[2025.03.05] Kenshi Yonezu x Yuzuru Hanyu - "BOW AND ARROW" music video for anime Medalist

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.16

 

Source: https://www.oricon.co.jp/news/2374303/full/

Archived: https://web.archive.org/web/20250316053126/https://www.oricon.co.jp/news/2374303/full/

 

Music video featuring Kenshi Yonezu and Yuzuru Hanyu has surpassed 10 million views; opening credits for "Medalist" continue to draw attention

 

The music video for "BOW AND ARROW," the opening theme song for the TV anime "Medalist," sung by singer Kenshi Yonezu , surpassed 10 million views on the 16th. The video attracted attention because it featured Yuzuru Hanyu , a gold medalist at both the 2014 Sochi and 2018 Pyeongchang Olympic Games, and Yonezu's collaboration with Hanyu's skating was realized.

 

The music video for "BOW AND ARROW," which was released on Yonezu's official YouTube channel on the 6th , features Yonezu singing with a dignified demeanor against the backdrop of a vast sky, and Hanyu skating beautifully and powerfully on the ice. It is a fast-paced video that seems to spark the wishes of the two men. The skating choreography was done by Hanyu himself, and the music video was directed by Hayashi Kyotaro.

 

On X, "Medalist" became the number one trending topic in the world, and the number of views of the video exceeded 2 million in half a day from 8 pm on the 6th. And it exceeded the 10 million mark in 10 days after its release.

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.27

 

Source: https://trilltrill.jp/articles/3958882

Archived: https://web.archive.org/web/20250327000615/https://trilltrill.jp/articles/3958882

 

Yuzuru Hanyu: "This is something I have to do even if it kills me" - The intense pressure he felt during his "first experience"

 

"BOW AND ARROW" is a song created by Kenshi Yonezu as the opening theme song for the TV anime "Medalist". Yuzuru Hanyu appears in the music video and performs a short program that he choreographed himself to accompany the song.

 

Spoiler

On the occasion of this collaboration, a conversation between two of Japan's leading artists and figure skaters, Kenshi Yonezu and Yuzuru Hanyu, was held on Kenshi Yonezu's official YouTube channel. The two talk about the song "BOW AND ARROW" and the production of its program, about the creative process they faced head-on and their thoughts about each other. It's a rare opportunity to get a glimpse of the two's commonalities and their attitudes towards creation.

 

"I have to do this even if it kills me" - Hanyu's determination for the piece

Yuzuru Hanyu spoke frankly about how he felt when he received an offer from Kenshi Yonezu to work on the music video for "BOW AND ARROW." "To be honest, I was under a lot of pressure," Hanyu recalled. He was constantly aware that "I got an offer from the very famous Kenshi Yonezu ," and felt the weight of the responsibility.

 

Hanyu always thought about what kind of images Yonezu had imagined when he composed the song, and thought, "I'll add an essence that only I can bring to it, and make it more visible ." It is clear that he put his whole heart and soul into making the song's "strength, speed, and transience" visible. You can feel that Hanyu's high ideals and the effort and strength of his desire to make them come true have produced a professional figure skater who is active around the world.

 

"I was constantly being pushed forward" - Hanyu felt the power of the music

Regarding the influence of the song "BOW AND ARROW," Hanyu said, "I've always listened to this song while practicing, and I've always listened to this song, and I've always run toward one goal." For him, this song was not just music for skating, but a strong source of motivation.

 

"For the past few weeks, I've been feeling like I've been getting a push from behind, and when I was told to fly, I felt like I could fly, and when I was told to go, I could go straight," said Hanyu. For Hanyu, who continues to practice without a coach at the moment, this song is so important to him that he describes it as "a push from behind with all his might, all the time."

 

Particularly impressive was the part where he talked about how the song gave him a push. Hanyu said that the song gave him a push, without any sense of logic, as if it completely affirmed who he was as a person, saying, "You're fine just being you, just go for it." Hanyu spoke passionately about the power of the song, saying that the song's freshness and momentum "gave me so much strength in life too."

 

"My ideals are just too high" - Hanyu's pursuit of perfection

Hanyu normally has high ideals, and calmly recognizes the gap between reality and his ideals, saying, "I fully understand that my abilities are not good enough in that area."

 

But he doesn't see this gap as a negative thing. "I think I continue to look at that ideal because I don't have enough ability," he says. "If I had enough ability, the ideal probably wouldn't even become a dream, and I'm sure I'd get bored if it was within my reach." He stresses the importance of continuing to pursue something.

 

Hanyu had very high ideals for the music video production, due to his first experience of participating in a music video and, above all, his strong belief that "in order for me to digest the spirit that Kenshi Yonezu gave me, I would have to have extremely high ideals in order to keep up . " He made up his mind that "this is something I have to do even if it kills me," and he cut out the unnecessary parts and faced the work in a pure state.

 

What did viewers think of this video?

"It's amazing that he's come this far with only his own talent and hard work, and that he continues to create freely. People who stick to their own unique style like this are true artists."

"It was an interview that showed him feeling the loneliness that comes with being a top professional, but at last meeting someone who could understand his feelings."

"After all, many people are involved in the creation of a single work, it takes a lot of time, and there are worries and conflicts. It is so precious that we should not regard it as entertainment. They put their lives into it and express themselves seriously."

Throughout this dialogue, it is striking how the two artists show deep respect and empathy for each other's creative approach. In particular, Hanyu's passion and thoughts about his work give a sense of the path he has taken with figure skating up until now.

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.27

 

Source: https://www.oricon.co.jp/news/2376148/full/

Archived: https://web.archive.org/web/20250327053839/https://www.oricon.co.jp/news/2376148/full/

 

Kenshi Yonezu's TV anime "Medalist" opening theme song "BOW AND ARROW" music video - Yuzuru Hanyu's skating commentary

 

A collaboration between Kenshi Yonezu and Yuzuru Hanyu.
Both of them read the original work of "Medalist," and the music video for "BOW AND ARROW" was born.

 

Spoiler

There is overwhelming emotion and passion behind both Yonezu's music and Hanyu's skating. We may not be able to understand all of that. Still, there is one thing we can understand. This is surely the best work, the best effort, for Kenshi Yonezu and Yuzuru Hanyu at this point in time.

