Breakdown
Climber: Sid Pinto 5’9”/+1
Wall angle: 10° Overhang > Flat
Holds: Enix Artifacts
RIC: Risk 1, Intensity 3, Complexity 2
The goal of this boulder is to test climbers’ strength on a specific grip type. Intensity is moderate because the size of the crimps throughout the boulder gets progressively smaller, but there are no definitive “crux” moves. There is a slight element of complexity because the hand holds need to be tracked through properly for efficient sequencing. Additionally, the climber can make use of drop knees, flags, and a toe hook to ease up the difficulty of certain moves. Risk is low because all of the movements are static and high percentage.
Influence/Aesthetic
The visual elements of this boulder stem from the holds being from the same set and evenly distributed throughout the wall. The climb stays in a rather linear space but utilizes the direction of the holds to flip the climber’s body position. Using smaller holds from the same set as feet contrasts against the size of the hands, which helps to guide climbers to the right sequence. The even flow of the boulder up the wall ties into streamlined consistent movement throughout the boulder.
Hold Selection:
As previously mentioned the impetus to use these holds came from maintaining the consistency of the set, which tests the climbers’ ability to hold crimps in various body positions throughout the boulder cement a theme. The Artifacts are particularly interesting because they have thumb catches on many of the holds. This guides climber on where to grab the hold and which hand it will feel most comfortable with. Holds with small details like this can add diversity to a straightforward boulder.
Big Bumpin’
Sid uses the opposition provided from the undercling against his feet to pull off the ground and establish.
He uses the next right-hand hold to move his hips upward and bump his right hand to the next, more positive hold.
Walking his feet upward to the right brings his body slightly leftward which lets him weight his right hand more.
Twist the Hips
Sid utilizes a toe hook on the left start hold to release tension from his right hand.
He pauses on the next left hand because he is unable to pull straight through due to how low his hips are.
Shifting his left hip inward as he moves his left hand shortens the distance his left hand has to move for the next bump.
On Track
Sid squares his hips to the wall to move his right hand up; dropping his right knee while pivoting on his right foot allows him to bump his right hand again.
He brings his left foot higher to stabilize and drops his left hand into the middle hold. The distance between his shoulders closes positioning him to move vertically.
Drop and Flag
Sid brings his left hand upward to the next side pulling crimp, but this puts his body off balance to move his right hand.
He walks his right foot in and drops his knee away from the wall while flagging his left foot in order to keep his right hip inward while moving his right hand up.
Taking the Top
Sid shifts weight over his left toe to gain the next left-hand gaston; bringing his right foot up shortly after lets him gain more tension against his left hand.
He swaps the previous motion and moves toward his right foot to lock off his left arm and move his right hand up to the finish.
Final Thoughts
This type of setting and climbing can be compared to eating comfort food. It is satisfying, no frills, and you know exactly what you are going to get. While this is not the most engaging from a routesetter’s perspective because there is not as much sustenance during the creative process, it often creates the products with the highest engagement rate. Climbers enjoy things that feel familiar. In this case, familiarity is introduced through repetition; utilizing crimps throughout the entire boulder clearly communicates a theme. Clear intent from the routesetter translates to clear intent for the climber.