Shape Up!: Charles Matthews Seong-June Kim
Shape Up!: Charles Matthews Seong-June Kim
Shape Up!: Charles Matthews Seong-June Kim
Seong-June Kim
Charles Matthews
cba
Changelog
2015-01-22
Akita Noek
Repackaged into one PDF, added table of contents, cover page, license and
changelog page.
Introduction
Introduction: The Scope of Shape
Part One:
Chapter 1:
Chapter 2:
Chapter 3:
Principles of Development
Table Shapes
Shape Basics
Close Range Play 1
11
18
33
53
64
72
81
103
114
121
129
177
184
192
205
Index
Index of Shapes
Index of Terms
List of Proverbs
211
215
216
Shape Up!
inefficient or redundant, one of the groups created has inadequate eye shape
or is difficult to develop further, and so on.
Objectives of this book
To explain which points are vital in given shapes.
To show how good shape is achieved, and bad shape exploited, in fighting
contexts.
To integrate shape proverbs into your knowledge of go.
To look behind the proverbs to another level of more explicit mechanism, to
provide supporting material, and to explain exceptions.
To break down the barrier between tesuji and joseki points of view, connecting
pure intuitions with learned knowledge.
To demystify many common tesuji.
To help the reader to visualise how and where a tesuji might happen in the
future, a requirement for a dan player.
To discuss the choice of variation at a point in a joseki, when tactical reasons
alone arent a sufficient guide.
To address as we go along questions about suji, or correct style, covering
some of the content of the many texts on kata and suji in the Japanese
literature.
To contribute to the local, critical theory of go, by attempting a systematic
listing of possibilities in a pattern, with criteria for choosing amongst them.
To develop an ingrained respect in the reader for the principles of good
shape (for example: connect but remain light and flexible, dont fill in your
own liberties without very good reason, develop rapidly but also take into
account eye shape).
To provide a reference on shape (there are an index of shapes and a proverb
index at the end, to help you refer to particular patterns).
To show in action the comparative method of go study.
What should I study at my level?
From 10 kyu to 5 kyu levels, you should probably concentrate on recognising
standard shapes as they come up in your own games, or play through
professional games looking for them. It may be hard to understand why
mistakes in shape are bad play, until you have also studied the basic shape
concepts. In particular the study of joseki at this point may appear to be
unrewarding, plain and simple memorisation.
Problem solving, first of all about basic life-and-death and then more general
tactics under the heading of tesuji, is likely to seem more attractive to the
player interested in progressing beyond 10 kyu. After solving enough
problems from the go literature, you should begin to find the vital points in
formations. This book can serve as a reference for these standard shapes.
Shape Up!
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.
4
2 1
3
6
7
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
3
2
4
2
4
3
9
6
8
5
7
7
5
8 10
6
9
Shape Up!
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?
23
10 16 17 20
24 22 21
13 10
12 19 21
14 15 17
14
15
11 12
11 13 18 22
18
16
23
28 26 25
19 20
27
1
A B
C
2
A
6
8 5
4 3 1
7 2
9
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.
Black does well to obey the proverb
capture the cutting stone. If Black
6 connects as shown here, the result
5
is worse shape than capturing the
4 3 1
stone and giving up the outside.
6 2
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 Blacks play as mistaken. So it is. Giving up the corner
is a serious loss, and Whites good shape is too costly.
7
The box in 1.2 discusses the proverbial value (30 points) of the ponnuki.
Shape Up!
7 4
9 5 6
8
12
8 9 4
11 5 6 14
7 13
15
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 Blacks stone on the left side could fight back hard, at some later time.
A discussion about the future
1
1 A B
3
You cant 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.
Part One
Principles of Development
10
Shape Up!
11
Chapter One
Table Shapes
(Left) The basic table shape. (Centre) The double table, a perfect eye
shape, and made up of two superposed table shapes, the second one marked.
(Right) The bamboo joint, differing from the table shape only as marked.
1
2
1 2 4 6
3 5
(Left) When White plays 2 here, the White group develops perfect shape.
(Right) If Whites strategy requires subsequent plays pushing in the centre,
they are easy to find, and the marked stone is exactly placed.
Shape Up!
12
3
1 2
4
5
9 7
8 6
(Left) Black plays the firm bamboo joint shape with 5, to prevent White
connecting along the edge. (Right) Without the White stone on the side,
Black might instead play this way. The cutting point at A remains, Black 5
works to take one liberty off Whites two-stone chain, and Black has the
chance of making an eye with a play at B.
3
1 2
2
6 4 3 7
1
5
(Left) Because White has bad shape Black 1 here is hard to answer. White
cannot prosper in this fight. Therefore the cutting point needs immediate
defence. (Right) In some cases Black can even set up an obstinate ko.
13
4
3 1 2
8
5 6
9 7
9
3
1 2
5
7 4
6
In other circumstances Black may choose a different plan (left). The intention
is to sacrifice one stone (right). In that diagram White 8 connects below 4.
After Black 9 the Black group has developed good shape in the centre; and
the earlier exchange of the two marked stones clearly favours Black. The
single stone capture with 4 and 6 is a famous shape (see box below).
The ponnuki
1
Roughly speaking, that means the three White plays (net Black
has had a stone captured) making up the shape each have
value ten points. This is normal for plays in the middle of the
game. But if the ponnuki is confined, as in the example shown
immediately above, its influence is less, and its value also.
Shape Up!
14
1
5
3
4
2
6
15
2 C
The table shape is sometimes worse than the bamboo joint would be, with a
wedge weakness. In this case Black is powerless when White wedges in at
the key point 1. There is no way to cover all three cuts A, B and C.
2
3
1
6 4 5
7
A related shape is often seen seen in a loose ladder tactic. White can capture
Black. The placement 1 is on the point corresponding to the wedge weakness.
4 3
5 2
Suppose White misses the chance of the loose ladder, and crawls out at 1
instead. Black should now make a bamboo joint (left). The weakness of
the table shape against White 5 is evident (right). The weak point at 5 has
remained: it is just the method to exploit it that changes (White 3 at 5 is
good shape but doesnt capture Blacks cutting stones).
Shape Up!
16
4
2
We call this more extended shape (left) the high table. (Right) White 4
makes good shape for the stones running out into the centre.
1
2
3
The high table may need a modification, to improve its strength from the
side. When White wants to emphasise the top side, this is a good way (left).
(Right) Playing 1 this way means Black 2 can expose some weak points.
A
12
5
7 11 10
4 8 9
1 3
2
(Left) Here Black gets into trouble as soon as White plays the key point 6.
(Right) When a two-stone wall in the centre is developed, the two-point
jump demands more foresight than the one-point jump. (Upper) After White
2 Black may find it necessary to reinforce, with a play like A or B. (Lower)
If Black jumps only to 1 here, either of 2 or 3 next makes good shape.
17
6
1
A
4 3
8 7 1
5
12 11
2
10
16
14 13
15
Here Black can jump out, rather than complete the table shape at A, regarding
the exchange of the two marked stones as pure gain. (Right) This sequence
(White 9 connects), emphasising the capture of stones, is dreadful for White.
2 1
A
8
6 4
12 10 7 5 9
13 11
(Left) With 1, inducing 2, and then 3 rather than A, White makes a lighter
shape. (Right) Black continues to attack at the key point, but White is
ready to sacrifice all the marked stones, for outer strength.
1 A
6 8 10 12
5 7 9 11
4 3 2
1
In this case White 1 moves out more quickly into the centre than A. (Right)
Black cannot gain by an immediate cut. There is a small gain in captures,
but a large loss to come at the top.
The common theme here is light play, sacrificing when it is appropriate,
rather than the solid virtues of the table shape.
Shape Up!
18
Chapter Two
Shape Basics
1
1
4
5 2 3
B 6
4
5 2 3
7 6
The one-point jump White 1 in the left-hand diagram doesnt allow White
to keep the two Black stones separate: after Black 6 Black will be able to
play at A or B. But the diagonal play 1 (right) works perfectly.
2
1 3
The one-point jump (left) is the way to defend the two marked stones, since
the diagonal play (right) allows Black the snapback threat at 2.
19
3
1 2
3
A
1 2
Black should use the diagonal play 1 (left) to capture the two White stones.
Playing down towards the edge (right) is clumsy: Black 3 is needed because
of the threat of White A. Now Black cannot capture a white stone on the
edge, a big endgame play that also creates a cutting point.
1
2
Shape Up!
20
x
x
x
x
Secondly the shape formed is short of liberties. Three stones in a line (left)
have an initial eight liberties. In the empty triangle (right) they have only
seven. This difference may appear to be quite small, but soon makes itself
felt in any close fighting.
x
x
x
x
(Left) This shape has two empty triangles in it, and has no extra liberties to
show for the fourth stone. (Right) The 2x2 block is just as short of liberties,
but is also very clearly an inefficient shape that uses stones badly.
2
1
7 1
5 4
2 3
Some practical cases. (Left) Gross inefficiency: Black should just play 1 at
7. (Right) Black 1 is wrong and White 2 kills the corner; Black could live
by playing the key point 2 (cf. 4.6).
21
1
2
A
B
For contrast, two examples of empty triangles as fine shape. (Left) Black 2
avoids being shut in. (Right) If Black cannot fight the ko, this play 1 starts
to looks good after White A, Black B.
While an empty triangle is bad shape more often than not, it seems impossible
to give an exhaustive list of cases where it may qualify as good shape. There
are examples on pp. 12, 26, 49, 55, 105, 117, 171, 188, 192 and 195.
A
D
B
C
The marked Black stone is most often better placed where it is, rather than
at any of A, B, C, D. Why is that? For example A makes an empty triangle
shape, not intrinsically a good idea.
The shape made with D is comparable with the bamboo joint. You could
say that A and D are too close to the other black stones, so they may be less
efficient than the other three plays. On the other hand B and C may turn out
to be too far away. If thats the case then the marked stone achieves a kind
of balance.
Shape Up!
22
However thats not the whole story. The shape made with C turned out to be
good shape when seen in 1.4 and 1.5. It occurs also in the problems, later.
The shape made with A is in 3.5L, in a very particular pattern. The shape
made with D is very important (for example in Chapter 8). Perhaps only the
shape after B is really unusual, and relatively rare as a good shape; when it
occurs on the next page it is too loose.
Development and foresight
Stones are placed one by one on the board. Any shape more complex than
the diagonal or jumps must be put together in full realisation that the opponent
may intervene. The first ideas about shape may come from static patterns;
but there is the underlying process to worry about, too.
We study this portion of the table shape. It contains three stones, but feels
incomplete as it stands. It is expected to occur with some White stones,
which might be distributed round it in a number of ways. The discussion of
whether the Black stones are properly placed and connected becomes
interesting and not too simple-minded.
2
1 3
4
6
7 5
Now add some White stones, to reduce the level of abstraction, and bring in
possible tactical variations. The development in the left-hand diagram is
quite normal (more on this in Chapter 5). Black 5 makes a very solid shape
(right), which is only confirmed when White plays 6 and Black answers at
7 for a bamboo joint.
23
4
6
7
7 5
The looser choice of Black 5 here can bring some redundancy or leave
future trouble. (Left) Here 5 and 7 are too close to each other, and Blacks
shape is somewhat inefficient. (Right) The placement play 8 leaps to the
eye. It is a skilful way later for White to cut Black.
Lets ask why, though, this play White 8 is visibly on a vital point. It could
be one of two reasons:
n This is the point to complete the double table shape of 1.1.
n This is the way to make an eye-stealing relationship with the
white stone played as 6.
If you think about it, the first reason is related to eye shape too. So here is
one way in which shape study isnt so simple: eye shape may be involved in
what at first sight is mainly a question of keeping connected.
2 4
1 5
3
15
10
5 4 8 9
13
6
11 7 12
14
If White had reacted more passively with 2 here, Black could jump to 3.
(Left) An efficient result for Black. How dangerous is 3?
Perhaps White might resist with 4 (right). The meaning of the plays up to
14 isnt hard to understand. Who has the advantage in this fight? After
Black 15 it seems that the two black groups will be better developed; it isnt
so important that Black has sacrificed one stone.
When there are a number of weak groups in the centre of the board, the
balance of dynamic factors in the fighting is the most important thing. One
of those factors is the good shape of groups, for running away or eyes.
Shape Up!
24
3
5
4
Here 3 is odd: White will take the key point 4. (Right) A horrible result.
Although Black remains connected, this shape has an empty triangle
signalling inefficiency, and also a white stone sitting on a key eye shape
point, generally called an angle point in relation to Black 5 (4.8, 4.9).
11
3 4
2 1
5
6
9 8 10
13
12
15
14
21
16
18
25 22 24
19 17
23
Heres a sad story in four parts. Black tries hard to break out, but simply has
too few liberties. As soon as White plays 5, Blacks shape is deficient in
liberties. The end comes after Black 20 connects, leaving only three liberties.
