This is getting complicated. There are basically six groups in a simultaneous struggle, three of mine and three of White's. Ideally this sequence will end with 1) my middle group relatively safe, and 2) either some nice solid territory at the top or swallowing up his lone stone at the bottom. (Even more ideally it will 3) end in sente, but I might end up having to trade that for 1 or 2).
What I would really like here is a nice inducing move, in the sense of the classic book Attack and Defense; a move that forces White to force me to make a move that I want to make anyway. When done correctly, this maximizes the efficiency of my stones, since it guarantees that they all have a good job to perform. I think this is one of the things what Magicwand is referring to when he talks about "flow".
So I have to decide if I should
a) play with my bottom group (say at a), threatening his lone stone, and maybe forcing his lower group out which will force my middle group out which will force his upper group out which will force my upper group to take territory;
b) play with my upper group (say at b), basically doing the whole thing in reverse;
c) play with my middle group (say at c), which might send out waves in both directions.
Other considerations:
If I play on the bottom, should I play at a, threatening to swallow his bottom stone, or should I play one point below, basically forcing him to live and push me along the third line?
Just how safe is my middle group?
How much can White afford to let me seal in either group on the right? I think they can both live fine, but if I connect my middle group out and remove all threats to it, that's probably big.
Posts: 1758 Liked others: 378 Was liked: 375
Rank: 4d
Overthinking.
_________________ We don't know who we are; we don't know where we are. Each of us woke up one moment and here we were in the darkness. We're nameless things with no memory; no knowledge of what went before, No understanding of what is now, no knowledge of what will be.
Well, like Magicwand says, the key when reading is to discard variations, and I'm not good enough at reading to be able to do that. So I flailed around with a bunch of random variations none of which will actually happen, and since I have to make a move sometime, I went back to just trying to play by principle.
I'm not sure why he spent so long on that move. I guess he was considering different options for tenukiing. But now I'm honestly thinking that he is putting too much thought into his moves. Do I mind? Not at all! But I think I should aim to probe around a bit and see if I can catch him overthinking somewhere.
Anyway, I played this move because playing anywhere else makes this move by him seem very big:
_________________ We don't know who we are; we don't know where we are. Each of us woke up one moment and here we were in the darkness. We're nameless things with no memory; no knowledge of what went before, No understanding of what is now, no knowledge of what will be.
I have some other plans soon, but first I think I want to get this in to prevent White from playing there himself, connecting himself up and forming a nice wall. I don't think he can afford to ignore this, because if his lower stone gets swallowed up it would be a pretty big loss.
I am not that concerned about inducing him to make territory on the bottom because I really don't think he has the strength to make anything much.
If he does a one-space jump downward, I might make a two-space extension from my corner group. Although the normal move is for to be at 'a', I want to be able to get back to my pincer stone as quickly as possible to help it live without having to worry about adding another move on the side like below.
[go]$$Bcm1 $$ --------------------------------------- $$ | . . . . . . . . . . . . . . . . . . . | $$ | . . O . O X 2 . . . . . . . . . . . . | $$ | . X X O O X O . . . . . . B . B B O . | $$ | . . O X X O 4 . . , . . . . . B O . . | $$ | . . 1 . C 3 . . . . . . . . . . . O . | $$ | . . . . . . . . . . . . . . B . O . . | $$ | . . . . . . . . . . . . . . . . . . . | $$ | . . . . . . . . . . . . . . O O . . . | $$ | . . . . . . . . . . . . . . . X X . . | $$ | . . . , . . . . . , . . . . X , . . . | $$ | . . . . . . . . . . . X . X . . O . . | $$ | . . . . . . . . . . . . . . . O . . . | $$ | . . . . . . . . . . O . O . . . . . . | $$ | . . . . . . . . . . . . . O . . . . . | $$ | . . . . . . . . . . X . X . . O O . . | $$ | . . . O . . . . . , . . . X . , X . . | $$ | . . . . . . . . . . . O . . . X . . . | $$ | . . . . . . . . . . . . . X . . . . . | $$ | . . . . . . . . . . . . . . . . . . . | $$ ---------------------------------------[/go]
This is joseki, however, it doesn't seem like he can get a lot of use out of his stones if he plays this way. Also notice that it leaves him with a cutting point at .
Finally, this way attaches to a weak stone of mine. I couldn't be happier. Directly touching weak stones makes them stronger. If you want to attack weak stones, you must play a little bit away from them. Ideally, you want to remove their ability to make a base and then remove their ability to run away. Attaching does neither.
