CHAPTER 1 ‘The Vital Points of Fuseki Dring the carly stages of ase which exert a great influence on te future development ofa game of go it is probably more important to grasp te een factors by intuition that to make a deep analysis of local sit This ste wide field of vision which requires deep insight to determine the points of profit and inloence, and ‘one should master this power dlcern the tlie in Portanee of play and the far-seeing wisdom to derive profit fiom emergencies. noe the common rules af fiseki coneeming occups- tion ofthe corer. thet closing and attack are given inthe ‘specialized books on tat sbjet | will give only two oF thre basic tactical ules at hs point as foundation fran intitional grasp of the subject and then proceed toa more etd discussion.The essentials of the Splitting Play The situation in dgram | appeared in the fst game ofthe sith Honinbo tile match, which was fought on April 411881 Let us study teh sping play which White made om eh lower side with his eth py First if white had used this ith play according to jose as shown in degra I-A, lang to the Back form tion n 1-0, then, in canta to Whats verconentraton on the el side, Black's occupation ofthe handicap points (2-16 and Q-4 imposes a good balance oer the board as {whole adit cannot be done that Whe flow at ist tndhas allowed his opponent to eta slat over hi It can never be forgoten tht over concentstion of strength is forbidden in sei “Kh Sererpr sy qaaeunal SHODERUNSKIENNOPAKS Ana yet, if White sandons the lower side ently and ion assumes the sequence of diagram I-B ening ‘with Block a K-3, this division of tray also ute Proftale for White, ‘Again, considering the lower se, if White plays a3 sx shown in diagram I-C, since the Whit stone ther adjoins strong Black postin i cannot fit be unprotable, and ‘when it sues the excellent squeezing stack or atack from both sides) which comes with Black 6 at 3, White's postre ‘svery eramped Ths, il be sen that White's eighth play was very brian’ and required an intense study ofthe etre Board Moreover, tis spliting play was made because ofthe fact that there is om fora two-space extension either tthe lellor dhe rightConcerning the Width of Extensions Extensions are made from two to as far as five spaces. I believe that in actual play errors of judgement in select- ing the correct extension are frequent. Of course, it goes without saying that the surrounding formations, the course that the battle may take in the future, and so on, determine the final decision, but let us examine the following situation from an actual game. Diagram 2 LT [TTT OT | te tt | Steet tof oy tf — rite Li i} ce Tt — yt || |. ot | aol | T 1 4 f- 1 1. . ef a lel petal | Parker T T || t fb @ | DABC | po Diagram -C Diagram 2D Where the formation is as shown in diagram 2, the choice of an extension of three, four, five spaces at A, B, or C, or rarely the two-space extension at D, is determned entirely by the situation on the lower right side of the board. I hope that the reader will analyze the following diagrams before looking at the answers on the next page. —4-Diagram 2a’ Diagram 2-C i In this case it is correct to limit the extension to two spaces. If through greed Black extends to A or farther it will be ineffective against the impregnable White posi- tion in the lower-right-corner, and even worse, since there remains the possibility of a White invasion at B it should be considered a heavy burden. Diageam 2-BY It is appropriate for Black to extend to K-3. It is not enough for him to limit his extension to A, since this gives White the chance to crowd him by extending to B. If Black extends to B then White, using his strength in ther lower- left-corner, might counter-attack at C. Also, a two-space Black extension after Black 1 to D makes a good form. Diagram 2-D° I esis Black 1 at J-3 is an ideal fuseki in this case, since it combines an extension with a squeeze-play. If Black restrains himself to extension at A, he gives White room for extension at B and this cannot be considered satisfactory for Black. @ B@aA+c+0 | | Lit By limiting himself to the three-space extension at J-3, Black prepares for a further extension at C, thus gaining the advantage of having two arrows to his bow. If black played first at A, he would be inviting a White invasion at B and thereafter the Black extension to C would be too. narrow. LiDiagram 3 and obtain a perfect connection this is another example of “stopping on two and extending three”, Note that if White extends further with White ? at C, Black can in- vade at BL The turning movement called "stopping on two and extending three" is partially explained with reference to limitation on extension in the ancient Chinese book "HSUAN, HSUAN CHI CHING." Let us examine its significance in the following concrete examples. In diagram 3, if White extends to A from the stone at 0-3, the possibi of an invasion at M-3 is left. If the extension is made with White | at L-3 as shown here, there is no worry about the connection being broken; therefore one can say that the limit of extension from an isolated stone on the third line is two spaces. Diagram 4 ‘The joseki of the high attack at a one-space interval. In this sequence of plays, White, after "stopping on two" with White 5, can make a three-space extension with White 7. That is, even if Black should invade with Black 8 at A, since White can block him off with White 9 at B ae When a player stops on three as shown in this diagram he is quite safe in extending four spaces, as White does here with White 1 J-3 Against Black 2 L-3 White follows the sequence shown here and after White 7 L-5 he has nothing whatever to fear. Diagram 6 s possible for White to extend four spaces to Aas in the previous example, but since Black can play at B, making an extra reinforcing play necessary for White in order to defend himself against the invasion at C, he limits himself to the three-space extension with White 7, although this is not an invariable rule. —~9-The Vital Deints OF G 0A WORD. from the AUTHOR CONTENTS icy sing te ar “The Vital Points of Go frat weer tinct Sgt iets ian A Bef Boron of the Autor trol be called il pat Teg. ter by ee Ise ng may fallow th we, A Word 10m the Author en a at FSi ML The Bosntins of Attack and Defense a recon beoomtliodeel? How te Diminih tates Eeemy Tess. 12 Fs tetasseit IV The Anatyss ofthe Relative Values of Pays. 169 seam criiti MmY The Dement fib ee 7 Stop one anon td ematical record nd rps hens, aking pial elt toteing et the i pein. Nehig Could ge meester pls an Toto tha Iisve succeed a tabling te reader tora th oe fer woking evolved ae HensDiagram 7 Considered from the standpoint of the rule of "stop- ping on two and extending three," White | at first glance would appear dangerous, but when it is realized that in case of necessity the White stone at E3 makes possible the sequence of White at A, Black at B, White at C, and Black at D, then it becomes understandable that the four-space extension is really not in the least reckless. Diagram be the least possibility of invading Lo ah t —| Diagea’ Ls The exchange Black 1, ‘hite with the ideal formation « fending three", and since it also White 2 in this case presents stopping on two and ex. automatically loses for at A, it is clearl profitable for him. , Diagram 10 Hb 1 rh © ‘An example where the rule of stopping on two and extending three is applicable. Studying this situation one sees that Black | has caus- ed White to stop at two with only a two-space extension based on his stone at L-3, rather than the three-space ex- tension with a White stone at A which he would naturally wish. Thus this unsatisfactory result shows the effective work done by Black 1 P-3 = ib: This is an analysis of the manoeuvre of striking at the shoulder of the White formation in order to spoil his pro- spects. When he thinks it necessary White can reply to this play with White 2 and 4, which means that Black has given him the "standing on two and extending three” for- mation and lost the chance of invading at A. Therefore, although these tacties may be satisfactory in one way, in another they produce a loss for Black, and because of this they must be considered with much caution.Diagram 1 The relation between strength and extension When a White and a Black stone confront one another in the corner as shown here and Black extends five spaces with Black 1 J-3, then the exchange White 2 Q-5 (or al- ternatively at A), Black 3 N-4 (or at B), is just common sense in fuseki. (See the next diagram) Diagram 12 If White omits his play at Q-5, Black can make a fierce attack beginning with Black | at that point. White 2 and 4 are a standard form, but as the pressure continues we with Black 5 and onward the Black extension at J-3 forms a background for this strength and develops its maximum effectiveness, If Black had extended only to A or less, then in con- trast to the