's marked stone. Should he
play `a', `b', `c', or `d'?
Problem 9
Dia. 14. Black to play: which of `a' to `d' is correct?
Problem 10

_+++++++++++++++++|
[{{{{{{{{{{{{{{{{{]
[{{~{{{~~`{~{{{`{{]
[{{}{{{`~`{{{{{}{{]
[{{~{{{{~`{Ý{{{`{{]
[{{{{{{{‹Ó{{{{{{{{]
[{{{{{{{{ß{{{{{{{{]
[{{{{{{{{{{{{{{{{{]
Dia. 15

Dia. 15. Black to play. Your chances are one in four.

186
 Answer to Problem 1
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{```] {{{{{{{```]
{}`5{{~`~`] {}'{{{~`~`]
{{{$13`~~~] {{{{Ó{`~~~]
{{{{@{`~{{] {{{{1ß`~{{]
{{{{{{~~{{] {{{{{Ý~~{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{}{{{{{}{{] {}{{{{{}{{]
Dia. 16 Dia. 17

Dia. 16. Black 1 may seem to make a nice, well-bal-

anced shape, but it does not. Call it an improper move. For
one thing, White can greatly limit Black's influence toward
the center by forcing him at 2 and 4.
Dia. 17. Black 1 is cut of balance with ', and White has
a contact tesuji at `b'. Black 1 at `a' would be the worst move
- sheer foolhardiness. White would cut at `c'.
Dia. 18. (next page) The proper move is to grip the white
stone with 1.

Answer to Problem 2
Dia. 19. Black 1 is correct. After clamping down on
White like this Black can aim for `b', or for a contact play at
`c'. Wait a moment - Black `a' would also be proper. I cannot
quickly decide which is better.
Black `d' and `e' both turn out badly if White p1ays `c'.
Readers who feel tempted to play Black `e' need especially to
be warmed. The idea may be to play it because it is sente, but

187
that does not prevent it from causing Black a loss. Anyone
who finds his hand itching to play Back `e' should remind
himself of this warning.
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{```] {{{Óß~{~~~]
{}`{{1~`~`] {}{{{á```~]
{{{{{{`~~~] {{{{‹{{{``]
{{{{{{`~{{] {{{{{{Ý1~{]
{{{{{{~~{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{`{{]
{}{{{{{}{{] {}{{{{{}{{]
Dia. 18 Dia. 19

Answer to Problem 3
Dia. 20. Black 1 is the proper move. After this Black can fight
to his heart's content on the upper side without having to look
behind him. Black 1 is a thick move.
Black `a' would be a half measure, leaving bad potential in the
corner.
+++++++++++|
{{{{{{{1~{{]
{{{{{Ý{``{{] Answer to Problem 4
{{{{{{{{}{{] The correct move was `b'.
{{{{{{{{{`{]
{{{{{{{{{{{] Answer to Problem 5
{{{{{{{{{{{] The correct move was `c'.
{{{{{{{{{{{]
{{{{{{{{{{{]
{{{{{{{{`{{]
{{{{{{{{{{{]
Dia. 20

188
 Answer to Problem 6
Dia. 21. Black 1 is the proper
++++++++++| move. Black would not take sente
{{{{{{{{{{] with `a', white `b', Black `c',
{{{{{{{`{{] White `d' unless there were an
{}{{```}{{]
{{{~~~`~~`] exceptionally good move some-
{{{{{{~```] where else, because the penalty
{{{{á{~~~Ý] for crawling along the line of de-
{{{{{{{`Óß] feat (the second line) while
{{{{{{{{‹{] White's wall grows mightier and
{}{{{{{}{{] mightier is very great. By playing
{{{{{{{{{{]
the proper move Black leaves
Dia. 21
White open at the bottom, and
can aim for `e' in the future. At any rate, he does not want to
thicken White's wall any further.
Answer to Problem 7
++++++++++| ++++++++++|
{{{${{{{{{] {{{{{{{{{{]
{~{`{~{{{{] {~{`{~{{{{]
{}3@`~{~{{] {}{{`~{~{{]
{{{{{~{{{{] {{{{1~{{{{]
{{1{`{{{{{] {{{{`{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 22 Dia. 23

Dia. 22. Black 1 makes a smart, light shape, but when the time
comes to attack the marked stone Black is handicapped by
White's linking combination at 2 and 4.
Dia. 23. Black 1 looks unimaginative, but it is the proper move.
The other choices are out of the question.

189
++++++++++| ++++++++++|
{{ÓÝ{ß{{{{] {{{{`~{{{{]
{~{`~{{`{{] {{{{`~~~~~]
{}{`1{{}{{] {}{{`1````]
{{{{{{{{`{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 24 Dia. 25
Answer to Problem 8
Dia. 24. Black 1 is the proper move. Without it White can count
on `a', Black `b', White `c' as being his sente and plot accord-
ingly.
Answer to Problem 9
Dia. 25. This is the proper move. The rest are all improper.
Answer to Problem 10
Dia. 26. Black 1 is the proper move. Actually, given just the
right arrangement of stones on the rest of the board Black `a'
might also be good, but then White could skip out to `b'. Black
1 at `c' would be too thin, and Black 'd' would invite disaster if
White cut at `a'.
_+++++++++++++++++|
[{{{{{{{{{{{{{{{{{]
[{{~{{{~~`{~{{{`{{]
[{{}{{{`~`{{{{{}{{]
[{{~{{{{~`{1{{{`{{]
[{{{{{{{‹Ý{{Ó{{{{{]
[{{{{{{{{ß{{{{{{{{]
[{{{{{{{{{{{{{{{{{]

Dia. 26

190
 There is an inseverable tie between proper moves and
professionalism. Liking the proper move is part of the profes-
sional's faithfulness to fundamentals. There are times, how-
ever, when the state of the game does not permit one to de-
fend at the proper point - when one must pull out all stops in
order to have any chance to win and cannot balk at playing
improper or amateurish moves. It would be foolish for any-
one, intoxicated at having learned proper moves and become
a little less amateurish, to lay down the law that proper moves
are always good and improper ones always bad.
In the end one can only rely on one's own strength and
experience to cope with specific positions, but that is not to
say that proper and improper moves should be lumped to-
gether. Middle and higher-level amateurs, who as they be-
come stronger try to get more out of their moves (this is one
sign of their awakening power), find it increasingly difficult
to make the proper move. They should recall the proper
moves they trade in their earlier days, look at them afresh,
and appreciate their true value.
The ten problems of this chapter were selected to illustrate
the difference between proper and improper moves, stressing
cases where the proper move was best. Hopefully by now the
reader has a working idea of what a proper move is.

191
 CHAPTER 10

Tesuji :

1. The Snap-Back
2. Shortage of Liberties
3. The Spiral Ladder
4. The Placement
5. The Attachment
6. Under the Stones

192
 The Nature of Tesuji

One often hears remarks like, `So-and-so is bound to get

stronger in the near future because he has a good sense of
tesuji.' Just what is a tesuji?
To equate tesujis with technique is neither exactly right
nor exactly wrong. It is true that anyone good at tesujis has a
bright future. That being the case, it will not do simply to
skim the surface of tesuji lore, and accordingly it will take a
fair number of pages to introduce the reader to just a few rep-
resentative types, while if justice were done to the subject
there would be enough material for an independent volume,
and more. In this brief space I will do my best to be concise
and stress the essentials.

The Snap-Back

Asked what a snap-back was, someone once described it

as the `brilliant-dawn tesuji. He was right. It is a tesuji. In
spite of that, as one becomes a little stronger one tends to re-
gard `snap-back' as merely an elementary technical term and
overlook its significance. We shall begin in our usual style by
reconsidering this basic tesuji that everyone knows.
Dia. 1. (next page) ! to r area well known pattern in
which White invades Black's large knight's-move enclosure.
r, firmly capturing the white stone and completing Black's
outward wall, is the proper move. At times, however, the game
does not grant Black leisure to play the proper move. This is a
fairly common occurrence. What can happen?

193
+++++++E++| +++++++~++|
{{{{{6%{{{] {{{{{`~{{{]
{{{{`84#!Q] {{{{```~~~]
{}{{{{&`2(] {}{{{{~``~]
{{{{{{r{{0] {{{{2{!{{`]
{{{{{{{{w{] {{{{{{{{`{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 1 Dia. 2
Dia. 2. White naturally goes into action with 1, and on
grounds of shape Black 2 also looks natural. Compare it with
letting White play 2. Actually, to chase White with Black 2 is
a great mistake, but both players fail to realize this.
Dia. 3. Jumping out to White 1 is almost a reflex action,
but Black 2 and 4 forestall White completely. Even the most
ardent flatterer could not say that white has made Black pay
for his triangled mistake. White should have looked at this
shape a little harder.
Dia. 4. The first move to occur to some people might be
White 1. Any such person can be assured that he has a very
poor sense of tesuji, and needs to study this chapter with ex-
tra attention. A poor sense of tesuji is not an incurable hered-
itary defect. Try going through this chapter slowly and see if
you do not surprise a few people with your improved style.
+++++++~++| +++++++~++|
{{{{{`~{{{] {{{{{`~{{{]
{{{{```~~~] {{{{```~~~]
{}{{{{~``~] {}{{{{~``~]
{{{{'{~{{`] {{{{`{~!{`]
{{{{{{#2`{] {{{{{{{{`{]
{{{{{{!{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{4{] {{{{{{{{{{]
Dia. 3 Dia. 4

194
+++++++~++| +++++++~++|
{{{{{`~{{{] {{{{{`~{{{]
{{{{```~~~] {{{{```~~~]
{}{{{{~``~] {}{{{{~``~]
{{{{`{~2!`] {{{{`{~{2`]
{{{{{{{#`{] {{{{{{{!`{]
{{{{{{{%{{] {{{{{{ÓÝ{{]
{{{{{{{{6{] {{{{{{{{#{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{}{{] {{{{{{{}{{]
Dia. 5 — 4 connects Dia. 6

Dia. 5. Those who immediately think of playing White 1

and 3 and squeezing Black into a lump have a better sense of
tesuji, but they should look ahead before they start this se-
quence. It ends in much the same way as Dia. 3. Even this
squeezing tesuji can at times be a sign of carelessness.

Dia. 6. White's diagonal contact play at 1, which

threatens a snap-back, is the best move. When Black con-
nects at 2, White subtly traps him with 3. Black has had it. If
he continues at `a' White holds him back with `b', and
however he plays, he cannot escape the tragedy of being cap-
tured, at least not without the help of some very bad mistake
on White's part.

Dia. 7. (next page) It is striking to see how great a change

moving White 1 back to the booby-point makes. Compare
Dias. 6 and 7, study the difference between them, arouse
yourself, and correct such mistakes in your own games. Make
those colleagues of yours who view you as a hopeless case
change their opinions.

195
+++++++~++| +++++++~++|
{{{{{`~{{{] {{{{{`~{{{]
{{{{```~~~] {{{{```~~~]
{}{{{{~``~] {}4{{{~``~]
{{{{`{~!2`] {{{{#{!{{`]
{{{{{{{{`{] {{{{{{Ý2`{]
{{{{{{#{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{4{] {{{{{{{{{{]
{{{{{{{}{{] {{{{{{{}{{]
Dia. 7 Dia. 8
Dia. 8. To go back to the beginning, when White plays 1
Black absolutely must align himself at 2. The enemy's key
point is your own. An amateur would think of Black 2 as un-
imaginative and inefficient. Those who are forever trying to
play efficiently place their stones as far apart as they can.
That is one reason they miss so many key points.
There are times when Black 2 at 'a' is a strong move, but
if Black plays `a' here, what will he do about White 2? After
White 3 the course of the fight depends on the surrounding
conditions, but the moves up to 3 are absolute.
+++++++++| This shape does not just
{{{{{{{{{] occur here. It also crops up in a
{{{{~``{{]
3-4-point joseki.
}{{~%~218]
{{{{{4#!6]
{{{w{0{{&] Dia. 9. White 11 is the
{{{{{{Q({] same move again. This shape
{{{{{{{{{] can also be found in the middle
{{{{{{{{{] and end game, and not just in
}{{{{{}{{] the corner.
Dia. 9

196
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{`{``~~]
{{{{{{```{] {{``{{`~{{]
{}{{{{{~~`] {}~{~~`~~~]
{{{{~~{{~`] {{{{~`{`{`]
{{{{{{{{~`] {{{{~`{{{{]
{{{{~{{{`{] {{{{~~~``{]
{{{{{{{`{{] {{{{{{{~``]
{{{{{{{{{{] {{{{{{{~~~]
{}{{{{{}{{] {{{{{{{}{{]
Dia. 10 Dia. 11
Problem 1
Dia. 10. Black to play and capture the four white stones.
Presented as a problem, this is not at all difficult. I dare say
everyone will get the right answer easily. Would it be so easy,
however, in actual play? It is strange how many people cannot
solve in actual play what they can solve in problem form.
Problem 2
Dia. 11. White to play, split Black apart, and capture several of
his stones on the right side.
Answer to Problem 1
Dia. 12. (wrong) Is 1 all Black can think of? Try a little harder.
Dia. 13. (right) If he goes all the way in to 1, Black has a beauti-
ful snap-back. No matter how White shifts 2 around, Black cap-
tures him. Verify this.
Answer to Problem 2
Dia. 14. (wrong) White plays 1 and 3 and accomplishes
nothing. He can move 3 to 4, but that is still a poor excuse for
a tesuji.
Dia. 15. (right) White 1 is the tesuji. Threatening 'a' and
`b' (`b' is the snap-back), it leaves Black unable to defend
both places. Brilliant!
The lesson to be learned from these two problems is that
tesujis do not come from just slogging laboriously ahead, one