Anyway, I think his best move in the area is the one-space jump downward. We'll have to see what he comes up with though.
Overthink!
_________________ We don't know who we are; we don't know where we are. Each of us woke up one moment and here we were in the darkness. We're nameless things with no memory; no knowledge of what went before, No understanding of what is now, no knowledge of what will be.
Interesting! Well, I do think I want to deal with this, and hopefully I can emerge with sente to either swallow up the bottom or pressure his upper right group as previously outlined. I think that White is leaving a lot of weaknesses behind, and I'm going to try to be patient - when I play games in the way that he has, I usually end up regretting it.
Here's the one joseki I know (or think I remember) here:
[go]$$Bc Part two $$ ------------------------------------- $$ | . . . . . . . . . . . . . . . . . . . | $$ | . . O . O X 2 . . . . . . . . . . . . | $$ | . X X O O X O . . . . . . X . X X O . | $$ | . . O X X O 4 . . , . . . . . X O . . | $$ | . . 1 . . 3 . . . . . . . . . . . O . | $$ | . . . . . . . . . . . . . . X . O . . | $$ | . . . . . . . . . . . . . . . . . . . | $$ | . . . . . . . . . . . . . . O O . . . | $$ | . . . . . . . . . . . . . . . X X . . | $$ | . . . , . . . . . , . . . . X , . . . | $$ | . . . . . . . . . . . X . X . . O . . | $$ | . . . . . . . . . . . . . . . O . . . | $$ | . . . . . . . . . . O . O . . . . . . | $$ | . . . . . . . . . . . . . O . . . . . | $$ | . . . . . . . . . . X . X . . O O . . | $$ | . . . O . . . . . , . . . X . , X . . | $$ | . . . . . . . . . . . O . . . X . . . | $$ | . . . . . . . . . . . . . X . . . . . | $$ | . . . . . . . . . . . . . . . . . . . | $$ ---------------------------------------[/go]
and I'd be pretty happy with that. I don't end up with some massive framework on the top, but my upper right group is nice and solid so I don't have to worry about its safety, and this gives me nice prospects on the left, which is the area I was concerned about before.
He's actually doing it. Unless he plans on playing some weird variation somewhere, prepare to see his influence on the right nullified. The only upside for him is that he'll get sente.
Anyway, looking all the way back to the beginning of the game, I wonder if this move would have been better?
At the very least, it's an interesting variation which bears a striking resemblance to my other Malkovich game against Kerby. I'm not sure it's truly any better, but I like the feel of it more.
_________________ We don't know who we are; we don't know where we are. Each of us woke up one moment and here we were in the darkness. We're nameless things with no memory; no knowledge of what went before, No understanding of what is now, no knowledge of what will be.
Either he plans on varying it up somewhere along the way or he has a much different view of what a good result is than I do.
_________________ We don't know who we are; we don't know where we are. Each of us woke up one moment and here we were in the darkness. We're nameless things with no memory; no knowledge of what went before, No understanding of what is now, no knowledge of what will be.
_________________ We don't know who we are; we don't know where we are. Each of us woke up one moment and here we were in the darkness. We're nameless things with no memory; no knowledge of what went before, No understanding of what is now, no knowledge of what will be.
[go]$$Wcm42 Move 42. Points from prisoners: W 0, B 0 $$ --------------------------------------- $$ | . . . . . . . . . . . . . . . . . . . | $$ | . . 1 . . X . . . . . . . . . . . . . | $$ | . . X O O X O . . . . . . X . X X O . | $$ | . . O X X O . . . , . . . . . X O . . | $$ | . . . . . . . . . . . . . . . . . O . | $$ | . . . . . . . . . . . . . . X . O . . | $$ | . . . . . . . . . . . . . . . . . . . | $$ | . . . . . . . . . . . . . . O O . . . | $$ | . . . . . . . . . . . . . . . X X . . | $$ | . . . , . . . . . , . . . . X , . . . | $$ | . . . . . . . . . . . X . X . . O . . | $$ | . . . . . . . . . . . . . . . O . . . | $$ | . . . . . . . . . . O . O . . . . . . | $$ | . . . . . . . . . . . . . O . . . . . | $$ | . . . . . . . . . . X . X . . O O . . | $$ | . . . O . . . . . , . . . X . , X . . | $$ | . . . . . . . . . . . O . . . X . . . | $$ | . . . . . . . . . . . . . X . . . . . | $$ | . . . . . . . . . . . . . . . . . . . | $$ ---------------------------------------[/go]
I was going to post a trigger here, but there are so many weird variations possible I don't want to give any information away.
