Compendium of Trick Plays - Nihon Kiin

A Compendium

ofTrick Plays

Edited by the Nihon Kiin

Published byYutopian Enterprises

2255 29th StreetSanta Monica, CA 90405

1-800-YUTOGO-3

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

All rights reserved according to international law. This book or anyparts thereof may not be reproduced in any printed form, nor storedin any electronic retrieval system, nor recorded in any other mediumwithout the written permission from the publishers, except for shortexcerpts as part of a written review.

Originally published in Japanese by the Nihon Kiin under the title ofHamete no Dai-Hyakka. [Encyclopedia of Trick Plays]Words in brackets [ ] indicate translation notes.

For the appeal we make does not spring from erroror impure motives, nor are we trying to trick you.

1 Thessalonians 1:3 NIV

First printing February 1995

PrefaceTrick moves have an intimate relation to joseki in the beginning of a game

of go. One cannot be considered to understand joseki without knowing about trickplays. Regardless of the fact that the use of trick plays may be seen as a waywardexercise, one cannot raise objections if one finds oneself waylaid by an adversary'strick play. In this Compendium of Trick Plays the absolute essential basics havebeen compiled. If the reader masters the subject matter in this book, an incremen-tal increase in strength can be expected.

If one answers a trick play correctly, the adversary can suffer an over-whelming loss or sometimes even falling into the trap can result in an equal posi-tion. In that case, if utilizing a trick play will incur no disadvantage, why not try it?But please: be cautious; be cautious.

The first chapter of this book is a compilation of well-known trick playsthat have been handed down from old. Some will rarely make their appearance inreal games, but the positions that result have wide applications.

The second chapter takes as its theme those trick moves that incur nodisadvantage even if correctly answered, and so may be more useful in practicalplay. The renowned expert regarding amateur play, Kageyama 7 dan, is the authorof this chapter, so we may regard this section as covering "Kageyama Trick Plays"!

Chapter three offers the words of wisdom of that master (?) of trickery,Mr. Mihori Sho. The reader is encouraged to savor, therewith, the pleasures oftrick play.

The fourth chapter is a test. The reader is challenged to respond correctlyto funny-looking moves. If you can come up with the right answers, you may beconsidered an expert regarding trick plays.

Table of Contents

Chapter 1: Essential Knowledge of Trick Plays Ishida Yoshio,Meijin/Honinbo [1973-4] 5

Chapter 2: The Larger Strategy of Trick Plays KageyamaToshiro 7 dan 77

Chapter 3: Introducing Trick Plays MihoriSho 119

"Hamete" / "Trick Moves" FujiiReo (Cartoon/Japanese Language Translation Guide) 136

Chapter 4: Caution! Trick Play Ahead! MaedaNobuaki 9 dan(Being a Primer Comprised of 25 Problems) 145

Glossary and Index 197

Chapter 1: Essential Knowledge of Trick Plays

Ishida Yoshio, Meijin/Honinbo [1973-4]

Trick plays: Wrapped in dangerThe battle in the corners of the board in the beginning of a game, in other words, the

procedure of joseki, is an essential element that can scarcely be neglected by either opponent,and moreover, comprises ideal development. Deliberately avoiding such play falls into the realmof trickery, and cannot be called correct.

Since joseki necessarily result in a 50-50 outcome, trick plays will inevitably producean overwhelming advantage, whether they succeed wonderfully in fooling the adversary into ablunder, or fail when the correct response is made. Herein lies the thrill of playing trick moves.

Essentially, there are a number of categories of trick plays. Trick plays that give one adecisive advantage, trick plays that leave one satisfied with but a modest profit, trick plays thatdo not result in any gain immediately, but promise rewards in the future, trick plays which, ifanswered correctly, leave one with an irrecoverable loss, trick plays that yield the equivalent ofan equal result, even if answered correctly, and so on and so forth.

The 35 models in this chapter have been deliberately chosen for the overwhelmingnature of the result; prototypical trick moves that offer the greatest rewards, but also contain thegreatest degree of danger. Space limitations prevent an exhaustive survey of every possiblevariation in these 35 models. However, if one masters the subject matter presented, one will befully prepared to meet these positions in a real game.

If joseki can be said to be the highway, trick plays may be called a back alley. When onemasters the alleyways, one is on course to master joseki.

Star Point Trick PlaysModel 1 shows a small knight's move corner enclosure attacked by white 1 & 3. This is a trickplay often used in handicap games.Tricked 1 If black answers at 1 and gets sealed in up to white 8, black has been completelytricked.Tricked 2 Even if black answers white 1 by pushing out at 2, white can capture with 3 & 5,

thick moves that leave black with an insufficient result.

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Trick Moves: Basic Knowledge

Diagram 1 First, countering white 1 with black 2 shows an indomitable attitude, intending to frustratewhite's aim. White wedges into black's position with 3, but responding solidly with black 4 & 6 is alright.Diagram 2 Continuing, white 1 & 3 are the strongest moves, but black 6 & 8 are exquisite moves, knownas "patting the raccoon's belly". After this, no matter what white does, it will not turn out well. For instance,if white plays at a or b, black answers at c. White d, or else white e is answered by black f.Diagram 3 Even if one is unaware of the exquisite moves in the previous diagram, blocking normally atblack 2 is adequate. The moves through white 9 are inevitable, and by blocking at 10, black wins thecapturing race [semeai] by one move. It is hard to countenance white's play.Diagram 4 Consequently, white will continue from Diagram 1 with a cut at white 1 & atari at 3. Extending

with black 4 & 6 is natural, and these moves weaken white's marked stone. At the very least, getting sealedin as in Tricked 1 is avoided, and the trick play thwarted.Diagram 5 White will probably hane with 1 & 3. However, here too black can ride herd on white's positionto reap an acceptable result through black 12.Diagram 6 When white wedges in with 1, black 2 is a simple and clear method. Through 8, black makesthickness in the center. But considering the exchange of black a for white b later, white's comer territory of7 points is not small, and there is a fear that black's play might be lax, depending on the overall position.Diagram 7 Should white wish to avoid the course in diagrams I through 6, simply playing the wedge at 3will lead to black 8. The course followed here is par for the situation.Diagram 8 But responding to white 1 with the attachment at black a may allow white to deal with thesituation [sabaki] more easily. Simply hanging downward with black 2 exhibits a powerful fighting stance.

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Model 2 This is afavorite weaponused by strongerplayers in handicapgames of six ormore stones.Against weakerplayers who are de-lighted to answerwhite 1 by connect-ing underneath atblack 2, this white 1& 3 combination iseffective, but thesuccess rate (versuscither weaker or stronger players) is lower. However, succeeding even

once with it can really open one's eyes considering the profitable result.

Tricked 1 Black answers white's inside attachment with 1. If black next responds to white'shane of 2 normally with 3, white springs the prepared variation of 4 & 6. Through white 10, thetrick play has already prevailed.Tricked 2 There is little choice but to continue with black 1, gripping white's stone from below.White forces with 2 & 4 making moving out with white 6 feasible. Since white can atari at a,black has to crawl on the second line with 7 & 9. Furthermore, black must play 11 to keepwhite's two stones under control, allowing white 12. Black is left in wretched shape. Just fromthe standpoint of territory, black does not possess more than 7 points in the right side.Tricked 3 Even if black crawls at 1 on the other side, the position is a symmetrical one and asimilar variation results. As with the previous sequence, the upshot is that black must captureat 9 while white makes practically unassailable thickness in the center through 12. If it isdistasteful to allow white 10 in this variation, black might crawl once more at 10, but at thispoint that is like trying to put out a bonfire with a water pistol.Diagram 1 Chances to avoid the trick playand punish white come four times. First,if white 1, it is thinking negatively to thinkonly of connecting underneath with blacka. Instead of directly answering white 1,playing the diagonal attachment of black2 and jumping to 4 are simple, clear andgood moves. After black 4, white 1 is foundto be a dubious invasion which may fallunder a two-pronged attack directed at itand white's stones on the upper side.Diagram 2 (Next page) Simply jumpingto black 2 is unsatisfactory when whiteslides in at 3. If black answers by playingat 4, the shape here is overconcentrated

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in conjunctionwith black 2,but if blackdoes not an-swer, then awhite diagonalmove at 4would be big.Diagram 3Black's secondchance is afterwhite 1 here.At that point,expanding out-ward with black 2 is a good move. In answer to white 3, black plays 4 and after white 5, proceedswith 6, and it is inconceivable for black to be at a disadvantage. If white hanes at a with 5, blackplays at 6, white b and black c follow, and this course leaves black with a thick position.Diagram 4 The third chance is when white plays 1 here. Black can simply connect in a line with2. When white connects at 3, black's marked stone withers on the vine, but with 4, black protectsthe corner securely, and white's marked stone ends up a wasted move. Comparing the weakeningof black's marked stone and the loss of white's marked stone, black is a little dissatisfied.Diagram 5 This is the last chance. When white plays at 1, black discards a stone with 2 & 4, acommon tech-nique [tesuji]used as asqueeze play[shibori].Diagram 6If white plays at1 and connectswith 3, blackplays a crudebut effective se-quence from 4through 10 thatsettles theshape, and thenplays at 12.Black creates an

imposing position on the upper side.Diagram 7 If white plays at 3, then black 4 is big. When black makes the hanging connection of8, the black position exhibits impressive thickness emanating from the fourth line, while white'sposition has been flattened out into a low posture. Instead of black 8 a move at a is also possible.

In the ways shown, black is afforded many chances to avoid this trick play, and as a conse-quence, the success rate for it is low.

