Copyright © 2008 by Hinoki Press

This is Go the Natural Way!

Takemiya Masaki, Honinbo

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“This is Go the Natural Way!” are the watchwords that the author takes as his philosophy of play in this unique volume, but the book could also be viewed as The Best Games of Takemiya Masaki. When he published the material that has been translated here, Takemiya was Honinbo and at the top of his form. Few professional go players were serious rivals for him. And the ones who were are today considered as great players in the same way as he is, such as Cho Chikun, Kato Masao or Sakata Eio. All of these players and many more make appearances in this volume.

But this is not merely a collection of brilliant games. Far from it. In fact, several of the games analyzed in this book ended in losses for the author. But that is not the key factor that Takemiya takes pains to explain. The flaws were not in his strategy, but in the execution, and at critical points more experienced players edged him out for wins. Such as when Ishida Yoshio defeated Takemiya (4–3) in the 1974 Honinbo Title Match. One of Takemiya’s greatest games appeared in that match, but he ended up losing it and the match. He won the title two years later, but he would rather dwell on that earlier loss than recount the triumph that followed. The reader should examine that game published here and decide its intrinsic value as Takemiya does: with a clear, unbiased eye.

This is Go the Natural Way! is a full-length portrait of a great player from any number of angles. It shows how a young go professional challenges the system and advances to the rank of 9 dan at the age of 26 after just 13 years of play, a record never equaled before or since. A professional go writer in Japan offers his own thoughts and one of Takemiya’s closest rivals, Ishida Yoshio, shows how Takemiya’s strength is grounded in a profound understanding of thickness and how to use it. Those two essays alone deserve close study. But in addition, a whole panoply of top level go match play is illustrated, including one of Takemiya’s first successes on the tournament scene, a success that was instrumental in having him dubbed very early in his career as the “Pro Best Ten Boy”. And that is only one highlight in a career packed with them, a full measure represented in this volume.

In the end, it is innovative, exciting play that meets the test of time. This is Go the Natural Way! was originally published more than 25 years ago, yet it is still as fresh and relevant today as it was then. Contemporary go focuses on the whole board rather than intricate subtleties in the corners and Takemiya was the first player to really concentrate on that aspect of the game. For anyone who wants to see how this important aspect of go theory evolved, a serious look at Takemiya’s go is called for. This work is a seminal contribution to that effort.

Three problems created by Takemiya are presented in the book as well. This is Go the Natural Way! is a book that challenges the reader on many levels.

Copyright © 2008 by Hinoki Press

681 Valley Park Drive
Libertyville, IL 60048 USA

SAN 851–8742

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: 0–9788874–9–2
ISBN-13 of print edition: 978–0–9788874–9–0

Translated by Robert J. Terry

Edited by Chris Greene

Proofreading and Editorial Assistance by
Lee Huynh and Roy Laird

Cover Art by Nancy Morikawa

Author photo provided by John Pinkerton,
courtesy of the American Go E-Journal.

Cover shows the ukiyoe woodblock print,
‘Chinese Sages Playing Go’ (c. 1890)
by Hobun Kikuchi (1862–1928),
courtesy of Doug Cable.

Conversion for SmartGo Books by John Mifsud

Contents

This is Go the Natural Way!

Copyright

Takemiya Masaki – Biography

Publisher’s Notes

Translator’s Notes

Part 1 Kido, January 1982 – AGJ Summer 1993

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

Part 2 Kido, January 1982 – AGJ Fall 1993

Part 3 Kido, February 1982 – AGJ Winter 1993

Part 4 Kido, February 1982 – AGJ Spring 1994

Part 5 Kido, March 1982 – AGJ Summer 1994

Part 6 Kido, March 1982 – AGJ Fall 1994

Part 7 Kido, May 1982 – AGJ Winter 1995

Part 8 Kido, April 198 – AGJ Winter 1996

Three Problems

Part 9 Kido, July 1982 – AGJ unpublished

Part 10 Kido, July 1982 – AGJ unpublished

Part 11 Kido, August 1982 – AGJ unpublished

Conquering the Cosmos by Akiyama Kenji

Part 12 Kido, September 1982 – AGJ unpublished

Takemiya’s Flair for Thickness by Ishida Yoshio, 9 dan

Game Supplement

Ishida-Takemiya

Utaro-Takemiya

Takemiya-Sakata

Kato-Takemiya

Behind the Scenes: How Things Change
A new translation by Bob Terry

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About SmartGo Books

Takemiya Masaki – Biography

Born January 1, 1951 in Tokyo, Japan.

