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A Sparkling Win by Hunhyun 2 Dan, Part I

From Kidō, March 1969

Classic Kidō Game, Part I

New Players Attack Ōtake

A Sparkling Win by Hunhyun 2 Dan

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The 15 year old Cho Hunhyun 2 dan participated with many of the other promising young players at the Nihon Ki-in to challenge Ōtake Hideo 8 dan in a series of games. The youngsters would always take Black and at the start be given a komi of 2½ points. Every time one side or the other won three games in a row, the komi would either increase or decrease by 2 points. In the first two games Chō Chikun 2 dan and Ishida Akira 3 dan had won, so now it was on Hunhyun’s shoulders to win the clinching game (kadoban). As seen from the look on his face in the photograph above, he took his task seriously.

By Mihori Shō

“The third player in the series, the one who will play the kadoban, is young Hunhyun, I tell you.”

The voice of the Editorial Department of Kidō reached my ears. This new project, which had been launched at the beginning of the year, had now brought young Hunhyun into the fray, a player I had long viewed as being promising.

My prediction for this series was that the group of young players were at a slight disadvantage and that Ōtake 8 dan was to be favored in this project. At the start the young players were to always take Black and receive a 2½ point komi, with the komi rising or falling after three decisive games in a row. I thought that the youngsters would have their hands full and the komi they received would increase. It was an elite line-up of young players, but I was enamored with Ōtake 8 dan’s tough but artful strength.

However, at the same time I predicted that Hunhyun had the strength to deliver a stunning blow to his powerful adversary.

In the end, it was the young, 15 year old Hunhyun who won in a sparkling style over his elder colleague Ōtake.

Young Stars Versus Ōtake Series

White: Ōtake Hideo, Nihon Ki-in #1

Black: Cho Hunhyun 2 dan (receiving a komi of 2 ½ points)

Time limit: 2 hours each

Figure 1: At the Kitani Dōjō

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Figure 1 (1-19)

The Kitani dōjō in Yotsuya, Tōkyō.

Ōtake 8 dan was wearing a traditional hakama borrowed from Kitani Sensei.

Young Hunhyun sported a jumper. Since the time that he became a professional player, he had really grown tall quickly.

It reminded me of Yamabe Toshirō 9 dan, when he had become a professional at exactly the same point in his life. Yamabe, too, had exhibited a jump in the artistry of his play as he experienced a physical growth spurt. These two also resemble each other in their surprisingly sharp talent of reading out the board quickly.

Young Hunhyun is the cherished student of the elderly Segoe Kensaku Sensei, who is approaching 80 years of age. Last year the youngster had stunned everyone―Look there! Look there!―by rolling up one win after another in the Meijin tournament, as far as the final preliminary game to enter the league. He was finally defeated by Handa 9 dan, but his dashing effort was acknowledged all around.

Young Hunhyun’s closest friend is Abe Yoshiteru 6 dan, who is well-known for his studious habits. He champions Hunhyun’s artistry more than anyone else.

“In the future he going to be a major player,” he says.

“As long as he doesn’t get too smug and complacent…” is the comment of a go writer.

“Unless one becomes a tengu, one’s artistry will not advance.” [Tengu is a Japanese goblin with a long nose that denotes its great conceit. The point of the proverb is that a certain amount of conceit is necessary to motivate one to reach the height of artistry.] “However, if one becomes a tengu, one’s artistry is halted.”

Figure 2: Operating in Concert with the Upper Right

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Figure 2 (20-33)

In the lower right, the jōseki operates in concert with the upper right.

Since the distance from the knight’s move corner enclosure in the upper right is good, White has no choice but to slide to 30.

The reason that Black does not use 29 to play atari at “a” and then after that exchange for White “b,” connect at Black 29, is that by not doing so White is prevented from using 30 to move out with a jump to “c.”

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Diagram 1

Should White do so as in Diagram 1, Black is able to push through at 2 and cut at 4.

That is the focal point of this jōseki, as well as the point of 31. So for White…

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Diagram 2

It is desirable to as in Diagram 2, but it would be unbearable for White to incur Black’s playing “a,” White “b” and Black “c” in sente. Consequently, Black 31 is natural, but if this is distasteful, the move order with the exchange of White 31 for Black “d” in the figure first could also be considered. White 32 and Black 33 were both played instantly, but…

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Diagram 3

Instead of White 32, “I wonder if the way with White 1 in Diagram 3 wasn’t better,” said Ōtake 8 dan thoughtfully.

This way of playing views the three White stones to the right as light, and young Hunhyun replied that in that case the game would become one in which Black invades the corner with 2 and the rest, then slips into the side at 8. There are readers who would worry about the lower left corner, but with this, well, the thinking is that a lull has come in the action there.

At this stage in the game, each move has the effect of settling on a certain course of play. Different moves would result in different games. For instance, Black could play the move at 33 one point higher.

Figure 3: Turning Points are the Cause for Reflection

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Figure 3 (34-46)

Or White could play 34 as the pincer at “a.” The fact is that either of those moves would result in a completely different game.

When professional players discuss their games afterward, this kind of examination of the turning points is typical.

[Game Record]

To be continued next week.

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