Go Seigen-Honinbo Shukaku (Takagawa) 2 - Badukworld · Chapter 6 Go Seigen-Honinbo Shukaku (Takagawa) 2 One of most interesting things about this game is that it marked the introduction

Chapter 6

Go Seigen-Honinbo Shukaku(Takagawa) 2

One of most interesting things about this game is that it marked the introduction (byWu) of the “bending inward” variation of the great avalance joseki.

The 1st Japan’s Strongest Deciding MatchesGo Seigen vs TakagawaWhite: Honinbo Shukaku (Takagawa) 8-danBlack: Go Seigen 9-danFebruary 20-21, 1957Atami, JapanKomi : 0Result: B+ResignTime: 10 hours each

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250 CHAPTER 6. GO SEIGEN-HONINBO SHUKAKU (TAKAGAWA) 2

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A B C D E F G H J K L M N O P Q R S T

Diagram 1: 1-5

The 1st Japan’sStrongest DecidingMatchesGo Seigen (Wu) vs.Takagawa(The 1st Japan’sStrongest DecidingMatches)Black: Go Seigen(Wu), 9dWhite: Hon-inbo Shukaku (Tak-agawa), 8dDate: February 20-21, 1957Place: Atami1: This game be-tween Go Seigen 9-

dan and Takagawa Honinbo is the first one since their 1956 10-game series.2: This game was played in a hotel in Atami on February 20 and 21, 1957. On this day,

Sakata Eio 9-dan and Hashimoto Utaro 9-dan’s game was also played here. Kitani[Minoru] 9-dan and Fujisawa [Hosai] 9-dan also came to watch the games. All sixparticipants of the Strongest Deciding Matches gathered at the same place – indeed arare opportunity.3: In this game, Go Seigen 9-dan defied the traditional way of playing the so-called”great avalanche” joseki, making a revolutionary new variation that shocked Japan’sGo world.Generally speaking, new variations in josekis are made due to the following two rea-sons:First, based on the surrounding situation, any known joseki moves is not satisfactory.Therefore, to fit the current situation, one decides to make a change, thus a new move.Second, contrary to the above case, one has fully studied a new move already, and heattempts to apply it in practice on purpose; or, in a game under appropriate situation,he suddenly realizes it’s time to make this new move.In the first case, a new move is made by chance under a special situation, therefore itsapplication is quite limited.Only the new moves made in the second case are purely new moves. The new variationGo Seigen 9-dan made has a fundamentally difference in the order of moves with theway everyone had been playing in the most popular ”great avalanche” joseki. Strictlyspeaking, it’s a ”revolutionary joseki.” This joseki is extremely valuable for study, andit will be widely used hereafter.4: Playing at hoshi points [stars] is what Mr. Takagawa likes. In the creation of New

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Fuseki Era, Mr. Kitani and I had studied san-ren-sei fuseki, and we often played athoshi points. Recently Mr. Takagawa often chooses these openings.5: B #5 to enclose at [a] is also a beautiful move.

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Diagram 2: 6

6: W #6 also can ap-proach from a lowerposition, point [a].Wplayed hoshi pointsat the two corner-s at the lower side,so he tries to get ahigh position at thetop side as well. Tohere, it’s an open-ing also common-ly seen if the col-ors are reversed –That is, if B gets twohoshi points at thelower side, and Wplays two komoku

[3-4 points] at the upper side, B would then play [E16].


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Diagram 3: 7-9

7: When #7, Bhas already expectedthat W will choose”avalanche” joseki.If W[a] next —[See the reference.]

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Variation 1 at move8 in Diagram 3: 1-5

reference[When B [E17]...]1: If W chooses thisjoseki...5: To here, becauseof the B formationat upper right, W[K17] extension isunsatisfactory.

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Diagram 4: 10-11

10: When W #10, ifB chooses the josek-i at [a] ([F16]) hane,it would be inappro-priate.[The variationsshow the variations.]

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variation 1 (B #11)[When W [C15]...]1: [This is the ”s-mall avalanche”variation.]5: When B [B15]...6: Since the ladder(shown shortly) is infavor of W, [C14] isvalid.14: When W [D13]extends, no ladderfor B.


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variation 2 (B #11)[Againwhen W [C15]...]1: [B chooses ”s-mallavalanche” joseki...]6: As shown in vari-ation 1, since theladder doesn’t workfor B, W can [C14]extend.7: Then B can playthis way...15: But to here, two

B stones [marked] are ”floating” and it’s hard to settle them well.Recently, this variation has not been used often anymore.

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Diagram 5: 12

12: W #12 is thebiggest point on theboard.This move to play[a] at the lower sideto form san-ren-seiisalso a pretty strongformation, but W#12 also prevents Bfrom extending fromthe komoku shimar-i [corner enclosure]at the upper right.Therefore, #12 is thebiggest point.

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Diagram 6: 13-14

13: In the past, B#13 had been nor-mally played at [a]to split the side, butnowadays it’s moreof-ten played as shownto approach the cor-ner.B[a] to split the cor-ner shows an unhur-ried manner, whileB #13 kakari tend-s to settle a localshape quickly. This[B #13] implies theseverity of modernfuseki.

When B #13 kakari [approach] —[The variations show the variations.]14: But [contrary to the pincer moves shown in the variations,] Mr. Takagawa adopts a


simple, easy way – #14 jump.This is the most unhurried response.

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variation 1 (W #14)[When B kakari...]1: If W plays a 3-space high pincer...2: B goes into thecorner...13: An opening tohere is expected; ifso, it would be a d-ifferent game.

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variation 2 (W #14)[When B approach-es the corner...]1: W could choose adifferentpincer move...2: B still goes intothe corner...7: To W [N5], an-other formation.This fuseki can bealso considered. Inshort, W #14 [afterB kakari] is the di-verging point of thefuseki.

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Diagram 7: 15

15: B #15 keima im-mediately is seen of-ten recently.If B #15 extends to[a], after W gets #15[Q2], B will haveto play [M4] to pre-vents W’s [M3] in-vasion.B #15’s purpose is ifW[b], B[c] extends.


