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An Introduction to Go.swf

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"If there are sentient beings on other
planets, then they play Go."
— Emanuel Lasker
World Chess Champion, 1894-1921

GARRISON

M U L T I M E D I A

M U L T I M E D I A

M U L T I M E D I A

The Wonderful
World of Go

The Wonderful
World of Go

Introduction

Introduction

Equipment

Equipment

The Rules at a Glance

The Rules at a Glance

Basic Strategy

Basic Strategy

Common Patterns

Common Patterns

...and Beyond

...and Beyond

Credits

Credits

COUP

THE

Hi, I'm Zyke, star of the
underground comic 11:59.
I'm here to tell you all about
the magnificent game of Go.

Press that little right
arrow at the bottom of the
screen to move on.

C

C

Well done! Getting around this
program is easy — just click on
the right arrow to go forward,
the left arrow to go back.

Fans of the anti-
copyright
movement will
recognize the
symbol in the
lower left. But in
this case, clicking
on the backwards
C will take you
back to the Table
of Contents.

They say Go is the oldest board
game still being played today.
One legend claims that the game
was invented by an advisor to the
first Chinese emperor.

Today, it's estimated that
over 50 million people
play Go in Asia alone!
And thanks to movies like
A Beautiful Mind and Pi
(not to mention a cartoon
called Hikaru no Go),
Baduk (as it's known in
Korea) is becoming more
popular in the U.S. and
Europe, too.

CIBO
MATTO

Ah..
Question?

Hey, look, everyone! It's
Socrates, my co-star on 11:59.
Say hi to the people, Soc!

Yeah, hey.
What up.

So what's your
question?

SCRIPT

A good
question!

Okay. What makes Go (or We'i Chi, as
it is called in China) such a great
game? Why should I spend my time
playing it, instead of chess or Halo?

FUSEKI

There are
several
reasons
Go is so
popular.

Go (Japan)

Wei Qi (China)

Baduk (Korea)

First of all, it's very elegant. Go is a
beautiful synthesis of wood and stone,
white and black, offense and defense.
Watching two skilled individuals play is
almost like watching two people dance.

Mm-hmm.

Hey, that's my cue.
I'll catch ya later.

Hey Soc! Gimme a teaching game!

Okay. See ya.

Go also features a superb handicap system, which
allows beginning players to have enjoyable
games with more experienced opponents.

But most importantly,
Go is FUN! It's a game of
building, fighting, and
scrambling to stay alive.
No other game combines
such intense thought and
constant enjoyment.

So what are we waiting for?
Let's move on already!

THIS WAY TO THE

EQUIPMENT

This is the goban, the
board on which we play Go.
It contains 19 vertical lines
and 19 horizontal lines.

The little dots are called
star points, or hoshi.

Other common sizes include
9 by 9 and 13 by 13 boards —
these are used for shorter
games with less complexity.

The only other thing we need is
stones! Glass stones are cheapest
(around $20 online), but high-
quality shell and slate pieces can
cost hundreds of dollars.

Gobans are made of wood,
usually solid cuts like kaya or
pine. A good board makes a
satisfying "whack" when the
stone is slammed down.
(Click the stone for a sample.)
A decent board goes for
around $60-300.

Some people make their
own gobans. I did! It's not
too difficult; the materials
come to about $30 at your
local hardware shop.

Note: A photo of the author's board was
not available. This image comes from:
http://eric.vales.free.fr/PagesHtml_gb/goban/goban.htm

Many players keep their stones
in fancy wooden bowls. (But
some of us just use cheap
plastic containers — besides,
they're easier to carry).

The Internet has made Go more available than
ever. Of course, the online Go experience is
completely different from that of a real, live,
face-to-face game. We'll get into that later.

But now it's time for the rules!
Let's        !

CLICK HERE TO FINALLY
LEARN HOW TO

PLAY

There are only a couple of actual
rules in Go. Part of the game's
beauty is the way it begins so
simply, and becomes very complex.

Unlike Chess or Othello or Checkers or ... well,
most every game I can think of played on a board
of squares, Go stones are placed not inside the
boxes, but on the intersections of the lines.

Once a stone is played, it
does not move during the
game (unless it's captured;
we're getting to that).

Black and white take turns, placing one stone
each time. A stone may be placed on any vacant
intersection — with one exception, which we'll
explain later.

A stone by itself on the board has
four intersections radiating out from
it — these are called its liberties.

1

2

3

4

Notice, however, that a
stone on the side of the
board only has three
liberties, while a stone in the
corner has just two.

This makes for some
interesting situations.

If all of a black stone's liberties are
filled by white stones, then the black
stone is captured!
(Of course, the same is true if we reverse colors.)

White takes the black stone off the board
and keeps it until the end of the game.
(Side note: When four stones surround an empty
intersection, the shape is called a ponnuki.)

When black's stone has only one liberty
remaining, it's called being in atari.
(Yes, this is how the video game company was
named — the founder was a Go fan!)

To keep his stone from
being captured, black can
play right beside it, saving
the stone from death.

These two stones are now a group. They will remain
connected for the rest of the game — they will either
be on the board together at the end of the game, or
they might get captured together. This group now has
three liberties.

Two stones ONLY form a group if they are joined by a
horizontal or vertical line. A common mistake among
beginners is thinking that two stones diagonal to one
another are connected. They aren't!
(In a way, the bottom stones are sort of connected, but we'll get to that.)

CONNECTED

NOT CONNECTED

As I said, a group can be captured, just like a single
stone! And just like a single stone is in atari when it has
only one liberty left, the same is true of a group.
Now it's your turn! Black needs to save his group from
being captured. Is your best move A, B, or C?

