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 Post subject: Re: Tabemasu vs. Araban : Malkovich #24
Post #21 Posted: Wed Apr 28, 2010 11:35 am 
Oza
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Araban, the video commentaries are a fantastic addition to the malkovitch concept. Great idea.

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 Post subject: Re: Tabemasu vs. Araban : Malkovich #24
Post #22 Posted: Wed Apr 28, 2010 11:46 am 
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Araban wrote:
Click Here To Show Diagram Code
[go]$$c Move 3
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . , . . . . . , B . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]



Kajiwara (Direction of Play) would say that this is a losing move for Black. It certainly gives White a good play, as the approach has a good relation to the White stone on the 4-4.

Click Here To Show Diagram Code
[go]$$c Opposing 3-4s
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . 1 , . . . . . , . . . . . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . , . . . . . , . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]


Go Seigen likes the opposing 3-4 in this position. So much so that he thinks that :w2: is a mistake.

_________________
The Adkins Principle:
At some point, doesn't thinking have to go on?
— Winona Adkins

Visualize whirled peas.

Everything with love. Stay safe.

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 Post subject: Re: Tabemasu vs. Araban : Malkovich #24
Post #23 Posted: Wed Apr 28, 2010 11:55 am 
Honinbo

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Araban wrote:
Click Here To Show Diagram Code
[go]$$c Move 7
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . B . . . . . . . . . . . . . |
$$ | . . . O . . . . . , . . . . . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . , . . . . . , X . . |
$$ | . . . . . X . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]




How things change! To prevent this I would have approached the top right corner on the previous move.

As for the double approach in the bottom left if I do so, this is still better than approaching a corner at move 3 and allowing Black to play first in the last open corner.

_________________
The Adkins Principle:
At some point, doesn't thinking have to go on?
— Winona Adkins

Visualize whirled peas.

Everything with love. Stay safe.

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 Post subject: Re: Tabemasu vs. Araban : Malkovich #24
Post #24 Posted: Wed Apr 28, 2010 12:08 pm 
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Tabemasu wrote:
Click Here To Show Diagram Code
[go]$$c Move 8
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . . . . . . . . . . . . |
$$ | . . . O . . . . W , . . . . . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . , . . . . . , X . . |
$$ | . . . . . X . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]




The pincer looks good. :)

Click Here To Show Diagram Code
[go]$$Wc Move 8
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . . . . . . . . . . . . |
$$ | . . . W . . . . . , . . . . . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . 1 . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . W . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . W . . . . . , . . . . . , X . . |
$$ | . . . . . X . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]


The simple response does not have a good feel to it. White is a bit passive, and over-concentrated on the left side.

The play to create the White formation is what people mean when they say, "White 8 is bad." It comes from a comment by Go Seigen. See GoGoD's New in Go feature for more. :)


Edit: Unhidden.

_________________
The Adkins Principle:
At some point, doesn't thinking have to go on?
— Winona Adkins

Visualize whirled peas.

Everything with love. Stay safe.


Last edited by Bill Spight on Thu May 06, 2010 4:13 pm, edited 1 time in total.
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 Post subject: Re: Tabemasu vs. Araban : Malkovich #24
Post #25 Posted: Wed Apr 28, 2010 3:21 pm 
Gosei
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daal wrote:
Araban, the video commentaries are a fantastic addition to the malkovitch concept. Great idea.

Thank you!

Click Here To Show Diagram Code
[go]$$c Move 9
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . . . B . . . . . . . . |
$$ | . . . O . . . . O , . . . . . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . , . . . . . , X . . |
$$ | . . . . . X . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]

Warning: 36 hours of no sleep, so if anything sounds off then cut me some slack :p. Also, trying different SGF editor:

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 Post subject: Re: Tabemasu vs. Araban : Malkovich #24
Post #26 Posted: Thu Apr 29, 2010 2:18 am 
Beginner
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daal wrote:
Araban, the video commentaries are a fantastic addition to the malkovitch concept. Great idea.


