Compendium of Trick Plays - Nihon Kiin

A Compendium of Trick Plays

Edited by the Nihon Kiin

Published by Yutopian Enterprises 2255 29th Street Santa Monica, CA 90405 1-800-YUTOGO-3

© Copyright 1995 in the U.S.A. by Yutopian Enterprises All rights reserved according to international law. This book or any parts thereof may not be reproduced in any printed form, nor stored in any electronic retrieval system, nor recorded in any other medium without the written permission from the publishers, except for short excerpts as part of a written review. Originally published in Japanese by the Nihon Kiin under the title of Hamete no Dai-Hyakka. [Encyclopedia of Trick Plays] Words in brackets [ ] indicate translation notes.

For the appeal we make does not spring from error or impure motives, nor are we trying to trick you. 1 Thessalonians 1:3 NIV

First printing February 1995

Preface Trick moves have an intimate relation to joseki in the beginning of a game of go. One cannot be considered to understand joseki without knowing about trick plays. Regardless of the fact that the use of trick plays may be seen as a wayward exercise, one cannot raise objections if one finds oneself waylaid by an adversary's trick play. In this Compendium of Trick Plays the absolute essential basics have been compiled. If the reader masters the subject matter in this book, an incremental increase in strength can be expected. If one answers a trick play correctly, the adversary can suffer an overwhelming loss or sometimes even falling into the trap can result in an equal position. In that case, if utilizing a trick play will incur no disadvantage, why not try it? But please: be cautious; be cautious. The first chapter of this book is a compilation of well-known trick plays that have been handed down from old. Some will rarely make their appearance in real games, but the positions that result have wide applications. The second chapter takes as its theme those trick moves that incur no disadvantage even if correctly answered, and so may be more useful in practical play. The renowned expert regarding amateur play, Kageyama 7 dan, is the author of this chapter, so we may regard this section as covering "Kageyama Trick Plays"! Chapter three offers the words of wisdom of that master (?) of trickery, Mr. Mihori Sho. The reader is encouraged to savor, therewith, the pleasures of trick play. The fourth chapter is a test. The reader is challenged to respond correctly to funny-looking moves. If you can come up with the right answers, you may be considered an expert regarding trick plays.

Table of Contents Chapter 1: Essential Knowledge of Trick Plays Meijin/Honinbo [1973-4]

Ishida Yoshio, 5

Chapter 2: The Larger Strategy of Trick Plays Toshiro 7 dan

Kageyama 77

Chapter 3: Introducing Trick Plays Sho

Mihori 119

"Hamete" / "Trick Moves" Reo (Cartoon/Japanese Language Translation Guide) Chapter 4: Caution! Trick Play Ahead! Nobuaki 9 dan (Being a Primer Comprised of 25 Problems) Glossary and Index

Fujii 136 Maeda 145 197

Chapter 1: Essential Knowledge of Trick Plays Ishida Yoshio, Meijin/Honinbo [1973-4]

Trick plays: Wrapped in danger The battle in the corners of the board in the beginning of a game, in other words, the procedure of joseki, is an essential element that can scarcely be neglected by either opponent, and moreover, comprises ideal development. Deliberately avoiding such play falls into the realm of trickery, and cannot be called correct. Since joseki necessarily result in a 50-50 outcome, trick plays will inevitably produce an overwhelming advantage, whether they succeed wonderfully in fooling the adversary into a blunder, or fail when the correct response is made. Herein lies the thrill of playing trick moves. Essentially, there are a number of categories of trick plays. Trick plays that give one a decisive advantage, trick plays that leave one satisfied with but a modest profit, trick plays that do not result in any gain immediately, but promise rewards in the future, trick plays which, if answered correctly, leave one with an irrecoverable loss, trick plays that yield the equivalent of an equal result, even if answered correctly, and so on and so forth. The 35 models in this chapter have been deliberately chosen for the overwhelming nature of the result; prototypical trick moves that offer the greatest rewards, but also contain the greatest degree of danger. Space limitations prevent an exhaustive survey of every possible variation in these 35 models. However, if one masters the subject matter presented, one will be fully prepared to meet these positions in a real game. If joseki can be said to be the highway, trick plays may be called a back alley. When one masters the alleyways, one is on course to master joseki.

Star Point Trick Plays Model 1 shows a small knight's move corner enclosure attacked by white 1 & 3. This is a trick play often used in handicap games. Tricked 1 If black answers at 1 and gets sealed in up to white 8, black has been completely tricked. Tricked 2 Even if black answers white 1 by pushing out at 2, white can capture with 3 & 5, thick moves that leave black with an insufficient result.

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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.

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Model 2 This is a favorite weapon used by stronger players in handicap games of six or more stones. Against weaker players who are delighted to answer white 1 by connecting 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

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in conjunction with black 2, but if black does not answer, 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 outward 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 technique [tesuji] used as a squeeze play [shibori]. Diagram 6 If white plays at 1 and connects with 3, black plays a crude but effective sequence 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 consequence, the success rate for it is low.

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Model 3 Of all the star point trick moves, this is the most popular one. Relying on the pressure that white's marked stone exerts 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 become equivalent options [miai], and black will be hard pressed to avoid getting a headache while trying 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 response. 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.

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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.

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Model 4 This is a representative star point trick play against a large knight's move enclosure in the corner. From the standpoint of shape, defending 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 conTricked 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 disturbing 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 Tricked 2 corner with 3 & 5. Black 10 is a good move: calm and collected. White is restricted to sheer survival in the corner. When white plays 13, black develops with 14. This result practically settles the outcome of the game. Diagram 3 (Next page) A frightening variation can arise at white 9 in the previous diagram 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 capture [semeai] results with the moves followDiagram 1 Diagram 2

12

Trick Moves; Basic Knowledge

ing white 7, but at the worst, black is faced with a seki. But at the same time, black builds a magnificant wall on the outside through black 20, which is overwhelming. It is hard to understand what white is doing. Diagram 4 To avoid complications when white plays 1, it is satisfactory to defend solidly at black 2. Black 2 may appear to be an uninspired move, but when faced with this fortification, white 1 is shown to be notably overextended. Diagram 5 This demonstrates how terrible "Tricked 1" can be. Assuming the exchange of the marked white stone for the marked black stone, black can defend at a to be safe, but if white gets to slide in to 1, black is left without a base. Black's contortions with 2 and the following are often seen in handicap games. At the very least, black 2 should be used to pincer white around the point of 7, but regardless, black's seven stones will remain a burden. Diagram 6 Changing the theme a little, the trick play of following the one point jump at white 1 with the placement of white 3 is very frequently played. Here black does not fancy defending at 6 with black 2. Black a instead could be considered but... Black 4 & 6 fall into the trap, letting white again connect underneath with 7. This trick play follows the same course as "Tricked 1". Diagram 7 See what happens when black connects strongly with 4. It will be sufficient if white is forced to make life inside as in Diagram 2, but things get a little tricky with white 5. After white lives with 11, black must defend at 12, letting white jump to 13 and turn the whole black group into a string of stones. If black compromises by playing 6 at a, white is granted the large profit to be made with a move at white 6. Diagram 8 Descending at black 4 here is correct. Moving out immediately with white 5 and the following leads to black 10. Consequently, instead of white 7: white a, black 7, white b, black c will be played. White's subversive tactics starting with white 1 have clearly failed here.

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Model 5

Model 5 Of the star point trick moves focused on the large knight corner enclosure, this one displays the most crushing results when it is successful. White sets to work with 1 & 3, then the cut of white 11 is a foxy move.

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

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white ataris at 4 without compunction, 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 cannot seal the black group in completely 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 diagram ends in a position where black can look forward to playing the hane at 1. If white answers with 2, black 3 through 7 are good moves. With 9, black gets a "flowerviewing 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.

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Model 6 White attaches against black's large knight enclosure with 1 and makes the placement of 5. If black thrusts upward with 2 at 4, white plays at 5 all the same. This shape is a treasure trove of trick plays, full of variations.

Model 6

Tricked 1 One's first impulse is to make the diagonal attachment of black 1. However, this acts as a spur to white activity with 2 through 10. Forcing moves [kikashi] at a & b are left for white, and black has been tricked. Diagram 1 If black makes the diagonal attachment of 1, it is better then connecting at 5, forcing white to connect underneath at 6 & 8. Since the capture at a remains, black has a thick shape. Tricked 2 How about the thick move of black 1, separating the opponent's forces? This time white 2 is a resourceful move. With the divvying up of the corner through white 10, black has been thoroughly taken. The capture at black 7 is the bad move here. Diagram 2 It may seem frightening, but black has sufficient fighting resources to extend at 1. A race to capture [semeai] follows black 5. In this sequence there are no difficult variations, and black wins by one move. If white 10 at a, black hanes at 10 and likewise wins. Diagram 3 Since white is totally destroyed in the previous diagram, instead of connecting at 4 there, white will ordinarily play at 1 to set about creating a living shape. Black forces [kikashi] with 2 and then takes the ko with 4. White is at a loss as to how to proceed. Diagram 4 If the complications in Diagrams 2 & 3 are distasteful, when white attaches at 2, black 3 & 5 are the most clear and straightforward playing style. At first sight this may seem to be a crude method of play, but in answer to white 2 it is the ultimate in power and pugnacity. " When black jumps to 11 there are battles on all fronts. But black's position is decidedly superior.

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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.

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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.

Model 7

the

Tricked 1 It is bad for black to give way with 1: white 2 & 4 spring 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 misfiring. 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 underneath 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.

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Diagram 6

Diagram 7

Tricked 2

Tricked 3

Tricked 2 If black greedily plays 1 in instances where the exchange of the marked white stones for the black ones has been made, white 2 is effective. After playing 4, white wins the race to capture [semeai] by one move. When white has played the hanging connection at a, white must answer black's atari at 8, so instead of 5, black can wedge into white's position at 6. Therefore, black is safe. Care must be exercised here. Diagram 7 Again we change the theme. In situations where the marked white stone has been added, when white plays at 3 & 5, black must be cautious. Tricked 3 If black plays at 1, white answers in sente with 2 & 4 and then plays 6. Black has been neatly taken. Diagram 8 Black settles the shape with 1 & 3 and then plays 5. In this case there is no problem. However, in actuality...

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 overwhelming 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].

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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 important to master the basic variations.

Tricked 1 First off,

Model 8

Tricked 1

Tricked 2

the compromise with black 2 & 4, even though black takes fourth line territory, is decidedly unsatisfactory since the two marked black stones are rendered inef-

fective. Tricked 2 Black displays the right intentions by descending at 1, which aims at cutting at a, and playing the atari from above with 3. However, when white plays at 6, black 7 is a bad move. After white cuts with 8 & 10, black's position is cut into pieces. Diagram 1 In answer to white 6, black 7 is correct, daring to meet the challenge of a decisive confrontation in the corner. If white plays 8, black fills liberties in order after 9 and it is obvious that black wins. Diagram 2 What is frightening is when white has a reinforcement in the area of the marked stone, allowing white to initiate the variation that starts with the block at 2. This fills a liberty of black's three stones so close scrutiny is needed. In this situation, the cut at black 9 through the wedge at 13 are good moves. Starting with a and following the move order of Diagram 1 ends with black losing. Diagram 3 If white plays 1, black 2 through 6 start a ko, but black has a ko threat at 8 and white is in a fix. If white 1 at 5, black 3, white 2, black 1, white a, then black b finishes it up. Diagram 4 Instead of the diagonal move, if white descends at 1 and jumps to 3, what will happen? Here too, black cuts at 4 and after the atari at 8, attaches at 10. Black is clearly ahead in the race to capture [semeai]. Tricked 3 (Next page) White has various tricks to fool with. Here white hanes at 1, then pushes

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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 largescale 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.

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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 towards 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 descending 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

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the move at 10 in, at white 7... Tricked 2 White makes a pincer attachment at 1. If black plays 2 to prevent white from connecting underneath on this side, white does so on the other with 3 & 5, and black has been tricked. Even though black cuts at 6, white neatly wraps black up with the moves following 7. Not only that, but for the time being black has only one eye. Now there are three cuts, a, b & c to aim at... Diagram 5 What happens if black cuts at 1 ? In response to black 1, white 2 & 4 are good moves. When white plays 8, black must live with 9. It is very painful to have to add a move within one's own territory. Diagram 6 For white's part, blithely capturing with 2 & 4 is sufficient. Black takes two stones in

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.

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Model 10 In this trick play, white beseiges black's one space jump in the corner by poking at 1 and highhandedly attempting to seal black into the comer with 3. One must by no means allow 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

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exchange of black a for white b. Diagram 3 Black must play the good moves of 1 & 3 consecutively. This is a perfect example of a trick play gone bust. If white 4, black extends to 5. Black's shape is thick here, compared to white's, which is thin. Since the marked black stone is still not dead, one can see in an instant that white is practically annihilated. However, it is important that one read out the situation after this correctly. Diagram 4 White hangs tough with 1 & 3, but this looks more like desperation. White gains room to breathe with 5, but even if the ladder does not work for black, the game is over with the fencing in move of 6. Extending straight out with black 12 is sharp, and white is devastated. Diagram 5 How about cutting on this side with white 1? White frantically plays 3, 5 & 7, but

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.

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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 interrelated, and if one loses sight of that fact, one risks getting ambushed. Tricked 1 Black 1 & 3 show an easygoing attitude. With 4 & 6, white takes the lion's share of the territory here and black has been thoroughly tricked. Black has been confused by the presence of white's marked stone, and ended up losing ground steadily as a result. This is what white aimed at. Let's see what happens if black adopts a policy of not necessarily trying to capture white's marked stone. Tricked 2 Instead of fixating on the marked white stone, with 1 & 3 black invites white to live on the side. In return, black ends up living in the corner with 5 & 7. But what is one to make of this? It seems that black is being overly generous, no? Diagram 1 White will follow this up by playing 1 through 5 and living on the side with nearly 10 points. Analyzing this result, one notes that black has played one extra move, and to that extent has been cheated. It will be hard to mount an attack on white's three stones on the upper side. Diagram 2 Since white was allowed to live easily in the last diagram, black tries resisting more forcefully by playing 1 & 3. However, in practical terms, this resistance takes on an unfortunate shape. Pushing out once with white 4 is a good move. White 6 & 8 precipitate a capturing race [semeai]. Diagram 3 (Next page) Taking the hane of black 1 for granted as the best move here, still, it is no good to make the committal atari with black 3. Black has to answer the hane of white 6 [kikashi] and up to 8, white wins. The good move of white 4 in Diagram 2 makes the hane of white 6 feasible, thus allowing white to win the race to capture by one move. Diagram 4 In place of black 3 in the last diagram, black has no al-

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ternative but to utilize the common technique of throwing in at 1 & 3, and starting a ko fight with 5.

Diagram 5 If white blocks at a, the ko becomes 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 represents 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.

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3-4 Point Trick Plays Model 12 With a stone on the 3-4 point confronted by a knight's approach move, white assays the offbeat move at I. While this method may lack subtly, black must handle it with the greatest care. Tricked 1 One may take black 1 for granted, but the hane outward of black 3 quickly gets black bushwhacked. After black 9... Diagram 1 With white 1 & 3, the position for white is better in terms of both thickness and territory. It is painful for black to have to play 2, but it is the honest-togoodness, "real move" [honte]. Diagram 2 Black would like to push out with 2, but whatever happens, it does not seem like this will go well. If black lives with 4 & 6, white 7 is a good move. This becomes a fight in the corner. Diagram 3 White 1 and the following are an inevitable development. Black has no choice but to live with 12, but up to white 15, black is nonplussed. If black 8 at a, white 10, black takes ko at b, white 12, black 8, then white will retake the ko and black cannot win it. Again, at black 8... Diagram 4 If black lives with 1 & 3, and white as well with 4, black starts a fight in the center with 5. However, black has thin shape and the fight will be a disagreeable one. Diagram 5 This is a variation of Diagram 2. What if black pushes at 1 ? Here the hane of white 2 is the strongest reply. From black 3, both sides frantically grapple to create a viable position, but it is painful for black to be squeezed with white 10 & 12. Diagram 6 (Next page) With white 2 and black 3, both sides again live. However, for black, who

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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.

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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 looking, black would want to block at a, but... Tricked 1 First off, black 1 is good. However, when white plays 4 & 6, responding with 5 & 7 gets black caught up in the tempo of the trick play. After white cuts at 8, there is no salvation. Tricked 2 With 1 & 3, black sets out to take white's four stones. The shape here is similar to that of Model 5. White forces [kikashi] with 4 & 6, and squeezes with 8 through 14. After white fences black in with 16... Tricked 3 White 2 and the following moves wrap black up tighter than a drum, leaving black in a pitiful state. Black's territory is 18 points. White's thickness is far more valuable. Diagram 1 Does black 2 put up more resistance to white 1 ? This time black can escape at a, so white will not try to fence black in with b, but rather, will play white 5 to engineer life for the group. After white lives with 11, black must find life for the five stones below. Diagram 2 Playing black 1 and the following, crawling repeatedly on the second line is beneath discussion. Diagram 3 If, at 8 in Diagram 1 black hanes at 1 to capture the corner stones, white squeezes black with 2 and the rest, and black loses. Consequently, the hane of black 2 in Diagram 1 is no good. Diagram 4 (Next page) It is not all that difficult to thwart this trick play. When white plays 1, instead of the hane at a, black has to go back and defend somewhere around 2. Since white 3 is unavoidable, black can play at 4, ending with a thick position.

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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 immobilized, 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.

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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 "capture 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 considered to be bad. That is because when white plays the pincer at 4, the white thickness above works more effectively. But in Diagram 1, it is as if white played 4 at a, followed by black

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b, white c, and black d, deliberately solidifying black's shape. Black would welcome such an outcome. Diagram 3 However, 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 advancing. 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.

