Compendium of Trick Plays - Nihon Kiin

A Compendium
of
Trick Plays
Edited by the Nihon Kiin
Published by
Yutopian Enterprises
2255 29th Street
Santa Monica, CA 90405
1-800-YUTOGO-3
Copyright 1995 in the U.S.A. by Yutopian Enterprises

All rights reserved according to international law. This book or any
parts thereof may not be reproduced in any printed form, nor stored
in any electronic retrieval system, nor recorded in any other medium
without the written permission from the publishers, except for short
excerpts as part of a written review.
Originally published in Japanese by the Nihon Kiin under the title of
Hamete no Dai-Hyakka. [Encyclopedia of Trick Plays]
Words in brackets [ ] indicate translation notes.
For the appeal we make does not spring from error

or impure motives, nor are we trying to trick you.
1 Thessalonians 1:3 NIV
First printing February 1995
Preface
Trick moves have an intimate relation to joseki in the beginning of a game
of go. One cannot be considered to understand joseki without knowing about trick
plays. Regardless of the fact that the use of trick plays may be seen as a wayward
exercise, one cannot raise objections if one finds oneself waylaid by an adversary's
trick play. In this Compendium of Trick Plays the absolute essential basics have
been compiled. If the reader masters the subject matter in this book, an incremental increase in strength can be expected.
If one answers a trick play correctly, the adversary can suffer an overwhelming loss or sometimes even falling into the trap can result in an equal position. In that case, if utilizing a trick play will incur no disadvantage, why not try it?
But please: be cautious; be cautious.
The first chapter of this book is a compilation of well-known trick plays
that have been handed down from old. Some will rarely make their appearance in
real games, but the positions that result have wide applications.
The second chapter takes as its theme those trick moves that incur no
disadvantage even if correctly answered, and so may be more useful in practical
play. The renowned expert regarding amateur play, Kageyama 7 dan, is the author
of this chapter, so we may regard this section as covering "Kageyama Trick Plays"!
Chapter three offers the words of wisdom of that master (?) of trickery,
Mr. Mihori Sho. The reader is encouraged to savor, therewith, the pleasures of
trick play.
The fourth chapter is a test. The reader is challenged to respond correctly
to funny-looking moves. If you can come up with the right answers, you may be
considered an expert regarding trick plays.
Table of Contents
Chapter 1: Essential Knowledge of Trick Plays
Meijin/Honinbo [1973-4]
Ishida Yoshio,
5
Chapter 2: The Larger Strategy of Trick Plays

Toshiro 7 dan
Kageyama
77
Chapter 3: Introducing Trick Plays

Sho
Mihori
119
"Hamete" / "Trick Moves"

Reo (Cartoon/Japanese Language Translation Guide)
Chapter 4: Caution! Trick Play Ahead!
Nobuaki 9 dan
(Being a Primer Comprised of 25 Problems)
Glossary and Index
Fujii
136
Maeda
145
197
Chapter 1: Essential Knowledge of Trick Plays

Ishida Yoshio, Meijin/Honinbo [1973-4]
Trick plays: Wrapped in danger

The battle in the corners of the board in the beginning of a game, in other words, the
procedure of joseki, is an essential element that can scarcely be neglected by either opponent,
and moreover, comprises ideal development. Deliberately avoiding such play falls into the realm
of trickery, and cannot be called correct.
Since joseki necessarily result in a 50-50 outcome, trick plays will inevitably produce
an overwhelming advantage, whether they succeed wonderfully in fooling the adversary into a
blunder, or fail when the correct response is made. Herein lies the thrill of playing trick moves.
Essentially, there are a number of categories of trick plays. Trick plays that give one a
decisive advantage, trick plays that leave one satisfied with but a modest profit, trick plays that
do not result in any gain immediately, but promise rewards in the future, trick plays which, if
answered correctly, leave one with an irrecoverable loss, trick plays that yield the equivalent of
an equal result, even if answered correctly, and so on and so forth.
The 35 models in this chapter have been deliberately chosen for the overwhelming
nature of the result; prototypical trick moves that offer the greatest rewards, but also contain the
greatest degree of danger. Space limitations prevent an exhaustive survey of every possible
variation in these 35 models. However, if one masters the subject matter presented, one will be
fully prepared to meet these positions in a real game.
If joseki can be said to be the highway, trick plays may be called a back alley. When one
masters the alleyways, one is on course to master joseki.
Star Point Trick Plays

Model 1 shows a small knight's move corner enclosure attacked by white 1 & 3. This is a trick
play often used in handicap games.
Tricked 1 If black answers at 1 and gets sealed in up to white 8, black has been completely
tricked.
Tricked 2 Even if black answers white 1 by pushing out at 2, white can capture with 3 & 5,
thick moves that leave black with an insufficient result.
Trick Moves: Basic Knowledge
Diagram 1 First, countering white 1 with black 2 shows an indomitable attitude, intending to frustrate
white's aim. White wedges into black's position with 3, but responding solidly with black 4 & 6 is alright.
Diagram 2 Continuing, white 1 & 3 are the strongest moves, but black 6 & 8 are exquisite moves, known
as "patting the raccoon's belly". After this, no matter what white does, it will not turn out well. For instance,
if white plays at a or b, black answers at c. White d, or else white e is answered by black f.
Diagram 3 Even if one is unaware of the exquisite moves in the previous diagram, blocking normally at
black 2 is adequate. The moves through white 9 are inevitable, and by blocking at 10, black wins the
capturing race [semeai] by one move. It is hard to countenance white's play.
Diagram 4 Consequently, white will continue from Diagram 1 with a cut at white 1 & atari at 3. Extending
with black 4 & 6 is natural, and these moves weaken white's marked stone. At the very least, getting sealed
in as in Tricked 1 is avoided, and the trick play thwarted.
Diagram 5 White will probably hane with 1 & 3. However, here too black can ride herd on white's position
to reap an acceptable result through black 12.
Diagram 6 When white wedges in with 1, black 2 is a simple and clear method. Through 8, black makes
thickness in the center. But considering the exchange of black a for white b later, white's comer territory of
7 points is not small, and there is a fear that black's play might be lax, depending on the overall position.
Diagram 7 Should white wish to avoid the course in diagrams I through 6, simply playing the wedge at 3
will lead to black 8. The course followed here is par for the situation.
Diagram 8 But responding to white 1 with the attachment at black a may allow white to deal with the
situation [sabaki] more easily. Simply hanging downward with black 2 exhibits a powerful fighting stance.
Model 2 This is a
favorite weapon
used by stronger
players in handicap
games of six or
more
stones.
Against
weaker
players who are delighted to answer
white 1 by connecting underneath at
black 2, this white 1
& 3 combination is
effective, but the
success rate (versus
cither weaker or stronger players) is lower. However, succeeding even
once with it can really open one's eyes considering the profitable result.
Tricked 1 Black answers white's inside attachment with 1. If black next responds to white's
hane of 2 normally with 3, white springs the prepared variation of 4 & 6. Through white 10, the
trick play has already prevailed.
Tricked 2 There is little choice but to continue with black 1, gripping white's stone from below.
White forces with 2 & 4 making moving out with white 6 feasible. Since white can atari at a,
black has to crawl on the second line with 7 & 9. Furthermore, black must play 11 to keep
white's two stones under control, allowing white 12. Black is left in wretched shape. Just from
the standpoint of territory, black does not possess more than 7 points in the right side.
Tricked 3 Even if black crawls at 1 on the other side, the position is a symmetrical one and a
similar variation results. As with the previous sequence, the upshot is that black must capture
at 9 while white makes practically unassailable thickness in the center through 12. If it is
distasteful to allow white 10 in this variation, black might crawl once more at 10, but at this
point that is like trying to put out a bonfire with a water pistol.
Diagram 1 Chances to avoid the trick play
and punish white come four times. First,
if white 1, it is thinking negatively to think
only of connecting underneath with black
a. Instead of directly answering white 1,
playing the diagonal attachment of black
2 and jumping to 4 are simple, clear and
good moves. After black 4, white 1 is found
to be a dubious invasion which may fall
under a two-pronged attack directed at it
and white's stones on the upper side.
Diagram 2 (Next page) Simply jumping
to black 2 is unsatisfactory when white
slides in at 3. If black answers by playing
at 4, the shape here is overconcentrated
in conjunction
with black 2,
but if black
does not answer, then a
white diagonal
move at 4
would be big.
Diagram 3
Black's second
chance is after
white 1 here.
At that point,
expanding outward with black 2 is a good move. In answer to white 3, black plays 4 and after white 5, proceeds
with 6, and it is inconceivable for black to be at a disadvantage. If white hanes at a with 5, black
plays at 6, white b and black c follow, and this course leaves black with a thick position.
Diagram 4 The third chance is when white plays 1 here. Black can simply connect in a line with
2. When white connects at 3, black's marked stone withers on the vine, but with 4, black protects
the corner securely, and white's marked stone ends up a wasted move. Comparing the weakening
of black's marked stone and the loss of white's marked stone, black is a little dissatisfied.
Diagram 5 This is the last chance. When white plays at 1, black discards a stone with 2 & 4, a
common technique [tesuji]
used
as
a
squeeze play
[shibori].
Diagram 6
If white plays at
1 and connects
with 3, black
plays a crude
but effective sequence from 4
through 10 that
settles
the
shape, and then
plays at 12.
Black creates an
imposing position on the upper side.
Diagram 7 If white plays at 3, then black 4 is big. When black makes the hanging connection of
8, the black position exhibits impressive thickness emanating from the fourth line, while white's
position has been flattened out into a low posture. Instead of black 8 a move at a is also possible.
In the ways shown, black is afforded many chances to avoid this trick play, and as a consequence, the success rate for it is low.
Model 3 Of all the star

point trick moves, this is
the most popular one. Relying on the pressure that
white's marked stone exerts on black's position as
it presses in closely, white
pushes in with 1 and
makes the placement of 3.
Cutting at a and crossing
underneath at b have become equivalent options
[miai], and black will be
hard pressed to avoid getting a headache while trying to figure out how to deal with these threats.
Tricked Connecting at black 1 in order to avoid the problems on one side is too mild a response. Letting white connect underneath with 2 results in the elimination of black's base,
forcing the group to flee into the center. After white 2, if black plays a, white plays b. Should
white play b at c, then black d would be sufficient, but...
Diagram 1 The diagonal attachment of black 1 is a painstakingly thought out and skillful move
[tesuji] that breaks up the trick play. If white 2, descending to black 3 is a good move that deals
with [shinogi] white's threats of crossing underneath and cutting. Now, if white a, black b.
Diagram 2 The diagonal attachment in the previous diagram is a good move that frustrates
white's immediate aim. White can only continue with the atari at 1 and the hane of 3. When
white connects at 5, black forces [kikashi] once with 6 and then captures two stones with 8.
Such an outcome is a great success for black.
Diagram 3 It is important to insert black 6 in the move order of the previous diagram. If black
rushes to capture the two stones, white 2 fences black in. This seals black in completely and
compared to the previous diagram, is a tremendous difference.
Diagram 4 (Next page) Additionally, if white defends at 2 when black turns at 1, black 3 & 5
end up capturing five white stones.
10
Diagram 5 However, matters are not so simple that one may declare that diagram 2 takes care of
the problem. That is because after white 1 and black 2, white has the desperate option of pressing
upward with 3. After black 4, white fills black's liberties with 5 while rescuing the two comer
stones. Now, if black cuts at 7, white 6 yields a ladder. If black avoids the ladder with 6, white
plays 7. Before one has realized it black's two stones in the corner have been captured. This is
also a "Tricked" diagram. So when the ladder is unfavorable, what should black do?
Diagram 6 Here we return to the original problem. When white plays at 1, attaching through the
knight's move with black 2 is a method that merits some consideration. Black forces [kikashi] in
sente with the moves through white 5, an emergency method that eliminates white's stubborn
moves of 1 & 3 in diagrams 2 through 5. Up to black 8, white's two stones of 1 & 7 are within
black's grasp, seemingly insuring success. But this shape is such that after this...
Diagram 7 White has the technique of 1 & 3 available. Up to white 9 the "play beneath the
stones" technique results in a position where the eye shape of black's group may be in danger.
Diagram 8 If the ladder is unfavorable, black answers white 1 with 2, eliminating white a. Then
blocking at black 4 is simple. If the black 2, white 3 exchange is distasteful...
Diagram 9 It is okay for black to advance into the center with 2. Black 2 next aims at making
shape with a, and is more efficient than the one point jump to black b. Also, when the ladder is
favorable, Diagrams 1 & 2 deal with the problem [shinogi], but one never knows when a ladder
break will appear. Therefore, Diagrams 8 & 9 are simple and good even in such cases.
11
Model 4 This is a representative star point trick play

against a large knight's move
enclosure in the corner. From
the standpoint of shape, defending with black 2 seems
desirable. White's ploy is to
then attach at 3. White's
marked stone lends support
to white's aims.
Tricked 1 Parrying in an
easy-going way with black 1
& 3 ends up letting white conTricked 1
nect underneath with 4. In
comparison with the stick-like shape of black's stones, left with little territory and ineffectively
placed, white's shape after connecting underneath with 4 is sharp looking.
Tricked 2 In that case, black might try to block the connection
with 1 & 3, but that is reckless. White cannot be prevented from
breaking into the center with the moves through 8. In both Tricked
1 & 2 the marked white stones are allowed to work effectively.
Black must find a counterattack.
Diagram 1 In response to white 1, black 2 is a good move. If white
plays at a, black then plays 3, so force of circumstances dictate
that white cross underneath with 3 in exchange [furi-kawari] for
black 4. In this diagram, white's trick move has been adroitly fended
off, and black can, generally speaking, feel satisfied, but it is disturbing to realize that this is but an equal result. Black 2 is a
second best move.
Diagram 2 The rigid connection of black 2 simultaneously denies
white access to the center and connecting underneath, and is the
strongest reply. White has no choice but to seek life inside black's
Tricked 2
corner with 3 & 5. Black 10 is a good move:
calm and collected. White is restricted to
sheer survival in the corner. When white
plays 13, black develops with 14. This result practically settles the outcome of the
game.
Diagram 3 (Next page) A frightening variation can arise at white 9 in the previous diagram if white plays the diagonal attachment
at 1 here. If one cannot answer white 1 and
the cut of white 3 properly, it is fitting to
adopt the second best policy of Diagram 1.
Black 4 & 6 are unavoidable. A race to capture [semeai] results with the moves followDiagram 1
Diagram 2
12
Trick Moves; Basic Knowledge
ing white 7, but at

the worst, black is
faced with a seki.
But at the same
time, black builds
a magnificant
wall on the outside
through
black 20, which is
overwhelming. It
is hard to understand what white
is doing.
Diagram 4 To avoid complications when white plays 1, it is satisfactory to defend solidly at
black 2. Black 2 may appear to be an uninspired move, but when faced with this fortification,
white 1 is shown to be notably overextended.
Diagram 5 This demonstrates how terrible "Tricked 1" can be. Assuming the exchange of the
marked white stone for the marked black stone, black can defend at a to be safe, but if white gets
to slide in to 1, black is left without a base. Black's contortions with 2 and the following are often
seen in handicap
games. At the
very least, black 2
should be used to
pincer
white
around the point
of 7, but regardless, black's seven
stones will remain a burden.
Diagram 6
Changing
the
theme a little, the
trick play of following the one point jump at white 1 with the placement of white 3 is very frequently played.
Here black does not fancy defending at 6 with black 2. Black a instead could be considered
but... Black 4 & 6 fall into the trap, letting white again connect underneath with 7. This trick
play follows the same course as "Tricked 1".
Diagram 7 See what happens when black connects strongly with 4. It will be sufficient if white
is forced to make life inside as in Diagram 2, but things get a little tricky with white 5. After
white lives with 11, black must defend at 12, letting white jump to 13 and turn the whole black
group into a string of stones. If black compromises by playing 6 at a, white is granted the large
profit to be made with a move at white 6.
Diagram 8 Descending at black 4 here is correct. Moving out immediately with white 5 and the
following leads to black 10. Consequently, instead of white 7: white a, black 7, white b, black c
will be played. White's subversive tactics starting with white 1 have clearly failed here.
13
Model 5
Model 5 Of
the star point
trick moves focused on the
large knight
corner enclosure, this one
displays the
most crushing
results when it
is successful.
White sets to
work with 1 &
3, then the cut
of white 11 is a foxy move.
Tricked 1 Going directly to kill white's five stones with black 3 is a horrendous move. After
playing 4 & 6, white fences black in with 8, and further, with white 10 through 20, creates an
ironclad wall around the whole group. White a forces black b, resulting in...
Tricked 2 In contrast to black's territory of a little more than 20 points, white's impenetrable
wall is far and away superior.
Tricked 3 At the very least, black 5 in Tricked 1 should be the hane of 1 here, and up to black
17 the result is superior to Tricked 1. However, black has still done poorly here.
Tricked 4 If black plays 7 in the previous diagram at 1 here to defend against being sealed in on
this side, white 4 & 6 are good moves. The tables are turned and black ends up captured. One
must be careful.
Tricked 5 In conjunction with this position, if the marked black stone is here or in this area,
white's fencing in move at 1 does not work. Black plays 2 and the move order that follows up to
black 28 captures white in a precisely executed ladder. In this situation, white fences black in
with a knight's move at 6 rather than white 1.
Tricked 6 (Next page) Black must move to capture white by filling a liberty with 3. This time
14
white ataris at 4
without compunction, and after 6 &
8, fences black in
with white 10.
However, in this
position black has
time to jump out to
11. Since black
originally filled a
liberty, white cannot seal the black
group in completely as in Tricked 1. The result up to black 15 is much better, but black still stands poorly.
Diagram 1 The question is what happens when white cuts at 1. Without responding directly to
white 1, the stabilizing hane of black 2 is correct. White has nothing better to do than live in the
corner with 3 & 5. Playing the exchanges of white a, black b, white c, black d, before white 3,
black e, is more or less the same. White lives in the corner with only a few points. Black's
position is much superior.
Diagram 2
Furthermore, the
previous diagram ends in a
position where
black can look
forward to playing the hane at 1.
If white answers
with 2, black 3
through 7 are
good
moves.
With 9, black
gets a "flowerviewing ko".
And black can resolve this ko by connecting at a.
Diagram 3 Normally, after black 1, white will have to make the concession of 2, but living with
just two eyes with white 4 is painful. White possesses only 2 points here. The trick play has
been smashed wonderfully.
Diagram 4 At white 3 in Diagram 1, one must take care if white adopts the emergency measure
of cutting at 1. One must not let a desperate tactic such as this succeed. Answering normally
with black 2 & 4 is sufficient. Both sides live in the corner with white 5 through black 12, a
compromise solution. This time black's thickness with 14 is convincingly formidable.
Diagram 5 Taking the compromise of the last diagram a step further, at the point of black 8 it
is alright for black to abandon the three stones by turning at 3. Through black 9, white's corner
territory is on the order of 20 points. Black's thickness is superior here as well.
15
Model 6 White attaches

against
black's large knight
enclosure with 1
and makes the
placement of 5. If
black thrusts upward with 2 at 4,
white plays at 5 all
the same. This
shape is a treasure
trove of trick plays,
full of variations.
Model 6
Tricked 1 One's first impulse is to make the diagonal attachment

of black 1. However, this acts as a spur to white activity with 2
through 10. Forcing moves [kikashi] at a & b are left for white, and black has been tricked.
Diagram 1 If black makes the diagonal attachment of 1, it is better then connecting at 5, forcing
white to connect underneath at 6 & 8. Since the capture at a remains, black has a thick shape.
Tricked 2 How about the thick move of black 1, separating the opponent's forces? This time
white 2 is a resourceful move. With the divvying up of the corner through white 10, black has
been thoroughly taken. The capture at black 7 is the bad move here.
Diagram 2 It may seem frightening, but black has sufficient fighting resources to extend at 1. A
race to capture [semeai] follows black 5. In this sequence there are no difficult variations, and
black wins by one move. If white 10 at a, black hanes at 10 and likewise wins.
Diagram 3 Since white is totally destroyed in the previous diagram, instead of connecting at 4
there, white will ordinarily play at 1 to set about creating a living shape. Black forces [kikashi]
with 2 and then takes the ko with 4. White is at a loss as to how to proceed.
Diagram 4 If the complications in Diagrams 2 & 3 are distasteful, when white attaches at 2,
black 3 & 5 are the most clear and straightforward playing style. At first sight this may seem to
be a crude method of play, but in answer to white 2 it is the ultimate in power and pugnacity.
" When black jumps to 11 there are battles on all fronts. But black's position is decidedly superior.
16
Tricked 3 In response to black 1, the diagonal attachment of white 2 is also a trick move. By
making the jumping attachment of 5, black is tricked. When white plays 16, black's four stones
come under an attack which must give one an unpleasant feeling.
Diagram 5 The hane of black 1 is correct. Black unreluctantly lets white live in the corner, then
occupies the magnificent point of 13.
Diagram 6 The cut of white 2 is not to be feared. A race to capture develops as in Diagram 2, and
up to 21 a ko fight favorable for black arises. Instead of 3, black 4, white 17, black 3 is possible.
Tricked 4 Answering white 1 by drawing back to black 2 is a little weak-kneed. Since white
connects smartly underneath with 3 & 5, one cannot adopt this variation.
Diagram 7 Also, in response to the diagonal attachment of black 2, white has the strong move of
3 lying in wait. Up to 14, black's shape gets overconcentrated.
Diagram 8 At black 6 in the preceding diagram black might descend to 1, but up to 8, white
takes a large profit in the corner.
Tricked 5 White 1 & 3 are a trick play combination that demand close attention. Black 4 & 6 are
timid. This kind of submissive response is what white is hoping for.
Diagram 9 One wants to resist strongly by blocking at black 2. If white 5, black ataris with 6 &
8 intending to play ko. If white cuts at a, the outcome of the game will be determined here, but
black will fight on even terms. If black 8 at a, white is left with the threat of cutting at b.
17
Model 7 Against
black's large knight
enclosure, white 1
through black 4 form
a common pattern.
Now white has the
trick play that begins
by pushing in at 5.
However, the success
rate of this trick play
is low.
Model 7
the
Tricked 1 It is bad for black to give way with 1: white 2 & 4 spring
trap.
White wins by exactly one move. If black 1 is at a, black
wins this capturing race [semeai]. Since the result to white 10 is so
horrible...
Diagram 1 What move other than black 1 in the previous diagram dissipates the worry of
getting tricked? Black 1, 3 & 5 are simple and clear. With this white's maneuvers end up misfiring. Even if white tries playing 6 & 8, black 11 is a good move. If black mistakenly plays at a
instead of 11, white throws in at 11 and the position becomes ko.
Diagram 2 However, after black 5 in Diagram 1, capturing at white 1 here enhances white's
options [good aji]. In a position where the upper side is important, there is a fear that the profit
in the corner may become insignificant.
Diagram 3 In that case, it is forceful to promptly settle the shape with black 1 & 3. After black
5, since black a forces white b, black's outward influence is superior to white's 10 points in the
corner.
Diagram 4 This looks a lot like the preceding diagram, and it is alright to first exchange black
3 for white 4. However, one must be prepared for the variation of white using 4 to cross underneath at 5. If white 5, black 6, the position returns to that of Diagram 2.
Diagram 5 Of course, white's moves should conform to the joseki with 5 & 7.
Diagram 6 (Next page) We change the theme slightly here. As a variation to Diagram 5, white
may play the trick move with 1 and the connection of 3. In that circumstance, it is correct to grip
white's stone with black 4, playing in a restrained manner.
18
Diagram 6
Diagram 7
Tricked 2
Tricked 3
Tricked 2 If black greedily plays 1 in instances where the exchange of the marked white stones
for the black ones has been made, white 2 is effective. After playing 4, white wins the race to
capture [semeai] by one move. When white has played the hanging connection at a, white must
answer black's atari at 8, so instead of 5, black can wedge into white's position at 6. Therefore,
black is safe. Care must be exercised here.
Diagram 7 Again we change the theme. In situations where the marked white stone has been
added, when white plays at 3 & 5, black must be cautious.
Tricked 3 If black plays at 1, white answers in sente with 2 & 4 and then plays 6. Black has been
neatly taken.
Diagram 8 Black settles the shape with 1 & 3 and then plays 5. In this case there is no problem.
However, in actuality...
Tricked 4 White's secret weapon is the hane at 1. The variation through white 9 is inevitable,
and this is a perfect example of a successful trick play. White's thickness on the outside is overwhelming while black has a pitiful lump of stones; depending on the position they may even die.
Diagram 9 Black 1, then butting against white's position with 3 give black sufficient resources
to fight. Black wedges into white's position with 7 and after black 11, white's trick play ends in
failure. Black 11 is an essential point to defend black's position: a thick, real move [honte].
Diagram 10 Returning to the original position, attaching at the belly with black 1 exquisitely
handles the situation [shinogi]. If white a, black b; if white b, black c; if white d, black e; if
white f, black d. In every variation black is well off. However, in general, when white adds the
marked stone, black becomes thin, so it is usual for black to reinforce the corner [at 1 in the
Model 7 diagram].
19
Model 8 This trick

move comes after
black has played the
attach and extend
joseki and white cuts
with 1 & 3. It gets
complicated after
this, but it is important to master the basic variations.
Tricked 1 First off,
Model 8
Tricked 1
Tricked 2
the compromise with

black 2 & 4, even though black takes fourth line territory, is decidedly
unsatisfactory since the two marked black stones are rendered inef-
fective.
Tricked 2 Black displays the right intentions by descending at 1, which aims at cutting at a, and
playing the atari from above with 3. However, when white plays at 6, black 7 is a bad move. After
white cuts with 8 & 10, black's position is cut into pieces.
Diagram 1 In answer to white 6, black 7 is correct, daring to meet the challenge of a decisive
confrontation in the corner. If white plays 8, black fills liberties in order after 9 and it is obvious
that black wins.
Diagram 2 What is frightening is when white has a reinforcement in the area of the marked
stone, allowing white to initiate the variation that starts with the block at 2. This fills a liberty of
black's three stones so close scrutiny is needed. In this situation, the cut at black 9 through the
wedge at 13 are good moves. Starting with a and following the move order of Diagram 1 ends
with black losing.
Diagram 3 If white plays 1, black 2 through 6 start a ko, but black has a ko threat at 8 and white
is in a fix. If white 1 at 5, black 3, white 2, black 1, white a, then black b finishes it up.
Diagram 4 Instead of the diagonal move, if white descends at 1 and jumps to 3, what will
happen? Here too, black cuts at 4 and after the atari at 8, attaches at 10. Black is clearly ahead in
the race to capture [semeai].
Tricked 3 (Next page) White has various tricks to fool with. Here white hanes at 1, then pushes
20
Trick Moves Basic Knowledge
through and cuts with 3 & 5. Exchanging black 6 for white

Diagram 6
7 and then playing black 8 falls into the trap. White's aim
is to squeeze with 11, and through white 19, capture the whole corner.
Diagram 5 The correct sequence is for black to set the position by cutting at 1 & 3, then capture
the stone with black 7. If white 8, black is far and away better with the move at 9.
Diagram 6 This is a variation for white 8 in the last diagram. If white 1, black plays 2 through
6, then black 8 through 20, and white's position on both sides is low. If white 7 at a, black plays
b, white 8, black c, white d, black e, white f, and then black 7. Black wins by one move.
Tricked 4 What happens when white has a two space high attacking stone where the marked
one is, then pushes through and cuts? White plays 9 & 11. Black may think that 12 wins, but
then white cuts at 15. Black desperately tries to capture with 18, but up to black 24 it is a largescale ko. Black has been tricked.
Diagram 7 Black 14 in the last diagram is bad: defending at 1 is best. If white 2, black is ready
with 3. After white 10, a white move at a starts a two-step ko, but this is a small matter after
black has defended at 1.
Diagram 8 If white answers below at 1, black 6 is a good move that destroys white.
Diagram 9 Consequently, when black attaches at 1 (black 12 in Tricked 4), white cuts at 2.
Through 6, white makes a squeeze play on black's position, but black can be satisfied that white
has played one extra move here while black has taken 15 points of profit.
21
Model 9 After white has

played double approach
moves against the star point
stone and black has played
the attach and extend joseki,
white plays diagonally towards the second line with
1. One look tells one that this
could not be a good move
since it sinks to the second
line, but in order to brand
white 1 as clearly inferior,
black's next move is critical.
Model 9
Tricked 1 A stickler for making good shape would want to
play black 1. However, this is just what white is waiting for. After wedging in with 2, white
develops a position on both sides with 4 & 6. If next black a, white is left with the severe move
at b that gouges out the corner. Black lacks much of a base, with many prospective difficulties.
Diagram 1 Black 1 seems to be a drab move at first sight, but extending here is the correct play
to neutralize the trick move. It should be obvious that moving in a line like this turns the marked
white stone into a lax, ineffective move. If white now extends to 2, black attacks at the vital point
with 3. After slapping white down into submissive shape with 5, black holds the attacking
initiative.
Diagram 2 If white defends on the upper side, black presses in around the point of 3. In short,
black has the equivalent option [miai] of playing 1 on the upper or the right side. If white 4,
black plays 5. Black can also play more severely with 3 at the point of 4.
Diagram 3 Following the previous diagram, if white attaches at 1, playing black 2 and descending to 4 are good moves. When white plays 5, black is ready with the attachment of 6. It may be
unnecessary to elaborate but...
Diagram 4 (Next page) Instead of white 1 in the original position, playing the diagonal move
upward here is correct. The moves following black 2 comprise a well-known joseki. Within the
sequence of this joseki, black 10, which prevents white from attaching at a, is an important
move. Changing the theme, we will examine the variations that follow white a. Before black gets
22
the move at 10 in, at white 7...

Tricked 2 White makes a pincer attachment at 1. If black plays 2 to prevent white from connecting underneath on this side, white does so on the other with 3 & 5, and black has been tricked.
Even though black cuts at 6, white neatly wraps black up with the moves following 7. Not only
that, but for the time being black has only one eye. Now there are three cuts, a, b & c to aim at...
Diagram 5 What happens if black cuts at 1 ? In response to black 1, white 2 & 4 are good moves.
When white plays 8, black must live with 9. It is very painful to have to add a move within one's
own territory.
Diagram 6 For white's part, blithely capturing with 2 & 4 is sufficient. Black takes two stones in
the corner with 7 & 9, but black has taken the territory there in terribly overconcentrated shape,
and it totals a mere 15 points. White's thickness on the upper and the right side is superior.
Diagram 7 On the other hand, it is unreasonable for white to answer black's cut at I with the
atari of 2 and the block of 4. When black captures two stones with the moves up to 11, white sets
about taking the corner with 12; but in the race to capture [semeai] that follows black 13, white
is short by one move no matter what happens. In this sequence, if white 20 at a, black plays b.
Diagram 8 Backtracking: white's trick move of 1 is easily parried by black descending to 2. If
white plays 3, black cuts at 4 and it cannot be said that white has profited. If white uses 3 to, say,
defend at 5, black plays 3. White's stone at 1 turns into an out and out loss. The moves in
Diagram 4 of white 7 & 9, and black 10 are unavoidable.
23
Model 10 In this trick play,

white beseiges black's one
space jump in the corner by
poking at 1 and highhandedly attempting to seal
black into the comer with 3.
One must by no means allow this kind of thin play to
succeed in wrapping one up.
The position demands that
one discover the wonderfully
skillful technique [tesuji]
that will shatter the trick
play with a single blow.
Tricked 1 Black pushes out twice with I & 3, then ataris twice at 5 & 7. By repetitiously playing
these clumsy moves, black has already been snared. Up to white 14, black is completely sealed
in. White must be laughing uncontrollably. Black's moves at 3 and 7 are problematical.
Tricked 2 The skillful technique is displayed when black simply cuts at 1. White can only draw
back to 2; which means that it is pointless for black to exchange the move at a for white b.
However, if at this point black ataris at 3 and pushes out at 5, the ruse again succeeds. With the
moves following 7, black crudely fumbles the way to black 13. In spite of this increase in black's
territory, white's thickness is obviously overwhelming. This is better than Tricked 1, but...
Diagram 1 The combination of black I and the attachment of 3 wonderfully coordinate the
technique refered to above. White 4 is the orthodox, "real move" [honte], and black is satisfied to
go back and play 5. If white 6 & 8, black takes with 7 & 9; after this, if white plays a, the key is
to counterattack with black b. However, at black 5...
Diagram 2 Black must not try to play 1 here. With 2 through 8, white usurps the territory and
the result is perilously close to a successful trick play. Black's group has almost no territory to
speak of.
Tricked 3 (Next page) In answer to black 1, white attempts the hane of 2 (a trick play: white 4 in
Diagram 1 is correct). If black ends up making the atari of 3 here, the prior wonderful technique
goes to waste. Through white 8, the pattern returns to that of Tricked 1, though without the
24
exchange of black a for white b.

