© 2008 Hinoki Press

Shuko – The Only Move

Volume 1
Joseki / Fuseki Collection

Fujisawa Shuko, Honorary Kisei

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In his long career, Fujisawa Shuko won a place among the elite of the go world lasting several decades. He is revered today as Honorary Kisei, the highest honor bestowed on a professional player. Few players have won as many prestigious go tournaments as he did.

But in addition, he is one of the most important mentors for younger generations of players who has ever lived. When he was in his prime, he would spend hours analyzing games with the top junior players, passing on precious knowledge that they made use of to carve a place for themselves on the go scene. Shuko Sensei is now retired, but that mission of mentoring youngsters has continued. He even maintains a dormitory attached to his own residence where budding professional players live and study.

Fujisawa Shuko, Honorary Kisei

This series offers an intimate look at Shuko Sensei’s mentoring process. They show how promising players who come from far and wide to study with the master are instructed. The format is one where problem positions are posed to the reader, then, on the following pages the games from which the positions are taken are shown, whereupon Shuko Sensei gives the Only Move. That is typically an off-beat response that the players missed themselves, but is essential to take control of the situation.

Innovative moves in the opening are explored in this volume. These are the newest moves in the fuseki or joseki as they are examined by the next generation in the dormitory or played in top competition. Takao Shinji, Judan is one of Shuko Sensei’s students who frequently participates in the study sessions. Sakai Hideyuki, an amateur who turned professional and is now playing in the Meijin league and other major tournaments, is one of many others who also seek out Shuko Sensei’s masterful advice. The key word here is imagination and Shuko Sensei never tires of repeating that the essential factor in go is to think in creative ways.

80 Problem Positions in the book challenge the reader to match wits with Fujisawa Shuko’s students. Then, Shuko Sensei himself gives the Only Move as the solution. Few players would disagree that the analysis that follows is a triumph of the imagination.

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Copyright Page

Copyright © 2008 by Hinoki Press. All rights reserved worldwide according to international law. This book and any parts thereof may not be reproduced in any form without written permission from the publisher.

ISBN of print edition: 0–9788874–8–4

Translated by Robert J. Terry

Edited by Chris Greene

Proofreading and Editorial Assistance by Lee Huynh, Bob Terry and Arnaud Quentin

Conversion to SmartGo Books by John Mifsud

Cover Design and Cover Photography by Nancy Morikawa

About the Series

This book is the first of two books:

“Shuko: Kono Itte”

(“Shuko: The Only Move”)

published by Fujisawa Shuko

In each book, eighty board positions are evaluated in detail, in a study/review format. The focus is to evaluate alternatives for the next play at a critical juncture in games from a wide variety of players. The moves before and after each “problem” position also come under discussion.

One: Joseki/Fuseki Collection (Joseki/Fuseki Hen)

Two: Fighting Middlegame Collection (Chuban Sento Hen)

— Fujisawa Shuko, Honorary Kisei

Contents

Shuko – The Only Move
Volume 1
Joseki / Fuseki Collection

Copyright Page

About the Series

Translator’s Notes

Fujisawa Shuko – Biography

In Go, Special Ploys are Everything

Shuko Working at Calligraphy

Problem 1: Zheng Hong 9 dan – Morita Michihiro 8 dan

Problem 2: Zhou Heyang 7 dan – Cho Sonjin 9 dan

Problem 3: Cho Chikun Kisei – Kobayashi Satoru 9 dan

The chapters in gray are included only in the full book.