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Model 3 Of all the starpoint trick moves, this isthe most popular one. Re-lying on the pressure thatwhite's marked stone ex-erts on black's position asit presses in closely, whitepushes in with 1 andmakes the placement of 3.Cutting at a and crossingunderneath at b have be-come equivalent options[miai], and black will behard pressed to avoid get-ting a headache while try-ing to figure out how to deal with these threats.

Tricked Connecting at black 1 in order to avoid the problems on one side is too mild a re-sponse. Letting white connect underneath with 2 results in the elimination of black's base,forcing the group to flee into the center. After white 2, if black plays a, white plays b. Shouldwhite play b at c, then black d would be sufficient, but...Diagram 1 The diagonal attachment of black 1 is a painstakingly thought out and skillful move[tesuji] that breaks up the trick play. If white 2, descending to black 3 is a good move that dealswith [shinogi] white's threats of crossing underneath and cutting. Now, if white a, black b.Diagram 2 The diagonal attachment in the previous diagram is a good move that frustrateswhite's immediate aim. White can only continue with the atari at 1 and the hane of 3. Whenwhite connects at 5, black forces [kikashi] once with 6 and then captures two stones with 8.Such an outcome is a great success for black.Diagram 3 It is important to insert black 6 in the move order of the previous diagram. If blackrushes to capture the two stones, white 2 fences black in. This seals black in completely andcompared to the previous diagram, is a tremendous difference.Diagram 4 (Next page) Additionally, if white defends at 2 when black turns at 1, black 3 & 5end up capturing five white stones.

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Diagram 5 However, matters are not so simple that one may declare that diagram 2 takes care ofthe problem. That is because after white 1 and black 2, white has the desperate option of pressingupward with 3. After black 4, white fills black's liberties with 5 while rescuing the two comerstones. Now, if black cuts at 7, white 6 yields a ladder. If black avoids the ladder with 6, whiteplays 7. Before one has realized it black's two stones in the corner have been captured. This isalso a "Tricked" diagram. So when the ladder is unfavorable, what should black do?Diagram 6 Here we return to the original problem. When white plays at 1, attaching through theknight's move with black 2 is a method that merits some consideration. Black forces [kikashi] insente with the moves through white 5, an emergency method that eliminates white's stubbornmoves of 1 & 3 in diagrams 2 through 5. Up to black 8, white's two stones of 1 & 7 are within

black's grasp, seemingly insuring success. But this shape is such that after this...Diagram 7 White has the technique of 1 & 3 available. Up to white 9 the "play beneath thestones" technique results in a position where the eye shape of black's group may be in danger.Diagram 8 If the ladder is unfavorable, black answers white 1 with 2, eliminating white a. Thenblocking at black 4 is simple. If the black 2, white 3 exchange is distasteful...Diagram 9 It is okay for black to advance into the center with 2. Black 2 next aims at makingshape with a, and is more efficient than the one point jump to black b. Also, when the ladder isfavorable, Diagrams 1 & 2 deal with the problem [shinogi], but one never knows when a ladderbreak will appear. Therefore, Diagrams 8 & 9 are simple and good even in such cases.

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Model 4 This is a represen-tative star point trick playagainst a large knight's moveenclosure in the corner. Fromthe standpoint of shape, de-fending with black 2 seemsdesirable. White's ploy is tothen attach at 3. White'smarked stone lends supportto white's aims.

Tricked 1 Parrying in aneasy-going way with black 1& 3 ends up letting white con-nect underneath with 4. In

Tricked 1comparison with the stick-like shape of black's stones, left with little territory and ineffectivelyplaced, white's shape after connecting underneath with 4 is sharp looking.Tricked 2 In that case, black might try to block the connectionwith 1 & 3, but that is reckless. White cannot be prevented frombreaking into the center with the moves through 8. In both Tricked1 & 2 the marked white stones are allowed to work effectively.Black must find a counterattack.Diagram 1 In response to white 1, black 2 is a good move. If whiteplays at a, black then plays 3, so force of circumstances dictatethat white cross underneath with 3 in exchange [furi-kawari] forblack 4. In this diagram, white's trick move has been adroitly fendedoff, and black can, generally speaking, feel satisfied, but it is dis-turbing to realize that this is but an equal result. Black 2 is asecond best move.Diagram 2 The rigid connection of black 2 simultaneously denieswhite access to the center and connecting underneath, and is thestrongest reply. White has no choice but to seek life inside black'scorner with 3 & 5. Black 10 is a good move:calm and collected. White is restricted tosheer survival in the corner. When whiteplays 13, black develops with 14. This re-sult practically settles the outcome of thegame.Diagram 3 (Next page) A frightening varia-tion can arise at white 9 in the previous dia-gram if white plays the diagonal attachmentat 1 here. If one cannot answer white 1 andthe cut of white 3 properly, it is fitting toadopt the second best policy of Diagram 1.Black 4 & 6 are unavoidable. A race to cap-ture [semeai] results with the moves follow- Diagram 1 Diagram 2

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Tricked 2

Trick Moves; Basic Knowledge

ing white 7, but atthe worst, black isfaced with a seki.But at the sametime, black buildsa magnificantwall on the out-side throughblack 20, which isoverwhelming. Itis hard to under-stand what whiteis doing.Diagram 4 To avoid complications when white plays 1, it is satisfactory to defend solidly atblack 2. Black 2 may appear to be an uninspired move, but when faced with this fortification,white 1 is shown to be notably overextended.Diagram 5 This demonstrates how terrible "Tricked 1" can be. Assuming the exchange of themarked white stone for the marked black stone, black can defend at a to be safe, but if white getsto slide in to 1, black is left without a base. Black's contortions with 2 and the following are oftenseen in handicapgames. At thevery least, black 2should be used topincer whitearound the pointof 7, but regard-less, black's sevenstones will re-main a burden.Diagram 6Changing thetheme a little, thetrick play of fol-lowing the one point jump at white 1 with the placement of white 3 is very frequently played.Here black does not fancy defending at 6 with black 2. Black a instead could be consideredbut... Black 4 & 6 fall into the trap, letting white again connect underneath with 7. This trickplay follows the same course as "Tricked 1".Diagram 7 See what happens when black connects strongly with 4. It will be sufficient if whiteis forced to make life inside as in Diagram 2, but things get a little tricky with white 5. Afterwhite lives with 11, black must defend at 12, letting white jump to 13 and turn the whole blackgroup into a string of stones. If black compromises by playing 6 at a, white is granted the largeprofit to be made with a move at white 6.Diagram 8 Descending at black 4 here is correct. Moving out immediately with white 5 and thefollowing leads to black 10. Consequently, instead of white 7: white a, black 7, white b, black cwill be played. White's subversive tactics starting with white 1 have clearly failed here.

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Model 5

Model 5 Ofthe star pointtrick moves fo-cused on thelarge knightcorner enclo-sure, this onedisplays themost crushingresults when itis successful.White sets towork with 1 &3, then the cutof white 11 is a foxy move.

Tricked 1 Going directly to kill white's five stones with black 3 is a horrendous move. Afterplaying 4 & 6, white fences black in with 8, and further, with white 10 through 20, creates anironclad wall around the whole group. White a forces black b, resulting in...Tricked 2 In contrast to black's territory of a little more than 20 points, white's impenetrablewall is far and away superior.Tricked 3 At the very least, black 5 in Tricked 1 should be the hane of 1 here, and up to black17 the result is superior to Tricked 1. However, black has still done poorly here.Tricked 4 If black plays 7 in the previous diagram at 1 here to defend against being sealed in onthis side, white 4 & 6 are good moves. The tables are turned and black ends up captured. Onemust be careful.Tricked 5 In conjunction with this position, if the marked black stone is here or in this area,white's fencing in move at 1 does not work. Black plays 2 and the move order that follows up toblack 28 captures white in a precisely executed ladder. In this situation, white fences black inwith a knight's move at 6 rather than white 1.Tricked 6 (Next page) Black must move to capture white by filling a liberty with 3. This time

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white ataris at 4without compunc-tion, and after 6 &8, fences black inwith white 10.However, in thisposition black hastime to jump out to11. Since blackoriginally filled aliberty, white can-not seal the blackgroup in com-pletely as in Tricked 1. The result up to black 15 is much better, but black still stands poorly.Diagram 1 The question is what happens when white cuts at 1. Without responding directly towhite 1, the stabilizing hane of black 2 is correct. White has nothing better to do than live in thecorner with 3 & 5. Playing the exchanges of white a, black b, white c, black d, before white 3,black e, is more or less the same. White lives in the corner with only a few points. Black'sposition is much superior.Diagram 2Furthermore, theprevious dia-gram ends in aposition whereblack can lookforward to play-ing the hane at 1.If white answerswith 2, black 3through 7 aregood moves.With 9, blackgets a "flower-viewing ko".

And black can resolve this ko by connecting at a.Diagram 3 Normally, after black 1, white will have to make the concession of 2, but living withjust two eyes with white 4 is painful. White possesses only 2 points here. The trick play hasbeen smashed wonderfully.Diagram 4 At white 3 in Diagram 1, one must take care if white adopts the emergency measureof cutting at 1. One must not let a desperate tactic such as this succeed. Answering normallywith black 2 & 4 is sufficient. Both sides live in the corner with white 5 through black 12, acompromise solution. This time black's thickness with 14 is convincingly formidable.Diagram 5 Taking the compromise of the last diagram a step further, at the point of black 8 itis alright for black to abandon the three stones by turning at 3. Through black 9, white's cornerterritory is on the order of 20 points. Black's thickness is superior here as well.

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"Model 6 White at-taches againstblack's large knightenclosure with 1and makes theplacement of 5. Ifblack thrusts up-ward with 2 at 4,white plays at 5 allthe same. Thisshape is a treasuretrove of trick plays,full of variations.