197
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{```{] {{{{{{```{]
{}{{{{1~~`] {}{{{3@~~`]
{{{{~~@$~`] {{{{~~1{~`]
{{{{{{{3~`] {{{{{{$5~`]
{{{{~{{{`{] {{{{~{{{`{]
{{{{{{{`{{] {{{{{{{`{{]
{{{{{{{{{{] {{{{{{{{{{]
{}{{{{{}{{]
++++++++++| {}{{{{{}{{]
++++++++++|
Dia. 12 Dia. 13
{{{{`{``~~] {{{{`{``~~]
{{``{{`~{{] {{``{{`~{{]
{}~{~~`~~~] {}~{~~`~~~]
{{{{~`{`{`] {{{{~`Ó`Ý`]
{{{{~`{{{{] {{{{~`{!{{]
{{{{~~~``{] {{{{~~~``{]
{{{{{{{~``] {{{{{{{~``]
{{{{{{{~~~] {{{{{{{~~~]
{{{{{{{}{{] {{{{{{{}{{]
Dia. 14 Dia. 15

stone in front of the next. What is needed is the ability to

scent tesujis at points like Black and White 1 in Dias. 13 and
15, and the boldness to advance to these at first dangerous-
looking posts. Of course spotting the first move is not enough
- you must read out the continuation - but you have to get so
that the first move flashes into your mind instantaneously.
Otherwise, your game will always remain crude and unre-
fined.
How can one learn to see tesujis in a flash like this? The
only way is to immerse oneself in the literature on the sub-
ject. Keep studying until it sinks in. Keep watching for tesu-
jis, and in time even the most dazzling ones will become sec-
ond nature.

198
 You must not, however, let your tesujis get ahead of you.
If you do not read out the continuation, there may not be a
continuation. When that begins to happen, you may be better
off going back to the primitive moves which you understood.
You really know a tesuji when you can see it instantly and
read out its continuation as well. Superficial imitation does
not work. Now for some more snap-back problems.
++++++++++| +++++`~~++|
{{{{{```{{] {{{{`{`~{~]
{{{``~~~``] {{{{{{``~{]
{}{`~{{}~`] {}{{{{{}`~~
{{{`~{{{~~] {{{{{{{{``~
{{`~{{{{{{] {{{{{{{{{``
{{`~{{~{~{] {{{{{{{{{{]
{{{`~{{{{{] {{{{{{{{{{]
{{{{~{{{{{] {{{{{{{{{{]
{}{{{{{}{{] {}{{{{{}{{]
Dia. 16 Dia. 17

Problem 3
Dia. 16. Black to play inside White's territory. If you get
stuck on this one; heaven help you on the rest.
Problem 4
Dia. 17. Black to play and kill White. One glance should
be enough.
Problem 5
Dia. 18. (next page) Black to play and kill White. He has a
surprising move that kills the whole white group, but perhaps
`surprising' is an exaggeration. The problem is not that hard.
Problem 6

199
++++++++++| ++`~~+++++|
{{{`~~~{{~] {`{`~`~{`~]
{{{````~~`] {{{``~``{~]
{}{{{{{``~~ {}{{{~`~~{]
{{{{{{{{{`` {{{`{~~`~{]
{{{{{{{{{{] {{{{`{``{{]
{{{{{{{{{{] {{{{{{{{{~]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{}{{{{{}{{] {}{{{{{}{{]
Dia. 18 Dia. 19
Dia. 19. Black to play and capture the eight white stones
to the left. If you solved the last problem, this one will not
detain you.
Problem 7
Dia. 20. Black to play. There is plenty he can do inside
White's territory. There is nothing difficult about it, either.
This problem could even be called easy.
++++++++++| ++++++++++|
{{{{{~~``{] {{{{{{{```]
{{~{{``~`{] {``````~~~`
{}{{{~~~`{] {}~~~~~~{`]
{{~{{{{~`{] {{{{{{{{{~Ý
{{{{{{`~`{] {{{{{{{{{ßÓ
{{{~{{~``{] {{~{{{{{{{]
{{{{{{{~``] {{{{{{{{{{]
{{{{~{~{~~] {{~{~{~{~{]
{}{{{{{}{{] {}{{{{{}{{]
Dia. 20 Dia. 21
Problem 8
Dia. 21. Black to play. He has a strong endgame move.
The answer involves a ko, but not Black 'a', White 'b', Black
`c', If Black plays 'a', White will reply at 'c'.
Answer to Problem 3

200
++++++++++| +++++`~~+1|
{{{{{```{{] {{{{`{`~@~3
{{{``~~~``] {{{{{{``~$]
{}{`~3ßÓ~`] {}{{{{{}`~~
{{{`~$5{~~] {{{{{{{{``~
{{`~1Ý{{{{] {{{{{{{{{``
{{`~@{~{~{] {{{{{{{{{{]
{{{`~{{{{{] {{{{{{{{{{]
{{{{~{{{{{] {{{{{{{{{{]
{}{{{{{}{{] {}{{{{{}{{]
Dia. 22 Dia. 23
Dia. 22. If White answers Black 5 at `a', Black has a
snap-back at `b', while if White plays `c' instead, Black `a'
finds him unable to connect.
Answer to Problem 4
Dia. 23. Black l and 3 give White the dead form of bent
four in the corner. Don't mistake this for a seki. Black can ig-
nore 4 and White is still dead.
+++++++3++| ++`~~Ý1+++|
{{{`~~~{@~1 {`{`~`~{`~]
{{{````~~`Ý {{{``~``{~]
{}{{{{{``~~ {}{{{~`~~{]
{{{{{{{{{`` {{{`{~~`~{]
{{{{{{{{{{] {{{{`{``{{]
{{{{{{{{{{] {{{{{{{{{~]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{}{{{{{}{{] {}{{{{{}{{]
Dia. 24 Dia. 25
Answer to Problem 5
Dia. 24. Black advances to 1. If White connects at 2, Black 3
kills him. If Black hastily plays 1 at 'a', White plays 1 and lives.

Answer to Problem 6

201
 Dia. 25. Black 1 is the move, and there is nothing more to
say. This tesuji seems to be hard to find in actual play,
however. Most amateurs would play Black `a'.
Answer to Problem 7
Dia. 26. Black 1 to 9 are a disaster for White. He should
play 2 at 5, or play 4 at `a' and fight a ko, but either result is
still a success for Black.

++++++++++| ++++++++++|
{{{{@~~``{] {{{{{{{```]
{{~{1``~`{] {``````~~~`
{}{{5~~~`{] {}~~~~~~@`]
{{~{7^{~`{] {{{{{{{{Ý~3
{{{{9*`~`{] {{{{{{{{{1Ó
{{{~{3~``{] {{~{{{{{{{]
{{{{{Ý$~``] {{{{{{{{{{]
{{{{~{~{~~] {{~{~{~{~{]
{}{{{{{}{{] {}{{{{{}{{]
Dia. 26 Dia. 27

Answer to Problem 8

Dia. 27. The clamp at Black 1 is correct. White 2 and

Black 3 form a ko. The mistake everyone makes two or three
times is to play White 2 at 3, followed by Black `a', White 2,
Black `b' and a snap-back.

202
 Shortage of Liberties

In Japanese this is sometimes called the `ton-ton' or the

'bata-bats' tesuji, Beginners learn it easily, but that is no ex-
cuse for stronger players to ignore it. It has some advanced
applications, and even high-ranking players will find it mean-
ingful to read this section.
+++++~++++| ++++@~1+++|
{`~~~`~~~{] {`~~~`~~~{]
{````````~] {````````~]
{}{{{{{{~~] {}{{{{{{~~]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{~{] {{{{{{{{~{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 1 Dia. 2

Dia. 1. Black to play - can he capture the three white

stones? This problem is the most elementary of the element-
ary, yet carelessness can lead to failure. There is no substitute
for being careful.
Dia. 2. Black throws in a stone at 1. White connects at 2.
Black lets out a cry, but it is too late. This is where arguments
start. 'Let me take it back.' `Take it back? Don't try to be
funny.' The fault is always with the side that wants to retract
its move.
How is it that people make careless mistakes like Black 1
which are so easy to avoid? They become overconfident -
`How can I miss?' Therein lie unexpected pitfalls. They make
snap judgments - `Throw in Black 1 and White is captured.'
They don't bother to think carefully. There is a saying that a
lion gives its all when chasing even a rabbit.

203
 +5+@1~3$++|
{`~~~`~~~Ý]
{````````~]
{}{{{{{{~~]
{{{{{{{{{{]
{{{{{{{{{{]
{{{{{{{{~{]
{{{{{{{{{{]
Dia. 3

Dia. 3. First Black throws in 1, then 3, then he patiently

descends to 5 and White is caught. This is the correct answer.
For reference for beginners, White cannot connect because of
Black `a'.
Dia. 4. Black is to rescue his own stones by capturing
White's. He is completely trapped behind White's lines, but it
is too soon to abandon hope. He has a shortage-of liberties te-
suji.
Dia. 5. Failure: Black is not reading at all.

++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{{{~~~~~{{] {{{~~~~~{{$
{}{~````~~] {}{~````~~3
{{{{~{{```~ {{{{~{{```~
{{{{~{{`~~] {{{{~{{`~~@
{{{{{{~~`{] {{{{{{~~`15
{{{{{{{{`{] {{{{{{{{`{]
{{{{{{{{{{] {{{{{{{{{{]
{}{{{{{}{{] {}{{{{{}{{]
Dia. 4 Dia. 5
^ connects

204
 ++++++++++|
{{{{{{{{5^]
{{{~~~~~3$*
{}{~````~~7
{{{{~{{```~
{{{{~{{`~~@
{{{{{{~~`19
{{{{{{{{`{]
{{{{{{{{{{]
{}{{{{{}{{]
Dia. 6
Dia. 6. (correct) Black plays 1 to 9 and gives atari above
6 if White connects. Counting this connection and atari,
Black makes a clean sweep of White in eleven moves. Just
eleven moves - could you read them out ahead of time? If
not, you may as well not play Black 1. Don't give up - read!
'What - me read eleven moves ahead? How could I -' The
speaker is a 15-kyu. A 15-kyu? Even a 20-kyu can read this
much. A beginner who has barely learned the game can read
thirty or forty moves ahead in a ladder. The above sequence
is about as unbranched as one could ask - just the place to
start practicing. Read it; it won't read itself. Read it out, visu-
alize the final solution, and experience the pleasure of realiz-
ing that you can see eleven moves ahead. The confidence you
gain will boost you further.
You have already seen the answer, but turn back to Dia. 4
on the last page and practice reading these eleven moves
again. When you can see them, try reading out the succeeding
problems in the same way. Find the answers yourself before
you look at the answer diagrams.

205
 Advanced Problems

This time I have assembled some especially difficult

problems, contorted problems. They may be too hard for
some of my readers.
Problem 1 Problem 2
+++++~++++| ++++++++++|
{{{~~`~~~`] {{~``{``~~~
{~~`````~~` {{~~`{{~``]
{}{{{{{```` {}{{~{{~~`]
{{{{{{{{{{] {{{~{~{~`~]
{{{{{{{{{{] {{{{``````]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 7 Dia. 8
Black to play and capture not
Black to play. Can he capture just the three white stones in
the five white stones? the corner, but four more in
the centrer.

Problem 4
Problem 3 ++++++~~++|
++++++++~+| {~~{{~`~`{]
{~{~`{{``~] {~`{~{`~``]
{{{~`{{`~{] {}{``{``~`]
{}{~{``{~{] {{{{{{{{~{]
{{{{~~~~{{] {{{{{{`{~{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{~{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 9 Dia. 10
Can Black capture the four
Black to play and live. white stones?

206
 Answer to Problem 1

Dia. 11. Black's hane at 1 is wrong. White connects at 2

and that is it; Black cannot do anything.
+++++~@+1+| +++++~1@Ý35
{{{~~`~~~`] {{^~~`~~~`$
{~~`````~~` {~~`````~~`
{}{{{{{```` {}{{{{{````
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 11 Dia. 12

Dia. 12. Accordingly Black has to begin with the throw-

in at 1. You cannot expect to catch any fish unless you offer
them some bait. Black 1 is the bait, and White naturally snaps
it up with 2. The nice thing about go stones is that, unlike
fish, they cannot save themselves by refusing the bait. They
are like fish, however, in that if you offer them the wrong
bait you will never catch them.
Next Black methodically descends to 3. He expects White
to connect with 4 at 6, after which Black `a' will catch him
short of liberties, but he is thinking too fast. White counter-
punches at 4, and after 5 and 6 Black is startled to discover
that he is the one caught short of liberties.
This will not do. Black has a much better move for 3.
There are not many choices, so you should see it immediate-
ly, but it may lie in a blind spot.

