Tesuji and Anti-suji of 30 Playing in Good Form and Making Correct Shape By Sakata Eio, Honorary HoninboPublished by an neo com paw Seat Som arb gorges © Copyright 1995 in the U.S.A. by Yutopian Enterprises All _rights reserved acconding to intematonal la. This book oF ‘any parts thereof may not be reproduced in any prinkes FOr, SOF Stored nay elecrome remensl sytem, ane fost n ary et ‘medium without the written permission from the PUbIIsNe. ‘except for short excerpts pat ofa wate review Originally published in Japanese by Ikeda Publishing Co.. Ltd: under the title of Go no Tesuji to. Zokusuji- Translated by Rul. Terry. “Translators notes are given within [ _] brackets. FFor the wisdom ofthis world is foolishness in God's sight. "As itis writen: "He catches the wise in their crafines TConnt 3:19, NIV First printing December 1995 PREFACE Tesuji skill Finesse ate the star features of sectional ight ing. If one does not understand how to use tru, one wil be u- able to correctly combat an opponent in localized fein, Tn that ‘sense tesuj are the basic building locks that teach us how to prop- erly hone our fighting sil In the final analysis, if ne isa strong fighter, itis merely proof thatone has a good graspof tru, and when a weaker player utfers a drubbing atthe hands ofa biter player its simply an indication ofthe gap in understanding of tesuji between the two players. “The present work has virtually eliminated all ofthe compen and dificult aspects ofthe subject clarifying matters that al players fencounter in their ames, and touching upon a simplified examin tion of sy However simplified it might be, though, the text concen- trates onthe essential points in a concrete manner. rom this per spective, the am has been to analyze the vibrant lifeblood ofthe ‘Stones, Throughout the volume, shouldbe apparent othe reader thateven in the cases ofthe most complicated and dfficultesuj, it is merely an extension of the simplified esujl presented here December, 1967 Sakata Bio‘Table of Contents Preface. Real Suji and Anti-suji of Go ‘What is Sufi What is Tesi ‘Tesuji and Anti-suji Mastering the Basics is Vital Model 1: The Suji of the Two-Step Hane .. “Model 2: The Suji of the Connection Underneath ‘Various Thoughts on the Suji of Connecting Underneath. “Model 3: The Sui of the Diagonal Move. Model 4: The Cutting Suji Model 5: The Suj of Striking Through « Knight's Move. Model 6: The One Point Jump Sufi Model 7: The Suji of Playing Atari for Atar ‘The Fencing-in Su Model 9: The Connecting Sui “Model 10; The Suji of Not Connecting Model 13: The Backtracking S Model 14: The Suji of Tiding Over a Crisis [Shinogi] Mae! 15: The Su of Caring te Hit Way ‘Model 21: The Two-pronged Attack S Model 22: The Question ofthe Inevitably of Moves “Model 26: ‘The Suji of Sealing the Oppo- “Model 42: The Ko Sufi. Model 43: The Suji of Pi Model 44: The Suji of Wringing Out Liberties Model 46: An Exquisite Sui. ‘Model 47: The Hane and Cut Suji Model 48: The Hane Suji ono Model 49: The Empty Triangle Suji Application of Suji jen Gen Go Kyo The Hollowing Out Suji Model §3: The Descending Move Suji Model $4: The Special Qualities ofthe Cornet “Model $8: The Double Threat Saji. “Model 56: The Suji of One Atari after Anothe “Model 57: The Stone Monument Wrap-up Su Model 58: Sui to Escape even Model $9; The Niche Wedge Su nnn Model 60: The Sui to Add Liberties wn.‘Model 61: The Su of Wesging In ume Pot (One Day, All ofa Sudden ~~ ‘Taking Sene is mot Always ‘Tesli and the Broad Picture Real Suji and Anti-suji of Go Playing in Good Form and Making Correct Shapeamt’: The het word 1 ante a 0 ec th et Teatt pan i e plest weds wih he wie pico it rts San angle THe word af ay mee Toe ee pm esac osv amelie ice ina 1a a anaes ei e's loin ia abla ao ene gametes” of Be “po” of pron To em cmyclpedic danny es diferent einen of he ML So bw tone tua pe we wil ote sy somthing ie "Tis move my” Totes move fellows goed For An hat show the word it Tate atin a ek ht ics reson he cone Chaseee regen ein thecal terioloy ad sin devote me ‘tong et pret We ty whenever pssil tose Engh equ ean eect someanes x more Comper APPA ay (Sicte e welcme comments om eae ‘ane case Alto tis an cia word (te nein elytra spel se Japanese a shal igon in he sess ie aly crite is a stl ness” bt how would tht ne a of hi beak Skull esse and Anse of Go" woul cette tela and bo incest Tete a diference he se ofa ve ety ik lpanese go books, and we fe atthe reader Best eve By ing fomed of se ciferencs, Sach prvi age the wasation ofthe word hana “tis orld wo he word wie, which i usally tasted a "res TESS Tact meaning mre ikea nesta goodness, authentic coe ‘SEN sohannfmcas someting ike accurate, sly ore om, ‘a arama ist tantaticn of the word. okra “issn th wowcolasha hich ne aly tarsal as"cale mov. Uta par ars have vst ar vulgar move” ot tha i spy tke ton Zab Jes aot mae "ular Fos isaace he word {larg ele worden san" vo potas) Sozoku-sarefe 10 arpa thas rte sd onttial tedemands fhe poston en Say th pony of payng ea na wrd antag. Azan we fest ‘traptretnderanting te ances othe ex oes me Japanese What is Suji? “The word suf is a technical erm that is used quite often in the game of £0. For example, the words feu, “incorrect sui" “unreason- ablesuj” and "premature su," et.al incorporate the word, and ajare often encountered, Bu ofall these terms, only the word esa isan orthodox one. The rest of them ae merely “wayward su “There are also situation i which the word suis used by vel, and again, it sao used in conjunction with verbs, such as “eating” “connestingsuj™or"squeezingswj.” There is prac- tially infinite variety i the use ofthe word "However, should one ask what in the world is meant by the term sj would be somewhat stack for an answer “This everyday word, that one casually ues without even thinking about it suj, doesnot have a clear definition. Of couse, this does nor pu crimp in anyone's style, a there is no reason for the word tobe precisely defined. "The important thing is not what the word is or isnot, bu in what way itis used. In shor, viewed from the vantage point ofthe WNorld of go, the importan: thing is how one makes Wife, and not Knowing how to put the concept into words wll not be an inconve= rience for anyone. no saying, I recognize that in a book dealing Tntimately with suit would be strange ifthe ferm were not de Fined, so wilofer a general definition. “Suis the line of play that the stones had best follow. nother words, the points thatthe stones are best played ‘upon, butthi s much to rough or loose a definition, and also, wil not be proper inal eases. "For instance, when speaking about the opening, the word sujts practically never used. However, there isaproper line of play fat that stage ofthe game that the stones must of necessity follow “Therefore I wonder if tis nt considered strange to try to invent + definition forthe word I must certainly say that it seems strange te 9‘But e's examine the word “fountain or no, how about the word “cup?” Can Apo reader come up with an ideal definition of ihe word "cop? In that sense, itis difficult to ‘efine everyting or every concept in verbal terms “vpitueis worth thousand words.” Digram 1 Rather than getting caught up in long winded circumlocations, the best way t quickly explain the con pt of sui to use a diagram, and T believe that method works justine. ‘Diagram 1 (A knockout punch) When the black group here is hit a the vital point of white 1 tis suddenly dea ‘This is abasic formation that shouldbe familiar fo every- ‘one, andthe fong-and-short point of the mater is that white 1 is aj If one wants to substitute vial point for su in this situation, ‘would have no objection Diagram 2 (Speaking of shape) Conse- ‘quently, when black gets to make a move frst asinthis diagram, playing at | allows the Black group to lve In either case it is obvious that the point of Fatah 1 the vial ott, but nthe later station wvam 2 black 1 is no called su, but rather, shape is the expression that is used ‘The point hee is that even when the same vital point is cocupied,nsituations where the move is component in an attack, _ajlis the erm used, while when tisadefensive move, shape isthe Proper expression. In this mar, suis shape, but its also vital point, and depending on the perspective ofthe situation it could also be de- seribed as an essential, commanding point. In other words, since there isan ambiguous character othe nature of sun and of itself, itis perhaps inevitable thatthe definition of the term also be am ‘iguous, and that it prove impossible to define exactly inal stua- ‘ions. That simply cannot be helped 0 eee What is Tesuji? Let's next think about a definition of te word tes “The wordteruj sali different from the word sui ‘Naturally, tsi is formotsui, but it" "Diagram 3 isnot metely one more variety of su "The discussion i bound to get somewhat complicated, but here too, let's investigate the mater by way ofa diagram. ‘Diagram 3(A living group) In this diagram, black as payed ‘the marked stone, making the propershape, and so, the black group isalve [No matter what technique white ties to use against this back group white will be unable to il t, but in terms of making profitin the endgame, there i oe fine of pla [sui that comes to rind. Diagram 4 (The TTT, — technique [i of euting) ‘White throwsin the cut att to see how black will 4 spond, ‘This is actually a 7b ry sorprsinglyeffecivemove Dunn Duero in thisstation. “Of course, there i no question whatsoever that this move threatens o kl the black group, but considering the endgame profit to be gained later on, this is quite an effective move (sui Black cannot play elsewhere (tenski}. Diagram 5 (Profit) Either way tat black answers with 2 the situation i the same. In this diagram, white gets o atari a3. ‘Naturally, black will eaptue at 4, but even being able & force this move in sente is profitable to white Ifthe reader has trouble understanding this point, pleas ‘examine the following diagrams and pursue the matter to your sat ‘sationDiagram 6 (The result) In short, this diagram shows thevtimateresuitthat TTC _ ‘can be anticipated in ¢ imi this situation. Black [| Hf hanes with Iandcon- Diagram 6 Diagram 7 ects with 3 and f ‘aly after blocking aS lacks territory in the corer is found wo ‘be 6 points ‘Please keep this diagram in mind while comparing itt the fatlowing diagram, Diagram 7(A 4 point difference) Suppose that white ne- lect to throw in the eu ata. In the endgame there sa threat that black will gett play both the hane and connection al 1&3 andthe same process at §& 7in sete. ‘The cut of white aisthereby no longer anetfective move, Th this diagram, blac’s territory has grown to 8 points, a gain of 2 points, while on the otherhand, white hasbeen forced to play 