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Copyright © 2002 by Richard Bozulich and Rob van Zeijst

Mastering the Basics, Volume 3

Making Good Shape

by Rob van Zeijst & Richard Bozulich

Buy the full book at gobooks.com

Good shape is a subject that has received scant attention in Japanese go literature. Although references to shape are made in most books, there is no one book devoted exclusively to this subject. However, understanding and recognizing good shape is important for becoming a strong player and developing the intuition that will instantly guide you to find the strongest moves in the opening and the middle-game fighting.

Shapes are the building blocks of your groups. They determine whether your stones are working together efficiently or are sitting in each other’s way. Good shape is a source of strength to build on, while bad shape often comes back to haunt you.

There are two aspects of shape. One is to make good shape for your own stones; the other is to spoil the shape of your opponent’s stones. However, good shape is more than a static form; it is dynamic in the way it builds eyes shape and stays ahead of the opponent in running battles while building up more eye shape.

This book provides an extensive theoretical introduction to shape, beginning with the efficient placement of stones. It illustrates various techniques for making good shape and gives its readers practical experience by presenting 245 problems so that they can hone their skills to find the shape move in their games.

Copyright Page

Mastering the Basics, Volume 3
Making Good Shape

Rob van Zeijst & Richard Bozulich

Published by
Kiseido Publishing Company
CPO Box 1140
Tokyo, Japan

Copyright © 2002 by Richard Bozulich and Rob van Zeijst

All rights reserved according to international law. No part of this book may be reproduced by any mechanical, photographic, or electronic process, nor may it be stored in a retrieval system, transmitted, or otherwise copied for public or private use without the written permission of the publisher.

ISBN of the printed version: 4–906574–73–4

Converted for SmartGo Books by John Mifsud.

Contents

Making Good Shape
Mastering the Basics, Volume 3

Copyright Page

Preface

Some Important Terms and Concepts

Chapter One: The Efficiency of Stones

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

Chapter Two: Examples of Good Shape

Chapter Three: 245 Problems

Problems 1–9

Problems 10–19

Problems 20–29

Problems 30–39

Problems 40–49

Problems 50–59

Problems 60–69

Problems 70–79

Problems 80–89

Problems 90–99

Problems 100–109

Problems 110–119

Problems 120–129

Problems 130–139

Problems 140–149

Problems 150–159

Problems 160–169

Problems 170–179

Problems 180–189

Problems 190–199

Problems 200–209

Problems 210–219

Problems 220–229

Problems 230–239

Problems 240–245

Chapter Four: Example Games

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Preface

Good shape is a subject that has received scant attention in Japanese go literature. Although references to shape are made in most books, there is no one book devoted exclusively to this subject. However, understanding and recognizing good shape is important for becoming a strong player and developing the intuition that will instantly guide you to finding the strongest moves in the opening and the middle-game fighting.

The brain is made up of two hemispheres whose functions are different but complementary. The right hemisphere is superior in handling geometrical concepts and the left hemisphere is superior in handling analytical processes. Playing go involves an interesting interplay between these two abilities. The right hemisphere provides the geometrical vision necessary to see the shape that you wish to achieve while the left hemisphere provides the analysis that is needed to achieve that shape. Studying shape is an excellent vehicle for developing and integrating both the geometrical and analytical powers of the brain.

Shapes are the building blocks of your groups. They determine whether your stones are working together efficiently or are sitting in each other’s way. Good shape is a source of strength to build on, while bad shape often comes back to haunt you.

There are two aspects of shape. One is to make good shape for your own stones; the other is to spoil the shape of your opponent’s. However, good shape is more than a static form; it is dynamic in the way it builds eye shape and stays ahead of the opponent in running battles while building more eye shape.

This book provides an extensive theoretical introduction to shape. The first chapter explains the efficient placement of stones. It then goes on to discuss thickness—how to use it and how to counter it, and how, if used improperly, it can result in the over-concentration of stones. It continues by contrasting the concept of thick stones with that of thin stones, and, finally, what are heavy stones and what are light stones, and how these relate to the important concept of sabaki, which is, essentially, a method for making good shape.

