[2018.09.29] Figure Skating Team Japan Fan Book 2018

[yuzurujenn]

Info: https://www.amazon.co.jp/フィギュアスケート日本代表-2018ファンブック-別冊-山と溪谷/dp/4635924823

 

[Special supplement]
2018/2019 season spectator calendar

[Special interview] Yuzuru
Hanyu
"Words of gratitude"

[Close-up report] Shoma Uno
"Unwavering belief"

[Exclusive interview]

Keiji Tanaka "Doing everything I can now"

Kazuki Tomono "Now is the time to awaken"

Sota Yamamoto "Small goals, big steps"

Koshiro Shimada "Filled with joy and hope"

Satoko Miyahara "Miss Perfect's new challenge"

Kaori Sakamoto "The Oath of an Olympian"

Wakaba Higuchi "Turning frustration into strength"

Rika Kihira "Towards a brilliant future, the beginning of a legend "

Mai Mihara "Casting a spell on myself"

Marin Honda "Gaining confidence in a new world "

Rika Hongo "Step by step, building on it"

Mako Yamashita "The birth of a new star"

 

[Return interview]

Daisuke Takahashi "Continuing the uncharted road"

 

[Special roundtable discussion]

Keiji Tanaka x Tatsuki Hino x Kawahara Hoshi

Kihira Rika x Yoshida Hina x Teshima Rika

Shun Sato x Miura Kao x Nakamura Shunsuke

 

[Hanyu Yuzuru Toronto Open Practice Report]

Brian Orser

Tracy Wilson/Jeffrey Buttle

 

[Event Report]

Colantotte Talk Show

Lombardia Trophy

Kurashiki FSC Fan Appreciation Event

All Japan Senior Training Camp RISPORT

Junior Program J SPORTS TV Program Recording Report

 

[Special Feature]

A Thorough Explanation of the New Rules for the 2018-2019 Season!

Women's Singles, Battle for the Beijing Olympics, Putting It All on the Ice - Daisuke Takahashi's Challenge

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: Figure Skating Team Japan Fan Book 2018, pg 18-19

 

Coach’s Eye - Brian Orser 

Yuzuru Hanyu in Toronto – Open Practice

 

 

Spoiler

—Please tell us your impressions of the new free program (“Origin”).

 

Brian: With the rule changes this season, the men's free program is becoming a slightly different challenge for all skaters. The program length has been shortened by 30 seconds. However, I predict that this (rule change) might actually be a good thing for our team, including Yuzuru. That's because the programs we create already include complex and high-difficulty transitions. It looks like the program will have a smoother overall flow. Many senior male skaters around the world might struggle with the shortened time and the reduction of one jump, but I don’t think it will be any harder for our team’s skaters. Yuzuru's free program is complex, with spins, jumps, and step sequences alternating between transition → elements → transition → elements. Once again, Shae-Lynn (Bourne) and Yuzuru did a fantastic job. I believe it will become Yuzuru’s new masterpiece. He himself is very pleased with it. It's a dynamic and very exciting program. I’m excited to work with him on how to finish it while adapting to the new rules.

 

—Please tell us about the short program (“Otoñal”).

Brian: The short program is also a masterpiece, choreographed by Jeffrey Buttle. In recent years, I’ve completely left it up to the choreographers and Yuzuru, especially Yuzuru himself. He takes responsibility in choosing the music, and the choreography focuses more on transitions. Yuzuru isn’t satisfied with a program that just executes the required elements. Of course, the elements themselves are already superb, but he wants to go one step further with the choreography. He wants to discover a different direction. He’s taking on choreography he’s never done before. It has a grand feeling to it. Last year’s short program was also special, but I think this one will be even more incredible. Please look forward to it. It’s a very beautiful piece!

 

—How is Hanyu's current condition, especially his injured right ankle?

Brian: As for the injury, it's something he’ll always have to manage as long as he keeps skating. He's constantly receiving care and therapy, just like every other skater. He's in good shape. More than that, the fact that a skater who has won Olympic gold not once, but twice, has returned to the rink and resumed training is astounding. He’s already achieved everything. But he genuinely loves skating, he loves his new programs, and he's eager to take on new challenges. He's taking on a new challenge under the new rules, in both the short and free programs. For someone like him who loves challenges, it’s an ideal situation. His condition is improving, not quite where it was this time last year, but then again, last year was an Olympic season and he started earlier. Competitions are about to begin, and once they do, he’ll naturally shift into high gear. For him, showing that he’s in good condition is very important, and he already knows how to manage that. So I’m not worried at all. I’m confident that if he continues at this pace, everything will go well.

