A Compendium of Trick Plays 0964184710, 9780964184718

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A Compendium The

Nihon

of Trick Plays

Kiin

—

mcmama

Yutopian Enterprises

Digitized by the Internet Archive in 2022 with funding from Kahle/Austin Foundation

https://archive.org/details/compendiumoftricoO000unse

A Compendium of

Trick Plays

Edited by the Nihon Kiin

Published by Yutopian Enterprises 22955. 29th strect 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................ Ishida Yoshio, Metin/Honinbo: [197 3-4) ty ean kee ee enc chet ee ts eae es 5) Chapter 2: The Larger Strategy of Trick Plays..................... Kageyama POSH OMIC GAN se tecten rt eta nieracesannc te Reater a tatiana teen ae eee qa Ghapten ws -sintroducing wirick Plays i. suse SHO eet ecto re. nets Merce Cond va eee och tai ceStench ee

eer Mihori PO a ne

uTamete ya TrIick*"VIOVieS amen cuerni e Aareeconre tn amen rere Fujii Reo (Cartoon / Japanese Language Translation Guide)..................... 136

Chapter 4: Caution! Trick Play Ahead!............000.ea Maeda Nobuaki 9 dan (Being’a Primer Comprised/of 25 Problems) ....222..20-s ttc 145 GLOSSALYsATG LO eo ere a caees rey OAs ecssg Soph cc bed ae ee

Loy

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 ofjoseki, 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 Medel 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 | 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.

Model 1

Tricked 1

6

Tricked 2

Trick Moves: Basic Knowledge

Diagram 1

Diagram 2

Diagram 3

Diagram 4

Diagram 1 First, countering white | 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 | & 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 | with a cut at white 1 & atari at 3. Extending

@ Ly seen Pade

Diagram 7

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 | & 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 corner 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 | 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.

7

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 | by connecting underneath at black 2, this white 1 & 3 combination is

Model 2

effective, but the success rate (versus

Tricked 1

Tricked 2

either 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 | 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 Tricked 3

Trick Moves: Basic Knowledge

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 | here. At that point,

Diagram 2 Diagram 3 Diagram 4 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 ¢ 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] WSed> "as: - oA 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

ce

Ate

les

J

}

Diagram 6

Diagram 5

5

Diagram 7

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.

9

ea

ee

4p

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 getModel 3

Tricked

ting 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 | 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.

Diagram 1

Diagram 2

10

Diagram 3

Trick Moves: Basic Knowledge

Diagram 4

Diagram 5

Diagram 6

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 | 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 corner 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 | & 7 are within

Diagram 7 9: atari below 3

Diagram 8

Diagram 9

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 | 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.

1]

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.

i aaa Heer Mie dia VE See

Tricked 1 Parrying in an easy-going way with black | Model 4 & 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 | & 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

aaa ae Sane gna BERS oe

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 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 | 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 follow-

Diagram 1

Tricked 2

Diagram 2

Trick Moves: Basic Knowledge

90g D° Can ane

ing white 7, but at the worst, black is faced with a seki. But at the same time, black builds

a

2

magnificant

wall on the out-

side

through

black 20, which is overwhelming. It is hard to understand what white

Diagram 3

Diagram 4

Diagram 5

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 ata 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

BERIEIS. + Js

Me! 6

leg IOS NOG

asi loni m CT

theme a little, the Diagram 6 Diagram 7 Diagram 8 trick play of following the one point jump at white | 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 5S. 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 ¢ will be played. White's subversive tactics starting with white 1 have clearly failed here.

13

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.




this seems like a slack move, but if

7

one answers carelessly, one will end up hoodwinked.

Pt TT ty SRR

|

|

eee

tricked 1 One's

Tricked 1

Tricked 2

natural impulse is

a 13: take ko

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 | 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

Diagram 1

Tricked 3

Trick Moves: Basic Knowledge

Len conee eineis FG Oh Diagram 3

Diagram 4

Diagram 5

Diagram 6

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

Diagram 7

Diagram 8

Diagram 9

Diagram 10

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

see

Model 28 The previous model examined white | 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.

