#shu is always out of the loop on what goes on because he shares the collective group brain cell and can't comprehend the unfathomable shit

[lotus-pear]

game night at valt's house is always fun🤡👍

[lovebecomeshim]

hello! your zutara posting today has finally motivated me to ask this question because I came to atla very late(last year, to be specific) and I Love It Very Much but am 1000% out of the loop as far as why what remains of fandom (at least that I've seen among my friends) is so very strongly zutara. I'm not opposed to it per se I just don't really know what has driven it to apparently be such a popular ship? can you help me understand and maybe convert me a little bit?

Hey!! Your ICON! :D I can try but I’m not sure how coherent I’ll be; however I AM sure someone a lot more competent will be willing to add to this. Either way, I’m glad you asked because my plan was to drag down as many people as possible with me.

*smacks the hood of zutara* this baby can fit so much mutual love and support!

This got so long, I’m so sorry. I don’t know how to put it under a cut on mobile and it already got deleted once so I’m scared to mess with it lol. Moving on.

I’m gonna start this with a disclaimer that im on mobile so formatting is tricky and I’m also really new to atla in that I only completed my first watch through in like 2019??? So some of my info is all just based on what I’ve picked up from Discourse 👀 so anyway the sparknotes version: zutara was wildly popular from the beginning. To the point where the atla crew internally disagreed on which ship should be endgame. (Ex. Bryke [showrunners] asked the writers to rewrite The Southern Raiders to make Zuko seem less ideal for Katara than Aang [which failed, depending on who you ask]; the animation team purposefully created a visual parrallel between Oma and Shu in the Cave of Two Lovers and Zuko and Katara in the catacombs under Ba Sing Se in the Crossroads of Destiny; etc.)

The ship was popular enough that Bryke actually chose to display zk fanart at a con for the sole purpose of mocking the fans, but that’s neither here nor there. The entire episode Ember Island Players, while a love letter to/parody of the whole show, was an opportunity to address zutara’s viability as a canon pairing (while, again, mocking zutaras for romanticizing that catacombs scene). Point is! It’s always been popular but with it not being endgame, there’s got to be something that’s given it staying power.

And that’s honestly got to do with three things: their dynamic, thematic cohesion, and potential.

(You know what... you know what, it’s four things. The fourth is they’re so aesthetically pleasing together and individually. Like, they’re just good looking people [specifically when they’re grown but they’re also cute kids] and that absolutely doesn’t hurt) (but it’s not the Point, it’s just nice to point out sometimes)

The dynamic is hard to get into without also looking at the canon pairings, but I think I can do that without unnecessary bashing. It’s just that part of the magic of zutara is really highlighted by what they give to each other that their other relationships don’t.

First off, it’s classic enemies to (would be) lovers. The absolute truest form of it. It’s not too different from how CS started out: a rogue antagonist with a job to do—but no personal vendetta against the future love interest—who is deeply and emotionally invested in his personal storyline (revenge/redemption) with little regard for how it effects other people after his entire life and genuine good nature are marred by suffering, and a fierce warrior girl with a strong moral compass and her own personal investment in stopping him (protect her family and save the world doing it). Obviously frustration and animosity grew between them by the nature of them being on opposing sides, but that just lends itself to the sweetness of their later reconciliation.

The thing is that while they’re wildly different on the surface (he’s a hot-headed prince of a fascist regime who is trying to capture the Avatar to please his father; she’s a nurturing daughter of the chief who is trying to protect and train the Avatar in order to topple his father’s throne) they find out that they have so much more in common both in their experiences and their personalities.

(What follows is an excessive use of the word “both” and I’m sorry about that)(I can edit it. I can do that. That IS an option............)