strength of his wall, the narrowness of his extension would have been unsatisfactory and he would not have displayed much efficiency in his plays, ‘Therefore when the formation is that of diagram 12 White 2.Q-5 should be made as a precaution inspired by a calm sensitivity for the fuses, Diagram 13 | The necessity for a White stone at Q-5 steadily dimi- nishes as the Black extension grows narrower, but in the a of the five-space extension it is a necessary play which ick answers by an enclosing play at A, as discussed above. Let us study the results which follow if Black neg- lects to play at A, y anaes omits the play at A, White 1 L-3 opens a high- ‘maging invasion, Although Blick gets some elbow- a on one side by the sequence from Black 2 to Black elore playing Black 8, White can finally burst out with 4 cul on White 9, and it is seen that Black's attempt to Surround him does not succeed, ~ BHDiagram 1 If the Black extension is only four spaces wide as in this case, and the sequence of plays is the same as that of the preceding diagram, then Black 8 can bottle up White completely, thus showing that even a difference of one space in the extension is not anything that can be trifled with. Diagram 15 Diagram 15 Diagram A Further Explanation of the previous When Black 4 is played, White can come out with ati White 5. However, this leaves the painful cut at Black 6, and even if White covets the plays 7 and 9, he is at a loss for an answer, after the excellent play Black 10, If, after Black 10, White plays at A, then Black can play at B, while if White comes down to B, Black can play at A, and the atfair goes poorly for White. t Bet Diagram 16 pot i ~ Tt t a L fi Lo Diagram 16 The Case of a Three-Space Extension, White invades with White 1, and after defending a gainst the cut at A with White 5, he can come out with 7, but when it is observed that after Black comes down with 6 he threatens to play at B, this sequence is seen to be completely unacceptable. NOTE: It is also possible for Black to play at B immediately in answer to White 1. 5Diagram 17 The Concept of Corelation Diagram 17 An example with one stone on either side of the corer handicap point. (ikken shimari) ‘The Black extension with Black 2 in answer to White 1 on Black B in answer to White A is an important demon- stration of how to react in a corelation. Diagram 18 Log \ Tt + eT | The results of making light of corelation and being attacked by White at 1. If Black reacts to the White attack at 1 by playing at A he is safe, but his opponent has already profited by his failure to respond to the attack [from the other side of the formation], ail if he again plays elsewhere instead of answering, then White 1 1-3 deals him a fatal blow: and since there is no reason for him to submit to the de- struction of his formation shown here, unless there is some- thing equally urgent elsewhere he must not lose the proper order of play in the confrontation, Diagram 19 EEE These show variatiuns of the basic situation. The se- quence of diagram 19 is obviously superior to the failure shown in diagram 20, but in both cases White is able to Seize the initaitive. -WweBalance Between High and Low Plays Diagram 21 Diagram 21 Let us study an example from a recent popular fuseki. When the shimari in the lower-right-corner is made on the third line with a stone at O-3, then against the attack of Black 1 the squeeze play of White 2 on the fourth line is appropriate. If White plays at A on the third line, then from the standpoint of harmony or symmetry of the game as a whole his position on this side of the board is too low. Diagram 22 Diagram 23 Diagram 23 Making The Most of a Joseki Position When the position is as given in this diagram, selec- tion of the high-attack jose#? shown here from Black 1 to Black 7 results in failure White is allowed the two-space extension at A, and Black 7 is unsatisfactory since it does not attack him. Nevertheless, Black 7 cannot be pushed forward to B, since this would expose him to White's in- vasion at C. Diagram 24 1 T Lj 17 ® 7 Diagram 22 With the high shimari shown here, the low squeeze-play of White 2 is permissible. This is but one example, but having one side low when the other is high is common sense in fuseki. As the ninth rank player Go Sei-gen has so wisely observed, "Go is the art of harmony." (The word used here can also be translated as "symmetry" or "proportion"), and the significance of this remark can be observed in these cases. “i + AZ e060 O Diagram 24 Jn such cases it is appropriate to choose the type of sequence shown here from Black 1 to Black 5, Which combines extension and a squeeze-play and avoids the ruin of the joseli by becoming the prisoner of its HIstrict form. Note (1) Even if White 2 were played at A it would still be correct for Black 5 to be played as shown here. Note (2) It might be thought that in order to spoil Black's tactics when he plays at Black 1 White might an- ticipate him by playing first at L-3. but then, by selecting the joseki at B, Black could place himself in a splendid fight- ing position. DETAILED DISCUSSION Diageam 25 Diagram 25 territory. ‘The correct sequences: White 1, Black 2, or White A. Black B were discussed in the section on basic theory, but now let us look further into the reasons for them. A study of the methods of enclosing, mB ae Diagram 26 Diagram 26 If the play White 1 is answered with Black 2, then White can immediately jump to White 3 and in order to answer this Black 4 cannot be omitted: thus this sequence results in the folly of using two plays where one should have been sufficient. This is the chief differ- ence between the sequences of Diagrams 25 and 26, and shows that even in surrounding the same territory there must be vital points. Reference Diagram ir | 1 Notes: (Reference Diagram) When White plays at D-6 it is not absolutely necessary that Black should play at A, since even if the play White 1 is permitted, Black can still manage by playing the sequence from Black 2 to Black 6 as shown here.Diagram 27 COBOD420 4 BUG A Taboo in Fuseki Diagram 27 When White 2 is played in answer to Black 1, in case of necessity the Black stone has in reserve the sequence of pressure plays beginning with Black 3. This diagram shows one of the forms of receiving this pressure up to Black 21. Keeping these facts in mind let us go on to the next diagram. Diagram 28 Moreover there remains the submissive sequence shown in the following diagram from Black | to White 10. Diagram 28-4 Diagram 28 White 2 in answer to Black 1. If White dares to do so then Black without hesitation will launch the series of at- tacks beginning with Black 3 on the right and Black 7 on the left, forcing White to craw! along in a low posture along the bottom side. Here it is wrong for White to play Diagram 29 A Warning About Black 1, K-3. The sequence of plays from WHite 2 through Black 5 are neccessary preliminaries, but if one thinks of them in a different order, does it not seem that the selection of the extension from Black 1 to Black 5 was not urgent? Moreover, White's profit in the sequence from White 6 ‘onward steadily reveals the redundancy and lack of urgen- cy of Black 1. The extension of Black 1 presupposes preparation by a Black stone at P-4 or O-4.Diagram 30 Diagram 30 An Example of an Exception permitting Black 1. If Black 1 were played at E4, this would not only give White an opportunity to seize the best point by play- ing at K-3, but, of itself it would not seriously influence White. On the other hand, it is permissible to play Black 1 as shown here, even though Black is under White's pres- sure in the sequence of plays from White 2 onward, and the value of Black 1 in this position increases in inverse proportion to the width of White's extension on the left. Diagram 31 The Problems of Taking up a Position and of Large Areas. Diagram 31 ‘The dominating position in this large area is at A, and Block is cager to seize it in his turn to play, but if he ‘plays at A, it’ will immediately provoke a White attack at Band Black will be pushed down into the low territory along the edge. On the other hand, if Black plays first B, white in his turn will seize the position at A immeditely; therefore Black must find some device to escape these al- ternatives. . Diagram 32 L Y shies $ a tt. = ee T Diagram 32 In sucn cases Black 1 15 opportune. If White then insists on playing White 2 at E-5, Black ‘will simply play Black 3 B-4, and when White 4 bottles up the Black stone at C-7, Black takes a little profit with lack 5 C-4, followed by Black 7 ¥-5; and if Black reaches fis objective with Biack 9 L-3 it is clear that these tactics Rave been effective, and that the sacrifice-stone, Black 1 E not died in vain Note: If White used his fourth play at L-3, the fol- ‘owing sequence is possible: White 4 1-3 Black 5 at A White 6 Black 7 at B __ However, it cannot be ignored that the