207
 Dia. 13. (correct) Although it may be hard to discover,
Black 3 is the answer. White connects at 4 and Black 5 starts
a ko. `A ko? You mean Black can't capture White uncondi-
tionally?' If he can I'd like to know how.
+++++~1@5+3
{{$~~`~~~`]
{~~`````~~`
{}{{{{{````
{{{{{{{{{{]
{{{{{{{{{{]
{{{{{{{{{{]
{{{{{{{{{{]
{{{{{{{{{{]
Dia. 13

Answer to Problem 2
Dia. 14. 1 and 3 do not get Black anywhere. Such lack of
foresight amounts to criminal negligence. Black had better
mend his ways, or he will never improve.
Dia. 15. This is the same as the previous diagram.
'But look - I'm weak. Isn't it true that a litle learning is a
dangerous thing? Tesujis have no place in my game.' If that is
how you feel, you will never get stronger.
++++++++++| ++++++++++|
{{~``{``~~~ {{~``{``~~~
{{~~`{{~``] {{~~`{{~``]
{}{{~31~~`] {}{{~$@~~`]
{{{~$~@~`~] {{{~3~1~`~]
{{{{``````] {{{{``````]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 14 Dia. 15

208
++++++++++| Dia. 16. (correct) The flash
{{~``{``~~~ of insight comes at Black l, a
{{~~`{{~``] version of the clamping tesuji.
{}{{~1{~~`] The continuation up to White's
{{{~{~{~`~]
{{{{``````]
capture has to be read out too,
{{{{{{{{{{] but just to be able to think of a
{{{{{{{{{{] clever move like 1 should give
Dia. 16 one a feeling of pride. This
pattern appears from time to
time in actual play. Occasionally you should lay aside crass
moves like the ones in Dias. 14 and 15 and think of more el-
egant ones, like this. What is a tesuji? Black 1 gives the an-
swer.

Dia. 17. Now what about the continuation? White 2 etc.

are forced. Handing the enemy two stones with Black 5 is
what separates the novices from the experts.
Dia. 18. Continuing from the last diagram, Black 1 and 3
pick up the whole white bunch.

++++++++++| ++++++++++|
{{~``{``~~~ {{~``3``~~~
{{~~`@^~``] {{~~`~~~``]
{}{{~13~~`] {}{{~1@~~`]
{{{~5~$~`~] {{{~`~~~`~]
{{{{``````] {{{{``````]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 17 Dia. 18

209
 Answer to Problem 3

++++5$+3~+| ++++3+$5~9|
{~{~`^1``~] {~{~`1^``~]
{{{~`@{`~{] {{{~`{@`~{]
{}{~7``*~{] {}{~*``7~{]
{{{{~~~~{{] {{{{~~~~{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 19 Dia. 20

Dia. 19. Black 1 is a failure. The result through White 8

may look like a seki, but Black is dead.
Dia. 20. This is the right Black 1, but the continuation is
wrong and Black dies again, a victim of shallow reading.

++++39$^~7* ++++@5$^~7|
{~{~`15``~] {~{~`1{``~]
{{{~`{@`~{] {{{~`{3`~{]
{}{~{``{~{] {}{~{``{~{]
{{{{~~~~{{] {{{{~~~~{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 21 Dia. 22

Dia. 21. (correct) This sequence differs from the last at

Black 5. To avoid failure Black must discard the dogma that
he cannot let White connect and switch to the idea of letting
him connect (at 6), then trapping him with the next move.
Black 7 dangles the bait, and White is caught. Capturing
three stones gives Black his second eye.
Dia. 22. This variation ends in the same way.

210
 ++++++~~5+| +++$+Ý~~5+|
{~~1$~`~`{] {~~1@~`~`{]
{~`@~3`~``] {~`3~{`~``]
{}{``{``~`] {}{``{``~`]
{{{{{{{{~{] {{{{{{{{~{]
{{{{{{`{~{] {{{{{{`{~{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{~{] {{{{{{{{~{]
Dia. 23 Dia. 24
Answer to Problem 4
Dia. 23. Black descends upon his foe with the have at 1.
White 2 means sudden death at Black 5.
Dia. 24. If White plays 2 here he loses again. Note that
Black does not play 5 at 'a'. That would be a tragic slip.
Dia. 25. This White 2 also ends in a shortage of liberties.
At this point I thought Black had won, but -
Dia. 26. White can save himself by connecting at 2. If
Black plays 3 at 4, White links up with `a'. The answer is that
Black cannot capture White. Pardon my boner.
+++5@$~~3+| +++Ý3@~~++|
{~~1{~`~`{] {~~1$~`~`{]
{~`^~7`~``] {~`{~{`~``]
{}{``{``~`] {}{``{``~`]
{{{{{{{{~{] {{{{{{{{~{]
{{{{{{`{~{] {{{{{{`{~{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{~{] {{{{{{{{~{]
Dia. 25 Dia. 26

211
 The Spiral Ladder

A baby's attention can be distracted by dangling a spin-

ning object in front of its eyes. Using the same trick to crush
an opponent is one of the pleasures of go that even a beginner
can enjoy. Here is one example of the technique. Learn the
rest from the problems. Once you solve the first, the others
will follow effortlessly in the same way.

++++++++++| ++++++++++|
{{{{{`~~{{] {{{{{`~~{{]
{{{{```~~~] {{{{```~~~]
{}{{{@~``~] {}{{6~~``~]
{{{{3{1{{`] {{{{`#`!2`]
{{{{{{{{`{] {{{{{4%{`{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{}{{{{{}{{] {}{{{{{}{{]

Dia. 1 Dia. 2

Dia. 1. Black 1 and 3 capture White. Proof?

Dia. 2. White tries to get out at 3 after giving atari at 1,
but this is the chance Black was waiting for. Black 4 is the
squeezing play that is the secret of the spiral ladder, and
Black 6 apprehends the would-be runaway. As with the short-
age-of-liberties tesuji, if Black is unwilling to part with one
stone in bait, the big fish gets away and he is denied the use
of the tesuji.

212
 Problem 1 Problem 2
++++++++++| ++++++++++|
{{{{{{~{{{] {{{{{{{{{{]
{{{`{`~{{{] {{`{{{~{{{]
{}{{{``~~~] {}{{{{{~{{]
{{{{{{"``~] {{{`{`{`~{]
{{{{{{{{{{] {{{{{{{`~{]
{{{{{{{{`{] {{{{`{{~`{]
{{{{{{{{{{] {{{{{~{~`{]
{{{{{{{{{{] {{{`{{{{`{]
{{{{{{{{{{] {}{{`{`}{{]
{}{{{{{}{{] {{{{{{{{{{]
Dia. 3 Dia. 4
White to play. His three sur-
Black to play and capture the rounded stones seem to have
marked cutting stone. no way to save themselves, but
Hint: This is a straightforward close inspection should reveal
application of the example. a crack in Black's position.

Problem 3
++++++++~+|
{{{{{{`~{{]
{{{{{```~~] Dia. 5. Black to play and
{}{{{{""`{] capture the marked cutting
{{{{`{{{`{] stones. Plodding and slogging
{{{{{{~{{{]
will just get one mired down,
{{{{{{{{`{]
{{{{{{{~`{] but the tesuji makes this an easy
{{{{{{{~`{] problem.
{}{{{{{}{{]
Dia. 5

213
 Problem 4
++++++++++| Dia. 6. Black to play and
{{{{{{`~~{] capture the marked stone. In this
{{{{{{``~{] type of fight it is easy to lose
{}{~{ß~`~{~
{{{{{{Ý"`~]
sigh of which are the important
{{{~{{{Ó``] stones and which the unimport-
{{{{{{{{{{] ant ones. The marked stone is
{{{{{{{{{{] the key stone that cuts Black in
{{{{{{{{`{] two, so he is safe if he captures
{}{{{{{}{{] it. Don't be satisfied with Black
Dia. 6 `a', White `b', Black `c'.

Problem 5 Problem 6
++++++++++| ++++++++++|
{{{{{{{{~{] {{{{{{{{~{]
{{{{{{~~{{] {{~~``{`~{]
{}{{{{``~~] {}{{{{{~`~]
{{{{{{`"``] {{~{{{{~`~]
{{{{{~{""`] {{{{{{~``~]
{{{{{{{{`{] {{{{{{{~`{]
{{{{{{{{{{] {{{{{{{{`{]
{{{{{~{{`{] {{{{{{{~{{]
{{{{{{{~~~] {}{{{{{}{{]
{}{{{{{}{{] {{{{{{{{{{]
Dia. 8
Dia. 7 Black to play. He has suc-
ceeded if he can link all his
Black to play and capture the forces together. At first it is
three marked stones. hard to see where to focus, so
read the sequence out slowly
and surely.

214
 Answer to Problem 1
++++++++++|
{{{{{{~{{{]
{{{`{`~{{{]
{}{{{``~~~] Dia. 9. Black's attempted con-
{{{{{{~``~] tainment at 1 is a quick failure.
{{{{{1@{${] White 2, Black 3, White 4, and
{{{{{{3{`{] Black is captured.
{{{{{{{{{{]
{{{{{{{{{{]
{{{{{{{{{{]
{}{{{{{}{{]

++++++++++| ++++++++++|
{{{{{{~{{{] {{{{{{~{{{]
{{{`7`~{{{] {{{```~{{{]
{}{{^``~~~] {}{3~``~~~]
{{{5$@~``~] {{{`~~~``~]
{{{{3)1*9{] {{{{`~`~`{]
{{{{{{{{`{] {{{{{1@{`{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 10 Dia. 11

Dia. 10. (correct) The correct sequence combines a net

and a ladder, the two basic methods of capturing stones, into
a simple march to victory. (Playing 3 at 4 and starting an or-
dinary ladder is not as good, even if the ladder works. White
should be captured locally.) After White 10 —
Dia. 11. Black 1 and 3 finish the job. Try this type of cap-
turing sequence in your own games - it will double your
pleasure.

215
 Answer to Problem 2
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{{{{{]
{{`{{{~{{{] {{`{{{~{{{]
{}{{6{{~{{] {}{{{{#~{{]
{{{`%`2`~{] {{{`{`!`~{]
{{{4#!{`~{] {{{{{42`~{]
{{{{`{{~`{] {{{{`{{~`{]
{{{{{~{~`{] {{{{{~{~`{]
{{{`{{{{`{] {{{`{{{{{{]
{}{{`{`}{{] {}{{`{`}{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 12 Dia. 13
Dia. 12. Random moves like White 1 that just look like
tesujis lead nowhere. With Black 6, White has failed.
Dia. 13. After seeing the right point at 1, it would be
blindness for White to connect at 3 because he is in atari.

++++++++++| Dia. 14. (correct) White

{{{UyE{{{{] cuts with I and 3 and squeezes
{{`Trw~{{{] his way out in the forced se-
{}{{Q06~{{] quence shown, a brilliant es-
{{{`(`!`~{] cape. At least once, try to read a
{{{{{#2`~{] sequence like this all the way
{{{{`%4~`{]
{{{{{~&~`{]
out. Feel the satisfaction and
{{{`{{{{`{] joy of doing it.
{}{{`{`}{{]
{{{{{{{{{{] Joy=confidence=improvement.
Dia. 14
* connects

216
++++++++~+| Answer to Problem 3
{{{{{{`~{{]
{{{{{```~~] Dia. 15. (correct) There is
{}{{3@~~`{] nowhere to strike but at Black 1.
{{{{`$1^`{] The problem lies in reading the
{{{{{5~7{{] continuation, but White 2 makes
{{{{{{{{`{]
it easy. Everyone should know
{{{{{{{~`{]
{{{{{{{~`{] the crane's-nest pattern up
{}{{{{{}{{] though Black 7.
Dia. 15
Dia. 16. The question comes
when White plays 2 here. Black
squeezes him into a lump with 3 to 8, but if he goes back to
connect at 9 because the ladder is off, White escapes with 10.
Black must be more tenacious.
++++++++~+| ++++++++~+|
{{{{{{`~{{] {{{{{{`~{{]
{{{{{```~~] {{{{{```~~]
{}{{{5~~`{] {}{{{`~~`{]
{{{{`$1@`{] {{{{`~~~`{]
{{{{)*~3{{] {{{{7~~`3{]
{{{{{{79`{] {{{{1$`@`{]
{{{{{{{~`{] {{{{R5^~`{]
{{{{{{{~`{] {{{{eW)~`{]
{}{{{{{}{{] {}{{{qt9{{]
Dia. 16 — ^ connects {{{{{{{{{{]
Dia. 17— * connects

Dia. 17. He nets White with 1, holds him tight, and spins
him around through 15. The pleasure is almost too great to
bear. The whole sequence is twenty-three moves long but un-
branched. Look back at the problem diagram and practice
reading it again.

