Some of the aspects of the remaining moves in answer to
the white approach knight's move, the keima kakari. The
moves I haven't told you anything about yet are given in
dia 1, A-E.
|Various other ways to answer the keima kakari
I'm not a programmer myself but since I started trying
to tell you something on an elementary level about
joseki I can imagine what an extremely difficult task
computer people undoubtedly are having figuring out a
way to make up code covering all the necessary points,
which seem to be virtually limitless. Every single
edition of Gentle Joseki I desperately make a choice
among the zillions of things, which are worthwhile
telling you. When I finally put up the handful of
diagrams here I feel often frustrated that I, again,
wasn't able to show you more, my sincere apologizes for
this. Looking through previous episodes of Gentle Joseki
I realize that I did not spend nearly enough time, text
and diagrams dealing with the already explained other
possible black moves. I hope to get back to them in the
future, someday. (Please don't go holding your breath.)
|Black plays sagari
The move, which will not require too much explaining, is
perhaps 1 in dia 2. On it's own it's maybe not a perfect
move but you make about 9 points with two moves as shown
by the triangles in the dia. If black has the time to
add a move around A he will almost double that amount,
this would be making optimal use of his stones, in other
words, an ideal way of playing.
Now white can continue choosing among A-D in dia 2a. If
white plays A or B and starts something at the right
side black will, of course, solidify the upper side with
a move around C.
Neither the white move A nor B, however, is out trying
to make the black sagari look like a bad move. I white
insists on showing black that maybe his choice of
moves (= sagari "0") was not correct he'll play at C
or D after which there are, again, tens, hundreds of
variations unfortunately not given this time, sigh.
Please do not forget that the black sagari (descending
move) 1 in dia 2 is not so popular when there is no
black stone already somewhere at the upper side.
|A splendid move
Look closely at dia 3, here you can see a position where
black 1 makes a splendid move. Of course instead of 1 a
move at A instead is very possible, too. However, A has
the drawback of leaving white the chance of invading at
B. Black 1 is the tightest move possible and clearly
goes for territory.
|Various other ways to answer the keima kakari
The move 1 in dia 4 seems much in the same spirit as the
black sagari we just had a look at.
Black 1 in dia 4, however, is hardly a move worth
recommending when played with no friendly stones in the
direct vicinity, preferably a stone at the left at a
keima's distance. There is a painfully obvious peep at
A which white in the future can use as a first move in
a sequence going for the corner. There's nothing much
black can do about keeping white out the corner.
In dia 4a you can see what most likely will happen if
white directly enters the corner after black 3. Black,
to be sure, can save face with the skillful tesuji of
black 9 but one cannot help feeling that black is taken
in a little. Prove of this is the exchange white 2-black
3. Imagine the situation without this exchange and you
have a basic joseki. So after the basic joseki you can
say that white played at 2 and that black, instead of
fiercely pincering, the move dictate by fighting spirit,
docile answered at 3. Although black 3 is of course not
completely wasted it is a bit of slack move.
As often, however, in the case you feel your opponent
has played a lesser move, it is advisable to not
immediately try to show or prove your opponents move was
a bad one. In the situation of dia 4a, for example, it
might very well be a good idea for white to stay out of
the corner for a while and let black worry about coming
back there and play a defensive move.
The sagari, black 1, of dias 2 and 3 is on its own
maybe not the best move possible but in many situations
I don't think it will come out bad. Black 1 in dia 4
is just the other way around, unfortunately, on its
own it's hard to make it in a good move. Black 1 is a
typical "finishing touch" move. only played with plenty
of back up around.
|Ma Xiaochun versus Liu Xiaoguang, 11th Mingren title match, 1998
This is a fragment from a game between two top pros from
China. Ma is White and Liu plays the black stones. In
dia 5 white 1 is a nice tight move securing the corner
territory while at the same time preparing huge endgame
moves in regard to black's territory at the bottom
|Aiming an invasion
As you can see in dia 6 because of the position of white
1 he can next easily aim to invade at B, black cannot
expect to capture or seriously attack this invasion. If
white doesn't feel like invading (he could for example
be afraid to lose the initiative (sente)) he might play
the super slide of A, as you probably know called the
"Large Monkey Jump", an excellent endgame move.
As with the black sagari (1 in dia 2) and the ikken-tobi
one-space-jump (1 in dia 4) black 1 in dia 7 tries to
secure the corner, too. This was for a long time one of
my favorite moves when I was still playing tournaments
in Holland, ages and ages ago. Many of my opponents not
really had any clue about how to deal with this move and
not a small number of them tried the most crazy things
to prove that black 1 is just too greedy to be a correct
move. Well, it certainly does look greedy, I guess, but
is a perfectly common move and it does secure a large
chunk of the corner
Let's have a look at a peaceful continuation after
black 1, for example this could happen (dia 8).
Dia 8. This is a joseki, or, a sequence of moves, which
gives both players a results they can live with. Black 1
in dia 7, however, has some unexpected features:
|Move of a madman?