 

—Are there any advantages to the rule changes for Hanyu? And under the new rules, what kind of maximum score do you imagine?

 

Brian: Regarding the new GOE system from +5 to -5, our team’s skaters will need to have a precise strategy that focuses on earning +5. We don’t need to worry much about the -5, what matters is where to get the +5. In Yuzuru’s case, it's very clear. With his jumps, he can usually get +4 or +5. If +5 had existed before, he would have earned +5. The key now is to get consistent +5s on all the spins. There are six spins in total. Also, his short program contains an incredible step sequence like we’ve never seen before, which can certainly earn a +5. The free program’s step sequence is also excellent, so +5 is almost guaranteed. In short, he has many elements that can aim for +5. It’s hard to predict whether he can break his own world record. Since one jump is removed, that alone automatically reduces the score by 6 or 7 points. But if you add in the +5s, it’s possible. I think the new system favors skaters like Yuzuru, because it places more weight on his other elements, not just his quadruple jumps.

 

“The success of the quadruple Axel is extremely important to him. We are united in our effort to make that a reality.”

 

—Is he practicing the quadruple Axel?

Brian: Yes, he continues to practice the quad Axel. It’s an extremely difficult jump, but he works on it every day, and he knows what he needs to do. Right now, he’s working on the small details at takeoff and the follow-through after that. It seems like he feels he needs a bit more power. But it’s important to work on it carefully, so he doesn’t get injured. That said, we’re already seeing signs of progress. The success of the quad Axel is very important to him, and we are all united in our effort to make it happen. Just trying to attempt the jump requires being in top physical condition, but since he is determined to perfect it, we’ll continue supporting him.

 

—This season, top skaters like Medvedeva have newly joined the team. How has that influenced training?

Brian: When you’re surrounded by high-quality skaters like Evgenia Medvedeva, Jason Brown, Cha Jun-hwan, and Stephen Gogolev, your own skating naturally improves. That said, Yuzuru probably misses Javier Fernández. Javier was someone who pushed him to grow, and they had mutual respect. The environment has changed a bit, and he’ll need to adjust. Still, the attitude of the skaters here is what creates champions. And Yuzuru’s attitude is exactly what made him a champion.

The skaters all feel a sense of fulfillment from practicing together. Jason and Evgenia are new members, so they’ll be learning a lot from now on, and the training atmosphere will change. Each of them will find their own approach. I feel truly honored to have so many excellent skaters gathered here. As one team, we aim to bring out the best in everyone.

 

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: Figure Skating Team Japan Fan Book 2018, pg 19

 

[I Want to Keep Pushing Forward!]
Topics: Toronto Open Practice – YUZURU Quotes
A precious talk while putting on and taking off his skates before and after ice practice!

 

Spoiler

● On the meaning of open practice sessions:

 

First, for me, it’s kind of like a deadline or a test. You know how people can’t really push themselves to the limit unless there’s something chasing them? In that sense, public practice is something where everyone comes with expectations, and within myself, I feel like, ‘I have to have things somewhat finished by this point,’ so I receive a certain kind of pressure, like a good kind of tension or energy. The other thing is, if knowing that I’ve been able to resume proper training after my injury can make those who support me a lot and those who are looking forward to the program feel happy, then that makes me happy too.

 

● On how often he changes his skating boots:

 

During an ice show, I had a conversation with Evgeni Plushenko and some other skaters about how often we change our skates. Changing skates can lead to injuries, or your jumps might not land properly, or your skating might become worse, so I don’t really want to change them too often. For me personally, maybe because I tend to jump and land cleanly using my body’s strength rather than relying on the strength of the boots, the skates don’t take much damage, so I feel like I don’t need to change them that often. I heard Plushenko didn’t change his skates for four years during the Olympics, so I’m thinking maybe I’ll be okay for four years too.

 

● On the step sequence in the short program:

Jeff, who choreographed it, was really satisfied with the step sequence, so I feel very confident performing it. It’s near the end of the program, and I think it leaves a strong impression, like a choreographic step sequence. I want to put my whole heart and soul into it.