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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 answers correctly, one suffers no loss. One's first impulse is to strike out between white's stones with black a but... Diagram 1 Without a doubt, black swallows the bait by playing 1. But if white pushes up vigorously with 2 and the following, black gets a sufficient result with the extension to 7. This will not happen, though. For black to envision this result is evidence of a fundamentally one-sided reading of the situation. Tricked 1 When black plays 1, white dodges with 2. With this, black has truly been tricked. After black 3, white seals black in with 4 through 8. Tricked 2 On the other hand, if white plays a thin move, blocking at 4, black gets a good result. There are a number of options, but here black fights directly, pushing through and cutting with 5 & 7. White can play the good hane at 8, but black's group will prove to be a tough customer. Diagram 2 After white 1, it seems as if the race to capture [semeai] is favorable for white. However, in this sequence black fixes the shape with 6 & 8, then hanes at 10 and extends to 12, and black's outward influence must be judged as being more valuable than white's territory. Furthermore, white has to add a move at a, or push at b. If white leaves things as they are... Diagram 3 Black immediately throws in a stone at 1 and the play comes alive. With black 7 & 9, white cannot fill black's liberties from either side and ends up annihilated. Therefore, the sequence given in Tricked 1 is correct for white. Tricked 3 (Next page) What happens if black answers the fencing in move of white 2 normally, by defending with 3 & 5? It does not seem as though black has incurred such a great loss here, but actually, the exchange of black 1 for white 6 is a terrible one. White's thick position is superior to black's.

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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

black a in Diagram 4 is more practical. Diagram 6 White 2 in Diagram 4 makes proper shape and there is no other choice. The hane of white 2 here is a failure. Play will proceed to black 5, and the marked white stone is clearly shown to be a slack move: the shape dictates that it be situated at a. Diagram 7 Black would like to force [kikashi] once with 3 and block in the corner with 5. If white plays 6, black moves out with 7 and white's stones are weak above and below. Diagram 8 However, when black plays at 1, white will instantly wedge into black's position with 2. With this, black is denied the chance to make good shape as in the previous diagram with 5, so it may be said the fight is advantageous for white. There is no alternative for either side but to follow Diagram 4.

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Model 16 The starting point here is after black has played a three space pincer and white has played elsewhere. It is natural for black to attack with 1 & 3, and white 4 is a light and nimble move. The history of this pattern is an old one, and the position was thoroughly researched during the late Edo Period. At black 5, a two space extension to a is also possible, but the knight's move of 5, and then, after white 6, the hane outward of black 7, is strongest. It is at this stage that white springs the strategem of the wedging insertion of 8.

Model 16

Tricked 1

Tricked 1 Backing up a step, the hane from below at black 2 is not good. Extending in at black 4 is the only move, but white 5 & 7 are good moves that enable white to play either above or below [miai]. If black defends at 8 so as to avoid getting sliced through with white a, then white 9 is possible. After white 13, black must make life in the corner, leaving black's two stones floating. Tricked 2 If black protects the upper side with 1, white plays 2. Black 3 is unreasonable. By the time white plays 8, black has gotten swindled. Black had better play 3 at a. If black's marked stone is the two space extension at b, white's technique here with 2 is impossible, so black would be perfectly safe defending the upper side at 1. Consequently, when black has played the knight's move, black's marked stone; the hane from below is not feasible: hence the premise behind black's hane outward. The special feature of this model is that playing the knight's move is a sharp way of playing, while playing the two space extension produces a leisurely development. Tricked 3 Well then, exploring the main line, white 1 & 3 are the trick moves. Black has little choice but to answer at 2 & 4. When white cuts at 5... Tricked 4 Black can hardly sit back and watch the black marked stone die, so resisting with 1 & 3 is natural. White 6 & 8 are also the best moves. Then, through white 14, black's stones are captured. At this point, white's marked, forcing moves [kikashi] work effectively. Of course, this is a grand success for white. Diagram 1 (Next page) Black 7 in the previous dia-

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gram was a bad move. Here the atari of black 1 is good. If white now connects at 3, the marked stones, when compared to Diagram 3 that follows, turn out to be bad moves: therefore, white will capture at 2. Then black also captures at 3 and there is a lull in the action. White's shape with the capture of 2 is thick, but the marked stones eliminate some possibilities for white [aji keshi], and will perhaps even get captured, so black has the advantage here. Diagram 2 The joseki properly played omits white moves at a & b, with white simply cutting at 2. Through 12, white basically captures two black stones. Diagram 3 Black plays 1 and seals white in with 3. The sequence ends with white's wedging in at 4 and settling the group with 8. Black 9 pounds on white's two stones, leading to a lull in the action. If white a, black b. Also, if black plays 5 at 6, a white hane at 5 will be unpleasant. Diagram 4 Here is a variation for white 4 in the last diagram. White 1 is greedy. Black 2 & 4 spell curtains. But there is a revised version of Diagram 3. Diagram 5 White first plays the wedging insertion of white 1. At this stage, black will reDiagram 4 Diagram 5 Diagram 6 8: connects spond with 2, and then white cuts at 3. After this, the sequence is the same until black 16, and then white lives with 17 & 19. Since the hane into black's position with a is threatening, black must defend at 20, and white is afforded the opportunity to run at 21. When white plays the wedging insertion afterward (at white 4 in Diagram 3), black draws back at a, usurping sente. That's the difference. Diagram 6 Additionally, white can play 10 in Diagram 2 as 1 & the fencing in move of 3, sacrificing three stones. Up to white 10, depending upon the position, this may be powerful, and there are those who regard this sequence as the definitive model, [a not mentioned in text.] 37

Model 17 At the point when black has jumped at 2 in response to white's two space high pincer, white attaches and blocks with 3 & 5. One name used for this trick play is "The Coolie Hat".

Tricked 1

Tricked 2

Tricked 1 Before all else, black ataris at 1. With 2, white is forced into the bad shape Model 17 that resembles a coolie hat, and then, to make good shape, black plays the hanging connection of 3. White stakes success or failure on the cut at 4, the precondition for this trick play being that the ladder at a is unfavorable for black. If white cannot cut at 4, this trick play can absolutely not be adopted. If the cut is effective, the trick play succeeds. Tricked 2 Since the ladder is unfavorable, black can only play something like 1 & 3. White reproves black with 4, and since abandoning the two stones would be hopeless, black forces [kikashi] with 5 and flees with 7 & 9. But when white connects at 16, whatever variation black adopts, it will not turn out well. Diagram 1 To avoid a situation where white has one eye while black has none [wherein black dies: "me ari, me nashi"], black is forced to jump in at 1. However, white responds with 2 through 8, and the worst white can fear is seki. Black has to play at 9 to prevent a white throwin there, and white plays 10 to bring black's seven stones under attack. Black's disadvantage is obvious. Diagram 2 Here is a variation for black 3 in the previous diagram. Black crawls in at 1. Again a seki naturally results through black 7. Black would have no chance of success throwing in a stone at a and starting a ko. When white descends at 8, a pattern much like Diagram 1 results. Diagram 3 Here is a variation for black 5 in the last diagram. Black grimly tries to hold on with 1, but the result is zero. Up to black 11, the position is, as usual, a seki. And in the end, white turns to play 12. Since black's liberties are filled, this is worse than Diagrams 1 & 2. Diagram 4 (Next page) Let's return to Tricked 2, when white hanes at 4. At first sight, black 1 looks like a skilled finesse [tesuji], but it Diagram 3 7: connects Diagram 1 Diagram 2

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won't work here. White can play in a rough and ready style with 2 & 4 and capture in a ladder. This is a wonderful flourish for a successful trick play. Diagram 5 How about the cut of black 1 and the at-

Diagram 4

Diagram 5

Diagram 6

tachment of 3? Black 1 prevents [shinogi] the ladder in the last diagram, but when white gets a stone at 2, white 4, 6 & 8 now initiate an attacking stance that leaves white without problems. Black looks half dead. Diagram 6 It doesn't seem like anything works here. That is, if black defends at 1 to have done with it, white takes the solid tack of capturing at 2. In the final analysis, white's thickness is superior. Diagram 7 But really, what is black's best play? When the ladder is bad, black cannot play the move that makes "good shape", the hanging connection at a, but must play a move that makes equally good shape: defending at black 1, which is the correct move. At first sight, this seems like a colorless move, but notice that this is the vital point of the shape. Following this, the hanging connection of black a will be so good that in order to avoid it... Diagram 8 White will capture one stone with 1 & 3. Diagram 7 Diagram 8 Diagram 9 Here, black will be overplaying the position with a move at a, but solidly connecting at 4, will lead to a normal, equal result through black 6 which is par for this kind of situation. Now a black move at b or white's equally good move at c have the same value: therefore this is a 50/50 outcome. Here we have a trick play that produces an equal result no matter what happens. Diagram 9 If black butts up against white's one stone with 1, white answers with 2 and then black makes the defensive move of 3. White descends at 4, leaving the possibility of connecting underneath at a later. This maneuver is a failure for black. We cannot really say that black has gotten the shaft, but white 2 & 4 create a great amount of thickness on the right side, so black has much to repent.

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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 defusing it requires no small degree of skill. On the other hand, if black responds accurately, a good position naturally results, leaving the bad move of white 2 exposed for what it is.

Tricked 1

Model 18

Tricked 1 First of all, the stereo-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

Tricked 2

Tricked 3

Tricked 4 12: takes ko

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Diagram 1


a, then white 14 makes equivalent options [miai] of living with 15 or making black's liberties rapidly disappear [oiotoshi] with the moves following 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.

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Model 19 Amidst the 3-4 point trick plays, this is the most popular one. White's technique with 2 & 4 is of the crudest variety, so subverting it is simple. Tricked 1 The atari of 1, then the hane of 3 and connection of 5, indicate that black Model 19 thinks that living is a sufficient answer. White's outward influence is powerful, and black has been thoroughly snookered. Tricked 2 Extending outward with black 1 is also bad. After black lives with 3 through 7, white's diagonal move of 8 embroils black in a disadvantageous fight in the center. Diagram 1 If in answer to black 1, white obligingly goes after territory with 2, it is okay for black to throw away two stones with 3 and the rest. This is an equal result. Diagram 2 The proper move to overturn the trick play is the hane of black 1. If white plays 2, black forces [kikashi] with 3 & 5, then plays 7. This is a huge difference from Tricked 2. Diagram 3 White has two feasible answers to black 1. First there is white 2. Black 3 & 5 are an adroit finesse [tesuji], and though both sides take two stones, black is a little better off. If white tries to dodge this with 6 at 7, black plays 6 and though white can play a, the marked stone is horribly weakened. Diagram 4 Black can also atari once at 1. If white is spurred on to play 2, the position after 9 is good for black, but white will capture at 7 instead. Then black plays 3. Afterward, white has the endgame attachment at 8, so there are both good and bad aspects to black 1. Diagram 5 (Next page) When white blocks, black has no choice but to cut at 1. This is a special strategy used when black wants to put the most emphasis on the right side. However, in the local context, white's shape becomes thick and strong by curling around at 8, so black cannot claim to have an advantage. Diagram 6 If black ignores white 1 to play 2, then starting with 3, white fences black in through

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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.

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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 2 Tricked 1 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


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 "flowerviewing 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 special is going on here, but white has a comfortable, slowly developing position. We may evaluate this situation as being somewhat advantageous 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.

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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 succeed twice with the same opponent. Tricked 1 Although black 1 & 3 are alright, black 5 is a huge blunder. White gets to slice black apart with 6 & 8. Already the outcome appears to be: "White wins by resignation." Diagram 1 It is a simple matter to crush Tricked 1 this trick play. All black has to do is cut Model 21 below at 1. If white plays 2, black extends out smartly with 3, and even if white defends at 4, the cutting point at a still remains. The vigorous extension of black 3 makes black's position thick and strong, so it is evident that white has sustained a loss here. Tricked 2 Black showed the correct attitude in Tricked 1 by creating cutting points in white's shape. If black jumps the gun and cuts at 1 here, white's tight connection at 2 makes strong, thick and good shape. Black's only option is to atari from below with 3, whereupon white gets a sufficient result by extending to white 4 & 6. Black has really been had. Diagram 2 When black cuts at 1, the atari of white 2 is rash. Inexorably, one stone captures [ponnuki] are made in tandem, but this is better for black. The above exhausts the variations for the trick play. Diagram 3 (Next page) The correct approach for white is to play 1 and the diagonal move of 3. Let's examine the variations in some detail. When white plays 5, attaching on top of it with black 6 looks outrageous, but it has become joseki. White draws back at 7, and the development up to around 10 is regarded as joseki. At black 6... Diagram 4 Black 1 is too lackluster. White forces [kikashi] with 2, leaving black with a string of

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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 purposes. 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.

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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 instead.

Model 22

Tricked 1 Black 1 is faint-heartedness at its worst. White 2 & 4 press black down low, while leaving white the option of at-

Tricked 1

Tricked 2

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


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 connection 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.

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Model 23 Against a white 5-4 point stone and fencing in move, black attaches at 1, whereupon white plays 2 & 4, then blocks at 6. This is a powerful fighting method, and cannot be dismissed offhand as a trick play.

Model 23 Tricked 1 The timid atari of black 1 and connection of 3 is wrong. When white plays at 4, black sustains a great loss territorially. Tricked 2 When black plays 1 & 3, it is also possible to attack with white 4. Black squeezes with 5 & 7, and with a, manages to live. Tricked 3 Above all, if black has to move out with 1. When white plays 2, black is ready to apply the adroit finesse [tesuji] of 5 & 7, which is a method commonly used during races to capture [semeai]. But before that, adding the cut of black 3 is a terrible move that lands black in the net. Tricked 4 Black 1 follows, and after 3, white can only play at 4, allowing black to capture white's three stones. But white extends at 8, and besides becoming thick on the outside, if white recaptures black 1, the entire black group lacks eye shape. Diagram 1 At black 5 in the previous diagram, black would like to hang tough with 1, but unfortunately that is not feasible. White lives with 4 & 8, while black is saddled with weak stones on both sides. Diagram 2 If black plays 1 to try to take white's whole group, white forces with 2, 4 & 6, and with 10 captures black's four stones instead. Diagram 3 (Next page) The reader probably already knows the correct move. Cutting at a is uncalled-for. It is sufficient to simply push through and cut with black 1 & 3. The sequence then proceeds the same way as in Tricked 3 & 4. Diagram 4 Black captures three stones with 1, and when white plays 2 and then 4 to prevent

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black from cutting through the knight's move at a, by extending to 5, black's position is acceptable. 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.

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Model 24 When black cuts at 4, the atari of white a follows a wellknown 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]

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Model 25 After white blocks at 2 and black cuts with 3, white extends straight out with 4. This move is possible whether the ladder works or not, and is a powerful fighting method. Diagram 1 Usually 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 avoiding 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

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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.

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Model 26 This is a variation of Model 25. When the ladder is unfavorable 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

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Diagram 8 Diagram 7 Diagram 5 Diagram 6 [kikashi] with b and then plays c. Diagram 6 The course of events following white 1 is inevitable. Black resolutely adopts a sacrifice stone strategy which comes to fruition with black's thickness superior to white's territory. Diagram 7 If, at 4 in Diagram 5, white extends at 1, the outcome is even worse. Jumping to black 2 is a good move. Black answers white 3 by cutting through the knight's move at 4 and white is crushed. If white 3 at 5, black plays 6. Diagram 8 If white attaches at 1, black 2 & 4 are an exquisite combination that create a ladder. There is no alternative but to compromise around the time of Diagram 4. Tricked 3 The instant black attaches at 1, white cuts at 2. One must be careful about this. If black plays 3, white 4 & 6 isolate black's one stone at 1.

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.

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Model 27 White 1 is an offbeat pincer. At first sight this seems like a slack move, but if one answers carelessly, one will end up hoodwinked. 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

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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.

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Model 28 The previous model examined white 1 at a, but this time the pincer approaches as closely as possible. To the extent that it is one point nearer, it is a much more severe technique. Tricked 1 By attaching at 1, black is tricked. The sequence following 2 is the same as in Model 23, but instead of being at a, white's marked stone puts more intense pressure on black. Tricked 2 By extending outward with white 4 and recapturing at 6, black's options of playing at a or b, etc., are eliminated. When black plays 7, white presses in with 8, and black has limited eye space. This is just what white had in mind from the start. Diagram 1 Simply blocking at black 1 is not good either. If black plays 3 to escape, white forces [kikashi] with 4 & 6, and with 10, white captures black's four stones. Diagram 2 What if black hangs tough with the hane at 1? White forces [kikashi] with 2 and cuts at 4. After the shape is fixed through black 9, play proceeds on the right side to black 15. Diagram 3 White throws in at 1, and after winding up play with 7 & 9, white blocks at 11. White a is sente, so the corner is unlikely to die, while white's thickness dominates the whole board. Diagram 4 Black's intention in playing the hane of 1 and the attachment of 3 is to save both sides, but white's atari at 6 is a good move, and it does not work out well for black. Diagram 5 (Next page) Countering the attachment of black 1 by wedging in between black's stones with white 2 is the simplest method of achieving a good result. White must endure black's double atari of 3, but the swap [furi-kawari] of black 5 for white 6 is plainly in white's favor. If black 3 at 4, white 3, black a, is even better for white than this diagram. Diagram 6 At the beginning of the variation, black could atari at 1 and discard two stones, but Model 28

Diagram 1

Diagram 2

Diagram 3 10: connects

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Diagram 4


Diagram 5

Diagram 8 Diagram 7 Diagram 6 these stones are pivotal to the position. Besides making white thick, the possibility of white playing at a means that black's stones are still not settled. Diagram 7 Considered from white's standpoint, the outcome of Tricked 1 is good, so crawling into the corner with 2 & 4 is not. The attachment of black 11 is a finesse [tesuji] to give black more liberties in the capturing race [semeai]. The profit that black gains by capturing white's five stones outweighs the value of white's thickness. Diagram 8 The correct way to quash the trick play may at first seem hopelessly mediocre, but it is the diagonal move of black 1. If white answers with 2 & 4, black makes the hanging connection of 5, and white's marked stone has approached black's position too closely. Diagram 9 White 1 usually is correct form here, but it is sufficient for black to play the natural moves of 2 through 6 to move out into the open. Black's shape is thick and strong. In the normal

Diagram 9

Diagram 10

Diagram 11

Diagram 12

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.

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Model 29 Black plays 1 and white 2. The first time this is played against one, it can be shocking. Finding the correct answer on the spot can be very difficult, so it is necessary that one acquire precautionary information 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 advantage. 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

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response. Black 13 provokes white 14 & 16, skilled moves that give rise to a big ko. It is impossible 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.