217
++++++++++| ++++++++++|
{{7{{{`~~{] {{{{{{`~~{]
{{{{5{``~{] {{{{{{``~{]
{}{~{1~`~{~ {}{~{{~`~{~
{{{{{3@"`~] {{{{{{1~`~]
{{{~{^${``] {{{~{5$@``]
{{{{{{{{{{] {{{{9*^3{{]
{{{{{{{{{{] {{{{{)7{{{]
{{{{{{{{`{] {{{{{{{{`{]
{}{{{{{}{{] {}{{{{{}{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 18 Dia. 19

Answer to Problem 4
Dia. 18. Making White connect the worthless stone to the
important one and thus make it heavy is basically a good
idea, but here Black has a way to capture the important stone
(the marked one), so anything less fails.
Dia. 19. Black is making a mistake in trying to chase
White in a ladder. Look out, Black, the ladder's falling!
If he keeps this up, even a be-
ginner can see that he is going
++++++++++| to crumble.
{{{aPu`~~{]
{{{oIY``~{]
{}{~tR~`~{~ Dia 20. (correct) Black plays 1
{{{{e)1~`~] and 3 and squeezes, capturing
{{{~{9*@``] White in a spiral ladder. Read
{{{{{{3$^7] accurately up to Black 21. Just
{{{{{{{5q{] muddling your way through this
{{{{{{{{`{] sequence is not good enough.
{}{{{{{}{{]
Dia. 20 — W connects

218
 Answer to Problem 5

++++++++++| ++++++++++|
{{{{{{{{~{] {{{{{{{{~{]
{{{{{{~~{{] {{{{{{~~{{]
{}{{{{``~~] {}{{{{``~~]
{{{{{{`~``] {{{{{{`~``]
{{{{{~1~~`] {{{{{~1~~`]
{{{{{{3@`{] {{{{{{7@`$]
{{{{{{{${{] {{{{{{35^{]
{{{{{~{{`{] {{{{{~{{`{]
{{{{{{{~~~] {{{{{{{~~~]
{}{{{{{}{{] {}{{{{{}{{]
Dia. 21 Dia. 22
Dia. 21. It is too late to stop and think after playing.
Black 1 and 3. Most people would get this far, then wail, 'Oh
dear!' Why can't they learn to think ahead?
Dia. 22. (correct) If White meets Black 1 and 3 with 4,
Black squeezes and captures him with 5 and 7.

++++++++++|
{{{{{{{{~{] Dia. 23. If White runs out at 4,
{{{{{{~~{{] Black 5 to 9 trap him in a giant
{}{{{{``~~] crane's-nest pattern.
{{{{{{`~``] The spiral-ladder tesuji takes
{{{{{~1~~`] the opponent's stones, rolls
{{{{{{9@`*] them up into a mass, and
{{{{{{3$^7] squeezes the life out of them.
{{{{{~{5`{]
Does the reader see?
{{{{{{{~~~]
{}{{{{{}{{]
Dia. 23

219
++++++++++| Answer to Problem 6
{{{{{{{{~{]
{{~~``5`~{] Dia. 24. Black has to cut at 1;
{}{{R3@~`~] but if he squeezes too quickly
{{~W7$1~`~] with 3 he fails. All he is doing
{{{q*)~``~] is going through a squeezing
{{{{et9~`{] drill. His group on the upper
{{{{{{{{`{]
side is dead as a wooden clog.
{{{{{{{~{{]
{}{{{{{}{{]
{{{{{{{{{{] Dia. 25. Black plays 1 and 3,
Dia.24 — ^andYconnects then squeezes with 5 and 7 -
end of stage one. Shifting his
sights to White's triangled stone, he plays 9, but White es-
capes with 10 and 12. Stage two – failure.
++++++++++| ++++++++++|
{{{{{{5^~{] {{{{{{`~~{]
{{~~``$`~{] {{~~``~~~{]
{}{{{7@~`~] {}{{q`~~`~]
{{~{{31~`~] {{~7^``~`~]
{{{{q)"``~] {{{5$@~``~]
{{{{{W{~`{] {{{{3*1~`{]
{{{{{{{9`{] {{{{{9)R`{]
{{{{{{{~{{] {{{{{{e~{{]
{}{{{{{}{{] {}{{{{{t{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 25 — * connects Dia. 26 — W connects

Dia. 26. (correct) Black 1 and 3 are the spiral-ladder te-

suji, and look at the way Black chases White next. Did you
read this far from the problem diagram? All these problems
followed the same principle. The question was one simply of
reading ability.

220
 The Placement

Dia. 1. Black to play and kill White. It hardly seems reas-

onable that a white group like this, with seven or eight points
of territory, should die, but such things can happen. Without
a feeling for tesujis Black would not know where to begin,
but if he knows the placement tesuji, he can bring White to
his knees with one stroke.
This is an elementary problem. If it confuses the reader,
that only shows that he does not understand the placement
tesuji.
+++++~++++| +++++~5^+7|
{{{`{`~~~{] {{{`{`~~~@1
{{{{{`{`~{] {{{{{`{`~$]
{}{{{{{``~~ {}{{{{{``~~
{{{{{`{{{`] {{{{{`{{{`3
{{{{{{{{`{] {{{{{{{{`{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{}{{{{{}{{] {}{{{{{}{{]
Dia. 1 Dia. 2

Dia. 2. Black 1 is the placement tesuji. No other move

will kill White. The result at Black 7 is a dead bent four in
the corner. If White plays 2 at 4, then Black 5, White 6,
Black 7 accomplishes the same thing. Once Black plays 1,
White has no defence.
Dia. 3. Black to play. Agreed, this time White's group is
just too big to be killed, but what many amateurs would do is
the following.

221
++++++++++| +735^+++++|
{`~{{{{{{~] {`~1${{{{~]
{`~{{{{~~`] {`~@{{{~~`]
{``~~~~```] {``~~~~```]
{{{````{{{] {{{````{{{]
{{{{{{{`{{] {{{{{{{`{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 3 Dia. 4

Dia. 4. Clamping at Black 1, do they see the cut at 2 and

link-up at 3 as miai, or are they mistaking Black l. for an en-
dgame tesuji? Not much of a tesuji this, that leaves Black in
gote.
Dia. 5. The hane at 1 is better endgame play, and now
Black ends in sente, but he should feel disappointed at not
having done more.
Dia. 6. A strong player might say to himself, `There's no
way White can die, but I’ll try a placement at 1 and see what
happens anyway.' White's group feels a sudden chill in its liver.
+9175^+++$| ++++++++++|
{`~*@{){{~3 {`~{1{{{{~]
{`~{{{{~~`] {`~{{{{~~`]
{``~~~~```] {``~~~~```]
{{{````{{{] {{{````{{{]
{{{{{{{`{{] {{{{{{{`{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 5 Dia. 6

222
++++q+++++| ++++2+++++|
{`~@1*$5^~] {`~~`{~`~~]
{`~)973~~`] {`~!{``~~`]
{``~~~~```] {``~~~~```]
{{{````{{{] {{{````{{{]
{{{{{{{`{{] {{{{{{{`{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 7 Dia. 8
Dia. 7. White 2 is the ordinary response, but Black has
sharp moves read out at 3 and 5. White cannot give atari
against Black 11 from either side, and loses eight stones.
Dia. 8. Therefore he tries simply connecting at 1, but the
end result is the same as when he played White 8 in Dia. 7.
++++++++++|
{`~{175{$~3
{`~@{{^~~`]
{``~~~~```]
{{{````{{{]
{{{{{{{`{{]
{{{{{{{{{{]
{{{{{{{{{{]
{{{{{{{{{{]
Dia. 9
Dia. 9. Let's let White change his original response at 2.
White 4 is painfully submissive, but even it may be an over-
play. After 7 the worst Black can get is a seki.
White may have other ways to answer, but Black 1 glares
balefully on the vital point within his territory. Once you
have this basic move down, you will be pleased at how often
it can be applied.

223
 ++++++++++|
{{{`~@1{35^
{{{`~{{{{$]
{}{{`~~~~{7
{{`{````~~]
{{{{{{{{``]
{{{{{{{{{{]
{{{{{{{{{{]
{{{{{{{{{{]
Dia. 10

Dia. 10. Previously you had been willing to grant White

large areas like this as territory, but now, knowing the place-
ment tesuji, you swoop in and rampage around with Black 1
and 3. Whether you succeed or not, you will have your op-
ponent frowning and wondering where you learned such
moves.
Dia. 11. Following the standard handicap opening of 1, 3,
and 5 the joseki runs from Black 6 to White 27. If Black now
descends to `a', white will live easily. That is how most
people would play, but there is a move here that will vex
White considerably. Can you find Black 28 and read out the
whole continuation?
_+++++++++++f++++J|
[{{{{{{{{{{sAGD{EhÝ
[{{{{{{{{{{{p!{Qw{]
[{{`{{#{{`{{6&{`r{]
[{{{{{{{{{{{8({{{{]
[{{4{{{{{%{yT0{2{{]
[{{{{{{{{{{OUi{{{{]
[{{{{{{{{{{{{{{{{{]
Dia. 11

224
 _+++++++++++`+$1@~|
[{{{{{{{{{{`~~~3~`]
[{{{{{{{{{{{`~{~`Ý]
[{{`{{~{{`{{`~Ó``{]
[{{{{{{{{{{{`~{{{{]
[{{`{{{{{~{`~`{`{{]
[{{{{{{{{{{~~`{{{{]
[{{{{{{{{{{{{{{{{{]
Dia. 12
Dia. 12. Black 1, the placement on the edge, is stagger-
ing. White has to play 2. Next he may think that he is alive
with either `a' or `b', but Black plays 3. Laughing something
about people who cannot recognize an atari, White captures
him with 4. Let him laugh all he wants; the last laugh will be
on the other side.
++++`+~@~~| ++++`+~+~~|
{{{`~~~1~`5 {{{`~~~1~`]
{{{{`~7~`$^ {{{{`~{~`{]
{`{{`~3``{] {`{{`~@``{]
{{{{`~{{{{] {{{{`~{{{{]
{~{`~`{`{{] {~{`~`{`{{]
{{{~~`{{{{] {{{~~`{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 13 Dia. 14
Dia. 13. Continuing, Black plays back in at 1, and if
White captures him with 2 his whole group dies up to 7. Now
who is laughing?
Dia. 14. The correct move is to play White 2 here and
battle it out in a ko, but the ko is completely one-sided in
Black's favour. He gladly lets White play two stones in a row
wherever he likes. White is aghast; he never dreamed Black
had a strong move like this.

225
 _+++++++++++++++++|
[{`{{{{{{{{{{{{{{{]
[~`{`{{`{~{`{2{`{{]
[{~`{{{{{ßÝ{{{{}{{]
[{~{{{{Ó{~‹!{{{`{{]
[{{{{{{{{âá{{{{{{{]
[{{{{{{{{{{{{{{{{{]
[{~{{{{{{{{{{{{{{{]
[{{{{{{{{{{{{{{{`{]
[{{}{{{{{}{{{{{}{{]
Dia. 15

Dia. 15. This is an even-game opening. Black stays low

in answering White's pivot at 1 because he is aiming toward
peeping at `a' and cutting. If White plays `b', for example,
Black will peep at `a' straight-away. Then comes White 'c',
Black `d', White `e', Black `f', and Black has a good fight go-
ing.
++++++++++++| ++++++++++++|
{{{{{{{{{{{{] {{{{{{{{{{{{]
{`{~!`{`{`{{] {`{~2`{`{`{{]
{{{{#2{{{}{{] {{{#{!{{{}{{]
{{{~{~{{{`{{] {{{~{~{{{`{{]
{{{{{{{{{{{{] {{{{{{{{{{{{]
{{{{{{{{{{{{] {{{{{{{{{{{{]
{{{{{{{{{{{{] {{{{{{{{{{{{]
{{{{{{{{{{`{] {{{{{{{{{{`{]
{{{}{{{{{}{{] {{{}{{{{{}{{]
Dia. 16 Dia. 17
Dia. 16. It is not very attractive for White to defend at 1,
the reason being that Black can trade 2 for 3, then turn else-
where in sente.
Dia. 17. Nor is this White 1 very attractive, for the same
reason. Well then, where should White play 1?

226
++++++++++++|
Dia. 18. White's placement++++++++++++|
at 1 is a clever probe to see
{{{{{4!{{{{{]
how Black responds. If he plays{{{{{2!{{{{{]
2, White can prevent Black
{`{~#`2`{`{{] {`{~{`4`{`{{]
`a' in sente with 3.
{{{{Ý{{{{}{{] {{{{Ý#{{{}{{]
Dia. 19. If Black plays 2 {{{~{~{{{`{{]
{{{~{~{{{`{{] here, again White can protect
{{{{{{{{{{{{] {{{{{{{{{{{{]
his weak point at `a' with 3 in sente. White 1 is a sacrifice.
{{{{{{{{{{{{]
White's placement at 1 is not {{{{{{{{{{{{]
always good. Sometimes it is,
{{{{{{{{{{{{] {{{{{{{{{{{{]
sometimes itDia.
is not.
18 The situation is like having
Dia. 19a runner on
first base with one out in baseball, where the batter is unsure
whether it would be better to sacrifice him to second and
have two out or to swing away.
+++++++++++++|
{8&({#!~{{{{{]
{{`%~2```{`{{]
{{064{{{{{}{{]
{{{{~{~{{{`{{]
{{{{{{{{{{{{{]
{{{{{{{{{{{{{]
{{{{{{{{{{{{{]
Dia. 20

Dia. 20. The reason White does not try to save his sacri-
fice stone, instead of playing 3 in Dia. 18, is that this is the
result. Black comes out far ahead.

