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Compendium of Trick Plays - Nihon Kiin PDF
Compendium of Trick Plays - Nihon Kiin PDF
of
Trick Plays
6
Trick Moves: Basic Knowledge
Diagram 1 First, countering white 1 with black 2 shows an indomitable attitude, intending to frustrate
white's aim. White wedges into black's position with 3, but responding solidly with black 4 & 6 is alright.
Diagram 2 Continuing, white 1 & 3 are the strongest moves, but black 6 & 8 are exquisite moves, known
as "patting the raccoon's belly". After this, no matter what white does, it will not turn out well. For instance,
if white plays at a or b, black answers at c. White d, or else white e is answered by black f.
Diagram 3 Even if one is unaware of the exquisite moves in the previous diagram, blocking normally at
black 2 is adequate. The moves through white 9 are inevitable, and by blocking at 10, black wins the
capturing race [semeai] by one move. It is hard to countenance white's play.
Diagram 4 Consequently, white will continue from Diagram 1 with a cut at white 1 & atari at 3. Extending
with black 4 & 6 is natural, and these moves weaken white's marked stone. At the very least, getting sealed
in as in Tricked 1 is avoided, and the trick play thwarted.
Diagram 5 White will probably hane with 1 & 3. However, here too black can ride herd on white's position
to reap an acceptable result through black 12.
Diagram 6 When white wedges in with 1, black 2 is a simple and clear method. Through 8, black makes
thickness in the center. But considering the exchange of black a for white b later, white's comer territory of
7 points is not small, and there is a fear that black's play might be lax, depending on the overall position.
Diagram 7 Should white wish to avoid the course in diagrams I through 6, simply playing the wedge at 3
will lead to black 8. The course followed here is par for the situation.
Diagram 8 But responding to white 1 with the attachment at black a may allow white to deal with the
situation [sabaki] more easily. Simply hanging downward with black 2 exhibits a powerful fighting stance.
7
Model 2 This is a
favorite weapon
used by stronger
players in handicap
games of six or
more stones.
Against weaker
players who are de-
lighted to answer
white 1 by connect-
ing underneath at
black 2, this white 1
& 3 combination is
effective, but the
success rate (versus
cither weaker or stronger players) is lower. However, succeeding even
once with it can really open one's eyes considering the profitable result.
Tricked 1 Black answers white's inside attachment with 1. If black next responds to white's
hane of 2 normally with 3, white springs the prepared variation of 4 & 6. Through white 10, the
trick play has already prevailed.
Tricked 2 There is little choice but to continue with black 1, gripping white's stone from below.
White forces with 2 & 4 making moving out with white 6 feasible. Since white can atari at a,
black has to crawl on the second line with 7 & 9. Furthermore, black must play 11 to keep
white's two stones under control, allowing white 12. Black is left in wretched shape. Just from
the standpoint of territory, black does not possess more than 7 points in the right side.
Tricked 3 Even if black crawls at 1 on the other side, the position is a symmetrical one and a
similar variation results. As with the previous sequence, the upshot is that black must capture
at 9 while white makes practically unassailable thickness in the center through 12. If it is
distasteful to allow white 10 in this variation, black might crawl once more at 10, but at this
point that is like trying to put out a bonfire with a water pistol.
Diagram 1 Chances to avoid the trick play
and punish white come four times. First,
if white 1, it is thinking negatively to think
only of connecting underneath with black
a. Instead of directly answering white 1,
playing the diagonal attachment of black
2 and jumping to 4 are simple, clear and
good moves. After black 4, white 1 is found
to be a dubious invasion which may fall
under a two-pronged attack directed at it
and white's stones on the upper side.
Diagram 2 (Next page) Simply jumping
to black 2 is unsatisfactory when white
slides in at 3. If black answers by playing
at 4, the shape here is overconcentrated
8
Trick Moves: Basic Knowledge
in conjunction
with black 2,
but if black
does not an-
swer, then a
white diagonal
move at 4
would be big.
Diagram 3
Black's second
chance is after
white 1 here.
At that point,
expanding out-
ward with black 2 is a good move. In answer to white 3, black plays 4 and after white 5, proceeds
with 6, and it is inconceivable for black to be at a disadvantage. If white hanes at a with 5, black
plays at 6, white b and black c follow, and this course leaves black with a thick position.
Diagram 4 The third chance is when white plays 1 here. Black can simply connect in a line with
2. When white connects at 3, black's marked stone withers on the vine, but with 4, black protects
the corner securely, and white's marked stone ends up a wasted move. Comparing the weakening
of black's marked stone and the loss of white's marked stone, black is a little dissatisfied.
Diagram 5 This is the last chance. When white plays at 1, black discards a stone with 2 & 4, a
common tech-
nique [tesuji]
used as a
squeeze play
[shibori].
Diagram 6
If white plays at
1 and connects
with 3, black
plays a crude
but effective se-
quence from 4
through 10 that
settles the
shape, and then
plays at 12.
Black creates an
imposing position on the upper side.
Diagram 7 If white plays at 3, then black 4 is big. When black makes the hanging connection of
8, the black position exhibits impressive thickness emanating from the fourth line, while white's
position has been flattened out into a low posture. Instead of black 8 a move at a is also possible.
In the ways shown, black is afforded many chances to avoid this trick play, and as a conse-
quence, the success rate for it is low.
9
Model 3 Of all the star
point trick moves, this is
the most popular one. Re-
lying on the pressure that
white's marked stone ex-
erts on black's position as
it presses in closely, white
pushes in with 1 and
makes the placement of 3.
Cutting at a and crossing
underneath at b have be-
come equivalent options
[miai], and black will be
hard pressed to avoid get-
ting a headache while try-
ing to figure out how to deal with these threats.
Tricked Connecting at black 1 in order to avoid the problems on one side is too mild a re-
sponse. Letting white connect underneath with 2 results in the elimination of black's base,
forcing the group to flee into the center. After white 2, if black plays a, white plays b. Should
white play b at c, then black d would be sufficient, but...
Diagram 1 The diagonal attachment of black 1 is a painstakingly thought out and skillful move
[tesuji] that breaks up the trick play. If white 2, descending to black 3 is a good move that deals
with [shinogi] white's threats of crossing underneath and cutting. Now, if white a, black b.
Diagram 2 The diagonal attachment in the previous diagram is a good move that frustrates
white's immediate aim. White can only continue with the atari at 1 and the hane of 3. When
white connects at 5, black forces [kikashi] once with 6 and then captures two stones with 8.
Such an outcome is a great success for black.
Diagram 3 It is important to insert black 6 in the move order of the previous diagram. If black
rushes to capture the two stones, white 2 fences black in. This seals black in completely and
compared to the previous diagram, is a tremendous difference.
Diagram 4 (Next page) Additionally, if white defends at 2 when black turns at 1, black 3 & 5
end up capturing five white stones.
10
Trick Moves: Basic Knowledge
Diagram 5 However, matters are not so simple that one may declare that diagram 2 takes care of
the problem. That is because after white 1 and black 2, white has the desperate option of pressing
upward with 3. After black 4, white fills black's liberties with 5 while rescuing the two comer
stones. Now, if black cuts at 7, white 6 yields a ladder. If black avoids the ladder with 6, white
plays 7. Before one has realized it black's two stones in the corner have been captured. This is
also a "Tricked" diagram. So when the ladder is unfavorable, what should black do?
Diagram 6 Here we return to the original problem. When white plays at 1, attaching through the
knight's move with black 2 is a method that merits some consideration. Black forces [kikashi] in
sente with the moves through white 5, an emergency method that eliminates white's stubborn
moves of 1 & 3 in diagrams 2 through 5. Up to black 8, white's two stones of 1 & 7 are within
black's grasp, seemingly insuring success. But this shape is such that after this...
Diagram 7 White has the technique of 1 & 3 available. Up to white 9 the "play beneath the
stones" technique results in a position where the eye shape of black's group may be in danger.
Diagram 8 If the ladder is unfavorable, black answers white 1 with 2, eliminating white a. Then
blocking at black 4 is simple. If the black 2, white 3 exchange is distasteful...
Diagram 9 It is okay for black to advance into the center with 2. Black 2 next aims at making
shape with a, and is more efficient than the one point jump to black b. Also, when the ladder is
favorable, Diagrams 1 & 2 deal with the problem [shinogi], but one never knows when a ladder
break will appear. Therefore, Diagrams 8 & 9 are simple and good even in such cases.
11
Model 4 This is a represen-
tative star point trick play
against a large knight's move
enclosure in the corner. From
the standpoint of shape, de-
fending with black 2 seems
desirable. White's ploy is to
then attach at 3. White's
marked stone lends support
to white's aims.
Tricked 1 Parrying in an
easy-going way with black 1
& 3 ends up letting white con- Tricked 1
nect underneath with 4. In
comparison with the stick-like shape of black's stones, left with little territory and ineffectively
placed, white's shape after connecting underneath with 4 is sharp looking.
Tricked 2 In that case, black might try to block the connection
with 1 & 3, but that is reckless. White cannot be prevented from
breaking into the center with the moves through 8. In both Tricked
1 & 2 the marked white stones are allowed to work effectively.
Black must find a counterattack.
Diagram 1 In response to white 1, black 2 is a good move. If white
plays at a, black then plays 3, so force of circumstances dictate
that white cross underneath with 3 in exchange [furi-kawari] for
black 4. In this diagram, white's trick move has been adroitly fended
off, and black can, generally speaking, feel satisfied, but it is dis-
turbing to realize that this is but an equal result. Black 2 is a
second best move.
Diagram 2 The rigid connection of black 2 simultaneously denies
white access to the center and connecting underneath, and is the
strongest reply. White has no choice but to seek life inside black's
corner with 3 & 5. Black 10 is a good move: Tricked 2
calm and collected. White is restricted to
sheer survival in the corner. When white
plays 13, black develops with 14. This re-
sult practically settles the outcome of the
game.
Diagram 3 (Next page) A frightening varia-
tion can arise at white 9 in the previous dia-
gram if white plays the diagonal attachment
at 1 here. If one cannot answer white 1 and
the cut of white 3 properly, it is fitting to
adopt the second best policy of Diagram 1.
Black 4 & 6 are unavoidable. A race to cap-
ture [semeai] results with the moves follow- Diagram 1 Diagram 2
12
Trick Moves; Basic Knowledge
Tricked 1 Going directly to kill white's five stones with black 3 is a horrendous move. After
playing 4 & 6, white fences black in with 8, and further, with white 10 through 20, creates an
ironclad wall around the whole group. White a forces black b, resulting in...
Tricked 2 In contrast to black's territory of a little more than 20 points, white's impenetrable
wall is far and away superior.
Tricked 3 At the very least, black 5 in Tricked 1 should be the hane of 1 here, and up to black
17 the result is superior to Tricked 1. However, black has still done poorly here.
Tricked 4 If black plays 7 in the previous diagram at 1 here to defend against being sealed in on
this side, white 4 & 6 are good moves. The tables are turned and black ends up captured. One
must be careful.
Tricked 5 In conjunction with this position, if the marked black stone is here or in this area,
white's fencing in move at 1 does not work. Black plays 2 and the move order that follows up to
black 28 captures white in a precisely executed ladder. In this situation, white fences black in
with a knight's move at 6 rather than white 1.
Tricked 6 (Next page) Black must move to capture white by filling a liberty with 3. This time
14
Trick Moves: Basic Knowledge
white ataris at 4
without compunc-
tion, and after 6 &
8, fences black in
with white 10.
However, in this
position black has
time to jump out to
11. Since black
originally filled a
liberty, white can-
not seal the black
group in com-
pletely as in Tricked 1. The result up to black 15 is much better, but black still stands poorly.
Diagram 1 The question is what happens when white cuts at 1. Without responding directly to
white 1, the stabilizing hane of black 2 is correct. White has nothing better to do than live in the
corner with 3 & 5. Playing the exchanges of white a, black b, white c, black d, before white 3,
black e, is more or less the same. White lives in the corner with only a few points. Black's
position is much superior.
Diagram 2
Furthermore, the
previous dia-
gram ends in a
position where
black can look
forward to play-
ing the hane at 1.
If white answers
with 2, black 3
through 7 are
good moves.
With 9, black
gets a "flower-
viewing ko".
And black can resolve this ko by connecting at a.
Diagram 3 Normally, after black 1, white will have to make the concession of 2, but living with
just two eyes with white 4 is painful. White possesses only 2 points here. The trick play has
been smashed wonderfully.
Diagram 4 At white 3 in Diagram 1, one must take care if white adopts the emergency measure
of cutting at 1. One must not let a desperate tactic such as this succeed. Answering normally
with black 2 & 4 is sufficient. Both sides live in the corner with white 5 through black 12, a
compromise solution. This time black's thickness with 14 is convincingly formidable.
Diagram 5 Taking the compromise of the last diagram a step further, at the point of black 8 it
is alright for black to abandon the three stones by turning at 3. Through black 9, white's corner
territory is on the order of 20 points. Black's thickness is superior here as well.
15
Model 6 White at-
taches against
black's large knight
enclosure with 1
and makes the
placement of 5. If
black thrusts up-
ward with 2 at 4,
white plays at 5 all
the same. This
shape is a treasure
trove of trick plays,
full of variations.
16
Trick Moves: Basic Knowledge
Tricked 3 In response to black 1, the diagonal attachment of white 2 is also a trick move. By
making the jumping attachment of 5, black is tricked. When white plays 16, black's four stones
come under an attack which must give one an unpleasant feeling.
Diagram 5 The hane of black 1 is correct. Black unreluctantly lets white live in the corner, then
occupies the magnificent point of 13.
Diagram 6 The cut of white 2 is not to be feared. A race to capture develops as in Diagram 2, and
up to 21 a ko fight favorable for black arises. Instead of 3, black 4, white 17, black 3 is possible.
Tricked 4 Answering white 1 by drawing back to black 2 is a little weak-kneed. Since white
connects smartly underneath with 3 & 5, one cannot adopt this variation.
Diagram 7 Also, in response to the diagonal attachment of black 2, white has the strong move of
3 lying in wait. Up to 14, black's shape gets overconcentrated.
Diagram 8 At black 6 in the preceding diagram black might descend to 1, but up to 8, white
takes a large profit in the corner.
Tricked 5 White 1 & 3 are a trick play combination that demand close attention. Black 4 & 6 are
timid. This kind of submissive response is what white is hoping for.
Diagram 9 One wants to resist strongly by blocking at black 2. If white 5, black ataris with 6 &
8 intending to play ko. If white cuts at a, the outcome of the game will be determined here, but
black will fight on even terms. If black 8 at a, white is left with the threat of cutting at b.
17
Model 7 Against
black's large knight
enclosure, white 1
through black 4 form
a common pattern.
Now white has the
trick play that begins
by pushing in at 5.
However, the success
rate of this trick play
is low.
Tricked 1 It is bad for black to give way with 1: white 2 & 4 spring
Model 7 the trap. White wins by exactly one move. If black 1 is at a, black
wins this capturing race [semeai]. Since the result to white 10 is so
horrible...
Diagram 1 What move other than black 1 in the previous diagram dissipates the worry of
getting tricked? Black 1, 3 & 5 are simple and clear. With this white's maneuvers end up misfir-
ing. Even if white tries playing 6 & 8, black 11 is a good move. If black mistakenly plays at a
instead of 11, white throws in at 11 and the position becomes ko.
Diagram 2 However, after black 5 in Diagram 1, capturing at white 1 here enhances white's
options [good aji]. In a position where the upper side is important, there is a fear that the profit
in the corner may become insignificant.
Diagram 3 In that case, it is forceful to promptly settle the shape with black 1 & 3. After black
5, since black a forces white b, black's outward influence is superior to white's 10 points in the
corner.
Diagram 4 This looks a lot like the preceding diagram, and it is alright to first exchange black
3 for white 4. However, one must be prepared for the variation of white using 4 to cross under-
neath at 5. If white 5, black 6, the position returns to that of Diagram 2.
Diagram 5 Of course, white's moves should conform to the joseki with 5 & 7.
Diagram 6 (Next page) We change the theme slightly here. As a variation to Diagram 5, white
may play the trick move with 1 and the connection of 3. In that circumstance, it is correct to grip
white's stone with black 4, playing in a restrained manner.
18
Trick Moves: Basic Knowledge
Tricked 4 White's secret weapon is the hane at 1. The variation through white 9 is inevitable,
and this is a perfect example of a successful trick play. White's thickness on the outside is over-
whelming while black has a pitiful lump of stones; depending on the position they may even die.
Diagram 9 Black 1, then butting against white's position with 3 give black sufficient resources
to fight. Black wedges into white's position with 7 and after black 11, white's trick play ends in
failure. Black 11 is an essential point to defend black's position: a thick, real move [honte].
Diagram 10 Returning to the original position, attaching at the belly with black 1 exquisitely
handles the situation [shinogi]. If white a, black b; if white b, black c; if white d, black e; if
white f, black d. In every variation black is well off. However, in general, when white adds the
marked stone, black becomes thin, so it is usual for black to reinforce the corner [at 1 in the
Model 7 diagram].
19
Model 8 This trick
move comes after
black has played the
attach and extend
joseki and white cuts
with 1 & 3. It gets
complicated after
this, but it is impor-
tant to master the ba-
sic variations.
20
Trick Moves Basic Knowledge
through and cuts with 3 & 5. Exchanging black 6 for white Diagram 6
7 and then playing black 8 falls into the trap. White's aim
is to squeeze with 11, and through white 19, capture the whole corner.
Diagram 5 The correct sequence is for black to set the position by cutting at 1 & 3, then capture
the stone with black 7. If white 8, black is far and away better with the move at 9.
Diagram 6 This is a variation for white 8 in the last diagram. If white 1, black plays 2 through
6, then black 8 through 20, and white's position on both sides is low. If white 7 at a, black plays
b, white 8, black c, white d, black e, white f, and then black 7. Black wins by one move.
Tricked 4 What happens when white has a two space high attacking stone where the marked
one is, then pushes through and cuts? White plays 9 & 11. Black may think that 12 wins, but
then white cuts at 15. Black desperately tries to capture with 18, but up to black 24 it is a large-
scale ko. Black has been tricked.
Diagram 7 Black 14 in the last diagram is bad: defending at 1 is best. If white 2, black is ready
with 3. After white 10, a white move at a starts a two-step ko, but this is a small matter after
black has defended at 1.
Diagram 8 If white answers below at 1, black 6 is a good move that destroys white.
Diagram 9 Consequently, when black attaches at 1 (black 12 in Tricked 4), white cuts at 2.
Through 6, white makes a squeeze play on black's position, but black can be satisfied that white
has played one extra move here while black has taken 15 points of profit.
21
Model 9 After white has
played double approach
moves against the star point
stone and black has played
the attach and extend joseki,
white plays diagonally to-
wards the second line with
1. One look tells one that this
could not be a good move
since it sinks to the second
line, but in order to brand
white 1 as clearly inferior,
black's next move is critical.
Model 9
Tricked 1 A stickler for making good shape would want to
play black 1. However, this is just what white is waiting for. After wedging in with 2, white
develops a position on both sides with 4 & 6. If next black a, white is left with the severe move
at b that gouges out the corner. Black lacks much of a base, with many prospective difficulties.
Diagram 1 Black 1 seems to be a drab move at first sight, but extending here is the correct play
to neutralize the trick move. It should be obvious that moving in a line like this turns the marked
white stone into a lax, ineffective move. If white now extends to 2, black attacks at the vital point
with 3. After slapping white down into submissive shape with 5, black holds the attacking
initiative.
Diagram 2 If white defends on the upper side, black presses in around the point of 3. In short,
black has the equivalent option [miai] of playing 1 on the upper or the right side. If white 4,
black plays 5. Black can also play more severely with 3 at the point of 4.
