The 36 Stratagems Breakdown

Approximately 300 years ago, either towards the end of the Ming or the beginning of the Qing Dynasties, an unknown scholar compiled 36 military stratagems. Titled the Secret art of war (not to be confused with Sun Tzu's "Art of War". It is divided into six sections with six stratagems in each section. One of the things that makes this classic unique is its use of deception throughout.

1. Stratagems when in a superior position. (TODO Japanese kanji for "Superior Position")
2. Stratagems for Confrontation (TODO Japanese kanji for "Confrontation")
3. Stratagems for attack (TODO Japanese kanji for "Attack")
4. Stratagems for confused situations (TODO Japanese kanji for "Confused Situations")
5. Stratagems for gaining ground (TODO Japanese kanji for "Gaining Ground")
6. Stratagems Desperate situations (TODO Japanese kanji for "Desperate Situations")

Six multiplied by six equals thirty-six. Calculations produce tactics which in turn produce calculations. Each side depends upon the other. Based on this correlative relationship, ploys against the enemy are devised. Rigid application of Military theory will only result in defeat on the battlefield.


1. Stratagems when in a superior position


1. Sneak across the ocean in broad daylight (Cross the sea under camouflage)

This means to create a front that eventually becomes imbued with an atmosphere or impression of familiarity, within which the strategist may maneuver unseen while all eyes are trained to see obvious familiarities.

Combat application: Hiding your motion in motion. Example; light hopping in sparring can hide your attack.

2. Surround one state to save another. (Besiege Wei to rescue Zhao)

When a strong group is about to take over a weaker group, a third part can "have its cake and eat it too," gaining a good reputation by attacking the aggressor in apparent behalf of the defender, and also eventually absorb the weakened defender to boot, without incurring the same opprobrium that would be leveled at outright aggression.

Combat application: Protecting a loved one or friend.






References:
- http://www.warrior-scholar.com/articles/36stratagems.htm

Kogo's Joseki Dictionary

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Sagari - 下がり

Sagaru (Sagari - 下がり)  refers to a position where a nobi is played towards the edge of the board and not towards the centre of the board.


Also see Nobi


Source: http://senseis.xmp.net/?Sagari

Guzumi - グズミ

Guzumi (グズミ) is a Japanese Go term, meaning a bad-looking shape that is good in context. A typical example is a good empty triangle.

Kanji: 征子 ?