Takemiya was a student of the Minoru Kitani school, and in his teens was nicknamed ‘9-dan killer’ because of several wins against top rated players. He was also known as ‘Pro Best Ten Boy’ because of his wins in that tournament early in his career. Promoted to 9-dan in 1977, Takemiya is ranked 8th in Japan for the number of titles held. Lives in Tokyo, Japan.

1965 Became a Professional

1971 Won Prime Ministers Cup

1973 Won Prime Ministers Cup

1976 Won 31st Honinbo Title

1978 Won 11th Hayago Championship

1980 Won 35th Honinbo Title

1981 Won 1st NEC Cup Title

1985 Won 40th Honinbo Title Won 5th NEC Cup Title

1986 Won 41st Honinbo Title

1987 Won 42nd Honinbo Title

1988 Won 43rd Honinbo Title
Won 1st Fujitsu Cup

1989 Won 2nd Fujitsu Cup
Won Asian TV Cup
Won NHK Cup Title
Won 22nd Hayago Championship

1990 Won 28th Judan Title Won Asian TV Cup

1991 Won 29th Judan Title Won 13th Kakusei Title
Won Asian TV Cup

1992 Won 30th Judan Title
Won Asian TV Cup

1995 Won 20th Meijin Title

Earned second place in fifteen other title contests.

Winner of 12 KIDO magazine awards, Shusai Award one time.

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

Publisher’s Notes

This book started with a casual conversation during the prize ceremony at the 2008 North American Oza Tournament in Baltimore. I happened to be standing next to Roy Laird, Chairman of the AGA Board of Directors, and during a pause, we introduced ourselves to each other.

During the next pause, Roy mentioned these Takemiya articles. ‘They’re worth reprinting.’ I don’t know what brought them to his mind just then, but in reading them again, I can see why he felt that way.

The Nihon Ki-in published this material in Kido magazine during 1982. The British Go Journal was allowed to print an English translation. The AGA received the edited translation from the British Go Journal, and presented it as a twelve part series in the American Go Journal starting with volume 27:2 in 1993.

Perhaps due to space considerations the AGA presented Parts 7 and 8 out of sequence according to the Kido dates. We have preserved the AGA sequence due to the context of their presentation. Parts 9 through 12 were prepared for publication, but never appeared in the American Go Journal. With this book, the AGA has completed that task.

Since there is more space here, in a book format, the original game supplement diagrams have been split up to present fewer moves in each diagram, making them easier to follow. Naturally, there has been some other editing, and there is some additional material; so, don’t expect a word for word reprint.

Thanks must be extended to the AGA, Bob Terry, Kiseido Publishing and others for bringing this material together.

These articles illustrate the great scope of the game of go. One player, using the same principles of play as everyone else, can bend the play of the stones to express his imagination.

In studying the play of Takemiya, and other go masters, we hope to expand our understanding of go and our imagination.

Our growth is a byproduct of the art of go, and one of the reasons why go is so profound.

Translator’s Notes

Moyo Takemiya

The title here may be somewhat inelegant, but it captures at a glance the nature of one of the great players of Japanese go. Anyone with any knowledge of go history who sees these words will know what they mean. Takemiya Masaki has been associated with moyo go as far back as anyone can remember.

What is a moyo? It is a huge expanse of territory that one side or another surrounds, usually in the center of the board. Takemiya himself says that it is a romantic notion of his to always embark on the quest to seize such territory. But he also qualifies that statement by saying that he never plays unnatural or unreasonable moves. Every move that he makes must be grounded in sound logic.