Diagram 3 Black must play the good moves of 1 & 3 consecutively. This is a perfect example of
a trick play gone bust. If white 4, black extends to 5. Black's shape is thick here, compared to
white's, which is thin. Since the marked black stone is still not dead, one can see in an instant
that white is practically annihilated. However, it is important that one read out the situation after
this correctly.
Diagram 4 White hangs tough with 1 & 3, but this looks more like desperation. White gains
room to breathe with 5, but even if the ladder does not work for black, the game is over with the
fencing in move of 6. Extending straight out with black 12 is sharp, and white is devastated.
Diagram 5 How about cutting on this side with white 1? White frantically plays 3, 5 & 7, but
when black blocks at 8, white's position is hopeless. White 13 offers the strongest resistance, but
the result is a "flower-viewing ko" for black. If white omits 7, of course black plays 7 and fences
white in with a. Also, if white plays 13 at 20, black plays b, white c, black 15. White 13 as...
Diagram 6 The knight's move of white 1 is countered by black's good move at 2, and white is
dead. If white 3 at 4, black plays at a.
Diagram 7 Therefore, white will press from above with I, but this presents no difficulties for
black either. The sequence following 2 is good for black. Following black 14, white cannot make
life no matter what moves are tried.
From white's standpoint, Diagram 1 is best. For black, responding to white's fencing in moves
of 1 & 3 in the model diagram by crudely trying to push out and atari is bad.
25
Model 11 In this position black's one point

jump is supplemented by the marked black
stone. In handicap games, not to mention
even ones, this position often occurs. With
1, white invades at a strange place. Black
blocks at 2. This is a natural response. At
this point white attaches with 3 and cuts
with 5. It is important that one maintain a
firm attitude here. White 1, 3 & 5 are interrelated, and if one loses sight of that fact,
one risks getting ambushed.
Tricked 1 Black 1 & 3 show an easygoing
attitude. With 4 & 6, white takes the lion's
share of the territory here and black has been thoroughly tricked.
Black has been confused by the presence of white's marked stone, and ended up losing ground
steadily as a result. This is what white aimed at. Let's see what happens if black adopts a policy
of not necessarily trying to capture white's marked stone.
Tricked 2 Instead of fixating on the marked white stone, with 1 & 3 black invites white to live
on the side. In return, black ends up living in the corner with 5 & 7. But what is one to make of
this? It seems that black is being overly generous, no?
Diagram 1 White will follow this up by playing 1 through 5 and living on the side with nearly
10 points. Analyzing this result, one notes that black has played one extra move, and to that
extent has been cheated. It will be hard to mount an attack on white's three stones on the upper
side.
Diagram 2 Since white was allowed to live easily in the last diagram, black tries resisting more
forcefully by playing 1 & 3. However, in practical terms, this resistance takes on an unfortunate
shape. Pushing out once with white 4 is a good move. White 6 & 8 precipitate a capturing race
[semeai].
Diagram 3 (Next page) Taking the hane of black 1 for granted as the best move here, still, it is
no good to make the committal atari with black 3. Black has to answer the hane of white 6
[kikashi] and up
to 8, white wins.
The good move of
white 4 in Diagram 2 makes the
hane of white 6
feasible, thus allowing white to
win the race to
capture by one
move.
Diagram 4 In
place of black 3 in
the last diagram,
black has no al-
26
ternative but to
utilize the common technique
of throwing in at
1 & 3, and starting a ko fight
with 5.
Diagram 5 If
white blocks at
a, the ko becomes a direct
one. However,
perhaps white
will not start the
ko immediately, but extend at white 1. This leaves black in a quandary. Over the course of
fighting the ko, white can choose the best time to play white b as a ko threat, and overall, the
thinness of black's position is conspicuous. Especially in handicap games, a weaker player would
be reluctant to try to deal with this kind of complicated shape.
Diagram 6 The worst case scenario is shown in this diagram. Black 1 & 3 are the same as in
Tricked 2. Then black winds up playing the atari of 5 and the connection of 7, but there is no
telling what this is supposed to accomplish. This is worse than the results in Tricked 1 & 2.
Since black originally played 3 to live in the comer, adding the stone here and then abandoning
it by playing
black 5 & 7
clearly represents a rupture in
black's strategy.
But what is the
correct way of
playing here?
Diagram 7
Black ataris on
both sides with 1
and 3. Then
black blocks at 5,
which forces
[kikashi] white
6, letting black
take control of white's two stones. It is painful to allow white to make a ponnuki capture in sente
with 8, but since black takes a large territory, this outcome gives black the advantage.
Diagram 8 In addition, black has the good option available of playing 1 & 3, and then black 5.
In this variation, black connects at 7, and therefore is able to take white's stone with 9. Even
though white is allowed to live on the side, black builds a solid wall in the center, and the capture
with black 9 makes a large territory. Diagram 7 is perfectly secure for black, but this diagram is
the best. It is the strongest procedure to smash white's trick play.
27
3-4 Point Trick Plays

Model 12 With a stone
on the 3-4 point confronted by a knight's approach move, white assays the offbeat move at
I. While this method
may lack subtly, black
must handle it with the
greatest care.
Tricked 1 One may take
black 1 for granted, but
the hane outward of
black 3 quickly gets
black bushwhacked. After black 9...
Diagram 1 With white 1 & 3, the position for white is better in terms of
both thickness and territory. It is painful for black to have to play 2, but it is the honest-togoodness, "real move" [honte].
Diagram 2 Black would like to push out with 2, but whatever happens, it does not seem like this
will go well. If black lives with 4 & 6, white 7 is a good move. This becomes a fight in the corner.
Diagram 3 White 1 and the following are an inevitable development. Black has no choice but to
live with 12, but up to white 15, black is nonplussed. If black 8 at a, white 10, black takes ko at
b, white 12, black 8, then white will retake the ko and black cannot win it. Again, at black 8...
Diagram 4 If black lives with 1 & 3, and white as well with 4, black starts a fight in the center
with 5. However, black has thin shape and the fight will be a disagreeable one.
Diagram 5 This is a variation of Diagram 2. What if black pushes at 1 ? Here the hane of white
2 is the strongest reply. From black 3, both sides frantically grapple to create a viable position,
but it is painful for black to be squeezed with white 10 & 12.
Diagram 6 (Next page) With white 2 and black 3, both sides again live. However, for black, who
28
must cope with floating stones, the disadvantage is clear. White presses the attack in fine form
with 8. If black 3 at a, white plays b, black c, white d, black 3, and white 4, the result is the same.
Diagram 7 In response to black's defense with 4 & 6, white blocks once with 7, then discards the
three stones with the moves after 11. White is thick in the center and has the advantage. Because
of all these factors, black cannot push out with 2 when white attaches at 1.
Diagram 8 Returning to the original position, when white ataris at 1, black may take at 2,
disliking the prospect of a white attachment at a, but fencing in at 3 maintains white's initiative.
Diagram 9 The correct way to fend off the trick play is with the cut of black 3. If white draws
back to 4, then play proceeds through black 7 and in comparison with Tricked 1, white's shape is
thin and white can no longer attach at a.
Diagram 10 If white answers black 1 by blocking at 2, it is enough for black to play normally
with the atari of 3 and the connection of 5. Up to 11, black takes a large corner and after 12, one
way or another, white must make another move at a.
Diagram 11 According to circumstances, when black plays 1, white may opt for the variation
beginning with 2. But here black takes the initiative in the fighting with 5 & 7.
Tricked 2 White 2 & 4 usher in another trick play. If black gets flustered and rushes to try to
capture white with 5 & 7, failure is assured. This sequence captures black's stones in a ladder.
Diagram 12 If the ladder is bad, extending to 1 is a calm move. White can only play 2. Black
forces with 3 & 5, 7 & 9 complete the refutation of the trick move and black has a large corner.
29
Model 13 Black
counters a one space
pincer by white to
play the fencing in
move of 1. At this
point white skips all
the way out to 2.
Without even looking, black would
want to block at a,
but...
Tricked 1 First off,
black 1 is good. However, when white plays 4 & 6, responding with 5
& 7 gets black caught up in the tempo of the trick play. After white
cuts at 8, there is no salvation.
Tricked 2 With 1 & 3, black sets out to take white's four stones. The shape here is similar to that
of Model 5. White forces [kikashi] with 4 & 6, and squeezes with 8 through 14. After white
fences black in with 16...
Tricked 3 White 2 and the following moves wrap black up tighter than a drum, leaving black in
a pitiful state. Black's territory is 18 points. White's thickness is far more valuable.
Diagram 1 Does black 2 put up more resistance to white 1 ? This time black can escape at a, so
white will not try to fence black in with b, but rather, will play white 5 to engineer life for the
group. After white lives with 11, black must find life for the five stones below.
Diagram 2 Playing black 1 and the following, crawling repeatedly on the second line is beneath
discussion.
Diagram 3 If, at 8 in Diagram 1 black hanes at 1 to capture the corner stones, white squeezes
black with 2 and the rest, and black loses. Consequently, the hane of black 2 in Diagram 1 is no
good.
Diagram 4 (Next page) It is not all that difficult to thwart this trick play. When white plays 1,
instead of the hane at a, black has to go back and defend somewhere around 2. Since white 3 is
unavoidable, black can play at 4, ending with a thick position.
30
Diagram 5 White can also first hane at 1. In this case as well, black must not hane at a, but
cautiously reinforce with the calm and collected move of black 2. Up to black 6, it is plain to see
that white has a low position.
Diagram 6 There are various moves at black's disposal, and one cannot declare which is best.
The jump to black 1 reflects a clear and simple strategy. Likewise, the fencing in move of black
3 is a good move here.
Diagram 7 Without pushing in at 2, the capping move of black 1 is light and effective. When
white plays 2, black maintains this light policy by pressuring white from above with 3. The
thinness around a is not to be worried over.
Diagram 8 In the days of Shusaku's youth, Ota Yuzo played this trick move against him. As
black he answered by dodging to 1, and an exchange [furi-kawari] resulted, with white playing 2
& 4, and black 3. But even though this avoids the trick play, black's marked stones are immobilized, and white's position augmented with the hane at 4 is not very palatable.
Diagram 9 Simply attaching with black 1 is interesting. At this stage, white must respond with
2 through 6, and then black returns to block at 7. After black 9, if white plays a, black plays b
with an adequate result. It only makes sense for white to...
Diagram 10 Defend with white 2 & 4, or...
Diagram 11 White should conform to the joseki moves up to black 9. None of Diagrams 4
through 9 are good for white.
31
Model 14 After white

attaches at 1, black
plays 2 and butts
against white's stone
with 4, white does not
extend to a, but plays
the fencing in move
of white 5; a trick
move. But it is a high
level variety of trick
move that, even if it
fails, will produce an
equal result. White 5
in of itself does not give one the impression that it is unnatural.
Tricked 1 If an unwary black replies with 1 & 3, white descends to 4, and black has already been
shafted. It is natural to play black 5 to avoid getting cut at a, but white pushes through and cuts
with 6 & 8, and black has problems. Rather than playing at b, white 8 is good.
Tricked 2 Should black connect at 1, white pushes with 2 & 4, and wins the race to capture
[semeai] by one move. The squeeze play with white 6 and the following is a well known finesse
[tesuji], and the marked white stone is effectively placed to aid in the capturing race.
Tricked 3 The previous diagram produces an impossible result, so following the advice to "capture the cutting stone", black takes at 1. However, white captures a stone in a ladder with 2 & 4.
This trick play is predicated on this ladder being good for white.
Tricked 4 Realizing this, when white plays 1, black might defend against white a and the rest by
playing 2. Then white takes two stones following 3, which gives white a thick and strong shape.
Black has been had.
Diagram 1 It is correct here for black to push once more with 2; this lets black parry [shinogi] the
trick play. If white 3, black jumps to 4, secure in the knowledge that white cannot now play a,
then push through at b and cut. But this will not really happen: white has another nice move
available.
Diagram 2 (Next page) In this situation, black normally just jumps to a, without making the
extra push at 1
which is considered to be bad.
That is because
when
white
plays the pincer
at 4, the white
thickness above
works more effectively. But in
Diagram 1, it is
as if white
played 4 at a, followed by black
32
b, white c, and
black d, deliberately solidifying
black's
shape.
Black would welcome such an outcome.
Diagram 3 However, the opponent
is unlikely to offer
a sweet deal like
that. The instant
black plays at 2, white will force [kikashi] at 3, and hop lightly to 5, blocking black from advancing. Since this good move exists, even when the trick play fails, a 50/50 result is produced. After
white 5, black has no response, so...
Diagram 4 It is par for this situation to end up with white fixing the shape with 1 and with play
proceeding through black 4. Each side has played the same number of stones in this diagram,
with black taking profit and white taking influence, and it may be evaluated as a completely even
result.
Diagram 5 Since the standard situation in the last diagram is properly arrived at, white's attack
at 1 is not promising. Black lives easily with 2 & 4, and later can aim at the cutting point at a.
Diagram 6 This shows how play proceeds when, after white 1, black forces [kikashi] with 2, and
then pushes through and cuts with 4 & 6. Turning at white 9 is a thick move, and it seems as if
black is just looking for trouble. The jump into the corner with white a is left, and we might say
that black is in for an unpleasant fight.
Diagram 7 Black 2 & 4 are a finesse [tesuji]. With the moves from white 5, both sides are
propelled by the impetus of the situation. White 7, black 8 & 10 are all good moves. Black's aim
is to play 12 & 14, but white dodges the attack with 15. According to the board situation, this
variation is possible, but it is a burdensome one for black. White's fencing in move at a, and
capture at b, both threaten black. The upshot is that Diagrams 3 & 4 represent the best variation
for both sides.
33
Model 15 White answers the two space

pincer of black 1 with the diagonal jump
of 2. This cannot be called a trick play.
It is a fine, upstanding joseki. However,
a mistaken response will land black in
a trap. Positions centering on the 3-4
point often give rise to this kind of trick
move: where, even if the opponent answers correctly, one suffers no loss.
One's first impulse is to strike out between white's stones with black a but...
Diagram 1 Without a doubt, black swallows the bait by playing 1. But if white
pushes up vigorously with 2 and the following, black gets a sufficient
result with the extension to 7. This will not happen, though. For black
to envision this result is evidence of a fundamentally one-sided reading of the situation.
Tricked 1 When black plays 1, white dodges with 2. With this, black has truly been tricked.
After black 3, white seals black in with 4 through 8.
Tricked 2 On the other hand, if white plays a thin move, blocking at 4, black gets a good result.
There are a number of options, but here black fights directly, pushing through and cutting with
5 & 7. White can play the good hane at 8, but black's group will prove to be a tough customer.
Diagram 2 After white 1, it seems as if the race to capture [semeai] is favorable for white.
However, in this sequence black fixes the shape with 6 & 8, then hanes at 10 and extends to 12,
and black's outward influence must be judged as being more valuable than white's territory.
Furthermore, white has to add a move at a, or push at b. If white leaves things as they are...
Diagram 3 Black immediately throws in a stone at 1 and the play comes alive. With black 7 & 9,
white cannot fill black's liberties from either side and ends up annihilated. Therefore, the sequence given in Tricked 1 is correct for white.
Tricked 3 (Next page) What happens if black answers the fencing in move of white 2 normally,
by defending with 3 & 5? It does not seem as though black has incurred such a great loss here,
but actually, the exchange of black 1 for white 6 is a terrible one. White's thick position is
superior to black's.
34
Tricked 4 When white plays 2, pushing through with black 3 and cutting with 5 is suicidal
behavior. White forces [kikashi] with 6, and lands a knockout punch with the cut of 8.
Tricked 5 Pushing and cutting through with this combination of black 3 & 5 is better, but white
gets a perfect opportunity to play 8, which renders black's marked stone useless. Even if black
tries to move out with 9, white comes into good attacking form with 12.
Diagram 4 The correct reply is the jumping attachment of black 1. White 2 makes shape, and
with black 3 and white 4 a result is reached that is regarded as joseki. This is equal for both sides.
Diagram 5 After the last diagram, black cannot easily move out with 1. That is because white
makes good shape while bringing black under attack. Rather than this, snaring a stone with
black a in Diagram 4 is more practical.

Diagram 6 White 2 in Diagram 4 makes proper shape and there is no other choice. The hane of
white 2 here is a failure. Play will proceed to black 5, and the marked white stone is clearly
shown to be a slack move: the shape dictates that it be situated at a.
Diagram 7 Black would like to force [kikashi] once with 3 and block in the corner with 5. If
white plays 6, black moves out with 7 and white's stones are weak above and below.
Diagram 8 However, when black plays at 1, white will instantly wedge into black's position with
2. With this, black is denied the chance to make good shape as in the previous diagram with 5, so
it may be said the fight is advantageous for white. There is no alternative for either side but to
follow Diagram 4.
35
Model 16 The starting point here is after black has played a three space pincer and white has played elsewhere. It
is natural for black to attack with 1 & 3,
and white 4 is a light and nimble move.
The history of this pattern is an old one,
and the position was thoroughly researched during the late Edo Period. At
black 5, a two space extension to a is
also possible, but the knight's move of
5, and then, after white 6, the hane outward of black 7, is strongest. It is at this
stage that white springs the strategem
of the wedging insertion of 8.
Model 16
Tricked 1
Tricked 1 Backing up a step, the hane from below at black 2 is not

good. Extending in at black 4 is the only move, but white 5 & 7 are
good moves that enable white to play either above or below [miai]. If black defends at 8 so as to
avoid getting sliced through with white a, then white 9 is possible. After white 13, black must
make life in the corner, leaving black's two stones floating.
Tricked 2 If black protects the upper side with 1, white plays 2. Black 3 is unreasonable. By the
time white plays 8, black has gotten swindled. Black had better play 3 at a. If black's marked
stone is the two space extension at b, white's technique here with 2 is impossible, so black would
be perfectly safe defending the upper side at 1. Consequently, when black has played the knight's
move, black's marked stone; the hane from below is not feasible: hence the premise behind
black's hane outward. The special feature of this model is that playing the knight's move is a
sharp way of playing, while playing the two space extension produces a leisurely development.
Tricked 3 Well then, exploring the main line, white 1 & 3 are the trick moves. Black has little
choice but to answer at 2 & 4. When white cuts at 5...
Tricked 4 Black can hardly sit back and watch the black marked stone die, so resisting with 1 &
3 is natural. White
6 & 8 are also the
best moves. Then,
through white 14,
black's stones are
captured. At this
point,
white's
marked, forcing
moves [kikashi]
work effectively.
Of course, this is
a grand success for
white.
Diagram 1 (Next
page) Black 7 in
the previous dia-
36
gram was a bad

move. Here the
atari of black 1 is
good. If white
now connects at 3,
the
marked
stones, when compared to Diagram
3 that follows,
turn out to be bad
moves: therefore,
white will capture
at 2. Then black
also captures at 3
and there is a lull in the action. White's shape with the capture of 2 is thick, but the marked
stones eliminate some possibilities for white [aji keshi], and will perhaps even get captured, so
black has the advantage here.
Diagram 2 The joseki properly played omits white moves at a & b, with white simply cutting at
2. Through 12, white basically captures two black stones.
Diagram 3 Black plays 1 and seals white in with 3. The sequence ends with white's wedging in
at 4 and settling the group with 8. Black 9 pounds on white's two stones, leading to a lull in the
action. If white a, black b. Also, if black plays 5 at 6, a white hane at 5 will be unpleasant.
Diagram 4 Here
is a variation for
white 4 in the last
diagram. White
1 is greedy. Black
2 & 4 spell curtains. But there is
a revised version
of Diagram 3.
Diagram 5
White first plays
the wedging insertion of white
1. At this stage,
black will reDiagram 4
Diagram 5
Diagram 6 8: connects
spond with 2,
and then white cuts at 3. After this, the sequence is the same until black 16, and then white lives
with 17 & 19. Since the hane into black's position with a is threatening, black must defend at 20,
and white is afforded the opportunity to run at 21. When white plays the wedging insertion
afterward (at white 4 in Diagram 3), black draws back at a, usurping sente. That's the difference.
Diagram 6 Additionally, white can play 10 in Diagram 2 as 1 & the fencing in move of 3,
sacrificing three stones. Up to white 10, depending upon the position, this may be powerful, and
there are those who regard this sequence as the definitive model, [a not mentioned in text.]
37
Model 17 At the
point when black
has jumped at 2 in
response to white's
two space high
pincer, white attaches and blocks
with 3 & 5. One
name used for this
trick play is "The
Coolie Hat".
Tricked 1
Tricked 2
Tricked 1 Before
all else, black ataris at 1. With 2, white is forced into the bad shape
Model 17
that resembles a coolie hat, and then, to make good shape, black plays
the hanging connection of 3. White stakes success or failure on the cut at 4, the precondition for
this trick play being that the ladder at a is unfavorable for black. If white cannot cut at 4, this
trick play can absolutely not be adopted. If the cut is effective, the trick play succeeds.
Tricked 2 Since the ladder is unfavorable, black can only play something like 1 & 3. White
reproves black with 4, and since abandoning the two stones would be hopeless, black forces
[kikashi] with 5 and flees with 7 & 9. But when white connects at 16, whatever variation black
adopts, it will not turn out well.
Diagram 1 To avoid a situation where white has one eye while black has none [wherein black
dies: "me ari, me nashi"], black is forced to jump in at 1. However, white responds with 2
through 8, and the worst white can fear is seki. Black has to play at 9 to prevent a white throwin there, and white plays 10 to bring black's seven stones under attack. Black's disadvantage is
obvious.
Diagram 2 Here is a variation for black 3 in the previous diagram. Black crawls in at 1. Again
a seki naturally results through black 7. Black would have no chance of success throwing in a
stone at a and starting a ko. When white descends at 8, a pattern much like Diagram 1 results.
Diagram 3 Here is a variation for black 5 in the last diagram. Black grimly tries to hold on with
1, but the result is zero. Up to black 11, the position is, as usual, a seki. And in the end, white
turns to play 12.
Since black's liberties are filled,
this is worse than
Diagrams 1 & 2.
Diagram 4 (Next
page) Let's return
to Tricked 2,
when
white
hanes at 4. At
first sight, black 1
looks like a
skilled finesse
[tesuji], but it
Diagram 1
Diagram 2
38
won't work here.

White can play in
a rough and ready
style with 2 & 4
and capture in a
ladder. This is a
wonderful flourish
for a successful
trick play.
Diagram 5 How
about the cut of
black 1 and the at-
Diagram 4
Diagram 5
Diagram 6
tachment of 3? Black 1 prevents [shinogi] the ladder in the last diagram, but when white gets a
stone at 2, white 4, 6 & 8 now initiate an attacking stance that leaves white without problems.
Black looks half dead.
Diagram 6 It doesn't seem like anything works here. That is, if black defends at 1 to have done
with it, white takes the solid tack of capturing at 2. In the final analysis, white's thickness is
superior.
Diagram 7 But really, what is black's best play? When the ladder is bad, black cannot play the
move that makes "good shape", the hanging connection at a, but must play a move that makes
equally good shape: defending at black 1, which is the correct move. At first sight, this seems
like a colorless
move, but notice
that this is the vital point of the
shape. Following
this, the hanging
connection of black
a will be so good
that in order to
avoid it...
Diagram 8 White
will capture one
stone with 1 & 3.
Diagram 7
Diagram 8
Diagram 9
Here, black will be
overplaying the position with a move at a, but solidly connecting at 4, will lead to a normal,
equal result through black 6 which is par for this kind of situation. Now a black move at b or
white's equally good move at c have the same value: therefore this is a 50/50 outcome. Here we
have a trick play that produces an equal result no matter what happens.
Diagram 9 If black butts up against white's one stone with 1, white answers with 2 and then
black makes the defensive move of 3. White descends at 4, leaving the possibility of connecting
underneath at a later. This maneuver is a failure for black. We cannot really say that black has
gotten the shaft, but white 2 & 4 create a great amount of thickness on the right side, so black
has much to repent.
39
Model 18 In response to a one

space high pincer, white uses
the rash method of the knight's
fencing in move of 2. However,
against a weak opponent it is
an effective trick play, and defusing it requires no small degree of skill. On the other
hand, if black responds accurately, a good position naturally results, leaving the bad
move of white 2 exposed for
what it is.
Tricked 1
Model 18
Tricked 1 First of all, the stereo-typical answer here with black 1 & 3 falls right into the trap. White pushes in with 4, then
forces [kikashi] with 6, 8, then further with 10 & 12, finally turning to attack with 14. Black's
marked stone has come to be too close to white's thickness, and black will be forced willy-nilly
into an unfavorable fight.
Tricked 2 Humbly defending is no good. Cutting through with black 1 & 3 is the only play.
Since white a, black 5, white b, black 4 is not good here, extending at 4 is the only play for white.
Black pushes once at 5, and after white plays at 6, black goes after white's three stones with 7 &
9. But black is proceeding on a "Tricked" path.
Tricked 3 Continuing, white 1 through 7 are all natural moves for both sides.
Tricked 4 Black gets tricked here by hurrying nervously to atari with 1. Play proceeds with both
sides systematically filling in liberties, and a big ko results with white getting to take the ko first.
Black is thus destroyed. This variation has been white's aim all along.
Diagram 1 Since black 1 in the last diagram is bad, what about simply connecting with black 1
here? By so doing, this time, on the contrary, black gets the first chance to take the ko, which is
a success. The reason for this is black can play 7 in sente.
Tricked 5 (Next page) However, in reality things will not work out as well as Diagram 1. After
black 1, white will veer off course, playing 2 & 4 into the center. White 4 & 6 are a skillful
finesse [tesuji]. White 8 is a forcing move [kikashi] that works because of the fencing in move at
Tricked 2
Tricked 3
Tricked 4 12: takes ko
40
Diagram 1
a, then white
14 makes
equivalent
options
[miai] of living with 15
or making
black's liberties rapidly
disappear
[oiotoshi]
with
the
moves following 16. In short, black is annihilated. Naturally, if black plays 1 at 15 (Tricked 4), white's
technique with 12 & 14 does not work. But then the capturing race [semeai] is unfavorable.
Diagram 2 In order to avoid the technique used in the previous diagram, black can only play 1.
White 2 & 4 are the best way to fill in the liberties, but black also has the good move at 7. In the
end, the corner becomes seki. Through black 15, we have an equal result. The trick play has been
avoided overall, but there is a better move here for black.
Diagram 3 Returning to the beginning, pushing once more with black 1 is best. If white defends
at 2, white's hane outward at a no longer exists, so black can now attack at 3 & 5 without fear.
Following black 13, the sequence is the same as in Diagram 1, and the
fear of Diagram 2 developing does not exist.
Diagram 4 One need not fear white resisting with 2, either. Black settles
the corner up to 9. White 10, guarding against black a, is natural.
Diagram 5 After that, black plays the two-step hane of 1 & 3. With 7 & 9, black captures four
stones, while securing 20 points of territory. Black is clearly better.
Diagram 6 White is likely to play 2. There too, black will use the two-step hane of 3 & 7.
Diagram 7 The continuation shows white frantically struggling. If white 3 at 4, black a. After
black 4, white connecting underneath with 5, 7 & 9 is painful but unavoidable. Capturing with
black 8, 10 & 12 makes profit in the center, and furthermore, the moves in the corner starting
with 14 leave black with the option of living. If white 17 at 18, black plays 17.
41
Model 19 Amidst the

3-4 point trick plays,
this is the most popular one. White's technique with 2 & 4 is of
the crudest variety, so
subverting it is
simple.
Tricked 1 The atari
of 1, then the hane of
3 and connection of 5,
indicate that black
Model 19
thinks that living is a sufficient answer. White's outward influence is
powerful, and black has been thoroughly snookered.
Tricked 2 Extending outward with black 1 is also bad. After black lives with 3 through 7,
white's diagonal move of 8 embroils black in a disadvantageous fight in the center.
Diagram 1 If in answer to black 1, white obligingly goes after territory with 2, it is okay for
black to throw away two stones with 3 and the rest. This is an equal result.
Diagram 2 The proper move to overturn the trick play is the hane of black 1. If white plays 2,
black forces [kikashi] with 3 & 5, then plays 7. This is a huge difference from Tricked 2.
Diagram 3 White has two feasible answers to black 1. First there is white 2. Black 3 & 5 are an
adroit finesse [tesuji], and though both sides take two stones, black is a little better off. If white
tries to dodge this with 6 at 7, black plays 6 and though white can play a, the marked stone is
horribly weakened.
Diagram 4 Black can also atari once at 1. If white is spurred on to play 2, the position after 9 is
good for black, but white will capture at 7 instead. Then black plays 3. Afterward, white has the
endgame attachment at 8, so there are both good and bad aspects to black 1.
Diagram 5 (Next page) When white blocks, black has no choice but to cut at 1. This is a special
strategy used when black wants to put the most emphasis on the right side. However, in the local
context, white's shape becomes thick and strong by curling around at 8, so black cannot claim to
have an advantage.
Diagram 6 If black ignores white 1 to play 2, then starting with 3, white fences black in through
42
7, which is terrible.
Diagram 7 Since black's hane has been exchanged for white's block, extending at black 1 is
possible. Black squeezes with 3 & 5, and through 13 a sequence similar to Diagram 4 results.
This is good for black.
Diagram 8 White cannot obtain a pleasing result by blocking, and so tries to atari at 2 and
connect at 4. It is enough for black to extend out smartly with 5. White 6 captures black's stone
in a ladder, but at some stage a further white move at a will be necessary. In that position, white
will have played two extra moves, while black 5 remains splendidly placed, so the result is equal.
Diagram 9 If the ladder is unfavorable, white must play the fencing in move of 1. By capturing
at 2 & 4, black obviously is well off. However, black does not necessarily have to rush to play 4.
Diagram 10 It is also imaginable, at the point of the black extension of 5 in Diagram 8, to start
a fight with 1. The moves to white 10 may be expected, and this is a situation even for both. But
one worries that black is stirring up trouble needlessly; there is no question that Diagram 8 is
simple and good.
Diagram 11 Incidentally, there is an interesting variation for white 6 in the last diagram. Black
should heartily welcome an attempt by white to capture the corner with 1 & 3. With 4 & 6, black
lightly gives up the corner. Then the boa constrictor play with 8 & 10 give black a good feeling:
white's territory is worth about 20 points, while black's thickness is more valuable.
Diagram 12 Striving for more with white 1 & 3 leads to an almost identical outcome. White's
territory is not a single point bigger. White should play normally, as in Diagram 10.
43
Model 20 When
black plays 1, there is
a way of playing with
white 2 & 4. This
trick play is closely
related to joseki and
is a strong fighting
method.
Tricked 1 Crudely
fixing the shape with
1 & 3 causes black to
Tricked 2
Tricked 1
fall behind overall.
When white extends to 6, black's five stones are not only left without
Model 20
much of a base, but are heavy as well.
Tricked 2 The diagonal attachment of black 1 is better. However, white 2 & 4 capture cleanly, so
while there is but a small difference in superiority, black has still been tricked.
Tricked 3 Black plays 1 & 3, grimly clinging to the comer. But this is what white has been
waiting for.
Diagram 1 On the other hand, pushing through immediately with white 1 & 3 is no good. With
the ataris at 6 & 8, black makes strong thickness in the center, and afterward can aim at black a.
White has failed to follow through with the trick play.
Tricked 4 The artful finesse [tesuji] of white 1 is the key point of this trick play. Black 2 is a calm
response, but black's four stones wind up being chased into the center. This sequence falls right
in with white's plans.
Tricked 5 Black would like to counterattack with 2, but now white strikes with 3 & 5. After
white 9, black will play a and follow Diagram 1. However, in this case, as opposed to Diagram 1,
the exchange of black 2 for white 7 has been made, which is a grievous error on black's part.
Tricked 6 (Next page) With white 6 in Tricked 3, the fencing in move of 1 is also possible. If
black tries to squirm out with 2 & 4, the sequence here ends with white making thickness, and an
obviously superior position.
Diagram 2 Therefore, what is the best way for black to play? Going ahead and cutting with
black 1 is correct. With 3 & 5, black discards the corner, and if white plays 8, black develops to
somewhere around 9. White also defends at 10 and black will not be dissatisfied with this result.
But white can also fight on even terms here. If white fails to play 10...
Diagram 3 Black plays at 1. Through black 7, a two-step ko is the upshot, a pleasant "flowerviewing ko" for black.
Diagram 4 Switching themes a bit, it is also necessary to use caution when white uses the
technique of playing 4, then blocking at 6. Even if black answers accurately, white will not end
up badly, so it can tell on one's nerves.
Diagram 5 Likewise, in this position as well, living in the corner with black I & 3 is not good.
After playing 4, white expands into the center with 6 and black jumps to 7. It may seem like
nothing special is going
on here, but
white has a
comfortable,
slowly developing position. We may
evaluate this
situation as
being somewhat advantageous for
white.
Diagram 6
Here is a variation for black 1 in the last diagram. Black intends to pressure white severely with
a hane at 1. However, white crawls, just once, with 2, then puts black in a fix by sacrificing with
4&6.
Diagram 7 Exactly as in Diagram 2, the proper thing for black to do is to cut at 1, and with 3 &
5, black gives up the corner. White's pride and joy here is that after black plays 7, an additional
move in the corner is unnecessary. That's the difference from Diagram 2. When white jumps to
8, the position is 50/50. It is necessary for white to play 8; if it is omitted, black can pressure
white, even by playing this right off the bat, with black a, white b and black 8.
45

Model 21 This pattern develops from a
5-4 point joseki where white has made
an inside attachment at the 3-3 point.
After striking at the vital point with 1,
white fences black in with 3. This is a
simple trick move, so it will not succeed twice with the same opponent.
Tricked 1 Although black 1 & 3 are
alright, black 5 is a huge blunder. White
gets to slice black apart with 6 & 8.
Already the outcome appears to be:
"White wins by resignation."
Diagram 1 It is a simple matter to crush
Tricked 1
this trick play. All black has to do is cut
Model 21
below at 1. If white plays 2, black extends out smartly with 3, and
even if white defends at 4, the cutting point at a still remains. The
vigorous extension of black 3 makes black's position thick and strong, so it is evident that white
has sustained a loss here.
Tricked 2 Black showed the correct attitude in Tricked 1 by creating cutting points in white's
shape. If black jumps the gun and cuts at 1 here, white's tight connection at 2 makes strong, thick
and good shape. Black's only option is to atari from below with 3, whereupon white gets a
sufficient result by extending to white 4 & 6. Black has really been had.
Diagram 2 When black cuts at 1, the atari of white 2 is rash. Inexorably, one stone captures
[ponnuki] are made in tandem, but this is better for black. The above exhausts the variations for
the trick play.
Diagram 3 (Next page) The correct approach for white is to play 1 and the diagonal move of 3.
Let's examine the variations in some detail. When white plays 5, attaching on top of it with black
6 looks outrageous, but it has become joseki. White draws back at 7, and the development up to
around 10 is regarded as joseki. At black 6...
Diagram 4 Black 1 is too lackluster. White forces [kikashi] with 2, leaving black with a string of
46
stones.
Diagram 5 In response to black 1, no other move but 7 in Diagram 3 will turn out well for white.
If white pushes out with 2, black can move out in good form with 3 & 5. White's three stones
suddenly become debilitated, and if white plays 6, through black 11, white's stones are taken.
Diagram 6 Pushing out at 2, then defending at 4, shows white's strategy working at cross purposes. Striking across white's knight's move with black 5 is a skillful finesse [tesuji], and through
9, black builds a thick position. At the same time, the low posture resulting from white 6 at a
would be unbearable.
Diagram 7 Here, when black plays 1, white hanes at 2. Now, cutting with 3 & 5 see black
through. Black 7 & 9 cleverly break out of white's net.
Diagram 8 When white hanes at 2, the ordinary cut of 3 produces no disadvantage for black.
White has to play 4 & 6, and likewise here, black can burst through with 7.
Diagram 9 Returning to the very beginning, the side attachment of black 2 is a fighting tactic
often seen. It is used when running into the center would be fruitless. Nevertheless, one must be
vigilantly prepared for white's technique of 3 & 5. Up to white 11, it becomes ko. For both sides,
this is a dangerous course.
Diagram 10 After black 2, if white hanes from above with 3, then the moves through black 6 are
par for the situation, but in the local context, white has something of an advantage. Neither black
6 at a, nor at b usually work out well.
47
Model 22 Here is an
outer attachment
joseki. At 5, the
joseki calls for white
to cut at a or b, but
white turns at 5 instead.
Model 22
Tricked 1 Black 1 is
faint-heartedness at
its worst. White 2 &
4 press black down
low, while leaving
white the option of at-
Tricked 1
Tricked 2
taching at a as well. Tricked!