Problem 4: Kubo Hideo 4 dan – Sakai Hideyuki amateur

Problem 5: Sakai Hideyuki amateur – Tsurumaru Keichi 6 dan

Problem 6: Kobayashi Satoru 9 dan – Ma Xiaochun 9 dan

Problem 7: Kenmochi Jo 6 dan – Ueki Yoshio 7 dan

Problem 8: Kenmochi Jo 6 dan – Yata Naoki 8 dan

Problem 9: Kurahashi Masayuki 9 dan – Hikosaka Naoto 9 dan

Problem 10: Kitano Ryo 5 dan – Kenmochi Jo 6 dan

Problem 11: Ko Reibun 1 dan – Izumitani Hideo 7 dan

Problem 12: Kanazawa Hideo 5 dan – Takao Shinji 6 dan

Problem 13: Moriyama Naoki 9 dan – Takao Shinji 6 dan

Problem 14: Kataoka Satoshi 9 dan – Yokota Shigeaki 9 dan

Problem 15: Okada Yumiko 4 dan – Ko Reibun 1 dan

Problem 16: Kenmochi Jo 6 dan – Matsumoto Takehisa 4 dan

Problem 17: Yoda Norimoto 9 dan – Cho Chikun Meijin

Problem 18: Yokota Shigeaki 9 dan – Kim Yongsam 4 dan

Problem 19: Morita Michihiro 9 dan – Kato Atsushi 7 dan

Problem 20: Yamada Takuji 6 dan – Kobayashi Satoru 9 dan

Problem 21: Nakano Yasuhiro 7 dan – Kenmochi Jo 7 dan

Problem 22: Ryu Shikun 7 dan – Komatsu Hideki 9 dan

Problem 23: Kim Sujun 6 dan – Nakano Yasuhiro 7 dan

Problem 24: Seto Taiki 3 dan – Kobayashi Satoru 9 dan

Problem 25: Kurahashi Masayuki 9 dan – Ryu Shikun 7 dan

Problem 26: Morita Michihiro 9 dan – Yo Kaei 7 dan

Problem 27: Nakano Yasuhiro 7 dan – Hans Pietsch 4 dan

Problem 28: Kenmochi Jo 7 dan – Tokimoto Hajime 9 dan

Problem 29: Morita Michihiro 9 dan – Yamashiro Hiroshi 9 dan

Problem 30: Yata Naoki 8 dan – Takao Shinji 7 dan

Problem 31: Yokota Shigeaki 9 dan – Kobayashi Koichi Gosei

Problem 32: Sakai Hideyuki 5 dan – Ishii Shinzo 9 dan

Problem 33: Sakai Hideyuki 5 dan – Takao Shinji 7 dan

Problem 34: Cho Sonjin 9 dan – O Rissei 9 dan

Problem 35: Kobayashi Koichi Gosei – Yokota Shigeaki 9 dan

Problem 36: Chen Yaoye 3 dan – Kim Sujun 6 dan

Problem 37: Yokota Shigeaki 9 dan – Nakano Yasuhiro 8 dan

Problem 38: Takao Shinji 8 dan – Kurahashi Masayuki 9 dan

Problem 39: Takao Shinji 8 dan – Seto Taiki 4 dan

Problem 40: Fujii Shuya 5 dan – Matsumoto Takehisa 5 dan

Problem 41: Takanashi Seiken 7 dan – Morita Michihiro 9 dan

Problem 42: Minami Yoshimi 9 dan – Yuki Satoshi 9 dan

Problem 43: Kobayashi Koichi 9 dan – Nakamura Shinya 9 dan

Problem 44: Ko Reibun 4 dan – Takao Shinji 7 dan

Problem 45: O Meien 9 dan – Cho Sonjin 9 dan

Problem 46: Wu Shuhao 11 years old – Liu Jing 8 dan

Problem 47: Sakai Hideyuki 6 dan – Tono Hiroaki 9 dan

Problem 48: Yuki Satoshi 9 dan – Lee Changho 9 dan

Problem 49: Sakai Hideyuki 6 dan – Kurahashi Masayuki 9 dan

Problem 50: Morita Michihiro 9 dan – Ko Reibun 4 dan

Problem 51: Huang Yiyun 5 dan – Fujii Shuya 6 dan

Problem 52: Takao Shinji 8 dan – Yoda Norimoto Meijin

Problem 53: Kitano Ryo 5 dan – Takao Shinji 6 dan

Problem 54: Takemiya Yoko 1 dan – Kenmochi Jo 6 dan

Problem 55: Akiyama Jiro 8 dan – Takao Shinji 8 dan

Problem 56: Akiyama Jiro 8 dan – Takao Shinji 8 dan

Problem 57: O Meien 9 dan – Takao Shinji 8 dan

Problem 58: Mitani Tetsuya 3 dan – Furuya Yutaka 7 dan

Problem 59: Sakai Hideyuki 7 dan – Imamura Toshiya 9 dan

Problem 60: Fujii Shuya 6 dan – Seto Taiki 6 dan

Problem 61: Yamada Kimio 8 dan – Takao Shinji 8 dan