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Diagram 8: 16

16: W #16 pincer ispopular recently.In this game, W’s s-trategy isto form moyo in thecenter, so #16 pin-cer is certainly themove. If W[a]-B[b],it would be follow-ing B’s plan.

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Diagram 9: 17-21

17: If B[a] jump-s instead of #17, af-ter W gets #17 point,B would be losingthe base and be un-der attack; no good.18: W #18 is josek-i.If a ladder works forB here —[See the variation.]19: [Therefore,] B#19 has no choice.20: W #20 certainly.21: B #21 this move—[See the variation.]

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variation[After W [P3]...]1: [If a ladder work-s for B,] B has thistesuji...9: And B [N4] at-tempts to capture theW stone with a lad-der – however, noladder for B in thisgame.

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Variation 7 at move22 in Diagram 9


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Variation 7 (contin-ued): 1-2

variationB could also chooseogeima [big knightmove].2: And this shapeis formed. When Ionce played with M-r. Kitani, I chosethis variation. If W[Q10] [marked] wasat [a] ([R10]), a low-er position, this o-geima vari-ation could certainlybe considered.But in this game,[Q10] is high, and I

didn’t want to choose this variation.

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Diagram 10: 22-24

22: W #22 has noother choice. IfW[a] cuts now, B[b]”flies” out [An inter-esting note: in Chi-nese Go terminolo-gy, the character orword for ”keima” is”flying.”], and B isbetter.

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Diagram 11: 25-26

25:If B #25 connects at[a], W would get thechance to play #25,and W is easy.Since B has played#21 keima [S5] ear-lier, #25 should notplay at [a]. The rea-son for #21 is justto prepare for #25hane. #21 and #25are related moves.B #25’s purpose is—26: Although W #26and...

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Diagram 12: 27-30

28: [And] #28 cap-turesone B stone, but Weventually will haveto spend one moremove to finish thecapture. Thus, Bgets the chance toplay another move[elsewhere]. Al-though by capturingthis B stone W couldgain thickness, butcomparing with B[O2] and W [N4]variation mentionedearlier [B[a]-W[25]

at node #25], it’s actually a one-move difference, and this difference is quite big.W #28 this move —[See the reference.]


29: B #29 to play at [a] is also a good point.B #29 not only breaks the ladder, but it’s also a big fuseki point.[The variations show the variations.]30: W #30 of course.

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Variation 8 (contin-ued)

referenceIf W tries to avoidspending the extramove [now], [O5]for W #28 can beconsidered. If so, Bwould of course notactivate [N4] stonenow, but later afterB makes moves n-ear [a], W will stil-l have to play ex-tra moves to capture[N4] stone. So inthis variation, W is-n’t any better.

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Variation 9 (contin-ued): 1-6

variation 1What if B #29 playshere?1: If W is willing toplay here...2: Then B extends...6: And B [G15]keima to attack.This is of course anideal picture to B,but W [F4] wouldn’tplay this way after B[D6].

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Variation 10 atmove 30 in Diagram12

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Variation 10 (con-tinued): 1-9

variation 2[If B kakari first...]1: W would choosea d-ifference approach –extend and pincer.2: If B chooses dou-ble kakari...4: Then going intothe corner...9: To W [E7], B isblocked inside, andW forms a deepmoyo, and W has anice and wide for-mation. This willbe a great advantage

for W in future fights.

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Diagram 13: 31

31:If B #31 plays at [a]([B16]), after W[b],*then* B plays #31[D6] – if so, W[a]-B[b] exchange sim-plifies the situation,and it’s in favor ofB.However, W wouldnot play this wayW[b] vs. B[a].[See the reference.]


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[++!+++++*+!+!+!++] 4

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,))))))))))))))))). 1



<(((((((((((((((((> 19

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,))))))))))))))))). 1



referenceIf B sagari (extend-ingdownwards) here...1: W would proba-bly press B [D10] s-tone with an exten-sion.2: Then, when B at-tacks...3: W could ignore itand play [E9] keima,building a big moyoat lower side to com-pete with B. Thisway, not only Wis forming a huge

moyo, the thickness built by capturing [N4] stone will also show its power to maxi-mum.

267

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[+++++++++++++++++] 8

[+++++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1


Diagram 14: 32

32: If W #32 playsat [a], B[b] and it’sagain the ideal pic-ture for B shownpreviously.Also —[See thenother vari-ation.]Now backto the game – whenthere are those twomarked B stones, W#32 is normally con-sidered too strong.The reason W playsso is because he hasspent two moves tocapture [N4] stone,

so W is now trying to utilize this thickness.Since W has invested for thickness, he now will have to make most out of this invest-ment so that he will have the advantage in future battles. This is certainly expected.


<(((((((((((((((((> 19

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[+++++++++++!+++@@] 5

[++!+!+++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1



<(((((((((((((((((> 19

[+++++++++++++++++] 18

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[++��++++++++++++] 8

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[Æ++++++++++!+++@@] 5

� !+!+++*+!+!+!++] 4

[�++++++++!!@!+@+] 3

[�+�+�+++++++@@@++] 2

,))))))))))))))))). 1



variation[Also...] If W jumpshere...1: When B sagari...2: W chooses to in-vade...7: To here, B is stillbetter.8: Next when W de-fends...9: B immediatelygets in the corner...17: To here, Wcorner is destroyedand W gets nothing.This way of playing[by W] is meaning-

less.

269

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[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1


Diagram 15: 33-39

33: B #33 absolute-ly cannot give in toplay [a] ([G17]). B#33hane is called ”greatavalanche” joseki.36: W #34 to #36are certain.Next move —[See the variationfor B #37.]37: S-ince the normal [tra-ditional] way does-n’t seem ideal, Ithought of #37 tobend inward. This

was a move that I had studied before. Even without [D10] stone [marked], this [#37]would be a powerful move.