6 ‘8, representing a2 point oss. (Thats, the ‘case where the outer points are within territory ‘that white as surrounded.) The upshot is that difference of 4 point of real profit hs been both gained and ost. Diagram 8 (Skillful finesse [tesjif?) One cannot dismiss “rninuscul” pofitof 4 pointsina cavalier manner, In close game, itis entirely possible for that one move ofthe cut of white | totum the tide, ‘Thecutof white 1 could be played at just about any point in the game in sente, but of course the most effective way to use it would be as ako threat. ‘The cut of white I has the distinctive flavor oftesu about it but one defines the term inthe strictest sense of the word, then somethin like the fllowing technique is what is being described ‘when one hears the term skilful Finesse [esui} R Diagram 8 Digram9cDUEK Ly 1a) Mion sation Pe samideal example of 3 wefan epi ees that blacks two stones inthe we el comer ae man ‘unusual position, and there is L esto whetethey seecrataa Marites: sere Teta the oso tng being played Suliancalngnttomove ot ety wth ee lacks erica eal pon be? heft prot 1 1 ead ost tae cumstances ht vied Fea Spat tet aos) ack move ou sei by pain a vse hat happens "a stuctat nob expected, nd when black 98 ac vw mast ra nels a8 uel sy tovaidativng sane ws EL oecasumncsaage CCT talmove a 6 makes Tel cack wien Diagram 1 (No prospects ere) HEC ne | Stead ines the moves at 1& [SY Sate oes tack cap thet 5b) playing tan ‘then pokes at white 6. In this: HH f Diagram 9 situation as well back aso prospect for success It may | Seem that there are many ots | ‘ther variations that Black right use but the facts that ‘moving out directly will not TH ‘work fr black eelDiagram 12(Tesui) incase bet Mette pay ai ot Cate ay Hck on Se ching kT nu In other words, while casing abate cea Soyforonts eran Papen oar TB aero comet ine of pty: SUIL Since hia ii pte wed te exer ist pee sy Se ey welinor nape te wae ey San 15 ving on) Tae te sachen that inc ignsboa whe nove a, sk henmove, ouwiba 8 rack exchange flick owe 2 ly when ie nes mie saney ee witht 8 6 When Sucsa Tons eoo Diagram 14 (8 vote oda wi) The pation atone Mech pola Imac tsk soe ich pied be tachment Invensys ttt soe un te sfoctves ad stot Sober nteto det ih Bussbctsab& 11 AF tet ream Sion» ite fer foe — agra 5A ie) se paso 1“ Diagram 12 1, it is no good for black 10 ‘To Aaa Oo block at 2. That is because ‘when white cuts at3,black’s stones wind up becoming completely annihilated. Diagram 16 (Anex. change {fui-kawari}) When white pushes out at 1, black must give way with 2 & 4, ‘An exchange {fur-kawari) results with the moves through black 6, but perhaps black sot satisfied with this trade Diagram 15 Consequently, one right suspiciously view the mater and question whether ‘puting all one's energy into finding the cesuj{sklfl f- esse] that was adopted was not, afterall, a waste of time, but we hasten to add that we havejustshownone variation that is possible in this post Diagram 17 (Hang ing tough by playing ko) Going back. the beginning, ‘when black plays at I, if white extends a 2, black can hang tough by playing a 3& Sto make ako Tf white answers by playing a6, black stats the ko withthe ‘move at 7, and has plenty of ko threats to se nearby, stating with the cut aa. This is dificult ko for white to battle, and whit wil ‘Probably refrain rom doing so, Should white wind up losing this ko fight. whites positon wll end up completely in tates. Consequently, Diagram 18 (Alive) I: shite connect at 1 when pay pro Is Diagram 17ite same oder of et aoe ater ck eck BoP weal ‘Senet vase on ot etme rea te psi sch that there are many posible (tos soon shold ot (lo wot py in vi awe woulda get ith mater whl coone etn norsk eps plyingeocus Peas toon youre aS fu nh al nls, when lk plays sevopeittwesela Fete tht Wane best served by f ldng ale clos hat Sisctelp one de, Shomer a2 wich hae prtor is tuon “Ren comeing deneat wit bebe fom baw a aes big chunk rhe rc, Tiss sin for black, Ta agli peal sets by stsins slate thlsdphan aed ot partalr ere this ese he lower renter poles] er compliaons may develop ‘Starwars te covey fee ha coforna > comet fom ei {pls tah tachment of bak is based one probes ttre inte pos fhe cut 2 Whe comer ick hares aan ecovr any Js incre inti come “Theta hs gram is funda. on, nicl sida abl! anc ooo es 6 Diagram 18, ai Aa ‘Tesuji and Anti-suji ‘Well thea, we hope thatthe reader understands the diferent nuances between the words sujl and tesul from the above real ame ype situation. However, when faced witha choice of a generally used term, whether suf or tes, one for the most part uses the word ces For example. Diagram 20 (Connecting technique) In ths situation, black has been disconnected tothe left and the right in terible shape However, by usinga skilful technique blacks abet connect with single shot. Diagram 21 (The sul ofthe nose attachment) That is, the shot ofthe nose attachment of black I i Diagram 20 Nodout, for a player just starting out to Tear the game, this move is quite a dicalt 1 discover. But notice how, when faced with the attachment at lack 1, white has no technique available to disconnect black Diagram 22 (Connection) White has no option other than to capture with the move at 2, and black squeezes with 3 & 5, connecting in the process. white tries to push out with the move of 2a the points of ‘either 3 oF 5,black wll sil beable to connect underneath. The fact ofthe matte is that white has no choice butt allow black to con- rect. Please investiga the possible variations on your own, We ‘might add that this move is known as the “gobli’s nose attch- ‘ment’ sy and you will probably ned yourhead in agreement when someone says," Ah! Indeed! "his i quite an effective desu.” Diagram 21 Diagram 22 0” Strictly speaking, the move is known 8 the "nose atch rmentsw,” and not simply called esl, bu there is no realabtace toreferring to it as esi Tnthis book, we would lke toexamine the matter from this perspective, investigating both the nature of esu and antiaj “The reason i that in the most exact sense ofthe Word the term tea embraces very high level concepts with abstruse impli cations tha, although fascinating, must be approached from the closely related topics of swjé and shape or one will ail to under. Stand the matter properly. "Naturally, we wil studying the most interesting model ea aswell but more than anything else, one must understand the fan- damental concepts of suj that ordinarily appear inthe course of a ia epi wan 0 ds show eas wise ha ey ot te mis of ta aes caters easy Wad ae how tot comet ne ay of ‘nog Tis hen, weber sco an nde sang of be sic nner eee and thug owe aly Sopra el fe sa Son fom te posdig ep tt what ee mae Sn meaning fe wore cones Ins wrist ate oes agi opm ean wy af ping bath een pois sang ts payed Tet ying cp he pone po ‘inva sete elo fn te hat when pete an wae ser Setonbthane toe an ‘nt pean oan one sai eae allan fe pepe nef ‘Novel st sown te coe ot es say mann sedan inact A pyer oe Become eestor plying ana wl paps neve a the concept of accurate suji. i ‘And this rightening. 18 Tenant Aa suf Go ‘Mastering the Basics is Vital : Here we would itetosbow the reaerunctampe oat wodertal TH} fests t Deer 28k sy) EEEEEEY otatiere sha wittappen ELT ibe four black stones that have been ingress 23 nde by white? tect of he sarc ns had torn ae, the woud Beno robles sa hn meat he aac copes] 2 rane ‘upshot of the matter is that black's four stones may be rescued bts 90 exaggeration (0 sy that hose who Jo not et iret wil eomice that sch an xcome 904 snyeny posible Tr a les ivestiate what oe instinctive ay of plying and hs why seen ght en Ps Diagram 24 Antsy) Sine “understandable that one would want to. a fam tina ibeny with Back I Patten acomon ier (one of ickvowaltertesaewellaswhite®) tau ng tin an mproper ie of ply ans veri black plays the moves 13 & 5th sequence hough white iaeacoe move lose inthe rae Oca Diagram 25 (The sare thing) We can declare in a straightforward manner thatthe moves of black 1 & 3 ead to the very same res." a8 in Dia 1 ram 24 Diagram 25Diagram 26 (This is tesui!) “There is no denying that the (Wo-steP hane of black 1 & 3 isa sparkling line of pay (sui 4 may be germane to point out that since the cut at a islet in Black's Shape, a beginner would never dream} T t ‘ofplaying this lie [sui * Diagram 27 (Capturing) Con- tinuing the variation in this diagram, if white cuts at 4, the hane into whites 4 position with black Sends up capturing two stones of whites t Diagram 27 Diagram 28 Winning the race to capture) If white instead connects 304, Back willalso connect at 5, and in fegards tothe race to capture the ane of black 7 results in aone move win for black. Notice the efecive role played by blacks leaving the liberty at a un- filed. Diagram 29 (Simplicity ise) ‘Thehaneof black | in selfs alsotesut as wel, and supposing that white con- ects at 2, black follows this up by Crawling in at 3 Inthisease also, black fends up winning easily. Tet aso Diagram 30 (Saved) In re- sponse blacks haneof If whitecuts ithe point of 2 black pushes through trth the move at 3. Whites two stones {othe right are captured, while atthe fame time black’ four stones are res- cued, Diagram 31 (An impressive sa) Other than the conclsion weave ome to above, there is no technique Svailable to black besides the wosstep hane of Back 1 & 3 ‘But regardless of this fact, the tesuft set is & magnificent one, and ‘wear sre that when you istencoun: tered this ine of play [jl, you could not help but be impressed by it AuaRA ‘Even f saying that itis impres- sive is somewhat ofan exaggeration, thee is no doubt that your Fnterest in the topic of ergs aroused by this variation. ‘However, we must ls» remark on the fat that just because thisis an interesting subject does mean that wil of necessity be of benefit to the reader. ‘There many books on fesul that have been published. Of course, they areal interesting. Bu the question is whether those books are of benefit to readers. Tone considers what goes into creating astkingly orginal texuji positions the point is clear No matter how many of such Striking situations afe recreated, and no matter how provocative they are 1 readers appreciation of the art of go, the question is ‘whether they are of service to readers in eal game situation. “The key is forthe eader to regularly approach a game with serious sense of purpose. TInshor. one must master the ordinary tern that are effec tive in geal game fighting and abandon a lackadaisical attitude that hinders one's progress aModel 1: The Suji of the Two-Step Hane Black to Play Teawisahortees toast gt kis sfficlent to eval the rm at meaning the rope actif te stone, bat Sepuingorrthequeston of defaton bares that eel sa indents he way that