 

Hanyu is the first skater in 66 years to win the men's singles at the Olympics twice in a row, and the only skater to achieve the Super Slam (winning all six major competitions at senior and junior levels, including the Olympics and World Championships). The person he reveres as a “god” is Kenshi Yonezu. Hanyu has been a fan since Yonezu’s Hachi days, describing how his music has deeply resonated with him, offering not just courage but a force beyond words.

 

The result of this profound connection is BOW AND ARROW, the greatest work of Yuzuru Hanyu at this point in time. But what exactly makes it special, and what meaning does it hold? Let’s take a closer look.

 

■ Hanyu is skating a program he choreographed himself

Hanyu first choreographed his own program in 2022. Since then, he has showcased his self-choreographed performances in his ice shows and on his YouTube channel. Unlike competitive programs, these performances have no restrictions on length, required elements, or technical components like jumps and spins.

However, BOW AND ARROW stands apart. It was choreographed as a competitive-style short program, incorporating difficult elements under the current figure skating rules. This sets it apart from his previous self-choreographed pieces.

 

■ Why did Hanyu choreograph BOW AND ARROW in the structure of a short program (competitive program), even though he is no longer competing?
This is because "BOW AND ARROW" is a 2 minute 56 second song, which is close to the performance time of a short program, which has a rule that the performance must be completed in 2 minutes and 40-50 seconds.

In competitions, even one second increase or decrease in the time limit will result in a deduction, so if the 2 minute 56 second "BOW AND ARROW" is left as is, points will be deducted. So in the MV, Hanyu decided to wait about four seconds without moving even after the music starts to play.
According to the ISU Technical Rules (General Regulations, Rule 502), timing begins “when the skater starts moving or skating and ends when they come to a complete stop at the end of the program.” So to make sure that the time from starting to move to completely stopping does not exceed 2 minutes 50 seconds, he waits four seconds at the beginning and stops moving a few seconds before the music ends.

 

■ What kind of program is he skating?

Let’s take a step-by-step look at BOW AND ARROW, a fully competition-style program. Hanyu himself shared the seven technical elements of the routine on X. Below, we’ll introduce these elements along with other key highlights.

 

■ Sit TwizzleA few seconds after the music begins, Hanyu performs a dynamic spinning move while in a crouched position. In the Kenshi Yonezu × Yuzuru Hanyu - BOW AND ARROW Interview, Hanyu refers to this as a signature movement of his. It is also sometimes called the sit twizzle.

Hanyu incorporated it as part of the step sequence in his free program "Romeo and Juliet" (commonly known as "Romeo and Juliet in Nice") at the 2012 World Championships (Nice), where he won the bronze medal in his first appearance at the age of 17. Later, he performed a longer, more fluid version in his White Legend exhibition after winning gold at the 2014 Sochi Olympics.

However, in BOW AND ARROW, the sit twizzle is executed with extraordinary intensity and speed—unlike anything seen before. The program begins with this breathtaking move, immediately raising anticipation for what’s to come.

 

■ 4Lz (Quadruple Lutz)　
The first jump in the program is a quadruple Lutz, one of the most difficult jumps in figure skating. Very few skaters can land it successfully in competition.
Hanyu was the first Japanese to perform the quadruple Lutz in an official competition. In October 2017, during the Pyeongchang Olympics season, the quadruple Lutz he performed at the beginning of his signature piece, "SEIMEI," in the free program at the GP Russia tournament was a wonderful performance that earned him a +1.14 Grade of Execution (GOE) bonus. However, a big incident was waiting for him ahead.

In November 2017, during practice at the NHK Trophy, Hanyu fell on a quad Lutz attempt, injuring the ligaments in his right ankle—the foot he uses for landing. As a result, he withdrew from the NHK Trophy, missed a chance at a historic fifth consecutive Grand Prix Final title, and was forced to skip the Japanese Nationals in December. Leading up to the 2018 PyeongChang Olympics, he endured months of rehabilitation without stepping on the ice.

At PyeongChang, Hanyu delivered a miraculous performance and defended his Olympic title, but he opted not to include the quad Lutz in his routines.

It took two years for him to reintroduce the jump in competition. In December 2019, at the Grand Prix Final, he successfully landed both the quad Lutz and a quad loop (another high-difficulty jump that he was the first to land in competition in 2016).

A single jump lasting only a few seconds carries such immense history and significance. And now, two and a half years into his professional career, Hanyu brings the quad Lutz back in BOW AND ARROW.

 

■The beauty of the takeoff

The quad Lutz in this program is filmed from a top-down angle, making it easy to appreciate the elegance of Hanyu’s takeoff.

Figure skating features six types of jumps, all rotating counterclockwise (for right-handed skaters). The Lutz is executed by skating backward on the left foot and using the right toe pick to launch into the jump.

At this point, pay attention to your left foot.The Lutz requires the skater to strongly tilt their left foot outward (on an outside edge). However, since the body rotates counterclockwise, there’s a natural tendency for the left foot to turn inward, which can lead to an incorrect edge.

However, in Hanyu's quadruple Lutz, the edge is beautifully tilted to the left, and at the moment of takeoff, the left edge is pressed down even deeper. It’s a perfect execution of the jump’s defining characteristic. There is no judge this time, but I'm sure the bonus points (score for the execution of the technique) for this quadruple Lutz are very high.

 

■ Expressing the Spirit of BOW AND ARROW and Medalist

In competition, difficult jumps are usually performed early when the skater has the most stamina. Given the time constraints of a short program (maximum 2 minutes and 50 seconds), the first jump is typically executed around the 20-second mark.

At the Pyeongchang Olympics, where he won his second consecutive gold medal, and at the 2020 Four Continents Championships, where he achieved the Super Slam, Hanyu performed his first jump around 23 seconds after the start.

However, Hanyu performs the first jump of "Bow and Arrow" (a quadruple Lutz) around 45 seconds after he starts moving. This is because he is timing it to coincide with the jump of Hikaru Kamisaki in the opening video of the anime "Medalist". However, performing the first jump here means that he has to show six technical elements with about two minutes remaining. Nevertheless, Hanyu made this choice.

Also, one of the reasons he included a quadruple Lutz in this program is that Jun Yodaka performed a quadruple Lutz in "Medalist", so you can really feel his respect for the competitive figure skating series "Medalist".

 

■3A (Triple Axel)

The second jump in the program is a triple Axel, one of Hanyu’s most consistently stable jumps. However, this particular attempt is anything but easy.