Black spear-point Fat B casts a very bad influence on the White stone at L-3. —s3-Diagram 33 Diagram 33 If White 1 were used for the squeeze-play at J-3, Black would attack at A, but if White 1 were played at A, this would permit Black to extend to J-3 or to some other point. Therefore White plays White 1 against the Black stone, extends with White 3, and when Black defends himself with Black 6, White returns to the squeeze-play White 7, which is what he has been waiting for. For what would happen if Black used his sixth play to reinforce himself in the area around J-3, see the fol- lowing diagram. BB Diagram 3t + 6-H Oe Diagram 31 In this case White 7 is thrust at the vilal point and Black cannot avoid the sequence which forces him into the stupid formation shown here. Diagram 33 en] he | + 4. a 6) HOC Cher Diagram 35 Elsewhere Black | and 3 are counter-measures to the White tactics of playing at Q-5 against the Black stone at R-5, then extending one line upward to P-5. If White 4 is played elsewhere, Black opens hostilities by cutting with Black 5: if White were connected at this point he could extend toward A. Thus the tactics of both players here are of the deepest interest. What Happens When White 4 is PLayed as fiDiagraan 36 Diagram 36 Examination of Gaps on the Edge. The problem is to decide whether Black 1 is of greater value in defending the lower right or the lower left corner. On the right side Black 1, in correlation with the stone at 0-3 secures for Black territory of more than ten points. On the left side the gap leaves room for White to penetrate to A, Black withdraws to B, and the actual value of Black 1 is slight. Thus we see that in the left-hand corner Black 1 is of little value. No attempt should be made to enclose a corner where there is a gap on each side. Diagram 37 Diagram 38 Try to judge the value of Black Diagrams 37 and 38 1 in each of these cases. = 23 Diagram 38-4 : tt | Diagram 38-4 in diagram 37 Black 1 takes ull the territory in the lower left side of the board, but here even after the closing with Black 1, there is room for White to make mischief with White 2, therefore not all of this territory can be regarded as belonging to Black Therefore the vulue of Black | is greater in diagram 37, and one shuld always keep in mind the importance of this way of thinking in judging the value of plays Diagram 39 and Diagram 40 From the examples given above Diagrams 39 and 40 it will be quite clear which of the two situations shown there yield the greater profit when Black 1 is played. In diagram 39 Black 1 almost completely assures the territory on the left, while in diagram 40 it is sufficient to note the reduction brought about by White 2 and 4. 2an a i rr | -| He ---+} tebe L rit Tite Diagram 41 _ As discusses above, a BLack stone at 0-4 does not imply a closure of the corner, Therefore it is the worst possible idea to play at A against White 1 and then to close at B. It is also ineffective simply to jump to 0-6. ‘You should grasp the more aggressive idea of a count- erattack with the Black 2 as shown in this diagram, followed. by Black 4 when White runs away with White 3. It is true that Black could attack very strongly by placing Black 2 at C, but then after White 3 M-5 Black 4 to 6, White could also bring pressure to bear on Black by playing at D, therefore we dislike a Black play at C becayse it advances too near to White. Diagram 42 1 OH Diagram 42 on the left, Black 1 is a very strong play, and after White 2 H-5 the Black pursuit with Black 3, K-5 is a good play. When Black is very solid as he is here — wu The value of the three-three point Diagram 43 Let us investigate the value of the three- three point from an opposite standpoint to that of guarding the corner when there are gaps on the edge. In the case shown here, a white play at A has no great importance. Even if Black were to close off the cor- ner by playing at B before this play could be made, there is still room for White to invade at C or D, and since White can also slip in underneath at B it is not possible to consider all of the territory on the right as belonging to Black.Diagram 44 However, if Black K-3 is added, then the value of White 2 R-3 suddenly becomes large. If one assumes the future form shown here from White 2 on to White 8, and com- pares the consequences of this to what would have happened had Black forestalled this sequence by playing first at R-4. Leaving aside a Black invasion at A as a separate problem, one sees that there is actually a difference of more than 20 points, and if the variation of diagram 44-A is considered the the superfluity of Black | cannot be denied. Diagram 44a, Diagram 45 In answer to White 1, his opponent's first blow in an attempt to reduce his potential territory Black defends himself as shown here in the sequence from Black 2 on- ward: where then as White observes Black's growing hold over this territory should he use his ninth play? Black has neglected the point A and this, even if it were closed, leaves him exposed in too large an area. Diagram 46 Bow -BOOS: Needless to say, White comes in at the three-three point, and from there up to White 13 the sequence follows a. common pattern, but White 13 raises the possibility for White to come down at A, then take the important point at B, as a reult of which White takes enough of the territory which Black has made. — 3Diagram 47 The first game of the Sixth Annual Honinbo Match. After White 1 and 3 there are various points at which White would like to play, but at this time the most urgent problem is that of the lower right corner where WHite cannot allow Black to play at A, seizing firm control over about 40 points of territory. Therefore after the Black 4 Diagram 47 A the sequence continued as shown in diagram 47-A: White 4 at R-3, Black 6 at R-4, — White 7 at Q-3, Black 8 at P-4, — White 9 at L-15, (Diagram 47-B). When White turned away from the corner to L-15 he was thinking of the exchange from White 5 R-3 to Black 9 P-4 as a profit safely in hand while with the situation left as it was at that point Black still needed one more play there. Diageam 47 B a Po If the play had continued as shown here the reduction in Black's territory would have been twenty some points, and the White territory in the corner seven points. Com- pared with the case when Black closes this corner by his play at A in diagram 47, the actual difference exceeds 30 points. =B-Diagram 48. The width of a squeeze play. When the emphasis is placed on the side rather than on the corner, it is customary to launch the attack from both flanks with Black 2. Let us now investigate the usual reaction the problem presented when White in answer to this attack comes into the three-three point in the corner with White 3, and Black must judge whether it is better to pin this White 3 down by playing at Q-3 or at R-4. Diagram 48-A distance. It will be understood that if the play were made closer in that Black 2 R-3, it would result in an even greater degree of over-concentration of strength in direct proportion to the nearness of its approach to the Black comer group. Diagram 49 Ht If Black 4 is played as shown here the sequence from White 5 to Black 12 is joseki. The result is that the squeeze play Black 2 turns out to have been made at a good 38 Therefore, when the squeeze play is made close in, as with Black 2 M-3 shown here, the White stone at the three- three point should be contained with Black 4 R-4, then after White 7 $-3 (or alternately White A) Black 8 N-5 can close the White group in completely. That is, a close-in squeeze play with Black 2 should be made when it is one's intention to colonize the right side of the board in cooperation with a previously played Black stone at or near B. aDiagram 50. The idea of defending against White 1 G-3 with Black 2.N-3 must be considered very shallow, since White can still invade at A. If this happens and Black defends at B the over-concentration of strength on his part is extreme. The clue to this fuseki is as follows: If the comer comes first for Black, he should close it by playing at B; If he thinks of placing the greatest emphasis on the side, he can build on a large scale by playing at C. The following diagram shows what may happen if Black jumps to C and White comes into the corner at A. On the sensitive judgement of a situation. White's plan in this case was first to moderate the attack of Black 1 by playing White 2, then to counterattack with White 4 and 6, which simultaneously open up wide prospects for him on the lower left side of the board. This plan was appropriate here, it was followed consistently through and there is no fault to be found with it. Diagram 53 ‘The sequence of plays from White 2 to Black 17 is one possible variation. White's plays in answer to Black | are sound. However, in this diagram there is the strong two-space Black extension on the left side. If White were to play at A, and Black at R-7, the result would not only be to give the profit to his enemy, but he would have no way to find any compensation for it. 9Accordingly the White stone at P-3, which has very little future, should be abandoned. The vital point in this situation for White lies in shifting his weight to the right side and without hesitation conquering a vast new world there with White 1 and 3. The result of this is that Black is left with an unnecessarily conjested shape on the lower side of the board, and moreover White still has room there for a play at B. Diagram 5t This is the attack directly against the lower of the two stones closing off the corner. If white were to approach the Black corner formation by playing at A, Black could answer at B; and still if White were to attack with White 1 at G-3 Black could play at C; when neither of these alternatives is attractive, White 1 C-5 directly against the corner stone may be used. Here White works on the left side up to his ninth play, then tries to profit rather quickly on the right with White 11,, but of course it goes without saying that a pro- per selection of timing and circumstances is necessary here. Note 1: Black 12 defends against White at D. Note 2: If White 13 is omitted Black at E could do great damage. 