A

A

B

B

C

C

D'oh! That's the wrong move. Now white can play at B
and capture the entire group! Go back and try it again.

Hurray! Way to go! That's
right — when a stone or a
group is in atari, the way
to save it is to extend.

Notice that this is
also where white
would play in order to
capture the group.

We've come to the first of
many Go proverbs:
Your opponent's good move is
often your good move.

As we'll see in a moment, the
object of Go is not capturing,
but making territory.
Still, capturing (and avoiding
capture) is a big part of the fun.

So now may be a good time to play around with the
concept, using a game called AtariGo (sometimes
called Capture Game or First Capture).
The first player to capture an enemy stone (or group)
wins. Try playing it here — I'm not going anywhere!

http://igo.resurse.com/Java/Goapplet.html

Okay, let's take it to the next
level. Look at this group; how
many liberties does it have?

If you said 12, you're close!
But you forgot to count the
one in the middle.

5

6

7

8

9

10

11

12

When a group of stones surrounds
a point like this, it's called an eye.
Eyes are very important.

Black cannot play inside white's eye.
Doing so would be suicide, and
suicide is not allowed in Go.
(Some people have weird rules where suicide is
permitted, but it's very rare.)

If black wants to capture this group,
he must first surround the whole
structure, putting it into atari (the
liberty in the middle is the only one
the group has left).

Now black can play in the center...

And take all of the white stones.

This may look like suicide,
but it's not, because black
kills white. This is the only
time black can play inside
an eye.

When white's eye is
surrounded, there is no way
for her to escape atari.

Obviously, she has to extend
before she is surrounded.

Now look at this group. Can you
see where this is headed?

Suppose black surrounds this
white group. Which move will kill
white — A or B?

If you got frustrated and shouted
"neither one of them will kill," then
good for you! They're both suicide!

Trick
Question!

Trick
Question!

When a group has two eyes, it is alive
and nothing can kill it. It stays on the
board until the end of the game.

AUUGH!!

Beware the
false eye.
Wooooo!
Beware the
false eye!

Relax, Z. It's just me.

That's not funny,
David.

It was funny to me.

I'm going to get a
clean pair of shorts.

Boy — I've heard of
white flight, but this
is ridiculous!

zip

MOS
DEF

Hi, folks. I'm David,
another member of
the 11:59 cast.

I'm here to talk about a
subject that Zyke usually
forgets — the false eye.

As you've seen, a group of stones
which completely surrounds a
point is called an eye.

But if the enemy can occupy two of
your eye's corner points, then it
becomes a false eye.

False eyes are bad, and here's why.
Suppose black has a false eye here,
and white wants to capture the group.

As soon as white surrounds half of the
false eye, black is in atari. Now black
has to connect to save his stones.

Black now has a thick, dense, heavy group
of stones with no eyes. (We'll talk about
heavy vs. light stones in Section Four.)

False eyes are even more dangerous when
you're trying to make two eyes.

Let's say white has surrounded
this black group and manages
to make its second eye false.

If white then puts the marked
black stone into atari, black
must connect to save it.

But look what happens when
he does — now the whole
group is in atari!

If a group has one real eye and one false
eye, it only has one eye. Can you see how
white can kill this group?

Here's what it looks like when white
surrounds the whole group. Now if black
connects to save the marked stones..

White has surrounded black
and killed it. Just like they did
to Fred Hampton.

Playing Go is all about reading ahead to see what will
happen to a group or a shape. As soon as white makes
black's second eye false here, black needs to start making
another eye, or connecting this group to another one.

Well, that's about it for false eyes. Umm..

A few frames ago. I
was telling these people
about false eyes.

Hey there, D. When
did you get here?

Have you seen
Zyke? I'm done here.

Good. You wanna have
a game?

I think he's still in
his dressing room.
He should be out in
a minute.

visit
garrisonmedia.com

I'm so sick of you white
people who want to be black.

Okay, but I'm taking
black. You stomped
me bad last time.

Yuk
yuk

What are you two
doing here? Who's
on stage?

Whattya mean,
nobody!?

Hey! I'm back!
Here I am!

PUBLIC
ENEMY

There was a problem in
wardrobe and I had to get a
different shirt, and — you
know, it doesn't really matter.

What's this
crap? Let's just
take that down.

Territory! Go is a
game of territory!

At the end of the game,
whoever surrounds the most
territory is the winner.

Let's see..
Where are we?

Let's look at a
sample 9x9 game.

Suppose the board looks like
this at the end of the game.

White has surrounded the
left side of the board, so
that's her territory.

Black has surrounded
the right side.

Each intersection
inside white's territory
is one point (or moku,
as they say in Japan).

9 + 9 + 9 + 3 = 30

So in this game,
white has 30 points.

4 + 9 + 9 + 9 = 31

Black has 31 points, so
black wins by one moku.

Now you may be
asking yourself:
"What was all that
stuff about groups
and eyes? All I see
here are two walls!"

The truth is that this is a
very artificial game ending.

The end of a game
comes when a
player, satisfied
that there are no
good moves left,
passes.

If the other player also passes,
then the game is over.

Should black be worried?
Probably not.

But suppose white, having
counted the score in our
sample game here, realizes
she will lose and decides to
play inside black's territory.

Now white has 32 points, and
black has only 21!

The only way white
can affect the score at
this point is if she can
make a group with two
eyes, like this one.

But how likely is it that
white can make such a
group? Not very likely.

For every stone that white plays, black
gets to play one, too. And it takes space
to make two eyes.

If black blocks here,
white's choices are
pretty limited.

White's only real hope is to capture a
black stone or pray that black makes a
dumb mistake.