 

● On the free program length:

 

The free program (being 30 seconds shorter) feels kind of crammed in, but I didn’t expect it to be written with such a big headline (in the news article) (laughs). But I think everyone feels the same way. The junior skaters probably feel something similar. It’s like we’re skating junior programs. It’s actually pretty tough. It's great to be young (laughs). Lately, it’s really hard. (laughs) I’m starting to feel changes in my body. My body now is completely different from when I was doing 'Romeo and Juliet,' so I’ve been thinking lately that I really need to approach training with more consideration.

 

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: Figure Skating Team Japan Fan Book 2018, pg 20

 

Coach’s Eye - Tracy Wilson
“He is someone who always strives for the top. Even when it involves risk, he keeps aiming higher.”

 

Spoiler

—How is Hanyu’s current condition?

Tracy: What I feel is that he has come to understand what he wants to do, mainly in the technical aspects. My role is to help him find where to exert his strength. That includes balancing on the blade and working to stabilize his technique.

 

—How is his injured right ankle?

Tracy: From what I’ve seen, the injury doesn’t appear to be affecting his performance or placing any limits on him. You can tell by looking at the quality of his jumps and the kinds of jumps he chooses to perform. There were absolutely no bad signs in his skating. So, I felt he was at 100%.

 

—Have the rule changes this season had any impact on Hanyu?

Tracy: Not especially. Yuzuru doesn’t have any weaknesses (laughs). The change in the GOE scoring range from +5 to -5 should work to his advantage. Many of his elements have already reached a level beyond the previous scale. Before, the narrower scoring range made it hard for that to stand out, but from my perspective, this new rule benefits him.

 

—Hanyu is aiming to land the quadruple Axel. How is that progressing?

Tracy: Yes, he’s practicing it. One interesting thing about coaching Yuzuru is how something you thought was impossible suddenly becomes possible. Watching the way he trains is fascinating. His genius-level creativity shows not only in his skating but also in how he approaches technical challenges. He’s working hard on the quad Axel, so I'm excited to see how it progresses.

 

—His free program ("Origin")’s step sequence felt infused with Plushenko’s energy while still being distinctly Hanyu. What’s your impression of his step sequence this year?

Tracy: I think this step sequence is a testament to his talent. Even after jumping, he still has that much energy left. He has the ability to use his edges well to perform difficult turns, and he does so in perfect harmony with the music. This makes his step sequences unpredictable, both artistically and technically. He’s very emotional and always trying something new. He rarely repeats the same thing. His creativity as an artist makes that possible. But that’s not something you can do with jumps, since jumps require strict precision. But with step sequences, you can play around.

 

—What’s the most difficult part of this season’s free program?

Tracy: We’re still in the stage of refining the program, so it’s hard to say yet. But I feel that he’s now jumping the quad loop quite easily and consistently. Before, the Salchow and toe loop were solid, but he had just started working on the loop, and the Lutz came last. What I always pay close attention to is how well he maintains his energy throughout the program, and how he balances the technical and artistic aspects. On top of that, how he can find room to “play.” That may be his biggest challenge under the new rules. The shortened performance time means he has less time to fully express his artistry, another of his strengths.

 

—Hanyu mentioned that he's now able to enjoy skating and challenge himself creatively, free from the pressure of “having to deliver results.” How do you perceive the change in his mentality?

Tracy: Over the past few years, I think he’s been challenging himself to push his scores higher technically. We didn’t feel he needed to add more quads, but he wasn’t satisfied. He kept aiming further ahead, even if it meant taking risks. He never chose an easy path just to increase his score. He was extremely serious about it.

 

There are very few athletes with his level of ability and talent who also have that much respect for the technical aspects of the sport. And just as few who face their responsibilities with such seriousness. That’s probably why he can skate so freely now. But who knows how long that will last?

Yuzuru is Yuzuru. He may be saying, “I’m free from the pressure” now, but a few months from now, he might be back to his old self again. He’s always someone who aims higher. For now, let’s just enjoy watching him.

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: Figure Skating Team Japan Fan Book 2018, pg 21

 

Choreographer’s Eye - Jeffrey Buttle
"This program is also a journey of looking back on his skating life."