40 — Diagram 55 When there is a Black stone on the side, such as the one shown here at K-3 for instance, the manoeuvres of the previous diagram are prohibited. It is unprofitable for White to provoke the building of this huge Black area thinking that he is solidifying his own territory on the left side. Therefore, in this case it is wise for White to make his first play cautiously at C-7 as shown in reference diagram, which leaves him the possibility of invading at Aor elsewhere at some future time. Reference Diagram a4Diagram 56 upon the spearpoint of Black 10 at N-14 would become menacing. That is to say, the extension with White 13 has only a slight relation to the isolated stone at White 11. Note 4: When Black played 16 R-9 he had in mind both the push downward from Black 14 Q-12 to F, and the extension to G. Diagram 37 Tn this diagram, note how Black develops following the attack by White 1, and that in contrast to White's duplication of effort he builds up a powerfully active posi- tion on the left side. tir} What is the result in this fuseki of using these tactics of the double attack on both the right and left sides, be- ginning with White 12 White's management on the upper side of the board with White 11 and 13 is successful, but since the order of play allows Black to seize the strategic position on the right side with Black 14 and 16, one must conclude that these tactics are dubious when White is not backed up by a previously placed stone at or near R-10. Note 1: If White 11 were played at A, it might be endangered by a Black stone at B. Note 2: The Black 12 shown here is more effective than it would be at C. Note 3: If White 13 were played at D Black could separate it from the corner stone by playing at E, where ~B—CHAPTER II Essentials of Attack and Defense PREFACE In close hand-to-hand fighting the difference of a single play may be the deciding factor in victory or defeat. ‘The ability to make a deep and systematic analysis of a situation is necessary in order not to err in securing the initiative and in discovering the keys to new develop- ments in difficult situations, and it is in the combination of just such powers that what is called go strength is to be found. 4 Play from the fsukenobi joseki: It seems that there are many people who consider the sequence from White | to Black 8 to be just the typical zswkenobi joseki and who have not the slightest suspicion of it, but the new feeling con- cerning this is that the reinforcing play Black 8 O-4 shows signs of some duplication of effort. Assuming a different order of play, if Black had an- swered with Black 2 at O-4, would he then have chosen to follow this with the tsukenobi play against White 1? Surely he would have made a squeeze-play against this isolated White stone from the direction of R-10. (Note: Tswkenobi means, literaly, to attach and extend. In go it refers to the manoeuvre of this diagram, where Black 2 is played directly against the opponent's stone, White I, and Black 4 extends from Black 2.)The result of clinging to Black as shown in this dia- gram, plus the plays White 9 and White 11 which follow it, is that White has been enabled to play as he pleases both on the right and on the left, and Black has been badly taken in the exchange. Where then is the vital point of attack and defence to replace Black 8? Needless to say, the correct play for Black is at the strategic point on the lower side, which he should occupy without hesitation. Diagram 2 When this play has been made there are two sources of uneasiness for Black; a White thrust outward at Q-5 (this is treated in the following diagram), and the invasion with White 2 0-3. ‘Against White 2 0-3, Black strengthens his base with Black 3 P-3, forcing his opponent to make a play towards the center with White 4 O-4. Then, when he connects with Black 5 Q-5, it is as though Black 1 were placed to attack the two White stones and it is unquestionably ina dominant position. ~ 46 — Diagram 3 Concerning the White thrust out through the Black formation, and without considering his situation on the right, the sequence from White 1 through Black 10 as shown here may be allowed, and if you understand how the sequence beginning with Black 4 in answer to the cut with White 3 and continuing through Black 22 reproves the futility of White's stubborn play, you will have nothing to fear. sapViazeam 4 Countering the Double Attack on the Corner Handicap Stone Leaving aside a Black play at A as another problem, when a double attack is made as shown in this diagram, if the reply chosen is to be a play directly against one of the opponent's stones the rule is to play against his stron- ger stone. In the case shown here the White stone on the right side of the board is the stronger, since the one on the left may be attacked from both flanks because it is between the Black stone at C-10 and the handicap stone. Therefore the policy of a deferred approach to the single White stone on the left, using the strength of Black | and 3 is correct. After Black 5, if White thrusts outward at A it is profitable for Black to permit the following sequence: White A, Black B; White C, Black D; White E, Black F. Be Diagram 5 Loe L Plays made directly against the adversary's stones necessarily strengthen them also. Since it is not a bad idea to make your opponent add strength to stones which are already strong, the sequence shown in this diagram is ap- propriate for Black. Ina local contest the most important problem is the efficiency of each play or how much work a stone does. In this diagram, White 10 spies out the Black "bamboo joint" connection directly above it. Since this connection cannot be cut with less than two consecutive plays, White 10 is unreasonable and must be condemned for its low efficiency. oeDiagram 7 In this diagram the kosumi, White 1, is correct play. When it is noted that it forces the sequence of plays up to Black 6, and that there remains the chance that in the future White, by playing at A, may be able to force Black to fill in one of his own points, one sees that there is no comparison between this and the White 10 at the preced- ing diagram. The enquiring attitude which searches for the truth on the board in this manner is an important tool in grasping the key point ofa situation. Diagram 8 — a! Diagram 9 |; The reinforcing play Black 8 following White 7 is of ten encountered, but it betrays Black's undigested know- ledge of joseki, and his opponent is able to extend outward with White 9 which has a dominating influence over the entire game. Rather than using Black 8 merely to defend at this point, it would have been far better for him simply to have jumped to D-6 with Black 2 and then to have at- tacked the solitary White stone from the direction of A. Diagram 10 \ | i I Or fete ft +> ff £ Here also the kosumi of White 1 is correct, and as in the preceding diagram, a thrust outward at A is unprofitable; therefore to probe into the connection by playing White 1 at C-5 would be contrary to the logic of go. 5a Here the hane of Black 8 at the head of the two White stones, (3 and 7), and his reinforcing play Black 10 are plays made under tension, It should be carefully remember- ed that Black 8 occupies a vital point which determines the rise or fall of the power of both players. st ~Diagram 1 (sce the next diagram). If the sequence proceeds with White 2 and 4 played as shown here it exerts little in- fluence on the two White stones on the right, and Black cannot be satisfied with this. Concerning the Escape of the White Stones at G-4 and G-6 It would be too planless in