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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. Tricked 1 When black plays at 1, white hanes at 2. If black 3, white goes back to play the thick move at 4, and this is good for white. Black 3 is evidently an insipid move. Tricked 2 White's shape has cutting points in it, so the first order of business is to play black 3 & 5. But when white plays 8 (here is the ambush), being swept along with the rhythm of play Model 30 and capturing white's two stones becomes black's downfall. Tricked 3 White throws in at 1 and squeezes black into a dumpling shape as a prelude to the capture. White can also play 9 at a. Diagram 1 Realizing a mistake has been made, black plays 1 as an emergency measure. Speaking in general, the corner becomes ko, but this is an unfavorable ko for black. It is unlikely that black will win it, but the devastation is horrific if black loses it. Diagram 2 From white's perspective, squeezing right away, without adding the extra sacrifice stone, fails. A race to capture [semeai] ensues, but black 14 is a good move. Black has ko threats, starting with a, and this is a case where black wins. Diagram 3 (Next page) In order to dispose of the trick play correctly, one must play the calm and collected move at black 9. Halfway through this sequence, it is important to play black 5 & 7, enlarging the scope of potential damage to white's position. This has white reeling. Diagram 4 If white answers at 1, black forces [kikashi] with 2 and jumps to 4, and the fight in the center will be favorable for black. Then, black 6 is such a big move that one would want to

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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.

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Model 31 White's attachment of 1 at the head of black's two stones is designed to frighten the wits out of the adversary. The first time one encounters it, one can become terribly disoriented, so it can be a powerful 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.

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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.

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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. Diagram 1 Tricked 1 White 7 is a good 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

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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.

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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. Tricked 1 Pushing at black 1 falls into the trap right off the bat. White presses twice with 2 & 4, then plays the two-step hane of 6 & 8. If white manages to capture five stones with white 14 the game is over, but the opModel 33 eration of this trick play is not so cut and dried. Tricked 2 The atari on top at black 1, followed by the hard-nosed moves of 3 & 5 initiating ko is the best, as well as the strongest way of playing. For white, cutting at 6 and then playing the ko is best. Tricked 3 Cutting at black 1 as a ko threat is good, and the moves through white 18 form a homogeneous flow of moves. Afterwards, white's capture at a is sente. Black aims at playing b. White's profit and thickness is superior to the value of black's position. This shape was first seen when Genan Inseki (white) and Shusaku played it (the "ear-reddening game"). In that game, black 17 was played at b, followed by white c, black d, white e. Diagram 1 If black does not cut at a, but plays 1 & 3 immediately, complete self-destruction is assured. Capturing with white 4 & 6 are good moves. Black 7 raises the stakes in the ko, but when white takes at 10, black is entirely bereft of ko threats. Diagram 2 (Next page) This is a variation for black 7 in the previous diagram. What happens if black connects at 1 and starts a race to capture [semeai] in the comer? Filling in black's liberties from within the group with white 4 & 6 is correct and... Diagram 3 The variation ends with white 7 and black 8, and another ko. Getting captured here is the same as before, and here too is a case of black losing by resignation. Diagram 4 Black 1 in Tricked 3 is the correct move. Black 1 here may also be considered a ko

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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,

black would have to reconsider the whole scheme. Also, if black plays 7 at 12, white responds at 8, black 9, white 11, black 10, and then with 7 & 15 white captures in a ladder, and this too is a problem for black. Diagram 6 When the ladder is in black's favor, extending to 2 will be played, and the sequence to black 10 is about what to expect. However, in this case white will not play the diagonal attachment but... Diagram 7 White will probably play the knight's move at 1. Through 14, white builds thickness in the center, but the position is essentially equal. 71

Model 34 When black plays the high attack against the corner stone at 1, white plays the pincer of 2. This position is not found in joseki, but ushers in a trick play. However, the stones here are separated by some space, so regardless of the unusual nature of the move, even if the trick play fails the result will not be as bad as one might imagine. Diagram 1 Diagram 1 The move of black 1 at the 3-3 point, which appears at first sight to be strategically Model 34 vital is actually bad, and stumbles into the subterfuge. If white answers mildly, defending at 2, black plays 3 and gets a robust position, but this will not happen. Tricked 1 White follows a crude line of play by cutting with 2 & 4, but this is severe, and black will be fighting at a disadvantage. If black plays 5, white 6. If white tries to cut across the knight's move with 2 at 3, black plays 2, white a, and black feels gratified to be able to play 4. Tricked 2 Next, in response to black 1, the empty triangle of white 2 is a strong move. White pushes vigorously with 4 and the following, and ends up capturing the corner. There are cutting points in black's wall, and this is obviously a very bad result for black. Tricked 3 How about attaching below with black 1 ? Here too, the empty triangle of white 2 is an exquisite move. The point is, white is resolved to avoid discarding the marked stone, come what may. Black lives in the corner with 3 through 7, which is a better outcome than in the last diagram, but white blocks at 8 and black's three stones in the center are unsettled and will continue to be a burden. Tricked 4 Keeping this in mind, blocking at white 1, from the standpoint of the tricking side, is not very good. In general, black has a thick shape. Tricked 5 (Next page) The worst thing that black could do is to atari at 1 and go for life in the corner through 5. Without even trying, white builds an advantage. Diagram 2 In reply to white 1, descending to black 2 is a good move here. With this, white's trick play is neutralized. White 3 is the only move, but the hane at 4 gives black a good position.

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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 manner. 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.

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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 related to white 1. Tricked 1 Whatever happens, pushing out with black 1 & 3 is good, but cutting at 5 falls into the snare when white plays 6. When white connects at 10, black has no move to play. If, at black 7 or 9, black captures at 10, white ataris from above [at either 7 or 9 respectively] forcing black into an eyeless lump of stones, which would be no good. Tricked 2 Cutting below with black 3 is also not good. White chases black with the moves through black 7, and then connects at 8. Tricked 3 Black thrashes around with the moves following 1. When white connects at 14, black is clearly at a loss for a move. If black a, white b, black c, and white d finishes things off. Diagram 1 Playing at the center of a symmetrical position, black 1 at the 3-3 point is a strong move. Through 9, black settles this group with ten points of territory, and this is sufficient, but play will not proceed in this manner. Diagram 2 The atari from below with white 1, and then 3 & 5 are strong moves. The moves to the connection of black 10 follow and then... Diagram 3 White 1 forestalls [shinogi] the black cut at a, and then white attacks with 3 & 5. With the moves from black 6 through white 13, a ko results. Since this position arises at the beginning of the game, black's group is as good as dead. Diagram 4 (Next page) The last diagram is so glaringly bad that black will throw in a stone at 1 and hang tough with 3. In this case, white has no choice but to play 4, and the corner becomes seki. However, both sides reinforce their positions with black 5 and white 6, and despite the fact that white has played two extra moves here, black is dissatisfied. On the other hand, it is not preordained that white will come out ahead in this position. At black 10 in Diagram 2...

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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 order to achieve fruition. Therefore, the way to deal with this is to acquire concrete knowledge and let it take root in one's understanding, develop one's fighting 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 [korigatachi]. 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 compensation, 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 common 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 suspiciouslooking, 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 necessary, 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 seemingly without purpose. But fighting directly against it, black is skillfully captured Diagram 4 through white 41. It was better to just ignore 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.

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Chapter 2: The Larger Strategy of Trick Plays Trick Moves That Can Be Used In Real Game Situations

Kageyama Toshiro 7 dan

To Begin With There are those who study the opening or joseki, but it seems that those who deliberately set out to study trick plays are few in number. Just the words "trick play" conjure up images of swindling, of taking the low road, of dirty underhandedness; going so far as to consider that the aesthetics of the game of go are sullied by them. Should one clumsily apply such research and study, one might even find imputations directed against one's character. What miserable soul would devote serious attention to these kinds of matters? In fact, in the past I too thought that way. That was around the time that I was amateur 1 kyu or shodan. However, seeing a trick play in the classical praxis of Honinbo Dosaku turned my attitude 180 degrees around. Is it likely that a Meijin whose name has gone down in the annals of history would use a so-called vicious technique, I asked myself, and without even verifying the facts of the situation, I looked beyond the unpleasant nuances of the words "trick play" and felt ashamed of my own narrow-minded thinking. Since that time I have assiduously researched trick plays. And at the same time I have realized that an appreciation of the fascination inherent in trick plays has been instrumental in boosting my strength in go, insofar as it has made apparent the interrelationship and operation of the stones and skillful technique [tesuji]. The theme I take up here is not an instructional one on how to quash trick plays. Rather, I shall be teaching how to set those trick move traps, and should the opponent be formidable enough to overcome one of them, how to put in place second and third levels of pitfalls; or else, how one can nimbly ward off the opponent [sabaki]. At all events, I hope that the reader gains insights into the charms of deadly manipulation. Without question, the reader's playing strength will be fostered, and so taking the title of "The Larger Strategy of Trick Plays" as the beginning point, let us begin.

Meijin Dosaku's Trick Play In the early period of the Tokugawa Era, Honinbo Dosaku faced an opponent who had come to Edo from Okinawa and was playing with a four stone handicap. In that game... Diagram 1 (The set-up) This is the starting point of Dosaku's trick play. When white makes the side attachment of 5, black plays the strong hane above it at 6, and after 7, draws back to 8, demonstrating that Okinawans were not weak players. In this shape... Diagram 2 (Cutting is the only move) Cutting with black 1 is the only move in the pattern shown here, and this cut at black 1 is equivalent to exactly the same position that is created with the moves to black 8 in Diagram 1. Therefore, it is clear that black is not doing badly. The facts of the matter notwithstanding, white, undaunted, again played in the same way with 9 & 11 in Diagram 1.

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Trick Moves: Strategy

No doubt, believing that in the local sector black was doing well, the Okinawan once more responded in the same way... Diagram 3 (White has an uncomfortable position) Continuing from the previous diagram, undoubtedly the player thought that white would respond in a manner such as shown here. That is, with the variation from white 1 to black 6. This is hopelessly inadequate for white. But then again, it does not appear that there is a substantially better move at white's disposal. However, at this point black has already taken the bait; hook, line and sinker, and there is no escape. When Dosaku saw the responses up to black 8 in Diagram 1, inwardly he must have realized that he had a live one here that was biting. One can discern the mischievousness of the Meijin, thinking as he played white 9, "Fine; if this fellow is in for a penny, he's probably in for a pound." Diagram 4 (Black receives a surprise) Black was surely surprised and delighted to see white atari at 1. To actually be forced, agreeably, into extending at black 2... But when white played 3, repeating the same atari, while the first impression may well have been that the Meijin was losing patience, when black 4 was placed on the board, it probably dawned upon black what white's next move would be. Regardless, black 4 was unavoidable. Not playing it would allow white to do so, taking a stone [ponnuki]. Diagram 5 (A decisive blow) White 1 was the decisive blow. I wonder if the go proverb that states, "In a symmetrical position, play at the central point" was current in those days. However, white 1 truly illustrates that adage as prettily as a picture. This hapless player, Okinawa's best, was stunned by white's powerful shot at 1, and, unable to summon his usual strength, suffered an ignominious loss. Or so it has been handed down to us. But anyone enduring such a brilliant, roundhouse blow all of a sudden, in the opening of a game, would be bowled over. For reference sake, if after white 1, black plays a, white answers at b, and similarly, if black plays b, white replies with a, and whatever happens, two of black's stones, either to the right or to the left, will be captured. Well, I must say, however one looks at it, this is an extraordinary piece of work. The entire conception must have been plotted and mapped out at the time that white's moves of 9 & 11 were played in Diagram 1. No matter the era, a Meijin's power is unquestionably that of a

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Meijin. If black wants to avoid losing anything to either the left or the right... Diagram 6 (White is on a roll) Just pushing out at black 1, then after white plays 2, answering with 3 as shown here eludes capture, but merely accomplishing this leaves black open to be pushed all over the place [kikashi]. Black would have to be absolutely benumbed not to feel distressed at such a development. In cases like this, numbed sensitivity is equal to weakness at go. White 8 is purposefully played... Diagram 7 (A trick play for beginners) If black runs out at 1, white plays 2 through 8, and black is totally obliterated, but for white this is too good to be true. Obviously, black 9 in the previous diagram is the correct move. But white 8 is so played that on the off chance that events take a fortuitous turn, white can take advantage of it.

An Ersatz Dosaku Trick Play Diagram 1 (A capping play answered with an attachment) The capping play of white 1 is nothing more than common technique. It is a a sophisticated move by which white determines the best continuation according to how black replies. The attachment of black 2 in response... Diagram 2 (Black defends the upper side) If white plays the common sense block of 1, black draws back to 2, white connects at 3, and by building up with 4, black defends the upper side territory and is satisfied. This variation is considered the most typical disposition of the stones. After this, white fashions a playable position by making influence on the outside with white a, black b, white c, black d and white e. Diagram 3 (Black has the advantage) Plunging directly into black's upper side with white 1 & 3 falls right in with black's plans. After playing at 6, the superiority of

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black's position is undeniable. When attaching with the marked stone, in general black anticipates the development in either Diagram 2 or Diagram 3, and scarcely entertains other possibilities; nor is there any necessity to do so. But... Diagram 4 (My fond ersatz ploy) The attachment of the marked black stone sparks a sudden association with Dosaku's trick play. When white cross-cuts with 1 & 3, black may play the standard answer, extending to 4, but it is just at that point that white has achieved success. With the moves from white 7 through 11, the trap is cleverly sprung. The sequence of events here actually transpired in a teaching game that this writer played, giving a three stone handicap. Sometime later at a seminar, I was relating the circumstances behind this ersatz ploy in the fullness of my usual conceit, and explaining its intricacies. One participant praised the scheme highly, and then ended by saying, "But it doesn't work, does it?" Diagram 5 (Smashing the trick play) "When white attaches at 1, if black plays solidly at 2, there is nothing that white can do." Meaning that if white cannot achieve this aim there is no hope for recovery, and so, must resign? No such thing. It is a difficult position for white, but these problems just have to be overcome in some way... Diagram 6 (Fancy footwork saves the day?) White plays 3 & 5 to introduce quirks in the position that allow possibilities of fancy footwork [sabaki]. If black 6, the moves through 12 are natural. White 13 shows an indomitable attitude, aiming at a. If, nonetheless, black boldly pushes through and cuts... Diagram 7 (Step lively) By following the sequence starting with white 4, black is squeezed as white steps lively. Perhaps it's wishful thinking, but this is the kind of result one should concoct.

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Diagram 8 (Smashing the trick play) Going back to the start of this story, Dosaku's trick play can be "smashed" in the same way by responding to white 5 with the extension upward at black 6. But then is white's position damaged beyond recovery? Perish the thought! Should that happen, white will let loose with the offbeat move of 7, undermining black's position. Diagram 9 (Black is not doing badly, but...) Black 2 is a safe and solid reply (other possibilities for black to play instead of 2 will be discussed later). The moves from white 3 through black 14 may be regarded as an inevitable sequence for both sides. At this point, immediately playing white a, black b, white c, will be countered by black d, and all of white's moves played here have been for naught. If possible, white would like to be able to run out at c without exchanging white a for black b. However, being able to run out will not accomplish anything, since black's group to the left is firm and solid. Consequently, for 15, the reader should be able to understand that white's best chance is to play the vague move at e. Black is thick, but white's position is playable. 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 ambush is set up. When white attaches at 1, black hanes on Model 1 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. However, white can also switch to 3, and a straightforward exchange [furikawari] results. White has no regrets with this outcome.

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Diagram 2 (Getting set to take a fall) Black 1, aiming to completely prevent white's two marked stones from connecting, appears to be a natural move. But the truth of the matter is surprising. This move sets black up to be thoroughly taken in by white's subterfuge, an utterly bewildering course of events. The attachment of the marked white stone on the upper side is a trick move played in anticipation of taking advantage of this natural response of black's at 1. It would not occur to a weak opponent that one might be playing, to respond in such a natural manner, and the trick play would fail. Only players who have attained a substantial level of skill will be fooled. When black plays at 1, next... Diagram 3 (Easygoing prognosis) Black imagines that white 1 is par for the situation. Then black presses down with 2. Black views the position created with white 3 through black 8 to be satisfactory. Black has magnificent thickness, while white's position is flat as a pancake. But for black to make such a prognosis, represents the utmost in easygoing thinking. White extends to 1? Don't make me laugh! Who would play in such a way? Well then, how will white actually respond? Diagram 4 (Artistry with a severe hane outward) White hanes outward with 1. This is severe indeed! If the opponent plays severely, one does so oneself: "An eye for an eye, a tooth for a tooth". The cut of black 2 would be played instantly, without a second thought, by players who are enamoured with their own playing strength. However, this is just what white is waiting for. Even for those circumspect souls who do not play black 2 without thinking, the cut of 2 next leads to... Diagram 5 (This continuation) White 1 & 3 and the moves through 7 can readily be predicted. Once this situation appears on the board, one realizes that black has a problem as to how to proceed. But at the time of the cut at 2 in the last diagram, black visualized the overall characteristics of the position in Diagram 5, and decided that being able to connect underneath with black 6 in sente made the variation playable. This is an easygoing way of thinking, though. One believes that by crossing underneath in sente, one will be able to manage things one way or another, and at that point stops reading the situation out. This is typical of amateurs. If one can see further and read out the continuation from black 8 on, one is not just a run-of-the-mill novice. 83

Diagram 6 (Annihilation) Regardless, when play gets to white 7 in Diagram 5, the position here, black does not have a viable move. Turning at black 1 here is the worst move, and from white 2 through 3, black is annihilated. Of course, instead of 7, black will play at 8, but capturing four stones with a move at white 4 gives one a feeling that is quite special in its sweetness. Diagram 7 (White is well off) Comparing the turning move of 1 to the prior diagram, black is doing better, but white 2 through 10 is an inevitable sequence of moves, and... Diagram 8 (Continuing from the last diagram) Following the last diagram, turning at black 1 is a bit of a crafty move, which makes black 3 a forcing move [kikashi]. After black 7, playing white a, black b, white c, and black d results in white being captured, but even so, black has to worry about other potential moves by white in the area [aji]. It is certainly clear that at the very least, white is doing well. Diagram 9 (Black is well off) Backtracking, if white attaches on this side at 1, and when black plays 2, cross-cuts at 3, black 4 follows the go proverb: "Answer a cross-cut by extending on one side". White 5 through black 10 is joseki, but white is dissatisfied with the exchange of white's marked stone for black's marked stone. Diagram 10 (Too much to expect) Therefore, when white attaches at 1, black 2 is a strong answer, intending to extend at 3 if white plays a, ending in the good result of the last diagram. But this is too much to expect. White will counterattack with 3, and when black cuts at 4, play the familiar technique of white 5 & 7. Black does not come off well here. Diagram 11 (Seemingly a slack move) Black 2 may seem to be a slack move, but it is not. If white replies at 3, black 4 recreates Diagram 9. Black 2 is a good move. 84


Diagram 12 (Black becomes overconcentrated) When black plays a good move like the marked stone, white must rise to the occasion and meet the challenge head on. Losing one's nerve in the face of a good move by one's opponent is contemptible. The hane of white 1 tests black's reply for the 3rd time. When black plays 2 & 4, the feeling is that black is bailing out after waiting as long as possible, and in reality this is no good. From white 5 through black 16, white plays forcing moves [kikashi] that push black around unmercifully. Black ends up overconcentrated [kori-gatachi] here. If one wonders the extent of this overconcentration, a comparison with the previous diagram will make that clear. The conclusion to be drawn is that white has foisted this overconcentration upon black by means of the trick move. Diagram 13 (Black is thick) Black answers white's marked stone on the upper side by again stoically connecting at 1. This is a thick move. Here white probably has no choice but to play 2 & 4. Thus, with the moves to 7, black creates imposing thickness. Even so, after coming this far white must not lose heart now. The marked white stone on the right side can be used as bait in a sacrifice stone strategy, while on the upper side white can look forward to aiming at the cut of a. Diagram 14 (Forcing overconcentration) White 1 represents high level strategy. Replying with black 2 can appear to be rather natural, but the move is not good. If one asks, "How so?" it is because after white's forcing moves from 3 through black 10, black's shape on the right side is overconcentrated [kori-gatachi]. Later, with the typical moves: white a, black b, white c, and black d, black's territory is reduced to practically nothing. By playing at 2, black completely falls, unawares, into the snare white set using that high level strategy. Being unaware of that fact will lead black to make the same mistake repeatedly. Diagram 15 (Black on the right track) Answering white 1 with black 2 is correct. White does not relish fighting with 3 this close to black's powerful wall. But many players will think that at this point black is doing badly. The feeling seems to be that after expending so much effort to encircle white's marked stone, having it run away is bad for black.