They both have an innate sense of justice that they are determined to see done (zuko, at the war meeting, sticking up for the Earth Kingdom kid when the guards torment his family, choosing not to steal from the pregnant couple despite his circumstances, abiding by his word to leave the SWT should Aang come willingly, etc.; katara, literally.... at any point). They both have pretty one-track minds at accomplishing certain goals once they’ve put their mind to it, regardless of a lack of support in that endeavor (it goes without saying I guess, but zuko’s entire hunt; katara’s determination to get the earth benders to fight back, her determination to absolutely destroy Pakku until he agrees to teach her, etc.). They both lost their mothers at young ages. Their worlds are war-torn and traumatizing to them both, if in different ways, but that ultimately forces them to grow up too quickly to be wholly independent individuals. They both have issues with their fathers (for WILDLY different reasons, but). They both hold extreme prejudices that they need to learn to overcome (which ties into thematic cohesion)(bit like Lizzie and Darcy in that way but magnified by a million). They’re both extremely emotional and empathetic—which can and often does result in loud outbursts. Katara’s a bit better adjusted and can temper her anger for longer than S1 Zuko can, but they both feel that anger deeply and have no compunctions expressing it (Katara is, usually, more justified, particularly in S1. Again, S1 Zuko is severely maladjusted but at the point when they could’ve feasibly become a couple, he’s so much better off with the way he carries himself). They both struggle with feelings of inferiority in their bending abilities when confronted with prodigal benders like Aang and Azula, but have the work ethic required to double down and become two of the most powerful benders in the three remaining nations. This is a little more minor but it is a parrallel that appeals to some shippers that they both have these alter egos in the Painted Lady (notably fire nation coded) and the Blue Spirit (water tribe coded) that are pretty different from who they are day-to-day and are useful in accomplishing a purpose that they as themselves cannot.

(I’m.... I just realized that this could potentially get very long. Should I have made a slide show with bullet points??????)

Anyway, similar. I know there’s more but there’s literally so much to love about zutara that I’ll drive myself a little crazy trying to compile all the ways they’re similar. (Just gonna say that at this exact moment I went back to add more similarities.... so okay then)

Once they’ve reconciled, we see how all of these things only lend themselves to a deeper intimacy together than they share with literally anyone else. There’s a steady partnership that positions them as the mom/dad of the gaang, while also providing the support necessary to allow the other to not have to carry so much responsibility. A lot of zutaras will point out how zuko is actually depicted doing the more domestic chores that are normally relegated to Katara once he joins the gaang, since the others in the group are two 12-year-olds and sokka. The one that sticks out the most is how he makes tea for the group and then serves them, while Katara is able to just relax with her friends around the fire. Fanon expands upon this a lot to Zuko helping with the laundry or the cooking or whatever else needs doing since he, as a once-refugee, is used to doing his own domestic tasks. Before Zuko joined, Katara was the one mothering everyone, sewing for them, cooking for them, etc. She’s always tending to the needs of the group, and that includes emotionally. She does the emotional labor for the gaang 99% of the time, but when she’s the one falling apart, she’s usually doing it alone and without the comfort that she normally provides for others. Until Zuko. And that’s before they’re even friends.

Which is WHY people romanticize the catacombs of Ba Sing Se so much. Katara is verbally attacking Zuko out of her own righteous anger but also her own prejudice when Zuko, surprisingly, chooses to be vulnerable with her. He’s been on a journey that’s opened his eyes a bit, but he’s never actively chosen to expose the rawest parts of his past to anyone. But for some reason he chooses to do that with Katara of all people. While she’s yelling at him. He sees her humanity, and for once can look past his prejudice and empathize with her. And this time, when she breaks down, she gets to be comforted. Katara normally talks about her mother when she’s trying to explain to someone else that she sees and understands they’re pain, as a form of comfort to them. Here, Zuko uses the exact same tactic. He sees her and he understands. And for zuko? He’s not being shut down. He’s allowed to articulate his pain regarding his mother without being ignored and made to internalize it, and he’s allowed to process how he feels about his scar out loud without being told that he deserved it. And then he lets her touch his scar, something we’ve seen him actively avoid before. He’s completely open to her and she’s completely open to him and all it took was one five minute conversation. She was about to use the little bit of Spirit water that she had, that she was saving for something Important, to heal the scar that still daily causes him pain just because they had, somehow, connected.