Capturing a single stone with 16 cannot be relied upon to gain liberties, if it
only makes a false eye. In fighting even a single liberty matters.
25
A B
Considering liberties alone, Black 1 is the key point; it gives Black five
liberties, while both Black A and Black B make empty triangles, and only
four liberties. For that reason White 1 is a good way to attack.
1 A 3
2
2
A
1 C 3
It would be better to jump at 1. If White plays the one of the key points, 2 in
the left-hand diagram, Blacks table shape with 3 becomes very good, leaving
a choice of A or B next. (Right) Black 3 is still usually good, but Black will
have to watch for the possible weakness at C as the game continues, because
White 2 has caused a shortage of liberties. In this case Black might sometimes
instead wish to play 3 at C, a bamboo joint. (Cf. 1.3).
Shape Up!
26
The plays shown here are the unique ways for Black to win the capturing
races. On the left Black gains two liberties by extending from a chain.
(This is a nose play in the sense of 4.3). (Right) Black links two chains:
other connecting plays, for example the bamboo joint, yield fewer liberties.
Empty triangles are what-you-see-is-what-you-get, for counting liberties.
4 2 3
1
10
After the throw-in 6 it becomes clear that Black is behind in the race (9
connects at 6). In fact Black should concentrate on reducing Whites liberties
(right). There Black wins because White must connect. Black 1 or 3 is the
key point in this capturing race.
27
Shape Up!
28
C D
A B
1
3 2
2 3
A 1
The hanging connections C (left) and B (right) both allow Black a peep 2.
If White is strong to the right, B may be better; the peep is a waste if it gets
swallowed up. After C White has no reason to connect with 3.
1
2
The choice D (left) is the normal good shape. This indirect connection is
supported by two ladders (and here a net, too). The Black forcing move
(right) is not worth very much: there isnt a good way to follow it up.
29
2 1
2
3
The recognition of half eyes is not as easy as you might think. Black 3
completes an eye. (Right) White fails.
A B D
2 3 1 5 6
E
F
4
(Left) Black 1 makes the eye: now White A is met by Black B, and after
White C next, Black D is good enough. (Right) Black 1 here fails; Black
needs both E and F to make the eye.
1
Life-and-death illustrates the old principle hard cases make bad law.
Attacking eye shape
1
1
Only in the centre of the board does eye shape follow relatively simple
rules. Fundamental shapes for the attacker are the eye-stealing play (left)
and clamp (right), in relation with the marked White stones.
Enthusiasm for destroying eyes or making them can go too far,
as we shall see. These plays are one kind of suji (style of playing,
basic tactic or technique). The play in the left-hand diagram is
often described as the eye-stealing tesuji, when played in sparser
positions in which the potential eye is as yet unformed.
Shape Up!
30
1
5 2 3
4
The defender has to decide how much relative weight should be given to
constructing eyes, and how much to running out. (Left) White makes a
definite eye. This play might look heavy on some occasions (see box below).
(Right) White can develop more rapidly by allowing the eye to be destroyed.
If Black plays 2, White sacrifices one stone (Black 6 connects). This is
generally better play.
Light and heavy
Two of the most important ways in which shape may be qualified
are as light or heavy.
To make light shape is to consider future convenience and
flexibility over short-term solidity and the safety of each stone.
B C
31
1
A
x
The clamp play in action. If White attacks with a more distant play such as
A, Black may gain an eye in the centre with ease. That doesnt mean that
White 1 is necessarily good. White really should play one of the x points
first, for a less direct plan of roundabout attack.
5
2 4
6
3
7
The marked stones steal an eye, so that the Black group seems to be under
pressure. However when White plays 5, required for consistency, that is a
heavy play: it commits White to saving these two stones. This is typical of
where the natural wish to attack decisively may lead.
Shape Up!
32
1
3
2
4
5
6
Now replace White 5 of the previous diagram by 1 here. Next White 3 loses
points. Unless White kills Black this will be an obviously bad play. Whites
conception of how to fight is too direct. More advanced and appropriate
thinking is to attack the marked Black stone first, in some roundabout way.
6
1
4
2
5 3 13
7
9 8
12 10
11
A Black play at the marked point is sente, against the corner, because Black
1 (another eye-stealing play) is strong. For example (right) White dies.
But still White shouldnt rush to take away this half eye.
For flexibility attacker and defender should stay light
On the previous page and this one are shown heavy or wasteful
plays used to keep up an attack.
Light shape is very important to both defender and attacker:
n the defender benefits from being able to give up a few
stones while saving most of a group;
n the attacker should attack in a way that doesnt assume
the target weak group will die, while retaining good
shape from the point of view of building territory or influence.
Perhaps these conclusions run against the intuitions of beginners.
33
Chapter Three
Close Range Play 1
Imagine you move to a large city. To begin with, you go everywhere by car
or on foot. After a while you discover how to use public transport, and your
life becomes a little easier if less individualistic. It is part of the experience
of coming to belong, in your urban environment.
This chapter and the two that follow it are at the heart of our conception of
shape. After that, in Chapters 6 to 12, we look at special topics that relate to
particular kinds of fight. But first we try to lay down the basic principles of
close range play. In order to feel at home as a go player, one has to learn
gradually the underlying map of the way stones interact. As our metaphor
suggests, this may be a slow process depending on changing some habits
and conforming more to the usual patterns.
The idea of fighting used in Chapter 2 needs expansion to show how shape
really works. In this chapter we concentrate on monochrome (same colour)
aspects of development of stones. These are of two kinds:
n one-dimensional, i.e. stretch further while remaining connected;
n
Shape Up!
34
4
3 5 6
1 2 7
8
2 1 4
3
14
10
1 2
6
7 5 4 17
3 15 16
12
B 13
8
9
A
11
35
2 3
4
1
An example of the sort of idea professionals use to work their stones harder,
to push for efficiency. This is another possible 3-3 variation, building in a
different direction from sequences shown in the Introduction (White 1 jumps
the other way, along the top side, in the main variation). White here has
central influence and a chance to control the left-hand side. But how sound
a play is 5?
17 14
13 15 16
11 12
1 2 6
3 5
4
9 10
1 2 7 8
3 5
4 6
18
There is a ladder (left) that White might use if Black tries to cut. Whites
play, however, doesnt strictly depend on any ladder. If Black cuts White
has in mind the possible sacrifice sequence (right), if the ladder is bad. So
much central strength for White would completely change the middlegame.
This is a one-way street; it is natural for Black to push out with 15 to leave
cutting points for later. Of course Black 17 cant be omitted, and then White
makes good shape with 18.
Being able to see such sequences makes for much more flexibility;
for example White neednt worry so much about a ladderbreaker. They may involve ladders, loose ladders, nets and
netting plays that turn into squeezes. In that sense fundamental
capture tactics interlock with with the fundamental shape question
of 2.5, how do I connect?
The next section looks at a complex example of this kind.
Shape Up!
36
2
1
3
This is our text. White has the stone marked here in support, and Black tries
the wedge. There is quite a range of replies to be tried for White 4. Even
with the restriction we shall make to White playing atari from above, there
are half-a-dozen to consider.
White can imagine playing any one of A to F, when it comes to covering the
two cutting points.
37
2 1
2 1
3
1 2
(Left) This cut fails against A. (Centre) However this peep is useful for
Black. (Right) If Black pushes to the right, A is not well placed.
6
4 3 5
2 1
3
2
1 2
(Left) B is better placed to resist Blacks push 1. (Centre) It also covers the
cut at 1 here, with a net. (Right) C is an interesting study after 1 and 3.
8
6 5 7
4
8
6
5
7
(Left) Avoiding a ladder, White can make a strong shape, aiming to sacrifice
(centre). (Right) White can also plan to squeeze Black, for influence.
14
10
15
9
11 12
10
13
(Left, centre) Black 9 here helps White build an outside wall. (Right) It
should be better for Black to capture with 9, considering Whites defects.
Shape Up!
38
B
12
8
7 4
A 5 3 2
1 6
11
White can connect at 12 in the position from the previous page. What if
Black cuts at 1 in the right-hand diagram, to spoil Whites influence? After
2 and 4 White can connect at 6 and fight hard. There is also White 6 at 7,
Black A, White B to consider. In that variation White is able to build solid
thickness by sacrificing stones, but will lose the initiative.
6 4
3
1 2
5
7
4 3 5
2 1
6
(Left) Case D: Blacks cut at 1 runs into a net already seen. (Centre) White
at E leads to a further pair of squeezes. First we look at Black 5 here.
(Right) White gets at least an adequate result with 8. In fact capturing one
white stone hasnt achieved so much for Black.
B
6
10 5
12
10
6 9 8
4 3 5 7 12
11
2 1
8
7
14
11
39
In Brief
The
shapes B and C
have the most to
recommend them.
They have the
potential to become
the table shapes
shown here.
8
9
8
9
7
7
White 7 forms the table shape A (left), which was discussed in Chapter 1.
Here it seems slightly less efficient than B (right), if Black continues in just
the same way. There 7 is apparently less solid, but is a one-line gain in
enclosing the left side, made by treating the triangle stone lightly. Black
has the choice of jumping out on the left side to prevent 9, too (next page).
Shape Up!
40
16 14 15
11
17
13
8
9
10
12
Weve seen that B is the interesting choice. Black 8 for White 9 tests Whites
attachment to the two stones before playing 10 (see 13.6 for this concept).
Later on White might instead sacrifice them. Black 12 is good shape on the
left side, and the corner is large. Where to play 13 is tricky, taking into
account the endgame play Black 14. This is an example of living go.
12
14 13
15
8
9 10 11
12 7
13
8
9 10 12 7
11
13
The other choices, C and D, have in common that they protect against the
cut by means of ladders, one short range and the other long. They look to
block on one side or the other. The choice between them cannot be made on
local considerations alone.
41
Imagine a single stone sitting in the middle of the board somewhere. The
most important friendly and enemy stones as far as it is concerned are those
as close as the two marked ones, or on the other x points.
What we call a compound shape is a shape of three stones of the same
colour, not containing any solid connection, that can be made by adding
two plays such as the marked ones to the central stone. All 15 types are
listed in the next section, to refer to at need.
Rote learning disasters
Shape Up!
42
5 2 4
1
3
6 A B
4 2 5 7
1
3
There are quite a number of cutting tactics to consider in this shape. Generally
White can hope to succeed with one of them only if supported by other
stones in this area. (Left) Black can respond to the wedge play White 1
with 2 and 4, on the side of Blacks choice. Normally one way to play 2
works well for Black. Therefore White has to examine both cross-cut fights
started by a play 5. (Right) Black has the further option of sacrificing the
marked stone and continuing with A, or B for a net and squeeze.
7 4 6 1
3
2
5
2 D C
1
3
4
If we add stones for White the range of possible strong-arm tactics expands.
(Left) With this extra marked stone, White will be able to cut somewhere
with more support. (Right) The double wedge 1 and 3 may be severe,
provided cutting Black is worth a trade for a ponnuki. In this case Whites
two marked stones mean White can plan for Black 4 (if Black plays on the
other side with C, White D is a spectacular cut).
43
4
3
2 1
The obvious flaw in this shape is the double peeping play White 1. When
this position occurs on the side of the board, Black has the tactical resource
at 6. White then may find it impossible to gain from the cut at 5.
8 10
7 11
9
8
9
12
14 11 13
7 10
12
(Left) If White moves out in the centre with 7 and 9, Black can bridge under
with 12. Normally this fight will go well for Black. (Right) Outright
resistance with White 7 in this diagram is a simple failure.
Shape Up!
44
3
1
4 2
5 4
3 A
2 1
6
Here is a useful point about fighting in the centre. White can peep, and then
cut Black. However Blacks knights move has the advantage that Black 4
is connected to the stone next to it, which is therefore better placed where it
stands rather than at A. After Black 6 it is a hard fight, but Black is doing
well. White cannot immediately expect to push through at A and cut.
45
8 7 5
1 6
2
4 3
3
1
2
2
1
A
A
B
(Left) White 1 comes out into the centre. Black has developed on both
sides, but White will be able to play next at A or B. (Right) This three crows
formation in the corner has a weak point at the 3-3 point. After Black 2
White A is a big sente endgame play; Black finds it hard to resist. This is an
example of a large corner that may be slightly too large for comfort.
Shape Up!
46
G: The bulge
This shape is powerful in one direction, but has an
obvious weakness in the other, at the point
completing the potential eye. Its orientation relative
to the edge may matter. Called also the cats face.
