I took the time to rewatch the NHK documentary with English subs and stopped at these words from Dick Button:
I think the narrator misunderstood Dick here. The quad Loop was indeed a new jump, but still something within these "narrow rules". An additional quad increases your base value and gives you more options to create your jump layout. So it's worth (in points) to go for it.
What Dick meant is something more rebellious I think. Completely new stuff that doesn't earn you many additional points in the current system or puts you even in disadvantage, but wins the heart of the audience and has the potential to change the skating world. Back in Dick's days big jumps and fast, well centered spins were something risky and really revolutionary. It changed the entire landscape of figure skating and laid the path for today's competitive format.
In Yuzu's case there are some similar things like that:
I think we can call him the pioneer of difficult and continuous transition work. Although you can earn high GOE for jumps with little steps and a lot of preparation as well, he prefers to go the more difficult way and melt all his elements into the choreo. Sure, he's not the only skater to do that nowadays, but he's the first who comes to my mind, whenever I think of "steps before jumps".
The 4T+3A sequence is punished with a -20% reduction of its base value, but he goes for it, because it's cool and impressive. I can imagine that ISU will cancel this stupid rule after Yuzu's retirement and sequences will be popular alternatives to combination jumps in the future.
At ACI this season Yuzu was asked, why he didn't put his SP combo into to the second half and he answered:
"Because it fits the music better." I was really proud to be a fanyu that day. Same with the legendary backward crossrolls in Seimei. I really loved them even though they were not considered as "difficult steps" at that point... Shame that he was forced to drop them for his StSq LV...
This is not really a technical thing, but it's cool that Yuzu's costume styles somehow break with gender stereotypes and are created with a lot of thought for a specific program. It doesn't matter which costume of Yuzu I see. I know immediately: Oh! It's POTO! Seimei! Origin! I was impressed, when Yuzu said that he doesn't like to change costumes for a specific program, because they belong together. It's part of the interpretation. Aye!
Finally what makes Yuzu really extra and innovative to me:
He's not only a skater, he's a creator as well. He chooses and designs his programs himself now with a story, a motive and a message. His care for details in the music cut, the choreo, the costume and the global concept is something unique. He's like an actor and executive producer in one person. That's why his programs appear so natural and authentic. They're his babies and you can feel it