this situation for Black if he simply bent around at A, foreing White to extend to B, etc. How then should he play? Diayram La The best alternative is for Black to make a squeeze- play directly up against the White stone. Then, if White extends with White 2, he employs Black 3 and 5 as sacrifice stones and continues with Black 7 and 9. By this forceful order of play he can exert an enormous in- fluence on the two White stones. Also, even if the sequence should proceed as follows: Black 1 D-8, White 2 C-8, Black 3 E-7, this is still very The cut with Black 1 is perhaps an improvement (for different from that of diagram 11. the variation with White at C-8 in reply to Black 1 C-7, 53In this case Black might play at A, B, or C. The problem is, which of these points should he choose? Since a play with two or more purposes is always bet- ter than that which has only one the best play here is at C, for this also implies the invasion at D. However, if White were reinforced by a stone at E or in some other way, then Black should hold back with a defensive play at A. Coming into contact with a strong enemy position is the cause of many difficulties and never yields a single profit. Diagram 13 The Effect of a Black Stone at M-3. (That is, at C on ~~ the Preceding Diagram) This diagram shows the powerful invasion beginning with Black 1 and the sequence which follows, if White plays elsewhere after Black plays at M-3. Note carefully how these plays up to Black 7 have White at his wit's end. The following variation also leaves Black with a satis- factory posture: White r K-2, Black 5 K-4, White 6 H-2, Black 7 J-2, White 8 J-1, Black 9 J-4, Diagram 1 ‘As noted already, in the situation shown here the strong- est course for Black is to approach the White formation with Black 1 which aims at the invasion at A. In this case the best policy for White is to jump to White 2. This play prepares him for the Black invasion at A and at the same time implies a White counterattack at B. Thus like Black 1, it is valuable in that it serves both for attack and for defense.Diagram 15 | | When Black is very solid on the right side as shown here it is appropriate for White to strike at L-3 directly against the Black stone at M-3, and his play serves also for defense. Since there is no room for a White invasion at A it does not matter if he provokes Black to strengthen himself at B. If it happens that Black has no reinforcing stone at D-6, White 1 might be quietly played at C as shown in the following diagram. Diagram 15-A This seemingly submissive play aims at a counter- attack at A and is called a "Gote no Sente" play, which is an element of the higher strategy of go. (TN. This term refers to those plays which superficial- ly appear to be defensive, but which in fact are charged with a much more obvious offensive power and intent.] = 5 Diagram 16 |. —}—4_ |. {tt oP i i t A Study of the Kosumitsuke Manoeuvre ‘The exchange: Black 1, White 2 is a bit of technique commonly used to rob White of his base, but naturally it also may or may not be suitable depending on the sur- rounding conditions. Cases where the kosumitsuke may be used: (1) Where, Black already has a stone in the neigh- borhood of A, or where the circumstances per- mit him to play there before White can do so. (2) Where, although White already has an exten- sion in the neighborhood of A, Black either has not invaded the White area or cannot hope for any good results from such an invasion. Cases where kosumitsuke should not be used: Where, White has an extension somewhere around A, but Black still wishes to invade the white area. Def: Koswmitsuke is the diagonal extension from a kindred stone directly against an enemy stone.Diagram 16-A acscnee | Here the exchange Black 1, White 2 results in the White formation becoming heavy, and with the following play, Black 3, Black simultaneously attacks White from both flanks and spreads his influence over the entire left side. Diagram 16-1 —|[4--| + [4 H + e0 |. roasug If Black 1 simply makes a squeeze play on the White stone there is room enough for White to occupy a base by means of the sequence of plays shown here up to White 6. Alternatively White 2 might be used at A, Black 3 as be- fore, and White 4 at B. Again, even if Black makes the squeeze-play at C only two spaces away from the White stone there is still room for White to develop an active formation with the above sequences, or tu jump to the three- three point in the corner. ~ 53 — Diagram 16-C of. {i 11 dio ; eo | a | Lh Here White's extension being only of two spaces it is too narrow to invade. Therefore, not only is there no rea- son why the koswmitsuke of Black | should be unprofitable, but it has the good effect of leading White into an over- concentrated formation with White 2. That is, judging the effect of the play up to White 2, White would wish his stone on the left to be one space farther away at A. Diagram = 16-D Here it is obvious that the exchange Black 1, White 2 is profitable for Black. ~ 59When White's extension is of three or more spaces, Black 1 is usually bad play. This is because White 2 auto- matically spoils the effectiveness of a Black invasion at Aand raises the value of the White extension at K-3 to its maximum. In this case it is better to use Black 1 to invade at A immediately, or it may be desireable to en- sure the corner by a play at B, resign oneself to a defen- sive play and leave the invasion at A as a project for the future. Note: When White already has some strength at or near C, leaving no room for the Black invasion at A, then the kosumitsuke with Black 1 is correct. Diagram 16-F Even when the extension is four spaces wide the ex- change Black 1 for White 2 is a bad play. Although there does remain some room for the invasion with Black 3, White's power to fight back as seen here from White 4 to White 8 shows that it is far stronger play to invade at once with Black | as in the cases discussed above. Diagram 17 =O7O—- aime | + a L. When Black has a structure like that of this diagram and White 1 launches an invasion, Black first employs the kosumitsuke with Black 2, robbing White of his base. This then pushes White into a heavy posture with White 3 to which Black responds with Black 4 and he has succeed- ed in handling the sequence firmly throughout. Following this if White, as a matter of self defence, tries to escape with White 5, Black has a good opportunity to colonize the lower left side also with Black 6. Note 1: After the sixth play the possibility of a Black play at A provides him with another arrow for his bow. Note 2: If White used his fifth play to cap the Black stone in the center by playing at B, Black could either answer quietly at C or choose the forceful play Black 6 L-5; both are good and he is sure to reap a profit either above or below. ~ iDiagin 2h Diagram 21-4 , ~T On Whether to Attack or Cling to One's Profits Let us study the counter-measures to be followed when an opponent comes in to the three-three point after kosu- mitsuke. ‘The problem here is whether Black should play at A, away from the White | at the three-three point, or hold on to his existing gains by pinning down the White stone with a play at B. Generally speaking, if Black wishes to attack the White group on his left he should strike at A, away from White 1. If the White position is strong it is wise for Black to pin down White 1 by a play at B, and allow him to connect. fi If Black 2 is played downward White's play from White 3 on is strong; the sequence shown here up to Black 14 is one variation. However, it cannot be denied that it results in the debilitation of the White group to the left, and if Black already has a stone at or near A then White's plan in playing White 1 at the three-three point is cer- tainly impossible. Note: If Black wants to take sente on the right side he can play Black 8 R-8, then after White plays at B he can turn back to the attack on his left. The counter-measures employed in diagrams 21-B and C when Black 2 is used to contain White 1 and White 3 slips under the Black stone at P-3 are well known, but next let tus compare their relative merits. =aDiagram 2 With regard to the gains in the corner and a forma- tion capable of making eyes, this sequence is more profit- able and sounder than that of diagram 21-A. On the other hand, it must not be forgotten that per- mitting White 7 may lead White on to play at A or B against the Black stone, providing him with the clue to extending his power toward the center or the right side. Diagram 21-C One of the defects of this sequence is that if a Black stone is added in the region of A Black can aim at the weak point B. — 65 — Therefore the following sequence may suggest a good approach [for White] in such cases: hold the exchange White 5, Black 6 in reserve, then if Black attacks White is prepared for the plays Black at B, White at C, Black at