5 4
1 2
3
A
This shape is 75% of a ponnuki, but that doesnt imply it should be developed
into one. (Left) Here White 1 is good, even though Black can then peep at
A. (Right) White 1 and 3 make a resilient shape to fight ko with 5.
13 12
8 10 11
5 4 9
6 2 3 7
1
5
4 3 C 1
6 B
5 7 8
4 6 2 9 3
47
H: Maximum shape
This is a thin but efficient shape that may be used
for a maximum attack based on the diagonal
attachment.
2
1
5
4
3 2
1 5 6
7
Black attacks White, making use of the pincer stone on the left side. The
reinforcement at 5 prevents the cut White 1 in the right-hand diagram.
NB: Maximum means best for taking territory while attacking, not to kill.
I: Diagonal connection to the running knights move
This shape has a common use in running fights, as a
corrected version of shape E.
2
1
4
1
2 3
3
C
A
B
4 D
The left-hand diagram shows that the cut is defended by a ladder. The
diagonal play is advantageous here, compared to shape E. (Right) Black
plays 1 to set up a ladder covering the cut shown in the left-hand diagram.
This shape works well in such a context, provided Black can attack on the
left side. It is better than the sequence Black A, White B, Black C, White D
to cover the cut, that was mentioned under shape E.
Shape Up!
48
1
B A D
C
2 1 C D
A B
(Left) The correct way to connect under here. White 2 may threaten White
A to Black E, but Black 3 (just seen under I) is good. Compare with C.
(Right) A good way to take territory while attacking. Black can sacrifice
one stone with B and then D after White A.
K: The dogs face
Known also as the sake bottle, looked at the other way
up. It is well connected but worse than the big bend
for eye shape. (By the way the progression of faces
goes cat, dog, horse, Loch Ness monster ...)
3
2 1
3
2 1
5
3
5
2 1
49
2
A B
1 3
2
The reason for the name is shown in the left-hand diagram. After White 2
none of A, B, or C is a perfect shape for Black. (Right) A very common
example. Black emerges into the centre with the arrowhead shape 3. If
White 2 is at A instead, Black B is good.
M: Attack with the knights move
This is the classic attacking pattern, in cases when
the opponent has no time to cut through.
5
4
There are in fact two ways of leaning in such an attack. (Left) Black builds
a framework to the right by direct pressure. (Right) Black may appear to be
falling back, but is actually attacking by keeping ahead of White (cf. 4.9).
Rapid attacks like these naturally leave behind some weaknesses for Black.
Shape Up!
50
N: The flying V
Normally this is just a territorial shape in the bulge
family, but it has an attacking reputation based on
Bruce Wilcoxs teachings.
1
2
3
B
1 C
A
(Left) This is a play at a key point, the focus of two frameworks. (Right) A
common development on the side during a running fight. Whites next play
round here would be at A, rather than anything else. This shape can be cut
by Black B. But normally it is good enough for White to run back at C in
reply.
Part Two
Principles of Engagement
51
52
Shape Up!
53
Chapter Four
Starting from hane
1
2 3
The Black stone marked with a triangle is an example of the hane (hahnay) play, round the end of your opponents stones, leaving a cutting point.
(Right) Black 1 is hane at the head of two White stones, and Black 3 is a
second hane. When it works, this double hane is a powerful way to play.
5
1 4 7
2 3
6
2
8
1 3 4 7
B 5 6 A
Shape Up!
54
The hane play Black 1 also works to put the White stones into bad shape,
especially if, as in the right-hand diagram, Black can play at both ends.
5
1
2 3
6
8
Lets look at the effect of the double hane play in the left-hand diagram.
While less forceful than the example in 4.1, it still makes White experience
some discomfort. (Right) White can capture with 4 and 6, but 7 infiltrates
the corner. After 12, Black leaves this area for later. White A may be met
with Black B for a ko fight, but normally Black would play atari the other
way, sacrificing without serious regrets.
1
2
9 10 12
11
3
4
Here is a typical use of hane to seal off the lower edge. Up to 5 Black sets
White a problem.
55
6 9
6
11
8
10
(Left) It will usually be out of the question for White to go down this road,
losing three stones and being cut. (Right) White can choose this way of
sacrificing 6, depending on the usefulness of a ladder-breaker.
8
9
6 5
7
8
(Left) If the ladder is bad or awkward for Black, there is another play to try.
Black 5 here is sharp: White 6 to resist (White 10 connects) will normally
look poor after Black 11. (Right) Therefore Black may succeed in sealing
off the edge with 7, at the cost of Whites improved eye shape.
6
11
7 9 5
1
A
A
C B
1
3
Shape Up!
56
2 3
1
B
Here 1 is a key nose play in some wild fighting. If Black resists by playing
2 (left), White will capture at A or B. (Right) White connects out.
There is a good reason why beginners often try nose plays; but you have to
be quite strong to employ them properly. There is a worthwhile general
idea here.
N
N
57
1
2 4
1 x
x
x
(Left) Note that White 1 makes eight liberties. The white chain will
undoubtedly then be safe from shortage of liberties.
(Right) The black hane play here reduces White from six liberties to five.
Probably White will answer Black 1, but for the sake of territory and
influence. Against chains with five liberties one doesnt expect sharp tactics;
it is hard enough to find those against chains with four liberties, as the
example at the top of the page illustrates. Reducing a chain from six liberties
to five isnt always quick enough.
Shape Up!
58
2
1
3
3
1
2
1
A
B
The bulge of 3.5G, that is, the marked White stone, is a key point in many
shapes. If Black 1 is played there, Black A, White B, will saddle White with
two dangerous cutting points. Compare with the previous diagrams.
8 6
4
7
3 5
1
8 9
6 7 16
2
10
13 12 11 14
15
59
B
C
However in this position the bulge point A isnt important for either player.
Black should play at 1 as shown; Black A, White B, Black C reveals an
empty triangle. (Right) White 1 overlaps in effect with the triangle stone,
and violates another proverb: dont peep both sides of a bamboo joint. It
would be better placed at D, since Black has no interest in playing at 1.
8
7
6
5
11
9 10
12
White 3 is a butting play, hitting a black stone head on. Up to 12, Whites
shape is very bad. White has made the same type of mistake twice.
1 3
2
2 4 8
1 3
7 12
5 6 A
11
9 10
Shape Up!
60
2
1
5 3
4
These next sections are pivotal, and integrate ideas from all the first four
chapters. White 1 is good shape for moving out. It anticipates the double
hane, and prepares a table shape. This stone stone symmetrically placed at
the centre of three stones defends a vital point. (Right) The single marked
White stone is also more efficient than the two marked Black stones.
The triangles formed by these marked stones are ideal examples of attacking
shape (left), and defence at the key point (right).
2 1
5 B 4
(Left) Black takes the key point, and Whites eye shape is gone (White A,
Black B leaves a false eye, Black 3 could be omitted). (Right) Compare
with this basic eye-stealing pattern and the double table (1.1).
61
B
D
1 C
A 2
After 4.6 we look again ideas brought up in 2.6. Here are two ways to resist
an eye-stealing play. Black A is met by White B, Black C by White D.
6
2
9 7 5
10 8 4
3
11 13
12
In this fight White should have played at 13 with 12. As soon as Black plays
13 for a high table shape, Black is strong and White is in trouble.
1
2
2
3
The simple play at White 2 (left), related to the nose plays of 4.3, is perhaps
easy to miss in a game. It corrects Whites bad shape based on the position
of the marked Black stone. (Right) White 2 here runs into trouble, since
Black can safely cut at 3 without losing the stone played as 1. The marked
Black stone causes White a shortage of liberties.
Shape Up!
62
1
3 4
2
B
2 4 B
1
3
A
10
5
11
9
8
3 1 2
4
(Left) Here White 7, a table clamp as you could call it, is very good shape.
White plays 11, anticipating a running fight in which White A will be useful.
(Right) White 3 is a good clamp, aiming at both A and B. Black 4 is an
answer in good style. White 5 develops lightly.
1
2
2
1
The more violent clamp compares unfavourably with the diagonal jump,
when White cuts through. (Left) Blacks stones are weakened by 2. Black
must have a good reason to play this way. (Right) The Black stones are on
key angle points of Whites eye shape, and dont lose liberties after 2.
63
3
1
5 3
2 1
When White comes through the diagonal jump, the left-hand diagram is
good play by Black. Black 4 is a light play, to sustain the attack. (Right)
Black 2 here is a bad idea, since White will anyway play 3. Avoid forcing
your opponent to play good moves!
To emphasise again: the marked stones are on vital angle points for Whites
eye shape. If Black is attacking White this makes a huge difference.
4 3
A
5
1
2 3
In both these practical cases Black lets White connect (at 5, A) but only with
poor eye shape. People say the angle plays compromise the diagonal
connection of the diagonal jump. More can be found on the diagonal jump
in 11.2 and 14.3.
Shape Up!
64
Chapter Five
Close Range Play 2
1
1
These plays, which are the conventional supported contact plays, are then
of primary interest. In each case Black 1 tries for the maximum advantage,
measured by getting over the gain line, while remaining close enough to the
initial Black stone to see some benefit from its proximity. Because of their
importance, and the variety of possible outcomes, we devote two pages to
each of them.
65
1 C
2
3
R S
3
2
Q
P
(Left) Answer B is a butting play (4.5) and therefore usually bad shape.
(Right) After C Black may continue with P, Q, R, S or T.
2
3
1
1
4
Answer P allows White to give Black an empty triangle (left), but does
consolidate over the gain line. This pattern is sometimes seen, when both
the initial stones are on the third line. After Q, which is a more normal idea,
White can connect solidly (right); but might also play any of the x points
instead to cover the cut indirectly, or stick out at y.
Shape Up!
66
1
1
3 A
2
(Left) A normal idea is for Black to extend at 1, one way into the basic
attach-extend pattern. Black 3 at A causes bad shape for both. (Right)
Answer S is a special purpose technique, used here to live quickly.
3
2
4
7
1 2
5
3 8
6 4
9
5 7
6 8
(Left) White should play atari at 2, and let Black live small and in gote.
Black A later will be big. (Right) This is a typical case of response T.
White 4 seems to allow Black life too easily, considering that Black played
away here. These two examples belong with the material of 12.1.
3 D
1 2
1
2
C
B
67
1 C
4
2
5 3
Whites normal answers are A to D here. (Cf. also 4.4, for a shape to avoid.)
White at A can be said to depend on the ladder in the right-hand diagram.
3 x
2
4
5
3
2
If that ladder is good for White, and Black has to play atari on top (left),
White is doing well because of the cutting points marked x. (Right) White
at B simplifies the development to a trade of influence.
3
7
2
4
5
3
2
6
When White answers at C, two standard patterns may occur. (Left) The
attach-block shape made by Black 3 is a corner opening, in which Black 7 is
important to guard the nose weakness in the corner (see 4.3). (Right) The
attach-extend pattern again, which was met in 5.2 in another form.
Shape Up!
68
C
B A
3
1 5
2
10
Before extending in the attach-extend pattern, one can play the bulge point
(3 in the left-hand diagram). In this case, Black leaves behind the useful
cutting sequence Black A, White B, Black C. (Right) There is this possible
capturing race in prospect. White 6 saves the corner, but Black is able to
play useful moves on the outside affecting the marked White stone.
Whites answer D makes it easy for Black to take the bulge point.
3 1
2
69
This butting play (left) is for special purposes only. It doesnt aim to get
over the gain line. It loses out on influence, because Black 1 ends up so
close to White. The diagonal attachment (right) is still something of a loss,
and should be used to attack. In each case Black 1 is a local concession.
The steel post (left) works well sometimes, when Black can defend territory
to the left and also attack to the right. The footsweep (right) is a harderworking play, but has a weakness at A (see 7.5).
1
1
These are constructive plays for influence or central territory. They aim
only for a reasonable result, pushing back the opponent. In fact there are
real virtues in plays that leave the opponent wondering how to build power.
Shape Up!
70
1
1
4 2
3 2
3
4
(Left) Black 2 hane is the competitive way to reply. Then Black 4 is the
way to consolidate territorial gain. (Right) White may well cross-cut.
Fighting after a cross-cut is addressed in 7.1 and 7.2.
6
2 5
4
3
3
4
(Left) In the case of the angle play, Black can once more push across the
gain line. (Right) A cross-cut again; normally White 3 looks unreasonable.
71
5.6 Ko lock
6
4 1 2
5
3
7
2
1
This is a new name, from China via South Africa, for an old idea. (Left)
The basic pattern. White 2 double atari will usually leave Black little choice
about capturing the White stone; and then White can block Blacks progress
upwards. (Right) White 7 completes the pattern, shutting Black in.
4 8
C D
2
3 6 B
A
5
What is effectively the same shape can arise with a different order of plays.
White 1 is a tesuji for some cross-cut fights. White 7 takes in the ko. Black
8 leaves White pondering whether to: play for influence with A, Black B; to
fight with C; or to repeat the idea with White D.
