Dictionary of Basic Joseki Volume III The 5-4 Point The Star Point The 5-3 Point by Ishida Yoshio translated by John Power Kiseido Publishing Company Tokyo, Los Angeles, AmsterdamPublished by Kiseido Publishing Company CPO Box 1140 Tokyo, Japan Copyright © 1977 by Ishida Yoshio English translation copyright © 1977 and 2001 by John Power All rights reserved according to international law. No part of this book may be reproduced by any mechanical, photographic, or electronic process, nor may it be stored in a retrieval system, transmitted, or otherwise copied for public or private use without the written permission of the publisher. Originally published in Japanese by The Nihon Ki-in as Kihon Joseki Jiten ISBN 4-906574-23-8 This book is available in Europe exclusively through: Schaak en Gowinkel het Paard Haarlemmeridjk 147 1013 KH Amsterdam, Holland Available in North America exclusively through Kiseido 2255 - 29th Street, Suite #4 Santa Monica, CA 90405 USA Visit Kiseido’s web site at: http://wwi.kiseido.com/ Third printing September 2001 Printed in JapanTABLE OF CONTENTS Se vee beeceees ii Japanese Terms ........ THE 5-4 POINT Part Eight: The 3-4 Approach Page 48Part Sine: Entering at the 3-3 Point . Pagi THE STAR-POINT Part Ten: The Small Knight Approach {| f 57 T T i Page 110 ivePage 182 Page 193 ooo ot Page 202Part Eleven: The One-Space High Approach Page 207 Part Twelve: The Two-Space High Approach Page 212 Supplement: Positions with No Approach Move... L e + Ht t Page PageTHE 3-3 POIN' Part Thirteen: The Shoulder-Hit im TT Page 243 Part Fourteen: The Large Knight Approach ...........000000000ceveeees m4 Page 250 Page 251 — vii —FOREWORD This final volume covers the 5-4, 4-4 and 3-3 points. Like the 5-3 point, the ‘-4 point was popular in classical Go and so a considerable amount of research was carried out on it. Though occasionally played in classical Go, however, it was not until recent times that the star-point and the 3-3 point were properly utilized in actual play and their true value recognized. The reader should ap- preciate that these moves are essentially different in nature from the 5-3 and 5-4 points. The latter do not finish with the corner in one move—if the opponent does not make an approach move, one’s objective is clearly to secure the corner by udding another move. An approach move preventing this is therefore of con- siderable value and should be played as early as possible. Plays at the star-point and the 3-3 point, on the other hand, finish with the corner in one move. Even if one wants to add an extra move in the corner, there is no appropriate continuation. ny enclosing move made in conjunction with one of these two points is inferior in etliciency to enclosing from the 3-4, 5-3 or 5-4 points. As compensation, however, one can dispense with enclosing the corner and extend along the side insniediately. Moreover, the principal advantage of the star-point and the 3-3 point is that they are not biased in either direction, so one can choose freely which way one wants to extend. In other words, one can aim at a rapid fuseki development, especially with the star-point. It is perhaps only natural, therefore, (hat the star-point has become so popular in modern Go, with its emphasis on speed. In the past the star-point was regarded merely as a handicap stone, but in modern Go it has undergone a transformation and been reborn, The 3-3 point was formerly regarded as a taboo point in the fuseki. However, its virtues in securing the corner with one move have been reevaluated and it is often played by White in komi games. Each point has its virtues, provided that one knows how to take proper advantage of them, so one cannot say that one is better than another. I personally believe that there are no star-point or 3-3 point joseki, The reason is hat one should freely modify one’s approach according to the overall position, since being bound by set patterns may destroy the originality of one’s game. However, I have no intention of forcing my views upon the reader. I have done my best to assemble not only all the established joseki patterns but also the most recent innovations from actual play. If the three volumes of this joseki dictionary become a close companion to the reader and prove of assistance in his studies, I will feel amply rewarded for my labours. Ishida Yoshio February 1976 — viii —JAPANESE TERMS Brackets indicate that the English equivalent given is usually used in the text. (ji): potential atari: check, i.e. a move threatening to capture (atsui): thick (strong) (boshi): capping play (dame): a liberty; neutral points of no value (degiri): push through and cut (furikawari): wade, swap fuseki: the opening stage of the game geta: a tesuji for capturing a stone or stones in a net gote: a move not requiring an answer (hamete): a trick play (hanami-ko): a one-sided ko, ic. one side has everything to lose, while the other stakes almost nothing (lit, a ‘flower-viewing’ ko) hane: a diagonal move played against an enemy stone hanekomi: a hane which wedges in between two enemy stones (hanetsugi): hane plus connection (hasami): pincer (hasamitsuke): clamp, (hiraki); extension «°° (honte): the proper move (though it may sometimes appear slow) (hoshi): the star-point, the 44 point (ippon-michi): a one-way street, i.e. a forced sequence (kakari): an approach move in the corner (kake): a pressing move (karui): light, i.e. stones with light, flexible shape which can easily be looked after or stones which have served their purpose and can be discarded without ill effects (kata-tsuki): shoulder-hit (keima): (small) knight’s move (kikashi): a forcing move requiring an naswer (kogeima): small knight’s move komi: handicap points (usually received by White) in an even game (komoku): the 3-4 point (kosumi): diagonal move (kyusho): the vital point (mane-go): imitation Go (me): eye — ix —(magari): a turning move miai: points of exchange of approximately equal value—if the opponent takes one, one can always (and often must) take the other (mokuhazushi): the 5-3 point moyo; a territorial framework—potential not actual territory a two-step hane (solid) extension peep (oba): large point (ogeima): large knight’s move (oki): a placement (inside an enemy group) (osae): block (osh push ponnuki: the efficient shape resulting from capturing one enemy stone with four friendly ones (ryo-gakari): a double approach (sabaki): settling a group (by getting a flexible and resilient shape) (san-san); the 3-3 point (seki): an impasse or stalemate between two groups (semeai): a capturing race or fight to the death between two groups (sente); a move requiring an answer; the initiative (shicho): ladder (shicho-atari): \adder-block (shimari); corner enclosure (shinogi): saving a group under attack (suji): skilful or correct style (often equivalent to resuji in use) (takamoku): the 5-4 point . (tenuki): ignoring the opponent’s move and switching.elsewhere the most skilful move in a local situation ~ a method of analysis in which one changes the order of moves in a se- quence and removes superfluous stones in order to evaluate the basic structure (tsugi): (solid) connection (tsuke): contact play, attach(ment) (tsukenobi): attach-and-extend (joseki) (tsukeosae): attach-and-block (joseki) (tsuppari): thrust (Qwarikomi): wedge (yose): the endgame (vose-ko); an approach-move-ko NOTE 1. The sign ©@ indicates a standard and basic joseki, while @ indicates a joseki virtually equivalent to a basic joseki 2. Names in the text are given in the Japanese order, with the surname first — xe