[2026] REALIVE - ICE STORY project

[yuzurujenn]

*machine translation, inaccuracies exist*

 

2026.04.12

Source: https://www.nikkansports.com/sports/news/202604120000411.html

Archived: https://web.archive.org/web/20260421060430/https://www.nikkansports.com/sports/news/202604120000411.html

 

[Figure Skating] Yuzuru Hanyu: "I'm still in the growth stage... I'm changing rapidly" Q&A about his feelings of evolution (1)

 

Yuzuru Hanyu (31), the two-time Olympic champion in men’s figure skating and now in his fourth year as a professional, made a surprise announcement on the 11th about a new solo performance. It will be the fourth installment of his “ICE STORY” series, in which he both performs and serves as executive producer, titled “WHITE…”. As for the timing and scale, he said, “I can’t say yet… but I will do it!”

 

Spoiler

On this day, the opening performance of the spin-off show “YUZURU HANYU REALIVE an ICE STORY project” was held at Sekisui Heim Super Arena in his hometown of Miyagi. As the second part after the main performance, he also presented “PREQUEL Before the WHITE,” a prologue to the original story “WHITE…” written by Hanyu himself, captivating a full house of 7,000 people, including standing-room spectators. It was also revealed that Marihiko Hara (43), who composed the music for the film “Kokuho,” wrote all ten pieces for the production.

 

The post-performance Q&A (1) is as follows:

 

— This is your first solo show since “Echoes of Life” (which ran until Feb. 9, 2025). How do you feel after the opening day?

 

“I’m extremely tired. I feel like I’ve trained a lot, but still... continuing to skate all the way through by myself like this is something I hadn’t done for about a full season, so I was nervous. Also, as a first attempt this time, the solo programs were very dense and came one after another. And performing the entire second half without leaving the ice was also a first for me, so it was full of challenges. But I’d be happy if something like a new sense of value, or something new within myself, could come out of this.”

 

— You took over a year before doing another solo show. What changes have you felt physically and mentally?

 

“There was a period where I stepped away from skating a bit, times when I had no choice but to, and I focused on maintaining my body. There were areas that had been worn down, and parts I’d pushed very hard over the years, so with the goal of continuing for a long time going forward, I wanted to bring those into a better condition, and that’s why I worked on maintenance.

 

As a result, I’ve gone back and carefully reexamined things one by one, how I use my body from a biomechanics perspective, movement mechanics, even the sensation in each individual joint, studying and refining them step by step as I’ve worked my way back. Through that, my movement, whether it’s my skating, my dancing, or how I approach jumps, has gradually become more rational and refined. I’m still very much in a stage of growth, but I feel like I’m changing rapidly right now. I’m excited about that myself, and I want to keep skating going forward.”

 

— What are the concepts and intentions behind Part 1 “REALIVE” and Part 2 “PREQUEL”?

 

“For REALIVE, it’s about taking the programs I’ve skated so far within ICE STORY, and presenting them through my body as it is now, after maintenance and renewal, to show everyone how I’ve changed, and to show that I’m living here and now in the present moment. For me, each program is truly a once-in-a-lifetime encounter. Of course, the quality of the jumps, the spins, the steps, even the audience’s cheers, the warmth of the venue, and the weather that day, everything changes the atmosphere completely. So I really feel that each performance is something alive in that moment. That’s why the idea of a ‘live’ performance, like musicians have, feels very natural to me. And in that sense as well, I created REALIVE with the idea of it being a 'live' experience.

 

As for PREQUEL, I created it with the idea firmly in mind that I want to do ICE STORY 4TH. With that in mind, I worked to make something that would build anticipation for 4TH, something exciting that people could look forward to. The story is about a protagonist who starts in a monochrome world and gradually comes to learn the colors of the outside world. Through various encounters and journeys, they slowly come to understand that world, and different emotions begin to emerge. That’s the kind of story I aimed to create.”

 

— What is your vision or image for the sequel, 4TH?

 

“The concept is already in place, and the story is more or less at a stage where I could write it. Of course, since this is a prequel, I couldn’t complete it without first creating that (laughs). So in a sense, by the time I finished making the prequel, 4TH was already almost complete in my mind. From here, I want to keep working toward it together with everyone, discussing things along the way. Though… I still have tomorrow’s show as well (laughs).”

 

 

 

Source: https://www.nikkansports.com/sports/news/202604120000425.html

Archived: https://web.archive.org/web/20260421061204/https://www.nikkansports.com/sports/news/202604120000425.html

 

[Figure Skating] Yuzuru Hanyu: "When is the 4th... I can't say, can I? (laughs)" Q&A (2)

 

Spoiler

Post-performance Q&A (2)

 

— About the choreography for Part 2, “PREQUEL”

 

“It’s basically a co-creation with MIKIKO-sensei. While sharing various concepts with her, and also listening to the concepts behind the choreography she provided, we worked together alongside the staging she had already envisioned in her mind. We’d discuss things like, ‘I want it to feel like this’ or ‘like that,’ and she would create choreography for it. Then we’d go, ‘For this part, I want to use this choreography, but how would that work on ice?’ We really took our time, going through everything step by step, communicating closely, and building it up together into a single piece.”

 

— This is your first solo show after your maintenance period. Why did you choose Miyagi?

 

“I felt that the first restart should be in my hometown. Miyagi is a very special place for me, it’s my home. And for this solo show, people have come from all over the world, and it’s also being covered and watched across various media. So in that sense, being able to show my hometown to everyone makes me really happy, and I wanted to start from here.”

 

— Now that the performance is over

 

“I want to do my best again tomorrow. Yes (laughs).”

 

— About the second part: was the original story something that came overflowing from things you had thought since childhood, or how did the worldview come about? Also, when you write the original story, do you write it out in text form? What is your process?

 

“In the usual ICE STORY, there are basically lines of dialogue, and I write everything out, like ‘at this line, this kind of scene happens,’ and so on. But this time, I wrote everything in text form, describing all the movements as well.

 

Emotionally, it’s not so much about myself. This is true across all ICE STORY works, but I imagine: if this character actually existed, how would they feel, and what kind of world would I want them to explore? I expand my imagination from there and build the story.

 

I think the core feelings are probably the same, and of course there are words and scenes that come from within me. So it’s definitely something that originates from inside me. But I also feel that if it’s only my own thoughts, it would just become something small and self-contained. So I want to create a story with space left for the audience’s imagination.”

