© 1995, 2011 Yutopian Enterprises

Tesuji and Anti-Suji of Go
Playing in Good Form and Making Correct Shape

Sakata Eio, Honorary Honinbo

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This is an exhaustive manual that details how sparkling technique may bring one’s game alive. 61 Model situations are examined, in which deadly hane, exquisite placements, and stunning attachments, among other skillful finesse, are shown to be surprisingly effective. The flip side of the matter, crude moves (or “anti-suji”) are offered in contrast, demonstrating how thoughtless play can throw away the chance for an advantage. The positions in the book are illustrated in more than 700 diagrams, which makes comprehension of the material simple.

A general introduction to the subject sets the stage for the main text, while the book ends with several examples from actual games. In addition, the author, Sakata Eio, Honorary Honinbo, includes a number of vignettes, in the manner of Killer of Go, the work of his which preceded this one.

This is both a thoroughly enjoyable exploration into one of the most fascinating aspects of go, and a text which can be invaluable for growing stronger.

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Copyright Page

Published by
Yutopian Enterprises
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Santa Monica, CA 90405
http://www.yutopian.com

ISBN of print edition: 0–9641847–5–3

© 1995, 2011 Yutopian Enterprises. All rights reserved according to international law. This book or any part or parts hereof may not be reproduced in any form without written permission from the publishers, except for short excerpts as a part of a written review.

Originally published in Japanese by Ikeda Shoten under the title of Go no Tesuji to Zokusuji
Translated by R.J. Terry

Translator’s notes are given within [ ].

Cover photo courtesy of Harry Fleenor

For the wisdom of this world is foolishness in God’s sight. As it is written: “He catches the wise in their craftiness” — 1 Corint. 3:19, NIV

Conversion to SmartGo Books by John Mifsud

Contents

Tesuji and Anti-Suji of Go
Playing in Good Form and Making Correct Shape

Copyright Page

Preface

Translator’s note

Real Suji and Anti-suji of Go

Model 1: The Suji of the Two-Step Hane

Model 2: The Suji of the Connection Underneath

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

Model 3: The Suji of the Diagonal Move

One Day, All of a Sudden

Model 4: The Cutting Suji

Model 5: The Suji of Striking Through a Knight’s Move

Model 6: The One Point Jump Suji

Model 7: The Suji of Playing Atari for Atari

Model 8: The Fencing-in Suji

Model 9: The Connecting Suji

Model 10: The Suji of Not Connecting

Model 11: The Direction to Play Atari

Model 12: The Capturing [Ponnuki] Suji

Model 13: The Backtracking Suji

Model 14: The Suji of Tiding Over a Crisis [Shinogi]

Taking Sente is not Always Best

Model 15: The Suji of Capturing the Right Way

Model 16: The Wind Up and Capture Suji

Model 17: The Suji of Extending Straight Up

Model 18: The Squeezing Suji

Model 19: The Ladder Suji

Model 20: Attacking Suji

Model 21: The Two-pronged Attack Suji

Model 22: The Question of the Inevitability of Moves

Model 23: The Real Move [Honte]

Model 24: Tesuji

Tesuji and the Broad Picture

Model 25: Cross-cut

Model 26: The Suji of Sealing the Opponent In

Model 27: The Tower Poking Suji

Model 28: The Defensive Suji

Model 29: The Fancy Footwork [Sabaki] Suji

Model 30: The Throw-in Suji

Model 31: The Placement Suji

Model 32: The Attachment Suji

Model 33: The Single Cut Suji

Model 34: The Killing Suji

Model 35: The Belly Attachment Suji

Model 36: The Race to Capture [Semeai] Suji

Doubt

Model 37: An Interesting Suji

Model 38: The Pincer Attachment Suji

Model 39: The Vital Point Suji

Model 40: The 2–1 Point Suji

Model 41: The Endgame Suji

Model 42: The Ko Suji

Model 43: The Suji of Playing Elsewhere

Model 44: The Suji of Wringing Out Liberties

Model 45: The Sacrifice Suji

Model 46: An Exquisite Suji

Model 47: The Hane and Cut Suji

Model 48: The Hane Suji

Model 49: The Empty Triangle Suji

Model 50: Practical Application of Suji

Model 51: Gen Gen Go Kyo

Raised with Anti-suji

Model 52: The Hollowing Out Suji

Model 53: The Descending Move Suji

Model 54: The Special Qualities of the Corner

Model 55: The Double Threat Suji

Model 56: The Suji of One Atari after Another

Model 57: The Stone Monument Wrap-up Suji

Model 58: Suji to Escape

Model 59: The Niche Wedge Suji

Model 60: The Suji to Add Liberties

Go Can Be Cold and Heartless

Model 61: The Suji of Wedging In

Tesuji in Actual Game Positions (1)