Problem 62: Yoda Norimoto Gosei – Sakai Hideyuki 7 dan

Problem 63: Seto Taiki 6 dan – Sakai Hideyuki 7 dan

Problem 64: Seto Taiki 6 dan – Sakai Hideyuki 7 dan

Problem 65: Seto Taiki 3 dan – Endo Takahiro 9 dan

Problem 66: Hans Pietsch 4 dan – Nakano Yasuhiro 7 dan

Problem 67: Yoda Norimoto Gosei – Kato Yasushi 8 dan

Problem 68: Cho Sonjin 9 dan – Sakai Hideyuki 7 dan

Problem 69: Sakai Hideyuki 5 dan – Saito Tadashi 7 dan

Problem 70: Kenmochi Jo 7 dan – Shimoji Gensho 6 dan

Problem 71: Wang Xi China – Cho Hunhyun Korea

Problem 72: Hane Naoki Tengen – Kurahashi Masayuki 9 dan

Problem 73: Takao Shinji 6 dan – Kurahashi Masayuki 8 dan

Problem 74: Nakamura Shinya 7 dan – Muramatsu Ryuichi 7 dan

Problem 75: Suzuki Yoshimichi 6 dan – Nakamura Shinya 8 dan

Problem 76: Morita Michihiro 9 dan – Izumitani Masanori 7 dan

Problem 77: Cho Sonjin 9 dan – Mizuma Toshifumi 6 dan

Problem 78: Ishida Atsushi 8 dan – Hiroe Hiroyuki 9 dan

Problem 79: Furuya Yutaka 6 dan – Yamada Takuji 6 dan

Problem 80: Takanashi Seiken 7 dan – Morita Michihiro 9 dan

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Translator’s Notes

Fujisawa Shuko is one of the legendary figures in the world of go. At his best, he was the equal of any player who ever lived. The title matches that he contested during his long career were titanic clashes that are still remembered today. Without doubt, Fujisawa is responsible for attracting many people to the game and for much of the success that go now enjoys.

And in his prime, he was a player of firsts: Fujisawa made it a point to win the first year’s edition of every new title that was created. He won the first Prime Minister’s Cup, the first Hayago Lightning Go tournament, the first Nihon Ki-in First Place tournament, the first Tengen title, the first Meijin title and the first Kisei title. He held the latter title for six straight years, defeating the best of the younger generation of go players, who had no effective counterstrategy to cope with Fujisawa’s fertile imagination.

It is Fujisawa’s imagination that has fascinated everyone who has ever seen any of his games or read his analysis. Thankfully, he has been generous with his time throughout his life, sharing his thoughts about go with everyone he meets. Great players like Cho Chikun recount tales of spending hours with Fujisawa analyzing games in private study sessions. It was those sessions with the master that built the foundation for the success of that younger generation.

Fujisawa is now in his eighties, but he is still generous with his time and he still finds himself surrounded by young people eager to learn. In this book, the reader gets an intimate look at those private study sessions that enhanced the skills of past champions. And that are serving the same purpose for today’s generation as well! Takao Shinji, Honinbo has been a regular participant in the training tournaments and the analysis that follows. He has parleyed that experience into a tool to carve his own place at the top of the go world. Sakai Hideyuki, now playing in the Meijin league, is another of many other players whose training games are discussed here.