He takes off with only a short lead-in, first executing a difficult counter turn—a quick directional switch that increases the complexity of the jump. Without pausing to adjust his balance, he immediately launches into the triple Axel. This technique makes the jump much harder, as the counter turn creates instability before takeoff.
Furthermore, the moment he gets off the triple axel, he does a twizzle (a technique where you spin around on one foot) with the foot that he landed on, to the sparkling sound in the music. He performs this element directly in front of where judges would be positioned in competition. In competitions, you especially don't want to make mistakes in front of the judges. Moreover, since it is close to the boards, he jumps with a sense of fear. The entire sequence of the triple axel is full of difficult things.

 

■FSSp (Flying Sit Spin)

The "Flying Sit Spin" is familiar to fans of "Medalist." This spin incorporates the "Broken Leg" (a position in which the free leg is thrust out to the side), a technique shown by the main character, Yuitsuka Inori.

However, Yuzuru Hanyu doesn't stop there.

After the Broken Leg position, he transitions into a Sit Back position (also called Sit Behind), where the free leg is placed behind the skating leg—a particularly difficult variation. As he finishes the spin, he moves into a knee slide, striking a pose reminiscent of Medalist character Jun Yodaka.

 

■Layback Ina Bauer

Though not one of the seven required technical elements in the short program, Hanyu includes the layback Ina Bauer as a form of artistic expression. In the "Ina Bauer", the left and right feet are opened 180 degrees, and then the upper body is tilted back (layback) while moving forward. This position requires a high degree of flexibility, as the back and waist are bent considerably.

In "BOW AND ARROW," Hanyu performs this move during the phrase, “And all the brilliance you’ve grasped is yours.” This moment resonates deeply, reflecting his many achievements and his ability to deliver a performance of the highest caliber as a professional skater. It is a few seconds of pure artistry to be savored.

 

■Quadruple Salchow + Triple Toe Loop Jump Combination

This jump combination is performed in the latter half of "BOW AND ARROW," making it especially challenging.

By the time he attempts the quadruple Salchow + triple toe loop, approximately two minutes into the program, Hanyu has been skating at full intensity. Executing such a high-risk jump combination while fatigued is incredibly demanding.

Furthermore, the difficulty of this jump is also related to the characteristics of the short program. In the short program, three jumps are required... to put it very simply, one is an axel, one is a single jump, and one is a jump combination.

A jump combination is one in which the second jump cannot be executed unless the first jump is landed cleanly. Therefore, if possible, it is common to plan the first jump of the short program as a combination. If the first jump fails and does not become part of a combination (counting only as a single jump), a skater can add another jump after a subsequent single jump to create a combination instead.

However, if the third jump is intended as a combination jump, as in this case, and the skater fails to execute the combination, the jump will not meet the short program requirements. As a result, it will be considered invalid and receive 0 points, leading to a significant drop in the overall score.

Despite this risk, Hanyu chose to make his third jump a combination in Bow and Arrow. This decision reflects his absolute confidence that "I will not fail here."

 

■ Combination jumps at the Pyeongchang Olympics
The jumps that Hanyu jumped in the short program at the Pyeongchang Olympics, where he won his second consecutive gold medal, were a quadruple salchow, a triple axel, and a quadruple toe loop + triple toe loop. The types of jumps are slightly different from now, but the critical composition of making the third jump a combination remains the same.

 

■ Bonus Points for Jumps in the Second Half

In figure skating, jumps executed in the latter half of the program receive a 10% base value bonus. By positioning his quadruple-triple combination jump here, Hanyu maximizes his potential score. "BOW AND ARROW" is structured to achieve the highest possible points, a testament to his strategic brilliance.

 

■"Fly!"
When Hanyu hears the voice "Fly", he launches off with a quadruple Salchow + triple toe loop.
The word "Fly"...Hanyu's fans may think of the 2014 Grand Prix Cup of China.

During the six-minute practice for the free skate at this competition, Hanyu collided with another skater and was bleeding profusely. He was taken to the medical room. The competition continued without any information on Hanyu's condition, but when it was his turn, he appeared on the side of the rink with his head wrapped in bandages. He finished his free skate in that condition, but at that time, the words that Hanyu shouted to encourage himself as he stepped out onto the rink were "Fly".

 

■CCoSp (change of foot combination spin)
■Biellmann spin
A spin in which the skater shows various positions and changes the pivot foot (change of foot) in the middle. In this spin, the skater stretches his arms out as he rotates, grabs the blade, and then lifts his foot from behind, which is the "Biellmann" position.

The Biellmann spin requires a lot of flexibility, as it requires a lot of bending of the hips and back. As with the "Layback Ina Bauer," even if men can do it when they are young and flexible, they often become unable to do it as they grow older and gain muscle strength. There was a time when Hanyu did not perform the Biellmann spin, However, after turning professional in 2022, he reintroduced it into his routines at the age of 27.

It is quite rare for a male skater to perform the Biellmann spin again after having once put it away.

Since it is not required in competition, there is no obligation to perform it. Yet, Hanyu chose to reclaim it, balancing the muscle strength needed for quadruple jumps with the flexibility necessary for this graceful spin. His ability to execute both at the highest level is a testament to his years of dedication, discipline, and relentless training. It reflects his identity as a skater and the pride he takes in his craft.
This is the Biellmann spin performed by Hanyu, a 30-year-old male skater.

 

■A competitive program filled with attention to detail

Hanyu himself has said that he put great care and attention into this program. Small yet meaningful details can be found throughout—such as the moment during the lyrics “Have I become the kind of adult I once longed to be?” where he gazes toward the sky, or when he mimics drawing a bow during the phrase “I pulled strongly.” Each movement reflects his personal interpretation and deep connection to the music.

 

■Short program, "BOW AND ARROW"
At the beginning of the performance, Hanyu exhales white breath into the cold air, waiting for the music to start.  At his feet, on the ice surface he will be skating on, there are already countless traces (traces of skating).
Also, when you look at the surface of the ice where he is heading to jump the quadruple lutz, that part is extremely white. These are traces where the ice has been scraped. It shows that he has repeatedly taken off and landed the quadruple lutz at that place. Throughout the footage, we see various traces etched into the ice, all left by a single skater during just a few hours of filming. It is astonishing to realize how many times Hanyu must have performed "BOW AND ARROW" with full intensity to create such a scene.