tones mast be pad norte tet This sna har nro the conectone Even inornarysaation common sper ec {real sujiin ths mvel often ote cour in acl ome, Sopene uy hard wo maser Model 1 Diagram 1 (The basic shape) In this position, white in vades at I, and this isthe starting point for the position that results inthe model. The intention behind the diagonal move at black 2s to seal white in, Diagram 1 Diagram 2 (Thick play) ‘White pokes at 3 in order to dodge the attack [sabaki]- For black 4 and the extending move at 6, other ‘moves may be considered, but in this situation, black fellows a thick line f play. Diagram 2 2 wena Diagram 3 — The solu- tion: the tuj! of the two-step hhane The two-step hane of black 1.8 3 isthe correct line of play that refuses to give an inch. The fear that one might harbor regard- ing the tworstep hane is. Diagram 4 (No good) that ‘white will eutatthe base of black’s position withthe move at 2, but fwhen black answers at 5, the moves at a and b are equivalent ‘options [ial] and whites efforts tend in failure, Consequently. itis correct to fearlessly play the to: Sep hane in this situation Diagram § (The continy- ation) White has no choice butto capture blacks stone with 4 & 6, however. Diagram 6(The realswi) In this situation, simply pushing through at black 1 isthe real sui Without cutting at a or playing atari atb, simply pushing Jn atblack I shows the correct at: tide regarding go. Diagram 6 ‘Why leavingall tbe options available (or"simmpy pushing” as the expression was pt) and play ing atais correct willbe explained inthe following diagrams, and ve rut thatthe reader will understand the point that we are mak inghere 2ec Diagram 7(An enormous toss) When Black pshes through at I, white cannot block with a move at. ‘With the moves at3& 5, black captures three stones, an ‘enormous loss for white. Diagram 8 (The real moves {honte} of white 2 & 4) ‘When black playa. the capture {ponnuki} of white 2s the proper ‘move thonte}, ‘The forcing _moves [kikashi) at black 3 & 5 end up {aking contol of whit’s marked stone, while leaving open the op tion of isolating whites single stone onthe right side by playing tase over, represents the cor rect line of pay for both sides. Diagram 9 (White may also play this way) When black plays at 1 white may als respond 2s in this diagram. Black once again pushes through, here at 3 andi the Future can play the move at black a in see, ad tha isthe sajy Trego ove fe ak | ote Drop be aired bt ae sear the fact is that it displays an ideal example res hs ply, ut when oe ist | tet een toma ei leaming go itisamove thatone may find TT Dg progress between black’ four stones and = 0 es, a ‘white’s three stones here. Itis not unlikely first voyage Diagram 22 (The diagonal move sui) The diagonal move suf of black 1 the position) I white bts against backs ‘solves all problems witha singe stroke. sone with 2 black hanes into whites po- “Ths one move allows black toei- sition at 3. ther win the race to eapture, or Connect ‘underneath withthe other stones. Diagram 17 (Making a hane into Diagram 18 (Cutand-dried) 1 white plays? instead, Black thrusts nto white position with 3, anditisaeut-and: dred case of white dying Diagram 23 (Anti-sujt) Playing Pimeram 22 the hane of black isan a mistake that seasily commited. Buthis fails when ‘white hanes into blacks postion wits 2. TT] Diagram 19 (Anisap) How. White play ata with? & 68 ever players just taking theirs steps in move order which results inthe capture the game mostly resort direct methods, of black’s group. Tike playing black 1 inthis diagram. ‘But white is afforded the oppor tunity of playing 2&4, and black cannot connect tothe stone at 1. Using the anti- sufi as este in ettng white live Diagram 24 (Connecting under im neath) The tractive feature ofblack 1is "Diagram 23 that if white plays the diagonal tachment ofthe jumping move of Black 3a good {esuji that allows black to connect under- neath Playing atari at a with black 3 ‘would accomplish nothing here, Doing so would merely esult in aretur tothe po- sition shown in the previous, failure dis ram. Diagram 20 (Meaningless) Play ing at black 1 is absolutely meaningless. White i actually forced into making lie, and if tat isthe case, then not playing anything at all would be the beter thing {0 doin this position 40Diagram 25 (The proper order of moves) In response to black 1. if white plays to prevent the connection with the move a2, black makes afeintto meet the ‘tones with 3. Should white prevent this ‘wih 4, black fills an ouside liberty of. whites group at 5 jagram 26 (Connecting) If white plays atari at 6, black disregards this to atari at 7, capturing (wo of whites stones. Capturing the two stones repre- sens succes for black and, whats more, this is practically a eapture that black makes seme, White has litle tobe happy about Diagram 27 (White cannot push) ‘When black play at 5, if white connects at 6, black ills an outside liberty with 7, ‘winning the ace to capture (seme. “The reader wil ntice the vital ole the diagonal move of the marked stone plays and that white cannot press against blacks stones from either side. Diagram 28 (No good) Playing thelne (sui starting with black 1 inthis situation is no good, ‘Whit counters withthe placement (0, and blak cannot connect undemeth, lease confirm this for yourself. Te point ‘of white 2s obviously the vital point hee. a One Day, All of a Sudden Lam such a weak player that am ashamed of self, and 1 plan to forsake playing uni I become strong” "Naturally, this sony a joke, but the facts that it eannot be expected that one will et stronger without playing, ‘Asisthe case with every a, tnever comes to pass that one suddenly becomes strong one dy. ‘The mater is comparable to a novice sumo wrestler eading blows witha junior champion, The less accomplished combatant will al and immediately gt back up, be defeated and rise once again (challenge, demonstrating tal eyes focused on the bates the indomitable will of a champion, al he while spending more time tasting the dust of the ring than the ruts of victory. “Therefore, it is an eror harbor anoble vision of "becom- ing strong in secret, while no one is watching.” ‘One should take on all comers, playing everyone and any ‘one, building up experience a the oard. Is it ot likely that while fone suffers the taunts and laughter of the thers inthe elu, one will inexorably become stronger Ti view ofthis fact, what we want to war the reader against in regards to methods of go study, to avoid a meaningless adher- ‘ence toa theory of perfection. First one masters jseki, next one conquers the opening {fuseki, then one tums tothe middlegame. Ths order seems to be systematic, but no sensible player Would give any credence to such theory Instead, adopt a broader approach, being open to anything, and willing to try whatever sat hang. ‘Whatever one encounters, whenever the mood strike, turn your attention in that direction and investigate as one's interest is Stimulated, That sa suficient approach to study. Go is the sot of game where that kindof atitude Keeps it Fresh and ively “aBlack to Play ‘This is a simplesuj,s0 there isatendency at times to view it super- ficaly, but that is wrong. Tis an obvious fact that simple sug are the building blocks ofthe fundamentals ofthe game of go. Nomatterhow accomplished a player even a Meijin might be that player is no exception, and must esort a times to the sim: plest uj Tnhis move black has pushed out and white has blocked with the marked stone. How should black play here? This isone ofthe elementary trick moves Diagram 1 (The starting point) This is a situation that often occurs, whether in handicap or even games, This isthe starting point forthe model above. Diagram 2 (Thetrck play) White pokes at I aiming to arbitrarily seal black in, Tis sone of the more primitive trick plays Even if one gets tricked the first time one encounters it it isa tick move that doesnot succeed second time. Next black pushes out at white blocks, lading tothe model. and ‘Diagram 2 “ ated hat Simply cutting with black 1 is the correct, smove. We say “simply euting + in the sense that Diagram Ahbogh here ae oter methods that may be tone i ea ‘oned not to attempt to play them. This s not a move that strikes the imagination as being stunning, but ttl exemplifies one ofthe ‘ery elementary, fundamental methods in go. ‘Diagram 4 Diagram 4 (Correct) IF black cus a 1, white will most tikety extend at 2. This may not seem to be anything out ofthe ‘edinay, ut there are not wsmall numberof players who wil make Ss mistake in this poston. Diagram S(Anti-uj) Playing at black 1 and then cutting at 3s mistake that beginners make, and isanti-t, Black Vis very bad move, Diagram 6 (The reason) In shor this isthe comet shape, pati black sth the exchange of black for white itbesomes the failure diagram. tes ot jos that : plying a ase- fons tah ing for blck, i tbo helps white to get stronger Pease examine both positions carefullyDiagram 7 (Exercise: Black to play) This is an exercise where simply cating isthe comectsui. The postion given here eame up a pre ‘ious model but the question inthis exercise ist find the best method black should use to capture whites Diagram 8 Simply cutting) ‘Simply cutting 3t Black 1s the cor- ‘ectimove, andy playing inthis way, whites marked stone ends up being Diagram 9 (The continua tion) When black cus a 1, white has no choice butto play 2 (actualy, ‘white shovld connect ata with 2, but We are using this move for illustra tive purposes) and then black draws back at 3, capturing whites single Diagram 10(Cutoft) When black plays at |i whit plays totake the black stone with black caprares three stones with 3 $, and white’. ‘s0up ends up cut of from the main Diagram 11 (Atari). How- ever rank beginners will ften play ft black {shown here. These begin- nets wil be entranced by the follow up atari of black a, and assume tht playing this way isthe mos reliable ‘vay to get the job done Diagram 12 (Bad) In other words, the rationale i that playing 2 is unavoidable for white, so that, black will get to play 3&5, captur- ing whites single marked stone. Howeverthisisabad move, Diagram 13 (The correct solution) This diagram duplicates the correct solution, In this sition, when black afterward descends at ‘white will ave to eventually connect ath. Diagram 14 (The faire dia gram) However, inthe ease ofthe failure diagram, when black descends a, thete is no reason why white anol connect at, meaning that white comes out I point beter ‘Tis isa very ine distinction, ‘bu these variations show che dam. age done by playing an ani-suj Diagram 1 Diagram 13Model 5: The Suji of Striking Through a Knight's Move Black to Play Well then, here we have the ‘continuation