© 2008 Hinoki Press

Shuko – The Only Move

Volume 2
Fighting Middlegame 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.

This volume examines fighting moves in the middlegame. The positions that are investigated are from games played by the best of the younger generation in Japan, China, and Korea against each other or against the best of the older generation. As always, Shuko Sensei sharply criticizes complacent moves, and points out how to take control of the games. The best of Shuko Sensei’s students appear, such as Takao Shinji, Judan, Sakai Hideyuki, an amateur now playing in the Meijin league, and Cho Sonjin, a former Honinbo. As in Volume 1 of this series, Shuko Sensei insists 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 parts thereof may not be reproduced in any form without written permission from the publisher.

ISBN of print edition: 0–9819121–1–7

Translated by Robert J. Terry

Edited by Chris Greene

Proofreading and Editorial Assistance by Lee Huynh and Andrew Okun

Conversion to SmartGo Books by John Mifsud

Cover Art by Nancy Morikawa

About the Series

This book is the second of a two volume set:

“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 2
Fighting Middlegame Collection

Copyright Page

About the Series

Translator’s Notes

Fujisawa Shuko – Biography

Avoid Fighting Scenes

Shuko Working at Calligraphy

Problem 1: Yu Ping 6 dan – Kenmochi Jo 6 dan

Problem 2: Takemiya Yoko 1 dan – Hu Yaoyu 5 dan

Problem 3: Kurahashi Masayuki 8 dan – Morita Michihiro 9 dan

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

Problem 4: Kenmochi Jo 6 dan – Cho Sonjin 9 dan

Problem 5: Kong Jie 4 dan – Ko Reibun 1 dan

Problem 6: Takemiya Yoko 2 dan – Kubo Hideo 4 dan

Problem 7: Takao Shinji 6 dan – Ko Reibun 1 dan

Problem 8: Kurahashi Masayuki 8 dan – Morita Michihiro 9 dan

Problem 9: Mizuma Toshifumi 5 dan – Ko Iun 1 dan

Problem 10: Morita Michihiro 9 dan – Takemiya Yoko 1 dan

Problem 11: Yokota Shigeaki 9 dan – Kenmochi Jo 7 dan

Problem 12: Muramatsu Ryuichi 7 dan – Takanashi Seiken 6 dan

Problem 13: Izumitani Hideo 7 dan – Hans Pietsch 3 dan

Problem 14: Kenmochi Jo 6 dan – Yokota Shigeaki 9 dan

Problem 15: Zhang Liyou 3 dan – Ko Reibun 2 dan

Problem 16: Kanazawa Hideo 5 dan – Kim Sujun 4 dan

Problem 17: Chin Kaei 9 dan – Sakai Hideyuki amateur

Problem 18: Ogata Masaki 9 dan – Kiyonari Tetsuya 9 dan

Problem 19: Morita Michihiro 9 dan – Rin Shien 5 dan

Problem 20: Morita Michihiro 9 dan – Kurosawa Tadanao 9 dan

Problem 21: Takagi Shoichi 9 dan – Takao Shinji 7 dan

Problem 22: Song Taekon 1 dan – Yokota Shigeaki 9 dan

Problem 23: Komatsu Fujio 8 dan – Takao Shinji 7 dan

Problem 24: Zhang Liyou 4 dan – Kenmochi Jo 6 dan

Problem 25: Yang Chaeho 9 dan – Yokota Shigeaki 9 dan

Problem 26: Ishida Yoshio 9 dan – Kenmochi Jo 6 dan

Problem 27: Ko Reibun 2 dan – Ishida Atsushi 8 dan

Problem 28: Morita Michihiro 9 dan – Kato Atsushi 7 dan

Problem 29: Oya Koichi 9 dan – Sakai Hideyuki amateur

Problem 30: Hans Pietsch 4 dan – Takanashi Seiken 7 dan