The second chapter gives examples of the standard shapes, both good and bad, such as ponnuki, empty triangles, the center of three stones, the head of two and three stones, etc.

The core of this book is the 245 problems in Chapter Three. Not only do these provide practice material for the reader to internalize the lessons learned in the theoretical sections of this book, they also provide a wealth of examples of good shape and the tesujis needed to achieve them. Even if you are unable to solve most of these problems, this should not deter you from pursuing them. The exposure you will get from the various techniques illustrated in these problems will go a long way in opening up your mind to new ways of thinking about go tactics and strategy.

The final chapter presents two professional games. They illustrate how shape is always foremost in the minds of professionals in deciding their moves.

Richard Bozulich and Rob van Zeijst
November 2002

Some Important Terms and Concepts

Here we introduce some go terms used in this book. For a comprehensive glossary of Japanese and English go terms, refer to The Go Player’s Almanac 2001 from page 331 to 374.

aji

Aji refers to latent possibilities that exist in a position. Although these possibilities may never be realized, their existence influences the course of the game and enables certain moves to be made.

Dia. 1a

In Dia. 1a the marked white stone in the corner is dead, but it still has aji. Because of its aji, White need not fear Black’s pushing through at A, so he can jump to 1, rescuing his three stones at the top.

Dia. 1b

If Black does push through and tries to confine White to the top with 1 and 3 in Dia. 1b, White ataris with 4. After Black defends with 5, the aji of the marked stone comes to life and White captures Black’s stones on the right with 6 and 8.

atari

Atari is a threat to capture a stone or a group of stones on the next move.

Dia. 2a

The white stone in Dia. 2a is in atari. If White doesn’t defend by extending to A, Black may capture it with 1 in Dia. 2b.

Dia. 2b

Dia. 2c

The result is shown in Dia. 2c.

gote

Gote is a move which does not require an answer; a defensive move. Compare sente.

hane

Hane is a diagonal move played from a friendly stone in contact with an enemy stone.

Dia. 3

White 1 in Dia. 3 is an example of a hane.

miai

Miai refers to two points of approximately equal value. If your opponent takes one of them, you can (and usually must) take the other.

Dia. 4

The points A and B in Dia. 4 are miai, so White is alive. If Black plays one of them, White will play the other.

moyo

Moyo is a framework which maps out a large area of potential territory. Some moyos are huge, while others are modest in size.

Dia. 5

In Dia. 5, the four white stones in the upper left map out a moyo. The four black stones in the upper right map out an even larger moyo from his corner enclosure along the upper right side and the top right. If Black were to play at A with his next move, he would have mapped out a huge moyo in the upper right quadrant of the board.

sabaki

When your stones are outnumbered in one part of the board, your aim will not be to make territory; rather, you will want to make good shape, rich in eye potential, so that your stones, if attacked, can easily make eyes in the area where they are attacked or can easily escape into the center. This is called sabaki. When making sabaki, it is not unusual to sacrifice some of the stones which are under attack. Here are two related concepts.

light

Stones are referred to as ‘light’ if they can be sacrificed to help other stones make good shape. A move played in the vicinity of stones that are to be sacrificed is called a ‘light move’. Moves that make sabaki are called ‘light’.

heavy

Stones that are heavy cannot readily make eye shape, and are vulnerable. If a group ends up as heavy, it has failed to make sabaki. Here are some diagrams which illustrate these concepts.

Dia. 6

Dia. 7

In Dia. 6, Black has mapped out a moyo at the top. If White wants to reduce this moyo, he can begin with a probe at 1. If Black blocks at 2, White will cut with 3 in Dia. 7 and play the forcing moves of 5 and 7. Next —

Dia. 8

Dia. 9

White 1 in Dia. 8 looks like an efficient move because it defends the two cutting points at A and B. In spite of this, it is bad. Black will peep with 1 and 3 in Dia. 9, and White is left with a clump of stones lacking eye-making potential after Black 5. These stones have now become ‘heavy’.