Instead, white should
realize that she can't
make a living group and
pass.

At this point, black takes the marked
white prisoner and places it inside
white's territory.

Each player now has an
additional piece inside
their territory, which
means black still wins.

Don't worry if this all seems confusing.
Once you play a game or two, these
things will make more sense.

But first, we have one more
rule to cover: The ko.

In the next section, we'll
take a look at a complete
game, so you can see how
play develops.

Let's say this situation comes up on the
board. Black has a white stone in atari,
so on his next move, he captures it.

But check it out — now
black's stone is in atari!

So on her
next move...

White captures again.
Now black has a stone
in his grip, so...

Black captures! Then...

White captures! Then...

White captures!

Are we
having fun
yet?

Hopefully, you can see the pattern
emerging here. If we let them, these
chowderheads would go back and forth
forever, without accomplishing a thing!

Just like
the U.S.
Congress!

So to prevent this kind of silly
nonsense, the ko rule was
developed. Here's what it says...

If a player captures a stone in such a
way that her capturing stone is
immediately in atari, the opponent may
not capture her stone on his next move.

Simple,
right?

Here's what it means: When white
captures here, black can't re-
capture on his move; he has to
play somewhere else on the board.

That might not
seem like a
big deal here.

But suppose we have
something like this!

Unless black captures
the marked white
stone, white will
capture even more
stones, and take
several prisoners!

Black has to do
something to keep
white from playing in
this area.

Fortunately for black,
most games of Go
have many battles
going on at once.

Let's say that white almost has
two eyes in this shape to the
right. But black plays the marked
stone, threatening to make one of
the eyes false.

Now, if white doesn't play at A,
black will play there, reducing the
group to one eye (which probably
means the white group will die).

But of course, if white plays
at A, she can't play on the
left, which means black can
capture white's stone.

Black's move here is called a ko threat.
The goal is to force white to respond,
allowing black to take the ko.

Assuming white does save her group...

Black takes the ko. Now white
must find a way to threaten black
so he doesn't connect his stones.

Again, don't worry if this seems
bewildering. After you play some
games, it'll make more sense.

That's it!

You now know all the
basic rules of Go!

But be
careful!

Knowing the rules and
thinking you've mastered Go
is like learning the alphabet
and thinking you're ready to
write a book.

Lots of people play Go their
whole lives and still find a
challenge around every corner.

Sakata Eio
b. 1920
7 Time Honinbo
Title Winner

Sakata Eio
b. 1920
7 Time Honinbo
Title Winner

And that's part of what
makes it so much fun!

Wow, half a moku
— nice job!

Yeah, this corner
here did it, I think.

Wanna play
another?

CLICK HERE
TO GET INTO

STRATEGY

Listen — I think Soc and David
are about to play another game.
Let's take a look and see if we
can get a sense for how a game
of Go really works.

Okay, but I gotta
go to work soon.
Let's have a nine
by nine.

Yeah, sure.

This is the hand of
God as Michelangelo
painted it.

In the world of Go, the
hand of God is called
kame no itte, and it
refers to the perfect
move on the goban.

Because of Go's
complexity, it's very
hard to tell what the
perfect move is in a
given situation.

Still, the quest to master
Go is a quest to achieve
the kame no itte and
play each stone in the
perfect spot.

Let's watch Socrates
and David play a
game and see what it
looks like.

Folks, maybe you could
make some comments
as you play.

Why,
certainly!

First, we need to
decide who will
be white and who
will be black.

Obviously, Soc is white and I'm
black, but we already made that
joke in the last section.

When it comes to
which stones
we'll use, this is
how it works.

The stronger player takes white;
if the difference is large enough,
black will take a handicap.

But since Soc and
I are about equal,
there's a small
ritual we do here.

It's called ngiri.

Here's how it works: The player closest to the black
stones (in this case, Soc) picks up a handful of stones.
The other player tries to guess whether she's holding
an even number or odd number of stones.

If I think she's got an odd number, I put one white
stone on the board. If I think it's even, I place two.

Now, I happen to know that Soc here
is pretty odd, so I'll place one stone.

If I guess correctly, I get to be black — which means I
go first. If I'm wrong, Soc is black.

Soc will now reveal how many
stones she has in her hand.

I said—

I heard you.

Well?

I'm just trying to build
a little suspense.

Four. Dammit! That means I
lose and I have to be white.

Just like Colin—

Hey, c'mon. This is
supposed to be a
non-political comic.

Yeah, whatever.

It's customary for black to place the first stone
in the corner furthest away from her, on the
right. Part of this is tradition, but there's also
a strategic reason that play begins in the
corners. Zyke, can you tell us more?

Sure thing, Dave.
Notice that it takes eight
stones to completely
surround a point of
territory in the middle.

But on the side, it only
takes five. And in the
corner, Just three!

The stones
needed to
surround two
points are even
more dramatic.

10

4

6

You get the idea: The corner
is the easiest place to make
territory, followed by the
sides, then the middle.

Which brings us to Go
proverb number two:
The corner is gold, the side is
silver, and the center is grass.

As a result, most
games develop in
that fashion.

Back to you, guys.

Thanks, Z. What
is this, World
News Tonight?

Now, a 9 x 9 game is very
different than a game on a
13 x 13 or 19 x 19 board.

Hmm.

In fact, many people who
teach Go — myself included
— think it's best to get right
into larger-board games.

For this demo, however, it would take a very long
time to walk you through a full 19 x 19 game; and
we're really busy people, you know.

Let's look at the
board so far.

Next move:
White

Captures

0

As you can see, black has played in the bottom corners,
and white on the top. Of course, this doesn't necessarily
mean we will be able to surround those areas, but it tells
the opponent: I was here first.