And yet, despite this grueling effort, Hanyu does not appear to be sweating. Normally, whether in training, competition, or ice shows, he perspires heavily. Here, however, the air is so bitterly cold that even from afar, his breath visibly expands in the icy air. The rink is dimly lit, with spotlights moving sharply across the ice, adding to the challenge of executing such a difficult program.

Despite that, Hanyu put in all his effort. He continued to jump and trace his movements until he reached a level where he could leave a lasting impression on the world, incorporating incredible techniques and believing that this was the image of the Hanyu Yuzuru who had achieved so much glory. And that's how his miraculous masterpiece, the short program "Bow and Arrow," was born.

 

(Writer: Hasegawa Hitomi)

 

[yuzurujenn]

2025.03.27

 

Source: https://us.oricon-group.com/news/3983/

Archived: https://web.archive.org/web/20250327082633/https://us.oricon-group.com/news/3983/

 

Kenshi Yonezu's "BOW AND ARROW" Music Video — A Commentary on Yuzuru Hanyu's Skating for the TV Anime Medalist Opening Theme

 

The opening theme for the anime Medalist, titled “BOW AND ARROW”, has received a music video unlike any before. This project is a collaboration between Kenshi Yonezu and Yuzuru Hanyu, both of whom deeply immersed themselves in the Medalist manga before creating this visual expression.

 

Spoiler

The result is a fusion of Yonezu’s powerful music and Hanyu’s emotive skating — a piece overflowing with intensity, spirit, and meaning. While the full depth of their vision may elude us, one thing is clear: this is a culmination of each artist’s current best. It is, without a doubt, a landmark work in both of their careers.

 

Hanyu’s Tribute: A Competitive Program Unlike Any Before

Hanyu, the only male skater to achieve a Super Slam and a two-time Olympic gold medalist, has long admired Kenshi Yonezu — calling him a “god.” Inspired by Yonezu’s songs since his early “Hachi” era, Hanyu found emotional strength and courage beyond words in his music.

 

“BOW AND ARROW” is a reflection of that admiration and collaboration. It marks a departure from Hanyu’s past self-choreographed programs (which began in 2022) that were unconstrained by competition rules. Instead, this new program follows the structure of a competitive short program, meticulously tailored to the current figure skating rules and compressed into a precise time limit.

 

Despite not participating in official competitions, Hanyu choreographed BOW AND ARROW to mirror a short program, since the song’s length—2 minutes and 56 seconds—closely aligns with competition timing. To comply with technical rules, Hanyu waits 4 seconds after the music starts before moving, and ends just shy of the 2:50 cutoff.

 

HOMEKenshi Yonezu's "BOW AND ARROW" Music Video — A Commentary on Yuzuru Hanyu's Skating for the TV Anime Medalist Opening Theme
2025-03-26 23:08 (EST)Japan Anime News Edit by Taimu Tsuji    
Kenshi Yonezu's "BOW AND ARROW" Music Video — A Commentary on Yuzuru Hanyu's Skating for the TV Anime Medalist Opening Theme
Last modified : 2025-03-26 23:09 (EST)
The opening theme for the anime Medalist, titled “BOW AND ARROW”, has received a music video unlike any before. This project is a collaboration between Kenshi Yonezu and Yuzuru Hanyu, both of whom deeply immersed themselves in the Medalist manga before creating this visual expression.

The result is a fusion of Yonezu’s powerful music and Hanyu’s emotive skating — a piece overflowing with intensity, spirit, and meaning. While the full depth of their vision may elude us, one thing is clear: this is a culmination of each artist’s current best. It is, without a doubt, a landmark work in both of their careers.

Yuzuru Hanyu and Kenshi Yonezu collaborate in the "BOW AND ARROW" MV

Yuzuru Hanyu and Kenshi Yonezu collaborate in the "BOW AND ARROW" MV

Kenshi Yonezu - BOW AND ARROW /Yuzuru Hanyu Short Program ver.

Hanyu’s Tribute: A Competitive Program Unlike Any Before
Hanyu, the only male skater to achieve a Super Slam and a two-time Olympic gold medalist, has long admired Kenshi Yonezu — calling him a “god.” Inspired by Yonezu’s songs since his early “Hachi” era, Hanyu found emotional strength and courage beyond words in his music.

“BOW AND ARROW” is a reflection of that admiration and collaboration. It marks a departure from Hanyu’s past self-choreographed programs (which began in 2022) that were unconstrained by competition rules. Instead, this new program follows the structure of a competitive short program, meticulously tailored to the current figure skating rules and compressed into a precise time limit.

Despite not participating in official competitions, Hanyu choreographed BOW AND ARROW to mirror a short program, since the song’s length—2 minutes and 56 seconds—closely aligns with competition timing. To comply with technical rules, Hanyu waits 4 seconds after the music starts before moving, and ends just shy of the 2:50 cutoff.

The Elements of “BOW AND ARROW” — Technique Meets Emotion:

Sit Twizzle
A few seconds after the music begins, Hanyu executes a dynamic move where he spins vigorously while gliding forward in a crouched position. In the “Kenshi Yonezu × Yuzuru Hanyu – BOW AND ARROW Conversation”, Hanyu referred to this as “a movement I use as my signature,” and it’s sometimes called a “sit twizzle.”

This move has been a staple in Hanyu’s repertoire since he was 17, when he debuted at the 2012 World Championships in Nice and won bronze. There, he incorporated the twizzle into his step sequence in the Romeo and Juliet free skate (nicknamed “Nice R&J”). In his exhibition skate White Legend at the 2014 Sochi Olympics, he performed it with serene elegance.

 

But in BOW AND ARROW, the sit twizzle is executed with ferocious strength and incredible speed—unlike anything we’ve seen before. The explosive momentum sets the tone for the rest of the program, raising anticipation from the start.

 

4Lz (Quad Lutz)
The first jump in the program is the quad lutz—one of the most difficult jumps in figure skating, successfully performed by only a handful of athletes in competition.

Hanyu was the first Japanese skater to land a quad lutz in official competition. In October 2017, during the free skate at the Rostelecom Cup (part of the Grand Prix series), he opened his performance of SEIMEI with a quad lutz that earned a +1.14 grade of execution.

 

However, this success was followed by a major setback. In November, during practice for the NHK Trophy, he fell on a quad lutz attempt and tore ligaments in his landing foot. He had to withdraw from the NHK Trophy, miss a potential fifth straight Grand Prix Final appearance, and sit out the Japanese Nationals. He spent the months leading up to the PyeongChang Olympics unable to train on the ice.