Also see Aki Sankaku 空き三角 

Reviewed Game

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(;FF[4]GM[1]SZ[19]ST[0]AP[SGFC:1.13b]VW[] GN[gomasch-nice2MY(B) IGS] PB[nice2MY] BR[11k*] HA[0] PW[gomasch] WR[10k*] KM[0.5] DT[2001-02-05] PC[IGS: igs.joyjoy.net 6969] RE[W+Resign] TM[60] US[Brought to you by IGS] C[Dear Commentator, although i won this game at the end of the midgame by killing a large group i felt this was a good game against me, because i was behind all the time. Black did in my eyes quite a good game and only gave me at very few points an easy game, but im not even sure about them. I was very concerned about allowing the opponent to get (too much) influence at the wrong points of time maybe, actually failed and came into trouble by having 3 weak groups. I would appreciate if you could name the general ideas that i missed or what the hints of the stones are to set ones priorities right when i failed to do so. I commented many of my moves to show what i thought of, i felt i did not control the game and am upset about it, thats why im critizising many of my moves (and i want to know where im right or wrong ;) Thanx very much in advance, Martin (im new to igs and just became 10k* there (only 22 rated games), im 7k* at kgs and consider myself as a solid 8-7kyu in germany)] ;B[cp];W[pd];B[pq];W[po]C[1st. thought: i think this is not standard move and probably not really good, but i saw moves like this in dans games and did not really understand when to play moves like this. 2nd thought: i chose this by accident because playing the same moves all time is boring ;) This is a standard move, and is good. If you take the other corner, black will make a shimari here. Since he answers and lets you take the 4th corner, it is as if you had played in the 4th corner on this move, and he had played next at n4 and let you approach. This is clearly better for you than letting him have the shimari.];B[mp]C[hm, i did not see a forcing follow-up on lower right for me good enough and finally felt upper left to be more urgent again. This black move is bad. it must be in the open corner. Once white plays in the open corner, he has a clearly better position than the common opening where white takes the 4th corner on his 2nd move. This position is better for white since he has prevented the simari and made a nice extension from his upper right stone.] ;W[dd]C[somehow just hoshi. not good ? This is fine. It's a matter of taste to play here, or at c16, the 3-3 point.];B[nc]C[Not good. Black should attack the white stone in the lower right, since it is outnumbered already 2 stones to one.] (;W[jd]C[pincer to prevent too much influence. if this is the wrong side please say why, i had no feelings against that white move The main idea here should be to end in sente, so you can go back and add a stone to the lower-right. With a distant pincer, there are more variations, so it is more difficult to predict who will get sente. Your move is fine though.];B[pb]C[a little submissive, i was happy. yes, this is not good for black. Usually he will play 3-3 or make a double approach.] ;W[nd];B[mc]C[Submissive again.] (;W[oc]C[This move is not good. usually it is bad to push into a knight's move unless you can cut on the next move. A move like this strengthens black, with little compensation for you. You should play at N16 to make a wall.];B[ob];W[qc]C[here, R17 or N16 were the choices to me, but r 17 for black too good i felt and white N16 is the move i normally play,but i wanted to try to play more safe. u might laugh now ;)) if you have a strong feeling and argument for N16 please say why and what dictates that move N16 is better, since it make a nice wall of outside thickness. When he plays at n16, is splits your wall, and it is sente besides. R17 is not safe, since he can atari and cut. If your gorup is on the outside, and makes a strong wall, you are very safe already.] (;B[md];W[ne];B[me] (;W[pg]C[maybe i should have pushed once more with O14 but i feared to become too open and giving black an easy territory-erasing move around Q12. I would play at o14, or make a much longer extension on the side. Extend 2 points from a single stone, but you have a small wall here, so you can go further.] ;B[cj]C[damn, black looks good, i was too slow somehow maybe. Your moves at p17 and r17 were slow. They gave you very little benefit and let black push up into the center with sente. Playing first on the big left side is very big, compared to the small territory you got with Q13 and R17.] ;W[qq]C[security first right];B[qr];W[qp];B[oq]C[This is bad. It should be at P2, to make the move at S2 less good.];W[rr];B[fq]C[again big, i have no time to extend my right like kinda joseki and need to cut black and prevent him to get too strong Very good for black, not to answer S2. Black is getting a big potential territory in lower left. The usual joseki extension in lower right side is to stablaize the group so it won't be attacked. Since S2 was not answered, this group is already stable, so the move on the side is just a big move, not so urgent. Urgent moves have to do with attack and defense of big, unstable groups.] (;W[do]C[i thought about how to reduce and was quite happy with this move, the worst case for me i thought would be black C5, white D4, black D3, then white lightly somehow. This shoulder hit is unusual. It should end up with black having a solid corner, and you with a weak group in the center. It might give black too much territory. I would prefer to invade and attack the group in the lower right, or to probe the corner, or to make a more distant shoulder hit.] ;B[co] (;W[dp]C[This move is heavy. Should skip up instead. If black plays at d3, you only have 3 liberties, and black has kept the whole corner.] (;B[cn]C[Black should block to keep the big corner territory. Blocking also reduces white's liberties.] (;W[dq]C[oh i was happy a little, black stronger but splitted This is good for white in the corner, but white is also very heavy, so should come under severe attack.] (;B[hp];W[kq]C[i thought again splitting the only move for me. This is very dangerous. You will end up with two weak groups on the lower side, and a splitting attack will come. Your 3 stones on the left are extremely weak, and heavy, so your position on the lower side is bad.] ;B[kp];W[jp];B[lp]C[that was too nice to me (white) , i thought at first, later i found myself only floating around weakly and began to like this black move This black move is not good. He should play L5.];W[jo]C[i was happy - i splitted black. at a second thougt i see white much behind and lacking any base in both groups. but what did i do wrong ? But black is also splitting you, and the black groups are stronger than the white groups. What you did wrong was create a heavy group in the lower left, then make a second weak group without fixing up the first one. The 3 stones in the lower left are heavy because they have no eyes, it is hard for them to run away and connect, and the corner is too big for you to sacrifice them.] ;B[hn]C[good.];W[cq]C[i became scared, black attacks both groups with that move and i need to search for a base for life for at least one group to fight with the other. black E2 woud be painul forcing move, good luck for me black omitted that . black k3 secures large lower side i thought, but much aji for me and gives me some nice forcing moves. black omitted k3 also, i would have played it immidiatly if i was him. is black right ? E2 is a good move that keeps you from getting 2 eyes in the corner, so it is a good attack. I like j3 better than K3, since cutting at k3 just lets you get strong.] (;B[pl]C[again much faster than white];W[qj];B[qn];W[pr]C[i chose this slow and gote securing move, i thought white needs to secure himself in lower right and any leaning against blacks Q8 R6 would make him stronger (i did only think of Q6 or O5 as an alternative to Q3) . again black defines the game When you have weak groups, your opponent will have the initiative. If you want to take the initiative, make strong groups, so you can attack. Q6 would be bad since it strengthens black, without helping you much.] ;B[or];W[qs];B[pi]C[arrg no, you like this move, since black is forcing to to take secure terriory in exchange for a bad wall, since you can come out in front of it at p6.] (;W[qi]C[the only move for me i thought, please correct me ;) Once you play here, you have to continue with the next move to defend terriotry as well. If you want to split black, you have to do it now, not wait a move. Splitting right away leaves black weaker.] ;B[ph] (;W[pj]C[no, i thought , i cannot play that easy and submissive with just R 12. i felt i would lose the game when just playing R12, although