D, White at R-2. Di In this fixed form once again there are dangers to beware of since it leaves the possibilities of an attack at Aand of the White raid illustrated here. You should also keep in mind that a Black 1 in the following diagram defends in advance against the White raid on the comer, and that although White can check it by White 2 P-1, Black can then take sente by playing Black 3 at S-2.Diagram 2 On Choosing to Slide Under the Stone at the Four- Four Point. When Black replies to the attack of White 1 with the one-space extension of Black 2, the form shown here in which White slips under the stone on the four-four point with White 3 and then extends with 5 has recently be- come popular. The reason for selecting this standard form is that if the exchange - White 3, Black 4 were omitted and White simply extended with White 5, Black would instantly take advantage of the kosumitsuke at A, and yet if White were to make the wide extension to B this would leave behind the invasion point at C. 23 Diagram a4 + | | The same sequence is also good for White in answer to the Black 2 (kogeima, or small knight's play), shown here, and indeed one has the impression that this White 3, and 5 may have become the usual form in this case. 6s - Diagram 2 However, when Black 2 is extended one space farther, (Ogeima, or large knight's play), White 3 becomes a que- stionable play. In the preceding diagrams the extension with Black 2 was narrow and White was equally satisfied, but here Black's extension is one space wider and its effect cannot be denied. Therefore when Black 2 is played as shown here, one values more highly the variations where White 3 is played at A, Black 4 as before, and White then cuts at B, or where White 3 is used to invade the corner directly by seizing the three-three point. Diagram 25 4 b 4 ai |. re When White uses his third play simply to extend two spaces, the exchange - Black 4, White 5 may be forced on him. As explained above, the sequence, White at A, Black at B, then White 3 has come into common use as a means of avoiding this development. 69 —Diagram 26 Thus it has become the established opinion that if one is simply going to extend in such cases, the three-space extension is the minimum. If Black plays at A, White can always shift to B, and since the stone at White | is of relatively slight significance a three-space extension also is possible. Diagram 28 When, as in this diagram, Black is at work on a major conception which involves the entire width of the board, he permits the opponent to play White 5 in answer to Black 4 because his own play is a counter-attack against a White extension at A, appropriately delivered just at the time when this extension has become most desirable. That is, he yields the three-three point to White 5 and contains him with Black 6 and 8 in order to concentrate on develop- ing his plans for the lower side and center of the board. Also, if White escapes the containment by using his fifth play at B, his opponent can occupy the strategic three- three point with Black 6, and the work of Black 4 in block- ing White's extension becomes brilliantly effective. Diagram 29 This sequence is unattractive because after White plays 1 and 3 his opponent may break into his extension with Black 4; there is no longer room in the corner for him to transfer there and his formation becomes a heavy liability. If the two stones of the extension are already in posi- tion and White is to play at Q-2 previous preparation with a White play at or around A is necessary. —70— It is also possible to push forward the White 9 of the preceding diagram to $-6, but then in answer to Black 10, White 11 cannot be omitted, or Black will play at A. _—The abrupt cutting off of White 1 by playing Black 2 directly against it is generally a reckless play unless there is the prospect of definite profit on the other side (that is, on the left in this diagram). The sudden loss caused by provoking the sente play White 7 is unimaginably large. Itis of course common sense to answer Black 2 with White 3 as shown here. It should be kept in mind that the sequence of this diagram may be used only under special conditions. The standard formula is to play Black 2 at C-4 as shown in the following diagram, Diagram 31-4 ptt 1 Diagram 32 The unreasonableness of Black 2 becomes more and more obvious. The farther away from the corner one moves the more power develops in hte outburst of White 1. Black 2 becomes appropriate only under the special conditions shown here. Note: In actual combat it is even better to play Black 6 at T-2. = iDiagram 2 ON SCALE IN PLANNING As the reader is aware, in answer to this double at- tack, an altemative to Black A is to slip out diagonally with Black 1 as shown here. When White 2 takes the three- three point it is common sense to contain him with Black 3 played from the quarter which can be made into terri- tory in the future. In this case, Black 3 was played as shown because of the Black stone at K-3, but a problem concerning one of the vital points of go is involved here and Black's power will be decided by his play from this point on. Diagram 3t The play most often met with is Black I as shown here. re This attack cannot be called a really bad play, ut it is to be regretted that it was coneived on so small a scale. As a result of its involvement with the White stone at O-3, White profits by the sequence from White 2 to 10, and again after White has gained in the manoeuvres from White 12 on, the signs of overconcentration of strength in Black's formation are striking. Diagram 35 It is a great relief to see Black | jump outward as in this diagram. If White neglects to play at 2 it is all right for Black to shut him in by a play at A. If White does answer with White 2, Black daringly surrounds a huge area with Black 3 which also plays a powerful role over the entire left side.If White makes a dash outward from his isolated stone at 0-3 there is no reason why Black should not welcome it, but if his response to it is unskillful, as in the bad example given here, Black will be badly mistreated. The sequence up through White 3 is a species of good play, but the cut of Black 4 is rash and results in White connecting with White 5, then joining his groups with plays 7 and 9, so that the situation turns into a trap for Black. Diagram 37 (Black 5 connects in the ko.) It is also optimistic for Black | to strike from this side expecting White 2 N-5, Black 3 N-4 to follow. Instead of this the formation is easily disposed of by White in this tie way: White 2 N-4, (holding back Black 1), Black 3 N-5, White 4 M-5, Black 5 0-5, (connects), and White 6 M-3 forming a “hanging connection." One cannot call this enough for Black. Diagram 38 . CeCcee cerry er erry (White 8 takes in ko, White 12 and 14 connect.) Black | at N-7 - this is the best play. When White extends on 2, Black 3 crowds in between the White stones O-3 and O-5, if White checks this stone with White 4, Black 5 captures the stone on O-5, which leaves White in a dilemma. If White checks him with White 6, he cuts with Black 7, Black 9 is atari, and he keeps White under continuous pressure up to Black 13. Then if he connects with Black 15 it is clear that the management of the nin White stones which have been driven into this foolish shape, and the problem of holding back a Black break through at A are going to fill White's future with troubles. If after Black § White made his sixth play at M-4, a Black play at B would put an end to this attempt.Diagram 39 When White 1 jumps into the three-three point, the sequence up to White 9 as shown here commonly follows. Black 12 is a correct play, but many people never suspect the Black 10 which precedes it. Worst of all, they even end with the exchange: Black A, White B, but it must be understood that the former is a vulgar bit of profit- seeking and the latter is unimportant. Diagram 40 ca results in his expansion on the right in the sequence of this diagram. On the other hand White will have trouble over the defeat at A, and so ultimately his play at White 1 has only about the same value as would the direct ex- tension to B. Diagram 41 It would be better for Black not to make his first play here but to leave it as a point where he could apply pres- sure in the future. It is painful for White to permit Black to wall him in with Black 3, but White 2 defends against a Black's attack shown in the following diagram. Diagram 41-8 “> + One may imagine that Black 10 of the preceding diagram is played because of anxiety over the thrust of White 1 shown above but Black should welcome this since it 8) oe c = jieDiagrun 2 Diagram 43 ap nin On the Practical Application of Joseki A “joseki,” at the very least, is that form in which the plays of both opponents achieve their maximum efficiency. Locally it is possible to reach something which may be called the best arrangement, but