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Model 2 Surprise Placement Attack Strategy

Model 2 When white makes the side attachment at 1, extending upward with black 2 is a solid reply. Striking with the placement of white 3 here is a surprise attack that will scare the daylights out of players who have but a foggy idea of how to follow good form to create a viable position for their stones. Diagram 1 (White gets a lift by crossing underneath) The clearest continuation for black is to conservatively secure an anchor in the corner with 1, but white has an easy time of it, connecting underneath with 2. Now, if black plays at a, white plays b, or similarly, if black cuts at c, white plays d; in any event, white captures the cutting stone. This means that cutting will not go well for black. Diagram 2 (Resolute fighting spirit) Fighting spirit impels black to play 2, resolutely preventing white from connecting underneath. The question is what black should do when white attaches at 3. Diagram 3 (Black complacency) "Hane in response to an attachment!" advises a go proverb, so black 1 is nothing more than common sense. But white's trick play is designed to take advantage of that common sense move. The sequence in this diagram is the one that black complacently expects to come about. Diagram 4 (A sharp cut at white 2) White cuts at 2 and black captures at 3. Diagram 5 (Black gets bamboozled) With 5, white secures enormous profit in the corner. While black's shape ends up overconcentrated [korigatachi].

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Diagram 6 (Power play) This is no time for black to be a stickler for orthodox measures. A power play will settle matters. Through 14, black is well off. Consequently, at white 7... Diagram 7 (Black can fight on!) White plays at 2, but has a difficult time of it after the moves from black 3 through 9. White 1 in Diagram 6 is an unreasonable move. If the opponent falls for it and Diagram 5 results, white is well off. But if not, white does badly. Therefore, white is advised to avoid using this unreasonable trick move. Diagram 8 White 5 & 7 engineer a stylish connection. Diagram 9 If black plays 2, white does alright with 3, etc. Diagram 10 Black takes pains to come up with the move at 2. If white 3, black 4 through white 9 results. To understand how well black is doing here, compare this to the previous diagram and the one before that, and it is obvious. Hence, white is hard pressed to justify the preceding moves. Diagram 11 (A wedging insertion finesse) White goes for broke with the wedging insertion of 1. If black connects at 2, white blocks black in with 3 and achieves a viable position. White does nicely through 13. Diagram 12 (Black fails) Crawling on the second line with black 7 and the following moves is bad. Diagram 13 Black 1 & 3 are a finesse. White is okay, too.

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Diagram 14 (An unscathed resolution) Black 1 here is a variant move for 1 in the prior diagram, 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 Cross-cut/Forcing Move Strategy

Diagram 1 (From overconcentration to more overconcentration) It is normal for black to capture with 4, 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. Examining more closely the reason behind white's giving thanks above...

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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.

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Model 4 Deep Invasion Strategy

Model 4 White 1 is a move that white has been waiting for a chance to play for some time. This move truly plunges directly into the enemy's camp. At first sight it appears to be unreasonable for white, but black is actually the unreasonable party. The question is, how did this black formation come about? Diagram 1 (Joseki) Cross-cutting with white 1 & 3 initiate a well-known joseki. The sequence that starts with black extending 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, innocuous 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 innocently 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 unerringly, and there is no defense against it. White 1 is a move that is 100% effective.

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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 appreciate 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 flowerviewing 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.

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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 move that is most often seen. However, one wonders whether Model 5 the rationale behind playing black 2 is truly grasped. It seems Resolute Sealing like there are many players who make the move at black 2 Strategy 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 comprise 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 highhanded style of play correctly, white will be left with an onerous position, so I cannot recommend using this strategy very heartily.

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Diagram 1 & Diagram 2 (In both black is tricked) If events proceed in the manner shown here, white is doing nicely. In Diagram 2, the invasion of white a remains, so black's territory is not large. Diagram 3 & Diagram 4 (White does poorly) The move of black 3 follows good form; the exchange of black a for white b is one that is better left unplayed, and not doing so is to black's advantage. Black 5 & 7 in Diagram 4 is a wonderfully skillful finesse [tesuji] that, when put into action, leaves white in a quandary. Model 6 The fencing in move of white 1 is one that I can indeed recommend without reservations, a move that is rich in possibly fruitful potential developments [aji] and promising implications, one that conforms to high level strategy. At the very least, in comparison to the bluntly direct Model 6 operation detailed in the previous model, one can perRefined Fencing In ceive that the aggressiveness has been toned down. Strategy Diagram 1 (Genuinely sealing black in) Black 1 fortifies the corner, but white is thereby able to effortlessly seal black in with 2. With this, all of white's stones are operating in unison. Here black is genuinely sealed in. Black's first thought must be an uneasy one at being enveloped in this way.

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Diagram 2 (Good for white) The most dependable method for black to use to advance outward and thereby avoid being sealed in by white is to make the attachment at 1, and then the moves from white 2 through black 13 follow as a matter of course. What have we here, something akin to a joseki? That it is. But an absolutely essential point which one must not overlook here is the disposition of the marked black stone and the reason it was played to begin with. Wasn't the purpose to attack white's marked stone, and in the process to accrue some sort of benefit? Does the reader think that it is good that white has, on the contrary, managed to get settled comfortably? Diagram 3 (A standard pattern but...) When black plays 2, answering with 3 through 7 is a standard pattern if white wants to play in a straightforward manner. There is a great difference here compared to the last diagram, in that black is able to make the jump at 6, which is perfectly suitable in this position. This is painful for white. It is clear that this move will be a thorn in white's side for a long time to come. Diagram 4 (White's expanding command of the board) After steadfastly securing the upper right group, white can play without reserve anywhere else. The moves from white 1 through 9 are ones that often appear in my four and five stone teaching games. One of the pleasures of go for me is in leading veteran 4 and 5 dan amateurs by the nose around the board while the fighting proceeds at white's pace. Go is an active pastime,and it goes against the spirit of the game if one does not play actively and at the same time, enjoy oneself as one plays. Diagram 5 (Forced into bad shape) Since attaching and extending as in Diagram 2 is unsatisfactory, black must find another method, here directly responding to white 1 with 2. However, white probes black's weaknesses with 3 & 5, and if black answers at 6, the shape of this group has been somewhat distorted. 94


Diagram 6 (Explaining the theory here...) Let's change the order of moves and see what happens if white plays 1 & 3 before the move at 5. Consider how black should play here. I doubt if there is anyone inclined to play at a (apart from rank beginners). There is no space to expound at length on why black a is so bad. But playing at black a here is equivalent to playing the move at black 6 in the prior diagram. For that reason white is delighted with the success of this high level trick play. It goes without saying that instead of the move at black 4, in the diagram here, black must play at either b or c. Diagram 7 (A tenacious ko) If black, understanding the rationale behind the theory just presented, wants to offer the strongest resistance, the hane at 1, although the continuation is unclear, is the move to play. This way is decidedly better than black 6 in Diagram 5, but white tenaciously answers with 2, making a ko, and this ko is troublesome for black to have to play. In addition, the burden in playing this ko is light for white, while black will have a hard time coming up with the best way to resolve it. Diagram 8 (The "dog's face": bad form) The point of black 2 is a vital point for white in that it would be a one point jump. Therefore, black might occupy that point thinking that it couldn't be bad. However, this cannot be said to be very good form, and the matter gets confusing. The three black stones in the upper right resemble the face of a dog. Then black 4 is bad. The white move at 5, sealing black in, is perfectly placed. Diagram 9 (A fight) The only move for black 4 in the last diagram is the diagonal move of 1 here. But white can handle the fight that follows white 2 and the rest. Diagram 10 (Using a finesse) White 2 is also a possibility. If black answers at 3, the moves from white 4 through 8 follow good form.

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Diagram 11 (An elementary trap) Black 2 constitutes good form. If white forges on ahead with 3 & 5, black gets impetus to push through with 6 & 8. This is what black has in mind. But white would hardly fall for such an elementary trap. Diagram 12 (Light movement) A refinement of skill is the ability to see through an opponent's subterfuge and turn it to one's advantage. White's light moves at 3 & 5 are designed to force black's stones into an inefficient stick-like shape, the only merit of which is that it is all connected. White forces [kikashi] black to the hilt, and can still aim at attacking this group. Instead of the connection at black 6... Diagram 13 (Counterattack) Black displays a vigorously defiant attitude by counterattacking with 1. Black 5 is also a strong move. It would be wrong to play black 5 at a. [This makes little sense. Probably a should be one point lower.] Diagram 14 (Don't lose heart...) When black plays at 5 in the previous diagram, is white in trouble? White sure is! It is obvious that after black 5, white's shape is inadequate for putting up serious resistance. The cause was white's impetuous cut at 2. Instead of that move... White plays at 2 rather than cutting. Since white has not cut, black will connect at 3. This is no time for white to lose heart. After moving out leisurely with a move like 4, white aims at playing in the upper right corner at a. "Conceding one's unreasonable play, one puts muscle into reinforcing one's weak points," is a common policy, meaning that when one's strategy is unreasonable, one should avoid plunging into a fight. For example, after black plays 5 in Diagram 13, it would not be wise for white to play at a [sic]. Diagram 15 (What white is hoping for) When white plays 1, black might push through and cut with 2 & 4. This sort of fight is just the thing that white is hoping for. Fights like this are exactly where white must step right up. White answers directly with 5 & 7, and can duke it out...

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Model 7 Immediate Stabilization Strategy

Model 7 The purpose behind black's marked stone is to attack white's marked stone if the opportunity presents itself. With this in mind, it is not a bad strategy for white to make efforts to get settled quickly here.

Diagram 1 (Artless trickery) Defending solidly with black 1 cannot, presumably, be considered bad. And yet, in reality black has been tricked here. If one wonders how so, it can be understood by examining the situation that results after white has been allowed to get settled quickly with the move at 2. Black's group in the upper right is menaced by white's marked stone, which presses in closely. Also, black's aim of attacking with the marked black stone has been lost. Diagram 2 (Putting one's effort in the wrong place) There are many players who will make the sequence of moves from black 1 through 9. Instead of directing energy in the vital position, they expend their efforts in places where it is in vain. That is the impression one gets from black's conduct here. Diagram 3 (Answering with the two-step hane) Black 1 cuts a smart figure indeed. This is the two-step hane response. The moves from white 2 through 8 represent a common sense type of disposition of the stones, but white is left with no clear-cut strategy to pursue. Leaving the position as it is, in the middle of the sequence, and playing elsewhere with white 2, or perhaps 6, is one possibility, a technique which regards the stones already played as light and expendable. Doing so would perhaps give white more opportuities to exploit quirks in the position later. Diagram 4 (Black does poorly) Capturing with black 1 may seem to be a strong move, but this is not the case. White has sufficient resources to fight here.

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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 superior 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 target 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 failure) 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 answer the move at 1 with 2. Such slipshod play is fatal. Consequently, 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 retreats that undermine one's position.

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Diagram 10 (A lull in the action) When white pushes through with the marked stone, both black 1 and white 2 are essential. Then when black blocks at 3, white plays 4. This move not only makes a black cut at a less threatening, but from the standpoint of territory, is also large. And furthermore, it contains a hidden aim for later on in the game. It is a move to be merited as "killing three birds with one stone". Play reaches a lull here, but what is that aim of white's alluded to above? Diagram 11 (Lingering ko potential) With white 1, 3 & 5, a ko is found to lurk in the position. Instead of black 4... Diagram 12 (Worse for black) Playing black 1 here makes matters worse. Now the ko is a direct one. In the previous diagram, black only had to fight a two-step ko. Model 8 White's jump at 1 is often seen in positions where the marked black stone has been played as a pincer from the direction of a. Jumping out to black 2 is nothing more than standard operating procedure. However, this move makes no provision against the poke of white Model8 3; for those players who play black 2 for the sole reason that One Move, Double Poke it is standard operating procedure, white's poke at 3 can be a Strategy frightening move. Diagram 1 (One's first impulse: connect) Is the reader's first impulse to connect at black 1? It seems that players who have a tendency to play quickly will jump to the conclusion that connecting is playable and not examine any other move. But when faced with the poke of white's marked stone, anyone would conclude that a connection at black 1 or at a was the only possibility. One senses a trick play coming on.

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Diagram 2 (Diligent reading) After black connects at 1, even if white pushes through with 2 and cuts at 4, black plays 5 & 7, and by connecting at 9, makes moves at either a or b equally effective [miai], and black is doing well. Those who can read the position out to this extent are quite strong. Even those who do not read this deeply but who sense that pushing through and cutting by white is unreasonable will find that this is good. However, white will not attempt such an unreasonable ploy. Perhaps a somewhat affected dialectic is not out of place. "Young whippersnapper! Don't you know that after connecting at black 1, white's trap has already been sprung, and no power on earth can get you out of it..." Diagram 3 (Unwittingly) White 2 sets off, step by step, on the trick move highway. Yet an unwitting, optimistic soul will wonder if white is not discarding the two marked stones in exchange for the 3-3 point [furi-kawari]. Such a development would be pleasant for black, and this fellow will leap at the chance to block at 3, glad that the game has been simplified from the start, and glance at the opponent's face. "That's kind of you, Mr. White! Doing this sort of thing... I think I might be able to make a go of this game now." Diagram 4 (Sketched in the brain) Continuing from the position in the last diagram, white 1 through black 8 cause the game to be "owa" using the words of Kajiwara Takeo 9 dan, [owa = a clipped form of owari = over, the pronunciation of which it resembles to a Japanese ear] already in the opening. Sketched quickly in the brain, this sequence gains black an overwhelming territorial lead. Diagram 5 (White recklessness?) But white thrusts in at 1. "Surely the cut doesn't work; what is the point here?" And black defends at 2. With mouth agape black watches... Diagram 6 (White mistake?) The cut at 3. "Have you overlooked the fencing capture of black 4?" "All around the mulberry bush..." white hums. "Ignorance is bliss; or what is your name?"

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Diagram 7 (Masterly sacrifice stone strategy) Such being the case, more or less, they set off inexorably down the trick move highway, full speed ahead. White plays 1 through 5, forcing [kikashi] black unmercifully, and getting every drop of value out of the two white sacrifice stones, but black still does not realize how bad this is. That really sums it up, doesn't it? White's two stones have been captured. This seems to have blinded black to any other consideration. If, when white plays 5, the player notices that the freedom of movement of the black group has been restricted, well, that shows some improved awareness. But playing black 6 induces white 7 and 9, and black's position is terrible. Yet, instead of black 6... Diagram 8 (Six of one, half a dozen of the other) Even if black plays 1 & 3 to prevent that from happening, white plays the moves through 6, and regardless, spars skillfully, reducing black's options. This is not a perfect marriage here, falling for a trick play and getting married not being totally unlike... eh? What in the world have I started mumbling about? Diagram 9 (A shape born of vacillation) Realizing that the variations given above are bad, when white enters the 3-3 point with the marked stone, black may play at 1, patiently submitting. Black has been tricked here too, ending up overconcentrated [kori-gatachi]. After white 4, black's six stones are densely clotted together. This resulted from black's vacillation. By the time white plays the marked stone, black has already fallen a step behind, black's mind set itself is a step behind: black had to consider these factors some time before. Diagram 10 (Changing the connection) If black connects on this side, a white move at 3 would lead to the variation from black 4 through 10, and black is well off. There is nothing wrong with this reading. But white will not undertake this continuation. Diagram 11 (White settles the group) White's group is settled with 3 & 5.