Black 2 might look like the move of a madman but it's really
quite fancy. White 3 is about the worst thing he can do.
Without second thoughts black'll let go of one stone in
order to create an impressive formation up to 8. White
has not gotten much in return and if white isn't careful
black will next play at A and white even won't even be
able to make two eyes locally. This is a result very
much to black's liking.
White's best move is at 1 in dia 10. This is a sharp
tesuji, however, if white were to continue with 5 the
result is again very nice for black. White should play a
second tesuji, at A, instead of 5.
|Black is low
When playing white I don't like the blocking move (=
1 in dia 8) very much. Black 1 is in a rather low
position, the best move black often has to continue
is at 3, another low move. So nothing to be worried
about. In general it is a good attitude and often a
necessary way of playing to just ignore your opponent's
move. This is especially easy if your opponent's move was
is in a rather low position. In dia 11 black 1 and 3 are
not in an optimal position, compare dia 11a.
In dia 11a black's 1 and 3 are used in a more
efficient way, creating a thick position, this result is
superior to black's result in dia 11. Thinking about the
difference between the dia's 11 and 11a you might want
to try a playing elsewhere with white yourself.
So, just because black  is a low position trying
something else than just blocking at A is sometimes
called for. In dia 12 white 1 is another move
possible and 'kind of ignoring black . White gets a
nice shape at the upper side and black has some profit
and thickness towards the lower right.
The kosumi-tsuke (diagonal clamp) is the last move I'm
going to tell about this time. "Whaaaat?!" I hear you
say, "But you promised to go over *all* the remaining
possible moves!" I hear you say again. Yes, yes, you're
quite right, I can do nothing but admit it and make a
new promise: in Gentle Joseki 5 I promise to *only* talk
about the remaining move, the clamp of dia 14 this move
is certainly worth a lot of attention.
Well, for now, back to dia 13. This move on its own
is a rather unorthodox play for a good reason: it
solidifies the white stone and does not protect the
Dia 15 shows a sequence which is most definitely not a
joseki, the result favors white. The only reason I can
think of for black to play this way is that after white
4 black intends to immediately play at B. A black play
at B guards against the white invasion at A and is a
very, very, very big move. It is also, however, a bit
slow. Usually black'll be too busy in the opening stage
of the game elsewhere to be able to permit himself such
a, mostly defensive, move.
Dia 16 shows a typical situation where black 1 is a
superb move. Because of the presence of black  white
has only little room to make something resembling a
group with eyes. To put it more bluntly: if white would
play as in dia 16 next a black move at A, B or C is
severe and white'll have to struggle for his life. This
is, by the way, a joseki which you can try to initiate
in a handicap game where black often has a stone at 
already. Do not expect, however, that white'll tamely
play at 4 in a feebly attempt to create eyes. Any white
player with a little talent will play elsewhere or
pincer two spaces below  instead of 4, in a handicap
game, that is.
|Preventing that white settles
So why exactly is black 1 in dia 16 such a good
strategy you ask? Well, in dia 17 you can see what
happens if black omits the kosumi-tsuke and plays the
one-space-jump instead. White has way less trouble
settling himself with, for example, the sequence up to
4 in the dia. Instead of white 2 he might also try the
variation of clamping at A, next black 3 and white B.
In an even game this way of playing is often too thin
for white but in a handicap game where black often will
start doing funny things in any situation smelling of a
ko fight white might very well try it.
So why on earth would I start telling you about the
kosumi-tsuke of dia 13 when there's not even a pincer
stone present of black?
|Sonoda 8p (black) versus Shimamura 9p, 1977, black wins by 3.5
The reason is the obscure joseki shown in dia 18. Do not
try to imitate this style of playing blindly, black's
usually has a hard time of making his stones come out
nicely once he plays at 1. In the dia, however, I think
that the result shows that black 1 in combination with
3 is very playable. Note the cool reinforcing move of
black 9, after this move white has no choice but to
defend against the threat of black pushing through
and cutting. White 10 is a stylish way of keeping his
stones connected but all the same, it feels black nicely
forced white into a joseki which white never thought
even existed. There is also plenty of chance white will
fumble somewhere along the line, but of course, we are
not counting on that, aye?
To finish the joseki, by the way, black usually jumps
out at A next. You might want to play like dia 18 if
you feel that you ought to play a pincer instead of
black 1 but are worried about the possible difficult
variations which might follow. There is not much room
for variation with the joseki in dia 18 and black gets
to play a pincer and is happy.
|Okubo Yukio 6p (black) versus Go Seigen 9p, 1956, white wins by 2
Go Seigen is white against promising young player Okubo
in 1956. In spite of a 2 point reverse komi, black was
not able to win against the most talked about player of
the 20th century. Perhaps black 2 does not work well
against he who virtually made up one new joseki per game
during the first half of his career.
Be sure to come back next month for the next episode of