Life In 19x19

From the PM, it seems lovelove misunderstood me. He thought I was suggesting the following play at r9 for black rather than the nobi to the second line. my understanding of this move is that it can be playable, but it makes white get stronger on the outside so the second line move should be considered the default best move.

Click Here To Show Diagram Code

[go]$$c White stronger as q10 sente
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . X . . . . |
$$ | . . . , . . . . . , . . . . . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , O 7 . |
$$ | . . . . . . . . . . . . . . . 6 5 . . |
$$ | . . . . . . . . . . . . . . . 4 1 . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . O O . . |
$$ | . . . . . . . . . . . . . . . O X . . |
$$ | . . . , . . . . . , . . . . . 2 X . . |
$$ | . . . . . . . . . . . . . X . X 3 . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]

What I was suggesting was r9 for white in place of s8 when black connects in the corner on the outside, allowing the s6 descent in sente:

Click Here To Show Diagram Code

[go]$$c My suggestion
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . X . . . . |
$$ | . . . , . . . . . , . . . . . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , O . . |
$$ | . . . . . . . . . . . . . . . . 0 . . |
$$ | . . . . . . . . . . . . . . . . 1 . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . O O 8 . |
$$ | . . . . . . . . . . . . . . . O X . . |
$$ | . . . , . . . . . , . . . . 3 2 X 9 . |
$$ | . . . . . . . . . . . . . X . X 4 5 . |
$$ | . . . . . . . . . . . . . . . . 6 7 . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]

q8 and s8 are now miai, so white is connected. The advantage of this move over s8 is that black can less easily do something useful with his r8 stone, as shown in the next diagram where he builds influence (and white increases his territory in return). A downside of r9 is that if black plays s8 even though you capture the 2 stones it is only one eye so if black gets stronger around this aji could be annoying, but s8 similarly is not an unconditional 2 eyes though the eyespace does seem slightly better to me.

Click Here To Show Diagram Code

[go]$$c Black can build influence later if white s8
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . X . . . . |
$$ | . . . , . . . . . , . . . . . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . 7 . |
$$ | . . . . . . . . . . . . . . . 9 X 6 . |
$$ | . . . . . . . . . . . . . . . 5 4 8 . |
$$ | . . . , . . . . . , . . . . . 3 O . . |
$$ | . . . . . . . . . . . . . . . . 1 2 . |
$$ | . . . . . . . . . . . . . . . . X O . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . O O O . |
$$ | . . . . . . . . . . . . . . . O X . . |
$$ | . . . , . . . . . , . . . . X O X X . |
$$ | . . . . . . . . . . . . . X . X O X . |
$$ | . . . . . . . . . . . . . . . . O X . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]

P.S. Also s4 at t4 is better yose.

Lecture 19

Something short

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[go]$$c A shining move!
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . O . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . . . . |
$$ | . . X . . . . . . . . . . . . . . . . |
$$ | . . . . O . . . . . . . . . . . . . . |
$$ | . . . O . . O . . , . . . . . , . . . |
$$ | . . X . . X . . O . . . . . . . . . . |
$$ | . 1 . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]

Uberdude wrote:

$$c My suggestion
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . X . . . . |
$$ | . . . , . . . . . , . . . . . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , O . . |
$$ | . . . . . . . . . . . . . . . . 0 . . |
$$ | . . . . . . . . . . . . . . . . 1 . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . O O 8 . |
$$ | . . . . . . . . . . . . . . . O X . . |
$$ | . . . , . . . . . , . . . . 3 2 X 9 . |
$$ | . . . . . . . . . . . . . X . X 4 5 . |
$$ | . . . . . . . . . . . . . . . . 6 7 . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------

Click Here To Show Diagram Code

[go]$$c My suggestion
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . X . . . . |
$$ | . . . , . . . . . , . . . . . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , O . . |
$$ | . . . . . . . . . . . . . . . . 0 . . |
$$ | . . . . . . . . . . . . . . . . 1 . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . O O 8 . |
$$ | . . . . . . . . . . . . . . . O X . . |
$$ | . . . , . . . . . , . . . . 3 2 X 9 . |
$$ | . . . . . . . . . . . . . X . X 4 5 . |
$$ | . . . . . . . . . . . . . . . . 6 7 . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]

Yes, is what I learned from a Korean haengma book.