Model 6 Tricked 1 One's first impulse is to make the diagonal attachmentof black 1. However, this acts as a spur to white activity with 2

through 10. Forcing moves [kikashi] at a & b are left for white, and black has been tricked.Diagram 1 If black makes the diagonal attachment of 1, it is better then connecting at 5, forcingwhite to connect underneath at 6 & 8. Since the capture at a remains, black has a thick shape.Tricked 2 How about the thick move of black 1, separating the opponent's forces? This timewhite 2 is a resourceful move. With the divvying up of the corner through white 10, black hasbeen thoroughly taken. The capture at black 7 is the bad move here.Diagram 2 It may seem frightening, but black has sufficient fighting resources to extend at 1. Arace to capture [semeai] follows black 5. In this sequence there are no difficult variations, andblack wins by one move. If white 10 at a, black hanes at 10 and likewise wins.Diagram 3 Since white is totally destroyed in the previous diagram, instead of connecting at 4there, white will ordinarily play at 1 to set about creating a living shape. Black forces [kikashi]with 2 and then takes the ko with 4. White is at a loss as to how to proceed.Diagram 4 If the complications in Diagrams 2 & 3 are distasteful, when white attaches at 2,black 3 & 5 are the most clear and straightforward playing style. At first sight this may seem tobe a crude method of play, but in answer to white 2 it is the ultimate in power and pugnacity.When black jumps to 11 there are battles on all fronts. But black's position is decidedly superior.

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Tricked 3 In response to black 1, the diagonal attachment of white 2 is also a trick move. Bymaking the jumping attachment of 5, black is tricked. When white plays 16, black's four stonescome under an attack which must give one an unpleasant feeling.Diagram 5 The hane of black 1 is correct. Black unreluctantly lets white live in the corner, thenoccupies the magnificent point of 13.Diagram 6 The cut of white 2 is not to be feared. A race to capture develops as in Diagram 2, andup to 21 a ko fight favorable for black arises. Instead of 3, black 4, white 17, black 3 is possible.Tricked 4 Answering white 1 by drawing back to black 2 is a little weak-kneed. Since white

connects smartly underneath with 3 & 5, one cannot adopt this variation.Diagram 7 Also, in response to the diagonal attachment of black 2, white has the strong move of3 lying in wait. Up to 14, black's shape gets overconcentrated.Diagram 8 At black 6 in the preceding diagram black might descend to 1, but up to 8, whitetakes a large profit in the corner.Tricked 5 White 1 & 3 are a trick play combination that demand close attention. Black 4 & 6 aretimid. This kind of submissive response is what white is hoping for.Diagram 9 One wants to resist strongly by blocking at black 2. If white 5, black ataris with 6 &8 intending to play ko. If white cuts at a, the outcome of the game will be determined here, butblack will fight on even terms. If black 8 at a, white is left with the threat of cutting at b.

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Model 7 Againstblack's large knightenclosure, white 1through black 4 forma common pattern.Now white has thetrick play that beginsby pushing in at 5.However, the successrate of this trick playis low.

Tricked 1 It is bad for black to give way with 1: white 2 & 4 springModel 7 the trap. White wins by exactly one move. If black 1 is at a, black

wins this capturing race [semeai]. Since the result to white 10 is sohorrible...Diagram 1 What move other than black 1 in the previous diagram dissipates the worry ofgetting tricked? Black 1, 3 & 5 are simple and clear. With this white's maneuvers end up misfir-ing. Even if white tries playing 6 & 8, black 11 is a good move. If black mistakenly plays at ainstead of 11, white throws in at 11 and the position becomes ko.Diagram 2 However, after black 5 in Diagram 1, capturing at white 1 here enhances white'soptions [good aji]. In a position where the upper side is important, there is a fear that the profitin the corner may become insignificant.Diagram 3 In that case, it is forceful to promptly settle the shape with black 1 & 3. After black5, since black a forces white b, black's outward influence is superior to white's 10 points in thecorner.Diagram 4 This looks a lot like the preceding diagram, and it is alright to first exchange black3 for white 4. However, one must be prepared for the variation of white using 4 to cross under-neath at 5. If white 5, black 6, the position returns to that of Diagram 2.Diagram 5 Of course, white's moves should conform to the joseki with 5 & 7.Diagram 6 (Next page) We change the theme slightly here. As a variation to Diagram 5, whitemay play the trick move with 1 and the connection of 3. In that circumstance, it is correct to gripwhite's stone with black 4, playing in a restrained manner.

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Diagram 6 Tricked 2 Diagram 7 Tricked 3Tricked 2 If black greedily plays 1 in instances where the exchange of the marked white stonesfor the black ones has been made, white 2 is effective. After playing 4, white wins the race tocapture [semeai] by one move. When white has played the hanging connection at a, white mustanswer black's atari at 8, so instead of 5, black can wedge into white's position at 6. Therefore,black is safe. Care must be exercised here.Diagram 7 Again we change the theme. In situations where the marked white stone has beenadded, when white plays at 3 & 5, black must be cautious.Tricked 3 If black plays at 1, white answers in sente with 2 & 4 and then plays 6. Black has beenneatly taken.Diagram 8 Black settles the shape with 1 & 3 and then plays 5. In this case there is no problem.However, in actuality...

Tricked 4 White's secret weapon is the hane at 1. The variation through white 9 is inevitable,and this is a perfect example of a successful trick play. White's thickness on the outside is over-whelming while black has a pitiful lump of stones; depending on the position they may even die.Diagram 9 Black 1, then butting against white's position with 3 give black sufficient resourcesto fight. Black wedges into white's position with 7 and after black 11, white's trick play ends infailure. Black 11 is an essential point to defend black's position: a thick, real move [honte].Diagram 10 Returning to the original position, attaching at the belly with black 1 exquisitelyhandles the situation [shinogi]. If white a, black b; if white b, black c; if white d, black e; ifwhite f, black d. In every variation black is well off. However, in general, when white adds themarked stone, black becomes thin, so it is usual for black to reinforce the corner [at 1 in theModel 7 diagram].

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Model 8

Model 8 This trickmove comes afterblack has played theattach and extendjoseki and white cutswith 1 & 3. It getscomplicated afterthis, but it is impor-tant to master the ba-sic variations.

Tricked 1 First off, Tricked 1 Tricked 2the compromise withblack 2 & 4, even though black takes fourth line territory, is decidedlyunsatisfactory since the two marked black stones are rendered inef-

fective.Tricked 2 Black displays the right intentions by descending at 1, which aims at cutting at a, andplaying the atari from above with 3. However, when white plays at 6, black 7 is a bad move. Afterwhite cuts with 8 & 10, black's position is cut into pieces.Diagram 1 In answer to white 6, black 7 is correct, daring to meet the challenge of a decisiveconfrontation in the corner. If white plays 8, black fills liberties in order after 9 and it is obviousthat black wins.Diagram 2 What is frightening is when white has a reinforcement in the area of the markedstone, allowing white to initiate the variation that starts with the block at 2. This fills a liberty ofblack's three stones so close scrutiny is needed. In this situation, the cut at black 9 through thewedge at 13 are good moves. Starting with a and following the move order of Diagram 1 endswith black losing.Diagram 3 If white plays 1, black 2 through 6 start a ko, but black has a ko threat at 8 and whiteis in a fix. If white 1 at 5, black 3, white 2, black 1, white a, then black b finishes it up.Diagram 4 Instead of the diagonal move, if white descends at 1 and jumps to 3, what willhappen? Here too, black cuts at 4 and after the atari at 8, attaches at 10. Black is clearly ahead inthe race to capture [semeai].Tricked 3 (Next page) White has various tricks to fool with. Here white hanes at 1, then pushes

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Trick Moves Basic Knowledge

through and cuts with 3 & 5. Exchanging black 6 for white Diagram 67 and then playing black 8 falls into the trap. White's aimis to squeeze with 11, and through white 19, capture the whole corner.Diagram 5 The correct sequence is for black to set the position by cutting at 1 & 3, then capturethe stone with black 7. If white 8, black is far and away better with the move at 9.Diagram 6 This is a variation for white 8 in the last diagram. If white 1, black plays 2 through6, then black 8 through 20, and white's position on both sides is low. If white 7 at a, black playsb, white 8, black c, white d, black e, white f, and then black 7. Black wins by one move.Tricked 4 What happens when white has a two space high attacking stone where the marked

one is, then pushes through and cuts? White plays 9 & 11. Black may think that 12 wins, butthen white cuts at 15. Black desperately tries to capture with 18, but up to black 24 it is a large-scale ko. Black has been tricked.Diagram 7 Black 14 in the last diagram is bad: defending at 1 is best. If white 2, black is readywith 3. After white 10, a white move at a starts a two-step ko, but this is a small matter afterblack has defended at 1.Diagram 8 If white answers below at 1, black 6 is a good move that destroys white.Diagram 9 Consequently, when black attaches at 1 (black 12 in Tricked 4), white cuts at 2.Through 6, white makes a squeeze play on black's position, but black can be satisfied that whitehas played one extra move here while black has taken 15 points of profit.

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Model 9 After white hasplayed double approachmoves against the star pointstone and black has playedthe attach and extend joseki,white plays diagonally to-wards the second line with1. One look tells one that thiscould not be a good movesince it sinks to the secondline, but in order to brandwhite 1 as clearly inferior,black's next move is critical.

