[2023.03.31] Quadruple Axel 2023 Hope and Light on the Ice

[yuzurujenn]

Info: https://www.amazon.co.jp/フィギュアスケート男子ファンブック-Quadruple-Axel-2023-氷上の希望と光/dp/4635907724

 

This fan book is packed with great content, including interviews and discussions with male skaters, and in-depth reports.

 

Contents

[Ice show report]
Yuzuru Hanyu "notte stellata," "GIFT," "PROLOGUE"

 

[Talking about Yuzuru Hanyu]

Takahito Mura 
Minoru Sano

[In-depth report]
Shoma Uno "Wearing the air of a champion, "

Kao Miura "The dawn of a new era"

[Special conversation]
Kazuki Tomono x Sota Yamamoto "They are 'best friends,'"

Tatsuya Tsuboi x Haruya Sasaki "School-skilled athletes are hard work"

[Exclusive interview]
Shun Sato "Astonishing comeback"

[Retirement interview]

Taichiro Yamakuma "The best skating life,"

Mitsuki Sumoto "Beautiful skating is forever"

[Special guest]
Keiji Tanaka "Endless curiosity"

Kensuke Nakaniwa "Sports coaching for the new era"

Yu Nakamura "The joy of standing on the rink again"

[Overseas skaters]
Jason Brown "Towards an ideal realm yet to be reached"

Mischa Ge "Unwavering trust"

[Popular series]
Jun Suzuki "In my "Life - The Recommendation for Both Literature and Dance"

[Tournament Report]
All Japan Championships
All Japan Junior Championships
All Japan Novice Championships

[Photo Gallery]
Friends on Ice
BEYOND
Stars on Ice
Medalist on Ice
Ice Explosion

[yuzurujenn]

* Machine translation. Inaccuracies exist*

 

Source: Quadruple Axel 2023 Hope and Light on the Ice, pg 30-31

<Talking about Yuzuru Hanyu>
Special Guest: Minoru Sano

 

Minoru Sano watched Yuzuru Hanyu's “GIFT,” the first-ever figure skating show at Tokyo Dome, in person. He shared in detail his honest impressions of what he describes as a series of shocks and deep emotions. 

(Interview/Text: Tatsuya Murao)

 

Spoiler

— Mr. Sano, you watched the show at Tokyo Dome with Coach Shoichiro Tsuzuki's family, right?

 

Sano: Yes, that’s right. I was in the same room as Tsuzuki-sensei. My family of three attended, and Tsuzuki-sensei also came with his family of three. We were treated to a wonderful show, and during the intermission, we had some nostalgic conversations. It was a really enjoyable time.

 

— What was your first thought when you heard that Hanyu would hold an ice show at Tokyo Dome?

 

Sano: Honestly, I couldn’t imagine it at all. I was very curious about how they would transform Tokyo Dome into a venue for skating.

 

— The rink was set up stretching from the back screen area toward the infield, right?

 

Sano: I think that rink was probably 60m x 30m, the same size as a standard competition rink. But at first, I thought, “Hmm? Is it smaller?” Our seats were in the upper stands, so the rink looked small from that vantage point. But when I saw the ice resurfacer come out for maintenance, I realized, yes, it is 60m x 30m. Doing a show in a space that makes a full-size rink look small, that’s impressive in itself.

 

— And the stands were completely packed.

 

Sano: From start to finish, it was 35,000 people versus one skater. There was this overwhelming presence that embraced all those spectators.
And on the ice, it was only Hanyu-kun. That alone is remarkable. On top of that, there were two live orchestras, and dancers performing around the rink. They made brilliant use of the entire space.

 

— There was also projection mapping on the huge screen set up behind the rink.

 

Sano: The screen itself was just enormous, wasn’t it? Practically the same size as the rink. We were seated almost directly in front of it, and it was really beautiful. Of course, Hanyu-kun’s skating was the highlight, but the projection mapping across the whole screen was truly amazing. The laser lights were beautiful too. Every single element was just breathtaking.

 

— Hanyu himself served as the overall producer for the show.

 

Sano: Just being able to do that is incredible. He took what was in his mind and turned it into reality. It was a one-day, one-time-only performance, and he was probably planning this show alongside “Prologue” and “Notte Stellata.” And yet, each one had a different theme and was built with such depth. Everything was original. What an achievement. 

 

— What was the most memorable moment of the show for you?