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Diagram 12 (Knee jerk reaction) After white 5 in the previous diagram, it is likely that black will at some point later on connect at 1 in this diagram. Actually, going further than that, rather than at "some point later" there are those who will rejoice to be able to play at black 1, and convinced of its great value, will connect there immediately in a knee jerk reaction. But eliminate the exchange of the marked white stone for the marked black one and consider the situation. There is no doubt it will then be understandable how overconcentrated [kori-gatachi] black's shape is. In reality... By playing at the point of 1, black has succumbed to the trick play. Black now connects there in spite of that fact, and feels relieved to do so, grateful at not being cut. Diagram 13 (Heavy steps) Let's change the order of moves in Diagram 12 and see what results. Black 1 moves at a lethargic pace. Black 3 moves with the same kind of heavy step. The shape here is identical to that in the last diagram after black 1. Instead of knee jerk reactions, one must put one's eye to good use. Diagram 14 (Squelching the trick play) Black 2 is a powerful move that squelches the trick play, and one might go so far as to call it the only move here. A go proverb states that: "Even a fool connects in answer to a poke," and common sense seems to make that connection necessary here. But this case is an exception. In response to black 2, if white plays 3, black cuts at 4, and white's poke ends up being captured by means of a perfectly positioned fencing in move. This is an unusual turn of events. Black is well off here. Instead of white 3... Diagram 15 (Bull-headed determination is bad) White would like to forge ahead with 1 regardless of the consequences, but when black follows along with 2, it is not promising. Black 8 is a calm and collected move. This outcome is bad for white. Since black did not fall into the trap that had been set, white boils with impatience, as can be seen here; oftentimes it will happen thus, that one ends up spoiling a game by one's own volition. Black smiles inwardly that the countermeasure to white's trick move has met with success. Black's marked stone says, "Hey, Buster! Don't try any of that tricky stuff with me!" and one hopes that this type of perspective always holds sway. 102


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, undermining 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 examining the position. The trick play exploits this mind set, and it is a basic factor in its operation.

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Diagram 2 (Reverting to joseki?) If, when white plays the capping move of 1, black defends at 2, following the go proverb, "Answer 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 perfectly ordinary thing to do, but in reality, this move sets black up to be pitifully sandbagged 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 essential. 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 attacking, white expands the right side.

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Diagram 7 (Counterattack) Instead of black 4 in the last diagram, how about counterattacking at black 1 in this diagram? After 3, black has an easy time of it, but white 2 is a bad move. Instead... Diagram 8 (Countering the Counterattack) Playing atari from the outside with white 2 is correct. If black captures with 3, white plays 4 & 6 and remains unfazed. After this, if black plays a, white answers at b. This has no effect on white. Diagram 9 (Dangerous for black) Thinking of moving out with black 3 is dangerous. White lets fly with the skillful finesse [tesuji] of 4 & 6, leaving blacks group in the upper right corner in a pinch. With the sequence that follows, the counterattack does not go as black had wished. Diagram 10 (Seemingly feasible, but...) Returning to the beginning... If a falls into the trap, black tries 2. If white hanes at 3, it seems feasible for black to cut at 4. Diagram 11 (White 3: bad technique) White 1 & 3 seem like the kind of moves that anybody would play, but white 3 is bad technique, and beneath discussion. Black will then connect underneath with 4, and white 5 is unreasonable. After black plays 6, white has no adequate response.

Diagram 12 (White 3: good technique) Extending to white 3 conforms to good technique. Here too, black will play 4. If black doesn't, white will play there. Now white 5 is a feasible move. Through 9, white leaves black's corner dangerously undermined.

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Diagram 13 (Here is how to thwart the trick play) Black 2 is a severe move. At the same time it is the antidote to white's trick move. When white pushes out with 3, blocking with black 4 is effective. The question is how black should answer white's cut at 5. Diagram 14 (This way means fighting) Black can consider blocking at 1. But in that case white moves out with 2 & 4, and this means fighting. No matter how one looks at it, white will not have a difficult time of it. Diagram 15 (A strong-willed attitude) Black 1 shows strong-willed attitude. With it, black bursts through the snare white has set. White can push through black's position with the moves from white 2 through black 7, but this is not an attractive option. Black is doing well here. Diagram 16 (Leaving one's guard down) If black tries to get too much out of the position and plays atari at 1 automatically, it will not work out. A strong player realizes the value of forcing [kikashi] with the atari of 1 if white connects at 3. With that in mind, black inadvertantly makes the move at 1. This gives white an opportunity. So white ataris at 2. The variation from black 3 through white 6 is miserable for black. But if the variation through black 7 in Diagram 15 is not good for white... Diagram 17 (Unreasonable) White tries fighting head on with 2 & 4. But when black plays 5, white's expectations are clearly unreasonable. If white truly goes ahead like this, it will go badly. Diagram 18 (Also unreasonable) At first glance, white 1 looks like a finesse [tesuji], but gives rise to complications. This is terrible for white.

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Diagram 19 (White tries Plan B) White is stymied when black neutralizes the trick move of the marked stone by answering at 1. The sequence from white 2 through black 5 leaves white without options. However, such a piddling matter is unlikely to defer the trickster white. With the move at 6, white sets Plan B into operation. Since black must consider the options of a, b, and c, it is difficult. Diagram 20 (Black is annihilated) If black answers with 1, and after white 2, plays 3 in a desultory manner as here, then white has laid the groundwork completely. White 4 through 8 annihilates black. At black 3... Diagram 21 (Usurping the profit) Black has to play at 1, but in that case, white takes profit through 8, while the marked stones reverberate with lingering potential. Diagram 22 (Sharp-looking) How about forcefully separating white's groups with black 1? White plays 2 through 10. Take a look at that sharp-looking connection underneath with white 10. White remains connected if play continues with black a, white b, black c, and white d. With this outcome, there is little cause for alarm for white. Diagram 23 (White can make a go of it) How about black 1? White plays 2 & 4, and with weaknesses at the points of both 5 and 6 equally good for white [miai], black is in bad shape. Black 5 cannot be omitted, but when white cuts at 6, black will not find it easy to take care of the comer. Diagram 24 (White can still make a go of it) Next, black 1 is skillfully answered by white 2 & 4. White then forces [kikashi] with the moves to 7, and from 8 to 14, white builds up a fighting shape.

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Diagram 25 (Giving full play to one's versatility) When black rips through the joseki to this extent with 2, the worst course of events imaginable was given before in Diagram 15; such being the case, one must twist and turn with supple dexterity, handle the situation with unflappable aplomb, not get caught up in the small picture, but approach the matter with a broad outlook. This is what is called for from white. For example... With white 3 through 19, this is, as far as it goes, one type of game, I imagine. Diagram 26 (Broad-minded) Moves like white 1 & 3 are truly broad-minded. Not declaring that this is the best possibility, but regardless, this way of playing slowly works at making the center into a large territorial framework [moyo] and take control of the game a bit at a time. Also, there remains the aim of white' a, or else b on the upper side, and with this sort of state of things, one can consider that one way or another white will be able to make a go of it. The essential point is that this is the opposite of unreasonable play. 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 tricking oneself. Model 10 With white 2 through 12, black's marked stone is found to Double Corner Attack be transformed into a bad move that approaches white's basStrategy 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 reasoning behind these matters, one must be considered less than a middle kyu player.

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Diagram 2 (Theory) The attachment of 1 strengthens black's own stones, but it is also a method that strengthens white. If one understands that, one realizes that to the extent that the intention behind black's marked stone was to attack white's marked stone, it is a bad move that violates theory. One can understand black 1 easily, but if black is going to make an attachment with 1... Diagram 3 (The correct direction) Black has to attach from this direction with 1. Let's see what happens if white plays the same technique as in Diagram 1 with 4. Through white 12, the shape is exactly the same as in Diagram 1. However, insofar as the direction has changed, the result is accordingly different from Diagram 1. Black's strong wall on the right works in concert with black's marked stone on the upper side & 13. Although the shape is identical, the feeling in Diagram 1 is that black is in wretched straits. Thus and so, in the present diagram black's formation is an imposing one. To conform to logic or not to conform? That is the question that is vividly contrasted here. Diagram 4 (Black gets tricked) The last diagram turned out miserably for white, so it is natural for white to essay 4. Then, black 5 is also natural. White 6 is a highhanded trick move. At 7, it is also natural for black to block here. A fight ensues after the cut at white 8. Hold it there: black 7 was not natural. One can see it happening. Diagram 5 (A favorable fight for white) While black settles the corner with 1 & 3, 2 & 4 make the outlook for the fight on the outside favorable for white. Diagram 6 (Unreasonable for black) The cut of black 1 is unreasonable. White makes the forcing moves [kikashi] of 2 & 4, then captures with 6.

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Diagram 7 (Common sense) Black 7 in Diagram 4 fell into the trap. When white plays 1 in this diagram, giving way with 2 through 6 takes great profit and is good for black. This is the standard postulation that everyone knows. However, the rhythm of the stones makes the move of 7 in Diagram 4 into a natural one, and consequently, when one is precipitated into the thick of a fight, it can easily slip one's mind to give way with black 2 in this diagram. When one likes to fight... Diagram 8 (Timidity) On the other hand, overly fearing Diagrams 5 & 6 can lead one to take measures before the fact. Significant numbers of players will give way with black 2 upon occasion. Rather than "giving way", black 2 should be called timidity. White sees the opportunity to slip the rug out from under black, and brazenly usurps the corner with 3. If black bungles things, one has an unpleasant feeling that the wall here might even end up floating in a wasteland at some point, becoming the source of bitter trials. Black 2 in Diagram 7 is one technique that must absolutely never be forgotten. Playing that way puts white in a fix. Therefore, white will not adopt the trick move of I. Diagram 9 (Pincer attachment) From white 1 through black 6, play progresses along the lines of a standard pattern, and those who have studied a little joseki will probably know it. Here, immediately attaching with the move of white 7 is once again a trick move. Diagram 10 (Hoodwinked) According to the person seeing it, black 1 might appear to be a clever move. The reason is that white's connection underneath is blocked, while at the same time it is observed that black can capture three stones of white's by cutting at 5... However, black 1 here falls into the trap, so that it might be said that when a move looks good to an amateur's eye, that move is generally a bad one. I forget who it was, a very great Sensei, a professional who, when asked how one becomes strong, answered, "The first move that occurs to you, that you wish to play, please make a move somewhere else." This is the story handed down regarding that Sensei. Does the reader realize that black ends up badly with white 2 through black 11 ?

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Diagram 11 (Black is bad however one looks at it) This diagram shows the result after the sequence in the last diagram. What is one to make of black's position, which has been wrapped up on the left and right, forced [kikashi] to the utmost? Using move order analysis [tewari] to balance white's three captured stones by removing black's three marked stones, we see that black's formation is as if nothing had been captured. In fact, if black isn't careful, this group might die if a stone placed at the center leaves black with only one eye. On the other hand, white has taken the corner to the right, while forcing lightly on the left. If one cannot feel in one's bones that this is bad for black, nothing that I can say will make a difference. Diagram 12 (Shattering the trick move) The way to shatter the trick move of white 1 is like this. Black 2 is it. If white plays 3, black 4. With this, an exchange [furikawari] takes place which is not bad for black. However, white is not totally stymied. Diagram 13 (Joseki) It is best to ponder the meaning of the moves one by one. Diagram 14 (There is this also) Black can also move out with the diagonal move of 1. That is a vital point, since white can seal black in with a move there. But there is a line of thought that sees this as weak-kneed. Diagram 15 (Black is bad) Black 1 initiates an old joseki that is no longer played. Black 1 is bad. White's wedging insertion of 2 is a vital point; up to 6, white takes profit and white a, black b, white c, black d, forces black into overconcentration [kori-gatachi]. At black 3... Diagram 16 (Not good) Even if black ataris at 1, the sequence to 8 leaves black high and dry.

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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...

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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?

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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 afforded 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 vicissitudes of battle into channels advantageous to themselves. At the very least, black must not let the corner be surrounded, 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 splendid move. However, when it is, black's moves are at crosspurposes. 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. Essentially, 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.

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Diagram 33 (Splendid for black) If the position of the marked black stone is one line higher as in this diagram, then black 1 becomes a splendid move. That is because black makes a staightforward drive in conjunction with the marked black stone to realize the completion of a powerful wall. Starting with the position in Diagram 31, is it possible to create a wall like this with no defects [good aji]? Let's see. Diagram 34 (Creates a wall, but) This is a continuation after white 6 in Diagram 31. Black plays 1 & 3 to stop white from moving out. These are good moves for black. However... White has a string of forcing moves [kikashi] from white 4 through black 11. After this, white will not initiate a fight immediately using the white stones at 8 and 10, but leave the possibilities there open for the future, and play a vague move in the area of a. This is the hallmark of a seasoned fighter. In any event, this does not bear comparison with the last diagram, where black's powerful wall is rock solid. Incidentally, independent of this, is white's group in the upper right corner definitely alive? It is necessary that one ascertain this. Diagram 35 (Black sente, white lives) There is no way to bring an attack down on white other than to play black 1 through 7, but the white group lives with 10. Instead of white 8... Diagram 36 (Same result) In a real game situation, white will force [kikashi] with 1 & 3 in order to threaten black's wall. Regardless of this, white must come back to 5 to live. If black 6 at 7, white plays at 6 and the best black can do is to make the position into seki while ending in gote. Diagram 37 (Joseki) Black 1 also seems to be possible, but it is impossible to deny that there is something slightly lax about it. From white 2 through black 9, black's position is stabilized. If white omits playing at 8, black has the possibility of playing at a, so it is unavoidable.

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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 making 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 attachment 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.

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Diagram 42 (Vague) Entering the 3-3 point with white 1 is joseki. Here, is a counterattack with black 2 threatening to white? Far from being threatening, white would have to hold back tears of gratitude. After white 3 and black 4, white is left with the possibility of playing at a. Black's position, rather than being thick, is but vaguely sketched out. Of course, it all depends on the overall board position. At times when white has powerful influence in the lower right corner, black 2 & 4 is a strong way of playing, with the idea of neutralizing such a burgeoning position [moyo]. On the other hand, at such times white will not play at 1. Diagram 43 (Black gets tricked) In answer to white 1, black 2 is good. Next, white 3 is a trick move, but in regard to it, please see Maeda 9 dan's primer of problems. Suffice it to say here that if black plays 4, white 5 compels black to make a painful concession with 6, ending up tricked (with the same meaning as black 7 in Diagram 39). One must have the attitude that even a bout of spiteful stubbornness would not lead one to play black 4. Let's leave it at that. Diagram 44 (Black's true formation) If white 2, black reinforces with 3 & 5. This move of black 5 again gives one a good feeling. If it is omitted... Diagram 45 (Tricked) Playing black 1 & 3 is answered by the strong moves of white 4, 6 & 8. Another way of saying it is that the trick move has done its stuff. There is no alternative but to complete the shape with black 5 in Diagram 44. However, prior to black 5... Diagram 46 (Forcing [kikashi] with the atari) One wants to atari with black 1 and then leave the situation as it is. By exchanging this move for white 2, black gets in what can be regarded as a forcing move [kikashi].

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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 different 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?

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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 advantage, 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,

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with 35 games in the praxis that have been passed down to us. At the time, he was the opponent with whom Dosaku was most evenly matched." Joe Patzer: "In Diagram 1, Dosaku is playing white and Chitetsu is playing black, right?" Sensei: "This was in 1668, so Dosaku was only 22 years old and ranked 7 dan. The moves from white 1 through 13 comprise a technique that Dosaku made common use of, and in games with Chitetsu he very often played this way, making this shape. Out of stubbornness, Chitetsu would also always answer in this way." Joe Patzer: "But surely he hasn't been tricked here?" Sensei: "Of course, just this in itself, the joseki in the local area, is played at the present time as well, and the result that is produced is a 50/50 division of profit and influence. However, following this, the way black played in the lower left corner was how black ended up getting tricked. Sixteen moves after the board position in Diagram 1, we have Diagram 2, where after white plays at 2 and throws in the cut of white 5, black's response with 6 & 8 is the misstep that causes black to get tricked." Joe Patzer: "I see. After having it pointed out and considering the implications, it seems like black's influence on the lower side represents a duplication of effort, doesn't it?" Sensei: "Even though the position in the lower right is solid and strong, black's moves at 6 & 8 are at a distance that is only two points away, and this is terrible. At that time, research on theory in the game of go had not progressed very far, so black was not even aware of the loss that had been incurred. Since that was the case, Dosaku was always making use of this kind of play. The outcome of this game was that white won by 4 points."

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Joe Patzer: "Hey! Diagram 3 looks just like the last one!" Sensei: "This was in the year 1674, making it six years after the previous game. However, the technique used here is the same, and in this game Dosaku won by 5 points." Joe Patzer: "Likewise here, black 22 & 24 make an overlapping of influence, and represent getting tricked, right? After making the exchange of white 1 for black 2, white plays 3 through 15 in the lower right, which is the normal course of development, and then after that, Dosaku throws in the cut of white 21, etc., and the move order used here may be characterized as a manifestation of Dosaku's brilliant skill, isn't that true?" Sensei: "In this six year period since the previous game, Chitetsu did not seem to have progressed at all. During this year of 1674, Dosaku and Chitetsu played eight games against each other, with Chitetsu being beaten down in the series to the point of having to take a two stone handicap, but Diagram 4 shows a position from a game which featured the unusual result in which Chitetsu won playing with only the first move advantage." Joe Patzer: "The position on the lower side is exactly the same as in the last game, isn't it?" Sensei: "Here again black responded with 22 & 24, once more falling in line with white's wishes, and since Dosaku continued to profit using this line, he repeated the exercise of this trick play. White's play all across the board in this game as well, was skillful, but in the endgame white made a mistake, and black ended up winning by 6 points. Regardless of the outcome of the game, please try to understand the kind of high level strategy behind the maneuvers used here. Just killing stones is not all there is to trick plays."

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Joe Patzer: "It seems like the House of Yasui continued in the dark regarding this kind of duplication of influence for a long period, didn't it?" Sensei: "About one hundred and seventy years after this, Shusaku loved to use the move at black 1 in Diagram 5, which prevents white from making the fencing in move at 1, sealing black in. Once this diagonal move is in place, then, for example, even if the development in Diagram 6 takes place, this time the distance between the two positions is five points, and black can feel satisfied with the situation. This is the interpretation that one should arrive at. Of course, you are familiar with the Shusaku style of playing black's moves of 1, 3 & 5 in a set opening pattern, and continuing from that point on, this diagonal move comprises move number 7, with the intention being to prevent white's fencing in move at the same point." Joe Patzer: "Despite this, it seems like the House of Yasui at the time did not to view this as a loss." Sensei: "They still were not aware of the truth of the matter. If the truth had dawned upon them, in any number of games, they might have played for a variation like the one in Diagram 7, answering white's marked stone with black 1, and if white plays at 2, black answers with 3, and then next, if white plays 4, black can put up resistance by answering at 5. Also, there is Diagram 8, where, when white plays the marked stone, you can see that if black extends upward into the center, and if white continues by playing at 2, black can opt for the variation with 3, and has ample scope for putting up resistance. In Diagram 8, black's position in the lower right is strong and solid, so even if white turns outward with 2, it will not affect black in the slightest." Joe Patzer: "One must first take care to avoid the duplication of effort, huh?"

