In the tries of this problem, we encounter a familiar effect โ from a fresh angle.
The composer put special emphasis on the almost-solution moves
and it even feels as if the real key move is just a complement to what White fails to achieve in the most obvious attempts.
So, try to find two different moves that are only almost-solutions โ thereโs a beautiful connection between them.
Bonus: Can you also spot the actual winning key? (It shouldnโt be too hard for you ๐)
๐Read more about this Art-Puzzle
Suggestion: Give it a try yourself first: the key move and the tempting tries.
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In the given position, the critical crossroads lies on the square d6 ๐ฆ .
Horizontally โ it is part of the potential danger line between the โ and the โ.
Vertically โ itโs the path for the โ from the 7th rank into the heart of the board.
Diagonally โ itโs on the line of sight and attack of the โ.
And meeting them all there is also the โ, for which d6 is one of its two target squares for attacking the โ.
โ๏ธ
We said โone of its two targetsโ โ so letโs talk about the other: f6.
If the โ were to reach that square (taking the place of the now-departed โ), it would immediately trigger an undesirable response for White: โxf6+. And if the โ leaves the โ in place, then in turn Black could move it away from f6 giving check (via the โ).
Thus, a natural plan suggests itself: on the first move, letโs block the โโs path to the right. This both prevents check on the โ and prepares the second move โxf6#.
๐๏ธ๐๏ธ There are two volunteers ready to perform the block on d6 as the first move โ the โ or the โ.
However, whichever of them arrives there will also block its own partner (not just the โ), and each of these White self-blocks allows Black a defense by moving aโ and freeing an escape square for the โ (d4 / f4).
๐ This is a White Grimshaw ๐ .
๐๏ธ The actual winning key is achieved a bit differently: preemptively blocking the โ on f6 so it cannot advance and cause trouble, while at the same time preparing a different mating threat โ โxf4# ๐ .