 

— You also brought back ‘Otonal.’ What was the intention behind the structure and selection of programs in Part 1? And is the timing of 4TH decided?

 

“The timing of 4TH… I still can’t say that… I can’t say it, right? I can’t say it, right? (to the staff, laughs). I still can’t say it, but 4TH will happen! This time was for that purpose.

 

REALIVE was structured using programs from GIFT, RE_PRAY, and Echoes. For example, from Echoes, there are ‘Mass Destruction’ and 'Utai,' two programs. From RE_PRAY, there are ‘Megalovania’ and ‘Gate of Living,’ two programs. From GIFT, there are ‘One Summer's Day’ and…

 

‘Otonal’ is a program I haven’t actually skated before, but I had used the music, and I thought it was interesting that I had used the music but still hadn’t performed it as a program, so I wanted to include it as a surprise. So I chose two pieces: ‘Otonal’ and ‘One Summer's Day’ from GIFT. And then, as a kind of origin point, I structured it starting from Prologue and ‘SEIMEI.’

 

Almost all of the songs are very powerful, so it was very demanding. Especially this time, for the first time, there was only about a little over one minute between the first and second programs… so backstage I was quickly changing without even taking off my skates and going straight back out. It was technically a new challenge, but the audience’s reactions were really great, and although it was hard, I felt it was all worth it.”

 

 

 

Source: hhttps://www.nikkansports.com/sports/news/202604120000442.html

Archived: https://web.archive.org/web/20260421055203/https://www.nikkansports.com/sports/news/202604120000442.html

 

[Figure Skating] Yuzuru Hanyu: "Adding tone to a story" - His collaboration with musician from the film "Kokuho" Q&A (3)

 

Spoiler

Post-performance Q&A (3) is as follows:

 

— About the character in PREQUEL

 

“Well… I wonder. I hesitate a bit about how far I should say (laughs). So, like I said earlier, I do have in my mind how I want it to be seen, but if I say it, it might end up narrowing it down, so I feel a bit hesitant about that. But I would be happy if people see that character as something like an important person to them, an important thing, or an important encounter. I’d like them to experience it in that kind of way.”

 

— In PREQUEL, there is a scene where a white cloth descends. How should we interpret that?

 

“Originally, that part has a very strong image of wind. It’s like climbing stairs while being cut by the wind, but not getting swept up in it, and moving forward with one’s own will. We imagined it as something like intersecting lines of wind, and at the same time it also involves entering a torii gate, so it has a sacred feeling as well. As you go up the stairs, it’s like gradually bringing your heart into a more sacred state. That kind of feeling is what we used when creating that staging.”

 

— Making use of space

 

“Yes. It’s really nerve-racking, but this is something that can only be done in ICE STORY productions. I was really looking forward to it myself as well. I can’t rehearse until I arrive on site, so there are many challenges, but I hope people can enjoy the sense of scale.”

 

— Is it correct to understand that 4TH has been officially announced?

 

“Yes. Yes (laughs). It’s totally fine. Yes, it will happen.”

 

— How did you come to ask Marihiko Hara to compose the music?

 

“First of all, I had the desire to make the entire work original. From there, I thought about who I should ask. After creating the original story, I discussed with the directing team and the visual team, and within the ICE STORY team we narrowed it down to several candidates. Among them, we decided to ask Mr. Marihiko Hara.

 

At first, it wasn’t planned as a full-score project. He is extremely busy, so we were asking like, ‘even just one piece, or two pieces would be enough,’ but he said he wanted to write everything. And he even went out of his way to compose not only my performance sections, but also all the video parts. He truly added color to the story I wrote. He kept adding ‘color’ in the form of musical tone, making the story something you can experience through sound. For me, it feels really good to skate to it, like I myself am… how should I put it (laughs). I don’t know how to say it. I stopped myself because I thought it might be a spoiler. As the writer of the original story, I’m skating while deeply feeling that narrative.”

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

2026.04.12

Source: https://www.daily.co.jp/general/2026/04/12/0020233889.shtml

Archived: https://web.archive.org/web/20260421062603/https://www.daily.co.jp/general/2026/04/12/0020233889.shtml

 

Yuzuru Hanyu creates stories on the ice: first solo performance in one season “I hope something like a new value of myself is born” — sequel also announced as Ice Show REALIVE opens

 

Professional skater Yuzuru Hanyu (31), the two-time Olympic champion in men’s figure skating, opened his ice show “REALIVE”, for which he serves as executive producer and sole performer, on the 11th at Sekisui Heim Super Arena in Rifu, Miyagi Prefecture. It is a spin-off of his ICE STORY project, which weaves stories through words and skating, with choreographer MIKIKO directing the production. The show runs until the 12th.

 

Spoiler

Amid intense flashing lights and surrounded by cheers, he appeared on the ice. He expressed his own written story through skating, saying:

 

“It’s been about one season since I last skated alone like this. I hope something like a new value of myself can be created.”

 

The first part, "REALIVE," is packed with programs from his past career as a competitive skater and his new journey as a professional. He projected his feelings onto the performance, saying, "I want to show how the programs I've skated throughout my ice story have changed through my newly evolved body, and how I am truly alive in this present moment."

 

In the second part, “PREQUEL,” which Hanyu himself wrote, the story portrays a protagonist whose world, initially seen in black and white, gradually becomes colored, expressed through the three primary colors of red, blue, and yellow. He conveyed a message behind it, saying he intended it as “a story in which, through various journeys, the character gradually comes to know the outside world, and different emotions begin to emerge.”

 

At the end, the screen displayed: “To be continued story 4th ‘WHITE…’”

 

A sequel was announced.

 

He smiled and said: “The concept is already in place. I want to keep working toward the next step.”

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

2026.04.12

Source: https://sportiva.shueisha.co.jp/clm/othersports/figure/2026/04/12/_realive/

Archived: https://web.archive.org/web/20260421063157/https://sportiva.shueisha.co.jp/clm/othersports/figure/2026/04/12/_realive/

 

Yuzuru Hanyu: "Everyone's reaction felt great." The audience was thrilled by the "intensity" of his solo show, 'REALIVE'.

 

Yuzuru Hanyu's solo performance, "Yuzuru Hanyu "REALIVE" an ICE STORY project," opened on April 11th at the Sekisui Heim Super Arena in Miyagi Prefecture.