Tesuji in Actual Game Positions (2)

Tesuji in Actual Game Positions (3)

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About SmartGo Books

Preface

Tesuji [skillful finesse] are the star features of sectional fighting. If one does not understand how to use tesuji, one will be unable to correctly combat an opponent in localized fighting. In that sense, tesuji are the basic building blocks that teach us how to properly hone our fighting skills.

In the final analysis, if one is a strong fighter, it is merely proof that one has a good grasp of tesuji, and when a weaker player suffers a drubbing at the hands of a better player, it is simply an indication of the gap in understanding of tesuji between the two players.

The present work has virtually eliminated all of the complex and difficult aspects of the subject, clarifying matters that all players encounter in their games, and touching upon a simplified examination of tesuji.

However simplified it might be, though, the text concentrates on the essential points in a concrete manner. From this perspective, the aim has been to analyze the vibrant lifeblood of the stones. Throughout the volume, it should be apparent to the reader that even in the cases of the most complicated and difficult tesuji, it is merely an extension of the simplified tesuji presented here.

December, 1967
Sakata Eio

Translator’s note

The hardest words to translate are not necessarily the most difficult ones. Often it is the simplest words with the widest applications that pose the greatest problems. Suji is an example. The word suji has many meanings: a line in one’s palm is a suji, as is a muscle or a sinew in one’s limb; a fiber in a plant is also a suji, as is a vein; one’s bloodline is a suji, but a plot of a play is also one; suji also means “reason” or the “point” of a person’s actions. In all, the Kojien encyclopedic dictionary gives 14 different definitions of the word. So how is one to translate it?

Japanese go writers will often say something like: “This move is suji.” That means that: “This move follows good form.” And that is how the word is often translated. But in a work that focuses directly on the concept, it has been thought best here to retain the original terminology and simply devote more attention to defining it precisely. We try whenever possible to use English equivalents for Japanese terms, but sometimes a more comprehensive approach may be better. We welcome comments from readers.

Tesuji is a special case. Although it is an ordinary word (for, say, the line in the palm) it has a specialized use in Japanese as technical jargon in the game of go. We usually translate this as “skillful finesse,” but how would that work in the title of this book? “Skillful Finesse and Anti-finesse of Go” would be awkward, unclear and also incorrect. There is a difference in the use of suji and tesuji in Japanese go books, and we feel that the reader is best served by being informed of these differences.

Real Suji on the previous page is the translation of the word hon-suji. This term is related to the word honte, which is usually translated as “real move,” but the meaning is more like an honest-to-goodness, authentic, correct move. So hon-suji means something like accurate, solidly correct form.

Finally, the word anti-suji is our translation of the word zoku-suji. This is related to the word zoku-shu which we usually translate as “crude move.” (In the past, others have translated it as “vulgar move,” but that is simply a mistaken translation. Zoku does not mean “vulgar.” For instance, the word zoku-go [”crude-word”] means “slang,” not “profanity.”) So zoku-suji refers to a line of play that is crude and antithetical to the demands of the position, often destroying the possibility of playing tesuji: in a word, anti-suji. Again, we feel it important to understanding the nuances of the text to retain some Japanese terminology.

Real Suji and Anti-suji of Go

Playing in Good Form and Making Correct Shape

What is Suji?

The word suji is a technical term that is used quite often in the game of go.

For example, the words tesuji, “incorrect suji” “unreasonable suji,” and “premature suji,” etc., all incorporate the word, and all are often encountered. But of all these terms, only the word tesuji is an orthodox one. The rest of them are merely “wayward suji.”

There are also situations in which the word suji is used by itself, and again, it is also used in conjunction with verbs, such as “cutting suji,” “connecting suji” or “squeezing suji.” There is practically infinite variety in the use of the word.

However, should one ask what in the world is meant by the term suji, I would be somewhat stuck for an answer.

This everyday word, that one casually uses without even thinking about it, suji, does not have a clear definition. Of course, this does not put a crimp in anyone’s style, as there is no reason for the word to be precisely defined.