Yes, I do enjoy them very much and they make the game easier to follow. Thanks a lot for taking the time to make them.

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 Post subject: Re: Tabemasu vs. Araban : Malkovich #24
Post #27 Posted: Thu Apr 29, 2010 8:55 am 
Dies in gote
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Click Here To Show Diagram Code
[go]$$c Move 10
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . . . X . . . . . . . . |
$$ | . . . O . W . . O , . . . . . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . , . . . . . , X . . |
$$ | . . . . . X . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]

This move seems a little questionable to me, the reasons follow below.

First of all, the previous diagram I showed just seems better, since it doesn't make white as strong.
The only difference is that instead of 'a' he would play at 3, which is fine. This way the game will just become a big fight and it's hard to say who's better.

Click Here To Show Diagram Code
[go]$$c
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . . . 3 . . . . . . . . |
$$ | . . . O . . . . O , . a . . . , X . . |
$$ | . . . . . 1 . . . . . . . . . . . . . |
$$ | . . . 2 . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . , . . . . . , X . . |
$$ | . . . . . X . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]


Another reason is that after I play 2 I become quite strong, and all of a sudden 1 feels too close to my strength. If he has to add another move on top, then certainly he has done something wrong.

Click Here To Show Diagram Code
[go]$$c
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . . . 1 . . . . . . . . |
$$ | . . . O . 2 . . O , . . . . . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . , . . . . . , X . . |
$$ | . . . . . X . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]


Instead, he can play at 1 instead of 'a'. This way when I play 2 his stone at 1 is at a good point, and he can take the largest point at 3.
Click Here To Show Diagram Code
[go]$$c
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . . . a . . 1 . . . . . |
$$ | . . . O . 2 . . O , . . . . . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . , . . . . . , X . . |
$$ | . . . . . X . . . . 3 . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]


Even though I think his move might be a mistake, it's not exactly the easiest thing to punish, and the mistake probably only amounts to a few points... Go is a difficult game :).

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 Post subject: Re: Tabemasu vs. Araban : Malkovich #24
Post #28 Posted: Thu Apr 29, 2010 12:45 pm 
Honinbo

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Click Here To Show Diagram Code
[go]$$Wc Move 10
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . . . X . . . . . . . . |
$$ | . . . O . . . . O , . . . . . , X . . |
$$ | . . . . . 1 . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . , . . . . . , X . . |
$$ | . . . . . X . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]


Also playable, I think. :) (The opponent's play is my play.)

Easy to overlook. ;)


Edit: Unhidden.

_________________
The Adkins Principle:
At some point, doesn't thinking have to go on?
— Winona Adkins

Visualize whirled peas.

Everything with love. Stay safe.


Last edited by Bill Spight on Thu May 06, 2010 4:14 pm, edited 1 time in total.
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 Post subject: Re: Tabemasu vs. Araban : Malkovich #24
Post #29 Posted: Fri Apr 30, 2010 1:40 am 
Gosei
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joseg wrote:
daal wrote:
Araban, the video commentaries are a fantastic addition to the malkovitch concept. Great idea.


Yes, I do enjoy them very much and they make the game easier to follow. Thanks a lot for taking the time to make them.

Thank you :).

Click Here To Show Diagram Code
[go]$$c Move 11
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . . . X . . . . . . . . |
$$ | . . . O . O B . O , . . . . . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . , . . . . . , X . . |
$$ | . . . . . X . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]




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 Post subject: Re: Tabemasu vs. Araban : Malkovich #24
Post #30 Posted: Fri Apr 30, 2010 8:06 am 
Lives with ko
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Wow a super highdan game, really looking forward to a fighting middlegame ;)

@Ara
I really love the youtube idea, but what fancy background are you using with the new sgf-editor? Looks like some kind of bizarre tech-scene