 

Though he miraculously recovered in time to win his second Olympic gold medal, he did not include the quad lutz in that program.

 

The jump that caused such a serious injury—so pivotal to his career—didn’t return to his competition programs until nearly two years later. At the 2019 Grand Prix Final, he successfully landed it along with a quad loop (another high-difficulty jump he first landed in 2016).

 

Such a brief moment—a few seconds—can hold immense meaning and history. Now, more than two years into his professional career, Hanyu showcases the quad lutz once more in BOW AND ARROW.

 

The Beauty of the Takeoff
The quad lutz in BOW AND ARROW is filmed from an overhead angle, making it easy to see—and stunning in execution.

 

There are six types of jumps in figure skating, all of which rotate counterclockwise (to the left). The lutz takes off from a backward glide on the left foot, with the skater launching using the toe pick of the right foot.

 

Key to the lutz is the use of the outside edge of the left foot. Ideally, the edge should lean strongly outward—toward the clockwise direction—while the skater rotates counterclockwise. Many skaters lose this edge at takeoff, causing the jump to blur into a flip.

 

But Hanyu’s edge remains beautifully tilted to the left. At takeoff, the edge deepens firmly and cleanly. It’s a textbook example of what makes a lutz a true lutz. Though there are no judges here, this jump would undoubtedly receive a high grade of execution.

 

Expressive Choices in “BOW AND ARROW” and Medalist
Difficult jumps are typically placed early in the program when stamina is highest. In a short program limited to 2 minutes and 50 seconds, skaters must include seven technical elements. For this reason, the first jump usually happens around the 20-second mark. At the PyeongChang Olympics and the 2020 Four Continents—where Hanyu achieved the Super Slam—his first jump occurred around 23 seconds in.

 

But in BOW AND ARROW, the quad lutz comes at about 45 seconds after movement begins. Why? Because Hanyu matched the timing of a jump by the character Hikaru Okazaki in the opening sequence of the anime Medalist.

 

This meant he had to fit six more technical elements into the remaining two minutes—an immense challenge he willingly accepted.

Another reason for including the quad lutz was the manga’s own depiction of Jun Yodaka landing the same jump. Hanyu’s deep respect for Medalist, a story centered on competitive figure skating, is evident throughout.

 

3A (Triple Axel)
The second jump is a triple axel, a jump Hanyu is known for mastering. But that doesn’t mean it’s easy.

 

He approaches with a short entry and performs a “counter”—a difficult turn—before launching directly into the jump. This means he transitions from backward to forward and immediately jumps, a sequence that’s hard to control and land.

 

He lands the jump in perfect sync with a sparkling chime in the music, then seamlessly transitions into a twizzle—spinning quickly on one foot.

 

Notably, he executes this entire sequence in a location close to the boards and directly in front of where judges would sit in competition. It’s a high-pressure zone where skaters usually avoid mistakes. This area of the program is packed with complexity.

 

FSSp (Flying Sit Spin)
Fans of Medalist will recognize the Flying Sit Spin, a move showcased by protagonist Inori. In BOW AND ARROW, Hanyu incorporates the same move, including the "broken leg" position—where the free leg extends horizontally.

 

But Hanyu doesn't stop there.

 

After the broken leg, he transitions into a “sit back” (also known as “sit behind”), a more challenging position where the free leg is placed behind the supporting leg. He finishes the spin with a knee slide, kneeling on the ice, evoking the presence of Medalist character Jun Yodaka.

 

Quad Salchow + Triple Toe Loop Combination
A rare and bold decision: placing this exhausting combo jump late in the program, around the 2-minute mark. In competition, this strategy carries risk — a failed combo at this point could mean scoring zero for the jump. Hanyu’s confidence here is striking.

 

Layback Ina Bauer
While not one of the seven required short program elements, Hanyu includes the Layback Ina Bauer as a powerful expressive moment.

 

This move involves spreading both feet 180 degrees apart, gliding sideways while arching the upper body backward in a deep curve—requiring immense flexibility in the back and hips.

 

Hanyu performs this move during the lyric, “And all the brilliance you’ve grasped—now it’s yours.” The pose, coupled with his skating history and mastery, brings a poetic resonance to the phrase. It’s a few seconds of pure, unforgettable beauty.

 

4S + 3T (Quad Salchow + Triple Toe Loop Combination)
The jump combination in BOW AND ARROW is a 4S+3T (quad Salchow + triple toe loop), placed in the second half of the program—an unusual and difficult choice.

This sequence occurs around the two-minute mark, after nearly continuous, high-intensity skating. Attempting such a physically demanding combination at this point is extremely challenging.

 

What’s more, the structure of the short program adds further pressure. Skaters must complete three jumps:

One Axel-type jump
One solo jump
One combination jump

 

Combination jumps must connect smoothly from the first jump’s landing. To mitigate risk, most skaters place the combination early—so if they miss it, they can still attach another jump later to meet the requirements.

 

But Hanyu chooses to perform the combination as the third and final jump, leaving no room for error. Missing this could result in a score of zero for that element. His decision reflects absolute confidence in his ability.

 

Combination Jump at PyeongChang 2018
At the PyeongChang Olympics, Hanyu’s short program jump layout included:

Quad Salchow
Triple Axel
Quad toe loop + triple toe loop

 

While the jumps were different, he still placed the combination as the third element—a testament to his boldness and strategy.

 

Second Half Bonus
In figure skating, jumps performed in the second half of the program (after 1:25) earn a 10% base value bonus.

By placing his highest-scoring combination jump in the second half, Hanyu maximizes scoring potential—BOW AND ARROW is built to deliver extraordinary points.

 

"Fly!"
Hanyu launches into the 4S+3T combination at the cue “Fly!” in the lyrics.

 

This moment may bring back memories for longtime fans of the 2014 Cup of China, where Hanyu suffered a severe collision during the six-minute warm-up. Despite heavy bleeding and head trauma, he returned to the ice—his head wrapped in bandages—and skated his free program. Before stepping onto the rink, he shouted to himself: “Fly!”

That same word echoes here.

 

CCoSp (Change-Foot Combination Spin) & Biellmann Spin
In this spin, Hanyu transitions between various positions and changes his skating leg mid-spin. He finishes with the rare and demanding Biellmann position—grabbing the blade of his skate and pulling his leg behind his head while spinning.