6 7
8 3 2 9
4 5
1
7
6
8
White 1 here is almost a trick play. With 6 Black falls for the ko lock (left).
Black should instead cut resolutely and fight (right). (See also p.106.)
Shape Up!
72
Chapter Six
Blocking Off
6.1 Open skirts and crawling plays
Plays on the fourth line are much used in modern go, despite the open skirt
they leave on the second line. They emphasise influence over territory.
Proper shape to block off is essential, since attacking play alone isnt enough.
White has slid under a fourth line play. How should the game continue?
8
4
6 1 5
7 3 2
Black normally plays back with a diagonal at 1. Then the onus is on White
to make good shape. The odd diagonal at 4 is appropriate, once Black has
answered 2 with 3. It looks to make good eye shape at 5. If Black denies
White the chance as shown, White 6 and 8 ensure White reasonable shape.
73
1
A
2 3
4
It is a novices mistake to jump in at 2 in this sort of position. The territory
on the edge is less important than eye shape, until the endgame. Black 5 is
strong, and White is left with a weakness at A.
2 3 7
4 1
5
6
Another mistake is to take violent action with Black 1, to shut off the edge.
White will normally be quite happy to sacrifice on the right, to gain a ponnuki
and safety for a group on the left inside Blacks former framework.
4
2
3
1
If the situation demands it, Black can block Whites progress on the second
line. As shown here, Black has little chance of attacking Whites group,
which has strengthened itself by plays on the right. It therefore makes sense
to treat the marked stone lightly with 1 and 3. Black is content with securing
the left-hand corner, in sente.
Shape Up!
74
B C
Unsupported plays on the second line, such as White 1, A, B or C in the lefthand diagram, have been called submarine plays in English. They range
from trick plays to proper invasion techniques. The Japanese say mole or
hem plays, the latter for plays like Black 1 on the edge of the skirt (right).
1
3
1 3 5
2 4 6 7
(Left) Playing from above builds strong shape, and keeps Black low. (Right)
Running back with a knights move constructs influence, but costs territory.
17
14 12 13
18 11
10
8
6
9 15 1 4 5
16
2 3
7
3
4
2
1
The diagonal play (left) can lead to sharp tactics. Black could escape with
10 at 15, having only a false eye from capturing White 1; Black 10 here is a
novel idea. Note the play 7, reaching further than a solid connection would.
(Right) Confrontation with White 1 relies on 2 being a failure. When White
3 is a good idea Black presumably plays 2 at 4 immediately. (Cf. 4.9.)
75
2 4
1 3
With this other play aiming at the open skirt of a 4-4 point, Black has room
for a comfortable life in the corner (left). White will usually defend it (right).
C
A
3 2 4
5 1
1 2
3
4
A
5
B
White can also play in contact. (Left) Black is close to life, next playing A
or B. White has an option to play 3 at 4 in this line (cf.15.1). (Right) White
tries to make Black heavy with the diagonal attachment at 1. Blacks proper
move here is to play 2 at 3; taking the outside risks a heavy group. After 5
Black chooses between A, B and C. Atari at D is to be avoided, for the sake
of possibilities in the corner.
It is rare for the approach 1 in this diagram to be good; but in this context it
seems to be right. After Black 1, Black at A in the corner would be efficient,
so White 2 blocks the way. But then Black 3 combines attack and defence
perfectly, putting the marked White stones safety in question.
Shape Up!
76
1
B
15
5 4 2 1 14 16
7 6
3 8 9 13
11
10 12
Threats to block off are an important class of practical plays. They often
count as almost sente: having a major follow-up. In the position shown on
the left, White 1 aims firstly at A, and then when Black responds at 2, leaves
some residual possibilities at B. (Right) This Black 1 is a mistake.
x
x
Sometimes the diagonal White 1 (left) gains more influence than the simple
bend, one point to the left. But in this case White gives up most of the
chances of a later play at A. The follow-up at 1 (right) would have to
combine with other stones near the x points, to justify this choice.
3
1
8
6
7
3
1 2
4
77
3
2
This sequence has occurred often in professional play. What is the meaning
of White 3? The normal idea here is to play at A, to secure a definite base
for the White group; and this is also common.
2
1
The idea is to jump at 2 in answer to Black 1. Then White at A is a halfblocking play, which Black will almost certainly answer at B. That exchange
would do much to neutralise the influence of the marked Black stone. Black
normally defends the left side, and White takes the initiative. In any case,
White isnt here so concerned about points on the lower edge.
3
A
1 2
The logic of playing on the fourth line includes the use of the footsweep of
5.4, like Black 1 here, to seal the edge, before playing for a framework with
3. As soon as White invades at A, the difference will be noticeable.
Shape Up!
78
3
5 A
White plays 1 to live inside Blacks framework. After White 3 Black extends
to 4 for good shape, but this loses an opportunity. White 5 calmly devalues
Blacks position, though a chance for Black to play at A remains.
2
3
A
B
Black could have played the footsweep 1 here. If White resists with 2,
Black 3 puts White in trouble. There are tactical chances for White at A and
B; but White cant expect a good result with such weak stones appearing at
an early stage of the game.
5
6 7
3 8 9 13
12 10 11
A story about the previous position, from the 1997 match MacfadyenMatthews. Matthews had seen White 1 in a game Macfadyen-Janssen,
commended by Miyamoto Naoki 9 dan. This variation is given by him as
good for White (so Blacks immediate invasion 4 isnt sensible). Noting
novel shape ideas is one way to prepare against strong players.
Problem Set 1
Creating Good Shape
79
80
Shape Up!
A
B
A B
81
Shape Up!
82
3 2 4
1
6 4
5
If Black jumps into the corner (answer A) White 2 is in the hane-at-thehead-of-three-stones position relative to the marked stones. White can
capture the corner with 4, threatening 5.
1
4 2
3
5
Black should play the hanging connection (answer B). Then Black has a
chance to play the cut on the outside at 5, before worrying about the safety
of the group.
11
8
7
6 1 9 4 5 13 10
3 2
12
1 5 3
4 2
x
83
A B
B
A
Shape Up!
84
11
5 3
4 2
9 6
7 8
3
1
2
D
C
E
Answer B, the hanging connection, is a heavy shape. White can play 2, and
then wait for a chance to cut with C, Black D, White E.
5
1
2 3
4 D
Here again the right answer is B, the one-point jump. Black should play
lightly, aiming at the point C, and not worrying about 2 and 4. The weak
point left at D isnt so serious.
2
1
85
B
A
A B
Shape Up!
86
13
12
3 2
6
9 7 4 5
11 10
Black should make the table shape (answer B). This is good shape. In this
position Black should think first about moving out into the centre. (Right)
This result would be good for Black (8 connects).
1
2
4 3
5
Correct in this case is the knights move press (answer A). Black moves out
quickly, and can soon attack the marked white stones.
1
2
3
4
In this case the table shape A is slow. White jumps ahead of Black and takes
territory.
87
A
B
A
B
Shape Up!
88
2 3
4
1
Black should play the diagonal move (answer B). This defends territory. If
White spends time taking two black stones with 2 and 4, Black takes profit
elsewhere.
1
2
3
The table shape (answer A) is a poor move here. Blacks shape is inefficient.
White can exchange 2 for 3 and be content.
5 1 3
2 4
In this problem the table shape (answer A) is best. It prepares for the rescue
of the isolated black stone shown in the right-hand diagram.
2 3
4
1
89
B
A
A
B
Shape Up!
90
2
1
3
5 4
The contact play (answer B) is the way for Black to make good shape here.
In the continuation shown Black is out into the centre, and White has a
cutting point to handle.
3
1
Simply jumping out (answer A) is slow. Black runs out into the centre but is
subject to further sustained attack.
7
1 3
2
3 2 4
5
6
The contact play (answer B) is again correct here (the contact play on the
other side of the same stone is also good). White 2 (right) isnt a problem
as Black comes out into the centre with good shape.
6
4
91
B
A
Shape Up!
92
7
3
4
2
5
6
Black does better here with the cross-cut (answer A). By giving up one
stone Black can secure some shape on the left and then play 7.
6 5 2 D
3
4
The problem with answer B, the bulge here, is that Black finishes with rigid
shape. No longer does Black have the options to answer 2 at C or D. White
also has the option to connect at 5 with 4, for central strength.
1
5
Correct is answer B, the contact play under Whites enclosure. With the
result shown Whites two marked stones have become a target for attack.
1
2
93
A B
A B
Shape Up!
94
1
3
2
Correct is answer B, blocking Whites direct path out into the centre. Black
has nothing to fear in the right-hand diagram, or if White 2 is played one to
the left.
6
7 5 2
4 3
8 9
10
Simply extending back is slack shape. At some later point White may be
able to cut Black in good shape, with the knights move 2.
4
3
5
2
In this case Black should extend (answer A). This secures for the time
being the group on the left side. If something like the right-hand diagram
occurs Black has settled on both sides.
3
2
6 4
1
95
B
A
A
B
Shape Up!
96
1
3 4 5
2
Answer B, with a sacrificial intention, is correct here from the point of view
of shape. In the right-hand diagram White is already in bad shape.
1
1
1
5
3
In this case the jump to A lands on the key point of Whites enclosure. If
White immediately tries to cut Black (right), Black will be happy with an
exchange.
2 1
2 3
1
4
The shoulderhit Black 1 in this diagram isnt so good. White takes the key
point 2. (Right) Once Black has made shape as shown, Black 1 patches up.
97
A
B
B
A
Shape Up!
98
D C
2
3
Here the shoulderhit A is best for Black. It is natural for White to push with
2; but then Black develops good shape with 3. Black is now comfortable
answering White C with Black D.
2 3
4
1
The one-point jump is here loose shape. With 2 White can leave Black an
eyeless and heavy floating group. The sharp play 4 is even possible.
2
3 4
1
5
1
Answer B is the key point of this shape. As the right-hand diagram shows,
it would also be the best place for White to occupy to attack it.
5
3 4
2
Here the shoulderhit Black 1 isnt a good idea. Simply by pushing up White
can make Blacks shape look redundant: the three marked stones are too
close together.
99
B
A
A
B
Shape Up!
100
5 3
1
4
2
The bulge play B is good shape here. By sacrificing one stone Black can
break out of confinement, and at the same time make the marked white
stones into a weak group.
If Black descends to A to stop Whites connection along the edge, the wedge
White 2 causes immediate trouble. Black cannot defend both C and D.
1
2
5 D
4
3 C
F
E
Part Three
Practical Fighting
101
102
Shape Up!
103
Chapter Seven
Eight Faces of Cutting
2
4
2
1
3
3
4
The point is that Black 1 in the left-hand diagram turns out badly, if Black
needs 3 also, and White can capture in a ladder. (Right) The windmill.
Shape Up!
104
17
16
5
1 4 6
2 3
9 5
7 8 1 4 6
10
2 3
11
12
A
15
14 13
1
3 2 6
4
5
1 7
3 2 5
4
6 8
(Left) Black 2 here is also normally an overplay. (Right) With the marked
pincer stone in place, though, White 1 is questionable. The ponnuki plus
one stone isnt efficient. If White played 5 at 6, and Black played 6 at 5, the
windmill development would be assessed in Blacks favour (the lower White
group has to work hard for life, the central Black group is relatively strong).
4
1
4
2 3
This T-shape (left) and asymmetric shape (right) also come up, in close
fighting. Naturally Black 3 creates a shortage of liberties, for both sides.
105
11
10
9
3 1
C B
2 4 5
3 1 2
6 7
8
Here (left) White 1 is clearly better than allowing Black to play at 3. Next
should Black play A, B, or C? (Right) The idea of Black at A: sacrifice one
stone and attack in the centre. White 2 is bad when White is already alive.
A
1
2
3
1
6
2 5
3
The problem with the hanging connection at B is that Black may need also
to play at A, anyway (left). If Black omits 3 in the left-hand diagram, White
2 and 4 (right) are powerful. (See 9.1 for more on this pattern.)
Therefore in some cases (though not this particular one, where White is
strong already on the edge), the solid connection C (left) may be best. It
keeps White weak on both sides, even though it is not intrinsically good
shape. (Right) We call this extreme example of shortage of liberties a
pancake. The next page has some cases leading towards it. Naturally enough
the fighting can become most difficult.
Shape Up!
106
8 10
4 7 9 11
12
2 1
5
3
6
This might happen in the example from 5.6. However White finds it easy to
exploit Blacks lack of liberties, so Black 1 is the wrong way to fight.
