By Kyoshi Kosugi, James Davies

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Now it is obvious that there is too little territory below White 9 and too much open space above it. 39 Dia. 6. The other key point for White is at 9. This play enlarges White’s wall and, by preventing Black ‘a’, reduces Black’s prospects on the right side. If Black answers White 9, he should do so at 10. Dia. 7. If Black plays 10 here he leaves a serious weak point at ‘a’ which White can exploit if he has a stone further up on the right side. Do you see the relation of ‘a’ to White ‘b’? Dia. 8.

But on the other hand, White comes out of it with a higher position, and it is easier for him to develop a really large territory than it is for Black, so there is nothing unfair about it. There are many opening situations where it is a reasonable choice for both Players. 37 SECTION 4 This joseki starts out like the one in the last section, but now White slides along the top with 3 instead of playing hane at ‘d’. No variation is possible in Black 4 and White 5. This joseki is known as the nadare, which means avalanche in Japanese.

Continuing from the last diagram, Black captures two stones in shicho. White is confined to a small corner, but since he gets to play a shicho-breaking move in the upper right corner, he is not so badly off. Dia. 6. If the shicho does not work, Black can still confine White with these plays. 46 Black 5: variation Dia. 7. Here is one situation in which Black should play 5 instead of ‘c’, for if he plays ‘c’ and gets into Dia. 2 or 3, White will get too much territory on the lower side. Dia. 8. This variation of the joseki continues with White cutting at 6 and taking the corner.

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38 Basic Joseki by Kyoshi Kosugi, James Davies


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