Dia. 10

Since White 1 in Dia. 8 results in a heavy shape, it has failed to make sabaki. The correct way for White to play after Black 8 in Dia. 7 is with 1 in Dia. 10, White 1 is ‘light’ because it doesn’t defend the cutting points at A and B and treats the marked stones lightly — that is, White is willing to sacrifice them for the greater good.

Dia. 11

For example, if Black does cut with 1 in Dia. 11, White can make a shape with eye-making potential with the sequence to 8. White has made sabaki.

Dia. 12

Black could also cut at 1 in Dia. 12. White would then defend at 2. Black must extend to 3 and White jumps to 4 — a wedge has been driven between the two black positions at the top. He also has at least one eye at the top and is out into the center. White has succeeded in making sabaki.

sente

A move that must be answered; an offensive move. Compare gote.

tesuji

A skillful move which accomplishes some clear tactical objective, such as capturing a group, rescuing one of your own groups, linking up your stones, separating your opponent’s stones, or making good shape.

thick

A thick position has few or no defects, i.e., cutting points. Such positions are hard to attack. Thick positions are useful in that they can be used for attacking. Conversely, thick positions are hard to attack and it should be impossible for the opposing side to make sabaki against it.

thin

Stones that are weak or widely separated are called thin. Unlike thick stones, these stones are easily invaded or attacked.

Chapter One
The Efficiency of Stones

1. Introduction

Each stone that you play should work efficiently with its allies and contribute its share to taking territory or projecting influence. Stones that do this have good shape.

Dia. 1

Dia. 1 shows a five-stone handicap game. Black must have made a mistake in the sequence that led up to this position because the two triangled stones are ‘hiding’ behind the squared ones. The squared ones are projecting influence down the right side, but the triangled ones are contributing nothing; they are neither taking territory nor building influence.

Dia. 2

Dia. 2 shows the moves that led up to this position. They are all joseki moves, except the last one, Black 14. Where should have this move been played?

Dia. 3

Black 1 in Dia. 3 is the joseki move. All of Black’s stones are now working efficiently projecting influence into the center, and White’s access to it is blocked off. Of course, White could link up his lone stone on the right side to its allies above by playing at A, but this move is small, worth less than 10 points. Black would respond by taking a big strategic point at B.

2. Dumplings

There is a word in Japanese for stones like the four marked ones that are clumped together in Dia. 1 in the previous section. They are called dango. Dango means dumpling. Dumplings (or ‘dango’, if you prefer to use the Japanese term) are the epitome of bad shape.

Dia. 1

In Dia. 1, Black has taken almost 20 points of territory in the corner. White for his part seems to have impressive influence on the outside. However, the two marked stones burden White’s position with bad aji.

Dia. 2

Black 1 in Dia. 2 threatens to capture three white stones. White has two ways to save them.

Dia. 3

He can break out by capturing the stone on the left with 2 and 4 in Dia. 3. After Black squeezes with 5 —

Dia. 4

White connects with 6 in Dia. 4 and the sequence ends with Black extending to 7. White is left with a clump of useless stones (the marked ones along with 6).

Dia. 5

The other way for White to escape is to capture the black stone on the right with 2 and 4 in Dia. 5. Black squeezes with 5.

Dia. 6

White then connects with 6 in Dia. 6 and Black extends to 7. This time the marked white stones and White 6 have the dumpling shape.

The clump of stones in Dias. 4 and 6 are not taking territory, nor are they projecting influence. They have negligible effect on the game. On the other hand, all of Black’s stones, in the corner (taking territory) and in the center (projecting influence), are working efficiently. Dumplings are clearly bad shape.

3. Empty triangles

Another example of an inefficient shape is the empty triangle. The sequence in Dia. 1 shows how this shape can naturally arise.

Dia. 1

The marked black stone has attacked the marked white one. In an attempt to secure a position here, White attaches with 1 and bulges out with 3. When Black ataris with 4, White connects with 5. Next, Black extends to 6, securing a position on the right. However, White has ended up with the bad shape known as the ‘empty triangle’, the shape made by the marked white stone and the two stones 3 and 5.