 

Sano: What I found most interesting was the re-enactment of the Beijing Olympics. After the performance, he touched the ice where he had landed the quad Salchow. That really hit me in the heart. I think it's fair to say that he was finally able to let go of the frustration he carried from Beijing.

 

— Hanyu also said, 'It was a program I had strong feelings about, because I wasn’t able to fully express it at the Beijing Olympics.'

 

Sano: Yes. The accident in Beijing, it was really just an act of fate. Watching it, I felt that kind of misfortune can strike even the best. But this time, I think he truly and completely redeemed himself for what happened in Beijing.

 

— He showed us how he overcomes challenges and keeps moving forward.

 

Sano: That’s what’s so amazing. There were various developments in the first half, but the last 30 to 40 minutes were just overwhelming. He gave it everything he had. There were a few places where his jumps were a bit off, but honestly, that didn’t matter at all. He skated all the way through solidly, and all I can say is it was simply incredible.

 

— Throughout the whole show, there was a consistent message: "You are not alone," "We are connected."

 

Sano: When I talk about Hanyu-kun, it's impossible to leave out the Great East Japan Earthquake. His home rink was destroyed, so he couldn't practice, and he practiced while appearing in ice shows held around the country. I think he has a very strong sense of gratitude toward the many people who helped him at that time. Taking that as a turning point, he took flight from Sendai, both a disaster area and his hometown. But I’m sure that came with a lot of pain and sadness too. Not being able to skate at his own rink was a huge handicap, yet he kept honing his skills. That feeling of indebtedness to so many people has probably stayed with him. So I think that’s why his belief in “I'm not alone” is so strong.

 

— From Sendai to the world’s top stage. What a journey.

 

Sano: Yes, absolutely. And watching this show, I felt that the presence of “Yuzuru Hanyu” had soared to yet another level. Until now, he was “figure skater Yuzuru Hanyu.” But now, he is a producer, an entertainer, an artist. It wouldn’t be wrong to call him a director as well. The breadth of what he’s capable of is just astounding. I think he understands better than anyone how to present himself. He's able to express that clearly and bring joy to the audience. I think he always had that talent, but now that he’s turned pro, he approaches 'showing himself to the audience' from a perspective different from competitive skating. The fact that he can do that is something I deeply respect.

 

— This one-night-only show was divided into two halves, and including the encore, 12 programs were performed.

 

Sano: There was an intermission too, so the whole thing took about three hours, right? Considering all the lighting and stage equipment involved, I imagine rehearsals must have been really intense. Takebe Satoshi, who composed the new song “GIFT,” also said, “Hanyu-kun was practicing until late at night.” The sheer physical and mental energy he had was simply astounding.

 

―There were also performances shown for the first time. In the first half, “Ano Natsu e” (One Summer's Day), and in the second half, the intense dance number “Ashura-chan.”

 

Sano: That dance is performed on ice, so I imagine it must be extremely difficult, but I was surprised that he was able to perform it to that extent. He was a complete dancer. It was more like dancing than skating. That’s not something that can be done easily, is it? I got the sense that he must have spent many hours preparing just for this day. After watching this show, what I felt was that, in addition to figure skating as a competitive sport, the range of new ways to present skating has expanded greatly. It was entertainment, and in many ways, I felt like I was being shown something with limitless possibilities.

 

―About skating at Tokyo Dome, Hanyu-san mentioned, “It was a little difficult to get a sense of balance.”

 

Sano: There were no boards on the sides of the rink, the ceiling was extremely high, and the spectator seats were tens of meters away from the rink, so it was all very different from usual. Even though the rink size was standard, I think the feeling of skating there must have been completely different. There are rinks abroad without boards too, but usually, there are people at the rinkside. But this time, the conditions were different. So I think it must’ve been extremely hard to judge space when going for jumps. It must also have been hard to sense speed and know exactly where to take off for jumps. Plus, with the stage lights on, you can't see anything around you. Despite that, he managed to land so many successful jumps. He showed the quad toe loop multiple times, a 4T–1Eu–3S combination, and even triple axels, with almost no mistakes. It was incredible. I’m sure it took effort to adjust to that environment.

 

―Watching his skating at Tokyo Dome, did you feel that his technique is still evolving, including the possibility of the quadruple Axel?

 

Sano: He’s absolutely not slowing down, and in fact, his success rate is really high. I just thought, “How can he still jump like that?” His triple Axel was excellent, and I personally think the quadruple Axel still looks possible. I think that for him, it may no longer feel like a “special” jump. That’s why I really hope he goes for it.

