Originally posted by Frank33Think twice before you speak once, they say...
A small error - when 2. Qxd7+ the queen cannot move there - the rook is on f6 and in the way. However, if the rook is simply moved to g6 originally there is no problem with this.
Originally posted by heinzkatRight. It never hurts to ask, "why must this move be the key, and not other moves that appear to have the same idea?" It keeps you from giving the wrong solution, and deepens your understanding of the problem's logic.
Think twice before you speak once, they say...
1. Rf6 Qxd7 2. Qxd7+ is, in fact, possible! I think you somehow misplaced Rf6 'mentally' on f5 (!?)
Also, your proposed 1. Rg6 does not work due to 1. ... Ka8!, I think. (2. Qg2 Qxg2 3. Rg8+ Qxg8)
1. Rg6 doesn't work either due to 1. ... Kb8, and now 2. Qb3 Qxb3 3. Rg8+ Qxg8.
There is a reason 1. Rf6 is the only correct solution.
Originally posted by heinzkatOld-school composers like Sam Loyd were famous for making the key move the most unlikely looking move on the board. Case in point:
Often the composer wants the wrong tries to be tried, I think. At least, I would want to (although I have never composed anything decent).
Originally posted by SwissGambit5. bxa8=B#
Old-school composers like Sam Loyd were famous for making the key move the most unlikely looking move on the board. Case in point:
[fen]n1rb4/1p3p1p/1p6/1R5K/8/p3p1PN/1PP1R3/N6k w - - 0 1[/fen]
Mate in 5
Nowadays, composers tend go for several thematic tries, without much concern about making them more obvious than the key.