One piece: Entering the game, arranging the layout, creating the score

Author: Ke Wuyou
Publisher:
Publishing Date: 2001-05-01
Features: In the garden of Go endgame compositions, there is a flower that is now in bloom, named "One Stone Killing by Continuous Attacks." Such endgames have existed since ancient times, but as an independent genre, they are a relatively recent development. The term "One Stone Killing by Continuous Attacks" was jointly decided upon by the endgame master Zhu Hezhou and the endgame commentator Cui Hongchuan. Mr. Cui also wrote several specialized essays on the subject. In the past, while such endgames existed, they were long confined to the realm of "Continuous Attack endgames." Now, however, they have branched out on their own. This is both an inevitable evolution of endgame genres and a result of the times. "One Stone Killing 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. Endgame compositions come in many genres, so why does the author have such a special fondness for "One Stone Killing 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 killing blow. This gives a sense of grandeur, vigor, and passion, as well as an unstoppable momentum, with a bold and spirited style. The ending resembles a close-up shot in a movie, highly vivid and visually beautiful, deeply moving. Throughout the entire process, all of Red's sacrifices and efforts are centered around the final move (this can be called "all stars surrounding the moon"). Reading such endgames feels like hearing the sound of war 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 has been closely tied to this genre. The publication of this book is a footprint left by the author in the garden of endgame compositions. The endgames in this book, regardless of their quality, all reflect the author's face, heart, and height, and are worth remembering. The author hopes that this book will produce a sense of novelty among readers.
Traditionally, the genre of "One Stone Killing by Continuous Attacks" does not feature Red's advisors or cannons. However, this book breaks that tradition. The new approach is to "group by similarity" and "seek the genre without being bound by it," compiling endgames with Red's advisors and cannons into a separate chapter. This is a byproduct of the author's "mutation" in creating "One Stone Killing by Continuous Attacks." Exploring the source, the emergence of various genres over the centuries has always been a result of "mutation." Of course, there is a developmental process, not achieved overnight. These endgames have a unique charm and interest, yet they are an integral and inseparable whole with the spirit of "One Stone Killing by Continuous Attacks." Like green leaves complementing red flowers, they highlight the brilliance of the red flowers. This is a harmonious dissonance, a unity of diversity, and thus should not be separated or discarded. Including these works in the book allows readers to see how these "mutations" lead to compositions and how they are expressed, offering certain educational value. This enhances readers' appreciation and broadens their imagination, while also preventing good works from being lost. In reality, it is difficult to strictly define what constitutes a "category." Endgame collections differ from "classified pamphlets." 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 brief comments on many of the endgames. From the perspective of creation, practice, and aesthetics, he analyzed the works in depth, expressing his insights. Through his multi-faceted and accessible analysis, readers can better understand and appreciate all aspects of endgame studies, gaining more aesthetic enjoyment. For centuries, (endgame masters) have followed a similar pattern in compiling specialized endgame collections. Now, Mr. Cui breaks from convention, approaching the subject from a new angle. He noticed what others had overlooked, creating a unique form—"endgame commentary." He studies endgames as an aesthetic creative activity, exploring them from theoretical and practical perspectives. His unconventional approach has created a distinctive realm, marking an innovative milestone in the history of endgame 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 endgames in chess history, making it worthy 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 endgames are a cultural legacy accumulated by (endgame masters), and the author holds them in high regard. However, when the manuscript was sent to Mr. Cui, he was inspired by the illustrations and spontaneously suggested changes to most of the names, leaving the author bewildered. Upon closer examination, 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 an endgame name is not about randomly selecting a fancy phrase or a common idiom. It requires understanding the essence of the endgame or the intent of a particular move, then expressing it precisely and highly concisely in words. This is the art of an endgame name." These words are deeply thought-provoking and have greatly inspired the author. The author appreciates the culture of endgame names because they complement the endgames, enhancing each other and forming an integral part of the whole. In the future, the author will make greater efforts to present even better endgame names to readers!