Problem 31: Yokota Shigeaki 9 dan – Kobayashi Satoru 9 dan

Problem 32: Morita Michihiro 9 dan – Ko Mosei 8 dan

Problem 33: O Meien 9 dan – Cho Sonjin Honinbo

Problem 34: Cho Sonjin Honinbo – O Meien 9 dan

Problem 35: Yamashita Keigo Gosei – Mimura Tomoyasu 9 dan

Problem 36: Yamashita Keigo Gosei – Mimura Tomoyasu 9 dan

Problem 37: Ryu Shikun 7 dan – Kim Sujun 6 dan

Problem 38: Sonoda Yasutaka 9 dan – Kenmochi Jo 6 dan

Problem 39: Morita Michihiro 9 dan – Takao Shinji 7 dan

Problem 40: Kenmochi Jo 7 dan – Awaji Shuzo 9 dan

Problem 41: Morita Michihiro 9 dan – Sugimoto Akira 7 dan

Problem 42: Takao Shinji 7 dan – [not identified]

Problem 43: Ko Reibun 3 dan – Yamada Takuji 7 dan

Problem 44: Seto Taiki 3 dan – Morita Michihiro 9 dan

Problem 45: Morita Michihiro 9 dan – Kurahashi Masayuki 9 dan

Problem 46: Yokota Shigeaki 9 dan – Kenmochi Jo 7 dan

Problem 47: Yuki Satoshi 9 dan – Kim Sujun 6 dan

Problem 48: Nakamura Shinya 8 dan – Kim Yeongsam 6 dan

Problem 49: Yuki Satoshi 9 dan – Sakai Hideyuki 5 dan

Problem 50: Kim Sujun 6 dan – Yuki Satoshi 9 dan

Problem 51: Takao Shinji 8 dan – Rin Kaiho Honorary Tengen

Problem 52: Sakai Hideyuki 5 dan – Furuya Yutaka 6 dan

Problem 53: Takao Shinji 7 dan – Akiyama Jiro 8 dan

Problem 54: Morita Michihiro 9 dan – Honda Kunihisa 9 dan

Problem 55: Morita Michihiro 9 dan – Akiyama Jiro 8 dan

Problem 56: Yamada Kimio 8 dan – Cho U Honinbo

Problem 57: Iyama Yuta 2 dan – Seto Taiki 4 dan

Problem 58: Nakano Yasuhiro 8 dan – Takao Shinji 7 dan

Problem 59: Aragaki Shun 8 dan – Sakai Hideyuki 5 dan

Problem 60: Nakaonoda Tomomi 8 dan – Morita Michihiro 9 dan

Problem 61: Han Chongchin 4 dan – Takao Shinji 8 dan

Problem 62: Kiyonari Tetsuya 9 dan – Morita Michihiro 9 dan

Problem 63: Sakaguchi Ryuzo 9 dan – Iyama Yuta 3 dan

Problem 64: Yuki Satoshi 9 dan – Sonoda Yuichi 9 dan

Problem 65: Kenmochi Jo 7 dan – Hane Naoki Tengen

Problem 66: Takao Shinji 8 dan – Kim Sujun 7 dan

Problem 67: Takao Shinji 8 dan – Yuki Satoshi 9 dan

Problem 68: Takao Shinji 8 dan – Yuki Satoshi 9 dan

Problem 69: Morita Michihiro 9 dan – Obuchi Morito 9 dan

Problem 70: Yuki Satoshi 9 dan – Yamada Noriyoshi 9 dan

Problem 71: Furuya Yutaka 7 dan – Kurahashi Masayuki 9 dan

Problem 72: Sakai Hideyuki 6 dan – Furuya Yutaka 7 dan

Problem 73: Kim Sujun 7 dan – Hiroe Hiroyuki 9 dan

Problem 74: Nakane Naoyuki 8 dan – Suzuki Yoshimichi 6 dan

Problem 75: Mizokami Tomochika 7 dan – Sakai Hideyuki 6 dan

Problem 76: Takao Shinji 8 dan – Kim Sujun 7 dan

Problem 77: Mizokami Tomochika 7 dan – Sakai Hideyuki 6 dan

Problem 78: Kobayashi Koichi Gosei – Takao Shinji 7 dan

Problem 79: Yuki Satoshi 9 dan – Hane Naoki Kisei

Problem 80: Morita Michihiro 9 dan – Kobayashi Koichi 9 dan

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Translator’s Notes

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 the sake of variety, sometimes “right?” or “no?” etc., are used.

In a like 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.