”Great avalanche” joseki had been used since 20 years ago [20 years before 1957].Why had professional players never found this move [#37 bending inward]? I thinkthe reason was that the shape of this move didn’t look good, thus it was overlooked,becoming a blind spot.[The variations show 4 reference diagrams on ”great avalanche” joseki.]39: On first look, #37 this move is plain ordinary, but the strategy it implies is totallydifferent from the old joseki in which B sacrifices three stones. This is the fundamentaldifference between the two [josekis].


<(((((((((((((((((> 19

[+!�+�+++++++++++] 18

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[@@!!!@++*+++++*@+] 16

[�!�++�+++++++++++] 15

[+��+++++++++++++] 14

[+ �++++++++++++++] 13

[+++++++++++++++ a+] 12

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[++@Æ++++++++++!!!] 6

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[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1


Variation 13 atmove 37 in Diagram15: 1-14

variation (B #37)[WhenW [C18] sagari...]1: Traditionally, Bturns outward...2: The following isthe common josek-i of the time...13: To B [C13] [tra-ditional joseki].In this game, how-ever, B [D10][marked] stone’s po-sition is not good;somewhat heavy. Inthis picture, [D10] s-

tone at [a] ([R12]) is more efficient.14: In this picture, W [E6] next would be a good move. This way, W moyo at bottom

naturally grows.

271

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[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1



<(((((((((((((((((> 19

[@!�++++++++++++++] 18

[+!@@@��++++++@+++] 17

[@@!!!@++*+++++*@+] 16

[+!+++�+++++++++++] 15

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[+++++++++++++++++] 13

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[+++++++++++++++++] 11

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[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+++++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1



reference 1 (@B18)In the early yearsof ”great avalanche”joseki, #37 to playhere was a tesujiconsidered based onthe shape.5:


<(((((((((((((((((> 19

[+!�++� a++++++++++] 18

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[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1



reference 2 (@B17)One reason that Bcan be proud of #37is that...1: When W cuts...2: B [H17] atari isvalid...6: When B [G15]extends, [a] ([H18])and [b] ([E14]) aremiai points for B. Bis good.

<(((((((((((((((> 19

[�!�+��++++++++++] 18

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[@@!!!@++*+++++*@+] 16

[�!+++++++++++++++] 15

[+++++++++++++++++] 14

[+++++++++++++++++] 13

[+++++++++++++++++] 12

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[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+++++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1


Variation16 at move 38 inDiagram 15: 1-10

reference 3 (@B17)[Again B #37 bendsinward...]2: Even with this ex-change between Wand B...3: When W cut-s...4: B can atari here.10: To there, Bstill wins the se-meai. In short, Bis able to strugglethrough at the cor-ner without sacrific-

ing [D17]-[F17] [marked] stones; this is exactly #37’s [B17] greatness.[Compare this with reference 4.]

273

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[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1



<(��(((((((((((((> 19

[+!�+��++++++++++] 18

[+!@@@��++++++@+++] 17

[@@!!!@++*+++++*@+] 16

[@!+++++++++++++++] 15

[+++++++++++++++++] 14

[+++++++++++++++++] 13

[+++++++++++++++++] 12

[+++++++++++++++++] 11

[++@+++++*+++++!++] 10

[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+++++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1



reference 4 (@B15)If playing accord-ing to the traditionalway – [B15] bend-ing outward with-out B[a]-W[b] ex-change...9: To here, W wouldwin the semeai, so Bwould have to adap-t to sacrifice [D17]-[F17] three stones[in the traditionaljoseki].


<( b(((((((((((((((> 19a

!!-++*,++++++++++] 18

[@!@@@()++++++@+++] 17

[@@!!!@++*+++++*@+] 16

[@!+++++++++++++++] 15

[+++++++++++++++++] 14

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[+++++++++++++++++] 12

[+++++++++++++++++] 11

[++@+++++*+++++!++] 10

[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+++++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1A B C D E F G H J K L M N O P Q R S T

Diagram 16: 40-45

41: Two days afterGoSeigen 9-dan playedthis new variation,Sakata Eio 9-danimmediately appliedthis move in NHKsponsored lightninggames, even aston-ishing his opponentShimamura 8-dan.#37 this new moveshockedthe Go world.Hasegawa 8-danpublished an article,”My Study Notes”,

on ”Igo” magazine (1957.5). In the article, he studied this new move.Maeda Nobuaki 9-dan carefully explained the development of ”great avalanche” jose-

ki in an article ”The Changes in a Joseki.” In the article, he especially mentioned thisnew move by Go Seigen.43: Would this joseki [after the change] be widely used afterwards? If ”greatavalanche” joseki thereafter disappeared in the games, then it would mean that peoplehad the conclusion: #37 was indeed a great move [for B], and it led good results forB. If a variation is only favorable to one side, then it cannot be joseki, and it wouldcertainly disappear in the games.45: B #45 blocks, and the three W stones at the corner are captured.Next, even if W[a], B[b] and B wins the semeai by one liberty.

275

<(((.(((((((((((((> 19

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[+++++++++++++++++] 14

[+++++++++++++++++] 13

[+++++++++++++++++] 12

[+++++++++++++++++] 11

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[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+++++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1


Diagram 17: 46

46: W #46 to play[a] ([J17]) hane di-rectly is better.

<( c/!(((((((((((((> 19b

!!@+@!!++++++++++] 18

[@!@@@!@++++++@+++] 17

[@@!!!@++*+++++*@+] 16

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[+++++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2


Diagram 18: 47

47: After W #46and B #47 exchange,W[a] is no longersente. That is to say,next even if B tenu-ki after W[a], whenW[b], B[c] and Bstill wins the se-meai.Without the aboveexchange [#46-#47],howev-er, when W[a], if Btenuki —[See the reference.]


