A problem from Ishida Yoshio's new fuseki book

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Tami
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A problem from Ishida Yoshio's new fuseki book

Post by Tami »

Ishida Yoshio has recently published a very interesting book called アマの知らない布石・絶対の急所 (The Absolutely Vital Points of the Fuseki that Amateurs Don't Know) on MyCom. It's in Japanese, of course, and quite difficult Japanese at that, but I would like to draw your attention to it.

First, he gives an explanation of the meaning of various approach moves to the 3-4 point, and examples of when and when not to play them. For me, this chapter is truly eye-opening - thanks to this, I'm finding out that certain things I used to believe about the fuseki were upside down.

The next chapters are about strategic themes (namely, 「地の接点」が勝負を決める, 模様の碁の急所, and 一番大きいのは「根拠の手」, which are, respectively, "The Meeting Point of Territories Decides Victory or Defeat", "The Vital Points of Moyo Go" and "The Biggest Move is Making/Taking a Base").

I cannot give a full review yet, because I haven't finished reading the book, but for now I would like to share a problem from the second chapter that I found particularly enlightening.


Click Here To Show Diagram Code
[go]$$c This is a label for the diagram.
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . X . . . . . . . . . . |
$$ | . . . O . . . . . , . . . . . X . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . a . . . . . . c . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . b . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . O . . . . . . . . . . . . . . . . |
$$ | . . . . O . . . . . . . . . . . . . . |
$$ | . X X . . . . . . . . . . . . . X . . |
$$ | . . . O . . . . . O . . O . . , . . . |
$$ | . . X O . . . . . . . . . . . X . . . |
$$ | . . X O . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]


Ishida says "The stones are still sparse, but it is clear that white is using a moyo strategy. To deal with this, if he is aware of the moyo, black faces a crossroads of ways for advancing and strengthening his position."

(まだ石数まらばですが、白の模様作戦が鮮明です。これに対して黒は白模様を意識するか、我が道を行き自陣を固めるの岐路です。)*


Before I give the answer, I would like to ask you what you would do here, and why? When I attempted the problem, I chose the worst out of the three possible answers :lol: Hopefully, I learned something from the failure.

One thing I like about this book is that it stimulates you to think "between the lines". I think Ishida explains enough not to be frustratingly cryptic, but he doesn't spoonfeed you, either.

Finally, I can't help wondering if there's any way to tell if a book is ghost-written or not? I assume the little problem collections from Seibido (成美堂) such as 山下敬吾の初段の実戦詰碁 (Yamashita Keigo's Real Game Tsumego for Shodans) are mainly the work of the backroom boys, but the MyCom series seem a touch more individualistic - for instance, Takemiya's アマが理解できない4つの常識 (The Four Pieces of Common Sense that Amateurs Can't Grasp) not only has a different vocabulary, but a different personality. I would love to think that the MyCom series comes straight from the horses` mouths!

* If my translation was badly offbeam, please correct me :bow:
Last edited by Tami on Sun Oct 09, 2011 10:18 pm, edited 1 time in total.
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Solomon
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Re: A problem from Ishida Yoshio's new fuseki book

Post by Solomon »

Click Here To Show Diagram Code
[go]$$c This is a label for the diagram.
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . X . . . . . . . . . . |
$$ | . . . O . . . . . , . . . . . X . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . B . . . . . . c . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . x x . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . b . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . O . . . . . . . . . . . . . . . . |
$$ | . . . . O . . . . . . . . . . . . . . |
$$ | . X X . . . . . . . . . . . . . X . . |
$$ | . . . O . . . . . O . . O . . , . . . |
$$ | . . X O . . . . . . . . . . . X . . . |
$$ | . . X O . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]

I'd probably play 'a' (well, around there). It not only reduces W's moyo possibilities, but also makes playing a move around 'x' easier as well. It also helps Black make a (rather oddly-shaped) moyo as well.
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Re: A problem from Ishida Yoshio's new fuseki book

Post by Tami »

Araban wrote:
Click Here To Show Diagram Code
[go]$$c This is a label for the diagram.
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . X . . . . . . . . . . |
$$ | . . . O . . . . . , . . . . . X . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . B . . . . . . c . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . x x . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . b . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . O . . . . . . . . . . . . . . . . |
$$ | . . . . O . . . . . . . . . . . . . . |
$$ | . X X . . . . . . . . . . . . . X . . |
$$ | . . . O . . . . . O . . O . . , . . . |
$$ | . . X O . . . . . . . . . . . X . . . |
$$ | . . X O . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]

I'd probably play 'a' (well, around there). It not only reduces W's moyo possibilities, but also makes playing a move around 'x' easier as well. It also helps Black make a (rather oddly-shaped) moyo as well.