Model 9Tricked 1 A stickler for making good shape would want to

play black 1. However, this is just what white is waiting for. After wedging in with 2, whitedevelops a position on both sides with 4 & 6. If next black a, white is left with the severe moveat b that gouges out the corner. Black lacks much of a base, with many prospective difficulties.Diagram 1 Black 1 seems to be a drab move at first sight, but extending here is the correct playto neutralize the trick move. It should be obvious that moving in a line like this turns the markedwhite stone into a lax, ineffective move. If white now extends to 2, black attacks at the vital pointwith 3. After slapping white down into submissive shape with 5, black holds the attackinginitiative.Diagram 2 If white defends on the upper side, black presses in around the point of 3. In short,black has the equivalent option [miai] of playing 1 on the upper or the right side. If white 4,black plays 5. Black can also play more severely with 3 at the point of 4.Diagram 3 Following the previous diagram, if white attaches at 1, playing black 2 and descend-ing to 4 are good moves. When white plays 5, black is ready with the attachment of 6. It may beunnecessary to elaborate but...Diagram 4 (Next page) Instead of white 1 in the original position, playing the diagonal moveupward here is correct. The moves following black 2 comprise a well-known joseki. Within thesequence of this joseki, black 10, which prevents white from attaching at a, is an importantmove. Changing the theme, we will examine the variations that follow white a. Before black gets

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the move at 10 in, at white 7...Tricked 2 White makes a pincer attachment at 1. If black plays 2 to prevent white from connect-ing underneath on this side, white does so on the other with 3 & 5, and black has been tricked.Even though black cuts at 6, white neatly wraps black up with the moves following 7. Not onlythat, but for the time being black has only one eye. Now there are three cuts, a, b & c to aim at...Diagram 5 What happens if black cuts at 1 ? In response to black 1, white 2 & 4 are good moves.When white plays 8, black must live with 9. It is very painful to have to add a move within one'sown territory.Diagram 6 For white's part, blithely capturing with 2 & 4 is sufficient. Black takes two stones in

the corner with 7 & 9, but black has taken the territory there in terribly overconcentrated shape,and it totals a mere 15 points. White's thickness on the upper and the right side is superior.Diagram 7 On the other hand, it is unreasonable for white to answer black's cut at I with theatari of 2 and the block of 4. When black captures two stones with the moves up to 11, white setsabout taking the corner with 12; but in the race to capture [semeai] that follows black 13, whiteis short by one move no matter what happens. In this sequence, if white 20 at a, black plays b.Diagram 8 Backtracking: white's trick move of 1 is easily parried by black descending to 2. Ifwhite plays 3, black cuts at 4 and it cannot be said that white has profited. If white uses 3 to, say,defend at 5, black plays 3. White's stone at 1 turns into an out and out loss. The moves inDiagram 4 of white 7 & 9, and black 10 are unavoidable.

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Model 10 In this trick play,white beseiges black's onespace jump in the corner bypoking at 1 and high-handedly attempting to sealblack into the comer with 3.One must by no means al-low this kind of thin play tosucceed in wrapping one up.The position demands thatone discover the wonderfullyskillful technique [tesuji]that will shatter the trickplay with a single blow.

Tricked 1 Black pushes out twice with I & 3, then ataris twice at 5 & 7. By repetitiously playingthese clumsy moves, black has already been snared. Up to white 14, black is completely sealedin. White must be laughing uncontrollably. Black's moves at 3 and 7 are problematical.Tricked 2 The skillful technique is displayed when black simply cuts at 1. White can only drawback to 2; which means that it is pointless for black to exchange the move at a for white b.However, if at this point black ataris at 3 and pushes out at 5, the ruse again succeeds. With themoves following 7, black crudely fumbles the way to black 13. In spite of this increase in black'sterritory, white's thickness is obviously overwhelming. This is better than Tricked 1, but...Diagram 1 The combination of black I and the attachment of 3 wonderfully coordinate thetechnique refered to above. White 4 is the orthodox, "real move" [honte], and black is satisfied togo back and play 5. If white 6 & 8, black takes with 7 & 9; after this, if white plays a, the key isto counterattack with black b. However, at black 5...Diagram 2 Black must not try to play 1 here. With 2 through 8, white usurps the territory andthe result is perilously close to a successful trick play. Black's group has almost no territory tospeak of.Tricked 3 (Next page) In answer to black 1, white attempts the hane of 2 (a trick play: white 4 inDiagram 1 is correct). If black ends up making the atari of 3 here, the prior wonderful techniquegoes to waste. Through white 8, the pattern returns to that of Tricked 1, though without the

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exchange of black a for white b.Diagram 3 Black must play the good moves of 1 & 3 consecutively. This is a perfect example ofa trick play gone bust. If white 4, black extends to 5. Black's shape is thick here, compared towhite's, which is thin. Since the marked black stone is still not dead, one can see in an instantthat white is practically annihilated. However, it is important that one read out the situation afterthis correctly.Diagram 4 White hangs tough with 1 & 3, but this looks more like desperation. White gainsroom to breathe with 5, but even if the ladder does not work for black, the game is over with thefencing in move of 6. Extending straight out with black 12 is sharp, and white is devastated.Diagram 5 How about cutting on this side with white 1? White frantically plays 3, 5 & 7, but

when black blocks at 8, white's position is hopeless. White 13 offers the strongest resistance, butthe result is a "flower-viewing ko" for black. If white omits 7, of course black plays 7 and fenceswhite in with a. Also, if white plays 13 at 20, black plays b, white c, black 15. White 13 as...Diagram 6 The knight's move of white 1 is countered by black's good move at 2, and white isdead. If white 3 at 4, black plays at a.Diagram 7 Therefore, white will press from above with I, but this presents no difficulties forblack either. The sequence following 2 is good for black. Following black 14, white cannot makelife no matter what moves are tried.

From white's standpoint, Diagram 1 is best. For black, responding to white's fencing in movesof 1 & 3 in the model diagram by crudely trying to push out and atari is bad.

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Model 11 In this position black's one pointjump is supplemented by the marked blackstone. In handicap games, not to mentioneven ones, this position often occurs. With1, white invades at a strange place. Blackblocks at 2. This is a natural response. Atthis point white attaches with 3 and cutswith 5. It is important that one maintain afirm attitude here. White 1, 3 & 5 are in-terrelated, and if one loses sight of that fact,one risks getting ambushed.

Tricked 1 Black 1 & 3 show an easygoingattitude. With 4 & 6, white takes the lion'sshare of the territory here and black has been thoroughly tricked.

Black has been confused by the presence of white's marked stone, and ended up losing groundsteadily as a result. This is what white aimed at. Let's see what happens if black adopts a policyof not necessarily trying to capture white's marked stone.Tricked 2 Instead of fixating on the marked white stone, with 1 & 3 black invites white to liveon the side. In return, black ends up living in the corner with 5 & 7. But what is one to make ofthis? It seems that black is being overly generous, no?Diagram 1 White will follow this up by playing 1 through 5 and living on the side with nearly10 points. Analyzing this result, one notes that black has played one extra move, and to thatextent has been cheated. It will be hard to mount an attack on white's three stones on the upperside.Diagram 2 Since white was allowed to live easily in the last diagram, black tries resisting moreforcefully by playing 1 & 3. However, in practical terms, this resistance takes on an unfortunateshape. Pushing out once with white 4 is a good move. White 6 & 8 precipitate a capturing race[semeai].Diagram 3 (Next page) Taking the hane of black 1 for granted as the best move here, still, it isno good to make the committal atari with black 3. Black has to answer the hane of white 6[kikashi] and upto 8, white wins.The good move ofwhite 4 in Dia-gram 2 makes thehane of white 6feasible, thus al-lowing white towin the race tocapture by onemove.

Diagram 4 Inplace of black 3 inthe last diagram,black has no al-

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ternative but toutilize the com-mon techniqueof throwing in at1 & 3, and start-ing a ko fightwith 5.Diagram 5 Ifwhite blocks ata, the ko be-comes a directone. However,perhaps whitewill not start theko immediately, but extend at white 1. This leaves black in a quandary. Over the course offighting the ko, white can choose the best time to play white b as a ko threat, and overall, thethinness of black's position is conspicuous. Especially in handicap games, a weaker player wouldbe reluctant to try to deal with this kind of complicated shape.Diagram 6 The worst case scenario is shown in this diagram. Black 1 & 3 are the same as inTricked 2. Then black winds up playing the atari of 5 and the connection of 7, but there is notelling what this is supposed to accomplish. This is worse than the results in Tricked 1 & 2.Since black originally played 3 to live in the comer, adding the stone here and then abandoningit by playingblack 5 & 7clearly repre-sents a rupture inblack's strategy.But what is thecorrect way ofplaying here?Diagram 7Black ataris onboth sides with 1and 3. Thenblack blocks at 5,which forces[kikashi] white6, letting blacktake control of white's two stones. It is painful to allow white to make a ponnuki capture in sentewith 8, but since black takes a large territory, this outcome gives black the advantage.Diagram 8 In addition, black has the good option available of playing 1 & 3, and then black 5.In this variation, black connects at 7, and therefore is able to take white's stone with 9. Eventhough white is allowed to live on the side, black builds a solid wall in the center, and the capturewith black 9 makes a large territory. Diagram 7 is perfectly secure for black, but this diagram isthe best. It is the strongest procedure to smash white's trick play.

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3-4 Point Trick PlaysModel 12 With a stoneon the 3-4 point con-fronted by a knight's ap-proach move, white as-says the offbeat move atI. While this methodmay lack subtly, blackmust handle it with thegreatest care.