In this book, the words “you know” are often used. This is a way of conveying the Japanese habit of often putting in the word “ne” in conversation to elicit agreement or understanding. For variety sake, sometimes “right?” or “no?” etc., are used. In a similar way, “I say” or “I must say” etc., are used as stand-ins for the Japanese interjection, “yo.” This is used to emphasize a point or to indicate surprise or dismay, etc. The reader’s indulgence for these kinds of artifice is requested. The idea was to impart as much of the sense of the original text as possible.

Bob Terry, April 2008

Translator’s notes are placed within brackets [ ].

Fujisawa Shuko – Biography

Born June 14, 1925 in Yokohama, Japan. Lives in Kawasaki City, Kanagawa Prefecture, Japan.

1934

Became a student at the Nihon Ki-in

1940

Became a Professional

1957

Won 1st Prime Minister’s Cup

1959

Won 1st Nihon Ki-in Number One Position Title

1960

Won 5th Asahi Top Position Title

1962

Won 1st Meijin Title

1965

Won 2nd Pro Best Ten Title

1967

Won 15th Oza Title

1968

Won 5th Pro Best Ten Title

Won 16th Oza Title

1969

Won 17th Oza Title

Won 1st Hayago Championship

Won 16th NHK Cup

1970

Won 9th Meijin Title

Won 17th NHK Cup

1976

Won 1st Tengen Title

1977

Won 1st Kisei Title

1978

Won 2nd Kisei Title

1979

Won 3rd Kisei Title

1980

Won 4th Kisei Title

1981

Won 5th Kisei Title

Won 28th NHK Cup

1982

Won 6th Kisei Title

1983

Awarded the title of Honorary Kisei (Meiyo Kisei)

1988

Won Kido magazine Special Award

1991

Won 39th Oza Title at age 66

1992

Won 40th Oza Title, becoming the oldest player to defend a title.

1998

Retired at the age of 74.

Won the Shusai Award once.

Winner of many other awards and titles.

Fujisawa’s birth name was Tamotsu, but he changed it to Fujisawa Hideyuki, 藤沢 秀行. However, the characters for Hideyuki may also be read as Shuko (Shūkō) and it is that way that he is more commonly known. Shuko intended to be called Hideyuki, but isn’t too bothered being more popularly known as Shuko, and uses Shuko himself on occasion. Shuko: Kono Itte (the Japanese title of this book) has the copyright by Fujisawa Hideyuki, but he has used “Shuko” for other books and for his go Training Camps, perhaps due to its public recognition.

His autobiography is, Go-Uchi Shūkō, Watashi no Rirekisho (Player Shuko, My Autobiography) by Fujisawa Hideyuki, Nihon Keizai Shinbun-sha, Tokyo, 1993, ISBN 4–532–16103–7.

Shuko first learned go from his father, Jugoro, an enterprising and multi-faceted man who was a great fan of go. Jugoro, an amateur 3 dan, wanted one of his children to become a go professional.

Shuko seemed to specialize in winning the first term of newly introduced events and was nicknamed “The Monster.” Shuko had a reputation for making errors, poka, late in a game. This has been reflected in some of his ten losses in competing for top titles. But Shuko was known for his flexible fuseki and artistry at go and he still ranks ninth in the total number of titles in Japan.

Shuko was one of the best players during his era, and one of the “Three Crows” along with Toshiro Yamabe and Suzuki Keizo (and later Kajiwara Takeo, after Suzuki Keizo died young). [There have been other groups of three gifted colleagues in one generation also known as the “Three Crows.” The expression originated in China.]

Shuko has been a controversial individual, notorious for his drinking, gambling and celebrations following a win. Starting in the early 1980s, at his own expense, he would take his students to China to study go. He ignored criticism he received for thus helping the Chinese players to improve their skills and later Shuko acquired sponsors for these efforts.

After his retirement, Shuko had a run-in with the Nihon Ki-in for selling unsanctioned rank diplomas to amateurs for a fee that was lower than the fee charged by the Nihon Ki-in. Fujisawa felt that their diploma fee was much too high, while the Nihon Ki-in considered the diploma fee partly as a donation to their organization. The consequence was that starting from 1999 Fujisawa Shuko was erased from the professional lists of the Nihon Ki-in. In June 2003, the dispute was resolved and Fujisawa was reinstated in the Ki-in.