Plus there’s the whole parallel to the star-crossed lovers forbidden from one another, a war divides their people—

And then zuko messes up, he regresses, he gets what he wants and he HATES it. And the sense of justice he had as a child has been restored to him against his will and he can’t think of anything he wants to do more than the Right Thing, so he joins team avatar. Before he does that though, we get to see his relationship with Mai, which is where comparison really comes in. And what we see is Zuko, fresh off of his encounter with Katara in the catacombs, trying to be emotionally honest with Mai... and getting shut down and dismissed. Which is just how Mai is and it’s fine, but not for Zuko. Still, he keeps trying, and he keeps getting ignored or scoffed at or yelled at. Which is really a larger symbol for how he doesn’t fit in his old life anymore, but again that’s about thematic cohesion. He tries to articulate his anxieties about returning home, he tries to make romantic gestures, he tries to explain how morally conflicted he’s feeling—and Mai diverts to some kind of physical affection to shut him up and a parting comment that is pretty much always, in essence, “I don’t wanna talk about this.” So they don’t. On the other hand, once zuko and Katara are friends, we see him again emotionally distraught and caught up in his anxieties about facing Iroh, and it’s Katara who comes to him and listens to him and comforts and encourages him.

Similarly, we have Aang clamming up and getting uncomfortable whenever Katara shows any negative emotion, usually resulting in him making excuses or running away. Or, in the case of the Southern Raiders, lecturing her on how she needs to just let go of her anger about her mother’s murder. People have talked this episode to death and usually better than I ever could, so imma... keep it brief. There’s a serious disconnect between Aang and Katara in his ability to empathize with Katara and her needs that has her tamping down her vulnerability and amping up her anger. He tells her that he was able to forgive his people’s genocide and appa’s kidnapping (petnapping? Theft??), which is blatantly not true but also not an entirely equal parrallel to Katara’s situation, and continues making these little remarks throughout the episode. But it’s Zuko that Katara opens up to. It’s with him that she’s able to talk about the most traumatic day of her life, and it’s with him that she’s able to get the closure she needs, cementing their bond as friends and partners. This disagreement between Aang and Katara is then... never resolved. They just never bring it up and hear what the other is saying.

There’s a fic called The Portraits of Ember Island that has a line that so completely sums up the heart of the matter for why people love their dynamic. For context, zuko has woken up early to help Katara with the cooking and they spend the whole time just letting one another talk, and zuko stops to ask why she always just lets him talk. And so she stops to ask why he’s always helping, and it goes as follows:

There’s just... so much mutual support! Trust! Intimacy!! And it just continues like that from the Southern Raiders on, listening to each other, advising each other, watching each other’s backs! And then! Literally saving each other’s lives!! I will never be over the last Agni kai. Not ever. Zuko may have been willing to jump in front of lightning for anyone, but he actually did it for Katara. And in a show, that’s the thing that really matters. It’s a fulfilled trope usually exclusively applied to romantic pairings, and it ended up applying to Zuko and Katara. And then she ran out into the middle of a fight with tunnel vision just to get to him.

Also!! Also Zuko pushing Katara out of the way of the falling rocks at the Western Air Temple!! And Katara catching him as he fell from the war balloon that he fought Azula on!! Before they’re even getting along, they’re the ones reaching for each other. They come to this place of equal ground, as partners, who watch each other’s backs, call each other out but still listen attentively and understand, and provide the support that the other has been sorely lacking up until they knew each other (whether that be from lack of effort or lack of understanding from others, or an unwillingness to accept it for themselves).