Tricked 2 Whatever happens, extending to black 1 is the only move. But when white plays 2,
black 3 strays into the ambush. The shape that results from white 4 & 6...
Diagram 1 Compared to the usual joseki, when white turns at 1, the shape is as if black has
defended at 2. Of course, 2 is a terrible concession. Naturally, black must hane at a here.
Diagram 2 When white cuts at 2, the connection of black 2 is correct. If white pushes vigorously
here at 3 & 5, on the contrary, white has failed.
Diagram 3 White attaches at the head of two stones with 1, and then, what comes next is the
problem. First, what happens if black pushes out with 2? Black presses with 4 & 6, and there
may follow a number of fighting variations; for instance, through black 18 we have a rough and
tumble position where chances are equal.
Diagram 4 Black presses just once at 1, plays 3 & 5, then white plays 6 & 8, leading to white's
connection at 10. This is how the fight is likely to go. It is equal.
Diagram 5 (Next page) However, extending to black 4 will not reap a very good result. White
plays the diagonal move of 5 in sente, gaining time to defend at 9. Black can capture two stones
with 10 & 12, but all the same, black's four stones become thin and weak.
Diagram 6 If black 6 in the last diagram is played as a wedging insertion at 1, then the cut at 3
leads to a capturing race [semeai] in the corner. White 10 is a clever little move, and in the end
it is ko here.
Diagram 7 In the local situation, black is driven to the desperate measure of playing 1 to make
ko material. With black 9, white 8 & 10, a swap [furi-kawari] takes place. White's thickness in
the center is superior to black's territory in the corner.
Diagram 8 Pushing out above produces practically an equal position. Consequently, let's see
what happens when when black takes the stone with 2. The cut of black 4 leads to white 9, and
again neither side may be said to be better.
Diagram 9 At white 7 in the previous diagram, there is the sparkling play of 1. The premise is
that if black a, white b; if black b, white c. Nothing to it.
Diagram 10 But there is no reason why black has to cut at a, and start a fight. Black crawls once
at 4 to make firm, solid shape. In the local context, black may be said to have the advantage.
White's thickness is not that great.
Diagram 11 When white cuts at 1, it might seem at first sight that playing the hanging connection of black 2 makes more efficient shape, but it is not good. For example, assuming the same
sequence as in Diagram 10, after white 9...
Diagram 12 Considering that white a makes ko, white 1 is practically a forcing move [kikashi].
It is a serious question whether this blocking move is sente or not.
49
Model 23 Against
a white 5-4 point
stone and fencing
in move, black attaches at
1,
whereupon white
plays 2 & 4, then
blocks at 6. This is
a powerful fighting method, and
cannot be dismissed offhand as
a trick play.
Model 23
Tricked 1 The timid atari of black 1 and connection of 3 is wrong.
When white plays at 4, black sustains a great loss territorially.
Tricked 2 When black plays 1 & 3, it is also possible to attack with white 4. Black squeezes with
5 & 7, and with a, manages to live.
Tricked 3 Above all, if black has to move out with 1. When white plays 2, black is ready to apply
the adroit finesse [tesuji] of 5 & 7, which is a method commonly used during races to capture
[semeai]. But before that, adding the cut of black 3 is a terrible move that lands black in the net.
Tricked 4 Black 1 follows, and after 3, white can only play at 4, allowing black to capture
white's three stones. But white extends at 8, and besides becoming thick on the outside, if white
recaptures black 1, the entire black group lacks eye shape.
Diagram 1 At black 5 in the previous diagram, black would like to hang tough with 1, but
unfortunately that is not feasible. White lives with 4 & 8, while black is saddled with weak
stones on both sides.
Diagram 2 If black plays 1 to try to take white's whole group, white forces with 2, 4 & 6, and
with 10 captures black's four stones instead.
Diagram 3 (Next page) The reader probably already knows the correct move. Cutting at a is
uncalled-for. It is sufficient to simply push through and cut with black 1 & 3. The sequence then
proceeds the same way as in Tricked 3 & 4.
Diagram 4 Black captures three stones with 1, and when white plays 2 and then 4 to prevent
50
black from cutting through the knight's move at a, by extending to 5, black's position is acceptable. At the very least, black's group is stabilized with an even result overall. This variation is the
one that seems to be best for black. Furthermore, according to the board situation, the white 2,
black 3 exchange may be...
Diagram 5 White can connect at 1, taking a belligerent stance. Here, black attaches across the
knight's move with 2 and cuts with 4, then poking into the center with 6 in order to fight.
Diagram 6 One is obliged to also consider not pushing through with black 2 but to block here. If
white 3, it seems likely that the moves through black will be played. White's only option is to go
for the ko at a. But black connects without a second thought [below 8].
Diagram 7 White plays 1 with the idea that in a race to capture [semeai] black's weakness at a
will be telling, then fills a liberty with 3, but black can play 4 and hane at 6. Because of a
shortage of liberties, white is destroyed. If the ladder at black 16 does not work, with the fencing
in move at b, black is alright.
Diagram 8 Therefore, white plays 1 & 3. This time black proceeds with the two-step hane of 4
& 6, and here white's corner ends up dead as it sits.
Diagram 9 But in reality, if black 1 is no good when white defends at 2. White's attachment at 6
compels black 7 and an exchange [furi-kawari] which is somewhat to white's advantage.
Diagram 10 Black must play 1 & 3 to engineer a seki, but white's outside wall is imposing.
51
Model 24 When
black cuts at 4, the
atari of white a
follows a wellknown 5-4 point
joseki. This trick
move starts with
white extending
sideways at 5.
Tricked 1
It
makes no sense to
block at black 1 and let white capture one stone [ponnuki] cleanly
with 2 & 4. White's territory is big, while there is a hole left at a,
leaving black greatly chagrined.
Tricked 2 Black gains some ground by adding a stone at 3 and
sacrificing two stones. In this position black 9 makes good shape. However, this is also a tricked
diagram.
Diagram 1 The atari of white 1 and the following sequence is generally regarded as joseki, even
though black cavalierly disregards territory. Comparing Tricked 2 to Diagram 1, it is clear that
white's territory is bigger and black's thickness not as good.
Diagram 2 It is wrong to discard the stone on the 3-3 point. At one stroke black smashes the
trick play with 1. If white plays 2, black 3 secures control of white's two stones, and black's
advantage is obvious. Consequently...
Diagram 3 White 2 saves the two stones on this side. Black 3 & 5 display the most hard nosed
attitude. This puts white in a quandary. Since it will not go well whether white cuts at a or b...
Diagram 4 White plays 1 and connects at 3, hanes at 5, and then what will happen with the
capturing race [semeai] in the corner? Blocking at black 6 is the vital point. Both sides play the
best moves in the sequence to black 14 and it ends in ko. When white fills the liberty at a it
becomes a direct ko, but naturally this is a "flower-viewing ko" and for black the burden is light.
Diagram 5 Here is a variation for white 7 in the previous diagram. Even if white plays 1, black
cuts at 2 and this ko is more or less the same as in the last diagram. Black's capture at a is an
effective ko threat.
Diagram 6 The placement of black 6 in Diagram 4, while perfectly natural, is a finesse [tesuji]
52
53
Model 25 After
white blocks at 2
and black cuts
with 3, white extends straight out
with 4. This move
is
possible
whether the ladder
works or not, and
is a powerful
fighting method.
Diagram 1 Usually white ataris at 3 and draws back at 5. By capturing at 7, white
is well off. The premise behind the model diagram is that by avoiding the white 3, black 4 exchange, an attachment at the 3-3 point becomes a strong move.
Tricked 1 Black shows an indomitable attitude. However, when white plays 2 & 4, connecting
with black 5 falls into the trap. Through white 10, black's shape is overconcentrated.
Tricked 2 Foreseeing this, one might answer white 2 with black 3, but this is far too timid.
White takes a large territory through 6.
Diagram 2 Instead of the connection of black 5 in Tricked 1, the cut of 1 initiates a huge ko upon
which the game will be staked. But in the opening of a game, when white would be taking at 2,
ko material is usually lacking.
Diagram 3 Butting up against white's stone with black 1 is interesting. If white responds at 2,
black 3, followed in order by 5, allows black to move out in good form. Through 13, black's
corner is okay.
Diagram 4 Exactly as in the attach and extend joseki, when white plays 1 & 3, black 4 is a good
move. It becomes ko, but black has a perfect threat at 12, and in the end, if play follows Diagram
3 black has scored a success.
Tricked 3 (Next page) Most likely white will add a stone at 2. This time black gets duped by
blocking from the outside at 3. White's moves at 4, 6 & 8 display an ideal example of sacrificing
stones, and the territory in the corner is large.
Tricked 4 It is also possible for white to use the technique of 1 & 3. Even if the ladder is
54
unfavorable for white, fencing black in with 9 builds central thickness that puts white ahead.
Diagram 5 At 8 in the last diagram, black can also cut at 1. White 4 and black 5 institute an
exchange [furi-kawari], but a variation beneficial to black will not emerge here.
Tricked 5 So what will happen if black blocks from the inside with 1 & 3? If the ladder is good
for white, after 10 black is obliterated. To prevent this, black must consider a move other than 1
in the model diagram. If the ladder does not work...
Diagram 6 White must crawl twice on the second line with 1 & 3. At the point, if white plays 5,
black blocks at 6, and through 14, black has the superior position.
Diagram 7 White crawls once more at 1 and then plays 3. Now if black 7, white 6 and this time
black loses. Therefore, black plays 4, but white 5 is a strong move. If black 6, white crawls at 7
and a sequence like that through black 14 is played. This is an equal result. At white 7...
Diagram 8 If white connects at 1, black blocks at 2 and white is one move short.
Diagram 9 Answering white's two-step hane with 1 & 3 gets black fooled. Descending to white
8 is a good move. Following this, when black plays 13, white 14 leaves black's position in tatters.
If white blocks with 12 at a, black 13, white 12, black b, white c, and by playing at 14, black
wins.
55
Model 26 This is
a variation of
Model 25. When
the ladder is unfavorable for white,
connecting at 5
and extending at 7
is possible.
Tricked 1 Black
would like to
move out with 1 &
3. If black then
expends another
move here at 5, white plays at 6 and black is utterly paralyzed.
Tricked 2 Black has no choice but to play the wedging insertion at 1 and live in the corner.
However, here too, when white vies for control of the center with 8, black's position may be
labeled inferior. Moving out directly with black's single stone falls into the trap.
Diagram 1 Let's see what happens when black attaches at 1. Up to white 4, black's corner is
large and there is still scope for activity with the marked stone. This is viable for black, but
matters will not be resolved so easily.
Diagram 2 Black must be prepared for white's counterattack at 2 & 4. When white descends at
6, the situation is extraordinarily complex.
Diagram 3 If black gets flustered and tries to capture right away, it will not go well. White sets
the shape with 2, 4 & 6. Black wins in the corner with the 7 & 9 combination, but white makes
a thick outside wall with 8 & 10 before turning to play 12. If black plays 9 at a to run away, white
plays at 9 and now there is a problem over here.
Diagram 4 Black 1 is the correct move. If white plays 2 & 4, black secures the corner with 3 &
5, and compared to the previous diagram, there is a one move difference. Black's marked stone is
still poised for activity. This result is similar to the one in Diagram 1, and black is satisfied.
Diagram 5 (Next page) With this in mind, white answers black 1 by playing at 2 to put the focus
on the capturing race [semeai] in the corner. However, this does not turn out well for white.
Black pushes at 3, and if white 4, play continues through black 9. If now white a, black forces
56
Diagram 8
Diagram 7
Diagram 5
Diagram 6
[kikashi] with b and then plays c.
Diagram 6 The course of events following white 1 is inevitable. Black resolutely adopts a sacrifice stone strategy which comes to fruition with black's thickness superior to white's territory.
Diagram 7 If, at 4 in Diagram 5, white extends at 1, the outcome is even worse. Jumping to
black 2 is a good move. Black answers white 3 by cutting through the knight's move at 4 and
white is crushed. If white 3 at 5, black plays 6.
Diagram 8 If white attaches at 1, black 2 & 4 are an exquisite combination that create a ladder.
There is no alternative but to compromise around the time of Diagram 4.
Tricked 3 The instant black attaches at 1, white cuts at 2. One must be careful about this. If
black plays 3, white 4 & 6 isolate black's one stone at 1.
Diagram 9 Drawing back at black 3 is cool-headed. The trick play is simply nullified with this
move. Black makes tremendous profit with 5, and then moves out with 9.
Diagram 10 The wedging insertion of black 1 is a little unreasonable. When play reaches 14, a
& b are equivalent options [miai] for white, and black's position is unattractive.
Diagram 11 Returning to the beginning, instead of attaching at a, black can play in the most
straightforward manner and protect the corner solidly with 1. Either white b or c is normal now,
but white's thickness is not so great. Black's position is adequate.
57
Model 27 White 1
is an offbeat pincer. At first sight
this seems like a
slack move, but if
one answers carelessly, one will
end up hoodwinked.
Tricked 1 One's
natural impulse is
to attach at black 1, but white crawls into the corner with 2 & 4,
instigating a disagreeable fight. White 10 is severe.
Model 27
Tricked 2 When white fills a liberty at 2, the position becomes a
race to capture [semeai] that black cannot win cleanly. Black 3 & 5 is an emergency measure that
makes a ko. In the local area, black has a ko threat at 9, but white plays 12, intending to discard
the stones. White 14 & 16 wrap black up.
Diagram 1 This diagram shows the aftermath of a consummately executed trick play. Black's
territory is 15 points, minus the two stones that white captured, for a total of just 13 points.
White's thickness is of greater value.
Tricked 3 Compromising by drawing back to black 1 is also bad. By cutting at 6, white takes a
large territory. If black connects with 5 at 6, white presses at 7, and it will not work out well.
Tricked 4 Cutting at black 1 and discarding the two black stones is out of the question. For
white, expecting the result in Diagram 1, the issue of battle here is an unexpected bonanza.
Diagram 2 From white's perspective, blocking at 2 is also possible. If black plays the diagonal
move of 5, white 6 is a perfect answer. If black 5 at a, white b. If black plays elsewhere, later
white c is severe.
Diagram 3 (Next page) There are two good ways of playing at black's disposal. First of all, black
1 is clear and simple. This move neutralizes the trick play. If white answers with 2, it is okay for
black to play the ordinary moves of 3 & 5 and get into the open.
Diagram 4 If white attaches at 2 and draws back to 4, it is sufficient for black to make the
hanging connection of 5. The marked stone is a source of dissatisfaction for white, since it turns
58
out to be situated in an awkward place. Black advances into the center with 7 & 9, and then turns
to attack at 11.
Diagram 5 The knight's move of black 1 is also good. When white plays 2, black attaches at 3.
Going back to add a move at black 7 is thick, and if white plays 8, black can aim to cut at a.
White can also play 8 at a.
Diagram 6 If white hanes at 1, this time black has the fighting resources to draw back at 4. With
5 & 7, white connects underneath. Compared to Tricked 3, black's shape is thick and strong after
capturing at 6 & 8, a considerable difference.
Diagram 7 If one wishes to make an even stronger response, black can hane at 4 and connect at
6. Black's marked stone works effectively, and white is not afforded the possibility of playing a
hane at a as in Tricked 1. White can only crawl along the second line to make life. White's
marked stone is practically useless.
Diagram 8 When white plays 1, extending to black 2 is no good. White immediately turns at 3,
forcing [kikashi] black into the bad shape of 4. White has played 3 & 5 on both sides, while black
has merely managed to stay connected.
Diagram 9 If white attaches at 2 and draws back to 4, black blocks downward with 5. Black 5 is
even better than a move at a. If white 6, black reinforces with 7, and black has weathered the
attack [sabaki].
Diagram 10 It is also feasible for black to butt against white's stone at 1. If white 2, black 3 sends
the variation back along the lines of the joseki. If white 2 at 3, black plays a.
59
Model 28 The
previous model
examined white 1
at a, but this time
the pincer approaches
as
closely as possible. To the extent that it is one
point nearer, it is
a much more severe technique.
Tricked 1 By attaching at 1, black is tricked. The sequence following 2 is the same as in Model 23, but instead of being at a,
white's marked stone puts more intense pressure on black.
Tricked 2 By extending outward with white 4 and recapturing at 6, black's options of playing at
a or b, etc., are eliminated. When black plays 7, white presses in with 8, and black has limited
eye space. This is just what white had in mind from the start.
Diagram 1 Simply blocking at black 1 is not good either. If black plays 3 to escape, white forces
[kikashi] with 4 & 6, and with 10, white captures black's four stones.
Diagram 2 What if black hangs tough with the hane at 1? White forces [kikashi] with 2 and cuts
at 4. After the shape is fixed through black 9, play proceeds on the right side to black 15.
Diagram 3 White throws in at 1, and after winding up play with 7 & 9, white blocks at 11. White
a is sente, so the corner is unlikely to die, while white's thickness dominates the whole board.
Diagram 4 Black's intention in playing the hane of 1 and the attachment of 3 is to save both
sides, but white's atari at 6 is a good move, and it does not work out well for black.
Diagram 5 (Next page) Countering the attachment of black 1 by wedging in between black's
stones with white 2 is the simplest method of achieving a good result. White must endure black's
double atari of 3, but the swap [furi-kawari] of black 5 for white 6 is plainly in white's favor. If
black 3 at 4, white 3, black a, is even better for white than this diagram.
Diagram 6 At the beginning of the variation, black could atari at 1 and discard two stones, but
Model 28
Diagram 1
Diagram 2
60
Diagram 4
Diagram 5
Diagram 8
Diagram 7
Diagram 6
these stones are pivotal to the position. Besides making white thick, the possibility of white
playing at a means that black's stones are still not settled.
Diagram 7 Considered from white's standpoint, the outcome of Tricked 1 is good, so crawling
into the corner with 2 & 4 is not. The attachment of black 11 is a finesse [tesuji] to give black
more liberties in the capturing race [semeai]. The profit that black gains by capturing white's
five stones outweighs the value of white's thickness.
Diagram 8 The correct way to quash the trick play may at first seem hopelessly mediocre, but it
is the diagonal move of black 1. If white answers with 2 & 4, black makes the hanging connection of 5, and white's marked stone has approached black's position too closely.
Diagram 9 White 1 usually is correct form here, but it is sufficient for black to play the natural
moves of 2 through 6 to move out into the open. Black's shape is thick and strong. In the normal
Diagram 9
Diagram 10
Diagram 11
Diagram 12
joseki, white has a stone at a before pressing in with the marked stone; in that case white has
scope to use 3 to jump to 6. Without a stone at a, white cannot afford to do so.
Diagram 10 Black can also use 2 to play the wedging insertion here. If white 3, black 4. White's
moves from 5 on are crude, while with the good move at 8, black rakes in white's three stones.
Diagram 11 If white makes the diagonal move from above with 2, black's moves after 3 follow a
natural course. Black's formation is strong and solid, and stakes out a large chunk of territory,
while white's shape with 2 is slack, and what is more, white's whole position is thin.
Diagram 12 If white 2, black likewise advances with 3 & 5. After playing 7, black can play an
equally good pincer on one side or the other [miai]. Without doing anything unreasonable, only
playing natural moves, black has gotten a good position.
61
Model 29 Black
plays 1 and white
2. The first time
this is played
against one, it can
be
shocking.
Finding the correct answer on the
spot can be very
difficult, so it is
necessary that one
acquire precautionary information beforehand.
Model 29
Tricked 1 The diagonal move of 1 causes black to be swindled.
White attaches at 2, cuts at 4, and no matter what variation follows, it will be to white's advantage. After white 8, black's four stones are heavy, and this bodes ominously for the coming play.
Tricked 2 Black 3 does not turn out well either. Up to white 8, black has a low position.
Tricked 3 And black 1 and the block at 3 is also not good. With the moves through white 8, the
shape is the same as in a common 5-4 point joseki, except for black 1 and white 2. This exchange
is clearly a loss for black.
Diagram 1 Pushing at black 1 and playing the hane of 3 is the strongest and the best way of
playing. There is nothing to fear from white 4. Black plays 5 and crawls at 9.
Diagram 2 The white capture at 1 and black hane at 2 is par for this situation, as is something
like the continuation through black 10. White makes thickness, black makes profit, and this fine
outcome for both sides is equal.
Diagram 3 When white plays 1, black can also play 2. After the hanging connection of white 9,
play reaches a lull. This is also the kind of equal result that may be expected. If white plays 7 at
a, black pushes at 7 and this is disadvantageous for white.
Diagram 4 (Next page) If, at 9 in Diagram 1, black extends at 1, white 2, 4 & 6 turn the tables
and purloin the profit here. And after skipping lightly to 8, the position is tilted in white's favor.
Diagram 5 Black 1 & 3 are strong moves. This is also possible. White 4 through 12 is a natural
62
response. Black 13 provokes white 14 & 16, skilled moves that give rise to a big ko. It is impossible to say which side is better off.
Diagram 6 At 11 in the last diagram, nervously hurrying to capture with black 1 ends with black
being squeezed and losing by one move.
Diagram 7 Instead of 13 in Diagram 5, dodging with black 1 is a strong fighting technique.
White 2 & 4 may be anticipated, and with black 5 and white 6 an exchange [furi-kawari] takes
place. White has played one extra move here so the position is perhaps even, but one feels that
black's thickness is more desireable than white's territory.
Diagram 8 Playing the atari of black 1 is fine, but fearfully connecting at 3 is bad. This gives
white the opportunity to attach at 6. Through 14, white adroitly manhandles black, making a
large profit in the process. And since black's liberties have been filled, having a cutting point at
a is all the more disquieting.
Diagram 9 In the sharp fighting shown in Diagrams 1 & 5 black comes out alright, but here the
bad shape created by black 1 & 3 is a calm and collected, good play.
Diagram 10 If white 1, black 2; white 3, black 4, and by going with the flow of the opponent's
moves, black wards off an attack and is not doing badly. When white plays 9, black attacks at 10.
Diagram 11 White 1 invites the cut of black 2.
5-4 point trick plays often involve unfathomable reading and pitfalls may come at any point.
The ones examined here are of the simplest variety, comparatively speaking.
63

Model 30 Here we have the Taisha
joseki.White 1 is usually played at a,
but in and of itself, this is not such a
strange move. However, when black
plays at b, a trick play is lurking.
Tricked 1 When black plays at 1, white
hanes at 2. If black 3, white goes back
to play the thick move at 4, and this is
good for white. Black 3 is evidently an
insipid move.
Tricked 2 White's shape has cutting
points in it, so the first order of business is to play black 3 & 5. But when
white plays 8 (here is the ambush), being swept along with the rhythm of play
Model 30
and capturing white's two stones becomes black's downfall.
Tricked 3 White throws in at 1 and squeezes black into a dumpling shape as a prelude to the
capture. White can also play 9 at a.
Diagram 1 Realizing a mistake has been made, black plays 1 as an emergency measure. Speaking in general, the corner becomes ko, but this is an unfavorable ko for black. It is unlikely that
black will win it, but the devastation is horrific if black loses it.
Diagram 2 From white's perspective, squeezing right away, without adding the extra sacrifice
stone, fails. A race to capture [semeai] ensues, but black 14 is a good move. Black has ko threats,
starting with a, and this is a case where black wins.
Diagram 3 (Next page) In order to dispose of the trick play correctly, one must play the calm and
collected move at black 9. Halfway through this sequence, it is important to play black 5 & 7,
enlarging the scope of potential damage to white's position. This has white reeling.
Diagram 4 If white answers at 1, black forces [kikashi] with 2 and jumps to 4, and the fight in
the center will be favorable for black. Then, black 6 is such a big move that one would want to
64
play it soon, if not immediately. Black a, white b, black c, is sente, so from the standpoint of
depriving white of eye shape, as well as endgame profit, this is big. On the other hand, it is
perhaps wise to jump one more space, to d, with black 6, then play at 6 in the corner.
Diagram 5 If white 1, black 2, and it is sufficient to take custody of white's three stones.
Diagram 6 If white captures on this side with 2, it is enough for black to turn at 3. Next black a
would be severe, so white replies with 4 & 6. When black makes a hanging connection with 5 &
7, white's three stones above are seriously weakened.
Diagram 7 White pushes once with 1 and takes at 3, whereupon black attacks at 4. Black will
get sufficient compensation in the fighting here. White's trick play has flopped.
Tricked 4 At the start, white also has the trick play available of attacking at 1. If black plays 2 at
a, white plays 2 and black has been deceived. This is a very similar trick play, and after black 4,
6 & 8 stumble into the trap. In this case again, up to 6, black is okay; it is black 8 that is the
culprit.
Diagram 8 Going back to play black 1 is the correct move. Whether white plays 2, or else plays
2 at 4, it will not work out well. Black 7 is a large move, and this is the same as in Diagram 4.
Diagram 9 If white plays 2, attacking around the point of a is adequate for black, but it is also
possible to push vigorously with 3 and the rest, forcing white to extend along the fourth line.
White's three stones are held in check from afar, and this is also bad for white.
65
Model 31 White's
attachment of 1 at
the head of black's
two stones is designed to frighten
the wits out of the
adversary. The
first time one encounters it, one
can become terribly disoriented, so
it can be a powerful trick play.
Model 31
Tricked 1 Black 1 is good, but black gets bamboozled by trying to

capture white's four stones by pushing through at 3. White 10 is a good move. This is the quietus.
If black 11 at a, white 12, black b, and white plays c.
Diagram 1 Playing white 10 in the previous diagram as the hane at 1 here is a mistake. After
black 10, white will take the ko at a, a do or die ko for both sides. However, within this sequence
black 6 is a nice touch: it sets up several ko threats for black.
Diagram 2 The best response is to push through at black 1, and when white sidles along side
with 2, black backtracks with 3. After blocking at 5, black attacks at 9, and takes hold of the
initiative in the fighting.
Tricked 2 By not pushing through once, but slackening off with 1, black is deceived. When
white attaches at 4 and hanes at 6, black incurs difficulties. Playing white 8 after black 7 shows
good timing. Instead of 7, black would like to cut at 13, but is apprehensive of being squeezed by
a white move at 17.
Diagram 3 This is a variation for white 8 in Diagram 2. White tries attaching at 1, but after
fixing the shape with 2 and the following, black can make a go of pushing out and cutting with
8 & 10. If white a, black b is sufficient.
Diagram 4 (Next page) What if white blocks in the corner at 1 ? Then black stabilizes the upper
side with 4 before cutting at 8 and capturing two of white's stones. Black a, white b, is par for
this situation, so in terms of territory as well as thickness, black is better off.
66
Diagram 5 It is also possible for white to further neglect the right side in order to set the shape
with 1 & 3. Through 8, black makes a living shape. After white 9, the placement at a and the
attachment at b, etc. are available to black, meaning that playing at a disadvantage is unlikely.
Diagram 6 Here is a variation for white 6 in Diagram 2. If white hanes at 1, black jumps to 2 and
white's three stones are practically immobilized. If white plays 3, a make or break ko arises
through black 8, and if white tries to play it in earnest, black will disregard any threat and
instantly remove white's stones from the board. If the shape is left as it is, black will add a move
at a at the first opportunity.
Diagram 7 When black plays 2, white's strong move at 3 has to handled with care as well.
Pushing at black 4 is the only move. If white answers with the two-step hane of 5, black can fight
with typical moves like those of 8 to 14. Black 8 forestalls the forcing move [kikashi] of white 8.
Diagram 8 From black's standpoint, the extension at white 1 is the most disagreeable move.
Black can be satisfied with being able to take sente after 10, but depending on the situation
across the rest of the board, this can be an effective way of playing for white. Compared to the
situation that results when the trick play backfires, this sequence may be said to be best for white.
After this, both sides will keep in mind the ramifications of a cut at a.
Diagram 9 If white extends at 1, black hanes and connects in sente with 2 & 4, then gets a
comfortable position with the jump at 6. It is unreasonable for white to play 5 at a in order to
precipitate a capturing race [semeai].
Diagram 10 Black can also simply play 1 and slide to 3. Black 7 & 9 make good shape.
67
Model 32 This is
no pure and
simple trick play,
but one of the
myriad Taisha
variations that,
while joseki, are
mind-boggling in
complexity.
Tricked 1 First
off, pressing with
black 2 is bad.
Diagram 1
Tricked 1
White 7 is a good
Model 32
move, and white's
wall on the outside is superior to black's position.
Diagram 1 Black 1 & 3 set the shape here, then black plays 7. This is the only way. If white
draws back at 8, black pushes through with 13 & 15 and fights. It is impossible to predict how
this will turn out. It is unfortunate that white can play a in sente, but if black mistakenly plays at
a, there is the danger that white will defend at b.
Diagram 2 There is a trick play involved with the variation that starts with white attaching once
at 2 and then blocking at 4. Here black will be inclined to cut at 5. When white takes at 10...
Tricked 2 Black pushes up at 1 and a big ko results, culminating in white 6 & 8. In this situation
white's profit is more valuable than black's thickness.
Tricked 3 If black connects at 1, white can veer off with 2. It may seem that by getting out into
the open with 3, black is well off, but since both white and black must look after a weak group,
the thickness made with 2 & 4 cause the position to be favorable to white.
Diagram 3 (Next page) It is also possible for white to block at 2. What must be taken into
consideration here is that after playing 7, black gets a ladder with a. If the ladder is in white's
favor, black ends up annihilated by pursuing this course.
Diagram 4 When white plays 1, black might play the variation starting with 2, but after white
blocks at 3, black cannot be said to be doing well. The hane of 6 must be answered, so black
68
barely manages to live, but of course, if black must go to these lengths for life it is very painful.
Diagram 5 But if one is wondering whether black is at a complete loss for a rejoinder to white 1,
that is decidedly not the case. The double pincer move at black 2, though seemingly unskillful,
adroitly parries the attack [shinogi] and runs roughshod over the trick play. If white replies with
3, black pushes through at 4, following the proper order of moves, and...
Diagram 6 Black cuts at 1 and fences white in with 7. This is a resolute sacrifice strategy. White
8 is natural, avoiding black wedging in with 8, followed by black 13. Black forces [kikashi] with
9 & 11, and through 15, black wraps white up nicely. White's territory is a little more than 30
points. Black's solid wall is equivalent to this. During this sequence, if white jumps out to a,
black demonstrates how unreasonable that move is by pushing through at b.
Diagram 7 Even if white blocks on the outside with 2, black is alright. Black 17 makes the
ladder at 18, and pushing through and cutting with 19 & 21 equally attractive alternatives at
black's disposal [miai]. If white plays 16 at 17, black ataris at a & b, and then plays c. Should the
ladder be favorable, and white plays 18 at 19, black responds with d, white e, black f, white g,
black h. This time the fencing in move of i and the ladder at j are equivalent options [miai].
Diagram 8 Attaching on the side at black 1 is another feasible method. Through 17, black takes
up a fighting stance by sacrificing five stones. If white 8 at 9, black plays 8, white 14, black a,
white b, and then playing at c gives black a sufficient position.
69
Model 33 This is a variation

that starts with white pressing
at 1 and extending at 3. It will
not do to let white block at a,
but here black has two ways of
answering.
Tricked 1 Pushing at black 1
falls into the trap right off the
bat. White presses twice with 2
& 4, then plays the two-step
hane of 6 & 8. If white manages
to capture five stones with white
14 the game is over, but the opModel 33
eration of this trick play is not so cut and dried.
Tricked 2 The atari on top at black 1, followed by the hard-nosed moves of 3 & 5 initiating ko is
the best, as well as the strongest way of playing. For white, cutting at 6 and then playing the ko
is best.
Tricked 3 Cutting at black 1 as a ko threat is good, and the moves through white 18 form a
homogeneous flow of moves. Afterwards, white's capture at a is sente. Black aims at playing b.
White's profit and thickness is superior to the value of black's position. This shape was first seen
when Genan Inseki (white) and Shusaku played it (the "ear-reddening game"). In that game,
black 17 was played at b, followed by white c, black d, white e.
Diagram 1 If black does not cut at a, but plays 1 & 3 immediately, complete self-destruction is
assured. Capturing with white 4 & 6 are good moves. Black 7 raises the stakes in the ko, but
when white takes at 10, black is entirely bereft of ko threats.
Diagram 2 (Next page) This is a variation for black 7 in the previous diagram. What happens if
black connects at 1 and starts a race to capture [semeai] in the comer? Filling in black's liberties
from within the group with white 4 & 6 is correct and...
Diagram 3 The variation ends with white 7 and black 8, and another ko. Getting captured here
is the same as before, and here too is a case of black losing by resignation.
Diagram 4 Black 1 in Tricked 3 is the correct move. Black 1 here may also be considered a ko
70
threat, but it allows white the opportunity of springing the devilishly clever move of white 2.
White 2, 4 & 6 are all atari, and when black recaptures at 7, white goes back to play at 8. The ko
is dissolved in a natural way, while black's nine stones die a miserable, if natural death on the
spot. This is one more "Tricked" diagram.
Diagram 5 Returning to the original point of departure, the knight's move of black 1 is the
correct way to reply. However, here too it is necessary to take care when white plays the diagonal
attachment of 6. Momentum drives the moves from black 7 through 19, and now the fateful
question is whether the ladder works or not. If the ladder is unfavorable, black must use the
move at 7 to draw back to 8; but this manner of backing down would be unbearable for black.
Consequently, at the point when the possibility of playing the Taisha joseki presented itself,
black would have to reconsider the whole scheme. Also, if black

plays 7 at 12, white responds at 8, black 9, white 11, black 10,
and then with 7 & 15 white captures in a ladder, and this too is a problem for black.
Diagram 6 When the ladder is in black's favor, extending to 2 will be played, and the sequence
to black 10 is about what to expect. However, in this case white will not play the diagonal
attachment but...
Diagram 7 White will probably play the knight's move at 1. Through 14, white builds thickness
in the center, but the position is essentially equal.
71
Model 34 When black plays the

high attack against the corner
stone at 1, white plays the pincer
of 2. This position is not found in
joseki, but ushers in a trick play.
However, the stones here are separated by some space, so regardless
of the unusual nature of the move,
even if the trick play fails the result will not be as bad as one might
imagine.
Diagram 1
Diagram 1 The move of black 1
at the 3-3 point, which appears at first sight to be strategically
Model 34
vital is actually bad, and stumbles into the subterfuge. If white
answers mildly, defending at 2, black plays 3 and gets a robust position, but this will not happen.
Tricked 1 White follows a crude line of play by cutting with 2 & 4, but this is severe, and black
will be fighting at a disadvantage. If black plays 5, white 6. If white tries to cut across the
knight's move with 2 at 3, black plays 2, white a, and black feels gratified to be able to play 4.
Tricked 2 Next, in response to black 1, the empty triangle of white 2 is a strong move. White
pushes vigorously with 4 and the following, and ends up capturing the corner. There are cutting
points in black's wall, and this is obviously a very bad result for black.
Tricked 3 How about attaching below with black 1 ? Here too, the empty triangle of white 2 is an
exquisite move. The point is, white is resolved to avoid discarding the marked stone, come what
may. Black lives in the corner with 3 through 7, which is a better outcome than in the last
diagram, but white blocks at 8 and black's three stones in the center are unsettled and will
continue to be a burden.
Tricked 4 Keeping this in mind, blocking at white 1, from the standpoint of the tricking side, is
not very good. In general, black has a thick shape.
Tricked 5 (Next page) The worst thing that black could do is to atari at 1 and go for life in the
corner through 5. Without even trying, white builds an advantage.
Diagram 2 In reply to white 1, descending to black 2 is a good move here. With this, white's
trick play is neutralized. White 3 is the only move, but the hane at 4 gives black a good position.
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Through 11, white has managed to play on both sides, but black's shape is thick and strong, and
both sides will fight on an equal footing.
Diagram 3 White will probably push in once at 3, but here too black plays 4 & 6. After playing
8, black cannot be said to be badly off. What happens next depends upon the fighting strength of
the players.
Diagram 4 It is also possible for white to cut at 5, emphasizing profit. Following white 11, the
fighting moves into the middlegame phase, where prospects are equal.
Diagram 5 Although the variations in Diagrams 1 through 3 deny white success with the trick
play, black cannot be said to have gotten an advantage. Therefore, turning in bad shape with
black 1 here is powerful. This is the kind of move that would not ordinarily occur to one, but in
general, when
dealing
with
trick plays the
most jmportant
thing is to play
in a thick manner. If white
pushes through
and cuts with 2
& 4, taking the
stone with black
5 is good. After
black plays 9,
compared
to
Diagrams 1 through 3, black's position here is thicker.
Diagram 6 If white cuts on this side with 1, black likewise captures the cutting stone with 2.
Black resolutely presses with 6 and the rest, then attacks at 12. This is clearly favorable for
black. In the endgame, one can project that black will play a & b, so that black ends up making
a rather large corner of 7 points.
Diagram 7 If black wishes to adopt a more solid method of play, the diagonal move of 1 is it.
However, the sequence from white 2 to black 5 reverts to the joseki where black has a stone on
the 3-4 point at 1, and in response to white's marked stone, black plays the diagonal move of the
black marked stone. This is not an active way to wrest an advantage.
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Model 35 From a
stone on the 5-3
point,
white
makes a strange
corner enclosure
(?) with I. Black
2 (a natural move)
gets fenced in by
white 3, a trick
move that is related to white 1.
Tricked 1 Whatever happens, pushing out with black 1 & 3 is
good, but cutting at 5 falls into the snare when white plays 6.
When white connects at 10, black has no move to play. If, at black
7 or 9, black captures at 10, white ataris from above [at either 7 or
9 respectively] forcing black into an eyeless lump of stones, which would be no good.
Tricked 2 Cutting below with black 3 is also not good. White chases black with the moves
through black 7, and then connects at 8.
Tricked 3 Black thrashes around with the moves following 1. When white connects at 14, black
is clearly at a loss for a move. If black a, white b, black c, and white d finishes things off.
Diagram 1 Playing at the center of a symmetrical position, black 1 at the 3-3 point is a strong
move. Through 9, black settles this group with ten points of territory, and this is sufficient, but
play will not proceed in this manner.
Diagram 2 The atari from below with white 1, and then 3 & 5 are strong moves. The moves to
the connection of black 10 follow and then...
Diagram 3 White 1 forestalls [shinogi] the black cut at a, and then white attacks with 3 & 5.
With the moves from black 6 through white 13, a ko results. Since this position arises at the
beginning of the game, black's group is as good as dead.
Diagram 4 (Next page) The last diagram is so glaringly bad that black will throw in a stone at 1
and hang tough with 3. In this case, white has no choice but to play 4, and the corner becomes
seki. However, both sides reinforce their positions with black 5 and white 6, and despite the fact
that white has played two extra moves here, black is dissatisfied. On the other hand, it is not
preordained that white will come out ahead in this position. At black 10 in Diagram 2...
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Diagram 5 Black 1 is a good move. If white plays 2 in order to prevent the ladder at black a,
descending to 3 is black's pride and joy, the move that captures white's group.
Diagram 6 If that is how it is, white will play 2 and the diagonal move of 4. This possibility
means that in the final analysis black 1 in Diagram 1 is no good. After inching along at 6 & 8,
white fights a race to capture [semeai] with black in the corner.
Diagram 7 Both white 1 and black 2 are good moves. If black 2 at 3, white plays 2. When the
liberties are filled, the corner becomes a direct ko, but it is white's turn to take the ko, meaning
that black has gotten the short end of the deal.
Diagram 8 Cutting at black 1 and then playing 3 avoids the pitfalls of the previous diagram. At
white 8, this time black plays 9, going for a swap [furi-kawari]. It is inevitable that black make
this kind of compromise.
Diagram 9 The correct reply is to push out at black 1 and block at 3. At first this might seem like
a crude way of playing, but through 9, black lives and this is adequate. If white a, black plays b,
single-mindedly pursuing a policy of patience. Black aims at the cutting point at c.
Diagram 10 Although the following is on a bit of a higher plane, capturing at black 1, and when
white ataris at 2, playing elsewhere is a possible technique. This is because there is a ko here.
White will have to expend a great deal of effort to capture this black group.
Diagram 11 The clearest and simplest plan is to push out with black 1 & 3 and then play at the
3-3 point with 5. White will be driven to distraction trying to deal with the four cutting points.
Diagram 9 gives a second best solution.
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Afterword
Trick plays, as demonstrated up
to here, depend upon the
opponent's lack of knowledge,
insufficiency of playing strength,
or narrow-minded thinking in
relationship to the game in order to achieve fruition. Therefore, the way to deal with this is
to acquire concrete knowledge
and let it take root in one's understanding, develop one's fighting strength, and broaden one's outlook regarding go itself.
Diagram 1 Here is another trick play. Black responds to white's every beck and call, and in the
twinkling of an eye black's large knight's move corner enclosure becomes overconcentrated [korigatachi]. There are two methods at black's disposal to handle this.
Diagram 2 A mild way of playing is to connect at black 1, ceding territory to white. As compensation, black builds thickness that has a commanding presence across the whole board.
Diagram 3 Black 1 & 3 are a more severe way of playing. White's position is ripped in half. This
is an ideal example of a three way splitting attack, and fighting spirit aims at annihilating two of
those three groups.
Thus, one is afforded the discretion to choose between two continuations, and the one that
best meets the conditions of the overall position on the board must be chosen. This is the common sense method of defeating trick plays.
Regardless of whether one's store of knowledge is adequate, it is not all that difficult to see
through trick plays during a game. If one's
sixth sense warns that a move is suspiciouslooking, and the adversary's character is
such that there is no doubt that the move
was played intentionally, in most cases it
will be a trick move.
Moves that are oddly quiescent; moves
that do not seem to have a purpose; that are
played on the second line, lower than necessary, or that undermine a position; moves
that are seemingly played without relation
to other moves, but that poke, or cut. These
are all tools in trade of trick plays.
Diagram 4 White 1 is quiescent and seemingly without purpose. But fighting directly
against it, black is skillfully captured
Diagram 4
through white 41. It was better to just ignore the original, quiescent, purposeless move.
Diagram 5 White 1 ends up badly placed, and...
Diagram 6 Here too, white 1 is placed oddly, and black 6 is dashing.
Playing elsewhere is another technique for countering trick plays.
76
Chapter 2: The Larger Strategy of Trick Plays