 

Spoiler

Hanyu performed programs he had skated during his competitive career and after turning professional. With a body that had changed through a period of rest and physical maintenance, he explored how those programs could be expressed differently in the present moment. The ice show was designed to embody the idea of “being alive right here, right now,” through performances that exist only once, in that specific time and place. It was a production built around that intent, and it also included elements of surprise.

 

Delivering a highly impactful performance

 

In the first part, he performed programs from tours such as GIFT (staged at Tokyo Dome in 2023), RE_PRAY, and Echoes of Life. It opened with MEGALOVANIA, beginning with the sharp sound of blades carving into the ice in a moment of silence. The selection and staging immediately heightened the tension in the arena.

In Mass Destruction -Reload-, he appeared to use the opening as a kind of greeting, directing his gaze toward the audience seats. The next piece, Otonal, is a program from his competitive years, but it had not been performed since his transition to a professional career, something Hanyu described as a “surprise element.” He skated a powerful version of the competitive short program (SP), including a clean triple axel.

 

Between programs, the screen projected photographs from Hanyu’s early days in skating, along with archival interview audio and records of his achievements. This was followed by footage of his post-professional ice shows and training.

 

“The solo programs in the first half were very dense, with almost nothing but intense pieces, so it was extremely demanding. In particular, this time I tried something new where there was only about a minute between the first and second program, and I had to quickly change costumes without taking off my skates and go straight back out. Technically, it was also very challenging, but the audience response felt really good, so I feel like all the effort was worth it,” he said.

 

He then performed Gate of Licing. Amid deep, heavy music and red lighting, beginning with a Buddhist chant, he delivered a dance that seemed to squeeze out inner emotion and intensity.

 

After that came One Summer’s Day. With an effect of water rippling across the ice, he glided out gently. Repeating spiral-like spins, he moved with a fluidity that felt as if he himself had become water. There was also a warmth, as if he were looking back gently on the many programs he has performed up to now.

 

Next, Utai IV: Reawakening was a prayer-like performance. Without pause, he moved into the choreography sequence of SEIMEI, which he described as “in a sense, my origin.” In this way, the first part fully showcased the world of Hanyu Yuzuru. It was an extremely demanding structure, all performed in about 40 minutes.

 

At the end of the first part, Hanyu said aloud, “Thank you,” addressing the audience directly. After a 30-minute ice resurfacing break, he returned for the second part, performing a program in which he remained on the ice for over 20 minutes continuously, an unprecedented format in his career.

 

A new challenge awaits in the sequel

 

“The first half was full of dense programs, but the second half was also a first attempt for me. I stayed on the ice and skated continuously the entire time. I hope that through that, something like a new value of my own will emerge.”

 

It was, in every sense, an epic story.

 

Within the sound of flowing wind, a cage descended from above toward Hanyu, who was crouched on the ice. He began to walk inside it. He dances, as if painting in each of the five squares symbolizing the world projected onto the ice, then passes through a space surrounded by purple, red, and yellow light, runs through a world of water, and then enters a world of ice. Emerging onto the surface of water, he climbed a staircase and pressed forward into a world of wind. From there, he continued his journey, breaking through clouds into a cosmic space filled with twinkling stars.

 

In the end, he kept dancing even as he fell, eventually arriving in a white world. As the end credits rolled on the screen, the message “To be continued ICE STORY 4th WHITE...” appeared, announcing the next ice show.

 

This more than 20-minute second part was created based on Hanyu’s original written story titled Prequel: Before the WHITE, serving as a prologue to the upcoming ICE STORY 4th.

 

“Prequel was made with ICE STORY 4th in mind from the very beginning. I wanted to create something that would build anticipation and excitement toward it. It tells the story of a protagonist who moves from a monochrome world and gradually comes to know the colors of the outside world. Through encounters and journeys, different emotions begin to emerge as he learns about the world beyond.”

 

All the music was composed by Marihiko Hara, who won both Best Music and Best Theme Song at the Japan Academy Awards for the film Kokuho. The choreography was created in collaboration with director MIKIKO.

 

“This time, I wanted to make this entirely original from the start. I first created the story, then discussed it with the production and visual teams and narrowed down candidates. That’s when we decided to ask Marihiko-san. Initially, the plan wasn't for him to write all the songs, and since Marihiko-san is a busy person, we asked him if he could just write one or two songs, but he said he wanted to write them all.

 

He didn’t just compose the music for my skating parts, but also for the visual sections. He added ‘color’ through sound to the story I wrote, making it something that can be experienced through hearing. When I skate to it, it really feels good. I think, as the original author, I’m also skating while deeply feeling the story itself.”

 

Through this ice show, Hanyu once again showed not only programs that exist as once-in-a-lifetime performances, but also a new kind of challenge.

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

2026.04.12

Source: https://thedigestweb.com/topics_detail13/id=112819

Archived: https://web.archive.org/web/20260421064033/https://thedigestweb.com/topics_detail13/id=112819

 

Yuzuru Hanyu held his solo ice show REALIVE in his hometown of Miyagi, presenting a refined, high-level performance that reflected his evolution following a period of physical maintenance. “I want to show how I’ve changed, and that I am living right here, right now,” he said, emphasizing the intent behind the program.

 

With his solo show REALIVE held after a period of physical “maintenance,” Yuzuru Hanyu looked back on the three previous ICE STORY productions and previewed the upcoming ICE STORY 4th.

 

Spoiler

In August of the previous year, Hanyu announced he would take a “maintenance period” in order to further evolve. He returned in March at notte stellata 2026, held at his hometown venue, the Sekisui Heim Super Arena in Miyagi, where he offered a glimpse of the new physical expression he had developed during that time. About a month later, on April 11, he opened Yuzuru Hanyu “REALIVE” an ICE STORY project at the same venue, and his evolution became even more evident.

 

The performance began in front of an audience of around 7,000. In the first half, he performed programs selected from his first solo ice show PROLOGUE, as well as from the three ICE STORY productions since his professional debut. Regarding the selection, Hanyu explained: “I want to show how the programs I’ve performed within ICE STORY have changed through my body after maintenance, and that I am living in this present moment.”

 

From PROLOGUE (2022), which represents the origin of his professional career, he performed SEIMEI, the free skate from the 2018 PyeongChang Olympics where he won his second Olympic gold. From GIFT (2023), the first ICE STORY production and the historic solo Tokyo Dome show, he selected One Summer's Day and Otonal. Regarding Otonal, he explained that it was chosen as a “surprise element,” since it was a program that used the music but had never been performed in this version.