Avoid Fighting Scenes

In Lieu of a Foreword

Following on the heels of the “Fuseki/Joseki Collection” (Volume 1) of “Shuko: The Only Move,” the sequel, “Fighting Middlegame Collection” (Volume 2) has now been published. The format is exactly the same as in Volume 1, “Fuseki/Joseki Collection.” Everything has been taken from actual games, and laid out on the cutting board for me to give my frank assessments of the way that I would play in specific positions if they had been my games. At times, I can be harsh in my criticisms and I ask for the reader’s indulgence for those outbursts.

In the “Fuseki/Joseki Collection”, emphasis was placed on coming up with sharply effective ploys for initiating action. Something that I say to young professional players until I am blue in the face is “Just because a great sensei plays a certain move, you must not simply imitate it blindly. Think things out for yourself, and come up with a ploy that tests the limits of your ability”. That advice also applies to the “Fighting Middlegame Collection”.

But something I would add to that is “Avoid fighting scenes.” There are innumerable examples where players veer away from fighting in places where one should fight. There are just as many examples of players straining to fight in places where fighting is unnecessary. I want to vigorously bring this point home to the average player.

At its essence, go is severe. At the height of fighting, if one wavers for a second, one’s head is suddenly cut off and goes flying. One must fight all out, or, by the same token, go all out to play sabaki. This is the point that the book in your hands will address repeatedly. It is not a technical or theoretical exercise. What I want is for the reader is to build up inner strength.

As touched upon in the “Fuseki/Joseki Collection”, what professional players and amateurs aim at are the same thing. When they are sitting at the go board, no one can tell who is an amateur player and who is a professional. [Fujisawa was famous for his pranks of going to onsen (hotspring resorts) and challenging amateurs, incognito, to games that he would win…by one point. His victim would demand another game and Fujisawa would again win…by one point, and so on.] I believe that if the remarks I direct towards professional players are fully appreciated, they will help to improve anyone’s playing strength.

If I may be permitted to speak personally, I am now over eighty years old. It is a little bit trying to have a mob of young players come to my home for training games at dormitory and study sessions, but I have no intention to stop it.

I suppose I will continue doing things this way until I die. I consider this as an obligation to go, which has nourished me, and to which I am indebted. Therefore, I invite young players every year for the season and ask that this invitation be accepted with serious intentions.

The present book is the same. I intend this book to be the last one that I, Fujisawa Shuko, publish and I hope that all readers will greet it with open arms. More than that, I cannot wish.

The same as in Volume 1, “Fuseki/Joseki Collection”, the players with whom I exchange words were first young Mimura Tomoyasu and afterward Morita Michihiro. To those young players, and to the many professional players who have appeared here, I would like to express my thanks once again. In addition, I should note that the ranks of players and the names of titles are given as they were at the time the games were played.

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.]

Calligraphy by my father can be viewed daily at the Itsukushima Jinja Temple in Miyajima, Hiroshima Prefecture. Miyajima has been designated as a World Cultural Heritage site by UNESCO and the calligraphy is displayed in the Senjokaku Pavilion, which was built in olden days by Toyotomi Hideyoshi.

Yugan, a sample of Shuko’s calligraphy, on display.

Fujisawa Shuko will hold an exhibition for the sixth time in December 2008 in the Ginza district of Tokyo at the art gallery in the Matsuzakaya Department store. For Fujisawa Sensei, this is a rare opportunity to meet the many friends and acquaintances that he does not get the chance to do often, so he is eagerly looking forward to it.

It has been 18 years since Fujisawa Sensei held his first one-man show. The most prominent calligraphy artist in Japan, the late Yanagida Taiun, befriended Fujisawa Sensei while he was still in his teens, and Taiun Sensei urged Fujisawa Sensei to display his work, saying, “It would be absolutely fine for you to have a one-man exhibition.” That impetus led to Fujisawa Sensei holding his exhibitions.

Since the time when he was young, Fujisawa Sensei loved to hold a brush in his hand and create calligraphy. He got requests from Japanese ryokan inns and made large banners to hang in their ballrooms and small shikishi poster boards. He also thought up his own new words to use in his calligraphy. Then there were exhibitions, where he displayed many of his works at the same time. This opened up a whole new world.