227
+++++++++| +++++++++|
{{{{{{~{~] {{{{~````~
{{{{{{{~`] {{{{~`{`~]
}{~{~~}{`] }{{{~`}Ý~]
{{{{~```{] {{{{~`Ó~{]
{{{``~~Ýá] {{{{~`{{{]
{{{{{`Ó~ß] {{{{~`{~{]
{{{{`{{{‹] {{{{~{~{{]
{{{{{{{~{] {{{{{{{~{]
}{{{{{}{{] }{{{{{}{{]
{{{{{{{~{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
Dia. 21 Dia. 22
Problem 1
Dia. 21. Black to play - how can his corner stones live?
Giving atari at `a' or `b' is best left to beginners. Black 'c' is
better, but White `d', Black `e', white `a', and Black dies.
Problem 2
Dia. 22. Black to play and live. Black 'a' or 'b' will not do
the job.
+++++++++|
{{{{{~~`{] Problem 3
{{{{~{~`{] Dia. 23. Black to play and live
}{~{~~```] in the corner. His L shape is not
{{{```~`~] enough for two eyes, so he has to
{{{`~~~Ý~] find a weakness in the white
{{{```Ó~{] stones surrounding him. Giving at-
{{{{{{{{{] ari at `a' or `b' will not work.
{{{{{{{ß{]
Black `c' looks something like a
}{{{{{}~{]
{{{{{{{{{] tesuji, but Black has a much better
{{{{{{{{{] move.
Dia. 23

228
 Answer to Problem 1
Dia. 24. Black 1 is the placement tesuji. White 2 is the
strongest reply, and Black does not have time to connect with
7 at `a'.
Answer to Problem 2
Dia. 25. Black 1 is the placement tesuji. White 2 is a form
of resistance, but Black skilfully sacrifices three stones to
make an eye in sense, then lives with 11.
+++++++++| +++++q+++|
{{{{{{~{~] {{{{~````~
{{{{{{{~`] {{{{~`{`~]
}{~{~~}{`] }{{{~`9$~]
{{{{~```9] {{{{~`@~3]
{{{``~~5{7 {{{{~`^51)
{{{{Ý`@~3] {{{{~`7~*]
{{{{`^{{1* {{{{~{~{{]
{{{{{{{~$] {{{{{{{~{]
}{{{{{}{{] }{{{{{}{{]
{{{{{{{~{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
Dia. 24 Dia. 25
+++++++++|
{{{{{~~`{]
{{{{~{~`{]
}{~{~~```] Answer to Problem 3
{{{```~`~]
{{{`~~~$~] Dia. 26. Black 1 is the place-
{{{```@~3] ment tesuji. White 2 offers resist-
{{{{{{{{1] ance, but Black 3 and 5 capture
{{{{{{5{{] the whole group. If White plays 2
}{{{{{}~{] any other way, Black has an easy
{{{{{{{{{] time of it.
{{{{{{{{{]
Dia. 26

229
 The Attachment

An attachment is a move that adheres to an enemy stone,

but not to any friendly stones. Attachment tesujis have a way
of being immediately useful in actual play.
Dia. 1. Black 1 to 11 are a well-known joseki; the ques-
tion is how to follow them up. There are practically no books
on how to follow up josekis, so everyone plays on his own,
but -
++++++++++| ++++++++++|
{{{{{{7^*{] {{{{{{`~~{]
{{{{{~93@{] {{{{{~``~{]
{}1{{`{`${] {}`{{`{`~{]
{{{{{{{5{{] {{{{{{{`{{]
{{{{{{{{){] {{{{{{{1~{]
{{{{{{{{{{] {{{{{{{{@{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 1 Dia. 2

Dia. 2. Stop! So many players push with Black 2, just be-

cause they can do so in sente. How simple can they get? Most
of them never pause to consider profit and loss. Subliminal
desires take hold of them and they push at 1 before they real-
ize what they are doing. The faults of the 1-2 exchange are
that:
(1) White is moving ahead of Black;
(2) White is being strengthened;
(3) Black is losing good potential.
Anyone who wants to improve at go had better curb his
base impulses to play moves like 1. In blunt language, `Cut it
out!'

230
++++++++++| ++++++++++|
{{{{{{`~~{] {{{{{{`~~{]
{{{{{~``~{] {{{{{~``~{]
{}`{{`{`~{] {}`{{`{`~{]
{{{{{{{`{{] {{{{{{{`$Ó]
{{{{{{{{~{] {{{{{{{@~3]
{{{{{{{1@{] {{{{{{{{1Ý]
{{{{{{{3{{] {{{{{{{{ß{]
{{{{{{{{{{] {{{{{{{5{{]
Dia. 3 Dia. 4
Dia. 3. If Black wants an outer wall, he should skip out in
front of White to 1 and let White push him instead of vice
versa. Seen in the light of the struggle to get ahead, Black 1 is
a good move.
Dia. 4. When Black already has a hardened formation on
the upper side, he can assault the right side with the attach-
ment tesuji at 1. If White pushes out at 2, Black bends under
him with 3. Black 5 quickly gives him a viable position.
If White plays 2 at `a', Black is more than satisfied to play
4, White `b', Black 2, White 3, Black `c'.

++++++++++|
{{{{{{`~~{] Dia. 5. Black can also
{{{{{~``~{] approach at a one-space in-
{}`{{`{`~{] terval with l: If White plays
{{{{{{{`{{] 2, Black has a nice attach-
{{{{{{{@~3]
ment at 3. Do you under-
{{{{{{{{{{]
{{{{{{{{1{] stand why it works?
{{{{{{{{{{]
Dia. 5

231
++++++++++++|
{{{{{{{{{{${] Dia. 6. Black 1 to
{{{{{{5{~{{{] White 8 sometimes appear
{{{}{1{@{}`{] in even games. The ques-
{{{{{{{*7{{{]
{{{{{{{^{{{{]
tion is about Black's next
{{{{{{{{{3{{] move.
{{{{{{{{{{{{]
{{{{{{{{{{{{]
{{{}{{{{{}{{]
Dia. 6
Dia. 7. White has no answer to the attachment tesuji at 1.
If he counters with 2, he has to give way at 4, and after 7
Black's triangled stone is standing squarely on his vital point,
a very good result for Black.

Dia. 8. If White plays 2 here Black draws back with 3.

White 4 and 6 both fill dead space, while all of Black's stones
ideally combine attack and defence. One good move leads to
the next. Black 1 and the rest add up to a great success.

+++++7++++| ++++++++++|
{{{{5@1^~{] {{{{{31@~{]
{{{{`3~{{{] {{{{`{~{{7]
{}{`{~$}'{] {}{`{~^$`{]
{{{{{~`{{{] {{{{{~`5{{]
{{{{{~{{{{] {{{{{~{{{{]
{{{{{{{`{{] {{{{{{{`{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{}{{{{{}{{] {}{{{{{}{{]
Dia. 7 Dia. 8

232
++++++++++| ++++++++++|
{{{{{{{{``] {{{{{{{{``]
{{{{`{``~~] {{{{`5``~~]
{}`{{{{~{{] {}`{{${~{{]
{{{~{~{{~{] {{{~{~{@~{]
{{{{{{{{{{] {{{{{{31{{]
{{{{{{{{`{] {{{{{{{{`{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{Ý{`{`{] {{{{{{`{`{]
{}{{{{{}{{] {}{{{{{}{{]
{{{{~{~{~{] {{{{~{~{~{]
Dia. 9 Dia. 10
Dia. 9. Black's turn - how should he play in the battle on
the right side? Ordinarily he would jump out to `a', but it
would be good for him to try to do some infighting, too.
Dia. 10. How about peeping at 1? White answers with 2,
and his counter-peep at 4 makes Black 3 a thoroughly bad
move. Forced to take gote at 5, Black is headed for a crisis on
the right side.
++++++++++| Dia. 11. Attaching at Black
{{{{{{{{``] 1 is an inspired tesuji. If White
{{{{`{``~~] replies at `a', Black can cut him
{}`{{{{~{{] apart in sente with `b', White
{{{~{~{‹~1ß `c', Black `d'. White therefore
{{{{{{{{ÓÝ] cannot play `a', which means
{{{{{{{{`{] that he has lost his base while
{{{{{{{{{{] Black has become practically
{{{{â{`{`{] settled.
{}{{{{{}{{]
{{{{~{~{~{]
If Black plays 1 at `f , but is
Dia. 11 aware of the attachment tesuji
and plans to carry it out next,
that is also fine.

233
+++++++++|
{{{{{{{{{] Dia. 12. Black to play - how
{{{{{{~{{] can he make shape? Those who re-
}{{{{{}{{] cognize this immediately as a vari-
{{{{{{{`{] ation of the two-space pincer
{{{{{{{{{]
{{{{{{~`{] joseki have done their homework
{{{{{{`~{] well.
{{{{{{{~{]
}{{{{{}{{]
Dia. 12
Dia. 13. Black's first temptation is to give atari at. 1, to
link up in sente, but once he does so he has no good continu-
ation. Black 1 is what is termed `crude'.
+++++++++| +++++++++|
{{{^{{{{{] {{{{{{{{{]
{{{{{$~{{] {{{{79~{{]
}{{{53}{{] }{{{{{}{{]
{{{{{{{`{] {{{{*53`{]
{{{{{{1{{] {{{{^$@{{]
{{{{{@~`{] {{{{{1~`{]
{{{{{{`~{] {{{{{{'~{]
{{{{{{{~{] {{{{{{{~{]
}{{{{{}{{] }{{{{{}{{]
Dia. 13 Dia. 14

Dia. 14. Usually the tesuji is to give Atari from the other
direction with Black 1. That may be hard to do because, as
the diagram shows, it leaves Black 1 and the marked stone in
a dangerous position, but one has to learn to see those two
stones as a sacrifice to propel Black outward at 3 and 5. This
is a necessary way of thinking. The result through Black 9 in
Dia. 14 is incalculably better than Dia. 13. There is an even
better way for Black to play, however.

234
+++++++++| +++++++++|
{{{{{{{{{] {{{{$@YR{]
{{{{{1~{{] {{{{{1~e{]
}{{{{9@{{] }{u{{3t{{]
{{{{{75`{] {{{{{{q`{]
{{{{*^${{] {{{{{7^*9]
{{{{{3~`{] {{{{{5~`)]
{{{{{{`~{] {{{{{{`~{]
{{{{{{{~{] {{{{{{{~{]
}{{{{{}{{] }{{{{{}{{]
Dia. 15 Dia. 16 — W connects

Dia. 15. Black 1 is the attachment tesuji, an imaginative

idea based on foreseeing the sequence started by Black 3. If
White resists with 2, Black 3 to 9 are a superb result for
Black.
Dia. 16. If White hanes at 2, Black squeezes him with 5
etc., again getting a superior result.

+++++++++|
{{{{{{{{{]
{{{{{5~9{]
}{{{{{7{{]
{{{{{{{`{] Dia. 17. This retraces the
{{{{{{{*{] sequence to its beginning.
{{{{{^@3{] White now refuses to be drawn
{{{{{{1~{] by the tesuji at 5 and stands out
{{{{{{{${] at 6, but Black is satisfied with
}{{{{{}{{] his large corner capture. Each
}{{{{{{{{]
side has thwarted the other.
}{{{{{{{{]
Dia. 17

235
 Problem
Answer 1
to Problem 1 Problem
Answer 2
to Problem 2
++++++++++|
++++719+++| ++++++++++|
{{{{{~{{{{]
{{{5$~@3{{] {{{{{{{{`~]
{{7@15Ý{`~]
{{{``~`{`{] {{`{~{``~{]
{{`^~$``~{]
{}{{`~`}{{] {}{{~{~~~{]
{}{{~3~~~{]
{{{~~`~{~{] {{`{``{{{{]
{{{{{`~{{{]
{{{{*`~{{{] {{{{{{{{{{]
{{{~{{~{{{]
{{{~{^~{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 18
22 Dia. 19
Dia. 23
Black to play. He cannot cap- to play.from
Black escapes Can enemy
he rescue
ter-
ture
Blackthe1 three white stones,
is a so-called `nose but
at- his three stones, which appear
ritory with another nose at-
at least heWhite
tachment'. can can
link play
his only
two completelyIfsurrounded?
tachment. White plays 2 at
groups
2 and 4.on the left and right to- 5, then Black 4, White 3,
gether. Black `a'.

