Les Lanphear reports that he spotted go in the 2010 China-Hong Hong epic mystery film “Detective Dee and the Mystery of the Phantom Flame.” “Toward the end of the movie there is a go board that seems to have 19 lines and colored pieces on the board,” says Lanphear. “The colored pieces seemed to be in the shape of chocolate kisses and in a translucent colored substance. One of the general’s was playing with someone. It was too short to determine if the setup was real or not.” Tsui Hark directed the fictional account of Di Renjie, one of the most celebrated officials of the Tang Dynasty and the basis for the character of Judge Dee, made famous in the West by Robert van Gulik, who wrote 17 new Judge Dee mysteries between 1946 and 1967.
American Go E-Journal » Go Spotting
Saturday October 22, 2011
Sunday September 25, 2011
E-Journal reader Michael Albert spotted go in Fist of Fury (aka The Chinese Connection), the 1972 Hong Kong martial arts film starring Bruce Lee in his second major film. “When a scene came up with a go board in it, I was a little skeptical at first,” says Albert, “but then after reviewing the scene a couple times — and watching to go board get thrown at someone’s face — I realized that I was seeing the real deal. A previous scene shows to people placing stones on the board. I can’t tell you if they were playing a real game or just placing random stones on the board.”
Sunday August 14, 2011
Go makes an appearance in Season 2 Episode 22 of Star Trek Enterprise, reports EJ reader Michael Rhone. In this episode, “Enterprise encounters the Vissians, a more technologically advanced species, and Trip finds himself transfixed on the fact the Vissians are a three-sexed species, befriending one of them with tragic results.”
Thursday July 28, 2011
“Episode 49 of Kenichi: The Mightiest Disciple said a little about go,” reports EJ reader Asa Euster. “Not much,” Euster adds, “the show was just using go as an example of a game of territory.” Kenichi is an anime based on the Japanese manga by Syun Matsuena.
Night Train is “a low-budget thriller about how greed can drive a person to do terrible things, and it features go!” writes Will Lockhart. “The film (starring Danny Glover, Leelee Sobieski and Steve Zahn and available on Netflix) takes place on an overnight train somewhere in Northern Europe. A man commits suicide by overdosing on pills, and when two other passengers and the conductor discover that he has a box containing precious jewels, they hatch a plan to dispose of a dead man’s body and take the box. The film periodically cuts back to two Asian men on the train, playing go, though the game looks like a fairly weak kyu game. Not only is there go in the movie, but its presence actually may be symbolic of the greed that overtakes the train passengers.”
Tuesday July 26, 2011
Danish E-Journal reader Martin Liechti spotted go in the new film Mr. Nice, a 2010 crime film – now in limited release in the U.S. – about Howard Marks, a notorious Welsh drug smuggler played by Rhys Ifans (a friend of Marks in real life) and also starring Crispin Glover and Chloë Sevigny. Liechti sent us this screenshot of a scene in which a woman is sitting by a goban. The Danish subtitle says: What’s that?
Sunday July 10, 2011
When Frank Lantz thinks about games, he doesn’t play around. Lantz teaches game design at NYU’s Interactive Telecommunications Program, the School of Visual Arts, and the New School. He created games for Cartoon Network, Lifetime TV, and VH1 before becoming becoming the co-founder and creative director of Area/Code. His writings on games, technology and culture have appeared in a variety of publications. In a recent lecture on “Go, Poker and the Sublime” at a game developers’ conference (click here to view online), Lantz declared that games are an art form on a par with music, literature and film, perhaps even “the most important art form of the 21st century. Describing go to his mostly non-playing audience, Lantz comes up with some remarkably well-turned phrases, explaining how “Go is good at teaching itself to you,” “. . . at the border of the discrete and the continuous,” “. . . thought made visible to itself.” I especially enjoyed his riff explaining why “light” is better than “heavy,” yet “thick” is better than “thin.” Lantz goes on with a similarly eloquent description of poker, which he finds to be about “the alchemical transformative power of greed.” Looking at both games together, Lantz sees a contrast with video games that dominate today’s market. Go, poker and similar pastimes are more abstract, less reliant on make-believe – in short, they are games that grownups also play. They are infinite – players do not reach an end point as in narrative-based adventure and role-playing games. He exhorts the game developers in the audience to think big: “I want a game that I can play my whole life, that I can teach my son, and he will play his whole life.” Mostly known for the iPhone app “Drop7,” Area/Code has pursued other innovative “social gaming” ideas such as Macon Money, an alternative currency “game” conducted in “RL” (real life) in Macon, GA; and Budgetball, a physical sport that also requires a certain degree of fiscal planning. In January, Area/Code was acquired by Zynga, the social gaming giant behind Facebook megahits such as Farmville and Mafia Wars, giving Lantz an even bigger arena in which to realize his dream. With its emphasis on building, cooperation and balance, go has much in common with social media games like Farmville and Cafe World (another Zynga biggie) with the added spice of life-and-death struggle. If Zynga’s next games have bit more of a competitive edge, perhaps we’ll know why . . .