But Fujisawa Sensei is not a calligrapher. He is a go player. Because of that, in his calligraphy he displays himself as a human being. Even in the works that do not directly refer to go, there is a spirit present that all go players can recognize.

The meaning behind the Chinese characters, “Yugan,” is that in the deep and silent recesses of the mountains, there is a towering boulder. Fujisawa Sensei’s use of these Chinese characters to create this piece of calligraphy was to express the feeling that, “In the depths of one’s spirit, one can quietly contemplate things alone. Without parading them before other people, they strongly penetrate one’s spirit, like a large boulder, with a forbidding countenance.” This does not only pertain to go, but is an illustration of the spirit one should possess in living one’s life.

Fujisawa Sensei also created a piece of calligraphy, “Fushiki.” The meaning of “Fushiki” is “I don’t understand.” The implication is that “I don’t understand, but there is no other road to take but go in order to seek the truth.”

The most recent work that Fujisawa Sensei has created is related to this “Fushiki,” developing the theme with humorous intent with the calligraphy, “Meiso.” “Life is long. And while I have been bewildered on this journey, I continue to plod ahead, you know. I am 83 years old and yet, I continue to plod along, I tell you. I don’t know where I will end up, but although there is not much that I know for certain in regards to go, I have no choice but to plod on in my journey to seek the truth in go. There are many things that I still must do, so I will continue to plod on blindly.”

In so saying, Fujisawa Shuko Sensei battles serious things like cancer for the third time, a concussion and a leg fracture, so as an old warrior, he continues to astonish everyone around him. We look forward to seeing his bright smile.

Fujisawa Shoko [Shuko’s daughter], November 2008

Problem 1

Problem 1
Black to play

At this point, White has made the extension with . White is weak on the upper side, so Black has the lead.

Please focus attention exclusively on the attack on the upper side. There is no need to consider complex ways of playing. But there is something that must not be missed and that should be taken as a hint.

Problem 1 – Analysis

White: Yu Ping 6 dan
Black: Kenmochi Jo 6 dan

Course of Play

— Last year (1998), the upper level contingent of the Shuko group that went to China fought well in the friendship games. After returning home in high spirits, it was surprising to see them stagnate a bit.

Shuko: “Uh huh. Well, there is also the physical aftereffect of strenuous effort and finding the right timing, I think. If everyone doesn’t hang tough from here on, Japan will fall behind.”

— Yu Ping 6 dan is one of the most promising of the new, young players, isn’t he?

Discarding the Upper Side

Shuko: “Playing white 34 as 1 in the diagram above would have been mild, wouldn’t it? If Black caps at 2, White discards the two stones on the upper side and contests that loss with a moyo on the right and lower sides.”

Two-pronged Attack with Black 1

— White 34 is an overplay, you know. For 35, black 1 in this diagram would seem to produce a severe attack.

Shuko: “If white 2, black 3. A two-pronged attack on the upper and right sides develops, and Black will have an easy game to play.”

— If White runs away on the upper side, Black gives chase in good form with 5 and 7, you know.

After White 36, we have the problem position.

Shuko: The Only Move

Shuko: “In this game, fighting in the upper right has become advantageous for Black, you see. Even if White defends the right side, the group on the upper side would still be weak. By initiating an attack with the fencing-in move of 1, Black clearly takes the lead, I imagine.”

— After white 2 and black 3, A is answered by B, you know. White has a painful and difficult position.

Actual Game
55: connects

Shuko: “In the actual game Black turned at 37, you know. Black missed a golden opportunity. The move only built thickness and lacked attacking force.”

— It may seem that it was thick and strong, and deprived White of a base, but it let White run away with 38 and 40, making an attack difficult to mount, right?

Even though Black resolutely cut with 41 and 43, White squeezed through 54 and then White engineered an escape through 64.

Shuko: “There are potential problems [aji] in the center as well, so the outlook in the fighting is unclear.”

Problem 2

Problem 2
White to play

Black is attacking with , and there is an all-out brawl in the offing.

In this situation, White tends to concentrate on surviving, but at the same time must not lose sight of opportunities to counterattack. It is good to think about Black’s weak points.