from the previous model. Models ‘The position results from black’ simple eut with the marked stone, and white has extended with white’ marked stone. Up tothis point black has made no mistakes in playing ‘The question is how black should play the next move. ‘This is an important juncture inthis position, and should ‘one filo find he cont continuation one will find oneself humbled by this trick play again and again. How ever, when one learns the correct answer, an unforgetable esi one sees that this isreally not such dificult problem atl Diagram 1 — The solution: the sujtof striking through a knight's move Black lisastrong blow that demonstrates.) a the suji of stiking through a knight's H ‘move, White as no effective answer. Diagram 2(A two-step hane) If white plays a2, the tworstep hane of black 3 is a good ‘move that follows up the striking through suf effectively Diagram 3 (Ani-sajyBlack is an antsy 4 t ot Diagram 3 Diagram 4 (Breaking out nto foemene the center) The two-sephane of black ‘isa good move which eaves whiten quandary, Perhaps whites only vile op- tion isto draw back to 4, but in that case, black captures at 5, breaking through white'snet into the center. This isa great success for black, Diagram 6 Diagram § (Excruciatingly painful) If white traculenly cuts at 4 and fights, black extends outwith S & “and again white haa dilemma. Cap turing whiten a ladder with a move at black a, or cuting at black b leaves ‘white in an excruciatingly painful posi- Diagram 6(Captured) If white defends against the ladder capture by playing at |, black blocks powerfully with 2& 4 and whites three stones are practically beyond saving. Diagram 6 Diagram 7 (A squeezing sui) Even if the ladder is bad for black, should white connect at I, lack plays the fencing-n move of 2, utilizing aru to squeeze white tightly. Regardless of the continuation, before black’ tesul, white trick play has no chance of success,Diagram 8 (Anti-suji) For black to cut at 1 would be antsy. “This is what white has been waiting fr. ‘And then capturing with Black 3 ste height of clumsiness, allowing white to seal black in completly. ‘Whites trck play has tuned out tobe a great success Diagram 9 (White makes sub- stantial thickness) Buting int white’s stone with black Is comparable ins tunatractveness. White fences black in wth de move a 2, and when black ies to putcuttng points in whites position with 3.& 5, white connects at 6, mak ing substantial outward thickness. 'No mater which of the 160 ‘eutting points black tres to utilize. it will not go wel. (With the move at 6 ‘white can also connect one point tthe lett of 2.) Diagram 10 Defects (inthe position) Ifblack resto push outwith the moves at 1 3, white will imtacta- bly hane at 4 Black has no choice bu to fl Lets examine Diagram 10 low through with the moves at 5,7 & 9, but white will block strongly a 10, leaving the defect (i of the cuting point at a for black to deal with. The territory black can expect make onthe upperside isnot as big ast looks. Ph lease investigate the possible variations on your ov, Regardless of what black tries to do, things will nt go well ata, 50 te wt of swiking TET PITT Pt through Knight's nove in 2 real Ae ‘stuaton. Diagram 1 adobe ko the corner) In this ory posto vtnetee FECL eco eee oo ihe of. he comet wh Sich anor Set EEeEHTH tf Diagram 12 (The continuation) Next when black plays 4, entering the cor er with white 5 stats one standard josekt Bocking at lack 6 i natura, and then 7 isa move that white might adopt to try to ek black, Black must prevent white fPamjoining forces paying at 8. Now ten, titer white 9, how should black respond? # Diagram 13 (The swf of stking rough a knights move) Here striking alee through the knight's move with black 1's —— 1.8 i ag wih hema BK oe a ponon nth station, ES 4 Saab igh bck est. + | Diagram 14 (Anis) Psbing through and ctting withblack 1&3 sands 4 tt sa outta eats when asks TT sr abut and when teal] recaps ot go wel fo" Mack et 0Model 6: The One Point Jump Suji Black to Play Thsisasyeo which often ened, ‘The poston rea trom one ofthe sar pot josh ad often appearsinciherhaniaporeven games, The est gor wie to ply te move a | woud bein anvwer oa back cetkng move 2, but egress of tat of Soune his move eters the woe lack poston ‘Mood 6 In order to determine how black can respond effectively. a beginner would have to concentrate intensely onthe possibilities in the position. Diagram 1 (Joseki) The shape that results when whit attacks at! and develops withthe moves through 5 is ‘one with quite wide application, Diagram 2 (The usual re- sponse) Afterward, if white makes the checking move a |, itisusual for black to take the defensive measure of play- ing at 2. However, in an actual game, ‘one might aso play elsewhere. Is in cases like tat where the model diagram a Diagram 3 — The solution: the one point jump suit When white rawis in withthe marked stone, the Simplest way to respond is by defend- ing the positon by jumping toblack 1 Inthe final analysis, the positon here trises because black played elsewhere, Atlowing whitto pla the marked stone. ‘Therefore, black mst not insist on sa¥- the territory in the comer: playing tomove out into the ceter isthe beter response. Diagram 4 (The danger?) If black blocksat I, white is amove that js easy to play, and there isa fear that black will face some danger. Diagram § (Chaffin the wind) Following black 3, white cnses under neath with 4 & 6, leaving black with 2 floating. eyeless group. Diagram 6 (Tesuji?) In re- sponse tothe poke of white 1, the di- “gona attachment of 2 one measure tharblack might ake to getthrough the crisis, but the continuation depends ‘pon a ladder relationship, so things sight get very complicated. This ean~ fot really be considered to be tine {sufi that one ean recommend without bat ‘lack makes imposing outward sf cence, and is wel ff. Diagram 1 (Ants) Py ing andes proceeding 38 cms luck oes white ve with themes itm 3 vo. eg 8 mrcape tte tone blk eesents at point loss andblack has [- namie thane tn aswel Pese eee ae 13Model 24: Tesuji White to Play “This model is the result of & variation played afer the ist moves, ofthe previous model, within the ‘context ofan existing bard positon, In this setting, with the two marked black stonesalreay in place, black puts up the strongest resis: tance possible inthe corner. How should white play here? “Thissthe kind of problem in which the real meaning ofthe term era is wel illustrate. I white were tobe called upon to make a smal fife inthe ‘comer this would not be much of a problem, bu rater than that, the situation demands that white use all he elements involved to shift the balance of power [sbaki] ona large scale. Moga 26 Diagram 1 (The origin ofthe model) White 1 & 3 ae the same asin the previous model Playing a blacka next would be the ‘eal move (honte], but withthe marked back stones as backup, Diagram 2 (The variation) Black 1 & 3hang tough despite potential problems (bad aj, starting the variation. After white 4 andblack 5, how can white deal with the situation [sabaki}? ‘This good study material for Jeamingtesyj 108 Diagram 3—The solution: thesaj! for utilizing all elements in a position to engineer an acceptable result (sabaki] Fs. white has to extend at 1 Its matral for black to play 2 in response, but the at= fachment of white 3, which aims a taking fdvantage ofthe cltng point ata, isthe ‘gl that enables white deal withthe situ- ttn [sabaki. Diagram 4 (Questionable) If white plays 1& 3, and then at 5, itis possible to tnake life independently in the comer, but back’s position onthe right side becomes too ig. Playing this way would be quesion- able Diagram $ (Capturing an important stone) Wel then, in answer tothe attach- ment, bow about playing the sindard se- Diarra ¢ (quence of black | 3 here? In that case, white cus at 4 capturing {he important stone thathad been Keeping whites forces separate. “This would be aterible mistake on black’s parton a funda mental evel o W t Diagram 6 (Alive) Continuing. if black hanes from be- low with 1, white can block strongly with? If black de- fends with 3 & 5, white lives with 6 105Pi errr rear ceceree are eceeeeereeeeere cere eres eat a Diagram 7 (White deals with the “Tenis Aa sghof G2 situation) Hack connects solidly with 1 & nga a a) Te ‘Shere, whit cuts at and takes irom there. iagram shows a similar situation Pay continues trough the extending move where the corect way of thinking (Of 8 which enables white to crate a viable {alle for. This postion, which gis- SS ees Slay a jsek in progress, one in Fer eo wea hee! ‘which black is best advised not t0 move out directly with the marked one In tha cas, the atachment of back I probing whites response, is Diagram 8 (Double atari) When vi ee omkensat3vme | band hen wie event {ets up a double at stuation withthe move — a4. and then te one at 6 “The fact i, regardless of how black answers, being burdened withthe cuting point ata mean that black cannot resist 100 vigorously here. Diagram 12 (The joseki) “The sequence we are studying starts with two point igh pincer at white 3'When Back plays a 4, white im ‘mediately cuts with 5&7. and then Mer the attachment of black 8, white lack b follows jose Diagrams nt) Nose ei ne papngteeeea Ce ere nb wate ion ios pe wee oy Cg te re ok seo wc Hck > ea ae tow athe 2 tt oe ofc nd a ecapaintk Sr opee em ey yng sent ive Gd sia Diagram 14 (Anti-suji) te Playing lack 1 & 3 sows an eal oT Cramp fant iacton, With fe white is content to. play EEE Shares owing tha licks —[ marked stone has gone 0 Wa 106 7 Diagram 13 (Direction of Diagram 10 (The direction of pay) ‘The way white should consider this situation ‘stat the direction of play must concentrate around the cut at ‘white a, rather than the atari at b. This is the corret attitude‘Tesuji and the Broad Picture [As wehave sen so fa, study of eu is very often closely related to case by case situations ‘Although we have atermped 0 organize the material sys. tematicaly, we wonder if there is any sense in doing so: the very ame tej, when used in different setting, can easily become an antsujior a nonesuj, of for that matter, might even end up as a perfectly good tej! “The point is ll ofthe factors covered here ae mitigated by the timing ofthe plays, andthe disposition of forces across the boar ‘One must make decisions with those points in mind, and one ms, ‘Gnderstand how to find the exact spots where tes work. Tiss naspect of the playing of tea! over which one must frequently agonize "Naturally, itis essential for one to keep the broad pctore in focus, nt only fr the purpose of discovering es, btn order 0 ‘nsmtain, consistently, the mental attitude tha aggressively pursues 1 balanced fighting stance, If one becomes