black R12 would be great loss of territory This is not good. It gives up a lot of territory and leaves you with a very weak group.] ;B[qh];W[qg];B[rh];W[nj]C[escape first];B[nh];W[rg]C[then save territory and stay secure in upper right. at least ensure life neccessary, but now again a run started. i felt not very well. Very dangerous to take some territory when you have 3 very weak groups on the board. With 3 weak groups, one should die.] ;B[nl];W[ok];B[ol];W[lj];B[mi] (;W[nk]C[i hoped this was better than N 10, trying to prevent to play too simple. but actually its not better i think. This is not good. It makes an empty-triangle shape, and leaves a cut behind. Just connecting is best, so you are out.] (;B[ll];W[lk] (;B[kl]C[Good splitting move, but peep first on lower side is better.] ;W[iq]C[damn, im too slow again, now i really felt bad. i thought that black could enclose at least one of the groups and since they are both in bad shape i need to rescue at least one ( and i wondered all the time why black did not play tha cut at K3 earlier )] ;B[hq]C[Sinve white's gorup above is also very weak, white should try to live on the edge first rather than running. If white lives, then there is no double attack.] (;W[jm];B[li]C[outch, now i became really afraid. Yes. One of your groups should probably die. Black has a good double attack going on.] (;W[ki]C[maybe wrong move. Not a good move. it leaves a cut behind, and it doesn't attack the stones above.] (;B[jl];W[im] (;B[hm]C[Black has a better move.];W[il];B[ik]C[Nice double attack for black, threathening to kill the two white groups.] ;W[hl] (;B[fm]C[oh my gosh, both groups escape, that was close, he could have cut me off with L10. but F7 keeps blacks game simple and im still on the run,] ;W[jj]C[that was the move to escape, as i said, that was close. black could have ended the game by taking M10 instead F7 i thought. Yes. You put yourself in great danger by leaving 3 weak groups on the board. Luckily black did not attack them very strongly.] ;B[jk];W[hr] (;B[fc]C[well, black still in better position, but i became a little more confident to make it a close game when i find some good points in the infight. i did not attack strongly this stone at first because i did not see a real good point for attack and my groups still not save i thought ignoring H2 and not playing G2 was mistake Yes. You will probably answer G2 to strengthen your lower side group, then your lower corner should die.] ;W[fe]C[This is good, since if black plays here, it attacks your stone at K16.] ;B[hd];W[jf];B[db]C[huu, black H 14 would have been real trouble for i thought, but blacks goes for profit. H14 would be much better. You probably have to make a move in the center, so black still gets to play at d18.] ;W[hf];B[nf]C[right, that cut for white was a danger for black, but i was too thin before and black chose the right point of time to secure i saw the glance of a chance to calmly attack that whole black group] ;W[of];B[ng];W[lf]C[good peep.];B[mf];W[hi]C[well, i needed to take some profit and had to choose between somethin around C 12 C13 D 13 and this move (so that is what i thought) my groups now more stable and blacks P8 and P3 N4 group could become a good target to attack after this calmer move, thats why i chose it] ;B[cg]C[well, admittedly big Very big.] (;W[cf]C[ This white move helps black strengthen himself. Better to try to attack the group in the lower center. I've shown a few possibilities. Your group in the lower left is weak, so the attack probably won't kill black...] ;B[dg];W[ej]C[black strong shape with D13, i hoped to destroy or cut off D13-group. but it did not work. Is here a good tesuji or something for white ? i became more and more confident, although black could take easily large territories and with white calm plays black wins easy, but now all my groups stable and time to attack began. late, but not toooo late. i was in the search of good tesujis,but, hmm, i felt black had strong shapes, though he should secure his center group] ;B[dl];W[gr];B[fr];W[er] (;B[lq]C[ha, that was a securing move for his center but F1 just too good for white i thought.] ;W[fs]C[necessary to attack strong later on i thought Good move. This connects your stones and makes you strong. And it worth a lot of points.];B[bc]C[again big diagonal at c17 is better, to keep sente.];W[cc];B[cb];W[bd] ;B[dc];W[cd];B[ac];W[ad];B[ba];W[ck]C[good luck that black played gote sequence] ;B[dk];W[ci]C[i hoped this was tesuji is :)];B[dj];W[di];B[ei]C[damn You can still capture the two stones with sente.] (;W[fj];B[bi];W[eh];B[dh];W[fi];B[ch]C[left side big for black, but my turn now] (;W[gc]C[I think just a diagonal move is bigger than this sacrifice.] ;B[gd]C[well, i did not see a good dan-tesuji, this did now work fully but black not too big afterwards] ;W[fd];B[fb];W[hb]C[This is not good if you are going to give up the two stones anyway.] ;B[ic];W[jc];B[ib];W[jb]C[The last two whie moves were excellent, making thickness to threaten the group in upper right.] ;B[ia];W[lb] (;B[qb]C[ha, mistake. If black answers correctly, he can live, but white is still a little bit ahead.] ;W[mb];B[nb];W[rb];B[pc];W[qd]C[haha];B[ra]C[wrong];W[sb];B[lg] ;W[kg];B[lh]C[too slow now he almost dead, only chance around S12 maybe, but i did not see a chance for him] ;W[qa];B[og];W[pf]C[Black can try something inside the big white group, but it probably doesn't work.] (;B[pk]C[now he dead. This black move doesn't help any.];W[oi];B[oh];W[rl]C[attack both] ;B[kh];W[jh];B[ke]C[of course this cannot work];W[kf];B[je] ;W[ie];B[le];W[id]C[black resigned he was also a little close in time right at this point, but dead anyway i think and resigning ok. well. i won the game, but only by accident and because i calmly killed. finally black still played the better game i think, without losing that group he would have won with save plays i think, still aji left with profit for white probably around N7 and a litte with the F3 F7 .. -group, but black controlled the game most of the time in a solid and fast way and i somehow missed something very basic in the fuseki and middlegame. i became dangerous much too late. Thanx for following this game, im sorry if i annoyed you with so many comments on my own. Killing a big group is usually good :) You made a good attack on this big group. In the beginning of the game you played thinly. You left several weak groups to be attacked. And black got most of the big points. So this left you behind. But once you connected all of your groups together, you were thick, so you could make invasions anywhere, and finally you were able to use your thickness to kill a group. The lesson is that it is good to be thick, even if you are a little behind in territory. The group died becasue your surrounding stones were so strong that he had no forcing moves or counterattack.] ) (;B[od];W[oe];B[rf];W[sg];B[rd];W[rc];B[qe])) (;B[mb];W[ma];B[na];W[la];B[lg];W[kg];B[lh])) (;W[ic];B[hc];W[ib];B[hb];W[lb])) (;W[eh];B[fi];W[dh];B[fj];W[bi];B[bj];W[aj];B[ak];W[ai];B[bk] )) (;B[fs]C[Black should play here, threatening the corner.];W[lq] ;B[bq];W[br];B[bp];W[ar];B[es];W[ds];B[cs];W[cr])) (;W[dl];B[dm];W[el];B[em];W[cl]) (;W[em];B[el];W[dm] (;B[dl];W[cm]) (;B[cm];W[dl];B[cl];W[dk])) (;W[dk];B[ck];W[dl];B[cl];W[dn])) (;B[gr];W[ir];B[er];W[dr];B[bq];W[br];B[bp];W[ar];B[ds])) (;B[kj];W[kk];B[jj];W[jk];B[ij]C[The white right side group will die.] )) (;B[gl]C[This move probably kills the lower group.];W[hl];B[hk] ;W[gm];B[hm];W[il];B[ik];W[fl];B[gk];W[fn];B[er];W[dr];B[gr] )) (;B[jk] (;W[kj];B[il]) (;W[jj];B[kk];W[kj];B[il]))) (;W[jj];B[jk];W[ki];B[il])) (;W[jr];B[ip];W[hr];B[gr];W[is];B[lr];W[lq];B[mq];W[kr];B[mr] ;W[ks])) (;B[iq];W[jq];B[kl])) (;B[mj];W[mk];B[lk];W[ll];B[kk];W[ml];B[kl];W[ln];B[nn];W[km] ;B[mm];W[lm];B[jm];W[jn];B[im]C[The whole big white grop might die, but black is not strong either.] )) (;W[mj])) (;W[qh];B[pj];W[on])) (;W[pj] (;B[oi];W[qi];B[oj];W[on]) (;B[qi];W[oi]))) (;B[er]C[good];W[dr];B[bq];W[br];B[bp];W[ar];B[ds]) (;B[iq]C[good];W[jq];B[jm]) (;B[jq]C[bad];W[iq];B[jr];W[ir];B[kr];W[ip])) (;B[fo]C[black should attack here.];W[dn];B[dm]C[Now while white is running away, black should be able to solidify a big lower side.] ;W[fn];B[gn];W[em];B[dl];W[gm];B[hn])) (;W[eq]C[This makes better eye-shape.];B[fp];W[cq];B[bq];W[fr] ;B[gr];W[dr];B[fs];W[br];B[bp];W[ar])) (;B[dq]C[Now white is heavy.])) (;W[dm])) (;W[kq];B[iq];W[ko];B[mn];W[mr]C[threatening a cut...];B[mq] ;W[nr];B[op];W[km]) (;W[dk];B[dj];W[ek];B[bl];W[ej]) (;W[bp])) (;W[nf];B[lg];W[pj]) (;W[pi])) (;B[pc];W[od];B[qd];W[qe];B[rd];W[re];B[rc];W[pf])) (;W[md];B[lc];W[ld];B[qc];W[qd];B[jb];W[pj])) (;W[pf];B[pb];W[qc];B[kc];W[qq];B[qr];W[qp];B[or];W[qj]))

