An example treated joseki-style
The rest of this Introduction works over a single opening pattern. This approach is typical of joseki books: you take a single corner opening and discuss a number of variations. You can read on to get a feel for the overall scope of shape ideas, and examples of some basic proverbs, in the context of decision-making. There’s therefore the disadvantage of no single conclusion or main point. That partly explains why this isn’t the way adopted in most of the rest of the book. Generally we take one pattern and look at it in various contexts. Then there is some basis for comparative reasoning, and a bit more dogmatism.
📝 Cross-references are given to the main text, in case at some point you wish to follow them up, and a number of proverbs are highlighted like this.
{{Dia 1}}
This is a regular sequence in a corner occupied first by Black, at the 3-3 point. It is relatively simple: Black’s control of the corner is not contested, while White plays to avoid making a weak group. The White group then exerts influence in the centre.
It is decided early on that Black has the corner, and after that both players can be said to be ‘making shape’.
Behind even such an ordinary development there may lie dozens of variations. We shall look at quite a number in the remainder of this introduction, as a way of surveying the facets of the idea of shape.
📝 Other related 3-3 patterns are to be found in 1.4, 1.5, 3.1 and 3.3.
Immediate loss of good shape
{{Dia 2}}
To begin with a fundamental example, White’s choice of 3 here is bad shape. With 4 Black applies the proverb play hane at the head of two stones. After that White cannot get a good result in this part of the board. If you commonly allow this to happen to your stones, you can probably make an instant improvement by avoiding this sort of result.
📝 This and related proverbs are studied in Chapter 4.
Playing for light shape
{{Dia 3}}
There is another recognised possibility for White 3. White can make the one-point jump played in this diagram. White must understand the purpose of this move. When Black plays 4 as shown, White will not be able to connect the two stones solidly. Therefore White 3 is a so-called light shape.
💡 The main reason to prefer light shape (2.6) is that it makes defensive tasks easier. A characteristic mistake of amateur players is to make heavy shape: to develop groups without sufficient regard to their future defensive requirements.
This problem manifests itself in various ways: reluctance to sacrifice stones, even those without any great strategic significance; a greedy attitude to invasions, not admitting that the opponent deserves at least some territory; reduction plays that are too deep, and which have to struggle for life; too many solid connections and groups underdeveloped because of unreasonable fear of later cuts or invasions.
Strong players are keen on sacrificing stones. They can do that successfully, for several reasons: understanding of which stones can be sacrificed, and which are essential; good technique to get the most out of a sacrifice; accurate judgement of the resulting position; and a sharp eye for later use of stones given up.
{{Dia 4}} {{Dia 5}}
Normally White plays on 5 and 7 the outside, as in the left-hand diagram, and treats the marked white stone as a potential sacrifice. If White tried harder to save it, as in the right-hand diagram, White would immediately be involved in a difficult fight when Black cuts with 8.
Tactics for playing close
{{Dia 6}} {{Dia 7}}
Another possibility for Black, the clamp play 2 (left), is not always a reliable, strong shape. (Right) White can try 3 and 5. What now for Black?
{{Dia 8}} {{Dia 9}}
Black 10 in the left-hand diagram runs into immediate trouble. It is really too close. White 23 nets Black. It would be better to jump back (right). There the fight is more complex, but it seems White’s plan is unreasonable.
📝 More about the clamp on pp.29, 31, 62.
What are my options?
{{Dia 10}}
Turning back now, what choice did Black have in answering White’s ‘shoulder hit’ play at 1? What about A, B or C instead?
These are examples of plays that are rarely considered in books. Two of them are quite bad, one of them has appeared in a top level match played by a master of the 3-3 point.
It would be an enormous task to list imaginable variants in joseki, or even reasonable questions to ask. One can be sure only that the plays current in professional games at a particular era have been carefully considered.
The orthodox extension
{{Dia 11}}
Black 2 is from professional play, though not very common. This development can be expected. White 5 extends three from a twostone wall, in line with the proverb; it might also sometimes be played at A. This was Sakata 9 dan’s play, seen in the 1969 Judan title match against Otake. In that context White 5 wasn’t possible.
Capturing a cutting stone
{{Dia 12}} {{Dia 13}}
Choice B is bad shape. White can create two cutting points with 3. Black has no choice about playing 4, to avoid being cut cleanly in two.
White can now cut on either side, depending on the overall position. (Left) White can take the corner. (Right) With a favourable ladder White can also play for the outside. Both results are good, given that Black started here.
{{Dia 14}}
Black does well to obey the proverb capture the cutting stone. If Black 6 connects as shown here, the result is worse shape than capturing the stone and giving up the outside.
A single stone capture, often called ponnuki, may be of high value. It may build eye shape, or influence; and is normally easy to develop in more than one direction.
We have described Black’s play as mistaken. So it is. Giving up the corner is a serious loss, and White’s good shape is too costly.
:note: The box in 1.2 discusses the proverbial value (30 points) of the ponnuki.
A tricky use of symmetry
{{Dia 15}}
Answer C is in fact an outright trick play. It aims at this situation, in which Black 6 gains life in the corner (a case of the proverb preserve symmetry).
Now White cannot prevent Black’s life or connection out. Black’s hope is that White will get into trouble on the outside.
{{Dia 16}} {{Dia 17}}
The attach-block shape (left) is good, in this case, if White wishes to play for territory. White can eventually take the corner, but must take great care about being shut in. Another way for White to deal with this trick play is to apply the attach-extend shape with 5 and 7 (right), and pincer with 15. However White 13 is pushing from behind, which is generally poor style; and Black’s stone on the left side could fight back hard, at some later time.
A discussion about the future
{{Dia 18}} {{Dia 19}}
You can’t force the opponent to answer. The shape Black makes on the left with 1 and 3, when White ignores 1, is better than the shape on the right. There is an actual weak point ‘x’ one can see, related to White possibly playing A, which Black would like to answer solidly at B.