<(((((((((((((((((> 19

[!!@+@!!++++++++++] 18

[@!@@@!@++++++@+++] 17

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[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1



<��(((((((((((((((> 19

�!!@+@!!++++++++++] 18

[@!@@@!@++++++@+++] 17

[@@!!!@++*+++++*@+] 16

�@!+++++++++++++++] 15

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[+++++++++++++++++] 13

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[+++++++++++++++++] 11

[++@+++++*+++++!++] 10

[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+++++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1



reference[Suppose W gets toplay [C14] with-out W [E19] and B[D19] exchange...]If B tenuki...5: W wins the se-meai.

277

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[+++++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1


Diagram 19: 48

48: W #48 certain-ly. Since W[a] isno longer sente, ifW #48 plays at [a],letting B play #48[J17], then W is notgood.

<((@!(((((((((((((> 19

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[+++++++++++++++++] 13

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[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+++++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1


Diagram 20: 49

49: W three stones’[D16-F16] libertiesare already tightenup, so B #49 toextend applies morepressure on W thansimply to connect at[a].In some later games,B[a] connecting al-so appeared. How-ever, probably be-cause of poor result-s, such move was nolonger played again.


<((@!(((((((((((((> 19

[!!@+@!!++++++++++] 18

[@!@@@!@!+++++@+++] 17

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[@!+++@+++++++++++] 15

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[+++++++++++++++++] 13

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[+++++++++++++++++] 11

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[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+++++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1


Diagram 21: 50

50: W #50 is the on-ly move.If #50 plays at [a]([D14]), when B at-taches at #50, Wis collapsed. #50point is the so-called”center of three s-tones”; it’s the emer-gent point to bothsides.

<((@!(((((((((((((> 19

[!!@+@!!++++++++++] 18

[@!@@@!@!+++++@+++] 17

[@@!!!@++*+++++*@+] 16

[@!+++@+++++++++++] 15

[+3+!+++++++++++++] 14

[++++ a++++++++++++] 13

[+++++++++++++++++] 12

[+++++++++++++++++] 11

[++@+++++*+++++!++] 10

[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+++++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1


Diagram 22: 51

51: B #51 was alsoconsidered to playat [a] to block Winside, but W #51would live locallyand even if B buildsup thickness aroundthis area, it wouldnot be of much use,since W has thick-ness at lower right tobalance out any B’sthickness here.

279

<((@!(((((((((((((> 19

[!!@+@!!++++++++++] 18

[@!@@@!@!+++++@+++] 17

[@@!!!@++*+++++*@+] 16

[@!+ b+@+++++++++++] 15

[+@ c!4++++++++++++] 14

[++++ d+8++++++++++] 13

[+++ a6++++++++++++] 12

[++++75+++++++++++] 11

[++@+++++*+++++!++] 10

[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+++++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1


Diagram 23: 52-56

52: W #52 is the on-ly move.If W[a] jump in-stead, B[b] and threeW stones are cap-tured; or if W[c] for#52, this time B[d]would force W introuble.How should B playthe next move, #53?[See the variation.]53: Therefore, Bchooses an ogeima[big knight move]for #53.B #53’s plan is totreat [marked] three

stones lightly – sacrifice if necessary – and emphasize on reducing W thickness at low-er right.

Next W #54 —[See the variation.]55: W #54 [F12] to exchange with B #55 is painful. But as the variation [at node #53]shown, W has no choice [since B can cut with [G14]-[F13]].56: Next move, B #57 —[See the variation.]


<((@!(((((((((((((> 19

[!!@+@!!++�+++++++] 18

[@!@@@!@!++ a++@+++] 17

[@@!!!@++*�++++*@+] 16

[@!+++@+�+++++++++] 15

[+@+!!++++++++++++] 14

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[++++� b+++++++++++] 12

[+++++++++++++++++] 11

[++@+++++*+++++!++] 10

[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+++++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1



variation (B #53)[When W [F14]...]1: B jumps here isalso a strong move,and locally speak-ing, it’s appropriate.But under the cur-rent circumstances,this move is wortha deeper considera-tion.2: W cannot extendto [a] ([M17]). IfW[a], B[b] and Wwould be in trou-ble. So W certainly

would play [F12] or [b] to escape.4: The formation to here is expected. Since W already has a stone on the right side

[Q10] [marked], so even if B [J15]-[L16] two moves form some moyo, it wouldn’thave much effect. This way, B cannot be satisfied.

281

<((@!(((((((((((((> 19

[!!@+@!!++++++++++] 18

[@!@@@!@!++�++@+++] 17

[@@!!!@++*+++++*@+] 16

[@!+++@+�+++++++++] 15

[+@+!!�+++++++++++] 14

[++++��++++++++++] 13

[+++++++++++++++++] 12

[+++++@+++++++++++] 11

[++@+++++*+++++!++] 10

[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+++++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1



variation (W #54)[After B [G11] o-geima...]1:If W [H13] keima...2: B [J14] jumps...3: When W answersthis way...6: B severely cuts.W is in danger.

<((@!(((((((((((((> 19

[!!@+@!!++++++++++] 18

[@!@@@!@!++�++@+++] 17

[@@!!!@++*++�++*@+] 16

[@!+++@+�+�+++++++] 15

[+@+!!++++++++++++] 14

[++++++!++++++++++] 13

[++++!++�+++++++++] 12

[++++@@+++++++++++] 11

[++@++++�*+++++!++] 10

[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+++++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[++!+++++*+!+!+!++] 4

[++++++++++!!@!+@+] 3

[++++++++++++@@@++] 2

,))))))))))))))))). 1



variation (B #57)[After W [H13]...]1: If B [J14] at-tempts to escape...6: This picture canbe expected. Assoon as W gets [J12]and [J10], the Wmoyo at the bottomstarts to expand. Bhas to take this intoaccount.