Tricked 1 One may takeblack 1 for granted, butthe hane outward ofblack 3 quickly getsblack bushwhacked. Af-ter black 9...Diagram 1 With white 1 & 3, the position for white is better in terms of

both thickness and territory. It is painful for black to have to play 2, but it is the honest-to-goodness, "real move" [honte].Diagram 2 Black would like to push out with 2, but whatever happens, it does not seem like thiswill go well. If black lives with 4 & 6, white 7 is a good move. This becomes a fight in the corner.Diagram 3 White 1 and the following are an inevitable development. Black has no choice but tolive with 12, but up to white 15, black is nonplussed. If black 8 at a, white 10, black takes ko atb, white 12, black 8, then white will retake the ko and black cannot win it. Again, at black 8...Diagram 4 If black lives with 1 & 3, and white as well with 4, black starts a fight in the centerwith 5. However, black has thin shape and the fight will be a disagreeable one.Diagram 5 This is a variation of Diagram 2. What if black pushes at 1 ? Here the hane of white2 is the strongest reply. From black 3, both sides frantically grapple to create a viable position,but it is painful for black to be squeezed with white 10 & 12.Diagram 6 (Next page) With white 2 and black 3, both sides again live. However, for black, who

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must cope with floating stones, the disadvantage is clear. White presses the attack in fine formwith 8. If black 3 at a, white plays b, black c, white d, black 3, and white 4, the result is the same.Diagram 7 In response to black's defense with 4 & 6, white blocks once with 7, then discards thethree stones with the moves after 11. White is thick in the center and has the advantage. Becauseof all these factors, black cannot push out with 2 when white attaches at 1.Diagram 8 Returning to the original position, when white ataris at 1, black may take at 2,disliking the prospect of a white attachment at a, but fencing in at 3 maintains white's initiative.Diagram 9 The correct way to fend off the trick play is with the cut of black 3. If white drawsback to 4, then play proceeds through black 7 and in comparison with Tricked 1, white's shape isthin and white can no longer attach at a.

Diagram 10 If white answers black 1 by blocking at 2, it is enough for black to play normallywith the atari of 3 and the connection of 5. Up to 11, black takes a large corner and after 12, oneway or another, white must make another move at a.Diagram 11 According to circumstances, when black plays 1, white may opt for the variationbeginning with 2. But here black takes the initiative in the fighting with 5 & 7.Tricked 2 White 2 & 4 usher in another trick play. If black gets flustered and rushes to try tocapture white with 5 & 7, failure is assured. This sequence captures black's stones in a ladder.Diagram 12 If the ladder is bad, extending to 1 is a calm move. White can only play 2. Blackforces with 3 & 5, 7 & 9 complete the refutation of the trick move and black has a large corner.

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Model 13 Blackcounters a one spacepincer by white toplay the fencing inmove of 1. At thispoint white skips allthe way out to 2.Without even look-ing, black wouldwant to block at a,but...

Tricked 1 First off,black 1 is good. However, when white plays 4 & 6, responding with 5& 7 gets black caught up in the tempo of the trick play. After white

cuts at 8, there is no salvation.Tricked 2 With 1 & 3, black sets out to take white's four stones. The shape here is similar to thatof Model 5. White forces [kikashi] with 4 & 6, and squeezes with 8 through 14. After whitefences black in with 16...Tricked 3 White 2 and the following moves wrap black up tighter than a drum, leaving black ina pitiful state. Black's territory is 18 points. White's thickness is far more valuable.Diagram 1 Does black 2 put up more resistance to white 1 ? This time black can escape at a, sowhite will not try to fence black in with b, but rather, will play white 5 to engineer life for thegroup. After white lives with 11, black must find life for the five stones below.Diagram 2 Playing black 1 and the following, crawling repeatedly on the second line is beneathdiscussion.Diagram 3 If, at 8 in Diagram 1 black hanes at 1 to capture the corner stones, white squeezesblack with 2 and the rest, and black loses. Consequently, the hane of black 2 in Diagram 1 is nogood.Diagram 4 (Next page) It is not all that difficult to thwart this trick play. When white plays 1,instead of the hane at a, black has to go back and defend somewhere around 2. Since white 3 isunavoidable, black can play at 4, ending with a thick position.

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Diagram 5 White can also first hane at 1. In this case as well, black must not hane at a, butcautiously reinforce with the calm and collected move of black 2. Up to black 6, it is plain to seethat white has a low position.Diagram 6 There are various moves at black's disposal, and one cannot declare which is best.The jump to black 1 reflects a clear and simple strategy. Likewise, the fencing in move of black3 is a good move here.Diagram 7 Without pushing in at 2, the capping move of black 1 is light and effective. Whenwhite plays 2, black maintains this light policy by pressuring white from above with 3. Thethinness around a is not to be worried over.Diagram 8 In the days of Shusaku's youth, Ota Yuzo played this trick move against him. As

black he answered by dodging to 1, and an exchange [furi-kawari] resulted, with white playing 2& 4, and black 3. But even though this avoids the trick play, black's marked stones are immobi-lized, and white's position augmented with the hane at 4 is not very palatable.Diagram 9 Simply attaching with black 1 is interesting. At this stage, white must respond with2 through 6, and then black returns to block at 7. After black 9, if white plays a, black plays bwith an adequate result. It only makes sense for white to...Diagram 10 Defend with white 2 & 4, or...Diagram 11 White should conform to the joseki moves up to black 9. None of Diagrams 4through 9 are good for white.

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Model 14 After whiteattaches at 1, blackplays 2 and buttsagainst white's stonewith 4, white does notextend to a, but playsthe fencing in moveof white 5; a trickmove. But it is a highlevel variety of trickmove that, even if itfails, will produce anequal result. White 5in of itself does not give one the impression that it is unnatural.

Tricked 1 If an unwary black replies with 1 & 3, white descends to 4, and black has already beenshafted. It is natural to play black 5 to avoid getting cut at a, but white pushes through and cutswith 6 & 8, and black has problems. Rather than playing at b, white 8 is good.Tricked 2 Should black connect at 1, white pushes with 2 & 4, and wins the race to capture[semeai] by one move. The squeeze play with white 6 and the following is a well known finesse[tesuji], and the marked white stone is effectively placed to aid in the capturing race.Tricked 3 The previous diagram produces an impossible result, so following the advice to "cap-ture the cutting stone", black takes at 1. However, white captures a stone in a ladder with 2 & 4.This trick play is predicated on this ladder being good for white.Tricked 4 Realizing this, when white plays 1, black might defend against white a and the rest byplaying 2. Then white takes two stones following 3, which gives white a thick and strong shape.Black has been had.Diagram 1 It is correct here for black to push once more with 2; this lets black parry [shinogi] thetrick play. If white 3, black jumps to 4, secure in the knowledge that white cannot now play a,then push through at b and cut. But this will not really happen: white has another nice moveavailable.Diagram 2 (Next page) In this situation, black normally just jumps to a, without making theextra push at 1which is consid-ered to be bad.That is becausewhen whiteplays the pincerat 4, the whitethickness aboveworks more ef-fectively. But inDiagram 1, it isas if whiteplayed 4 at a, fol-lowed by black

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b, white c, andblack d, deliber-ately solidifyingblack's shape.Black would wel-come such an out-come.

Diagram 3 How-ever, the opponentis unlikely to offera sweet deal likethat. The instantblack plays at 2, white will force [kikashi] at 3, and hop lightly to 5, blocking black from advanc-ing. Since this good move exists, even when the trick play fails, a 50/50 result is produced. Afterwhite 5, black has no response, so...Diagram 4 It is par for this situation to end up with white fixing the shape with 1 and with playproceeding through black 4. Each side has played the same number of stones in this diagram,with black taking profit and white taking influence, and it may be evaluated as a completely evenresult.Diagram 5 Since the standard situation in the last diagram is properly arrived at, white's attack

at 1 is not promising. Black lives easily with 2 & 4, and later can aim at the cutting point at a.Diagram 6 This shows how play proceeds when, after white 1, black forces [kikashi] with 2, andthen pushes through and cuts with 4 & 6. Turning at white 9 is a thick move, and it seems as ifblack is just looking for trouble. The jump into the corner with white a is left, and we might saythat black is in for an unpleasant fight.Diagram 7 Black 2 & 4 are a finesse [tesuji]. With the moves from white 5, both sides arepropelled by the impetus of the situation. White 7, black 8 & 10 are all good moves. Black's aimis to play 12 & 14, but white dodges the attack with 15. According to the board situation, thisvariation is possible, but it is a burdensome one for black. White's fencing in move at a, andcapture at b, both threaten black. The upshot is that Diagrams 3 & 4 represent the best variationfor both sides.

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Model 15 White answers the two spacepincer of black 1 with the diagonal jumpof 2. This cannot be called a trick play.It is a fine, upstanding joseki. However,a mistaken response will land black ina trap. Positions centering on the 3-4point often give rise to this kind of trickmove: where, even if the opponent an-swers correctly, one suffers no loss.One's first impulse is to strike out be-tween white's stones with black a but...

Diagram 1 Without a doubt, black swal-lows the bait by playing 1. But if whitepushes up vigorously with 2 and the following, black gets a sufficientresult with the extension to 7. This will not happen, though. For black

to envision this result is evidence of a fundamentally one-sided reading of the situation.Tricked 1 When black plays 1, white dodges with 2. With this, black has truly been tricked.After black 3, white seals black in with 4 through 8.Tricked 2 On the other hand, if white plays a thin move, blocking at 4, black gets a good result.There are a number of options, but here black fights directly, pushing through and cutting with5 & 7. White can play the good hane at 8, but black's group will prove to be a tough customer.Diagram 2 After white 1, it seems as if the race to capture [semeai] is favorable for white.However, in this sequence black fixes the shape with 6 & 8, then hanes at 10 and extends to 12,and black's outward influence must be judged as being more valuable than white's territory.Furthermore, white has to add a move at a, or push at b. If white leaves things as they are...Diagram 3 Black immediately throws in a stone at 1 and the play comes alive. With black 7 & 9,white cannot fill black's liberties from either side and ends up annihilated. Therefore, the se-quence given in Tricked 1 is correct for white.Tricked 3 (Next page) What happens if black answers the fencing in move of white 2 normally,by defending with 3 & 5? It does not seem as though black has incurred such a great loss here,but actually, the exchange of black 1 for white 6 is a terrible one. White's thick position issuperior to black's.

