One piece enters the game, arranging the layout

Author: Ke Wuyou
Publisher:
Publishing Date: 2001-05-01
Features: In the garden of go problems, there is a flower that is now in bloom, named "One Stone Kill by Continuous Attacks." Such problems have existed since ancient times, but as an independent genre, they are a relatively recent development. The term "One Stone Kill by Continuous Attacks" was jointly decided upon by the go problem master Zhu Hezhou and the go problem commentator Cui Hongchuan. Mr. Cui also wrote multiple specialized essays on the subject. In the past, although "One Stone Kill by Continuous Attacks" existed, it had long been a resident in the "home" of "Continuous Attack Kill." Now, it has stepped out of this "home" and established its own identity. This is both an inevitable change in the genre of go problems and a result of the times. "One Stone Kill by Continuous Attacks" is a rather unique genre. Due to its popularity and admiration from readers and editors, it has seen significant development in recent years. The author is also one of its enthusiasts. There are many genres in go problem composition, so why does the author have such a special fondness for "One Stone Kill by Continuous Attacks"? The author believes that its art is unique and its style is extraordinary. In terms of artistic expression, it has distinct characteristics: the red side abandons all attacking pieces, leaving only one to deliver the kill. This gives a sense of grandeur, vigor, and passion, as well as an unstoppable momentum. The play is bold and full of vitality. The ending resembles a close-up shot in a movie, highly vivid and visually beautiful, deeply moving. Throughout the entire process, all sacrifices and efforts made by the red side are centered around the final move (this can be called "all stars surrounding the moon"). Reading such problems feels like hearing battle drums, stirring the heart. Even after the conclusion, the echoes linger, leaving a lingering impression of "music that resonates for three days." This is the bond the author shares with this genre, and the driving force behind their ceaseless study over the years. The author's creative career is closely tied to this genre. The publication of this book is a footprint left by the author in the garden of go problems. The problems in this book, regardless of their quality, are all the author's own work, their own passion, and their own achievements, all worthy of remembrance. The author hopes that this book will produce a sense of novelty among readers.
Traditionally, the genre of "One Stone Kill by Continuous Attacks" does not feature the red side with advisors or cannons. However, this book breaks this tradition. The new approach is to group works with the red side having advisors or cannons together as a chapter, following the principle of "categorizing by similarity" and "seeking the form without being bound by it." This is a byproduct of the author's "mutation" in creating "One Stone Kill by Continuous Attacks." Exploring the origins, the emergence of various genres over the centuries has always been a result of "mutation." Of course, there is a process of development, not an overnight achievement. These problems have their own unique charm and interest, yet they are an integral and inseparable whole with the essence of "One Stone Kill by Continuous Attacks." Like green leaves complementing red flowers, these problems highlight the brilliance of the red flowers. This is a harmonious dissonance, a diverse unity, and thus should not be separated or discarded. Including these works in the book allows readers to see how these "mutations" result in problems and how they are expressed, offering certain educational value. This enhances readers' appreciation and expands their imaginative space, while also preventing good works from being lost. In reality, it is difficult to strictly define what constitutes a "category." A collection of go problems is different from a "classified loose-leaf essay." Continuously studying new works and experiences in creative practice, exploring new paths in one's own practice to meet readers' evolving demands is also an important topic.
While reviewing the manuscript, Mr. Cui wrote miscellaneous comments on many of the problems. From the perspective of creation, practice, and aesthetics, he analyzed the author's works and expressed his insights. Through his multi-faceted, accessible analysis, readers can better understand and appreciate all aspects of go problem composition, gaining more aesthetic enjoyment. For centuries, () have created specialized collections of go problems, following a similar pattern. However, Mr. Cui broke from convention, approaching the subject from a new angle. He noticed what others had overlooked, creating a unique form—go problem commentary. He studied go problems as an aesthetic creative activity, exploring them from a theoretical and practical standpoint. His unconventional approach has set a new precedent in the history of go problem development. His comments are concise yet profound, filled with elegance and emotion, blending literary and emotional depth, something beyond the reach of ordinary people. This is beneficial for helping people establish aesthetic perspectives, cultivate aesthetic tastes, and improve their artistic creativity, appreciation, and general aesthetic abilities. This not only adds brilliance to the author's work but also elevates the status of go problems in chess history, deserving of attention. Mr. Cui's comments are interesting, insightful, and beneficial, making them worth reading and reflecting upon. The author himself has gained much inspiration from them.
The names of go problems are a cultural mindset accumulated by () over the centuries. The author values and takes them seriously. However, when the manuscript was sent to Mr. Cui, he was inspired by the illustrations and spontaneously suggested changes to most of the problem names. This left the author bewildered. Upon careful consideration, Mr. Cui's revisions were quite appropriate, vivid, fitting, and innovative. He explained in multiple letters to the author why he made these changes: "Choosing a problem name is not about randomly selecting a fancy phrase or a common idiom. It requires understanding the essence or the intent of a move through the heart and soul, then expressing it concisely and accurately in words. This is the art of a problem name." These words are deeply thought-provoking and have greatly inspired the author. The author enjoys the culture of problem names because they complement the problems themselves, shining together and enhancing each other, forming an integral part of the problem as a whole. In the future, the author will make greater efforts to present even better problem names to readers!