<((@!(((((((((((((> 19

[!!@+@!!++++++++++] 18

[@!@@@!@!++9++@+++] 17

[@@!!!@++*+++++*@+] 16

[@!+++@+:+++++++++] 15

[+@+!!++++++++++++] 14

[++++++!++++++++++] 13

[++++!++++++++++++] 12

[++++@@+++++++++++] 11

[++@+++++*+++++!++] 10

[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+++++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++++++++++!+++@@] 5

[B>!; a+++*+!+!+!++] 4

[@?=<D+++++!!@!+@+] 3

[A++C++++++++@@@++] 2

,))))))))))))))))). 1


Diagram 24: 57-68

57: Therefore B de-cides to sac-rifice three [marked]stones and get someterritory first.Locally speaking, Bloses by sacrificingthree stones, and it’salso unfavorable tolet W settle, butwhat B gets in returnis the simplificationof the situation.58: When W #58captures three B s-tones, sente now be-longs to B. I think if

B can get sente to occupy the big point at lower side, B is not dissatisfied.[See the variation for the next move, B #59.]59: Hence B #59 attaches on W stone from outside, starting to reduce W moyo.Next —[See the variation for W #60.]60: Therefore, W does not give in as #60 hane.61: If B #61 extends at [a] —[See the variation.]62: W #62 —[See the variation.]63: To B #63, the shape of a takamoku [5-4 point] joseki unexpectedly appeared.[The variation shows the reference to a takamoku joseki.]66: This game was played quite fast, especially Go Seigen 9-dan. New move like #37took him only 17 minutes.

283

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[++++++++++++@@@++] 2

,))))))))))))))))). 1



variation (B #59)[B now gets sente,and next B move...]1: If B chooses adouble high kakari...8: To here, W formsa wide moyo. Thisway, it would be-come a complicatedand difficult game.

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[++++++++++++@@@++] 2

,))))))))))))))))). 1



variation (W #60)[When B [E4]...]1:If W draws back...6: W moyowould be pressed toa low position, andthe thickness to theright loses its power.This is an ideal pic-ture for B.


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,))))))))))))))))). 1



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,))))))))))))))))). 1



variation[Suppose B extend-s...]3: To here, B shapeleaves some cuttingpoints, not so good.

285

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,))))))))))))))))). 1



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[++@+++++++++++!!!] 6

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[++!@�+++*+!+!+!++] 4

[+!@!++++++!!@!+@+] 3

[+��+++++++++@@@++] 2

,))))))))))))))))). 1



variationIf W resists in thisway...5: To B [C2] bend,W’s territory at thecorner is completelylost. W is not good.


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,))))))))))))))))). 1



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[+��@++++*+!+!+!++] 4

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[++++++++++++@@@++] 2

,))))))))))))))))). 1



reference[E4]point is a takamoku.6: To here, it’sa takamoku joseki,and the shape is ex-actly the same as inthe game, but the or-der of the moves isdifferent.

287

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[!!!@++++*+!+!+!++] 4

[!@@!! a++++!!@!+@+] 3

[@++@E+++++++@@@++] 2

,))))))))))))))))). 1


Diagram 25: 69

69: From #64 to #69were played accord-ing to the joseki or-der.Next, if W #70 con-tinues with the jose-ki order to extend at[a] ([G3]) —[See the variation.]

<((@!(((((((((((((> 19

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[++++++!++++++++++] 13

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[�+++++++++++++++] 8

[+�+++++++++++++++] 7

[��@+++++++++++!!!] 6

��+�+++++++!+++@@] 5

[!!!@++++*+!+!+!++] 4

�!@@!!� �++!!@!+@+] 3a

@ b+@@�Æ+++++@@@++] 2



variation (W #70)[To here it’s part of ajoseki.]1: [W [G3] contin-ues the joseki...]3: According to thejoseki,W[a]-B[b] exchange*then* [C7] jump.But here, W to jumpdirectly is better.10: To here, B getsone W stone.11: And since B has[marked] two stones[F11-G11], B does-

n’t have to eat this stone now...15: Thus, after W [J3]...16: B can turn to get [R12] big point. To get this picture, of course, B is better.


<((@!(((((((((((((> 19

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[!!!@ a+++*+!+!+!++] 4

[!@@!!+G+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1


Diagram 26: 70-71

70: [Therefore,] W#70is the right move atthe right time.Next if B[a] to ex-tend, what would bethe result?[See the variation.]71: Based on theabove rea-son [shown in varia-tion at node #70], Bto activate one stone[E4] immediately isnot good. Therefore,B turns to play #71keima.

289

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[++++!++++++++++++] 12

[+�++@@+++++++++++] 11

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[+++++++++++++++++] 9

[�++++++++++++++++] 8

Æ��++++++++++++] 7

[@��+++++++++!!!] 6

� +�!+++++++!+++@@] 5

[!!!@��+*+!+!+!++] 4

[!@@!!��++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1



variation (B #71)[After W [E5]...]1: If B extends...6: To here are theonly moves.7: Then, B [D5] cut-s...15: To B [A5]; al-though B can thuscapture four W s-tones...16: But W [C11]takes out B’s territo-ry on the left side...16: [And later...]21: After these con-

secutive pressing moves by W, B’s three stones at the center are in trouble.

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[++++++!++++++++++] 13

[++++!++++++++++++] 12

[++++@@+++++++++++] 11

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[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+H+++++++++++++++] 7

[ b+@+++++++++++!!!] 6

[+++!+++++++!+++@@] 5

[!!!@ a+++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1


Diagram 27: 72

72: W #72 normal-ly plays W[a] to eatone B stone. But inthis case, B wouldcertainly play [b] tofence the territoryat left side. Play-ing this way W[a]would be weak andconservative.


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[+!+++++++++++++++] 7

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[+++!+++++++!+++@@] 5

[!!!@I+++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1


Diagram 28: 73-74

73: B #73 to playat [a] ([R12]) is al-so very big. Next ifW #73 [F4] to takeone B stone, B[b]to expand the upperright corner. How-ever, currently theconnection among Bstones on the leftside is not solid –for example, W[c]would weaken thethree B stones in thecenter – So B #73chooses to get the t-wo W stones.74: W #74 is the last

big point on the board.This game was the first game in history in which the ”bending inward” variation of

”great avalanche” joseki was played. This revolutionary joseki had its significance inthe development of Go, therefore this is a memorable game.