Aki-san-kaku - 空き三角

Aki-san-kaku - 空き三角 (empty triangle): The shape of the three Black stones, the elbow point being vacant. Generally bad shape,

Also see guzumi.

Notes on the 1st Stratagem: Crossing the sea by Treachery - 瞒天过海

The idea behind the 1st stratagem "crossing the sea by treachery“ is to conceal a secret plan in the middle of some open affair. In other words some extremely secret contents are held in an extremely public form.

Translating this concept into an applicable Igo game play can be in the form of the following:

- The perception of perfect preparation leads to relaxed vigilance.
- The sight of common occurrences leads to slackened suspicion.
- Secret machinations are better concealed in the open than in the dark
- Extreme public exposure often contains extreme secrecy.
- Concealment is possible even though the game is entirely open.
- One can misdirect the opponent by the way one plays
- One must make extraordinary moves appear to be ordinary moves.
- Do not arouse the suspicion of the opponent.
- There may be a latent as well as an overt interpretation of anything happening on the goban.

(;FF[4]CA[UTF-8]AP[GoGui:1.4.2] KM[6.5]DT[2011-11-15] AB[di][dn][cn][do][lm][mm][nm][om][ol][mn][mo][no][nn][oo][op][nq][pq][or][qq][qp][rn][qm][qk][pk][qi][ph][pg][og][oc][qd][rl] AW[fc][cc][dg][eg][dk][co][cp][dq][fq][lo][ln][mp][mq][pi][oh][nh][ok][nk][ml][pl][pm][pn][on][pp][po][qo][ro][rp][rq][qr][rm] C[The original meaning of „crossing the sea by treachery“ is to conceal a secret plan in the middle of some open affair. Some extremely secret contents are held in an extremely public form. In Go, everything is openly laid out on the board; how can one apply this "crossing the sea by treachery” stratagem? One must make extraordinary moves appear to be ordinary moves. After all, the plans a player conceives for attack or defense are not all known to the opponent. So the player can cover his artful conception, and put it into action under conditions that do not arouse the suspicion of his opponent. In this way, he can apply the “crossing the sea by treachery" stratagem. Taken from a game in the Sixth „New Athletics Cup“ Tournament of 1984. White just invaded at "Circle" From the perspective of the whole board, Black has made more profit on the right side, but White has split up the left side, throwing the whole game into utter confusion. This is precisely the crucial moment.] PL[B]CR[dk] (;B[pr] C[Diagram 1: First, let's take a look at the life-and-death situation in the lower right corner. The guzumi of Black 1 is certainly the easiest thing to think of to destroy White's eyes. The usual reply is the sagari of White 2. Then the oki of Black 3, followed by nobi at 5 is the only way to kill the corner. If there was no relationship with the outside, this would be "bent four in the corner" and White would be dead. Not so here. The sagari of White 6 forces Black 7 to destroy White's eye, and then White 8 rescues one stone, enabling White to make another eye. Black ends in defeat.] MA;W[qs] C[Diagram 1: First, let's take a look at the life-and-death situation in the lower right corner. The guzumi of Black 1 is certainly the easiest thing to think of to destroy White's eyes. The usual reply is the sagari of White 2. Then the oki of Black 3, followed by nobi at 5 is the only way to kill the corner. If there was no relationship with the outside, this would be "bent four in the corner" and White would be dead. Not so here. The sagari of White 6 forces Black 7 to destroy White's eye, and then White 8 rescues one stone, enabling White to make another eye. Black ends in defeat.] ;B[sr] C[Diagram 1: First, let's take a look at the life-and-death situation in the lower right corner. The guzumi of Black 1 is certainly the easiest thing to think of to destroy White's eyes. The usual reply is the sagari of White 2. Then the oki of Black 3, followed by nobi at 5 is the only way to kill the corner. If there was no relationship with the outside, this would be "bent four in the corner" and White would be dead. Not so here. The sagari of White 6 forces Black 7 to destroy White's eye, and then White 8 rescues one stone, enabling White to make another eye. Black ends in defeat.] ;W[rr] C[Diagram 1: First, let's take a look at the life-and-death situation in the lower right corner. The guzumi of Black 1 is certainly the easiest thing to think of to destroy White's eyes. The usual reply is the sagari of White 2. Then the oki of Black 3, followed by nobi at 5 is the only way to kill the corner. If there was no relationship with the outside, this would be "bent four in the corner" and White would be dead. Not so here. The sagari of White 6 forces Black 7 to destroy White's eye, and then White 8 rescues one stone, enabling White to make another eye. Black ends in defeat.] ;B[ss] C[Diagram 1: First, let's take a look at the life-and-death situation in the lower right corner. The guzumi of Black 1 is certainly the easiest thing to think of to destroy White's eyes. The usual reply is the sagari of White 2. Then the oki of Black 3, followed by nobi at 5 is the only way to kill the corner. If there was no relationship with the outside, this would be "bent four in the corner" and White would be dead. Not so here. The sagari of White 6 forces Black 7 to destroy White's eye, and then White 8 rescues one stone, enabling White to make another eye. Black ends in defeat.] ;W[so] C[Diagram 1: First, let's take a look at the life-and-death situation in the lower right corner. The guzumi of Black 1 is certainly the easiest thing to think of to destroy White's eyes. The usual reply is the sagari of White 2. Then the oki of Black 3, followed by nobi at 5 is the only way to kill the corner. If there was no relationship with the outside, this would be "bent four in the corner" and White would be dead. Not so here. The sagari of White 6 forces Black 7 to destroy White's eye, and then White 8 rescues one stone, enabling White to make another eye. Black ends in defeat.] ;B[sq] C[Diagram 1: First, let's take a look at the life-and-death situation in the lower right corner. The guzumi of Black 1 is certainly the easiest thing to think of to destroy White's eyes. The usual reply is the sagari of White 2. Then the oki of Black 3, followed by nobi at 5 is the only way to kill the corner. If there was no relationship with the outside, this would be "bent four in the corner" and White would be dead. Not so here. The sagari of White 6 forces Black 7 to destroy White's eye, and then White 8 rescues one stone, enabling White to make another eye. Black ends in defeat.] ;W[sm] C[Diagram 1: First, let's take a look at the life-and-death situation in the lower right corner. The guzumi of Black 1 is certainly the easiest thing to think of to destroy White's eyes. The usual reply is the sagari of White 2. Then the oki of Black 3, followed by nobi at 5 is the only way to kill the corner. If there was no relationship with the outside, this would be "bent four in the corner" and White would be dead. Not so here. The sagari of White 6 forces Black 7 to destroy White's eye, and then White 8 rescues one stone, enabling White to make another eye. Black ends in defeat.] ) (;B[rs] C[Diagram 2: Here the vital point is the oki of Black 1. (Because White first saw that the variation in Diagram 1 resulted in a living group, in his hurry he overlooked this placement tactic.) If White responds by connecting at 11, then the hane of Black 3 forces "bent four in the corner", killing White. So the strongest resistance is kosumi at White 2. The hane of Black 3 is the correct order of moves. White has no choice but to block at 4. Then when Black crawls out at 5, the sequence up to the eye-stealing move of 11 is forced. White 12 starts a ko, and the result is that the corner can be killed in ko. (From this variation you can see that a Black kake-tsugi at „a“ is absolute sente. If White does not answer, he is unconditionally dead. With this resource in mind, we judge that the whole board position favors Black.) By the way, if Black plays 1 at 2, then a White sagari at 3 makes the corner unconditionally alive.] ;W[sr] C[Diagram 2: Here the vital point is the oki of Black 1. (Because White first saw that the variation in Diagram 1 resulted in a living group, in his hurry he overlooked this placement tactic.) If White responds by connecting at 11, then the hane of Black 3 forces "bent four in the corner", killing White. So the strongest resistance is kosumi at White 2. The hane of Black 3 is the correct order of moves. White has no choice but to block at 4. Then when Black crawls out at 5, the sequence up to the eye-stealing move of 11 is forced. White 12 starts a ko, and the result is that the corner can be killed in ko. (From this variation you can see that a Black kake-tsugi at „a“ is absolute sente. If White does not answer, he is unconditionally dead. With this resource in mind, we judge that the whole board position favors Black.) By the way, if Black plays 1 at 2, then a White sagari at 3 makes the corner unconditionally alive.] ;B[so] C[Diagram 2: Here the vital point is the oki of Black 1. (Because White first saw that the variation in Diagram 1 resulted in a living group, in his hurry he overlooked this placement tactic.) If White responds by connecting at 11, then the hane of Black 3 forces "bent four in the corner", killing White. So the strongest resistance is kosumi at White 2. The hane of Black 3 is the correct order of moves. White has no choice but to block at 4. Then when Black crawls out at 5, the sequence up to the eye-stealing move of 11 is forced. White 12 starts a ko, and the result is that the corner can be killed in ko. (From this variation you can see that a Black kake-tsugi at „a“ is absolute sente. If White does not answer, he is unconditionally dead. With this resource in mind, we judge that the whole board position favors Black.) By the way, if Black plays 1 at 2, then a White sagari at 3 makes the corner unconditionally alive.] ;W[sp] C[Diagram 2: Here the vital point is the oki of Black 1. (Because White first saw that the variation in Diagram 1 resulted in a living group, in his hurry he overlooked this placement tactic.) If White responds by connecting at 11, then the hane of Black 3 forces "bent four in the corner", killing White. So the strongest resistance is kosumi at White 2. The hane of Black 3 is the correct order of moves. White has no choice but to block at 4. Then when Black crawls out at 5, the sequence up to the eye-stealing move of 11 is forced. White 12 starts a ko, and the result is that the corner can be killed in ko. (From this variation you can see that a Black kake-tsugi at „a“ is absolute sente. If White does not answer, he is unconditionally dead. With this resource in mind, we judge that the whole board position favors Black.) By the way, if Black plays 1 at 2, then a White sagari at 3 makes the corner unconditionally alive.] ;B[qs] C[Diagram 2: Here the vital point is the oki of Black 1. (Because White first saw that the variation in Diagram 1 resulted in a living group, in his hurry he overlooked this placement tactic.) If White responds by connecting at 11, then the hane of Black 3 forces "bent four in the corner", killing White. So the strongest resistance is kosumi at White 2. The hane of Black 3 is the correct order of moves. White has no choice but to block at 4. Then when Black crawls out at 5, the sequence up to the eye-stealing move of 11 is forced. White 12 starts a ko, and the result is that the corner can be killed in ko. (From this variation you can see that a Black kake-tsugi at „a“ is absolute sente. If White does not answer, he is unconditionally dead. With this resource in mind, we