Shuko is also a successful real estate investor, and is recognized as an accomplished calligrapher.

Material for this profile came from GoBase, MindZine, Sensei’s Library, and Wikipedia.

In Go, Special Ploys are Everything

In Lieu of a Foreword

“Shuko: The Only Move” is a go column that was published over a seven year period in Igo magazine from 1999 to 2005. The best material from that series of my lessons has been culled and rewritten to a great degree so as to be presented here.

All of the subject matter has been taken from actual games. These are various games played by students under my supervision who live at my home or games that were taken up for study at monthly gatherings that I hold. When professionals would play questionable moves, I would take up those board positions as the focus of my remarks, saying what the way was that I would play. As a consequence, every time they were published in Igo, I would be told by top professionals that, “I learned a lot from them.” One time when I went to China, young Chang Hao went so far as to say, “If I am ever able to play a move that Sensei has pointed out to me, I will die a happy man.” That is a memory that still gives me a chuckle.

Perhaps when I write like this, all of you amateurs will think that it will be too difficult. Not at all, definitely not so. The things that both professionals do and you do are the same. When facing the board, one must think about what to do and the kind of ploy to use that is in keeping with one’s go style and in that case there is no difference between professionals and amateurs. I believe that if you lay the positions out on a board and carefully read things out, it will be like the scales falling from your eyes and you will improve.

In general, the positions taken from the games are arranged according to the seven year period, starting with the oldest. When looking back over this passage of time, I am overwhelmed by a flood of emotions. There is the capture of the Honinbo title by Takao Shinji, who was just a mischievous youngster when I first met him. Then there is young Sakai Hideyuki, who aimed at becoming a doctor while he was in college and passed the national medical school test before switching to turn professional. And now his name is already listed among the others in the Meijin league. There are also tragic elements. Young Hans Pietsch ended up being one of those who never came home when he was felled by a fateful bullet. He participated innumerable times in the sessions with the students in my home, always displaying impeccable manners and his warm and friendly smile is one that I remember as if it were yesterday.

Shuko: The Only Move has been designed in two parts, “Fuseki/Joseki Collection” (Volume 1) and “Fighting Middlegame Collection” (Volume 2). The focus of this book is the fuseki and joseki. To young professional players, I will continue to emphasize, until I am blue in the face that, “Just because a great sensei plays a certain move, you must not simply imitate it blindly. Think things out with your own brain and come up with a ploy that tests the limits of your ability.” Especially important are ploys that fit your style in the opening. This is also applicable to all of you readers. After glancing at the hint that accompanies the problem diagram, come to a conclusion as best you can, then I would like you to lay out the moves in the Course of Play Diagram on a board.

The player with whom I exchanged words was at first young Mimura Tomoyasu and afterward Morita Michihiro took that role. Young Akiyama Kenji served as writer and editor as well. I would also like to express my thanks to the many professional players who looked over the manuscript.

Fujisawa Shuko, Honorary Kisei Spring 2006

Shuko Working at Calligraphy

Fujisawa Shuko Sensei applying brush strokes to a piece of calligraphy. Sensei’s artwork is featured in galleries throughout Japan.

Father will be showing his calligraphy at an exhibition in December of this year [2008]. It will be at the Matsuzakaya Gallery in the Ginza.

[I visited that gallery a few years ago. I saw an exhibition of works by Diego Velasquez. I am an art connoisseur and I especially love the work of Velasquez, but I was stunned to see works there from private collections that I had no idea even existed. That’s how exclusive this gallery is. When Shoko san says that it will be in the “Ginza,” which is in Tokyo, think of “Park Avenue, New York,” the nearest equivalent.]