 

―Having both Tsuzuki-sensei and you in the audience must have been very encouraging for Hanyu.

 

Sano: If he felt that way, I’d be truly honored. I certainly enjoyed the show thoroughly.

 

―In a way, this show was also a “gift” to the teachers who who taught him skating when he was young.

 

Sano: That’s right. When I was in Sendai, he was still really little. His older sister was learning figure skating, and he’d come along with her. So I didn't see him skate much. He was mostly just crying back then. It wasn’t until he moved up to Novice B that I thought, "Oh, that crybaby kid is back,” and “Wow, he’s getting really good.”

 

―It’s wonderful to see how the legacy of Japanese men’s figure skating has continued like this.

 

Sano: Figure skating as a sport has become a huge presence in Japan, and that’s thanks to the skaters who’ve brought it this far. Looking back, there was (Ito) Midori, and there was Yuka Sato as well. Those athletes became world champions, and slowly, the sport’s foundation widened. Then Hanyu-kun came along and really caused it to explode in popularity. Still, I never imagined figure skating would become this deeply ingrained in Japan. I honestly couldn’t be happier.

 

―I think that sentiment comes exactly because you're someone who knows how things were in the past.

 

Sano: Yes. Myself too, I started working on the show now known as “Prince Ice World” since I was 21. Back then, it was called “Viva! Ice World,” and I started it with the hope that "even one more person will know the joy of figure skating." I think maybe, in some small way, it has been of help. But even so, I never dreamed it would become something this huge.

 

―Finally, please give some words of encouragement to Hanyu.

 

Sano: I was really clapping my hands with joy this time. I truly had a wonderful time. He successfully pulled off a dome performance, something no one in the world had done before. I’m very much looking forward to seeing what kind of new world he’ll show us through figure skating from here on.

 

Profile

Born in Yamanashi Prefecture in 1955. From 1972, he won the men's singles at the All-Japan Championships five consecutive times and competed in the 1976 Innsbruck Winter Olympics. In 1977, he won a bronze medal at the World Championships, the first ever by a Japanese man. After retiring, he worked as a professional skater and devoted himself to organizing ice shows. He is currently the head coach at the Meiji Jingu Gaien Ice Skating Rink and is also highly regarded for his easy-to-understand commentary.

 

[yuzurujenn]

* Machine translation. Inaccuracies exist*

 

Source: Quadruple Axel 2023 Hope and Light on the Ice, pg 18-21

<Talking about Yuzuru Hanyu>
Special Guest: Takahito Mura

"A Dance Dedicated to the Starry Sky"

 

12 years ago, on March 11, the night sky over Sendai, struck by an unprecedented earthquake, was filled with countless stars. The ice show Notte Stellata, with Yuzuru Hanyu as the lead performer. Takahito Mura, who performed in the show alongside Keiji Tanaka, Satoko Miyahara, Rika Hongo, and others, shares behind-the-scenes stories. What were the feelings Hanyu poured into the show, and what wishes did Mura himself embed in his program?

 

Spoiler

— You’ve just completed two performances of the ice show “Notte Stellata” on March 10 and 11. Considering that it was held in Sendai, an area affected by the Great East Japan Earthquake, and that it's been 12 years since the disaster, did it feel different from your usual ice shows?

 

Mura: I feel that there is great significance in holding an ice show like this in Sendai, in this venue, and at this time of year. This show really embodies the theme that Yuzu (Yuzuru Hanyu) wanted to achieve: "I want to express that everyone shines like the stars in the sky, like individual stars."

 

— How did you feel when you received the offer to perform in a show filled with Hanyu's heartfelt thoughts?

 

Mura: I was really grateful. In the past few years, I hadn’t performed in shows with Yuzu, so being invited to a show with such a strong theme like this was truly an honor. It was Yuzu's first year as a professional, so I felt very grateful as a skater and as a person to be able to skate alongside him as a fellow professional.

 

— With a cast of nine outstanding skaters—Shae-Lynn Bourne, Akiko Suzuki, Keiji Tanaka, Rika Hongo, Satoko Miyahara, Jason Brown, Violetta Afanasieva, yourself, and Hanyu—the world you created together was truly spectacular.

 

Mura: Starting with Yuzu, I felt that each and every skater had a very strong sense of wanting to create something together and to send out a message of hope. That was clearly expressed in the opening group number, 'Twinkling Stars of Hope', and in the finale, 'Song of Hope'. I believe the audience felt that this show was presented in a way completely different from other ice shows.