Trick Moves That Can Be Used In Real Game Situations
Kageyama Toshiro 7 dan
To Begin With
There are those who study the opening or joseki, but it seems that those who deliberately set
out to study trick plays are few in number. Just the words "trick play" conjure up images of
swindling, of taking the low road, of dirty underhandedness; going so far as to consider that the
aesthetics of the game of go are sullied by them. Should one clumsily apply such research and
study, one might even find imputations directed against one's character. What miserable soul
would devote serious attention to these kinds of matters?
In fact, in the past I too thought that way. That was around the time that I was amateur 1 kyu
or shodan.
However, seeing a trick play in the classical praxis of Honinbo Dosaku turned my attitude
180 degrees around. Is it likely that a Meijin whose name has gone down in the annals of
history would use a so-called vicious technique, I asked myself, and without even verifying the
facts of the situation, I looked beyond the unpleasant nuances of the words "trick play" and felt
ashamed of my own narrow-minded thinking. Since that time I have assiduously researched
trick plays. And at the same time I have realized that an appreciation of the fascination inherent in trick plays has been instrumental in boosting my strength in go, insofar as it has made
apparent the interrelationship and operation of the stones and skillful technique [tesuji].
The theme I take up here is not an instructional one on how to quash trick plays. Rather, I
shall be teaching how to set those trick move traps, and should the opponent be formidable
enough to overcome one of them,
how to put in
place second and
third levels of pitfalls; or else, how
one can nimbly
ward off the opponent [sabaki]. At
all events, I hope
that the reader
gains insights into the charms of deadly manipulation.
Without question, the reader's playing strength will be fostered, and so taking the title of
"The Larger Strategy of Trick Plays" as the beginning point, let us begin.
Meijin Dosaku's Trick Play

In the early period of the Tokugawa Era, Honinbo Dosaku faced an opponent who had come
to Edo from Okinawa and was playing with a four stone handicap. In that game...
Diagram 1 (The set-up) This is the starting point of Dosaku's trick play. When white makes
the side attachment of 5, black plays the strong hane above it at 6, and after 7, draws back to 8,
demonstrating that Okinawans were not weak players. In this shape...
Diagram 2 (Cutting is the only move) Cutting with black 1 is the only move in the pattern
shown here, and this cut at black 1 is equivalent to exactly the same position that is created with
the moves to black 8 in Diagram 1. Therefore, it is clear that black is not doing badly.
The facts of the matter notwithstanding, white, undaunted, again played in the same way
with 9 & 11 in Diagram 1.
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Trick Moves: Strategy
No doubt, believing that in the local sector black was doing well, the Okinawan
once more responded in the same way...
Diagram 3 (White has an uncomfortable
position) Continuing from the previous
diagram, undoubtedly the player thought
that white would respond in a manner such
as shown here. That is, with the variation
from white 1 to black 6. This is hopelessly
inadequate for white. But then again, it does
not appear that there is a substantially better move at white's disposal.
However, at this point black has already
taken the bait; hook, line and sinker, and
there is no escape.
When Dosaku saw the responses up to
black 8 in Diagram 1, inwardly he must
have realized that he had a live one here
that was biting. One can discern the mischievousness of the Meijin, thinking as he
played white 9, "Fine; if this fellow is in for a penny, he's probably in for a pound."
Diagram 4 (Black receives a surprise) Black was surely surprised and delighted to see white
atari at 1. To actually be forced, agreeably, into extending at black 2...
But when white played 3, repeating the same atari, while the first impression may well have
been that the Meijin was losing patience, when black 4 was placed on the board, it probably
dawned upon black what white's next move would be. Regardless, black 4 was unavoidable.
Not playing it would allow white to do so,
taking a stone [ponnuki].
Diagram 5 (A decisive blow) White 1 was
the decisive blow. I wonder if the go proverb that states, "In a symmetrical position,
play at the central point" was current in
those days. However, white 1 truly illustrates that adage as prettily as a picture.
This hapless player, Okinawa's best, was
stunned by white's powerful shot at 1, and,
unable to summon his usual strength, suffered an ignominious loss. Or so it has been handed down to us. But anyone enduring such a
brilliant, roundhouse blow all of a sudden, in the opening of a game, would be bowled over.
For reference sake, if after white 1, black plays a, white answers at b, and similarly, if black
plays b, white replies with a, and whatever happens, two of black's stones, either to the right or
to the left, will be captured.
Well, I must say, however one looks at it, this is an extraordinary piece of work. The entire
conception must have been plotted and mapped out at the time that white's moves of 9 & 11
were played in Diagram 1. No matter the era, a Meijin's power is unquestionably that of a
79
Meijin.
If black wants to avoid losing anything
to either the left or the right...
Diagram 6 (White is on a roll) Just pushing out at black 1, then after white plays 2,
answering with 3 as shown here eludes capture, but merely accomplishing this leaves
black open to be pushed all over the place
[kikashi]. Black would have to be absolutely
benumbed not to feel distressed at such a
development. In cases like this, numbed
sensitivity is equal to weakness at go.
White 8 is purposefully played...
Diagram 7 (A trick play for beginners) If
black runs out at 1, white plays 2 through
8, and black is totally obliterated, but for
white this is too good to be true. Obviously,
black 9 in the previous diagram is the correct move. But white 8 is so played that on
the off chance that events take a fortuitous
turn, white can take advantage of it.
An Ersatz Dosaku Trick Play

Diagram 1 (A capping play answered
with an attachment) The capping play of
white 1 is nothing more than common technique. It is a a sophisticated move by which
white determines the best continuation according to how black replies. The attachment of black 2 in response...
Diagram 2 (Black defends the upper side)
If white plays the common sense block of
1, black draws back to 2, white connects at
3, and by building up with 4, black defends
the upper side territory and is satisfied. This
variation is considered the most typical disposition of the stones.
After this, white fashions a playable position by making influence on the outside
with white a, black b, white c, black d and
white e.
Diagram 3 (Black has the advantage)
Plunging directly into black's upper side
with white 1 & 3 falls right in with black's
plans. After playing at 6, the superiority of
80
black's position is undeniable.

When attaching with the marked stone,
in general black anticipates the development
in either Diagram 2 or Diagram 3, and
scarcely entertains other possibilities; nor
is there any necessity to do so. But...
Diagram 4 (My fond ersatz ploy) The attachment of the marked black stone sparks
a sudden association with Dosaku's trick
play. When white cross-cuts with 1 & 3,
black may play the standard answer, extending to 4, but it is just at that point that white
has achieved success.
With the moves from white 7 through 11,
the trap is cleverly sprung. The sequence of
events here actually transpired in a teaching game that this writer played, giving a
three stone handicap.
Sometime later at a seminar, I was relating the circumstances behind this ersatz
ploy in the fullness of my usual conceit, and explaining its intricacies. One participant praised
the scheme highly, and then ended by saying, "But it doesn't work, does it?"
Diagram 5 (Smashing the trick play) "When white attaches at 1, if black plays solidly at 2,
there is nothing that white can do."
Meaning that
if white
cannot
achieve
this aim
there is
no hope
for recovery,
and so,
must resign? No such thing. It is a difficult position for white,
but these problems just have to be overcome in some way...
Diagram 6 (Fancy footwork saves the day?) White plays 3 & 5
to introduce quirks in the position that allow possibilities of fancy
footwork [sabaki]. If black 6, the moves through 12 are natural.
White 13 shows an indomitable attitude, aiming at a. If, nonetheless, black boldly pushes through and cuts...
Diagram 7 (Step lively) By following the sequence starting with
white 4, black is squeezed as white steps lively. Perhaps it's wishful
thinking, but this is the kind of result one should concoct.
81
Diagram 8 (Smashing the trick play) Going back to the start of this story, Dosaku's
trick play can be "smashed" in the same way
by responding to white 5 with the extension upward at black 6.
But then is white's position damaged beyond recovery? Perish the thought! Should
that happen, white will let loose with the
offbeat move of 7, undermining black's position.
Diagram 9 (Black is not doing badly,
but...) Black 2 is a safe and solid reply (other
possibilities for black to play instead of 2
will be discussed later). The moves from
white 3 through black 14 may be regarded
as an inevitable sequence for both sides. At
this point, immediately playing white a,
black b, white c, will be countered by black
d, and all of white's moves played here have
been for naught. If possible, white would
like to be able to run out at c without exchanging white a for black b. However, being able to run out will not accomplish anything, since
black's group to the left is firm and solid. Consequently, for 15, the reader should be able to
understand that white's best chance is to play the vague move at e. Black is thick, but white's
position is playable.
Model 1 Dosaku's trick play develops across the whole upper side, so getting an adversary to fall
for it is not a simple matter. If others with greater practical application are sought, by all means
one should restrict the scope to a single corner where the
ambush is set up. When white attaches at 1, black hanes on
Model 1
Double Attachment Strategy top of the stone at 2. For white to play elsewhere at this point
violates all tenets of common sense, but there one discerns a
quintessential feature of trick plays.
Diagram 1 (Simplicity;
but white has no regrets)
Black can play at 2,
pouncing right away on
white's failure to follow up
in a logical manner. However, white can also
switch to 3, and a straightforward exchange [furikawari] results. White has
no regrets with this outcome.
82
Diagram 2 (Getting set to take a fall) Black 1, aiming to

completely prevent white's two marked stones from connecting, appears to be a natural move.
But the truth of the matter is surprising. This move sets
black up to be thoroughly taken in by white's subterfuge, an
utterly bewildering course of events.
The attachment of the marked white stone on the upper
side is a trick move played in anticipation of taking advantage
of this natural response of black's at 1. It would not occur to a
weak opponent that one might be playing, to respond in such
a natural manner, and the trick play would fail. Only players
who have attained a substantial level of skill will be fooled.
When black plays at 1, next...
Diagram 3 (Easygoing prognosis) Black imagines that white
1 is par for the situation. Then black presses down with 2.
Black views the position created with white 3 through black 8
to be satisfactory.
Black has magnificent thickness, while white's position is
flat as a pancake.
But for black to make such a prognosis, represents the utmost in easygoing thinking. White extends to 1? Don't make
me laugh! Who would play in such a way? Well then, how
will white actually respond?
Diagram 4 (Artistry with a severe hane outward) White
hanes outward with 1. This is severe indeed!
If the opponent plays severely, one does so oneself: "An eye
for an eye, a tooth for a tooth". The cut of black 2 would be
played instantly, without a second thought, by players who
are enamoured with their own playing strength. However, this
is just what white is waiting for.
Even for those circumspect souls who do not play black 2
without thinking, the cut of 2 next leads to...
Diagram 5 (This continuation) White 1 & 3 and the moves
through 7 can readily be predicted. Once this situation appears on the board, one realizes that black has a problem as to
how to proceed. But at the time of the cut at 2 in the last
diagram, black visualized the overall characteristics of the position in Diagram 5, and decided that being able to connect
underneath with black 6 in sente made the variation playable.
This is an easygoing way of thinking, though.
One believes that by crossing underneath in sente, one will
be able to manage things one way or another, and at that point
stops reading the situation out. This is typical of amateurs.
If one can see further and read out the continuation from
black 8 on, one is not just a run-of-the-mill novice.
83
Diagram 6 (Annihilation)
Regardless, when play gets to
white 7 in Diagram 5, the
position here, black does not
have a viable move.
Turning at black 1 here is
the worst move, and from
white 2 through 3, black is
annihilated. Of course, instead of 7, black will play at
8, but capturing four stones
with a move at white 4 gives one a feeling that is quite special
in its sweetness.
Diagram 7 (White is well off) Comparing the turning move
of 1 to the prior diagram, black is doing better, but white 2
through 10 is an inevitable sequence of moves, and...
Diagram 8 (Continuing from the last diagram) Following
the last diagram, turning at black 1 is a bit of a crafty move,
which makes black 3 a forcing move [kikashi]. After black 7,
playing white a, black b, white c, and black d results in white
being captured, but even so, black has to worry about other
potential moves by white in the area [aji].
It is certainly clear that at
the very least, white is doing
well.
Diagram 9 (Black is well off)
Backtracking, if white attaches on this side at 1, and
when black plays 2, cross-cuts
at 3, black 4 follows the go
proverb: "Answer a cross-cut
by extending on one side".
White 5 through black 10
is joseki, but white is dissatisfied with the exchange of white's marked stone for black's
marked stone.
Diagram 10 (Too much to expect) Therefore, when white
attaches at 1, black 2 is a strong answer, intending to extend
at 3 if white plays a, ending in the good result of the last
diagram. But this is too much to expect. White will counterattack with 3, and when black cuts at 4, play the familiar technique of white 5 & 7. Black does not come off well here.
Diagram 11 (Seemingly a slack move) Black 2 may seem to
be a slack move, but it is not. If white replies at 3, black 4
recreates Diagram 9. Black 2 is a good move.
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Diagram 12 (Black becomes

overconcentrated) When
black plays a good move like
the marked stone, white must
rise to the occasion and meet
the challenge head on. Losing one's nerve in the face of
a good move by one's opponent is contemptible.
The hane of white 1 tests
black's reply for the 3rd time.
When black plays 2 & 4, the feeling is that black is bailing out after waiting as long as
possible, and in reality this is no good.
From white 5 through black 16, white plays forcing moves [kikashi] that push black around
unmercifully. Black ends up overconcentrated [kori-gatachi] here. If one wonders the extent of
this overconcentration, a comparison with the previous diagram will make that clear. The conclusion to be drawn is that white has foisted this overconcentration upon black by means of the
trick move.
Diagram 13 (Black is thick) Black answers white's marked stone on the upper side by again
stoically connecting at 1. This is a thick move.
Here white probably has no choice but to play 2 & 4. Thus, with the moves to 7, black creates
imposing thickness. Even so, after coming this far white must not lose heart now. The marked
white stone on the right side can be used as bait in a sacrifice stone strategy, while on the upper
side white can look forward to aiming at the cut of a.
Diagram 14 (Forcing overconcentration) White 1 represents high level strategy. Replying
with black 2 can appear to be rather natural, but the move is not good. If one asks, "How so?" it
is because after white's forcing moves from 3 through black 10, black's shape on the right side is
overconcentrated [kori-gatachi]. Later, with the typical moves: white a, black b, white c, and
black d, black's territory is reduced to practically nothing. By playing at 2, black completely
falls, unawares, into the snare white set using that high level strategy. Being unaware of that fact
will lead black to make the
same mistake repeatedly.
Diagram 15 (Black on the
right track) Answering
white 1 with black 2 is correct. White does not relish
fighting with 3 this close to
black's powerful wall. But
many players will think that
at this point black is doing
badly. The feeling seems to
be that after expending so
much effort to encircle
white's marked stone, having
it run away is bad for black.
85
Model 2
Surprise Placement Attack
Strategy
Model 2 When white makes

the side attachment at 1, extending upward with black
2 is a solid reply. Striking
with the placement of white
3 here is a surprise attack
that will scare the daylights
out of players who have but
a foggy idea of how to follow good form to create a
viable position for their
stones.
Diagram 1 (White gets a lift by crossing underneath) The
clearest continuation for black is to conservatively secure an
anchor in the corner with 1, but white has an easy time of it,
connecting underneath with 2.
Now, if black plays at a, white plays b, or similarly, if black cuts at c, white plays d; in any
event, white captures the cutting stone.
This means that cutting
will not go well for black.
Diagram 2 (Resolute
fighting spirit) Fighting
spirit impels black to play
2, resolutely preventing
white from connecting underneath. The question is
what black should do when
white attaches at 3.
Diagram 3 (Black complacency) "Hane in response to an attachment!"
advises a go proverb, so black 1 is nothing more than common sense. But white's trick play is
designed to take advantage of that common sense move. The sequence in this diagram is the one
that black complacently
expects to come about.
Diagram 4 (A sharp cut
at white 2) White cuts at 2
and black captures at 3.
Diagram 5 (Black gets
bamboozled) With 5,
white secures enormous
profit in the corner. While
black's shape ends up
overconcentrated [korigatachi].
86
Diagram 6 (Power play) This is no time for black to be a

stickler for orthodox measures. A power play will settle matters. Through 14, black is well off. Consequently, at white 7...
Diagram 7 (Black can fight on!) White plays at 2, but has a
difficult time of it after the moves from black 3 through 9.
White 1 in Diagram 6 is an unreasonable move. If the opponent falls for it and Diagram 5 results, white is well off. But if
not, white does badly. Therefore, white is advised to avoid
using this unreasonable trick move.
Diagram 8 White 5 & 7 engineer a stylish connection.
Diagram 9 If black plays 2, white does alright with 3, etc.
Diagram 10 Black takes pains to come up with the move at 2.
If white 3, black 4 through white 9 results. To understand how
well black is doing here, compare this to the previous diagram and the one before that, and it is obvious. Hence, white
is hard pressed to justify the preceding moves.
Diagram 11 (A wedging insertion finesse) White goes for
broke with the wedging insertion of 1. If black connects at 2,
white blocks black in with 3 and achieves a viable position.
White does nicely through 13.
Diagram 12 (Black fails) Crawling on the second line with
black 7 and the following moves is bad.
Diagram 13 Black 1 & 3 are a finesse. White is okay, too.
87
Diagram 14 (An unscathed resolution) Black 1 here is a variant move for 1 in the prior diagram, which black may have been dissatisfied with.
If white captures three black stones with 2, black also captures at 5 & 7, and both sides reach
a resolution unscathed.
In the sundry preceding diagrams, one gets the strong impression that both white and black
are striving mightily to turn the situation to their own advantage.
Diagram 15 (Thickness or overconcentration?) White 1 is played from distaste for the safe
move of white 2 in the prior diagram. Black 2 & 4 are natural. With them, a black move at either
a or b is equally good [miai]. Except that, when the ladder is in white's favor, white can capture
black's three stones with 5. On the other hand, consider the situation if the ladder is not good for
white. Does that mean that white's position is then untenable?
Diagram 16 Next white plays 1 and the following moves to connect underneath. Is the black
position here thick or overconcentrated? [The marked stone is not mentioned in the text.]
Model 3 Finally we have the situation where white makes the side attachment of 1, and black
hanes from below with 2. The reader should understand that, in general, this is bad for black.
Seeing this move, white will surely rejoice. Then white will instantly cross-cut at 3.
Model 3
Cross-cut/Forcing Move
Strategy
Diagram 1 (From overconcentration to more

overconcentration) It is normal for black to capture with 4,
but then white forces [kikashi] with 5 & 7 before turning to
cross-cut with 9 & 11. One wants to milk one's opportunities
for all they're worth. The reader must keep in mind that if
black is so kind as to capture at a & b, white will bow down
giving thanks. Also note
that at the present time,
white will refrain from
fixing the shape with a
move at either c or at d,
waiting to see how the
situation develops across
the rest of the board. Examining more closely the
reason behind white's giving thanks above...
88
Diagram 2 This diagram shows the situation that results when black captures one stone [ponnuki]
with a & b in the last diagram. White's shape seems in tatters, and this is not much of a model.
Why then should white be thankful here? The explanation of this question is to be found in...
Diagram 3 (Move order analysis) We can quickly dispose of the matter by using move order
analysis [tewari]. The marked black stone is an unnecessary addition to the black position in this
diagram. To that extent, black has played inefficiently. The exchange of white's moves at a for
black's at b represent no net gain or loss, while the capture of white's two stones is balanced by
the moves at c, played within black's own territory, again for no net gain or loss. In this way...
Diagram 4 (The result of playing too tightly) The situation is equivalent to black playing at a
& b in this position, and the degree of solidness there exceeds all bounds.
Can the reader discern that this is the same as the tattered shape in Diagram 2?
Is it understood that the high level trick play strategy here induces black to self-destruct?
Diagram 5 (resistance) Therefore, it takes a strong opponent to be able to see that black 4 offers
more resistance. A weaker player would not even consider the move. Now white can atari at
either a or b, and there is a significant difference between the
resulting continuations.
Diagram 6 (This is a finesse) White 1 is nothing less than
superb. This is a skillful finesse [tesuji]. If black plays 2, white
ataris at 3, springing the trap. In this case, it might even be
described by the formula, trick move = finesse [tesuji]. With
white 5 and black 6, each side takes a stone [ponnuki], but
black's two marked stones become useless.
Diagram 7 (Black is terrible) If black pulls out at 4, white
plays 5 to 9.
Diagram 8 (Black has problems) Black 1 leads to more pain.
89
Model 4
Deep Invasion
Strategy
Model 4 White 1 is a
move that white has been
waiting for a chance to
play for some time. This
move truly plunges directly into the enemy's
camp. At first sight it appears to be unreasonable
for white, but black is actually the unreasonable
party. The question is,
how did this black formation come about?
Diagram 1 (Joseki) Cross-cutting with white 1 & 3 initiate
a well-known joseki. The sequence that starts with black extending to 4, and proceeding through black 10, is seen in
professional tournament games as well. Unfortunately, in this shape there are no trick plays that
will arise.
If white wants to set a trap, it is necessary to come up with
something at the time that 7 is played.
Diagram 2 (Keeping the trick play up one's sleeve) White
nonchalantly makes the move at 7. Projecting a deadpan, innocuous manner while playing it works best.
If one wants to make a strong response, black 8 is natural.
Playing this way does not create any problems in particular
for black.
White then makes the extension to 9 on the right side in a
matter-of-fact sort of way. Later on in the game, white innocently plays the checking approach move at a on the upper
side.This is how the pattern in the model arises. There is not
the slightest deviation in shape from that original model. Lulled
by the casual mood that white has been cultivating, black will
not even dream that white has designs on the black group in
the upper right.
If white already has a position in the left part of the upper
side, the move of white a may be intrepreted as developing
from that position, further quieting whatever apprehensions
that black might harbor.
Diagram 3 (The exquisite move of white 1) Calling this a
trick move gives great dignity to that term.
None of the responses at black a, b, c, or d, can be regarded
as a good move. It is rare to come across a play with such
force behind it. It strikes at the opponent's weak points unerringly, and there is no defense against it. White 1 is a move
that is 100% effective.
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Diagram 4 (A flower-viewing ko) If black blocks at 1, white plays 2, and then wedging in with
black 3 is a standard technique. Up to white 6, a race to capture [semeai] seems to result, and one
might jump to the conclusion that it ends with black losing. But one must not give up too soon.
Seeking desperately for a way to hold out will lead black to play the good move at 7.
Black plays 9 calmly and coolly, and even if white plays 10 at 11, when black ataris to the
right of 9, the situation likewise becomes ko. With black 3 through 11, the reader should appreciate the lengths black goes to in order to put up the strongest resistance, ending in ko, but after
all, the ruckus here has been struck up within black's own position, and the result is a flowerviewing ko for white. Even losing this ko has no effect on white's position so it is an easy one to
play. If black loses it, though, the remaining black stones will even come under attack. This
variation is terrible for black. Instead of black 3...
Diagram 5 (White wins the race to capture) How about black 1 & 3? White plays 4 and wins
the capturing race [semeai] unconditionally. All of this indicates that black 1 in Diagram 4 is
unreasonable. Therefore, at black 1...
Diagram 6 When black defends at 1, if white plays 2, black plays 3 and has no complaints. But
white has a stronger move for 2...
Diagram 7 (A brilliant thrust and withdrawal) White thrusts forward with 2. If black plays 3
at 4, white plays at 3 and captures black's stones in the corner, so black 3 is unavoidable. Pulling
back at white 4 is sente. Notice that black does not even have one secure eye yet. With the move
at 6, white's own group is solidified while pressure will be slowly applied to black's.
Diagram 8 Black 2 here leads to almost the same outcome as in the last diagram.
Diagram 9 Black 1 & 3 secure eye shape, but at a burdensome cost.
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Diagram 10 Returning to the beginning, white's move at 7 was the suspicious one, and by
playing conservatively at 8, black would have left white nothing to aim at.
If white omits playing at 9, black presses in at a, and white is not good. Therefore, white plays
at 9. When white's trick move of 7 is answered by black's bona fide play [honte] of 8, white is not
only lacking a weakness to aim at, but compared to the plentiful eye shape that white could have
secured with the move at b, playing at white 7 is all the more regrettable. Considering all of this,
one might reserve the use of this move for a single occasion when one wants to probe the strength
and ability of an opponent.
Diagram 11 (Black wins the capturing race) In the position where white makes the hanging
connection of I, black's hane at 6 must be answered [kikashi], so white's aim of playing 3 & 5
turns into a race to capture [semeai] in which black is the victor. And furthermore...
Diagram 12 (No ko threat big enough) If white responds at 6 here, this time speaking of a
flower-viewing ko is ludicrous. An enormous ko develops instead, and no ko threat will be big
enough to require a reply. Black will simply capture at a.
Model 5 Both amateurs and professionals alike defend with the one space jump of black 2,
whether in even or in handicap games, and today it is the
move that is most often seen. However, one wonders whether
Model 5
the rationale behind playing black 2 is truly grasped. It seems
Resolute Sealing
like there are many players who make the move at black 2
Strategy
with the intention of surrounding territory in the upper right.
Isn't this the case? For those who are inclined towards such
tendencies, having the checking approach move of white 3
played against the corner group is probably unpleasantly
threatening. Playing the pincer of black 4 here, or on the
upper side at the point of a, is good, but black may refrain
from doing so, fearing that white will seal black into the
corner with the resolute moves of 5 & 7. White 5 & 7 comprise a trick play that has been played since olden times, but
it is pertinent to briefly touch upon this theme here.
A word of caution, though: if black answers this highhanded style of play correctly, white will be left with an onerous position, so I cannot recommend using this strategy very
heartily.
92
Diagram 1 & Diagram 2 (In both black is tricked) If events

proceed in the manner shown here, white is doing nicely. In
Diagram 2, the invasion of white a remains, so black's territory is not large.
Diagram 3 & Diagram 4 (White does poorly) The move of
black 3 follows good form; the exchange of black a for white
b is one that is better left unplayed, and not doing so is to
black's advantage. Black 5 & 7 in Diagram 4 is a wonderfully
skillful finesse [tesuji] that, when put into action, leaves white
in a quandary.
Model 6 The fencing in move of white 1 is one that I can
indeed recommend without reservations, a move that is rich
in possibly fruitful potential developments [aji] and promising implications, one that conforms to high level strategy. At the very least, in comparison to the bluntly direct
Model 6
operation detailed in the previous model, one can perRefined Fencing In
ceive that the aggressiveness has been toned down.
Strategy
Diagram 1 (Genuinely sealing black in)
Black 1 fortifies the
corner, but white is
thereby able to effortlessly seal black in
with 2. With this, all of
white's stones are operating in unison. Here
black is genuinely
sealed in. Black's first
thought must be an
uneasy one at being
enveloped in this way.
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Diagram 2 (Good for white) The most dependable method

for black to use to advance outward and thereby avoid being
sealed in by white is to make the attachment at 1, and then the
moves from white 2 through black 13 follow as a matter of
course.
What have we here, something akin to a joseki? That it is.
But an absolutely essential point which one must not overlook
here is the disposition of the marked black stone and the reason it was played to begin with.
Wasn't the purpose to attack white's marked stone, and in
the process to accrue some sort of benefit? Does the reader
think that it is good that white has, on the contrary, managed
to get settled comfortably?
Diagram 3 (A standard pattern but...) When black plays 2,
answering with 3 through 7 is a standard pattern if white wants
to play in a straightforward manner. There is a great difference here compared to the last diagram, in that black is able
to make the jump at 6, which is perfectly suitable in this position. This is painful for white.
It is clear that this move will be a thorn in white's side for a
long time to come.
Diagram 4 (White's expanding command of the board) After steadfastly securing the upper
right group, white can play without reserve anywhere else.
The moves from white 1 through 9 are ones that often appear in my four and five stone
teaching games. One of the pleasures of go for me is in leading veteran 4 and 5 dan amateurs by
the nose around the board while the fighting proceeds at white's pace. Go is an active pastime,and
it goes against the spirit of the game if one does not play actively and at the same time, enjoy
oneself as one plays.
Diagram 5 (Forced into bad shape) Since attaching and extending as in Diagram 2 is unsatisfactory, black must find another method, here directly responding to white 1 with 2. However,
white probes black's weaknesses with 3 & 5, and if black answers at 6, the shape of this group
has been somewhat distorted.
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Diagram 6 (Explaining the theory here...) Let's change the

order of moves and see what happens if white plays 1 & 3
before the move at 5. Consider how black should play here.
I doubt if there is anyone inclined to play at a (apart from
rank beginners). There is no space to expound at length on
why black a is so bad. But playing at black a here is equivalent to playing the move at black 6 in the prior diagram. For
that reason white is delighted with the success of this high
level trick play. It goes without saying that instead of the move
at black 4, in the diagram here, black must play at either b or
c.
Diagram 7 (A tenacious ko) If black, understanding the rationale behind the theory just presented, wants to offer the
strongest resistance, the hane at 1, although the continuation
is unclear, is the move to play. This way is decidedly better
than black 6 in Diagram 5, but white tenaciously answers with
2, making a ko, and this ko is troublesome for black to have to
play. In addition, the burden in playing this ko is light for
white, while black will have a hard time coming up with the
best way to resolve it.
Diagram 8 (The "dog's face": bad form) The point of black
2 is a vital point for white in that it would be a one point jump.
Therefore, black might occupy that point thinking that it
couldn't be bad. However, this cannot be said to be very good
form, and the matter gets confusing. The three black stones in
the upper right resemble the face of a dog. Then black 4 is
bad. The white move at 5, sealing black in, is perfectly placed.
Diagram 9 (A fight) The only move for black 4 in the last diagram is the diagonal move of 1
here. But white can handle the fight that follows white 2 and the rest.
Diagram 10 (Using a finesse) White 2 is also a possibility. If black answers at 3, the moves from
white 4 through 8 follow good form.
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Diagram 11 (An elementary trap) Black 2 constitutes good

form. If white forges on ahead with 3 & 5, black gets impetus
to push through with 6 & 8. This is what black has in mind.
But white would hardly fall for such an elementary trap.
Diagram 12 (Light movement) A refinement of skill is the
ability to see through an opponent's subterfuge and turn it to
one's advantage. White's light moves at 3 & 5 are designed to
force black's stones into an inefficient stick-like shape, the
only merit of which is that it is all connected. White forces
[kikashi] black to the hilt, and can still aim at attacking this
group. Instead of the connection at black 6...
Diagram 13 (Counterattack) Black displays a vigorously defiant attitude by counterattacking with 1. Black 5 is also a
strong move. It would be wrong to play black 5 at a. [This
makes little sense. Probably a should be one point lower.]
Diagram 14 (Don't lose heart...) When black plays at 5 in
the previous diagram, is white in trouble? White sure is! It is
obvious that after black 5, white's shape is inadequate for putting up serious resistance. The cause was white's impetuous
cut at 2. Instead of that move...
White plays at 2 rather than cutting. Since white has not
cut, black will connect at 3. This is no time for white to lose
heart. After moving out leisurely with a move like 4, white
aims at playing in the upper right corner at a.
"Conceding one's unreasonable play, one puts muscle into
reinforcing one's weak points," is a common policy, meaning
that when one's strategy is unreasonable, one should avoid
plunging into a fight. For example, after black plays 5 in Diagram 13, it would not be wise for
white to play at a [sic].
Diagram 15 (What white is hoping for) When white plays 1, black might push through and cut
with 2 & 4. This sort of fight is just the thing that white is hoping for. Fights like this are exactly
where white must step right up. White answers directly with 5 & 7, and can duke it out...
96
Model 7
Immediate Stabilization
Strategy
Model 7 The purpose behind black's marked stone