so enamored ofthe a- traction of esa that on loses sight ofthe broad picture, there is 1 fea that one will unreasonably seck to play es simply fr the sake of playingtesal For instance, suppose that one s blinded bythe thrill ofthe rapidly disappearing liberties tsuj, or the snap-back tesuj te. ‘One might single-mindedly pursue chances for using those su and Tose sight of the broad picture. ‘Now, there are many ways of enjoying the game of go, nd fone wants fo, say, concenrate on capturing stones, it would pet- haps not be something to criticize, but by the same token if his is characterized as puting the cart before the horse, one could not inthe context ofthe broad picture. lis desirable for one to take tis advice to hear. Model er Ata oo 25: Cross- cut White to Play Model 35 ‘When white makes the cross-cut of 1 & 3, black is put on the spot. How these moves are to be answered is a question which js practically impossible to respond to satisfactorily. At this point black must be drawing a blank psychologically. Black must use the marked ste tothe best advantage. ‘There i a fundamental tesuji ere thatthe reader is asked to re- ‘member fr future reference. ‘Diagram 1 — The Solution: play atari and then connect “Atthe end of the last section, we spoke a litle about the direction of play, but this problem deals wit the question specially. “Thats, black plays ar t 1 & 3, and when white extends to4, black uses the impetus of the move to conneet at 8. Please tppreciate the close adherence to accurate play {sui that black exhibits ere ‘Obviously al sors of complex theories canbe cited here, bt rather than tha, one wants o play intuitively in such situations, tnd understand in one's heart, directly, what the correct fine of play ima E One wants to feel the correct line of play in one's bones, knowing innately what plays are best. Diagram 1 109Dia- ‘gram 2 (Sepa- rating) After the previous diagram, if white cuts at 1 here, black cleanly sepa- rates whites po- sitions with 2 4, Also Dia- gram 3 (Lad der) If white ‘comets under: neath with 1, Dick cores FT | whites stones in ladder withthe move at 2 ? Natu i rally. te varias EF tions that are ae am ‘eenerated inthis ‘model are very difficult, but the key factors tuning into the "direc tion of play,” and that i what is calle fo inthis position Diagram 4 Diagram 4 (Anti-syi) Black | here and the moves that follow, with 3,$& 7, et, display a perfect example of ant-sjin ‘ction, The only thing that black has accomplished is that white Biven a great deal of profit, while black achieves litle fr black’: ‘own stones. Hasn' the reader ha the experience of paying in such ‘way ina similar situation? 10 To an Ato Dia- ‘gram 5 (Bxer- cite: Black t0 play) In this sitvation, what willhappen? ‘Notice that black does nothaveastone Dis. gram 6 Ant Si Ofcourse, Ding throuth 7 8 snc, and tot be cou Actu i: ayn _ tin, back has TTS too food CELLET moves avail FETS thie. Come. vent, Back ist consider wt ay order f av 8 many poses or ay Tae nf. evneving the psn sits wouldbe cep ui lack wrecompetid pl. Diagram 7 (Real sui) Playing similarly tothe variation shown above, black makes the atari at 1 and then extends t 3, ‘conforming tothe real suf Following this black aims at playing at ‘Once again, the variation here has been dictated by the direction of ply, umModel 26: The Suji of Sealing the Opponent In Black to Play ‘What we have here sao in progress In this situation, white has jst played the marked stone in or ero establish «base for this group of stones, Dut this is really & terrible mistake, The move hands black a great chance. “The fact that an opponent's misplay creates opportunites foroneself may seem tobe unfit, so much So that ones averse to take advantage of, but that sth nature of 20. ‘lease find the move to sel in white here, With one shot, Model 26 Diagram 3 — The solution: thesujiof striking across the knight's ‘move Stiking acrssthe knights move with Dlack 1s the shot that decides the rater at once. ‘The combination with the marked black stone i «good one that denies white access to the center. Diagram 4 (Sealed in) White has no other option but to play at 2, ‘whereupon black play atari with 3 & 'vandthen completes the sequence with 7 Furthermore, blak is even left with the possibility of springing the squeez ings on white, starting withthe move ata. White sin terible straits Diagram 5 (Josek) Instead of playing the descending move (atthe pasa pont of 2), white must poke at I here. ITbtack plays tar with 2, whe pushes in once with 3, and then ‘connects at 5 In this ease, white avoids being sealed in. So white moves out with 7. This isjoseki. Diagram 6 (Combination) Please note how the thee marked biaek coogn | Saen TEE Diagram 1 (The origin of the t re t lation to | | -_ ra i eciron TOT wee 1 inte he mel is cached Teic Taoegees ETOH 4 _ Diagram 2(oseki) Whitehas 1 sealing in ort a ; ca _ baw torent . 1ee Diagram 7 (Exercise: Black to play) Please examine this position "The three marked black stones are positioned inte same way in rela: ‘onto whites marked tone. AS we sa {nthe previous example, tis set a Tows the sealing in suff to come into lay Diagram & (Not to be over- Fooked) Thats, black has the shot at 1 ering cross the knights move ‘When thiskind of defectexiss, ‘one must by all means avoid filing to exploit. Diagram 9 (Separated) When black strikes aross the knight's move with 1, if white eapeares with 2 & 4, making the retuen cut of black 5 is Pama tes White captures at 6, and with the move at, black separates whites positions. Diagram 10(Ata glance) In egards to this esa at fist. lance it may seem that backs positon is unstable, There may bea Diagram 11 (All-or-nothing beeceeeeeees ko) Thatistosay one wil Feet uneasy bout geting cut with white 1 How fever this stars an all-or-nothing ko, srhich white must be Toate to inte, Fince lack getstotake the k ist with 2 Diagram 12 (No threat big enough) No matter what ko threat that ‘white comes up with lack wil disre- fd it, and capture a stone [ponnuki with "The thickness that lack makes hete is practically equivalent to 100 points Diagram it Diagram 13 (Isolated) The up- shot is that white cannot play ko, and ‘nas no choice but to connect at 1. Black then makes the connection at 2, pu ting pressure on white's group on the lnper side while, atthe same time, completely isolating whites marked stone. Diagram 12 Diagram 14 (Exercise: Black to play) The pater shown, here isthe result of a well-known jose ‘When aan = eles cy ket TOOT pre HH nmect H ee on ened of EEE, sameenat PEPE EE le Diagram 10 ccm Diagram 13 Diagram 9 14Diagram 15(A fight) Itisnats- ‘al for back to hane outward at 3 (0 start fight response to white 4, the solid ‘connection of lack Sis good move, Sd likewise here we have the same ‘Combination that hasbeen under seus Diagram 16 (The basic shape) Cntate! “The fact ofthe matter is that the three marked black stoes are positioned the ame way in relation t0 the marked Whitestone, and despite the change of bination ofthe marked Black stones in place the placement auf of black 1 becomes posible Diagram 12 Hollowing ox!) white answers with black draws hack with 3 & 5, hollowing out whites positon terily. Naturally ‘one must be careful in timing just ‘when to play this sequence ym 13 (Sacrifice stones) If white blocks at 2, black tuts with he moves a3 & 5, inten {ng to use the two black stones on the upperside a a sacrifice Diagram 14. (Wapping white up) Contiving, black fixes the Shape with 7. and then proceeds in ‘wrapping white up with black 9. “These moves stl black’s position 4 q without leaving defects (a). Al though there ae factors across the ‘board that might mitigate the value of thissequence, thetesujiexamined here is one that is often used in ac- ‘ual games. read Model 29: The Fancy Foot- work [Sabaki] Model 29 Suji ‘White to Play Black 1 & 3 attack in good frm, leaving white nonplussed, Since white hasbeen playin elsewhere upto this point, itis natural for white to have a dificult position bere, but once white moves out with 2, the stones cannot be sacrificed. And there isa model tesuji available for } ‘white inthis p- Dia gram 1(A te tible anti-suj) ‘Tobegin wth, it Diagram 1 isbeter not to move out dreetly withthe marked white ston, but for the purposes of illustrating this tral, we are doing so, Pease bear this in mind ‘Well then, moving out with white 1,3 & Sis teribleand- [Black's upperside is strengthened, while black also makes strong outward influence, A this pint iti questionable whether ‘white will manage to succeed in escaping, but even if white does Find 2 way todo so, ieparable damage tas been done to whites postion across the Board 13 Se _Diagram ¢ Diagram 2—The solution: the fancy footwork [sabaki sajt Whit staches ata strange point with I and for atesu there {eno more exquisite move that one could make. The fact that such 1 vaulting move an be effective shows the fascinating nature of Diagram 3 (Easy) Ifblac blocks at 2 white cuts at 3 and throws in 3 o increase the intended sacrifice to two stones, and then whit escapes easly with 9 (which i alsotesuj) Therefore Diagram 4 (Related moves) When white attaches at 1 it seems as if black can resist by extending to 2, but now whi re ‘erses direction and hanes at 3,a good move white was prepared to play from the start, I black plays 4, white cuts tS. 124 Tapeh tc ‘Diagram? Diagram 5 (Move order) If black plays atari with 1, white utilizes the best order of moves with 2,4 & 6. Diagram 6 (Bursting out) Even if black blocks with 7, ‘white turns at, and black, burdened with the cutting point at a, Tnust abandon the pursuit of white’ group. Of course, black has ‘managed to solidity the upper side, and consequently has no cause for dissatisfaction, but we will not go into that here. tis our desire thatthe reader savor the wondrous power of tesa a iti ilus- trated here. Diagram 7(A review) Let's review what we have leamed. ‘When white attaches at I, ifblack plays 2, the ane of white isthe follow-up play that mans the dea effective. psModel 30: The Throw- in Sui Black to Play Tesuji most often demon- strate their power during fighting in ‘Mode 30 Jocalized areas, Inher words. terui maybe ‘id toe the stars of sectional fighting. Therefor, tesui play a large role in localized fighting during the middlegame, in hfe and cial properties of the corer, and forthe same reason, white cannot block at 2 Diagram 4 (The vit point) After black plays the move at 1 white must descend with [| the move at 2 “artiste. jumping wat black 3.pre- }-T-} cisely in the center ofthe three white stones to the left isthe vital point. “Theblack 1 & 3 combination sthe most ‘important component inthis sequence. Diagram § (Ko) White has no choice ‘ut to play at 4, and then black takes advan- tage of the opportunity to make profit with 5. before making the throw-in at 7 fo nia ko Tris it’s turn fo ake the ko, but that cannot behelpedDiagram 6 (ons) Tn his shape Model 43: The Suji of ms at ptt of black does pling cet we Ht Playing Elsewhere This is a non-sgh, As a matter of fact, cl this i a non-move. Black to Play rn “This model often appears in Diagram 7 (Alive) When lack pays sua pines ar ite portant fr ite at aginst Meas Ts the black group inter neraliveorisit dead? Ifthe group i alive, there is no need to add a move here, ‘uti danger lurks, itis necessary to pay an extra move. “This isa fundamental model ‘Also. the components that are featured in tis made, as ‘well asthe interesting fer be found init, make it one that he Trader should by all means study and master Stone with the move at 2 if black plays a 3, its sufficient for white fill aber from above with 4 Since here isthe possibility of making aneye with ove at a, white lives with the sequence through 6. Diagram 1 (Adding a move) Ifa Diagram 8(An awful mistake) White 2s the correct move, but blocking on the side fi 4 means thatthe good move as gone t0 Blackextendsto 5, making white'saw- ful mistake obvious Diagram 9 (All at once, dead) White hha no alternative but to play at 6 his move ienot payed, the black move ata kills white by ‘nay of rapidly disappearing liberties). so black etstohane at 7, and allt once white i dead 158 move needed here black I is played. ‘Naturally, this move is only played wien one is convinced that itis dangerous {o do otherwise, But after al, is this neces: Sary or not? Ione does not examine the stu- tion well one might play useless move at ‘abusy time in he midlegame Diagram 2 (The atacking suf) IF blackhas not added move ere, white wil ‘ome into the corer with the attachment a 1. This i the attacking suf against the cor- res, and if faced with it, what would the reader do?Diagram 3 — The solution: ten ‘thousand year ko The poin of this mode! fetobe found in the position that results when ‘Nhe makes the attachment with the marked Playing hane with black 1 snarl. white replies at 2, is corect for lack to hhane at 3 and descend 105. ‘Diagram 4 (Ten thousand year ko) “The formation of the previous diagram will eventually be played out into the positon ‘Shown in this diagram. A ko remains here that seemingly is yetto be decided, ba there |e good reason for both sides to leave the situation as itis: so-called en thousand year ko “The reason fortis is tha Diagram $ Seki) If white connects at then the matter is simple. This position is ki, However. Diagram 6(Ko) If white plays atari at 1 the position is ko ‘But in order to put the ko into effet not only does white have to add an ext ‘move in addition, doing so gives Black the Fight to capture the ko stone first with the move at2. So white wll be reluctant oii tite this ko. “Theres no question that tis white's prerogative whether to make ko o seki, but the situation i8 extremely complex and troublesome, and that i why this is called 2 ten thousand year ko. 160 Tot hat Diagram’ (An opealibenty) On the cserhand. if inthe formation we have been Stodying, even a single liberty is open, such Ssatabere tsa different story. ‘Whether liberties are open or not greatly aller the result ina situation, and {iso changes the way one answers the op- ponent’ moves Diagram 8—Thesoluion: theat= tachment su In response to white 1, itis (avoidable that black play at 2, but when vehite plays a 3, black takes advantage ofa kn he position thay eva ‘With this move, black ivesuncondi- sionally Diagram 9 Seki) If white blocks at 5, black draws back at 6, making the posi- tion ski. Ii scki there is no tervtory, but itis the same as living unconditionally Diagram 10 (The final position) ‘This is how the position will eventually end vp Being forced [kikashi bythe marked white stones to play the marked back stones jspainfl but unavoidable : inthis diagram, neither side can make © any move a alli the comer, so the position { isseki r 161 eeeDiagram 11 (A variation) Here isa variation that ean aie after black makes the attachment a white blocks on the other side with 2, playing black 3, increasing the sacrifice to two stones, isa masterful sg ‘When white takes the (wo stones with 4 Diagram 12(Recepture) After lack recaptures at 5, white can do nothing but connect underneath at 6 Diagram 12 Diagram 13 (Alive) With the atari of black 7, the two white stones under at tack cannot be rescued, Black lives uncon- divonally ‘The reader can perhaps see at this point the vital role thatthe empty liberty ata plays inthis postion. If that liberty were filled, black would be unable to play atari with 7 It should be clear from the explanation given above that if even asingle liberty i open inthis mode, there is no need to adda If all ofthe ouside liberties ofthe black group ar filled, then whether one must add a move or not depends onthe overall situation across the board 162 Tint Aso to Model 44: The Suji of ‘Wringing Out Liberties Black to Play ‘The position in this model ‘comes about asthe result of an at- tach and block joseki starting from a star point. This relative question whether black has cut white or white has cut black, 50 it probably does not mater to either side, but when black plays Ito probe white’ response, white descends at 2. ‘This gives black an opportunity Black can effect connection between the marked stone and the position in the comet ‘Descending with white 2is a bad ‘Medel Diagram 1 (A double stack on the corner) Facing the double atack on the comer with white I isnot very ap- pealng, ut depending on the relationships with other positions on the board, this might be playable for black, Diagram 2 (The origin of the ‘model Black ataches with 2and blocks a4. When white plays at 7, lack plays the provocative cut at 8, leading to the basi shape, ‘When black makes the probing. move at 10, white descends 1 11, com pleting the shape inthe mode!Diagram 3— The solution: the Ihane into the position First black makes the hane into whites position. Tt would be pointless to allow black to push trough here, soit is essen- tial for white to block at 2. But using this set-up move a preparation. Diagram 4 (Winging out the lib- ceties) Black plays atari at 3, andi thereby able to burst through whit’ surrounding If white connects at 4, black cuts at 5, and can pla tar against whit'shree stones with he thrilingresu of wringing ‘ut the opponent’ liberties. Diagram 5 (Mistaken order of moves) Playing the atari of back | fs, tnd then hane at 3 88 mistake in he or: er of moves Diagram 6 (Will not go well) t cannot be expected that white wil block inthe ame way now. Instead, white gives way with 4 Black can now push through at 5, but suffers the cut of white 6, and since black is also burdened with the cuting ‘point st a, things wil not go well Although the moves are the same, playing them in the wrong order is te. sible mistake, 164 co} Diagram 6 rifice Suji Black to Play Whites postion at fis sight looks compet inval- Model a5 ‘erable, bain realty itisin seri- ous danger. itis black’s move, his white group canbe killed, However, n oder odo so, high evel technique is required, For both black to attack effectively, and white to defend most tenaciously. the tesa fly fast and furiously, but inthe end whites eapeured. ‘The situation is quite complex, so please use this as arefer- ence for tesu Diagram 1 (An endgane move) This model cannot really be called position from an actual game. However, ican be sid thatthe techniques that appear here naturally manifest themselves in actual games. ‘Thetesuji that arse inthis positon ae dificult ones, and to that exten, quite interesting, bu there is nothing to be concermed about ifthe reader cannot Find them alone. We will fee gratified if the readers sense of wonder i excited to discover that such esl exist Playing a move like I throws away all of black’s opportunities. Tis ‘nomore than amere endgame move for back, ‘Moreover, even as an endgame play. this move lacks spiritDiagram 2 — The solution: start with the attachment sufi The only move that black can consider start Sng with isthe attachment a 1, but at that pont, the response ofthe one point jump of white 2 isa su that is well ‘wort learning Diagram 3 (Briliant) Regard- less ofthat, black connects underneath ‘a3, and when white cuts at 4, black pushes a5 Ifwhite plays 6, black cap- tures at 7, leading up toa brilliant ex- change of tesa Diagram 4 (A throwin) The throw-in of white forces Black to cap- ture at9. White's amisto sade blacks group with rapidly disappearing liber “This is a marvelous sui, bot black has a good move in reserve that coutdoes white’ Diagram 5 (Secrificing every- thing) ‘The upshot i that by comnect- ing st 11, black makes the group even bigger before sacrificing it, an exquis: ite tesujl ‘After white captures a 12. 166 Diagram 3 an ao Diagram 6 (A five point over- sized eye) Black makes the placement (Of 13 at the vital point of whites five pint oversized ee [nakade}, anni ing the white group “This isthe solution Diagram 7 (Instinctively) When white plays atari at 1 Black may beinclined to nervously connect with2 ate bas of the group. Thisisa move played more or less instinctively, but it ‘saad one, Diagram 8 (Ko) Afer whit copes bso sone Dak il Fotinemn temoved own ngs tuugh wih 5aing io Ste ifn berween paying oorkilingunconialyisimiae Dens (Sings bp aly ren) etn tal heancut. In g0,on€ gets oe ng ase foe having ve up 8908 Scntsanvessng ne Sacificng Sonesiss means toa od ote endl 0 that in tings echiqu inal gue, on aman te Sad pre wel and ches the hue with the potion, Goehirn relataeste cre on soe ser ther “ou xen tha oe lenin tsar oes wel ont evel of strength advances, It is to be hoped that one reaches this. sages gully pou 167Tapa tce Diagram 2— The solution: the shot ofthe attachment sufi The attach. ment of black 1 is, above al, a beautiful move, and one thats deadly as wel, ‘Bear in mind that i alo falls into Black to Play the category of the vital point inthe co te: the 2-1 point. With this single move, allo white’ ambitions are shattered. ‘The reason that desu at. tracts attention i because ofthe dare mae ing in its conception, of in other words, the unexpected qualities that Diagram 3 (Unable to escape) ‘When Black attaches at 1 white is unable to-escape by connecting underneath at 2 Black 3 takes advantage of white'srap- {aly disappearing liberties. Therefore, in- stead of playing at 2 “The feswji that is used inthis model is cerainy suprising, ‘When black pushes nto whit’ position withthe move at white disregards this, and instead of making a connection under ‘neath, tums a2. The ideaher isto take profit