Hi Everyone. Today we will continue to discuss where we left off the last time. We will look at the block on the other side when White plays at the 3-3 point when Black pincers.
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Diagram 1.
Diagram 1 above is a typical opening where Black plays the San Ren Sei opening, i.e. the 3 Star Point in a row on the right side. Now looking at the diagram above and knowing that we have studied our opening fundamental where we discussed about stones needs to build relationships with each other, where do you think Black should block? At “a” or at “b”? This is a very fundamental thing that you all should and must know.
Diagram 2.
In Diagram 2 above, Black chose to block at “a” and the Joseki that we have studied in the previous lesson takes place. Although this is a Joseki, but Black’s blocking direction is wrong because after White played at 16, the effect of the Black 5 stone is now significantly diminished. Compare this with Diagram 3 below.
Diagram 3.
The Black block with 9 is the correct direction and after the Joseki to Black 13, you can see the beautiful relationship between the Black stones on the right side forming a very nice framework.
Compare Diagram 2 and 3, the Black stones in Diagram 3 has better relationships.
Diagram 4.
The block at “b” in Diagram 1 is only correct usually when Black has a stone at Black 5. If Black does not have a stone there or around there, White will follow up with White 14 in Diagram 4 above and Black’s framework will be split up.
Therefore, if Black does not have a stone at 5 or around 5, the usual Joseki to choose will be like in Diagram 2 above.
Now let’s look at the Joseki in detail.
Diagram 5 (Reference Diagram)
The sequence in Diagram 5 above is the basic Joseki.
Diagram 6.
Now, instead of White 5 in Diagram 5 White played at White 5 in Diagram 6, the sequence to White 13 is one of the continuation that we can expect. Effectively, this looks like Black blocks the other way, at “a” in Diagram 1 above but compare this result with the one in Diagram 2 where it is the Joseki when Black blocks at “a”, you will see that the result in Diagram 6 is that White has a smaller corner and as such White cannot be happy about this.
Diagram 7.
If Black wants the right side, it can also block with Black 6 in Diagram 7 above and the sequence to Black 12 can be expected. You may notice that this looks like our Joseki in the reference diagram but here, Black’s position is much more solid. There is no reason why White wants to help Black to become more solid, which makes it harder for White to invade or reduce Black’s framework later. As such, the result in Diagram 7 is also not satisfactory.
Therefore White 5 in the Reference Diagram is the move to play in this situation.
Diagram 8.
After White plays at 5, what if Black neglect to play at 6 in the Reference Diagram? In fact we have studied this in our 3rd lesson on our Joseki fundamental regarding shape. You may want to visit it again. However, what you can expect is White will play the good point at White 9 and through move 14, White successfully cut off the Black 2 stone, a very bad result for Black.
Therefore Black 6 in the Reference Diagram is really important to prevent this.
Diagram 9.
After Black 6 in the Reference Diagram, White can play at White 7 in Diagram 9 above, which is also one Joseki variant. Black will continue to Black 18 and consistent with its initial plan, it manages to sort of seal White in the corner while building influence towards the right side and center.
Diagram 10.
Instead of Black 14 in Diagram 9, Black wants to pull out the Black stone by playing like in Diagram 10. White will extend to White 15 and this puts Black on the spot. You remember that when Black blocks at “b” in Diagram 1 the intention is to build influence facing the right side and the center right? But by pulling out with Black 14 and allowing White to play White 15, Black doesn’t seem to know what it wants anymore. There is a conflict of strategy.
Furthermore, after White plays 19, the Black stones at the top will have to run and find life while the White stones at the corner is already fully alive. This result is not good for Black and is rarely seen unless due to some special strategies (e.g. Black is very strong at the top).
Diagram 11.
After White answers at White 7 in the Reference Diagram, Black will have to answer at Black 8 to make sort of a connection with Black 2. If not, White will push out as in Diagram 11 and cut away the Black stone.
Therefore, to conclude about this Joseki, there is two things that you really need to understand:
1. The purpose of the block at “b” in Diagram 1 is to build up influence towards the right side and the center. You will want to block at this side only when you have a stone at Black 5 or around there so that it will work well together. Once you have decided to block this side, be consistent with it as demonstrated in Diagram 9 and not as in Diagram 10.
2. You cannot let the Black pincer stone (i.e. Black 7 in Diagram 1 or Black 2 in the Reference Diagram) to be cut off. Therefore the move of Black 8 in the Reference Diagram is important to insure some sort of connection.
Why do I use the word “some sort of connection”? That’s because, as you see, the connection is still not 100% solid and White can cut it later when the timing is right but at this moment, White cannot yet cut it apart. So as it stand, it is sort of connected, which is good. Do not allow this pincering stone to be cut off as in Diagram 11.
Well, this concludes our discussion on this Joseki and also completes our discussion of the White playing at the 3-3 point in response to the Black pincer. In the next lesson, we will discuss about what happens when White makes a one space jump, i.e. why he wants to jump instead of going into the corner and digging out the territory (which is generally considered to be better) and the Joseki that follows.
Till then, have fun and remember to subscribe to this blog 