And one cannot quibble with success. Takemiya Masaki is one of the most successful players in go history. In 1976 he won the title of Honinbo and kept the title for six terms. That was just the start. In 1990 he won the 10 Dan (Judan) title and kept it for three terms. In 1995 he won the Meijin title. He has also won a whole series of other titles, almost too many to mention. The total is 24 titles. In addition, he has won Kido Awards for Most Wins, International Prize, Most Straight Wins and other prizes. He has also won the Shusai Award, named in honor of Honinbo Shusai, which distinguishes the most dominant go player of the year. Few players are more qualified than Takemiya for the honor.

But moyo (large territorial framework) go is what Takemiya is renowned for. For me, I always remember the Fourth Game of the 1974 Honinbo Title Match, where Takemiya challenged Ishida Yoshio for the title. Takemiya surrounded a huge moyo in the center of the board and Ishida barely edged him out to win the game on territory. But it was Takemiya’s audacious conception that lingers in my memory. [See this game.]

The Honinbo title match that year was a challenge of roommates. I was one of the observers that year and we all knew that Ishida, Takemiya and Kato were the ‘three crows of the Kitani Dojo.’ Ishida had precociously challenged Rin Kaiho (who himself had precociously challenged the great Sakata for the title just the previous year and won) and he had beaten Rin! Now Takemiya was challenging his mate.

Ishida had defeated Rin Kaiho to take the Honinbo title, but how would he face his colleague? Ishida shrugged off the challenge and won the Honinbo title for five successive times to earn the title of Honorary Honinbo, But Takemiya won the Honinbo title from Ishida in 1976 and kept it for a total of six years.

The Meijin title was the crowning achievement to Takemiya’s career. In 1995 he achieved this supreme accomplishment, defeating all rivals. No one could quibble at what he had done.

Takemiya is a unique individual. He is very outspoken in his views. I remember seeing him here in Los Angeles and hearing him point out to the (Japanese) audience (listening to his lecture in Japanese) that we were there, this small assembly of Americans, coming to see him. One might suppose he was inspired by our appreciation for his contributions to the game of go. And so it did.

Takemiya is well known at the Nihon Ki-in (Japanese Go Association). Everyone knows his bald head. (Actually, Takemiya shaves his head to modify his receding hairline.) He has opinions that he shares freely. Occasionally people think that he is too free with how he shares his opinions. But it is always lively when Takemiya is around!

Takemiya is a great player and a wonderful ambassador for the game of go. Everyone who loves go must be grateful that Takemiya shares his insights into the game.

Kido Magazine

Kido Magazine was established in 1924 along with the Nihon Ki-in, the Japanese Go Association. The purpose was to promote go and give an authoritative voice to the go movement. Many professional go players joined forces to aid in making the Nihon Ki-in and Kido Magazine a success. All thought that accessible authorative go analysis was essential to spreading knowledge of go throughout the world. Kido magazine made that analysis within reach of average go players.

In the late 1980s the Japanese economy surged strongly and the Nihon Ki-in expanded its activities. Kido Magazine did the same. Go journalists were hired to cover the go scene. Kido Magazine expanded to 215 pages.

The boom in go continued into the 1990s. Kido Magazine rode the wave. Special issues were published regularly in an effort to increase readership. Go players were happy to see how more attention was directed to go.

However, the turn of the century was not good for Kido Magazine. 1999 saw the last issue of Kido Magazine published. The Nihon Ki-in saw fit to combine Kido and Igo Club into a single magazine, Gekkan Go Waarudo, which is published every month.

Bob Terry, March 2008

Part 1 – from Kido, January 1982 – AGJ Summer 1993

My style of play has been associated with ‘moyo’ (large territorial frameworks) for so long that the word has practically become my middle name, but during a game I do not consciously set out to create a moyo.

However, since I do strive from the opening on to achieve overall balance throughout the board and by so doing utilize my stones with maximum efficiency, in many cases this results in the development of a moyo.

Conversely, should one ignore general trends and balance in the game and try to force a moyo into existence unreasonably, there is little chance for success.

This is why one must not oppose the natural flow of play nor lose sight of the whole picture.

Moves 1–21

＞＜

But, let’s take a look at an actual example of this kind of ‘natural flow of moves’ and try to clarify the point. This is a game I played as White against Hashimoto Utaro 9 dan in the All Japan Number One Tournament in 1972.