eee Tyicked 1 Tereaanecs

6. Tricked 2 recaptures

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 Model 28

aor 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 | 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 | 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

poole) Dey oft 4am

mete

BEBE sta rales ae asa cc esa a aia Diagram 1

Diagram 2

Diagram 3 10: connects

60

Diagram 4

Trick Moves: Basic Knowledge

BEUMPS ae as a Diagram 5

Diagram 6

Diagram 7

Diagram 8

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 | 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

“ne areas eae Hl iio!OS Diagram 9

Diagram 11

Diagram 10

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 precau-

Model 29

Tricked 1

Tricked 2

tionary information beforehand. 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 advan-

tage. 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 | and the block at 3 is also not good. With the moves through white 8, the shape is the same as in acommon 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

ieaT aie bes]

Diagram 3

Trick Moves: Basic Knowledge

anierary

Diagram 4

Diagram 5 18:takesko

4: throw-in

Diagram 6 5: captures

Diagram 7

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 | 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

ee a ESBESE we GRD Sada Diagram 8 13: connects

Diagram 9

Diagram 10

Diagram 11

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 | 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

5-3 Point Trick Plays 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), be-

Tricked 1

Model 30

ing swept along with the rhthym of play 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. 2 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

Tricked 2

Tricked 3

4:connects

Diagram 1

64

Diagram 2 4: connects

Trick Moves: Basic Knowledge

mh. dd. Emme Diagram 3

Diagram 4

Diagram 5

Diagram 6

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.

Diagram 7

-

11: throw-in 12: captures

Tricked 4 14. cohnecte

Z

Diagram 8

é

Diagram 9

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. niacin 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 de-

signed to frighten the wits out of the

adversary.

The

first time one encounters it, one can become terri-

bly disoriented, so

it can be a power-

Tricked 1

Diagram 1

ful 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 | 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.

Diagram 2

Tricked 2

66

Diagram 3

Trick Moves: Basic Knowledge

pepe cyee

at

Diagram 4

| a2

EGER

ERES

Diagram 5

Diagram 6

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

Diagram 9

Diagram 10

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 | 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 [semeail]. ' 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.

Model 32

Tricked 1 off, pressing black 2 is White 7 is a

First with bad. good

Tricked 1

Diagram 1

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 | 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

Diagram 2

Tricked 2

68

7: connects

Trick Moves: Basic Knowledge

Diagram 3

Diagram 4

Diagram 5

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.

PES ees BIN Eaet edPada ei

LeaaeaEeESeS BRE RRssheea

Diagram 6

Diagram 7

Diagram 8

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 | 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 op-

Model 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 corner? 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 EIOG

120902 90 ae ©

Tricked 2

Tricked 3. 6; 9: take ko

70

Diagram 1

Trick Moves: Basic Knowledge

IsSe Bee

BE ieigt “6 TTT ace

AMER Diagram 2

Diagram 3

Diagram 4

2 stones

7: retakes

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,

PVN Oa et tele

Porte

Diagram 5

Diagram 6

Diagram 7 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.

SEG Goa cs 3 aint opaslealern eee Bm@esc

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.

Tricked 1

Tricked 2

Tricked 3

Tricked 4

Trick Moves: Basic Knowledge

Tricked 5

Diagram 2

Diagram 3

Diagram 4

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 | 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 important 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

| | py| |

Pan manas Sennnnee

9,

Diagram 5 Diagram 6 Diagram 7 compared to Diagrams | 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 | 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.

ike:

Model 35 From a stone on the 5-3 point, white makes a strange corner enclosure (?) with 1. Black 2 (a natural move)

gets fenced in by white 3, a trick move that is re-

lated to white 1.

Model 35

Tricked 1

Tricked 2

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...

Tricked 3

Diagram 1

Diagram 2

74

Diagram 3 13: takes ko

Trick Moves: Basic Knowledge

von

Diagram 4

Diagram 5

Diagram 6

Diagram 7

Diagram 5 Black | 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 8

Diagram 9

Diagram 9 The correct reply is to push out at black | 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.