- Roy Laird
Sunday July 3, 2011
If you need another reason to read David Mitchell’s spellbinding new novel The Thousand Autumns of Jacob de Zoet, the game of go plays a key and major role in the story. Indeed, one entire section of the book is entitled “The Master of Go” and not only does go strategy drive part of the novel’s structure, but the game itself — in fact, a specific game, the board and pieces — play a dramatic role at the climax of the riveting novel. Thousand Autumns is more than just a terrific read, though. Mitchell has “meticulously reconstructed the lost world of Edo-era Japan, and in doing so he’s created his most conventional but most emotionally engaging novel yet,” wrote Michiko Kakutani in The New York Times. Set in atmospheric coastal Japan, this epic story centers on an earnest young Dutch clerk, Jacob de Zoet, who arrives in the summer of 1799 to make his fortune and return to Holland to wed his fiancée. But Jacob’s plans are shaken when he meets the daughter of a Samurai. Thousand Autumns is now out in paperback, as well as available as an e-book.
Saturday June 25, 2011
Yojiro Takita’s next film has an interesting historical connection to the game of go. Takita (r) – who won an Oscar in 2009 for Okuribito (Departures) – is adapting the novel ‘Tenchi Meisastsu,’ about a 17th century astronomer and mathematician. The film is an adaptation of To Ubukata’s novel of the same name, based on the life of Shibukawa, who later took on the name of his father, champion go player Yasui Santetsu, first head of the Yasui house. The novel has won literary awards in Japan on its way to selling 380,000 copies. It was published by Kadokawa, which is collaborating with Shochiku on the movie. Tenchi Meisastsu — which roughly translates as “insights into the universe” — is being shot at Shochiku’s Kyoto studio until the middle of August, and is slated for an autumn 2012 release.
- based on Gavin J. Blair’s story in The Hollywood Reporter, with thanks to Ramon Mercado for spotting the reference.
Monday June 13, 2011
Many go players know that video game pioneer Atari was named after the go term, but how many know that this was actually the second choice for the company’s name? “Sente” was the first choice by Nolan Bushnell (r) and his partner Ted Dabney, according to By Any Other Name: The Origin of Atari on the CHEGheads Blog by Shannon Symonds, Acquisitions Cataloger for the International Center for the History of Electronic Games. “Both in print and on camera, Bushnell cited the strategy game Go as his favorite game of all time,” Symonds notes. After their original choice, Syzygy, turned out to already be trademarked, “Bushnell provided the state with three new names from which to choose: Sente, Atari, and Hanne. All three reference moves in Go.” Symonds also reports that “In 1984, Atari created a subsidiary company called Tengen, which translates to “the origin of heaven” and is the very center point on a Go board.”
- thanks to Jeremiah Parry-Hill for spotting this
Sunday June 5, 2011
Janice Kim’s article about go stones in a Japanese internship camp (GO SPOTTING: ‘The Archaeology of Internment’ 5/9) prompted roving E-Journal contributor Peter Shotwell to send along some excerpts from Holly Uyemoto’s 1995 book Go: A Novel, which focuses on generational differences among Japanese-Americans. The sketches below — which are not part of the novel — are from the George Hoshida Collection on the Japanese American National Museum website.
I used to not like Uncle Mas very much. He bored me… I always found Uncle Mas drab, a frog on a log. It requires no stretch of the imagination to picture his tongue popping out suddenly, catching a fly or a raindrop. But one day, my grandmother told me a story about Uncle Mas that changed the way I saw him for good…
Before he became a naturalized citizen, [Ojiichan, another uncle] carried a copy of the Constitution in his wallet and took it with him everywhere he went. He quoted from it freely. After Pearl Harbor… Ojiichan brought out his Constitution and cited the Fourth Amendment rights [but they] took him away, the Constitution neatly folded again and put back in his wallet.