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Tricked 4 When white plays 2, pushing through with black 3 and cutting with 5 is suicidalbehavior. White forces [kikashi] with 6, and lands a knockout punch with the cut of 8.Tricked 5 Pushing and cutting through with this combination of black 3 & 5 is better, but whitegets a perfect opportunity to play 8, which renders black's marked stone useless. Even if blacktries to move out with 9, white comes into good attacking form with 12.Diagram 4 The correct reply is the jumping attachment of black 1. White 2 makes shape, andwith black 3 and white 4 a result is reached that is regarded as joseki. This is equal for both sides.Diagram 5 After the last diagram, black cannot easily move out with 1. That is because whitemakes good shape while bringing black under attack. Rather than this, snaring a stone with

black a in Diagram 4 is more practical.Diagram 6 White 2 in Diagram 4 makes proper shape and there is no other choice. The hane ofwhite 2 here is a failure. Play will proceed to black 5, and the marked white stone is clearlyshown to be a slack move: the shape dictates that it be situated at a.Diagram 7 Black would like to force [kikashi] once with 3 and block in the corner with 5. Ifwhite plays 6, black moves out with 7 and white's stones are weak above and below.Diagram 8 However, when black plays at 1, white will instantly wedge into black's position with2. With this, black is denied the chance to make good shape as in the previous diagram with 5, soit may be said the fight is advantageous for white. There is no alternative for either side but tofollow Diagram 4.

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Model 16 The starting point here is af-ter black has played a three space pin-cer and white has played elsewhere. Itis natural for black to attack with 1 & 3,and white 4 is a light and nimble move.The history of this pattern is an old one,and the position was thoroughly re-searched during the late Edo Period. Atblack 5, a two space extension to a isalso possible, but the knight's move of5, and then, after white 6, the hane out-ward of black 7, is strongest. It is at thisstage that white springs the strategemof the wedging insertion of 8. Tricked 1

Model 16 Tricked 1 Backing up a step, the hane from below at black 2 is notgood. Extending in at black 4 is the only move, but white 5 & 7 are

good moves that enable white to play either above or below [miai]. If black defends at 8 so as toavoid getting sliced through with white a, then white 9 is possible. After white 13, black mustmake life in the corner, leaving black's two stones floating.Tricked 2 If black protects the upper side with 1, white plays 2. Black 3 is unreasonable. By thetime white plays 8, black has gotten swindled. Black had better play 3 at a. If black's markedstone is the two space extension at b, white's technique here with 2 is impossible, so black wouldbe perfectly safe defending the upper side at 1. Consequently, when black has played the knight'smove, black's marked stone; the hane from below is not feasible: hence the premise behindblack's hane outward. The special feature of this model is that playing the knight's move is asharp way of playing, while playing the two space extension produces a leisurely development.Tricked 3 Well then, exploring the main line, white 1 & 3 are the trick moves. Black has littlechoice but to answer at 2 & 4. When white cuts at 5...Tricked 4 Black can hardly sit back and watch the black marked stone die, so resisting with 1 &3 is natural. White6 & 8 are also thebest moves. Then,through white 14,black's stones arecaptured. At thispoint, white'smarked, forcingmoves [kikashi]work effectively.Of course, this isa grand success forwhite.Diagram 1 (Nextpage) Black 7 inthe previous dia-

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gram was a badmove. Here theatari of black 1 isgood. If whitenow connects at 3,the markedstones, when com-pared to Diagram3 that follows,turn out to be badmoves: therefore,white will captureat 2. Then blackalso captures at 3and there is a lull in the action. White's shape with the capture of 2 is thick, but the markedstones eliminate some possibilities for white [aji keshi], and will perhaps even get captured, soblack has the advantage here.Diagram 2 The joseki properly played omits white moves at a & b, with white simply cutting at2. Through 12, white basically captures two black stones.Diagram 3 Black plays 1 and seals white in with 3. The sequence ends with white's wedging inat 4 and settling the group with 8. Black 9 pounds on white's two stones, leading to a lull in theaction. If white a, black b. Also, if black plays 5 at 6, a white hane at 5 will be unpleasant.Diagram 4 Hereis a variation forwhite 4 in the lastdiagram. White1 is greedy. Black2 & 4 spell cur-tains. But there isa revised versionof Diagram 3.Diagram 5White first playsthe wedging in-sertion of white1. At this stage,black will re-spond with 2, Diagram 4 Diagram 5 Diagram 6 8: connectsand then white cuts at 3. After this, the sequence is the same until black 16, and then white liveswith 17 & 19. Since the hane into black's position with a is threatening, black must defend at 20,and white is afforded the opportunity to run at 21. When white plays the wedging insertionafterward (at white 4 in Diagram 3), black draws back at a, usurping sente. That's the difference.Diagram 6 Additionally, white can play 10 in Diagram 2 as 1 & the fencing in move of 3,sacrificing three stones. Up to white 10, depending upon the position, this may be powerful, andthere are those who regard this sequence as the definitive model, [a not mentioned in text.]

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Model 17 At thepoint when blackhas jumped at 2 inresponse to white'stwo space highpincer, white at-taches and blockswith 3 & 5. Onename used for thistrick play is "TheCoolie Hat".

Tricked 2

Model 17

Tricked 1Tricked 1 Beforeall else, black ataris at 1. With 2, white is forced into the bad shapethat resembles a coolie hat, and then, to make good shape, black plays

the hanging connection of 3. White stakes success or failure on the cut at 4, the precondition forthis trick play being that the ladder at a is unfavorable for black. If white cannot cut at 4, thistrick play can absolutely not be adopted. If the cut is effective, the trick play succeeds.Tricked 2 Since the ladder is unfavorable, black can only play something like 1 & 3. Whitereproves black with 4, and since abandoning the two stones would be hopeless, black forces[kikashi] with 5 and flees with 7 & 9. But when white connects at 16, whatever variation blackadopts, it will not turn out well.Diagram 1 To avoid a situation where white has one eye while black has none [wherein blackdies: "me ari, me nashi"], black is forced to jump in at 1. However, white responds with 2through 8, and the worst white can fear is seki. Black has to play at 9 to prevent a white throw-in there, and white plays 10 to bring black's seven stones under attack. Black's disadvantage isobvious.Diagram 2 Here is a variation for black 3 in the previous diagram. Black crawls in at 1. Againa seki naturally results through black 7. Black would have no chance of success throwing in astone at a and starting a ko. When white descends at 8, a pattern much like Diagram 1 results.Diagram 3 Here is a variation for black 5 in the last diagram. Black grimly tries to hold on with1, but the result is zero. Up to black 11, the position is, as usual, a seki. And in the end, whiteturns to play 12.Since black's lib-erties are filled,this is worse thanDiagrams 1 & 2.Diagram 4 (Nextpage) Let's returnto Tricked 2,when whitehanes at 4. Atfirst sight, black 1looks like askilled finesse[tesuji], but it Diagram 1 Diagram 2 Diagram 3 7: connects

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won't work here.White can play ina rough and readystyle with 2 & 4and capture in aladder. This is awonderful flourishfor a successfultrick play.Diagram 5 Howabout the cut ofblack 1 and the at- Diagram 4 Diagram 5 Diagram 6tachment of 3? Black 1 prevents [shinogi] the ladder in the last diagram, but when white gets astone at 2, white 4, 6 & 8 now initiate an attacking stance that leaves white without problems.Black looks half dead.Diagram 6 It doesn't seem like anything works here. That is, if black defends at 1 to have donewith it, white takes the solid tack of capturing at 2. In the final analysis, white's thickness issuperior.Diagram 7 But really, what is black's best play? When the ladder is bad, black cannot play themove that makes "good shape", the hanging connection at a, but must play a move that makesequally good shape: defending at black 1, which is the correct move. At first sight, this seemslike a colorlessmove, but noticethat this is the vi-tal point of theshape. Followingthis, the hangingconnection of blacka will be so goodthat in order toavoid it...Diagram 8 Whitewill capture onestone with 1 & 3.Here, black will be Diagram 7 Diagram 8 Diagram 9overplaying the position with a move at a, but solidly connecting at 4, will lead to a normal,equal result through black 6 which is par for this kind of situation. Now a black move at b orwhite's equally good move at c have the same value: therefore this is a 50/50 outcome. Here wehave a trick play that produces an equal result no matter what happens.Diagram 9 If black butts up against white's one stone with 1, white answers with 2 and thenblack makes the defensive move of 3. White descends at 4, leaving the possibility of connectingunderneath at a later. This maneuver is a failure for black. We cannot really say that black hasgotten the shaft, but white 2 & 4 create a great amount of thickness on the right side, so blackhas much to repent.

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Model 18 In response to a onespace high pincer, white usesthe rash method of the knight'sfencing in move of 2. However,against a weak opponent it isan effective trick play, and de-fusing it requires no small de-gree of skill. On the otherhand, if black responds accu-rately, a good position natu-rally results, leaving the badmove of white 2 exposed forwhat it is.