because of the surround- ing conditions there are cases where it is not always pos sible to say that one play is the best, and this fact raises an important problem in the actual application of joseki. In diagram 42 the sequence from White | to 15 is a standard joseki when the corner is invaded at the three- three point. However, in this case it is unsatisfactory on one point, in that, the strong White position at K-3 prevents Black from developing as much outside strength as he should get in compensation for giving up the corner. — % — It is appropriate in this case for Black | to slip under the White stones. Following White 12, Black 13 encloses a great area and White is left with too much of his force on the left side. Diagram 41 To Cut or to Allow to Connect When White | takes the three-three point, Black 2 puts a barrier beside him, and from that point on to Black 10 this is a common joseki. a5Diagram 43 It may also be a good plan to restrain White 1 with Black 2 as shown in this diagram, permit White to connect and then move toward the large area at the bottom of the board with Black 6, but the problem is, what is the clue by which we can decide whether to cut or allow one's opponent to connect? A. — When one wishes to reach K-3 ahead of one's op- ponent and to move into this large area with a play having some bearing on the lower right cor- ner. B. — When White has a stone such as the one at C-9 for instance, so that the extension from his strong base in the corner is too narrow, Black 2 is some- times played, and if there happens to be still an- other reinforcing White stone around A, the sig- nificance of Black 2 will become even greater. On the contrary however, if there should be a Black stone at B, Black 2 must be considered a bad play. = 82 — Diagram 46 fe@ Perry tte tt Diagram 46 shows a cut and diagram 47 a standard form of connection. ‘he problem is to make one's choice of these forms according to the surrounding circumstances, Jn diagram 46 if Black has an extension to his right, then from the standpoint of balance in his forces it is bet- ter that it should be at B rather than at A, and still bet- ter at C rather than at B, that is, the wider the stronger, 2nd an extension such as that at A is too narrow to cover his needs, In diagram 47 one cannot make any sweeping state- ment about the relative merits of an extension to A, B, or, but it is a fact that the wider the extension the more room it gives to White to manoeuvre in, This is one of the factors which must be weighed in deciding whether to cut or permit his opponent to connect. ali]Diagram 48 | hi Hl : When White already has a stone in position such as the one at K- allowing him to connect as in this dia gram will not only give him his gai Black’s line of development will also be blocked; thus it is clear that Black's ide in the corner, but in playing 4 and 6 is not profitable. Therefore when Black duvides to use Black 4 to pre- vent the connection of te White stones, as in this diagram, he will be content to shift to the left side with Black 8 in answer to White 7, That is, when the White stone at KB is strong, il is exceedinuly regrettable tut with one more play at A it can connect, but when it is isolated it is also possible for Black to turn and attack it, using Black 8 at A and so cutting it off from the other White Stones. — 81 Diagram 50 One must be careful nbout roughly restraining White with Black Las shown here because of the danger of the eut with White 6. Diagram 5 Naturally the circumstances on the left side of the board must be carefully considered in addition to those at the bottom when deciding whether to cut or to permit the connection. When the White stone at F-3 is isolated it is here we have a typical example of the conditions ifying the cut, Black’s strength on the right reinforced Black 2 and 4, acting in conjunction with the high squeeze-play at a three-space interval of his stone at K-4, promises a splendid position of widescope on the right side. ‘Therefore in such cases the White penetration of the corner at the three-three point itself becomes a dubious pla — 85Diagra Even when there is a White stone at or near K-4, White’s entire position on the right side is weakened by the cut, and black 4 and 6 may inspire the admirable conception that a heavy attack on White here may lead to profit all along the tine, Diagram 33 EXD) It is not possible to expect that the cut will yield any good results on the right when White has such a strong position as that shown here, nor can there be any profit in the adversary oyerruning the left side of the board. Therefore it is better for Black to restrain his opponent with Black 4, permit the connection and turn to some other important point with sente. In this diagram the result of the sequence up to White 7 is that White shows signs of overconeentration of effort on the right side and Black probably feels secretiy satisfied. — as Even although the White stone at £3 i isolated, when it is surrounded in too narrow an area as is the ease here Black can capture it and tere 4 little territory but the results of this do not extend far enough. In such cases also it is hetter to take sens ty means of the standard form shown in the preceding diayram, —#Diageam 55 Some Iliher Stratezy ‘The limited invasion af White 1 before enclosing with White 3 is what is called an exploratory play and its use isa matter of higher strategy to try to determine the next play according to the adversary’s respanse. The usual answer to White 1 is Black 2. White 3 is a reasonable defensive preparation against a Black invasion at A, but the order uf play has a special charm for the Kk 2 still re- consequences of the exchange White 1 Bla verberate in the corner. For example, Whi can play downward with White 1 at the first opportunity and ruin Black's corner by making — #38 = aliving group there with the sequence shown here up to White 5. cea g SPE 18a LL. I Li to | aa If a White stone should be added at A then the White i shown here forces his adversary to play Black 2. White lives in the corner by means of the sequence up to White 9 und the Black group then is within the White formations. | | [ | | Diagram 33-C bs Ld L Cr [ EEPer If Black 2 strikes directly at White 1 as shown here and the sequence continues with White 3 and Pluck 4 White’s manoeuvre is completely blocked, but observe what would happen if in answer to Black 2 White played his third stone at A (See the following diagram). 9Diagram 56 Here White 3 is played as suggested as in the preced- ing diagram. The sequence from White § through White 9 is hypothetical but at any rate the results of this course are that White's plays on the lower side of the board are ail highly effective and the Black invasion is neutralized. However, if White 1 were used simply for protection at A and White later inveded the corner at R-5 then Black 2 played directly against this White stone would be proper, After these plays White 3 would be awkward be- cause of its redundancy. Please keep in mind this procedure of using White 1 to investigate a situation, = i ae Diagram 57 Key Points of Attack and Defense ‘As noted before, in reply to White 1 the attack of Black 2 backed up by his position in the lower right corner leads White on to play White 3 and Black then follows with Black 4. This is all correct play. White 5 and 7 also are one type of defensive play but with only his group as it stands here White has not yet completely solved his problem. Therefore let us examine the key-points of attack and defense in the mid-game battle.Diagram 57-4 O TtOAa® 5gse = 05 et The key point of the defense is to play White 1 di. rectly against the Black stone, and in reply to Black 2 the counter-cut with White 3 is an adroit play. If Black 4 threatens to capture this sacrifice stone White uses it to profit by White 5 and 7, In this way White is sure to get a group capable of forming eyes and also keeps seufe. If Black 6 is used at L-1 to capture the sacrifice stone, White 7 M-3 forces Black to connect and when White 9 J-2 is played Black snust repair the gap at A after all, Diagram 57-B { on | | pt} @6-H+-@— ¥ C SBVOO LO 1 G0€E 4 1 Tf Black counterattacks with Biack 4 White profits through (he sequence from White 5 to 9, ~~ Again if Black uses his fourth play at K-4 White will come out ahead in the following sequence; White J-3 Black 14 then White M-2. ; 7 Whatever way the situation is handled White's success js due only to the good effects of playing White 1 K3 ' é against the Black stone at 13 and of his counter-cut with White 31-2. Diagram 57-C ch ee 4 The Enemy's Key Point is On ‘This same point, K-3 is also the most valuable for a Black attack, At first glance Black 11-3 may seem like aslack or careless play, but notice how this single play suddenly enfeebles White, sets the foundation of his group adrift and aims a spear-point at A. Tf Black, too eager for success, uses this play at B, the only result is that White can reply at C, which leaves a White play at D as a future threat.Different Ways of Receiving an Attack on the Ikken Shimari In each of these diagrams the formation closing the corner, in contrast to its powers of development, suffers from the same weak point: it can be threatened by the White stone on the side since there is room for White to ran under the Black formation with White 1 and ruin the value of the corner. Of course this does not imply that the ikke shimart formation is unprolitable. But now Ict us consider this as a lvcal problem study: ing Black’s reply to the attack according to the difference in the two formations, and try to grasp the vital point 1m the ways of receiving the attacks, aH Diagram 8 A +4 Virst, speaking of blocking the White attack directly with Black 2 D-2 it is a great mistake to believe that this js a rigorous play, The formation obtained here with ack 1 G2 is unable to save the situation after White 4. The rare case where Black shifts his force by using jack 4 to cut at E-3 is another question. | Diageam 58-1 fe t + faeces +. i The correct reply to White 1 is the dostoni play Black 20-3. If Black answered at A instead White would play at 1-3, which is a nuisance for Black. 