[go]$$Bcm59
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$$ | . . O . O . . . . . . . . . . . X . . |
$$ | . . X O . . . . . O . . . X . . . X . |
$$ | . . X , . O . . . , . . 6 7 . X X O . |
$$ | . . . X . . . . . . . . . . . . O O . |
$$ | . . . X O . . . . . . . . . . . . . . |
$$ | . . . . O . . . . . . . . . . . . . . |
$$ | . . X . . . . . . . . . . . . . O . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . X , . . . . . , . . . . . , X . . |
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$$ | . . . . . . . . X . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . X . . |
$$ | . . . O X . . X X O . . . . . X . . . |
$$ | . . . . . . X O O O . . . X X X O . . |
$$ | . . O , X . X O . X . . O O X O O X . |
$$ | . . . . X O O . . . . O . . O X X O . |
$$ | . . . . . . . . . . . . . . O . . X . |
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$$ ---------------------------------------[/go]
Shape. The continuation gives him a lot of thickness. I don't mind being pressed down here so much because to continue the pushing match just gives him two strong facing walls. I prefer to have better shape for my bottom centre group at the cost of giving him thickness. As someone said to me really, go is about giving the other person 45%. gives the group abundant eye shape as well as threatening to link up with my group on the left side.
$$Bcm59
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$$ | . . O . O . . . . . . . . . . . X . . |
$$ | . . X O . . . . . O . . . X . . . X . |
$$ | . . X , . O . . . , . . 6 7 . X X O . |
$$ | . . . X . . . . . . . . 8 0 . . O O . |
$$ | . . . X O . . . . . . . . . . . . . . |
$$ | . . . . O . . . . . . . . . . . . . . |
$$ | . . X . . . . . . . . . . . . . O . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . X , . . . . . , . . . . . , X . . |
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$$ | . . . . . . 9 . 5 . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . X . . |
$$ | . . . O X . . X X 4 . . . . . X . . . |
$$ | . . . . . . X O O O . . . X X X O . . |
$$ | . . O , X . X O . X . . O O X O O X . |
$$ | . . . . X O O . . . . O . . O X X O . |
$$ | . . . . . . . . . . . . . . O . . X . |
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[go]$$Bcm67
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$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . O . O . . . . . . . . . . . X . . |
$$ | . . X O . . . . . O . . . X . . . X . |
$$ | . . X , . O . . . , . . O X . X X O . |
$$ | . . . X . . . . . . . . O . . . O O . |
$$ | . . . X O . . . . . . . . . . . . . . |
$$ | . . . . O . . . . . . . . . . . . . . |
$$ | . . X . . . . . 2 . . . . . . . O . . |
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$$ | . . X , . . . . . , . . . 3 . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . X . X . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . X . . |
$$ | . . . O X . . X X O . . . . . X . . . |
$$ | . . . . . . X O O O . . . X X X O . . |
$$ | . . O , X . X O . X . . O O X O O X . |
$$ | . . . . X O O . . . . O . . O X X O . |
$$ | . . . . . . . . . . . . . . O . . X . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]
Builds a moyo of my own while putting pressure on his weak side group. A hane at Q15 would be a decent follow-up. I don't think I can kill the group but I can chase it a little perhaps or make him make eyeshape in gote.
Re: #163 Boidhre vs Drewch
Posted: Mon May 28, 2012 10:53 am
by jts
@boidhre
Generally a hane refers to a diagonal attachment move when you're left with a cutting point. The move you're referring to is generally called a "turn". As no doubt knew already, they have slightly different implications.
Re: #163 Boidhre vs Drewch
Posted: Mon May 28, 2012 10:55 am
by Boidhre
jts wrote:@boidhre
Generally a hane refers to a diagonal attachment move when you're left with a cutting point. The move you're referring to is generally called a "turn". As no doubt knew already, they have slightly different implications.
Thanks jts, I did not know the distinction in terms.