In anycase, the push at is what's most important. It's a move to remember.

lovelove wrote:Lecture 19
Something short

$$c A shining move!
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . O . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . . . . |
$$ | . . X . . . . . . . . . . . . . . . . |
$$ | . . . . O . . . . . . . . . . . . . . |
$$ | . . . O . . O . . , . . . . . , . . . |
$$ | . . X . . X . . O . . . . . . . . . . |
$$ | . 1 . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------

Click Here To Show Diagram Code

[go]$$c A shining move!
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . , . . . . . , . . . . . , . . . |
$$ | . . O . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . . . . |
$$ | . . X . . . . . . . . . . . . . . . . |
$$ | . . . . O . . . . . . . . . . . . . . |
$$ | . . . O . . O . . , . . . . . , . . . |
$$ | . . X . . X . . O . . . . . . . . . . |
$$ | . 1 . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]

It's even more fun when you use it to kill a group

Teaching game I remember:

Click Here To Show Diagram Code

[go]$$Wc
$$ ---------------------------------------
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . X . . . . . . . . . . . |
$$ | . . . O . O O X . X . . . X . . X . . |
$$ | . . O , O X O O X , . . . . . X . O . |
$$ | . . O X . X X O . . . . . . . . . . . |
$$ | . . X . 2 . . . . . . . . . . . O . . |
$$ | . . X X . 1 . . . . . . . . . . . . . |
$$ | . X O . . . 3 . . . . . . . . . . . . |
$$ | . O . O . . . . . . . . . . . . . . . |
$$ | . . O O . . . . . . . . . . . , . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . X . . . . . , . . . . . X . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]

Lecture 20

Trick move (Part 1)

*Always look at the former branch first.*

Lecture 21

Trick move (Part 2)

*Always look at the former branch first.*

Lecture 22

Trick move (Part 3)

*Always look at the former branch first.*

Lecture 23

Trick move (Part 4)

*Always look at the former branch first.*

Lovelove, thank you again for posting this series. A question about 22: is it "no ko" in the sense that no threat is big enough, or in the sense that w can't win the ko by connecting?

Lecture 24

Trick move (Part 5)

*Always look at the former branch first.*

jts wrote:Lovelove, thank you again for posting this series. A question about 22: is it "no ko" in the sense that no threat is big enough, or in the sense that w can't win the ko by connecting?

You are right in both. In addition, that ko is a direct ko for black, but approach ko for white; white needs to ignore black's ko threat twice to win the ko.

Lecture 25

4-4 corner attachment joseki (Part 1)

*Always look at the former branch first.*

I have just posted five lectures in a row. This should be catching up my promise, "one lecture a day", and also realized it is not possible to be continued.

Changing plans, I will post these lectures in Monday, Wednesday, Fridays. Sorry!

lovelove wrote:I have just posted five lectures in a row. This should be catching up my promise, "one lecture a day", and also realized it is not possible to be continued.

Changing plans, I will post these lectures in Monday, Wednesday, Fridays. Sorry!

That's more than adequate, lovelove. I can't speak for everyone, but I personally love your short lectures. I'll be looking forward to some more. Thank you very much!!

lovelove wrote:I have just posted five lectures in a row. This should be catching up my promise, "one lecture a day", and also realized it is not possible to be continued.

Changing plans, I will post these lectures in Monday, Wednesday, Fridays. Sorry!

Nothing to apologize for! Love reading the lectures!

What they say: No reason to apologize. You are giving us something, thank you!