Then, trailing along under the surface of this, we see the themes of the show totally embodied by Zuko and Katara as individuals and in their relationship to one another. There’s a YouTuber, sneezyreviews, who has a, like, 2-hour explanation on why she not only loves zutara but also believes that their endgame would’ve actually elevated the writing of atla to new levels particularly because of thematic cohesion and resolved character arcs. It’s the zutara dissertation I never knew I needed, and it’s funny and eloquent and effective, so I’m just going to sum up her section on thematic cohesion to the best of my abilities and then link it for whenever you have the time. And I HIGHLY recommend it, especially if you want a full understanding of what makes zutara so great and gives it such longevity.

Guru pathik has a line that goes something like this: separation is an illusion; things that seem different are just two parts of the same whole. Iroh also tells Zuko something similar: balance and strength are achieved when the different nations come together and influence one another and celebrate what makes them each unique. And this lesson is a massive central arc that both Zuko and Katara go through, moving past a black-and-white, good guys-vs-bad guys, us-vs-them mentality and into a greyer, more nuanced view of the world. Zuko sees the fire nation from an entirely new perspective and while he still loves and hopes for his nations future, he surrenders his blind loyalty to them in exchange for an unflinching loyalty to peace and love. Katara too had to come to terms with the fact that cruel people exist in the earth kingdom and water tribes, while some fire nation citizens are just regular, kind people who also need and deserve to have someone speak on their behalf. And this is honed in directly on how they view each other. They grow in their individual journeys to be open to the humanity in the other and then, once they’ve found that, they’re able to grow more in compassion for others in a beautiful feedback loop. And this is all matched in the symbolism repeatedly and intentionally associated with them in canon: sun and moon, fire and water, yin and yang, Oma and Shu who found love despite their warring nations. Their individual arcs are completed in each other and complement the themes of atla beautifully.

The canon pairs... just don’t. Which, again, is fine. But the very things that give atla longevity and popularity are anchored in zutara. Kat@ang doesn’t accomplish this. They’re... nice. Sweet. Especially when you erase a good portion of their interactions in S3. It could’ve been just a sweet love story. (Personally, the dynamic between toph and aang accomplish the same thing that zutara does, with complementary personalities that fulfill the theme of opposites blending in harmony) M@iko, on the other hand, is less sweet but I think wasn’t even supposed to last. Zuko’s relationship with Mai seems to represent his relationship with his old life as a whole. He can’t be emotionally vulnerable, he’s goaded into abusing his privileges, his agency and opinions aren’t respected. They just don’t have common ground with which to discuss anything that matters, so they don’t. As far as themes, the relationship doesn’t fit with atla. It’s zuko returning to and sticking with what is (on the surface) like him, what’s expected. Fire nation with fire nation. Fluid water bender with the flexible air bender. Like with like, separated from what is different and challenging and complementary.

And all of these things combined of course lead to the potential for the ship. I don’t know how familiar you are with the post-atla canon but... well, miss “I will never turn my back on people who need me”, miss “I don’t want to heal! I want to fight!” ends up living quietly in the SWT as a designated healer who turns a blind eye to the water tribe civil war happening right outside her front door. Which can be fine! People change! Some people just wanna stay inside. I just wanna stay inside! But the potential future for zutara is so much more satisfying, with Katara becoming the most unconventional Fire Lady the uppity old cads who are stuck on the old ways have ever seen. Fanon has her serving as a voice for the other nations within a kingdom at the point of its biggest political upheaval, as a confidante to Zuko who can actually help him while he’s trying to figure out how to move forward and make reparations. They have the opportunity, together, to accomplish what they both have set on their hearts to fight for: positive change that lends itself to harmony and balance. And the steambabies! A popular headcanon is that their firstborn daughter, the crown princess, is actually a waterbender, which causes such an uproar among the people who are adamantly clinging to the old ways. It’s just a future full of potential to be forces for good together, full of trust, intimacy, joy. The exact era of peace and love and balance that zuko announces that he intends to ring in with the start of his reign as Fire Lord is, again, magnified by the very personal zutara relationship. And we love to see it.

