ka Gea Get Strong at Go Series, Volume 4 GET STRONG AT JOSEKI 3 Jaye as by Richard Bozulich and Furuyama Kazunari Kiseido Publishing Company Tokyo, San Francisco, AmsterdamPublished by Kiscido Publishing Company CPO Box ‘Tokyo, Japar Copyright © 1996 by Richard Bozulich oh All rights reserved according to international law. No part of this book ‘may be reproduced by any mechanical, photographic or electronic process, nor may it be stored in a retrieval system, transmitted or otherwise copied for public or private use without the written permission of the publisher. ISBN 4-906574-054-8 First Printing May 1996 Printed in Korea Contents Preface oe Introduction Ten Basic Joseki em~e Problems PartOne..........-.-4- es ——_Joseki Variations ome Problems 1-116 Problems Part Two... . . Pee erst Choosing the Right Joseki Problems 116-140 Problems Part Three . . ators Bi How to Play After the Joseki Problems 141-194 iv i DS) 123 154ea Preface Studying josekis is an excellent way to inc-ease your go strength. josckis contain countless examples of tesujis, of mz \ing good shape, and of good style, However, studying josckis does not mean memorizing them; rather, youshould approach the study of osckis to guin an appreciation of the good ‘moves they contain, in the same way you would study the games of master players. You may not immediately understand why a joseki move is good, but then you will see the same kind of move played in another context. Slowly you will begin to gain an appreciation and an understanding of these moves. Eventually, you will find yourself making these moves instinctively. If you are a not-so-strong kyu player, the level of difficulty should not deter you from studying the material in chis book. The problems are interesting, and what you will gain in your first reading is exposure to a lot of interesting problems and the ideas contained in them, Exposure is an important part of any learning process. ‘This book is divided into four parts. The ‘rst partis a quick, superficial survey of the basic star-point and 3-3 point josekis. But the meat of the book is in the three problem sections. Part On2 contains 116 problems on variations of the josekis in the Introduction. T'.is partis intended to flesh out the introductory survey and to prepare the rvader for the second part. You should approach these problems as if you were faced with the situation in. an actual game. Part Two contains 25 problems on choosing; the right joseki in the context ofa fuseki position. This is an important topic that is ignored in most joseki books. In some of the problems in this section, the answers cannot be found. in the josekis in the first part; you are required to come up with an inovative move. In Part Three you will find 44 problems on how to play after the joseki is finished. This is another topic that receives scant attention in joseki books. Most ofthe problemsiin this book are part of aseries of problems in which various lines are explored. The answers are usually short, avoiding long, drawn-out variations. In this way the reader can concentrate on the important ideas of the joseki being studied. ‘The reader is not necessarily expected to solve these problems; rather he or she is expected to look at each problem, think about it carefully, come up with an answer, then compare his or her answer with the one given. If you ¢go through the whole book in this way, by the end you will have developed ‘your judgment and intuition so that you can handie yourself confidently in actual play with the josekis we have discussed. Finally, { would like to thank Furuyama Kazunati, a former Nihon Ki-in insei, who helped me write this book by selecting all the problems and providing the explanations. Richard Bozulich April 1996 Some Important Terms and Concepts ‘There are a number of Japanese and English terms that are used throughout this book. Each of these terms has a specific meaning in go, and the reader should review them before starting the problem sections. As the reader progresses through the problems, these terms and the concepts they represent will become clearer. ie ‘moyo is a framework of territory, involving stones extending from the corners to the sides of the board. Some moyos are huge, while others are modestiin size. In Dia. 1, the four white stones in the upper left form amoyo. ‘The four black stones in the upper right form an even larger moyo, where black has mapped out territory along both sides from his comer enclosure. If Black were to play at A with his next move, he would have mapped out a huge moyo in the upper right quandrant of the board.