_________________ We don't know who we are; we don't know where we are. Each of us woke up one moment and here we were in the darkness. We're nameless things with no memory; no knowledge of what went before, No understanding of what is now, no knowledge of what will be.
I think White 8 here is a really really bad move, which doesnt work with the purpose of the marked White stone. While he played move 8 he analysed this positon:
Attaching with White 8 will indeed result in this shape, but is this good for white? I think everybody will agree that White wants to put the marked stone some lines further away f.e. at 'a' or 'b' or play somewhere else, because white is already alive with the option of making eyes at 'c'.
The meaning of white 6 is "I dont want to be sealed inside the corner and give black the entire lower side", therefore it is contrary to the original plan, when White tries to take the lower right corner.
So what to do with White 8? I think a white approach at 'a' or 'b' suites best.
P.S.: Personally I dont like White 6 and would play 'c' instead of 6 or attach at the 3-3 point. I doubt that White 6 is in any joseki book
[go]$$Wcm44 Move 44. Points from prisoners: W 0, B 0 $$ --------------------------------------- $$ | . . . . . . . . . . . . . . . . . . . | $$ | . . O 1 . X . . . . . . . . . . . . . | $$ | . X X O O X O . . . . . . X . X X O . | $$ | . . O X X O . . . , . . . . . X O . . | $$ | . . . . . . . . . . . . . . . . . O . | $$ | . . . . . . . . . . . . . . X . O . . | $$ | . . . . . . . . . . . . . . . . . . . | $$ | . . . . . . . . . . . . . . O O . . . | $$ | . . . . . . . . . . . . . . . X X . . | $$ | . . . , . . . . . , . . . . X , . . . | $$ | . . . . . . . . . . . X . X . . O . . | $$ | . . . . . . . . . . . . . . . O . . . | $$ | . . . . . . . . . . O . O . . . . . . | $$ | . . . . . . . . . . . . . O . . . . . | $$ | . . . . . . . . . . X . X . . O O . . | $$ | . . . O . . . . . , . . . X . , X . . | $$ | . . . . . . . . . . . O . . . X . . . | $$ | . . . . . . . . . . . . . X . . . . . | $$ | . . . . . . . . . . . . . . . . . . . | $$ ---------------------------------------[/go]
This move is an idea I saw on Senseis a little while ago. I've had it planned for a little bit, but didn't show it before because I wanted to wait for it to actually occur before writing about it. Now, a lot of the stuff on Senseis is just pure crap, but this idea is actually interesting. With the normal move, black has the option of playing below if the ladder works for him.
[go]$$Bcm1 $$ --------------------------------------- $$ | . . . . . . . . . . . . . . . . . . . | $$ | . . O O . X 2 . . . . . . . . . . . . | $$ | . X X O O X O . . . . . . X . X X O . | $$ | . . O X X O 4 . . , . . . . . X O . . | $$ | . . 1 . . 3 . . . . . . . . . . . O . | $$ | . . . . . . . . . . . . . . X . O . . | $$ | . . . . . . . . . . . . . . . . . . . | $$ | . . . . . . . . . . . . . . O O . . . | $$ | . . . . . . . . . . . . . . . X X . . | $$ | . . . , . . . . . , . . . . X , . . . | $$ | . . . . . . . . . . . X . X . . O . . | $$ | . . . . . . . . . . . . . . . O . . . | $$ | . . . . . . . . . . O . O . . . . . . | $$ | . . . . . . . . . . . . . O . . . . . | $$ | . . . . . . . . . . X . X . . O O . . | $$ | . . . O . . . . . , . . . X . , X . . | $$ | . . . . . . . . . . . O . . . X . . . | $$ | . . . . . . . . . . . . . X . . . . . | $$ | . . . . . . . . . . . . . . . . . . . | $$ ---------------------------------------[/go]
_________________ We don't know who we are; we don't know where we are. Each of us woke up one moment and here we were in the darkness. We're nameless things with no memory; no knowledge of what went before, No understanding of what is now, no knowledge of what will be.