291

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[@++@@+++++++@@@++] 2

,))))))))))))))))). 1


Diagram 29: 75

75: If B #75 jump-s at [a], then af-ter W[b]-B[c]-W[d];B would be helpingW.Or if B #75 jump-s one more space to[b] —[See the variation.]The purpose of B#75 is —[The variation-s show variations forW’s next move.]

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[!!@+@!!++++++++++] 18

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[+++++++++++++++++] 8

[+!+++++++++++++++] 7

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[!!!@@+++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1




<((@!(((((((((((�(> 19

[!!@+@!!+++++++�� Æ 18

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[@@!!!@++*+++�@�] 16

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[+@+!!++++++++@+!+] 14

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[+!+++++++++++++++] 7

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[!!!@@+++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1



variation[Suppose Bbig jumps to here...]19:To here, although Bbuilt up thickness tothe left [O16 etc.],but it’s almost use-less, while W gotquite a bit of territo-ry.

<((@!(((((((((((((> 19

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[+++!+++++++!+++@@] 5

[!!!@@+++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1



variation 1 (W #76)[WhenB [K16] peeps...]1: If W connects...2: B would turn toreduce W’s moyo tothe right...14: To here, sinceB already got fourcorners, so if W canonly fence a terri-tory to this extend,W cannot competewith B on territory.Also —

293

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[+@+!!++++++++�+!+] 14

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[++++!+++++�+�+�++] 12

[++++@@+++++++++++] 11

[++@+++++*+++�+!++] 10

[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+!+++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++!+++++++!+++@@] 5

[!!!@@+++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1



variation 2 (W #76)[Again,when B peeps...]2: When B [Q12] in-vades...3: If W resists...6: B jumps out. Playto this picture, the o-riginal peep move of[K16] seems to beuseful as well.Based on the abovereading, B decidedto peep at [K16].

<((@!(((((((((((((> 19

[!!@+@!!++++++++++] 18

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[++++!++++++++++++] 12

[++++@@+++++++++++] 11

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[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+!+++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++!+++++++!+++@@] 5

[!!!@@+++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1


Diagram 30: 76-77

76: Therefore, Wof course cannot justtimidly connect – ei-ther #76 to pressor W[a] (W[a]-B[b],then #76). W mustchoose one of thesetwo.


<((@!(((((((((((((> 19

[!!@+@!!+++++++[++] 18

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[+@+!!+++++++++V! b] 14

[++++++!++++++++++] 13

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[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+!+++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++!+++++++!+++@@] 5

[!!!@@+++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1


Diagram 31: 78-91

78: W #76 [K15]and #78 are tesuji togain sente.After the new moveof ”inward bend”went public, peo-ple started to imitateit in their games,and this [new] jose-ki quickly becamepopular. At the be-ginning it was gen-erally believed thatthis joseki was in fa-vor of B.79: But as men-tioned before, if it’s

only in favor of one side, it would not be called a joseki. Indeed, thereafter peopleplaying W started to avoid this joseki, and it could not be used again. A joseki once

was so popular, it eventually disappeared [for a while] in the game.80: After he obtained sente, W #80...82: ...And #82. These two moves are to strengthen the formation of the two [marked]stones.Next —[See the variation of the next B move.]83: B absolute cannot play the way shown in the variation [at node #82]. B #83 extendsto resist.85: After W #84 [Q15] and B #85, W now has a cutting point [Q14]. Next if B[a]-W[b], B could capture one stone in sente.Next move (W #86) is the key move to decide the game.First take a look at some variations.[The variations show the variations.]86: But W #86 simply connects. This move is too simple and somewhat tasteless.89: B #87 [J16] and #89 are trying to gain here in sente [B has [H15] next], then turnto right to capture one stone [S16]. However —90: W tenuki and pushes through here...

295

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[+@+!!++++++++++!+] 14

[++++++!++++++++++] 13

[++++!++++++++++++] 12

[++++@@+++++++++++] 11

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[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+!+++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++!+++++++!+++@@] 5

[!!!@@+++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1



variation (B #83)[When W[Q16] clamps one Bstone...]1: If B connects...2: W pushes. Wwill have W[a] sentemove, and W shapeis thick here.

<((@!(((((((((�(((> 19

[!!@+@!!+++++��++] 18

[@!@@@!@!++@++@�@@] 17

[@@!!!@++@!@+++!@!] 16

[@!+++@+!!@++++!@�] 15

[+@+!!++++++++� a!+] 14

[++++++!++++++++++] 13

[++++!++++++++++++] 12

[++++@@+++++++++++] 11

[++@+++++*+++++!++] 10

[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+!+++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++!+++++++!+++@@] 5

[!!!@@+++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1



variation 1 (W #86)[When B [R17] con-nects...]1: If W pushesthrough, the varia-tion would be com-plicated and diffi-cult.2: If B blocks...3: W cuts and...5: [And] [S15]would save [S16] insente.7: Then W [P14]a ”hanging connec-tion” is good – bet-

ter than a W[a] connection. This variation has a roughly 7-point difference with B[S15] and W [14] exchange.


<((@!(((((((((((((> 19

[!!@+@!!++++++�+�+] 18

[@!@@@!@!++@++@�@@] 17

[@@!!!@++@!@+�!@!] 16

[@!+++@+!!@+��!@+] 15

[+@+!!++++++++��!+] 14

[++++++!+++++++��+] 13

[++++!++++++++++++] 12

[++++@@+++++++++++] 11

[++@+++++*+++++!++] 10

[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+!+++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++!+++++++!+++@@] 5

[!!!@@+++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1



variation 2 (W #86)[Again, af-ter B [R17] connect-s...]1: Thistime, when W [Q17]pushes through...2: [Unlike [Q18] invariation 1,] W turn-s to [Q14] cut...12: To here, an ex-change between Wand B.Although it’s hardto say this result isgood for W, but here

remains some other variations. Anyway, if W rushes a move [Q17], it would certainlylead a complicated situation.