Hmm.

Black's three stones form what's called a moyo — an area
of influence that black hopes to make into territory.

And white has a moyo on the top.

I should point out that what we see here — long periods
of thinking — are part of the game. If you're impatient,
Go is definitely not for you.

Some people use time limits so that the game doesn't
go on forever, but for most informal face-to-face
games, clocks are mostly a hassle.

Instead, a player takes the time she
needs, while showing respect for her
opponent by not taking too long.

Go is all about tradition and respect.
A player must have respect for the
game and for his opponents.

David is trying to decide how he should respond
to the last stone black played, this one here.

This is a common response — it blocks
black from moving into the corner.

The problem with that move is that it
allows black to move here.

If black can do that, then his moyo
becomes larger and harder to break up.

This is another common way for white to play.
It's more aggressive, since it threatens to
move into black's bottom moyo.

Of course, now black is free
to move up into the corner.

This process of thinking ahead — asking yourself: "If I
play here, where will my opponent play?" — is called
reading, and it's essential for playing Go.

Every move you play has advantages and drawbacks.
The trick, obviously, is to find the move that has the
most positives and the least negatives.

This black stone actually has two big
advantages: It attacks white while expanding
black's moyo. That makes it a multi-purpose
move, and those are the best moves of all.

By the way, you may have noticed that we've been
mixing up the use of "he" and "she" when we talk about
players. Traditionally, we refer to white as she and
black as he.

Ooo! He's
going to play!

I feel like being aggressive, so I'm blocking down.

Incidentally, this is the correct way to
hold a Go stone, according to tradition.
The index finger goes below the stone;
the middle finger goes above.

Next move:
Black

Well, I guess I have to
play here now.

Can you see why I
have to play there?

Of course. You—

Not you, Mr.
Funny Man.

Let's say I play down
here instead.

Now white can play in
that spot, and he gets
the best of both worlds.

Not only that, but black's stones on
the bottom are now a bit heavy.
Zyke, would you care to say a few
words about light vs. heavy stones?

The
God of
Small
Things

No.

Hey! Let's talk about
heavy and light stones!

Take a look at this 9 x 9
board. Black and white have
placed four stones each.

But look at the small area
that black has reached into.
His stones are solid and
connected, but they're
packed into a small space.

So we say
they're heavy.

On the other hand, notice
how white's stones are
more spread out. They're
loose and unconnected,
but they cover a larger area.

So we say
they're light.

Of course, this is just a brief introduction to the
concept. To make sure we really understand it,
let's take a look at seven or eight more examples.

And now, back
to the game!

Thanks, Z. Since Soc responded to my move in the
corner, I was able to take the initiative and move
wherever I wanted. The term for this is sente.

The idea of sente can be tough to grasp — basically, it
refers to any situation where you have the freedom to
play in another part of the board.

Let's look at
the board.

When Soc played here, I had a
choice: I could continue to play in
this area, or play somewhere else
that seems more urgent.

I don't like this big moyo that black is
making on the bottom, so I decided to
play down here in order to break it up.

Playing in a spot other than the current
battlezone is called tenuki.

But when we're playing on a larger board (especially
the regulation size 19 by 19), it can be hard to pull
back and look at the entire playing area.

It's easy for us to get tunnel-vision. That's
why Go proverb number three says:
Tenuki is always an option.

Uhh, Soc?

Hang on a second. I want to see if the people
at home can guess where I will play next.

Here's a hint: I must respond
to white's last move.

Suppose I don't respond and
instead, I play up here.

Now white can play here.
Black is in atari. Can I save it?

Well, let's say I extend.

White will play here...

And black has been caught.

Even if black plays here, the
group still only has one liberty.

It's true that white's stone is
also in atari, but that doesn't
matter. It's white's move, so...

She captures them all.

So in this situation, I have to
defend my black stone.

This is a good way to do it.

But this is even better. Do you
see how this protects me?

White can't play here, because
doing so is auto-atari.

Black will just take
immediately.

And white can't play here, for
the same reason.

This formation of stones is
called the tiger's mouth.

In some ways, it's not as safe
as the solid connection...

But it's more spacious. And that
could come in handy when it's
time to worry about making eyes.

Your turn, D.

You really observant people
may be able to see where my
next move will be.

If you guessed here,
good for you!

It's the same reason Soc
had to protect her stone.
Let's take a look.

Suppose I play up
here...

Now black can cut
off my white stone.

It's true that I have more
options than black did...

But my goose is still
cooked. Can you see why?

See if you can read out why white
can't save the marked stones.

If white plays here...

Black can play here.

White is in atari, and
can't escape.

The same is true if she descends
in the other direction.

Suppose white tries a more
aggressive approach?

No good. Black plays the atari and
white is captured.

There's no proverb
about it, but a good
rule of thumb to
keep in mind is this:

A stone by itself on
the second line with
only two liberties is in
a lot of trouble.

So playing here is
important, to keep
that from happening.

Your move, Soc.

Well, I want to
protect my corner,
so I'll play here.

Now, if black plays
here, then her stones
are all connected.

Maybe I should play there
first, since my whole reason
for playing in this area was to
split her stones apart.

But that's a pretty small
move, so instead I'll take
sente and move up here.

You may recall something
Zyke said earlier about two
stones in this diagonal
arrangement.

They are not physically
connected to each other. But
as long as you keep track of
your opponent's moves, they
have a kind of assumed
connection.

Look at it this way: If black
goes here, where can white
play to make a connection?

Simple, yes?

And if black goes here?

Piece of cake.

