Chapter Nine Escapology

Making an exit

The point of view in Chapter 6 was simply to describe good shape for blocking off, and for preventing it happening to you. In the middlegame the need to escape will add another dimension.

There is more to escape than just avoiding being shut in. Escaping is about finding a way out to the centre with a weak group. If your weak group cannot escape, it may actually die. But that’s not all. Being shut in normally causes at the very least a loss in endgame terms: the opponent will be able to play some moves in sente, since ignoring plays threatening the eye space of a group that has become shut in is normally not an option. Escaping in good style, rather than just anyhow, is a prime defensive skill.

9.1 Escape tactics

In this tight corner from 7.1, Black has an unexpected resource at 1, setting up plays at A or B to follow on from 5. There is nothing much tactical and new under the go-playing sun: this idea is in the Guanzi Pu (Japanese reading Kanzufu) published four centuries ago in China.

However White can let Black escape in a very low position instead. Without C Black has no eye shape. Therefore Black has little to be proud of here.

Great escapes

There are some stylish ideas for avoiding a net. Black 1 (left) is good when Black anyway is interested in moving out towards 5, weakening the stones to the left. The escape with the diagonal play (right) is just as bad shape, as when exactly this pattern arose in 7.6 from a push into a knight’s move.

For two stones about to be netted, there is Black 1 here. (Left) If White 2 is the bend, Black 3 is good shape. (Right) As before, assume Black has taken into account White 2, and is happy with the effect of this fight. See 13.3 for some theory about this position.

9.2 Capping plays and radius-five shapes

A radius-five shape is the combination of the marked Black stone and a play at A, B, C or D (between four and five units away). One of the standard ways to attack is to drive your opponent through a gap of this gauge. (Right) Narrower gaps, such as this one, invite simple plays to push out, since the Black stones on one side will end up too close.

Type A. (Left) White emerges with good shape. (Right) White has no real problems with this capping play: A, B or C may do as well as 5. In these cases White’s task seems easy.

Type B. (Left) Maybe White came in too deep. (Right) White is in trouble, if this is the best than can be hoped for.

Type C fights. Black seems to have the shape advantage.

Type D fights, in which White does well, covering the cutting weakness at A in the left-hand diagram. (Right) Can Black resist White 5?

(Left) Black can indeed try the hane inside at 6, but it generally doesn’t prevent White from developing good shape. (Right) In this related formation, White can usually make the two contact plays 1 and 3, to emerge in good shape (see also problems p.89). Black 4 leads to a position where White’s shape is better than Black’s, which has the kind of weaknesses associated with attacking too hard. These two last diagrams are examples for the amarigatachi concept mentioned on p.31. Black should refrain from aggressive gestures when they don’t work out well.

9.3 About sector lines and the mid-point

An aspect of the middlegame in which escape is very important is reduction play. This is a schematic example. Black has two perfect walls. Where should White play to reduce Black’s framework? The line with the letters on is equidistant from the walls; this makes sense in terms of the proverb stay away from thickness. Experience shows that point C is deep enough.

The immediate problem with D is the capping play. Here it seems that White may make an escape with 3 and 5.

Black brings the strength of the wall on the right to bear. The combination of 8 and 10 is powerful, and it seems likely that White will die.

White’s play at C is much more comfortable, when Black caps. White 1 played this deep cannot be shut in by force.

That doesn’t mean that C is correct; a play at B might be sensible, with Black’s walls being so perfect. There is some discussion at the end of Chapter 13 about these decisions, and counting.

Now we have drawn in the sector line (in the sense of Bruce Wilcox), joining the tops of Black’s walls. It passes between points C and D. Very often the play at or just outside the mid-point of the sector line is the correct one for reduction. There are rather too many configurations to study, so this sort of rule-of-thumb may be helpful. It complements the variations listed in 9.2.

A sector line, being a line drawn between stones of the same colour, differs from the gain lines of Chapter 5. Bold escapes must cut across sector lines. There are two parts of the rule to explain. One aspect of the mid-point rule is respect for the existing lines, so when capped you need only cross freshly created ones. Looking at the central point assumes, until told otherwise, that Black’s walls are equally strong. If there is a noticeable weakness in one of the walls, common sense (converse to ‘stay away from thickness’) says you should bias your play more to that side. (Example on p.197.)

Problem Set 2. Cutting Points

Both problems Black to play at A or B

Correct is answer A. This is a common position, and by connecting solidly Black makes immediate life. White’s attack in the right-hand diagram is worth playing only in the endgame.

The choice of hanging connection with 1 is bad. When White peeps with 2 the Black corner will be left without two eyes.

In this case Black should make the hanging connection (answer B) in order to have more outside influence. In the right-hand diagram Black 3 is now possible.

The solid connection Black 1 here is a relative failure. Black can only jump as far as 3.

Both problems Black to play at A or B

By playing B Black can capture the two cutting stones.

To play atari (answer A) here is a clear failure.

Choice B is correct, making use of the marked stone to capture the cutting stone. (This well-hidden sort of play, creating a cutting point from a diagonal play, is called atekomi, “aim inside”, in Japanese.)

The placement Black A, at the key point for eye shape, has the disadvantage that it doesn’t actually work to capture anything.

Both problems Black to play at A or B

The hanging connection (answer A) is the way for Black to live here, and save two stones. When White plays 2 Black plays 3 to avoid the snapback.