17
7 6
3 4 5
2 1
8 16
9 10 15
12 11 13 14
Fighting along these lines can break out in several different openings, leading
to pancake-like continuations. To play the cut at 2, Black really needs a
stone in support as shown, or on one of the x points, and also a favourable
ladder. Whites plan with 5 and 7, up to 17 (and relying on A) must fail. If
Black has to play 8 at 9 to move out, no good can come of it.
14
15
11
17
9
5
8 7 6
13
18
12
16
10
When White plays 5 in this way, it has the intention of forcing Black into a
low position. The marked Black stone ends up on a good point after 18; if
it had been on the fourth line instead, this variation would be questionable
for Black. This is an example of a fight highly dependent on context, with
a ladder running north-east and stones to the west mattering greatly.
107
1
2
4 3
8 6 5
7
7
6
8 9 5
3
1 2
12
11
14
10 13 16
15 17
2 1
3 4
8 9
7
5
6
11
One-point jump after cross-cut: a very useful tesuji. Whites idea is to set
up a ko lock (5.6). Black 6 resists, but White 5 ends up on a good point
anyway (cf. 7.1).
Shape Up!
108
1
3
The apparent meaning of light play is often that you leave cutting points.
White 6 is a suitable idea for high-handicap go. Connecting solidly would
be heavy. (Right) White will give up one stone happily for good shape.
8
8
6
3 4
5
2
7
4 6
3
7 2
5
1
If Black simply defends territory, White can sacrifice two stones (left),
opening up the left side. (Right) This is the wrong occasion for Black 3.
10
9
6 2 4 7
1 3
8
5
4
7 8
6 3
(Left) If Black cuts on the other side, White can fight back with 8 (aiming at
A later on), and then 10 to move out. (Right) White 1 is heavy. Black 4 and
6 are a good way to attack Whites shape. After 8 White is in trouble.
109
3
1
2
4
16 6
10
3
2 1 15 12 5 7 8
14 13
9 11
Lets compare Black 10 here, which may seem slow, to double hane at 11
(next diagram). In fact White is in a mess after Black 16, and Black solid.
7
9 8 5
2
1 4
10
6
Following 4.1 blindly in this case isnt as good. After 10 White is alive, and
has the cut at A to aim at. If Black wants to play double hane, a second hane
play at 7, at the other end of Whites two-stone chain, must come first.
Shape Up!
110
6
1
2
3
7 5
3
2 1
(Left) This is the other cut at a waist (a mistranslated Japanese term that
has stuck); again a ladder may matter. (Right) In this case however the
alternative cut is also good shape.
10
8 4
9 7
1 6
3 2
A
5
A
4
2 1 3
The footsweep, seen in 5.4 and 6.4, is often the occasion for this pattern.
(Left) In this case Black 2 at 3, White at A is dangerous for Black. (Right)
A set pattern in the Chinese-style opening. Now A is the key point for both.
111
8
6 7
A necessary comment about 7.5 is that Whites way of cutting in the lefthand diagram, with 1 and 3, is bad shape. White 8 (left) creates an empty
triangle. (Right) However Black 7 here loses the marked stone after 8.
2
3
2 1
1
A
In general, pushing into the knights move, without cutting, makes ugly
shape. Black 1 (left) should be omitted; White A has become a possible
good play. (Right) Simply playing this way is normally better for Black.
There is a chance left of cutting at A, later.
3
2
1
1
2
In these cases pushing into the knights move is acceptable. (Left) White 1
is bad shape, and Black 2 is appropriate. White has no good answer. (Right)
In this opening normally Black plays 1 before 3, fixing the shape here.
Shape Up!
112
3
1
2
2 1
In the normal course of fighting, peeps should be played directly against the
cutting point. (Left) White 1 is correct, and then 3 rather than the heavier A.
(Right) It is a loss to allow Black the point 2 here.
1
2 B
A
4
2 1
A cutting point on the third line is exceptional. (Left) White 1 here is good;
if Black 2 is at A, White plays B, and vice versa. (Right) If White peeps this
way, Black plays one out of 3 and 4. This is clearly worse for White.
2
1
(Left) White 1 is the right way to threaten to cut Black, and Black 2 the
correct shape in answer. (Right) In this fight Black 1 is good bulging shape.
It sets up the play at A, which gives Black a ko to cut White, and also a
follow-up on the right edge.
113
3
4
A
B
2
4 3
(Left) Black can connect at 4 here almost without thinking, and White will
continue with A or B depending on the outside situation. (Right) If Black
plays at 1 here instead, White takes the corner and is quite content. White A
now is greedy (Black plays C), so White chooses 8 from B and C.
1
10
4
3 1 2
5 6
9 7 8
Shape Up!
114
Chapter Eight
Attach-Extend Mysteries
8.1 The common cutting points
5 4
1 2
D C 3 6
E 7
B
A
15 20
4 5
21 16 17
13 18
22 19 11
1
3 2
14 12 10
7 9
6 8
2 1 10 11 7 9
6 8 13
3
5 4
14
Trick plays (Whites cutting point matters greatly). (Left) A ko fight, and
Black has a threat at A. (Right) After Black 14, White is in trouble here.
2 x x
115
5 7 8
3 4
6
1
1
Bluntly pushing along (left) is usually bad for Black (unless White suffers
hane-related bad shape from a Black stone at an x point). (Right) The
more subtle and normally better diagonal play 1 here threatens to cut at 3.
8
5 6
2 4 6
1 3 5
B
7
7 A
(Left) A tactical trick for White in this shape. (Right) When White has the
extension with the marked stone in place, White should play 2 rather than 3
when cut at 1 to avoid overconcentration, and give Black bad shape. White
now has forcing plays at A or B.
9 4
8 7
1
3 2 6
5
8
1
4 7 3 2 6
10 9
11
5
If White pushes up into the centre, Black must play 2 as a point of pride.
Now White cuts with 3, and Black defends in good shape with 4. (Left)
White 9 is a possible idea, aiming at A and B. (Right) White 5 sets up a ko
lock tactic (5.6), but Black avoids it. Black now must attack forcefully on
the top side, since White has made fine shape on the left.
Shape Up!
116
7
8 9
10 11
12
16
15
12
1 3
4
9 8
11
10
14
13
(Left) The standard sequence, with a number of plays that could easily be
missed; for example Black 10 in answer to Black 9 avoids a possible cut.
The meaning of 16 is that it prevents the clamp attack (right).
8
7 4 5 6
1 2
1 3
A
2
(Left) White should not play atari (marked stone), or the clamp fails: Black
4 prevents White A. (Right) Black may play 1 instead to cover the weak
point in the corner. White at 2, therefore, allows Black to take sente. It is
perhaps hard to call White 2 a mistake, in isolation from the rest of the
board.
117
C
A B
Black 1 here is a fundamental attacking shape, when for some reason White
neglects to extend along the top side. White has to decide whether life on
the side or running out is more important. Any of A to E in reply may be
suitable on occasion.
4 1
2 3
2 4
3
Most usual is to run out with 2 and 4 in the left-hand diagram. This requires
some explanation, though. (Right) It can be found in the peep, played in
line with 7.7. Whites resource of 2 and 4, to take sente, is the reason White
submits to making an empty triangle. Here is another case for pushing into
a knights move (7.6). In fact Black ought to play 3 at 4, to resist.
5
8
11
2 3
4
6 7
9
10
Response B implies White will have to react passively to 5 here, since the
same idea (right) runs into bad shape with 10 and a desperate ko fight.
Shape Up!
118
12
11 10
6 7 9
8 4 5
2
3
13
7 6 9
11
10
12
14
2 3
5
4
White D looks to cross-cut and then live on the edge. Since Black 7 at A is
a tactical failure, and 7 at B leads Black into poor, rather heavy shape after
White A, this is a reasonable tactic; Black 7 should calmly extend as shown,
and leave the decisions to White.
2
6 4
5 3
A
Sliding all the way to E is perhaps the simplest way for White to play. It
anticipates Black 3 and 5, cutting off one stone. White has conceded central
influence to Black, but the points A and B are now useful ways for White to
attack Blacks shape. This final way of playing comes closest to the idea of
calculated risk, to be introduced at the start of Chapter 12. White should in
any case think twice before allowing Black to attack in this fashion.
119
8 7
2
15 B
14
13
10 16
12
11
17
A
10
7
9
3
4
When White 7 invades the corner instead, after Black 10 the pincer is on a
centre of three stones point (4.6), as the right-hand diagram reveals.
2
3
4 5
6
Black could also play 1 on the third line, perhaps when somewhat stronger
locally. (Right) The standard way. Black could now peep at A or B, but
seems to need a play at C quite urgently.
Shape Up!
120
3 2
White shouldnt fall into the trap of playing 2 this way. Blacks wedge at 3
is strong here. (Right) White 4 played this way means Black cuts at A or B.
10
9 7 8
4
6
10
11 15
11 15
8 5
9 13
12 14
13 A
7 16
6
12 14
17
14 12
Doesnt work: White is simply creating more and more influence for Black.
The low pincer is more severe on White, but is worse shape and potentially
an overplay, since the pincer stone may be subject to counter-attack.
These tactical variations are possibly misleading, therefore. In professional
play either of the pincers may be employed, depending on the requirements
of the whole board position.
121
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 thats 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.
4
3 5
A
2 1
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.
Shape Up!
122
2
6
3 4 1 7
C
5
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
3
5
2 1
4
4
5 1 2
6
3
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 knights move.
3
2
2
3 4 1
5
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.
123
A D
C
B
6
4 2
7 5 3
1
4
3 2
5
1
6
C
A
5 2
4 3
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 Whites task seems easy.
8 9
5 4 7
6 3 10
Type B. (Left) Maybe White came in too deep. (Right) White is in trouble,
if this is the best than can be hoped for.
Shape Up!
124
3
4 1
2
5
4 3
5
4
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?
10
5
9
11
8 6 7
6
3 4
8
5
7
9
(Left) Black can indeed try the hane inside at 6, but it generally doesnt
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 Whites
shape is better than Blacks, 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 dont work out well.
125
5 2
4
3
The immediate problem with D is the capping play. Here it seems that
White may make an escape with 3 and 5.
14
8 12
11
9 5
10 6 7
13
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.
Shape Up!
126
5 2
4
C
D
Now we have drawn in the sector line (in the sense of Bruce Wilcox), joining
the tops of Blacks 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 Blacks 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.)
127
Problem Set 2
Cutting Points
128
Shape Up!
129
A
B
A B
Shape Up!
130
4
6
5
2 3
7
4
2 3
1
The choice of hanging connection with 1 is bad. When White peeps with 2
the Black corner will be left without two eyes.
2
1
3
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.
1
The solid connection Black 1 here is a relative failure. Black can only jump
as far as 3.
131
B
A
Shape Up!
132
2
1
1
2
1
3
5 4 2
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 doesnt actually work to capture anything.
133
A B
A
B
Shape Up!
134
3
1
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.
3 2
5 4
The one-point jump to the edge fails. Black doesnt 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.
3 2
1
4
1 2
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.
3 1
2
Blocking at 1 allows White 2. White will have two extra points of territory,
compared to Blacks correct answer.
135
B
A
A
B
Shape Up!
136
3
1
2
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.
6
4 3
5
2
1
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.
4
2 3
1
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...)
1 3
1
4
3
2
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.
137
A B
A
B
Shape Up!
138
12
10
11
9
2
4 6 13
3 5
7
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.
5
3 4 6
C
E
1
4
2
3 5
The correct way for Black to move out is with the solid connection (answer
B). Then Blacks shape is proof against White 2 and 4.
1
7 4 5
2
x
8 6
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.
139
A
B
Shape Up!
140
3
2 1
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.
1
3
2
Playing atari with 1 is slack. After Black connects with 3, Black 1 doesnt
look like an urgent play: Black would prefer to move this stone for the
fighting to come. White certainly wouldnt play at 1.
5 2
3
8 4 6 7
4
1
2
If Black pushes down with 1 immediately, White has a way to resist with 4.
141
A
B
A
B
Shape Up!
142
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.
4
3
It is correct for Black to peep first (answer B). Then Black 3 is a preparation
for a play at C, fencing White in.
3 4
D C
1
2
5
6
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 Blacks central dominance.
A
B
A B
143
Shape Up!
144
2 3
5 4
1
It is correct for Black to connect with B. White has no chance of cutting the
monkey-jump relation (right).
4 6
5
2 3
1
x
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.
6 8
5 4
1 2
7
3
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.
2
1
The other way to play will only be better if White ignores it. By replying to
it White makes sure Blacks result is one or two points worse than in the
case of answer A.
145
A
B
A
B
Shape Up!
146
4
1
2 3
5
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).
2 4
3 5 6
The other choice of way to play will only be better when it is important to
retain sente. White defends much more territory.
1
2 3
The best shape here is answer A, the solid extension. White will probably
answer it by playing 2 a little later.