 

The Biellmann requires extreme back and hip flexibility. Like the layback Ina Bauer, it’s a move that male skaters often leave behind as they age.

 

Hanyu stopped performing it for a time, but after turning professional in 2022, he began incorporating it again—starting at age 27. It's a rarity for a male skater to bring back such a move after shelving it, especially after turning pro.

 

Yet Hanyu made it happen.

 

Balancing the explosive power needed for quad jumps and the flexibility required for the Biellmann is no small feat. Achieving both is the result of relentless training, unshakable belief, and deep pride in his identity as a skater.

 

This is the Biellmann Spin of Yuzuru Hanyu at age 30—a symbol of everything he has built and become.

 

A Program Crafted with Care and Vision
Hanyu stated, “I packed a lot of intention into this program.”

At the lyric “Have I become the adult I once dreamed of?” he looks skyward. At “Pulled it strong”, he draws a bow with his arms—each moment filled with deliberate storytelling.

 

Short Program “BOW AND ARROW”
At the beginning, Hanyu exhales visible breath into the cold air, waiting for the music to start. Beneath him, the ice is already marked with countless traces—evidence of repeated practice.

 

The area where he launches his quad lutz is worn white, the ice visibly shaved down. It shows he has taken off and landed this jump again and again in the same spot.

Throughout the video, we see these traces. In just a few hours of filming, alone on the rink, Hanyu left behind all that evidence—a testament to how much he poured into this routine.

 

And yet, on this day, he is not sweating.

In practice and shows, Hanyu usually sweats heavily. Here, even his breath turns to mist. The cold is biting. The arena is dim, lit only by shifting spotlights.

It was a harsh environment for executing high-difficulty jumps and an intense program.

 

Still, Hanyu gave everything.

He performed at a level that could be preserved for eternity. This is the Yuzuru Hanyu the world has watched win glory. This is the skater who jumped again and again—leaving behind every trace—until he created this miraculous masterpiece: the short program “BOW AND ARROW.”

The Skating Scene in the MV
As the music begins, Hanyu exhales in the cold air, standing still amid a rink marked with countless skate traces — signs of tireless repetition. The ice is visibly carved where he practiced the quad lutz.

 

Despite the grueling routine, in freezing conditions and under shifting lights, Hanyu doesn't appear sweaty. It’s a testament to his professionalism and preparation.

This video wasn’t just a performance — it was a legacy, created and delivered with absolute intensity and grace. BOW AND ARROW is, quite possibly, Hanyu’s greatest masterpiece to date.

 

(Written by Hitomi Hasegawa)

 

Link: 

 

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.27

 

Source: https://www.tokyo-sports.co.jp/articles/-/338920

Archived: https://web.archive.org/web/20250327110919/https://www.tokyo-sports.co.jp/articles/-/338920

 

[Figure Skating] SML explains the details of Yuzuru Hanyu's "BOW AND ARROW"

 

The "obsessions" of professional skater Yuzuru Hanyu (30), who won the men's figure skating gold medal at the Olympic Games for two consecutive years, have been revealed.

 

Spoiler

He appeared in the music video for the opening theme song for the TV anime "Medalist," "Bow and Arrow," by Kenshi Yonezu (34), and performed a program he choreographed himself. The program incorporates highly difficult moves while following the current rules of the sport.

 

　Sony Music Labels Inc. (SML) published an explanation of Hanyu's skating technique on the 27th. "Hanyu makes his first jump (quadruple Lutz) about 45 seconds into his movement. This is because it is timed to coincide with the timing of Hikaru Kamisaki's jump in the opening video of the anime Medalist. However, jumping the first jump here means that he has to show six technical elements with about two minutes remaining. Nevertheless, Hanyu made this choice," the company wrote.

 

　He further explained, "One of the reasons he included a quadruple Lutz in his program was that Jun Yodaka jumped a quadruple Lutz in 'Medalist,' so you can really feel his respect for the competitive figure skating series 'Medalist.'"

 

　He went on to say, "Behind both Yonezu's music and Hanyu's skating, there is overwhelming emotion and passion. We may not be able to understand all of that. But there is one thing we can understand. This is surely the best work, the best effort of both Yonezu and Hanyu at this point in time." This ultimate collaboration seems to have touched the hearts of many. (Comment in original)

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.27

 

Source: https://realsound.jp/2025/03/post-1966645.html

Archived: https://web.archive.org/web/20250327140129/https://realsound.jp/2025/03/post-1966645.html

 

The Values, Contradictions and Similarities of Artists and Athletes Seen in the Conversation between Kenshi Yonezu and Yuzuru Hanyu "BOW AND ARROW"

 

"BOW AND ARROW" by Kenshi Yonezu was released on January 27th as the opening theme song for the TV anime "Medalist" (TV Asahi). Since the tie-up was decided, Yonezu's love for the original work has been a big topic of conversation, and the song was also debuted during the nationwide tour "Kenshi Yonezu 2025 TOUR / JUNK" held at the same time, and it has been a hot topic since the end of last year, attracting people's attention.

 

Spoiler

Many listeners closely followed the song's progress, likely due in part to the presence of its music video. Another track released around the same time, Plazma, also featured a large-scale MV reminiscent of Mobile Suit Gundam GQuuuuuuX. Additionally, the fact that BOW AND ARROW had a slightly delayed information release heightened anticipation for what kind of visual world would be depicted in its MV. As a result, many fans eagerly awaited its unveiling.

 

Amidst these rising expectations, the long-awaited MV was finally released in early March. The video not only featured Kenshi Yonezu singing on an ice stage but also showcased figure skater Yuzuru Hanyu delivering a stunning performance in sync with the music. Given the nature of the song, there had been speculation that it might one day be used as a program piece in figure skating. Ultimately, the MV surpassed all expectations by featuring one of Japan’s most prestigious performers, resulting in a collaboration that far exceeded public predictions. This extraordinary MV, going beyond even the highest expectations, became one of the key reasons for the overwhelming enthusiasm among listeners.

 

A spectacular collaboration between two of the same generation, transcending the boundaries of genres, featuring a top artist in the current Japanese music scene and a treasure in the world of Japanese figure skating. The performance was crafted with an unparalleled level of dedication, requiring even Hanyu, who has achieved historic global feats, to surpass the abilities he demonstrated during his competitive career. Moreover, the song’s title, BOW AND ARROW, and the fateful connection to Hanyu, whose name means “one who ties the bowstring,” add a layer of profound significance. This MV collaboration became an extraordinary project for both Yonezu and Hanyu, overflowing with a depth of meaning and artistic brilliance that defies simple explanation.