is to attack white's marked
stone if the opportunity
presents itself. With this
in mind, it is not a bad
strategy for white to make
efforts to get settled
quickly here.
Diagram 1 (Artless
trickery) Defending solidly with black 1 cannot,
presumably, be considered
bad. And yet, in reality black has been tricked here. If one
wonders how so, it can be understood by examining the situation that results after white has been allowed to get settled
quickly with the move at 2. Black's group in the upper right
is menaced by white's marked stone, which presses in closely.
Also, black's aim of attacking with the marked black stone has been lost.
Diagram 2 (Putting one's effort in the wrong place) There are many players who will make
the sequence of moves from black 1 through 9. Instead of directing energy in the vital position,
they expend their efforts in places where it is in vain. That is the impression one gets from
black's conduct here.
Diagram 3 (Answering with the two-step hane) Black 1 cuts a smart figure indeed. This is the
two-step hane response. The moves from white 2 through 8 represent a common sense type of
disposition of the stones, but white is left with no clear-cut strategy to pursue. Leaving the
position as it is, in the middle of the sequence, and playing elsewhere with white 2, or perhaps 6,
is one possibility, a technique which regards the stones already played as light and expendable.
Doing so would perhaps give white more opportuities to exploit quirks in the position later.
Diagram 4 (Black does poorly) Capturing with black 1 may seem to be a strong move, but this
is not the case. White has sufficient resources to fight here.
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Diagram 5 (Black counterattacks) When white plays the

two-step hane with 1, thrusting through with black 2 & 4 are
severe moves.
However, it is not like the white side to shrink from such a
challenge, and with the the cut at white 5, the battle is joined.
The moves from black 6 through 10 follow. At this point
white can choose from two separate plans of action.
For black though, the reason that fighting like this is superior to the various diagrams that have been examined thus far
is that above all, it avoids falling in with white's intention of
settling the position quickly.
Diagram 6 (A difficult position for white) Continuing from
the last diagram, if white takes the corner with 1 & 3, white's
four stones in the center will naturally be put into a difficult
position.
White 5 & 7 are heavy moves. If white tries to immediately
drag such stones out, black is given a perfectly wonderful target to attack. This prospect is not to white's liking. What must
be done is for the time being abandon the stones to their fate.
In that case, for white 1...
Diagram 7 (Thrusting through in return and black's failure) This time it is white's turn to thrust through with 1.
Black 6 is a reckless move. White instantly plays 7 through
13 and black is destroyed. By pouncing on a momentary lapse,
white scores a triumph. At black 6...
Diagram 8 (Slipshod) Black imagined that white would answer the move at 1 with 2. Such slipshod play is fatal. Consequently, at 4 in Diagram 7...
Diagram 9 (Vacillation) Black is more timid than necessary
in playing 1. It is painful for black to be forced [kikashi] by white 2.
Reckless courage winds up being fatal, while vacillating leads to an inevitable series of retreats that undermine one's position.
98
Diagram 10 (A lull in the

action) When white pushes
through with the marked
stone, both black 1 and
white 2 are essential. Then
when black blocks at 3,
white plays 4. This move not
only makes a black cut at a
less threatening, but from
the standpoint of territory, is
also large. And furthermore,
it contains a hidden aim for
later on in the game. It is a
move to be merited as "killing three birds with one stone".
Play reaches a lull here, but what is that aim of white's
alluded to above?
Diagram 11 (Lingering ko potential) With white 1, 3 & 5, a
ko is found to lurk in the position. Instead of black 4...
Diagram 12 (Worse for black) Playing black 1 here makes
matters worse. Now the ko is a direct one. In the previous
diagram, black only had to fight a two-step ko.
Model 8 White's jump at 1 is often seen in positions where
the marked black stone has been played as a pincer from the
direction of a.
Jumping out to black 2 is nothing more than standard operating procedure. However, this move makes no provision against the poke of white
Model8
3; for those players who play black 2 for the sole reason that
One Move, Double Poke
it is standard operating procedure, white's poke at 3 can be a
Strategy
frightening move.
Diagram 1 (One's first impulse: connect) Is the reader's
first impulse to connect at black
1? It seems that players who
have a tendency to play quickly
will jump to the conclusion that
connecting is playable and not
examine any other move.
But when faced with the
poke of white's marked stone,
anyone would conclude that a
connection at black 1 or at a
was the only possibility. One
senses a trick play coming on.
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Diagram 2 (Diligent reading) After black connects at 1, even

if white pushes through with 2 and cuts at 4, black plays 5 &
7, and by connecting at 9, makes moves at either a or b equally
effective [miai], and black is doing well. Those who can read
the position out to this extent are quite strong. Even those
who do not read this deeply but who sense that pushing through
and cutting by white is unreasonable will find that this is good.
However, white will not attempt such an unreasonable ploy.
Perhaps a somewhat affected dialectic is not out of place.
"Young whippersnapper! Don't you know that after connecting at black 1, white's trap has already been sprung, and
no power on earth can get you out of it..."
Diagram 3 (Unwittingly) White 2 sets off, step by step, on
the trick move highway. Yet an unwitting, optimistic soul will
wonder if white is not discarding the two marked stones in
exchange for the 3-3 point [furi-kawari]. Such a development
would be pleasant for black, and this fellow will leap at the
chance to block at 3, glad that the game has been simplified
from the start, and glance at the opponent's face.
"That's kind of you, Mr. White! Doing this sort of thing... I
think I might be able to make a go of this game now."
Diagram 4 (Sketched in the brain) Continuing from the position in the last diagram, white 1 through black 8 cause the
game to be "owa" using the words of Kajiwara Takeo 9 dan,
[owa = a clipped form of owari = over, the pronunciation of
which it resembles to a Japanese ear] already in the opening.
Sketched quickly in the brain, this sequence gains black an
overwhelming territorial lead.
Diagram 5 (White recklessness?) But white thrusts in at 1. "Surely the cut doesn't work; what
is the point here?" And black defends at 2. With mouth agape black watches...
Diagram 6 (White mistake?) The cut at 3. "Have you overlooked the fencing capture of black
4?" "All around the mulberry bush..." white hums. "Ignorance is bliss; or what is your name?"
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Diagram 7 (Masterly sacrifice stone strategy) Such being the

case, more or less, they set off inexorably down the trick move
highway, full speed ahead. White plays 1 through 5, forcing
[kikashi] black unmercifully, and getting every drop of value out
of the two white sacrifice stones, but black still does not realize
how bad this is. That really sums it up, doesn't it? White's two
stones have been captured. This seems to have blinded black to
any other consideration.
If, when white plays 5, the player notices that the freedom of
movement of the black group has been restricted, well, that shows
some improved awareness. But playing black 6 induces white 7
and 9, and black's position is terrible. Yet, instead of black 6...
Diagram 8 (Six of one, half a dozen of the other) Even if black
plays 1 & 3 to prevent that from happening, white plays the
moves through 6, and regardless, spars skillfully, reducing black's
options.
This is not a perfect marriage here, falling for a trick play and
getting married not being totally unlike... eh? What in the world
have I started mumbling about?
Diagram 9 (A shape born of vacillation) Realizing that the
variations given above are bad, when white enters the 3-3 point
with the marked stone, black may play at 1, patiently submitting. Black has been tricked here too, ending up overconcentrated
[kori-gatachi]. After white 4, black's six stones are densely clotted together. This resulted from black's vacillation.
By the time white plays the marked stone, black has already
fallen a step behind, black's mind set itself is a step behind: black
had to consider these factors some time before.
Diagram 10 (Changing the connection) If black connects on this side, a white move at 3 would
lead to the variation from black 4 through 10, and black is well off. There is nothing wrong with
this reading. But white will not undertake this continuation.
Diagram 11 (White settles the group) White's group is settled with 3 & 5.
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Diagram 12 (Knee jerk reaction) After white 5 in the previous diagram, it is likely that black will at some point later on
connect at 1 in this diagram.
Actually, going further than that, rather than at "some point
later" there are those who will rejoice to be able to play at
black 1, and convinced of its great value, will connect there
immediately in a knee jerk reaction.
But eliminate the exchange of the marked white stone for
the marked black one and consider the situation. There is no
doubt it will then be understandable how overconcentrated
[kori-gatachi] black's shape is. In reality...
By playing at the point of 1, black has succumbed to the
trick play. Black now connects there in spite of that fact, and
feels relieved to do so, grateful at not being cut.
Diagram 13 (Heavy steps) Let's change the order of moves in Diagram 12 and see what results.
Black 1 moves at a lethargic pace. Black 3 moves with the same kind of heavy step.
The shape here is identical to that in the last diagram after black 1. Instead of knee jerk
reactions, one must put one's eye to good use.
Diagram 14 (Squelching the trick play) Black 2 is a powerful move that squelches the trick
play, and one might go so far as to call it the only move here. A go proverb states that: "Even a
fool connects in answer to a poke," and common sense seems to make that connection necessary
here. But this case is an exception. In response to black 2, if white plays 3, black cuts at 4, and
white's poke ends up being captured by means of a perfectly positioned fencing in move. This is
an unusual turn of events. Black is well off here. Instead of white 3...
Diagram 15 (Bull-headed determination is bad) White would like to forge ahead with 1 regardless of the consequences, but when black follows along with 2, it is not promising. Black 8
is a calm and collected move. This outcome is bad for white.
Since black did not fall into the trap that had been set, white boils with impatience, as can be
seen here; oftentimes it will happen thus, that one ends up spoiling a game by one's own volition.
Black smiles inwardly that the countermeasure to white's trick move has met with success.
Black's marked stone says, "Hey, Buster! Don't try any of that tricky stuff with me!" and one
hopes that this type of perspective always holds sway.
102
Diagram 16 (Water off a duck's back) Although dealt a setback when black foils the trick play
with 2, white impassively plays 3 & 5. One must make one's moves this way, with a poker face;
if black, poised to deliver a shattering blow, finds no target, self-doubt may creep in, undermining the value of the good move at 2, and encouraging black to see threats everywhere, even when
there are none. Also...
Diagram 17 (Excessive impetus) White 1 & 3 are interesting moves. There is not much to
admire about black 2, the impetus of which impels black to make the rash cut at 4. This beckons
the skillful finesse [tesuji] of white 5 and the following, and when play reaches 11, white is found
to have pulled a fast one. At black 4...
Diagram 18 (White can fight) If black plays at 1 (a common sense method), white can put up a
fight with 2 through 10.
Model 9 Making a pincer at black 1 on this side is also a commonly used technique. But the wild
capping move of white 2 is anything but common;
Model 9
rather, it gives one the impression that the confusion
Wild Capping
surrounding a trick play is hanging in the air.
Strategy
Diagram 1 (Joseki) The sequence of moves starting
with white 1 is the one that is most commonly used.
This is the universally employed, orthodox method,
and the one
that would
first
cross
one's mind
when examining the position. The trick
play exploits
this mind set,
and it is a basic factor in its
operation.
103
Diagram 2 (Reverting to joseki?) If, when

white plays the capping move of 1, black
defends at 2, following the go proverb, "Answer a capping move by playing a knight's
move," white 3 and black 4 reverse the usual
move order, but the position reverts to joseki.
However, there is a booby trap lurking if
one counts on this happening.
Defending with black 2 seems like a perfectly ordinary thing to do, but in reality,
this move sets black up to be pitifully sandbagged by white's skillful trick play. And also, white 3 is
a slack move. Instead, white 3 should be played as...
Diagram 3 (An attaching and cutting finesse) White
lunges directly with the attachment of 1 and cut of 3.
Black counterattacks as forcefully as possible with 4
& 6. But with the moves ending with white 7, extending
smartly out, white is doing alright.
To wit, black's follow-up move at a leaves the position
thin, an unpleasant prospect. Therefore, black will settle
for playing the standard answer with 4.
Diagram 4 (A conventional sequence of moves) The
moves from 4 to 8 is the conventional way that black
handles this position. After fixing the shape here, white
plays 9 to begin attacking black's upper right corner.
Moving out with the diagonal play at black 10 is essential. If this is omitted, white will play at 10, which
would be unbearable. Well then, here...
Diagram 5 (Slack moves do not escape punishment) Is
defending at white 1 the proper move [honte]? Hardly; it
is a slack move. When black plays 2 & 4, white has little
scope for making trouble. At I...
Diagram 6 (On the rampage) The moves from white 1
to black 10 not
only leave black's
group in the upper
right with only one
eye, but secure the
white groups on
the upper and right
sides. White gets a
good position up to
13. While attacking, white expands
the right side.
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Diagram 7 (Counterattack) Instead of black 4 in the

last diagram, how about counterattacking at black 1 in
this diagram? After 3, black has an easy time of it, but
white 2 is a bad move. Instead...
Diagram 8 (Countering the Counterattack) Playing
atari from the outside with white 2 is correct. If black
captures with 3, white plays 4 & 6 and remains unfazed.
After this, if black plays a, white answers at b. This has
no effect on white.
Diagram 9 (Dangerous for black) Thinking of moving
out with black 3 is dangerous. White lets fly with the
skillful finesse [tesuji] of 4 & 6, leaving blacks group in
the upper right corner in a pinch.
With the sequence that follows, the counterattack does
not go as black had wished.
Diagram 10 (Seemingly feasible, but...) Returning to
the beginning...
If a falls into the trap, black tries 2. If white hanes at
3, it seems feasible for black to cut at 4.
Diagram 11 (White 3: bad technique) White 1 & 3
seem like the kind of moves that anybody would play,
but white 3 is bad technique, and beneath discussion.
Black will then
connect underneath with 4, and
white 5 is unreasonable.
After
black plays 6,
white has no adequate response.
Diagram 12
(White 3: good
technique) Extending to white 3
conforms to good
technique. Here
too, black will play
4. If black doesn't,
white will play
there. Now white 5
is a feasible move.
Through 9, white
leaves black's corner dangerously
undermined.
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Diagram 13 (Here is how to thwart the trick play)

Black 2 is a severe move. At the same time it is the antidote to white's trick move. When white pushes out with
3, blocking with black 4 is effective. The question is how
black should answer white's cut at 5.
Diagram 14 (This way means fighting) Black can consider blocking at 1. But in that case white moves out
with 2 & 4, and this means fighting. No matter how one
looks at it, white will not have a difficult time of it.
Diagram 15 (A strong-willed attitude) Black 1 shows
strong-willed attitude. With it, black bursts through the
snare white has set. White can push through black's position with the moves from white 2 through black 7, but
this is not an attractive option. Black is doing well here.
Diagram 16 (Leaving one's guard down) If black tries
to get too much out of the position and plays atari at 1
automatically, it will not work out. A strong player realizes the value of forcing [kikashi] with the atari of 1 if
white connects at 3. With that in mind, black
inadvertantly makes the move at 1. This gives white an
opportunity. So white ataris at 2. The variation from black
3 through white 6 is miserable for black. But if the variation through black
7 in Diagram 15 is
not good for
white...
Diagram 17 (Unreasonable) White
tries fighting head
on with 2 & 4. But
when black plays
5, white's expectations are clearly
unreasonable. If
white truly goes
ahead like this, it
will go badly.
Diagram 18 (Also
unreasonable) At
first glance, white
1 looks like a finesse [tesuji], but
gives rise to complications. This is
terrible for white.
106
Diagram 19 (White tries Plan B) White is stymied when

black neutralizes the trick move of the marked stone by
answering at 1. The sequence from white 2 through black
5 leaves white without options. However, such a piddling
matter is unlikely to defer the trickster white. With the
move at 6, white sets Plan B into operation. Since black
must consider the options of a, b, and c, it is difficult.
Diagram 20 (Black is annihilated) If black answers with
1, and after white 2, plays 3 in a desultory manner as
here, then white has laid the groundwork completely.
White 4 through 8 annihilates black. At black 3...
Diagram 21 (Usurping the profit) Black has to play at
1, but in that case, white takes profit through 8, while
the marked stones reverberate with lingering potential.
Diagram 22 (Sharp-looking) How about forcefully separating white's groups with black 1? White plays 2 through
10. Take a look at that sharp-looking connection underneath with white 10. White remains connected if play
continues with black a, white b, black c, and white d.
With this outcome, there is little cause for alarm for white.
Diagram 23 (White can make a go of it) How about
black 1? White plays 2 & 4, and with weaknesses at the
points of both 5
and 6 equally good
for white [miai],
black is in bad
shape.
Black 5 cannot
be omitted, but
when white cuts at
6, black will not
find it easy to take
care of the comer.
Diagram 24
(White can still
make a go of it)
Next, black 1 is
skillfully answered
by white 2 & 4.
White then forces
[kikashi] with the
moves to 7, and
from 8 to 14, white
builds up a fighting shape.
107
Diagram 25 (Giving full play to one's versatility) When black rips through the joseki
to this extent with 2, the worst course of
events imaginable was given before in Diagram 15; such being the case, one must twist
and turn with supple dexterity, handle the
situation with unflappable aplomb, not get
caught up in the small picture, but approach
the matter with a broad outlook. This is what
is called for from white. For example...
With white 3 through 19, this is, as far
as it goes, one type of game, I imagine.
Diagram 26 (Broad-minded) Moves like
white 1 & 3 are truly broad-minded. Not
declaring that this is the best possibility, but
regardless, this way of playing slowly works
at making the center into a large territorial
framework [moyo] and take control of the
game a bit at a time. Also, there remains
the aim of white' a, or else b on the upper
side, and with this sort of state of things,
one can consider that one way or another
white will be able to make a go of it. The
essential point is that this is the opposite of unreasonable play.
Model 10 If, in response to white 1, black plays the pincer of 2, it is natural for white to follow
this up with the double attack on the corner with 3.
Diagram 1 (Tricking oneself) Playing at black 1 is just tricking oneself.
Model 10
With white 2 through 12, black's marked stone is found to
Double Corner Attack
be transformed into a bad move that approaches white's basStrategy
tion of strength too
closely.
Also, one does not feel
at ease in regards to
black's strong wall. That
is because...
Black's attachment at 1
is bad and that's that; in
this day and age, if one
does not know the reasoning behind these matters,
one must be considered
less than a middle kyu
player.
108
Diagram 2 (Theory) The

attachment of 1 strengthens black's own stones, but
it is also a method that
strengthens white. If one
understands that, one realizes that to the extent that
the intention behind
black's marked stone was
to attack white's marked
stone, it is a bad move that
violates theory. One can
understand black 1 easily,
but if black is going to make an attachment with 1...
Diagram 3 (The correct direction) Black has to attach from
this direction with 1.
Let's see what happens if white plays the same technique as
in Diagram 1 with 4. Through white 12, the shape is exactly
the same as in Diagram 1.
However, insofar as the direction has changed, the result is
accordingly different from Diagram 1.
Black's strong wall on the right works in concert with black's
marked stone on the upper side & 13. Although the shape is
identical, the feeling in Diagram 1 is that black is in wretched
straits. Thus and so, in the present diagram black's formation
is an imposing one.
To conform to logic or not to conform? That is the question
that is vividly contrasted here.
Diagram 4 (Black gets tricked) The last diagram turned out miserably for white, so it is natural
for white to essay 4. Then, black 5 is also natural. White 6 is a highhanded trick move. At 7, it
is also natural for black to block here. A fight ensues after the cut at white 8. Hold it there: black
7 was not natural. One can
see it happening.
Diagram 5 (A favorable
fight for white) While black
settles the corner with 1 & 3,
2 & 4 make the outlook for
the fight on the outside favorable for white.
Diagram 6 (Unreasonable
for black) The cut of black 1
is unreasonable. White
makes the forcing moves
[kikashi] of 2 & 4, then captures with 6.
109
Diagram 7 (Common sense) Black 7 in Diagram 4 fell into

the trap. When white plays 1 in this diagram, giving way with
2 through 6 takes great profit and is good for black. This is
the standard postulation that everyone knows. However, the
rhythm of the stones makes the move of 7 in Diagram 4 into a
natural one, and consequently, when one is precipitated into
the thick of a fight, it can easily slip one's mind to give way
with black 2 in this diagram. When one likes to fight...
Diagram 8 (Timidity) On the other hand, overly fearing Diagrams 5 & 6 can lead one to take measures before the fact.
Significant numbers of players will give way with black 2 upon
occasion.
Rather than "giving way", black 2 should be called timidity. White sees the opportunity to slip the rug out from under
black, and brazenly usurps the corner with 3. If black bungles
things, one has an unpleasant feeling that the wall here might
even end up floating in a wasteland at some point, becoming
the source of bitter trials.
Black 2 in Diagram 7 is one technique that must absolutely
never be forgotten. Playing that way puts white in a fix. Therefore, white will not adopt the trick move of I.
Diagram 9 (Pincer attachment) From white 1 through black
6, play progresses along the lines of a standard pattern, and
those who have studied a little joseki will probably know it.
Here, immediately attaching with the move of white 7 is once
again a trick move.
Diagram 10 (Hoodwinked) According to the person seeing
it, black 1 might appear to be a clever move.
The reason is that white's connection underneath is blocked, while at the same time it is
observed that black can capture three stones of white's by cutting at 5...
However, black 1 here falls into the trap, so that it might be said that when a move looks good
to an amateur's eye, that move
is generally a bad one. I forget who it was, a very great
Sensei, a professional who,
when asked how one becomes
strong, answered, "The first
move that occurs to you, that
you wish to play, please make
a move somewhere else." This
is the story handed down regarding that Sensei.
Does the reader realize that
black ends up badly with
white 2 through black 11 ?
110
Diagram 11 (Black is bad however one looks at it) This

diagram shows the result after the sequence in the last diagram. What is one to make of black's position, which has been
wrapped up on the left and right, forced [kikashi] to the utmost? Using move order analysis [tewari] to balance white's
three captured stones by removing black's three marked stones,
we see that black's formation is as if nothing had been captured. In fact, if black isn't careful, this group might die if a
stone placed at the center leaves black with only one eye.
On the other hand, white has taken the corner to the right,
while forcing lightly on the left. If one cannot feel in one's
bones that this is bad for black, nothing that I can say will
make a difference.
Diagram 12 (Shattering the
trick move) The way to shatter the trick move of white 1
is like this. Black 2 is it. If
white plays 3, black 4. With
this, an exchange [furikawari] takes place which is
not bad for black. However,
white is not totally stymied.
Diagram 13 (Joseki) It is
best to ponder the meaning of
the moves one by one.
Diagram 14 (There is this also) Black can also move out with the diagonal move of 1. That is a
vital point, since white can seal black in with a move there. But there is a line of thought that
sees this as weak-kneed.
Diagram 15 (Black is bad) Black 1 initiates an old joseki that is no longer played. Black 1 is
bad. White's wedging insertion of 2 is a vital point; up to 6, white takes profit and white a, black
b, white c, black d, forces black into overconcentration [kori-gatachi]. At black 3...
Diagram 16 (Not good) Even if black ataris at 1, the sequence to 8 leaves black high and dry.
111
Diagram 17 (Answering a capping play) White 2 is a trap that utilizes the logic of the go
proverb: "Answer a capping play with a knight's move."
Diagram 18 (Black is tricked) Black 1 follows the proverb, and there are even those who think
that black is well off since white's marked stone has been immobilized. However, white occupies
good points on the other side with 2 & 4, and has gotten to take good points on both sides.
Diagram 19 (What is the opponent's is the opponent's, what is one's own is one's own) If
white plays the capping move, black plays this-way with 1. One cannot neglect doing this. There
are two good points in this position, the marked white stone and 1. There is no necessity to go so
far as to daringly play black 1 at a. Playing solidly with black 1 is sufficient.
Diagram 20 (Equally good [miai] points) If white plays 1 to begin with, then black 2 is the
place to play. The choice is limited for black between Diagram 18 and Diagram 19. If one
realizes the implications of this, one can understand that Diagram 17 is no good for black.
Diagram 21 (Sudden fighting) According to the situation, the fencing in move of black 4 is a
powerful technique.
When white pushes through with 5 and cuts with 7, to some extent black rides the wave of the
sudden fighting. Black 8 exhibits good, skillful technique [tesuji].
Diagram 22 (White gets tricked) By capturing with 1, white's shape shows evidence of getting
tricked after being wrapped up with black 2 & 4. Black's strong wall becomes more powerful
than ever. Instead of 1, white should...
112
Diagram 23 (Sudden fighting, profitable for black) If white stubbornly extends out with 1,
black then fights with 2 & 4.
In this sudden fight, all of black's stones are operating towards the outside, while white has
only the marked stone and 1. To that extent, black can be considered to have the advantage. Such
being the case, for white...
Diagram 24 (Signs of a letup) When black plays 1, white pushes at 2. If this happens, black has
it easy. Banking on black to let up here, white sets an ambush from behind with 4.
Diagram 25 (Bushwhacked here) Black 2 seems even too natural in its naturalness. But this
move at 2 falls into the trap. Does the reader understand this simply by having it pointed out?
Diagram 26 (On the trick move highway) The hane of 1 is the path white has been aiming at.
Unaware of this, black plays 2, thinking that next white will play at a, and with b, black will get
a comfortable position. It is just at this point that...
Diagram 27 (Sudden attack) White attacks suddenly with the fierce cut at 1. There are those
who still are not aware of what is happening. Thinking that white must be falling apart, black
cuts at 2 and it is already too late. Regardless, black is probably buoyed with a sunny feeling of
optimism...
Diagram 28 (Completely taken) White 1 & 3 set black to squealing. With the moves from black
4 through white 11, black is left in pitiful shape, and that's the end of the matter. If this isn't
getting taken by a trick play, what should it be called?
113
Diagram 29 (Even without getting tricked) Black has no

choice but to sit tight with 2. This despite all indications that
there must be a better move here. It is unbelievable that using
black 2 to hane at a will end in the result of the last diagram.
Even though black 2 prevents the trick play, white is afforded the opportunity to force [kikashi] once with 1, which is
not a meaningless move. White 3 gives one the feeling of lightly
erasing black's territorial framework [moyo].
Diagram 30 (Double Attack on the Corner Strategy, Part
II) The position of white 3, in contrast to the point in Model
10, is shifted to a one point high attack, which is the only
alteration, but the follow-up is completely different. What has
not changed is the desire of each side to direct the
vicissitudes of battle into channels advantageous to themselves.
At the very least, black must not let the corner be surrounded, while working out a way to move out into the
center, and split white's forces in two, is standard operating
procedure.
Diagram 31 (An attachment at cross-purposes) Black
would like to attach at 1. In the local situation, this makes a
natural shape, and it seems that there are many people who
will make this move before thinking.
If black's marked stone is not there, this becomes a splendid move. However, when it is, black's moves are at crosspurposes. The reason is the same one as in Diagram 1 of
this section.
The sequence from white 2 through 6 follows. One thing
in this sequence which one must be aware of no matter what, is that at the point of black 5...
Diagram 32 (Unreasonable for black) Blocking at black 1 is impossible. If black tries to do so,
white cuts with 2 & 4, and black is in terrible shape. Black 5 in this diagram is an unreasonable
move. The moves from white 6 through 12 leave black with a horrible position. Also...
If black plays 9 at a, white
answers with 11, black 10,
white b, black c, white d, and
black is destroyed. Essentially, black 5 should be
played as...
A descending move to
black 6, followed by white 10,
and then black 9 makes
proper shape, but after white
plays a fencing in move in the
center, capturing black's three
stones, it is hard to understand
what black is doing.
114
Diagram 33 (Splendid for black) If the position of the marked

black stone is one line higher as in this diagram, then black 1
becomes a splendid move. That is because black makes a
staightforward drive in conjunction with the marked black
stone to realize the completion of a powerful wall.
Starting with the position in Diagram 31, is it possible to
create a wall like this with no defects [good aji]? Let's see.
Diagram 34 (Creates a wall, but) This is a continuation after white 6 in Diagram 31. Black plays 1 & 3 to stop white
from moving out. These are good moves for black. However...
White has a string of forcing moves [kikashi] from white 4
through black 11. After this, white will not initiate a fight
immediately using the white stones at 8 and 10, but leave the
possibilities there open for the future, and play a vague move
in the area of a. This is the hallmark of a seasoned fighter.
In any event, this does not bear comparison with the last
diagram, where black's powerful wall is rock solid.
Incidentally, independent of this, is white's group in the
upper right corner definitely alive? It is necessary that one
ascertain this.
Diagram 35 (Black sente, white lives) There is no way to
bring an attack down on white other than to play black 1
through 7, but the white group lives with 10. Instead of white
8...
Diagram 36 (Same result) In a real game situation, white
will force [kikashi] with 1 & 3 in order to threaten black's
wall. Regardless of this, white must come back to 5 to live. If
black 6 at 7, white plays at 6 and the best black can do is to make the position into seki while
ending in gote.
Diagram 37 (Joseki) Black 1 also seems to be possible, but it is impossible to deny that there is
something slightly lax about it. From white 2 through black 9, black's position is stabilized. If
white omits playing at 8, black has the possibility of playing at a, so it is unavoidable.
115
Diagram 38 (Unpleasantness) Continuing from the previous

diagram, white has a strong move to aim at in 1, and with this
formation, it is quite unpleasant for black. If the moves from
black 2 through white 5 are played, black's wall to the right
becomes an object of attack. Nevertheless, if black plays 2, or
else 4 at a, it is painful for black to have white play at 4.
Diagram 39 (Black 5: tricked) If, at black 5 in Diagram 37,
black pushes at 5 in this diagram, white plays at 6 and black
has been tricked.
If one asks how black has been tricked, it is because of the
connection in bad shape that black has been forced into making at 7, which is distressing.
Well then, in the development afterwards, black plays at 9,
and if the sequence from white 10 through black 15 follows,
black has gained considerable ground. However, white has
been kind enough to overlook something here to permit this
gain.
That is, at 12, white has a more awesome trick play to aim
at. Instead of playing at 12, white can...
Diagram 40 (Tricked and annihilated) Cutting at white 1 is
a severe move.
If black answers with 2, white plays 3, 5 & 7 and black is
annihilated. If black seeks to avoid this, the only option is to
play 2 at 7, but then white plays 2, black a, white b, and this is
also painful for black.
White 1 is an awesome move.
Diagram 41 (In accordance with logic) Here, the attachment of black 1 is as logical a move as one might find.
In the local situation white 4 is the usual reply, but it does not work well in relationship with
the way the white stone on the upper side is positioned.
It is best for black to play 5, 7 & 9, offering no resistance to white. This means great profit for
black. Therefore, white's
move at 4 is not possible here.
If white 4 is the standard
move in this case, it must be
wondered to what extent the
connection of white a is good
here.
In addition, the move at
black 3 may be used to draw
back at 6, but my allowed space
in this book is running out. It
is not possible for me to get
around to examining that
move.
116
Diagram 42 (Vague) Entering the 3-3 point with white 1 is

joseki. Here, is a counterattack with black 2 threatening to
white?
Far from being threatening, white would have to hold back
tears of gratitude. After white 3 and black 4, white is left with
the possibility of playing at a. Black's position, rather than
being thick, is but vaguely sketched out.
Of course, it all depends on the overall board position. At
times when white has powerful influence in the lower right
corner, black 2 & 4 is a strong way of playing, with the idea of
neutralizing such a burgeoning position [moyo]. On the other
hand, at such times white will not play at 1.
Diagram 43 (Black gets tricked) In answer to white 1, black
2 is good. Next, white 3 is a trick move, but in regard to it,
please see Maeda 9 dan's primer of problems. Suffice it to say
here that if black plays 4, white 5 compels black to make a
painful concession with 6, ending up tricked (with the same
meaning as black 7 in Diagram 39).
One must have the attitude that even a bout of spiteful stubbornness would not lead one to play black 4. Let's leave it at
that.
Diagram 44 (Black's true formation) If white 2, black reinforces with 3 & 5. This move of black 5 again gives one a
good feeling. If it is omitted...
Diagram 45 (Tricked) Playing black 1 & 3 is answered by
the strong moves of white 4, 6 & 8. Another way of saying it
is that the trick move has done its stuff. There is no alternative but to complete the shape with black 5 in Diagram 44. However, prior to black 5...
Diagram 46 (Forcing [kikashi] with the atari) One wants to atari with black 1 and then leave
the situation as it is.
By exchanging this move for white 2, black gets in what can be regarded as a forcing move
[kikashi].
117
Diagram 47 (A real move [honte] for black) Whether black continues from the last diagram by
playing the real move [honte] at 1 to completely stabilize this group depends on the situation
over the whole board. That is, whether there is a better move on the board or not. Otherwise, if
black 1 is omitted here, white's intention...
Diagram 48 (White 1 is the aim) One must be prepared to deal with the move of 1 which is
white's aim. However, if black answers by playing 2 and then surrounding white with 4, isn't
white in a pinch? Here...
Diagram 49 (A baby trick play) White 1 & 3 comprise a quintessential baby trick play, and the
black player would have to be truly weak to fall for it.
Diagram 50 (White is nonplussed) When white plays at 1, black 2 forces white's capitulation.
Diagram 51 (Life) White lives with the moves from 5 through 9. Yet rather than playing like
that...
Diagram 52 (A satisfying trick play) White's moves at 1 & 3, somehow familiar from a different setting, is white's hidden aim.
When black plays at 4, white goes for the jugular vein with 5 and black winds up with a
mangled position.
With the preceding, I have discussed various aspects of trick plays, and I hope that I have
given the reader a new perspective on them. How about adding a weapon to your arsenal and
becoming strong at trick plays this year?
118
Chapter 3: Introducing Trick Plays

Mihori Sho
It has been Joe Patzer's lifelong dream to have his go rivals lined up like ten pins and
then mow them down with lightning quickness. He calls on the Honinbo of the Alleyways,
Dogaku Sensei, seeking to be initiated into the secrets of trick plays.
Dogaku Sensei draws upon a treasure-trove of erudition and examples handed down from
Sun-tzu to Dosaku and Shusaku in order to reveal the truth, but in the end, will Joe
Patzer's fighting strength increase or not?
The Value of Trick Plays