Tami: It's not the right answer, but it is the "second-best" move. Ishida agrees that it erases white's moyo while building your own, but after


[quote="Araban"]
Click Here To Show Diagram Code
[go]$$c
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . X . . . . . . . 5 . . |
$$ | . . . O . . . . . , . . . 3 . X . 4 . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . 1 . . . . . . 2 . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . x x . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . 6 . . |
$$ | . . . , . . . . . , . . . . . . . . . |
$$ | . . d . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . O . . . . . . . . . . . . . . . . |
$$ | . . . . O . . . . . . . . . . . . . . |
$$ | . X X . . . . . . . . . . . . . X . . |
$$ | . . . O . . . . . O . . O . . , . . . |
$$ | . . X O . . . . . . . . . . . X . . . |
$$ | . . X O . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]


the top still cannot be said to be black's territory. As for invading the left, Ishida gives, in a separate diagram continuing from the correct answer, d as the crucial point.
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Solomon
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Re: A problem from Ishida Yoshio's new fuseki book

Post by Solomon »

Tami wrote:
Araban wrote:
Click Here To Show Diagram Code
[go]$$c This is a label for the diagram.
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . X . . . . . . . . . . |
$$ | . . . O . . . . . , . . . . . X . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . B . . . . . . c . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . x x . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . b . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . O . . . . . . . . . . . . . . . . |
$$ | . . . . O . . . . . . . . . . . . . . |
$$ | . X X . . . . . . . . . . . . . X . . |
$$ | . . . O . . . . . O . . O . . , . . . |
$$ | . . X O . . . . . . . . . . . X . . . |
$$ | . . X O . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]

I'd probably play 'a' (well, around there). It not only reduces W's moyo possibilities, but also makes playing a move around 'x' easier as well. It also helps Black make a (rather oddly-shaped) moyo as well.


Tami: It's not the right answer, but it is the "second-best" move. Ishida agrees that it erases white's moyo while building your own, but after


Araban wrote:
Click Here To Show Diagram Code
[go]$$c
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . X . . . . . . . 5 . . |
$$ | . . . O . . . . . , . . . 3 . X . 4 . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . 1 . . . . . . 2 . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . x x . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . 6 . . |
$$ | . . . , . . . . . , . . . . . . . . . |
$$ | . . d . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . O . . . . . . . . . . . . . . . . |
$$ | . . . . O . . . . . . . . . . . . . . |
$$ | . X X . . . . . . . . . . . . . X . . |
$$ | . . . O . . . . . O . . O . . , . . . |
$$ | . . X O . . . . . . . . . . . X . . . |
$$ | . . X O . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]


the top still cannot be said to be black's territory. As for invading the left, Ishida gives, in a separate diagram continuing from the correct answer, d as the crucial point.
Hmm...fair enough, although the sequence I had in mind in response to the White approach was:
Click Here To Show Diagram Code
[go]$$c
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . X . . X . . . . . . 5 4 . . |
$$ | . . . O . . . . . , . . . . . X 6 . . |
$$ | . . . . . . . . . . . . . . 3 . . . . |
$$ | . . . O . . . . . 1 . . . . . . 2 . . |
$$ | . . . . . . . . . . . . . . . 7 . . . |
$$ | . . x x . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . . . . . |
$$ | . . d . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . O . . . . . . . . . . . . . . . . |
$$ | . . . . O . . . . . . . . . . . . . . |
$$ | . X X . . . . . . . . . . . . . X . . |
$$ | . . . O . . . . . O . . O . . , . . . |
$$ | . . X O . . . . . . . . . . . X . . . |
$$ | . . X O . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]

I feel this way it works better with :b1: ; with the one-space jump, it does look funky.