 

Given the circumstances, there were many voices calling for a song talk project, which Yonezu has often held in the past, in which he invites guests. As if to meet those expectations, about one week after the MV was released, a video of the conversation between Yonezu and Hanyu was released, along with a MV of Hanyu's short program. The latter, capturing the present brilliance of the genius skater, held immense value as a rare performance archive. As a testament to his enduring excellence, the video amassed 2 million views on YouTube within just three days. Nearly seven years since his back-to-back Olympic victories, the video allows you to fully experience the outstanding talent that continues to evolve solidly even in his 30s.

 

Building on the immense buzz surrounding this MV, let’s take a closer look at the invaluable conversation video. This discussion covers a wide range of topics, including their impressions of each other, their understanding and connection to the work Medalist, the sport of figure skating, and even their personal philosophies.

The conversation unfolds on the basis of the great respect that the two men of the same generation have for each other, but the most memorable scene is one that symbolizes the contradictions and similarities between the two, who continue to run as top talents in their respective fields.

 

In the first half to the middle of the conversation, there were many moments where the contrast between their personalities became apparent. Many people likely perceive both Yonezu and Hanyu as mysterious and quiet, or gentle and calm. While Yonezu largely matched this impression with his attentive listening, Hanyu, who spoke with passionate intensity throughout, could be seen as having a completely opposite personality.

 

As for the source of their differences, as was mentioned at times during the conversation, it likely lies in the distinction between 'Kenshi Yonezu the artist' and 'Yuzuru Hanyu the athlete.' As professionals, both are certainly affected by numbers such as sales and attendance. However, when it comes to creative fields like music and art, discussing them in terms of absolute right and wrong or purely relative evaluation is somewhat nonsensical. On the other hand, as depicted in Medalist, the world of sports operates under a harsh hierarchy, where only those who continuously win competitions and deliver results are allowed to survive. It is fascinating how this exchange clearly highlighted the contrast between Yonezu’s choice of words and receptivity—shaped by his artistic background—and Hanyu’s stoicism and ambition, which stem from his world of competition.

 

Kenshi Yonezu and Yuzuru Hanyu talk about "happiness" and "sacrifice." What do they have in common?

 

Toward the end of the conversation, when the topic shifted to happiness and sacrifice, the dynamic took a turn. In contrast to the differing impressions they had given earlier, the two engaged in a deeply introspective exchange, revealing strikingly similar values. In Medalist, the concept of happiness and sacrifice is depicted in contrast through the characters Tsukasa Akeuraji and Jun Yodaka. It was particularly noteworthy how both Yonezu and Hanyu expressed understanding toward both perspectives.

 

As the discussion continued, they resonated strongly with the idea of not perceiving sacrifice as sacrifice. Rather, they found happiness in becoming utterly immersed in something—to the point where they might even push themselves to their limits as a means of proving their existence. Despite working in entirely different fields, their shared mindset, or perhaps the inherent precariousness of their relentless pursuit of excellence, became increasingly apparent. They do not see hardship as hardship, nor do they consider taking an easier path an option. Instead, they willingly and unwaveringly forge ahead on a thorny road of their own choosing. Born into this world as a certain kind of clumsy human, they nonetheless firmly affirm their chosen path as "enjoyable." This scene strongly conveyed that such a mature mindset is another commonality between them and a significant part of their appeal. 

 

Looking back, the anime adaptation of Medalist, along with the worlds of figure skating and BOW AND ARROW, seems to have brought together an intricate web of people and encounters. Sports, and music. Because these people are usually from completely different genres and categories, this series of encounters must have been a very precious and valuable opportunity. I'm sure that in the future, they will continue to have a huge impact on many people in their respective fields.

 

 

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.28

 

Source: https://trilltrill.jp/articles/3958883

Archived: https://web.archive.org/web/20250328001157/https://trilltrill.jp/articles/3958883

 

Kenshi Yonezu: "What does it mean to do your best?" He speaks frankly to Yuzuru Hanyu about his "resistance to the cheers" and "change in stance"

 

The song "BOW AND ARROW", created by Kenshi Yonezu as the opening theme for the TV anime Medalist, features Yuzuru Hanyu in its music video. In the video, Hanyu performs a short program that he personally choreographed to match the song.

 

To coincide with this collaboration, a conversation between musician Kenshi Yonezu and figure skater Yuzuru Hanyu, two artists who have built their own unique worldviews in their respective fields, was held on Kenshi Yonezu's official YouTube channel. The conversation, which discusses each other's attitudes and passion towards production, as well as the relationship between Yonezu's songs "Peace Sign" and "BOW AND ARROW," is a rare opportunity to get a glimpse into the inner workings of these two creators.

 

Spoiler

"BOW AND ARROW" is a self-homage to "Peace Sign"

Yonezu describes BOW AND ARROW as "a sort of self-homage, or rather, an extension of something I had done before." The song is positioned as a continuation of Peace Sign. When composing the theme for the manga Medalist, the creators specifically requested "a song with a similar feel to Peace Sign," which naturally connected the two pieces.

 

Reflecting on this connection, Yonezu explains, "Now that I’ve grown older and matured, I feel like I can create music not from a child's perspective, but from the standpoint of someone who supports them." While Peace Sign embodies the energy of pushing forward with a child's viewpoint, BOW AND ARROW shifts to the perspective of someone providing support.

 

The change in Kenshi Yonezu's perspective

Yonezu also candidly shares how his approach to creation has changed over time. He once felt that he had achieved success "through his own strength," carrying a sense of pride as someone who "rose up from an outsider position."

 

However, as time passed, he realized, "I was actually a tiny existence, supported by countless people who had been involved with me in various ways." He acknowledges that he had been protected and, in many ways, had leaned on that support throughout his journey. This shift in awareness significantly influenced his approach to creating BOW AND ARROW.

 

Resonance Between Two Artists
Kenshi Yonezu candidly admits that he used to feel a sense of resistance toward cheers and words of encouragement from others. He distanced himself from being supported, often thinking, "What does 'Do your best' even mean?" or "That has nothing to do with me." However, after encountering the manga Medalist and taking on the role of creating a song for it, his perspective changed.A sense of responsibility began to emerge, as if to say, "I'm in that position now," and "I've become someone who has to take on a role."