 

From RE_PRAY (2023–24), he performed MEGALOVANIA and Gate of Living. From Echoes of Life (2024–25), he selected Mass Destruction and Utai.

 

Hanyu has said that “each program is truly a once-in-a-lifetime moment.”

 

“The quality of jumps, spins, and steps, as well as the audience’s reactions, the warmth of the venue, and even the weather, all of these completely change the atmosphere. I truly feel that these are living performances. That’s why I naturally understand why musicians call it a ‘LIVE.’ In that sense, I created REALIVE thinking of it as a live experience.”

 

The show opened with MEGALOVANIA, beginning with only the sound of Hanyu’s blades cutting into the ice. This is followed by Mass Destruction. Hanyu revealed: “For the first time, there was only about a little over one minute between the first and second programs, and I was doing something new like quickly changing backstage without even taking off my skates and going straight back out.”

 

“Technically, I was trying something very new as well, but the audience’s reaction was really satisfying. I felt, ‘Even though it’s tough, it was worth all the effort.’”

 

After Mass Destruction, a segment appears in which various records are projected on the screen, along with audio of Hanyu’s own words, reflecting on his journey as a competitive skater. Following the third program, Otonal, footage of the press conference announcing his professional transition is shown. He then performs the fourth program, Gate of Living, marked by movements that travel back and forth along the center line of the rink, leading into the serene fifth program, One Summer's Day. The first half concludes with the sixth program, Utai. By the end of the first half, some audience members were seen giving a standing ovation, and Hanyu left the ice after expressing his gratitude, saying, “Thank you very much.”

 

In the second half, titled 'PREQUEL Before the WHITE,' a narrative unfolds featuring a young boy depicted in animation alongside Hanyu. The second half, in which he skates continuously without ever leaving the ice, was a challenge for him, and he reflected: “It was also my first time performing the entire second half as a continuous program without coming off the ice.”

 

The boy, who can be seen as an alter ego of Hanyu, escapes from the cage in which he is confined, walks, swims, and skates. This second half is based on an original story written by Hanyu himself, who said, “I let my imagination expand while writing it, thinking along the lines of, ‘If this child really existed, how would he feel, and how would I want him to explore the world?’”

 

“But at the core, I think the underlying feelings are probably the same, and of course they come from words and imagery within myself. So in that sense, it is something that exists within me. However, I also feel that if it is only my own feelings, it would just become a small, self-contained work. That’s why I wanted to create a story with room left open for everyone’s imagination.”

 

At the end, when the screen indicated that this story leads into the fourth ICE STORY, titled 'WHITE,' the venue erupted in cheers.

 

This second part, PREQUEL, serves as a prologue to ICE STORY 4th. Both PREQUEL and the upcoming ICE STORY 4th are set to be performed with original new music composed by Marihiko Hara.

 

Hara is the composer behind the widely acclaimed film Kokuho, for which he won the Japan Academy Prize for Best Music and Best Theme Song. He also composed music for the “MOMENT OF REMEMBRANCE” segment of the Tokyo Olympic Opening Ceremony in 2021, featuring dancer Mirai Moriyama, which received high praise. His music, known for its strong affinity with contemporary dance, seemed to elevate Hanyu’s skating into a new dimension.

 

Hanyu feels that Hara's music "adds color to the story I wrote."

 

“He keeps adding ‘color’ through tone and sound, making the story something that can be felt through hearing. For me as well, it feels really good to skate to it.”

 

Beyond his exceptional technical skill and physical ability, another major appeal of Hanyu as a skater lies in his ability to embody his own emotions within performance. In the realm of contemporary expression, rather than relying on established forms, he continues to explore his own approach. During his maintenance period, he acquired new dance techniques and continues to push further into what can be expressed through skating.

 

Many now eagerly await further details of ICE STORY 4th, which promises to reveal a new side of Yuzuru Hanyu.

 

 

[yuzurujenn]

2026.04.12

Source: https://wedge.ismedia.jp/articles/-/40478

Archived: https://web.archive.org/web/20260419131112/https://wedge.ismedia.jp/articles/-/40478

 

Yuzuru Hanyu's first solo show in approximately 1 year and 2 months: Changes in his performance brought about by "maintenance," and a surprise announcement of a new installment in the "ICE STORY" series!

 

Figure skating Olympic two-time champion and professional skater Yuzuru Hanyu, who also serves as executive producer, opened his solo show “Yuzuru Hanyu ‘REALIVE’ an ICE STORY project” (Realive) on April 11 at the Sekisui Heim Super Arena in Miyagi Prefecture, with media in attendance. For Hanyu, who had taken a “maintenance period” starting in August 2025, this marked his first solo show in about one year and two months, since February 9, 2025.

 

Spoiler

Facing a sold-out audience that had long awaited this day, Hanyu delivered a passionate performance of seven signature programs drawn from both his competitive era and his professional career. In addition, he surprised the audience by announcing a new installment in his “ICE STORY” series, its fourth chapter, sending the venue into thunderous applause.

 

“How has he changed?”

 

With a countdown displayed on the electronic screen above the rink—5, 4, 4, 2, 1—the one-of-a-kind solo production returned: the opening of “REALIVE.”

 

The seven programs in the first half were carefully selected from the “ICE STORY” series (“GIFT,” “Echoes of Life,” and “RE_PRAY”), works he affectionately refers to as his “children,” reflecting the depth of his attachment to them. These were all high-intensity pieces.

 

“What I want to show is how the programs I’ve skated within ‘ICE STORY’ have changed, through my body and technique, which have been renewed through maintenance, and how they look now, in the present.”

 

This was not simply a lineup of past programs performed again. Out of deep respect and affection for his works, he pushed himself without compromise in bringing them back to life.

 

“This time, for the first time, there was only about a minute between the first and second programs. I even tried something new, like not taking off my skates backstage, changing quickly, and going straight back out. Technically, I was doing things I hadn’t done before, and the reaction from the audience felt really good. It was tough, but I felt it was worth it.”

 

The physical and mental burden of carrying an entire solo production alone is significant, but so are the intensity of the audience’s response and the sense of fulfillment that comes with it, things that can only be experienced in that setting. From his comments at the post-show press conference, it was clear he was savoring the essence of a solo show returning after 426 days.

 

“A Once-in-a-Lifetime” Program

 

Among them, the one Hanyu himself later described as having been included as a “surprise” was the third program from the opening: “Otoñal.”