 

Spoiler

—When you first heard the title of the music, what kind of program did you want to create?

Jeff: I talked with Yuzuru about the music around the beginning of summer. When he told me the title of the piece, the first thing I wanted to know was what this music meant to him. Because this came from within him. The title (Otonal in Spanish) translates into English as “Autumn,” but he told me it was “like a retrospective.” So, we decided to base the story of the program on that theme. It became a program where we looked back on many things that have happened in his life so far and developed it with various memories in mind.

 

—What is the highlight of the program?

Jeff: I think it's the way it expresses the passage of time. It begins with the image of him looking back at a photo album, expressing a moment of reflection on the past. It’s also a 'journey' that looks back on his skating life. And at the core of it all is the idea of a 'dream.' It also feels like returning to the 'beginning.'

 

—How did the rule changes affect the choreography?

Jeff: Yuzuru wanted to first focus on successfully landing his jumps. That would allow him to relax and enjoy the program more in the second half. How skaters respond to rule changes varies, but my approach is to stay open and cooperate with his ideas.

 

—How did you feel when Hanyu won back-to-back Olympic golds in PyeongChang?

Jeff: I was overwhelmed. Because it had been an incredibly difficult season for him. Leading up to the PyeongChang Olympics, he hadn’t been able to train the way he had wanted. To be honest, it was not a situation an ordinary skater could overcome. It was a challenge that only someone with the mental and physical strength of a true champion could get through. Seeing him pull it off in PyeongChang was truly moving. I was overwhelmed with emotion and proud of him.

 

—What conversations did you have with Hanyu while you were working on the choreography?

Jeff: I thought that the expression in this program had to come from within him. It had to be his story. We talked about that before we even started the choreography. On the first day we began working on the ice, we confirmed what "autumn" meant to him. I had my own ideas, so I told him, “To me, autumn has this kind of meaning,” but then his idea was completely different. I said, “Wow, I never imagined it that way!” (laughs)
So we went forward based on his vision. We had a lot of discussions at the beginning, and ideas just kept coming.

 

—In the early years of his career, you were the one deciding the choreography direction. Now, it seems he decides it himself.

Jeff: Yes, and I think that’s a wonderful thing. When I was competing, as my career progressed, I began to choose my own music too. It’s the same for him, and it's a sign that he's taking responsibility for his own career. Over the years, he’s become more confident in making decisions, and that confidence is reflected in his active participation in choreography. I respect skaters who come in with a song they want to skate to. It means they’re investing themselves fully in the program. Choosing your own music makes you put 110% of your soul into it.

 

—He said he chose this music because Johnny Weir once skated to it. Since you competed with Johnny during your own career, what are your thoughts on that?

 

Jeff: I had the opportunity to skate with Johnny this off-season in Fantasy on Ice, and we talked about that. He gave us a lot of advice, which we took into account. Since Yuzuru chose the music because Johnny had skated to it, Johnny felt very honored. He was very supportive when it came to choreographing this program.

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: Figure Skating Team Japan Fan Book 2018, pg 2-17

 

"Words of Gratitude"

Special Interview: Yuzuru Hanyu
 

With his consecutive Olympic gold medals in men's singles, the first in 66 years, Yuzuru Hanyu is now free from the pressure of winning and says he is able to enjoy figure skating purely. At his annual summer open practice, he shared behind-the-scenes stories about creating his new programs and spoke about the dreams he continues to pursue.

(Interview and Text by Tatsuya Murao)

 

Spoiler

— First of all, can you tell us about the current state of your injury?

 

Yuzuru: For now, aside from the Lutz and Flip, I feel like I've regained my ability to land the quadruple toe loop, Salchow, and the loop that I was able to do before. The Lutz is still a little uncertain, so I’m thinking of holding off on that for a while. That said, I do have the sense of “I could probably do it if I tried.” To avoid a recurrence of the leg injury and inflammation, I plan to hold back on the quad Lutz for a while.

 

Fortunately, my injury has stabilized a lot, thanks to everyone's support. As I mentioned earlier, there are still times when I feel a bit of discomfort when I use the toe pick for jumps like the Lutz or Flip, but I’ve almost stopped feeling pain altogether. So, I’d like to continue this season by keeping control and taking good care of myself.