The one-point jump to the edge fails. Black doesn’t have room for two eyes after White plays 2. Of the four ways to defend the two stones, answer A makes the most eye space.

This problem is about correct endgame play, not life-and-death. In this case answer B, the one-point jump, takes most points. (Right) Black expects to play here in sente.

Blocking at 1 allows White 2. White will have two extra points of territory, compared to Black’s correct answer.

Both problems Black to play at A or B

With answer B Black obeys the pattern of 7.4. That is best in this case. White 2 occupies the bulge point, but Black 3 makes good shape in the centre and prepares to block the lower side.

Connecting in this way is poor. The Black shape is inefficient. Even worse, White can cut at once and start a tough fight; the White corner is resilient.

Here Black should allow disconnection (answer B). White takes the corner with 2 and 4, and then Black extends with 5. (This line is accepted in Korea; Japanese professional opinion may differ…)

To play 1 in this fashion, hanging onto the stone in the corner, invites being pressed low. (Right) The position arises in this corner opening.

Both problems Black to play at A or B

The correct way to play here is the clamp (answer B). If White 2, the cut at 3 is more painful for White and Black can pile on the pressure.

To peep with 1 here is a mistake of principle. Black’s stones up to 5 aren’t in good shape, and White C, Black D, White E is an attractive way to make an eye. Black is playing too close. (White 6 is a patient play.)

The correct way for Black to move out is with the solid connection (answer B). Then Black’s shape is proof against White 2 and 4.

If Black uses the one-point jump instead, the two ‘x’ points combined create a weakness. White can cut as in the right-hand diagram.

Both problems Black to play at A or B

Black should peep first (answer B), and then defend the corner with 3. The marked stones then are well placed, while White has an inefficient shape, and has to worry about Black C later.

Playing atari with 1 is slack. After Black connects with 3, Black 1 doesn’t look like an urgent play: Black would prefer to move this stone for the fighting to come. White certainly wouldn’t play at 1.

The correct answer is B, to cut successfully. (Right) White is caught in a typical shortage of liberties.

If Black pushes down with 1 immediately, White has a way to resist with 4.

Both problems Black to play at A or B

Since answer B sets up a snapback to capture the three white stones, it is clearly the better way to play in endgame terms. The exchange of marked stones is a plus for Black.

To take the white stones off is feeble: it loses the initiative, and also points. (Right) This expected final result shows Black having played a redundant stone losing a point.

It is correct for Black to peep first (answer B). Then Black 3 is a preparation for a play at C, fencing White in.

It is a mistake in order to play first on the second line. White can answer at 2, relying on the snapback Black C, White D. White can break out and prevent Black’s central dominance.

Both problems Black to play at A or B

It is correct for Black to connect with B. White has no chance of cutting the monkey-jump relation (right).

The problem with answer A is that White can cut by combining plays at the ‘x’ points. (Right) This is the wrong order, though it works; White should play at 4 to give fewer points away.

The quiet diagonal play A is worth more here, because White is left with a cutting point on the second line. (Right) White 4 is advisable, to avoid a ko.

The other way to play will only be better if White ignores it. By replying to it White makes sure Black’s result is one or two points worse than in the case of answer A.

Both problems Black to play at A or B

The clamp at A enables Black to break into the White territory. White cannot cut Black by pushing down at 2 (if White 4 at 5, Black cuts at 4).

The other choice of way to play will only be better when it is important to retain sente. White defends much more territory.

The best shape here is answer A, the solid extension. White will probably answer it by playing 2 a little later.

The diagonal play 1 is a flawed shape. White can reduce Black’s territory in sente by a sacrifice trick.

Both problems Black to play at A or B

The diagonal play at B is the way to repair Black’s shape. White can play 2 and 4 in sente, but Black is left the capture at C (worth 10 points).

(Left) White 2 is an interesting tactic in positions of this type; but Black shouldn’t play at 3 as shown here, rather at 4, when it is a little worse for White. (Right) Black 1 here, answer A, is clearly bad.

Black can play at A to connect out. White has a problem with shortage of liberties, meaning White can’t disconnect Black along the edge.

This way of playing is a failure. Black’s shape is too thin to surround White.

Part Four. Vital Points and Shape in the Opening

Chapter Nine Escapology#

Making an exit#

9.1 Escape tactics#

Great escapes#

9.2 Capping plays and radius-five shapes#

9.3 About sector lines and the mid-point#

Problem Set 2. Cutting Points#

Both problems Black to play at A or B#

Both problems Black to play at A or B#

Both problems Black to play at A or B#

Both problems Black to play at A or B#

Both problems Black to play at A or B#

Both problems Black to play at A or B#

Both problems Black to play at A or B#

Both problems Black to play at A or B#

Both problems Black to play at A or B#

Both problems Black to play at A or B#

Part Four. Vital Points and Shape in the Opening#

Chapter Nine Escapology

Making an exit

9.1 Escape tactics

Great escapes

9.2 Capping plays and radius-five shapes

9.3 About sector lines and the mid-point

Problem Set 2. Cutting Points

Both problems Black to play at A or B

Both problems Black to play at A or B

Both problems Black to play at A or B

Both problems Black to play at A or B

Both problems Black to play at A or B

Both problems Black to play at A or B

Both problems Black to play at A or B

Both problems Black to play at A or B

Both problems Black to play at A or B

Both problems Black to play at A or B

Part Four. Vital Points and Shape in the Opening