Therefore, these stones are
connected by an if / then
assumption: If my opponent
plays at A, I can play at B. If
she plays at B, I can play at A.

If two different points on the
board will achieve the same
goal, they are said to be
miai. In this example, A and
B are miai.

Your move, Soc.

Well, you broke up my
moyo, so I'll try breaking
up yours.

Hmm. Well, I can't let
you link up here.

I think I can make it out
with this.

Hmm.

I think this is
white's best move.

Ha!

See that, kids? I distracted
Dave so that he forgot about
keeping track of the miai.

But apparently Soc
forgot that I have an ace
in the hole here.

Or maybe not.

Hmm.

This is getting kinda complicated!

I guess I have
to capture.

1

Let's see what
this gets me.

Uh oh.

Aw, crap!

David just won.

Here's why.

These black stones
aren't connected to
any other group.

So in order to make
them live, I needed
to make two eyes.

But when white
played here, that
became impossible.

If you're just learning
how to play, it may
be hard to see why.

Let's say black plays
here, in an attempt
to capture white.

White will probably
play something like
this.

Black might try to
make enough room
for two eyes...

But white can keep
black from doing so.

Even if black
does this...

And white
connects...

Once I capture,
black still only
has one eye.

Which is the
same thing as
being dead.

If black had played
here first, the group
would have lived.

For those of you who
don't believe me...

Bam! Two eyes.

Because this point determines
whether the group will live or die, we
call it the vital point for the group.

Now, because my group up top there is dead,
that means that, at the end of the game, all of
those stones will be put into black's territory.

Let's finish up and show them
what that would look like.

Okay.

2

This point is between the black
and white walls. Going here
won't benefit either side, so it's
called a neutral point, or dame.

It doesn't matter who fills
it, so I'll just play there.

But there's nowhere I can
play that will do me any
good, so I'll pass.

I'll pass too. Since both
players have passed, that
means that the game is over.

Game over

Now if I had captured
anything, we would take
those white prisoners and
put them in white's territory.

But there are no white
prisoners, so instead we take
all the black prisoners and fill
them into black's territory.

Which means black's
total score is one.

Except that during the game,
white captured two black
stones. When we fill those in,
black's score becomes...

...negative one.

Now, I knew the score would be pretty
bad; that's why I resigned when I did.

Knowing how to resign with honor can
be an important part of the game.

Partly for your own ego, so you won't have
to face a score like negative one...

...but knowing when to resign also
shows respect for your opponent.

Continuing to play a game that you've clearly
lost, in the hope that your opponent makes a
mistake, is very disrespectful.

Thank you for
the game.

Thank you.

At the end of each game,
it's customary for you to
thank your opponent.

That's it — you've seen
a full game. What's
next, Zyke?

ZZZZZZZZZ

Ow!

POP

Huh? What?
Oh, right.

Now that you've seen some
of the strategic concepts,
let's take a look at some
common patterns that will
come up as you start to play.

CLICK HERE TO
LEARN ABOUT

PATTERNS

Those of you who have
played a little Go already
know where this is headed.

The first pattern we're going
to look at is called the ladder.

crash

Suppose this situation
comes up on the board. How
can white save her stone?

If you said white should
extend, then good for you!

But by playing here, black
can put white's group into
atari again!

So white has to
extend again.

But black has another
atari move here.

So white has to extend
once more.

But it appears that black
has the upper hand.

Hopefully, you can see
the pattern emerging.

Black puts white
into atari...

White extends...

And white is
caught. Even if she
extends here...

She's still in atari.
Black can just
capture them all.

Ouch.

Before she invests all these
stones trying to escape,
white needs to realize that
it's a lost cause.

So back at this point, white
should just give up the stone.

The ladder — or shicho, as the Japanese
call it — is probably the most common
pattern in Go. Not because they're
played, but because they're read out.

Suppose white has a stone
here. Now can black still use the
ladder to capture the stone?

Let's try it and see.

Uh-oh! Now white has more
than two liberties. There's
no way black can put her
into atari on the next move.

Suppose black tries to
surround white anyway.
Can you see why black is in
major trouble?

Now black is the one saying
ouch. White has scored a
double atari.

Even if black saves one of
the stones...

White captures, and
the marked stone is
as good as dead.

And look at all the
other black stones that
are in danger of atari!

So when we're starting out, the
marked white stone is known as
a ladder breaker.

If there's a breaker in the way of
the ladder, then black has to
give up the idea of capturing.

If black plays the
broken ladder out, he
gets overextended and
white will be able to
capture several stones.

As I said, the shicho usually isn't played
out. Instead, players ask themselves: Will
the ladder work for me? Or will a ladder-
breaker get in the way?

Hopefully, you can see why a black
stone in the way of the ladder will
only help the ladder succeed.

I think it's time to talk
about another pattern
called the net.

Get it?

They got it. Get
this thing off me.

Behold the net, or geta as
they say in Japan.

The black stone is trapped.
No matter what he does,
white can capture him.

If he moves up...

White blocks. Now
black is in atari.

Even if black tries
to run...

White blocks again,
and captures.

Like every pattern in Go,
there are situations where
the net won't work.

If black has stones here, for
instance, the stone in the
middle can escape. Watch.

Now white is in atari.

She has to extend...

...and black can escape.

Let's see, what else?

stuff
to
talk
bout

I guess it's time for life and death!

When a group has two
eyes, it's alive.

Notice that, relatively speaking,
it's much easier to make such a
group in the corner.

Let's look at some variations
on this theme.

You already know that if white makes
only one eye — and that eye is
surrounded by black — white dies.

Suppose white surrounds two points
of territory. Can she make two eyes?