 

The music for this short program (SP), which he performed across two seasons starting in 2018–19 after winning his second consecutive Olympic title at the PyeongChang Games, had been used in the 2023 “GIFT” performance, but the program itself had not been performed in full until now.

 

Some in the audience may have been seeing it live for the first time, but for journalists and fans familiar with his competitive era, the opening, resembling a real competition. along with Hanyu’s serious expression and razor-sharp concentration, likely evoked a different kind of appeal compared to his professional stage performances. Within the program, he also landed a beautiful triple Axel, characterized by a tight rotational axis, speed, and height.

 

Hanyu has consistently faced the programs he has performed with a “once-in-a-lifetime” mindset.

 

Even if the choreography is the same, no matter how precisely he jumps on the same trajectory, lands steps in the same places, or captivates with spins, and even if the technical scores appear identical, no two performances ever create exactly the same conditions. The atmosphere of the venue, the rising cheers, and the applause of admiration all differ each time. In that sense, no performance is ever truly identical.

 

That is why he has said, “I really feel that each program is something that is alive there, in that moment,” and has treated every one with great care.

 

Part 2 had not been disclosed beforehand

 

Because it was a performance where “live” and “reality” intersect in real time as something unfolding in the present, he took the ice on this day under the title “REALIVE.”

 

The end of the first half was a somewhat unusual scene. After closing with his legendary program “SEIMEI,” dressed in a golden costume, he left the rink while shouting, “Thank you very much!” at the top of his voice.

 

Why did Hanyu include “SEIMEI,” a program typically used to bring a show to its peak, in the first half, and why did he shout his usual words of gratitude at the end of the show at this point? It was precisely this that served as a “setup” for the second half, which would go on to shock the audience.

 

In fact, the setlist distributed to the media before the show only mentioned "Part 1," and made no mention of Part 2. When asked about it, the staff at the reception gave a cryptic explanation, saying that the setlist for the “second half” would be distributed separately after the show, just before the press conference. Neither I nor the other reporters around me understood the meaning of that explanation until Part 2 began after the intermission.

 

The title of the second half was “PREQEL Before the WHITE.” What was performed was the prologue to the story that will become the fourth installment of the “ICE STORY” series.

 

Set to ten original new compositions by composer Marihiko Hara, who also worked on the hit film Kokuhō (National Treasure), Hanyu performed continuously for about 20 minutes to a prequel to the sequel, for which he wrote the original story.

 

A Shift from Traditional Style

 

During this section, he never once returned to the backstage area. The performance was completed solely through the music that filled the venue, a grand staging using elements such as white fabric, and the movements of his own body on the ice.

 

It was a show that also confronted a first-time challenge for him: “performing the entire second half without leaving the ice at all,” as Hanyu himself described it.

 

What he portrayed in this second half on the ice was the “beginning” of a story in which the protagonist gradually comes to understand the colors and contours of the world through journeys and encounters.

 

In a media release, Hanyu also included the following comment, offering clues to his intent:

 

“There are many different colors in the world, and we come to know them as we live our lives. I think that might be what we call growth. The cells in our bodies that perceive color are all different, and perhaps no two people ever see the exact same color. That is why the world is so beautiful, full of many different emotions, and I believe there is joy in discovering them, as well as happiness in sharing and understanding them together.

 

The second part, ‘Prequel: Before the WHITE,’ is the prologue leading into ICE STORY 4th. After experiencing the colors drawn through MIKIKO-sensei’s direction, Marihiko Hara’s music, and the fusion of visuals and skating, what kind of world will you see?”

 

When it came to writing the original story, he also introduced a change to his usual approach. In previous “ICE STORY” works, he had mainly written dialogue in his own words and then built accompanying imagery in harmony with those lines. This time, however, he wrote everything out in text form, including the movements themselves.

 

What moved Marihiko Hara’s heart

 

During the interview, he revealed his feelings about the music that filled the venue, saying he hadn't imagined that Hara would be in charge of all the songs, and shared details of his interactions with Hara.

 

“Because Hara-san is such a busy person, at first I didn’t plan to ask for all the music. I thought even one or two pieces would already be enough. But then he told me he wanted to write everything, including the parts for the visuals as well. He didn’t just write for my skating segments; he said he wanted to compose the entire work, including the video sections.”

 

“He added ‘color’ to the story I wrote through his sound, making it something that can be felt through hearing. Honestly, it felt amazing to skate to it, and as the original author, I could really feel the story while performing it.”

 

In the comments released by Hara, who worked on his first ice show, there are hints that Hanyu’s passion and a certain gesture moved him deeply.

 

“At the beginning, Hanyu himself explained the project to me, along with materials he had prepared. I remember feeling that he had truly listened carefully to my music, which made me very happy. At one of our later meetings, when I played a piece that was still in progress, Hanyu quietly raised his hand. Seeing the curve drawn by his fingertips, I imagined the beautiful moments that would emerge on the ice, and I became confident that my music would work.”

 

The timing of “4th” has not yet been announced. However, its concept and vision are already nearly complete in Hanyu’s mind. Reflecting on his current state after the maintenance period, he said he is “still in a stage of growth, but changing rapidly right now,” adding, “I myself am looking forward to continuing to skate.”

 

The comeback show left a strong sense of anticipation for his next work, shaped by both physical evolution and an expanding expressive range.

 

 

[yuzurujenn]

2026.04.12

Source: https://worldfigureskating-web.jp/news/24879/

Archived: https://web.archive.org/web/20260421072210/https://worldfigureskating-web.jp/news/24879/

 

Yuzuru Hanyu holds “REALIVE” in his hometown Miyagi, announces the upcoming fourth “ICE STORY” installment

 

Yuzuru Hanyu performed in the ice show “Yuzuru Hanyu ‘REALIVE’ an ICE STORY Project” on April 11 at Sekisui Heim Super Arena in Rifu Town, Miyagi Prefecture. At the end of the performance, it was suddenly announced that the fourth installment of his ICE STORY series, “ICE STORY 4th ‘WHITE’…,” which Hanyu himself serves as executive producer, would be staged. The surprise announcement drew cheers from 7,000 spectators who had gathered from both Japan and abroad.

 

Spoiler

Programs living in the present, and a prologue to “4th”

 

Yuzuru Hanyu's first solo performance in 14 months, “Yuzuru Hanyu ‘REALIVE’ an ICE STORY Project,” opened on April 11 at Sekisui Heim Super Arena in Rifu Town, Miyagi Prefecture. In the first half, a carefully selected lineup of powerful programs from his career was performed.