in the comer before retuming to make the connection, but his sa mistake. ‘lease find the single shot that will stop white dead, Diagram 1 (The intention) If white captures a stone by playing at I the group willbe alive inthe comer. Almost anyone ‘Would tnd to think this way ‘Consequently, black connects a 1, letting white connect Lndereath at 2, and this would seem tobe the universally acepted ‘move, would it not? This is white's intention ‘The point about tej is that even a seemingly inevitable course of evens can be prevented with their use, Thats, when speaking ofthe un expected qualiies that are toacetainex- ‘ent, component ofteuj, there is some- Diagram 4 (Dead) White might try o defiantly ut a2, since ese ais, tot afer playing tari a3, black blocks at 5, leaving white’ group with only one eye This represents an out-and-out loss for white playing black ! to stop the connection a: Diagram § candi) Simply OS lows white to take stone with 2, and thing that goes against the grain of human these white stones can no longer be cap- o> iar, wich eck fo te ondery oper tured. In any event, blck 1 completely < bahepaclgiet ae overlooks te posi of we beats) [TTP + ¥ tern in positon Shane ; 169Model 7 Black to Play “The model here is taken from an actual game ‘When white seals black’s group in with the move at 1 it seems lke black is put ina very dificult position. Ic appears obvi- tus that the group cannot escape, and a the same ime, that it wll be dificult to find if on the upper side. ‘On these kinds of occasions esis called fr. Diagram 1 (A terbleantsuj?) Looking at things tealisti- cally, starting to think about how to get out of trouble after the Situation is ential is no good. Iti before acriss develops that one must take measures to alleviate the problem, But in real games itis sometimes very difficult to do so ‘Anyway, if black plays | & 3 here in order to try to make eyes, white thwarts this = with the move ats. Black 1 is a very bad move which should be la beled a terible antsujt 170 Die: ee Pie aio the tate and ent wit Bis te ‘herpes ir Sohne mndet Sitar A os erent Lets ca hin ieee tte pron le Five he nih ck edge ee sites bai eel cep pt bp wed Setied oazone wove pnb of plying isnot asi sac Diagram 3 (Bursting through) White has no alternative but to cape at 4 I white uses the move at 4 to Block tS, Back will of course connect at 4, joning both groups together ‘Well then, when black pushes between whites stones at 5, there is na stopping black from bursting through “The reader surely can see the valuable role blacks marked sacrifice stone plays, There are a numberof variations pos- sible inthis sit ation, but with- ‘out using this fesuji, there is no chance of anything going well ™Model 48: The Hane Suji Black to Play ‘Thisisalsoasination that is often encountered in ac- tual games. ‘The pincer attach- iment of white 1 may be considered a probe to determine the ‘opponent’ fighting strength, and, shovld things go well, a ploy to Undermine black’s base and inate an attack against the black group, ‘However in truth this white move at | is won-rujt black possesses aclearunderstanding of precise play of white I can be Frustrated with a single blow. Model as thea Diagram 1 (Dangerous) Allowing white to connect under- neath isno good. Black perhaps has this in mind, while, at the same time, harboring a desire to capture the white stone. “There are those who Would prevent the connection under- ‘neath by playing at back 1. But this allows white to push ou at 2, and black must suddenly become aware ofthe danger here. ‘Whitehas two equally tractive altemaives avaiable mia: the cut atthe point to the right of 2, and pushing through atthe point of a. It is plain to see that black is pooty off q n top of that, it seems Tikely tha blac’sentite group will have to facea severe attack, If it is only when white moves out with 2 that black ap- recites the danger here, itis ready to late im Diagram 2 — The solu ees ston: the hanesujl Toe han from below with lac fiscorect. This is something of minortesuf, but surprising nmber of players are fanaware of the possibility of ute tiring Diagram 2 Diagram 3 (Unable to push in) If white plays at2, back fan block at 3 with impurity. Be- fause of a shoriage of liberties, white cannot pushin a Diagram 4 (The same) ‘When white forces with 4, itis alight for back to calmly connect 203. The moves following 4 show that no matter how much white rugs, iis no use, and the white loss simply gets worse and Diagram 3 Diagram 5 (Lax) Playing black I allowing white to con- ect underneath at 2s lax. Black's whole group remain insecure. T 1[ te hat Model 49: The Empty Diagram (he oid connection) uscema tobe high fat eee ‘Triangle Suji er coon butt il ot 90 well “The commer can pose some truly ‘ott problems. When white makes the Block to Play throw in a2, the capt of black 3eads Black's comer has asoidly living shape. Model ust a glance would be ‘enough to convince one that no mater Dingrae (Ko) Ai aise where white tries to play against it, black can meet the attack with ‘equanimity. But then white attaches a How should black answer thismove? “The shape in this model comes from an actual game, so one ‘can fee confident that by simply not making a mistake, white can {ty all sot of moves ba nothing will happen. However, in so saying it must be added tha this is also a shape in which itis easy 1 Blunder, white throws im at 4. (Naturally, for @ koto aise ere would be tetble fr black. Diagram $ (The connection) The conection of | isa contorted move by black. It shows that black is straining to think f a move, but this too 1 no good. ‘White hanes into blac’s postion withthe move a2, and black has another Diagram I (No good) In this cor ne, there are only five possible places for black o play. ‘Nevertheless, this is quite a df ms cult problem 0 solve Lee Firs, itis obvious t anyone that itis no good for black to play a White Digram 1 plays double atari at 2 Diagram 6 (Ko) Black has no recourse other than to play tari at 3, but ‘when white makes the throw-in of 4, the position is once again ko. ‘Such being the cas, this isbecom- ing all too troublesome. Here we once again see the interesting factor ofthe spe ‘cal properties of dhe core! Diagram 2— The solution: the ‘empty triangle sujt Black 1 isthe cor- ‘Anempty triangle is considered to bbe a stupid shape, but in this ease, only this move ean stymie white, 114 115—___— Model 50: Practical Application of Suji Black to Play ‘White has jst started to un ‘outwith (Ofcourse, evenifblack does not capure these two white stones there is no worry about the life of Black's group, bu it would be pulfl for black to be forced to ave to take the three white stones in the corer off the board “That isthe rationale behind the efor to capture the fleeing white stones. The situation ere isan example ofthe practical appi- cation of es that we have previously examined, Model 50 Diagram 1 (Antisuji) Playing atari with black Vis natu: rally ant-suji "The Tact is, this may be suid tobe a move played insine- tively but there i lite chance of such a move succeeding, "White connects at 2, andi Diack plays a3, white tums at and cannot be captured ‘Of course itis nota terribly important matter that black fails to capture the escaping white stones, but when events have ‘come fo this pass, at some point in ent Amin oo Diagram2— The solution: ‘he pincer atachmentsui The pn- txt attachment of black I is a com- ton suf that is often used in con- Jometion with shapes like this ‘One might think ofthis asa practical lization ofthe fencing in tesuf. Diagram 3 (The follow-up move) Continuing, white 2is the rongest respons, but black 3 is a god follow-up move which makes impossible for white to rescue the two key cutting tones Diagram 4 (Captured) IF white plays at 4 ts sufficient for black to play 5 & 7. The two white stones cannot be rescued, Diagram (A variation) After playing I if white replies a 2, back cuts at 3. Even if white resists with 4 & 6, after black 7, although whit’ two stones are not ten, the result is the same the future back wil be forced to take the three white stones inthe corner off the boar, 4 Ttis perhaps going 100 farto say that tis"notateribly important matter,” and imprecations may be See ae ‘Dingram 176 ‘ingram 3 imModel 51: Gen Gen Go Kyo Black to Modal st Play “The life and death problem here is taken from the classical text called the "Gen Gen Go Kyo.” Black's seven stones ae surrounded, but whites eye shape, ‘as wells the connection between the two pats of the group, isnot firmly established, “How black should play next isthe subject of this greatest masterpiece. Diagram 1 (Anti-su) Striking across the knights move with black isthe frstsuj tht might instantly come ro mind, bat in this ease itis ants ‘White defends t 2, and when black plays at 3 & S,captur ing with 4 & 6 ives white an ther eye. ‘Along withthe eye to the left, whites alive, so black’ Seven tones are dead as they sit Consider this sequence aint 178 Dias gram 2— The selution:anex- fuisite tesujt From black’s standpoint, un- Tess white's ‘group is cap- tured instead, there is no way torescve blacks sevenstonesIn ‘order to do so, white’ group must be reduced to one eye, and the position tured imo a race to capture [semeai ‘With these factors in mind, one must devise a plan that ts the situation, and as a result, one ind that black Is the only move. But all he same, isn thisa marvelous tera? Diagram 3 (Black wins) If one wonders why the sujt of black shouldbe considered exquisite, the reaton is as follows, 1K white answers this withthe move at 2, black plays ati with 3 White 4 is countered by the placement of black 5, leaving white's group, with only one eye. The race to capture favors black by num: berof moves so black swell of. Black's ‘group has ten liberties, white has no more than six Diagram 3 179(Blocked off) When black plays at 1, if ‘white captures 112, now, atthis parila june ture, the sg of striking across the | knight's move with black Bis effective. (This might also be called the pincer attachment suf) If white responds a 4, the atari of Back S proves the effee- tiveness ofthe move that black played at | “Afier white 6, black descends to 7, blocking whites group off Half of whites group lives, but that eannot be helped Diagram 4 Diagram 2(The same) If white plays the hane fom below with 2, tuming a black 3 is just as good. White 4 is answered by black 5, and the result boils dow to practically the same one asin the previous diagram, "The esujl inthis problemcannotby any means be described as a real game ‘model, but for the sake of ap- preciating esi tis truly masterpiece. The reader is ad- vised to view ‘hispositonasa reference for ‘one's own play. 180 Tanke