Problem 2 – Analysis

White: Takemiya Yoko 1 dan
Black: Hu Yaoyu 5 dan

Course of Play

— This was Takemiya Yoko 1 dan’s first game, you know. Hu Yaoyu 5 dan is 57th in the roster of the players, and so may be viewed as being in the position of 7 or 8 dan in Japan.

Shuko: “In this fuseki, it seems that black 25 would be best played at A.”

— That would make firmly secure shape, wouldn’t it? White 26 and 28 seem to aim at Black’s thinness, but Black adopted a domineering attitude with 29.

Shuko: The Only Move

Shuko: “The peep of white 1 has some value. After black 2, this is the time to fix his shape by slicing through with 3. If Black responds with 4 and 6, White makes the fencing-in move of 7, aiming at A next. If black 8, white 9 is sufficient.”

— Stabilizing White on the lower side is clear and simple, isn’t it? Taking control of that single black stone is also big because it gets a real profit for White.

Actual Game

— In the actual game White pressed at 30. The idea behind this move is to prepare the lower side for an attack in the center, but after black 51, White also becomes weak in the center.

A Powerful Attack

Shuko: “What should be made of the play following black 53, I wonder? For 54, white 1 in the diagram above would chase Black’s group into the upper left.”

— Black 4 through white 13 would result, I suppose. Since black A is standard after this, White’s move at 52 in the actual game would have worked effectively against .

In the Actual Game diagram through black 57, on the left side is light, you know.

Shuko: “White 64 becomes the losing move. After black 65, even though White defends in the center with 66, black A still aims at White’s thinness, by which the center can be split.”

Shape Where One Move Connects

Shuko: “Had White used 64 to play at 1 in this diagram, the game would still be undecided, you know.”

— Should Black respond at A, White makes the forcing move at B, and following black C, can leave the center as it is and play elsewhere, right? A one move difference here was tremendous.

Problem 3

Problem 3
Black to play

At this point, White has jumped with , but Black is not that weak on the upper side. Black ought to be able to look elsewhere and play a big point.

However, the focus is still on the upper side. One wants to threaten White and take hold of the initiative.

Problem 3 – Analysis

White: Kurahashi Masayuki 8 dan
Black: Morita Michihiro 9 dan

Course of Play

— This is a study session game. With black 5 through 17 in the upper left and then black 19 through 33 in the lower left, using large scale variations independently, Black developed a moyo on the left side, while White created influence directed toward the upper side. Black has established territory on the left side, at the same time as getting settled with black 47 on the upper side; this seems to indicate that Black is ahead on territory, but…

Shuko: “White did something funny somewhere. White 40 is an attacking move to make the thickness in the upper left work effectively. The narrow extension at A is no good. Black 41 is unavoidable, but white 42 next is questionable, you see.”

— If Black gets settled on the upper side, White also gets settled with 42 and that is just commonsense, but…

Applying Pressure to the Upper Side

Shuko: “White should be inclined to make the fencing-in move of 1 in this diagram. This carefully reinforces the center. Black’s group won’t die, even if Black plays elsewhere after this. But, no matter where the next move is played, the pressure from white 1 will be given due consideration.”

— Should Black play something like A, white B and black C, it solidifies White on the outside, doesn’t it? Black would be saddled with a group that cannot move out into the center, limiting Black’s freedom of choice elsewhere.

Shuko: The Only Move

Shuko: “The diagonal move of black 1 is the only move to play next. If Black can successfully move out here, then there is nothing to fear from White’s thickness in the center.”

— And if White puts the shape in order with 2 and 4…

Shuko: “Black attacks with 5 and 7. Black becomes thick and strong on the upper side naturally, putting pressure on White’s positions in the center, on the upper side and on the right side.”

— Next, black A is a good point. The game is promising for Black, isn’t it?

Actual Game

— In the actual game, Black invaded the right side at 49 and got settled through 61, but that prompted the attack through white 64 in the upper right.

It is difficult for Black to find a response to the attack of white 66.

Shuko: “Because Black gouged out White’s moyo, White was able to take sente and fight.”

— Since white A is a forcing move against Black’s corner, Black will have to adopt a low posture to live on the upper side. Meanwhile, in the lower right, by playing white B, black C and white D, White can expand his corner territory.