judge that the whole board position favors Black.) By the way, if Black plays 1 at 2, then a White sagari at 3 makes the corner unconditionally alive.] ;W[pr] C[Diagram 2: Here the vital point is the oki of Black 1. (Because White first saw that the variation in Diagram 1 resulted in a living group, in his hurry he overlooked this placement tactic.) If White responds by connecting at 11, then the hane of Black 3 forces "bent four in the corner", killing White. So the strongest resistance is kosumi at White 2. The hane of Black 3 is the correct order of moves. White has no choice but to block at 4. Then when Black crawls out at 5, the sequence up to the eye-stealing move of 11 is forced. White 12 starts a ko, and the result is that the corner can be killed in ko. (From this variation you can see that a Black kake-tsugi at „a“ is absolute sente. If White does not answer, he is unconditionally dead. With this resource in mind, we judge that the whole board position favors Black.) By the way, if Black plays 1 at 2, then a White sagari at 3 makes the corner unconditionally alive.] ;B[ps] C[Diagram 2: Here the vital point is the oki of Black 1. (Because White first saw that the variation in Diagram 1 resulted in a living group, in his hurry he overlooked this placement tactic.) If White responds by connecting at 11, then the hane of Black 3 forces "bent four in the corner", killing White. So the strongest resistance is kosumi at White 2. The hane of Black 3 is the correct order of moves. White has no choice but to block at 4. Then when Black crawls out at 5, the sequence up to the eye-stealing move of 11 is forced. White 12 starts a ko, and the result is that the corner can be killed in ko. (From this variation you can see that a Black kake-tsugi at „a“ is absolute sente. If White does not answer, he is unconditionally dead. With this resource in mind, we judge that the whole board position favors Black.) By the way, if Black plays 1 at 2, then a White sagari at 3 makes the corner unconditionally alive.] ;W[oq] C[Diagram 2: Here the vital point is the oki of Black 1. (Because White first saw that the variation in Diagram 1 resulted in a living group, in his hurry he overlooked this placement tactic.) If White responds by connecting at 11, then the hane of Black 3 forces "bent four in the corner", killing White. So the strongest resistance is kosumi at White 2. The hane of Black 3 is the correct order of moves. White has no choice but to block at 4. Then when Black crawls out at 5, the sequence up to the eye-stealing move of 11 is forced. White 12 starts a ko, and the result is that the corner can be killed in ko. (From this variation you can see that a Black kake-tsugi at „a“ is absolute sente. If White does not answer, he is unconditionally dead. With this resource in mind, we judge that the whole board position favors Black.) By the way, if Black plays 1 at 2, then a White sagari at 3 makes the corner unconditionally alive.] LB[mr:a]) (;B[ck] C[Diagram 3: Now let's look at the left side. Striking underneath at Black 1 followed by the cut at 3 is a common method for shinogi, but this sort of method is not suitable in this position. This is because the three Black atones on the lower side have a comfortable escape route, and are certainly not in any peril. White plays ate at 4 and 6, cutting off the Black stone just above 8. When Black plays magari at 9, White securely seals him in with 10. That leaves Black no choice but to capture one stone with 11, allowing White to connect at 12. The result of this variation is that White has become extremely thick and the two Black stones on the upper half of the board have no room to maneuver. Black fails.] ;W[cl] C[Diagram 3: Now let's look at the left side. Striking underneath at Black 1 followed by the cut at 3 is a common method for shinogi, but this sort of method is not suitable in this position. This is because the three Black atones on the lower side have a comfortable escape route, and are certainly not in any peril. White plays ate at 4 and 6, cutting off the Black stone just above 8. When Black plays magari at 9, White securely seals him in with 10. That leaves Black no choice but to capture one stone with 11, allowing White to connect at 12. The result of this variation is that White has become extremely thick and the two Black stones on the upper half of the board have no room to maneuver. Black fails.] (;B[dl] C[Diagram 3: Now let's look at the left side. Striking underneath at Black 1 followed by the cut at 3 is a common method for shinogi, but this sort of method is not suitable in this position. This is because the three Black atones on the lower side have a comfortable escape route, and are certainly not in any peril. White plays ate at 4 and 6, cutting off the Black stone just above 8. When Black plays magari at 9, White securely seals him in with 10. That leaves Black no choice but to capture one stone with 11, allowing White to connect at 12. The result of this variation is that White has become extremely thick and the two Black stones on the upper half of the board have no room to maneuver. Black fails.] ;W[el] C[Diagram 3: Now let's look at the left side. Striking underneath at Black 1 followed by the cut at 3 is a common method for shinogi, but this sort of method is not suitable in this position. This is because the three Black atones on the lower side have a comfortable escape route, and are certainly not in any peril. White plays ate at 4 and 6, cutting off the Black stone just above 8. When Black plays magari at 9, White securely seals him in with 10. That leaves Black no choice but to capture one stone with 11, allowing White to connect at 12. The result of this variation is that White has become extremely thick and the two Black stones on the upper half of the board have no room to maneuver. Black fails.] ;B[dm] C[Diagram 3: Now let's look at the left side. Striking underneath at Black 1 followed by the cut at 3 is a common method for shinogi, but this sort of method is not suitable in this position. This is because the three Black atones on the lower side have a comfortable escape route, and are certainly not in any peril. White plays ate at 4 and 6, cutting off the Black stone just above 8. When Black plays magari at 9, White securely seals him in with 10. That leaves Black no choice but to capture one stone with 11, allowing White to connect at 12. The result of this variation is that White has become extremely thick and the two Black stones on the upper half of the board have no room to maneuver. Black fails.] ;W[cj] C[Diagram 3: Now let's look at the left side. Striking underneath at Black 1 followed by the cut at 3 is a common method for shinogi, but this sort of method is not suitable in this position. This is because the three Black atones on the lower side have a comfortable escape route, and are certainly not in any peril. White plays ate at 4 and 6, cutting off the Black stone just above 8. When Black plays magari at 9, White securely seals him in with 10. That leaves Black no choice but to capture one stone with 11, allowing White to connect at 12. The result of this variation is that White has become extremely thick and the two Black stones on the upper half of the board have no room to maneuver. Black fails.] ;B[bk] C[Diagram 3: Now let's look at the left side. Striking underneath at Black 1 followed by the cut at 3 is a common method for shinogi, but this sort of method is not suitable in this position. This is because the three Black atones on the lower side have a comfortable escape route, and are certainly not in any peril. White plays ate at 4 and 6, cutting off the Black stone just above 8. When Black plays magari at 9, White securely seals him in with 10. That leaves Black no choice but to capture one stone with 11, allowing White to connect at 12. The result of this variation is that White has become extremely thick and the two Black stones on the upper half of the board have no room to maneuver. Black fails.] ;W[dj] C[Diagram 3: Now let's look at the left side. Striking underneath at Black 1 followed by the cut at 3 is a common method for shinogi, but this sort of method is not suitable in this position. This is because the three Black atones on the lower side have a comfortable escape route, and are certainly not in any peril. White plays ate at 4 and 6, cutting off the Black stone just above 8. When Black plays magari at 9, White securely seals him in with 10. That leaves Black no choice but to capture one stone with 11, allowing White to connect at 12. The result of this variation is that White has become extremely thick and the two Black stones on the upper half of the board have no room to maneuver. Black fails.] ;B[bj] C[Diagram 3: Now let's look at the left side. Striking underneath at Black 1 followed by the cut at 3 is a common method for shinogi, but this sort of method is not suitable in this position. This is because the three Black atones on the lower side have a comfortable escape route, and are certainly not in any peril. White plays ate at 4 and 6, cutting off the Black stone just above 8. When Black plays magari at 9, White securely seals him in with 10. That leaves Black no choice but to capture one stone with 11, allowing White to connect at 12. The result of this variation is that White has become extremely thick and the two Black stones on the upper half of the board have no room to maneuver. Black fails.] ;W[bi] C[Diagram 3: Now let's look at the left side. Striking underneath at Black 1 followed by the cut at 3 is a common method for shinogi, but this sort of method is not suitable in this position. This is because the three Black atones on the lower side have a comfortable escape route, and are certainly not in any peril. White plays ate at 4 and 6, cutting off the Black stone just above 8. When Black plays magari at 9, White securely seals him in with 10. That leaves Black no choice but to capture one stone with 11, allowing White to connect at 12. The result of this variation is that White has become extremely thick and the two Black stones on the upper half of the board have no room to maneuver. Black fails.] ;B[bl] C[Diagram 3: Now let's look at the left side. Striking underneath at Black 1 followed by the cut at 3 is a common method for shinogi, but this sort of method is not suitable in this position. This is because the three Black atones on the lower side have a comfortable escape route, and are certainly not in any peril. White plays ate at 4 and 6, cutting off the Black stone just above 8. When Black plays magari at 9, White securely seals him in with 10. That leaves Black no choice but to capture one stone with 11, allowing White to connect at 12. The result of this variation is that White has become extremely thick and the two Black stones on the upper half of the board have no room to maneuver. Black fails.] ;W[ci] C[Diagram 3: Now let's look at the left side. Striking underneath at Black 1 followed by the cut at 3 is a common method for shinogi, but this sort of method is not suitable in this position. This is because the three Black atones on the lower side have a comfortable escape route, and are certainly not in any peril. White plays ate at 4 and 6, cutting off the Black stone just above 8. When Black plays magari at 9, White securely seals him in with 10. That leaves Black no choice but to capture one stone with 11, allowing White to connect at 12. The result of this variation is that White has become extremely thick and the two Black stones on the upper half of the board have no room to maneuver. Black fails.] ) (;B[bk];W[bl];B[dl];W[dj];B[cj];W[ek];B[dm];W[ci];B[bi];W[ch] ;B[bh];W[bg];B[bm] (;W[ak];AE[ak]PL[W]) (;W[aj];B[bj];W[fj]))))