Diagram 3 Following the previous diagram, if white attaches at 1, playing black 2 and descend-
ing to 4 are good moves. When white plays 5, black is ready with the attachment of 6. It may be
unnecessary to elaborate but...
Diagram 4 (Next page) Instead of white 1 in the original position, playing the diagonal move
upward here is correct. The moves following black 2 comprise a well-known joseki. Within the
sequence of this joseki, black 10, which prevents white from attaching at a, is an important
move. Changing the theme, we will examine the variations that follow white a. Before black gets
22
Trick Moves: Basic Knowledge
the corner with 7 & 9, but black has taken the territory there in terribly overconcentrated shape,
and it totals a mere 15 points. White's thickness on the upper and the right side is superior.
Diagram 7 On the other hand, it is unreasonable for white to answer black's cut at I with the
atari of 2 and the block of 4. When black captures two stones with the moves up to 11, white sets
about taking the corner with 12; but in the race to capture [semeai] that follows black 13, white
is short by one move no matter what happens. In this sequence, if white 20 at a, black plays b.
Diagram 8 Backtracking: white's trick move of 1 is easily parried by black descending to 2. If
white plays 3, black cuts at 4 and it cannot be said that white has profited. If white uses 3 to, say,
defend at 5, black plays 3. White's stone at 1 turns into an out and out loss. The moves in
Diagram 4 of white 7 & 9, and black 10 are unavoidable.
23
Model 10 In this trick play,
white beseiges black's one
space jump in the corner by
poking at 1 and high-
handedly attempting to seal
black into the comer with 3.
One must by no means al-
low this kind of thin play to
succeed in wrapping one up.
The position demands that
one discover the wonderfully
skillful technique [tesuji]
that will shatter the trick
play with a single blow.
Tricked 1 Black pushes out twice with I & 3, then ataris twice at 5 & 7. By repetitiously playing
these clumsy moves, black has already been snared. Up to white 14, black is completely sealed
in. White must be laughing uncontrollably. Black's moves at 3 and 7 are problematical.
Tricked 2 The skillful technique is displayed when black simply cuts at 1. White can only draw
back to 2; which means that it is pointless for black to exchange the move at a for white b.
However, if at this point black ataris at 3 and pushes out at 5, the ruse again succeeds. With the
moves following 7, black crudely fumbles the way to black 13. In spite of this increase in black's
territory, white's thickness is obviously overwhelming. This is better than Tricked 1, but...
Diagram 1 The combination of black I and the attachment of 3 wonderfully coordinate the
technique refered to above. White 4 is the orthodox, "real move" [honte], and black is satisfied to
go back and play 5. If white 6 & 8, black takes with 7 & 9; after this, if white plays a, the key is
to counterattack with black b. However, at black 5...
Diagram 2 Black must not try to play 1 here. With 2 through 8, white usurps the territory and
the result is perilously close to a successful trick play. Black's group has almost no territory to
speak of.
Tricked 3 (Next page) In answer to black 1, white attempts the hane of 2 (a trick play: white 4 in
Diagram 1 is correct). If black ends up making the atari of 3 here, the prior wonderful technique
goes to waste. Through white 8, the pattern returns to that of Tricked 1, though without the
24
Trick Moves: Basic Knowledge
when black blocks at 8, white's position is hopeless. White 13 offers the strongest resistance, but
the result is a "flower-viewing ko" for black. If white omits 7, of course black plays 7 and fences
white in with a. Also, if white plays 13 at 20, black plays b, white c, black 15. White 13 as...
Diagram 6 The knight's move of white 1 is countered by black's good move at 2, and white is
dead. If white 3 at 4, black plays at a.
Diagram 7 Therefore, white will press from above with I, but this presents no difficulties for
black either. The sequence following 2 is good for black. Following black 14, white cannot make
life no matter what moves are tried.
From white's standpoint, Diagram 1 is best. For black, responding to white's fencing in moves
of 1 & 3 in the model diagram by crudely trying to push out and atari is bad.
25
Model 11 In this position black's one point
jump is supplemented by the marked black
stone. In handicap games, not to mention
even ones, this position often occurs. With
1, white invades at a strange place. Black
blocks at 2. This is a natural response. At
this point white attaches with 3 and cuts
with 5. It is important that one maintain a
firm attitude here. White 1, 3 & 5 are in-
terrelated, and if one loses sight of that fact,
one risks getting ambushed.
ternative but to
utilize the com-
mon technique
of throwing in at
1 & 3, and start-
ing a ko fight
with 5.
Diagram 5 If
white blocks at
a, the ko be-
comes a direct
one. However,
perhaps white
will not start the
ko immediately, but extend at white 1. This leaves black in a quandary. Over the course of
fighting the ko, white can choose the best time to play white b as a ko threat, and overall, the
thinness of black's position is conspicuous. Especially in handicap games, a weaker player would
be reluctant to try to deal with this kind of complicated shape.
Diagram 6 The worst case scenario is shown in this diagram. Black 1 & 3 are the same as in
Tricked 2. Then black winds up playing the atari of 5 and the connection of 7, but there is no
telling what this is supposed to accomplish. This is worse than the results in Tricked 1 & 2.
Since black originally played 3 to live in the comer, adding the stone here and then abandoning
it by playing
black 5 & 7
clearly repre-
sents a rupture in
black's strategy.
But what is the
correct way of
playing here?
Diagram 7
Black ataris on
both sides with 1
and 3. Then
black blocks at 5,
which forces
[kikashi] white
6, letting black
take control of white's two stones. It is painful to allow white to make a ponnuki capture in sente
with 8, but since black takes a large territory, this outcome gives black the advantage.
Diagram 8 In addition, black has the good option available of playing 1 & 3, and then black 5.
In this variation, black connects at 7, and therefore is able to take white's stone with 9. Even
though white is allowed to live on the side, black builds a solid wall in the center, and the capture
with black 9 makes a large territory. Diagram 7 is perfectly secure for black, but this diagram is
the best. It is the strongest procedure to smash white's trick play.
27
3-4 Point Trick Plays
Model 12 With a stone
on the 3-4 point con-
fronted by a knight's ap-
proach move, white as-
says the offbeat move at
I. While this method
may lack subtly, black
must handle it with the
greatest care.
28
Trick Moves: Basic Knowledge
must cope with floating stones, the disadvantage is clear. White presses the attack in fine form
with 8. If black 3 at a, white plays b, black c, white d, black 3, and white 4, the result is the same.
Diagram 7 In response to black's defense with 4 & 6, white blocks once with 7, then discards the
three stones with the moves after 11. White is thick in the center and has the advantage. Because
of all these factors, black cannot push out with 2 when white attaches at 1.
Diagram 8 Returning to the original position, when white ataris at 1, black may take at 2,
disliking the prospect of a white attachment at a, but fencing in at 3 maintains white's initiative.
Diagram 9 The correct way to fend off the trick play is with the cut of black 3. If white draws
back to 4, then play proceeds through black 7 and in comparison with Tricked 1, white's shape is
thin and white can no longer attach at a.
Diagram 10 If white answers black 1 by blocking at 2, it is enough for black to play normally
with the atari of 3 and the connection of 5. Up to 11, black takes a large corner and after 12, one
way or another, white must make another move at a.
Diagram 11 According to circumstances, when black plays 1, white may opt for the variation
beginning with 2. But here black takes the initiative in the fighting with 5 & 7.
Tricked 2 White 2 & 4 usher in another trick play. If black gets flustered and rushes to try to
capture white with 5 & 7, failure is assured. This sequence captures black's stones in a ladder.
Diagram 12 If the ladder is bad, extending to 1 is a calm move. White can only play 2. Black
forces with 3 & 5, 7 & 9 complete the refutation of the trick move and black has a large corner.
29
Model 13 Black
counters a one space
pincer by white to
play the fencing in
move of 1. At this
point white skips all
the way out to 2.
Without even look-
ing, black would
want to block at a,
but...
30
Trick Moves: Basic Knowledge
Diagram 5 White can also first hane at 1. In this case as well, black must not hane at a, but
cautiously reinforce with the calm and collected move of black 2. Up to black 6, it is plain to see
that white has a low position.
Diagram 6 There are various moves at black's disposal, and one cannot declare which is best.
The jump to black 1 reflects a clear and simple strategy. Likewise, the fencing in move of black
3 is a good move here.
Diagram 7 Without pushing in at 2, the capping move of black 1 is light and effective. When
white plays 2, black maintains this light policy by pressuring white from above with 3. The
thinness around a is not to be worried over.
Diagram 8 In the days of Shusaku's youth, Ota Yuzo played this trick move against him. As
black he answered by dodging to 1, and an exchange [furi-kawari] resulted, with white playing 2
& 4, and black 3. But even though this avoids the trick play, black's marked stones are immobi-
lized, and white's position augmented with the hane at 4 is not very palatable.
Diagram 9 Simply attaching with black 1 is interesting. At this stage, white must respond with
2 through 6, and then black returns to block at 7. After black 9, if white plays a, black plays b
with an adequate result. It only makes sense for white to...
Diagram 10 Defend with white 2 & 4, or...
Diagram 11 White should conform to the joseki moves up to black 9. None of Diagrams 4
through 9 are good for white.
31
Model 14 After white
attaches at 1, black
plays 2 and butts
against white's stone
with 4, white does not
extend to a, but plays
the fencing in move
of white 5; a trick
move. But it is a high
level variety of trick
move that, even if it
fails, will produce an
equal result. White 5
in of itself does not give one the impression that it is unnatural.
Tricked 1 If an unwary black replies with 1 & 3, white descends to 4, and black has already been
shafted. It is natural to play black 5 to avoid getting cut at a, but white pushes through and cuts
with 6 & 8, and black has problems. Rather than playing at b, white 8 is good.
Tricked 2 Should black connect at 1, white pushes with 2 & 4, and wins the race to capture
[semeai] by one move. The squeeze play with white 6 and the following is a well known finesse
[tesuji], and the marked white stone is effectively placed to aid in the capturing race.
Tricked 3 The previous diagram produces an impossible result, so following the advice to "cap-
ture the cutting stone", black takes at 1. However, white captures a stone in a ladder with 2 & 4.
This trick play is predicated on this ladder being good for white.
Tricked 4 Realizing this, when white plays 1, black might defend against white a and the rest by
playing 2. Then white takes two stones following 3, which gives white a thick and strong shape.
Black has been had.
Diagram 1 It is correct here for black to push once more with 2; this lets black parry [shinogi] the
trick play. If white 3, black jumps to 4, secure in the knowledge that white cannot now play a,
then push through at b and cut. But this will not really happen: white has another nice move
available.
Diagram 2 (Next page) In this situation, black normally just jumps to a, without making the
extra push at 1
which is consid-
ered to be bad.
That is because
when white
plays the pincer
at 4, the white
thickness above
works more ef-
fectively. But in
Diagram 1, it is
as if white
played 4 at a, fol-
lowed by black
32
Trick Moves: Basic Knowledge
b, white c, and
black d, deliber-
ately solidifying
black's shape.
Black would wel-
come such an out-
come.
Diagram 3 How-
ever, the opponent
is unlikely to offer
a sweet deal like
that. The instant
black plays at 2, white will force [kikashi] at 3, and hop lightly to 5, blocking black from advanc-
ing. Since this good move exists, even when the trick play fails, a 50/50 result is produced. After
white 5, black has no response, so...
Diagram 4 It is par for this situation to end up with white fixing the shape with 1 and with play
proceeding through black 4. Each side has played the same number of stones in this diagram,
with black taking profit and white taking influence, and it may be evaluated as a completely even
result.
Diagram 5 Since the standard situation in the last diagram is properly arrived at, white's attack
at 1 is not promising. Black lives easily with 2 & 4, and later can aim at the cutting point at a.
Diagram 6 This shows how play proceeds when, after white 1, black forces [kikashi] with 2, and
then pushes through and cuts with 4 & 6. Turning at white 9 is a thick move, and it seems as if
black is just looking for trouble. The jump into the corner with white a is left, and we might say
that black is in for an unpleasant fight.
Diagram 7 Black 2 & 4 are a finesse [tesuji]. With the moves from white 5, both sides are
propelled by the impetus of the situation. White 7, black 8 & 10 are all good moves. Black's aim
is to play 12 & 14, but white dodges the attack with 15. According to the board situation, this
variation is possible, but it is a burdensome one for black. White's fencing in move at a, and
capture at b, both threaten black. The upshot is that Diagrams 3 & 4 represent the best variation
for both sides.
33
Model 15 White answers the two space
pincer of black 1 with the diagonal jump
of 2. This cannot be called a trick play.
It is a fine, upstanding joseki. However,
a mistaken response will land black in
a trap. Positions centering on the 3-4
point often give rise to this kind of trick
move: where, even if the opponent an-
swers correctly, one suffers no loss.
One's first impulse is to strike out be-
tween white's stones with black a but...
34
Trick Moves: Basic Knowledge
Tricked 4 When white plays 2, pushing through with black 3 and cutting with 5 is suicidal
behavior. White forces [kikashi] with 6, and lands a knockout punch with the cut of 8.
Tricked 5 Pushing and cutting through with this combination of black 3 & 5 is better, but white
gets a perfect opportunity to play 8, which renders black's marked stone useless. Even if black
tries to move out with 9, white comes into good attacking form with 12.
Diagram 4 The correct reply is the jumping attachment of black 1. White 2 makes shape, and
with black 3 and white 4 a result is reached that is regarded as joseki. This is equal for both sides.
Diagram 5 After the last diagram, black cannot easily move out with 1. That is because white
makes good shape while bringing black under attack. Rather than this, snaring a stone with
39
Model 18 In response to a one
space high pincer, white uses
the rash method of the knight's
fencing in move of 2. However,
against a weak opponent it is
an effective trick play, and de-
fusing it requires no small de-
gree of skill. On the other
hand, if black responds accu-
rately, a good position natu-
rally results, leaving the bad
move of white 2 exposed for
what it is.
Tricked 1
Model 18 Tricked 1 First of all, the ste-
reo-typical answer here with black 1 & 3 falls right into the trap. White pushes in with 4, then
forces [kikashi] with 6, 8, then further with 10 & 12, finally turning to attack with 14. Black's
marked stone has come to be too close to white's thickness, and black will be forced willy-nilly
into an unfavorable fight.
Tricked 2 Humbly defending is no good. Cutting through with black 1 & 3 is the only play.
Since white a, black 5, white b, black 4 is not good here, extending at 4 is the only play for white.
Black pushes once at 5, and after white plays at 6, black goes after white's three stones with 7 &
9. But black is proceeding on a "Tricked" path.
Tricked 3 Continuing, white 1 through 7 are all natural moves for both sides.
Tricked 4 Black gets tricked here by hurrying nervously to atari with 1. Play proceeds with both
sides systematically filling in liberties, and a big ko results with white getting to take the ko first.
Black is thus destroyed. This variation has been white's aim all along.
Diagram 1 Since black 1 in the last diagram is bad, what about simply connecting with black 1
here? By so doing, this time, on the contrary, black gets the first chance to take the ko, which is
a success. The reason for this is black can play 7 in sente.
Tricked 5 (Next page) However, in reality things will not work out as well as Diagram 1. After
black 1, white will veer off course, playing 2 & 4 into the center. White 4 & 6 are a skillful
finesse [tesuji]. White 8 is a forcing move [kikashi] that works because of the fencing in move at
a, then white
14 makes
equivalent
options
[miai] of liv-
ing with 15
or making
black's liber-
ties rapidly
disappear
[oiotoshi]
with the
moves fol-
lowing 16. In short, black is annihilated. Naturally, if black plays 1 at 15 (Tricked 4), white's
technique with 12 & 14 does not work. But then the capturing race [semeai] is unfavorable.
Diagram 2 In order to avoid the technique used in the previous diagram, black can only play 1.
White 2 & 4 are the best way to fill in the liberties, but black also has the good move at 7. In the
end, the corner becomes seki. Through black 15, we have an equal result. The trick play has been
avoided overall, but there is a better move here for black.
Diagram 3 Returning to the beginning, pushing once more with black 1 is best. If white defends
at 2, white's hane outward at a no longer exists, so black can now attack at 3 & 5 without fear.
Following black 13, the sequence is the same as in Diagram 1, and the
fear of Diagram 2 developing does not exist.
Diagram 4 One need not fear white resisting with 2, either. Black settles
the corner up to 9. White 10, guarding against black a, is natural.
Diagram 5 After that, black plays the two-step hane of 1 & 3. With 7 & 9, black captures four
stones, while securing 20 points of territory. Black is clearly better.
Diagram 6 White is likely to play 2. There too, black will use the two-step hane of 3 & 7.
Diagram 7 The continuation shows white frantically struggling. If white 3 at 4, black a. After
black 4, white connecting underneath with 5, 7 & 9 is painful but unavoidable. Capturing with
black 8, 10 & 12 makes profit in the center, and furthermore, the moves in the corner starting
with 14 leave black with the option of living. If white 17 at 18, black plays 17.
41
Model 19 Amidst the
3-4 point trick plays,
this is the most popu-
lar one. White's tech-
nique with 2 & 4 is of
the crudest variety, so
subverting it is
simple.
42
Trick Moves: Basic Knowledge
7, which is terrible.
Diagram 7 Since black's hane has been exchanged for white's block, extending at black 1 is
possible. Black squeezes with 3 & 5, and through 13 a sequence similar to Diagram 4 results.
This is good for black.
Diagram 8 White cannot obtain a pleasing result by blocking, and so tries to atari at 2 and
connect at 4. It is enough for black to extend out smartly with 5. White 6 captures black's stone
in a ladder, but at some stage a further white move at a will be necessary. In that position, white
will have played two extra moves, while black 5 remains splendidly placed, so the result is equal.
Diagram 9 If the ladder is unfavorable, white must play the fencing in move of 1. By capturing
at 2 & 4, black obviously is well off. However, black does not necessarily have to rush to play 4.
Diagram 10 It is also imaginable, at the point of the black extension of 5 in Diagram 8, to start
a fight with 1. The moves to white 10 may be expected, and this is a situation even for both. But
one worries that black is stirring up trouble needlessly; there is no question that Diagram 8 is
simple and good.
Diagram 11 Incidentally, there is an interesting variation for white 6 in the last diagram. Black
should heartily welcome an attempt by white to capture the corner with 1 & 3. With 4 & 6, black
lightly gives up the corner. Then the boa constrictor play with 8 & 10 give black a good feeling:
white's territory is worth about 20 points, while black's thickness is more valuable.
Diagram 12 Striving for more with white 1 & 3 leads to an almost identical outcome. White's
territory is not a single point bigger. White should play normally, as in Diagram 10.
43
Model 20 When
black plays 1, there is
a way of playing with
white 2 & 4. This
trick play is closely
related to joseki and
is a strong fighting
method.
Tricked 1 Crudely
fixing the shape with
1 & 3 causes black to Tricked 1 Tricked 2
fall behind overall.
When white extends to 6, black's five stones are not only left without
Model 20 much of a base, but are heavy as well.
Tricked 2 The diagonal attachment of black 1 is better. However, white 2 & 4 capture cleanly, so
while there is but a small difference in superiority, black has still been tricked.
Tricked 3 Black plays 1 & 3, grimly clinging to the comer. But this is what white has been
waiting for.
Diagram 1 On the other hand, pushing through immediately with white 1 & 3 is no good. With
the ataris at 6 & 8, black makes strong thickness in the center, and afterward can aim at black a.
White has failed to follow through with the trick play.
Tricked 4 The artful finesse [tesuji] of white 1 is the key point of this trick play. Black 2 is a calm
response, but black's four stones wind up being chased into the center. This sequence falls right
in with white's plans.