The important thing is not what the word is or is not, but in what way it is used. In short, viewed from the vantage point of the world of go, the important thing is how one makes life, and not knowing how to put the concept into words will not be an inconvenience for anyone. In so saying, I recognize that in a book dealing intimately with suji, it would be strange if the term were not defined, so I will offer a general definition.

Suji is the line of play that the stones had best follow.

In other words, the points that the stones are best played upon, but this is much too rough or loose a definition, and also, will not be proper in all cases.

For instance, when speaking about the opening, the word suji is practically never used. However, there is a proper line of play at that stage of the game that the stones must of necessity follow. Therefore, I wonder if it is not considered strange to try to invent a definition for the word. I must certainly say that it seems strange to me.

But let’s examine the word “fountain pen,” or, no, how about the word “cup”? Can the reader come up with an ideal definition of the word “cup”? In that sense, it is difficult to define everything or every concept in verbal terms.

“A picture is worth a thousand words.”

Rather than getting caught up in longwinded circumlocutions, the best way to quickly explain the concept of suji is to use a diagram, and I believe that method works just fine.

Diagram 1

A knockout punch — When the black group here is hit at the vital point of white 1, it is suddenly dead.

This is a basic formation that should be familiar to everyone, and the long-and-short point of the matter is that white 1 is suji. If one wants to substitute vital point for suji in this situation, I would have no objection.

Diagram 2

Speaking of shape — Consequently, when black gets to make a move first as in this diagram, playing at 1 allows the black group to live.

In either case, it is obvious that the point of 1 is the vital point, but in the latter situation black 1 is not called suji, but rather, shape is the expression that is used.

The point here is that even when the same vital point is occupied, in situations where the move is a component in an attack, suji is the term used, while when it is a defensive move, shape is the proper expression.

In this manner, suji is shape, but it is also vital point, and depending on the perspective of the situation it could also be described as an essential, commanding point. In other words, since there is an ambiguous character to the nature of suji in and of itself, it is perhaps inevitable that the definition of the term also be ambiguous, and that it prove impossible to define exactly in all situations. That simply cannot be helped.

What is Tesuji?

Let’s next think about a definition of the word tesuji.

The word tesuji is a little different from the word suji.

Naturally, tesuji is a form of suji, but it is not merely one more variety of suji.

The discussion is bound to get somewhat complicated, but here too, let’s investigate the matter by way of a diagram.

Diagram 3

A living group — In this diagram, black has played the marked stone, making the proper shape, and so, the black group is alive.

No matter what technique white tries to use against this black group, white will be unable to kill it, but in terms of making profit in the endgame, there is one line of play [suji] that comes to mind.

Diagram 4

The technique [suji] of cutting — White throws in the cut at 1 to see how black will respond.

This is actually a surprisingly effective move in this situation.

Of course, there is no question whatsoever that this move threatens to kill the black group, but considering the endgame profit to be gained later on, this is quite an effective move [suji].

Black cannot play elsewhere [tenuki].

Diagram 5

Profit — Either way that black answers with 2, the situation is the same. In this diagram, white gets to atari at 3.

Naturally, black will capture at 4, but even being able to force this move in sente is profitable to white.

If the reader has trouble understanding this point, please examine the following diagrams and pursue the matter to your satisfaction.

Diagram 6

The result — In short, this diagram shows the ultimate result that can be anticipated in this situation. Black hanes with 1 and connects with 3 and finally, after blocking at 5, black’s territory in the corner is found to be 6 points.

Please keep this diagram in mind while comparing it to the following diagram.

Diagram 7

A 4 point difference — Suppose that white neglects to throw in the cut at A. In the endgame there is a threat that black will get to play both the hane and connection at 1 & 3 and the same process at 5 & 7 in sente.

The cut of white A is thereby no longer an effective move.

In this diagram, black’s territory has grown to 8 points, a gain of 2 points, while on the other hand, white has been forced to play 6 & 8, representing a 2 point loss. (That is, in the case where the outer points are within territory that white has surrounded.) The upshot is that a difference of 4 points of real profit has been both gained and lost.

Diagram 8

Skillful finesse [tesuji]? — One cannot dismiss a “minuscule” profit of 4 points in a cavalier manner. In a close game, it is entirely possible for that one move of the cut of white 1 to turn the tide.