As for calligraphy by my father that can be viewed by ordinary people, it can be regularly seen daily at the Itsukushima Jinja Temple in Miyajima, Hiroshima Prefecture. Miyajima has been designated as an World Cultural Heritage site by UNESCO and the calligraphy is displayed in the Senjokaku Pavilion. This was built in olden days by Toyotomi Hideyoshi.

Rai-Rai (Three Stones) calligraphy by Fujisawa Shuko.

As part of its 1400 year anniversary, the Itsukushima Jinja Temple asked father for a sample of his calligraphy and he offered the “Rai-Rai” [this is the “Three Stones” calligraphy above] artwork that is now hanging in the Senjokaku Pavilion.

Father offered this work [Shoko san gives an honorific for this word, “work,” that has ancient derivations and is impossible to translate; for your information, it can be literally translated as “ema” or “horse drawing”; the horse was highly valued in ancient Japan] in response to the request for the 1400-year anniversary dedications. It was drawn on a very large plank of wood.

Recently, [Father] drew this same “Rai-Rai” calligraphy on a very, very big piece of paper. This artwork will be shown in an exhibition at the end of August 2008. Including the weight of the ink, [Father] lifted a brush of 14 kilograms [30.8 pounds] to produce this work. There is a photograph of him doing so, but I have not gotten a copy of that photograph yet.

Fujisawa Shoko [Shuko’s daughter], July 2008

Problem 1

Problem 1
White to play

This is the earliest part of the opening. White attacked the corner, Black attached and blocked and at this point White’s atari has been answered by the Black connection with .

This is not something to think about in difficult terms. It is sufficient to choose a very ordinary move and predict what will happen over the next several moves.

Problem 1 – Analysis

White: Zheng Hong 9 dan
Black: Morita Michihiro 8 dan

Course of Play

— This is a game played during a tour of China by a group of professionals led by Shuko Sensei. Zheng 9 dan is placed 19th in the roster of the players of China. He is a fixture among the mid-range players.

Shuko: “He has promising abilities. China has a deep lineup of players, you know.”

— In the upper right, Black chose the attach-and-block joseki with 9 and 11, which is territorially tight, isn’t it? Isn’t it usual to defend with 9 at A?

Shuko: “That would be a feasible game. How about the move at 9?”

Shuko: The Only Move

Shuko: “The only move for White is the connection of 1, which would be good.”

— Black 2 cannot be omitted. The fact is that with this the upper side from the corner on becomes definite territory, but White takes up a domineering stance in the upper right.

Shuko: “At that point White attacks the lower right corner with 3, you see. If Black goes for the corner with 4 through 8, White expands into the center with 9 and surely gets a sufficient result.”

— White develops on a large scale, while Black’s territory is small, isn’t it?

Actual Game

— In the actual game White first attacked the corner with 14 and consequently got cut with black 15. Following white 16, black 17 puts White in a painfully difficult position.

Shuko: “White has to defend on the right side. In addition, Black’s territorial framework on the upper side became big. You have to ask yourself how White could have missed the vital point at 15.”

— With the hane of 19, Black’s territory in the upper right becomes big. Therefore, White initiated a neutralizing maneuver with 20, but through 25, Black became solidified on the upper side.

Shuko: “Although White moves out with 26, it is Black’s position that is strong. White becomes heavy on the upper side and is assuredly badly off.”

Expanding with black 2 and 4 Secures the Advantage

— For white 18, how would it be to play at 1 in this diagram?

Shuko: “This way would have been to take a more dogged stance, wouldn’t it? Well, Black expands the center with 2 and 4, then I suppose that white A would be standard.”

— After being cut by black 15, a good result will in no way come about. After white 32 in the Actual Game diagram, Black has an escape hatch with A and so has a powerful position in the center. With the invasion at 37, the game is proceeding at Black’s pace.

Problem 2

Problem 2
White to play

At this point, White has attached and blocked and Black has played atari then descended with .

The standpoint is different from the previous problem, but the things to think about are the same. Choose a very ordinary move and find a way to take hold of the initiative.