Ojiichan was a great go player [but] deemed a Japanese cultural item, the government barred Ojiichan from taking his old go table with him into camp, so he made one… He learned to shape and polish quartz veined with orange borax, and obsidian black and bright, with edges that cut metal and skin. Uncle Mas was fascinated with the go board. He begged Ojiichan to let him play with it. Ojiichan told him not to go near the board… Later, he brought down the go board and the stones, smooth quartz and biting obsidian, and asked my grandmother, ‘Where is he?’ He then set about teaching Uncle Mas how to play—not the five-in-a-row kind of go that children and Westerners play, but the real thing. Uncle Mas learned quickly. He had an aptitude for strategy: in the end, both too much so, and not enough. Ojiichan’s friends would gather around, joke, give Uncle Mas hints, and make friendly wagers about how many moves it would take Ojiichan to win. The nightly face-off between Ojiichan and Uncle Mas became community entertainment.
Uncle Mas winning was never a question, but one day it happened. About six months after he started playing, he beat Ojiichan. And Ojiichan made him swallow one of his own stones. This was Uncle Mas’s victory, and his punishment. Uncle Mas thought Ojiichan was joking, but he wasn’t. He insisted Uncle Mas swallow the stone. Uncle Mas reasoned that as the winner, he should choose whether or not he had to swallow the stone. Ojiichan said it was his ‘tadai no gisei o haratte eta shyori,’ his conquest, having exceeded his master, and his punishment for the same reason—the Japanese equivalent of Pyrrhic victory.
Uncle Mas swallowed the stone, and he stopped playing go…after his big win, he made himself scarce…The next time my grandmother saw him was when she was called to the infirmary after Uncle Mas had been found in the latrine trying to pass a huge fecal boulder. He was rushed to the hospital and operated on. The doctor said he would be fine. There were no fresh fruits and vegetables to speak of in camp. Most meals consisted of mutton and either rice or potatoes. The camp doctor assured Ojiichan and my grandmother that constipation was entirely normal in camp, but it seemed that there had been an inorganic stoppage of Uncle Mas’s bowels: during his operation, the doctor extracted one perfectly round, flat, knife-edged obsidian stone.
‘Remember that story about Uncle Mas?’ I asked my mother one day. ‘The go stone Ochiijan made him swallow?’ ‘Nobody made anybody swallow anything,’ my mother said. ‘Then why does Uncle Mas have a bad stomach?’ ‘Because he can’t express himself.’ ‘You mean, talk?’
When he was released from the camp infirmary, Uncle Mas was whole again, except that he stopped talking… A week later, he suddenly slumped over. He was rushed back to the infirmary. There were lots of cuts in Uncle Mas’s large intestine; they had ruptured and were bleeding. The doctor removed four feet of Uncle Mas’s large intestine and sewed him up again. ‘Don’t you remember?’ I prodded my mother. ‘Grandma told me.’ ‘I was a baby then. Besides, sometimes she just liked to tell you stories.’
But Uncle Mas still has terrible troubles with his stomach, and he still refuses to play go. I saw him studying Ochiijan’s fancy table once. Uncle Mas ran his hand over the top, touched the carvings, and, pulling back in order to see, squinted at the inlaid grid. He opened the drawers and studied the stones. He held one of the smooth black onyx in his palm, rolling it back and forth. And then he walked away.
- excerpted from Go: A Novel, by Holly Uyemoto
Sketches from the George Hoshida Collection on the Japanese American National Museum website. George Hoshida (1907-1985) was born in Japan and at the age of five, his family settled in Hilo, Hawaii. As an active practitioner of Judo, Hoshida was active at the local dojo. This led directly to his arrest by FBI agents on the day after the bombing of Pearl Harbor as a potential saboteur. Unlike most Japanese Americans living in Hawaii, Hoshida was incarcerated for the duration of the war, first at Kilauea Military Camp and Sand Island in Hawaii and later in mainland Justice Department internment camps at Lordsburg and Santa Fe, New Mexico. Eventually, he was able to rejoin his wife and young daughters, but only when they agreed to leave Hawaii to be incarcerated with him in a War Relocation Authority camp on the mainland. Hoshida began a visual diary of his incarceration from his earliest days in prison. The two notebooks in the collection of the Japanese American National Museum are an extremely rare visual document of the special Justice Department camps and chart his frequent movement from one facility to the next. (Hoshida bio courtesy the Japanese American National Museum, which supports several Japan relief efforts.)
- editing, layout and graphics research by Chris Garlock