 

A Program Returning to My Origins

— Once again, please tell us the names and themes of your programs this season.

 

Yuzuru: This season’s free program was choreographed by Shae-Lynn Bourne. The music includes Edwin Marton’s Art on Ice along with another piece. I've also made some slight arrangements, and just like how I titled the “SEIMEI” program using music from Onmyoji, I named this one “Origin.” What I wanted to emphasize most was the meaning of “origin” or “beginning.”

 

This piece of music itself is what marked the beginning of my dedication to skating, so I want to skate while feeling it as the start, or origin, or something fundamental of my skating life. And I want to skate this program while feeling both the joy of skating itself and my desire to challenge the (quadruple) Axel moving forward.

 

— Why did you choose “origin” as the theme?

 

Yuzuru: To put it very clearly, until now, I’ve felt pressure like ‘I have to perform my skating,’ ‘I have to meet expectations,’ and ‘I have to produce results.’ That pressure has now been lifted, and I feel like from here on, it’s okay for me to truly skate for myself. The reason I started skating in the first place was simply because it was fun, because I loved chasing my dreams through skating, and I enjoyed the process. Thinking back on the feelings of how much fun I had and the really tough journey I’ve walked up until now, I wanted to repay myself in a way, or rather, I had the feeling of “I want to do something that makes myself feel rewarded,” so I chose these two pieces of music. Back then, I would watch the performances of (Evgeni) Plushenko and Johnny Weir and skate to them, thinking, "I want to use this music," and I would listen to the music and try to imitate it, enjoying it. In that sense, I thought, “If I use this music and make it my own program, it would be really fun,” and I felt like I could return to my beginnings, enjoy skating, and skate while feeling that I’m doing it for myself.

 

— You must have strong feelings toward the person who skated to this music (Plushenko).

 

Yuzuru: I definitely have a strong impression of Plushenko skating to this song. It’s one of his signature programs, so honestly I felt humbled about using it. But at Continues with Wings (in mid-April), I told him, “I’d like to use this music,” and he kindly said, “Please do your best!” His “Tribute to Nijinsky” (which uses “Art on Ice”) is a brilliant program that I think will never fade away. It’s very important to me too, but I hope to complete it as my own program, distinct from that.

 

— How do you plan to express your own style?

 

Yuzuru: The choreography is completely different. When I was in third or fourth grade, I had a program called From Russia with Love, and since then, European and Russian styles of expression, music, and stories have been my foundation. Also, my coach Tsuzuki (Shoichiro) had roots in Russian skating, so I have Russian and former Soviet-style teachings inside me. In that sense, this program feels like a return to my origins. As for the choreography, rather than just skating beautifully or using conventional expressions and hand movements, I'm hoping to incorporate a variety of jumps throughout and also match the music in a different way than usual, so I think that's what will make the program original.

 

— Will there be a quadruple Axel in it?

 

Yuzuru: I don't have any plans to include it yet. But I'm practicing it.

 

— How is your quadruple axel?

 

Yuzuru: I haven’t landed it yet, so I think I still need to practice quite a bit more. Or rather, a lot more.

 

— What about the jump layout?

 

Yuzuru: For the short program, I’m doing a quadruple Salchow, a triple Axel, and a quad toe loop-triple toe combination.
For the free skate, so far, the elements include a quadruple loop, a quadruple toe loop, a triple loop, a quadruple Salchow, a triple toe loop, a quad toe loop-triple Salchow combination, plus a triple Axel combination and a single triple Axel.

 

— Could you also tell us about the short program?

 

Yuzuru: The short is “Otoñal” (To Autumn), choreographed by Jeffrey Buttle. Johnny Weir used it for his free program, and it’s one of the programs that left a lasting impression on me. I was captivated by his skating and it was one of the programs that inspired me to start paying attention to every detail, from the movement of hands during spins, to the soft expressions, musicality, and landing posture. For this program, too, I asked Johnny Weir if I could use his music during Continues with Wings, and he gave me permission.

 

— Is the name of the program the same as the music?

 

Yuzuru: Yes, since it’s a single piece of music.

 

— When did you finalize these programs?

 

Yuzuru: I thought about both pieces after the Olympics ended, during the one month when I couldn’t skate at all. I kept thinking about them. As I said earlier, I started to feel like I didn’t need to be too fixated on winning or losing, and at the same time, I thought “Maybe it’s okay to skate for myself.” So, for this season, I decided on these two.