The answer is no. A two-point eye is the
same as a one-point eye; white is dead.

Here's why.

Black can play inside white's territory.
It's not suicide, as you can see. And
black's move puts white into atari.

White has to capture the black
stone, which is itself in atari.

Of course, when white does capture, look
what happens — she's now in atari!

Now black can take the whole
white group.

This stone that black throws
into white's space is called —
strangely enough — a throw-in.

And a move where a player
captures a stone (or a group),
only to find his own group in
atari, is called a snapback.

Continuing with the pattern: Suppose white
surrounds three points of territory. Is the
white group alive or dead?

The answer is:
It depends on whose turn it is.

If white goes next, she can play
here. Now the group has two eyes.

But if it's black's turn, he can play in
the same spot and kill the group.

Just for the benefit of those who
have trouble visualizing it...

If white goes after the black stone,
she puts herself into atari.

And if she plays somewhere else,
black can put her into atari...

If white captures, we're back to the
two-space eye.

Most of the time, it will be black's move
once white finishes surrounding the three
points, so many people just think of the
three-point shape as being dead.

Because the point A is the spot where white
plays to live (and black plays to kill), it's called
the vital point — you may remember Soc and
Dave talking about this in the last section.

By the way, the middle spot is always
the vital point for any three-space area
that has been surrounded. Notice what
happens when it's a bent three.

Here, white has surrounded four
spaces in a row. Will she live or die?

The answer: A group that surrounds
four points in a line is always alive.

Why? Because A and B are miai for
life. You remember miai, right?

If black goes here...

...white goes here.

And vice versa.

I hear some of you asking:
What about a bent four? Well...

In the middle of the
board, a bent four is alive.
A and B are miai for life.

In the corner, it
gets a little tricky.

Black can play
here...

...and this is white's
only real response...

...black captures, and
starts a ko fight.

That's pretty advanced stuff; don't worry
about that too much. Just remember that
four spaces in a straight line = life.

And of course, the same is true for five,
or six, or eleven spaces in a straight line.

Don't worry! There's
just a few more left!

This shape is called the
bulky five. It works like the
three-space group.

White can play
here and live...

...or black can play
here and kill.

Do you see
how black kills?

Suppose white
plays here.

Black will play
here...

And now white is stuck. If
she plays at either A or B,
she'll put herself into atari.

So now black can
play here...

...and white is in
atari, so she has
to capture.

But — whoops!
When she does,
she's left with the
three-point shape.

And since it's now
black's turn, the
whole group is
dead.

And finally, we have the
rabbity-six. This is the
largest major shape
with a vital point.

And here it is. Once
black plays at this
point, white is dead.

Whew! Those are all the major
life and death shapes.

Of course there's a lot
more to be said about
life and death —
there are dozens of
books about it — but
for an introduction,
that will do.

There's one more set of
patterns we have to talk about.

We said before that the stones don't
move during gameplay. But by using
certain patterns of arrangement, we
can mimic a kind of motion for our
stones and groups.

Let's start with a single
stone on the board.

When black places a
stone one space away,
it's called a one-point
jump, or ikken-tobi.

The ikken-tobi is a very
popular move. In fact, the
Go proverb says:
Ikken-tobi is never wrong.

The ikken-tobi is light,
but it's not 100% safe.
If white tries to play in
the middle...

Black can put white's
stone into atari.
Assuming white saves
the stone...

Then black has to
decide which
stones to connect.

Of course, that still
leaves one cutting
point.

The safest move is this
one, which is called the
iron pillar. The
downside is that it's
heavy and slow.

The diagonal move, as we
said before, is connected via
the miai points A and B.
However, like the iron pillar, it
doesn't cover much ground.

This is the keima, or
knight's move. (It's two up,
one over — like the way a
knight moves in chess. You
got that, right? Good.)

The keima is light — it
covers ground quickly.

How strong is it? Well, that
depends on the ladder. If
white wants to cut the keima
apart, she has to strike here.

Black will move up...

...and white has to cut.

Now, if there is no ladder breaker
present, black can use the ladder to
trap the white cutting stone.

But be careful when using the keima!
If white has a stone here, she can cut
black apart. How, you ask?

Bam! Black is now in atari and he
either has to extend to protect his
stone, or let white have it.

Okay, let's stop here. It's getting
late and we've covered a lot.

But don't worry! There's plenty
more information available, if you
know where to look!

CLICK HERE TO FIND
OUT WHERE

TO GO NEXT

dead prez

For a long time, finding
information about Go has been
very difficult for those of us
who don't live in Asia.

CHESS

CHESS

how to play

CHESS

GAMES

Basics of Go

A trip to the local bookstore in
search of Go materials is
usually an exercise in futility.

If you can find it (you might try
an inter-library loan from your
local public library), check out
Lessons in the Fundamentals
of Go by Kageyama Toshiro.

He does a good job of
covering the essentials,
especially the things you
need to know once you
get past the "total
beginner" stage.

James Davies — along with a host
of Japanese players — wrote the
Elementary Go Series, which may
be the most complete set of books
in English about Go.

There are
seven books
in the series.

INTERNET
AUTHORIZED
PERSONNEL
ONLY

These days, of course, we
also have the Internet...

...which has brought vast
new resources for Go
fans around the world.

C'mon, I'll show you some
good sites to check out!

OPEN
Please
Come In

Sensei's
Library

This is Sensei's Library.
I'd say it's the best place
anywhere on the web for
information about Go.

http://senseis.xmp.net/

SL has a great section for
beginners, lots of reference
info, and links to hundreds of
other Go websites!