tl;dr zutara isn’t for everyone. Some people just don’t vibe with it. Some are nostalgic. Some love the canon they grew up with. Some have been disappointed for years. Some just see themselves in other characters and want their happiness instead. Whatever the reason, that’s fine. But for me, I love the way these two, from the moment they give each other a fair chance, are able to lower their walls and prejudices to see the other for the kindred spirits they are. They see each other’s humanity, and their response is to pour out love and support and compassion. I love that they’re a power couple in battle. I love the symbolism and, honestly, soulmatism that colors their every interaction. I love that they embody the whole storyline of atla in their relationship and how it develops, which is notably why their seasonal arcs always culminate in each finale with how they relate to one another. I love that zuko adopting a waterbending move is what actually saves his life and then katara’s. I love the chemistry! And I love the future they could’ve had, instead of the ones they were given.

So, in conclusion: I just think they’re neat and I hope you do too, at least a little bit. Even if it’s just respectfully from a disinterested distance cause you do you. And now here is the video I mentioned. I’m sorry this post got so long and then I gave you an even longer homework assignment, but I can’t recommend it enough. She says it all better than I can.

[creepercraftguy]

Danganronpa Deadication Character theories and predictions.

So, today I bring something a little different to the table. Recently, I’ve been scouting the internet for Danganronpa Fan-Projects, because I need to re-juice on my Fanganronpa thirst. However, during my quest, I came back to a series that I’d known about for a short while now, but never really gave any credit. Danganronpa Deadication is a really promising web series that I hope to god gets a really good final product, since the overall aesthetic of it, character design, environments, setup, all of it is really pleasing to look at. If you want more information on the story, then check out their Tumblr @dangandeadication​ or their YouTube channel where the story is originating from. So far, the prologue is fully completed and you can go watch in on either, and Chapter 1 has been confirmed to be in development right now.

After watching a video by Weeby Newz where she made theories and predictions about another fangame Kill/Cure, I decided to do something similar with this game. I will re-iterate that none of the artwork in this post belongs to me, and you can find it on the Tumblr Page that I just mentioned. On top of that, I will also remind you that this is a prediction. If any of my thoughts or ideas end up being right, it’s purely coincidental. Shout out to all the people working on this project, you are amazing, and I fully support your creation.

The first character I want to talk about is Naohiko Hayata, who seems to be the protagonist of this game. He’s the Ultimate Actor, and he’s pretty unique. As much as I love Makoto Naegi, Hajime Hinata and Shuichi Saihara respectively, most of them seem to lack in pretty outstanding personalities, as they’re designed to be relatable characters to the player, something they all succeed at. Naohiko doesn’t share that trait. He has a pretty snarky and overconfident personality that isn’t like protagonists in any other Danganronpa game I’ve seen so far. His description states:

Naohiko is a skilled actor and self assured person. He might come off as slightly overconfident, but he has good intentions and wants the best for everyone. Naohiko is determined to put an end to the killing game, but will he succeed, or will he fall into despair? He likes Sunsets and he dislikes cloudy days and unkempt hair.

Now, something about that description makes me a little suspicious. It states that he’s determined to put an end to the killing game, which makes me wonder what lengths he’ll go to in order to do so. The last time a character acted this way, it was Kaede, and she ended up losing her life for it. I’ll say this flat out now, I’m not expecting Naohiko to survive this game. I’m really expecting the game to pull a Kaede on us and have him die in the first chapter, either by being the killer, or a victim. Now, if he was the killer, it’d make more sense, but if the game was to throw us through a loop, I’d really like it if we actually get to witness Naohiko be murdered himself in the first chapter, and for the trial we play as a different character than what we expected. If he does die, then I’m predicting the new protagonist would be either Reika (because she has an ahoge herself) or Yuuma (because he’s the Ultimate Lucky Student) but for now, I’m going to label him as a killer.