Model 18 Tricked 1Tricked 1 First of all, the ste-reo-typical answer here with black 1 & 3 falls right into the trap. White pushes in with 4, thenforces [kikashi] with 6, 8, then further with 10 & 12, finally turning to attack with 14. Black'smarked stone has come to be too close to white's thickness, and black will be forced willy-nillyinto an unfavorable fight.Tricked 2 Humbly defending is no good. Cutting through with black 1 & 3 is the only play.Since white a, black 5, white b, black 4 is not good here, extending at 4 is the only play for white.Black pushes once at 5, and after white plays at 6, black goes after white's three stones with 7 &9. But black is proceeding on a "Tricked" path.Tricked 3 Continuing, white 1 through 7 are all natural moves for both sides.Tricked 4 Black gets tricked here by hurrying nervously to atari with 1. Play proceeds with bothsides systematically filling in liberties, and a big ko results with white getting to take the ko first.Black is thus destroyed. This variation has been white's aim all along.Diagram 1 Since black 1 in the last diagram is bad, what about simply connecting with black 1here? By so doing, this time, on the contrary, black gets the first chance to take the ko, which isa success. The reason for this is black can play 7 in sente.Tricked 5 (Next page) However, in reality things will not work out as well as Diagram 1. Afterblack 1, white will veer off course, playing 2 & 4 into the center. White 4 & 6 are a skillfulfinesse [tesuji]. White 8 is a forcing move [kikashi] that works because of the fencing in move at

Tricked 2 Tricked 3 Tricked 4 12: takes ko Diagram 140


a, then white14 makesequivalento p t i o n s[miai] of liv-ing with 15or makingblack's liber-ties rapidlyd i s a p p e a r[ o i o t o s h i ]with themoves fol-lowing 16. In short, black is annihilated. Naturally, if black plays 1 at 15 (Tricked 4), white'stechnique with 12 & 14 does not work. But then the capturing race [semeai] is unfavorable.Diagram 2 In order to avoid the technique used in the previous diagram, black can only play 1.White 2 & 4 are the best way to fill in the liberties, but black also has the good move at 7. In theend, the corner becomes seki. Through black 15, we have an equal result. The trick play has beenavoided overall, but there is a better move here for black.Diagram 3 Returning to the beginning, pushing once more with black 1 is best. If white defendsat 2, white's hane outward at a no longer exists, so black can now attack at 3 & 5 without fear.

Following black 13, the sequence is the same as in Diagram 1, and thefear of Diagram 2 developing does not exist.Diagram 4 One need not fear white resisting with 2, either. Black settlesthe corner up to 9. White 10, guarding against black a, is natural.Diagram 5 After that, black plays the two-step hane of 1 & 3. With 7 & 9, black captures fourstones, while securing 20 points of territory. Black is clearly better.Diagram 6 White is likely to play 2. There too, black will use the two-step hane of 3 & 7.Diagram 7 The continuation shows white frantically struggling. If white 3 at 4, black a. Afterblack 4, white connecting underneath with 5, 7 & 9 is painful but unavoidable. Capturing withblack 8, 10 & 12 makes profit in the center, and furthermore, the moves in the corner startingwith 14 leave black with the option of living. If white 17 at 18, black plays 17.

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Model 19 Amidst the3-4 point trick plays,this is the most popu-lar one. White's tech-nique with 2 & 4 is ofthe crudest variety, sosubverting it issimple.

Tricked 1 The atariof 1, then the hane of3 and connection of 5,indicate that black

Model 19 thinks that living is a sufficient answer. White's outward influence ispowerful, and black has been thoroughly snookered.

Tricked 2 Extending outward with black 1 is also bad. After black lives with 3 through 7,white's diagonal move of 8 embroils black in a disadvantageous fight in the center.Diagram 1 If in answer to black 1, white obligingly goes after territory with 2, it is okay forblack to throw away two stones with 3 and the rest. This is an equal result.Diagram 2 The proper move to overturn the trick play is the hane of black 1. If white plays 2,black forces [kikashi] with 3 & 5, then plays 7. This is a huge difference from Tricked 2.Diagram 3 White has two feasible answers to black 1. First there is white 2. Black 3 & 5 are anadroit finesse [tesuji], and though both sides take two stones, black is a little better off. If whitetries to dodge this with 6 at 7, black plays 6 and though white can play a, the marked stone ishorribly weakened.Diagram 4 Black can also atari once at 1. If white is spurred on to play 2, the position after 9 isgood for black, but white will capture at 7 instead. Then black plays 3. Afterward, white has theendgame attachment at 8, so there are both good and bad aspects to black 1.Diagram 5 (Next page) When white blocks, black has no choice but to cut at 1. This is a specialstrategy used when black wants to put the most emphasis on the right side. However, in the localcontext, white's shape becomes thick and strong by curling around at 8, so black cannot claim tohave an advantage.Diagram 6 If black ignores white 1 to play 2, then starting with 3, white fences black in through

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7, which is terrible.Diagram 7 Since black's hane has been exchanged for white's block, extending at black 1 ispossible. Black squeezes with 3 & 5, and through 13 a sequence similar to Diagram 4 results.This is good for black.Diagram 8 White cannot obtain a pleasing result by blocking, and so tries to atari at 2 andconnect at 4. It is enough for black to extend out smartly with 5. White 6 captures black's stonein a ladder, but at some stage a further white move at a will be necessary. In that position, whitewill have played two extra moves, while black 5 remains splendidly placed, so the result is equal.Diagram 9 If the ladder is unfavorable, white must play the fencing in move of 1. By capturingat 2 & 4, black obviously is well off. However, black does not necessarily have to rush to play 4.

Diagram 10 It is also imaginable, at the point of the black extension of 5 in Diagram 8, to starta fight with 1. The moves to white 10 may be expected, and this is a situation even for both. Butone worries that black is stirring up trouble needlessly; there is no question that Diagram 8 issimple and good.Diagram 11 Incidentally, there is an interesting variation for white 6 in the last diagram. Blackshould heartily welcome an attempt by white to capture the corner with 1 & 3. With 4 & 6, blacklightly gives up the corner. Then the boa constrictor play with 8 & 10 give black a good feeling:white's territory is worth about 20 points, while black's thickness is more valuable.Diagram 12 Striving for more with white 1 & 3 leads to an almost identical outcome. White'sterritory is not a single point bigger. White should play normally, as in Diagram 10.

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Model 20 Whenblack plays 1, there isa way of playing withwhite 2 & 4. Thistrick play is closelyrelated to joseki andis a strong fightingmethod.

Tricked 1 Crudelyfixing the shape with1 & 3 causes black tofall behind overall.

Tricked 1 Tricked 2

Model 20 When white extends to 6, black's five stones are not only left withoutmuch of a base, but are heavy as well.Tricked 2 The diagonal attachment of black 1 is better. However, white 2 & 4 capture cleanly, sowhile there is but a small difference in superiority, black has still been tricked.Tricked 3 Black plays 1 & 3, grimly clinging to the comer. But this is what white has beenwaiting for.Diagram 1 On the other hand, pushing through immediately with white 1 & 3 is no good. Withthe ataris at 6 & 8, black makes strong thickness in the center, and afterward can aim at black a.White has failed to follow through with the trick play.Tricked 4 The artful finesse [tesuji] of white 1 is the key point of this trick play. Black 2 is a calmresponse, but black's four stones wind up being chased into the center. This sequence falls rightin with white's plans.Tricked 5 Black would like to counterattack with 2, but now white strikes with 3 & 5. Afterwhite 9, black will play a and follow Diagram 1. However, in this case, as opposed to Diagram 1,the exchange of black 2 for white 7 has been made, which is a grievous error on black's part.Tricked 6 (Next page) With white 6 in Tricked 3, the fencing in move of 1 is also possible. Ifblack tries to squirm out with 2 & 4, the sequence here ends with white making thickness, and anobviously superior position.Diagram 2 Therefore, what is the best way for black to play? Going ahead and cutting with


black 1 is correct. With 3 & 5, black discards the corner, and if white plays 8, black develops tosomewhere around 9. White also defends at 10 and black will not be dissatisfied with this result.But white can also fight on even terms here. If white fails to play 10...Diagram 3 Black plays at 1. Through black 7, a two-step ko is the upshot, a pleasant "flower-viewing ko" for black.Diagram 4 Switching themes a bit, it is also necessary to use caution when white uses thetechnique of playing 4, then blocking at 6. Even if black answers accurately, white will not endup badly, so it can tell on one's nerves.Diagram 5 Likewise, in this position as well, living in the corner with black I & 3 is not good.After playing 4, white expands into the center with 6 and black jumps to 7. It may seem likenothing spe-cial is goingon here, butwhite has acomfortable,slowly devel-oping posi-tion. We mayevaluate thissituation asbeing some-what advan-tageous forwhite.Diagram 6Here is a variation for black 1 in the last diagram. Black intends to pressure white severely witha hane at 1. However, white crawls, just once, with 2, then puts black in a fix by sacrificing with4 & 6 .Diagram 7 Exactly as in Diagram 2, the proper thing for black to do is to cut at 1, and with 3 &5, black gives up the corner. White's pride and joy here is that after black plays 7, an additionalmove in the corner is unnecessary. That's the difference from Diagram 2. When white jumps to8, the position is 50/50. It is necessary for white to play 8; if it is omitted, black can pressurewhite, even by playing this right off the bat, with black a, white b and black 8.

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5-4 Point Trick Plays

Model 21

Model 21 This pattern develops from a5-4 point joseki where white has madean inside attachment at the 3-3 point.After striking at the vital point with 1,white fences black in with 3. This is asimple trick move, so it will not suc-ceed twice with the same opponent.