The cut of white 1 could be played at just about any point in the game in sente, but of course the most effective way to use it would be as a ko threat.

The cut of white 1 has the distinctive flavor of tesuji about it, but if one defines the term in the strictest sense of the word, then something like the following technique is what is being described when one hears the term skillful finesse [tesuji].

Diagram 9

Black to play — In this board situation, there is an ideal example of a tesuji to be found. The point here is that black’s two stones in the lower left corner are in an unusual position, and there is a question whether they are alive or dead. That is the situation that gives rise to the possibility of a tesuji being played.

Will it be alright to move out directly with these black stones, or is a roundabout approach best? The first priority is to read out the life and death circumstances that are involved.

Diagram 10

The direct approach — If black moves out directly by playing at 1, let’s see what happens.

White’s answer at 2 is to be expected, and when black plays at 3, white must not neglect to play at 4.

But when black tries to build a living shape with the move at 5, white’s diagonal move at 6 makes it unlikely that black will succeed.

Diagram 11

No prospects here — If black instead tries the moves at 1 & 3, white forces black to capture at 5 by playing at 4, and then pokes at white 6. In this situation as well, black has no prospects for success. It may seem that there are many other variations that black might use, but the fact is that moving out directly will not work for black.

Diagram 12

Tesuji — In cases like this, it is best to leave the possibility [aji] of cutting at A by black open, and attaching at black 1 is tesuji.

In other words, while casting a backward glance at the opportunities inherent in this position, one uses TEchnique to follow the correct line of play: SUJI. Since this is a difficult concept to put into words, the reader is asked to please study this diagram very well in order to appreciate the nuances of tesuji.

Diagram 13

Moving out — In response to the attachment of black 1, if white fights back with the move at 2, black then moves out with 3 & 5.

What role will the exchange of black 1 for white 2 play when white answers in the same way as before with 4 & 6? When black captures at 7, what is the outcome?

Diagram 14

A bother to deal with — The point here is that even if white attacks with the poke at 8, the marked black stone which was played as the attachment and was answered by white’s marked stone, is found to be effective, and it is now a bother for white to deal with black’s blocks at 9 & 11. After this, let’s examine the situation a little further to see what will happen next.

Diagram 15

Annihilated — If white pushes out at 1, it is no good for black to block at 2. That is because when white cuts at 3, black’s stones wind up becoming completely annihilated.

Diagram 16

An exchange [furi-kawari] — When white pushes out at 1, black must give way with 2 & 4. An exchange [furi-kawari] results with the moves through black 6, but perhaps black is not satisfied with this trade.

Consequently, one might suspiciously view the matter and question whether putting all one’s energy into finding the tesuji [skillful finess] that was adopted was not, after all, a waste of time, but we hasten to add that we have just shown one variation that is possible in this position.

Diagram 17

Hanging tough by playing ko — Going back to the beginning, when black plays at 1, if white extends at 2, black can hang tough by playing at 3 & 5 to make a ko.

If white answers by playing at 6, black starts the ko with the move at 7, and has plenty of ko threats to use nearby, starting with the cut at A. This is a difficult ko for white to battle, and white will probably refrain from doing so. Should white wind up losing this ko fight, white’s position will end up completely in tatters. Consequently,

Diagram 18

Alive — If white connects at 1, when play proceeds with the same order of moves as before, after black captures at 6, black’s group is clearly alive.

Of course, this variation is not predetermined to occur. The position is such that there are many possible variations, so one should not feel that this line of play is in Diagram 18 evitable.

What we would like to suggest is that no matter what course the flow of moves take, the possibility of playing tesuji occurs. Please try to confirm this for yourself.

Diagram 19

Par — In the final analysis, when black plays the tesuji [skillful finesse] at 1, white is best served by avoiding all the problems that can develop on the left side, and connect at 2, which is perhaps par for this situation.

Then, connecting underneath with the hane from below at 3 takes a big chunk out of white’s territory. This is sufficient for black.

In short, tesuji is typically defined by situations similar to this diagram, is related to a particular area (in this case the lower left corner) where problems [aji] or complications may develop, and that is what inspires the discovery of the tesuji that conforms to correct form [suji].

The point is that the attachment of black 1 is based on the problems [aji] inherent in the possibility of the cut at 2.

If white connects at 2, black hanes at 3, and recovers any loss incurred in the corner.

The tesuji in this diagram is a fundamental one, and is classified as a sabaki [fancy footwork] tesuji.