The next character to bring up is Hitomi Akimura, the Ultimate Illusionist. Now, I know I already said Naohiko gave me Kaede vibes, simply due to his description, but Hitomi is almost the exact same, saying pretty much the same things as Kaede did in V3, assuring everyone they could escape if they all worked together. At first, I thought maybe this could be like Sayaka, where she goes through an arc and then ends up being the first victim, but I have a bit of a different theory. As for her description, it states the following:

Hitomi is always upbeat and optimistic. She tries to put a smile on everyone’s faces, earning her the title of the most lovable friend, and she’s the glue that holds the group together. If everyone’s happy, she’s happy. She likes Red Roses and she dislikes Solitude.

Hitomi to me seems like she’s the Chiaki/Kaede of this game, trying to stop the group from being split up or arguing, but I feel that her arc could go in a similar direction. Like I said, I don’t know if she’ll make it to the end, and like I said with Naohiko, I think she’s going to end up being a killer, but for a really good cause. I originally thought she could be the mastermind behind the killing game, but I really am not sure. For now, I’ve marked her as a killer.

Next is Kyusho Asagiri, AKA Kyoko Kirigiri’s genderswap. No like, literally, he looks just like her AND they’re both Ultimate Detectives. His description reads:

Calm and sophisticated, Kyusho enjoys solving mysteries. He keeps his cool no matter what the situation is, and when he’s working on the scene, nothing can take his focus away. But it does get a little unsettling when he smiles, like he knows all of your secrets... He likes Green Tea and dislikes Flashy People.

At first, my general theories on Kyusho’s character is that he’d be something similar to Tsurugi Kinjo from the Another series. He’s a virtuous police officer on the side of good, but he has a hidden dark side to him. The part of his description where it says “it does get a little unsettling when he smiles, like he knows all of your secrets...” Is a little suspicious. My original prediction was that he was going to be an early victim, killed off because of fear at how useful his talent would be in the Class Trials, and then that theory switched into being a killer himself, but then my final theory was the most crazy of all. I predict that Kyusho will be the mastermind behind the killing game, or at least he’d be part of the organisation behind it, and be a participant himself due to his enjoyment of solving mysteries. However, Kyusho is the character for me who is most in the grey area. I don’t know whether he’ll be a victim, a killer, a survivor or the mastermind.

This character is probably one of the characters that I’m the most interested in, Reika Komatsu, this games version of the Ultimate ??? character, that Kyoko, Hajime and Rantaro all did in the original game.

Reika neither knows her talent, nor does she really care. She might come off as emotionless, but she’s usually just tired and never has anything to say. With her monotonous voice, it’s hard to keep up any conversation. She likes sleep and dislikes long conversations.

I’m already dead set on the idea that Reika will be the “antagonistic character” of this series. More specifically, I expect her to fill the same role that Nagito Komaeda and Kokichi Ouma did in their respective games. The reason I think this is because in one of the first videos of the series, more specifically the first trailer, it shows a clip of the cutscene before the Mass Panic Debate, with her, Kyusho and Shu, the latter two claiming they’re not the killer. However, Reika states that she might possibly be the killer, which immediately makes me think that she’ll try and derail the conversations. I feel her reasons, judging by her character description, is that she derails the conversation to trick people into suspecting her, just so she can get the debate over and done with quickly enough. Because of these similarities, I predict that Reika will be a Chapter 5 victim too, and like Nagito and Kokichi, she’d have a heavy role to play in her own murder scheme.

Next up is Yuuma Hisashi, the Ultimate Lucky Student, and the character, like I already mentioned, that I think will secretly be the real hero of the story. I see him being more a Makoto or Yuki Maeda lucky student than a Nagito one.

Although Yuuma thinks his talent isn’t a very good one, he’s a friendly guy who just likes joking around and having a good time with everyone. Ironically, he thinks he has the worst luck. After all, he did get trapped in a killing game... He likes Ramen and really bad puns, and dislikes his own talent.