Tricked 5 Black would like to counterattack with 2, but now white strikes with 3 & 5. After
white 9, black will play a and follow Diagram 1. However, in this case, as opposed to Diagram 1,
the exchange of black 2 for white 7 has been made, which is a grievous error on black's part.
Tricked 6 (Next page) With white 6 in Tricked 3, the fencing in move of 1 is also possible. If
black tries to squirm out with 2 & 4, the sequence here ends with white making thickness, and an
obviously superior position.
Diagram 2 Therefore, what is the best way for black to play? Going ahead and cutting with
Trick Moves Basic Knowledge
black 1 is correct. With 3 & 5, black discards the corner, and if white plays 8, black develops to
somewhere around 9. White also defends at 10 and black will not be dissatisfied with this result.
But white can also fight on even terms here. If white fails to play 10...
Diagram 3 Black plays at 1. Through black 7, a two-step ko is the upshot, a pleasant "flower-
viewing ko" for black.
Diagram 4 Switching themes a bit, it is also necessary to use caution when white uses the
technique of playing 4, then blocking at 6. Even if black answers accurately, white will not end
up badly, so it can tell on one's nerves.
Diagram 5 Likewise, in this position as well, living in the corner with black I & 3 is not good.
After playing 4, white expands into the center with 6 and black jumps to 7. It may seem like
nothing spe-
cial is going
on here, but
white has a
comfortable,
slowly devel-
oping posi-
tion. We may
evaluate this
situation as
being some-
what advan-
tageous for
white.
Diagram 6
Here is a variation for black 1 in the last diagram. Black intends to pressure white severely with
a hane at 1. However, white crawls, just once, with 2, then puts black in a fix by sacrificing with
4&6.
Diagram 7 Exactly as in Diagram 2, the proper thing for black to do is to cut at 1, and with 3 &
5, black gives up the corner. White's pride and joy here is that after black plays 7, an additional
move in the corner is unnecessary. That's the difference from Diagram 2. When white jumps to
8, the position is 50/50. It is necessary for white to play 8; if it is omitted, black can pressure
white, even by playing this right off the bat, with black a, white b and black 8.
45
5-4 Point Trick Plays
Model 21 This pattern develops from a
5-4 point joseki where white has made
an inside attachment at the 3-3 point.
After striking at the vital point with 1,
white fences black in with 3. This is a
simple trick move, so it will not suc-
ceed twice with the same opponent.
46
Trick Moves: Basic Knowledge
stones.
Diagram 5 In response to black 1, no other move but 7 in Diagram 3 will turn out well for white.
If white pushes out with 2, black can move out in good form with 3 & 5. White's three stones
suddenly become debilitated, and if white plays 6, through black 11, white's stones are taken.
Diagram 6 Pushing out at 2, then defending at 4, shows white's strategy working at cross pur-
poses. Striking across white's knight's move with black 5 is a skillful finesse [tesuji], and through
9, black builds a thick position. At the same time, the low posture resulting from white 6 at a
would be unbearable.
Diagram 7 Here, when black plays 1, white hanes at 2. Now, cutting with 3 & 5 see black
through. Black 7 & 9 cleverly break out of white's net.
Diagram 8 When white hanes at 2, the ordinary cut of 3 produces no disadvantage for black.
White has to play 4 & 6, and likewise here, black can burst through with 7.
Diagram 9 Returning to the very beginning, the side attachment of black 2 is a fighting tactic
often seen. It is used when running into the center would be fruitless. Nevertheless, one must be
vigilantly prepared for white's technique of 3 & 5. Up to white 11, it becomes ko. For both sides,
this is a dangerous course.
Diagram 10 After black 2, if white hanes from above with 3, then the moves through black 6 are
par for the situation, but in the local context, white has something of an advantage. Neither black
6 at a, nor at b usually work out well.
47
Model 22 Here is an
outer attachment
joseki. At 5, the
joseki calls for white
to cut at a or b, but
white turns at 5 in-
stead.
Tricked 1 Black 1 is
faint-heartedness at
its worst. White 2 &
4 press black down
low, while leaving Tricked 1 Tricked 2
white the option of at-
Model 22
taching at a as well. Tricked!
Tricked 2 Whatever happens, extending to black 1 is the only move. But when white plays 2,
black 3 strays into the ambush. The shape that results from white 4 & 6...
Diagram 1 Compared to the usual joseki, when white turns at 1, the shape is as if black has
defended at 2. Of course, 2 is a terrible concession. Naturally, black must hane at a here.
Diagram 2 When white cuts at 2, the connection of black 2 is correct. If white pushes vigorously
here at 3 & 5, on the contrary, white has failed.
Diagram 3 White attaches at the head of two stones with 1, and then, what comes next is the
problem. First, what happens if black pushes out with 2? Black presses with 4 & 6, and there
may follow a number of fighting variations; for instance, through black 18 we have a rough and
tumble position where chances are equal.
Diagram 4 Black presses just once at 1, plays 3 & 5, then white plays 6 & 8, leading to white's
connection at 10. This is how the fight is likely to go. It is equal.
Diagram 5 (Next page) However, extending to black 4 will not reap a very good result. White
plays the diagonal move of 5 in sente, gaining time to defend at 9. Black can capture two stones
with 10 & 12, but all the same, black's four stones become thin and weak.
Diagram 6 If black 6 in the last diagram is played as a wedging insertion at 1, then the cut at 3
leads to a capturing race [semeai] in the corner. White 10 is a clever little move, and in the end
Trick Moves: Basic Knowledge
it is ko here.
Diagram 7 In the local situation, black is driven to the desperate measure of playing 1 to make
ko material. With black 9, white 8 & 10, a swap [furi-kawari] takes place. White's thickness in
the center is superior to black's territory in the corner.
Diagram 8 Pushing out above produces practically an equal position. Consequently, let's see
what happens when when black takes the stone with 2. The cut of black 4 leads to white 9, and
again neither side may be said to be better.
Diagram 9 At white 7 in the previous diagram, there is the sparkling play of 1. The premise is
that if black a, white b; if black b, white c. Nothing to it.
Diagram 10 But there is no reason why black has to cut at a, and start a fight. Black crawls once
at 4 to make firm, solid shape. In the local context, black may be said to have the advantage.
White's thickness is not that great.
Diagram 11 When white cuts at 1, it might seem at first sight that playing the hanging connec-
tion of black 2 makes more efficient shape, but it is not good. For example, assuming the same
sequence as in Diagram 10, after white 9...
Diagram 12 Considering that white a makes ko, white 1 is practically a forcing move [kikashi].
It is a serious question whether this blocking move is sente or not.
49
Model 23 Against
a white 5-4 point
stone and fencing
in move, black at-
taches at 1,
whereupon white
plays 2 & 4, then
blocks at 6. This is
a powerful fight-
ing method, and
cannot be dis-
missed offhand as
a trick play.
50
Trick Moves: Basic Knowledge
black from cutting through the knight's move at a, by extending to 5, black's position is accept-
able. At the very least, black's group is stabilized with an even result overall. This variation is the
one that seems to be best for black. Furthermore, according to the board situation, the white 2,
black 3 exchange may be...
Diagram 5 White can connect at 1, taking a belligerent stance. Here, black attaches across the
knight's move with 2 and cuts with 4, then poking into the center with 6 in order to fight.
Diagram 6 One is obliged to also consider not pushing through with black 2 but to block here. If
white 3, it seems likely that the moves through black will be played. White's only option is to go
for the ko at a. But black connects without a second thought [below 8].
Diagram 7 White plays 1 with the idea that in a race to capture [semeai] black's weakness at a
will be telling, then fills a liberty with 3, but black can play 4 and hane at 6. Because of a
shortage of liberties, white is destroyed. If the ladder at black 16 does not work, with the fencing
in move at b, black is alright.
Diagram 8 Therefore, white plays 1 & 3. This time black proceeds with the two-step hane of 4
& 6, and here white's corner ends up dead as it sits.
Diagram 9 But in reality, if black 1 is no good when white defends at 2. White's attachment at 6
compels black 7 and an exchange [furi-kawari] which is somewhat to white's advantage.
Diagram 10 Black must play 1 & 3 to engineer a seki, but white's outside wall is imposing.
51
Model 24 When
black cuts at 4, the
atari of white a
follows a well-
known 5-4 point
joseki. This trick
move starts with
white extending
sideways at 5.
Tricked 1 It
makes no sense to
block at black 1 and let white capture one stone [ponnuki] cleanly
with 2 & 4. White's territory is big, while there is a hole left at a,
leaving black greatly chagrined.
Tricked 2 Black gains some ground by adding a stone at 3 and
sacrificing two stones. In this position black 9 makes good shape. However, this is also a tricked
diagram.
Diagram 1 The atari of white 1 and the following sequence is generally regarded as joseki, even
though black cavalierly disregards territory. Comparing Tricked 2 to Diagram 1, it is clear that
white's territory is bigger and black's thickness not as good.
Diagram 2 It is wrong to discard the stone on the 3-3 point. At one stroke black smashes the
trick play with 1. If white plays 2, black 3 secures control of white's two stones, and black's
advantage is obvious. Consequently...
Diagram 3 White 2 saves the two stones on this side. Black 3 & 5 display the most hard nosed
attitude. This puts white in a quandary. Since it will not go well whether white cuts at a or b...
Diagram 4 White plays 1 and connects at 3, hanes at 5, and then what will happen with the
capturing race [semeai] in the corner? Blocking at black 6 is the vital point. Both sides play the
best moves in the sequence to black 14 and it ends in ko. When white fills the liberty at a it
becomes a direct ko, but naturally this is a "flower-viewing ko" and for black the burden is light.
Diagram 5 Here is a variation for white 7 in the previous diagram. Even if white plays 1, black
cuts at 2 and this ko is more or less the same as in the last diagram. Black's capture at a is an
effective ko threat.
Diagram 6 The placement of black 6 in Diagram 4, while perfectly natural, is a finesse [tesuji]
52
53
Model 25 After
white blocks at 2
and black cuts
with 3, white ex-
tends straight out
with 4. This move
is possible
whether the ladder
works or not, and
is a powerful
fighting method.
Diagram 1 Usu-
ally white ataris at 3 and draws back at 5. By capturing at 7, white
is well off. The premise behind the model diagram is that by avoid-
ing the white 3, black 4 exchange, an attachment at the 3-3 point becomes a strong move.
Tricked 1 Black shows an indomitable attitude. However, when white plays 2 & 4, connecting
with black 5 falls into the trap. Through white 10, black's shape is overconcentrated.
Tricked 2 Foreseeing this, one might answer white 2 with black 3, but this is far too timid.
White takes a large territory through 6.
Diagram 2 Instead of the connection of black 5 in Tricked 1, the cut of 1 initiates a huge ko upon
which the game will be staked. But in the opening of a game, when white would be taking at 2,
ko material is usually lacking.
Diagram 3 Butting up against white's stone with black 1 is interesting. If white responds at 2,
black 3, followed in order by 5, allows black to move out in good form. Through 13, black's
corner is okay.
Diagram 4 Exactly as in the attach and extend joseki, when white plays 1 & 3, black 4 is a good
move. It becomes ko, but black has a perfect threat at 12, and in the end, if play follows Diagram
3 black has scored a success.
Tricked 3 (Next page) Most likely white will add a stone at 2. This time black gets duped by
blocking from the outside at 3. White's moves at 4, 6 & 8 display an ideal example of sacrificing
stones, and the territory in the corner is large.
Tricked 4 It is also possible for white to use the technique of 1 & 3. Even if the ladder is
54
Trick Moves: Basic Knowledge
unfavorable for white, fencing black in with 9 builds central thickness that puts white ahead.
Diagram 5 At 8 in the last diagram, black can also cut at 1. White 4 and black 5 institute an
exchange [furi-kawari], but a variation beneficial to black will not emerge here.
Tricked 5 So what will happen if black blocks from the inside with 1 & 3? If the ladder is good
for white, after 10 black is obliterated. To prevent this, black must consider a move other than 1
in the model diagram. If the ladder does not work...
Diagram 6 White must crawl twice on the second line with 1 & 3. At the point, if white plays 5,
black blocks at 6, and through 14, black has the superior position.
Diagram 7 White crawls once more at 1 and then plays 3. Now if black 7, white 6 and this time
black loses. Therefore, black plays 4, but white 5 is a strong move. If black 6, white crawls at 7
and a sequence like that through black 14 is played. This is an equal result. At white 7...
Diagram 8 If white connects at 1, black blocks at 2 and white is one move short.
Diagram 9 Answering white's two-step hane with 1 & 3 gets black fooled. Descending to white
8 is a good move. Following this, when black plays 13, white 14 leaves black's position in tatters.
If white blocks with 12 at a, black 13, white 12, black b, white c, and by playing at 14, black
wins.
55
Model 26 This is
a variation of
Model 25. When
the ladder is unfa-
vorable for white,
connecting at 5
and extending at 7
is possible.
Tricked 1 Black
would like to
move out with 1 &
3. If black then
expends another
move here at 5, white plays at 6 and black is utterly paralyzed.
Tricked 2 Black has no choice but to play the wedging insertion at 1 and live in the corner.
However, here too, when white vies for control of the center with 8, black's position may be
labeled inferior. Moving out directly with black's single stone falls into the trap.
Diagram 1 Let's see what happens when black attaches at 1. Up to white 4, black's corner is
large and there is still scope for activity with the marked stone. This is viable for black, but
matters will not be resolved so easily.
Diagram 2 Black must be prepared for white's counterattack at 2 & 4. When white descends at
6, the situation is extraordinarily complex.
Diagram 3 If black gets flustered and tries to capture right away, it will not go well. White sets
the shape with 2, 4 & 6. Black wins in the corner with the 7 & 9 combination, but white makes
a thick outside wall with 8 & 10 before turning to play 12. If black plays 9 at a to run away, white
plays at 9 and now there is a problem over here.
Diagram 4 Black 1 is the correct move. If white plays 2 & 4, black secures the corner with 3 &
5, and compared to the previous diagram, there is a one move difference. Black's marked stone is
still poised for activity. This result is similar to the one in Diagram 1, and black is satisfied.
Diagram 5 (Next page) With this in mind, white answers black 1 by playing at 2 to put the focus
on the capturing race [semeai] in the corner. However, this does not turn out well for white.
Black pushes at 3, and if white 4, play continues through black 9. If now white a, black forces
56
Trick Moves: Basic Knowledge
Diagram 9 Drawing back at black 3 is cool-headed. The trick play is simply nullified with this
move. Black makes tremendous profit with 5, and then moves out with 9.
Diagram 10 The wedging insertion of black 1 is a little unreasonable. When play reaches 14, a
& b are equivalent options [miai] for white, and black's position is unattractive.
Diagram 11 Returning to the beginning, instead of attaching at a, black can play in the most
straightforward manner and protect the corner solidly with 1. Either white b or c is normal now,
but white's thickness is not so great. Black's position is adequate.
57
Model 27 White 1
is an offbeat pin-
cer. At first sight
this seems like a
slack move, but if
one answers care-
lessly, one will
end up hood-
winked.
Tricked 1 One's
natural impulse is
to attach at black 1, but white crawls into the corner with 2 & 4,
instigating a disagreeable fight. White 10 is severe.
Model 27 Tricked 2 When white fills a liberty at 2, the position becomes a
race to capture [semeai] that black cannot win cleanly. Black 3 & 5 is an emergency measure that
makes a ko. In the local area, black has a ko threat at 9, but white plays 12, intending to discard
the stones. White 14 & 16 wrap black up.
Diagram 1 This diagram shows the aftermath of a consummately executed trick play. Black's
territory is 15 points, minus the two stones that white captured, for a total of just 13 points.
White's thickness is of greater value.
Tricked 3 Compromising by drawing back to black 1 is also bad. By cutting at 6, white takes a
large territory. If black connects with 5 at 6, white presses at 7, and it will not work out well.
Tricked 4 Cutting at black 1 and discarding the two black stones is out of the question. For
white, expecting the result in Diagram 1, the issue of battle here is an unexpected bonanza.
Diagram 2 From white's perspective, blocking at 2 is also possible. If black plays the diagonal
move of 5, white 6 is a perfect answer. If black 5 at a, white b. If black plays elsewhere, later
white c is severe.
Diagram 3 (Next page) There are two good ways of playing at black's disposal. First of all, black
1 is clear and simple. This move neutralizes the trick play. If white answers with 2, it is okay for
black to play the ordinary moves of 3 & 5 and get into the open.
Diagram 4 If white attaches at 2 and draws back to 4, it is sufficient for black to make the
hanging connection of 5. The marked stone is a source of dissatisfaction for white, since it turns
58
Trick Moves: Basic Knowledge
out to be situated in an awkward place. Black advances into the center with 7 & 9, and then turns
to attack at 11.
Diagram 5 The knight's move of black 1 is also good. When white plays 2, black attaches at 3.
Going back to add a move at black 7 is thick, and if white plays 8, black can aim to cut at a.
White can also play 8 at a.
Diagram 6 If white hanes at 1, this time black has the fighting resources to draw back at 4. With
5 & 7, white connects underneath. Compared to Tricked 3, black's shape is thick and strong after
capturing at 6 & 8, a considerable difference.
Diagram 7 If one wishes to make an even stronger response, black can hane at 4 and connect at
6. Black's marked stone works effectively, and white is not afforded the possibility of playing a
hane at a as in Tricked 1. White can only crawl along the second line to make life. White's
marked stone is practically useless.
Diagram 8 When white plays 1, extending to black 2 is no good. White immediately turns at 3,
forcing [kikashi] black into the bad shape of 4. White has played 3 & 5 on both sides, while black
has merely managed to stay connected.
Diagram 9 If white attaches at 2 and draws back to 4, black blocks downward with 5. Black 5 is
even better than a move at a. If white 6, black reinforces with 7, and black has weathered the
attack [sabaki].
Diagram 10 It is also feasible for black to butt against white's stone at 1. If white 2, black 3 sends
the variation back along the lines of the joseki. If white 2 at 3, black plays a.
59
Model 28 The
previous model
examined white 1
at a, but this time
the pincer ap-
proaches as
closely as pos-
sible. To the ex-
tent that it is one
point nearer, it is
a much more se-
vere technique.
joseki, white has a stone at a before pressing in with the marked stone; in that case white has
scope to use 3 to jump to 6. Without a stone at a, white cannot afford to do so.
Diagram 10 Black can also use 2 to play the wedging insertion here. If white 3, black 4. White's
moves from 5 on are crude, while with the good move at 8, black rakes in white's three stones.
Diagram 11 If white makes the diagonal move from above with 2, black's moves after 3 follow a
natural course. Black's formation is strong and solid, and stakes out a large chunk of territory,
while white's shape with 2 is slack, and what is more, white's whole position is thin.
Diagram 12 If white 2, black likewise advances with 3 & 5. After playing 7, black can play an
equally good pincer on one side or the other [miai]. Without doing anything unreasonable, only
playing natural moves, black has gotten a good position.
61
Model 29 Black
plays 1 and white
2. The first time
this is played
against one, it can
be shocking.
Finding the cor-
rect answer on the
spot can be very
difficult, so it is
necessary that one
acquire precau-
tionary informa-
tion beforehand.
Model 29
Tricked 1 The diagonal move of 1 causes black to be swindled.
White attaches at 2, cuts at 4, and no matter what variation follows, it will be to white's advan-
tage. After white 8, black's four stones are heavy, and this bodes ominously for the coming play.
Tricked 2 Black 3 does not turn out well either. Up to white 8, black has a low position.
