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11th Annual Meijin Title Match, Best of Seven, Game 3

How to Read Japanese Go Analysis

From the Kidō Yearbook, April 1973


Here is the ultimate challenge in reading Japanese go analysis: pages from the 1973 Kidō Go Yearbook (棋道1973囲碁年鑑). This time all the stops are pulled out and two full pages will be used as the subject matter. The reader is encouraged to try to understand all of this complex material. What is more, because such a large amount of text is analyzed, no vocabulary section will be given, just the reading. The translation will be given first, then the rōmaji transliteration. All the moves from the game are given at the end. Below is the cover of the Yearbook:


On the cover may be seen the characters: 4月臨時増刊号(Shigatsu Rinji Zōkan-Gō = April Special [literally “Temporary”] Publication Issue) and on the right side of the line:日本棋院発行 (Nihon Ki-in Hakkō = Nihon Ki-in Publication).


11th Annual Meijin Title Match, Best of Seven, Game 3

White: Rin Kaihō, Meijin Win by resignation (中押勝 = Chūoshi-kachi)

Black: Fujisawa Shūkō 9 dan (Challenger)

Now the translation:

Figure 1 Up to White 6 were the same moves as in Game 1, and starting with Black 7 there was a divergence.

Immediately playing the shoulder hit of White 10 is rare. After putting the exchange through Black 15 in place, White heads to the big point of 16. This is a strategy of attrition, playing to invite an attack on the upper side. 16 as the turn at 24, Black 36 and White “a” stabilizes the group, but Black is also solidified.

Answering Black 17 with White 18 is questionable. Had Black immediately struck between the stones at 21, it would have been difficult [for White]. Playing the knight’s move of White 22 would have been safe. Next, if Black “a,” White can fight with “b.”

White 20 is a painstaking move. Following Black 21, it is a focal point for White’s sabaki in the fighting. If White plays 22 at “b,” it would incur a strong attack by Black with “c,” leaving White in a painful and difficult position.

The jump of White 26 is a mistake. Black lands a blow with 27 and 29 at the vital point, and it is disagreeable for White to become heavy with 30. For 26, expanding out at 29, followed by Black “c,” White “d,” Black “e,” White “f,” Black “b” and then White 26 is correct.

Black attacks in good form starting with 31. White 34 and 36 is the proper order of moves.

With the diagonal move of White 38, sabaki shape is achieved.

Black 39 is a slack move. At this point Black should make the knight’s move at “g” to defend the corner.

White invades the corner with 40, gouging out the territory there through 54 and staking the game on survival in the center.

For Black 55, attacking with 60, or else 56, was also possible. With White 56 and the following, White struggles to make sabaki. White 64 is heavy. The attachment of 66 would be good technique [suji]. If Black 72, White dodges with 69. White 66 was the sealed move.

Black 67 and 69 is a solid way of playing. Instead of 67, it was also possible to make the pincer attachment of 68, with the play proceeding with White “h.” 71 was a bad move. Simply 73 is the correct move. If White “i,” Black 91, White 82, Black 83, White 75, Black “j,” White 79 and Black “k,” Black would be playing in good form.

White takes the point for attack and defense of 74, turning the tables in the game. However, next White makes the bad move of 84, and once again it became difficult and painful. The division after descending at 89, Black 87, White “l,” Black 88, White “m,” Black “n” and White 98 would give sufficient prospects in the game.

Black recovers with the diagonal move of 85. White plays patiently with 86, and when both sides make life through 96, Black plays 99, an ideal move that gives Black the advantage in the game.


Figure 2 (101-226) [On right side of board:] White 32 kō; Black 39 same; White 42 same; White 44 kō (22); Black 47 kō (5); Black 49 kō (29); White 52 same; White 54 same (22); White 88 kō (80); Black 91 same; White 94 same

Figure 2 When Black separates White with 1 and 3, White 4 is the strongest answer, playing away from the center as the strategy for winning. If the center were to be protected, Black would invade the corner at 61, and the balance of territory would be insufficient.

Black 5 was a mistake. The expectation was to take an endgame point in sente, but after White 6, then 8 was an exquisite move, so that when Black plays at 11, White leaves the situation at that, and then turns to play at 12 for a promising position. For Black 5, the attack after butting against White’s stone with “a,” White 101, Black “b,” White “c” and Black 72, or else the something like the attachment of “d”; either way Black had to play first in the center.

Impetus leads Black to play 13, then the cut of Black 19 results in kō. White 26 is an ideal move. For Black 47, extending at 48, and when White finishes the kō, making a diagonal move at “e,” would result in White living with 116, Black 117 and White “f.” In the end, Black does not have enough kō threats to continue and has to let White break through on the right side. Black then shifts to make kō with 55 and 57, but in response to Black’s kō threat at 59, White captures with 60, settling the game.