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 Post subject: Re: Tabemasu vs. Araban : Malkovich #24
Post #31 Posted: Fri Apr 30, 2010 8:59 am 
Gosei
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Jonas wrote:
@Ara
I really love the youtube idea, but what fancy background are you using with the new sgf-editor? Looks like some kind of bizarre tech-scene

Close enough, it's a drawing of a futuristic city. Sometimes I end up getting sucked in by the artwork :). I've uploaded it here (2240x1280): http://imgur.com/cMdwK.jpg

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 Post subject: Re: Tabemasu vs. Araban : Malkovich #24
Post #32 Posted: Fri Apr 30, 2010 9:29 pm 
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Nice game so far, definitely enjoying the youtube commentary. Seems like you are also trying to make the commentary short and simple-ish(definitely feels on purpose, because I still remember the first game you played :)).

Araban wrote:
Close enough, it's a drawing of a futuristic city. Sometimes I end up getting sucked in by the artwork :). I've uploaded it here (2240x1280): http://imgur.com/cMdwK.jpg


Off topic:

I did a quick reverse look up since I remember having a few of his wallpapers on my old computer, and found out that Imperial Boy is that artist's name and his official site seems to be http://tksn.web.infoseek.co.jp/

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 Post subject: Re: Tabemasu vs. Araban : Malkovich #24
Post #33 Posted: Tue May 04, 2010 8:21 pm 
Lives in sente

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I think Solch is confused... I can't see his explanations, because for some reason, the links to youtube aren't working for me, but...

Click Here To Show Diagram Code
[go]$$c Normal.
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . B . . . . . . . . . |
$$ | . . O , X . . O . , . . . . . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |[/go]


Click Here To Show Diagram Code
[go]$$c Normal.
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . . . B . . . . . . . . |
$$ | . . . O . . . . O , . . . . . , X . . |
$$ | . . . . . X . . . . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . . . . |[/go]


Click Here To Show Diagram Code
[go]$$c Wha? The reason you can play a move approaching the pincer stone is because you don't think white has a severe follow up on your pincered stone/group. But is that really the case here?
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . . . B . . . . . . . . |
$$ | . . . O . . . . O , . . . . . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |[/go]


On another note,I just noticed that we have buttons now for all our custom bbcode. Thoroughly approve.

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 Post subject: Re: Tabemasu vs. Araban : Malkovich #24
Post #34 Posted: Wed May 05, 2010 4:30 am 
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Violence wrote:
I think Solch is confused... I can't see his explanations, because for some reason, the links to youtube aren't working for me, but...

Click Here To Show Diagram Code
[go]$$c Normal.
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . B . . . . . . . . . |
$$ | . . O , X . . O . , . . . . . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |[/go]


Click Here To Show Diagram Code
[go]$$c Normal.
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . . . B . . . . . . . . |
$$ | . . . O . . . . O , . . . . . , X . . |
$$ | . . . . . X . . . . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . . . . |[/go]


Click Here To Show Diagram Code
[go]$$c Wha? The reason you can play a move approaching the pincer stone is because you don't think white has a severe follow up on your pincered stone/group. But is that really the case here?
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . . . B . . . . . . . . |
$$ | . . . O . . . . O , . . . . . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |[/go]


On another note,I just noticed that we have buttons now for all our custom bbcode. Thoroughly approve.


Actually, I think Solomon is playing fine. A simple pattern search (only including the topside of the board, shows that Solomons counter-pincer is the 2nd preferred move by professionals, with C14 being the most common one (C14 showed 140 games, while Solomons move 52 games. Your one space jump shows 30 games, so it's obviously also a plausible idea.)

One might argue that the pattern search did not include the shape on bottom and that white's position in lowerleft might help in the fight. However, the result of the pattern Solomon picked is that a big fight will happen on the top, thus, I don't think whites position in lowerleft will be crucial in the fight.

