:: Igo Hatsuyôron 120 (2015)

Variations of Our Solution (II)

VAR (F)

(Referenced by 174; 413; 413; 814; 1173)


: ( 432)
This is the strongest move in the upper left corner, according to Yoon YoungSun 8p. It is the first example of a move, which immediately forces Black to make two eyes for his upper right group.

: (A 437)
This move provides the strongest resistance by Black.

But even if Black's answer is more docile - at - White seems to be unable to win.

: (A 461; B 462)
White is in a dilemma now. She must capture Black stones on the upper side () as well as save her stones on the left side (), because she will be unable to get Black's partial group in the top left corner (). But she will not be able to occupy both points of , and . Capturing these two groups of stones, or letting them escape, seems to be a kind of miai, and of approximately equal value.

We try the move of here, which is sente locally, but perhaps it might be better to immediately continue with , or .

:
Black's top left corner is already safe, so the left edge is larger than the upper one.

:
The moves from here on follow the suggestion of Michael Redmond.

Please note that was sente to the left.

:
White must secure independent life for her group on the upper side. She will lose, if she is forced to capture Black's centre group.

:
This is better than playing at , instead.

: (119 463)
White may also play at , instead, achieving the same result as in this line of play here.

: (120 464)
If Black plays at , instead, White will insert the forcing moves in the centre, and then take the point of , to get the same result as here.

:
According to Michael Redmond, can be called one and a half points, and is larger than , or , which are one and a third points. The very small difference emerges as a final ko, but White cannot win it.

:
Black has seven ko-threats ( - ) against four ko-threats for White ( - ), so Black will win the final ko.

:
For the sake of simplicity, White simply makes boundary plays here.

Black wins by five points.

Copyright © 2016 Thomas Redecker.

Design by Jan van Rongen, modified by Thomas Redecker.

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