7
2 5
3
4
8 6
The diagonal play 1 is a flawed shape. White can reduce Blacks territory in
sente by a sacrifice trick.
147
A B
A
B
Shape Up!
148
4
5
2 3
The diagonal play at B is the way to repair Blacks shape. White can play 2
and 4 in sente, but Black is left the capture at C (worth 10 points).
3 2
1
4
2 3
4
2 3
6 8 9
5 7
Black can play at A to connect out. White has a problem with shortage of
liberties, meaning White cant disconnect Black along the edge.
2
1
7 8
4 3
5 6
This way of playing is a failure. Blacks shape is too thin to surround White.
Part Four
Vital Points and Shape
in the Opening
149
150
Shape Up!
151
Chapter Ten
Extensions and Invasion Points
10.1 The two-point extension is stable
This extension with a two-point gap is the fundamental building block for
play on the sides. Much of the ordinary reasoning about finding a base for
groups in the opening centres on extending in this way.
Of all the ways to construct a two-stone group on the side, this one is the
most stable. We shall see in the rest of this chapter how each of the other
members of the family of common extensions has some drawback.
That by no means says that the two-point extension is the only shape you
need to know. In some cases you can play low moves, with an eye to getting
immediate life. On other occasions overall strategy dictates the use of plays
on the fourth line, climbing quickly to pivotal or focal points.
The feature that we bring out in this chapter is the existence of invasion
points, vital points of shape where an invasion is possible (or may become
possible later). There is some discussion in 13.7 of the question of whether
such invasions in small spaces are worthwhile.
The two-point extension is not exempt from attack itself. We consider this
topic in Chapter 11.
Shape Up!
152
7
4
The three-point extension on the third line is useful in this sort of situation.
Black builds a secure group.
9 5 2 3
7 1 4
8 6
Considered on its own, the three-point extension is a light shape, that is, one
that may be defended by sacrificial means. There is an invasion point at A.
(Right) Depending on the context, Black can usually cope this way, giving
up one stone.
7
5
6
In professional go, the sequence at the top of the page would be thought to
lack severity by White. Instead one expects to see White invade at once,
and then give up the invasion stone for the moment, as here. It has very
good chances of later revival, unless Black plays once more to suppress it.
153
3
2
In strategic terms (left), Black 3 has the meaning of making the plays at the
x points less important. That is, it works against central strategy. Considered
in isolation, the shape has an invasion point at A.
5
1
3
4 2
6 5
3 1 2
10
4
7
(Left) If Black resists at 4, the fight becomes complex, with White having
to take into account eye space (play at B) and the cuts C and D. (Right)
Black may also try 2 and 4. White can escape with 5 and 7, but must worry
about the timing.
Shape Up!
154
A B
In contrast, Black 3 here leaves Black a good play at A, and White one at B.
In a game of large-scale frameworks both players would be keen to play in
this focal area. (Right) White can invade at C, or play contact at D.
6
1 4 6
7 2 3
5
7
9
5
White can get a good result invading on the third line, if both these ladders
are favourable. As in 5.3, if Black 4 is at 5 White gets good shape. When
White starts at 3, Black 4, White 1, we can have the same results.
155
You can say that a play on the second line early in the game always has
some strategic purpose, to compensate for its low position. Here Black 1 is
a mole play (6.2), trying to live in a White framework. (Right) A marks
the normal invasion point in this shape.
3
3 1 6
5 4 2
This is an opening pattern with efficient shape for both sides. (Right) White
can take a profit by invading here later; but Black ends up strengthened.
1
2
A
B C
This is one idea for invading Whites framework, set up in the revised or
high Chinese opening style. There is room for Black to extend to 3. The
resulting position is complex; White has plays at A, B or C to consider.
Why would Black play this way? With another play at B, Black is settled.
But White may intervene, a point already made in 2.3.
Shape Up!
156
8
4 1 6
3 2 5
7
7
5 2 3
6 1 4
8
There are these potential ko fights (both of them examples of the ko lock
idea from Chapter 5). These are big fights, and hard to judge.
8
6 3 2 7
4 1
9
5
10
There is also this attack for White. Up to 10 Black has lived, and also
avoided being shut in.
A
2 1
5 3
4
3 2
4
5
1
6
8 7
10 9
Black would probably not die without Black 10 of the last diagram. But it
is still important to play it, to retain access to the centre and preserve a big
endgame play in the corner at A. (Left) Unreasonable for White to cut
Black now the marked stone is played. (Right) The immediate clamp play
White 1 is too simple-minded to kill Black (cf. 2.6), and is a loss. Black
could play as shown, cutting at 4 to set up a liberty shortage, or hold back 2
and 4 for later, since Black 2 here is normally worse in endgame terms than
jumping in to 3. But Black cannot rely on White attacking so bluntly: White
will wait for an inconvenient moment.
157
1
2
When a game is being played on a very large scale, one sees fourth line
plays such as 1, to be followed up by 3 at a key point. In this case Black is
thinking more about central development than points on the top side.
6
4 3 5
1
2
7 A
Playing 3 and so on before jumping to 7 is big, but there is some risk that
White will play at A rather than 6, a plan tried out by top pros.
6 4 5
1 8
11 15
9
2
8 10
9 12 14
13 16
17 18
Shape Up!
158
A
B
1
2
3 A
On the top side, Black 1 and 3 may suggest themselves. White 4, sooner or
later, is a focal point. The normal way of thinking for Black is to hold back,
with 3 not A. If Black 3 were at A, White 4 would have more effect on
Black; the invasions suggested above would be more severe.
2 1
5
3
4
9
8 7 2 3
5 1
10 6 4
159
The tactical ideas from this chapter apply in many more situations, some of
which need to be studied in depth. White 1 here is on a key point for invasion,
and White A or B will follow.
2
1
In this case the marked White stone makes the invasion at 1 possible. After
2 there are set sequences for White. But the priority is to identify White 1 as
a vital point, threatening to connect out to the left.
2
1
A
Shape Up!
160
Chapter Eleven
Cramp
This chapter gives the other side of the story on the two-point extension.
When it is cramped by two White stones, as shown in the left-hand diagram,
it can be attacked in many ways. The placement (right) at 1 or A is something
of a revelation, when you first discover it.
2 1
2 1
3
Next if Black blocks at 2, White should play 3 in the left-hand diagram; the
other choice (right) can be criticised.
161
6
7 3 4
5
8
9
5 3
4
6
Black cant hope to resist as in the left-hand diagram. What about the righthand way?
5 3
4 A
6
7 5
6 3
4
8
(Left) Black makes better shape with this choice of 4. White should just
play 5, rather than A. (Right) This way of playing 3 is a little vulgar; the
exchange of 3 and 4 benefits Black.
8
6 4
1 3
7 3
2
5
There is also a chance Black will resist (left), leading to a wild position,
both having bad shape. (Right) If Black plays 2 White 3 is inevitable.
3
4
3 4
(Left) White can connect out either side, but is thin. (Right) Black blocks
with the intention of sacrificing if necessary.
7
4
5
6 8
13 11
12 10
14
White 5 here is reasonable. But cutting at 9 just helps Black make good
shape up to 14. White should attack on a larger scale than this.
Shape Up!
162
C
B
The attack with the capping play White 1 is flexible, and normally better
balanced than the placement. Black may move out with A or B, or try to
build shape on the edge with one of the contact plays C. (Right) Black
jumps out at 2. This is a common sense approach: avoid being shut in.
5
5
6 7
3 4
2
4 3 12
11
5 8
7 6 10
13
9
The capping attack stands or fails by Whites response when Black plays
through at 2 here (cf. 4.9). The placement at 3 is excellent. In the continuation
up to 13 White builds central strength, while Black still only has one eye.
163
4 3 7 5
6
3 5 7
4 A
Besides the sacrifice option just seen, White can attack Blacks base. (Left)
Blacks marked stone ends up as a compromised diagonal (cf. 4.9). (Right)
This is possible for Black (White A, Black B), but Black has poor eye shape
because the capping stone is well placed relative to the marked stone.
4 2 3
5 3 2 7
6
4
9
8
1
10
In practice Black will often play one of the contact moves in order to settle
quickly. In the right-hand diagram White takes some profit, but Black
emerges with good shape for running out.
2
7 2 3 5
9
4
6
8
1
10
The variations on the other side are similar, but there is one significant
difference. White is less likely to follow the right-hand diagram, because
the marked White capping stone ends up too close to Blacks strength. Since
Black 10 is good shape and has an adverse effect on the marked White
stone, Black should play contact in this fashion; and White 3 here isnt best.
Shape Up!
164
4
1
2 3
In this game White has ignored the capping play (marked Black stone) and
started a fight on the left, in which Black lost some stones but gained in
influence. When Black played 1 to cramp White, simply defending with 2
and 4 here would have been good.
11
9 2
6
7
4 3 5
10
White 2 here, from the game, led to the placement attack 3. White
overestimated the chance of eyes on the edge, and Blacks blunt attacking
moves succeeded in killing this group.
C D D C
B
165
4
3 5
1
9 8 10
7
12
5 6
11
5 6
9
As Whites attack continues, the immediate attempt to cut Black (left) fails
for White, because of shortage of liberties: after Black 12 White will lose
some stones. (Right) White 7 followed by 9 is a more reasonable way to
sustain a profitable attack.
1 2
3
7 2 3 5
9
4
6
8 10
1
Black can play contact moves to defend. (Left) Black 2 and 4 are good
shape (14.5), but White has succeeded in developing to the left. (Right)
White can be satisfied here to have taken profit, since Black 10 is bad shape.
Shape Up!
166
In this game sequence, White should have answered the extension 1, which
was held back one line, by extending at 2. White 2 as shown makes territory,
protects Whites shape, and prepares a later invasion of the top left.
4
3
As it was, White used a play to build up on the left side, and Black played 3.
This should have been at 4, to which White has no good answer. White 4 is
correct shape to defend, but the exchange was a gain for Black.
4
A
167
5 6
5
1 2 4
A
3
The principles of attack and defence are the same with other examples of
groups on the side subject to cramp, though the details naturally vary. Here
White plays into trouble with 3 and 5. (Right) There is a telling placement
at 5, prepared by 1 and 3 here. White should have nothing to do with this,
playing 2 directly at A.
8 6 7
4 5
2 3
1
9
3 2
4
5 1
6
White could play out with the knights move first. (Left) White does well if
Black takes the bait. (Right) Black should peep with 2 and 4, and attack.
5
3
1
2
6 7
2 1
5
3
4
(Left) Therefore best is for White to play 1 here before extending; the
variations seen above reveal this as a key point. The cap at 4 is properly
answered by 5, as in 11.2. (Right) Setting up a ko is a lighter way to deal
with Blacks framework; White 3 is again the vital point, threatening 4.
Shape Up!
168
11.5 Chinoiserie
Exploiting a cramped group is at the heart of the Chinese-style opening.
6
10
7 5
2 9
4 3
8
B A
1
2
5
3
4 6
2
1 3
When Black jumps up, White 2 can be met by Black 3. (Right) Blacks
plan. White has been confined, and has to worry about eye shape.
4 2
1
3
2 3
6 1
5
4 7
Therefore it is natural for White to ignore the peep, at least for a moment
(left). (Right) This choice of 1 is an interesting alternate way to respond,
when Black pushes down. It has appeared in professional play. The unusual
cut at 3 works well here. By challenging Black to a ko on the edge, White
has avoided passive play.
169
Chapter Twelve
Outnumbered
When Black ignores White 1, White normally plays next at 3. Then Black
can slip out of the corner at 4, to establish a group on the side with 6. The
Black corner stone may still be useful. White has another option for attack,
namely to play 3 at A. However Black at B is a normal answer (cf. 3.5L)
and Black will survive unless White is very strong locally.
Shape Up!
170
1
2
6 2
3
4 7
5
White should avoid ignoring the high pincer. Black becomes very thick.
This sort of exchange early in the game will make fighting hard for White.
1 3
2
5
3 2 4
7
6
In the case of a high approach, it is the low pincer that most needs an answer.
(Left) Black does well with 1, since White cant prevent connection. White
plays the bulge point 2, then waits for a moment to play at A. (Right)
Another way for Black to play, leaving the White stones rather heavy.
171
6
5 4
6
4 1 2
5
3
7
3
1
When the pincer stone is on the fourth line, White can ignore another play
(left), and then seek life in the corner with 4 and 6. This is an example of
sabaki (Chapter 15) (Right) Black 1 here is a bad idea. Whites ponnuki
capture with 6 makes resilient shape.
14
13 10
12
9 8 6 4
11 7
2 1 5
3
12
6 8 4
7 2 3
10 5
9
1
11
13
15
The one point pincer after the 4-4 point is frequent in modern professional
go. (Left) The usual continuation is based on 5.3. The 3-3 invasion (right)
is another simple way to answer Black 1. Black becomes thick, but in gote;
Black 9 could be at 10 also.