Tricked 3 And black 1 and the block at 3 is also not good. With the moves through white 8, the
shape is the same as in a common 5-4 point joseki, except for black 1 and white 2. This exchange
is clearly a loss for black.
Diagram 1 Pushing at black 1 and playing the hane of 3 is the strongest and the best way of
playing. There is nothing to fear from white 4. Black plays 5 and crawls at 9.
Diagram 2 The white capture at 1 and black hane at 2 is par for this situation, as is something
like the continuation through black 10. White makes thickness, black makes profit, and this fine
outcome for both sides is equal.
Diagram 3 When white plays 1, black can also play 2. After the hanging connection of white 9,
play reaches a lull. This is also the kind of equal result that may be expected. If white plays 7 at
a, black pushes at 7 and this is disadvantageous for white.
Diagram 4 (Next page) If, at 9 in Diagram 1, black extends at 1, white 2, 4 & 6 turn the tables
and purloin the profit here. And after skipping lightly to 8, the position is tilted in white's favor.
Diagram 5 Black 1 & 3 are strong moves. This is also possible. White 4 through 12 is a natural
62
Trick Moves: Basic Knowledge
response. Black 13 provokes white 14 & 16, skilled moves that give rise to a big ko. It is impos-
sible to say which side is better off.
Diagram 6 At 11 in the last diagram, nervously hurrying to capture with black 1 ends with black
being squeezed and losing by one move.
Diagram 7 Instead of 13 in Diagram 5, dodging with black 1 is a strong fighting technique.
White 2 & 4 may be anticipated, and with black 5 and white 6 an exchange [furi-kawari] takes
place. White has played one extra move here so the position is perhaps even, but one feels that
black's thickness is more desireable than white's territory.
Diagram 8 Playing the atari of black 1 is fine, but fearfully connecting at 3 is bad. This gives
white the opportunity to attach at 6. Through 14, white adroitly manhandles black, making a
large profit in the process. And since black's liberties have been filled, having a cutting point at
a is all the more disquieting.
Diagram 9 In the sharp fighting shown in Diagrams 1 & 5 black comes out alright, but here the
bad shape created by black 1 & 3 is a calm and collected, good play.
Diagram 10 If white 1, black 2; white 3, black 4, and by going with the flow of the opponent's
moves, black wards off an attack and is not doing badly. When white plays 9, black attacks at 10.
Diagram 11 White 1 invites the cut of black 2.
5-4 point trick plays often involve unfathomable reading and pitfalls may come at any point.
The ones examined here are of the simplest variety, comparatively speaking.
63
5-3 Point Trick Plays
Model 30 Here we have the Taisha
joseki.White 1 is usually played at a,
but in and of itself, this is not such a
strange move. However, when black
plays at b, a trick play is lurking.
64
Trick Moves: Basic Knowledge
play it soon, if not immediately. Black a, white b, black c, is sente, so from the standpoint of
depriving white of eye shape, as well as endgame profit, this is big. On the other hand, it is
perhaps wise to jump one more space, to d, with black 6, then play at 6 in the corner.
Diagram 5 If white 1, black 2, and it is sufficient to take custody of white's three stones.
Diagram 6 If white captures on this side with 2, it is enough for black to turn at 3. Next black a
would be severe, so white replies with 4 & 6. When black makes a hanging connection with 5 &
7, white's three stones above are seriously weakened.
Diagram 7 White pushes once with 1 and takes at 3, whereupon black attacks at 4. Black will
get sufficient compensation in the fighting here. White's trick play has flopped.
Tricked 4 At the start, white also has the trick play available of attacking at 1. If black plays 2 at
a, white plays 2 and black has been deceived. This is a very similar trick play, and after black 4,
6 & 8 stumble into the trap. In this case again, up to 6, black is okay; it is black 8 that is the
culprit.
Diagram 8 Going back to play black 1 is the correct move. Whether white plays 2, or else plays
2 at 4, it will not work out well. Black 7 is a large move, and this is the same as in Diagram 4.
Diagram 9 If white plays 2, attacking around the point of a is adequate for black, but it is also
possible to push vigorously with 3 and the rest, forcing white to extend along the fourth line.
White's three stones are held in check from afar, and this is also bad for white.
65
Model 31 White's
attachment of 1 at
the head of black's
two stones is de-
signed to frighten
the wits out of the
adversary. The
first time one en-
counters it, one
can become terri-
bly disoriented, so
it can be a power-
ful trick play.
Model 31
Tricked 1 Black 1 is good, but black gets bamboozled by trying to
capture white's four stones by pushing through at 3. White 10 is a good move. This is the quietus.
If black 11 at a, white 12, black b, and white plays c.
Diagram 1 Playing white 10 in the previous diagram as the hane at 1 here is a mistake. After
black 10, white will take the ko at a, a do or die ko for both sides. However, within this sequence
black 6 is a nice touch: it sets up several ko threats for black.
Diagram 2 The best response is to push through at black 1, and when white sidles along side
with 2, black backtracks with 3. After blocking at 5, black attacks at 9, and takes hold of the
initiative in the fighting.
Tricked 2 By not pushing through once, but slackening off with 1, black is deceived. When
white attaches at 4 and hanes at 6, black incurs difficulties. Playing white 8 after black 7 shows
good timing. Instead of 7, black would like to cut at 13, but is apprehensive of being squeezed by
a white move at 17.
Diagram 3 This is a variation for white 8 in Diagram 2. White tries attaching at 1, but after
fixing the shape with 2 and the following, black can make a go of pushing out and cutting with
8 & 10. If white a, black b is sufficient.
Diagram 4 (Next page) What if white blocks in the corner at 1 ? Then black stabilizes the upper
side with 4 before cutting at 8 and capturing two of white's stones. Black a, white b, is par for
this situation, so in terms of territory as well as thickness, black is better off.
66
Trick Moves: Basic Knowledge
Diagram 5 It is also possible for white to further neglect the right side in order to set the shape
with 1 & 3. Through 8, black makes a living shape. After white 9, the placement at a and the
attachment at b, etc. are available to black, meaning that playing at a disadvantage is unlikely.
Diagram 6 Here is a variation for white 6 in Diagram 2. If white hanes at 1, black jumps to 2 and
white's three stones are practically immobilized. If white plays 3, a make or break ko arises
through black 8, and if white tries to play it in earnest, black will disregard any threat and
instantly remove white's stones from the board. If the shape is left as it is, black will add a move
at a at the first opportunity.
Diagram 7 When black plays 2, white's strong move at 3 has to handled with care as well.
Pushing at black 4 is the only move. If white answers with the two-step hane of 5, black can fight
with typical moves like those of 8 to 14. Black 8 forestalls the forcing move [kikashi] of white 8.
Diagram 8 From black's standpoint, the extension at white 1 is the most disagreeable move.
Black can be satisfied with being able to take sente after 10, but depending on the situation
across the rest of the board, this can be an effective way of playing for white. Compared to the
situation that results when the trick play backfires, this sequence may be said to be best for white.
After this, both sides will keep in mind the ramifications of a cut at a.
Diagram 9 If white extends at 1, black hanes and connects in sente with 2 & 4, then gets a
comfortable position with the jump at 6. It is unreasonable for white to play 5 at a in order to
precipitate a capturing race [semeai].
Diagram 10 Black can also simply play 1 and slide to 3. Black 7 & 9 make good shape.
67
Model 32 This is
no pure and
simple trick play,
but one of the
myriad Taisha
variations that,
while joseki, are
mind-boggling in
complexity.
Tricked 1 First
off, pressing with
black 2 is bad.
White 7 is a good Tricked 1 Diagram 1
Model 32 move, and white's
wall on the outside is superior to black's position.
Diagram 1 Black 1 & 3 set the shape here, then black plays 7. This is the only way. If white
draws back at 8, black pushes through with 13 & 15 and fights. It is impossible to predict how
this will turn out. It is unfortunate that white can play a in sente, but if black mistakenly plays at
a, there is the danger that white will defend at b.
Diagram 2 There is a trick play involved with the variation that starts with white attaching once
at 2 and then blocking at 4. Here black will be inclined to cut at 5. When white takes at 10...
Tricked 2 Black pushes up at 1 and a big ko results, culminating in white 6 & 8. In this situation
white's profit is more valuable than black's thickness.
Tricked 3 If black connects at 1, white can veer off with 2. It may seem that by getting out into
the open with 3, black is well off, but since both white and black must look after a weak group,
the thickness made with 2 & 4 cause the position to be favorable to white.
Diagram 3 (Next page) It is also possible for white to block at 2. What must be taken into
consideration here is that after playing 7, black gets a ladder with a. If the ladder is in white's
favor, black ends up annihilated by pursuing this course.
Diagram 4 When white plays 1, black might play the variation starting with 2, but after white
blocks at 3, black cannot be said to be doing well. The hane of 6 must be answered, so black
68
Trick Moves: Basic Knowledge
barely manages to live, but of course, if black must go to these lengths for life it is very painful.
Diagram 5 But if one is wondering whether black is at a complete loss for a rejoinder to white 1,
that is decidedly not the case. The double pincer move at black 2, though seemingly unskillful,
adroitly parries the attack [shinogi] and runs roughshod over the trick play. If white replies with
3, black pushes through at 4, following the proper order of moves, and...
Diagram 6 Black cuts at 1 and fences white in with 7. This is a resolute sacrifice strategy. White
8 is natural, avoiding black wedging in with 8, followed by black 13. Black forces [kikashi] with
9 & 11, and through 15, black wraps white up nicely. White's territory is a little more than 30
points. Black's solid wall is equivalent to this. During this sequence, if white jumps out to a,
black demonstrates how unreasonable that move is by pushing through at b.
Diagram 7 Even if white blocks on the outside with 2, black is alright. Black 17 makes the
ladder at 18, and pushing through and cutting with 19 & 21 equally attractive alternatives at
black's disposal [miai]. If white plays 16 at 17, black ataris at a & b, and then plays c. Should the
ladder be favorable, and white plays 18 at 19, black responds with d, white e, black f, white g,
black h. This time the fencing in move of i and the ladder at j are equivalent options [miai].
Diagram 8 Attaching on the side at black 1 is another feasible method. Through 17, black takes
up a fighting stance by sacrificing five stones. If white 8 at 9, black plays 8, white 14, black a,
white b, and then playing at c gives black a sufficient position.
69
Model 33 This is a variation
that starts with white pressing
at 1 and extending at 3. It will
not do to let white block at a,
but here black has two ways of
answering.
70
Trick Moves: Basic Knowledge
threat, but it allows white the opportunity of springing the devilishly clever move of white 2.
White 2, 4 & 6 are all atari, and when black recaptures at 7, white goes back to play at 8. The ko
is dissolved in a natural way, while black's nine stones die a miserable, if natural death on the
spot. This is one more "Tricked" diagram.
Diagram 5 Returning to the original point of departure, the knight's move of black 1 is the
correct way to reply. However, here too it is necessary to take care when white plays the diagonal
attachment of 6. Momentum drives the moves from black 7 through 19, and now the fateful
question is whether the ladder works or not. If the ladder is unfavorable, black must use the
move at 7 to draw back to 8; but this manner of backing down would be unbearable for black.
Consequently, at the point when the possibility of playing the Taisha joseki presented itself,
72
Trick Moves: Basic Knowledge
Through 11, white has managed to play on both sides, but black's shape is thick and strong, and
both sides will fight on an equal footing.
Diagram 3 White will probably push in once at 3, but here too black plays 4 & 6. After playing
8, black cannot be said to be badly off. What happens next depends upon the fighting strength of
the players.
Diagram 4 It is also possible for white to cut at 5, emphasizing profit. Following white 11, the
fighting moves into the middlegame phase, where prospects are equal.
Diagram 5 Although the variations in Diagrams 1 through 3 deny white success with the trick
play, black cannot be said to have gotten an advantage. Therefore, turning in bad shape with
black 1 here is powerful. This is the kind of move that would not ordinarily occur to one, but in
general, when
dealing with
trick plays the
most jmportant
thing is to play
in a thick man-
ner. If white
pushes through
and cuts with 2
& 4, taking the
stone with black
5 is good. After
black plays 9,
compared to
Diagrams 1 through 3, black's position here is thicker.
Diagram 6 If white cuts on this side with 1, black likewise captures the cutting stone with 2.
Black resolutely presses with 6 and the rest, then attacks at 12. This is clearly favorable for
black. In the endgame, one can project that black will play a & b, so that black ends up making
a rather large corner of 7 points.
Diagram 7 If black wishes to adopt a more solid method of play, the diagonal move of 1 is it.
However, the sequence from white 2 to black 5 reverts to the joseki where black has a stone on
the 3-4 point at 1, and in response to white's marked stone, black plays the diagonal move of the
black marked stone. This is not an active way to wrest an advantage.
73
Model 35 From a
stone on the 5-3
point, white
makes a strange
corner enclosure
(?) with I. Black
2 (a natural move)
gets fenced in by
white 3, a trick
move that is re-
lated to white 1.
74
Trick Moves: Basic Knowledge
Diagram 5 Black 1 is a good move. If white plays 2 in order to prevent the ladder at black a,
descending to 3 is black's pride and joy, the move that captures white's group.
Diagram 6 If that is how it is, white will play 2 and the diagonal move of 4. This possibility
means that in the final analysis black 1 in Diagram 1 is no good. After inching along at 6 & 8,
white fights a race to capture [semeai] with black in the corner.
Diagram 7 Both white 1 and black 2 are good moves. If black 2 at 3, white plays 2. When the
liberties are filled, the corner becomes a direct ko, but it is white's turn to take the ko, meaning
that black has gotten the short end of the deal.
Diagram 8 Cutting at black 1 and then playing 3 avoids the pitfalls of the previous diagram. At
white 8, this time black plays 9, going for a swap [furi-kawari]. It is inevitable that black make
this kind of compromise.
Diagram 9 The correct reply is to push out at black 1 and block at 3. At first this might seem like
a crude way of playing, but through 9, black lives and this is adequate. If white a, black plays b,
single-mindedly pursuing a policy of patience. Black aims at the cutting point at c.
Diagram 10 Although the following is on a bit of a higher plane, capturing at black 1, and when
white ataris at 2, playing elsewhere is a possible technique. This is because there is a ko here.
White will have to expend a great deal of effort to capture this black group.
Diagram 11 The clearest and simplest plan is to push out with black 1 & 3 and then play at the
3-3 point with 5. White will be driven to distraction trying to deal with the four cutting points.
Diagram 9 gives a second best solution.
75
Afterword
Trick plays, as demonstrated up
to here, depend upon the
opponent's lack of knowledge,
insufficiency of playing strength,
or narrow-minded thinking in
relationship to the game in or-
der to achieve fruition. There-
fore, the way to deal with this is
to acquire concrete knowledge
and let it take root in one's un-
derstanding, develop one's fight-
ing strength, and broaden one's outlook regarding go itself.
Diagram 1 Here is another trick play. Black responds to white's every beck and call, and in the
twinkling of an eye black's large knight's move corner enclosure becomes overconcentrated [kori-
gatachi]. There are two methods at black's disposal to handle this.
Diagram 2 A mild way of playing is to connect at black 1, ceding territory to white. As compen-
sation, black builds thickness that has a commanding presence across the whole board.
Diagram 3 Black 1 & 3 are a more severe way of playing. White's position is ripped in half. This
is an ideal example of a three way splitting attack, and fighting spirit aims at annihilating two of
those three groups.
Thus, one is afforded the discretion to choose between two continuations, and the one that
best meets the conditions of the overall position on the board must be chosen. This is the com-
mon sense method of defeating trick plays.
Regardless of whether one's store of knowledge is adequate, it is not all that difficult to see
through trick plays during a game. If one's
sixth sense warns that a move is suspicious-
looking, and the adversary's character is
such that there is no doubt that the move
was played intentionally, in most cases it
will be a trick move.
Moves that are oddly quiescent; moves
that do not seem to have a purpose; that are
played on the second line, lower than nec-
essary, or that undermine a position; moves
that are seemingly played without relation
to other moves, but that poke, or cut. These
are all tools in trade of trick plays.
Diagram 4 White 1 is quiescent and seem-
ingly without purpose. But fighting directly
against it, black is skillfully captured Diagram 4
through white 41. It was better to just ig-
nore the original, quiescent, purposeless move.
Diagram 5 White 1 ends up badly placed, and...
Diagram 6 Here too, white 1 is placed oddly, and black 6 is dashing.
Playing elsewhere is another technique for countering trick plays.
76
Chapter 2: The Larger Strategy of Trick Plays
Model 1 Dosaku's trick play develops across the whole upper side, so getting an adversary to fall
for it is not a simple matter. If others with greater practical application are sought, by all means
one should restrict the scope to a single corner where the
Model 1 ambush is set up. When white attaches at 1, black hanes on
Double Attachment Strategy top of the stone at 2. For white to play elsewhere at this point
violates all tenets of common sense, but there one discerns a
quintessential feature of trick plays.
Diagram 1 (Simplicity;
but white has no regrets)
Black can play at 2,
pouncing right away on
white's failure to follow up
in a logical manner. How-
ever, white can also
switch to 3, and a straight-
forward exchange [furi-
kawari] results. White has
no regrets with this out-
come.
82
Trick Moves: Strategy
87
Diagram 14 (An unscathed resolution) Black 1 here is a variant move for 1 in the prior dia-
gram, which black may have been dissatisfied with.
If white captures three black stones with 2, black also captures at 5 & 7, and both sides reach
a resolution unscathed.
In the sundry preceding diagrams, one gets the strong impression that both white and black
are striving mightily to turn the situation to their own advantage.
Diagram 15 (Thickness or overconcentration?) White 1 is played from distaste for the safe
move of white 2 in the prior diagram. Black 2 & 4 are natural. With them, a black move at either
a or b is equally good [miai]. Except that, when the ladder is in white's favor, white can capture
black's three stones with 5. On the other hand, consider the situation if the ladder is not good for
white. Does that mean that white's position is then untenable?
Diagram 16 Next white plays 1 and the following moves to connect underneath. Is the black
position here thick or overconcentrated? [The marked stone is not mentioned in the text.]
Model 3 Finally we have the situation where white makes the side attachment of 1, and black
hanes from below with 2. The reader should understand that, in general, this is bad for black.
Seeing this move, white will surely rejoice. Then white will instantly cross-cut at 3.
Model 3 Diagram 1 (From overconcentration to more
Cross-cut/Forcing Move overconcentration) It is normal for black to capture with 4,
Strategy but then white forces [kikashi] with 5 & 7 before turning to
cross-cut with 9 & 11. One wants to milk one's opportunities
for all they're worth. The reader must keep in mind that if
black is so kind as to capture at a & b, white will bow down
giving thanks. Also note
that at the present time,
white will refrain from
fixing the shape with a
move at either c or at d,
waiting to see how the
situation develops across
the rest of the board. Ex-
amining more closely the
reason behind white's giv-
ing thanks above...
88
Trick Moves: Strategy
Diagram 2 This diagram shows the situation that results when black captures one stone [ponnuki]
with a & b in the last diagram. White's shape seems in tatters, and this is not much of a model.
Why then should white be thankful here? The explanation of this question is to be found in...
Diagram 3 (Move order analysis) We can quickly dispose of the matter by using move order
analysis [tewari]. The marked black stone is an unnecessary addition to the black position in this
diagram. To that extent, black has played inefficiently. The exchange of white's moves at a for
black's at b represent no net gain or loss, while the capture of white's two stones is balanced by
the moves at c, played within black's own territory, again for no net gain or loss. In this way...
Diagram 4 (The result of playing too tightly) The situation is equivalent to black playing at a
& b in this position, and the degree of solidness there exceeds all bounds.
Can the reader discern that this is the same as the tattered shape in Diagram 2?