226 moves.

Here is the rōmaji transliteration of the Japanese text alongside the original:


Dai Ippu

Shiro roku made Dai Ikkyoku to dōkei de, kuro nana kara henka shita.


Shiro jū to ikinari kata wo tsuku no wa mezurashii. Kuro jū-go made kawatte oite, shiro jū-roku to ōba ni mukau. Jōhen wa semesasete utsu amashi sakusen de aru. Jū-roku de nijū-yon to magari, kuro sanjū-roku shiro a nara antei suru ga kuro mo katamaru.


Kuro jū-nana ni shiro jū-hachi to ōjita no wa gimon. Sugu ni kuro nijū-ichi to hazama wo tsukarete muzukashii. Shiro nijū-ni no keima ga bunan de atta. Tsuzuite kuro a shiro b nara tatakaeru.


Shiro nijū wa kushin no itte. Kuro nijū-ichi kara shiro no sabaki ga tatakai no shōten de aru. Shiro nijū-ni de b wa, kuro c to kyōkō sarete kurushii.


Shiro nijū-roku no tobi ga shitchaku.

Kuro nijū-nana, nijū-kyū ga kyūsho no ichigeki de, shiro sanjū to omoku natte wa tsurai. Nijū-roku de wa nijū-kyū ni fukurami, kuro c shiro d kuro e shiro f kuro b, so shite shiro nijū-roku ga seichaku.


Kuro sanjū-ichi kara kaichō no seme.

Shiro sanjū-yon, sanjū-roku wa tejun de aru.


Shiro sanjū-hachi no kosumi de sabaita katachi.


Kuro sanjū-kyū wa kanshu.

g no keima de sumi wo mamoru tokoro.


Shiro yonjū to sansan ni hairi,

gojū-yon made arashi,

chūō wa shino-


gi shōbu de aru.


Kuro gojū-go de wa, rokujū arui wa gojū-roku no seme mo atta. Shiro gojū-roku ika sabaki ga muzukashii. Shiro rokujū-yon wa omoi. Rokujū-roku ni tsukeru no ga suji. Kuro nanajū-ni nara shiro rokujū-kyū to kawaru. Shiro rokujū-roku ga fūji-te de aru.


Kuro rokujū-nana, rokujū-kyū to kenjitsu na uchi-kata.

Rokujū-nana de wa rokujū-hachi no hasami-tsuke, shiro h to iu shinkō mo aru. Nanajū-ichi ga akushu de atta. Tan ni nanajū-san ga seichaku. Shiro i kuro kūjū-ichi shiro hachijū-ni kuro hachijū-san shiro nanajū-go kuro j shiro nanajū-kyū kuro k nara kōchō de aru.


Shiro nanajū-yon to kōshu tokoro wo kae, keisei gyakuten. Shikashi, tsuzuku shiro hachijū-yon ga akushu de futatabi kurushiku shita. Hachijū-kyū ni sagari, kuro hachijū-nana shiro l kuro hachijū-hachi shiro m kuro n shiro kyūjū-hachi no wakare nara jūbun no kisei.


Kuro hachijū-go no kosumi de mocha-naoshita.

Shiro hachijū-roku to shinbō shite, kyūjū-roku made sōhō iki ni tsuita ga, kuro kyūjū-kyū ga zekkō de kuro yūsei de aru.


Dai Nifu

Kuro ichi, san no bundan ni, shiro yon to saikyō ni ōjite, chūō wa tenuki no shōbu-te de aru. Chūō wo mamotte iru yōde wa, kuro rokujū-ichi to sansan ni hairarete jiai ga oyobanai.


Kuro go ga shitchaku de atta. Sente de yoseru yotei ga, shiro roku kara hachi no myōchaku ga ari, kuro jūichi no toki te wo nuite, shiro jūni to te wo mawashite wa omoshiroi. Kuro go de wa, a no butsukari, shiro hyaku-ichi kuro b shiro c kuro nanajū-ni no seme, arui wa d no tsuke nado, izure ni seyo, chūō ni senkō shinakereba naranakatta.


Kuro jūsan kara ikioi de, jūkyū no kiri kara kō. Shiro nijū-roku ga kōshu de aru. Kuro yonjū-nana de yonjū-hachi ni nobi, shiro ga kō wo kaishō shita toki, e no kosumi nara hyaku-jūroku kuro hyaku-jūnana shiro f de iki wa aru. Kekkyoku, kuro wa kō zai tsuzukazu, uhen no uchi-nuki wo yurushi,


kuro gojū-go, gojū-nana to kō wo utsushita ga, kuro gojū-kyū no kō-date ni shiro rokujū to nuite shōbu ga kimatta.

Nihyaku-nijū-roku Shukan

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