297

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[!!@+@!!++++++ a@++] 18

[@!@@@!^!+@@++@!@@] 17

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[@!+++@]!!@++++!@\] 15

[+@+!!+b_`+++++!!+] 14

[++++++!a b++++++++] 13

[++++!++++++++++++] 12

[++++@@+++++++++++] 11

[++@+++++*+++++!++] 10

[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+!+++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++!+++++++!+++@@] 5

[!!!@@+++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1


Diagram 32: 92-98

92: And #92 savesone stone. W playsthis way because[first] B [S15] wouldbe a sente move andW would suffer a 7-point loss, and [sec-ondly] now W has[a] ([P18]) cut.If W #92 jumps at[b], B would play#92 to capture one s-tone.93: But, after B #93and...97: [And] to here,W’s moyo is gone.

Thus the game is decided.


<((@!(((((((((((((> 19

[!!@+@!!+++++ a@++] 18

[@!@@@!!!�@@++@!@@] 17

[@@!!!@!@@�@+++!@!] 16

[@!++�@@!!@++++!@!] 15

[+@+!!�!@!��++!!+] 14

[++++++!@c��Æ+++] 13

[++++!++++++� ++++] 12

[++++@@+�+�+++++++] 11

[++@+++++*+++�+!++] 10

[+++++++�+�+++++++] 9

[+++++++++++++++++] 8

[+!+++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++!�++++++!+++@@] 5

[!!!@@�++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1


Diagram 33: 99-121

101: B #101 to W#108 sequence is acertainty.105: If B builds upthick-ness here, W moy-o to the right wouldonly have a limiteddevelopment.109: After blockingW in sente, B #109to defend a move [a-gainst W[a] cut].W played a move[S15; marked] at theright side to save astone and gained 7

points. By comparison, B built up thickness in the center. Judging from this result,W didn’t really gain much.

110: Now W has no other choice but to cut and start a fight.113: B #111 [N12] and #113 to sacrifice a stone [N14]...115: Then #115 jumps. This way, not only W moyo to the right is suddenly gone,B more or less could probably gain some territory at the center. To here, B’s lead isobvious.116: W #116 is better to choose the variation shown below.[See the variation.]

299

<((@!(((((((((((((> 19

[!!@+@!!+++++@+@++] 18

[@!@@@!!!!@@++@!@@] 17

[@@!!!+!@@@@+++!@!] 16

[@!++!++!!@++++!@!] 15

[+@+!!!!@!!!@++!!+] 14

[++++++!@@@@!!!+++] 13

[++++!++++++@@++++] 12

[++++@@++++!++++++] 11

[++@+++++*+++@+!++] 10

[+++++++++++++++++] 9

[+++++++++++++++++] 8

[+!+++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++!+++++++!+++@@] 5

[!!!@@+++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1


Variation 35at move 117 in Dia-gram 33

<((@!(((((((((((((> 19

[!!@+@!!+++++@+@++] 18

[@!@@@!!!!@@++@!@@] 17

[@@!!!+!@@@@+++!@!] 16

[@!++!++!!@++++!@!] 15

[+@+!!!!@!!!@++!!+] 14

[++++++!@@@@!!!+++] 13

[++++!�+�++�@@++++] 12

[++++@@+��+!++++++] 11

[++@+++��*+++@+!++] 10

[++++++++++�++++++] 9

[+++++++++++++++++] 8

[+!+++++++++++++++] 7

[++@+++++++++++!!!] 6

[+++!+++++++!+++@@] 5

[!!!@@+++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1



variationW [M11] to peepfirst...8: This variation isbetter for W than ac-tually played. How-ever, this much ofdifference is too s-mall to shake up theoverall situation.Now W only hasa territory at theright side, and that’snot nearly enoughto compete with B’sfour corners. W’sthickness after cap-

turing a stone at lower right [N4] was never fully taken advantage of.


<((@!(((((((((((((> 19

[!!@+@!!+++++@+@++] 18

[@!@@@!!!!@@++@!@@] 17

[@@!!!+!@@@@+++!@!] 16

[@!++!++!!@++++!@!] 15

[+@+!!!!@!!!@++!!+] 14

[++++++!@@@@!!!+++] 13

[++++!++++++@@++++] 12

[++++@@+!+@+++++++] 11

[++@+++++*+++@+!++] 10

[+++++++!+@+++++++] 9

[++++++��+++++++++] 8

[+!�++++++++++++++] 7

[++@+++++++++++!!!] 6

[++ a!!++++++!+++@@] 5

[!!!@@@++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1


Diagram 34: 122-124

122: W #122 is agood point, elimi-nating the B[a] cut.The one who revivedthe oncedisappeared ”greatavalanche”joseki was none oth-er than Go Seigen9-dan himself. Thisjoseki was clearlyjudged as advanta-geous to B, but re-cently when GoSeigen 9-dan playedW, he still appliedthis joseki without

fear , because it became tones at the corner still had some aji.

<((@!(((((((((((((> 19

[!!@+@!!+++++@+@++] 18

[@!@@@!!!!@@++@!@@] 17

[@@!!!+!@@@@+++!@!] 16

[@!++!++!!@++++!@!] 15

[+@+!!!!@!!!@++!!+] 14

[++++++!@@@@!!!+++] 13

[++++!++++++@@++++] 12

[++++@@+!+@+++++++] 11

[++@+++��*+++@+!++] 10

[+++++++!+@+++++++] 9

[++++�+@!+++++++++] 8

[+!!++++++++++++++] 7

[++@ a++�+++++++!!!] 6

[+++!!++++++!+++@@] 5

[!!!@@@++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1


Diagram 35: 125-128

125: B #123 [H8]and #125 on onehand attack W teamat the middle, aim-ing at B[a] on theother hand.126: W #126 has todefend.

