First off,

black 1 is good. However, when white plays 4 & 6, responding with 5

& 7 gets black caught up in the tempo of the trick play. After white cuts at 8, there is no salvation.

Tricked 2 With 1 & 3, black sets out to take white's four stones. The shape here is similar to that of Model 5. White forces [kikashi] with 4 & 6, and squeezes with 8 through 14. After white fences black in with 16...

Tricked 3 White 2 and the following moves wrap black up tighter than a drum, leaving black in a pitiful state. Black's territory is 18 points. White's thickness is far more valuable.

Diagram 1 Does black 2 put up more resistance to white 1 ? This time black can escape at a, so white will not try to fence black in with b, but rather, will play white 5 to engineer life for the group. After white lives with 11, black must find life for the five stones below.

Diagram 2 Playing black 1 and the following, crawling repeatedly on the second line is beneath discussion.

Diagram 3 If, at 8 in Diagram 1 black hanes at 1 to capture the corner stones, white squeezes black with 2 and the rest, and black loses. Consequently, the hane of black 2 in Diagram 1 is no good.

Diagram 4 (Next page) It is not all that difficult to thwart this trick play. When white plays 1, instead of the hane at a, black has to go back and defend somewhere around 2. Since white 3 is unavoidable, black can play at 4, ending with a thick position.

Trick Moves: Basic Knowledge

Diagram 5 White can also first hane at 1. In this case as well, black must not hane at a, but cautiously reinforce with the calm and collected move of black 2. Up to black 6, it is plain to see that white has a low position.

Diagram 6 There are various moves at black's disposal, and one cannot declare which is best.

The jump to black 1 reflects a clear and simple strategy. Likewise, the fencing in move of black 3 is a good move here.

Diagram 7 Without pushing in at 2, the capping move of black 1 is light and effective. When white plays 2, black maintains this light policy by pressuring white from above with 3. The thinness around a is not to be worried over.

Diagram 8 In the days of Shusaku's youth, Ota Yuzo played this trick move against him. As

black he answered by dodging to 1, and an exchange [furi-kawari] resulted, with white playing 2

& 4, and black 3. But even though this avoids the trick play, black's marked stones are immobi-lized, and white's position augmented with the hane at 4 is not very palatable.

Diagram 9 Simply attaching with black 1 is interesting. At this stage, white must respond with 2 through 6, and then black returns to block at 7. After black 9, if white plays a, black plays b with an adequate result. It only makes sense for white to...

Diagram 10 Defend with white 2 & 4, or...

Diagram 11 White should conform to the joseki moves up to black 9. None of Diagrams 4 through 9 are good for white.

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Model 14 After white attaches at 1, black plays 2 and butts against white's stone with 4, white does not extend to a, but plays the fencing in move of white 5; a trick move. But it is a high level variety of trick move that, even if it fails, will produce an equal result. White 5

in of itself does not give one the impression that it is unnatural.

Tricked 1 If an unwary black replies with 1 & 3, white descends to 4, and black has already been shafted. It is natural to play black 5 to avoid getting cut at a, but white pushes through and cuts with 6 & 8, and black has problems. Rather than playing at b, white 8 is good.

Tricked 2 Should black connect at 1, white pushes with 2 & 4, and wins the race to capture [semeai] by one move. The squeeze play with white 6 and the following is a well known finesse [tesuji], and the marked white stone is effectively placed to aid in the capturing race.

Tricked 3 The previous diagram produces an impossible result, so following the advice to "cap-ture the cutting stone", black takes at 1. However, white cap"cap-tures a stone in a ladder with 2 & 4.

This trick play is predicated on this ladder being good for white.

Tricked 4 Realizing this, when white plays 1, black might defend against white a and the rest by playing 2. Then white takes two stones following 3, which gives white a thick and strong shape.

Black has been had.

Diagram 1 It is correct here for black to push once more with 2; this lets black parry [shinogi] the trick play. If white 3, black jumps to 4, secure in the knowledge that white cannot now play a, then push through at b and cut. But this will not really happen: white has another nice move available.

Diagram 2 (Next page) In this situation, black normally just jumps to a, without making the extra push at 1

which is consid-ered to be bad.

Trick Moves: Basic Knowledge

black plays at 2, white will force [kikashi] at 3, and hop lightly to 5, blocking black from advanc-ing. Since this good move exists, even when the trick play fails, a 50/50 result is produced. After white 5, black has no response, so...

Diagram 4 It is par for this situation to end up with white fixing the shape with 1 and with play proceeding through black 4. Each side has played the same number of stones in this diagram, with black taking profit and white taking influence, and it may be evaluated as a completely even result.

Diagram 5 Since the standard situation in the last diagram is properly arrived at, white's attack

at 1 is not promising. Black lives easily with 2 & 4, and later can aim at the cutting point at a.

Diagram 6 This shows how play proceeds when, after white 1, black forces [kikashi] with 2, and then pushes through and cuts with 4 & 6. Turning at white 9 is a thick move, and it seems as if black is just looking for trouble. The jump into the corner with white a is left, and we might say that black is in for an unpleasant fight.

Diagram 7 Black 2 & 4 are a finesse [tesuji]. With the moves from white 5, both sides are propelled by the impetus of the situation. White 7, black 8 & 10 are all good moves. Black's aim is to play 12 & 14, but white dodges the attack with 15. According to the board situation, this variation is possible, but it is a burdensome one for black. White's fencing in move at a, and capture at b, both threaten black. The upshot is that Diagrams 3 & 4 represent the best variation for both sides.

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Model 15 White answers the two space pincer of black 1 with the diagonal jump of 2. This cannot be called a trick play.

It is a fine, upstanding joseki. However, a mistaken response will land black in a trap. Positions centering on the 3-4 point often give rise to this kind of trick move: where, even if the opponent an-swers correctly, one suffers no loss.

One's first impulse is to strike out be-tween white's stones with black a but...

Diagram 1 Without a doubt, black swal-lows the bait by playing 1. But if white

pushes up vigorously with 2 and the following, black gets a sufficient result with the extension to 7. This will not happen, though. For black to envision this result is evidence of a fundamentally one-sided reading of the situation.

Tricked 1 When black plays 1, white dodges with 2. With this, black has truly been tricked.

After black 3, white seals black in with 4 through 8.