There are a number of reasons why this shape is inefficient; the most important being that it is not easy for it to make eyes. If the marked white stone were at A, these stones would be more resilient.

Dia. 2

For example, if Black plays 1 in Dia. 2, White almost has an eye at A after he responds with 2.

Dia. 3

If Black makes a placement at 1 in Dia. 3, White pushes in with 2, then descends to 4 after Black connects with 3. If Black A next, White B; if Black B, White A. Either way, the black stone at 1 is captured.

Dia. 4

The white shape in Dia. 1 is unwieldy. Black can attack with moves such as A in Dia. 4, robbing this group of its eye shape.

Dia. 5

White 1 and 3 in Dia. 1 were good moves. White went wrong when he connected with 5 in answer to Black 4. This is the move that created the empty-triangle shape. White should have been less attached to his stone at 1 and played the atari of 5 on the outside in Dia. 5. Black captures with 6 and White ataris again with 7, forcing Black to connect at 8 in Dia. 6.

Dia. 6

After White defends the cutting points with 9, Black peeps with 10, then links up to his stone on the left with 12 and 14. Black can’t expect White to answer the peep at A with B. Instead, he would push with C, forcing Black D. White would then connect at B. Black’s stones are heavy. White is threatening to attack them with E.

Dia. 7

Another example is shown in Dia. 7. After Black attacks the lone white stone at the top with 1, White breaks out into the center with 2. How should Black continue?

Dia. 8

Black should first push up with 1 in Dia. 8, then turn at 3. If White is going to prevent the territory at the top from falling to Black, he must turn at 4. But now White has made an empty triangle. Moreover, the marked black stone is positioned so that these three stones can’t make an eye. Next, Black moves out into the center with 5, attacking the white stones and developing influence facing the left.

Pay attention to the order of Black 1 and 3 in Dia. 8.

Dia. 9

If Black first pushes along the side with 1 in Dia. 9, White can jump to 4 and his shape is better than in Dia. 8. The difference between these two diagrams is subtle, but White’s stones are more efficiently placed in Dia. 9, and the link between White 4 and the two stones below is more secure than in Dia. 8.

Dia. 10

There is another way that White can respond to Black 1 in Dia. 8: the diagonal attachment of 2 in Dia. 10. White 4 makes an empty triangle shape (2, 4, and the marked stone), and, after the sequence to Black 7, White’s stones still lack eye shape.

Dia. 11

Finally, White might play 2 in Dia. 11, but, after Black 7, White’s position collapses.

The move at White 4 in Dia. 10, played at the apex of the triangle, is called guzumi in Japanese. Although it does form an empty triangle, it can, in some positions, be a powerful move. (For White, the result in Dia. 10 is slightly better than the one in Dia. 8).

Dia. 12

Dia. 12 shows a position in which this move is effective. White has capped with the marked stone, so Black must get his stone out into the center. He does this by playing the knight’s move at 1. White pushes up at 2. If Black extends to 3, White exchanges 4 for 5, forcing Black to make an empty triangle. White next jumps to 6. Black manages to break out into the center with 7, but White has the initiative and, considering that it is a six-stone handicap game, his stones are working well. Note the position of the marked stone. It is well placed to prevent Black from getting eye shape here.

Dia. 13

Instead of 3 in Dia. 12, Black should have played the diagonal attachment of 1 in Dia. 13, Next, Black 3 is guzumi and it forces White to escape with his two stones in the upper left by jumping to 4. After Black turns at 5, White exchanges 6 for Black 7, then connects with 8. Black gets his stones out into the center with 9. Next, he can attack the stones above by attaching at A, or attack the two white stones below with 1 in Dia. 14.

Dia. 14

After the sequence 13, White’s three marked stones are under attack.

Why is Dia. 13 better for Black than Dia. 12? If Black were to play the sequence in Dia. 14 after Dia. 12, Dia. 15 would be the result.