Joe Patzer: "I would like to teach those devils of spite incarnate, Mr. Chaos and young
Master Carnage, a lesson by using trick plays to give them a rough time. Dogaku Sensei,
please furnish me with good moves that I can learn quickly and put to use right away."
Sensei: "I understand. However, before I begin my discourse I must exhort you to caution,
Joe. That is, explain the boundaries of trick play study. Is that alright with you?"
Joe Patzer: "Oh, I see. A kind of a sermon, huh? I guess I can hold my tongue for a while, but
please make it quick and to the point."
Sensei: "Perhaps you've heard the famous saying that the essence of warfare is the art of
deceit. The particulars are given in Sun-tzu's first chapter 'On Assessments', but the gist of it is
that when one goes into battle, one's principal efforts should be directed towards deception.
When able, seem to be unable; when nearby, seem to be far away; if the enemy seeks an advantage, use it as an enticement; induce arrogance and a letting down of the enemy's guard; attack
where the enemy is unprepared; go by way of places the enemy would never think that one is
going; in such a manner victory is gained, it has been handed down."
Joe Patzer: "In other words, take the path that angels fear to tread."
Sensei: "Such is not the case. At times when diplomatic relations have broken down, and the
social contract among the members of society is an empty charade, one speaks not of sages or of
angels, one questions not the means that one uses to smite evil doers, but setting all of these
considerations aside, the one thing that one must bear in mind above everything else is to keep
wholeheartedly focused on what machinations the opponent is designing, and by abandoning
strictly proper forms and becoming open to respond to changes at any moment, one is able to
perform the necessary preparations to reconstruct one's battle array. In concrete terms, if one's
strategy is revealed by the opponent and one thereby instantly incurs a disadvantage, the trick
play that one has used is not a superior one, while in cases where the opponent is left with a 50/
50 result even without making a misstep but that one can profit greatly at one fell swoop if the
trap works, this is the kind of high level trick play that one should study."
Joe Patzer: "The kind of situation that is filled with danger for the enemy but safe and sound
for the friendly side, huh? Sounds like it can't be beat."
Sensei: "Those who are expert at employing the military are like the 'sudden striker', a snake
indigenous to Mount Heng. This is from another passage by Sun-tzu. If you strike its head, its
tail comes to its aid; if you strike its tail, its head comes to its aid; if you strike its middle, both
head and tail come to its aid. With trick plays as well, having only one string to one's bow is no
good. If the first wave of the attack is parried, one launches a second attack, and if that is turned
aside, the third attack comes roaring ahead, each in rapid succession; thus a three stage system
or a four stage system is essential, you see, so if one is blunted, discouragement does not make
the situation a kind of trick play nursery school."
Joe Patzer: "Please give me the Trick Play University Special Course."
Sensei: "Well then, first we will look at the strategy employed by the go saint Dosaku Meijin
to make the opponent's stones duplicate effort and become overconcentrated. Joe Patzer should
understand that trick plays are not simply used to kill the opponent's stones indiscriminately.
The high level trick play in which the operation of the adversary's stones is neutralized is just
the kind of thing one should study, and here is an example which Dosaku played against the
third generation Yasui Chitetsu in three games. Dosaku left behind the scores of approximately
120 of his games, and the most numerous of those games were played against this Chitetsu,
120
Trick Moves: Intrinsic Values
with 35 games in the praxis that have been

passed down to us. At the time, he was the
opponent with whom Dosaku was most
evenly matched."
Joe Patzer: "In Diagram 1, Dosaku is
playing white and Chitetsu is playing black,
right?"
Sensei: "This was in 1668, so Dosaku was
only 22 years old and ranked 7 dan. The
moves from white 1 through 13 comprise a
technique that Dosaku made common use
of, and in games with Chitetsu he very often played this way, making this shape. Out
of stubbornness, Chitetsu would also always
answer in this way."
Joe Patzer: "But surely he hasn't been
tricked here?"
Sensei: "Of course, just this in itself, the
joseki in the local area, is played at the
present time as well, and the result that is
produced is a 50/50 division of profit and
influence. However, following this, the way
black played in the lower left corner was
how black ended up getting tricked. Sixteen moves after the board position in Diagram 1, we have Diagram 2, where after
white plays at 2 and throws in the cut of
white 5, black's response with 6 & 8 is the
misstep that causes black to get tricked."
Joe Patzer: "I see. After having it pointed
out and considering the implications, it
seems like black's influence on the lower
side represents a duplication of effort,
doesn't it?"
Sensei: "Even though the position in the
lower right is solid and strong, black's moves
at 6 & 8 are at a distance that is only two
points away, and this is terrible. At that time,
research on theory in the game of go had
not progressed very far, so black was not
even aware of the loss that had been incurred. Since that was the case, Dosaku was
always making use of this kind of play. The
outcome of this game was that white won
by 4 points."
121
Joe Patzer: "Hey! Diagram 3 looks just

like the last one!"
Sensei: "This was in the year 1674, making it six years after the previous game.
However, the technique used here is the
same, and in this game Dosaku won by 5
points."
Joe Patzer: "Likewise here, black 22 &
24 make an overlapping of influence, and
represent getting tricked, right? After making the exchange of white 1 for black 2,
white plays 3 through 15 in the lower right,
which is the normal course of development,
and then after that, Dosaku throws in the
cut of white 21, etc., and the move order
used here may be characterized as a manifestation of Dosaku's brilliant skill, isn't that
true?"
Sensei: "In this six year period since the
previous game, Chitetsu did not seem to
have progressed at all. During this year of
1674, Dosaku and Chitetsu played eight
games against each other, with Chitetsu being beaten down in the series to the point of
having to take a two stone handicap, but
Diagram 4 shows a position from a game
which featured the unusual result in which
Chitetsu won playing with only the first
move advantage."
Joe Patzer: "The position on the lower side
is exactly the same as in the last game, isn't
it?"
Sensei: "Here again black responded with
22 & 24, once more falling in line with
white's wishes, and since Dosaku continued
to profit using this line, he repeated the exercise of this trick play. White's play all
across the board in this game as well, was
skillful, but in the endgame white made a
mistake, and black ended up winning by 6
points. Regardless of the outcome of the
game, please try to understand the kind of
high level strategy behind the maneuvers
used here. Just killing stones is not all there
is to trick plays."
122
Joe Patzer: "It seems like the House of

Yasui continued in the dark regarding this
kind of duplication of influence for a long
period, didn't it?"
Sensei: "About one hundred and seventy
years after this, Shusaku loved to use the
move at black 1 in Diagram 5, which prevents white from making the fencing in
move at 1, sealing black in. Once this diagonal move is in place, then, for example,
even if the development in Diagram 6 takes
place, this time the distance between the two
positions is five points, and black can feel
satisfied with the situation. This is the interpretation that one should arrive at. Of
course, you are familiar with the Shusaku
style of playing black's moves of 1, 3 & 5 in
a set opening pattern, and continuing from
that point on, this diagonal move comprises
move number 7, with the intention being to
prevent white's fencing in move at the same
point."
Joe Patzer: "Despite this, it seems like
the House of Yasui at the time did not to
view this as a loss."
Sensei: "They still were not aware of the
truth of the matter. If the truth had dawned
upon them, in any number of games, they
might have played for a variation like the
one in Diagram 7, answering white's
marked stone with black 1, and if white plays
at 2, black answers with 3, and then next, if
white plays 4, black can put up resistance
by answering at 5. Also, there is Diagram
8, where, when white plays the marked
stone, you can see that if black extends upward into the center, and if white continues
by playing at 2, black can opt for the variation with 3, and has ample scope for putting up resistance. In Diagram 8, black's position in the lower right is strong and solid,
so even if white turns outward with 2, it will
not affect black in the slightest."
Joe Patzer: "One must first take care to
avoid the duplication of effort, huh?"
123
Trick Moves and Joseki

Joe Patzer: "What will you present as your
second lesson?"
Sensei: "Let's look at the disposition of
the situation that arises after the set moves
that comprise joseki have been played out.
The moves of joseki have been passed down
from time immemorial as leading to a fixed
position that is equal and then what happens, is that there is a pause in the action,
and the matter is simply left at that, without
any follow up bothered about, and practically no advice given. Consequently, there
are no small numbers of players who have
learned the set patterns of joseki, but when
they reach the middlegame, get into situations in which they incur tremendous losses.
One example of this can be seen in Diagram 1, which I would like you to examine
at this time. For all of those who love to
play the game of go, this is a very common
pattern that can hardly be unfamiliar to anyone. When black plays the move at 3, the
correct order of moves that must be followed
is to answer at white 4. Then we have Diagram 2, where the moves to white 10 make
up a set pattern. The exchange of the marked
white stone for black 1 is one that works
efficiently, guarding against the threat black
has, to use the sequence of black a, white b,
and black c, in order to push through and
cut, but now white can answer with d, black
e, and white f."
Joe Patzer: "That seems like only common sense!"
Sensei: "Well then, Mr. Joe Patzer, in
Diagram 3, when white plays the marked
stone, what if black plays the move at 1,
what will happen in that case?"
Joe Patzer: "Of course, white will push
through at 1 in Diagram 4, and cut with
white 3."
Sensei: "And then what happens if black
plays the move at 4?"
Joe Patzer: "Well, let's see. We can continue with the sequence in Diagram 5,
where white plays at 1, and then follows this
up by playing at 3 & 5."
Sensei: "At what happens if black then
plays at 6?"
Joe Patzer: "Well, let's see. How about
continuing with the moves in Diagram 6,
with white playing 1 through 13.I suppose
that by breaking out into the open, black
hands white a setback. This must be another
example of getting tricked." [The marked
black stone is not referred to in the text. It
probably was put into the diagram to indicate where the throw-in and recapture takes
place.]
Sensei: "This isn't an example of getting
tricked, it's the way that matters will normally proceed in this situation. However,
after this, there is an important move that
must be played. It is an insight that has been
passed along by Go Seigen Sensei directly,
and the fact of the matter is that after this,
white must play as in Diagram 7, continuing after the marked black stone with white
1. This exchange of white 1 for black 2 is
very important, and white is not doing badly.
If white neglects this and black is permitted
to hane upward at 1, white is not good."
Joe Patzer: "Hmm. Is that so?"
Sensei: "One more thing, another move
that has come to us from Go Seigen Sensei
is shown in Diagram 8, a way of playing
after black, in response to white's marked
stone, plays elsewhere. Then white 1
through black 14 is inevitable. Since there
is a cutting point to the left of white 13, black
wins by one move in the corner, but the
important thing is the exchange of white 15
for black 16. Furthermore, white can play
at a as a forcing move [kikashi], and so the
conclusion is that white is not doing badly.
Please do not forget this move at white 15.
Joe Patzer: "I guess one has to know about
vital points in variations after joseki."
125
Trick Plays and Ladders

Joe Patzer: "What will you present now as your third
lesson?"
Sensei: "The relationship between trick plays and ladders is an extremely important element that one must always bear in mind.
"As an example, we have Diagram 1."
Joe Patzer: "This is a joseki. I know it.
"Jumping to black 13 at this point here is an important
forcing move [kikashi] that one must have at one's command, and that white must also answer immediately with
14 & 16.
"If black manages to get in a move at the point of a,
instead of playing at black 15, drawing back to black b is
possible."
Sensei: "Exactly right. However, one thing that must always be kept in mind is that at times when the ladder is not
good, black can get tricked here as in Diagram 2, by having white play 1 & 3.
"There are not very many people who are aware of this
situation, and so I have taken it up here as the subject matter at this point, but Go Seigen Sensei took up the matter in
one installment of a series of magazine articles that were
published under the title of Watch Your Next Move, New
Edition."
Joe Patzer: "Suppose black answers white's marked stone
in Diagram 3 with 1."
Sensei: "In response to this move at black 1, white's cut
at 2 is skillfully played, and the sequence proceeds to the
block at 8."
Joe Patzer: "Well then, how about playing at black 1 & 3
in Diagram 4?"
Sensei: "That way of playing offers the greatest resistance, but white wins with the sequence of moves from 2
through 10.
"The question of the ladder comes up when, after this,
play continues with black a, white b, black c, white d, and
black e.
"There are quite a few cases of joseki which involve danger when a ladder is unfavorable, so there is a fully justified
fear that by indiscriminately memorizing joseki one can end
up tricking oneself.
"Furthermore, if black plays 1 in Diagram 4 at 10, white
answers at 2."
126
Joe Patzer: "Actually, speaking of joseki books, if it is

not pointed out that one cannot play in a certain way because of a ladder, or that one must be careful in certain
situations, that is being really unkind."
Sensei: "It is exactly that unkind side of those go books
that is the source of delight to the tribe of trick play artists.
Consequently, it is necessary that those individuals who have
an interest in trick plays thoroughly study the joseki that
end up in this kind of disaster because of a ladder. In a
section that follows, a game between Maeda and Go is examined in which Go was tricked because of an unfavorable
ladder, which points up the inherent fascination in the relationship between joseki and ladders. There is another example of a trick play with subtle ramifications. That is shown
in Diagram 5."
Joe Patzer: "I see that white 1 avoids blocking at the point
of a."
Sensei: "Continuing from Diagram 5, we have Diagram
6, in which black butts up against white's position with 1. It
is truly surprising the number of players who will do this.
By playing this way, one falls right into the trap. After playing at 2 & 4, white makes the placement at 6, and has
achieved success. When black plays 7, white plays at 8."
Joe Patzer: "Well then, how about playing at black 1 in
Diagram 7?"
Sensei: "In that case, white hanes into the black position
with the move at 2, and after black 3, plays at white 4.
Following this, the sequence to black 11 and then through
white 14 is, for all intents and purposes, a straightforward
variation with practically no possibilities for deviation. Here
the question is the status of the ladder that results from
black a, white b. black c, and white d. Then again, when
black plays at 1, one of white's options can be to play at 2
and the following moves in Diagram 8, embarking on a
strategy of sealing black into the corner, but the key to success or failure of this variation depends on whether, when
black cuts at 13, white can capture the stone in a ladder by
playing at 16."
Joe Patzer: "When white plays at 1 in Diagram 5, what
is the correct way for black to respond?"
Sensei: "If black draws back to b, there are no problems.
If white then plays a, the position reverts back to the joseki.
This may be called a trick play that incurs no loss even if it
fails to trick the opponent."
Joe Patzer: "A legitimate trick play?"
127
Trick Plays and Psychology

Joe Patzer: "What is the psychology of
the situation when one uses trick moves?"
Sensei: "For the party engaging in the
trickery, under ideal conditions, the opponent is unaware of being tricked at all.
"But according to circumstances, one may
resort to fighting strategies employed in the
operation of the four precepts of Japanese
swordsmanship [kendo]. That is, provoking
fear, surprise, suspicion, or confusion in the
adversary.
"By falling into such states, the opponent
will, in general, head toward courses that
result in being tricked. Perhaps you are familiar with the variation that is shown in
Diagram 1."
Joe Patzer: "I have seen it innumerable
times and know it well."
Sensei: "Well, what will happen if white
moves out directly with 1 in Diagram 2?"
Joe Patzer: "Black will capture white with
the moves from 2 through 6.
"Following black 6, a ladder is threatened
with the moves of black a, white b, black c,
white d, and black e. At the same time, black
is threatening to capture white's group in
the center by fencing it in.
"White might try to handle both dilemmas [shinogi] by playing at f, but even in
that case, black g, white h, black i, white j,
and black k make the situation untenable
for white."
Sensei: "You passed that test very well.
Now then, keeping that scenario in mind
for a moment, what happens now if white
plays I in Diagram 3?"
Joe Patzer: "The usual answer is to play
the diagonal move of black 2."
Sensei: "If you do that, you've been
tricked. When white plays the move at 3,
the situation is serious."
Joe Patzer: "In that case, how about the
move of black 1 in Diagram 4?"
128
Sensei: "That's another example of falling victim to a trick move.

"When white plays the moves at 2 & 4,
black is once again faced with a dire predicament."
Joe Patzer: "Then what would be the correct way to respond?"
Sensei: "When white plays the move of
the marked stone in Diagram 4, the correct
way to answer is to simply make a connection at black c.
[Only c is referred to in the text, probably because of space constraints. Perhaps
the intention was to point out that after white
cuts at 6, if black plays atari at a, white replies with the atari in return at b; then, after black connects at c, white plays at d,
and black does not have time to capture at
e, since white plays f and squeezes. Simply
playing atari with black e after white 6
brings on the throw-in of white c]
"Patterns like this one often occur in
handicap games, with many opportunities
for trick plays.
"Diagram 5 shows a variation that often
appears in handicap games."
Joe Patzer: "You see it being played all
the time."
Sensei: "Seeing the situation from a
slightly different perspective, we have the
variation in Diagram 6.
"When black plays the hane at the marked
stone, white avoids making the exchange
of a for black b.
"White's aim is to play the moves at 1, 3
& 5 in Diagram 7. In short, white intends
to take advantage of the shortage of liberties that occurs in black's shape when white
cuts at a, black plays at b, and white plays
atari at c. This is enough to drive black to
distraction.
Joe Patzer: "So what is the best thing for
black to do?"
Sensei: "Go Sensei recommends playing
at black 1 in Diagram 8."
129
A Trick Play Masterpiece

Joe Patzer: "Dogaku Sensei, please show me your favorite trick play."
Sensei: "I will show you a masterpiece of the genre that
has recently appeared. It has only been made public lately,
so there are a considerable number of go players who still
do not know anything about it. That means that there is a
lot of scope to play it effectively, and I heartily commend it
to your frequent practice and wide use.
"First off, we have the moves in Diagram 1."
Joe Patzer: "What do we have here? White 9 is a severe
blocking move, isn't it?
"There is no way in the world that black would play at a
here, followed by white b, black c, and white d. That is
unplayable, so the choice comes down to cutting or making
a pincer attachment."
Sensei: "Whether black plays a cut or a pincer attachment, white has an answer ready and waiting! That's the
fact of the matter."
Joe Patzer: "The pincer attachment is the move of black
1 in Diagram 2. White will descend at 2, and the moves
from black's cut at 3 through black 11 comprise an unforked
road."
Sensei: "In this case, white has the answer at 12 prepared, and if black plays the move at a now, white answers
at b, and with the sequence of black c, white d, black e, and
white f, the matter is settled."
Joe Patzer: "Oh gosh, you've got me there! In that case,
there is the cut of black 1 in Diagram 3."
Sensei: "Then, in the sequence shown there, the exchange
of white 6 for black 7 is very important, and white jumps
out to 8.
"If one wonders why that exchange is so important, the
reason is shown in Diagram 4, where white simply jumps
out to that same point with the move at I. Black plays at 2,
4 & 6, and the famous technique of patting the raccoon's
belly with the moves of black 8 & 10 results in white being
captured."
Joe Patzer: "Even when that exchange has been made,
black has no choice but to push through and cut off the
white marked stone in Diagram 5. When white makes the
move at 6, black cannot make a blocking move below that
stone, since in that case white wins the race to capture
[semeai] by one move, so black will play at 7 to start a ko
130
fight, right?"
Sensei: "With the situation in Diagram 5, the best thing
for white to do is to hurry to play in the center again, filling
a liberty at 8. The ko that is created by playing at black a,
white b, and black c is such an enormous one that no ko
threat on the board will be answered, and white will just
end it there by taking off black's stone.
"Don't forget that regardless of what happens elsewhere,
the black stones in the corner can be killed if white makes a
move there."
Joe Patzer: "What happens if, in response to black's
marked stone in Diagram 6, white tries to push through
with the move at 1?"
Sensei: "Under these circumstances, black's move at 6 is
a perfect ko threat, and when white replies, black takes back
the ko. This time it is white who has no ko material available. White's play here ends up in failure. The thing about
trick plays that one must always bear in mind is that when
the opponent comes sailing along upon the course that one
has set up, it is easy to say gleefully to oneself I've done it!
and, becoming overconfident, make overplays as a result of
one's fighting spirit.
"By the same token, at times when one finds oneself on
the receiving end, in a defensive posture, one must carefully read out the situation in order to find any way to turn
the tables on the opponent."
Joe Patzer: "In Diagram 1 it doesn't seem that black played
any particularly bad moves. What was the mistake there?"
Sensei: "You could say that the connection of black 8
was the move that white had been waiting for. For my part,
having black answer with 1 in Diagram 7 would be a disappointment. However, even in that case white can be satisfied to press down on black's position with white 2 & 4.
"The move that would fall in with white's wishes to the
least extent would be to use this move of black 1 to make
the hanging connection at a. In that case black would avoid
being tricked at all."
Joe Patzer: "In the previous variation, how about it if
black first makes the hane of 1 in Diagram 8, in exchange
for white 2."
Sensei: "With black throwing in at 9, and continuing
with 11 & 13, right? Then it seems that white will play 16,
18 and 20. White is left with the move at a to threaten
black's corner, though it won't be played immediately. White
can feel satisfied with this result."
131
Trick Play Curiosities

Joe Patzer: "What famous examples are
there in go history of trick plays?"
Sensei: "Even though professional players aspire to a standard of excellence, they
too are only human, and there are various
instances of it happening.
"One of the most interesting of these occurred in 1950, in a game played between
Maeda Nobuaki and Go Seigen. At the time,
Maeda was 7 dan and Go was 8 dan. Go
was playing black.
"The start of this game is shown in Diagram 1. The play at white 6 in the lower
right corner is a wonderfully skillful ladder
break.
"When white later made the move at 32,
black embarked on a fight with 33 & 35,
but when white played at 40, black had no
good options available. If black plays at a,
the sequence white b, black c, white d, black
e, white f, black g, and white h, ends in total destruction for black.
"Therefore, Go was compelled to play the
moves in Diagram 2. With the moves from
1 through 17, black is forced to sacrifice
seven stones.
"White gains sente in the bargain as well,
and gets to develop a position in fine style
on the lower side of the board with the moves
at 18&20.
"However, Maeda made a mistake in the
endgame, and the upshot was that black won
by resignation.
"This game was played at Izu-Nagaoka
City in Shizuoka Prefecture.
"Following this game, about a half a year
passed, and these same two players met to
contest a game in the resort city of Atami
on the same Izu Peninsula.
"This time Maeda played black. Go
Seigen had by then advanced to the rank of
9 dan, while Maeda was still ranked as 7
dan.
132
"Diagram 3 shows how this game proceeded. Go repeated exactly the same variation of the previous game in which he had
been hoodwinked, and then played the move
at white 24. Naturally, the ladder in this situation is unfavorable for black.
"Maeda, as the trickster who had the
patent on this particular model, was not
caught unawares, and answered with black
25 and 27. Thus, an innocuous result was
produced on both sides, but instead of the
move at white 28, it seems possible for white
to play the cut at 29, followed by black a,
white 28, black 32, white 38, black b, white
c, and black d.
"Regardless of this, the fact that after a
half a year, in a rematch between the same
two opponents, the technique was adopted
which had been used to trick one of them,
and turned upon the opponent who had used
the trick, to test the response, is a source of
fascination and delight."
Joe Patzer: "You're telling me!"
Sensei: "On the other hand, the following game was played close to twenty years
later, in October of 1968, as the fifth game
of the Meijin Title Match.
"Takagawa was the challenger to Rin
Kaiho Meijin, who was down three losses
to one win and faced the loss of his title
with this game.
"The same move was played here, black
19 in Diagram 4. Rin, playing white, was
surprised by the move, and submissively
answered with 20 & 22. Playing black 25
gave Takagawa the advantage, and was the
reason that he won and became Meijin. In
the analysis after the game, Go Seigen said,
Rin, here at white 20, the joseki move is at
white a, followed by black 21, white b, black
c, and white d, don't you know! Rin replied
that, However that is, those games where
the joseki was developed were played when
I was a child of seven years old in Taiwan. I
didn't know about those moves at all..."
133
Trick Play Afterthoughts

Joe Patzer: "Finally, do you have any other techniques to
pass along to the reader which may be useful in real game
situations?"
Sensei: "In that case, there is the following.
"Rin Kaiho and others have recently been playing in a
certain way, and for that reason, in part, that style of play
has been adopted with great enthusiasm by many amateur
go players.
"That pattern is shown in Diagram 1 and as a supplement to the preceding pages, I would like to offer some
friendly words of advice. I want to convey the warning that
if one is careless, there are all sorts of traps one can fall into
with this position."
Joe Patzer: "In the games of Rin and others, the division
of the corner follows the moves in Diagram 2, and this is a
peaceful result."
Sensei: "Quite so! If Diagram 2 is the result, one has
nothing to worry about.
"One can point out that in this shape, white's marked
stone provides more stability for the group than it does when
it is placed at a in a related position. In short, when white's
marked stone is placed at a, black's checking move at b
next is severe."
Joe Patzer: "However, Dogaku Sensei was speaking of
problems with trick plays in this pattern."
Sensei: "There are two types here.
"The first type is shown in Diagram 3.
"And the second type is shown in Diagram 4.
"But it must be pointed out, first of all, that in either
case, the initiative lies with white whether to play the order
of moves that forces the unfolding of events. Regardless of
whether black likes these lines of play or not, the only option is to make the attachment at the 3-3 point to begin
with.
"Speaking of Diagram 3, when white hanes over the
marked black stone, black's only possible reply is to cut at
2, and then if white plays the atari of 3, black has to answer
with the move at 4.
"At that point, white's choices diverge along two paths.
White can either play the move at 5 in Diagram 3, or the
move at 1 in Diagram 4.
"Well then. At this point, what would young Joe Patzer
consider doing?"
134
Joe Patzer: "If the situation is the one in Diagram 3, I

would play as in Diagram 5, living in the corner with black
1 & 3 before anything else."
Sensei: "That falls right in line with white's wishes. Play
may continue from here in any number of directions, but
white will look for a chance later on to descend at a, and
when black plays atari against white's two stones with the
move at b, the hane of white c deprives black of the possibility of making two eyes.
"White's intention is to create a shortage of liberties here,
so at some point black must take action, even if it is only to
play a hane once below the point of c, to neutralize white's
threat."
Joe Patzer: "I see what you mean. So then, with the position in Diagram 4, is the continuation in Diagram 6, where
black plays the moves from 1 through 5 in order to live,
also an example of falling into a trap?"
Sensei: "White is lying in wait to play 8 & 10, thereby
capturing black's three stones with a fencing in strategy.
White welcomes this gift.
"The exchange of the atari at black 1 for the connection
of white 2 is bad."
Joe Patzer: "Oh my gosh! There's no way to escape from
this, is there? In that case, please demonstrate the correct
way to play."
Sensei: "In the previous diagram, the correct thing to do
is to play as in Diagram 7.
"With the moves of 1 & 3, black discards the two stones
in the corner lightly as a sacrifice, and by extending to 5
gets a sufficient result. Black's position is solid and stable.
In addition, it is not open at the edge of the board.
"It's best for black not to be overly concerned about living in the corner."
Joe Patzer: "And the latter diagram..."
Sensei: "The correct way to play in the latter diagram is
shown in Diagram 8.
"Black would like to cut with 1, and after white 2, play
the move of black 3, but this turns out badly when white
ends up playing the fencing in move of 12. Therefore, it is
correct for black to use the move at 1 to turn at a.
"I have to add here that Kobayashi Koichi 7 dan [at the
time of publication] was kind enough to point out this move
of black a."
Joe Patzer: "Acknowledged. Regardless, the material for
study across the board is limitless."
135
136
137
138
139
140
141
142
143
The Kaizen Massive

Walling In
During the Edo Period, between 1781 and 1789, there
was an accomplished player named Kaizen. In his younger
days, this Buddhist priest came to Tokyo from Komatsu in
Ishikawa Prefecture to become an acolyte at the Shizo High
Temple. As a child, Kaizen was attracted to go, and he was
known throughout Edo as "a funny kind of
master player". Kaizen's go was
quintessentialy amateurish, but he had few
rivals to his fighting strength, and between
1804 and 1818, he was ranked shoulder to
shoulder with Shinomiya Yonezo. He played
Honinbo Satsugen at three stones, and
crossed swords with Retsugen taking black.
Diagram 1 shows the starting point of
his famous "Kaizen Massive Walling In".
The mutual diagonal play from corner stones
is now obsolete, but was played constantly
in the Middle Edo Period, and laid the
groundwork for this trick play.
Diagram 2 White goes for broke with 4
& 6 because the ladder is favorable. But this
is what black has been waiting for. If the
ladder was not good for white, at 9, black
plays a and b and white is annihilated.
Through 12, white hangs tough, but...
Diagram 3 white 6 is a terrible move.
Diagram 4 Black 1 starts the process.
Diagram 5 Up to 13, black's sacrifice
strategy is successful. White has 40 points.
Black's solid wall is good for at least 40
points on both sides. White 6 in Diagram 3
would have been correctly played at 8.
144
Chapter 4: Caution! Trick Play Ahead!

(Being a Primer Comprised of 25 Problems)
Maeda Nobuaki 9 dan
To Begin With
From the basics through the practical application of trick plays, then on to actual game
examples and psychological strategy, there have been various materials for study offered
here, and this final section takes the form of a test. Please take this opportunity to try your
own strength.
Twenty-five problems posed by Maeda 9 dan are given. Among them, there are difficult
ones and there are simple ones, but if you can solve all of the problems without difficulty,
you may be considered an amateur 5 dan in strength.
Caution! Trick Play Ahead! is the title, but the questions are not limited to trick plays. A
variety of forms have been chosen, including techniques commonly practiced by strong
players, unusual joseki patterns, basic life and death shape in the corner, deft handling
[sabaki] of middlegame situations, skillful finesse [tesuji] in the endgame, etc.
There are also methods that have broad application in actual fights, as well as shapes
that you are undoubtedly familiar with, but will you be able to find the correct solution?
Using knowledge alone to come up with an answer may perhaps run into an unexpected
ambush. There is some real mischievousness contained in this test, so be careful.
The Editors
146
Trick Moves: A Test
Provocative
If, in reply to the capping move of black 2, white answers in some way on the
lower side there are no problems, but white throws a curve ball with a move like 3
in order to be provocative, and also, to test black's response. The basis for this
piece of nastiness is the weakness of the connection between the star point stone
and black 2, but what, after all, is the best defense for black to make?
One's footing is secured by illumination and reflection
147
Solution
First: Solidify the Position
Diagram 1 (A model example of getting
tricked) If black is worried about being
overextended and plays a move like 1 to
augment the shape, then it would have been
better not to have played the capping move
to begin with. Now white can invade at the
3-3 point, and with the moves through white
8, black's shape suffers from terrible overconcentration. Black a is similar to the move
of black 1. If, in that case, when white plays
at 2, black answers at 3, white crosses underneath at b.
Diagram 2 (Making a loss in advance)
The attachment of black 1 and the block at
3 makes white solid and strong, a loss which
black accepts in advance of attacking on the
lower side, although there is no guarantee
of such an attack bearing fruit. If black plays
a, white replies at b, and it seems as though
white will have no problem managing the
situation [sabaki]. White is left with scope
to slide to c.
Diagram 3 (An even result) Black 1
shows a defiant attitude, and if white responds at a, black has sufficient resources
with the move at b to fight. Therefore, white
will go for an exchange [furi-kawari] with
2 and the following moves. The variation
up to black 7 is considered about even.
Diagram 4 (The correct reply) Black 1
cuts the heart out of white's machinations
to handle the position [sabaki], fortifies
black's own base, and makes attacks on either the left or the right side equivalent options [miai] for black. Next, both moves at
black a or b are severe aims, and it is apparent that white's overplay has been exposed
for what it is.
148
Trick Moves: A Test
Originally Sabaki
In this position, there are various double attacking moves against the corner that
may be aimed at, but white chooses the attachment of 1 and the cut of 3 as a
psychological weapon. The technique is originally a Sabaki strategy: fancy footwork to deal with a stronger force, but white is counting on confusion to disable
black. Too elaborate thinking on black's part here will fall in with white's designs.
Step by step
149
Solution
Bluntly Set the Shape
tricked) If simply pulling back to black 1
works well, that is the strongest technique
here, but since white has the preponderance
of forces in the area, resistance with 2 & 4
is possible. A pitched battle results from the
moves through 8, which white precipitated,
all according to plan. After this, if black is
not careful, white can even end up killing
the corner with the moves white a, black b,
and white c.
Diagram 2 (A finesse, but) Playing atari
once with black 1 and then drawing back to
3 is a finesse [tesuji] that is often effective.
However, under these circumstances the
shape that white makes by jumping out to 8
is good. Consequently, this is not quite sufficient for black.
Diagram 3 (The correct reply) The ataris
of black 1 & 3 set the shape here, and by
doing so, an exchange of the inside for the
outside is put into motion. This makes the
continuation easier for black. After playing
these moves, connecting at black 5 makes
pushing through at 7, or capturing two
stones with a move at black a equally good
alternatives [miai] for black. If white answers at 6, black plays 7 & 9, completing
the shape in good form. In addition, since a
move at black b is practically sente against
the corner, black's shape is thick.
Diagram 4 (Sufficient outside influence)
If white responds by playing on the other
side at 1, black's threat of pushing through
at a is alleviated, so black develops with 2
& 4, which is sufficient. On the right side,
black will not play at a now. Black b, white
a, and then black c makes shape.
150
Playing Three Moves Elsewhere
Trick Moves: A Test
Playing two moves elsewhere will substantially affect one's position, but here is a
situation where three moves are ignored. Still, these conditions are characterized
here as joseki. What is the best way for black to make life? In this case, disregard
the surroundings; the best moves in the local area are called for. A go proverb
states: In a symmetrical position play in the center, but that might be deceiving.
Attention takes a second of time, a wound lasts a lifetime
151
Solution
Bad Conventional "Wisdom"
tricked) The joseki from times of yore has
called for black to play the diagonal move
at the 3-3 point with I in order to live, but
one way or another, there seems to be a conspiracy among strong players to propagate
this. Look how white, with the moves starting with 2, squeezes black like a boa constrictor, and you will understand how badly
off black is. Not only that, but within this
sequence of moves, if black neglects to set
the shape with the moves following 9, and
just plays the hanging connection at 17,
white kills the corner with white 18, black
a, white b. There are two strings to the trick
bow here.
Diagram 2 (Somewhat better) When
white plays at 2, if black is concentrating
on-living, playing 3 through 11 gives black
more territory than in the last diagram, and
also, cutting across the knight's move at a
is a clear-cut aim, so we can say that this is
somewhat better.
Diagram 3 (Go Seigen style) Go 9 dan
insists that living with black 1 & 3 is far
superior to the last two diagrams.
Diagram 4 (An exchange) If white plays
at 2, black 3 initiates an exchange [furikawari]. Following the sequence here, black
is left with the option of crossing underneath
with black a, white b, and black c, making
it an acceptable position. There is also life
for black by using 3 to connect at 4, then
white d, and black 14. However, above all,
the conventional "wisdom" is bad, and black
cannot hope for a good result by adhering
to it. Playing elsewhere after doing so twice
already is how one gets tricked.
152
Trick Moves: A Test
An Impudent Rascal
The cut of white 3 is a bit unreasonable, but putting that aside, if one does not go
at it in this way, one cannot take the initiative and coordinate one's stones. On the
other hand, give an inch and this kind of rascal will take a yard. At this point, one
wants to put a stop to this sort of thing at a single stroke, and teach this fellow
something about the hard knocks in life.
Opportunity makes the thief
153
Solution
Handicap Stones are not Meant for
Making Territory
tricked) If black extends to 1, white will
undoubtedly play at 2. But if black then plays
at 3 & 5 with an air of triumph at capturing
two stones, there is something wrong. White
makes forcing moves [kikashi] at 8 & 10,
then pushes through with 12, and black is
in real trouble. This happens because black
is fixated solely on defending the territory
in the corner.
Diagram 2 (A nasty ko) Black 1 & 3
are clear and simple moves that manage to
reinforce on one side, while manipulating
white to play at 4 on the other, or so it is
written in some books one runs across. The
rationale is that black can go for the corner
territory with 5 & 7. When white moves out
with 8, black 9 appears to be a skillful finesse [tesuji], but white is left with the option of forcing a ko fight, willy-nilly, with
the sequence through 24.
Diagram 3 (The correct reply) Descending to black 1 here is the strongest and the
best move. If white responds to this by playing at 2, black hangs tough by moving out
with 3. If white cuts at 8, black makes sure
of the corner territory by playing at 11, and
can fight on equal terms on the side of the
board.
Diagram 4 (The corner is white's territory) If white plays at 2, black's sequence
of moves with 3, 5 & 7 is cut-and-dried.
White can live in the corner with the moves
through 14, but black has a decisive advantage in the center fighting. When one is told
not to cling to the territory in the corner,
this is what is meant.
154
Trick Moves: A Test
A Lure to Temptation?
A prevailing shortcoming among weaker players is to see a move like white 7