 

— The overall show was very well-crafted.

 

Mura: We carefully built it up from the choreography stage, exchanging opinions like, ‘Would it be more effective to move like this?’ or ‘Let’s try presenting it this way.’ I think the reason we were able to achieve such a high level of refinement within a short production period was because all the skaters were so determined to create something great.

 

— Was the process of reaching completion smooth?

 

Mura: The work itself went quickly, but everyone got really passionate with opinions like, 'It would look better if we did it this way,' so we had many discussions, involving the choreographers David (Wilson) and Shae, saying things like, "This is better, isn't it?" In the end, it felt like we kept refining things right up until the very last moment before the first performance started.

 

— David and Shae-Lynn, who were involved in the production, also deeply understood the meaning of '3/11' and Hanyu's desire to deliver hope.

 

Mura: Yes. The opening is inspired by the starry sky that Yuzu looked up at on the night of 3.11. We, the performers, represent each twinkling star in the night sky. The story is that we move freely around the rink, scattering in all directions, then gradually gathering together one by one, until everyone is united as one. The choreography conveys the message, "You're not alone."

 

— It was a very moving opening.

 

Mura: On the other hand, the finale starts from a feeling of sadness, but as it progresses in line with the lyrics of "Song of Hope", it gradually gains strength, eventually uniting everyone’s feelings into one, and conveys the theme of “Let’s face forward and move ahead,” which is expressed through the choreography. I’ve performed it three times including rehearsals, and each time, I find myself overflowing with the thought, “I hope we can give hope.” I really feel that the skaters and the audience have created a very good atmosphere together, and I think that’s exactly what David intended to express.

 

— In the solemn mood of the first part, your exhibition number Sansan was performed. It's a piece with a very gentle expression, quite different from your usual dynamic, powerful skating.

 

Mura: Akko-chan (Akiko Suzuki) choreographed this program for me, and we discussed showcasing movements with a softness and lightness that I hadn't done before, set to “Sansan” by Daichi Miura. The words in the lyrics, like "starry sky," "eternal wish," and "It’s okay, just watch," really matched the theme of this show, so I feel like I was able to put my feelings into it more than usual. I think the people affected by the disaster must have spent a long time carrying deep anxiety and sadness. With that in mind, I skated with the hope that I could deliver, even just a little, the message of "It’s okay" through my performance, and also with the wish for them to "keep moving forward."

 

—The second part of the show kicked off with the group number "Dynamite" featuring Shae-Lynn, Akiko Suzuki, Rika Hongo, and yourself. It was very entertaining with clever staging.

 

Mura: That's right. In between our dance moves, Yuzu appeared dancing via projection mapping, and the audience's reaction was amazing.  "Dynamite" was choreographed by (Miyamoto) Kenji-sensei, and it was fun for the four of us to dance to such a globally popular and well-known song that everyone has heard of. I don’t usually skate to that kind of music, so it was a fresh experience for me.

 

— Also, your collaboration with Hongo Rika, "Singin' in the Rain," was wonderful. It was like watching a musical.

 

Mura: "Singin' in the Rain" is a piece I've always wanted to perform, so I was happy to finally be able to do it. At the same time, it was a new challenge for me. Kurt Browning’s "Singin’ in the Rain" is extremely famous, and the footage of him skating has always stayed with me, so I performed it with both anxiety about whether I could express it like he did and anticipation about how it would turn out if I did it myself. Also, within the time frame of this show, I wanted the audience to feel happy, thinking, 'Ah, it’s good that something like this was included,' so I hope that feeling was conveyed well.

 

— Your movements were very refined, and the footwork was intricate. Who choreographed it?

 

Mura: (Miyamoto) Kenji-sensei.

 

— What was it like performing with Hongo?

 

Mura: I think this was probably my first time collaborating with Rika. Her character is the complete opposite of mine, and she expresses herself in a completely different way as a skater, so I couldn’t really predict what kind of performance we would create. But when I watched the video later, I realized, "Oh, so that's how it looks like." Rika's tall stature makes her stand out on the ice. On the first day, she had an accident where the umbrella she was using as a prop flipped over, which made her seem a bit clumsy (laughs). But I think that added to the entertainment value, so it turned out to be a good thing.

 

— You two were in perfect sync.