 

One of the surprises was “Otoñal,” a short program first performed in the 2018–19 season. His light triple Axel and step sequences that seemed to play with the music captivated the audience. The first half, which began with “MEGALOVANIA,” concluded with his signature program “SEIMEI.” After finishing his skate, Hanyu called out “Thank you very much!” as he left the rink, an unexpected moment that likely left some in the audience sensing something unusual, even though a second half was still to come.

 

After a roughly 30-minute intermission, the reason became clear. The second half, which opened next, was a completely different world from the first. What unfolded was a highly theatrical work woven together through music imbued with quiet strength, along with film and on-ice performance. At the end, when the venue screen finally revealed that this second half was “Prequel: Before the WHITE,” the prologue to the fourth installment of ICE STORY, the packed audience erupted into thunderous applause and cheers.

 

After taking the ice, Hanyu greeted the audience and said:

 

“Regarding ‘Prequel,’ while I was writing it and thinking through the programs and structure in various ways, I had a strong desire to make the music entirely original, and within that process, I had Marihiko Hara compose the entire score with new pieces. I think it’s a story that may be difficult to understand on a first viewing, but for me it’s more like something that gains depth the more you chew on it (laughs). This time, I created ‘Prequel’ as an ICE STORY where I intentionally do not use spoken words at all for the first time. I hope there’s something that lingers in someone’s heart, something that leaves an impression or sparks interpretation in memory. I’d also love to know what kinds of feelings everyone experienced, but I believe the way each person receives the story as they feel it is what matters most, so I made it with that in mind. Please keep ‘ICE STORY 4th: WHITE…’ somewhere in your hearts, even just a little. And I look forward to seeing you again at ICE STORY 4th. Thank you very much.”

 

“‘I’d be happy if something like a new value of myself is born.’”

 

――It’s your first solo performance since Echoes of Life. How do you feel after opening night?

 

Hanyu: I’m really exhausted. I thought I had practiced a lot, but after all, skating continuously by myself like this was something I hadn’t done in about a season, so I was nervous as well. Also, this time there were a lot of high-intensity solo programs performed back-to-back as a new attempt, and it was also the first time I stayed on the ice for the entire second half without leaving at all. It was all a series of challenges, but I really hope that something like a new value within myself can be born from this.

 

――Over the course of more than a year set aside for your solo show, could you tell us again about the physical and mental changes you’ve experienced?

 

Hanyu: There were periods when I was away from skating, and also periods when I had no choice but to step away. I focused on maintenance for my body, areas that had been damaged, or parts I had overused over time, and I wanted to improve those as much as possible in a good direction, so that I could keep going for a long time into the future. That’s what I’ve been working on.

 

Because of that, I’ve once again studied things like biomechanical ways of using the body, aspects of dynamics in movement, and even the detailed sensations of my joints. I’ve been carefully observing and learning those things one by one as I’ve come this far.

 

On top of that, my way of dancing and even how I jump has started to become a bit more logically grounded. I’m still very much in a stage of development, but things are changing rapidly right now, so I personally am looking forward to it, and I want to keep skating forward.

 

――The first part is “REALIVE,” and the second part is “PREQUEL.” Could you explain the concept or intention behind each?

 

Hanyu: “REALIVE” is about taking the programs I’ve been skating within what I call “ICE STORY,” and, through this renewed body after maintenance, showing how they’ve changed, and how I am right now, living in this moment. For me, I really think of programs as something truly one-of-a-kind, something that only exists once. Of course, there are things like the quality of jumps, spins, and steps, and also the cheers from the audience, the warmth of the venue, even the weather at the time, all of that changes the atmosphere completely. So I really feel that these programs are things that are alive right there in that moment. That’s why I naturally came to feel the word “live,” like musicians do when they say “live performance,” and I created “REALIVE” with that idea in mind.

 

And “PREQUEL” was created with “ICE STORY 4th” as a starting point. The idea was to build something that gives a sense of anticipation toward the 4th installment, something exciting that leads into it. It tells the story of a protagonist who begins in a monochrome world and gradually comes to know the colors of the outside world. Through various encounters and journeys, he slowly learns about that outside world, and different emotions begin to emerge. I tried to shape it as that kind of story.

 

――Within what you can share now, how far along is your vision for “4th”?

 

Hanyu: The concept is already in place, and the story is at a stage where I could almost write it out fully in my head. Of course, 'Prequel' wouldn’t exist without it (laughs). So in a way, by the time I created that prequel, “4th” was already more or less finished inside me. From here, I’ll keep discussing it with everyone and work toward the next step. I still have another show tomorrow, though (laughs).

 

“‘I want to create a story with enough space for everyone’s imagination.’”

 

――The second part was about 20 minutes long, and it felt almost like watching a stage play. Who was in charge of the choreography?

 

Hanyu: It was basically a kind of co-creation with MIKIKO-sensei. I shared various concepts with her, and at the same time listened to the choreography concepts she had as well. And together with the direction that was already forming in MIKIKO-sensei’s mind, we discussed things like, “I want to do it like this,” or “I want to do it like that,” and she choreographed it accordingly. Then, for example, I would say, “For this part, I want this choreography, but in terms of skating, how should I do it?” And we really went through everything one by one, taking a lot of time and communicating very closely to build it up into a single work.

 

――You chose Miyagi, your hometown, for the first solo performance after your maintenance period. Could you tell us why, and how you feel after the opening day?

 

Hanyu: I think I wanted my first restart to be in my hometown. For me, Miyagi is a very special place, well, it’s my hometown, after all. And since this solo performance was something that people from all over the world were paying attention to and coming to see, and also being covered by various media, I felt that being able to show my hometown in that context made me really happy. So I wanted to start from here.

 

――After performing in your hometown, how do you feel?

 

Hanyu: I want to do my best again tomorrow. Yeah.

 

――The second part was quite surprising, like “even a skater can go this far?” Was this original story something that came out of things you had been thinking about since you were little? How did the world view come together? When you write the original story, do you write it out like a scriptwriter in text form? How did you create it?

 

Hanyu: In my usual “ICE STORY,” there are basically lines of dialogue, and I write everything around those, like, “in this moment of dialogue, this kind of scenery appears,” that sort of process. But this time, I wrote everything purely in text, including describing all the actions themselves. In terms of emotion, it wasn’t so much about myself personally, as is the case with ICE STORY in general, but more like, “If this character actually existed, how would they feel, and how would I want them to explore the world?” I expanded my imagination from there and wrote it that way.