Tesuji and Anti-suji

Well then, we hope that the reader understands the different nuances between the words suji and tesuji from the above real game type situation. However, when faced with a choice of a generally used term, whether suji or tesuji, one for the most part uses the word tesuji.

For example…

Diagram 20

Connecting technique — In this situation, black has been disconnected to the left and the right in terrible shape. However, by using a skillful technique, black is able to connect with a single shot.

Diagram 21

The suji of the nose attachment — That is, the shot of the nose attachment of black 1.

No doubt, for a player just starting out to learn the game, this move is quite a difficult to discover. But notice how, when faced with the attachment at black 1, white has no technique available to disconnect black.

Diagram 22

Connection — White has no option other than to capture with the move at 2, and black squeezes with 3 & 5, connecting in the process.

If white tries to push out with the move of 2 at the points of either 3 or 5, black will still be able to connect underneath. The fact of the matter is that white has no choice but to allow black to connect. Please investigate the possible variations on your own. We might add that this move is known as the “goblin’s nose attachment” suji, and you will probably nod your head in agreement when someone says, “Ah! Indeed! This is quite an effective tesuji.”

Strictly speaking, the move is known as the “nose attachment suji,” and not simply called tesuji, but there is no real obstacle to referring to it as tesuji.

In this book, we would like to examine the matter from this perspective, investigating both the nature of tesuji and anti-suji.

The reason is that in the most exact sense of the word, the term tesuji embraces very high level concepts with abstruse implications that, although fascinating, must be approached from the closely related topics of suji and shape or one will fail to understand the matter properly.

Naturally, we will studying the most interesting model tesuji as well, but more than anything else, one must understand the fundamental concepts of suji that ordinarily appear in the course of a game.

What we especially want to do is to show the readers the mistakes that they commit in the midst of their actual games without even realizing it, and also show how to correct one’s way of thinking.

Well then, we believe that the reader has come to an understanding of the distinctions in general between tesuji and suji (although those are not actually so important in a real game situations) from the preceding explanation, but what does the reader think is the meaning of the word anti-suji (incorrect suji) ?

In a word, it is a suji [line of play] that is not a proper suji.

A suji that is not a proper suji seems to be an odd way of putting it, but the essential point is that it is a suji that is played in an inappropriate way, failing to occupy the proper point.

A move that is better not played, or going further, that, when played incurs a loss, is a more accurate definition, but in any event, an “incorrect suji,” an “anti-suji,” a “premature suji,” or an “unreasonable suji,” etc., are all examples of the improper use of suji.

Nonetheless, not knowing the correct suji does not necessarily mean that one understands “incorrect suji.” A player who has become accustomed to playing anti-suji will perhaps never grasp the concept of accurate suji.

And this is frightening.

Mastering the Basics is Vital

Here we would like to show the reader an example of a truly wonderful finesse [tesuji].

Diagram 23

Black to play — The question here is what will happen to the four black stones that have been surrounded by white? If the cut of the marked black stone had not been made, there would be no problem at all, but that cut means that there is a race to capture [semeai] in this position.

The upshot of the matter is that black’s four stones may be rescued, but it is no exaggeration to say that those who do not understand tesuji will be convinced that such an outcome is not in any way possible.

First of all, let’s investigate what one’s instinctive way of playing (and this is why it is called anti-suji) might be in this position.

Diagram 24

Anti-suji — Since this situation is a race to capture, it is understandable that one would want to hurry to fill in a liberty with black 1, but this is a common liberty (one of black’s own liberties as well as white’s) and filling it in is an improper line of play [anti-suji].

Even if black plays the moves at 3 & 5, the sequence through white 6 leads a one move loss in the race to capture.

Diagram 25

The same thing — We can declare in a straightforward manner that the moves of black 1 & 3 lead to the very same result as in Diagram 24.

Diagram 26

This is tesuji! — There is no denying that the two-step hane of black 1 & 3 is a sparkling line of play [suji].

It may be germane to point out that since the cut at A is left in black’s shape, a beginner would never dream of playing this line [suji].

Diagram 27

Capturing — Continuing the variation in this diagram, if white cuts at 4, the hane into white’s position with black 5 ends up capturing two stones of white’s.

Diagram 28

Winning the race to capture — If white instead connects at 4, black will also connect at 5, and in regards to the race to capture, the hane of black 7 results in a one move win for black. Notice the effective role played by black’s leaving the liberty at A unfilled.