301

<((@!(((((((((((((> 19

[!!@+@!!+++++@+@++] 18

[@!@@@!!!!@@++@!@@] 17

[@@!!!+!@@@@+++!@!# 16

[@!++!++!!@++++!@!] 15

[+@+!!!!@!!!@++!!$] 14

[++++++!@@@@!!!+++] 13

[++++!++++++@@++++] 12

[++++@@+!+@+++�+++] 11

["+@+++@!*+++@+!++] 10

[+++++++!+@++! +++] 9

[++++!�@!++++�%&++] 8

[+!!++++++++++++++] 7

[++@ a++@+++++++!!!] 6

[+++!!++++++!+++@@] 5

[!!!@@@++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1


Diagram 36: 129-138

129: But after B#129, B[a] is goodagain.130:W #130 prevents a Btesuji shown below.[See the reference.]134:Since this revo-lutionary joseki ap-peared 24 years a-go [in 1957], profes-sional players havediscovered more andmore new variation-s, and the content ofthis joseki is moreand more enriched.

The great achievement by its founder Go Seigen 9-dan is memorable.

<((@!(((((((((((((> 19

[!!@+@!!+++++@+@++] 18

[@!@@@!!!!@@++@!@@] 17

[@@!!!+!@@@@+++!@!] 16

[@!++!++!!@++++!@!] 15

[+@+!!!!@!!!@++!!+] 14

[++++++!@@@@!!!+++] 13

[++++!++++++@@++++] 12

[++++@@+!+@++++@++] 11

[++@+++@!*+++@+!++] 10

[+++++++!+@+++++++] 9

[++++!@@!+++++++++] 8

[+!!++++++++++++++] 7

[++@+++@+++++++!!!] 6

[+++!!++++++!+++@@] 5

[!!!@@@++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1


Variation 36at move 131 in Dia-gram 36


<((@!(((((((((((((> 19

[!!@+@!!+++++@+@++] 18

[@!@@@!!!!@@++@!@@] 17

[@@!!!+!@@@@+++!@!] 16

[@!++!++!!@++++!@!] 15

[+@+!!!!@!!!@++!!+] 14

[++++++!@@@@!!!+++] 13

[++++!++++++@@++++] 12

[++++@@+!+@+++�@�+] 11

[++@+++@!*+++@�!�+] 10

[+++++++!+@++++�++] 9

[++++!@@!+++++�+++] 8

[+!!++++++++++++++] 7

[++@+++@+++++++!!!] 6

[+++!!++++++!+++@@] 5

[!!!@@@++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1



referenceWithout W [P11], Bcan play [Q11].6: To here, W’s ter-ritory is further re-duced.

<((@!(((((((((((((> 19

[!!@+@!!+++++@+@++] 18

[@!@@@!!!!@@++@!@@] 17

[@@!!!+!@@@@+++!@!@ 16

[@!++!++!!@++++!@!] 15

[+@+!!!!@!!!@++!!!] 14

[++++++!@@@@!!!+++] 13

[++++!+ a++++@@++++] 12

[++++@@+!+@+++!+++] 11

[!+@+++@!*+++@+!++] 10

[+++++++!.@++@!+++] 9

[++++!@@!-,++@@!++] 8

[+!!+)+++/++++++++] 7

[++@'++@+++++++!!!] 6

[+++!!(*++++!+++@@] 5

[!!!@@@++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1


Diagram 37: 139-147

139: B #139 to ex-tend out is a moveaimed at early on.141: If B #141 playsat [H5], W wouldplay #141 and B s-tones [D6]-[E6] arecaptured.144: W #144 con-nects at [a] ([H12])would be safe, butW sees that the sit-uation is so bad thathe has to gamble forthe last chance.147: B #145 [K8]and #147 look risky,

but in fact this is already carefully calculated.

303

<((@!(((((((((((((> 19

[!!@+@!!+++++@+@++] 18

[@!@@@!!!!@@++@!@@] 17

[@@!!!+!@@@@+++!@!@ 16

[@!++!++!!@++++!@!] 15

[+@+!!!!@!!!@++!!!] 14

[++++++!@@@@!!!+++] 13

[++++!+ a3+++@@++++] 12

[++++@@+!+@+++!+++] 11

[!+@+++@!*02+@+!++] 10

[+++++++!!@1+@!+++] 9

[++++!@@!@!++@@!++] 8

[+!!+@++@@++++++++] 7

[++@@++@+++++++!!!] 6

[+++!!!!++++!+++@@] 5

[!!!@@@++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1


Diagram 38: 148-151

148: Again, if #148plays at [a] ([H12])to connect would besafe, but W’s hope isgone fast...150: WhenW played #150, hewas ready to re-sign.151: B #151, andW’s team at middleis completely cap-tured.[See the reference.]151: Total of 151moves. B wins byresignation.

Time given: 10 hours apieceTime consumed:White: 6 hours 45 minutesBlack: 4 hours 25 minutes


<((@!(((((((((((((> 19

[!!@+@!!+++++@+@++] 18

[@!@@@!!!!@@++@!@@] 17

[@@!!!+!@@@@+++!@!@ 16

[@!++!++!!@++++!@!] 15

[+@+!!!!@!!!@++!!!] 14

[++++++!@@@@!!!+++] 13

[++++!+ a@+++@@++++] 12

[++++@@ b!+@��!+++] 11

[!+@+++@!*!!�@+!++] 10

[+++++++!!@@�@!+++] 9

[++++!@@!@!��@@!++] 8

[+!!+@++@@+��+++] 7

[++@@++@+++++�+!!!] 6

[+++!!!!++++!+++@@] 5

[!!!@@@++*+!+!+!++] 4

[!@@!!+@+++!!@!+@+] 3

[@++@@+++++++@@@++] 2

,))))))))))))))))). 1


Variation 37at move 152 in Dia-gram 38: 1-12

reference[WhenB #151 [J12]...]1: Even if W contin-ues to struggle...12: To here, W isone liberty short inthe semeai.Or if W starts withW[a], after B[b], Wis still short on liber-ties.All these variation-s were already clearto both players whenB played [K8]-[K7],

needless to say.

Documents

Go Seigen-Honinbo Shukaku (Takagawa) 2 - Badukworld · Chapter 6 Go Seigen-Honinbo Shukaku (Takagawa) 2 One of most interesting things about this game is that it marked the introduction