 

Of course, the core feelings are probably the same, and the words and imagery do come from within me, so in that sense it’s definitely something that exists inside me. But I also feel that if it were only my own feelings, it would become something very self-contained and small. So I wanted to create a story that leaves room for everyone's imagination, and that’s how I worked on it.

 

――Could you tell us about the structure of Part 1, the intention behind the music selection, and also the timing of “4th”?

 

Hanyu: The timing of “4th”… I can’t say. I can’t say it. I can’t say it, right? (checks with people around). Yeah, I can’t say it (laughs). But “4th” will happen. This whole project is for that.

 

For “REALIVE,” the programs were selected from “GIFT,” “RE_PRAY,” and “Echoes of Life.” For example, from “Echoes,” there’s “Mass Destruction” and “UTAI.” From “RE_PRAY,” there’s “MEGALOVANIA” and “Gate of Living.” From “GIFT,” there’s “One Summer's Day” and “Otonal.” I didn’t skate “Otonal” before, but because I used the music, and it was a program I hadn’t performed yet despite that, I added it as a surprise element. And from “PROLOGUE,” I went with “SEIMEI,” which is kind of a return to my roots. So that’s how the structure came together.

 

Honestly, it was mostly very intense programs, so it was quite demanding. Especially this time, there was only about a little over a minute between the first and second programs, so I had to change costumes quickly backstage without even taking off my skates and go straight back out. I was doing new kinds of things technically as well. But the audience reaction was really good, and it felt great. Even though it was tough, I felt it was worth all the effort.

 

――A crystal-like character appeared in the second part. Would you say that child is an embodiment of hope, or more like a guide helping the protagonist discover the outside world? I wonder.

 

Hanyu: Hmm… that’s difficult. I find myself wondering how much I should say. Like I mentioned earlier, there is a certain way I personally want people to perceive it. But at the same time, if I say it too directly, it ends up narrowing what it can become for each viewer, and I don’t really want that either. So… well. I’d be happy if people see that character as something like someone important to them, something precious, or an important encounter. 

 

“‘I feel like he's adding color to the story I wrote.’”

 

――In the second part, PREQUEL, a white cloth descended from above. There are various ways to interpret it, but how should we view that scene?

 

Hanyu: In terms of the original story, that part is very much based on the image of wind. It’s like climbing stairs, and even while being cut by the wind, you’re not swept away by it, and you push forward purely by your own will. The shape is like lines of wind being stretched all around. And because there’s also the element of passing through a torii gate, it carries a kind of sacred feeling as well… As you climb those stairs, it’s about gradually bringing your heart into something more sacred. That’s the kind of feeling we used as a basis when we created that staging.

 

――It’s a large-scale production that makes full use of the space.

 

Hanyu: Yes. It’s really nerve-wracking, but it’s something that only “ICE STORY” can do, a kind of staging that only “ICE STORY” allows. I also really enjoyed working on it myself. I can’t really rehearse it until I get on site, so it’s challenging in many ways, but I hope people enjoyed the scale of it.

 

――In the final scene, it was reported that you announced the 4th installment. Is that okay?

 

Hanyu: That’s fine. It’s totally fine. Yes, it will be held.

 

――Could you tell us how it came about that you asked Marihiko Hara to compose the music, and also your impressions of performing it?

 

Hanyu: This time, I really wanted the entire work to be original. So the first step was thinking about who I should ask. I created the original story first, and then after that, I discussed things within the ICE STORY team and the directing and visual teams, like, “maybe this person, maybe that person, maybe this one.” Within that process, we decided to ask Marihiko Hara. At first, it wasn’t planned to be all the music. He’s extremely busy, so I was asking something like, “even one piece, or two pieces would be enough.” But then he said, “I want to write everything.” And he actually composed everything, not only the parts for skating, but even the music for the visuals as well. He truly added color to the story I wrote. He kept adding layers and layers of what you could call “color through sound,” making it possible to feel the story through hearing. Honestly, for me, it just feels really good to skate to it. It’s… how should I put it… I myself—what was I trying to say (laughs)—I stopped because I felt it might become a spoiler. But as the person who wrote the story, I’ve been skating while deeply feeling that narrative.

 

.

 

The timing of “ICE STORY 4th ‘WHITE…’” will be announced at a later date. The fourth installment will be based on an original story written by Yuzuru Hanyu, directed by MIKIKO, and set to new original music by Marihiko Hara, who also handled the music and theme song production for the film “Kokuhō.” The world premiere is something that is already eagerly anticipated.

 

[yuzurujenn]

2026.04.12

 

Source: https://www.ninomiyasports.com/archives/137433

Archived: hhttps://web.archive.org/web/20260419114217/https://www.ninomiyasports.com/archives/137433

 

Does the all-white art museum symbolize "the album of the heart"? — Yuzuru Hanyu ‘REALIVE’ an ICE STORY project —”

 

Professional figure skater Yuzuru Hanyu's solo performance, "Yuzuru Hanyu “REALIVE” an ICE STORY project," which he both produced and starred in, opened on the 11th at the Sekisui Heim Super Arena in Rifu Town, Miyagi Prefecture. The performance was divided into two parts. In the first part, Hanyu performed six songs (seven if you include the choreographic sequence from SEIMEI), including Mass Destruction-Reload-. In the second part, he performed "PREQUEL: Before the WHITE" (10 songs in total, including animation), a prequel to the upcoming ICE STORY 4th (date yet to be announced), captivating the 7,000 people who filled the venue and viewers watching on CS broadcast. This solo performance will conclude on the 12th.

 

Spoiler

Hanyu appeared in the second part, “PREQUEL,” wearing an all-white outfit with a black sheer long cardigan. “PREQUEL” unfolds through a combination of Hanyu’s on-ice performance and an animated story projected onto a large screen in the venue. All ten pieces used in the second part were newly composed by Marihiko Hara (who composed music and theme songs for the hit film “Kokuho”).

 

The screen displayed something resembling a planet or moon with large cracks. On the ice, Hanyu performed movements reminiscent of the moonwalk.

 

In the animation, a boy wearing an outfit similar to Hanyu’s appeared. While Hanyu was illuminated by a spotlight on the ice, his shadow was not his own. It was the silhouette of a boy projected on the screen. The staging suggested that Hanyu was embodying the boy from the animation for the audience.