tattoo Raised with Anti-suji Wis said that amateurs are raised and bred with and ‘One cannot declare emphatically that ll have followed that course, but in the majority of cases, the more advanced players who first took them by the hand and offered instruction to them were i ‘mersedintheir own fighting styles cultivated in stings whereant- sage sway. ‘The point is that virwally no instruction regarding moves played in good form was received, and if one may be forgiven for Inaking a blanket statement, the result was that only bad moves were assimilated, However it cannot be denied that a a player's time atthe board and experience increases, that players skill ust also increase inexorabh By the same token if player remains forever in those same surroundings inadvertently the dye of ants will soak nto the point where it wil be just about impossible to wash away. In um, a player may work hard and ads ance, but on the other hand, the fact Isthat a brake is operating on that player with a reverse force. Re- gardless ofthis, there is n0 need 1 adopt an atiude such as, “Tm fot going to play anymore with that gang that only plays bad sj” This sufficient to take precautions while playing in such suround- ings to make sue that one doesnot let that dye seep in Th order to doso, its important to set one's sighs on learn ing correct su and nothing else Tf one devotes oneself to learning comect uj, washing off anti-suji, and striving to follow real sj in one’s games, playing the ‘ads gang will, onthe contrary, become a source of interest nd enjoyment 181Model 52: The Hollowing Out Suji Black to Play ‘This model depicts position that often ap- Motel 52 pears ineven games Please noice that the marked white stone that is sliding into the comer i large knight’ move "Also, the marked black stone is pressed up close tthe white position meaning that in general, the posture of black’s Formation fs that ofa pincer attack, ‘Keeping these two points in mind, what does the reader think the common sag is here that should be played in order to “tack white” Its good move to learn and Keepin mind. Diagram 1 (The orginof the mode) In this postion, black thas a formation consisting of two sar points. Slipping im atthe midpoint with white ts a.commonly used method of play. The idea isto prevent any large terttorial framework {moyo] [rom forming, ‘Black presses in sharply with 2, and the side that such a ‘moves played on is determined by the overall board positon ‘White has room to extend 103, a condition guaranteed by slipping into the side with 1. OT Black replies with the large knight's move at 4, white forces {kikashi) at 5, and here we have the model 182 Diagram 2— The so- Iation: the hollowing out sj Black attacks with the place- rmentof I,amove that takes the most profit here. It isnot as if there were not other techniques to use agains whites position, butthe hollowing otsufs one that soften seen, Diagram 3 Big) White 2 through 4 ae the moves to ‘expect inthis situation, upon which black captures a stone. (Over and above this, white is stl vlnerable to attack, Diagram 4 (Failure) Playing the diagonal move at white 2 in order to fights abut ‘unreasonable. Black pushes out once with 3, then tuens at 5, leaving white in a quandary. ‘Aer white connects a6, black ‘lays the variation leading tothe fesuji of 13, Diagram 5 (Anti-suj) Black 1, 3.4 3 ate antsy ‘Thisis hall-measute that does rot accomplish much of any- thing, and cannot excite one's admiration, Tahal Ae 183Model 53: The De- scending Move Suji Black to Play ‘hiss fundamental life and death model ‘White's group has one eye ‘Model 53 located in the area near the center of the board which black can do nothing about. Therefore, measures must be take to insure that White doesnot make another eye on the upperside. “Although a esuj is involved here, is very simple one, and wouldn't be cause for comment, except that here illustrates a fandementl technique used inthe capture of stones. As such, one had best work to gain a solid understanding of the mate. Diagram 1 — The solution: the descending move suji Piaying the firm descending move of black I isthe correct sujl 0 size in J ‘order take away the eyes ofthe white ‘group, There is afeeling somehow that {his move isa sluggish one, butts in- ‘eed good. The technique has practical applications in actual games, and par ticularly in the position under discus- son, this is @ ease in which no other move works Diagram 2 (The throw-inswji) ‘White can only try to expand the groups ‘ee space as far as posible by playing fat 2, but black hanes at 3, and then Diagram 2 Diagram 3 (One eye) White 6 in useless, but so is anyother move at this pont But f white makes this cap- ture, black will play a7. ‘Als, if white captutes at, black will likewise play the wedging insertion at. Diagram 4 Won-su) In his pater the dagoal move of Black 1s fo good. The reason i, the hane of ‘ites sent, 0 white ends plivng with the move at Te point where 2 JRolayeis the vital point, Diagram § (Exereise) In this kindof position, its alight tart ac tion against the white group with the diagonal move of black 1 Th tis case, the white hane of the previous dingram does not force black to answer kikash, so white has ‘no option other than to respond with the move at ‘After hat, descending to black 3 settles the mate, iagram 6 (The end) Next, white can only capture with , but black ‘makes the fesuj of the throw-in at 5, and t isall ove, ‘pd el Diagram 3 Diagram 4Diagram 7 (A fundamental shape) This is another fundamental shape tat illustrates the theme of takingaway eyes. ‘Teappears that white is alive, but witha single blow of esi the _roup dies. ‘This is quite an elementary terug, bt. Diagram 8 (Ant-sgi) Piay- ing atari from the outside with the move at black 1 is bad. With this ‘move, black ends up deliberately ‘making the white group alive. Diagram 9 (Tesuji) The {throw-in of black 1 is tesu ‘This is double atari, so white ‘ean do nothing but capture at 2 Diagram 10 (One eye) With the move a3, black makes thiseyea false one, meaning that white has only oneeye, No matter how complex a Position becomes, in actual games there are many eases in which this suji plays a central role. The previ- ‘us postion has just been turned over here, and the situation we have been ‘examining is nothing but a practical application ofthe model 186, Cot ea taco Model 54: The Special Qualities of the Corner Black to Play ‘The poston inthis model is Title unnatural Model st ‘The relationship of the two, black stones tothe three white stones is such that whichever side plays fist wil win, so that in the case of weaker players, the pos tion would never be lef as itis. However, that isthe situation that webave here ert is blacks move, so capturing the white stonesis very easy. However, just doing that would be unsatisfactory, since there ‘is afesujiatblak’s disposal that wil kil al of whites stones Diagram 1 (Naturally not) No matter how much of a beginner the per- son playing black is, dis move a 1 is not the one that would be played ‘Thats because the move ends up filling black’s own liberties, leading to black’ stones being captured instead Diagram 2 (Antésuji) In that ase, capturing with black {willbe con- sidered. This may indeed seem to be & natural move, but tis actually ants By examining the following di rams the reader will understand why this agro 2| 187Diagram 3—The solution: the Ahane suji The hane of black Liscorect. | ‘This move makes the most effective use ofthe special properties of the corer, ‘which isthe reason iis played “However there may be Bling spots ina players reading that will obscure this fact. In other words. ingram 4 (Cannot ress) White can play atari at 2, but itis alright or black to connect at 3, since white cannot put these black stones into atari by playing on either side addition, these whit stones are completly destroyed C Diagram § (One eye) The end result of this variation is thatif white con: tinues by playing a4, black will ofcourse, play atari at 5 ‘The move at white 6 is answered by the placement of black 7, reducing whit's group to one eye Diagram 6 (Anti-suji) By this point, the reader must understand the rea- Son capturing with black I inthis diagram ‘sant ‘The fact of the matter is that if black plays tI, white play atari at 2 and then descends to 4, making life forthe rou. 188 Diagram 4 Diagram 7 (Exercise: Black play) Here isa position in which the special prop- eis ofthe corner are utilized inthe sare way Playing Fist allowsblack olive, but geting wrapped upin the tempo of play can easily esult in failure, Diagram 8 (No good) If black plays at 1, convinced that simply playing atar is suficient, the blind spot discussed above makes is presence known, “The atari of black 1 is no good. Diagram 9 (The intention) The in | tention behind the atari of black 1 to wait | for white toconnect a2, and then, since the star of black 3 forces (kikashi} white to an- wer, the black group is alive as it sits. But things wil ot go this way. Diagram 10 Curtains) The hane of white 2uilizes the special properties ofthe ‘comer, and itis curtains for Black's group t here Black must surely have overlooked 4 the hane of white 2.gram Ut (Recapture) The aap pesto awh of ne tar ao ik ca Model 55: The Double (ae Giro hte sen he ea Threat Suji tures withthe marked ston, and black's maneuver bas done absolutely nothing to Ingen the eye apace inthe come. Black to Play ‘arm Wemoe ow tothe phere Diagram 12— The solution: the Model 55 ‘of somewhat high level fesuji. poking ng There 4 g0 prover that TT Black has one definite eye inthis pston, bt making the Festa "The enemy’ ke pity i axreeye isthe probe. ‘my point Ins way, he move that Tey sem ike theres nscope formating another eye in Atte payed above isusedby tack with 1 this postion, However ifone gives Up now. the power of ea Tas theta occupies the itl pot. 3 ‘ould be rendered aes ae crate tis cwa lade Tnthis poston hr ina marvels tena this made pos- sbetoive sible because the quits crested bythe tw captured black stones ‘agra 12 nthe et andthe one othe ie a Diagram 13 (No problem) When bilackplays the poke at I, white must con- Diagram 1 — The solution: the ect at 2 ‘one point jump suji Its clear that in ‘Then, by playing atari at 3, black this model commonplace measures will not makes life without any need to play an- accomplish anything other move in this comer. Hf "The one point jump of Black lisa Diagram 13 measure of lst esot. tis double threat tesuj. Diagram 14 Useless) Afterblack plays the poke at 1, for white to push through at 2 is useless resistance. By blocking a 3, black makes it impossible for white to save these three stones, There

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