Shogi notation is the set of various abbreviatory notational systems used to describe the piece movements of a shogi game record or the positions of pieces on a shogi board. A game record is called a 棋譜 kifu in Japanese; the system used in English language texts to express shogi moves was established by George Hodges and Glyndon Townhill in 1976 by the second issue of Shogi magazine. A modified version was used in Hosking, it differs in several respects. A typical move might be notated P-8f; the notation format has the following 5 part structure: An example using all 5 parts is S72x83+ or S7bx8c+. All parts are obligatory except for the promotion parts; the origin part is only indicated. The promotion part is only needed. Western notation is not used in Japanese language texts, as it is no more concise than traditional notation with Japanese characters and two ciphers which originated in the Edo period; the first letter represents. For instance, P is for Pawn. Below are the abbreviations used. Promoted pieces are indicated by a + preceding the letter.
For example, +P is a promoted pawn, +R is a promoted rook. Some Japanese websites and Japanese authors use two different abbreviations for the promoted rook and promoted bishop in a way more similar to Japanese notation. Thus, D instead of +R and H instead of +B. In cases where the moving piece is ambiguous, the starting square is added after the letter for the piece but before the movement indication. For example, in diagrams below, Black has three golds which can move to square 78, thus notating G-78 is not enough to indicate the move. The three possible moves are distinguished via the origin specification as G77-78, G68-78, or G79-78. Following the abbreviation for the piece is a symbol for the type of move. There are 3 different indications: As examples, P-24 indicates moving one's pawn to the 2d square, Px24 indicates moving one's pawn to the 24 square and capturing the opponent's piece, on 24, P*24 indicates dropping one's pawn in hand to the empty 24 square. There is some variation for the drop symbol.
A * is used, but some books use a ’ instead. Thus, Hosking B’56 is equivalent to Hodges B*5f; the simple movement indication is not used by Hosking. Thus, Hosking P26 is equivalent to Hodges P-2f. After the movement piece indication is the square; this is indicated by a numeral for the file and the rank, with 11 being the top right corner from Black's perspective and 99 being the bottom left corner. This is based on Japanese notation conventions. Hosking differs from Hodges in that Hosking uses numerals for the rank notation whereas Hodges uses letters for the rank. If a move entitles the player to promote a + is added to the end if the promotion was taken or an = if it was declined. For example, Nx73= indicates an unpromoted knight capturing on 73 without promoting while Nx73+ indicates an unpromoted knight capturing on 73 and promoting; the promotion status is always omitted in situations. When promotion is possible the promotion status is obligatorily notated. Game moves in western notation are always numbered.
Additionally, what is numbered are pairs of two moves – the first move by Black, the second by White – instead of numbering each move by each player. This differs from the Japanese system. For instance, three pairs of moves are numbered as 1. P-76 P-34 2. P-26 P-44 3. S-48 S-32. However, in the British Shogi magazine of the 1970s and 1980s, the pair number convention was not used for tsumeshogi problems, in which case the each player's move is number just as in the Japanese notation conventions. Following western chess conventions, omitted moves are indicated with an... ellipsis. As a consequence of the way moves are numbered in the western system, all moves by White are notated with an ellipsis prefix in texts. For example... P-55 indicates a move by White. In handicap games, White plays first, so Black's first move is replaced by an ellipsis. For example, 1... G-32 2. P-76 G-72. Unlike western chess, game states like check or checkmate are not notated. However, the use of question marks and exclamation points to indicate questionable and good moves are used.
The earliest way to indicate game records in Japan during the Edo period was to use descriptive sentences such as Open the bishop's diagonal, push the rook's pawn, close the bishop's diagonal and the like. Soon afterward, a notational system was developed, the same as what is used in the present day in Japan. In Japanese notation, the notation string has the following five-part format: A typical move is indicated like ８六歩. An example that uses all five parts is ☗８三銀引成; the player's side information is optional and the movement and promotion indications are only used in order to resolve ambiguity. It is common for the White and Black player to be indicated at the beginning of the notation string with either black and white triangles or shogi-piece-shaped pentagons, such as ▲７六歩△３四歩▲２六歩△３二金 or ☗７六歩☖３四歩☗２六歩☖３二金. However, this
Matt Cimber is an American producer and writer of film and theatre. He is known for directing diverse genre films The Candy Tangerine Man, The Witch Who Came from the Sea, Hundra, the controversial 1982 drama Butterfly, he was the co-creator and director of the Gorgeous Ladies of Wrestling professional wrestling promotion and syndicated television series. Cimber was the last husband of actress Jayne Mansfield, directed her on stage and in the 1968 film Single Room Furnished. Cimber began his career in the early 60s directing off-Broadway plays including works by F. Scott Fitzgerald, Tennessee Williams and the US premieres of the Jean Cocteau trilogy. During his theater years, Cimber adapted Burning Bright by John Steinbeck which introduced Sandy Dennis who went on to win an Academy Award for Who's Afraid of Virginia Woolf?. Cimber directed the Broadway revival of Bus Stop, where he met his future wife Jayne Mansfield. Matt made his cinematic directorial debut with the offbeat drama Single Room Furnished, Mansfield's last finished film before her death in 1967.
Cimber proceeded to direct a string of sexploitation films under the pseudonyms Gary Harper and Rinehart Segway, including Man and Wife and Astrology, The Sexually Liberated Female, based on a best-selling book The Sensuous Woman by Joan Garrity. Cimber helmed three blaxploitation films in the mid-70s. In 1976, Cimber made a rare foray into the horror genre with the disturbing psychological shocker The Witch Who Came from the Sea, starring Millie Perkins and Lonny Chapman, his next film was A Time to Die, a World War II thriller based on a novel by Mario Puzo, starring Rex Harrison and Rod Taylor. The film was shot in 1979, but was not released until 1983. In 1982, Cimber teamed up with actress Pia Zadora for the caper film Fake-Out and the crime drama Butterfly, based on the novel The Butterfly by James M. Cain; the film received overwhelmingly negative critical reception, winning three Golden Raspberry Awards with additional seven nominations. Despite this, Zadora won the Golden Globe Award for Best Female Newcomer, with accusations that the award had been "bought" by her husband Meshulam Riklis.
The following year Cimber collaborated with actress Laurene Landon for the adventure films Hundra and Yellow Hair and the Fortress of Gold. In 1986, Cimber was one of the key principal co-creators behind the professional wrestling promotion GLOW: Gorgeous Ladies of Wrestling, serving as executive producer and director of the promotion syndicated television program; the show lasted for four seasons. Cimber's recent work has been in the documentary genre, he wrote and directed An American Icon: Coca-Cola, the Early Years and The History of United Nations. He created and wrote the eight-minute intro for visitors to the United Nations for which he received a special commendation from the UN. After a twenty years absence in motion picture production, Cimber made a comeback with the independent drama Miriam. Cimber married Jayne Mansfield in 1965, they have Antonio, they divorced in 1966. Cimber was nominated for three Golden Raspberry Awards. Matt Cimber on IMDb Matt Cimber and Kliph Nesteroff – Behind the Scenes of Candy Tangerine Man