 

— What is your biggest challenge right now in completing the program?

 

Yuzuru: My jumps aren’t fully back yet, so the most important thing is to get them to a level where I’m satisfied. A program can’t be considered complete unless the jumps are solid and everything comes together. First of all, I need to land my jumps well, and then I need to figure out how to skate beautifully to achieve that. There are still many areas I need to improve on, like breathing technique, so I think I'll just have to work on them one by one, little by little.

 

— How did Plushenko react to your choice of music?

 

Yuzuru: He seemed really happy. Same with Johnny too. It was really humbling for me, so I was very nervous about the timing to bring it up, but both of them accepted it very warmly. I’m not Plushenko, so I think it will become a completely different program, and I want to keep making it more my own. I have properly conveyed this to both skaters and received their approval, and while I want to make it original, I’ll also skate with respect for both of them in my heart.

 

— Do you remember the first time you saw each of these programs?

 

Yuzuru: Needless to say, watching Plushenko, I always thought, "I want to be like that." This kind of cool music is a genre I haven’t used before, but ever since I was little, I thought, "I want to do this." It’s one of his most iconic programs, so I used to hold back, thinking “I shouldn’t use it,” but after the Olympics, I thought, “Maybe it’s okay now,” and decided to go with it. When I was little, what impressed me most was the overwhelming aura he exuded while skating to "To Nijinsky," his poses, the movements and jumps synchronized to each and every note. I remember being captivated by those things.

As for Johnny’s Otoñal, what struck me was the androgynous beauty that only a man could pull off. I thought that was his greatest charm. Back then, jumps weren't evaluated in a direct, visible way like GOE, but I was really moved by his flow on landing, his posture, his musicality, the precision of each movement, and especially the beauty and flow of his landings. I remember thinking, “I want to jump like that,” “I want to skate like that.”

 

— How many times have you watched those performances?

 

Yuzuru: Honestly, up until around junior high school, I wasn’t the type to watch other skaters’ performances much, not even my own. But I really did watch Plushenko and Johnny Weir's performances countless times. I think I was constantly watching their performances, along with Alexei Yagudin and Takeshi Honda's (laughs).

 

 

— Did you watch performances from the old 6.0 scoring system?

 

Yuzuru: I still watch them even now. I really love the performances from that time, the Salt Lake City Olympics, the season before that, and even the season before that. That was around the time I started becoming interested in figure skating. From the start, I enjoyed skating, and my coaches also taught me passionately, but I began without any clear goals like “I want to master this sport” or “I want to win an Olympic gold medal.” In a way, it was watching their performances that made me think, “I want to be number one in the world like Plushenko” or “I want to win a gold medal.” So even now, I still get really fired up when I watch them. Lately, I watch a lot of ice dance and pair skating performances.

 

— When do you usually watch them?

 

Yuzuru: Lately, when I watch videos, they pop up as "recommended" videos. When I’m watching my own performances to study, it often starts with a video of Plushenko, and then I just end up watching everything in one go. When I watch videos objectively, the ones that move me the most are the performances of Plushenko, Yagudin, Johnny Weir, and others from that time.

 

Thoughts on the Quadruple Axel

— You’ve said that you don’t want to get hung up on winning or losing, but has your perspective on skating changed since winning consecutive Olympic gold medals?

 

Yuzuru:  I feel like I've pretty much done everything I set out to do . In terms of results, that is. But within myself, I still have ambition, dreams, and goals, so I have a strong desire to grow in specific ways, like “I want to improve like this” or “I want to land this jump.” However, I've finally achieved what I've been pursuing, so now I’m skating while thinking about “How can I make my skating stronger?” and “How can I get better?”

 

— What’s your current motivation?

 

Yuzuru: The (quad) Axel, I guess (laughs). The Axel is definitely my biggest motivation. I’m practicing it, but I can’t do it every day. I'm not too worried about my ankle, but the impact is huge, so I monitor my condition carefully when I work on it. It’s really difficult. But I still feel, “I really love the Axel.” It’s fun to try. I haven’t landed it yet, but I enjoy the process of getting there and practicing while using my brain a lot.

 

— Have you set a specific timeline for landing it?