5 4
1 3
2
8 6 9 11
4
10
12
When White has played the slide into the corner and then ignored the pincer,
the odd diagonal 2 is the way to make shape after Black 1. Both of these
variations are reasonable for White, in the local position. (Right) Black 7 at
8 would be passive, and White would make good shape easily using the
threat of A.
Shape Up!
172
3
7 6
8
3
5
6
3
4
(Left) If Black plays 3 as hane on top, White can resort to a ko. (Right)
Another passive reply by Black. White jumps out, aiming at A and B.
5
8
13
6
7
11
7
9 8
12 10
14
When Black replies at 5 here, White 6 is good. Black 7 and White 8 in the
left-hand diagram are natural; White retains some hope of playing later at
A. White is happy to be jumping ahead out into the centre. (Right) This
immediate cut by Black is a big failure.
173
6 8
4
5
7
5 4
3
8
9 6
With the two-point enclosure, White can take immediate action with 3 and
5. White will live, though Black becomes thick.
8
3
6
5
4
7
In the case of the one-point enclosure, White 1 isnt a good idea. White 3 at
the 3-3 point looks interesting, but White shouldnt expect a good result.
Black can secure the corner, and take sente to deal with the left side.
Comparing with the two-point enclosure variation just given, White has
done poorly. In any case, White must be acutely aware of the key points of
the particular enclosure in planning a defence.
Shape Up!
174
5
7
8
9 7
10
9
11
If White does play atari we can expect a result like in the left-hand diagram.
White hasnt made the most of this position. If Black had descended (right)
White would develop in a similar way, but with much more influence.
4
1
B
A
That means also that White 3 here is questionable. Black can answer with
4. White A, Black B returns us to a previous variation. But White B, Black
A is a tough fight, when White wants a clear advantage.
Part Five
Theory
175
176
Shape Up!
177
Chapter Thirteen
Theory Applying to Effective Play
Shape Up!
178
Both of these sequences allow White to escape. But in the left-hand diagram
Black gains more outside influence. Since the exchange of White 1 for
Black 2 in that diagram isnt necessary, it should be omitted.
123 Principle
Dont play 1-2-3, just play at 3.
4
3
2
1
1 2
D
B
(Left) There is no good reason to play 1 here. It loses Black a liberty, and a
ko threat; and also some potential for later play with Black at 2 or one point
above. (Right) A cross-cut: see p.103 for Black 3 connecting solidly after
Black 1 atari. A very common case of the principle is: dont play atari and
then connect. That can look like planless play. Black 3 in this diagram is
part of a plan, to sacrifice one stone, with White A, Black B, White C, Black
D. That builds strong shape for Black in one direction. Quite generally, if
your play 1 has an obvious answer, you should have play 3 already lined up.
One of the key proverbs is dont go back to patch up.
Effective play normally aims to generates sustainable forward
momentum.
179
1
2
2
3
3
2
The mechanism behind such plays is one aspect of the Japanese term miai.
After playing 1 in this position, first seen in 9.1, Black will be content with
either of the plays 3.
B
A
Summing up, Blacks play at C makes A and B into miai, a pair of points of
which Black can be sure of one. We can enunciate a further useful principle:
Dont play either of A-B-C or B-A-C, just play C.
Shape Up!
180
10
6
5 7
2 8
1 3 9
1
11
5
6
If White challenges Black on the upper side with 3, Black 4 has a double
purpose (attack White, build up the top right), and Black 6 has three aims
(attack the White groups to left and right, and avoid getting shut in).
10
11
2 1 6 9 8 3 4
5
7
181
13
1 2
10 12 11
9 2 8
3 4
5
A forcing play is one that the opponent will answer, in practice. Here White
1 is a professional-level forcing play. When Black answers at 2, White has
miai points at A or B to live. Without this exchange it may be possible later
for Black to kill White (right). But once it is played the White group is
definitely alive. (From analysis of the 1999 British Championship.)
It is quite tempting therefore for Black to ignore White 1, when it is played.
However Blacks shape then is full of cutting points. If White follows up by
pushing at 2 in the left-hand diagram Black will have a very unfavourable
fighting position.
Forcing plays are highly effective if they achieve something
definite, retain the initiative, and can be abandoned once played.
You should question the value of a forcing play if any of the
following might be true:
n ignoring it is a real option for the opponent;
n it will provoke an exchange of plays that doesnt do
anything clear-cut for you, or even benefits the opponent;
n it might be better later on to play another way in that part
of the board;
n it wastes a ko threat;
n it might be answered in a way that resists your intention,
or leads the game down an unexpected road;
n you feel some obligation to save the stone played, or
may be drawn into a local fight that loses the initiative.
All strong players seem to be generally agreed on matters of
shape, but the same cannot be said about forcing plays. Play
forcing moves early, and the game will have an abundance of
fixed shapes, that have no further flexibility. Fixed shapes were
a feature of the games of the great champion Sakata Eio.
Shape Up!
182
3 4
1
C
White 1 gets the answer Black 2, meaning that White may later be able to
live in the corner with B. Black could have answered at A, B or C also.
Having discovered Blacks intention to emphasise the outside, White may
be able to turn elsewhere on the board. Whether White returns to play at B,
before Black suppresses Whites stone with C, depends on the rest of the
board.
The right-hand diagram shows a further probe White 3. If Black answers
with 4, White can live by playing at D (then Black F, White G). If Black
became strong in the centre it is conceivable that Black would later answer
White 3 with Black D. Then White at 4, Black at E sends White running out
into the centre. If this is a real possibility White can play 3 to test Blacks
reaction, without necessarily making life in the corner in gote.
183
184
Shape Up!
Chapter Fourteen
Haengma
The final two chapters of this book have something in common. They both
touch on more advanced topics that can be said to require middlegame
thinking. That is, they push on beyond the circle of ideas in the Introduction
and early chapters, to deeper aspects of fighting. They also concern ways of
playing that may appear dangerous to those who havent studied them.
This chapter looks at examples of what Korean players call haengma
(literally, the moving horse), a kind of distillation of the feeling of movement
on the board that accompanies the development of groups.
From left to right these are: the large knights move, the diagonal jump, the
two-point jump. These shapes are hard to handle. Typically they may be
cut, in a number of ways. They do have advantages: they develop rapidly
(important in a running fight: jumping one line further may bring an instant
gain); they maintain flexibility in your position and are inherently light plays;
and they offer chances to construct good shape with one or two more plays.
185
1
1 2
A typical piece of shape reasoning can be seen in this example. (Left) This
sequence makes light shape for White (the big bulge, shape J of 3.5). White
will be able to treat the stone 1 lightly if Black tries to cut here. (Right)
What about jumping directly to 1, holding back the peep at A (123 principle)?
After all, forcing plays generally lose something; and one cant be entirely
certain that the opponent will answer as predicted.
6
5 4
3 2
3 4 12
1 2 5 6
7 8
11 9 10
These two diagrams are typical of what one must consider. On the left
Black cuts, making strong shape for the stones to the right. White 7 ought
to be a good play for White; if not, Whites plan is bad. The right-hand
diagram is a crude cutting sequence for Black, and normally Whites result
will be fine.
Shape Up!
186
4
3
7
6
1
3 2
4
5
187
1
3
1
2
There is an immediate and natural tactical query (left) over the use of the
diagonal jump: what if the opponent plays through the middle? (Right)
Here White 3 tides over the crisis; Black has no decisive continuation.
8
6 7
4 5
11
5 4
7 6
9 8 10
For example (left) one way for Black to cut leads to capture of the initial
stone; and (right) another gives up the corner.
4
5
2
10
11
8 6
9 7
This example shows a classic use of the diagonal jump (it is taken from the
games of Meijin Shusai, the protagonist in Kawabatas novel The Master of
Go). White has played away once from the position. Black attacks with the
diagonal attachment 1. White 4 is one way of handling the group. Up to 11
White has made some sort of shape.
Shape Up!
188
25
24 23
22 19
33
18 17
16
32
12 13
20
34
26
14
21 15
31
30
27 28
29
Then White cuts across Black (cf. 3.5H). Both sides live on the left edge.
With the capping play 33 fighting returns to the centre.
16
14
12
15
13
11
9 A
8 5
6 7
10
2
1
2
1
1
A
Here are two variations to explain these manoeuvres. (Left) White doesnt
want to play the contact move 1. After Black answers at 2, there would be
little chance of White using the play at A to cut across Black. In the game
sequence White is still threatening this at 14; which is why Black with 15
chooses to make solid shape. (Right) White shuns the chance of making
the table shape like this, preferring the empty triangle at A. Besides the
reason just explained, White wants to make the cut on the outside atari.
189
3 4
2 1 5
The two-point jump may be cut in quite a number of ways. (Left) This ends
up like a cross-cut fight. (Right) White occupies an ear point (others marked
x); this is a good preliminary to cutting (cf. final diagrams in 1.4).
3
4 1 2
6 5 7 D
C
8
4 3
2 1
(Left) This is generally the way for White to cut in good shape, taking A or
B next. (Right) With the wrong order, Black may be able to resist at 2 (later
there is the possibility of Black C, White D).
3
1
1
2
B A
C
This use of the two-point jump may seem loose. However while Black A,
White B, Black C remains in the corner it isnt very dangerous for Black.
(Right) This continuation is good shape for both. Now White has to consider
carefully before cutting across the jump, looking at the pincer stone.
Shape Up!
190
11
10
8
6 4 5 9
15
6 7
8 9
14 10 11
12 13
The looser haengma may be used to construct shapes that are very good,
even excellent, if the opponent doesnt prevent their formation. This
trapezium is an ideal way to strengthen a two-point jump or extension.
2
3
4 3
6
5
2 1
A
(Left) A normal opening sequence, after which White will be able to block
off the left side, or attack on the top side. (Right) These peeping plays for
Black will make an important difference in the running fight, making shape
for the marked stones. White should therefore resist, playing 2 at A.
191
1
C B
(Left) This play 1 aims for the trapezium shape at A; if White B Black C.
(Right) White 1 is on the key point of this shape, and Black may now have
difficulties with these stones.
1
A
6
5
Shape Up!
192
Chapter Fifteen
Sabaki
The sabaki concept is one of the most important developed in the Japanese
tradition of professional go.
4 3 1
6 5 2 7
This example occurred in 13.3. White should have planned how to play
before arriving in this position. (Left) Black has played an extra marked
stone, to cover the possible cut in the attach-extend formation. After that
the marked white stones are in Whites view disposable, non-key stones,
and may be sacrificed. Thats because they no longer relate to a cut. White
imagines a continuation (right) to weaken the black stone on the lower
side. This is a sabaki idea.
2
1
3 4
8 6
5 7
In contrast, if White tries to hold onto the single stone when Black plays
atari, Black 5 is strong. Whites result is worse than before.
193
3
2 1
6
8
18
4 9
5 19
7
12 14 17
16 11 13 15
x
x
A
x
When Black has enclosed the corner this way, or with a stone at one of the
x points, White often comes in at the 4-3 point. If Black blocks outside
(cf. 11.4) White 3 (counter-hane) is played as a possible disposable stone.
(Right) This immediate capture by Black leads to a result that may well be
bad overall. After 19 White will break out at A, or capture three stones.
In this pattern Whites play 3 often depends on several further sabaki ideas.
6
1 3 7
2
4
5
8
9
(Left) This way of playing for Black aims to capture more stones. However
White retains flexibility after 6. (Right) Bad play by White.
3 2
9 8 4 1
5 6 10
7
1
7 6
4 2 3
8 5
9
Shape Up!
194
3 5
6 2 1 4
B
C
3
1
2
2 6
1 10
8
3 4
7 5 9
The clamp 1 is the way to live quickly for White. (Left) White is alive in the
corner. (Right) If Black resists with 2, White once more breaks through the
enclosure, in sente.
3 5
2 1 4
9 3 4 6 10
2 1 5
11
7
8
(Right) With the marked White stone already in place, White 1 and 3 are
good shape. Now neither Black atari play at 4 as shown works well.
The pattern of the marked stone and White 1 and 3 (called counter-hane) is
worth remembering. It will be seen again in 15.2
195
3 2
1
6
5
3
1 2
4
Other ideas here are heavily dependent on context. The nose play (left)
builds influence across the top side. (Right) The cut at 1 can be a way to
build central influence.
14 16
10 12
12
13
13
17
11
15
11
(Left) Continuing a sequence from pro play, the three marked stones are
used as a sacrifice to build in the centre. Black 12 is correct shape. (Right)
Black 12 played here is usually bad shape, and White will gain extra plays
on the outside, because Black now suffers from shortage of liberties.