I think the fight here is going to be very interesting, where both players will emphasize on getting sente to play on the bottom side which obviously is huge. I guess it's possible that Tabemasu also makes a compromise quickly allowing black to settle on top and take the big point on bottom. So far Solomon's play has been a little bit unorthodox but I believe the game is still perfectly even :)

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 Post subject: Re: Tabemasu vs. Araban : Malkovich #24
Post #35 Posted: Wed May 05, 2010 7:02 pm 
Dies in gote
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Sorry this took so long, I've been quite busy.
Click Here To Show Diagram Code
[go]$$c Move 12
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . . . X . . . . . . . . |
$$ | . . . O . O X . O , . . . . . , X . . |
$$ | . . . . . W . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . , . . . . . , X . . |
$$ | . . . . . X . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]


This one is the most obvious move, and seems pretty good.

Click Here To Show Diagram Code
[go]$$c I'm guessing he will play this way, and a giant fight will start. I still have to think about what I'm going to do here, but I don't think the result will be bad for me.
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . 2 1 X . . . . X . . . . . . . . |
$$ | . . . O . O X . O , . . . . . , X . . |
$$ | . . . . . O 3 . . . . . . . . . . . . |
$$ | . . . . . . 4 5 . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . , . . . . . , X . . |
$$ | . . . . . X . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]


Anyway, I've been pretty busy. I hope to be able to post more regularly from now.

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 Post subject: Re: Tabemasu vs. Araban : Malkovich #24
Post #36 Posted: Thu May 06, 2010 2:24 am 
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From Fredrik
Actually, I think Solomon is playing fine. A simple pattern search (only including the topside of the board, shows that Solomons counter-pincer is the 2nd preferred move by professionals, with C14 being the most common one (C14 showed 140 games, while Solomons move 52 games. Your one space jump shows 30 games, so it's obviously also a plausible idea.)

One might argue that the pattern search did not include the shape on bottom and that white's position in lowerleft might help in the fight. However, the result of the pattern Solomon picked is that a big fight will happen on the top, thus, I don't think whites position in lowerleft will be crucial in the fight.

I think the fight here is going to be very interesting, where both players will emphasize on getting sente to play on the bottom side which obviously is huge. I guess it's possible that Tabemasu also makes a compromise quickly allowing black to settle on top and take the big point on bottom. So far Solomon's play has been a little bit unorthodox but I believe the game is still perfectly even :)


Funny enough i've been playing alot of the mini chinese lately so i've studied some of the "anti" responses. And this counter pincer to white's pincer as far as i've understood is not a mistake. Im basing this on watching alot of pro games when this pattern occurs and one of guo juans lectures where she gives this counter pincer as an response and of course she backs it up with games/variations.

I surely hope that it's not an mistake since i think it's an interesting response and im playing it alot in my own games :)

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 Post subject: Re: Tabemasu vs. Araban : Malkovich #24
Post #37 Posted: Thu May 06, 2010 10:06 am 
Gosei
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Click Here To Show Diagram Code
[go]$$c Move 13
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . B X . . . . X . . . . . . . . |
$$ | . . . O . O X . O , . . . . . , X . . |
$$ | . . . . . O . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . , . . . . . , X . . |
$$ | . . . . . X . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]


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 Post subject: Re: Tabemasu vs. Araban : Malkovich #24
Post #38 Posted: Thu May 06, 2010 11:36 am 
Gosei
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Araban:
If your opponent's move is forced, what do you plan to do next?

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 Post subject: Re: Tabemasu vs. Araban : Malkovich #24
Post #39 Posted: Thu May 06, 2010 11:47 am 
Gosei
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Chew Terr wrote:
Araban:
If your opponent's move is forced, what do you plan to do next?

After D17, the next thing to do is cut off J16 from his friends, which I can do by playing G15. White won't let me do that so easily, so a fight will ensue.

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 Post subject: Re: Tabemasu vs. Araban : Malkovich #24
Post #40 Posted: Thu May 06, 2010 3:31 pm 
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Bill, you might as well unhide your last post, no?

It would be interesting what Tabemasu thinks about your comment.

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