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Kobayashi 6 Dan, Full of Fighting Spirit, Part II

From Kidō, July 1974

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Classic Kidō Games, Part II

Young Sharp Players, Five Opponent Elimination Tournament

Kobayashi 6 Dan, Full of Fighting Spirit


Here Kobayashi is on the left playing Chō Chikun 5 dan for the 16th Annual Prime Minister’s Cup in 1973.

White: Tsuchida Masamitsu 7 dan

Black: Kobayashi Kōichi 6 dan

Black gives a 5½ point komi. Two hour time limit for both players.

Analysis by Yamabe Toshirō 9 dan

Notes by the observer, Itō Keiichi

Figure 3: A Precise Fencing-in Move


Figure 3 (21-27)

The one space high pincer of Black 21 was thought about for approximately twenty minutes, it seems to me. Up to that point, Tsuchida had used five minutes on the clock. Kobayashi had been faster, spending seven minutes, but after 21 was played, both sides to more time over their moves.

Kobayashi: “One does not feel like using 21 to make the low pincer at ‘a,’ you know. White would ignore the move to cut at ‘b,’ I think.”

It becomes clear from the later progress of the game that Black 21 was the most suitable pincer. In response to it, it is questionable whether White’s answers at 22, 24 and 26 were suitable. That is because next Black 27 was really a precise fencing-in move.

Yamabe: “For White 22 and 24…


Diagram 3

…Simply jumping to 1 in Diagram 3 is usual. It was said that then Black would make the two space extension of 2. However, White makes the forcing move of 3, then plays the sequence with 5 and the following. At the very least, this would mitigate the severity of Black 27. After this, Black would continue at A, and it is also possible to choose to go with B. If Black A, White slides to C, and this way would lead to a leisurely game.”

Black 27 is Kajiwara style, but it seems that even players who are not Kajiwara 9 dan would feel like making this fencing-in move here.

Kobayashi: “For Black 27…


Diagram 4

…Playing at 1 in Diagram 4 is not promising because it lets White reply with 2 and the following, ending with the move at 6, which comes pressing against Black to the limit.”

The Focal Points of Figure 4

In response to Black 27, natural momentum leads White to push through at 28 and cut at 30.

The straight connection of White 36 was made in order not to make Black solid on the outside, but it was not suitable.

Pay attention to how the move of Black “b” is essential.

Figure 4: An Area of Turbulent Fighting


Figure 4 (27-42)

In answer to the fencing-in move of Black 27, pushing through with White 28 and cutting with 30 is natural fighting spirit. In addition, regardless of the result, unless a man played this out of willfulness, he would lose face.

Pushing in with Black 33 is severe.

For White 34…


Diagram 5

…White 1 in Diagram 5 is reckless, ending by being captured with Black 2 and 4.


Diagram 6

Also, White 1 and 3 in Diagram 6 would gain access to the center and safety, but the loss incurred when Black takes two stones with 4 is too great.

It would be no good to have the stones captured as in Diagram 5, so White played 34 and 36. However, here amateurs would want to play 36 at “a,” expanding outward, and that way was good.

Yamabe: “Making the straight connection of White 34 and 36 was too complacent. Playing bluntly…


Diagram 7

…Expanding outward with White 1 in Diagram 7 was good. Should Black immediately block at 2, White cuts at 3, and then makes a one stone capture [ponnuki] with 5 and 7. Black would be thin and weak on the upper side, which would be no good. Therefore…


Diagram 8

…The move order with Black 2 and 4 in Diagram 8 is correct, resulting in a swap through 10. However, next White will typically press at 11 leading to a difficult position if Black makes a one space jump at A or two space jump at B. Regardless, White should have played this way.”

Paying attention to the shape in the upper right corner, Black can always make the atari at “b” as a forcing move. It would be no good for White to have these two stones captured. Therefore, in Diagram 7, Black is not given the chance to play this atari.

Since White made the straight connection of 36, the press from above with Black “c” turned out not to be unavoidable.


Diagram 9

Black 1 in Diagram 9 is met by White exchanging 2 for Black 3, then typically jumping to White 4, and then next Black would have to make life.

Black presses at 37, inviting White 38, then using the impetus to make the hanging connection of Black 39. This progression of moves seems inevitable, but according to Kobayashi…


Diagram 10

“For White 38, cutting with White 1 in Diagram 10 and taking hold of the stone with White 3 would lead to the standard move of Black 4, I suppose. I thought that this would be what was played, but…”

That is what he said. It seems that Tsuchida also thought of playing that way. Of course, the fact is that this would not give White the better position.

It seems that the block of White 40 was also unavoidable. Instead of White 40…


Diagram 11

…As might be expected, White would like to cut at 1 in Diagram 11, but after Black 2 and White 3, since the marked Black stone is in place, and Black has the atari at A, the Black stone that White has taken hold of ends up escaping. The fencing-in move of Black B is also severe.

In addition…


Diagram 12

…If White hanes with 1 in Diagram 12, Black extends at 2. Next, should White block at 3, Black lives with the hane of 4 and connection of 6. Following this, White has a problem finding a way to add stones on the upper side to live. Defending with White A lets Black make the placement of B, while White C is foiled by the throw-in of Black A.

Yamabe: “The descending move of Black 41 is also severe. It is not bad to make the standard hane at ‘d,’ either, but… I thought that Black 41 was to be expected.”

Immediately after Kobayashi married [Reiko Kitani, the sole child of Kitani Minoru], there was a rumor that losing had become a burden to him. However, seeing this game, one feels that he has fully recovered.

With 42, White counterattacked.

[Game Record]

To be continued next week.

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