Diagram 29

Simplicity itself — The hane of black 1 in itself is also tesuji as well, and supposing that white connects at 2, black follows this up by crawling in at 3. In this case also, black ends up winning easily.

Diagram 30

Saved — In response to black’s hane of 1, if white cuts at the point of 2, black pushes through with the move at 3. White’s two stones to the right are captured, while at the same time black’s four stones are rescued.

Diagram 31

An impressive suji — Other than the conclusion we have come to above, there is no technique available to black besides the two-step hane of black 1 & 3.

But regardless of this fact, the tesuji itself is a magnificent one, and we are sure that when you first encountered this line of play [suji], you could not help but be impressed by it.

Even if saying that it is impressive is somewhat of an exaggeration, there is no doubt that your interest in the topic of tesuji is aroused by this variation.

However, we must also remark on the fact that just because this is an interesting subject does mean that it will of necessity be of benefit to the reader.

There are many books on tesuji that have been published. Of course, they are all interesting. But the question is whether those books are of benefit to readers.

If one considers what goes into creating a strikingly original tesuji position the point is clear. No matter how many of such striking situations are recreated, and no matter how provocative they are to readers’ appreciation of the art of go, the question is whether they are of service to readers in real game situations.

The key is for the reader to regularly approach a game with a serious sense of purpose.

In short, one must master the ordinary tesuji that are effective in real game fighting and abandon a lackadaisical attitude that hinders one’s progress.

Model 1: The Suji of the Two-Step Hane

Model 1
Black to play

Tesuji is also referred to as “real suji.”

It is sufficient to evaluate the term as meaning the proper activity of the stones, but arguing over the question of definitions obscures the fact that “real suji” indicates the way that stones must be played in order to be effective. This strict, almost harsh, interpretation is the correct one. Even in ordinary situations [common shapes], the technique [real suji] in this model is often to be encountered in actual games, so please try hard to master it.

Diagram 1

The basic shape — In this position, white invades at 1, and this is the starting point for the position that results in the model. The intention behind the diagonal move at black 2 is to seal white in.

Diagram 2

Thick play — White pokes at 3 in order to dodge the attack [sabaki]. For black 4 and the extending move at 6, other moves may be considered, but in this situation, black follows a thick line of play.

Diagram 3

The solution: the suji of the two-step hane. — The two-step hane of black 1 & 3 is the correct line of play that refuses to give an inch. The fear that one might harbor regarding the two-step hane is…

Diagram 4

No good — …that white will cut at the base of black’s position with the move at 2, but when black answers at 5, the moves at A and B are equivalent options [miai], and white’s efforts end in failure. Consequently, it is correct to fearlessly play the two-step hane in this situation.

Diagram 5

The continuation — White has no choice but to capture black’s stone with 4 & 6, however…

Diagram 6

The real suji — In this situation, simply pushing through at black 1 is the real suji.

Without cutting at A or playing atari at B, simply pushing in at black 1 shows the correct attitude regarding go.

Why leaving all the options available (or “simply pushing” as the expression was put) and playing at A is correct will be explained in the following diagrams, and we trust that the reader will understand the point that we are making here.

Diagram 7

An enormous loss — When black pushes through at 1, white cannot block with a move at 2.

With the moves at 3 & 5, black captures three stones, an enormous loss for white.

Diagram 8

The real moves [honte] of white 2 & 4 — When black plays at 1, the capture [ponnuki] of white 2 is the proper move [honte].

The forcing moves [kikashi] at black 3 & 5 end up taking control of white’s marked stone, while leaving open the option of isolating white’s single stone on the right side by playing at A is left over, represents the correct line of play for both sides.

Diagram 9

White may also play this way — When black plays at 1, white may also respond as in this diagram. Black once again pushes through, here at 3, and in the future can play the move at black A in sente, and that is the difference from the previous diagram.

Diagram 10

Anti-suji — However, in actual games, there are many people who will throw in the cut of black 1 first.

This is an anti-suji.

Why?

Black still pushes through at 3, but in the following diagrams we will demonstrate clearly why this is an anti-suji of go.

Diagram 11

Inevitable — Continuing, it is natural for white to capture black’s stone with the move at 4.

Even though there is no necessity to play the move at black 5, for the purpose of this demonstration we are putting it in.