95 —Diagram 58-C . ater Black 2D-3, White should crowd into the + corner with White 3 C-2, the sequence shown here leaves’ White in gote, therefore his invasion scarcely gains him’ anything. Diagram 39-0 Diagram 59-13 This sequence shows what Black can aim at after play- ing Black 1 C-2 {ie Black 2 of the preceding diagram). If White played at ¥-3, Black would play at G-3, then after White 4 G-4 Black 5 1-2 would follow. Diagram 59-C ‘The correct reply to the iarye knight's jump (Ogeina) is Black 2 C2. 9% I Here Black 1 D-3 is unattractive because it allows White to watch for his chance to prepare himself with White 2 F-3 and then invade at A, However it cannot be quite ignored since it is one possible way of receiving the attack. om OFDiagram 60 Concerning Light and Heayy Plays* Up to the sixth play this is the common jose? which uses a high attack at a one-space interval, If Black 5 were used for a squeeze-attack from K-3, White could play at A, a form which does not appeal to Black White 4 is especially significant as a foundation for the White extension to K-3. ram BL If one assumes some Black strength on the flank to- ward which White wishes to extend, as shown here, thea the connection with White 4 must be called a heavy play =i since it only invites further attack, The chimsiness of this play becomes obvious if one compares the situation here with that of the preceding diagram noting that this js what could happen there if White had intentionally used his sixth play elsewhere. Note: In their Japanese context these words imply a distinction much like that between a skilful Unrust with a rapier and a clumsy blow with a club. Diagram 62 Heavy stones, whether abandoned or not, may const tute a primary factor of weakness by inviting a concent- cated attack, Generally speaking, one must move delicately within an enemy’s sphere of influence, and you should rasp the secret of slipping out with White 4 0-6 as shown in this diagram. “That is, since it is most difficult for White to try to seize the initiative in this area with his inferior strength, he deftly forms a knight’s connecton with White 4 0-6, which also contains the implication that a play at A may follow. This is very free and interesting play. = —In the sequence shown here, Blacl's position is too low, and if Black 2 were used to eut at A, White would attack this stone from the outside with White 3 at Band be very happy to throw way the White stone at P-4, When you are able to grasp the spirit in which White 1 G6 is played, I think that new realms of jossibilities will begin to open to your game. Diagram 64 A Forbidden Extension ‘Phe use of Llack knights” extension un s shown here for an ogeimu “large h side of the corner handicap stone is known as the “eagontly-formation”. This formation is 100 Te at the orewthanns Se contains ta ayy Te the eI HMO ben an tes Wlae uz ah, Wh, Pethewne + is point and beginning WIL hk pes 1. The damage Since White weuty even if UL Viherne, the ko-light avoid Or 4 at i, cannot be Hered Wy losing =n fae olde fe ain cose Hel whol in it, Racy at C White eH ae pay 8 NOLAN OF this pantry, 1 one AN is iinmense, ot teation elsewhere ve toy thirteenth play Wa oh pon at Dp, but that MHOULE sy Hot sevept tas the so0d POL nat istic ay before Whito linn: ness of Wha’ Mw forimation has te close at Q2 ius, bl Thue sani ded- MOVE is alteplase ha sinall minded ‘The correct cones fur shew extend, WW Uli iy a ade position He wisbies ta tal tacks, ayy vate a play wt Aor fy Howth, ft he OW" Wark 1 K-38, and Meth corner with - teDiagram 66 Diageam 67 Concerning Order of Play If Black ignores 2 White approach at M-3 and plays elsewhere, the invasion with White 1 is Against this Black cannot do much better than play against White 1 with Black 2, but the result is unfavorable for him since White gouges out a profit with the sequence from White 3 to White 7 and robs him of part of his base. Nevertheless, when White plays at M-3, a reply at A, for instance, has little attraction for Black since it does not exert an effect on his opponent's force ‘Therefore the situation may be handled as shown in very strong play. the next diagram, —102—~ ‘ | | Black 1 is pushed into the White group to discover how White will connect. Ef White 2 connects as shown here, Black 3 jumps out one space ; A and also implies the direct Black squeeze play at B. Finally, the defect at € is brought about only by the way in which Black 1 was played. this prepares far the White invasion at 10 —Diagram 68 Diagram 69 Loe er rey If White 2 connects on the outside Biack 3 cuts. After White 4, Black §, and White 6, Black 7 takes a profit and Keeps sete so Black can at last turn to some other large area. Diagram 68-A Note; It should be kept in mind that the variation of this sequence shown here is also possible, depending on the circumstances, After White 1, (White 6 in diagram 68) Black can play either at A or at B. 1M 1 | | | | | | However, if the order of plays in diagram 68 were re- yersed and Black simply were to come down to F-2 before thrusting Black 1 into the White group, there is the danger that White might choose the hanging connection with White 2, and, after Black 3 made the cut, follow the sequence shown here through White 6 and abandon his two stones without regret. ‘Lhe result of this sequence up to Black 7 is that the stone ut F-2 has become superfiuous, or in other words, Black has incurred the loss of one play as a penalty for his crime of missing the correct order of play. 105Dose Diagram 71 a caeae ann Attacking and Defending Ogeima ma, enclosure of the corner, It is inevitable that the nall knight's move enclosure which does more work than the s at A, should be relstively thin defensively. White 2 is often played quickly in reply to Black i be- cause it also serves to reinforce this defect, and if this play is omitted, the attack shown in the following diagram beginning with Black 1 is severe. = leg Black 1 strikes at a vital point within the effective sphere of activity of the ogeima formation, and if White neglects to answer, Black 3 then threatens A, B, and other weak points. lf White does answer as shown here with White 2 Black may he satisfied with this exchange and turn else where, but it is also powerful play for him to continue im- mediately with the sequence from Black 3 on, building up a formation on a grand scale across the bottom part of the board. Diagram I-A In this variation, where White pulls back to D-5 with his sixth play, the sequence through Black 9 allows him stones and break out of the corner. to cut Black 107What happens if White 2 is used to counterattack his opponent's strong approach with Black 1? ‘The jump to Black 3 is the usual reply, with the se- quence through Black 9 following and ending perhaps with Black taking a profit at A, In contrast to this White's play from White 2 onward is clearly feeble. Diagram 73 rte f r tl al If White 4 is used to curb Black, he follows the cor- rect sequence from Black 5 on ending with Black 13, and has ‘handled this configuration easily and well, The cut with Black 9 is very skillful play. The following diagram shows what happens if White 10 is played at B-5. 108 | avo vi of the formation, and when Black, observing the profits i Tr || é t + Diagram 74 When White 2 connects, Black 9 shuts off the outside obtainable at A and B, attacks with Black 11, the situation becomes unbearable for White. Diagram 73 This variation appeared. in a game between Go Sei Gen and swamoto. It also is one way to handle the problem and sholud be remembered at least for reference. | = 109 —