Answer to Problem 3 Answer to Problem 4

+++++++e++| ++++++++++| Problem 4
{{{{{Wq{{{] Problem 3 ++++++++++|
{{{{{{{{5{]
++++++++++|
{{{{`R~137] {{{{{{{‹{{]
{{{`~~~$3{7
{{{{{{{{{{]
{}`{t{$@~5] {{{`~~~ßÓ{]
{}{```{{~1]
{{{{`{~{{{]
{{{{{{{{*^) {}{```{Ý~{]
{{{{{{{'@^]
{}`{{{{}~{]
{{{{{{{{`9] {{{{{{{`áâ]
{{{{{{{`~{]
{{{{{{{{{{]
{{{{{{{{{{] {{{{{{{`~{]
{{{{{{{`~{]
{{{{{{{{`{]
{{{{{{{`{{] {{{{{{{`~{]
{{{{{{{{~{]
{{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{~{]
{{{{{{{{{{]
{{{{{{{`{{] Dia. 24 {{{{{{{{{{] Dia. 25
{{{{{{{{{{]
Black attaches at 1, and the se- Black 1 is a Dia. 21 beautiful
rare and
quence to 15 Dia.leaves
20 White Black to play. How
attachment tesuji. There can he are
in-
eyeless and shaken. This pat- vade
severalWhite's territory?
variations, but in Black
all of
Black
tern cantoeasily
playoccur
andin invade
actual `a', White `b', Black
them Black can either `c', White
break
White's
play. corner enclosure. `d', Blackfrom
through `e', his
White `f` are
marked not
stone
the answer.
or live in the corner.

236
 Under the Stones

The highest form of sacrifice technique is playing back

into the space from which the sacrificed stones have been re-
moved, i.e. playing `under the stones'. Practical applications
aside, the author will be glad if the reader simply finds this
tesuji entertaining, an example of what strange things can
happen on the go board. Here are just a few positions, for ref-
erence.

Dia. 1. Black to play and live. Black `a' would be de-

feated by White `b'.
++++++| ++++++| ++++++|
{{{{~~] {{{{~~] {{{{~~]
{{{{~`` {{{{~`` {{{{~``
{{{}~`] {{{}~`] {{{}~`]
{{{~{`] {{{~{`3 {{{~*``
{{{~`{Ý {{{~`$@ {{{~`^7
{{{{~`] {{{{~`5 {{{{~``
{{{{~`Ó {{{{~`1 {{{{~``
{{{{~~~ {{{{~~~ {{{{~~~
{{{}{{] {{{}{{] {{{}{{]
Dia. 1 Dia. 2 Dia. 3
Dia. 2. Although it does not seem to make sense, Black 1
is the answer. White 2 and 4 follow. After sacrificing these
two stones, White can play back under them.
Dia. 3. White 6, Black 7, white 8 and Black is dead. This
is not so hard to read out. The funny thing about it is that it is
wrong.

237
 ++++++| ++++++|
{{{{~~] {{{{~~]
{{{{~`` {{{{~``
{{{}~`] {{{}~`]
{{{~1`` {{{~```
{{{~`~@ {{{~`~~
{{{{~`` {{{{~1]
{{{{~`` {{{{~{]
{{{{~~~ {{{{~~~
{{{}{{] {{{}{{]
Dia. 4 Dia. 5
Dia. 4. Black 7 in the previous diagram looked natural,
but Black had a better move at 1 in this diagram. White cap-
tures four stones with 2, but this is not necessarily the end.
Think beyond this.
Dia. 5. The position is now as shown, and Black lives by
cutting at 1. The reason that moves like this are difficult to
see is that one has trouble visualizing the shape of the space
left when the captured stones are taken away.
+++++++++| +9^)73@$+|
{`~~~{{~`] {`~~~51~`]
{````~{~`] {````~*~`]
}{{{{~~`{] }{{{{~~`{]
{{{{`{``{] {{{{`{``{]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
Dia. 6 Dia. 7
Dia. 6. Black to play and kill.
Dia. 7. 1 is correct. @ etc. are the strongest resistance,
but 7 paves the way for a tesuji under the stones. Do not
hastily conclude that White is alive just because he has cap-
tured four in a row. Black cuts at 5 and White dies.

238
+++++`+++`| +++++`+++`|
{{{{`~~~~{! {{{{`~~~~@~
{{{{`{{~``] {{{{`${~``1
}{{{``~~~~` }{{{``~~~~`
{{{{{{{{{`] {{{{{{{{{`3
{{{{`{`{`{] {{{{`{`{`{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 8 Dia. 9
Dia. 8. Black to play and kill. White 1 is a crafty move,
but Black can still kill White if he reads carefully.
Dia. 9. Does Black think he can kill him by connecting at
1? White lives easily with 2 and 4.

+++++`+++`3 +++++`++#``
{{{{`~~~~1~ {{{{`~~~~`2
{{{{`{{~``@ {{{{`{{~``!
}{{{``~~~~` }{{{``~~~~`
{{{{{{{{{`] {{{{{{{{{`4
{{{{`{`{`{] {{{{`{`{`{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 10 Dia. 11 — % captures
Dia. 10. That leaves only this Black 1. Hopefully Black
does not make this move because he has no choice, but be-
cause he has read the continuation out to the finish. Black 1 is
correct. Black 3 captures two stones.
Dia. 11. White dives back in at 1 and joyfully takes six
black stones off the board with 5. He seems to have gotten a
big profit.

239
+++++`++~+| `++++++~``|
{{{{`~~~~{] `~~~~``{~`]
{{{{`{{~{1~ {````~``~`]
}{{{``~~~~` {}{{{~``~`]
{{{{{{{{{`` {{{`{~~~~`]
{{{{`{`{`{] {{{{`{```{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 12 Dia. 13
Dia. 12. But Black cuts `under the stones' at 1 and White
cannot make two eyes. His cry of joy in the last diagram was
his swan song.
Dia. 13. Black to play and kill (a Kageyama original).
White has a good defence up his sleeve, so Black cannot af-
ford to start just anywhere.

Dia. 14. This Black 1 is a failure. Black wins the captur-

ing race and sweeps six white stones from the board, but -
Dia. 15. White cuts back in at 1 and captures seven black
stones, leaving the position shown in the next diagram.
`135@$7~``| ````2#`~``|
`~~~~``^~`] `{{{!``~~`]
{````~``~`] {````~``~`]
{}{{{~``~`] {}{{{~``~`]
{{{`{~~~~`] {{{`{~~~~`]
{{{{`{```{] {{{{`{```{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 14 Dia. 15

240
`````~+~``| `35+1@^~``|
`{{{~{{~~`] `~~~~``$~`]
{````~{{~`] {````~``~`]
{}{{{~{}~`] {}{{{~``~`]
{{{`{~~~~`] {{{`{~~~~`]
{{{{`{```{] {{{{`{```{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 16 Dia. 17
Dia. 16. With this shape White cannot die. He is alive,
but that is not the answer to the problem. All the capturing
and recapturing is apt to become a bit confusing, so I wanted
to get this wrong variation out of the way first.
Dia. 17. Black 1 is correct. This time White wins the ini-
tial combat and captures six black stones, but in the space left
open -
```1`~~~``| ```+`~~~``|
`~~~~3{~~`] `~~~~1{~~`]
{````~@{~`] {````~{{~`]
{}{{{~{$~`] {}{{{~{{~`]
{{{`{~~~~`] {{{`{~~~~`]
{{{{`{```{] {{{{`{```{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 18 Dia. 19
Dia. 18. Careful, Black, not here. Haste makes waste.
White lives with 2, giving Black only four stones' worth of
small change.
Dia. 19. That's better. Now White is dead.

241
 +++++++++| +++++$^31*
{``~{~``~] {``~{~``~@
{`~~~~~~`] {`~~~~~~`7
}``{{{}~`] }``{{{}~`]
{{{`{`{`~] {{{`{`{`~5
{{{{{{{``] {{{{{{{``]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
Dia. 20 Dia. 21
Dia. 20. Black to play - what result? Black would like to
kill White, but this will not be easy. White has cut at a sore
spot.
Dia. 21. Black 1 and 3 aim for an under-the-stones tesuji.
White 4 looks natural, but is a mistake. Black cuts back in
after 8 and White dies.
++++#2!``& ++++~+~+3~
{``~{~``~~ {``~{~@1~~
{`~~~~~~`6 {`~~~~~~``
}``{{{}~`] }``{{{}~`]
{{{`{`{`~4 {{{`{`{`{`
{{{{{{{``] {{{{{{{``]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
{{{{{{{{{] {{{{{{{{{]
Dia. 22 — % takes ko Dia. 23

Dia. 22. White should make the throw-in at 1. If Black

concedes him the ko, planning to play under the stones, then
unlike Dia. 21 -
Dia. 23. White lives. Black, accordingly, will fight the
ko, and that is the correct answer.

242
 CHAPTER 11

Endgame Pointers

243
 Endgame Pointers

We are approaching the end of our book. The subject is the

endgame, which has always tended to be left till the end, and
then slighted. Endgame strength has been something that one
acquired naturally, without any specific study. In view of the
part the endgame plays in deciding the outcome, however, I
wonder whether it should really be given such short shrift. At
least one should learn the values of commonly appearing
endgame moves and, what is more important, the value of sente
and gote.
_+++++++++++++++++|
[{{{{{{{{{{{{{{~{{]
[{{`{~{{{{{{{~{{`{]
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[{{{{~{`{{{{{{{{{{] Dia. 1
[{~{{{{{`{{{`{~{~{]
[{{{{{``~~{{{{{{{{]
[~{`{`{~{}{{`````{]
[{`{{{`~{{~~`~~{{{]
[{{{{{`~{{{{~{~`{{]
-=============`===\
Dia. 1. Black's and White's groups are all stabilized in this
five-stone handicap game, and the endgame is about to begin.
Thickness and thinness are roughly even, so it is just a question
of who has more territory. Black seems to have about seventy

244
points, and White about fifty. Black is clearly in the lead, but
considering the five-stone handicap, one could say that White
has come within reaching distance of him; Perhaps White's
greater strength is all there is to it, but might not you, too, make
the same dismal plays as Black in the next diagram, never real-
izing which of them are wrong?
_+fDG++++++++++++C|
[{h6%{{{{{{{{{{~Ty]
[{{`{~{{{{{{{~{{`v]
[{{`{{{{{}{~{{{`{{]
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[{Q{~~{{{{{{{{~{~{]
[{~{{{{{{{{{{{{{{{]
[{{{{~{`{{{{{{{{{{] Dia. 2
[{~{{{{{`{{{`{~{~{]
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-====;LA======`===\
Dia. 2. Let's recount the score after the sequence from
White 1 to Black 38. It's hard to believe, but now Black has
about sixty points and White seventy. Black has lost thirty
points and the lead has been reversed.
Black's tragedy is that be cannot arouse himself to his
own mistakes in the last diagram. Black 2 may have been un-
avoidable - if he let White jump in there he would lose his
eye space and his group would become weak - but what was

245
the idea of Black 4, 6, 13, and 16? Black was acting as
White's servant.
Dia. 3. This is how Black should play. When White
makes the diagonal move at 3, Black does likewise with 4 in
the upper left corner. If White jumps in at 5, Black does like-
wise at 6 - share and share alike.
_+++++++++++++++++|
[{{{4Ý6{{{{{{{{~{{]
[{{`{~{{{{{{{~{{`{]
[{{`{{{{{}{~{{{`{{]
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[{~{{{{{{{{{{{{{{{]
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[{~{{{{{`{{{`{~{~{]
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[{`{{{`~{{~~`~~{{{]
[{{{{{`~{{{{~{~`{{]
-=============`===\
Dia. 3
This is how he should play, but when White plays 3,
Black does not want to give up the territory he has so careful-
ly surrounded in the upper right. He feels that he cannot af-
ford to let White play 5. He defends. Since he defends, White
gets to make the diagonal play at 4.
Black: `Once the endgame starts, White always keeps
sente and I never get a chance to do anything.'