References:
-  Thirty-six Stratagems Applied to Go(1996), Publisher Yutopian
- http://senseis.xmp.net/?path=SecretArtOfWar&page=CrossTheSeaUnderCamouflage

Yamashita Keigo Meijin Match

Defending champion is Iyama Yuta Meijin and challenger is Yamashita Keigo Honinbo. The match is best of seven games, so four wins are required to secure the title.Yamashita Keigo got the title with the score 4—2. This is the sixth game that was held in Oct 27th (Thu) and 28th (Fri). 

(;CA[Windows-1252]SZ[19]AP[MultiGo:4.4.4]GN[Rated game]EV[36th Meijin title match, game 6]
DT[2011-11-27,28]PB[Iyama Yuta]BR[9p]PW[Yamashita Keigo]WR[9p]KM[6.5]HA[0]RE[W+3.5] MULTIGOGM[1] ;B[pd];W[dp];B[qp];W[dd];B[oq];W[qf];B[ph];W[qc];B[pc];W[qd];B[pe];W[rg];B[pf];W[jd] ;B[fq];W[cn];B[hc];W[he];B[fd];W[gd];B[fc];W[fe];B[ee];W[ed];B[ff];W[ge];B[eb];W[cc] ;B[jc];W[kc];B[id];W[ie];B[je];W[kd];B[jb];W[kb];B[ef];W[gc];B[gb];W[ja];B[cb];W[bb] ;B[db];W[cf];B[hb];W[lf];B[jf];W[hg];B[lg];W[mg];B[kg];W[mf];B[qg];W[ih];B[cg];W[rf] ;B[bf];W[ce];B[dg];W[be];B[ba];W[ab];B[dc];W[bc];B[de];W[bg];B[bh];W[af];B[li];W[og] ;B[pg];W[ni];B[md];W[mc];B[nc];W[ld];B[pk];W[ok];B[pj];W[ol];B[lk];W[oj];B[qb];W[rb] ;B[mb];W[ic];B[ib];W[hd];B[hi];W[ii];B[ij];W[hj];B[gi];W[jj];B[ik];W[jk];B[ji];W[jl] ;B[il];W[ic];B[jm];W[kl];B[id];W[im];B[gk];W[ic];B[hm];W[id];B[in];W[ll];B[cq];W[dq] ;B[dr];W[cp];B[br];W[bq];B[cr];W[ck];B[ln];W[nm];B[no];W[qq];B[qo];W[iq];B[dm];W[cm] ;B[kq];W[lq];B[lr];W[mr];B[mq];W[lp];B[nr];W[gq];B[gp];W[kr];B[ms];W[fj];B[ek];W[kn] ;B[km];W[lm];B[kp];W[fp];B[gr];W[go];B[hq];W[hp];B[gq];W[lo];B[mn];W[jn];B[im];W[io] ;B[fo];W[fn];B[ep];W[eo];B[en];W[fp];B[hh];W[ig];B[fo];W[gj];B[do];W[ej];B[dj];W[dk] ;B[cj];W[bj];B[bi];W[bk];B[fh];W[ei];B[ci];W[gm];B[fm];W[gn];B[gl];W[fk];B[el];W[fl] ;B[ho];W[em];B[cd];W[dl];B[ec];W[hn];B[bd];W[rh];B[rc];W[rd];B[ra];W[sb];B[bp];W[bo] ;B[aq];W[co];B[ko];W[jo];B[jr];W[qn];B[pn];W[qm];B[ob];W[on];B[po];W[jq];B[ks];W[jp] ;B[kr];W[rk];B[ro];W[eq];B[qi];W[er];B[ir];W[oh];B[me];W[eh];B[gf];W[ne];B[nf];W[nd] ;B[lc];W[le];B[mc];W[of];B[oe];W[ng];B[ql];W[rl];B[pm];W[pl];B[qk];W[rm];B[qj];W[rj] ;B[ri];W[si];B[mm];W[ml];B[fp];W[sn];B[od];W[so];B[sp];W[oo];B[op];W[nn];B[mo];W[ao] ;B[ap];W[dn];B[rn];W[sm];B[eo];W[eg];B[df];W[dh];B[ch];W[ds];B[qe];W[re];B[om];W[nl] ;B[hf];W[if];B[nf];W[cs];B[bs];W[es];B[gs];W[ia];B[ha];W[ka];B[ne];W[ai];B[ah];W[aj] ;B[ma])

Sources:
- http://www.pandanet-igs.com/communities/pandanet/73
- http://gogameguru.com/yamashita-keigo-wins-36th-meijin/

土曜日, 11月 12 2011 kifu

A late night awesome unfinished online game with Soha-senpai I liked my Tengen move a lot...

( ;FF[4] GM[1] CA[UTF-8] AP[Tetsuki] GN[innohero - atashi] SZ[19] HA[0] KM[-5.5] RU[Japanese] BR[BC] PB[innohero] WR[14k] PW[atashi] ;B[pc];W[qp];B[dd];W[dq];B[jd];W[qe];B[qd];W[qh];B[oe];W[pf] ;B[pe];W[re];B[rd];W[co];B[nd];W[cj];B[jj];W[cf];B[ej];W[ef] ;B[dl];W[cl];B[ci];W[dj];B[dh];W[bi];B[dn];W[cn];B[ep];W[qk] ;B[en];W[ok];B[mj];W[fd];B[ge];W[eh];B[ei];W[di];B[eg];W[fh] ;B[df];W[de];B[cg];W[dg];B[fg];W[gg];B[ff];W[gf];B[fe];W[ch] ;B[ee];W[cd];B[df];W[bg];B[ce];W[be];B[de];W[cc];B[fc];W[oq] ;B[gd];W[jq];B[gj];W[hh];B[ih];W[ig];B[hf];W[if];B[hi];W[mg] ;B[jf];W[he];B[ie];W[hd];B[jg];W[hg];B[fi];W[gq];B[hc];W[hf] ;B[eq];W[er];B[cq];W[cp];B[dp];W[dr];B[cr];W[bq];B[aq];W[br] ;B[dk];W[jm];B[jl];W[gm];B[gn];W[hn];B[hm];W[im];B[hl];W[go] ;B[fn];W[io];B[hq];W[hr];B[gr];W[fr];B[fq];W[gp];B[ip];W[iq] ;B[jp];W[lp];B[kn];W[km];B[mo];W[ln];B[om];W[nn];B[lo];W[ko] ;B[mn];W[lm];B[mm];W[nm];B[ml];W[ol];B[oj];W[oi];B[qj];W[pj] ;B[po];W[on];B[pm];W[pn];B[ql];W[rk];B[nj];W[qi];B[ng];W[nh] ;B[nl];W[pl];B[nq];W[np];B[kp];W[jn];B[pg];W[qg];B[of];W[qf] ;B[oh];W[ph];B[og];W[ni];B[mf];W[lh];B[lg];W[mh];B[le];W[jh] ;B[kh];W[ii];B[ji];W[ih];B[ki];W[dh];B[op];W[oo];B[jo];W[kn] ;B[lq];W[qm];B[mp];W[pp];B[nr];W[ij];B[ik];W[hp];B[hj];W[gh] ;B[ck];W[bl];B[bk];W[kq];B[lp];W[lr];B[os];W[pr];B[rp];W[rq] ;B[qr];W[ps];B[ai];W[ah];B[aj];W[bj];B[ak];W[al])

Thu Nov 10 Kifu

A nice online game with Soha-senpai =)

(;FF[4]CA[UTF-8]AP[GoGui:1.4.2] KM[6.5]PB[Mohamed-san]PW[Soha-san]DT[2011-11-10]RE[W+R] ;B[pc];W[qp];B[qg];W[dq];B[dd] (;W[fm]) (;W[fc];B[ic];W[fe];B[df];W[dc];B[cc];W[db];B[cb];W[ed];B[hf] (;W[bq]) (;W[oq];B[eg];W[ca];B[ce];W[co];B[eo];W[jq];B[cm];W[gq];B[go] ;W[cj];B[dk];W[ch];B[cg];W[bg];B[bf] (;W[af];B[ae]) (;W[ag];B[di];W[ci];B[ei];W[ck];B[cl] (;W[dl]) (;W[bk]) (;W[bl];B[em];W[qj];B[oj];W[qm];B[pl];W[ql];B[po];W[jo] (;B[nn]) (;B[op];W[qd];B[qc];W[pd];B[od];W[rc];B[re];W[oe];B[nd];W[qf] ;B[rf];W[qe];B[rb];W[pg];B[pf];W[of];B[rd];W[pe];B[sc];W[qh] ;B[rg];W[mg];B[pj];W[jl];B[oh];W[ng];B[og];W[ph];B[qk];W[rk] ;B[pk];W[ri];B[pi];W[ni];B[oi];W[qi];B[qn];W[pm];B[om];W[nm] ;B[nk];W[ol];B[on];W[nl] (;B[mi];W[nj];B[nf] (;W[nh]) (;W[ok];B[nh];W[mh])) (;B[nj];W[ll];B[lk] (;W[mk]) (;W[kk];B[li];W[lj];B[mk];W[mi];B[nf];W[ml];B[ne];W[pf];B[rm] ;W[rl];B[lf];W[ki];B[lh];W[mj];B[ro];W[pp];B[sl];W[nh];B[lg] ;W[rp];B[jn];W[in];B[io] (;W[hp];B[jp]) (;W[ip];B[im];W[ho];B[jm];W[hm];B[il];W[ik];B[hl] (;W[gl];B[hk]) (;W[kn];B[jj] (;W[kj]) (;W[ij];B[km];W[ji];B[kl];W[gl];B[hk] (;W[gk]) (;W[hj]) (;W[gj] (;B[gm];W[gn];B[hn]) (;B[fm]) (;B[ln];W[ko];B[gi];W[gk];B[gm];W[hn];B[lm];W[mn];B[ii];W[hj] (;B[jk]) (;B[kj]) (;B[lo];W[lp];B[mo];W[np];B[mm];W[ok];B[nn];W[no];B[jk];W[mp] ;B[];W[];B[];W[]))))))))))))))