Tricked 1 Although black 1 & 3 arealright, black 5 is a huge blunder. Whitegets to slice black apart with 6 & 8.Already the outcome appears to be:"White wins by resignation."Diagram 1 It is a simple matter to crushthis trick play. All black has to do is cut Tricked 1below at 1. If white plays 2, black extends out smartly with 3, andeven if white defends at 4, the cutting point at a still remains. The

vigorous extension of black 3 makes black's position thick and strong, so it is evident that whitehas sustained a loss here.Tricked 2 Black showed the correct attitude in Tricked 1 by creating cutting points in white'sshape. If black jumps the gun and cuts at 1 here, white's tight connection at 2 makes strong, thickand good shape. Black's only option is to atari from below with 3, whereupon white gets asufficient result by extending to white 4 & 6. Black has really been had.Diagram 2 When black cuts at 1, the atari of white 2 is rash. Inexorably, one stone captures[ponnuki] are made in tandem, but this is better for black. The above exhausts the variations forthe trick play.Diagram 3 (Next page) The correct approach for white is to play 1 and the diagonal move of 3.Let's examine the variations in some detail. When white plays 5, attaching on top of it with black6 looks outrageous, but it has become joseki. White draws back at 7, and the development up toaround 10 is regarded as joseki. At black 6...Diagram 4 Black 1 is too lackluster. White forces [kikashi] with 2, leaving black with a string of

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stones.Diagram 5 In response to black 1, no other move but 7 in Diagram 3 will turn out well for white.If white pushes out with 2, black can move out in good form with 3 & 5. White's three stonessuddenly become debilitated, and if white plays 6, through black 11, white's stones are taken.Diagram 6 Pushing out at 2, then defending at 4, shows white's strategy working at cross pur-poses. Striking across white's knight's move with black 5 is a skillful finesse [tesuji], and through9, black builds a thick position. At the same time, the low posture resulting from white 6 at awould be unbearable.Diagram 7 Here, when black plays 1, white hanes at 2. Now, cutting with 3 & 5 see blackthrough. Black 7 & 9 cleverly break out of white's net.

Diagram 8 When white hanes at 2, the ordinary cut of 3 produces no disadvantage for black.White has to play 4 & 6, and likewise here, black can burst through with 7.Diagram 9 Returning to the very beginning, the side attachment of black 2 is a fighting tacticoften seen. It is used when running into the center would be fruitless. Nevertheless, one must bevigilantly prepared for white's technique of 3 & 5. Up to white 11, it becomes ko. For both sides,this is a dangerous course.Diagram 10 After black 2, if white hanes from above with 3, then the moves through black 6 arepar for the situation, but in the local context, white has something of an advantage. Neither black6 at a, nor at b usually work out well.

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Model 22 Here is anouter attachmentjoseki. At 5, thejoseki calls for whiteto cut at a or b, butwhite turns at 5 in-stead.

Tricked 1 Black 1 isfaint-heartedness atits worst. White 2 &4 press black downlow, while leavingwhite the option of at-

Tricked 1 Tricked 2Model 22

taching at a as well. Tricked!Tricked 2 Whatever happens, extending to black 1 is the only move. But when white plays 2,black 3 strays into the ambush. The shape that results from white 4 & 6...Diagram 1 Compared to the usual joseki, when white turns at 1, the shape is as if black hasdefended at 2. Of course, 2 is a terrible concession. Naturally, black must hane at a here.Diagram 2 When white cuts at 2, the connection of black 2 is correct. If white pushes vigorouslyhere at 3 & 5, on the contrary, white has failed.Diagram 3 White attaches at the head of two stones with 1, and then, what comes next is theproblem. First, what happens if black pushes out with 2? Black presses with 4 & 6, and theremay follow a number of fighting variations; for instance, through black 18 we have a rough andtumble position where chances are equal.Diagram 4 Black presses just once at 1, plays 3 & 5, then white plays 6 & 8, leading to white'sconnection at 10. This is how the fight is likely to go. It is equal.Diagram 5 (Next page) However, extending to black 4 will not reap a very good result. Whiteplays the diagonal move of 5 in sente, gaining time to defend at 9. Black can capture two stoneswith 10 & 12, but all the same, black's four stones become thin and weak.Diagram 6 If black 6 in the last diagram is played as a wedging insertion at 1, then the cut at 3leads to a capturing race [semeai] in the corner. White 10 is a clever little move, and in the end


it is ko here.Diagram 7 In the local situation, black is driven to the desperate measure of playing 1 to makeko material. With black 9, white 8 & 10, a swap [furi-kawari] takes place. White's thickness inthe center is superior to black's territory in the corner.Diagram 8 Pushing out above produces practically an equal position. Consequently, let's seewhat happens when when black takes the stone with 2. The cut of black 4 leads to white 9, andagain neither side may be said to be better.Diagram 9 At white 7 in the previous diagram, there is the sparkling play of 1. The premise isthat if black a, white b; if black b, white c. Nothing to it.

Diagram 10 But there is no reason why black has to cut at a, and start a fight. Black crawls onceat 4 to make firm, solid shape. In the local context, black may be said to have the advantage.White's thickness is not that great.Diagram 11 When white cuts at 1, it might seem at first sight that playing the hanging connec-tion of black 2 makes more efficient shape, but it is not good. For example, assuming the samesequence as in Diagram 10, after white 9...Diagram 12 Considering that white a makes ko, white 1 is practically a forcing move [kikashi].It is a serious question whether this blocking move is sente or not.

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Model 23 Againsta white 5-4 pointstone and fencingin move, black at-taches at 1,whereupon whiteplays 2 & 4, thenblocks at 6. This isa powerful fight-ing method, andcannot be dis-missed offhand asa trick play.

Model 23 Tricked 1 The timid atari of black 1 and connection of 3 is wrong.When white plays at 4, black sustains a great loss territorially.Tricked 2 When black plays 1 & 3, it is also possible to attack with white 4. Black squeezes with5 & 7, and with a, manages to live.Tricked 3 Above all, if black has to move out with 1. When white plays 2, black is ready to applythe adroit finesse [tesuji] of 5 & 7, which is a method commonly used during races to capture[semeai]. But before that, adding the cut of black 3 is a terrible move that lands black in the net.Tricked 4 Black 1 follows, and after 3, white can only play at 4, allowing black to capturewhite's three stones. But white extends at 8, and besides becoming thick on the outside, if whiterecaptures black 1, the entire black group lacks eye shape.Diagram 1 At black 5 in the previous diagram, black would like to hang tough with 1, butunfortunately that is not feasible. White lives with 4 & 8, while black is saddled with weakstones on both sides.Diagram 2 If black plays 1 to try to take white's whole group, white forces with 2, 4 & 6, andwith 10 captures black's four stones instead.Diagram 3 (Next page) The reader probably already knows the correct move. Cutting at a isuncalled-for. It is sufficient to simply push through and cut with black 1 & 3. The sequence thenproceeds the same way as in Tricked 3 & 4.Diagram 4 Black captures three stones with 1, and when white plays 2 and then 4 to prevent

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black from cutting through the knight's move at a, by extending to 5, black's position is accept-able. At the very least, black's group is stabilized with an even result overall. This variation is theone that seems to be best for black. Furthermore, according to the board situation, the white 2,black 3 exchange may be...Diagram 5 White can connect at 1, taking a belligerent stance. Here, black attaches across theknight's move with 2 and cuts with 4, then poking into the center with 6 in order to fight.Diagram 6 One is obliged to also consider not pushing through with black 2 but to block here. Ifwhite 3, it seems likely that the moves through black will be played. White's only option is to gofor the ko at a. But black connects without a second thought [below 8].Diagram 7 White plays 1 with the idea that in a race to capture [semeai] black's weakness at a

will be telling, then fills a liberty with 3, but black can play 4 and hane at 6. Because of ashortage of liberties, white is destroyed. If the ladder at black 16 does not work, with the fencingin move at b, black is alright.Diagram 8 Therefore, white plays 1 & 3. This time black proceeds with the two-step hane of 4& 6, and here white's corner ends up dead as it sits.Diagram 9 But in reality, if black 1 is no good when white defends at 2. White's attachment at 6compels black 7 and an exchange [furi-kawari] which is somewhat to white's advantage.Diagram 10 Black must play 1 & 3 to engineer a seki, but white's outside wall is imposing.

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Model 24 Whenblack cuts at 4, theatari of white afollows a well-known 5-4 pointjoseki. This trickmove starts withwhite extendingsideways at 5.

Tricked 1 Itmakes no sense toblock at black 1 and let white capture one stone [ponnuki] cleanlywith 2 & 4. White's territory is big, while there is a hole left at a,leaving black greatly chagrined.Tricked 2 Black gains some ground by adding a stone at 3 and

sacrificing two stones. In this position black 9 makes good shape. However, this is also a trickeddiagram.Diagram 1 The atari of white 1 and the following sequence is generally regarded as joseki, eventhough black cavalierly disregards territory. Comparing Tricked 2 to Diagram 1, it is clear thatwhite's territory is bigger and black's thickness not as good.Diagram 2 It is wrong to discard the stone on the 3-3 point. At one stroke black smashes thetrick play with 1. If white plays 2, black 3 secures control of white's two stones, and black'sadvantage is obvious. Consequently...Diagram 3 White 2 saves the two stones on this side. Black 3 & 5 display the most hard nosedattitude. This puts white in a quandary. Since it will not go well whether white cuts at a or b...Diagram 4 White plays 1 and connects at 3, hanes at 5, and then what will happen with thecapturing race [semeai] in the corner? Blocking at black 6 is the vital point. Both sides play thebest moves in the sequence to black 14 and it ends in ko. When white fills the liberty at a itbecomes a direct ko, but naturally this is a "flower-viewing ko" and for black the burden is light.Diagram 5 Here is a variation for white 7 in the previous diagram. Even if white plays 1, blackcuts at 2 and this ko is more or less the same as in the last diagram. Black's capture at a is aneffective ko threat.Diagram 6 The placement of black 6 in Diagram 4, while perfectly natural, is a finesse [tesuji]

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Model 25 Afterwhite blocks at 2and black cutswith 3, white ex-tends straight outwith 4. This moveis possiblewhether the ladderworks or not, andis a powerfulfighting method.

Diagram 1 Usu-ally white ataris at 3 and draws back at 5. By capturing at 7, whiteis well off. The premise behind the model diagram is that by avoid-

ing the white 3, black 4 exchang

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Compendium of Trick Plays - Nihon Kiin

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