246
 Is Black's complaint the reader's also? 'Strong players are
shifty,' the saying goes. Those who would be strong should
grasp the way Black shifts with 4 and 6 in Dia. 3.
If White plays 5 at `a', Black 'can play `b' and have gotten
the sente move in the upper left corner as well - pretty clever
of him.
Similarly, Black had no business answering White 13 and
15 in Dia. 2 at 14 and 16. The reason he kept answering
White was that he was looking only at the part of the board
where White played his last stone. He ought to learn to watch
the whole board, and to consider ignoring his opponent's
moves, provided the consequences are not too drastic.
_+4#%++++++ _+++53$++++
[{62!{{{{{{ [{{{1@^{{{{
[{{`{~{{{{{ [{{`{~{{{{{
[{{`{{{{{}{ [{{`{{{{{}{
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[{{{{{{{{{{ [{{{{{{{{{{
[{{{{{{{{{{ [{{{{{{{{{{
[{{{{{{{{{{ [{{{{{{{{{{
Dia. 4 Dia. 5

Dia. 4. Whether White plays 1 in sente or —

Dia. 5. Black plays 1 in sente is no trifling matter in the
endgame. The difference between these diagrams amounts to
six points. If Black answers White at live such places he
loses 6x5=30 points.
One may know all this, bat the psychology of combat is
such that once one thinks one has a lead, one becomes safety-
conscious and timid. This is how the enemy catches up. One
defends and defends, and the next thing one knows one's lead

247
has vanished, as happened in Dia. 2 and happens frequently
on go boards everywhere.
Dia. 6. The upper right corner.
++++++++++| [{{{{{{{{{{
{{{{{{Ý~2{] [{~{{{{{{{{
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Dia. 6 Dia. 7

Dia. 7. The lower left corner. Thinking of these two posi-

tions together, when White plays 1 in Dia. 7, Black 2 in Dia.
6 is correct. White 1 and Black 2 are the key points, and
Black loses both of them to White if he defends against
White 1. `You go your way and Ill go mine,' should be his
philosophy.
Suppose White answered Black 2 at 'a'. Black could then
answer White 1 in the lower left. White would never be so
foolish as to let that happen. Well then, Black should realize
that to answer White 1 at `b' would be just as foolish.
White 3 does have to be answered at Black 4, however. If
Black ignored White 3, his whole group would be set adrift.
After Black 6 the points `a' and `b' are miai. Defending where
necessary is as important as not defending where unneces-
sary.