 

Yuzuru:  If I could do it, I would’ve wanted to land it by today, but it’s still difficult, and there are parts I haven’t been able to do yet. As I mentioned earlier, up to the loop, I feel like I’ve gotten better than I was around the time of the Olympics, so while gradually getting my body back into shape, I hope that each individual movement and the strength of each muscle will eventually connect to the Axel as well.

 

— Is there a possibility you’ll land it this season?

 

Yuzuru: I've been thinking to myself that I want to do it this season (laughs). That's why I named my free program "Origin." My roots go back to when I was in early elementary school, spending about 45 minutes of every one-hour practice trying Axels. The sense of achievement when I landed one was a huge reason I fell in love with skating, so I feel like this program also honors that Axel. It carries my feelings about the Axel and its difficulty. If possible, I plan to attempt the quad Axel this season.

 

— If you include it, will it be at the beginning of the free program?

 

Yuzuru: Yes, it’ll go where the first loop is now.

 

— How much are you practicing it right now? Are you limiting the number of attempts?

 

Yuzuru: I’m not limiting the number of attempts. However, it does put a physical burden on the muscles, so I practice while carefully calculating the most efficient timing so that my muscles don’t get overly fatigued and can recover properly, allowing me to improve my technique.

 

— Even with the new rules, do you still want to aim for records and high scores?

 

Yuzuru: Not particularly. Honestly, I was surprised and very happy that those three programs, “SEIMEI,” “Ballade No.1,” and “Hope and Legacy,” have become records. Also, there's the younger generation, who are only about three years younger than me, but I'm looking forward to seeing how that generation will compete under the new rules. Well, I’ll just be myself. I can’t compete with those records anymore, but I want to do things my own way and enjoy it.

 

— Regarding the new rules, Coach Orser said, "They're difficult for senior skaters, but good for younger skaters." What do you think?

 

Yuzuru: I have never really felt that the rules give an advantage or disadvantage. Rules are something that determine wins and losses based on them, and they serve as a kind of standard or indicator for us to improve ourselves. So rather than worrying about whether the rules are good or bad, I think it’s better to become stronger by matching those standards and criteria.

But if I may say just one thing, some people might think, “Isn’t it easier now that the free skate was shortened from 4.5 minutes to 4 minutes?” or “There’s one less jump now,” but actually, I've recently felt that 4 minutes is actually harder. It’s more hectic, being 30 seconds shorter. One jump takes about 20 seconds including setup and landing, maybe 10 seconds for a triple. So those 20 seconds matter. That makes the program much more packed. I realized I really need to study and plan carefully to create my programs now.

 

The Dream I’ll Keep Pursuing

— You mentioned that unlike last season, you’re no longer so caught up in competing for wins. Have you made any new discoveries or found anything new in this approach?

 

Yuzuru: I've always been so focused on winning and achieving results because it was my dream. Last season, it was an extremely difficult situation where I even had to suppress my own feelings while trying to deliver the best performance. In the end, I managed to do it, but now I’m chasing a different dream, so honestly, my feelings haven’t changed that much.

 

Whether I’m enjoying it while aiming for results, or enjoying it while aiming for my dream of the quadruple Axel, I think that’s the difference. Either way, I feel the pressure that I must land it by the deadline. Back then, I practiced every day with the intense tension of “I must win this competition,” and while that pressure has changed a bit, it’s still there.

 

— Until the Olympics, skating was your whole life. Has that changed?

 

Yuzuru: I'm still an athlete, so I guess that hasn't changed. Just like after Sochi, this time too, I really felt the power of everyone’s support and the feelings of those watching as I performed in the ice shows. Now I’m back training at the Cricket Club. I truly think the strength of everyone’s support is amazing. Including that, even though I’ve been saying “It’s fun, it’s fun” all along, but I have the feeling that I want to enjoy this as an athlete.

 

— Earlier, you mentioned that you have to "land the jump by a certain deadline" and that you "want the younger generation to compete among themselves." Do you feel that you are approaching the final stages of your career as a competitor?

 

Yuzuru: Yes, I do feel that. However, I am not thinking about “when to quit” or anything like that. Right now, my desire to land the Axel is very strong, so I want to hold on until I can do the Axel somehow.

 

— On the flip side, some people wonder if you might retire once you land the Axel. What do you think about that?