Is it understood that the high level trick play strategy here induces black to self-destruct?
Diagram 5 (resistance) Therefore, it takes a strong opponent to be able to see that black 4 offers
more resistance. A weaker player would not even consider the move. Now white can atari at
either a or b, and there is a significant difference between the
resulting continuations.
Diagram 6 (This is a finesse) White 1 is nothing less than
superb. This is a skillful finesse [tesuji]. If black plays 2, white
ataris at 3, springing the trap. In this case, it might even be
described by the formula, trick move = finesse [tesuji]. With
white 5 and black 6, each side takes a stone [ponnuki], but
black's two marked stones become useless.
Diagram 7 (Black is terrible) If black pulls out at 4, white
plays 5 to 9.
Diagram 8 (Black has problems) Black 1 leads to more pain.
89
Model 4
Deep Invasion Model 4 White 1 is a
Strategy move that white has been
waiting for a chance to
play for some time. This
move truly plunges di-
rectly into the enemy's
camp. At first sight it ap-
pears to be unreasonable
for white, but black is ac-
tually the unreasonable
party. The question is,
how did this black forma-
tion come about?
Diagram 1 (Joseki) Cross-cutting with white 1 & 3 initiate
a well-known joseki. The sequence that starts with black ex-
tending to 4, and proceeding through black 10, is seen in
professional tournament games as well. Unfortunately, in this shape there are no trick plays that
will arise.
If white wants to set a trap, it is necessary to come up with
something at the time that 7 is played.
Diagram 2 (Keeping the trick play up one's sleeve) White
nonchalantly makes the move at 7. Projecting a deadpan, in-
nocuous manner while playing it works best.
If one wants to make a strong response, black 8 is natural.
Playing this way does not create any problems in particular
for black.
White then makes the extension to 9 on the right side in a
matter-of-fact sort of way. Later on in the game, white inno-
cently plays the checking approach move at a on the upper
side.This is how the pattern in the model arises. There is not
the slightest deviation in shape from that original model. Lulled
by the casual mood that white has been cultivating, black will
not even dream that white has designs on the black group in
the upper right.
If white already has a position in the left part of the upper
side, the move of white a may be intrepreted as developing
from that position, further quieting whatever apprehensions
that black might harbor.
Diagram 3 (The exquisite move of white 1) Calling this a
trick move gives great dignity to that term.
None of the responses at black a, b, c, or d, can be regarded
as a good move. It is rare to come across a play with such
force behind it. It strikes at the opponent's weak points unerr-
ingly, and there is no defense against it. White 1 is a move
that is 100% effective.
90
Trick Moves: Strategy
Diagram 4 (A flower-viewing ko) If black blocks at 1, white plays 2, and then wedging in with
black 3 is a standard technique. Up to white 6, a race to capture [semeai] seems to result, and one
might jump to the conclusion that it ends with black losing. But one must not give up too soon.
Seeking desperately for a way to hold out will lead black to play the good move at 7.
Black plays 9 calmly and coolly, and even if white plays 10 at 11, when black ataris to the
right of 9, the situation likewise becomes ko. With black 3 through 11, the reader should appre-
ciate the lengths black goes to in order to put up the strongest resistance, ending in ko, but after
all, the ruckus here has been struck up within black's own position, and the result is a flower-
viewing ko for white. Even losing this ko has no effect on white's position so it is an easy one to
play. If black loses it, though, the remaining black stones will even come under attack. This
variation is terrible for black. Instead of black 3...
Diagram 5 (White wins the race to capture) How about black 1 & 3? White plays 4 and wins
the capturing race [semeai] unconditionally. All of this indicates that black 1 in Diagram 4 is
unreasonable. Therefore, at black 1...
Diagram 6 When black defends at 1, if white plays 2, black plays 3 and has no complaints. But
white has a stronger move for 2...
Diagram 7 (A brilliant thrust and withdrawal) White thrusts forward with 2. If black plays 3
at 4, white plays at 3 and captures black's stones in the corner, so black 3 is unavoidable. Pulling
back at white 4 is sente. Notice that black does not even have one secure eye yet. With the move
at 6, white's own group is solidified while pressure will be slowly applied to black's.
Diagram 8 Black 2 here leads to almost the same outcome as in the last diagram.
Diagram 9 Black 1 & 3 secure eye shape, but at a burdensome cost.
91
Diagram 10 Returning to the beginning, white's move at 7 was the suspicious one, and by
playing conservatively at 8, black would have left white nothing to aim at.
If white omits playing at 9, black presses in at a, and white is not good. Therefore, white plays
at 9. When white's trick move of 7 is answered by black's bona fide play [honte] of 8, white is not
only lacking a weakness to aim at, but compared to the plentiful eye shape that white could have
secured with the move at b, playing at white 7 is all the more regrettable. Considering all of this,
one might reserve the use of this move for a single occasion when one wants to probe the strength
and ability of an opponent.
Diagram 11 (Black wins the capturing race) In the position where white makes the hanging
connection of I, black's hane at 6 must be answered [kikashi], so white's aim of playing 3 & 5
turns into a race to capture [semeai] in which black is the victor. And furthermore...
Diagram 12 (No ko threat big enough) If white responds at 6 here, this time speaking of a
flower-viewing ko is ludicrous. An enormous ko develops instead, and no ko threat will be big
enough to require a reply. Black will simply capture at a.
Model 5 Both amateurs and professionals alike defend with the one space jump of black 2,
whether in even or in handicap games, and today it is the
Model 5 move that is most often seen. However, one wonders whether
Resolute Sealing the rationale behind playing black 2 is truly grasped. It seems
Strategy like there are many players who make the move at black 2
with the intention of surrounding territory in the upper right.
Isn't this the case? For those who are inclined towards such
tendencies, having the checking approach move of white 3
played against the corner group is probably unpleasantly
threatening. Playing the pincer of black 4 here, or on the
upper side at the point of a, is good, but black may refrain
from doing so, fearing that white will seal black into the
corner with the resolute moves of 5 & 7. White 5 & 7 com-
prise a trick play that has been played since olden times, but
it is pertinent to briefly touch upon this theme here.
A word of caution, though: if black answers this high-
handed style of play correctly, white will be left with an oner-
ous position, so I cannot recommend using this strategy very
heartily.
92
Trick Moves: Strategy
97
Diagram 5 (Black counterattacks) When white plays the
two-step hane with 1, thrusting through with black 2 & 4 are
severe moves.
However, it is not like the white side to shrink from such a
challenge, and with the the cut at white 5, the battle is joined.
The moves from black 6 through 10 follow. At this point
white can choose from two separate plans of action.
For black though, the reason that fighting like this is supe-
rior to the various diagrams that have been examined thus far
is that above all, it avoids falling in with white's intention of
settling the position quickly.
Diagram 6 (A difficult position for white) Continuing from
the last diagram, if white takes the corner with 1 & 3, white's
four stones in the center will naturally be put into a difficult
position.
White 5 & 7 are heavy moves. If white tries to immediately
drag such stones out, black is given a perfectly wonderful tar-
get to attack. This prospect is not to white's liking. What must
be done is for the time being abandon the stones to their fate.
In that case, for white 1...
Diagram 7 (Thrusting through in return and black's fail-
ure) This time it is white's turn to thrust through with 1.
Black 6 is a reckless move. White instantly plays 7 through
13 and black is destroyed. By pouncing on a momentary lapse,
white scores a triumph. At black 6...
Diagram 8 (Slipshod) Black imagined that white would an-
swer the move at 1 with 2. Such slipshod play is fatal. Conse-
quently, at 4 in Diagram 7...
Diagram 9 (Vacillation) Black is more timid than necessary
in playing 1. It is painful for black to be forced [kikashi] by white 2.
Reckless courage winds up being fatal, while vacillating leads to an inevitable series of re-
treats that undermine one's position.
98
Trick Moves: Strategy
Diagram 16 (Water off a duck's back) Although dealt a setback when black foils the trick play
with 2, white impassively plays 3 & 5. One must make one's moves this way, with a poker face;
if black, poised to deliver a shattering blow, finds no target, self-doubt may creep in, undermin-
ing the value of the good move at 2, and encouraging black to see threats everywhere, even when
there are none. Also...
Diagram 17 (Excessive impetus) White 1 & 3 are interesting moves. There is not much to
admire about black 2, the impetus of which impels black to make the rash cut at 4. This beckons
the skillful finesse [tesuji] of white 5 and the following, and when play reaches 11, white is found
to have pulled a fast one. At black 4...
Diagram 18 (White can fight) If black plays at 1 (a common sense method), white can put up a
fight with 2 through 10.
Model 9 Making a pincer at black 1 on this side is also a commonly used technique. But the wild
capping move of white 2 is anything but common;
Model 9 rather, it gives one the impression that the confusion
Wild Capping surrounding a trick play is hanging in the air.
Strategy Diagram 1 (Joseki) The sequence of moves starting
with white 1 is the one that is most commonly used.
This is the universally employed, orthodox method,
and the one
that would
first cross
one's mind
when examin-
ing the posi-
tion. The trick
play exploits
this mind set,
and it is a ba-
sic factor in its
operation.
103
Diagram 2 (Reverting to joseki?) If, when
white plays the capping move of 1, black
defends at 2, following the go proverb, "An-
swer a capping move by playing a knight's
move," white 3 and black 4 reverse the usual
move order, but the position reverts to joseki.
However, there is a booby trap lurking if
one counts on this happening.
Defending with black 2 seems like a per-
fectly ordinary thing to do, but in reality,
this move sets black up to be pitifully sand-
bagged by white's skillful trick play. And also, white 3 is
a slack move. Instead, white 3 should be played as...
Diagram 3 (An attaching and cutting finesse) White
lunges directly with the attachment of 1 and cut of 3.
Black counterattacks as forcefully as possible with 4
& 6. But with the moves ending with white 7, extending
smartly out, white is doing alright.
To wit, black's follow-up move at a leaves the position
thin, an unpleasant prospect. Therefore, black will settle
for playing the standard answer with 4.
Diagram 4 (A conventional sequence of moves) The
moves from 4 to 8 is the conventional way that black
handles this position. After fixing the shape here, white
plays 9 to begin attacking black's upper right corner.
Moving out with the diagonal play at black 10 is es-
sential. If this is omitted, white will play at 10, which
would be unbearable. Well then, here...
Diagram 5 (Slack moves do not escape punishment) Is
defending at white 1 the proper move [honte]? Hardly; it
is a slack move. When black plays 2 & 4, white has little
scope for making trouble. At I...
Diagram 6 (On the rampage) The moves from white 1
to black 10 not
only leave black's
group in the upper
right with only one
eye, but secure the
white groups on
the upper and right
sides. White gets a
good position up to
13. While attack-
ing, white expands
the right side.
104
Trick Moves: Strategy
Model 10 If, in response to white 1, black plays the pincer of 2, it is natural for white to follow
this up with the double attack on the corner with 3.
Diagram 1 (Tricking oneself) Playing at black 1 is just trick-
Model 10 ing oneself.
Double Corner Attack With white 2 through 12, black's marked stone is found to
Strategy be transformed into a bad move that approaches white's bas-
tion of strength too
closely.
Also, one does not feel
at ease in regards to
black's strong wall. That
is because...
Black's attachment at 1
is bad and that's that; in
this day and age, if one
does not know the reason-
ing behind these matters,
one must be considered
less than a middle kyu
player.
108
Trick Moves: Strategy
111
Diagram 17 (Answering a capping play) White 2 is a trap that utilizes the logic of the go
proverb: "Answer a capping play with a knight's move."
Diagram 18 (Black is tricked) Black 1 follows the proverb, and there are even those who think
that black is well off since white's marked stone has been immobilized. However, white occupies
good points on the other side with 2 & 4, and has gotten to take good points on both sides.
Diagram 19 (What is the opponent's is the opponent's, what is one's own is one's own) If
white plays the capping move, black plays this-way with 1. One cannot neglect doing this. There
are two good points in this position, the marked white stone and 1. There is no necessity to go so
far as to daringly play black 1 at a. Playing solidly with black 1 is sufficient.
Diagram 20 (Equally good [miai] points) If white plays 1 to begin with, then black 2 is the
place to play. The choice is limited for black between Diagram 18 and Diagram 19. If one
realizes the implications of this, one can understand that Diagram 17 is no good for black.
Diagram 21 (Sudden fighting) According to the situation, the fencing in move of black 4 is a
powerful technique.
When white pushes through with 5 and cuts with 7, to some extent black rides the wave of the
sudden fighting. Black 8 exhibits good, skillful technique [tesuji].
Diagram 22 (White gets tricked) By capturing with 1, white's shape shows evidence of getting
tricked after being wrapped up with black 2 & 4. Black's strong wall becomes more powerful
than ever. Instead of 1, white should...
112
Trick Moves: Strategy
Diagram 23 (Sudden fighting, profitable for black) If white stubbornly extends out with 1,
black then fights with 2 & 4.
In this sudden fight, all of black's stones are operating towards the outside, while white has
only the marked stone and 1. To that extent, black can be considered to have the advantage. Such
being the case, for white...
Diagram 24 (Signs of a letup) When black plays 1, white pushes at 2. If this happens, black has
it easy. Banking on black to let up here, white sets an ambush from behind with 4.
Diagram 25 (Bushwhacked here) Black 2 seems even too natural in its naturalness. But this
move at 2 falls into the trap. Does the reader understand this simply by having it pointed out?
Diagram 26 (On the trick move highway) The hane of 1 is the path white has been aiming at.
Unaware of this, black plays 2, thinking that next white will play at a, and with b, black will get
a comfortable position. It is just at this point that...
Diagram 27 (Sudden attack) White attacks suddenly with the fierce cut at 1. There are those
who still are not aware of what is happening. Thinking that white must be falling apart, black
cuts at 2 and it is already too late. Regardless, black is probably buoyed with a sunny feeling of
optimism...
Diagram 28 (Completely taken) White 1 & 3 set black to squealing. With the moves from black
4 through white 11, black is left in pitiful shape, and that's the end of the matter. If this isn't
getting taken by a trick play, what should it be called?
113
Diagram 29 (Even without getting tricked) Black has no
choice but to sit tight with 2. This despite all indications that
there must be a better move here. It is unbelievable that using
black 2 to hane at a will end in the result of the last diagram.
Even though black 2 prevents the trick play, white is af-
forded the opportunity to force [kikashi] once with 1, which is
not a meaningless move. White 3 gives one the feeling of lightly
erasing black's territorial framework [moyo].
Diagram 30 (Double Attack on the Corner Strategy, Part
II) The position of white 3, in contrast to the point in Model
10, is shifted to a one point high attack, which is the only
alteration, but the follow-up is completely different. What has
not changed is the desire of each side to direct the vicissi-
tudes of battle into channels advantageous to themselves.
At the very least, black must not let the corner be sur-
rounded, while working out a way to move out into the
center, and split white's forces in two, is standard operating
procedure.
Diagram 31 (An attachment at cross-purposes) Black
would like to attach at 1. In the local situation, this makes a
natural shape, and it seems that there are many people who
will make this move before thinking.
If black's marked stone is not there, this becomes a splen-
did move. However, when it is, black's moves are at cross-
purposes. The reason is the same one as in Diagram 1 of
this section.
The sequence from white 2 through 6 follows. One thing
in this sequence which one must be aware of no matter what, is that at the point of black 5...
Diagram 32 (Unreasonable for black) Blocking at black 1 is impossible. If black tries to do so,
white cuts with 2 & 4, and black is in terrible shape. Black 5 in this diagram is an unreasonable
move. The moves from white 6 through 12 leave black with a horrible position. Also...
If black plays 9 at a, white
answers with 11, black 10,
white b, black c, white d, and
black is destroyed. Essen-
tially, black 5 should be
played as...
A descending move to
black 6, followed by white 10,
and then black 9 makes
proper shape, but after white
plays a fencing in move in the
center, capturing black's three
stones, it is hard to understand
what black is doing.
114
Trick Moves: Strategy
115
Diagram 38 (Unpleasantness) Continuing from the previous
diagram, white has a strong move to aim at in 1, and with this
formation, it is quite unpleasant for black. If the moves from
black 2 through white 5 are played, black's wall to the right
becomes an object of attack. Nevertheless, if black plays 2, or
else 4 at a, it is painful for black to have white play at 4.
Diagram 39 (Black 5: tricked) If, at black 5 in Diagram 37,
black pushes at 5 in this diagram, white plays at 6 and black
has been tricked.
If one asks how black has been tricked, it is because of the
connection in bad shape that black has been forced into mak-
ing at 7, which is distressing.
Well then, in the development afterwards, black plays at 9,
and if the sequence from white 10 through black 15 follows,
black has gained considerable ground. However, white has
been kind enough to overlook something here to permit this
gain.
That is, at 12, white has a more awesome trick play to aim
at. Instead of playing at 12, white can...
Diagram 40 (Tricked and annihilated) Cutting at white 1 is
a severe move.
If black answers with 2, white plays 3, 5 & 7 and black is
annihilated. If black seeks to avoid this, the only option is to
play 2 at 7, but then white plays 2, black a, white b, and this is
also painful for black.
White 1 is an awesome move.
Diagram 41 (In accordance with logic) Here, the attach-
ment of black 1 is as logical a move as one might find.
In the local situation white 4 is the usual reply, but it does not work well in relationship with
the way the white stone on the upper side is positioned.
It is best for black to play 5, 7 & 9, offering no resistance to white. This means great profit for
black. Therefore, white's
move at 4 is not possible here.
If white 4 is the standard
move in this case, it must be
wondered to what extent the
connection of white a is good
here.
In addition, the move at
black 3 may be used to draw
back at 6, but my allowed space
in this book is running out. It
is not possible for me to get
around to examining that
move.
116
Trick Moves: Strategy
117
Diagram 47 (A real move [honte] for black) Whether black continues from the last diagram by
playing the real move [honte] at 1 to completely stabilize this group depends on the situation
over the whole board. That is, whether there is a better move on the board or not. Otherwise, if
black 1 is omitted here, white's intention...
Diagram 48 (White 1 is the aim) One must be prepared to deal with the move of 1 which is
white's aim. However, if black answers by playing 2 and then surrounding white with 4, isn't
white in a pinch? Here...
Diagram 49 (A baby trick play) White 1 & 3 comprise a quintessential baby trick play, and the
black player would have to be truly weak to fall for it.
Diagram 50 (White is nonplussed) When white plays at 1, black 2 forces white's capitulation.
Diagram 51 (Life) White lives with the moves from 5 through 9. Yet rather than playing like
that...
Diagram 52 (A satisfying trick play) White's moves at 1 & 3, somehow familiar from a differ-
ent setting, is white's hidden aim.
When black plays at 4, white goes for the jugular vein with 5 and black winds up with a
mangled position.
With the preceding, I have discussed various aspects of trick plays, and I hope that I have
given the reader a new perspective on them. How about adding a weapon to your arsenal and
becoming strong at trick plays this year?
118
Chapter 3: Introducing Trick Plays
Mihori Sho
It has been Joe Patzer's lifelong dream to have his go rivals lined up like ten pins and
then mow them down with lightning quickness. He calls on the Honinbo of the Alleyways,
Dogaku Sensei, seeking to be initiated into the secrets of trick plays.
Dogaku Sensei draws upon a treasure-trove of erudition and examples handed down from
Sun-tzu to Dosaku and Shusaku in order to reveal the truth, but in the end, will Joe
Patzer's fighting strength increase or not?
The Value of Trick Plays
Joe Patzer: "I would like to teach those devils of spite incarnate, Mr. Chaos and young
Master Carnage, a lesson by using trick plays to give them a rough time. Dogaku Sensei,
please furnish me with good moves that I can learn quickly and put to use right away."