come butting against one's own position and become surprised, fall into suspicion
over shadows, think that the stronger player is about to land a roundhouse punch,
and waver, thereby incurring a real loss. But stronger players also make bad moves.
The fear itself in weaker players produces the grounds for getting duped.
Don't look a gift horse...
155
Solution
Making Profit in Advance
tricked) By defending at 1 because of abject fear of being lured into the temptation
of exploiting the adversary's weak point,
black gets completely taken. When white
plays at 2, black 3 cannot be omitted, and
playing black 5 at a would leave one with a
feeling of uneasiness considering that
white's marked stone still has scope for activity. To add insult to injury, white's hane
at b and connection is sente, so that the
marked white stone is utilized in every way
possible. This is a great success for white,
but a terrible failure for black.
Diagram 2 (The correct reply) In this
case, going right for the profit at hand is
just fine. However, when white plays at 2, if
black does not slice through white's knight's
move with 3 immediately, and fight, black's
position will steadily deteriorate. Since the
ladder does not work for white, play proceeds through black 11, and the result is such
that one questions what in the world white
is doing.
Diagram 3 (Apprehension about the corner) If black does not fight immediately
with 3 in the previous diagram, white will
play in the vicinity of 1 here, lessening the
severity of black's slicing through the
knight's move, a ploy which, furthermore,
sets the stage for the devilish move of white
a, etc., in the corner.
Diagram 4 (Set pattern) White's move at
I to begin with is normally played as the
connection underneath here. Black 2 & 4
make good shape, but whether black uses 4
to atari at 5 depends on the overall position.
Thar atari is par for this shape.
156
Buckling Under Goes Against the Grain
Trick Moves: A Test
Attaching with white 1 and expanding outward with 3 creates the potential [aji]
for ko, a common method that stronger players use for intimidation. If one buckles
under to an abnormal extent, the intimidation will grow greater and greater until
one's surrender is a matter of course. Bellicose white also has weak points, and by
landing a solid blow, one can wrest away the initiative.
Attack is the best defense
157
Solution
There is no Ko at the Start of a
Game
tricked) If black connects at 1 and gets
forced [kikashi] by white 2, there is no extraordinary threat here against the life of
black's group. However, white is greatly
satisfied because after this, if white gets
ataried by a black move at a, the shape has
become "light". Black has only defended the
corner. White has lightly dealt with the position [sabaki] and earned sente.
Diagram 2 (An olden shape) In olden
times connecting at black 1 was recommended. The reason was that after black
wins the ko that white starts with 2 & 4, the
shape here works more efficiently than the
one with the black stone placed at a. But
with this shape too, white holds the right to
choose the timing of when to start the ko,
and for black this goes against the grain.
Diagram 3 (The correct reply) This high
pressure attitude originates from a desire to
hide white's position of weakness. Black
should calmly strip white of a base by playing at 1, and when black takes the ko, the
go proverb that states: There is no ko at the
start of a game applies. If white tries to fight
the ko anyway, when white takes it, black
expands outward at a, making it an all-ornothing ko that black is set on winning. If
play proceeds with black a and white b, then
connecting with black c is sufficient.
Diagram 4 (Great profit) If white plays
for an exchange [furi-kawari] with 2, black
is delighted to solidify the territory in the
corner on a large scale through black 9. After this, if white plays at either a or b, black
answers at c.
158
Feet Swept out from Underneath
Trick Moves A Test
White 1 & 3 display a low posture. However, if one is careless one can find one's
feet swept out from underneath. There are various ways of playing here, but the
first lesson of handicap games is to set the shape so that one does not get tricked.
Here too, if one is overly concerned about the territory in the corner, one's shape
will get unpleasantly distorted.
Every rose has its thorn
159
Solution
If One Wants to Play on the Right,
Start with a Move on the Left
tricked) Connecting with black 1 is clear
and simple, but choosing such easygoing
moves alone, paints a rosy picture that stronger players will exploit ever increasingly.
Here white gets a chance to make good shape
full of resilience with 2, and following this
with unfocused play will provoke a turnabout, with black's group coming under attack from a white stone in the area of a.
Diagram 2 (Inadequate) Black can also
play the hard-nosed blocking move in the
corner with 1, but what is troubling about
this is that white's group is allowed to become settled comfortably. At any rate, if
there is reason to fear in these positions, one
would like to see black take up a stronger
fighting stance.
Diagram 3 (The correct reply) When
white goes to slip deeper into the corner, it
stands to reason that the position on the
outside will become thinner. If one's footing is usurped, then crush down from above.
With this in mind, black puts on pressure
by blocking at 1 & 3, and no matter how the
fighting proceeds from here, black has the
upper hand. If white plays at 4, in the continuation through 13, black lets the corner
live, but white's group on the outside is isolated from support. If white 4 is played at
10, black connects at 4, and white's marked
stone is reduced to meaninglessness.
Diagram 4 (Indomitable impetus) If
white 10 in the last diagram is played at 1
here in a bid for outside influence, black is
given a large piece of territory, and white's
shape offers few prospects for victory.
160
Excavation of a Position Open at the Bottom
Tnck Moves: A Test
A one space jump is open at the bottom, and if white plays something like 1 directly, this excavation maneuver will, in general, surprise and rattle one's nerves.
Of course, that is white's aim. The scheme is to pull off a bit of skullduggery while
the opponent is flustered. So it is necessary to ascertain precisely what white's
objective is.
Worries ahead, joys but a remembrance
161
Solution
Defend the Vital Point
tricked) If black's nerves fall apart at white's
invasion, and that leads black to try to halt
matters directly with a move like 1, white
enters in at the back door with 2 to rip the
position to ribbons. When play proceeds
through white 8, black's move at 1 is shown
to be a huge mistake.
Diagram 2 (There are times when common sense...) When white slides into the
position with a move on the second line, it
is common sense for black to pound down
on the white stone from the fourth line with
1, but with the back door to the corner wide
open, black ends up having the guts ripped
out of the whole position. The shape that
results may be considered to be a worse example of getting tricked than that in the previous diagram.
Diagram 3 (Likewise, from the back)
Black cannot expect white to respond to the
diagonal move of 1 by playing at a. White
will assume a defiant attitude and likewise
here, enter the 3-3 point with 2 and then
play a move at 4. Black's group winds up
virtually floating without a base. Following
this, if black plays the move at a, white answers with a move at b, and the condition
of black's group is critical; black is halfway
destroyed.
Diagram 4 (The correct reply) Without
fear and without getting flustered, black
must occupy the vital point with a move at
1, firmly maintaining control of the most
important asset. By stabilizing the position
in this way, a pincer on the right side, and a
move at black a become equivalent options
[miai].
162
One Line, A World of Difference
Trick Moves: A Test
If white comes diving in one point deeper, what should be done? Thinking that this
is the same as the last pattern is a serious mistake. In go, one line means a mile, or
perhaps a world, of difference. In order to turn this into a bad move, one must
come up with another, modified technique. Well then, how should this be answered?
Footprints of the forerunner
163
Solution
Checking Measure Parameters
tricked) Black 1 in this diagram truly illustrates the situation of following in the
footprints of a forerunner, and falling down
the same jagged cliff. Through white 8, the
position that results is altogether too miserable for black, so instead of playing at 3,
black will probably make the move at a, followed by the white 3, black 8 variation.
However, even in that case, white can play
a harassing move at b or close to it, making
the position an unpleasant one for black.
Diagram 2 (More excruciating) Black
I conforms to form better than the move in
the previous diagram, but leads to an even
more excruciatingly painful result, although
there is still time to bail out. The fact is,
though, that after white plays at 6, the moves
at a and b are simultaneously available
[miai], leading one to want to cover one's
eyes at the miserable state of affairs for black.
Diagram 3 (A safe move) If one is looking for safety, defending the vital point with
black 1 is safe. But this situation is different
from the previous pattern in that white has
encroached further upon the corner, and this
difference has an enormous impact on the
amount of eye space that black can make
there.
Diagram 4 (The correct reply) A move
that has been played in an overextended
manner should be crushed flat, and black I
is perfect in this shape to check white's ambitions. Through black 7, white has gained
nothing. If white 2 is played at a, black
settles the position with 3, white b, and black
c, making equivalent options [miai] of black
d and e.
164
Being Dumfounded will not Do
Trick Moves: A Test
If one sees the deep invasion of white 1 and is dumfounded at the extent of the
opponent's audacity, one will fall victim to it. One must see through white's aim
and decisively counterattack. However, since this is, at an elemental level, a sacrificial invasion, the difficulty is in making sure that one does not make too earnest
an attempt to capture the stone.
Reflect and speak anew
165
Solution
Leaning Attack
tricked) Savoring all of the nuances up to
now reveals that the diagonal move of black
1 is a grave error in this case. White will
undoubtedly connect underneath with 2,
whereupon white's sliding in move lands
precisely upon the vital point. After this,
black is able to capture the marked white
stone by playing black a, white b, black c,
white d, and black e, but in the interim,
white's moves pushing through at b and d
compound black's losses.
Diagram 2 (Capturing is also a loss)
Black 1 is the kind of good-for-nothing move
which would be considered valueless in any
era, today or in the past. Naturally, white's
one stone is restricted somewhat in its operation, but white is under no obligation to
try to move out with this stone. With a show
of unconcern, white discards it with the
moves from 2 through 6, and black is in
agony.
Diagram 3 (Skeletonized) If black could
make the forcing move [kikashi] at 1 and
then capture the stone on a large scale with
3, nothing would be better, but white lives
easily with the moves from 4 through 8, and
black is left with nothing but a skeletonized
shape.
Diagram 4 (The correct reply) If one
wonders how to proceed, it is by firmly reinforcing the position with the moves at
black 1 & 3. If white plays 6 at 7, black takes
the move at a. White 6 is played out of distaste for this, but black 7 & 9 further
strengthen the position, and afterward, black
can aim at playing the sequence: black a,
white b, and black c.
166
A Trap of One's Own Devising
Trick Moves: A Test
The poke of white 1 is a very common move, but according to how black answers,
can change in an instant into a trick play. Of course, care must be taken with great
pains to see that in answering, black's own shoelaces are not the cause of a stumble.
The preponderance of stones in this position are white's, so an overly agreeable
result cannot be anticipated.
Look before you leap
167
Solution
Safety First
tricked) Blocking on the outside with black
1 is an unreasonable move that fails to take
into consideration the balance of power between both sides. Black doggedly separates
white's stones to the left and right with the
moves through 5, but at that point, white
pushes through and cuts with 6 & 8, leaving black's shape in shreds. If at 3, black
goes back to play at 6, white makes a hanging connection at a, and the shape is practically the same as in the next diagram.
Diagram 2 (Only one eye) The connection of black 1 is a move that should be classified as "heavy" rather than "thick". The
diagonal move of white 2 provides a resilient connection with the outside stone, and
if black answers at 3, white forces [kikashi]
with 4, 6 & 8, leaving black with only one
eye. The resultant position has white dictating the pace by chasing black out into the
open with 10. If black plays 3 at a, white
plays at 9, and black's base is further eroded.
Diagram 3 (The correct reply) Blocking at black 1 in the corner, and thereby living in the corner, simplifies and clarifies the
situation. White makes good shape with the
moves through 6, but black's territory in the
corner is nothing to sneeze at.
Diagram 4 (Good points and shortcomings) If white plays the move that worked
so well above at 2, black still plays at 3 & 5,
following the natural rhythm of the stones.
After black 7, white can aim at attaching at
a, but black connects at b, and will live using a combination of throw-in stones and
white's shortage of liberties. In this diagram,
white's shape is thin.
168
The Significance of Stones Already Played
Trick Moves: A Test
Is there anyone who is not disturbed seeing white invade at the 3-3 point with 1,
despoiling the corner that black has spent so many moves building up? Yet this is
nothing less than a misunderstanding of the meaning of the marked black stone,
which by no means was played to defend the corner. Although it does serve in part
a defensive function, one must clearly keep in mind the stone's original objectives.
Every cloud has a silver lining
169
Solution
Avoid Getting "Doubled Up" On
tricked) If black blocks at 1, and plays the
moves through 7, white has reduced the corner in sente, become strong in the process,
and is left with the aim of playing at a, or
nearby, laying waste to black's territory on
the side of the board. Being forced [kikashi]
doubly in this way is not a good thing, and
even if though pattern is viewed as a standard one, in reality, the resulting shape is
one in which black has been half tricked.
Giving way with black 3 at 4 leads to essentially the same outcome.
Diagram 2 (Getting forced) The empty
triangle of black 1 is a consummate example
of getting forced, the move not having the
slightest impact on white whatsoever. Therefore, white will leave the situation as it is
for the time being, looking forward to playing the sequence following 2 to make life,
and the invasion at a.
Diagram 3 (The correct reply) Regardless of whatever happens, descending to
black 1 is the only move. White ravages the
corner with the moves following 2, but black
becomes strong on the outside, leaving
white's three stones floating in the shadow
of that thickness. In addition, black cuts at
7 & 9 in the corner, taking half of the territory there which has now been delineated.
This kind of process is what go is all about.
Diagram 4 (Same as above) If white plays
6 in the last diagram at 1 here to live in the
corner, black answers with the lithe moves
at 2 & 4, and here as well, black is well off.
Black takes half the territory in a similar
way as in the last diagram, while the pressure on white's three stones is more severe.
170
Trick Moves: A Test
Sliding on Thin Ice
If white has to stabilize this group one way or another, why not do so while encroaching upon black's territory a bit? This is the premise behind white's sliding
move at 5. However, this doubly large knight's move slides on very thin ice. Furthermore, it is a three space extension in a low posture, so one expects that there
in a way to take it to task.
Every Jack has his Jill
171
Solution
Ram a Heavy Stone Down
tricked) If black backs down with a move
like 1, contrary to the intention, white is
actually given stimulus to settle this group
with 2 & 4. Despite the fact that black's
stones in this area have be placed for attack, white has gotten to make moves to tide
over the situation [sabaki]. This is no good.
If black plays 1 at a, white responds at b,
and likewise settles the group comfortably.
Diagram 2 (Tiding over shape) The
placement move of black 1 is fierce, and
certainly gives white a lot to be worried
about. However, this sort of fierce move
tends to have its force redirected back
against itself, allowing the opponent moves
that tide over the difficulties [sabaki] here
as well. In this case, veering off with white
2 & 4 will throw matters into confusion.
Diagram 3 (The correct reply) The stone
on the fourth line butts down against the
stone that has slid down to the second line.
The intention is to ram a heavy stone down
from above, making a blocking move on either side equally valuable [miai]. White 2
& 4 stabilize the group one way, but black
is left with the sequence black a, white b,
and black c to aim at. If, in answer to black's
move at a, white draws back tod, black plays
the hane and connection starting with the
move at e.
Diagram 4 (Large scale blockade) If
white extends to 2, black needn't go so far
as to block at 4; calmly blockading the group
with the moves from black 3 through 7 is
sufficient. The thing that captures the eye
immediately is the low posture of white's
group here.
172
Trick Moves: A Test
Nefarious Scheme
Despite having the marked checking stone in place, white does not invade at 3, but
to attach at 1, leading one to suspect some kind of nefarious scheme. Is it best to
answer this play in the strongest manner possible or not? That question must be
shunted aside, though, for play has already progessed to white 5, and there is
already no turning back.
In for a penny, in for a pound
173
Solution
Work on the Cut Side
tricked) Of course, there is a ladder relationship here, but pushing up on this side
with black 1 means annihilation. Even if the
ladder is good for black, after white 6, capturing with black a is answered with a white
fencing in move at b, leaving black with the
short end of the stick.
Diagram 2 (The correct response) Pushing on the side that has been cut is correct.
White 2 & 4 follow common sense technique, but the variation that follows through
black 7 is not very attractive for white. After this, white can play the forcing moves
[kikashi] of a and b, thereby managing to
connect underneath to the marked white
stone. However, this kind of thing squeezes
just the bare minimum of use out of that
marked white stone. In addition, if white
plays the move at 4 as the atari at d and on
to one point above this, giving black a two
stone capture at black 4, this time the tables
have been turned and white has been tricked.
Diagram 3 (Sufficient outside influence)
If white plays the offbeat move at 4, black
can respond with 7 through 11, squeezing
white's group to gain outside influence.
Black 13 occupies an essential point.
Diagram 4 (A bewitching move) If white
wants to get the utmost utilization from the
marked stone, white 2 is best. If black makes
a single error, the situation can become critical. Probably black 3 is the best response,
and next, black a, white 4, and fencing white
in with black b, is an option equal [miai] to
the black move at 7. White 4 puts up the
greatest resistance, but by using the stopgap measure of 5, black can capture with 7.
174
Trick Moves: A Test
Change in the Situation
The innocent and orthodox sliding move at white 7 conceals a fearful aim when
played in conjunction with the auxiliary force occupying the position under the
star point. If one cannot adapt to a change in a situation, and perpetually repeats
actions by rote, one is not only laughed at, but one suffers terrible experiences in
go as well.
Impenetrable darkness even an inch ahead
175
Solution
Force First, Then Go Back
tricked) Blocking at black I, a common
sense type of move, does not work here.
White pushes through with 2 and cuts with
4, and even though white's corner is not
strictly alive, black's groups to the left and
right come under attack abruptly, which is
excruciatingly painful. If the marked white
stone is not in place there, instead of playing at 7, black can make a reinforcing move
at a, and black is then in a position to kill
the corner by means of hane: black b, white
c, and black d. This would have black smiling triumphantly.
Diagram 2 (Halfway tricked) If black
tries to simply hane at 1, white pushes out
at 2. If black blocks at a, white cuts, while
not doing anything will bring on a white
move at 3, which would be big. Even so,
playing the move of black 3 has absolutely
no effect on white.
Diagram 3 (Tricked) Since letting white
push through has baleful reprecussions,
pressing down at black 1 is a good idea.
However, if black gets carried away and tries
to pin white down even more relentlessly
with 3 and 5, white will play at 6 & 8, gathering strength for an attack, and black will
be crying in pain.
Diagram 4 (The correct reply) After
pressing down once with 1, black goes back
to play at 3. In this situation, this is the one
and only correct order of moves. Even
though white gets to connect underneath
with 4 & 6, black ends with sente, so this
state of affairs is acceptable. If white does
not play at 4, this time a black move at a is
indeed severe.
176
Trick Moves: A Test
An Endgame Move it is Not
White 1 comes sliding in. Thinking that this is a simple endgame move is an enormous mistake, because it carries the hidden agenda or bringing black's whole group
under attack, according to how things go. It is the way of the world that malevolent villains do not always have villainous looks on their faces. There is only one
correct move here.
It's not in the face, it's in the spirit!
177
Solution
Do not Compulsively Try to Make
Shape
tricked) Black 1 looks like bad shape, and
is, as expected, a bad move. After entering
into the 3-3 point with 2, white crosses underneath with 4 & 6, and in a split second
this black group has to put on its heavy walking boots for a long journey.
Diagram 2 (Only one eye) If black thinks
that by giving way and playing 1 at the 3-3
point will secure the group, this is wishful
thinking. After playing at 2, white will persistently set up a ko, while black stares in
disbelief at the scarcity of eye space. But that
reaction will not prove useful either. The
cause of the damage here has been black's
blind belief in the value of the 3-3 point.
Diagram 3 (Drowning in shape) Black
tries making a one space jump, mesmerized
by the charms of making shape, but is there
real substance to this or not? Here again,
white persistently attacks, starting with 2,
and when the sequence gets to move 7, black
is forced to incur a loss in advance in order
to prevent white from simply capturing at
13. On top of that, the shape is such that it
appears that black will have to respond to
white a.
Diagram 4 (The correct reply) Even
though by accepted canons of good shape,
hanging down with black 1 is an ugly move,
substantively speaking, it maintains the eye
space here. Even if white forces [kikashi]
with 2 & 4, attacking the corner, this shape
is the same as in Problem Number 11, Diagram 4. If white plays at a, black b secures
life because white has to avoid throw-in
stones and shortages of liberties.
178
Trick Moves: A Test
A Simple Invasion
In terms of categorization, white 1 is a simple invasion, and there is nothing to fear

from it. Neither should it be peremptorily dismissed. What is required is that one
respond in the normal way, and doing so is perfectly alright. Rather, from the
opposite viewpoint, one should be grateful to have the shape fixed. Playing standard moves, there is nothing to fear from an inevitable fight that arises.
A cornered animal is dangerous
179
Solution
Make the Group Run, then Give
Chase
tricked) If black tries to block the escape
exit with 1, white jumps into the 3-3 point,
and black must be resigned to having white
go on a rampage within black's group.
Black's only choice is to push through with
3, but by cutting on the inside with 5, white
gets to make life, and to add insult to injury,
does so in sente. The sole compensation for
black is the eye shape gained in the process,
but this is cold comfort indeed.
Diagram 2 (A flimsy finesse) Black's
attachment at 1 is motivated by a meanspirirted scheme: black expects white to play
at 5, whereupon black can draw back to a,
intending to kill the whole group. However,
the stronger player holding white will not
be taken by this, but instead, smoothly make
the moves from 2 through 6 to connect underneath, aiming to push through with b and
cut. If black plays 3 at 6, white will push
through at b and black will yell out Yipes!
Diagram 3 (Thickness and strength or
thick-headed?) If black presses from above
with 1, the question is, to what extent will
this thickness prove effective? On the lower
side, white's group is given the opportunity
to get settled, and as a consequence, the follow-up will be difficult. The possibility [aji]
of an attachment by white at a is also a bit
disagreeable.
Diagram 4 (The correct reply) Black
blocks in the corner with 1 pursuing safety
first. White 6 & 8 are a finesse [tesuji] to
get out into the open, but with 9 & 11, black
applies pressure on the surrounding positions inexorably, and white is in hot water.
180
Trick Moves: A Test
A Curious Response
Even though black has purposely played at 1 in order to divide white's forces,
white responds with the curious move at 2. What on earth is white aiming at?
Without meticulously careful reading to ascertain this, black will feel unnerved
and reluctant to play. Naturally, there are players who will plunge ahead recklessly,
only to be stunned, when all is said and done, at what has happened, but...
Something for free is sometimes not a bargain
181
Solution
A Question of Timing
tricked) Rather than "getting tricked", cutting with black 1 is an example of playing
like an idiot. By answering with the move
at 2, white establishes a one move win in
the race to capture [semeai].
Diagram 2 (Acknowledged that stones
will be captured but...) This is the kind of
situation where one wants to push out immediately with a move at black 1 and see
what happens, but when white answers with
the moves at 2 & 4, the stage is set for both
parties to be swept up into an inescapable
clash of wills. Acting upon the impulse of
the moment, black cuts at 11, but in the sequence that follows, black gets wrapped up
and squeezed, and one wonders how to
evaluate the matter of profit and loss here.
Black's real profit cannot be disregarded, but
white's outward influence is the thing that
grabs one's eye, including the fact that the
move of white a forces [kikashi] black to
answer.
Diagram 3 (Unplayable) If black dislikes being wrapped up, the only alternative is to play 7 in the prior diagram at 1
here, initiating the variation given. At 5,
black cannot cut at 6 (because white plays
at 5 and a ko results), so the outcome is unattractive. The only plus for black is sente.
Diagram 4 (The correct reply) Consequently, the best thing that black can do is
to leave the position as it is and see how
events in the game proceed. If, at some point
white's outward influence becomes an irrelevant factor, black should go ahead and take
the profit to be made by resolutely playing
as in Diagram 2.
182
Countering the Wood-worker's Square
Trick Moves: A Test
The move of white 2, jumping and turning, is called the wood-worker's square and
when it is played the opponent's stone cannot, in general, cross underneath. When
white hanes over black s stone with 4, what will happen? Banking on the strong
position that black has in the lower right corner, there should be some kind of
useful move in this area.
There are no rules without exceptions
183
Solution
Wedging in Decides at Once
tricked) A faint recollection of matters regarding this shape might lead one to cut at
black 1, but with the moves from white 2
through 6, black is cut off from the stone
that had invaded and it is lost. In this position, white can atari at a, so this is terrible
for black. If black plays 7 at b, white plays
at 8, and black can jump into white's territory ate. However, white crawls at 7, threatening the stability of black's corner.
Diagram 2 (A living shape only) Since
the last diagram ends in failure, perhaps it
is best to forget about connecting underneath
and play the moves of black 1 and the rest
to make life. Up to 9, black does make a
living shape, but that is all. Even though
white's territory has been ravaged, white's
shape has become thick at the same time,
and it seems like white will make equivalent inroads into the surrounding area as
compensation. Also, before playing 1, black
a, forcing [kikashi] white b is considered
the correct move order, but in that case white
would probably use 4 to attach at 5.
Diagram 3 (The correct reply) Wedging in with black 1 is a good move. If white
responds at 2, black can neatly connect underneath with the moves through 5.
Diagram 4 (Strongest resistance) White
2 & 4 put up the strongest resistance. However, black connects in good shape by playing 5 & 7. Black has the initiative in the
fighting and through 19 scores a signal success. If black plays 13 at 14, white a, and
then black makes a throw-in at 5, a ko results, but the variation in the diagram ends
in white coming under wholesale attack.
184
Prevented from Connecting Underneath
Trick Moves: A Test
White changes the wood-worker's square to the move at 2. It makes bad shape,
but black's connection underneath is decisively prevented. With this, black must
think of something else to do. Should black move out directly with this stone, or
play something from the outside, utilizing it? Having only the connection underneath in one's repertoire is bound to make one uneasy.
If the East is no good, there is always the West
185
Solution
A Favorable Ladder
tricked) Moving out in a foolhardy manner with black 1 & 3, and feeling delighted
to get to run out with black 7 betrays the
unsophisticated nature of one's game. Although white's territory has been decimated,
in the process of warding off the attack on
this black group, black must be resigned to
seeing the surrounding positions become
undermined.
Diagram 2 (Living is a possibility but...)
Black can play 1 & 3 in a rough-and-ready
manner, squirming all about to make life
with the moves through 11. But making life
is the only thing that is achieved. Although
black is not left with a group that will come
under attack as in the previous diagram, by
making white's position become as thick as
it is, black's groups in the surrounding areas will end up just as severely undermined.
Diagram 3 (A skillful exchange) The
most straightforward way of playing is to
ignore the situation entirely and invade at
black 1. If white answers at 2, black makes
the diagonal attachment of 3, and a fight
begins in a section where black has the advantage. If white plays 2 at a, then black b
is perfect.
Diagram 4 (The correct reply) Those
skilled players who would disdain playing
for the exchange [furi-kawari] in the last
diagram would probably first consider attaching with black 1 and cutting with 3.
White 4 is the strongest answer, but after
black plays the good move at 15 solely to
avoid a ladder, white is halfway destroyed.
If white 4 at 5, black 4, white a, and then
pushing through with black b is enough.
186
Trick Moves: A Test
Beheading the Enemy
Black's shape in the corner is called the three crows, and it is one of the representative solid shapes. Even so, those players holding white being what they are, if the
outlook in the game turned sour, dropping a stone in at 1 and seeing what happens
would be a simple matter. Think carefully and neutralize any possible stratagem
which may be forthcoming.
When the enemy comes hat in hand, take the hat before the beheading
187
Solution
Losses through Greed
tricked) The diagonal move of black 1 looks
strong, but white's blocking move at 2 must
be answered [kikashi], so contrary to expectations, possible problems [aji] are generated. When white attaches with the move at
4 and draws back with 6, defending with
the connection of black 7 cannot be omitted. At that junction, blocking with white 8
is a severe move. The hane of black 9 leads
to a model example of getting tricked, and
the variation through white 20 ends in
black's obliteration.
Diagram 2 (Peril to the life of the group)
Despite the fact that descending to black 1
is a good move, when white plays at 2, blocking from outside with black 3 is no good.
With the moves through 8, white lives easily, while the life of black's own group is
put in peril.
Diagram 3 (Race to capture) Black
hanes inward with I, but when white cuts
at 2, greedily playing black 3 is no good here
as well. When white cuts at 4, a sinister race
to capture [semeai] is lurking in the sequence through white 10.
Diagram 4 (The correct reply) The essential factors that one must keep in mind
in this situation are: descend to black 1; hane
inward with black 3; then, crawl at black 5.
Knowing this much is sufficient. If white
plays at 6, black plays 7, striving as far as
possible to fill in white's liberties. There is
no more scope for white's stratagems, and
all of the villains are apprehended. Even in
the solid three crow formation, this sort of
danger exists. One must be ever on one's
guard.
188
Trick Moves: A Test
Psychologically threatening
The shape with the attachment of white 1 is one that is often met with. In all
likelihood, the mere appearance of white's stone causes fear, which then leads to a
compromising move. Also, even when one steels one's resolve halfway through, a
finishing blow cannot be landed, and the highhanded move of white's prevails. It is
necessary to master the correct reply here once and for all.
Countering with several punches
189
Solution
Invite the Intruder in and then
Smack it Around
tricked) From the sparkle in white's eyes
black becomes apprehensive, leading to the
usual, cowardly response of backing down.
When white connects underneath with the
move at 2, black's territory is not only reduced, but the eye shape of the group as a
whole is compromised.
Diagram 2 (Often happens) Preventing
the connection underneath by playing at
black 1 is good, but here too, one often runs
across examples of white playing the variation of 2 through 12, and turning the position into ko.
Diagram 3 (Unconditionally dead) At
the point of 9 in the preceding diagram,
black should first make the placement at 1,
which allows white's group to be killed unconditionally. This is one of the standard
life and death shapes, and as such one should
have it memorized.
Diagram 4 (The correct reply) In the
last diagram, white dies an ignominious
death; a hapless fate. So white must play
the hane at 1 instead of 8 in Diagram 2, to
see how black reacts. This is a more dogged
response. If black plays 2 at a, white lives
with a move at 9, so black must block here,
and then white plays at 3. In this shape,
white's connection at 4 is sente, so the variation that black used in the last diagram does
not work. Therefore, the best thing that black
can do is to start a ko by playing at 4, 6 & 8.
For white's part, the exchange of the move
at 11, taking the ko, and black 12 is unavoidable, though painful. After white plays
13 and black 14, the ko begins in earnest.
190
Should One Haggle over a Penny?
Trick Moves: A Test
If white exchanges the move at a for black b and then plays white 1, the situation
is clear. However, if white now pushes through at a, there is the fear that black will
defend at c. With that in mind, white takes a deep breath and plays 1. Well then,
what should black do? If one does not read out the lines of resistance thoroughly,
there is a good possibility that one ends up being penny wise and pound foolish.
Knowledge is power
191
Solution
The Situation is Really one of
"To Have and to Have Not"
tricked) If black connects at 1, there are no
problems at all. White then connects underneath at 2. However, it is painful to sit and
watch as the opponent rakes in endgame
points in sente. In a close game, one needs
to begrudge even a penny's worth of profit.
Also, if black blocks at 1, white 2 is absolute sente. If black simply plays at 1, according to the overall situation on the board,
black can keep the move at 3 in reserve.
Diagram 2 (A half-baked notion) Hanging tough by playing the descending move
of black 1 is a good move, but black incurs
enormous damage in the sequence from 8
through 14, where white snakes through
black's position with nary a single hitch. If
this were to happen, sitting tight and playing the variation in the previous diagram
would have been better. Additionally, if
white 10 is played at 12, black answers at
10 and white's effort ends in failure.
in the last diagram is correctly played at 1,
capturing in the corner. This is the only way
to put up resistance. Play proceeds to white
6, whereupon the finesse [tesuji] of black 7
causes the position to become one where
black has an eye and white doesn't. To discover such a resource on the spot in this kind
of complex situation is too much to expect,
so one is advised to keep this knowledge in
the back of one's mind.
Diagram 4 (The same vital point) If white
uses 6 in the prior diagram to connect at 1,
black 4 is likewise the vital point: black's
group has an eye and white's doesn't.
192
Trick Moves: A Test
Monkey Jump Fears
White 1, the monkey jump, is nothing more than a standard endgame play, but the
methods for putting it in check are somewhat complicated, and in this case the size
of black's corner territory is not clear. As a result, there are two sources of fear to
contend with. However, if one treats this as nothing but an endgame question,
white can suddenly attack, and there are those who end up undone at that point.
There is nothing to fear from a careless opponent
193
Solution
Choosing the Standard Pattern
tricked) Butting up against white's stone
with black I is a very common method of
responding in this situation. However, when
black plays the move at 3, white cuts at 4,
and the variation that is played out leads to
a one move approach ko. At that point one
can only scratch one's head and wonder what
went wrong. If black plays 3 at a, there is
no fatal move threatening, but giving way
in this manner is too much to bear.
Diagram 2 (Even if one gives way) If
black gives way from the beginning by playing at 1, white answers in the same fashion
with 2, and likewise here black cannot block
at 3. With the continuation through white
8, there is, unconditionally, play for white
in this corner.
Diagram 3 (The correct reply) Among
the various moves that one can make in response, in this shape black 1 is the best. Up
to 7, black protects the corner territory to
the maximum extent possible.
Diagram 4 (A win in the race to capture) Even if white adopts a hard-nosed
attitude and plays the move at 2, black plays
3 and the following moves to easily win the
race to capture [semeai]. This is an out-andout loss for white, akin to a sacrifice without compensation, so even if black is forced
to take the stones off the board when black's
outside liberties are filled, it will not be a
minus. The position after black plays at 7 is
an illustration of the go proverb that states:
At times, a race to capture, in which one
group has an eye and the other does not, is
meaningful. In this case, black wins the race
by two moves.
194
Trick Moves: A Test
As Ko Threats
White comes along playing 1 & 3, moves which, although essentially ko threats,
lose points as they are played. However, if the position is untenable and white is
looking for a place to resign, this is one of the various kind of things that may be
tried. In that situation, white will unexpectedly suffer from hallucinations. But if
white is allowed to live, no matter how favorable a game it is, black is in danger.
Hmmm
195
Solution
Exquisitely Connecting at the Base
tricked) There are many cases where black
attaches at 1, only to let out a gasp after seeing the position when white plays the hane
at 2. Living with a move at white a, or playing ko with a move at white b are a matched
pair of alternatives [miai], and it is clear
that black's response has created an opportunity for white.
Diagram 2 (Unconditional life) The next
most common response is to make a placement at the 2-2 point in the corner, which
oftentimes is a vital point. But the continuation with white 2 through 6 is cause for
another gasp from black. Now, even if black
takes the ko, white plays at a, strangling the
liberties at black's disposal and living unconditionally. As an aside, it should be noted
that if one is going to make a placement in
this situation, instead of playing at black 1,
a move at 5 is better. But in that case, white
attaches at 1 and a ko results.
Diagram 3 (Despair) It seems like there
are also players who will decide prematurely
that white has an opportunity to live unconditionally, and take the opposite tack, starting the ko with black 1 & 3.
takes profit in relation to the endgame plays
above, while also killing white unconditionally, and so is most unexpected. And yet, it
is simply the practical application of a finesse [tesuji] to prevent the opponent from
making a forcing move [kikashi], so it cannot be considered truly exquisite.
Believing in the correctness of white's
moves implicitly is often the first step towards being tricked.
196
Glossary and Index