 

The boy’s world was a barren wasteland, where no matter how far he walked, only desolate land stretched endlessly. He was alone, and could only sleep to ease his loneliness. As the boy lay face down on the ground, a small, crystal-shaped character appeared.

 

The boy received a “warm light” from this character. Water flowed across the barren land, and greenery and trees began to grow. The world around him became filled with color. On the ice, Hanyu stretched his limbs widely, expressing joy, and then suddenly showed movements as if his entire body were pulsing.

 

The crystal-like character walked slightly ahead of the boy, as if acting as his guide. Together, they explored worlds such as underwater landscapes. They climbed a staircase step by step. Just small steps, but steady and determined steps upward, like the staircase of growth.

 

Although they had been underwater, that staircase led into space. Even in space, the crystal-like character walked ahead of the boy. But then it collided with something and shattered into pieces. It seemed to suggest that as one grows and emotions develop, not only joy but also pain and sorrow become recognizable.

 

Hanyu, playing the boy who had lost something precious, collapsed in shock. His narration began:

 

“I am falling. The world is ending. The world is beginning. The sensation of falling disappears. Pain and weight in the body disappear completely. White. The bottom of the world I have reached. There is no sound, no color. Only the pain in my heart retains a faint outline. Slowly, I focus on the world. There, a museum appears…”

 

Then, a completely white museum appeared on the screen. Even its interior seemed entirely white. After a brief pause, the words appeared: “TO BE CONTINUED ICE STORY 4th WHITE…” A great roar of applause filled the venue.

 

After the first day’s performance, Hanyu explained “PREQUEL: Before the WHITE”:

 

“I wanted to create PREQUEL while keeping in mind that it is leading into ICE STORY 4th, and to build something that would give people a sense of anticipation and excitement for it. The story is about a protagonist gradually discovering color in a monochrome world. Through encounters and journeys, he begins to understand the outside world little by little, and various emotions begin to emerge. That’s the kind of story I intended to create.”

 

When asked about the crystal-shaped character, whether it is the embodiment of hope or a guide helping the protagonist discover the outside world, Hanyu laughed and said:

 

“It’s something I hesitate about how much I should say…”

 

He continued: “I do have my own idea of how I want it to be seen, but I also feel that saying too much would limit people’s imagination. So I hope people will view that character as something like an important person, an important thing, or an important encounter in their lives.”

 

That character may change depending on the viewer: a companion, a sport one devoted oneself to, a romantic experience, or a meaningful encounter with someone worth supporting. Perhaps it represents something that gives color to one’s life and heart, and something that leads to personal growth.

 

If that small, crystal-like character represents all of those things, then the all-white museum may symbolize "the album of the heart."  I'm looking forward to seeing what colors it will be, and I'm excited for "ICE STORY 4th WHITE…".

 

 

 

 

Source: https://www.ninomiyasports.com/archives/137456

Archived: https://web.archive.org/web/20260419114628/https://www.ninomiyasports.com/archives/137456

 

What does "that crystal child" mean to Yuzuru Hanyu? ~"PREQUEL: Before the WHITE" → "ICE STORY 4th WHITE..."~

 

Professional figure skater Yuzuru Hanyu served as the overall executive producer and star of his solo show, "Yuzuru Hanyu “REALIVE” an ICE STORY project," which took place over two days, on the 11th and 12th, at the Sekisui Heim Super Arena in Rifu Town, Miyagi Prefecture (attendance on the first day: 7,000). The first day's performance was divided into two parts. In the second part, Hanyu performed "PREQUEL: Before the WHITE" (10 songs in total, including animation). Towards the end of the performance, the holding of "ICE STORY 4th WHITE…" was announced (the timing is yet to be announced).

 

Spoiler

Towards the end of the first day's performance, Hanyu spoke into the microphone on the ice about "PREQUEL: Before the WHITE," saying:

 

“I think it’s probably a story that’s a bit difficult to grasp on a first viewing (laughs). But for me, it’s something like it gets better the more you chew on it. This is the first time I’ve created an ICE STORY where I don’t use words to narrate things at all.”

 

He continued on the ice:

 

"I'd like to know what kind of thoughts and feelings people had while watching it. I created the prequel with the belief that everyone's interpretation of the story is entirely up to them."

 

A crystal-shaped character that appeared in the prequel. "That character" added color to the main character in the animation and to Hanyu skating on the ice. Since the character does not have an explicitly confirmed name, it is referred to here as “the child” (later revealed to be “kaku”).

 

Hanyu spoke about "that child" from the animation:

 

"I would be happy if people could see 'that child' as a precious person, precious thing, or precious encounter for each individual."

 

One of those “precious things” for Hanyu may be figure skating itself.

 

I don't intend to limit this to figure skating alone, but Hanyu has undoubtedly had many opportunities to experience enjoyment and joy through this sport. At the same time, he has also had to confront suffering, hardship, and even sadness through figure skating.

 

Sadly, in the animation, the “child” who once shared joyful moments with him eventually shatters into pieces near the end of PREQUEL.

 

For Hanyu, that moment might have been when he was affected by the Great East Japan Earthquake and forced to live in an evacuation center, which meant he couldn't figure skate for a while. Or perhaps it was when he left his hometown of Miyagi and moved from one training base to another, blaming himself and wondering, "Is this really the time for me to be skating?" Or maybe it was during the short program at the 2022 Beijing Winter Olympics, when his skate blade got stuck in a hole in the ice.

 

Incidentally, the word “crystal” originates from the Greek word krystallos, meaning ice. In PREQUEL, there is also a scene where Hanyu scoops up fragments of ice in his hand and throws them into the air. It should also be noted that crystal is known as the birthstone for April.

 

Toward the end of PREQUEL, narration begins:

 

"I slowly looked around at the world. There, a museum appears…”

 

On screen, a pure white museum is shown. Even the interior appears completely white. After a brief pause, the words appear: "<To be continued ICE STORY 4th WHITE…>"

 

What will fill this all-white museum? The joy of creating a new genre called ICE STORY, the time spent immersed in creation with new collaborators, the coexistence of being both skater and artist, or perhaps the smiles of those who support him?

 

What will the museum in "ICE STORY 4th WHITE..." ultimately look like? What kind of museum will be projected within each viewer’s heart?

 

I want to know the true identity of ‘that child.’ However, the fact that its identity is different for each person is also what makes it difficult.