73

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 un-

derstanding, develop one's fight-

i

:

Diagram 1

Diagram 2

:

Diagram 3

ing 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 | & 3 are amore 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 xo Be

24

(A weS066 O18 si reox 4 DE

98

played on the second line, lower than nec-

essary, 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 | 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 | 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

| Diagram 6 2: elsewhere

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 | 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,

ia eon ee oS SNe place second and

Ltt

third levels of pitfalls; or else, how one can nimbly ward off the oppo-

it gl

| Mao!!!

loool

Ting p+

tl

6a++etHt-

GEbOhike JAR eA Aee

nent [sabaki]. At all events, I hope

that the reader

I

Diagram

1

‘

Diagram 2

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 | is the only move shown here, and this cut at black 1 is equivalent to exactly the same position that the moves to black 8 in Diagram 1. Therefore, it is clear that black is not doing The facts of the matter notwithstanding, white, undaunted, again played in with 9 & 11 in Diagram 1.

78

in the pattern is created with badly. the same way

Trick Moves: Strategy

No doubt, believing that in the local sector black was eine sill 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

GEE a SRR amae SB ihe[F(a es MT Pam |e fe [a

as shown here. That is, with the variation

PSOE

Baretta ES

Oo

se

a oebeee

from white | 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 EEE EE EEE have realized that he had a live one here EEDA ca a a I 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]. Biseeant 5(A deen 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

SRE

id

ARR

Seeeee

at

those days. However, white 1 truly illustrates that adage as prettily as a picture. This hapless player, Okinawa's best, was Fe clCBeA a ea Palaas| | Bau Tomefll tf J Pe age 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

Anes ar Sor asso BGs oN/ eI

Diagram 6

ps-++ “ee a> PI Tee *eoe>

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.

Diagram 7

An Ersatz Dosaku Trick Play Diagram 1 (A capping play answered with an attachment) The capping play of white | is nothing more than common technique. It is aa 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

11: connects

Diagram 2

Trick Moves: Strategy

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 reDiagram 4 lating 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."

eel doer iP (Sear ODooen Ter ere ana Seoul,

2 is a solid reply. Striking +171} e+with the placement of white LS] etr ae eet 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 Diagram 1 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 ¢, 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 un-

derneath. The question is

what black shoulddowhen

white attaches at3.

Diagram 3 (Black complacency) "Hane in re-

eal andpiaVu emily ata tase

TTT]fTTT{t[{

ee pen] SE

Pe Fee ee

Diagram 2

ae | Diagram 3

sponse 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

eaelra alec

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

overconcentrated gatachi].

up

[kori-

TyyTTT]{]fyf[{ Diagram 4

86

BEERS Diagram 5

4: connects

Trick Moves: Strategy

8 0 Diagram 6

Diagram 7

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 | 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

ico ree abide irae Goes aie Os" ee 8 ee Fe) Da a SRaeeaeaes

iia geal Le TTS be. BGG Aha?

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 | & 3 are a finesse. White is okay, too.

Masicitatese| Diagram 11

Diagram 12

87

ASA

Raeeane Diagram 13

6 Libs 70; 80453, 1015 1067 123.0125 1483174182. 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; I11; 125, 162, 164, 166, 192 2-2 point often key move in corner

196

29

Ww 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

Y Yasui Chitetsu versus Dosaku

120

220

\

A Compendium

of Trick Plays

In this unique anthology, the reader will find the subject of trick plays in the game of go dealt with in a thorough manner. Practically anything one could wish to know about the subject is examined from multiple perspectives in this remarkable volume. Vital points in common patterns, skillful finesse [tesuji] and ordinary matters of good technique are discussed, as well as the pitfalls that are concealed in seemingly innocuous positions.

This is a gem of a handbook that belongs on the bookshelf of every go player.

Chapter 1 was written by Ishida Yoshio, former Meijin-Honinbo, who intimates that 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.” Thirty-five model trick plays are presented in this chapter, and exhaustively analyzed in the style of a dictionary. Kageyama Toshiro 7 dan, one of the most popular go writers, examines the subject in Chapter 2 from the standpoint of full board strategy.

Chapter 3 is written by Mihori Sho, who collaborated with Sakata Eio to

produce Killer of Go. Anecdotes from the history of go, famous sayings by Sun Tzu on the Art of Warfare and contemporary examples of trickery are woven together to produce an entertaining dialogue. The final chapter presents twenty-five problems for the reader to solve, using the knowledge gained in the preceding sections. Do not be surprised to find some unexpected booby traps lurking here also. An extra feature is a four page cartoon taken from a Japanes zine. A translation guide offers a fascinating glimpse into th of the language.

Le

With glossary and index Cover photograph: Dave Dyer

$14.95 in U.S.A,

ISBN 0-9641847-1-0