 

Mura: I’ve known Rika for a long time, and there was a period when we trained together for some time, but we had never skated together in a show like this, so it was a refreshing experience. Since we're based in different places now, we practiced separately after the choreography was decided, and it wasn’t until this week that we skated together for the first time. But things actually came together surprisingly smoothly, so I was glad. Sometimes it can be difficult to sync up our skating, but this time it went really well, so I felt relieved.

 

Sometimes merging styles is hard, but this felt just right, which was a relief.

 

— As a collaboration project, the team-up between Kohei Uchimura and Hanyu-san also created a huge buzz.

 

Mura: It was really a clash of legends... The synchronized movements between the two were incredible. I was blown away when I saw Uchimura-san’s movements up close during the performance. You rarely get the chance to see gymnastics performed right in front of you, right? There are things that just don’t come across on TV, like how high he jumps, so I was really surprised by the intensity of it in person. But I think it balanced really well with Yuzu’s jumps, too. Yuzu himself said he felt pressure because “Uchimura-san never makes mistakes, so I can’t mess up either.” But that atmosphere they created was something only two people who have mastered their crafts could bring about. It felt like the ultimate collaboration, a clash of two peak performers at their best. That song ("Conquest of Paradise") is from the soundtrack of the movie ("1492 Columbus"), and it has a final-boss feel to it (laughs), but it really suits the two of them. I think it was a powerful performance that stood in strong contrast to Yuzu’s “Notte Stellata” and “Haru yo, Koi”.

 

—What did you think of this year’s “Notte Stellata” and “Haru yo, Koi”?

 

Mura: His performances are always filled with emotion, but I think this time, because there was a clear theme, that emotion came through even more strongly. With both of the programs, I feel like if another skater had performed them, they probably wouldn’t have had the same level of conviction. It’s because he skates them that you feel, “Ah, this is what he wants to express,” and that emotion is conveyed to the audience.
Especially with “Haru yo, Koi”, by making it the final solo of the show, I think the theme of the show became even clearer.

 

—I think having “Haru yo, Koi” before the finale left a deep impression on the audience.

 

Mura: That's right. Because the solo ends with “Haru yo, Koi,” it flows naturally into the finale, and I think the emotional impact becomes even greater.

 

—This show is themed around recovery from the earthquake. How do you feel about Hanyu’s growth after the earthquake and the great accomplishments he’s achieved?

 

Mura: Twelve years ago, the Great East Japan Earthquake prevented him from practicing at his base, Ice Rink Sendai, and I imagine he went through a lot of internal conflict. At that time, I knew he was performing in ice shows as much as possible to secure practice time and keep skating. I saw him working hard toward his goals without giving up, so when he achieved the great feat of winning two consecutive Olympic gold medals, I was really happy. It made me realize again that his strength lies in continuing to work hard until he makes his dreams come true. Yuzu has continuously overturned the common sense in our skating world… Of course, he's won two gold medals, but he also attempted a quadruple axel, performed a solo ice show, and even held it at the Tokyo Dome. Seeing him achieve things we can't even imagine and expand his horizons, I think he's truly amazing. He's my junior, but he's always inspired me and made me think, "I have to work hard too." I feel really touched being able to skate alongside him now.

 

—You mentioned earlier that Hanyu secured practice time by appearing in many ice shows after the disaster. We heard that during practice at the Toyohashi Charity Performance (Aichi Figure Skating Charity Performance for the Great East Japan Earthquake) held in May 2011, Hanyu landed a quadruple salchow for the first time, and that your advice was instrumental in his success. Can you tell us about that?

 

Mura: Yes, yes, he landed it during practice. But I didn’t do anything special, really. We happened to be practicing at the same time, and he had already gotten pretty good at the quadruple salchow, so I just said, “If you adjust it a little like this, maybe you can do it?” It was really just about timing and feeling, but when I told him that, he was able to land it almost immediately (laughs). However, I think it wasn’t that he landed it because of what I said, but rather that he was already very close. Even back then, he had excellent body control and a strong curiosity to improve.

 

—How did Hanyu react when he landed the quad Salchow for the first time?

 

Mura: He was really happy, saying, “Yay!” It was only about the second or third attempt after talking with Yuzu, so I myself remember being really surprised, thinking, “Whoa! He actually landed it for real!” He’s outstanding in how quickly he learns any jump and how fast he improves his success rate, so I think it was thanks to that talent that he was able to master it.

 

—Now that Hanyu has turned pro, how do you see him evolving from here?