Problem 2 – Analysis

White: Zhou Heyang 7 dan
Black: Cho Sonjin 9 dan

Course of Play

— Zhou 7 dan is twenty-two years old. He is 6th in the roster of the players, placed higher than Liu Xiaoguang and Nie Weiping.

Shuko: “China has come to the stage where it also can field a lineup of first class players.”

— Black sets the shape in the upper right through 21, then when Black attacks the lower left corner with 23, White plays the attach and block joseki starting with 24.

Shuko: “Since conditions in the upper left and lower right are different, using black 29 to connect at A would be difficult, wouldn’t it? Well then, here…”

Shuko: The Only Move

Shuko: “The only move is 1. Without a thought, one wants to cut. Black’s single stone is separated so that the lower side can be protected effectively, it would seem.”

— Black draws back with 2. If White plays 11 next, black 3…

Shuko: “One wants to press with white 3, making the center thick and strong. Should Black reply with 5, white 4. Then, if black 4, White hanes at 5, making a swap of the corner for the center and this is playable for White.”

Actual Game

— In the actual game White made the pincer at 30.

Shuko: “With 31 and 33, Black could make shape, you know. What would happen if Black used 31 to make the hanging connection at A?”

— It seems that if White makes the forcing moves of B, black C, white D and black E, then plays at white F, Black would be heavy, no?

Shuko: “White 32 is not appealing. Even though White can make the turning move at 34, since Black’s shape on the left side is one conducive to getting settled easily, Black turns to play the neutralizing moves starting with 35, a fast-paced course of movement.”

— It seems that for black 35, playing G, white F and black H was also possible.

A Severe Attack by White

Shuko: “That would also make the center thick and strong and would be powerful for Black. Instead of drawing back with 32, white 1 here, butting against Black’s stone would have been desirable, you see. Since Black has no choice but to connect at 2, White ends up jumping at 3, robbing Black of a base. After black 4, White gets attacking shape with 5.”

— Should Black do something like run away with 6, White plays 7 through 13. In this case, the defects at A and B mean that Black is in a predicament.

Problem 3

Problem 3
Black to play

In this leisurely paced fuseki, White attached with to initiate hostilities. How should Black respond to this?

What one wants to do is to take a good look at the disposition of the stones all over the whole board and figure out what White’s aim is. It is also necessary to have the courage to go for something that violates logic.

Problem 3 – Analysis

White: Cho Chikun Kisei
Black: Kobayashi Satoru 9 dan

Course of Play

Shuko: “When one studies go every day, there are few surprising things that one finds, you know. Anyone would acknowledge these two as being top class players, but to my eye there was something slack here, I say.”

— The moves through black 19 make up a mild fuseki, don’t they? The problem arises when Black is attached with white 20.

Playing at the Shoulder is Good Form

For Black’s response, various moves can be considered. First, Black might extend with 1.

Shuko: “The shoulder hit of white 2 is precisely right, you see. With this, it is difficult for Black to move out with the single stone.”

More Precise

— Right. That being the case, Black might hane with 1, but the situation is essentially the same, you know. White can draw back at 2 and if Black descends at 3, it incurs the attachment of white 4.

Shuko: “This is more precise, isn’t it? Since the current and the previous diagram follow White’s bidding, it is commonsense to think about dodging the attack. In that case, the options regarding moves to play are limited.”

Shuko: The Only Move
9: connects

— Is it the hane underneath with black 1?

Shuko: “So it is. In response to white 2, Black plays 3 and ends up taking hold of White’s stone with 5. White 6 is answered by black 7 and white 8 by the connection of black 9, falling in line with everything White instigates.”

— Having a stone taken in a ladder with white 10 is not considered good, is it?

Shuko: “That kind of commonsense thinking has to be overcome. The shape with Black extending straight out with 13 leaves Black with nothing to fear. On the upper side, Black can play at either A or B at leisure.”

Actual Game

— In the actual game, Black played at 21 and 23 in this diagram.

Shuko: “This is not good. In the fighting that is about to begin, this White thickness that is built through 32 will play an active role.”

— So that is how it is. There is a big difference between this and the diagram above, isn’t there?