Sensei: "I understand. However, before I begin my discourse I must exhort you to caution,
Joe. That is, explain the boundaries of trick play study. Is that alright with you?"
Joe Patzer: "Oh, I see. A kind of a sermon, huh? I guess I can hold my tongue for a while, but
please make it quick and to the point."
Sensei: "Perhaps you've heard the famous saying that the essence of warfare is the art of
deceit. The particulars are given in Sun-tzu's first chapter 'On Assessments', but the gist of it is
that when one goes into battle, one's principal efforts should be directed towards deception.
When able, seem to be unable; when nearby, seem to be far away; if the enemy seeks an advan-
tage, use it as an enticement; induce arrogance and a letting down of the enemy's guard; attack
where the enemy is unprepared; go by way of places the enemy would never think that one is
going; in such a manner victory is gained, it has been handed down."
Joe Patzer: "In other words, take the path that angels fear to tread."
Sensei: "Such is not the case. At times when diplomatic relations have broken down, and the
social contract among the members of society is an empty charade, one speaks not of sages or of
angels, one questions not the means that one uses to smite evil doers, but setting all of these
considerations aside, the one thing that one must bear in mind above everything else is to keep
wholeheartedly focused on what machinations the opponent is designing, and by abandoning
strictly proper forms and becoming open to respond to changes at any moment, one is able to
perform the necessary preparations to reconstruct one's battle array. In concrete terms, if one's
strategy is revealed by the opponent and one thereby instantly incurs a disadvantage, the trick
play that one has used is not a superior one, while in cases where the opponent is left with a 50/
50 result even without making a misstep but that one can profit greatly at one fell swoop if the
trap works, this is the kind of high level trick play that one should study."
Joe Patzer: "The kind of situation that is filled with danger for the enemy but safe and sound
for the friendly side, huh? Sounds like it can't be beat."
Sensei: "Those who are expert at employing the military are like the 'sudden striker', a snake
indigenous to Mount Heng. This is from another passage by Sun-tzu. If you strike its head, its
tail comes to its aid; if you strike its tail, its head comes to its aid; if you strike its middle, both
head and tail come to its aid. With trick plays as well, having only one string to one's bow is no
good. If the first wave of the attack is parried, one launches a second attack, and if that is turned
aside, the third attack comes roaring ahead, each in rapid succession; thus a three stage system
or a four stage system is essential, you see, so if one is blunted, discouragement does not make
the situation a kind of trick play nursery school."
Joe Patzer: "Please give me the Trick Play University Special Course."
Sensei: "Well then, first we will look at the strategy employed by the go saint Dosaku Meijin
to make the opponent's stones duplicate effort and become overconcentrated. Joe Patzer should
understand that trick plays are not simply used to kill the opponent's stones indiscriminately.
The high level trick play in which the operation of the adversary's stones is neutralized is just
the kind of thing one should study, and here is an example which Dosaku played against the
third generation Yasui Chitetsu in three games. Dosaku left behind the scores of approximately
120 of his games, and the most numerous of those games were played against this Chitetsu,
120
Trick Moves: Intrinsic Values
fight, right?"
Sensei: "With the situation in Diagram 5, the best thing
for white to do is to hurry to play in the center again, filling
a liberty at 8. The ko that is created by playing at black a,
white b, and black c is such an enormous one that no ko
threat on the board will be answered, and white will just
end it there by taking off black's stone.
"Don't forget that regardless of what happens elsewhere,
the black stones in the corner can be killed if white makes a
move there."
Joe Patzer: "What happens if, in response to black's
marked stone in Diagram 6, white tries to push through
with the move at 1?"
Sensei: "Under these circumstances, black's move at 6 is
a perfect ko threat, and when white replies, black takes back
the ko. This time it is white who has no ko material avail-
able. White's play here ends up in failure. The thing about
trick plays that one must always bear in mind is that when
the opponent comes sailing along upon the course that one
has set up, it is easy to say gleefully to oneself I've done it!
and, becoming overconfident, make overplays as a result of
one's fighting spirit.
"By the same token, at times when one finds oneself on
the receiving end, in a defensive posture, one must care-
fully read out the situation in order to find any way to turn
the tables on the opponent."
Joe Patzer: "In Diagram 1 it doesn't seem that black played
any particularly bad moves. What was the mistake there?"
Sensei: "You could say that the connection of black 8
was the move that white had been waiting for. For my part,
having black answer with 1 in Diagram 7 would be a dis-
appointment. However, even in that case white can be sat-
isfied to press down on black's position with white 2 & 4.
"The move that would fall in with white's wishes to the
least extent would be to use this move of black 1 to make
the hanging connection at a. In that case black would avoid
being tricked at all."
Joe Patzer: "In the previous variation, how about it if
black first makes the hane of 1 in Diagram 8, in exchange
for white 2."
Sensei: "With black throwing in at 9, and continuing
with 11 & 13, right? Then it seems that white will play 16,
18 and 20. White is left with the move at a to threaten
black's corner, though it won't be played immediately. White
can feel satisfied with this result."
131
Trick Play Curiosities
The Editors
146
Trick Moves: A Test
Provocative
If, in reply to the capping move of black 2, white answers in some way on the
lower side there are no problems, but white throws a curve ball with a move like 3
in order to be provocative, and also, to test black's response. The basis for this
piece of nastiness is the weakness of the connection between the star point stone
and black 2, but what, after all, is the best defense for black to make?
147
Solution
First: Solidify the Position
Diagram 1 (A model example of getting
tricked) If black is worried about being
overextended and plays a move like 1 to
augment the shape, then it would have been
better not to have played the capping move
to begin with. Now white can invade at the
3-3 point, and with the moves through white
8, black's shape suffers from terrible over-
concentration. Black a is similar to the move
of black 1. If, in that case, when white plays
at 2, black answers at 3, white crosses un-
derneath at b.
148
Trick Moves: A Test
Originally Sabaki
In this position, there are various double attacking moves against the corner that
may be aimed at, but white chooses the attachment of 1 and the cut of 3 as a
psychological weapon. The technique is originally a Sabaki strategy: fancy foot-
work to deal with a stronger force, but white is counting on confusion to disable
black. Too elaborate thinking on black's part here will fall in with white's designs.
Step by step
149
Solution
Bluntly Set the Shape
Diagram 1 (A model example of getting
tricked) If simply pulling back to black 1
works well, that is the strongest technique
here, but since white has the preponderance
of forces in the area, resistance with 2 & 4
is possible. A pitched battle results from the
moves through 8, which white precipitated,
all according to plan. After this, if black is
not careful, white can even end up killing
the corner with the moves white a, black b,
and white c.
150
Trick Moves: A Test
Playing Three Moves Elsewhere
Playing two moves elsewhere will substantially affect one's position, but here is a
situation where three moves are ignored. Still, these conditions are characterized
here as joseki. What is the best way for black to make life? In this case, disregard
the surroundings; the best moves in the local area are called for. A go proverb
states: In a symmetrical position play in the center, but that might be deceiving.
151
Solution
Bad Conventional "Wisdom"
Diagram 1 (A model example of getting
tricked) The joseki from times of yore has
called for black to play the diagonal move
at the 3-3 point with I in order to live, but
one way or another, there seems to be a con-
spiracy among strong players to propagate
this. Look how white, with the moves start-
ing with 2, squeezes black like a boa con-
strictor, and you will understand how badly
off black is. Not only that, but within this
sequence of moves, if black neglects to set
the shape with the moves following 9, and
just plays the hanging connection at 17,
white kills the corner with white 18, black
a, white b. There are two strings to the trick
bow here.
152
Trick Moves: A Test
An Impudent Rascal
The cut of white 3 is a bit unreasonable, but putting that aside, if one does not go
at it in this way, one cannot take the initiative and coordinate one's stones. On the
other hand, give an inch and this kind of rascal will take a yard. At this point, one
wants to put a stop to this sort of thing at a single stroke, and teach this fellow
something about the hard knocks in life.
153
Solution
Handicap Stones are not Meant for
Making Territory
Diagram 1 (A model example of getting
tricked) If black extends to 1, white will
undoubtedly play at 2. But if black then plays
at 3 & 5 with an air of triumph at capturing
two stones, there is something wrong. White
makes forcing moves [kikashi] at 8 & 10,
then pushes through with 12, and black is
in real trouble. This happens because black
is fixated solely on defending the territory
in the corner.
154
Trick Moves: A Test
A Lure to Temptation?
A prevailing shortcoming among weaker players is to see a move like white 7
come butting against one's own position and become surprised, fall into suspicion
over shadows, think that the stronger player is about to land a roundhouse punch,
and waver, thereby incurring a real loss. But stronger players also make bad moves.
The fear itself in weaker players produces the grounds for getting duped.
155
Solution
Making Profit in Advance
Diagram 1 (A model example of getting
tricked) By defending at 1 because of ab-
ject fear of being lured into the temptation
of exploiting the adversary's weak point,
black gets completely taken. When white
plays at 2, black 3 cannot be omitted, and
playing black 5 at a would leave one with a
feeling of uneasiness considering that
white's marked stone still has scope for ac-
tivity. To add insult to injury, white's hane
at b and connection is sente, so that the
marked white stone is utilized in every way
possible. This is a great success for white,
but a terrible failure for black.
156
Trick Moves: A Test
Buckling Under Goes Against the Grain
Attaching with white 1 and expanding outward with 3 creates the potential [aji]
for ko, a common method that stronger players use for intimidation. If one buckles
under to an abnormal extent, the intimidation will grow greater and greater until
one's surrender is a matter of course. Bellicose white also has weak points, and by
landing a solid blow, one can wrest away the initiative.
157
Solution
There is no Ko at the Start of a
Game
Diagram 1 (A model example of getting
tricked) If black connects at 1 and gets
forced [kikashi] by white 2, there is no ex-
traordinary threat here against the life of
black's group. However, white is greatly
satisfied because after this, if white gets
ataried by a black move at a, the shape has
become "light". Black has only defended the
corner. White has lightly dealt with the po-
sition [sabaki] and earned sente.
158
Trick Moves A Test
Feet Swept out from Underneath
White 1 & 3 display a low posture. However, if one is careless one can find one's
feet swept out from underneath. There are various ways of playing here, but the
first lesson of handicap games is to set the shape so that one does not get tricked.
Here too, if one is overly concerned about the territory in the corner, one's shape
will get unpleasantly distorted.
159
Solution
If One Wants to Play on the Right,
Start with a Move on the Left
Diagram 1 (A model example of getting
tricked) Connecting with black 1 is clear
and simple, but choosing such easygoing
moves alone, paints a rosy picture that stron-
ger players will exploit ever increasingly.
Here white gets a chance to make good shape
full of resilience with 2, and following this
with unfocused play will provoke a turn-
about, with black's group coming under at-
tack from a white stone in the area of a.
160
Tnck Moves: A Test
Excavation of a Position Open at the Bottom
A one space jump is open at the bottom, and if white plays something like 1 di-
rectly, this excavation maneuver will, in general, surprise and rattle one's nerves.
Of course, that is white's aim. The scheme is to pull off a bit of skullduggery while
the opponent is flustered. So it is necessary to ascertain precisely what white's
objective is.
161
Solution
Defend the Vital Point
Diagram 1 (A model example of getting
tricked) If black's nerves fall apart at white's
invasion, and that leads black to try to halt
matters directly with a move like 1, white
enters in at the back door with 2 to rip the
position to ribbons. When play proceeds
through white 8, black's move at 1 is shown
to be a huge mistake.
162
Trick Moves: A Test
One Line, A World of Difference
If white comes diving in one point deeper, what should be done? Thinking that this
is the same as the last pattern is a serious mistake. In go, one line means a mile, or
perhaps a world, of difference. In order to turn this into a bad move, one must
come up with another, modified technique. Well then, how should this be answered?
163
Solution
Checking Measure Parameters
Diagram 1 (A model example of getting
tricked) Black 1 in this diagram truly il-
lustrates the situation of following in the
footprints of a forerunner, and falling down
the same jagged cliff. Through white 8, the
position that results is altogether too miser-
able for black, so instead of playing at 3,
black will probably make the move at a, fol-
lowed by the white 3, black 8 variation.
However, even in that case, white can play
a harassing move at b or close to it, making
the position an unpleasant one for black.
164
Trick Moves: A Test
Being Dumfounded will not Do
If one sees the deep invasion of white 1 and is dumfounded at the extent of the
opponent's audacity, one will fall victim to it. One must see through white's aim
and decisively counterattack. However, since this is, at an elemental level, a sacri-
ficial invasion, the difficulty is in making sure that one does not make too earnest
an attempt to capture the stone.
165
Solution
Leaning Attack
Diagram 1 (A model example of getting
tricked) Savoring all of the nuances up to
now reveals that the diagonal move of black
1 is a grave error in this case. White will
undoubtedly connect underneath with 2,
whereupon white's sliding in move lands
precisely upon the vital point. After this,
black is able to capture the marked white
stone by playing black a, white b, black c,
white d, and black e, but in the interim,
white's moves pushing through at b and d
compound black's losses.
166
Trick Moves: A Test
A Trap of One's Own Devising
The poke of white 1 is a very common move, but according to how black answers,
can change in an instant into a trick play. Of course, care must be taken with great
pains to see that in answering, black's own shoelaces are not the cause of a stumble.
The preponderance of stones in this position are white's, so an overly agreeable
result cannot be anticipated.
167
Solution
Safety First
Diagram 1 (A model example of getting
tricked) Blocking on the outside with black
1 is an unreasonable move that fails to take
into consideration the balance of power be-
tween both sides. Black doggedly separates
white's stones to the left and right with the
moves through 5, but at that point, white
pushes through and cuts with 6 & 8, leav-
ing black's shape in shreds. If at 3, black
goes back to play at 6, white makes a hang-
ing connection at a, and the shape is practi-
cally the same as in the next diagram.
168
Trick Moves: A Test
The Significance of Stones Already Played
Is there anyone who is not disturbed seeing white invade at the 3-3 point with 1,
despoiling the corner that black has spent so many moves building up? Yet this is
nothing less than a misunderstanding of the meaning of the marked black stone,
which by no means was played to defend the corner. Although it does serve in part
a defensive function, one must clearly keep in mind the stone's original objectives.
169
Solution
Avoid Getting "Doubled Up" On
Diagram 1 (A model example of getting
tricked) If black blocks at 1, and plays the
moves through 7, white has reduced the cor-
ner in sente, become strong in the process,
and is left with the aim of playing at a, or
nearby, laying waste to black's territory on
the side of the board. Being forced [kikashi]
doubly in this way is not a good thing, and
even if though pattern is viewed as a stan-
dard one, in reality, the resulting shape is
one in which black has been half tricked.
Giving way with black 3 at 4 leads to essen-
tially the same outcome.
170
Trick Moves: A Test
Sliding on Thin Ice
If white has to stabilize this group one way or another, why not do so while en-
croaching upon black's territory a bit? This is the premise behind white's sliding
move at 5. However, this doubly large knight's move slides on very thin ice. Fur-
thermore, it is a three space extension in a low posture, so one expects that there
in a way to take it to task.
171
Solution
Ram a Heavy Stone Down
Diagram 1 (A model example of getting
tricked) If black backs down with a move
like 1, contrary to the intention, white is
actually given stimulus to settle this group
with 2 & 4. Despite the fact that black's
stones in this area have be placed for at-
tack, white has gotten to make moves to tide
over the situation [sabaki]. This is no good.
If black plays 1 at a, white responds at b,
and likewise settles the group comfortably.
172
Trick Moves: A Test
Nefarious Scheme
Despite having the marked checking stone in place, white does not invade at 3, but
to attach at 1, leading one to suspect some kind of nefarious scheme. Is it best to
answer this play in the strongest manner possible or not? That question must be
shunted aside, though, for play has already progessed to white 5, and there is
already no turning back.
173
Solution
Work on the Cut Side
Diagram 1 (A model example of getting
tricked) Of course, there is a ladder rela-
tionship here, but pushing up on this side
with black 1 means annihilation. Even if the
ladder is good for black, after white 6, cap-
turing with black a is answered with a white
fencing in move at b, leaving black with the
short end of the stick.
174
Trick Moves: A Test
Change in the Situation
The innocent and orthodox sliding move at white 7 conceals a fearful aim when
played in conjunction with the auxiliary force occupying the position under the
star point. If one cannot adapt to a change in a situation, and perpetually repeats
actions by rote, one is not only laughed at, but one suffers terrible experiences in
go as well.
175
Solution
Force First, Then Go Back
Diagram 1 (A model example of getting
tricked) Blocking at black I, a common
sense type of move, does not work here.
White pushes through with 2 and cuts with
4, and even though white's corner is not
strictly alive, black's groups to the left and
right come under attack abruptly, which is
excruciatingly painful. If the marked white
stone is not in place there, instead of play-
ing at 7, black can make a reinforcing move
at a, and black is then in a position to kill
the corner by means of hane: black b, white
c, and black d. This would have black smil-
ing triumphantly.
176
Trick Moves: A Test
An Endgame Move it is Not
White 1 comes sliding in. Thinking that this is a simple endgame move is an enor-
mous mistake, because it carries the hidden agenda or bringing black's whole group
under attack, according to how things go. It is the way of the world that malevo-
lent villains do not always have villainous looks on their faces. There is only one
correct move here.
177
Solution
Do not Compulsively Try to Make
Shape
Diagram 1 (A model example of getting
tricked) Black 1 looks like bad shape, and
is, as expected, a bad move. After entering
into the 3-3 point with 2, white crosses un-
derneath with 4 & 6, and in a split second
this black group has to put on its heavy walk-
ing boots for a long journey.
178
Trick Moves: A Test
A Simple Invasion
In terms of categorization, white 1 is a simple invasion, and there is nothing to fear
from it. Neither should it be peremptorily dismissed. What is required is that one
respond in the normal way, and doing so is perfectly alright. Rather, from the
opposite viewpoint, one should be grateful to have the shape fixed. Playing stan-
dard moves, there is nothing to fear from an inevitable fight that arises.
179
Solution
Make the Group Run, then Give
Chase
Diagram 1 (A model example of getting
tricked) If black tries to block the escape
exit with 1, white jumps into the 3-3 point,
and black must be resigned to having white
go on a rampage within black's group.
Black's only choice is to push through with
3, but by cutting on the inside with 5, white
gets to make life, and to add insult to injury,
does so in sente. The sole compensation for
black is the eye shape gained in the process,
but this is cold comfort indeed.
180
Trick Moves: A Test
A Curious Response
Even though black has purposely played at 1 in order to divide white's forces,
white responds with the curious move at 2. What on earth is white aiming at?
Without meticulously careful reading to ascertain this, black will feel unnerved
and reluctant to play. Naturally, there are players who will plunge ahead recklessly,
only to be stunned, when all is said and done, at what has happened, but...
181
Solution
A Question of Timing
Diagram 1 (A model example of getting
tricked) Rather than "getting tricked", cut-
ting with black 1 is an example of playing
like an idiot. By answering with the move
at 2, white establishes a one move win in
the race to capture [semeai].
182
Trick Moves: A Test
Countering the Wood-worker's Square
The move of white 2, jumping and turning, is called the wood-worker's square and
when it is played the opponent's stone cannot, in general, cross underneath. When
white hanes over black s stone with 4, what will happen? Banking on the strong
position that black has in the lower right corner, there should be some kind of
useful move in this area.
183
Solution
Wedging in Decides at Once
Diagram 1 (A model example of getting
tricked) A faint recollection of matters re-
garding this shape might lead one to cut at
black 1, but with the moves from white 2
through 6, black is cut off from the stone
that had invaded and it is lost. In this posi-
tion, white can atari at a, so this is terrible
for black. If black plays 7 at b, white plays
at 8, and black can jump into white's terri-
tory ate. However, white crawls at 7, threat-
ening the stability of black's corner.