With the moves through black 7, white’s marked stone is all the same captured, but in this seemingly inevitable sequence of moves, there are some blind spots that must be noted.

Please examine the next two diagrams in a comparative frame of mind with a backward glance at this diagram.

Diagram 12

Anti-suji

Diagram 13

Real suji — Please examine these diagrams closely.

In regards to the anti-suji, white has captured a black stone with white’s marked stone, but in the case of the real suji, black has played atari with the marked stone, and white has been forced to connect with white’s marked stone.

In short, at the very least this represents a loss of 3 points for black, and is the price black must pay for playing the anti-suji.

Besides this, the anti-suji has eliminated the good chance that black had to be able to isolate white’s stone on the right side by playing at A in Diagrams 8 & 9, depending on how white plays there.

Diagram 14

Weak-kneed — The incorrect suji of black 1 here is played out of a weak-kneed fear of even playing the anti-suji shown previously. White answers at 2 and all problems associated with this corner wind up being disposed of.

Diagram 15

Cutting — The point is that what black fears is going to happen is that when black plays 1, white will cut at 2.

Diagram 16

Playable — However, black can answer with 1 & 3, and hang tough. After black lives with black 5, white must also seek life with the moves through 10. However, if this result is unpalatable…

Diagram 17

Simple and clear — Black can play at 1, 3 & 5 and the thickness black builds here makes the result acceptable for black.

Diagram 18

Further profit — It goes without saying that later on black can first play at 1, and then at 3 & 5 to take more profit.

Diagram 19

Incorrect suji — Playing at black 1 is fine, but then the black descending move at black 3 is the epitome of poor form [incorrect suji]. Black’s stones are not supposed to land on such a spot. In the present diagram, black must cope with the threat of a white cut at A, a vexing situation.

Diagram 20

Insufficient — The connection of black 3 must also be characterized in this situation as demonstrating a notable lack of gumption.

Diagram 21

Tesuji — In this model, the two-step hane of black 1 & 3, aiming at the black move at A, pushing into white’s position, is the tesuji. Pursuing the matter further…

Diagram 22

Real suji — …simply pushing through at black 1 is the real suji. We would really appreciate it if the reader would savor the nuances that remain in the position when black refrains from playing at A or the atari at B.

Model 2: The Suji of the Connection Underneath

Model 2
White to play

A Japanese proverb states that “In connections across society [of benevolent souls] devils are barred from interfering.” And when stones are isolated, by connecting with a group of friendly stones, the resultant group is bigger, and have better chances for living.

The model depicted here is related to the previous model, and the fact is that the single marked white stone can connect to the white group in the upper right corner by means of a tesuji. It is a move that is perhaps just a little difficult to discover, but it may be described as one of the fundamental moves that are called tesuji.

Diagram 1

The basic shape — White invades at 1, and black plays the diagonal move of 2 as before.

If black plays at 4, white plays the move of 5 differently than in the previous model, creating a position that is very similar to shapes that appear in real games.

Diagram 2

What now? — Black can capture white’s marked stone with the moves at 6 & 8, creating a thick and strong shape, and after black 10, how is white to play?

Diagram 3

The solution: the knight’s move connection suji — Playing the knight’s move of white 1 is tesuji.

Just glancing at this move, it might seem to be a laughable attempt to create play, but it actually connects without fail to the corner. It is a tesuji that the reader is urged to study.

Diagram 4

No problem — If black plays at 2, white 3 is the important answering play. Black has no way of countermanding it.

Diagram 5

Incorrect suji — Playing at white 1 instead of as in the previous diagram is an incorrect suji. When black cuts at 2, white is unable to connect and will incur a major loss.

Diagram 6

Bullying through — Continuing from the previous diagram, white has no other option but to play at 3, and black ends up forcing through the white position with 4 & 6. There is a question here about what white is trying to accomplish, and why white should incur this great loss here.

Diagram 7

Related Model 1 — This is a position that often occurs in handicap games.

With what move does the reader imagine that black will be able to connect the isolated groups to the left and the right?

Diagram 8

A similar suji — The knight move connection of the black move of 1 is suji here. It is exactly the same move as the suji shown in Model 2. If one is not familiar with this suji, is there any question that one will fail to find it in this particular case?

Diagram 9

No problem — After black plays at 1, white might try butting into black’s stone with the move at 2, but black will quite naturally draw back by playing at 3. After this there are no problems for black.