Re: #163 Boidhre vs Drewch
Posted: Mon May 28, 2012 10:58 am
by Drewch
$$Bcm67
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$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . O . O . . . . . . . . . . . X . . |
$$ | . . X O . . . . . O . . . X . . . X . |
$$ | . . X , . O . . . , . . O X . X X O . |
$$ | . . . X . . . . . . . . O . . . O O . |
$$ | . . . X O . . . . . . . . . . . . . . |
$$ | . . . . O . . . . . . . . . . . . . . |
$$ | . . X . . . . . 2 . . . . 4 . . O . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . X , . . . . . , . . . 3 . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . X . X . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . X . . |
$$ | . . . O X . . X X O . . . . . X . . . |
$$ | . . . . . . X O O O . . . X X X O . . |
$$ | . . O , X . X O . X . . O O X O O X . |
$$ | . . . . X O O . . . . O . . O X X O . |
$$ | . . . . . . . . . . . . . . O . . X . |
$$ | . . . . . . . . . . . . . . . . . . . |
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[go]$$Bcm67
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$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . O . O . . . . . . . . . . . X . . |
$$ | . . X O . . . . . O . . . X . . . X . |
$$ | . . X , . O . . . , . . O X . X X O . |
$$ | . . . X . . . . . . . . O . . . O O . |
$$ | . . . X O . . . . . . . . . . . . . . |
$$ | . . . . O . . . . . . . . . . . . . . |
$$ | . . X . . . . . O . . . . 4 . . O . . |
$$ | . . . . . . . . . . . 5 . . . . . . . |
$$ | . . X , . . . . . , . . . X . , X . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ | . . . . . . X . X . . . . . . . . . . |
$$ | . . . O . . . . . . . . . . . . X . . |
$$ | . . . O X . . X X O . . . . . X . . . |
$$ | . . . . . . X O O O . . . X X X O . . |
$$ | . . O , X . X O . X . . O O X O O X . |
$$ | . . . . X O O . . . . O . . O X X O . |
$$ | . . . . . . . . . . . . . . O . . X . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]
Reduces his moyo, sketches out something of a framework for myself, though I will have to reduce the bottom "moyo" (I'm not sure if it is one) to finish the job. I have the ladder in case he tries to cut the knight's jump.
Posted: Mon May 28, 2012 11:47 am
by EdLee
Boidhre,
Boidhre wrote:A hane at Q15 would be a decent follow-up.
jts wrote:Generally a hane refers to a diagonal attachment move when you're left with a cutting point. The move you're referring to is generally called a "turn".
Boidhre wrote:Thanks jts, I did not know the distinction in terms.
You probably already know this: in general -- except for the usual infinite exceptions --
the Q15 solid turn shape is much thicker than the hane.
For example, in this standard sequence, connecting at (a) is a big move for B;
likewise, if tenuki, then cutting at (a) is also a big move for W.
( connecting at (a) changes the hane shape to the solid "turn" shape.)
jts wrote:As no doubt knew already, they have slightly different implications.
Perhaps jts was being modest, but in general (again except for the infinite exceptions ),
the implications are much more than "slightly".
Re:
Posted: Mon May 28, 2012 11:52 am
by Boidhre
EdLee wrote:Boidhre,
Boidhre wrote:A hane at Q15 would be a decent follow-up.
jts wrote:Generally a hane refers to a diagonal attachment move when you're left with a cutting point. The move you're referring to is generally called a "turn".
Boidhre wrote:Thanks jts, I did not know the distinction in terms.
You probably already know this: in general -- except for the usual infinite exceptions --
the Q15 solid turn shape is much thicker than the hane.
For example, in this standard sequence, connecting at (a) is a big move for B;
likewise, if tenuki, then cutting at (a) is also a big move for W.
( connecting at (a) changes the hane shape to the solid "turn" shape.)
gives the group abundant eye shape as well as threatening to link up with my group on the left side. 
connecting at (a) is a big move for B;
cutting at (a) is also a big move for W.