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Trick Moves and Joseki Joe Patzer: "What will you present as your second lesson?" Sensei: "Let's look at the disposition of the situation that arises after the set moves that comprise joseki have been played out. The moves of joseki have been passed down from time immemorial as leading to a fixed position that is equal and then what happens, is that there is a pause in the action, and the matter is simply left at that, without any follow up bothered about, and practically no advice given. Consequently, there are no small numbers of players who have learned the set patterns of joseki, but when they reach the middlegame, get into situations in which they incur tremendous losses. One example of this can be seen in Diagram 1, which I would like you to examine at this time. For all of those who love to play the game of go, this is a very common pattern that can hardly be unfamiliar to anyone. When black plays the move at 3, the correct order of moves that must be followed is to answer at white 4. Then we have Diagram 2, where the moves to white 10 make up a set pattern. The exchange of the marked white stone for black 1 is one that works efficiently, guarding against the threat black has, to use the sequence of black a, white b, and black c, in order to push through and cut, but now white can answer with d, black e, and white f." Joe Patzer: "That seems like only common sense!" Sensei: "Well then, Mr. Joe Patzer, in Diagram 3, when white plays the marked stone, what if black plays the move at 1, what will happen in that case?" Joe Patzer: "Of course, white will push through at 1 in Diagram 4, and cut with white 3." Sensei: "And then what happens if black plays the move at 4?"


Joe Patzer: "Well, let's see. We can continue with the sequence in Diagram 5, where white plays at 1, and then follows this up by playing at 3 & 5." Sensei: "At what happens if black then plays at 6?" Joe Patzer: "Well, let's see. How about continuing with the moves in Diagram 6, with white playing 1 through 13.I suppose that by breaking out into the open, black hands white a setback. This must be another example of getting tricked." [The marked black stone is not referred to in the text. It probably was put into the diagram to indicate where the throw-in and recapture takes place.] Sensei: "This isn't an example of getting tricked, it's the way that matters will normally proceed in this situation. However, after this, there is an important move that must be played. It is an insight that has been passed along by Go Seigen Sensei directly, and the fact of the matter is that after this, white must play as in Diagram 7, continuing after the marked black stone with white 1. This exchange of white 1 for black 2 is very important, and white is not doing badly. If white neglects this and black is permitted to hane upward at 1, white is not good." Joe Patzer: "Hmm. Is that so?" Sensei: "One more thing, another move that has come to us from Go Seigen Sensei is shown in Diagram 8, a way of playing after black, in response to white's marked stone, plays elsewhere. Then white 1 through black 14 is inevitable. Since there is a cutting point to the left of white 13, black wins by one move in the corner, but the important thing is the exchange of white 15 for black 16. Furthermore, white can play at a as a forcing move [kikashi], and so the conclusion is that white is not doing badly. Please do not forget this move at white 15. Joe Patzer: "I guess one has to know about vital points in variations after joseki."

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Trick Plays and Ladders Joe Patzer: "What will you present now as your third lesson?" Sensei: "The relationship between trick plays and ladders is an extremely important element that one must always bear in mind. "As an example, we have Diagram 1." Joe Patzer: "This is a joseki. I know it. "Jumping to black 13 at this point here is an important forcing move [kikashi] that one must have at one's command, and that white must also answer immediately with 14 & 16. "If black manages to get in a move at the point of a, instead of playing at black 15, drawing back to black b is possible." Sensei: "Exactly right. However, one thing that must always be kept in mind is that at times when the ladder is not good, black can get tricked here as in Diagram 2, by having white play 1 & 3. "There are not very many people who are aware of this situation, and so I have taken it up here as the subject matter at this point, but Go Seigen Sensei took up the matter in one installment of a series of magazine articles that were published under the title of Watch Your Next Move, New Edition." Joe Patzer: "Suppose black answers white's marked stone in Diagram 3 with 1." Sensei: "In response to this move at black 1, white's cut at 2 is skillfully played, and the sequence proceeds to the block at 8." Joe Patzer: "Well then, how about playing at black 1 & 3 in Diagram 4?" Sensei: "That way of playing offers the greatest resistance, but white wins with the sequence of moves from 2 through 10. "The question of the ladder comes up when, after this, play continues with black a, white b, black c, white d, and black e. "There are quite a few cases of joseki which involve danger when a ladder is unfavorable, so there is a fully justified fear that by indiscriminately memorizing joseki one can end up tricking oneself. "Furthermore, if black plays 1 in Diagram 4 at 10, white answers at 2."

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Joe Patzer: "Actually, speaking of joseki books, if it is not pointed out that one cannot play in a certain way because of a ladder, or that one must be careful in certain situations, that is being really unkind." Sensei: "It is exactly that unkind side of those go books that is the source of delight to the tribe of trick play artists. Consequently, it is necessary that those individuals who have an interest in trick plays thoroughly study the joseki that end up in this kind of disaster because of a ladder. In a section that follows, a game between Maeda and Go is examined in which Go was tricked because of an unfavorable ladder, which points up the inherent fascination in the relationship between joseki and ladders. There is another example of a trick play with subtle ramifications. That is shown in Diagram 5." Joe Patzer: "I see that white 1 avoids blocking at the point of a." Sensei: "Continuing from Diagram 5, we have Diagram 6, in which black butts up against white's position with 1. It is truly surprising the number of players who will do this. By playing this way, one falls right into the trap. After playing at 2 & 4, white makes the placement at 6, and has achieved success. When black plays 7, white plays at 8." Joe Patzer: "Well then, how about playing at black 1 in Diagram 7?" Sensei: "In that case, white hanes into the black position with the move at 2, and after black 3, plays at white 4. Following this, the sequence to black 11 and then through white 14 is, for all intents and purposes, a straightforward variation with practically no possibilities for deviation. Here the question is the status of the ladder that results from black a, white b. black c, and white d. Then again, when black plays at 1, one of white's options can be to play at 2 and the following moves in Diagram 8, embarking on a strategy of sealing black into the corner, but the key to success or failure of this variation depends on whether, when black cuts at 13, white can capture the stone in a ladder by playing at 16." Joe Patzer: "When white plays at 1 in Diagram 5, what is the correct way for black to respond?" Sensei: "If black draws back to b, there are no problems. If white then plays a, the position reverts back to the joseki. This may be called a trick play that incurs no loss even if it fails to trick the opponent." Joe Patzer: "A legitimate trick play?"

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Trick Plays and Psychology Joe Patzer: "What is the psychology of the situation when one uses trick moves?" Sensei: "For the party engaging in the trickery, under ideal conditions, the opponent is unaware of being tricked at all. "But according to circumstances, one may resort to fighting strategies employed in the operation of the four precepts of Japanese swordsmanship [kendo]. That is, provoking fear, surprise, suspicion, or confusion in the adversary. "By falling into such states, the opponent will, in general, head toward courses that result in being tricked. Perhaps you are familiar with the variation that is shown in Diagram 1." Joe Patzer: "I have seen it innumerable times and know it well." Sensei: "Well, what will happen if white moves out directly with 1 in Diagram 2?" Joe Patzer: "Black will capture white with the moves from 2 through 6. "Following black 6, a ladder is threatened with the moves of black a, white b, black c, white d, and black e. At the same time, black is threatening to capture white's group in the center by fencing it in. "White might try to handle both dilemmas [shinogi] by playing at f, but even in that case, black g, white h, black i, white j, and black k make the situation untenable for white." Sensei: "You passed that test very well. Now then, keeping that scenario in mind for a moment, what happens now if white plays I in Diagram 3?" Joe Patzer: "The usual answer is to play the diagonal move of black 2." Sensei: "If you do that, you've been tricked. When white plays the move at 3, the situation is serious." Joe Patzer: "In that case, how about the move of black 1 in Diagram 4?"

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Sensei: "That's another example of falling victim to a trick move. "When white plays the moves at 2 & 4, black is once again faced with a dire predicament." Joe Patzer: "Then what would be the correct way to respond?" Sensei: "When white plays the move of the marked stone in Diagram 4, the correct way to answer is to simply make a connection at black c. [Only c is referred to in the text, probably because of space constraints. Perhaps the intention was to point out that after white cuts at 6, if black plays atari at a, white replies with the atari in return at b; then, after black connects at c, white plays at d, and black does not have time to capture at e, since white plays f and squeezes. Simply playing atari with black e after white 6 brings on the throw-in of white c] "Patterns like this one often occur in handicap games, with many opportunities for trick plays. "Diagram 5 shows a variation that often appears in handicap games." Joe Patzer: "You see it being played all the time." Sensei: "Seeing the situation from a slightly different perspective, we have the variation in Diagram 6. "When black plays the hane at the marked stone, white avoids making the exchange of a for black b. "White's aim is to play the moves at 1, 3 & 5 in Diagram 7. In short, white intends to take advantage of the shortage of liberties that occurs in black's shape when white cuts at a, black plays at b, and white plays atari at c. This is enough to drive black to distraction. Joe Patzer: "So what is the best thing for black to do?" Sensei: "Go Sensei recommends playing at black 1 in Diagram 8."

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A Trick Play Masterpiece Joe Patzer: "Dogaku Sensei, please show me your favorite trick play." Sensei: "I will show you a masterpiece of the genre that has recently appeared. It has only been made public lately, so there are a considerable number of go players who still do not know anything about it. That means that there is a lot of scope to play it effectively, and I heartily commend it to your frequent practice and wide use. "First off, we have the moves in Diagram 1." Joe Patzer: "What do we have here? White 9 is a severe blocking move, isn't it? "There is no way in the world that black would play at a here, followed by white b, black c, and white d. That is unplayable, so the choice comes down to cutting or making a pincer attachment." Sensei: "Whether black plays a cut or a pincer attachment, white has an answer ready and waiting! That's the fact of the matter." Joe Patzer: "The pincer attachment is the move of black 1 in Diagram 2. White will descend at 2, and the moves from black's cut at 3 through black 11 comprise an unforked road." Sensei: "In this case, white has the answer at 12 prepared, and if black plays the move at a now, white answers at b, and with the sequence of black c, white d, black e, and white f, the matter is settled." Joe Patzer: "Oh gosh, you've got me there! In that case, there is the cut of black 1 in Diagram 3." Sensei: "Then, in the sequence shown there, the exchange of white 6 for black 7 is very important, and white jumps out to 8. "If one wonders why that exchange is so important, the reason is shown in Diagram 4, where white simply jumps out to that same point with the move at I. Black plays at 2, 4 & 6, and the famous technique of patting the raccoon's belly with the moves of black 8 & 10 results in white being captured." Joe Patzer: "Even when that exchange has been made, black has no choice but to push through and cut off the white marked stone in Diagram 5. When white makes the move at 6, black cannot make a blocking move below that stone, since in that case white wins the race to capture [semeai] by one move, so black will play at 7 to start a ko

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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 available. 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 carefully 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 disappointment. However, even in that case white can be satisfied 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."

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Trick Play Curiosities Joe Patzer: "What famous examples are there in go history of trick plays?" Sensei: "Even though professional players aspire to a standard of excellence, they too are only human, and there are various instances of it happening. "One of the most interesting of these occurred in 1950, in a game played between Maeda Nobuaki and Go Seigen. At the time, Maeda was 7 dan and Go was 8 dan. Go was playing black. "The start of this game is shown in Diagram 1. The play at white 6 in the lower right corner is a wonderfully skillful ladder break. "When white later made the move at 32, black embarked on a fight with 33 & 35, but when white played at 40, black had no good options available. If black plays at a, the sequence white b, black c, white d, black e, white f, black g, and white h, ends in total destruction for black. "Therefore, Go was compelled to play the moves in Diagram 2. With the moves from 1 through 17, black is forced to sacrifice seven stones. "White gains sente in the bargain as well, and gets to develop a position in fine style on the lower side of the board with the moves at 18&20. "However, Maeda made a mistake in the endgame, and the upshot was that black won by resignation. "This game was played at Izu-Nagaoka City in Shizuoka Prefecture. "Following this game, about a half a year passed, and these same two players met to contest a game in the resort city of Atami on the same Izu Peninsula. "This time Maeda played black. Go Seigen had by then advanced to the rank of 9 dan, while Maeda was still ranked as 7 dan.

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"Diagram 3 shows how this game proceeded. Go repeated exactly the same variation of the previous game in which he had been hoodwinked, and then played the move at white 24. Naturally, the ladder in this situation is unfavorable for black. "Maeda, as the trickster who had the patent on this particular model, was not caught unawares, and answered with black 25 and 27. Thus, an innocuous result was produced on both sides, but instead of the move at white 28, it seems possible for white to play the cut at 29, followed by black a, white 28, black 32, white 38, black b, white c, and black d. "Regardless of this, the fact that after a half a year, in a rematch between the same two opponents, the technique was adopted which had been used to trick one of them, and turned upon the opponent who had used the trick, to test the response, is a source of fascination and delight." Joe Patzer: "You're telling me!" Sensei: "On the other hand, the following game was played close to twenty years later, in October of 1968, as the fifth game of the Meijin Title Match. "Takagawa was the challenger to Rin Kaiho Meijin, who was down three losses to one win and faced the loss of his title with this game. "The same move was played here, black 19 in Diagram 4. Rin, playing white, was surprised by the move, and submissively answered with 20 & 22. Playing black 25 gave Takagawa the advantage, and was the reason that he won and became Meijin. In the analysis after the game, Go Seigen said, Rin, here at white 20, the joseki move is at white a, followed by black 21, white b, black c, and white d, don't you know! Rin replied that, However that is, those games where the joseki was developed were played when I was a child of seven years old in Taiwan. I didn't know about those moves at all..."

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Trick Play Afterthoughts Joe Patzer: "Finally, do you have any other techniques to pass along to the reader which may be useful in real game situations?" Sensei: "In that case, there is the following. "Rin Kaiho and others have recently been playing in a certain way, and for that reason, in part, that style of play has been adopted with great enthusiasm by many amateur go players. "That pattern is shown in Diagram 1 and as a supplement to the preceding pages, I would like to offer some friendly words of advice. I want to convey the warning that if one is careless, there are all sorts of traps one can fall into with this position." Joe Patzer: "In the games of Rin and others, the division of the corner follows the moves in Diagram 2, and this is a peaceful result." Sensei: "Quite so! If Diagram 2 is the result, one has nothing to worry about. "One can point out that in this shape, white's marked stone provides more stability for the group than it does when it is placed at a in a related position. In short, when white's marked stone is placed at a, black's checking move at b next is severe." Joe Patzer: "However, Dogaku Sensei was speaking of problems with trick plays in this pattern." Sensei: "There are two types here. "The first type is shown in Diagram 3. "And the second type is shown in Diagram 4. "But it must be pointed out, first of all, that in either case, the initiative lies with white whether to play the order of moves that forces the unfolding of events. Regardless of whether black likes these lines of play or not, the only option is to make the attachment at the 3-3 point to begin with. "Speaking of Diagram 3, when white hanes over the marked black stone, black's only possible reply is to cut at 2, and then if white plays the atari of 3, black has to answer with the move at 4. "At that point, white's choices diverge along two paths. White can either play the move at 5 in Diagram 3, or the move at 1 in Diagram 4. "Well then. At this point, what would young Joe Patzer consider doing?"

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Joe Patzer: "If the situation is the one in Diagram 3, I would play as in Diagram 5, living in the corner with black 1 & 3 before anything else." Sensei: "That falls right in line with white's wishes. Play may continue from here in any number of directions, but white will look for a chance later on to descend at a, and when black plays atari against white's two stones with the move at b, the hane of white c deprives black of the possibility of making two eyes. "White's intention is to create a shortage of liberties here, so at some point black must take action, even if it is only to play a hane once below the point of c, to neutralize white's threat." Joe Patzer: "I see what you mean. So then, with the position in Diagram 4, is the continuation in Diagram 6, where black plays the moves from 1 through 5 in order to live, also an example of falling into a trap?" Sensei: "White is lying in wait to play 8 & 10, thereby capturing black's three stones with a fencing in strategy. White welcomes this gift. "The exchange of the atari at black 1 for the connection of white 2 is bad." Joe Patzer: "Oh my gosh! There's no way to escape from this, is there? In that case, please demonstrate the correct way to play." Sensei: "In the previous diagram, the correct thing to do is to play as in Diagram 7. "With the moves of 1 & 3, black discards the two stones in the corner lightly as a sacrifice, and by extending to 5 gets a sufficient result. Black's position is solid and stable. In addition, it is not open at the edge of the board. "It's best for black not to be overly concerned about living in the corner." Joe Patzer: "And the latter diagram..." Sensei: "The correct way to play in the latter diagram is shown in Diagram 8. "Black would like to cut with 1, and after white 2, play the move of black 3, but this turns out badly when white ends up playing the fencing in move of 12. Therefore, it is correct for black to use the move at 1 to turn at a. "I have to add here that Kobayashi Koichi 7 dan [at the time of publication] was kind enough to point out this move of black a." Joe Patzer: "Acknowledged. Regardless, the material for study across the board is limitless."

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The Kaizen Massive Walling In During the Edo Period, between 1781 and 1789, there was an accomplished player named Kaizen. In his younger days, this Buddhist priest came to Tokyo from Komatsu in Ishikawa Prefecture to become an acolyte at the Shizo High Temple. As a child, Kaizen was attracted to go, and he was known throughout Edo as "a funny kind of master player". Kaizen's go was quintessentialy amateurish, but he had few rivals to his fighting strength, and between 1804 and 1818, he was ranked shoulder to shoulder with Shinomiya Yonezo. He played Honinbo Satsugen at three stones, and crossed swords with Retsugen taking black. Diagram 1 shows the starting point of his famous "Kaizen Massive Walling In". The mutual diagonal play from corner stones is now obsolete, but was played constantly in the Middle Edo Period, and laid the groundwork for this trick play. Diagram 2 White goes for broke with 4 & 6 because the ladder is favorable. But this is what black has been waiting for. If the ladder was not good for white, at 9, black plays a and b and white is annihilated. Through 12, white hangs tough, but... Diagram 3 white 6 is a terrible move. Diagram 4 Black 1 starts the process. Diagram 5 Up to 13, black's sacrifice strategy is successful. White has 40 points. Black's solid wall is good for at least 40 points on both sides. White 6 in Diagram 3 would have been correctly played at 8.