Aji - 味

Aji is a Japanese Go term that has been adopted into English. In the context of Go, aji roughly means possibilities left in a position.This definition is derived from one the meanings of the word aji in ordinary usage: taste, in the sense that it lingers. By analogy, aji in Go refers to lingering possibilities that are latent and cannot be used immediately, but might come to life if the situation changes. That is why aji is also often translated as potential. Another translation as funny business orunfinished business has been proposed by Ed Lee.A related term that should not be confused with aji is nerai meaning threat, aim, target, or follow-up.

Source: http://senseis.xmp.net/?Aji

Onmyouza - Nurikabe

One of my favorite J-metal bands is Onmyouza.. there is one song they have that fascinates me.. Nurikabe.. as part of me trying to learn japanese on my own I decided to practice singing the lyrics, find out the meaning of the kanjis and how to draw them by the proper stroking order..

<span class="deco" style="font-weight:bold;">Kanji</span>

旅路を行くは一方の
畏れを知らぬ剛の者
七部過ぎたるその刹那
見る目敵わぬ巨大な壁が

上を下へと取り乱し
途方に暮れて立ち尽くす
明日の宵には山越えて
邑君の許着かねばならぬ

嗚呼 繋ぎ止めた明日が
音もなく遠ざかり
繰り返す遺響の囁き

想いが潰えたと泣くより
この身が朽ちる際まで 弛みなかれ

忌々しくともとぼとぼと
兵どもが夢の跡
読むことも口惜しく
持ちたる杖で裾野を掃う

信じ難きやおとろしや
何時しか壁は消え入らむ
八方の手を尽くさねば
答えは出せぬ此の世はをかし

嗚呼 咎認めたはずが
音もなく立ち竦み
蒸し返す回向も眩き

想いは潰えたと泣くより
この身が朽ちる際まで 弛みなく

想いは潰えたと泣くより
この身が朽ちる際まで 弛みなかれ

<span class="deco" style="font-weight:bold;">Romaji</span>

Tabiji wo yuku wa hitokata no
osore wo shiranu gou no mono
shichi-bu sugitaru sono setsuna
miru me kanawanu kyodai na kabe ga

Ue wo shita e to torimidashi
tohouni kurete tachitsukusu
asu no yoi ni wa yama koete
mura kimi no moto tsukanebanaranu

Aa tsunagi tometa asu ga
oto mo naku toozakari
kurikaesu ikyou no sasayaki

Omoi wa tsuieta to naku yori
kono mi ga kuchiru kiwamade tayumi nagare

Imaimashiku mo tobotobo to
tsuwamono domo ga yume no ato
akiramu koto mo kuchioshiku
mochitaru tsuete susono wo haraou

Shinji katakiya otoroshiya
itsushika kabe wa kie iramu
happou no te wo tsukusane ba
kotae wa dasenu kono yo wa wo kashi

Aa togamitometa hazu ga
koe mo naku tachisukumi
mushikaesu ekou mo tsubuyaki

Omoi wa tsuieta to naku yori
kono mi ga kuchiru kiwamade tayumi naku
Omoi wa tsuieta to naku yori
kono mi ga kuchiru kiwamade tayumi nagare

<span class="deco" style="font-weight:bold;">English</span>

On the road goes a
Fearless powerful man
The moment that the most of the journey is done
There is a huge unseeable wall

In utter confusion
Standing still, in a quandary
By tomorrow evening I must go over the mountain
And meet the chief of the village

Ah, the tomorrow that was fastened to today
Recedes without a sound
A whisper of echoes repeats itself

Instead of crying that your wishes have crumbled
Be persistent until the moment your body decays

Annoyingly and ploddingly
Warriors vanished like a dream
It's regrettable to give up
Sweeping the foot of the mountain with the waiting stick

Unbelievable and dreadful
When ever will the wall vanish?
You must try all possible means
Or you won't find the answer, this world is mysterious

Ah, I thought I had admitted my fault
Standing paralyzed, without a sound
The murmur of the memorial service revives

Instead of crying that your wishes have crumbled
Be persistent until the moment your body decays

Instead of crying that your wishes have crumbled
Be persistent until the moment your body decays
]

Learning important Igo concepts for the game & for life...

Aji (taste):
Latent threats or possibilities existing in a situation.

Ajikeshi (aji erasure):
A play which removes aji.

Aji ga warui (bad aji):
A position which leaves aji for the opponent to use.

Aki-san-kaku 空き三角 (empty triangle):
The shape of the three Black stones, the elbow point being
vacant. Generally bad shape, see guzumi.

Amarigatachi:
Play where one feels one has made good moves, when in
fact one has accomplished little.

Ate (Atari):
An immediate threat to capture; a single liberty
remains. A verbal warning is often issued when placing
an opponent into ate.

Atekomi (aim inside):
Uncertain, but seems related to a peeping move.

Atsumi (thickness):
Strong formation of stones facing the center or facing
along a side.

Basami: Pincer (same as hasami).
ikken basami: 1-step pincer (on 3rd line); taka-basami (4th line)
nikken basami: 2-step pincer (on 3rd line) " "
sangen basami: 3-step pincer (on 3rd line) " "

Bata-bata:
A tesuji connection.

• bane, -basami, -biraki

See hane, hasami, hiraki.

Boshi (hat):
A capping move.

Botsugi: A connection which forms a wall of three stones.

Byo-yomi: Extra count-down time after regular clock time has elapsed.

Chosen: Eternal life; a rare position involving repetitive capture.

Chuban[sen]:
The middle game.

Daidaigeima (very large knight's move):
Four across and one vertically (or vice versa).

Dame (useless):
A neutral point, territory for neither; a liberty.

Damezumari:
Shortage of liberties.

Dan: Advanced grade.

Dango (dumpling shape):
A solid mass of stones; a very inefficient shape.

De (go between):
A move which pushes between two enemy stones.

Degiri: A sequence of two moves which push and cut.

Fukure: Swell outward.

Furikawari:
Exchange (of territories).

Fuseki: The opening moves of the game where influence and territory
outlines are formed (literally: 'no stones').

Geta:
A method of capturing an enemy stone; a net trap. The
shape of the stones resembles a wooden clog.

Gote: Defensive play, loss of initiative (literally: 'lower hand').

Gote no sente:
Gote move with sente potential.

Guru guru mawashi:
"spinning around (into dango)". A series of attacks
leading to a loose ladder and capture.

Guzumi: A good empty triangle.

Hai: Crawl.

Hamari: Fall into a trap.

Hamete: A trap.

Hana-tsuke:
Nose attachment.

Hane: A diagonal move played in contact with an enemy stone.

Hane-dashi: Outer hane.

Hane-kaeshi: Counter-hane.

Hane-komi: Hane between two stones.

Hane-tsuki: Belly attack.

Shita-hane: Hane underneath.

Hanami ko ('flower-viewing ko'):
Ko where one player stands to lose a lot, but the other
only a tiny amount.

Hara-tsuke:
Belly attack.

Hasami (pincer play):
A play that attacks by preventing the opponent's extension
down either side (see Basami).

Hasami-tsuke:
Pincer attachment.

Hazama: Balance point.

Hazama-tobi:
One point diagonal jump.

Hiki: Draw back.

Hikkuri-kaeshi:
Self-reversing sequence.

Hiraki: 3rd or 4th line extension.

Honte: The proper move.

Horikomi (throw-in):
A single stone played as a sacrifice.

Hoshi: ('star point') the 4-4 point.

Ichi ban: A win by ten points or less.

Ichigo-masu:
Carpenter's square.