Kiseido

This is the website for Kiseido,
which has become a leader in
Go publishing. They reprinted
the Elementary Go Series, which
was out of print for a while.

http://www.kiseido.com

If you're looking for people who play Go in
the U.S. or England, you'd do well to start
with the American Go Association and
the British Go Association, respectively.

http://www.usgo.org

American Go Association

http://www.britgo.org

British Go Association

They each maintain lists of
individuals and groups in different
areas who play Go.

Of course, Go is everywhere. And the
Internet is making it easier than ever to find
other Go fanatics. Here is a very thorough list
of Go clubs and groups around the world.

http://senseis.xmp.net/?GoPlaces

But one of the best things about the Internet
is that we can actually play Go online!

MEMBERS
ONLY

PUSH

Many people enjoy
playing here at Yahoo.

http://games.yahoo.com

THHHBBPPT!

I don't care much for
Yahoo. It's filled with...
well, yahoos who don't
have much respect for the
game or other people.

Here we go! The Internet Go
Server, or IGS, is the largest
English-language Go salon on
the Net. People here take Go
more seriously, and most of
them play with respect.

http://www.pandanet.co.jp/English/

IGS

But for beginners, there's
probably no better place to
play online than here at the
Kiseido Go Server.

http://kgs.kiseido.com

The KGS interface is great. You can
see a picture of your opponent, chat
during the game, and — best of all —
the software is designed so you can
easily review the game after you're
done. It's a great place to improve.

Art of
Go

Art of
Go

And finally on our whirlwind tour
of Go spots on the web, we have
Art of Go, a site of original Go
artwork. All of the 3D images
used in this presentation came
from this site. Check it out!

http://www.just-text.org/artofgo/

This concludes our show. We hope
you enjoyed watching it as much as
we enjoyed presenting it. Special
thanks to Dave, Dan, James, Matt,
Alexander, Dean, Sal, Rich, and the
rest of the Madison Go Club.

DLF

Thank you and good night.

G'nite!

Peace.

Check it — the guy who made this
thing put a lot of hard work into it.
Make sure you check out the credits.

G'nite.

was written

drawn

programmed

et cetera

by

Eric S. Piotrowski

also

writes  stories
and essays

http://www.just-text.org

designs
websites

http://www.pcite.com

makes
animated movies

http://www.garrisonmedia.com

produces
electronic and
hip-hop music

http://www.ribonucleicrecords.com

works with the
East Timor Action
Network

www.etan.org

This music is from Mr.
Piotrowski's latest album
Chilled Water Plant #3,
available in March 2003.