 

Yuzuru: Hmm... I guess I won’t know that until I actually land it. First, I want to land it well in practice. For me, “landing” means landing it well enough to get positive GOE points. I absolutely don’t want to do a jump that people will say is under-rotated. So I want to practice aiming for what I think is the best Axel I can do.

 

— What do you think about Daisuke Takahashi’s comeback?

 

Yuzuru: He’s 32, right? He’s nine years older than me, and thinking about someone nine years younger than me, there's Stephen Gogolev, who I’m skating with now and is landing quad Lutzes and such. For me, Daisuke-san is someone I just purely admired, and I have absolutely no desire to compete with him. I also feel that competition and ice shows are completely different, so I’m really looking forward to seeing his intense, competitive performances again, and I'm also looking forward to the opportunity to skate together at the All Japan Championships.

 

— What are your goals for this season?

 

Yuzuru: As I’ve been saying since the end of last season, I’m very satisfied with my results and I feel a strong sense of accomplishment. But now, as I practice, I feel the parts of myself that are still immature, and through the ice shows, I’ve found areas I still need to polish and grow. I want to skate while being aware of my potential and work carefully, steadily, and surely to improve step by step.

 

 

(Excerpt and edited from press conference comments)

 

 

 

 

Exclusive
Message for Fans – Yuzuru Hanyu

 

Spoiler

Autograph:

Thank you for your support!
I will continue to do my best!

 

 

Q: You added a message to your autograph for your fans. Could you share the feelings behind those words?

 

Yuzuru:I really feel that I'm receiving all kinds of support, and after the PyeongChang Olympics ended, I think that, in a way, maybe everyone is experiencing a kind of burnout (laughs). But even so, the people who continue to support me and who are supporting my dream, my feelings of gratitude toward them have only grown strongwe.

 

Q: In yesterday's interview, you said, "I really felt the power of your support during the off-season ice show." What kind of thoughts did you have then?

 

Yuzuru: I received so many messages like “Congratulations!” and “Thank you!” and I was able to achieve results that truly allowed me to say "Thank you!" from the bottom of my heart. I was able to come this far while feeling everyone’s support. In that sense as well, the off-season ice shows became a really valuable experience for me. I hope to carry that forward into the upcoming season.

 

Q: I asked the same question during last year’s open practice interview, but what does the power of support mean to you?

 

Yuzuru: Hmm, well... it's pressure.

 

Q: Pressure?

 

Yuzuru: After all, the fact that everyone has expectations of me leads to a kind of sense of obligation, like "I have to live up to those expectations." However, it's precisely because of those expectations that I practice so hard, and in a way, being bound by those expectations pushes me and makes me stronger. I think it's precisely because of everyone's support that I'm able to work so hard and try to live up to those expectations.

 

Q: Watching you give everything you have has given so many of us great courage and hope.

 

Yuzuru: I think feelings are really ambiguous things. For example, when you give something to someone, of course the person receiving it feels happy, but the giver often feels joy too, right? That’s true for cheering someone on too, or giving a present. It might be a simple thing, but on someone’s birthday, when you give them a gift, your own heart feels fulfilled too, and both sides can share in happiness. So now, I really hope I can be that kind of medium for others.

 

Q: In that sense, even though you said this season’s programs were “chosen for yourself,” they’ve become a huge gift for your fans too.

 

Yuzuru: Hahaha (laughs). Hmm, maybe that’s true. But honestly, for me, this season is about staying true to my own feelings. I personally love the performances of Plushenko and Johnny Weir, and I feel strongly that "I'm doing it simply because I love it." 

 

Q: That pure feeling is what you meant when you said you feel liberated this season.

 

Yuzuru: It’s not like I’m completely liberated or anything (laughs). I’m still putting pressure on myself, so I wouldn’t say I’m fully free. But I do feel that the pressure of “results” is no longer there.

 

Q: Thank you very much. Finally, could you leave a message for your fans?

 

Yuzuru: Anyway, more than anything, I strongly feel, “Thank you so much for all the support you’ve given me up to this point.” Thanks to all of you, I’ve been able to keep doing my best, and I feel that I have to keep doing my best from now on as well. Well, I hope we can all continue to experience various things together while enjoying ourselves, and cherish each and every moment.

 

 

 

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