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Chapter 4: Caution! Trick Play Ahead! (Being a Primer Comprised of 25 Problems)

Maeda Nobuaki 9 dan

To Begin With From the basics through the practical application of trick plays, then on to actual game examples and psychological strategy, there have been various materials for study offered here, and this final section takes the form of a test. Please take this opportunity to try your own strength. Twenty-five problems posed by Maeda 9 dan are given. Among them, there are difficult ones and there are simple ones, but if you can solve all of the problems without difficulty, you may be considered an amateur 5 dan in strength. Caution! Trick Play Ahead! is the title, but the questions are not limited to trick plays. A variety of forms have been chosen, including techniques commonly practiced by strong players, unusual joseki patterns, basic life and death shape in the corner, deft handling [sabaki] of middlegame situations, skillful finesse [tesuji] in the endgame, etc. There are also methods that have broad application in actual fights, as well as shapes that you are undoubtedly familiar with, but will you be able to find the correct solution? Using knowledge alone to come up with an answer may perhaps run into an unexpected ambush. There is some real mischievousness contained in this test, so be careful. The Editors

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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?

One's footing is secured by illumination and reflection

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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 overconcentration. 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 underneath at b. Diagram 2 (Making a loss in advance) The attachment of black 1 and the block at 3 makes white solid and strong, a loss which black accepts in advance of attacking on the lower side, although there is no guarantee of such an attack bearing fruit. If black plays a, white replies at b, and it seems as though white will have no problem managing the situation [sabaki]. White is left with scope to slide to c. Diagram 3 (An even result) Black 1 shows a defiant attitude, and if white responds at a, black has sufficient resources with the move at b to fight. Therefore, white will go for an exchange [furi-kawari] with 2 and the following moves. The variation up to black 7 is considered about even. Diagram 4 (The correct reply) Black 1 cuts the heart out of white's machinations to handle the position [sabaki], fortifies black's own base, and makes attacks on either the left or the right side equivalent options [miai] for black. Next, both moves at black a or b are severe aims, and it is apparent that white's overplay has been exposed for what it is.

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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 footwork 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

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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. Diagram 2 (A finesse, but) Playing atari once with black 1 and then drawing back to 3 is a finesse [tesuji] that is often effective. However, under these circumstances the shape that white makes by jumping out to 8 is good. Consequently, this is not quite sufficient for black. Diagram 3 (The correct reply) The ataris of black 1 & 3 set the shape here, and by doing so, an exchange of the inside for the outside is put into motion. This makes the continuation easier for black. After playing these moves, connecting at black 5 makes pushing through at 7, or capturing two stones with a move at black a equally good alternatives [miai] for black. If white answers at 6, black plays 7 & 9, completing the shape in good form. In addition, since a move at black b is practically sente against the corner, black's shape is thick. Diagram 4 (Sufficient outside influence) If white responds by playing on the other side at 1, black's threat of pushing through at a is alleviated, so black develops with 2 & 4, which is sufficient. On the right side, black will not play at a now. Black b, white a, and then black c makes shape.

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Playing Three Moves Elsewhere

Trick Moves: A Test

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.

Attention takes a second of time, a wound lasts a lifetime

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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 conspiracy among strong players to propagate this. Look how white, with the moves starting with 2, squeezes black like a boa constrictor, 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. Diagram 2 (Somewhat better) When white plays at 2, if black is concentrating on-living, playing 3 through 11 gives black more territory than in the last diagram, and also, cutting across the knight's move at a is a clear-cut aim, so we can say that this is somewhat better. Diagram 3 (Go Seigen style) Go 9 dan insists that living with black 1 & 3 is far superior to the last two diagrams. Diagram 4 (An exchange) If white plays at 2, black 3 initiates an exchange [furikawari]. Following the sequence here, black is left with the option of crossing underneath with black a, white b, and black c, making it an acceptable position. There is also life for black by using 3 to connect at 4, then white d, and black 14. However, above all, the conventional "wisdom" is bad, and black cannot hope for a good result by adhering to it. Playing elsewhere after doing so twice already is how one gets tricked.

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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.

Opportunity makes the thief

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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. Diagram 2 (A nasty ko) Black 1 & 3 are clear and simple moves that manage to reinforce on one side, while manipulating white to play at 4 on the other, or so it is written in some books one runs across. The rationale is that black can go for the corner territory with 5 & 7. When white moves out with 8, black 9 appears to be a skillful finesse [tesuji], but white is left with the option of forcing a ko fight, willy-nilly, with the sequence through 24. Diagram 3 (The correct reply) Descending to black 1 here is the strongest and the best move. If white responds to this by playing at 2, black hangs tough by moving out with 3. If white cuts at 8, black makes sure of the corner territory by playing at 11, and can fight on equal terms on the side of the board. Diagram 4 (The corner is white's territory) If white plays at 2, black's sequence of moves with 3, 5 & 7 is cut-and-dried. White can live in the corner with the moves through 14, but black has a decisive advantage in the center fighting. When one is told not to cling to the territory in the corner, this is what is meant.

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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.

Don't look a gift horse...

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Solution Making Profit in Advance Diagram 1 (A model example of getting tricked) By defending at 1 because of abject 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 activity. 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. Diagram 2 (The correct reply) In this case, going right for the profit at hand is just fine. However, when white plays at 2, if black does not slice through white's knight's move with 3 immediately, and fight, black's position will steadily deteriorate. Since the ladder does not work for white, play proceeds through black 11, and the result is such that one questions what in the world white is doing. Diagram 3 (Apprehension about the corner) If black does not fight immediately with 3 in the previous diagram, white will play in the vicinity of 1 here, lessening the severity of black's slicing through the knight's move, a ploy which, furthermore, sets the stage for the devilish move of white a, etc., in the corner. Diagram 4 (Set pattern) White's move at I to begin with is normally played as the connection underneath here. Black 2 & 4 make good shape, but whether black uses 4 to atari at 5 depends on the overall position. Thar atari is par for this shape.

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Buckling Under Goes Against the Grain

Trick Moves: A Test

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.

Attack is the best defense

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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 extraordinary 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 position [sabaki] and earned sente. Diagram 2 (An olden shape) In olden times connecting at black 1 was recommended. The reason was that after black wins the ko that white starts with 2 & 4, the shape here works more efficiently than the one with the black stone placed at a. But with this shape too, white holds the right to choose the timing of when to start the ko, and for black this goes against the grain. Diagram 3 (The correct reply) This high pressure attitude originates from a desire to hide white's position of weakness. Black should calmly strip white of a base by playing at 1, and when black takes the ko, the go proverb that states: There is no ko at the start of a game applies. If white tries to fight the ko anyway, when white takes it, black expands outward at a, making it an all-ornothing ko that black is set on winning. If play proceeds with black a and white b, then connecting with black c is sufficient. Diagram 4 (Great profit) If white plays for an exchange [furi-kawari] with 2, black is delighted to solidify the territory in the corner on a large scale through black 9. After this, if white plays at either a or b, black answers at c.

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Feet Swept out from Underneath

Trick Moves A Test

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.

Every rose has its thorn

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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 stronger 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 turnabout, with black's group coming under attack from a white stone in the area of a. Diagram 2 (Inadequate) Black can also play the hard-nosed blocking move in the corner with 1, but what is troubling about this is that white's group is allowed to become settled comfortably. At any rate, if there is reason to fear in these positions, one would like to see black take up a stronger fighting stance. Diagram 3 (The correct reply) When white goes to slip deeper into the corner, it stands to reason that the position on the outside will become thinner. If one's footing is usurped, then crush down from above. With this in mind, black puts on pressure by blocking at 1 & 3, and no matter how the fighting proceeds from here, black has the upper hand. If white plays at 4, in the continuation through 13, black lets the corner live, but white's group on the outside is isolated from support. If white 4 is played at 10, black connects at 4, and white's marked stone is reduced to meaninglessness. Diagram 4 (Indomitable impetus) If white 10 in the last diagram is played at 1 here in a bid for outside influence, black is given a large piece of territory, and white's shape offers few prospects for victory.

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Excavation of a Position Open at the Bottom

Tnck Moves: A Test

A one space jump is open at the bottom, and if white plays something like 1 directly, 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.

Worries ahead, joys but a remembrance

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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. Diagram 2 (There are times when common sense...) When white slides into the position with a move on the second line, it is common sense for black to pound down on the white stone from the fourth line with 1, but with the back door to the corner wide open, black ends up having the guts ripped out of the whole position. The shape that results may be considered to be a worse example of getting tricked than that in the previous diagram. Diagram 3 (Likewise, from the back) Black cannot expect white to respond to the diagonal move of 1 by playing at a. White will assume a defiant attitude and likewise here, enter the 3-3 point with 2 and then play a move at 4. Black's group winds up virtually floating without a base. Following this, if black plays the move at a, white answers with a move at b, and the condition of black's group is critical; black is halfway destroyed. Diagram 4 (The correct reply) Without fear and without getting flustered, black must occupy the vital point with a move at 1, firmly maintaining control of the most important asset. By stabilizing the position in this way, a pincer on the right side, and a move at black a become equivalent options [miai].

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One Line, A World of Difference

Trick Moves: A Test

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?

Footprints of the forerunner

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Solution Checking Measure Parameters Diagram 1 (A model example of getting tricked) Black 1 in this diagram truly illustrates 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 miserable for black, so instead of playing at 3, black will probably make the move at a, followed 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. Diagram 2 (More excruciating) Black I conforms to form better than the move in the previous diagram, but leads to an even more excruciatingly painful result, although there is still time to bail out. The fact is, though, that after white plays at 6, the moves at a and b are simultaneously available [miai], leading one to want to cover one's eyes at the miserable state of affairs for black. Diagram 3 (A safe move) If one is looking for safety, defending the vital point with black 1 is safe. But this situation is different from the previous pattern in that white has encroached further upon the corner, and this difference has an enormous impact on the amount of eye space that black can make there. Diagram 4 (The correct reply) A move that has been played in an overextended manner should be crushed flat, and black I is perfect in this shape to check white's ambitions. Through black 7, white has gained nothing. If white 2 is played at a, black settles the position with 3, white b, and black c, making equivalent options [miai] of black d and e.

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Being Dumfounded will not Do

Trick Moves: A Test

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 sacrificial invasion, the difficulty is in making sure that one does not make too earnest an attempt to capture the stone.

Reflect and speak anew

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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. Diagram 2 (Capturing is also a loss) Black 1 is the kind of good-for-nothing move which would be considered valueless in any era, today or in the past. Naturally, white's one stone is restricted somewhat in its operation, but white is under no obligation to try to move out with this stone. With a show of unconcern, white discards it with the moves from 2 through 6, and black is in agony. Diagram 3 (Skeletonized) If black could make the forcing move [kikashi] at 1 and then capture the stone on a large scale with 3, nothing would be better, but white lives easily with the moves from 4 through 8, and black is left with nothing but a skeletonized shape. Diagram 4 (The correct reply) If one wonders how to proceed, it is by firmly reinforcing the position with the moves at black 1 & 3. If white plays 6 at 7, black takes the move at a. White 6 is played out of distaste for this, but black 7 & 9 further strengthen the position, and afterward, black can aim at playing the sequence: black a, white b, and black c.

166

A Trap of One's Own Devising

Trick Moves: A Test

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.

Look before you leap

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 between 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, leaving black's shape in shreds. If at 3, black goes back to play at 6, white makes a hanging connection at a, and the shape is practically the same as in the next diagram. Diagram 2 (Only one eye) The connection of black 1 is a move that should be classified as "heavy" rather than "thick". The diagonal move of white 2 provides a resilient connection with the outside stone, and if black answers at 3, white forces [kikashi] with 4, 6 & 8, leaving black with only one eye. The resultant position has white dictating the pace by chasing black out into the open with 10. If black plays 3 at a, white plays at 9, and black's base is further eroded. Diagram 3 (The correct reply) Blocking at black 1 in the corner, and thereby living in the corner, simplifies and clarifies the situation. White makes good shape with the moves through 6, but black's territory in the corner is nothing to sneeze at. Diagram 4 (Good points and shortcomings) If white plays the move that worked so well above at 2, black still plays at 3 & 5, following the natural rhythm of the stones. After black 7, white can aim at attaching at a, but black connects at b, and will live using a combination of throw-in stones and white's shortage of liberties. In this diagram, white's shape is thin.

168

The Significance of Stones Already Played

Trick Moves: A Test

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.

Every cloud has a silver lining

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 corner 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 standard one, in reality, the resulting shape is one in which black has been half tricked. Giving way with black 3 at 4 leads to essentially the same outcome. Diagram 2 (Getting forced) The empty triangle of black 1 is a consummate example of getting forced, the move not having the slightest impact on white whatsoever. Therefore, white will leave the situation as it is for the time being, looking forward to playing the sequence following 2 to make life, and the invasion at a. Diagram 3 (The correct reply) Regardless of whatever happens, descending to black 1 is the only move. White ravages the corner with the moves following 2, but black becomes strong on the outside, leaving white's three stones floating in the shadow of that thickness. In addition, black cuts at 7 & 9 in the corner, taking half of the territory there which has now been delineated. This kind of process is what go is all about. Diagram 4 (Same as above) If white plays 6 in the last diagram at 1 here to live in the corner, black answers with the lithe moves at 2 & 4, and here as well, black is well off. Black takes half the territory in a similar way as in the last diagram, while the pressure on white's three stones is more severe.

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 encroaching 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. Furthermore, it is a three space extension in a low posture, so one expects that there in a way to take it to task.

Every Jack has his Jill

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 attack, 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. Diagram 2 (Tiding over shape) The placement move of black 1 is fierce, and certainly gives white a lot to be worried about. However, this sort of fierce move tends to have its force redirected back against itself, allowing the opponent moves that tide over the difficulties [sabaki] here as well. In this case, veering off with white 2 & 4 will throw matters into confusion. Diagram 3 (The correct reply) The stone on the fourth line butts down against the stone that has slid down to the second line. The intention is to ram a heavy stone down from above, making a blocking move on either side equally valuable [miai]. White 2 & 4 stabilize the group one way, but black is left with the sequence black a, white b, and black c to aim at. If, in answer to black's move at a, white draws back tod, black plays the hane and connection starting with the move at e. Diagram 4 (Large scale blockade) If white extends to 2, black needn't go so far as to block at 4; calmly blockading the group with the moves from black 3 through 7 is sufficient. The thing that captures the eye immediately is the low posture of white's group here.

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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.

In for a penny, in for a pound

173

Solution Work on the Cut Side Diagram 1 (A model example of getting tricked) Of course, there is a ladder relationship here, but pushing up on this side with black 1 means annihilation. Even if the ladder is good for black, after white 6, capturing with black a is answered with a white fencing in move at b, leaving black with the short end of the stick. Diagram 2 (The correct response) Pushing on the side that has been cut is correct. White 2 & 4 follow common sense technique, but the variation that follows through black 7 is not very attractive for white. After this, white can play the forcing moves [kikashi] of a and b, thereby managing to connect underneath to the marked white stone. However, this kind of thing squeezes just the bare minimum of use out of that marked white stone. In addition, if white plays the move at 4 as the atari at d and on to one point above this, giving black a two stone capture at black 4, this time the tables have been turned and white has been tricked. Diagram 3 (Sufficient outside influence) If white plays the offbeat move at 4, black can respond with 7 through 11, squeezing white's group to gain outside influence. Black 13 occupies an essential point. Diagram 4 (A bewitching move) If white wants to get the utmost utilization from the marked stone, white 2 is best. If black makes a single error, the situation can become critical. Probably black 3 is the best response, and next, black a, white 4, and fencing white in with black b, is an option equal [miai] to the black move at 7. White 4 puts up the greatest resistance, but by using the stopgap measure of 5, black can capture with 7.

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.

Impenetrable darkness even an inch ahead

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 playing 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 smiling triumphantly. Diagram 2 (Halfway tricked) If black tries to simply hane at 1, white pushes out at 2. If black blocks at a, white cuts, while not doing anything will bring on a white move at 3, which would be big. Even so, playing the move of black 3 has absolutely no effect on white. Diagram 3 (Tricked) Since letting white push through has baleful reprecussions, pressing down at black 1 is a good idea. However, if black gets carried away and tries to pin white down even more relentlessly with 3 and 5, white will play at 6 & 8, gathering strength for an attack, and black will be crying in pain. Diagram 4 (The correct reply) After pressing down once with 1, black goes back to play at 3. In this situation, this is the one and only correct order of moves. Even though white gets to connect underneath with 4 & 6, black ends with sente, so this state of affairs is acceptable. If white does not play at 4, this time a black move at a is indeed severe.

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 enormous 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 malevolent villains do not always have villainous looks on their faces. There is only one correct move here.

It's not in the face, it's in the spirit!

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 underneath with 4 & 6, and in a split second this black group has to put on its heavy walking boots for a long journey. Diagram 2 (Only one eye) If black thinks that by giving way and playing 1 at the 3-3 point will secure the group, this is wishful thinking. After playing at 2, white will persistently set up a ko, while black stares in disbelief at the scarcity of eye space. But that reaction will not prove useful either. The cause of the damage here has been black's blind belief in the value of the 3-3 point. Diagram 3 (Drowning in shape) Black tries making a one space jump, mesmerized by the charms of making shape, but is there real substance to this or not? Here again, white persistently attacks, starting with 2, and when the sequence gets to move 7, black is forced to incur a loss in advance in order to prevent white from simply capturing at 13. On top of that, the shape is such that it appears that black will have to respond to white a. Diagram 4 (The correct reply) Even though by accepted canons of good shape, hanging down with black 1 is an ugly move, substantively speaking, it maintains the eye space here. Even if white forces [kikashi] with 2 & 4, attacking the corner, this shape is the same as in Problem Number 11, Diagram 4. If white plays at a, black b secures life because white has to avoid throw-in stones and shortages of liberties.

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 standard moves, there is nothing to fear from an inevitable fight that arises.

A cornered animal is dangerous

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. Diagram 2 (A flimsy finesse) Black's attachment at 1 is motivated by a meanspirirted scheme: black expects white to play at 5, whereupon black can draw back to a, intending to kill the whole group. However, the stronger player holding white will not be taken by this, but instead, smoothly make the moves from 2 through 6 to connect underneath, aiming to push through with b and cut. If black plays 3 at 6, white will push through at b and black will yell out Yipes! Diagram 3 (Thickness and strength or thick-headed?) If black presses from above with 1, the question is, to what extent will this thickness prove effective? On the lower side, white's group is given the opportunity to get settled, and as a consequence, the follow-up will be difficult. The possibility [aji] of an attachment by white at a is also a bit disagreeable. Diagram 4 (The correct reply) Black blocks in the corner with 1 pursuing safety first. White 6 & 8 are a finesse [tesuji] to get out into the open, but with 9 & 11, black applies pressure on the surrounding positions inexorably, and white is in hot water.