184
Trick Moves: A Test
Prevented from Connecting Underneath
White changes the wood-worker's square to the move at 2. It makes bad shape,
but black's connection underneath is decisively prevented. With this, black must
think of something else to do. Should black move out directly with this stone, or
play something from the outside, utilizing it? Having only the connection under-
neath in one's repertoire is bound to make one uneasy.
185
Solution
A Favorable Ladder
Diagram 1 (A model example of getting
tricked) Moving out in a foolhardy man-
ner with black 1 & 3, and feeling delighted
to get to run out with black 7 betrays the
unsophisticated nature of one's game. Al-
though white's territory has been decimated,
in the process of warding off the attack on
this black group, black must be resigned to
seeing the surrounding positions become
undermined.
186
Trick Moves: A Test
Beheading the Enemy
Black's shape in the corner is called the three crows, and it is one of the represen-
tative solid shapes. Even so, those players holding white being what they are, if the
outlook in the game turned sour, dropping a stone in at 1 and seeing what happens
would be a simple matter. Think carefully and neutralize any possible stratagem
which may be forthcoming.
When the enemy comes hat in hand, take the hat before the beheading
187
Solution
Losses through Greed
Diagram 1 (A model example of getting
tricked) The diagonal move of black 1 looks
strong, but white's blocking move at 2 must
be answered [kikashi], so contrary to expec-
tations, possible problems [aji] are gener-
ated. When white attaches with the move at
4 and draws back with 6, defending with
the connection of black 7 cannot be omit-
ted. At that junction, blocking with white 8
is a severe move. The hane of black 9 leads
to a model example of getting tricked, and
the variation through white 20 ends in
black's obliteration.
188
Trick Moves: A Test
Psychologically threatening
The shape with the attachment of white 1 is one that is often met with. In all
likelihood, the mere appearance of white's stone causes fear, which then leads to a
compromising move. Also, even when one steels one's resolve halfway through, a
finishing blow cannot be landed, and the highhanded move of white's prevails. It is
necessary to master the correct reply here once and for all.
189
Solution
Invite the Intruder in and then
Smack it Around
Diagram 1 (A model example of getting
tricked) From the sparkle in white's eyes
black becomes apprehensive, leading to the
usual, cowardly response of backing down.
When white connects underneath with the
move at 2, black's territory is not only re-
duced, but the eye shape of the group as a
whole is compromised.
190
Trick Moves: A Test
Should One Haggle over a Penny?
If white exchanges the move at a for black b and then plays white 1, the situation
is clear. However, if white now pushes through at a, there is the fear that black will
defend at c. With that in mind, white takes a deep breath and plays 1. Well then,
what should black do? If one does not read out the lines of resistance thoroughly,
there is a good possibility that one ends up being penny wise and pound foolish.
Knowledge is power
191
Solution
The Situation is Really one of
"To Have and to Have Not"
Diagram 1 (A model example of getting
tricked) If black connects at 1, there are no
problems at all. White then connects under-
neath at 2. However, it is painful to sit and
watch as the opponent rakes in endgame
points in sente. In a close game, one needs
to begrudge even a penny's worth of profit.
Also, if black blocks at 1, white 2 is abso-
lute sente. If black simply plays at 1, ac-
cording to the overall situation on the board,
black can keep the move at 3 in reserve.
192
Trick Moves: A Test
Monkey Jump Fears
White 1, the monkey jump, is nothing more than a standard endgame play, but the
methods for putting it in check are somewhat complicated, and in this case the size
of black's corner territory is not clear. As a result, there are two sources of fear to
contend with. However, if one treats this as nothing but an endgame question,
white can suddenly attack, and there are those who end up undone at that point.
193
Solution
Choosing the Standard Pattern
Diagram 1 (A model example of getting
tricked) Butting up against white's stone
with black I is a very common method of
responding in this situation. However, when
black plays the move at 3, white cuts at 4,
and the variation that is played out leads to
a one move approach ko. At that point one
can only scratch one's head and wonder what
went wrong. If black plays 3 at a, there is
no fatal move threatening, but giving way
in this manner is too much to bear.
194
Trick Moves: A Test
As Ko Threats
White comes along playing 1 & 3, moves which, although essentially ko threats,
lose points as they are played. However, if the position is untenable and white is
looking for a place to resign, this is one of the various kind of things that may be
tried. In that situation, white will unexpectedly suffer from hallucinations. But if
white is allowed to live, no matter how favorable a game it is, black is in danger.
Hmmm
195
Solution
Exquisitely Connecting at the Base
Diagram 1 (A model example of getting
tricked) There are many cases where black
attaches at 1, only to let out a gasp after see-
ing the position when white plays the hane
at 2. Living with a move at white a, or play-
ing ko with a move at white b are a matched
pair of alternatives [miai], and it is clear
that black's response has created an oppor-
tunity for white.
196
Glossary and Index
(The following glossary and index has been incorporated here to make this book as useful as
possible as a reference work. All Japanese terms which appear within brackets [ ] in the text
have been defined, in the case of highly idiomatic or technical terms using a variety of phrases,
so that the meaning is as clear as possible. If the meaning is still not clear, the reader can turn to
the page referenced for a concrete illustration of the word. Since the text contains some material
which may be complex and confusing, it has been thought best to concentrate on simplifying and
cross-referencing as thoroughly as possible. For study purposes, especially important concepts
have been capitalized and rendered in Bold. Multiple entries are an indication of the proportion
of usage in the text.)
Japanese Terms
[aji keshi]
eliminates possibilities 37
[aji]
good aji
no defects 115
options 18
possibility 180
possible problems 188
potential [aji] for ko 157
potential developments 93
potential moves 84
[furi-kawari]
exchange 12, 31, 55, 63, 82, 100, 111, 148, 152, 158, 186
in white's interest 51
swap 49, 53, 60, 75
[honte]
bona fide play 92
honest to goodness, "real move" 28
orthodox, "real move" 24
proper move 104
real move 118
thick, real move 19
[kendo]
Japanese swordsmanship 128
[Kikashi] Forcing move
force 33, 35, 107. 114, 115, 168
force to the hilt 96
197
forced 98, 111, 158, 170
forces 10, 11, 16, 27, 30, 33, 35, 38, 40, 42, 46, 57, 60, 64, 88, 178, 182
forcing 59, 106, 184
forcing move 40, 84, 117, 125, 126, 166, 196
forcing moves 16, 36, 49, 85, 109, 115, 154, 174
forcing unmercifully 101
has to be answered 26
must be answered 92, 188
pushed all over the place 80
[kori-gatachi]
overconcentrated 76, 85, 101
overconcentrated shape 85, 86, 102
overconcentration 111
[Miai] Defined below
able to play either above or below 36
either equally effective 100
either move equally good 88
either side equally valuable 172
equal follow-up moves 53
equally good alternatives 150
equally good points 107, 112
equivalent options 10, 41, 57, 148, 162, 164
matched pair of alternatives 196
one side or the other 61
option equal 174
simultaneously available 164
[moyo]
burgeoning position 117
large territorial framework 108
territorial framework 114
[ponnuki]
one stone capture 46, 52, 89
take a stone 89
taking a stone 79
[Sabaki] Defined below
deal with the situation 7
deft handling 146
fancy footwork 81
handle the position 148
lightly deal with position 158
managing the situation 148
nimbly ward off opponent 78
198
tide over difficulties 172
tide over the situation 172
weather the attack 59
[Semeai] Race to Capture
capturing race 7, 18, 26, 41, 61
capturing race in corner 48, 52, 56
race to capture
12, 16, 19, 20, 23, 34, 51, 53, 58, 64, 70, 75, 91, 92, 130, 182, 188, 194
winning by one move 32
[shibori]
squeeze play 9
[shinogi]
deal with the problem 11
deals with threats 10
exquisitely handle the situation 19
forestalls cut 74
handle dilemmas 128
parry 32
prevents ladder 39
[Tesuji] Finesse
adroit finesse 42, 50
artful finesse 44
common technique 9
finesse 32, 33, 52, 61, 106, 150, 180, 192
practical application of 196
skilled finesse 38
skillful finesse 40, 47, 89, 93, 103, 105, 146, 154
skillful move 10
skillful technique 78, 112
wonderfully skillful technique 24
[tewari]
move order analysis 89, 111
2-2 point
often vital point in corner 196
3-3 point 46, 52, 72, 74, 75, 100, 101, 117, 134, 148, 152, 162, 169, 178, 180
attachment at 3-3 point 54
3-4 point 28, 73
most popular trick play 42
often gives equal result 34
5-3 point 74
5-4 point 46, 50, 52, 62, 63
often involves unfathomable reading 63
199
advance into the center 11
advantage 29, 37, 72
getting the advantage 27
answer
stereotypical answer bad 40
atari = move that threatens to capture one or more stones of the opponent's
7, 10, 15, 17, 19, 20, 23-27, 29, 37, 38, 40, 42-44, 46, 50, 52, 54, 60, 63, 70,
71, 72, 74, 75, 79, 89, 91, 105, 106, 111, 117, 129, 134, 135, 150, 156, 174, 184
double atari 60
attach 12, 16, 20-22, 26, 29, 32, 38, 46, 48, 50, 51, 56-59, 60, 62, 63, 72, 81,
82, 84, 86, 94, 109, 110, 114, 168, 173, 184, 186, 188, 196
attaching at the belly 19
attachment
7, 22, 24, 29, 39, 51, 54, 60, 61, 80, 83, 94, 104, 108, 109, 116, 134, 148, 149, 180, 189
diagonal attachment 44, 71, 186
endgame attachment 42
inside attachment 8, 46
jumping attachment 17, 35
outer attachment 48
pincer attachment 23, 110, 130
side attachment 47, 78, 86, 88
attack 29, 33, 35, 36, 38-41, 50, 59, 63, 65, 72, 73, 74, 86, 94, 96, 97, 98, 104,
108, 109, 114, 115, 116, 148, 160, 172, 176, 178, 186, 193
dodging an attack 33
leaning attack 166
three way splitting attack 76
attacking initiative 22
B
balance of power 168
base
lacking a base 22
basic variations 20
block 7, 11, 12, 17, 20, 23, 25-27, 29, 30, 33, 34, 35, 38, 43, 51, 52, 53-55, 58,
60, 62, 70, 72, 80, 91, 99, 100, 106, 109, 110, 114, 126, 148, 168, 170, 176,
180, 188, 190, 192, 194
block downward 59
blockade
large scale blockade 172
200
boa constrictor 152
boa constrictor play 43
butt 19, 39, 54, 155, 194
butt against 32, 59
c
cap 31, 80, 103, 104, 112
capture
10, 16, 21, 23, 26, 29, 33, 37, 42, 43, 44, 48, 52, 53, 56, 62, 63, 64, 65, 70, 74, 75, 165
capture stone in ladder
trick play predicated upon 32
capture the cutting stone 73
capture the stone 165
cutting stone 86
hane to capture 30
stone on a large scale 166
"capture the cutting stone"
[go proverb] 32, 73, 86
categories of trick plays 6
center
advancing into center 59
center fighting 154
expanding into center 45
fruitless running into center 47
making a large territory 108
white vies for control 56
Chitetsu 121
combination 17, 24, 35, 56
exquisite combination 57
comparison 29
compromise solution 15
concession 15
connect 9-10, 13, 17, 27, 32, 37, 40, 43, 51-54,
56, 58, 59, 63, 70, 74, 76, 80, 83, 85, 96, 99-102,
106, 107, 150, 152, 158, 160, 180, 184, 192
connect in a line 9
connect underneath 8,10, 12-13, 16, 23,39,41,
83, 88, 105, 166, 174, 176, 184, 190, 192
connection
12, 18, 29, 42, 46, 48, 50, 53, 54, 96, 116, 129, 131, 135, 147, 156, 168, 172, 188, 190
stylish connection 87
201
control
taking control of stones 27
"Coolie Hat" 38
Corner
becomes seki 41, 74 black gives up corner 45
black has large corner 56 black secures corner 56
black wins in corner 56 corner territory versus center thickness
49
corner wide open 162 dangerously undermined 105
defend the corner 169 discarding corner 45
divvying up of the corner 16 fortifies corner 93
going for life in corner 72 grimly clinging to corner
what white is hoping for 44
large corner 29, 73 large scale 158
large territory in corner 54 live in corner 56
protect the corner solidly 57 secure anchor 86
settle the corner 109 settling the corner 41
size of corner territory is not clear 193 taking a large corner 29
threatening the stability 184 unlikely to die 60
usurp the corner 110 welcome attempt to capture corner 43
white's corner dead as it sits 51 wins by one move 125
corner enclosure
large knight's move 76
strange corner enclosure 74
counterattack 12, 44, 56, 84, 96, 98, 104, 105, 117, 165
crawl 38, 45, 49, 55, 58, 59, 61, 62, 87, 184, 188
crawling on the second line 8
cross underneath 12, 18, 183
cross-cut 81, 84, 88, 90
crossing underneath 10, 152
crude but effective sequence 9
crude method 16
cut 7, 10, 14-15, 17, 20-21, 23-25, 29-30, 32-35, 38-40, 42, 44-50, 52-54 57-60,
62, 63, 70, 72-74, 78, 81, 83, 85-86, 96, 98-100, 102-107, 109-110, 112-114,
121, 124, 126, 130, 134, 153, 168, 170, 174, 176, 180, 182, 184, 186, 194
multiple cuts 23
cutting point 33, 75, 125
D
defend 13, 19, 23, 31-32, 34, 36, 37, 39, 41, 45, 47, 48, 51, 104, 164, 188, 191
defense 29, 147
202
defensive posture 131
descend 13, 17, 20, 22, 32, 53, 55-56, 72, 75, 130, 170, 188
development
anticipate development 81
leisurely development 36
dodge 34, 42
Dosaku Meijin 78-79, 81, 82, 121, 122
versus Yasui Chitetsu 120
draw back 29, 54, 57-58, 59, 71, 78, 80, 126, 150, 172, 180
E
"ear-reddening game"
Shusaku versus Genan Inseki 70
Edo Period [1603-1868] 36, 144
empty triangle 170
exquisite move 72
strong move 72
endgame 73, 122, 132, 146, 196
endgame points in sente 192
endgame question 193
monkey jump 193
equal 154
equal result 12
expanding outward 9
extend 22, 25, 29, 32, 34, 36, 42-43 46, 48, 50, 52, 54, 56-57, 59-60, 62,
65, 70, 79, 81, 83, 84, 86, 90, 94, 113, 123, 154
extension 34, 43, 46, 82
two space extension 36
eye
not secure 91
one eye 23
eye shape 11, 92, 180, 190
eye space 60, 164, 178
F
fence 10, 14, 15, 25, 30, 42, 46
fencing capture 100
fencing in 25, 29, 31, 32, 33, 37, 44, 51, 55, 74, 93, 112, 135
fencing in move 14
Fight 43-44, 48-49, 51, 54, 63, 73, 76, 85, 95-96, 98, 106, 109-110, 112-113,
115, 128, 132, 146, 148, 154, 156, 179, 184, 186
203
Fight ...continued
advantageous to white 35 directly 34
disadvantageous fight in center 42 disagreeable fight 28, 58
fight in center 64 fight in the center 28
fighting resources 59 fighting tactic 47
fighting variations 48 is equal 48
on even terms 17,45 powerful fighting method 50
proceeds at white's pace 94 sufficient resources for 97
unfavorable fight 40 unpleasant fight for black 33
fighting
initiative in fighting 29
significant compensation 65
fighting spirit 76, 86
fighting stance 7, 160
flee into the center 10
"flower-viewing ko" 15, 25 See also Ko
fortification 13
G
Genan Inseki
versus Shusaku 70
go proverb
"Answer a capping move by playing a knight's move." 104, 112
"Answer a cross-cut by extending to one side." 84
"At times, a race to capture in which one group has an eye and the other does not, is
meaningful." 194
"Even a fool connects in answer to a poke." 102
"Hane in response to an attachment." 86
"In a symmetrical position, play in the center." 79, 151
"There is no ko in the beginning of a game." 158
go saint
Dosaku Meijin 120
GoSeigen 125, 126
Go Seigen style 152
versus Maeda Nobuaki 132
gote = surrendering the initiative to the opponent, because failure to do so
will result in significant or overwhelming disadvantage; (opposite of sente q.v.) 115
Group
completely stabilize 118 eye shape 190
firm and solid 82 floating without a base 162
freedom restricted 101 group has eye other's doesn't 192
204
Group ...continued
kill the whole group 180 killed unconditionally 190
secure the group 178 securing group 94
settle group 172 settling a group 37
solidified 91 stabilize group 171, 172
stabilized 51 with only one eye 104
H
handicap
four stone 78
three stone 81
handicap games 6, 8, 13, 26, 27, 92, 129, 159
hane = move that curls around a stone or position
7, 10, 15, 20, 31, 41, 51, 52, 50, 62 82, 95, 125, 127, 129, 172, 176, 183, 188, 190
hane outward 28
two-step hane 41, 51, 55, 70, 97, 98
hanging connection 9, 19, 38, 39, 49, 58, 61, 62, 65, 92, 131, 152, 168
hanging down 178
hanging downward 7
heavy 168
high level trick play 32
Honinbo Dosaku See Dosaku
Honinbo Satsugen 144
House of Yasui 123
I
influence 18, 42, 80, 117, 121, 122, 123, 150, 160, 174, 182
judged more valuable than territory 34
profit versus influence 33
initiative 157, 184
maintaining initiative 29
taking the initiative 29
invade 148, 184, 186
invasion 8, 93, 162, 170, 179
deep invasion 165
sacrificial invasion 165
J
Joseki 6, 18, 31, 35, 37, 46, 52, 59, 61, 72, 78, 84, 94, 103,
108, 110, 111, 117, 125, 126, 127, 133, 151, 152
205
Joseki ...continued
5-4 point joseki 46 50/50 division 121
attach and extend joseki 20, 22, 54 closely related to trick play 44
common 5-4 point shape 62 from times of yore 152
indiscriminately memorizing 126 not a trick play 34
old joseki 111 outer attachment joseki 48
reverts to joseki 73 set moves 124
Taisha joseki 64,71 unusual joseki patterns 146
well-known 5-4 point joseki 52 well-known joseki 22, 90
jump 8, 15, 16, 31, 32, 33, 38, 45, 57,
65, 92, 94, 95, 99, 130, 150, 161, 178, 183, 184
diagonal jump 34
K
Kaizen
Buddhist priest 144
Kajiwara Takeo 9 dan
"owa" quote 100
knockout punch 35
Ko 16, 17, 18, 20, 38, 47, 49, 51, 91, 95, 99, 130, 158, 196
all-or-nothing ko 158 another ko 70
bereft of ko threats 70 big ko 40, 63
black takes ko first 40 capturing race becomes ko
[semeai] 49
considered a threat 70 creating ko material 49
direct ko 52, 99
white's turn to take ko 75 dissolved naturally 71
effective ko threat 52
emergency measure 58 enormous ko develops 92, 131
fighting a ko 27, 158 "flower-viewing ko" 25, 45, 52, 91, 92
huge ko determines game 54 initiating ko 70
ko begins in earnest 190 ko fight 27, 154
ko material lacking 54 ko results 182
ko threat 20, 27, 58, 64, 70, 92 large scale ko 21
makes capture difficult 75 nasty ko 154
no ko material 131 one move approach ko 194
persistently set up a ko 178 playing ko 196
potential [aji] for ko 157 raising stakes in ko 70
retake ko 28 set up a ko 178
start a ko 190 take ko 28
turning position into ko 190 two moves needed to end it 53
206
Ko ...continued
two-step ko 21, 45, 53, 99 unfavorable ko for black 64
variation 184 white takes ko first 40
Kobayashi Koichi 7 dan 135
L
Ladder 11, 25, 29, 39, 43, 51, 88, 126, 127, 128, 133
capturing in a ladder 71 combination to create ladder 57
favorable ladder 144 if ladder does not work 29,55
irrelevant for trick working 54 ladder relationship 174
needs to be unfavorable 56 precisely executed 14