Moves 22–26

＞＜

As soon as I played white 22 and 24 Black showed consummate timing by playing the shoulder hit at 25. At that point I chose to answer with the ‘fencing in’ move at white 26.

Although it has been many years since I played this game, I am still convinced that white 26 is the best move in that situation.

Diagram 1

＞＜

One reason is because if White answers 25, the shoulder hit at in Diagram 1, with 1, Black would press upward with black 2. Then, by cutting into White’s position with the finesse of 4, he can have things all his own way up to 8.

The exchange of for white 1 is a forcing move (kikashi) that works in Black’s favor.

Diagram 2

＞＜

If that is the case, what about responding by pushing up against Black with white 1 in Diagram 2? Often this is effective, but here it is wrong.

Black sprints lightly to 2 and the thickness White gains with 3 is inconsequential since the black group in the upper left corner is the only object of attack, and that group has at its disposal either ‘a’ or ‘b’ (miai) to secure life.

Therefore, answering Black’s shoulder hit directly is not effective here. From the reverse point of view, should White answer as in Diagrams 1 or 2, Black is afforded the opportunity to develop his position naturally.

Moves 26–29

＞＜

I had turned the tables on Black by initiating a fracas with that fencing-in move at white 26. Hashimoto answered by pushing once with black 27 and then blocking at 29, showing natural fighting spirit.

Diagram 3

＞＜

Black cannot play 1 in Diagram 3 instead of 29 in the previous figure, because after white 4, turns out to be pointlessly played and abandoned without a fight.

Moves 30–34

＞＜

White strengthened his group above with 30 and 32 and then took the vital point with 34. Of course, Black has driven a wedge into the left side, but his two stones are somewhat heavy, and, as long as they are vulnerable to attack, White discerns an attacking advantage.

In short, when Black made his play for the initiative with 25 (in this Figure), White turned the tables on him with 26, and the flow of the game shifted in White’s favor. The moral here is that responding to the beck and call of the opponent’s moves can only lead to an unnatural flow of moves for one’s own stones.

Game Supplement

August 8, 1972 at Osaka
All Japan Number One Tournament

White: Takemiya Masaki, 6 dan (age 21)
Black: Hashimoto Utaro 9 dan (age 65)
Komi: 5½ points

Moves 35–41

＞＜

Black 35 forces White to back down with 36. Black would do better to play 37 at ‘a,’ as an attachment against White’s stone.

Moves 42–48

＞＜

Black has no choice but to play 43 in answer to white 42. If he replies at 44, White plays ‘a’ and Black is stuck for a good continuation.

Moves 49–61

＞＜

The next bad move for Black is 49; he should simply play at 51. Up to 61, Black is forced into a ‘dumpling-like’ shape.

Moves 62–74

＞＜

White builds more thickness in the center, and then defends at 74.

Moves 75–82

＞＜

This thickness creates the threat of a White invasion at 81, so Black plays 75 as a defensive measure. Even so, White encroaches on Black’s territory with the moves 78 through 82.

Diagram 4

＞＜

In this situation, if Black uses 79 to hane at 1 in Diagram 4, the moves through white 10 put Black on the spot, seeing that a White move at ‘a’ threatens Black’s group above.

Moves 83–92

＞＜

White 86 to 92 are further encroachments made possible by White’s thickness in the center.

Moves 93–100

＞＜

With 100, White captures Black’s stone in the upper right.

Moves 101–115

＞＜

Black 115 is his last chance for an upset.

Diagram 5

＞＜

Black could secure life for both of his groups with black 1 in Diagram 5, but the variation with white 2 to 6 would leave Black in a hopeless position.

Moves 116–134

＞＜

Moves 135–153

＞＜

Moves 154–166

＞＜

Moves 167–180

＞＜

Black resigns after White 180.

This game is fully annotated in the collection of Takemiya’s games published in the ‘New Starts’ series (Hanagata Kishi Meikyoku-sen, Vol. 2) in 1975, from which part of the commentary above is derived.

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Copyright © 2008 by Hinoki Press

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