13
4
5
1 3
6 2
11
9 7
12
10
In the case of the one-point enclosure (marked stone) White normally cuts
first of all (left). The idea is to sacrifice two stones and also leave White 5
on the outside. This is suggested by the empty triangle it leaves for Black.
(Right) When White jumps out at 13, this group can live with one further
play in the corner, and has a definite eye there.
Shape Up!
196
A
B
4
5
2 1 3
Given the topic of 15.1, it is natural to give some attention to this 4-3 invasion.
White should also think about the 3-3 invasion (White 1 at 3). These are
both normal measures to take. After White 5, the White right-hand corner
has become quite large. The position isnt so easy to evaluate after Black 6;
but will this variation actually occur?
197
12 10
4 9
8 6 2 1 3 11
7 5
It is Blacks option here to make the invasion look like a 3-3 invasion, by
playing 4 this way. Then Whites marked stones become weak. It should be
easy for Black to build up the centre by attacking them.
We therefore recognise a problem with both of the common invasions: they
offer Black a choice of options, one of which is easy to play.
The reduction plays at the points marked x are at the depth suggested by
9.3. However they seem not to have a great effect on Black.
9 7
8
5
6 3 4
Following the thought also in 9.3, to bias a reduction play to the weaker
side, one might come up with this suggestion. White 1 goes a little deeper,
having in mind the play 3 to cut across the knights move. This does attack
Blacks thinnest shape directly. It must however be said that Whites shape
has defects too. Black will immediately push up into the centre.
Shape Up!
198
14
15
13
7
9 3
8
12 10
4 1 2
6 5
11
This is the actual sequence from the game. Black is doing well. White 3 at
4 would be a heavy play, and likely to run into trouble as Black plays moves
that threaten also the left-hand corner. However White 3 here still leaves
problems in handling the group. From the point of view of direction, it is
clear that the fight is taking place near Blackstrength, rather than close to
the thinner Black position to the right. White is fighting in the wrong place.
4 1 2 6
5 3
White chose the contact play 1, but the result wasnt good. That might have
been anticipated on the basis of 15.1: this pattern is likely to work really
well for White, only in the presence of a White stone at W. This is a clue.
We are going to offer a correct answer for White in the starting position.
So far the plays tried out for White seem either to be ineffectual, or to offer
Black excess choice. What is required is a key point play, which therefore
has an effect on Black, but one making Blacks subsequent choice of direction
of play less important than in the variations shown up to now. In the case of
the invasions considered so far, Black has been able to get a good result by
blocking on the correct side.
The choice between invasion and reduction here comes down in favour of
invasion. This decision ought to be a matter of whittling away ineffective
plays, for example reductions that are too shallow from the point of view of
counting (13.7), and promoting consideration of invasions that conform to
ideas in 13.2 to 13.6. There is probably a real difficulty, for players below
strong amateur status, in playing methodically in such a position.
199
3 4
5
Lets examine this choice of White 1. We consider this idea to be the best
conceptual play. One aim is the sequence shown, related to 15.1 (White can
slide to the 10-2 point, also). On the other hand, White 1 sets up a play at 2,
too. Black will not be able to prevent White making sabaki.
6
7
Black 6 here is no good for Black when the marked white stone is already in
position. We can see this as White using the miai idea from 13.3. White 1
is the key point: it relates well to this counter-hane tactic on the side, and
also to a cross-cut tactic in the corner. It isnt so bad to offer Black options
that are true miai, rather than a clear choice.
19
18
17 16
15 14
13
7
11
10
8
12
If Black simple-mindedly takes one white stone with 6 and 8, White will be
able to push out into the centre like this. The exchange of the marked stones
is a minus for White, but Blacks large loss to the left is obvious.
Shape Up!
200
4
A
3
1 2
5
B
In this case the diagonal attachment 2 isnt good shape for Black. White 3
and 5 leave Black no very good way to defend against both A and B.
It is therefore natural for Black to approach from the other side, as in this
diagram. Now White has a chance to exploit Blacks rather thin position in
the centre. However cutting through directly isnt the way.
5
3 4
White cross-cuts with 3 and 5. This leaves Whites stones well placed, and
Blacks stones in the centre looking too distant from the action. There are
quite a number of variations. But perhaps the reader will get the feeling that
things are starting to go well for White.
It wouldnt be reasonable for White to hope to nullify the entire framework,
but taking a large corner would improve Whites position greatly.
201
8
6
10
9
7 11
This is Blacks best way to play now. White must play 9 to connect to the
outside, and then Black 10 takes territory cleanly. However Whites corner
has become substantial: nearly 20 points.
10
8 11
9
6
C B 12
7 13
Black 10 here is a significant mistake (it goes against theory in 13.2, and
shape from 7.4 ). White has an endgame trick: White A, Black B, White C.
The meaning of sabaki
It may be easier to recognise sabaki than to define it. It is an
aim, not a kind of shape. Its main characteristic is that with a
sabaki sequence you can play where your opponent is already
strong, and achieve a useful result. The most common technique
is the deliberate creation of disposable stones; and the aim is
an end result (disposal) in the form of a light shape, live group,
or weakening of some of the opponents stones. Naturally this
requires skill, too, as well as good intentions.
When you learn to capture you are a soldier on the go board.
When you learn to count you become a businessman.
Knowledge of shape and tesuji makes you an engineer, aware
of structural matters in the building of groups. But mastery of
sabaki qualifies you as an alchemist, able to transform the
fundamental nature of positions.
Shape Up!
202
Overview
Go players, or at least the more thoughtful amongst them, often
express a yearning for a better, more comprehensive
understanding of the game. In some cases this amounts to a
genuine intellectual hunger for explanations. The authors of go
books can take the attitude that asking for the moon is all very
well but a trifle unrealistic: go is a complex matter, mastery of it
tends to exclude all other considerations in life at least for a
while, and there is no royal road.
Amateur players, like both authors of this book, can take a
more pleasurable attitude towards go-playing skill than is possible
for professional players, who indeed depend on it for a living.
For example good shape and technique are assumed of both
sides in a professional game. Simply making correct shape
isnt typically enough to win, proper plays alone arent sufficiently
telling. A player such as Otake Hideo who puts a high value on
shape has to back it up with deep resources of fighting power.
In fact his long career at the top bears witness to the validity of
his approach, a comment that must be qualified by pointing to
the successes of other players who for example rely more on
positional judgement or reading. But for amateurs concentrating
on good shape and vital points, letting the opponent make shape
mistakes or push the game fruitlessly into patterns with no
corresponding advantage, can be a major step forward into
the realm of good play.
So shape as a topic belongs in a realm of major aspects of go,
required for progress to higher levels, but not sufficient in itself
to become strong. Other such pillars of the game are direction
of play, judgement, reading, the evaluation of exchanges,
opening theory. Strength fans out as many skills. It may seem
to many players that power in all-out fighting is the master of
them all. When games boil up into decisive conflicts that may
be true, if there is nothing else to choose between the players
positions.
In practice a fight may come down to a difference of one liberty,
or to a fraction of eye shape, or a final desperate chance to cut.
But there is nothing random in this. One doesnt have to master
shape, simply to apprehend its basic principles, to see that these
matters are for for good management and not to be left to luck.
203
Problem Set 3
Advanced Shape Problems
204
Shape Up!
205
Shape Up!
206
4 6
2 3
5
8 1 2
6 4 3
5 7
The shoulderhit Black 1 settles the shape on the top side first. Both diagrams
show Black in a position to block off the right side.
2
2
1
4
3
The plain extension (left) is a good play. After it Black can attack on the
right side. (Right) Black 1 here is heavy, and still leaves the cut at A behind.
2
3
1
5
2
4 3
In this case Black should play tightly at the bulge point (left). After 5 White
cannot hold the corner and defend the side. (Right) Playing in the corner is
loose; Black needs 3 also.
3 2
1
4
7
6
5
This is an example of weak shape for White. Black cross-cuts with 1 and 3,
and is able to break in.
207
Shape Up!
208
2 4
1 3
2 11
1 3 4
7 10 5 6
9 8
5 6
The jump at the centre of three stones (left) is correct, leading to a ko. Black
11 is a local threat. (Right) Black plays into bad shape and trouble.
7
5
5
6
7
2 1
4 3
3
4 2
Black should cut at 1, widening the field of action. In either variation Black
5 becomes a good play. Black 1 functions as a useful probe.
3
1 2
8 6 5
9 7
2
9
3 4 5
6 7
8
The clamp Black 1 makes good shape. Whites attempts to cut Black
thereafter are unfruitful: in either case up to Black 9 White is getting nowhere.
2
1
8
5
7 6 4
3 2
3
9 10
11
The two-point jump at 1 is good in this case. The diagrams show two ways
in which Whites attacks can be held off.
209
Shape Up!
210
3
2
1
3
1
2
3
The knights move 1 sets up miai on the left and top sides.
9
8
3
1
4 5
7 6 2
1
2
3
4 5
6
Black should make the solid staircase connection 1. Then Black can cut
and fight White in good shape. (Right) White has this alternative way to
play. Both these results are reasonable; what Black should not allow White
is the chance to cut or play forcing moves.
17
6 14
4 3 9
5 1
11 2
18
13 10
8 7
19
3 2 6
7 4 1
10 8 5 11
9
12
12
15
16
13
The contact play Black 1 works well for sabaki. In these two variations
Black becomes strong.
Index
211
Index of shapes
1
1
Anonymous shape 50
Butting play 59 65 69
Bamboo joint 11 15 21
Angle play 24 44 62-3 22 25 26 27 59
70
1
1
Bend 43 76 122
Arrowhead 49
1
Attach-block 8 67
Shape Up!
212
1
1
1
1
Cross-cut 42 57 65 70 71
103-107 118 168 173
178 183 199 200
2
1
Eye-stealing shape 29
31 60 61
Double wedge 42
Diagonal attachment 69
75 180 200
False eye 24 29 60 62
Double table 11 37 39
60
Diagonal jump 62 63
184 187-188
Flying V 50
Ear point 189
1
Diagonal play 18 19 44
1
45 47 72 74 75 76 103
107 115 122 154
Empty triangle 12 19-21 Footsweep 69 77 78 110
Dogs face (see sake
25-6 46 49 55 62 65 105
bottle) 48
111 117 171 188 192
195
Index
213
1
1
1
1
One-point jump 5 12 16
18 36-39 42 44 107 186
Hem play 74
Large knights move
184-186 191
Knights move 44 45 47
49 76 110 111 165 1967
Parallelogram 191
Shape Up!
214
1
1
Ponnuki 7 13-14 42 46
73 104 171
Submarine plays 74
Trapezium 190-1
1
1
Sake bottle 48
1
Shoulderhit 4 6
Table shape 11 12 15 17
21 25 39 60 188
Wedge 15 36 42 67 170
Staircase 109
Steel post 69
Three crows 45
Index
215
Index of terms
123 principle 178 185
ABC principle 179
almost sente 76
amarigatachi 31 124
amashi 31
approach plays 64
blocking off 40 Ch.6
calculated risk 118 169
Chinese style 110 155 168
compound shape 41 50
compromised diagonal 63 163
connection 28 105
counting 182-3
cramped group Ch.11
direction of play 39
disposable stones 192 193 196
double-purpose play 180
driving play 107
efficiency 13 20 23 35 39 60
155 177 191
eye shape 11 12 14 23 29-32 60
62 63 73 122 153 168 195
fixed shape 111 181 185-6
flexibility 30 32 35 162 181 184
193
focal play 151 154 158
following the opponent round 169
forcing play 28 115 181
fourth line 72 77 106 153 157-8
gain line 64 68 69 70 114
Guanzi Pu/Kanzufu 121
haengma 116 Ch.14
half-blocking play 76-77
heavy shape 5 30-32 75 108
113 118 170 194 198
hem play 74
invasion point Ch.10
invasions 5 78 183 196-7
joseki 1-2 4 6
katachi 1
liberties 12 20 2.4 27 31 56-7
104-106
light shape 5 17 30 39 62 63
68 73 108 152 167 172 173
184 185 186 191
miai 179 191 199
mole play 74 155
nose plays 56-7 61 67 195
open skirt 72 74 75 77
playing close 6 123
pushing from behind 8
probe 40 182
radius-five shape 123
reduction play 5 125 183 197
sabaki 171 Ch.15
sacrifice 5 13 17 23 30 35 37
38 40 54-5 105 108 110 152
157 168 195
sector line 126
second line 74 155
shibui 7
submarine play 74
suji 1 29
tesuji 1-3 29 71 107 201
two-dimensional shape 25 33
vital/key point 1 2 16 17 20 23
26 33 39 60 63 110 151 157
159 167 173 191 194 198-9
vulgar play 161
wasted play 177
WYSIWYG 26
Shape Up!
216
List of proverbs