[go]$$Wcm44 Move 44. Points from prisoners: W 0, B 0 $$ --------------------------------------- $$ | . . . . . . . . . . . . . . . . . . . | $$ | . . O 1 a X . . . . . . . . . . . . . | $$ | . X X O O X O . . . . . . X . X X O . | $$ | . . O X X O . . . , . . . . . X O . . | $$ | . . . . . . . . . . . . . . . . . O . | $$ | . . . . . . . . . . . . . . X . O . . | $$ | . . . . . . . . . . . . . . . . . . . | $$ | . . . . . . . . . . . . . . O O . . . | $$ | . . . . . . . . . . . . . . . X X . . | $$ | . . . , . . . . . , . . . . X , . . . | $$ | . . . . . . . . . . . X . X . . O . . | $$ | . . . . . . . . . . . . . . . O . . . | $$ | . . . . . . . . . . O . O . . . . . . | $$ | . . . . . . . . . . . . . O . . . . . | $$ | . . . . . . . . . . X . X . . O O . . | $$ | . . . O . . . . . , . . . X . , X . . | $$ | . . . . . . . . . . . O . . . X . . . | $$ | . . . . . . . . . . . . . X . . . . . | $$ | . . . . . . . . . . . . . . . . . . . | $$ ---------------------------------------[/go]
I expected a here, which is the move I remember, but I don't see an obvious way to take advantage of it, so I'm going to go ahead as normal and play this move that I have to play (otherwise he captures my two stones in the corner).
For a minute I thought that maybe I am now threatening this:
[go]$$Bc $$ ------------------- $$ | . . . . . . . . . $$ | . 3 O O . X 1 . . $$ | . X X O O X O 2 . $$ | . . O X X O . . . $$ | . . X . . . . . . $$ | . . . . . . . . .[/go]
but he just plays first and I have to respond.
So I think all I get out of this is one extra liberty for my two stones at the top, which may require him to spend one more move to capture in the endgame or something.
[go]$$Wcm46 Move 46. Points from prisoners: W 0, B 0 $$ --------------------------------------- $$ | . . . . . . . . . . . . . . . . . . . | $$ | . . O O . X 1 . . . . . . . . . . . . | $$ | . X X O O X O . . . . . . X . X X O . | $$ | . . O X X O . . . , . . . . . X O . . | $$ | . . X . . . . . . . . . . . . . . O . | $$ | . . . . . . . . . . . . . . X . O . . | $$ | . . . . . . . . . . . . . . . . . . . | $$ | . . . . . . . . . . . . . . O O . . . | $$ | . . . . . . . . . . . . . . . X X . . | $$ | . . . , . . . . . , . . . . X , . . . | $$ | . . . . . . . . . . . X . X . . O . . | $$ | . . . . . . . . . . . . . . . O . . . | $$ | . . . . . . . . . . O . O . . . . . . | $$ | . . . . . . . . . . . . . O . . . . . | $$ | . . . . . . . . . . X . X . . O O . . | $$ | . . . O . . . . . , . . . X . , X . . | $$ | . . . . . . . . . . . O . . . X . . . | $$ | . . . . . . . . . . . . . X . . . . . | $$ | . . . . . . . . . . . . . . . . . . . | $$ ---------------------------------------[/go]
We were playing pretty rapidly there. Then I played and he takes a long time to make his next move. Clearly I rattled him, and he was checking: a) If is a trick play b) If is wrong, and he could punish.
BTW: if we go back to the normal variation, is still played as above and not as below, even though this gives black an extra forcing move. Why is that?
[go]$$Wcm46 $$ --------------------------------------- $$ | . . . . . . . . . . . . . . . . . . . | $$ | . 2 O . O X . . . . . . . . . . . . . | $$ | . X X O O X O . . . . . . X . X X O . | $$ | . . O X X O 1 . . , . . . . . X O . . | $$ | . . X . . . . . . . . . . . . . . O . | $$ | . . . . . . . . . . . . . . X . O . . | $$ | . . . . . . . . . . . . . . . . . . . | $$ | . . . . . . . . . . . . . . O O . . . | $$ | . . . . . . . . . . . . . . . X X . . | $$ | . . . , . . . . . , . . . . X , . . . | $$ | . . . . . . . . . . . X . X . . O . . | $$ | . . . . . . . . . . . . . . . O . . . | $$ | . . . . . . . . . . O . O . . . . . . | $$ | . . . . . . . . . . . . . O . . . . . | $$ | . . . . . . . . . . X . X . . O O . . | $$ | . . . O . . . . . , . . . X . , X . . | $$ | . . . . . . . . . . . O . . . X . . . | $$ | . . . . . . . . . . . . . X . . . . . | $$ | . . . . . . . . . . . . . . . . . . . | $$ ---------------------------------------[/go]
The reason is that is then sente for black. Played properly, is sente for white and white alone. However, white does not want to play it too quickly, for then the cut at disappears:
_________________ We don't know who we are; we don't know where we are. Each of us woke up one moment and here we were in the darkness. We're nameless things with no memory; no knowledge of what went before, No understanding of what is now, no knowledge of what will be.
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