Carrollian developments
This page expands on the basic idea at the jabberwocks page.[1]
There are quite a number of rare (from a pro perspective) but interesting side patterns, based on the same plan: set up an ideal press or cover play in one corner, in relation with an enclosure positioned to take advantage.
For example, here all Black's stones, and
and the
stones. are working together on a large scale.
Although there are indeed not so many examples in pro games to study, there are some. These form interesting material from the point of view of framework theory. For instance, they often include use of a wedge on the side, and tenuki joseki.
Since in the diagram fits in with many amateurs' ideas on the use of influence, these are instructive patterns to study. Of course one should also look at the whole board. Often Black in playing this way is applying an ippoji strategy: omoyo play may cause panic in some opponents, but that doesn't mean it's sound. Therefore a technical discussion of how to play these sides is called-for. If White has some basic ideas on strategy here, it will be a great help.
Here White's basic ideas are at a or at b. The former allows Black to start the taisha joseki: this is a signature pattern of Ishida Yoshio. If White b, Black a for a complex of joseki that give Black a large corner: but the game will stay relatively simple. (The wedge White at c was played by Segoe in an old game.)
The options are the previous main choices with expected outcomes as before: plus White at c, in the corner. This was played in a game 2002-10-28 between Kubo Katsuaki and Yuki Satoshi (B); Black played the cover at b and an early struggle for a good ladder ensued, in relation to the lower right corner.
This was played in a game Kobayashi Koichi-Otake Hideo (B) 1993-11-24. White came in at a and Black played the cover at b.
This pattern has been played by Miyazaki Shimako. When White played a she played the taisha, and against White at b the contact play c (attach-extend).
![[Diagram]](../../diagrams/39/5172c1b2b9260f202f4a17e8c98506dc.png)
5-3 point plus 3555 enclosure
This pattern was played by Yamashita Keigo in 2000. White has played at a, and at b (to which he answered by taking the 3-3 point). Cho Hun-hyeon played at c.
See also strange opening from a pro game: a comparable position reached in a game Yi Ch'ang-ho (B)-Paek Tae-hyeon 2001-05-30, though with a 3564 enclosure. White allowed Black a second enclosure.
White can of course avoid immediate difficulties by agreeing to a ryojimari game.
![[Diagram]](../../diagrams/30/de108363b94eee067a9f66cebe6ed376.png)
5-3 point plus 3564 enclosure
This is from an Ishida magazine article. If Black is happy playing a 3564 enclosure the same type of formation can be set up from the (unorthodox) starting position.
![[Diagram]](../../diagrams/38/d972fa0b5fa7d5b8516d3633da24e705.png)
5-3 point plus 3363 enclosure
This was played (colours reversed) in a game 1982-06-29 Shao Zhenzhong-Kanda Ei (B). The stone had been played to limit influence in the lower right. Therefore
isn't so surprising, to slow the game down.
From the young Cho Chikun as insei, playing Kasai Koji? (B) 1968-01-26. White combines a tenuki from the left corner and a wedge with .
Kobayashi Koichi-Awaji Shuzo (B) 1989-10-18. White plays to live quickly wth ; and then limits Black's framework with
.
This is from a game Hori Kentaro-Takagawa Kaku (B) 1934-09-16. White concentrates on getting a live group: there is aji in both of Black's corners, so this is a classic plan.
From Murase Shuho-Kuroda Shunsetsu 1879-06-25: another tenuki+wedge pattern.
From a WAGC qualifier January 1982 Yang Jinhua-Cheng Xiaoliu: wedged immediately. The correct wedge point is apparently 10-3 if played at once, 11-3 if White starts in the left-hand corner and plays tenuki.
![[Diagram]](../../diagrams/29/09cea43f029cc6d34bc0ee5c61e93bf0.png)
5-4 point plus 3554 enclosure
This, with colours reversed, is from Takagi Shoichi-Kudo Norio (B) 2000-09-21. The game continued Black a, White b, Black c, White d. This fourth-line short extension occurs also at 5-5 point.
![[Diagram]](../../diagrams/9/3b332f50bf2020374a4c800c38df0135.png)
5-4 point plus 3555 enclosure
This formation has been used by Yamashita Keigo: leading to and
. After White invades (at a or b) Black allowed White to connect to
, building a wall on the left side.
There is an older example at perverse wedges
![[Diagram]](../../diagrams/5/82e0e47d4beb243a70e1a4db6db18663.png)
5-4 point plus 3564 enclosure
In a game Cho Hun-hyeon-Yi Ch'ang-ho (B) 1995-09-27 it went this way: in later fighting moving leftwards White put to use.
![[Diagram]](../../diagrams/34/3e4aca5ad976ef2e092f6077fe448b42.png)
5-4 point plus 3564 enclosure
A game Yang Sang-kuk-Cho Hun-hyeon (B) from 1975 went a more conventional way, to begin with. White played tenuki after , permitting a black attack at
.
![[Diagram]](../../diagrams/47/54b7e40ac3a5906b44c1737051f2722b.png)
5-4 point plus 3563 enclosure
From Wang Lei-Qiu Jihong? (B) 1996-05-09. White plays straight for the vital point of the 3563 enclosure, and succeeds in settling a group with , and White 11 at a (immediate life).
This is from Taiwan: Chen Yongan-Zhou Junxun (B) 1995-02-12. White plays into a double kakari; and then lightly out again.
What follows was previously on the jabberwocks page.
In this case the wedge 2 is useful for White, because Black then has two insecure corners. This is a good illustration of miai thinking.[2]
[1]
Hence the name: Lewis Carroll wrote the poem Jabberwocky.
[2]
Perhaps I should say that the idea of the 4-6 example is something I found in a book of Shirae Haruhiko.