 

Mura: Even after turning pro, he's still striving to improve. I really feel his strong desire to level up further. That was true with his first show after turning pro, “Prologue,” and also with “Gift,” which was held at the Tokyo Dome. He's also practicing his quadruple axel. I think it's truly impressive that he has such a strong desire to grow, and that he continues to challenge himself without ever stopping.

 

—During the preparation for this ice show and up until now, was there any moment that really made you realize how amazing Hanyu is?

 

Mura: Even though he was the main performer, he watched closely together with us the details of the opening and finale, and kindly asked, "Is there any part that’s difficult for you?" Normally, before performing, you want to focus on yourself, but Yuzu kept an eye on everyone and spoke to them until the very last moment. He was always warm and considerate towards the other performers, so I think all the skaters were able to skate comfortably.

 

—So that’s where the wonderful teamwork came from. Hanyu thinks through everything, from the show’s concept to the program structure, and puts the whole production together. What do you think of his producing ability, including "Prologue" and "Gift"?

 

Mura: I feel Yuzu has a sharp eye for people. For example, when it comes to me, he might think, “This kind of thing would suit him,” and he has a firm idea of what he wants to show in terms of music selection and structure. That’s why specific requests naturally come up, like “I want that person to skate to this,” or “I want them to dance in that group number.” Also, he adds little touches of direction and attention to detail everywhere, like “I want to do it more like this,” and I really feel that he puts a lot of thought into building everything. In terms of production, I feel he has a power far beyond what an ordinary person could handle.

 

—Were there any parts of the opening, finale, or group numbers where you felt Hanyu’s attention to detail?

 

Mura: It's a very small detail, but he would say things like, “I want you to be moving like this by this specific timing in the music,” or, “That timing’s a bit early, so please come out 1–2 seconds later.” He was really particular, down to the second. He also gave a lot of thought to details like the lighting, saying "It would be better if you did it like this," and I saw him paying close attention to every detail, right down to the overall flow of the show.

 

—We often hear that he places great importance on the music in his own programs, but it seems he is also particular about every single sound in the overall show and the movements of the other skaters as well.

 

Mura: Yes, exactly. Especially in the opening, finale, and group programs, where Yuzu comes in while everyone is moving, he made adjustments with David to fine-tune even the slightest timing to bring out a stronger sense of unity in the performance.

 

—Did he have any specific requests for your program, like wanting you to skate to a certain piece? Or for your collaboration with Hongo-san, did he ask you to skate to “Singin’ in the Rain”?

 

Mura: Yes. For the solo, he had a theme in mind, and we exchanged possible pieces. In the end, he requested Sansan. For the collaboration number, he also specified a song. At first, I was surprised, since it was an unexpected choice. But what we created turned out to be fantastic. Seeing how well it worked, I realized again how sharp Yuzu’s instincts are. Thinking of “Singin’ in the Rain” for Rika and me was brilliant.

 

—Thank you for your valuable insights. Lastly, could you please share your hopes and words of encouragement for Hanyu’s future activities as a professional skater?

 

Mura: Up until now, he has continuously aimed far beyond what we consider normal, so I hope he will keep expanding the appeal of skating in ways I can’t even imagine from my own perspective. Since this is no longer competitive skating, there are no rules, and it’s about how much he can realize his own original ideas. I don’t think there’s anything he wants to do that he won’t be able to achieve, so I hope he keeps expanding his ideas. Also, regarding the quadruple Axel, his agility hasn’t changed at all since his competitive days. In fact, I think he might even have more stamina now. He’s skating that long all by himself. I wonder how many pieces were in “Gift” and “Prologue.” In a typical show, it’s unheard of to skate that many programs. On top of that, he’s doing Axels and quads one after another. To perform with that technical level and skate that many pieces is really unthinkable. It's proof of the tremendous amount of practice he puts in. We’ve all heard how much he prepared for this show, and I believe he’s the only one who could make it happen. So I just really hope he takes care not to get injured. And I hope he continues to challenge himself to new things from here on. 

 

 

Profile

Born in 1991, in Matsudo City, Chiba Prefecture.
Began skating at age 3 under the guidance of his parents, Coach Takashi and Chie Mura.
Known for his powerful triple Axel and quadruple jumps, he was a top competitor among Japanese men.
Champion of the 2014 Four Continents Championships.
Competed in the World Championships in 2009, 2013, and 2015.

Retired from competitive skating at the end of the 2017-18 season and is currently active as a professional skater and commentator.