Igo: An alternative name for Go.

Ikken-tobi:
One point extension.

Insei: Student professional.

Ippoji: One large area.

Ishi-no-shita:
Under the stones (a particular tesuji).

Ishi: Stone.

Ji Dori Go:
Derisive term for 'ground-taking go'.

Jigo: Drawn game (by equal territory).

Jingasa: Double empty triangle (4 in a "T").

Joseki (established stones):
Known sequences of moves near the corner which result
in near-equal positions for white and black.

Jun Kan Ko:
A very rare position involving repetitive capture.

Kado: Angle.

Kagame: False eye.

Kakae: Grip.

Kakari (approach):
A move that attacks a single enemy corner stone.
Prevented by shimari.

Karami: Splitting.

Kata-sente:
One-sided sente.

Katatsuki (shoulder hit):
A play on a diagonal of the opponent's stone.

Katatsugi:
A solid connection.

Kake: Press down.

Kaketsugi (hanging connection):
A open connection. An example is three stones surrounding
an empty point. Promise for eye shape, but can be attacked.

Katachi: The shape of the stones.

Sabaki: Quick development, light shape.

Karui: Single move basic to formation of flexible shape.

Omoi: Heavy, clumped shape.

Keima: Knight's move extension.

Keima-tsugi:
Knight's move connection.

Keima-watari:
Connection at edge of board by keima.

Keshi: Erasure.

Kikashi: A forcing move, usually made outside the main
flow of play. Often answered, then ignored, to be used
later in the game.

Kiri: Cut.

Kiri-chigae:
Cross-cut.

Kiri-nobi:
Cut then extend.

Ko: Repetitive capture (literally 'eternity')

Ko threat:
Intervening move (that one hopes will force a reply)
before a ko can be recaptured.

• komi: To go into.

Komi: Score adjustment usually penalising black for playing
first. Often 6.5 points.

Komoku: ('small point') 3-4 point.

Korigatachi(frozen shape):
Inefficient or ugly shape.

Kosumi: A diagonal play next to one's own stone.

Kosumi-tsuke:
A kosumi which is also a tsuke.

Kyu: Learner grade.

Leg: Term used by James Davies for a jogged end of a group.
Weak leg refers to a diagonal extension.

Magari (turn):
A play which turns a group, forming a corner.

Mane Go: Mirror go. White playing symmetrically opposite black.

Mannen Ko:
"10,000 year ko" (a special formation where whoever
starts the attack must find the first ko-threat).

Me: Eye or point.

Me ari me nashi:
A semeai in which one player has one eye.

Miai: Two points which accomplish the same result; if
deprived of one, the other must be played.

Mochi-komi:
Botched invasion.

Modori: Fall back.

Moku: Same as 'me'.

Mokuhazushi ('point-detached'):
3-5 point.

Motare: Roundabout attack.

Moyo: Large potential territory.

Mukai-komoku:
Symmetrically opposite komoku played in fuseki.

Mushobu: Literally "no-win-loss".
Abandoned game (due to triple ko or similar).

Nadare: Avalanche joseki.

Naka-de: Central placement.

Nakade: Unsettled eye shape.

Naka oshi gatchi:
Early victory by a large margin.

Narabi: Adjacent extension from a non-contact point.

Nidan bane (double hane):
Two successive hane plays by one player.

Nidan osae (double osae):
Two successive blocks by one player.

Nigiri: Equivalent of coin-toss to decide who starts. One grabs
a handful of stones; the other guesses odd or even.

Ni ren sei:
Fuseki with two adjacent star points.

Nobi (Stretch):
An extension away from an opponent's tsuke, cross-cut, etc.

Nobi-komi:Extend into the enemy's territory.

Nozoki: A peeping move which threatens to cut.

Nuki: Capture.

Nurui: Lukewarm.

Oba: Large fuseki point.

Ogeima (large knight's move):
Three across and one vertically (or vice versa).

Oiotoshi: A method of capture where stones are sacrificed to destroy
the enemy's eye shape. (Literally "robber's attack)

Oki: Placement. Playing on a vital spot (to kill eyes).

Onadare: Large avalanche joseki.

Osae: A blocking move which prevents extension along a line.

Oshi: Push.

Oshi-tsubuki:
Squashing move.

Oyose: Large end-game plays.

Ozaru: Monkey jump.

Pintsugi: Connect between.

Ponnuki: Space between four stones after capture.

Ryo: Double.

Sabaki: Light play; disposable stones.

Sagari: To descend straight toward the edge of the board.

San-ba-garosu:
'Three crows'. Corner enclosure by 5-3, 4-4, 3-5 points.

Sangen: Three point interval.

San ren sei:
Fuseki with three adjacent star points.

San-san: 3-3 point.

Saru-suberi:
Monkey jump.

Sashikomi:
Insert.

Sei moku (Star points):
Handicap points.

Seki: A situation where neither player may place the other in
ate without placing himself in ate. Stalemate, with no
territory awarded.

Seki-to: "Stone tower". Sacrifice of two stones at edge of board.

Semeai: Race to capture.

Sente: Threat forcing direct response, creates initiative.
The right to choose where to play next.
Opposite to gote (literally: 'upper hand').

Shibori: Squeeze play.

Shicho: Ladder play.

Shicho-atari:
Ladder breaker. A stone played in the path of a
potential shicho, threatening to make it fail.

Shimari (corner enclosure):
A two-stone corner formation. May not secure the
corner, but attacker is at a disadvantage. Opposite of
kakari.

Kogeima shimari (small knight's enclosure):
The 3-4 and 5-3 points.

Ikken shimari (one-point enclosure):
The 3-4 and 5-4 points.

Ogeima shimari (large knight's enclosure):
The 3-4 and 6-3 points.

Shin fuseki:
A revolutionary 1930's strategy. Now blended with
traditional strategy to form the modern style.

Shinogi: Eye-forming sequence.

Shita-hane:
Hane underneath.

Shita-tsuke:
Attach underneath.

Soto: Outwards.

Suberi: Sliding under.

Suji: Style; skilfulness.

Susoaki: Open skirt.

Sute ishi:
Sacrifice stone.

Tachi: Extension adjacent to centre.

Taisha: A joseki arising from an ignored low kakari to 4-3 point.

Takamoku: ('high point') 4-5 point.

Take-fu: Bamboo joint.

Tasuki fuseki:
Black playing the same in opposite corners.

Tedo-mari:
The last valuable end-game points.

Ten gen: The centre point of the board.

Tenuki: Ignoring opponent's last move to play elsewhere.

Te okure: Wasted move.

Tesuji ('strong hand'):
The best play in a local position; skilful tactical move.

Tetchu (steel post):
Two stones placed in line vertically and near the edge.

Tewari:
Analysing by removing irrelevant stones.

Tobi: Jump.

Tobi-dashi: Jump out.

Tobi-komi: Jump into enemy space.

Tobi-magari: Jump at right angle.

Tobi-tsuke: Jumping attachment.

Torazu San Moku:
A very rare position in the corner, where either side
may capture first, but would lose points to do so.

Tsugi: Connection.

Tsuke: Attach. A play made in contact with an enemy stone,
but not in contact with any friendly stones.

Tsuke-atari: Bang against (head-on).

Tsuke-giri: Attach then cut.

Tsuke-kaeshi: Counter-attach.

Tsuke-koshi: Attach at keima waist.

Tsuke-nobi: Attach and extend (handicap joseki).

Tsume: Extension preventing an enemy extension.

Tsume-go: Life and death problems.

Tsuppari: Slap against (sideways).

Uchi: Inwards.

Uchikaki: Sacrifice on first line to make an eye false.

Uchikomi: Playing to invade enemy territory.

Uttegaeshi:
Snap-back.

Warikomi: Wedge between two stones.

Wariuchi: A wedging move which has room for expansion in either
direction.

Watari: To connect underneath.

Wei Chi: The Chinese name for Go (literally: "game of encirclement").

Yose: End game.

Yose-ko: A ko of little value.

Yosu miru:
Probe; to see opponent's response. May be sacrificed.

Yurumi: Loose.

Zoku-suji:
False or vulgar style.

Sources:
- http://www.britgo.org/print/750
- http://senseis.xmp.net/?JapaneseGoTerm (Japanese Terms)