Diagram 10

Anti-suji — Suppose black plays at 1 here. White pushes through at 2 and black is no longer able to connect. But how many times have we seen beginners commit this simple mistake?

Diagram 11

Related Model 2 — Here is one more example of handicap joseki that often is played.

Diagram 12

The knight’s move connection — Black uses the knight’s move here to connect underneath. Naturally, not every move that might be grasped here, as at straws, will be effective. The move must follow suji, and we hope that the reader understands this.

Diagram 13

Anti-suji — The black cut at 1 is crude and ineffective [anti-suji]. White is allowed to put up resistance with the moves at 2 & 4, setting up a ko fight, and black is not permitted to connect underneath unconditionally.

Diagram 14

Incorrect suji — The black hane of 1 will likewise be resisted strongly, here with the block of white 2. This must be anticipated. One must not presuppose that connecting is a hit-or-miss proposition. The move here is incorrect suji [making a misstep in one’s play].

Various Thoughts on the Suji of Connecting Underneath

The possibility of suji that connect underneath is the next subject that we will discuss, but we must first consider how such situations may arise.

Diagram 1

Black to play — The demand here is to find the suji that will connect black’s two isolated stones with black’s main force in the right corner. This is one of the fundamental techniques that we discussed before.

Diagram 2

Tesuji — The diagonal move tesuji of black 1 is correct.

Diagram 3

No problem — Even if white attaches with the move at 2, black connects up with the two stones without any problems by playing at 3.

There is no other move that white can use to prevent black from connecting.

Diagram 4

Anti-suji — Playing black 1 in the very middle of the two positions is anti-suji, and by doing so, black will wind up being unable to connect.

When black gets hit with the attachment of white 2, black has no choice but to abandon the two stones to their fate.

Diagram 5

Also a connection, but… — On the other hand, with this kind of position, black can also connect underneath with the diagonal move of black 1 from the other side. However, it is not correct to play this way.

Diagram 6

Incurring a loss — The reason black 1 is not correct is that in cases where white gets to play two moves in a row at 2 & 4, black’s move at 1 represents an out and out loss.

Naturally, white is not allowed to play two moves in a row under normal conditions, but in the game of go there is always a possibility of a ko taking place. In a word, if the move of white 2 is viewed as a ko threat, it is obvious that the result shown here could arise.

Diagram 7

No loss — When black plays the diagonal move of 1 this way, think about what happens if a ko arises now. Presupposing that the resulting variation is the same as in the preceding diagram, black’s stone at 1 avoids being captured. This situation illustrates how go is a game that demands foresight coupled with determination regarding possible sources of profit that might arise in the future.

Consequently, even though each of the moves of black 1 in the last two diagrams connects in exactly the same way, it must be clear to the reader that the move that stays close to black’s main force is the correct one.

It is insufficient to be satisfied with the mere fact of connecting the groups.

Diagram 8
Black to play

The position here is rather complicated, but the black stones that find themselves surrounded must do something.

Diagram 9

The suji of the pincer attachment — The descent to black 1 is a move that must be answered [kikashi]. Then, with the pincer attachment of 3, black connects underneath. This is a suji that utilizes special properties of the first line.

Diagram 10

No problem — Next, even if white plays 4 & 6, black connects with 7.

Diagram 11

Just looking for trouble — When black plays at 1, if white tries to hang tough by playing at 2, black plays at 3 & 5, leaving white without two eyes.

The end result is that white must resort to putting an approach move ko into effect, but this is just looking for trouble, compared to the previous diagrams.

Diagram 12
Black to play

The three black stones which have been surrounded here are still not captured.

Playing at black A, thinking that there is nothing to be done, would be anti-suji. In truth, there is a fine tesuji to be played in this position.

Diagram 13

The single blow of cutting — First black cuts into the position with the move at 1. Black then follows up the preparatory work by making the throw-in at 3.

Diagram 14

Crossing underneath — Black plays atari at 5, and after white plays at 6, black finishes off the matter by playing 7.

Diagram 15

Rapidly disappearing liberties — Please carefully examine the situation that results when black blocks at 7.

White is unable to make a connection here, so black is able to connect underneath unconditionally. This is an example of the suji of rapidly disappearing liberties.

The edge of the go board has interesting properties, and there are a variety of tesuji that arise because of this fact.

Besides what we have shown here, there are a number of suji for connecting underneath, but we have determined to speak principally about fundamental suji.