preventing ladder 75 question whether it works 71
skillful ladder break 132 solely to avoid a ladder 186
trick play predicated upon 32 unfavorable ladder a precondition 38
ladder break 11
large knight corner enclosure 12, 14, 16, 18
Liberties 11, 20, 61, 188, 196
fill in liberties 41 filling in liberties 40, 70
filling liberties 34 liberties filled 38, 63
liberties rapidly disappearing
[oiotoshi] 41
shortage of liberties 51
liberty 14, 15, 20, 51, 52, 58
light 31, 33, 36, 43, 62, 96, 97, 158
lightly erasing 114
line
main line 36
living with just two eyes 15
Loss 34, 46, 79, 121, 123, 124, 148, 155, 166, 178, 182, 194
exchange a loss 62 great territorial loss 50
incurring a loss 34 loss in advance 178
out and out loss 23
lump of stones 19
M
Maeda Nobuaki
versus Go Seigen 132
maneuver
excavation maneuver 161
"me ari, me nashi"
meaning = only one side has an eye 38
207
measure
before the fact 110
emergency measure 15, 58, 64
measure parameters 164
orthodox measure 87
method 28
common in capturing races
[semeai] 50
common sense method 103
most dependable method 94
orthodox method 103
powerful fighting method 50, 54
solid method 73
strengthens both sides 109
strong fighting method 44
middlegame 73, 124, 146
monkey jump
standard endgame play 193
Move 112
100% effective move 90 adding a move in one's own territory 23
adding another move 29 an unforked road 130
another available move 32 awesome move 116
bad move 105, 108, 109, 155, 163, 178 best moves 36
bewitching move 174 follow as matter of course 94
big move 64 blocking move 49, 130, 172, 188
calm and collected move 64, 102 capping move 31, 103, 104, 112,
147, 148
checking approach move 92 checking move 134
clear and simple
neutralizes trick play 58 clever move 110
clumsy moves 24 common move 167
common sense move 86 common sense type move 176
compromising move 189 conforms to form better 164
correct move 70, 80 correct move order 184
correct order of moves 176 crafty move 84
crude moves 24, 25, 61 curious move 181
curve ball 147 defensive move 39
descending move 53, 114, 192 devilish move 156
devilishly clever move 71 diagonal move 46, 48, 58, 61, 62, 73,
95, 111, 123, 128, 152, 166,
168, 188
double approach move 22 drab move 22
208
Move ...continued
doubly large knight's move 171 easygoing move 160
endgame move 177 existense of good move 33
expending another move 56 exquisite move 7, 72, 90
empty triangle 72
extra move 21 feasible move 105
fencing in move 14, 25, 31, 32, 33, 34, 37, 40, 43, 44, 50, 51. 93, 102, 112, 114,
123, 135, 174
fierce move 172 flow of moves 63
follow-up move 104 following good form 93,95
Forcing move 33, 35 See also above [Kikashi]
frightening move 99 gets settled quickly 97
good move 55, 70,72, 84, 85, 91, 103, 115, 184, 188, 192
good-for-nothing move 166 harassing move 164
hard-nosed blocking move 160 having to add a move 34
heavy move 98, 168 heavy step 102
highhanded move 109, 189 homogeneous flow of moves 70
inevitable sequence 82, 84 insipid move 64
interesting move 103 joseki move 31,133
keep move in reserve 192 key 24
knight's approach move
against a 3-4 point 28
Knight's move 11, 14,25, 36, 51, 59, 71, 104, 112, 152, 156
attaching across 51
cut across 72
cutting through 51, 57
knight's fencing in move 40
slicing through 156
striking across 47
ko threats 195 large knight's move
corner enclosure 76
large move 65 lax, ineffective move 22
leisurely move 96 lethargic pace 102
light and nimble move 36 lithe move 170
lives with a move 190 logical move 116
lower than necessary 76 making good shape 39
move order 89, 95 move order analysis 111
move out directly 185 moves at cross-purposes 114
natural move 74, 83 natural moves 40, 61
no relation to other moves
poking or cutting moves 76 not such a strange move 64
oddly quiescent 76 offbeat 28
209
Move ...continued
offbeat move 82 one correct move 177
one extra move 26, 63 one move difference 56
one move win 182 only move 36, 48, 78
ordinary moves 58 orthodox sliding move 175
overextended 164 placement move 172
played for naught 82 played on second line 76
ponder the meaning 111 powerful move 102
reckless move 98 reinforcing move 176
safe move 88, 164 seeming without purpose 76
severe blocking move 130 severe move 98, 106, 188
short by one move 23 slack move 35, 58, 84, 104
sliding move 171 some kind of useful move 183
splendid move 114, 115 standard move 116, 179
strong move 55, 62,74, 96, 97, 116, 117
empty triangle 72
suspicious move 92 that undermines position 76
thick move 33, 59, 64, 85 thin move 34
to make life 184 turning move 84
two extra moves 43, 74 typical move 85
ugly move 178 unreasonable move 87, 168
unusual move 53 vague move 82, 115
variant move 88 various moves 194
viable move 84 win race to capture by one move 26
worst move 84
move order 20
N
natural rhythm 168
O
Okinawa 78
one eye 168, 178
one point jump 13, 24,26
one space pincer 30
opening 78
Ota Yuzo
trick move against Shusaku 31
overconcentrated 8, 17, 23, 54, 148
overextended 148
overplay 148
210
P
par
par for a situation 39
par for the situation 33, 47, 62, 83
par for this shape 156
pattern 38, 78
common pattern 18
reverting to a model 24
standard 170
standard pattern 94, 110
"patting the raccoon's belly" 7,130
Pincer 13, 32, 61, 72, 92, 99, 103, 108, 162
close as possible 60 offbeat pincer 58
one space high pincer 40 one space pincer 30
three space pincer 36 two space high pincer 38
two space pincer 34
placement 10, 16, 52, 53, 86, 127, 190
Play
any number of directions 135 capping play 80
crude line of play 72 crude way of playing 75
diagonal play 104 high-handed style 92
on both sides 73 power play 87
rhythm of play 64 slipshod play 98
standard endgame play
monkey jump 193 unfocused play 160
"play beneath the stones" 11
ploy
ersatz ploy 81
point
cutting point 63
cutting points 46, 72
essential point 174
key point 44
lose points 195
vital point 192
weak point 90, 96, 156, 157
poke 99, 167
policy
light policy 31
ponnuki
ponnuki capture of a stone 27
211
Position 19, 21, 81, 162, 183
50/50 position 45 acceptable position 152
augmented by hane 31 become thinner 160
becomes race to capture 58 becomes seki 38
black approached too closely 61 black gets good position 61
black has superior position 55 black position in tatters 55
black's position acceptable 51 black's position adequate 57
black's position unattractive 57 both sides reinforce 74
chances are equal 48 comfortable position 113
conventional treatment 104 depending upon position 37
develop a position 132 developing a position 22
difficult position 98 duplication of effort 121
enlarge scope of damage 64 equal position 49, 71
equivalent position 78 even position 63
examining the position 103 flat as a pancake 83
good position 72, 104 hopeless position 25
horrible position 114 introducing quirks 81
leave the position as it is 182 lightly deal 158
living in corner not good 45 low position 21, 31, 62
making good shape 52 mangled position 118
not found in joseki 72 obviously superior position 44
occupying the position 175 onerous position 92
overall board position 117 overall characteristics 83
overall position 156 overall position on the board 76
overplaying position 39 playable position 80, 82
plays hane 196 position becomes thick 186
position good for black 42 position is stabilized 115
position is untenable 195 position of weakness 158
position reverts to joseki 104 position undamaged 82
position which often occurs 26 preponderance of stones 167
pressure on the surrounding positions 180 profit and thickness 70
push through position 106 quirks in position 97
read position out 100 reinforcing the position 166
researched in Edo Period 36 resultant position 168
retreats undermine position 98 rip position to ribbons 162
robust position 72 rough and tumble position 48
satisfactory position 83 set the position 21
settles the position 164 settling position quickly 98
slides into the position
with move on second line 162
slowly developing position 45 snakes through position 192
solid and stable 135 solidify the position 148
212
Position ...continued
steadily deteriorate 156 strengthen the position 166
strong position 183 surrounding positions undermined 186
terrible position 101 thick and strong 46
thick or overconcentrated 88 thick position 30, 34, 47
thin position 104 thinness of a position 27
titlted in white's favor 62 try for too much 106
turn into seki 115 turning position into ko 190
undermining position 82 unpleasant one 164
untenable 88 vaguely sketched out 117
viable position 28, 86, 87 vital position 97
white not guaranteed advantage 74 white position thin 61
wrapped up 111
posture
low posture 47, 159, 171, 172
press 48, 58, 60, 70, 73, 83, 92, 97, 180
press down 176
pressing upward 11
pressure 45
professional tournament games 90
Profit
13, 17, 18, 21, 23, 61, 62, 86, 107, 110, 111, 116, 121, 156, 158, 182, 192, 196
black makes tremendous profit 57 emphasizing profit 73
endgame profit 65 exchange of for influence 33
large profit 63 making profit in the center 41
profit and thickness 70 versus thickness
equal result 62
protect 36
prototypical trick moves 6
pulling back 150
push 24, 28, 32, 34-35, 48-49, 51, 62, 65, 70, 72, 191
extra push 32
push in 10, 18,40, 73
push out 25, 28, 29, 47, 106
push through 32-34, 44, 53, 81, 96, 99, 100, 112, 124, 130, 150,
166, 168, 176, 180, 186
Q
quintessential baby trick play 118
213
R
Race to capture 17 See also above [Semeai]
readingrasta
one-sided reading 34
reinforce 31, 59, 74, 154
reinforcement 20
rescuing stones 11
resist 36
Result 156
50/50 result
even in event of failure 33
accordingly different 109 achieving a good result 60
adequate result 31 analyzing a result 26
black not dissatisfied 45 completely even result 33
equal result 42, 43, 55, 62 equal result even in failure 32
excruciatingly painful result 164 expected result 58
good result 34 not reap a very good result 48
pleasing result impossible 43 regarded as joseki 35
similar result 56 sufficient result 34, 135
sufficient result for white 46 very bad result 72
Retsugen 144
S
sacrifice 135
sacrifice without compensation 194
scarcity of eye space 178
seal 92-94, 111, 123, 127
seal stones in 37
sealing black into the corner 24
sealed in 7, 10, 14, 24
second best move/policy 12
second line 76
crawl to make life 59
crawling on 87
crawling on second line 55
crawling on the second line 30
secret weapon 19
seki = state of balance in which contending groups cannot attack
further without being destroyed because of insufficient eye space
13, 38, 41, 51, 53, 74, 115
214
sente = condition of being free to take the initiative; (opposite of gote q.v.)
11, 19, 37, 40, 48, 49, 60, 65, 70, 83, 91, 150, 156, 158, 170, 176, 180, 182
absolute sente 192
sequence 21, 23, 29
enormous damage in sequence 192
severe move 22
Shape 11, 12, 17, 18, 48, 187
accepted canons of good shape 178 augment the shape 148
bad shape 63, 116, 178, 185 bad shape forced on black 59
black's shape overconcentrated 54 capture makes shape thick 37
charms of making shape 178 compared to usual joseki 48
complete the shape 117 completing shape in good form 150
complicated shape 27 compulsively try to make shape 178
connection is sente 190 cutting points in shape 46, 64
drowning in shape 178 dumpling shape 64
eye shape 65, 180, 190 fighting shape 107
firm, solid shape 49 first played by Shusaku 70
fixing the shape 33, 34, 88, 104 forced into bad shape 38
good shape 156, 168, 184
full of resilience 160 good shape while attacking 35
half tricked 170 hanging connection efficient
but not good 49
identical shape 102, 109
in tatters 89 inadequate shape 96
inefficient, stick-like 96 lack of eye shape 50
life and death shape 146 light 158
living shape 16 living shape only 184
making good shape 22, 38 making "good shape" impossible 39
making shape 35 no deviation in shape 90
olden shape 158 overconcentrated shape 23, 86
par for this shape 156 perfect in this shape 164
plentiful eye shape 92 proper shape 35, 114
representative solid shape 187 same shape 109
secure eye shape 91 set the shape 150
shape fixed 179 shape in shreds 168
shape is fixed 60 shape is thick 150
shape of group distorted 94 skeletonized shape 166
slack shape 61 solidifying shape 33
standard life and death shapes/should be memorized 190
strong, thick and good 46 terrible shape 114
thick and strong 25, 32, 42, 59, 61, 72-73 thin 28-29, 168
this shape best response 194 tiding over shape 172
215
treasure trove of trick plays 16 turning in bad shape
powerful 73
unpleasantly distorted 159 vital point of shape 39
white sets shape 56
sheer survival 12
Shinomiya Yonezo 144
shortage of liberties 129, 135, 168, 178
Shusaku 31, 123
set opening pattern 123
versus Genan Inseki
"ear-reddening game" 70
versus Ota Yuzo 31
Situation 78, 126
becomes ko 91 board situation 33, 51
change in a situation 175 consider the situation 102
different perspective 129 disposition of the situation 124
even for both 43 extraordinarily complex 56
if ladder unfavorable 88 ignore situation entirely 186
impetus of situation 33 living in the corner 135
local situation 116 make a placement 196
middlegame situation 146 normally proceed 125
overall situation on board 192 par for the situation 33, 39, 47, 62, 83
play in the center 131 push out immediately 182
reading situation 34 real game situation 115, 134
see how develops on board 88 simplifies and clarifies 168
situation clear 191 situation critical 174
somewhat advantageous for white 45 standard situation 33
tide over the situation
[sabaki] 172 truly illustrates situation 164
turn to advantage 88 untenable situation 128
use a broad outlook 108 very common method
butting up 194
sixth sense 76
slide 8
small knight's move corner enclosure 6
solid 13
squeeze 21, 28, 30, 32, 43, 50, 63, 64, 81, 129, 152, 174, 182
star point 175
Stone
5-4 point stone
with fencing in move 50 abandon stone 98
attach at head of two stones 48 avoids discarding stone 72
216
Shape ...continued
black saddled with weak stones 50 black stone works efficiently 59
black stones taken 50 black's stones not settled 61
capture five stones 70 capturing stones bad 64
checking stone 173 common sense disposition 97
cutting stone 86 densely clotted together 101
discard stone 29, 58, 60, 100 discarding two stones bad 58
drag out heavy stone 98 extra sacrifice stone 64
eyeless lump of stones 74 floating stones 29
four black stones captured 60 heavy stones 62
ideal example of sacrifice stones 54 interrelationship and operation 78
isolate black's stone 57 most typical disposition 80
moving out is bad 56 operating in unison 93
operating towards outside 113 outside stone 168
pivotal stones 61 provides more stability 134
rendered useless 35 rhythm of the stones 110
sacrifice stone 37,52,57,85, 101 same number of stones 33
scope for activity 56 source of dissatisfaction 58
stone gives intense pressure 60 stone horribly weakened 42
stone still poised for activity 56 stones chased into center 44
stones die miserably 71 stones end up dead as they sit 53
stones floating 36 stones heavy and without base 44
stones held in check 65 stones in center a burden 72
stones thin and weak 48 stones weakened 65
take custody of stones 65 taking control of stones 52
throw-in stone 34, 168, 178 weak stones above and below 35
white gives up stones 50 white stone practically useless 59
stratagem
neutralize any possible stratagem 187
Strategy 97
clear and simple strategy 31 clear-cut strategy 97
fencing in strategy 135 high level strategy 85, 89, 93, 122
masterly sacrifice stone strategy 101 rupture in strategy 27
Sabaki strategy 149 sacrifice stone strategy 57, 85
sacrifice strategy 144 special strategy 42
unreasonable strategy 96 white strategy working at cross-purposes
47
style
rough and ready style 39
submissive response 17
'sudden striker'
snake of Mount Heng 120
217
Sun-tzu
essence of warfare 120
'On Assessments' 120
symmetrical 8
tactic
desperate tactic 15
fighting tactic 47
tactics 13
Taisha joseki 64, 71
teaching games 94
Technique
36, 41, 45, 47, 53, 54, 78, 80, 97, 103, 105, 109, 110, 112, 122, 133, 150, 163, 174
crude technique easy to subvert 42 familiar technique 84
famous technique 130 playing elsewhere possible 75
severe technique 60 standard technique 91
strong fighting technique 63
tempo 30
Territory
14, 24, 28, 41, 42, 43, 74, 76, 80, 85, 93, 99, 1S2, 154, 159, 160, 168, 170 171, 184, 186, 190, 193, 194
big white territory 52 black strong and solid
large territory staked out 61
black's totals 13 points
white's thickness bigger 58 corner territory versus thickness 49
delineated 170 disregarding territory 52
fourth line territory 20 inferior to thickness 63
intention of surrounding 92 large territory in corner 54
moves in own territory 89 solidify 158
taking large territory 27 taking lion's share of territory 26
•territory versus thickness 52 versus influence 34
versus thickness 24, 57 white takes large territory 54, 58
Thickness 9, 15-16, 19, 23-25, 28-30, 32-34, 37, 39, 42, 44, 46-47, 50, 52, 56-58,
60-61, 70, 72,-73, 76, 82, 85, 88, 117, 150, 168, 170, 180, 184, 186
build center thickness 71 building central thickness 55
center thickness superior 49 commanding presence 76
imposing thickness 85 magnificent thickness 83
more desireable than territory 63 more valuable than territory 43
not great thickness 49 strong thickness in center 44
superior to territory 57 thickness working effectively 32
versus profit ...equal result 62 white's thickness dominates the board 60
218
Thickness ...continued
white's thickness outweighed 61
thin 19, 25, 29, 34, 61, 104, 168
stones thin and weak 48
thin play 24
thinness
not to be worried over 31
thinness of a position 27
threat 17
three crow formation 188
three crows
representative solid shape 187
three crows in corner 187
throw-in 27,34,38, 53,64, 125, 129, 131, 168, 184
thrust in 100
thrusting through 98
thrusts upward 16
Tokugawa Era 78
Trick play
masterpiece of the genre 130
turn 59
thick move 33
turning 183
two space high attack 21
two stone handicap 122
two-pronged attack 8
V
variation 12, 16, 18-22, 27, 29, 38, 40, 45, 52, 53, 55, 56, 59,
60, 62, 70, 80, 83, 101, 106, 123, 125, 148, 174, 182,
184, 188, 190, 192, 194
best variation for both sides 33
fighting variations 48
interesting variation 43
possibility of 33
prepared variation 8
variations exhausted 46
vital 72
vital point 22, 39, 46, 52, 53, 95, 111, 125, 162, 164, 166, 192
2-2 point
often key move in corner 196
219
w
wall 14, 108, 109, 110, 112, 115, 116
cutting points in wall 72
imposing outside wall 51
powerful wall 85
solid wall in the center 27
white makes thick outside wall 56
wedge 7, 19, 35
wedging in 22, 37, 60,91, 184
wedging insertion 36, 37, 48, 56, 57, 61, 87, 111
wood-worker's square
blocks cross underneath 183
connection underneath prevented 185
wrap 30, 58
wrap the opponent up 23, 24
wrapped up 113, 182
Yasui Chitetsu
versus Dosaku 120
220