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...

Something for free is sometimes not a bargain

181

Solution A Question of Timing Diagram 1 (A model example of getting tricked) Rather than "getting tricked", cutting 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]. Diagram 2 (Acknowledged that stones will be captured but...) This is the kind of situation where one wants to push out immediately with a move at black 1 and see what happens, but when white answers with the moves at 2 & 4, the stage is set for both parties to be swept up into an inescapable clash of wills. Acting upon the impulse of the moment, black cuts at 11, but in the sequence that follows, black gets wrapped up and squeezed, and one wonders how to evaluate the matter of profit and loss here. Black's real profit cannot be disregarded, but white's outward influence is the thing that grabs one's eye, including the fact that the move of white a forces [kikashi] black to answer. Diagram 3 (Unplayable) If black dislikes being wrapped up, the only alternative is to play 7 in the prior diagram at 1 here, initiating the variation given. At 5, black cannot cut at 6 (because white plays at 5 and a ko results), so the outcome is unattractive. The only plus for black is sente. Diagram 4 (The correct reply) Consequently, the best thing that black can do is to leave the position as it is and see how events in the game proceed. If, at some point white's outward influence becomes an irrelevant factor, black should go ahead and take the profit to be made by resolutely playing as in Diagram 2.

182

Countering the Wood-worker's Square

Trick Moves: A Test

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.

There are no rules without exceptions

183

Solution Wedging in Decides at Once Diagram 1 (A model example of getting tricked) A faint recollection of matters regarding 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 position, 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 territory ate. However, white crawls at 7, threatening the stability of black's corner. Diagram 2 (A living shape only) Since the last diagram ends in failure, perhaps it is best to forget about connecting underneath and play the moves of black 1 and the rest to make life. Up to 9, black does make a living shape, but that is all. Even though white's territory has been ravaged, white's shape has become thick at the same time, and it seems like white will make equivalent inroads into the surrounding area as compensation. Also, before playing 1, black a, forcing [kikashi] white b is considered the correct move order, but in that case white would probably use 4 to attach at 5. Diagram 3 (The correct reply) Wedging in with black 1 is a good move. If white responds at 2, black can neatly connect underneath with the moves through 5. Diagram 4 (Strongest resistance) White 2 & 4 put up the strongest resistance. However, black connects in good shape by playing 5 & 7. Black has the initiative in the fighting and through 19 scores a signal success. If black plays 13 at 14, white a, and then black makes a throw-in at 5, a ko results, but the variation in the diagram ends in white coming under wholesale attack.

184

Prevented from Connecting Underneath

Trick Moves: A Test

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 underneath in one's repertoire is bound to make one uneasy.

If the East is no good, there is always the West

185

Solution A Favorable Ladder Diagram 1 (A model example of getting tricked) Moving out in a foolhardy manner with black 1 & 3, and feeling delighted to get to run out with black 7 betrays the unsophisticated nature of one's game. Although 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. Diagram 2 (Living is a possibility but...) Black can play 1 & 3 in a rough-and-ready manner, squirming all about to make life with the moves through 11. But making life is the only thing that is achieved. Although black is not left with a group that will come under attack as in the previous diagram, by making white's position become as thick as it is, black's groups in the surrounding areas will end up just as severely undermined. Diagram 3 (A skillful exchange) The most straightforward way of playing is to ignore the situation entirely and invade at black 1. If white answers at 2, black makes the diagonal attachment of 3, and a fight begins in a section where black has the advantage. If white plays 2 at a, then black b is perfect. Diagram 4 (The correct reply) Those skilled players who would disdain playing for the exchange [furi-kawari] in the last diagram would probably first consider attaching with black 1 and cutting with 3. White 4 is the strongest answer, but after black plays the good move at 15 solely to avoid a ladder, white is halfway destroyed. If white 4 at 5, black 4, white a, and then pushing through with black b is enough.

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 representative 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 expectations, possible problems [aji] are generated. When white attaches with the move at 4 and draws back with 6, defending with the connection of black 7 cannot be omitted. 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. Diagram 2 (Peril to the life of the group) Despite the fact that descending to black 1 is a good move, when white plays at 2, blocking from outside with black 3 is no good. With the moves through 8, white lives easily, while the life of black's own group is put in peril. Diagram 3 (Race to capture) Black hanes inward with I, but when white cuts at 2, greedily playing black 3 is no good here as well. When white cuts at 4, a sinister race to capture [semeai] is lurking in the sequence through white 10. Diagram 4 (The correct reply) The essential factors that one must keep in mind in this situation are: descend to black 1; hane inward with black 3; then, crawl at black 5. Knowing this much is sufficient. If white plays at 6, black plays 7, striving as far as possible to fill in white's liberties. There is no more scope for white's stratagems, and all of the villains are apprehended. Even in the solid three crow formation, this sort of danger exists. One must be ever on one's guard.

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.

Countering with several punches

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 reduced, but the eye shape of the group as a whole is compromised. Diagram 2 (Often happens) Preventing the connection underneath by playing at black 1 is good, but here too, one often runs across examples of white playing the variation of 2 through 12, and turning the position into ko. Diagram 3 (Unconditionally dead) At the point of 9 in the preceding diagram, black should first make the placement at 1, which allows white's group to be killed unconditionally. This is one of the standard life and death shapes, and as such one should have it memorized. Diagram 4 (The correct reply) In the last diagram, white dies an ignominious death; a hapless fate. So white must play the hane at 1 instead of 8 in Diagram 2, to see how black reacts. This is a more dogged response. If black plays 2 at a, white lives with a move at 9, so black must block here, and then white plays at 3. In this shape, white's connection at 4 is sente, so the variation that black used in the last diagram does not work. Therefore, the best thing that black can do is to start a ko by playing at 4, 6 & 8. For white's part, the exchange of the move at 11, taking the ko, and black 12 is unavoidable, though painful. After white plays 13 and black 14, the ko begins in earnest.

190

Should One Haggle over a Penny?

Trick Moves: A Test

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 underneath 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 absolute sente. If black simply plays at 1, according to the overall situation on the board, black can keep the move at 3 in reserve. Diagram 2 (A half-baked notion) Hanging tough by playing the descending move of black 1 is a good move, but black incurs enormous damage in the sequence from 8 through 14, where white snakes through black's position with nary a single hitch. If this were to happen, sitting tight and playing the variation in the previous diagram would have been better. Additionally, if white 10 is played at 12, black answers at 10 and white's effort ends in failure. Diagram 3 (The correct reply) Black 5 in the last diagram is correctly played at 1, capturing in the corner. This is the only way to put up resistance. Play proceeds to white 6, whereupon the finesse [tesuji] of black 7 causes the position to become one where black has an eye and white doesn't. To discover such a resource on the spot in this kind of complex situation is too much to expect, so one is advised to keep this knowledge in the back of one's mind. Diagram 4 (The same vital point) If white uses 6 in the prior diagram to connect at 1, black 4 is likewise the vital point: black's group has an eye and white's doesn't.

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.

There is nothing to fear from a careless opponent

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. Diagram 2 (Even if one gives way) If black gives way from the beginning by playing at 1, white answers in the same fashion with 2, and likewise here black cannot block at 3. With the continuation through white 8, there is, unconditionally, play for white in this corner. Diagram 3 (The correct reply) Among the various moves that one can make in response, in this shape black 1 is the best. Up to 7, black protects the corner territory to the maximum extent possible. Diagram 4 (A win in the race to capture) Even if white adopts a hard-nosed attitude and plays the move at 2, black plays 3 and the following moves to easily win the race to capture [semeai]. This is an out-andout loss for white, akin to a sacrifice without compensation, so even if black is forced to take the stones off the board when black's outside liberties are filled, it will not be a minus. The position after black plays at 7 is an illustration of the go proverb that states: At times, a race to capture, in which one group has an eye and the other does not, is meaningful. In this case, black wins the race by two moves.

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 seeing the position when white plays the hane at 2. Living with a move at white a, or playing 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 opportunity for white. Diagram 2 (Unconditional life) The next most common response is to make a placement at the 2-2 point in the corner, which oftentimes is a vital point. But the continuation with white 2 through 6 is cause for another gasp from black. Now, even if black takes the ko, white plays at a, strangling the liberties at black's disposal and living unconditionally. As an aside, it should be noted that if one is going to make a placement in this situation, instead of playing at black 1, a move at 5 is better. But in that case, white attaches at 1 and a ko results. Diagram 3 (Despair) It seems like there are also players who will decide prematurely that white has an opportunity to live unconditionally, and take the opposite tack, starting the ko with black 1 & 3. Diagram 4 (The correct reply) Black 1 takes profit in relation to the endgame plays above, while also killing white unconditionally, and so is most unexpected. And yet, it is simply the practical application of a finesse [tesuji] to prevent the opponent from making a forcing move [kikashi], so it cannot be considered truly exquisite. Believing in the correctness of white's moves implicitly is often the first step towards being tricked.

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 has large corner 56 black wins in corner 56

black gives up corner 45 black secures corner 56 corner territory versus center thickness 49 dangerously undermined 105 discarding corner 45 fortifies corner 93 grimly clinging to corner what white is hoping for 44 large scale 158 live in corner 56 secure anchor 86 settling the corner 41 taking a large corner 29 unlikely to die 60 welcome attempt to capture corner 43 wins by one move 125

corner wide open 162 defend the corner 169 divvying up of the corner 16 going for life in corner 72

large corner 29, 73 large territory in corner 54 protect the corner solidly 57 settle the corner 109 size of corner territory is not clear 193 threatening the stability 184 usurp the corner 110 white's corner dead as it sits 51 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

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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 disadvantageous fight in center 42 fight in center 64 fight fighting resources 59 fighting variations 48 on even terms 17,45 proceeds at white's pace 94 unfavorable fight 40 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

directly 34 disagreeable fight 28, 58 in the center 28 fighting tactic 47 is equal 48 powerful fighting method 50 sufficient resources for 97 unpleasant fight for black 33

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

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Group ...continued kill the whole group 180 secure the group 178 settle group 172 solidified 91 stabilized 51

killed unconditionally 190 securing group 94 settling a group 37 stabilize group 171, 172 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

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Ko ...continued two-step ko 21, 45, 53, 99 variation 184 Kobayashi Koichi 7 dan 135

unfavorable ko for black 64 white takes ko first 40

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 another move 29 another available move 32 bad move 105, 108, 109, 155, 163, 178 bewitching move 174 big move 64 calm and collected move 64, 102 checking approach move 92 clear and simple neutralizes trick play 58 clumsy moves 24 common sense move 86 compromising move 189 correct move 70, 80 correct order of moves 176 crude moves 24, 25, 61 curve ball 147 descending move 53, 114, 192 devilishly clever move 71

adding a move in one's own territory 23 an unforked road 130 awesome move 116 best moves 36 follow as matter of course 94 blocking move 49, 130, 172, 188 capping move 31, 103, 104, 112, 147, 148 checking move 134 clever move 110 common move 167 common sense type move 176 conforms to form better 164 correct move order 184 crafty move 84 curious move 181 defensive move 39 devilish move 156 diagonal move 46, 48, 58, 61, 62, 73, 95, 111, 123, 128, 152, 166, 168, 188 drab move 22

double approach move 22

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Move ...continued doubly large knight's move 171 endgame move 177 expending another move 56

easygoing move 160 existense of good move 33 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 extra move 26, 63 one move win 182 ordinary moves 58 overextended 164 played for naught 82 ponder the meaning 111 reckless move 98 safe move 88, 164 severe blocking move 130 short by one move 23 sliding move 171 splendid move 114, 115 strong move 55, 62,74, 96, 97, 116, 117 empty triangle 72 suspicious move 92 thick move 33, 59, 64, 85 to make life 184 two extra moves 43, 74 ugly move 178 unusual move 53 variant move 88 viable move 84 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

one correct move 177 one move difference 56 only move 36, 48, 78 orthodox sliding move 175 placement move 172 played on second line 76 powerful move 102 reinforcing move 176 seeming without purpose 76 severe move 98, 106, 188 slack move 35, 58, 84, 104 some kind of useful move 183 standard move 116, 179

that undermines position 76 thin move 34 turning move 84 typical move 85 unreasonable move 87, 168 vague move 82, 115 various moves 194 win race to capture by one move 26

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 one space high pincer 40 three space pincer 36 two space pincer 34 placement 10, 16, 52, 53, 86, 127, 190 Play any number of directions 135 crude line of play 72 diagonal play 104 on both sides 73 rhythm of play 64 standard endgame play monkey jump 193 "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

offbeat pincer 58 one space pincer 30 two space high pincer 38

capping play 80 crude way of playing 75 high-handed style 92 power play 87 slipshod play 98 unfocused play 160

Position 19, 21, 81, 162, 183 50/50 position 45 augmented by hane 31 becomes race to capture 58 black approached too closely 61 black has superior position 55 black's position acceptable 51 black's position unattractive 57 chances are equal 48 conventional treatment 104 develop a position 132 difficult position 98 enlarge scope of damage 64 equivalent position 78 examining the position 103 good position 72, 104 horrible position 114 leave the position as it is 182 living in corner not good 45 making good shape 52 not found in joseki 72 occupying the position 175 overall board position 117 overall position 156 overplaying position 39 plays hane 196 position good for black 42 position is untenable 195 position reverts to joseki 104 position which often occurs 26 pressure on the surrounding positions 180 push through position 106 read position out 100 researched in Edo Period 36 retreats undermine position 98 robust position 72 satisfactory position 83 settles the position 164 slides into the position with move on second line 162 slowly developing position 45 solid and stable 135

acceptable position 152 become thinner 160 becomes seki 38 black gets good position 61 black position in tatters 55 black's position adequate 57 both sides reinforce 74 comfortable position 113 depending upon position 37 developing a position 22 duplication of effort 121 equal position 49, 71 even position 63 flat as a pancake 83 hopeless position 25 introducing quirks 81 lightly deal 158 low position 21, 31, 62 mangled position 118 obviously superior position 44 onerous position 92 overall characteristics 83 overall position on the board 76 playable position 80, 82 position becomes thick 186 position is stabilized 115 position of weakness 158 position undamaged 82 preponderance of stones 167 profit and thickness 70 quirks in position 97 reinforcing the position 166 resultant position 168 rip position to ribbons 162 rough and tumble position 48 set the position 21 settling position quickly 98

snakes through position 192 solidify the position 148

212

Position ...continued strengthen the position 166 steadily deteriorate 156 surrounding positions undermined 186 strong position 183 thick and strong 46 terrible position 101 thick position 30, 34, 47 thick or overconcentrated 88 thinness of a position 27 thin position 104 try for too much 106 titlted in white's favor 62 turning position into ko 190 turn into seki 115 unpleasant one 164 undermining position 82 vaguely sketched out 117 untenable 88 vital position 97 viable position 28, 86, 87 white position thin 61 white not guaranteed advantage 74 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 emphasizing profit 73 black makes tremendous profit 57 exchange of for influence 33 endgame profit 65 making profit in the center 41 large profit 63 versus thickness profit and thickness 70 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 adequate result 31 black not dissatisfied 45 equal result 42, 43, 55, 62 excruciatingly painful result 164 good result 34 pleasing result impossible 43 similar result 56 sufficient result for white 46 Retsugen 144

achieving a good result 60 analyzing a result 26 completely even result 33 equal result even in failure 32 expected result 58 not reap a very good result 48 regarded as joseki 35 sufficient result 34, 135 very bad result 72

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

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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 vital point of shape 39

unpleasantly distorted 159 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 change in a situation 175 different perspective 129 even for both 43 if ladder unfavorable 88 impetus of situation 33 local situation 116 middlegame situation 146 overall situation on board 192 play in the center 131 reading situation 34 see how develops on board 88 situation clear 191 somewhat advantageous for white 45 tide over the situation [sabaki] 172 turn to advantage 88 use a broad outlook 108

board situation 33, 51 consider the situation 102 disposition of the situation 124 extraordinarily complex 56 ignore situation entirely 186 living in the corner 135 make a placement 196 normally proceed 125 par for the situation 33, 39, 47, 62, 83 push out immediately 182 real game situation 115, 134 simplifies and clarifies 168 situation critical 174 standard situation 33 truly illustrates situation 164 untenable situation 128 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

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Shape ...continued black saddled with weak stones 50 black stones taken 50 capture five stones 70 checking stone 173 cutting stone 86 discard stone 29, 58, 60, 100 drag out heavy stone 98 eyeless lump of stones 74 four black stones captured 60 ideal example of sacrifice stones 54 isolate black's stone 57 moving out is bad 56 operating towards outside 113 pivotal stones 61 rendered useless 35 sacrifice stone 37,52,57,85, 101 scope for activity 56 stone gives intense pressure 60 stone still poised for activity 56 stones die miserably 71 stones floating 36 stones held in check 65 stones thin and weak 48 take custody of stones 65 throw-in stone 34, 168, 178 white gives up stones 50 stratagem neutralize any possible stratagem 187 Strategy 97 clear and simple strategy 31 fencing in strategy 135 masterly sacrifice stone strategy 101 Sabaki strategy 149 sacrifice strategy 144 unreasonable strategy 96

black stone works efficiently 59 black's stones not settled 61 capturing stones bad 64 common sense disposition 97 densely clotted together 101 discarding two stones bad 58 extra sacrifice stone 64 floating stones 29 heavy stones 62 interrelationship and operation 78 most typical disposition 80 operating in unison 93 outside stone 168 provides more stability 134 rhythm of the stones 110 same number of stones 33 source of dissatisfaction 58 stone horribly weakened 42 stones chased into center 44 stones end up dead as they sit 53 stones heavy and without base 44 stones in center a burden 72 stones weakened 65 taking control of stones 52 weak stones above and below 35 white stone practically useless 59

clear-cut strategy 97 high level strategy 85, 89, 93, 122 rupture in strategy 27 sacrifice stone strategy 57, 85 special strategy 42 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

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Compendium of Trick Plays - Nihon Kiin

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