248
++‹ÓÝá3+++| +++++#++++|
{{âß@1{{{{] {{{{{{!2{{]
{{{{~~``{{] {{{{~~``{{]
~~~~{`~}`{] ~~~~{`~}`{]
{```{``{{{] {```{``{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 8 Dia. 9
Dia. 8. A hane and connection like Black 1 and 3 are of-
ten key points in the endgame. Later, when Black hanes at 'a',
White cannot block at `b' without risking Black `c' and a ko.
Usually he has to give way and answer Black `a' with `c', fol-
lowed by Black `b', White 'd', Black `e', White `f'.
Dia. 9. The same can be said about White 1 and 3. The
difference between these two diagrams comes out to be four-
teen points, which is quite large. The way to calculate such
differences is to count the number of points by which the ter-
ritories become larger or smaller. The amount is seven points
for both Black and White in this case, totalling fourteen. The
reason that professionals ignore large-looking places in the
center and pick away at the edges of the board is that that is
where the largest moves tend to
++++++++++|
{{~``{{{{{] be. For example, Black 1 in Dia.
{~{~~`````] 10 is worth twelve points. Black
{~{~1~~~~`] 1 in Dia. 8 is bigger.
{{~`~~````] Dias. 8, 9, and 10 all showed
{{~````{{~] moves that were gote for either
{{{{{{~~{{] side, but sente moves come first
{{~{{{{{{{] in the endgame. This may be sad
{{{{{{{{{{]
Dia. 10

249
news to those who lust to make capturing plays like Black 1
in Dia. 10.

++++@13+++| +++++#!2++|
{{{${~`{{{] {{{{{~`4{{]
{{{{{~`{{{] {{{{{~`{{{]
{}{{{~`}{{] {}{{{~`}{{]
{{{~~``{`{] {{{~~``{`{]
{{{~`{{{`{] {{{~`{{{`{]
{{{{``~{~`] {{{{``~{~`]
{{{{{{{{~~] {{{{{{{{~~]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 11 Dia. 12

Dia. 11. (4 points in double sente) The hane and connec-

tion on the edge at 1 and 3 are moves that one would like to
play even in the middle game. Provided White 4 is large
enough to be necessary, Black keeps
Dia. 12. If White gets to play 1 and 3 first and Black can-
not omit 4, White keeps sente. Either side, that is, can play in
sente, and the difference is four points. Who gets here first is
a big question. Four points may not seem like much, but if
you recall that it amounts to roughly the komi in an even
game, you may be able to understand why professionals at-
tach such importance to these points.
The difficulty is timing. In the middle game Black (or
White in Dia. 11) is not bound to answer at 2. By the
endgame, however, both sides should be scrambling to be
first to make the hane.

250
++++++++++| ++++++++%+|
{{{{{{#!2{] {{{{{{~~`#]
{~{{{~~`{{] {~{{{~~`64]
{}~~~`{`{{] {}~~~`!`{{]
{{{```{{{{] {{{```2{{{]
{{{{{{{`{{] {{{{{{{`{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{`{] {{{{{{{{`{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 13 Dia. 14

Dia. 13. White 1 and 3, another hane and connection, are

gote, but they conceal a further tesuji.
Dia. 14. The hidden tesuji is the clamp at White 3. Black
4 at 5 would lead to a disaster, White cutting at 6, so Black
has to play 4 and 6. White keeps sente. One of the constant
questions in the endgame is whether clamping plays like this
work or not.

++++++++Ó+| ++++++%#4+|
{{{{{{~~`Ý] {{{{{{!26{]
{~{{{~~`{{] {~{{{~~`{{]
{}~~~`{`{{] {}~~~`{`{{]
{{{```{{{{] {{{```{{{{]
{{{{{{{`{{] {{{{{{{`{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{`{] {{{{{{{{`{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 15 Dia. 16

Dia. 15. Here White `a' would fail (Black `b').

Dia. 16. In such cases white should play 1 to 6 in sente.

251
++++++++{+| +++$137+++|
{{{{{{@1{{] {{{*@^5{{{]
{~{{{~~`{{] {~{{{~~`{{]
{}~~~`{`{{] {}~~~`{`{{]
{{{```{{{{] {{{```{{{{]
{{{{{{{`{{] {{{{{{{`{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{`{] {{{{{{{{`{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 17 Dia. 18
Dia. 17. From Black's point of view the descent at 1 is
correct, even if gote. If White answers at 2, then Black has
stopped his hane and connection in sente. If White ignores
Black 1, then Black has the next diagram.
Dia. 18. Black can play the nine-point monkey jump in
sente. This is big.
++++++++++| ++++++++++|
{{{{{{{{{{] {{{{{{`{!{]
{{~`{{{`{{] {`{{{{`~{{]
{~{`{{{`{‹á {}{{{{{}~{]
{{{{{{{{âÝ] {`{{{{{`~{]
{~{{{{{{Ó2ß {{{{{{{``~]
{{{{```{`!] {`{{{{{`~`]
{{{{{~{{{#] {{{{{{{{~~]
{{{{{{~{~{] {{{{{{`{{{]
{}{{{{{}{{] {}{{{{{}{{]
Dia. 19 Dia. 20
Dia. 19. White will often attach at 1 and draw back with
3 early in the endgame. These are good moves for strengthen-
ing his position on the side, and they also leave him the
pleasure of clamping at `a' later. White can play 'a', Black `b',
White `c', Black `d' in sense, and if he likes he can keep on
with `e' etc., while Black watches his territory disappear at a

252
fast rate. If Black plays 4 at `f' to prevent this, White 1 and 3
become sente.
Dia. 20. Here is one final endgame position. White 1 is
played partly, of course, to keep Black from jumping in to the
same point.

++++++++++| ++++++++++|
{{{{{{`{~{] {{{{{{`{~Ý]
{`{75{`~{{] {`{{{{`~{{]
{}{{^$@3~{] {}{{{{{1~{]
{`{{{{{`~{] {`{{{{{`~{]
{{{{Req``~] {{{{{{{``~]
{`{{tW)`~`] {`{{{{{`~`]
{{{{uY9*~~] {{{{{{{{~~]
{1{aPI`{{{] {{{{{{`{{{]
{}{FSo{}~{] {}{{{{{}~{]
{{{{d{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 21 Dia. 22

Dia. 21. But White is also aiming at 2 etc., which makes

Black's expanding at 1 meaningless. If the ladder is unfavour-
able, White can play a ladder block, then 2.
Dia. 22. Black 1 seems lukewarm, but it is the proper
move, and furthermore it threatens a surprising invasion of
the corner. Thickness and thinness, as exemplified by Black 1
in this diagram and the last, are also important in the en-
dgame. The ideal move would be one that was thick, sente,
and large in absolute value.

253
 Dia. 23. Given sente with black, most players would
probably play the sequence form 1 to 8, which is neither very
clumsy nor very skilful.

+++++++75^| +++++++9^+|
{{{{{{`3~*] {{{{{{`5~3]
{`{{{{`~${] {`{{{{`~7*]
{}{{{{{`~{] {}{{{{{`~$]
{`{{{{{`~1] {`{{{{{`~1]
{{{{{{{``~] {{{{{{{``~]
{`{{{{{`~`@ {`{{{{{`~`@
{{{{{{{{~~] {{{{{{{{~~]
{{{{{{`{{{] {{{{{{`{{{]
{}{{{{{}~{] {}{{{{{}~{]
{{{{{{{{{{] {{{{{{{{{{]
Dia. 23 Dia. 24

Dia. 24. The skilful move, provided it is backed up by

reading, is the attachment at Black 3. If White resists with 4
etc. Black gets a painless ko and certain profit.

+++++++^57| Dia. 25. If White connects

{{{{{{`Ó~3] with 4, he has no good answer
{`{{{{`~$Ý] to Black 5 and 7. If he plays 4
{}{{{{{`~{] at 5 or 7 he loses to Black `a'. If
{`{{{{{`~1]
he plays 4 at `a', Black 'b'
{{{{{{{``~]
{`{{{{{`~`@ means a link-up or a ko, either
{{{{{{{{~~] of which is fine with Black.
{{{{{{`{{{] Black 3 is a beautifully con-
{}{{{{{}~{] trived tesuji.
{{{{{{{{{{]
Dia. 25

254
 Appendix

Game Commentary: Beating the Meijin

White: Rin Kaiho, Meijin

Black: Toshiro Kageyama, 6-dan
Prime Minister's Cup, semifinal round
Komi: 41/2 points

Experiences like the following are what make it impossi-

ble to stop playing go. The year was 1965. (I am having to
dip back into the past a bit.) I had advanced to the semifinals
of the Prime Minister's Cup Tournament1, and in the semifi-
nal game I scored the upset of my life by beating the current
Meijin, Rin Kaiho. Even now the memory is so intoxicating
that I am embarrassed to think what this commentary is going
to sound like, but I don't care. This game is one of my life-
time masterpieces. By all means, read on!
During the days before this game a number of people
asked me about my mental attitude. I could only answer
truthfully that I thought there was no question about who
would win; I was just going to try not to lose too disgraceful-
ly. I had not quite, however, given up all hope. I had made a
fairly good record using an all-out escape-or-die strategy with
black, so I was thinking that if I got black, perhaps -
Still, I could not match the Meijin in either skill stamina,
or spirit. The only place where I could compete with him on
equal terms was in guessing even or odd correctly to see who
1 also called the Kodansha Tournament

255
took black and who white, I decided, therefore, to gamble ev-
erything on this guess, and spent my days and nights fever-
ishly working out black openings. This was my one chance. I
was resigned to losing if I drew white.

Figure I. (1-38)
The Meijin grasped a handful of stones and I called
`even'. I doubt that I can describe my feelings at guessing
right and getting black, but I remember being in very high
spirits and thinking to myself, `All right, Rin, look out!'
It would have been a mistake, however, to warn the Mei-
jin by revealing my inward state. I tried to hint that I viewed
this as a sort of even teaching game that I was receiving from
him. I played quickly, not taking any time to think, as if in a
lightning game. This show of apathy - why think when I'm
bound to lose? - was intended to put White off his guard and
set him up for a swift blow from behind. I wonder how my
board-side behavior was interpreted by the young Meijin. I
have no way of telling, but on the board itself I was steaming
full ahead.
Twice, at 5 and 23, I approached the enemy's corners in-
stead of closing my own. Twice, at 7 and 25, I made one-
space pincers - one all-out move after another.
Black 31 was my original invention. It was particularly
good in this opening, since it gave me the ideal play at Black
33 on the right side. My research was being well rewarded,
and the opening was unfolding according to plan. This was
my lucky day.
If I had paused after 34 to defend the right side I might
have fallen behind. My hand flew to Black 35 in the upper
left-corner. I was prepared and eager to take risks. I was de-

256
termined to hold the initiative at all costs. This, I believed,
was my only chance to win. Would it work?
_+++++++++++++++++|
[{{{{{{{{{{{{{{{{{]
[{{@{{{{{{{Xg{F{{{]
[{{}S{{{{}{{:{{}1{]
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[{Y{{{{{{{{{{{{{{{]
-=================\
Figure 1 (1-39)

White came bursting in at 36. Well, what's an invasion?

How can you play go if you are afraid of invasions? Black 37
was the automatic response. The thinking would begin after
it.
White 38 was a mistake by the Meijin. He undoubtedly
played it counting on the ladder shown in the next figure, but
the post-mortem showed that White 38 should have been an
extension directly above 36, followed by Black 38 and anoth-
er white extension at the right of 33.

257
 _+++++++++++++++++|
[{{{{{{{{{{{{{{{{{]
[—{~{{{{{{{~`–~•{{]
[{{}~{{{{}{{~{{}`{]
[{`{{{{{{{{{{{~{{{]
[{{{{{{{{{{{`“``{{]
[{{`{{{{{{{{{’{{{{]
[{{{{{{{{{{{{{{~{{]
[{{{{{{{{{{{{{{{{{]
[{{}{{{{{}{{{{{”{{]
[{{{{{{{{{{{{{{`Ž{]
[{{{{{{{{{{{{{?~.]
[```{{{{{{{{{{{`~Π]
[~~`~{{{{{{{{{{{ó{]
[``~{{{{{{{{{{{{`{]
[{`~{{{{{}{{{~{}{{]
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[{~{{{{{{{{{{{{{{{]
-=================\
Figure 2 (39-51) — ‘ connects

White 46 was a sharp move, since it set up the ladder at

48. The natural thing to do at Black 47 would be to grip
White 42 and settle for an exchange, but White 47 would
have been just too good to allow. Besides, connecting at 47
made White 46 a bad move of the unmistakable 'raw peep'
variety. If White was going to burden himself with such a
loss, I was quite happy to let him have the ladder at 48 as he
wished.
Black 49 was absolute, both for stabilizing my own group
and for attacking White's. Since White defended firmly, at
50, I had sente and stayed out in front by seizing the profit at
5l .

258
 _+++++++++++++++++|
[{{{{{{{{{{{{{{{{{]
[`{~{{{{{{{~`~~`{{]
[{{}~{{˜{}{{~{{}`{]
[{`{{{{{{{{{{{~{{{]
[{{{{{{{{{{{````{{]
[{{`{{{{{{{{{~{{{{]
[{{ú¤{{{{{{{{{{~{{]
[{{§¦{{{{{{{{{{{{{]
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[{{{{{{{{{{{{{ž`~{]
[{{{{{{{{{{{ü{~~`~]
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[{~{{{{{{{{{©ƒ{{{{]
-=================\
Figure 3 (52-72)

White could not help defending at 52. If he did not, Black

52 would hurt badly. Thus I got the last large opening point
at Black 53, pressing in on the white corner group. Whatever
one might say, there is no room to doubt the fact that the
opening had been a success for Black. Even Yasunaga, my
old instructor, who is usually so critical of openings, had no
complaints about my play in this game when I showed it to
him later.
At Black 63 I was tempted to run in to 70, but after
White's contact reply at 72 and my extension to the right of
70 I was afraid White might be able to pull something off.
Pull what off? The Meijin and I went through the variations
after the game, but the more we sought, the more trouble we

259
had finding anything good for White. In fact, our conclusion
was that had Black run into the corner like this: White would
have been in serious trouble. I had been afraid without cause.
This was my amateurishness showing through.
White 64 and 66 on the previous page were two forthright
forcing moves. An amateur would be reluctant to play them,
but to enter any more deeply would be to invite an over-
whelming attack, while doing nothing would let Black ex-
pand on a large scale two points to the right of 64, after
which he could not be forced.

Figure 4 (73 - 85)

Black 73 took profit and attacked, sending White running
out into the center at 74, whereupon Black 75 obstructed his
linkage in the upper left. All was going well. So far I had
been following my strategy of acting as if I thought I had no
chance of winning, playing each move as quickly as possible,
but with this big a lead I decided that I had ample chances, so
I sat up and from around Black 77 onwards took my time and
played in earnest.
Yasunaga: `Black 77 lacked speed; it was gote. Instead of
it you might have peeped at the left of 78. If White connect-
ed, you could halt him in the center. A contact play on the
handicap point at the left of 76 looks possible.
Yasunaga's criticisms are invariably astute and contain,
much useful information.
White 80 hints at the Meijin's self-confidence. Even the
most conservative estimate showed me with a good ten-point
lead on the board. Did he really think he could overtake me
with such a slow move? His obvious confidence that he could

260
made me begin to doubt the safety of my ten-point lead. I be-
gan to feel the way the weaker player in a four or five-stone
handicap game feels. I was falling under the influence of the
aura of the Meijin. His already-large body seemed to grow in
size before me. This was dangerous.

_+++++++++++++++++|
[{Ý{{{{{{{{{{{{{{{]
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-=================\
Figure 4 (73-85)

The ordinary idea at Black 83 would have been to make

the diagonal play at `a' and get quickly into an easy hane-and-
connection endgame (my best kind), but that is not the sort of
thing one does against the Meijin. Determined to show my
courage and not turn tail, I crosscut with Black 83 and 85.

261
 _+++++++++++++++++|
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-=================\
Figure 5 (86-100)
Ú, Â, é and í: take ko

If White had played 86 at `a', then Black `b', White 90,

Black `c' would have started a ko. We investigated this, too,
after the game, but could find no good way for White to play.
I was all ready with what I thought was a good ko threat
at Black 95, but White 96 stung sharply. Even now it makes
me shudder. There I was, creating difficulties on my own. I
was trying too hard. If I had lost, Black 95 would have been
the game-losing move.

262
 _+++++++++++++++++|
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-=================\
Figure 6 (101-112) — ^, 9, and W: take ko
I thought for a long time before playing Black 5 and 9. I
was still feeling the sting of White 96. What I was thinking
about at 9 was playing Black 'a', having White end the ko,
then playing Black `b', White `c', Black `d'. The exchange of
4 for 5 would become a large gift from White. This looked
attractive, but when I counted I found it left me with no lead
at all - probably with a lost game. Thus I had to reopen the ko
and allow myself to be forced to connect at 11 by White 10.
At this point I was starting to lose heart. I was running out
of ko threats, and the more I played on the lower side, the more
my losses there seemed to mount. So much for my `best game', I
was thinking. All I could see was that if I let White win the ko

263
on the upper side the game would be over, so I put all my ener-
gy into that ko fight. The memory gives me pleasure now.
_+++++++++++++++++|
[{{{{{{~`{{{{{{~`{]
[`{~{{~t~`~~`~~`{{]
[{{}~{{~`}`{~{{}`{]
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[{~{{{{{{{jH`~{Vcg]
-===========K=====\
Figure 7 (113-138)
P, l, X, b, and <: take ko

White's cut at 16 brought the life and death of my whole

large group in the lower right into question, but taking the ko
with White 20 was an unusual slip by the Meijin. If he had
blocked at 22 he would have had quite a hopeful game. Even
Meijins are human enough to make mistakes through over-
confidence. Could I punish him for his slip? Indeed I could;
Black 21 to 25 both gave me an eye and reduced his territory.
After being cut to pieces on the lower side. I had recouped
my losses at one stroke. I returned to the ko at Black 29 with
a handsome profit taken in the lower right corner. At Black

264
31 and 37 I refused to give an inch. One weak move here,
and —
_+++++++++++++++++|
[{{{{{{~`{{{{{{~`{]
[`{~{{~Π~`~~`~~`{{]
[{{}~{{~`‘`{~{{}`{]
[{`{{{{{~{{{{{~{{{]
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[{`~~{```~`{`~{}~~`
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[{~{{{{{{{`~{~{`~~]
-=========.?~=====\
Figure 8 (139-145) — : take ko

The ko fight continued desperately up to White 44, but

there it had to stop. Starting with Black 'a', I had three ko
threats against whitey's group, but he also had three against
mine. After these were gone I would haw to seek my ko
threats elsewhere, but nothing on the board seemed very im-
pressive. I was standing on the brink of defeat. My last re-
source was to connect at Black 45. This was humiliating, but
it could not be helped, for if White captured here the game
would be over. Usually one is losing when ore has to make a

265
move like this, but here I was lucky because Black 45 worked
out rather well.

Figure 9 (146-169)
I had thought that it would not be feasible for White to
split me up with 46, but there he came anyway. Perhaps he
was getting desperate. I did not want to make the 49-50 ex-
change, since it cost me the potential my captured stone had
possessed, but I could not find any way to save myself with-
out it, although I looked quite hard.
White's group would not have died if he had not played
60. The reason he did not play 60 at, say, 61 was that he did
not want to see me cut at 63, start a ko, then use moves at-
tacking his upper right group as ko threats. I bravely started
the ko with Black 63 anyway.
If White had connected the ko after Black 65, Black 66
would have given me ample assurance of victory. That shows
how far the balance had tipped in my favor.
I put more time into Black 69 than into any other move of
the game. I did not think my upper right corner would die
even if I left it, but my opponent was the Meijin. It was his ko
threat at White 68 that I was proposing to ignore. If my group
lived, I would have a sure win, but if it died, I would have a
sure loss. This was where the road branched toward victory
or defeat. Would the Meijin play an ineffective ko threat?
Was there some thunderbolt that surpassed my reading hid-
den here, waiting to hurl my from the pinnacle of bliss to the
depths of despair?
If I answered White 68, however, there would be more
such ko threats to follow. White would have at least seven or

266
eight in this corner alone. That was too many. All I could do
was read and read again, checking the status of the upper
right corner. White to play, Black lives.

_++++++©++++++++++|
[{{{{{ü~`{{{–{œ ~`{]
[`{~{{~“~`~~`~~`{{]
[{{}~{{~`‘`•~{{}`{]
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[{{`~{{~{ö{{{ú{{{{]
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[~~`~{{{{`~{`~{{`{~
[``~`{{{~`~{`~{````
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[`~`~{~~~~``~~{~~`]
[{~{{{{{{{`~{~{~``]
-=========`~~=====\
Figure 9 (146-169) — ¤ and §: take ko

I covered every possibility, tesuji and non-tesuji alike. It

was all right. No bizarre surprises were lurking for me. I had
read out everything. My group could not be killed uncondi-
tionally - I was absolutely certain.
Now that I was sure, the doubt and anguish I had felt be-
gan to seem a bit silly. What had I been frightened of? It had
just been a reading problem; that was all. My opponent did
not enter into it. Black 69 was played and the game was set-

267
tled. I was on my way into the round against Otake. (Unfortu-
nately, my miracle was not repeated. Otake beat me.)

_++++++`++++++++®Ð|
[{{{{{`{`{{{~{~~`±
[`{~{Á~`{`~~{~~`Š]
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[{{{Ç{{{{{`†`{~~`~`
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[~~`~{{{{`~{`~¸{`{~
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[{`~~{```~`{`~{}~~`
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[{~{{{{{{{`~{~{~``]
-=========`~~=====\
Figure 10 (170-199) — µ: take ko

My reading had not been amiss. The corner became a ko,

but I had plenty of local ko threats, so the outcome was a
foregone conclusion. The margin was so wide that even tena-
cious Rin had to offer an early resignation.
As soon as he had done so, he began to tell me his
thoughts about the game. He was twenty-three years old at
the time, and as Meijin, it was absurd for him to lose to a
weak opponent like me. He could have been excused for
stalking out of the room, but he sat unflinching, discussing

268
only the pros and cons of various moves. Not many could
have matched his behavior. One sensed unfathomable depths
of maturity in this young man.
Subsequent moves omitted. Black wins by resignation.

Other books on go

G2 BASIC TECHNIQUES OF GO, by Haruyama Isamu 7dan

and Nagahara Yoshiaki 6-dan
G5 THE MIDDLE GAME OF GO, by Sakata Eio 9-dan
G6 STRATEGIC CONCEPTS OF GO, by Nagahara 6dan
G7 THE 1971 110NINBO TOURNAMENT, by Iwamoto 9dm
G18 WHAT'S YOUR RATING? by Miyamoto Naoki 9dan
G19 THE BREAKTHROUGH TO SHO-DAN, by Miyamoto 9dan
DICTIONARY OF BASIC JOSEKI, by Ishida Yoshio 9dan
G21 Volume 1: 3-4 Point (komoku) Joseki
G22 Volume 2: 3-4 Point and 5-3 Point (mokuhazushi) Joseki
G23 Volume 3: 5-4 Point (takamoku), 4-4 Point (hoshi) and 3-3
Point (san-san) Joseki

269
 Elementary go series

G10 Volume 1: IN THE BEGINNING, by Ishigure Ikuto 8dan

G11 Volume 2: 38 BASIC JOSEKI, by Kosugi Kiyoshi 6dan and
James Daves
G12 Volume 3: TESUJI, by James Davies
G13 Volume 4: LIFE AND DEATH, by James Davies
G14 Volume 5: ATTACK AND DEFENSE, by Ishida Akira 7dan
and James Davies
G15 Volume 6: THE ENDGAME, by Ogawa Tomoko 4dan and
James Davies
G16 Volume 7: HANDICAP GO, by Nagahara Yoshiaki 6dan
and James Davies

Nikon ki-in go super books in english

G17 KAGE'S SECRET CHRONICLES OF HANDICAP GO, by

Kageyama Toshiro 7dan
G25 APPRECIATING FAMOUS GAMES, by Ohira Shuzo 9dan
G26 DIRECTION OF PLAY, by Kajiwara Takeo 9dan
G27 KATO'S ATTACK AND KILL, by Kato Masao 10-dan
G28 LESSONS IN THE FUNDAMENTALS OF GO, by Kageyama
Toshiro 7dan

Catalog of go books and go equipment available on re-

quest free of charge from THE ISHI PRESS, CPO Box 2126,
Tokyo Japan

270