Dia. 15

In Dia. 15, White is burdened with only the marked stone to save or sacrifice, while in Dia. 14 he is burdened with the three marked ones. Consequently, he can more easily discard the single marked stone in Dia. 15 than he can the three in Dia. 14. We say that the single marked stone is lighter than the three marked ones. In other words. White’s marked stone in Dia. 15 is light, while the three marked ones in Dia. 14 are heavy.

The full book continues this chapter with sections on heavy stones, thickness, over-concentrated stones, and sabaki, followed by chapter 2 on Examples of Good Shape.

Chapter Three
245 Problems

Problem 1

Black to play

A black stone is in atari. How should Black play?

Answer 1

Correct
4: connects

Black must counter-atari with 1. If White captures with 2, Black ataris two stones with 3. After White connects with 4 (left of 2), Black forces with 5 then makes shape in the center with 7.

Failure

If Black connects with 1, White plays 2 and Black’s stones are separated.

Problem 2

Black to play

How can Black destroy White’s shape?

Answer 2

Correct

Black peeps with 1, aiming at the cutting point at A. After White defends with 2, Black jumps to 3, and the eyeless white group is under attack.

Failure

Black 1 is a passive move. It gives White the chance to secure at least one eye for his stones by making a mouth shape with 2.

Problem 3

Black to play

What is the shape move for Black to linkup his stones?

Answer 3

Correct

The knight’s move of Black 1 is the move that links up Black’s stones. If White tries to break through with 2, Black draws back to 3. Black’s shape in impenetrable.

Resistance

If White resists with 2 and 4, Black cuts with 5 and White’s three stones die.

Failure

The hane of Black 1 fails. White cuts off the marked stone with the sequence to 6.

Problem 4

Black to play

How can Black keep White’s stones heavy?

Answer 4

Correct

Black should jump to 1, threatening to capture the two white stones at the top. If White defends with 2, Black extends to 3, increasing his thickness and keeping the white stones heavy and under attack.

Variation

If White defends with the diagonal move of 2, Black draws back to 3, threatening to play at A and link up his stones.

Problem 5

Black to play

How should Black defend the right side?

Answer 5

Correct

The diagonal move of Black 1 is the way to make shape in this position. If White omits 2, Black will play 2-White A-Black B, killing the white stones. If White wants to keep sente, he can exchange C for Black D.

Failure

It might seem as if Black 1 is sente, but, after 2, White is threatening to play A-Black B-White C, cutting off two black stones.

Problem 6

Black to play

Where should Black play to make good shape?

Answer 6

Correct

Bulging out with Black 1 is the vital point for making shape for the black stones.

Failure

If Black omits 1, White will play on this point with 1. Black’s stones are now under a severe attack.

Problem 7

Black to play

How can Black make good shape for his stones?

Answer 7

Correct

Attaching across the knight’s move with 1 is a tesuji often used to make shape. If White 2, Black cuts with 3.

Continuation

White must atari with 4 and Black plays 5 and 7, confining White to the corner. Next, Black A is sente, so Black can build even more thickness.

Failure

If Black simply attaches with 1, White will draw back with 2. Black jumps to 3, but, compared with the Continuation diagram, his stones are not as thick and White has more room to maneuver.

Problem 8

Black to play

How can Black separate White’s stones?

Answer 8

Correct

Black hanes at the head of the two white stones with 1. If White tries to link up with 2, Black cuts with 3.

Continuation

White next captures with 4 and 6, and Black isolates the two white stones on the left with 5 and 7. Later, the exchange of Black A for White B is Black’s privilege, so, if White cuts at C, Black can fight.

Failure

A second hane with Black 3 fails. White ataris with 4 and connects with 6.

Problem 9

Black to play

Where should Black play to preserve his shape?

Answer 9

Correct

Black must extend to 1. If White A, Black plays B-White C-Black D.

Failure

Black 1, hane at the head of two stones fails. White cuts with 2 and, due the exchange of the marked stones, Black’s shape is too weak to capture this stone as the sequence to 10 shows. If Black 7 at 10, White plays 7-Black A-White B, and Black’s position below collapses.

The full book contains 245 problems.