 

On the other hand, Hanyu describes his approach to the song by saying, "In order to fully absorb the soul that Kenshi Yonezu put into this song, I decided to strip everything away—everything." He felt a deep responsibility to commit himself wholeheartedly to the performance. Being a longtime fan of Peace Sign, Hanyu even thought, "Maybe it’s more fitting for me to skate from the perspective of Peace Sign instead." Despite coming from different creative disciplines—one as a musician, the other as a figure skater—their artistic sensibilities resonated perfectly.

 

Yonezu also describes "cheering someone on" as "something incredibly frightening." He acknowledges the weight of pushing someone forward, as well as the burden on the person being pushed to keep moving. This awareness is deeply embedded in BOW AND ARROW, and Hanyu, understanding its essence, brings it to life through his skating.

 

How did viewers react to this video?

Quote

"Their sense of responsibility for their work is incredible."

"Yonezu is an amazing musician, and Hanyu is such a passionate athlete."

"Watching this made me realize why these two have remained at the top for so long."

"You can really feel their shared pursuit of perfection."

 

Yonezu, through his music, and Hanyu, through his performances on the ice, are always trying to surpass their own limits. Behind this lies a strong sense of responsibility to "create" and their pride as artists. Viewers seem to find inspiration in their dedication, discovering hints for their own lives and forms of expression.

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.30

 

Source: https://trilltrill.jp/articles/4031794

Archived: https://web.archive.org/web/20250330032946/https://trilltrill.jp/articles/4031794

 

Yuzuru Hanyu: "I just try to be unhappy every day" – His unique 'Unhappiness Point Theory'
Kenshi Yonezu bluntly responds: "That's weird."

 

"BOW AND ARROW" is a song created by Kenshi Yonezu as the opening theme song for the TV anime "Medalist". Yuzuru Hanyu appears in the music video and performs a short program that he choreographed himself to accompany the song.

 

In this special collaboration, a conversation between Kenshi Yonezu and figure skater Yuzuru Hanyu—two of Japan’s most iconic artists—was featured on Yonezu’s official YouTube channel. Their discussion revealed a unique mindset behind their success. While talking about the characters in the manga Medalist, Hanyu shared his surprising philosophy of "Unhappiness Points," which he practiced leading up to the PyeongChang Olympics. His words offer a glimpse into what allows them to remain at the top.

 

Spoiler

Yuzuru Hanyu’s Unique Theory: Accumulating ‘Unhappiness Points’
During the conversation, Yuzuru Hanyu revealed a personal and unconventional approach he practiced leading up to the PyeongChang Olympics.

 

"At that time, I was constantly working on ‘accumulating misfortune,’" he explained.

 

His reasoning stemmed from a personal theory: "The more negative experiences you accumulate, the greater your happiness will be in the end."

 

Simply put, he thought, "If I become really unhappy, then I’ll become really happy later, right?" With this mindset, he deliberately told himself every day, "Let’s be unhappy, let’s be unhappy," consciously collecting what he called “Unhappiness Points.”

 

One way he practiced this was "taking the initiative to do things that I don't want to do."

 

Hearing about this strange and unique philosophy, Kenshi Yonezu, who was asked by Hanyu, "I must seem like a weird person, right?" didn’t hesitate to respond with a wry smile, "Yeah, that’s weird." However, he also admitted, "I kind of get what you mean."

 

It’s possible that this mindset of accumulating "Unhappiness Points" was one of the hidden driving forces that propelled Hanyu to the top of the world. Instead of avoiding hardships, he actively sought them out—a paradoxical approach that lies at the core of his professionalism.

 

"What is sacrifice?" The professionalism of these two men seen in their shared understanding
One of the key moments in their conversation was their shared understanding of sacrifice.

 

When Yonezu compared Hanyu to Yodaka, a character from the manga Medalist, Hanyu agreed, saying, "Yeah, I guess there is a certain cold-hearted side to me. Also, the idea of achieving glory through sacrifice... I really understand that."

 

The two's thoughts on "sacrifice" encapsulates the success philosophy of top creators. They don't see "sacrifice" as simply something negative, but as a necessary investment for success .

 

Yonezu responded, saying, "The more negatives you accumulate, the closer you get to happiness." He suggested that this principle holds true in creative work as well.

 

Their deep understanding of the connection between sacrifice and success speaks volumes about the price they’ve paid to reach the top. True success always comes with sacrifices, but they don’t see it as suffering—it’s simply a given. For them, sacrifice is not something to be feared but something to be embraced as part of the journey. This mindset is likely the key to their extraordinary strength.

 

"Adversity is the meaning of existence" - Their way of life and philosophy
What emerges from their conversation is a unique way of life—one that actively embraces struggles and hardships as part of their identity.

 

Hanyu stated, "Negativity isn’t always a bad thing," emphasizing the value of lessons learned through overcoming difficulties.

 

What's interesting is that they are aware that those around them see them as "pitiful" for choosing this "suffering." Yonezu confides, "When my friends see me, they say, 'That's so pitiful,'" to which Hanyu nods in agreement. However, for the two of them, it's simply the most natural way to live that "even before I consider whether I should sacrifice it or not, it's what feels most comfortable" and "it's not even an option."

 

Hanyu even expressed that dedicating himself to his craft is "proof that I exist," and without it, "I wouldn’t be able to prove my own existence."

 

This mindset—finding meaning and identity in adversity—is what has propelled them to such extraordinary heights. Their conversation reveals a philosophy of turning struggles into fuel for greatness, offering a glimpse into the unique mental strength that defines true professionals.

 

A conversation between two people that touched the hearts of viewers... Reactions to their "philosophy"

Quote

"The phrase ‘fighting desperately just to keep enjoying it’ really resonates."
"He enjoys what may seem like hard work, and even says he wants to do it. That sensibility moves people's emotions and fascinates them."
"I was deeply moved by this conversation between two people who live and work with such intense passion."

 

The unwavering dedication and unique values of Yonezu and Hanyu have left a lasting impact on many. Their discussion on ‘Unhappiness Points’ and the philosophy of ‘sacrifice and success’ may be truths known only to those at the very top, but at its core, their commitment to 'living life seriously' offers invaluable insight to anyone striving for success in any field.