(The following glossary and index has been incorporated here to make this book as useful as
possible as a reference work. All Japanese terms which appear within brackets [ ] in the text
have been defined, in the case of highly idiomatic or technical terms using a variety of phrases,
so that the meaning is as clear as possible. If the meaning is still not clear, the reader can turn to
the page referenced for a concrete illustration of the word. Since the text contains some material
which may be complex and confusing, it has been thought best to concentrate on simplifying and
cross-referencing as thoroughly as possible. For study purposes, especially important concepts
have been capitalized and rendered in Bold. Multiple entries are an indication of the proportion
of usage in the text.)
Japanese Terms
[aji keshi]
eliminates possibilities 37
[aji]
good aji
no defects 115
options 18
possibility 180
possible problems 188
potential [aji] for ko 157
potential developments 93
potential moves 84
[furi-kawari]
exchange 12, 31, 55, 63, 82, 100, 111, 148, 152, 158, 186
in white's interest 51
swap 49, 53, 60, 75
[honte]
bona fide play 92
honest to goodness, "real move" 28
orthodox, "real move" 24
proper move 104
real move 118
thick, real move 19
[kendo]
Japanese swordsmanship 128
[Kikashi] Forcing move
force 33, 35, 107. 114, 115, 168
force to the hilt 96
197
forced 98, 111, 158, 170

forces 10, 11, 16, 27, 30, 33, 35, 38, 40, 42, 46, 57, 60, 64, 88, 178, 182
forcing 59, 106, 184
forcing move 40, 84, 117, 125, 126, 166, 196
forcing moves 16, 36, 49, 85, 109, 115, 154, 174
forcing unmercifully 101
has to be answered 26
must be answered 92, 188
pushed all over the place 80
[kori-gatachi]
overconcentrated 76, 85, 101
overconcentrated shape 85, 86, 102
overconcentration 111
[Miai] Defined below
able to play either above or below 36
either equally effective 100
either move equally good 88
either side equally valuable 172
equal follow-up moves 53
equally good alternatives 150
equally good points 107, 112
equivalent options 10, 41, 57, 148, 162, 164
matched pair of alternatives 196
one side or the other 61
option equal 174
simultaneously available 164
[moyo]
burgeoning position 117
large territorial framework 108
territorial framework 114
[ponnuki]
one stone capture 46, 52, 89
take a stone 89
taking a stone 79
[Sabaki] Defined below
deal with the situation 7
deft handling 146
fancy footwork 81
handle the position 148
lightly deal with position 158
managing the situation 148
nimbly ward off opponent 78
198
tide over difficulties 172

tide over the situation 172
weather the attack 59
[Semeai] Race to Capture
capturing race 7, 18, 26, 41, 61
capturing race in corner 48, 52, 56
race to capture
12, 16, 19, 20, 23, 34, 51, 53, 58, 64, 70, 75, 91, 92, 130, 182, 188, 194
winning by one move 32
[shibori]
squeeze play 9
[shinogi]
deal with the problem 11
deals with threats 10
exquisitely handle the situation 19
forestalls cut 74
handle dilemmas 128
parry 32
prevents ladder 39
[Tesuji] Finesse
adroit finesse 42, 50
artful finesse 44
common technique 9
finesse 32, 33, 52, 61, 106, 150, 180, 192
practical application of 196
skilled finesse 38
skillful finesse 40, 47, 89, 93, 103, 105, 146, 154
skillful move 10
skillful technique 78, 112
wonderfully skillful technique 24
[tewari]
move order analysis 89, 111
2-2 point
often vital point in corner 196
3-3 point 46, 52, 72, 74, 75, 100, 101, 117, 134, 148, 152, 162, 169, 178, 180
attachment at 3-3 point 54
3-4 point 28, 73
most popular trick play 42
often gives equal result 34
5-3 point 74
5-4 point 46, 50, 52, 62, 63
often involves unfathomable reading 63
199
advance into the center 11

advantage 29, 37, 72
getting the advantage 27
answer
stereotypical answer bad 40
atari = move that threatens to capture one or more stones of the opponent's
7, 10, 15, 17, 19, 20, 23-27, 29, 37, 38, 40, 42-44, 46, 50, 52, 54, 60, 63, 70,
71, 72, 74, 75, 79, 89, 91, 105, 106, 111, 117, 129, 134, 135, 150, 156, 174, 184
double atari 60
attach 12, 16, 20-22, 26, 29, 32, 38, 46, 48, 50, 51, 56-59, 60, 62, 63, 72, 81,
82, 84, 86, 94, 109, 110, 114, 168, 173, 184, 186, 188, 196
attaching at the belly 19
attachment
7, 22, 24, 29, 39, 51, 54, 60, 61, 80, 83, 94, 104, 108, 109, 116, 134, 148, 149, 180, 189
diagonal attachment 44, 71, 186
endgame attachment 42
inside attachment 8, 46
jumping attachment 17, 35
outer attachment 48
pincer attachment 23, 110, 130
side attachment 47, 78, 86, 88
attack 29, 33, 35, 36, 38-41, 50, 59, 63, 65, 72, 73, 74, 86, 94, 96, 97, 98, 104,
108, 109, 114, 115, 116, 148, 160, 172, 176, 178, 186, 193
dodging an attack 33
leaning attack 166
three way splitting attack 76
attacking initiative 22
B
balance of power 168
base
lacking a base 22
basic variations 20
block 7, 11, 12, 17, 20, 23, 25-27, 29, 30, 33, 34, 35, 38, 43, 51, 52, 53-55, 58,
60, 62, 70, 72, 80, 91, 99, 100, 106, 109, 110, 114, 126, 148, 168, 170, 176,
180, 188, 190, 192, 194
block downward 59
blockade
large scale blockade 172
200
boa constrictor 152

boa constrictor play 43
butt 19, 39, 54, 155, 194
butt against 32, 59
c
cap 31, 80, 103, 104, 112
capture
10, 16, 21, 23, 26, 29, 33, 37, 42, 43, 44, 48, 52, 53, 56, 62, 63, 64, 65, 70, 74, 75, 165
capture stone in ladder
trick play predicated upon 32
capture the cutting stone 73
capture the stone 165
cutting stone 86
hane to capture 30
stone on a large scale 166
"capture the cutting stone"
[go proverb] 32, 73, 86
categories of trick plays 6
center
advancing into center 59
center fighting 154
expanding into center 45
fruitless running into center 47
making a large territory 108
white vies for control 56
Chitetsu 121
combination 17, 24, 35, 56
exquisite combination 57
comparison 29
compromise solution 15
concession 15
connect 9-10, 13, 17, 27, 32, 37, 40, 43, 51-54,
56, 58, 59, 63, 70, 74, 76, 80, 83, 85, 96, 99-102,
106, 107, 150, 152, 158, 160, 180, 184, 192
connect in a line 9
connect underneath 8,10, 12-13, 16, 23,39,41,
83, 88, 105, 166, 174, 176, 184, 190, 192
connection
12, 18, 29, 42, 46, 48, 50, 53, 54, 96, 116, 129, 131, 135, 147, 156, 168, 172, 188, 190
stylish connection 87
201
control
taking control of stones 27
"Coolie Hat" 38
Corner
becomes seki 41, 74
black has large corner 56
black wins in corner 56
black gives up corner 45

black secures corner 56
corner territory versus center thickness
49
dangerously undermined 105
discarding corner 45
fortifies corner 93
grimly clinging to corner
what white is hoping for 44
large scale 158
live in corner 56
secure anchor 86
settling the corner 41
taking a large corner 29
unlikely to die 60
welcome attempt to capture corner 43
wins by one move 125
corner wide open 162

defend the corner 169
divvying up of the corner 16
going for life in corner 72
large corner 29, 73

large territory in corner 54
protect the corner solidly 57
settle the corner 109
size of corner territory is not clear 193
threatening the stability 184
usurp the corner 110
white's corner dead as it sits 51
corner enclosure
large knight's move 76
strange corner enclosure 74
counterattack 12, 44, 56, 84, 96, 98, 104, 105, 117, 165
crawl 38, 45, 49, 55, 58, 59, 61, 62, 87, 184, 188
crawling on the second line 8
cross underneath 12, 18, 183
cross-cut 81, 84, 88, 90
crossing underneath 10, 152
crude but effective sequence 9
crude method 16
cut 7, 10, 14-15, 17, 20-21, 23-25, 29-30, 32-35, 38-40, 42, 44-50, 52-54 57-60,
62, 63, 70, 72-74, 78, 81, 83, 85-86, 96, 98-100, 102-107, 109-110, 112-114,
121, 124, 126, 130, 134, 153, 168, 170, 174, 176, 180, 182, 184, 186, 194
multiple cuts 23
cutting point 33, 75, 125
D
defend 13, 19, 23, 31-32, 34, 36, 37, 39, 41, 45, 47, 48, 51, 104, 164, 188, 191
defense 29, 147
202
defensive posture 131

descend 13, 17, 20, 22, 32, 53, 55-56, 72, 75, 130, 170, 188
development
anticipate development 81
leisurely development 36
dodge 34, 42
Dosaku Meijin 78-79, 81, 82, 121, 122
versus Yasui Chitetsu 120
draw back 29, 54, 57-58, 59, 71, 78, 80, 126, 150, 172, 180
E
"ear-reddening game"
Shusaku versus Genan Inseki 70
Edo Period [1603-1868] 36, 144
empty triangle 170
exquisite move 72
strong move 72
endgame 73, 122, 132, 146, 196
endgame points in sente 192
endgame question 193
monkey jump 193
equal 154
equal result 12
expanding outward 9
extend 22, 25, 29, 32, 34, 36, 42-43 46, 48, 50, 52, 54, 56-57, 59-60, 62,
65, 70, 79, 81, 83, 84, 86, 90, 94, 113, 123, 154
extension 34, 43, 46, 82
two space extension 36
eye
not secure 91
one eye 23
eye shape 11, 92, 180, 190
eye space 60, 164, 178
F
fence 10, 14, 15, 25, 30, 42, 46
fencing capture 100
fencing in 25, 29, 31, 32, 33, 37, 44, 51, 55, 74, 93, 112, 135
fencing in move 14
Fight 43-44, 48-49, 51, 54, 63, 73, 76, 85, 95-96, 98, 106, 109-110, 112-113,
115, 128, 132, 146, 148, 154, 156, 179, 184, 186
203
Fight ...continued
advantageous to white 35
disadvantageous fight in center 42
fight in center 64
fight
fighting resources 59
fighting variations 48
on even terms 17,45
proceeds at white's pace 94
unfavorable fight 40
fighting
initiative in fighting 29
significant compensation 65
fighting spirit 76, 86
fighting stance 7, 160
flee into the center 10
"flower-viewing ko" 15, 25 See also Ko
fortification 13
directly 34
disagreeable fight 28, 58
in the center 28
fighting tactic 47
is equal 48
powerful fighting method 50
sufficient resources for 97
unpleasant fight for black 33
G
Genan Inseki
versus Shusaku 70
go proverb
"Answer a capping move by playing a knight's move." 104, 112
"Answer a cross-cut by extending to one side." 84
"At times, a race to capture in which one group has an eye and the other does not, is
meaningful." 194
"Even a fool connects in answer to a poke." 102
"Hane in response to an attachment." 86
"In a symmetrical position, play in the center." 79, 151
"There is no ko in the beginning of a game." 158
go saint
Dosaku Meijin 120
GoSeigen 125, 126
Go Seigen style 152
versus Maeda Nobuaki 132
gote = surrendering the initiative to the opponent, because failure to do so
will result in significant or overwhelming disadvantage; (opposite of sente q.v.) 115
Group
completely stabilize 118
eye shape 190
firm and solid 82
floating without a base 162
freedom restricted 101
group has eye other's doesn't 192
204
Group ...continued
kill the whole group 180
secure the group 178
settle group 172
solidified 91
stabilized 51
killed unconditionally 190

securing group 94
settling a group 37
stabilize group 171, 172
with only one eye 104
H
handicap
four stone 78
three stone 81
handicap games 6, 8, 13, 26, 27, 92, 129, 159
hane = move that curls around a stone or position
7, 10, 15, 20, 31, 41, 51, 52, 50, 62 82, 95, 125, 127, 129, 172, 176, 183, 188, 190
hane outward 28
two-step hane 41, 51, 55, 70, 97, 98
hanging connection 9, 19, 38, 39, 49, 58, 61, 62, 65, 92, 131, 152, 168
hanging down 178
hanging downward 7
heavy 168
high level trick play 32
Honinbo Dosaku See Dosaku
Honinbo Satsugen 144
House of Yasui 123
I
influence 18, 42, 80, 117, 121, 122, 123, 150, 160, 174, 182
judged more valuable than territory 34
profit versus influence 33
initiative 157, 184
maintaining initiative 29
taking the initiative 29
invade 148, 184, 186
invasion 8, 93, 162, 170, 179
deep invasion 165
sacrificial invasion 165
J
Joseki 6, 18, 31, 35, 37, 46, 52, 59, 61, 72, 78, 84, 94, 103,
108, 110, 111, 117, 125, 126, 127, 133, 151, 152
205
Joseki ...continued
5-4 point joseki 46
50/50 division 121
attach and extend joseki 20, 22, 54
closely related to trick play 44
common 5-4 point shape 62
from times of yore 152
indiscriminately memorizing 126
not a trick play 34
old joseki 111
outer attachment joseki 48
reverts to joseki 73
set moves 124
Taisha joseki 64,71
unusual joseki patterns 146
well-known 5-4 point joseki 52
well-known joseki 22, 90
jump 8, 15, 16, 31, 32, 33, 38, 45, 57,
65, 92, 94, 95, 99, 130, 150, 161, 178, 183, 184
diagonal jump 34
K
Kaizen
Buddhist priest 144
Kajiwara Takeo 9 dan
"owa" quote 100
knockout punch 35
Ko 16, 17, 18, 20, 38, 47, 49, 51, 91, 95, 99, 130, 158, 196
all-or-nothing ko 158
another ko 70
bereft of ko threats 70
big ko 40, 63
black takes ko first 40
capturing race becomes ko
[semeai] 49
considered a threat 70
creating ko material 49
direct ko 52, 99
white's turn to take ko 75
dissolved naturally 71
effective ko threat 52
emergency measure 58
enormous ko develops 92, 131
fighting a ko 27, 158
"flower-viewing ko" 25, 45, 52, 91, 92
huge ko determines game 54
initiating ko 70
ko begins in earnest 190
ko fight 27, 154
ko material lacking 54
ko results 182
ko threat 20, 27, 58, 64, 70, 92
large scale ko 21
makes capture difficult 75
nasty ko 154
no ko material 131
one move approach ko 194
persistently set up a ko 178
playing ko 196
potential [aji] for ko 157
raising stakes in ko 70
retake ko 28
set up a ko 178
start a ko 190
take ko 28
turning position into ko 190
two moves needed to end it 53
206
Ko ...continued
two-step ko 21, 45, 53, 99
variation 184
Kobayashi Koichi 7 dan 135
unfavorable ko for black 64

white takes ko first 40
L
Ladder 11, 25, 29, 39, 43, 51, 88, 126, 127, 128, 133
capturing in a ladder 71
combination to create ladder 57
favorable ladder 144
if ladder does not work 29,55
irrelevant for trick working 54
ladder relationship 174
needs to be unfavorable 56
precisely executed 14
preventing ladder 75
question whether it works 71
skillful ladder break 132
solely to avoid a ladder 186
trick play predicated upon 32
unfavorable ladder a precondition 38
ladder break 11
large knight corner enclosure 12, 14, 16, 18
Liberties 11, 20, 61, 188, 196
fill in liberties 41
filling in liberties 40, 70
filling liberties 34
liberties filled 38, 63
liberties rapidly disappearing
[oiotoshi] 41
shortage of liberties 51
liberty 14, 15, 20, 51, 52, 58
light 31, 33, 36, 43, 62, 96, 97, 158
lightly erasing 114
line
main line 36
living with just two eyes 15
Loss 34, 46, 79, 121, 123, 124, 148, 155, 166, 178, 182, 194
exchange a loss 62
great territorial loss 50
incurring a loss 34
loss in advance 178
out and out loss 23
lump of stones 19
M
Maeda Nobuaki
versus Go Seigen 132
maneuver
excavation maneuver 161
"me ari, me nashi"
meaning = only one side has an eye 38
207
measure
before the fact 110
emergency measure 15, 58, 64
measure parameters 164
orthodox measure 87
method 28
common in capturing races
[semeai] 50
common sense method 103
most dependable method 94
orthodox method 103
powerful fighting method 50, 54
solid method 73
strengthens both sides 109
strong fighting method 44
middlegame 73, 124, 146
monkey jump
standard endgame play 193
Move 112
100% effective move 90
adding another move 29
another available move 32
bad move 105, 108, 109, 155, 163, 178
bewitching move 174
big move 64
calm and collected move 64, 102
checking approach move 92
clear and simple
neutralizes trick play 58
clumsy moves 24
common sense move 86
compromising move 189
correct move 70, 80
correct order of moves 176
crude moves 24, 25, 61
curve ball 147
descending move 53, 114, 192
devilishly clever move 71
adding a move in one's own territory 23

an unforked road 130
awesome move 116
best moves 36
follow as matter of course 94
blocking move 49, 130, 172, 188
capping move 31, 103, 104, 112,
147, 148
checking move 134
clever move 110
common move 167
common sense type move 176
conforms to form better 164
correct move order 184
crafty move 84
curious move 181
defensive move 39
devilish move 156
diagonal move 46, 48, 58, 61, 62, 73,
95, 111, 123, 128, 152, 166,
168, 188
drab move 22
double approach move 22
208
Move ...continued
doubly large knight's move 171
endgame move 177
expending another move 56
easygoing move 160

existense of good move 33
exquisite move 7, 72, 90
empty triangle 72
extra move 21
feasible move 105
fencing in move 14, 25, 31, 32, 33, 34, 37, 40, 43, 44, 50, 51. 93, 102, 112, 114,
123, 135, 174
fierce move 172
flow of moves 63
follow-up move 104
following good form 93,95
Forcing move 33, 35 See also above [Kikashi]
frightening move 99
gets settled quickly 97
good move 55, 70,72, 84, 85, 91, 103, 115, 184, 188, 192
good-for-nothing move 166
harassing move 164
hard-nosed blocking move 160
having to add a move 34
heavy move 98, 168
heavy step 102
highhanded move 109, 189
homogeneous flow of moves 70
inevitable sequence 82, 84
insipid move 64
interesting move 103
joseki move 31,133
keep move in reserve 192
key 24
knight's approach move
against a 3-4 point 28
Knight's move 11, 14,25, 36, 51, 59, 71, 104, 112, 152, 156
attaching across 51
cut across 72
cutting through 51, 57
knight's fencing in move 40
slicing through 156
striking across 47
ko threats 195
large knight's move
corner enclosure 76
large move 65
lax, ineffective move 22
leisurely move 96
lethargic pace 102
light and nimble move 36
lithe move 170
lives with a move 190
logical move 116
lower than necessary 76
making good shape 39
move order 89, 95
move order analysis 111
move out directly 185
moves at cross-purposes 114
natural move 74, 83
natural moves 40, 61
no relation to other moves
poking or cutting moves 76
not such a strange move 64
oddly quiescent 76
offbeat 28
209
Move ...continued
offbeat move 82
one extra move 26, 63
one move win 182
ordinary moves 58
overextended 164
played for naught 82
ponder the meaning 111
reckless move 98
safe move 88, 164
severe blocking move 130
short by one move 23
sliding move 171
splendid move 114, 115
strong move 55, 62,74, 96, 97, 116, 117
empty triangle 72
suspicious move 92
thick move 33, 59, 64, 85
to make life 184
two extra moves 43, 74
ugly move 178
unusual move 53
variant move 88
viable move 84
worst move 84
move order 20
N
natural rhythm 168
O
Okinawa 78
one eye 168, 178
one point jump 13, 24,26
one space pincer 30
opening 78
Ota Yuzo
trick move against Shusaku 31
overconcentrated 8, 17, 23, 54, 148
overextended 148
overplay 148
210
one correct move 177

one move difference 56
only move 36, 48, 78
orthodox sliding move 175
placement move 172
played on second line 76
powerful move 102
reinforcing move 176
seeming without purpose 76
severe move 98, 106, 188
slack move 35, 58, 84, 104
some kind of useful move 183
standard move 116, 179
that undermines position 76

thin move 34
turning move 84
typical move 85
unreasonable move 87, 168
vague move 82, 115
various moves 194
win race to capture by one move 26
P
par
par for a situation 39
par for the situation 33, 47, 62, 83
par for this shape 156
pattern 38, 78
common pattern 18
reverting to a model 24
standard 170
standard pattern 94, 110
"patting the raccoon's belly" 7,130
Pincer 13, 32, 61, 72, 92, 99, 103, 108, 162
close as possible 60
one space high pincer 40
three space pincer 36
two space pincer 34
placement 10, 16, 52, 53, 86, 127, 190
Play
any number of directions 135
crude line of play 72
diagonal play 104
on both sides 73
rhythm of play 64
standard endgame play
monkey jump 193
"play beneath the stones" 11
ploy
ersatz ploy 81
point
cutting point 63
cutting points 46, 72
essential point 174
key point 44
lose points 195
vital point 192
weak point 90, 96, 156, 157
poke 99, 167
policy
light policy 31
ponnuki
ponnuki capture of a stone 27
211
offbeat pincer 58
one space pincer 30
two space high pincer 38
capping play 80
crude way of playing 75
high-handed style 92
power play 87
slipshod play 98
unfocused play 160
Position 19, 21, 81, 162, 183

50/50 position 45
augmented by hane 31
becomes race to capture 58
black approached too closely 61
black has superior position 55
black's position acceptable 51
black's position unattractive 57
chances are equal 48
conventional treatment 104
develop a position 132
difficult position 98
enlarge scope of damage 64
equivalent position 78
examining the position 103
good position 72, 104
horrible position 114
leave the position as it is 182
living in corner not good 45
making good shape 52
not found in joseki 72
occupying the position 175
overall board position 117
overall position 156
overplaying position 39
plays hane 196
position good for black 42
position is untenable 195
position reverts to joseki 104
position which often occurs 26
pressure on the surrounding positions 180
push through position 106
read position out 100
researched in Edo Period 36
retreats undermine position 98
robust position 72
satisfactory position 83
settles the position 164
slides into the position
with move on second line 162
slowly developing position 45
solid and stable 135
acceptable position 152

become thinner 160
becomes seki 38
black gets good position 61
black position in tatters 55
black's position adequate 57
both sides reinforce 74
comfortable position 113
depending upon position 37
developing a position 22
duplication of effort 121
equal position 49, 71
even position 63
flat as a pancake 83
hopeless position 25
introducing quirks 81
lightly deal 158
low position 21, 31, 62
mangled position 118
obviously superior position 44
onerous position 92
overall characteristics 83
overall position on the board 76
playable position 80, 82
position becomes thick 186
position is stabilized 115
position of weakness 158
position undamaged 82
preponderance of stones 167
profit and thickness 70
quirks in position 97
reinforcing the position 166
resultant position 168
rip position to ribbons 162
rough and tumble position 48
set the position 21
settling position quickly 98
snakes through position 192

solidify the position 148
212
Position ...continued
strengthen the position 166
steadily deteriorate 156
surrounding positions undermined 186
strong position 183
thick and strong 46
terrible position 101
thick position 30, 34, 47
thick or overconcentrated 88
thinness of a position 27
thin position 104
try for too much 106
titlted in white's favor 62
turning position into ko 190
turn into seki 115
unpleasant one 164
undermining position 82
vaguely sketched out 117
untenable 88
vital position 97
viable position 28, 86, 87
white position thin 61
white not guaranteed advantage 74
wrapped up 111
posture
low posture 47, 159, 171, 172
press 48, 58, 60, 70, 73, 83, 92, 97, 180
press down 176
pressing upward 11
pressure 45
professional tournament games 90
Profit
13, 17, 18, 21, 23, 61, 62, 86, 107, 110, 111, 116, 121, 156, 158, 182, 192, 196
emphasizing profit 73
black makes tremendous profit 57
exchange of for influence 33
endgame profit 65
making profit in the center 41
large profit 63
versus thickness
profit and thickness 70
equal result 62
protect 36
prototypical trick moves 6
pulling back 150
push 24, 28, 32, 34-35, 48-49, 51, 62, 65, 70, 72, 191
extra push 32
push in 10, 18,40, 73
push out 25, 28, 29, 47, 106
push through 32-34, 44, 53, 81, 96, 99, 100, 112, 124, 130, 150,
166, 168, 176, 180, 186
Q
quintessential baby trick play 118
213
R
Race to capture 17 See also above [Semeai]
readingrasta
one-sided reading 34
reinforce 31, 59, 74, 154
reinforcement 20
rescuing stones 11
resist 36
Result 156
50/50 result
even in event of failure 33
accordingly different 109
adequate result 31
black not dissatisfied 45
equal result 42, 43, 55, 62
excruciatingly painful result 164
good result 34
pleasing result impossible 43
similar result 56
sufficient result for white 46
Retsugen 144
achieving a good result 60

analyzing a result 26
completely even result 33
equal result even in failure 32
expected result 58
not reap a very good result 48
regarded as joseki 35
sufficient result 34, 135
very bad result 72
S
sacrifice 135
sacrifice without compensation 194

scarcity of eye space 178
seal 92-94, 111, 123, 127
seal stones in 37
sealing black into the corner 24
sealed in 7, 10, 14, 24
second best move/policy 12
second line 76
crawl to make life 59
crawling on 87
crawling on second line 55
crawling on the second line 30
secret weapon 19
seki = state of balance in which contending groups cannot attack
further without being destroyed because of insufficient eye space
13, 38, 41, 51, 53, 74, 115
214
sente = condition of being free to take the initiative; (opposite of gote q.v.)
11, 19, 37, 40, 48, 49, 60, 65, 70, 83, 91, 150, 156, 158, 170, 176, 180, 182
absolute sente 192
sequence 21, 23, 29
enormous damage in sequence 192
severe move 22
Shape 11, 12, 17, 18, 48, 187
accepted canons of good shape 178
augment the shape 148
bad shape 63, 116, 178, 185
bad shape forced on black 59
black's shape overconcentrated 54
capture makes shape thick 37
charms of making shape 178
compared to usual joseki 48
complete the shape 117
completing shape in good form 150
complicated shape 27
compulsively try to make shape 178
connection is sente 190
cutting points in shape 46, 64
drowning in shape 178
dumpling shape 64
eye shape 65, 180, 190
fighting shape 107
firm, solid shape 49
first played by Shusaku 70
fixing the shape 33, 34, 88, 104
forced into bad shape 38
good shape 156, 168, 184
full of resilience 160
good shape while attacking 35
half tricked 170
hanging connection efficient
but not good 49
identical shape 102, 109
in tatters 89
inadequate shape 96
inefficient, stick-like 96
lack of eye shape 50
life and death shape 146
light 158
living shape 16
living shape only 184
making good shape 22, 38
making "good shape" impossible 39
making shape 35
no deviation in shape 90
olden shape 158
overconcentrated shape 23, 86
par for this shape 156
perfect in this shape 164
plentiful eye shape 92
proper shape 35, 114
representative solid shape 187
same shape 109
secure eye shape 91
set the shape 150
shape fixed 179
shape in shreds 168
shape is fixed 60
shape is thick 150
shape of group distorted 94
skeletonized shape 166
slack shape 61
solidifying shape 33
standard life and death shapes/should be memorized 190
strong, thick and good 46
terrible shape 114
thick and strong 25, 32, 42, 59, 61, 72-73
thin 28-29, 168
this shape best response 194
tiding over shape 172
215
treasure trove of trick plays 16
turning in bad shape

powerful 73
vital point of shape 39
unpleasantly distorted 159

white sets shape 56
sheer survival 12
Shinomiya Yonezo 144
shortage of liberties 129, 135, 168, 178
Shusaku 31, 123
set opening pattern 123
versus Genan Inseki
"ear-reddening game" 70
versus Ota Yuzo 31
Situation 78, 126
becomes ko 91
change in a situation 175
different perspective 129
even for both 43
if ladder unfavorable 88
impetus of situation 33
local situation 116
middlegame situation 146
overall situation on board 192
play in the center 131
reading situation 34
see how develops on board 88
situation clear 191
somewhat advantageous for white 45
tide over the situation
[sabaki] 172
turn to advantage 88
use a broad outlook 108
board situation 33, 51

consider the situation 102
disposition of the situation 124
extraordinarily complex 56
ignore situation entirely 186
living in the corner 135
make a placement 196
normally proceed 125
par for the situation 33, 39, 47, 62, 83
push out immediately 182
real game situation 115, 134
simplifies and clarifies 168
situation critical 174
standard situation 33
truly illustrates situation 164
untenable situation 128
very common method
butting up 194
sixth sense 76
slide 8
small knight's move corner enclosure 6
solid 13
squeeze 21, 28, 30, 32, 43, 50, 63, 64, 81, 129, 152, 174, 182
star point 175
Stone
5-4 point stone
with fencing in move 50
abandon stone 98
attach at head of two stones 48
avoids discarding stone 72
216
Shape ...continued
black saddled with weak stones 50
black stones taken 50
capture five stones 70
checking stone 173
cutting stone 86
discard stone 29, 58, 60, 100
drag out heavy stone 98
eyeless lump of stones 74
four black stones captured 60
ideal example of sacrifice stones 54
isolate black's stone 57
moving out is bad 56
operating towards outside 113
pivotal stones 61
rendered useless 35
sacrifice stone 37,52,57,85, 101
scope for activity 56
stone gives intense pressure 60
stone still poised for activity 56
stones die miserably 71
stones floating 36
stones held in check 65
stones thin and weak 48
take custody of stones 65
throw-in stone 34, 168, 178
white gives up stones 50
stratagem
neutralize any possible stratagem 187
Strategy 97
clear and simple strategy 31
fencing in strategy 135
masterly sacrifice stone strategy 101
Sabaki strategy 149
sacrifice strategy 144
unreasonable strategy 96
black stone works efficiently 59

black's stones not settled 61
capturing stones bad 64
common sense disposition 97
densely clotted together 101
discarding two stones bad 58
extra sacrifice stone 64
floating stones 29
heavy stones 62
interrelationship and operation 78
most typical disposition 80
operating in unison 93
outside stone 168
provides more stability 134
rhythm of the stones 110
same number of stones 33
source of dissatisfaction 58
stone horribly weakened 42
stones chased into center 44
stones end up dead as they sit 53
stones heavy and without base 44
stones in center a burden 72
stones weakened 65
taking control of stones 52
weak stones above and below 35
white stone practically useless 59
clear-cut strategy 97
high level strategy 85, 89, 93, 122
rupture in strategy 27
sacrifice stone strategy 57, 85
special strategy 42
white strategy working at cross-purposes
47
style
rough and ready style 39
submissive response 17
'sudden striker'
snake of Mount Heng 120
217
Sun-tzu
essence of warfare 120
'On Assessments' 120
symmetrical 8
tactic
desperate tactic 15
fighting tactic 47
tactics 13
Taisha joseki 64, 71
teaching games 94
Technique
36, 41, 45, 47, 53, 54, 78, 80, 97, 103, 105, 109, 110, 112, 122, 133, 150, 163, 174
crude technique easy to subvert 42
familiar technique 84
famous technique 130
playing elsewhere possible 75
severe technique 60
standard technique 91
strong fighting technique 63
tempo 30
Territory
14, 24, 28, 41, 42, 43, 74, 76, 80, 85, 93, 99, 1S2, 154, 159, 160, 168, 170 171, 184, 186, 190, 193, 194
big white territory 52
black strong and solid
large territory staked out 61
black's totals 13 points
white's thickness bigger 58
corner territory versus thickness 49
delineated 170
disregarding territory 52
fourth line territory 20
inferior to thickness 63
intention of surrounding 92
large territory in corner 54
moves in own territory 89
solidify 158
taking large territory 27
taking lion's share of territory 26
territory versus thickness 52
versus influence 34
versus thickness 24, 57
white takes large territory 54, 58
Thickness 9, 15-16, 19, 23-25, 28-30, 32-34, 37, 39, 42, 44, 46-47, 50, 52, 56-58,
60-61, 70, 72,-73, 76, 82, 85, 88, 117, 150, 168, 170, 180, 184, 186
build center thickness 71
building central thickness 55
center thickness superior 49
commanding presence 76
imposing thickness 85
magnificent thickness 83
more desireable than territory 63
more valuable than territory 43
not great thickness 49
strong thickness in center 44
superior to territory 57
thickness working effectively 32
versus profit ...equal result 62
white's thickness dominates the board 60
218
Thickness ...continued
white's thickness outweighed 61
thin 19, 25, 29, 34, 61, 104, 168
stones thin and weak 48
thin play 24
thinness
not to be worried over 31
thinness of a position 27
threat 17
three crow formation 188
three crows
representative solid shape 187
three crows in corner 187
throw-in 27,34,38, 53,64, 125, 129, 131, 168, 184
thrust in 100
thrusting through 98
thrusts upward 16
Tokugawa Era 78
Trick play
masterpiece of the genre 130
turn 59
thick move 33
turning 183
two space high attack 21
two stone handicap 122
two-pronged attack 8
V
variation 12, 16, 18-22, 27, 29, 38, 40, 45, 52, 53, 55, 56, 59,
60, 62, 70, 80, 83, 101, 106, 123, 125, 148, 174, 182,
184, 188, 190, 192, 194
best variation for both sides 33
fighting variations 48
interesting variation 43
possibility of 33
prepared variation 8
variations exhausted 46
vital 72
vital point 22, 39, 46, 52, 53, 95, 111, 125, 162, 164, 166, 192
2-2 point
often key move in corner 196
219
w
wall 14, 108, 109, 110, 112, 115, 116
cutting points in wall 72
imposing outside wall 51
powerful wall 85
solid wall in the center 27
white makes thick outside wall 56
wedge 7, 19, 35
wedging in 22, 37, 60,91, 184
wedging insertion 36, 37, 48, 56, 57, 61, 87, 111
wood-worker's square
blocks cross underneath 183
connection underneath prevented 185
wrap 30, 58
wrap the opponent up 23, 24
wrapped up 113, 182
Yasui Chitetsu
versus Dosaku 120
220

Compendium of Trick Plays - Nihon Kiin

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Compendium of Trick Plays - Nihon Kiin

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A Compendium

Edited by the Nihon Kiin

Copyright 1995 in the U.S.A. by Yutopian Enterprises

For the appeal we make does not spring from error

First printing February 1995

Chapter 2: The Larger Strategy of Trick Plays

Chapter 3: Introducing Trick Plays

"Hamete" / "Trick Moves"

Chapter 1: Essential Knowledge of Trick Plays

Trick plays: Wrapped in danger

Star Point Trick Plays

Trick Moves: Basic Knowledge

Trick Moves: Basic Knowledge

Model 3 Of all the star

Trick Moves: Basic Knowledge

Model 4 This is a representative star point trick play

Trick Moves; Basic Knowledge

ing white 7, but at

Trick Moves: Basic Knowledge

Model 6 White attaches

Tricked 1 One's first impulse is to make the diagonal attachment

Trick Moves: Basic Knowledge

Trick Moves: Basic Knowledge

Model 8 This trick

Tricked 1 First off,

the compromise with

Trick Moves Basic Knowledge

through and cuts with 3 & 5. Exchanging black 6 for white

Model 9 After white has

Trick Moves: Basic Knowledge

the move at 10 in, at white 7...

Model 10 In this trick play,

Trick Moves: Basic Knowledge

exchange of black a for white b.

Model 11 In this position black's one point

Trick Moves: Basic Knowledge

3-4 Point Trick Plays

Trick Moves: Basic Knowledge

Trick Moves: Basic Knowledge

Model 14 After white

Trick Moves: Basic Knowledge

Model 15 White answers the two space

Trick Moves: Basic Knowledge

black a in Diagram 4 is more practical.

Tricked 1 Backing up a step, the hane from below at black 2 is not

Trick Moves: Basic Knowledge

gram was a bad

Trick Moves: Basic Knowledge

won't work here.

Model 18 In response to a one

Tricked 4 12: takes ko

Trick Moves Basic Knowledge

Model 19 Amidst the

Trick Moves: Basic Knowledge

Trick Moves Basic Knowledge

5-4 Point Trick Plays

Trick Moves: Basic Knowledge

taching at a as well. Tricked!

Trick Moves: Basic Knowledge

Trick Moves: Basic Knowledge

Trick Moves: Basic Knowledge

Trick Moves: Basic Knowledge

Trick Moves: Basic Knowledge

Diagram 3 10: connects