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Symbol 2241 GraphicUses:2240Used by:Timeline
Symbol 2242 TextUses:103Used by:Timeline
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Symbol 2246 GraphicUsed by:2250 2263 2269 2272 2332
Symbol 2247 TextUses:63Used by:2250
Symbol 2248 GraphicUsed by:2250 2269 2272
Symbol 2249 GraphicUsed by:2250 2263 2269 2272 2332
Symbol 2250 ButtonUses:2246 2247 2248 2249Used by:Timeline
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Symbol 2253 TextUses:63 64Used by:Timeline
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Symbol 2260 GraphicUsed by:Timeline
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Symbol 2262 GraphicUsed by:2263 2332
Symbol 2263 ButtonUses:2246 2261 2262 2249Used by:Timeline
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Symbol 2266 TextUses:63 64Used by:Timeline
Symbol 2267 GraphicUsed by:Timeline
Symbol 2268 TextUses:63Used by:2269
Symbol 2269 ButtonUses:2246 2268 2248 2249Used by:Timeline
Symbol 2270 TextUses:72Used by:Timeline
Symbol 2271 TextUses:63Used by:2272
Symbol 2272 ButtonUses:2246 2271 2248 2249Used by:Timeline
Symbol 2273 TextUses:72Used by:Timeline
Symbol 2274 TextUses:63 64Used by:Timeline
Symbol 2275 GraphicUsed by:Timeline
Symbol 2276 BitmapUsed by:2277
Symbol 2277 GraphicUses:2276Used by:Timeline
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Symbol 2279 TextUses:63 64Used by:Timeline
Symbol 2280 GraphicUsed by:Timeline
Symbol 2281 GraphicUsed by:2284
Symbol 2282 TextUses:63Used by:2284
Symbol 2283 GraphicUsed by:2284
Symbol 2284 ButtonUses:2281 2282 2283Used by:Timeline
Symbol 2285 GraphicUsed by:Timeline
Symbol 2286 TextUses:63 64Used by:Timeline
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Symbol 2289 BitmapUsed by:2290
Symbol 2290 GraphicUses:2289Used by:Timeline
Symbol 2291 FontUsed by:2292
Symbol 2292 TextUses:2291Used by:Timeline
Symbol 2293 TextUses:64Used by:Timeline
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Symbol 2297 GraphicUsed by:2302
Symbol 2298 TextUses:63Used by:2302
Symbol 2299 GraphicUsed by:2302 2397 2400 2401
Symbol 2300 GraphicUsed by:2302
Symbol 2301 GraphicUsed by:2302 2397 2400 2401
Symbol 2302 ButtonUses:2297 2298 2299 2300 2301Used by:Timeline
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Symbol 2304 TextUses:64Used by:Timeline
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Symbol 2310 TextUses:63 64Used by:Timeline
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Symbol 2314 TextUses:64 63Used by:Timeline
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Symbol 2316 GraphicUsed by:2321
Symbol 2317 TextUses:63Used by:2321
Symbol 2318 GraphicUsed by:2321
Symbol 2319 GraphicUsed by:2321
Symbol 2320 GraphicUsed by:2321 2350
Symbol 2321 ButtonUses:2316 2317 2318 2319 2320Used by:Timeline
Symbol 2322 BitmapUsed by:2323
Symbol 2323 GraphicUses:2322Used by:Timeline
Symbol 2324 FontUsed by:2325
Symbol 2325 TextUses:2324Used by:Timeline
Symbol 2326 BitmapUsed by:2327 2333
Symbol 2327 GraphicUses:2326Used by:Timeline
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Symbol 2329 TextUses:63 64Used by:Timeline
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Symbol 2331 TextUses:63Used by:2332
Symbol 2332 ButtonUses:2246 2331 2262 2249Used by:Timeline
Symbol 2333 GraphicUses:2326Used by:Timeline
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Symbol 2335 TextUses:63 64Used by:Timeline
Symbol 2336 GraphicUsed by:Timeline
Symbol 2337 BitmapUsed by:2338
Symbol 2338 GraphicUses:2337Used by:Timeline
Symbol 2339 FontUsed by:2340 2341
Symbol 2340 TextUses:2339Used by:Timeline
Symbol 2341 TextUses:2339Used by:Timeline
Symbol 2342 GraphicUsed by:Timeline
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Symbol 2344 TextUses:63 64Used by:Timeline
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Symbol 2346 GraphicUsed by:2350
Symbol 2347 TextUses:63Used by:2350
Symbol 2348 GraphicUsed by:2350
Symbol 2349 GraphicUsed by:2350
Symbol 2350 ButtonUses:2346 2347 2348 2349 2320Used by:Timeline
Symbol 2351 GraphicUsed by:Timeline
Symbol 2352 TextUses:63 64Used by:Timeline
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Symbol 2364 TextUses:63Used by:Timeline
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Symbol 2372 GraphicUsed by:Timeline
Symbol 2373 TextUses:64 63Used by:Timeline
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Symbol 2375 TextUses:63Used by:Timeline
Symbol 2376 GraphicUsed by:Timeline
Symbol 2377 TextUses:3Used by:Timeline
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Symbol 2381 TextUses:3Used by:Timeline
Symbol 2382 TextUses:72Used by:Timeline
Symbol 2383 TextUses:59Used by:Timeline
Symbol 2384 FontUsed by:2385 2391 2395 2398 2403
Symbol 2385 TextUses:2384Used by:Timeline
Symbol 2386 GraphicUsed by:2389 2390 2393 2394
Symbol 2387 TextUses:63Used by:2389 2390
Symbol 2388 GraphicUsed by:2389 2390 2393 2394
Symbol 2389 ButtonUses:2386 2387 2388Used by:Timeline
Symbol 2390 ButtonUses:2386 2387 2388Used by:Timeline
Symbol 2391 TextUses:2384Used by:Timeline
Symbol 2392 TextUses:63Used by:2393 2394
Symbol 2393 ButtonUses:2386 2392 2388Used by:Timeline
Symbol 2394 ButtonUses:2386 2392 2388Used by:Timeline
Symbol 2395 TextUses:2384Used by:Timeline
Symbol 2396 TextUses:63Used by:2397
Symbol 2397 ButtonUses:2301 2396 2299Used by:Timeline
Symbol 2398 TextUses:2384Used by:Timeline
Symbol 2399 TextUses:63Used by:2400 2401
Symbol 2400 ButtonUses:2301 2399 2299Used by:Timeline
Symbol 2401 ButtonUses:2301 2399 2299Used by:Timeline
Symbol 2402 FontUsed by:2403
Symbol 2403 TextUses:2384 2402Used by:Timeline
Symbol 2404 GraphicUsed by:2407
Symbol 2405 TextUses:63Used by:2407
Symbol 2406 GraphicUsed by:2407
Symbol 2407 ButtonUses:2404 2405 2406Used by:Timeline
Symbol 2408 FontUsed by:2410
Symbol 2409 FontUsed by:2410
Symbol 2410 TextUses:2408 2409Used by:Timeline
Streaming Sound 1Used by:Timeline

Instance Names

"Intro Button"Frame 93Symbol 47 Button
"History Button"Frame 93Symbol 47 Button
"Rules Button"Frame 93Symbol 47 Button
"Strategy Button"Frame 93Symbol 47 Button
"Patterns Button"Frame 93Symbol 47 Button
"Beyond Button"Frame 93Symbol 47 Button
"Intro Button"Frame 98Symbol 48 Button
"Equipment Button"Frame 98Symbol 49 Button
"Rules Button"Frame 98Symbol 50 Button
"Strategy Button"Frame 98Symbol 51 Button
"Patterns Button"Frame 98Symbol 52 Button
"Beyond Button"Frame 98Symbol 53 Button
"Credits Button"Frame 98Symbol 54 Button
"TOC-I-1"Frame 200Symbol 78 Button
"TOC-I-1"Frame 210Symbol 78 Button
"TOC-I-1"Frame 218Symbol 78 Button
"TOC-I-1"Frame 314Symbol 78 Button
"TOC-I-1"Frame 533Symbol 78 Button
"TOC-I-1"Frame 679Symbol 78 Button
"Credits Button"Frame 702Symbol 54 Button
"TOC-I-1"Frame 703Symbol 78 Button

Labels

"start"Frame 3
"music"Frame 4
"menu"Frame 103
"Choice01"Frame 229
"Choice01-A"Frame 230
"Choice01-C"Frame 231
"Choice01-B"Frame 232

Dynamic Text Variables

loadPercentSymbol 4 EditableText""




http://swfchan.com/16/75988/info.shtml
Created: 5/4 -2019 12:49:33 Last modified: 5/4 -2019 12:49:33 Server time: 13/05 -2024 22:22:21