Even though he claims to dislike his talent, I think it’ll come through for him on more than one occasion. While I do think it’s likely he’d be an easy target or even a surprising murderer, I’m pretty certain that he will end up escaping the killing game with his life, at least I hope so. Alternatively, if I’m wrong about Naohiko and he ends up making it to the end, I would very much enjoy it if they did something similar to what they did in the final trial of V3, and have us switch to Yuuma’s perspective like we did with Keebo. I’m sorry that that’s all I can really say, but Yuuma is one of the characters who I’m probably the least interested in as of right now. But in short, I think he’ll be a survivor.

Next is Megumi Norikawa, the strict and assertive Ultimate Attorney, who to me seems like a weird, but well made blend of Kiyotaka, Mahiru and Kirumi. Her description is as followed:

Megumi takes pride in her talent. She’s always assertive and blunt...to the point where you might start crying if she glares at you. She means well though, she just has high expectations of everyone. It’s all good so long as you don’t get on her bad side. She likes Coffee and Taking Charge and dislikes Unpunctual People.

I have pretty high expectations for Megumi, since she seems quite prominent on the series original promo art, but at the same time, it could be a fake out. She seems to share traits with the Ultimate Imposter too, which makes me believe she could also be an early victim. However, I would also love it if she could have the arc that Taka had that was cut short by his death, so while I don’t really have an awful strong opinion of her yet, like I did with Taka really early on, I’m predicting, and hoping, that she will be a survivor.

Next is Iori Karanomori, a fun loving Ultimate Gardener, and one of the characters that I instantly took a shine to. My theories surrounding him are...unfortunate ones, but his description says:

Iori is a bundle of energy who loves gardening. A walking encyclopedia on plants, he’s always jumping with excitement whenever he talks about them. Well, it’s more accurate to say that he’s jumping with excitement all the time. It’s impossible to try and calm him down. He likes Obscure Plant Facts and dislikes Deforestation.

Despite how much I’m already into this guy, though admittedly when I first saw him, I couldn’t work out what his actual gender was, I know for a fact that the type of character that he is doesn’t tend to live that long in these types of games, if at all. This is particularly evident with characters like Sayaka, Ibuki, Angie and others. I think Iori is going to be a victim and an early one at that. In fact, if Kyusho doesn’t die in the first chapter after being killed, then I see the first victim being either him, or Luna. I really doubt he’ll live to the end, and if he does, I hope to god he doesn’t end up being a Yasuhiro of the game.

Next character that I’m gonna talk about is Sakumi Mifune, the Ultimate Alchemist. There isn’t really much that I can gleam from a character like her, she genuinely seems pretty nice, but also seems like someone who would snap and break down under pressure. However, due to how she’s described in her profile, I don’t think she’d be a killer.

Sakumi has a big heart and is a caring person, although it might not look like that at first because of how unresponsive she can be. She’s a bit ditsy and oblivious, zoning out from time to time and getting lost in her own world. It’s also hard to follow her when she tries to explain her own talent. She likes Shiny Things and dislikes Seafood.

If what the description says is to be believed, then I have a really hard time picturing someone like her being a killer, unless they pull some Mikan bullshit out on us. However, I also have a hard time seeing her survive to the end of the killing game, so I predict that she may get to at least Chapter 3 before she’s murdered in some dumb double-homicide scheme. Yeah, I think she’ll end up being a victim unfortunately.

If I had to say who my least favorite character from what I know so far is, it’d probably be the Ultimate Filmmaker, Toru Mizuno. He doesn’t seem all that friendly, and he outright ignores Hitomi when she tries to talk to him, because he’s so interested in Naohiko. This is how he’s described by the creators:

Toru is a highly opinionated and critical person, and he likes to bring his own perspective on every issue. He gets irritated and dramatic when the others don’t agree with him. He insists that he isn’t condescending and that he doesn’t have a big ego. He likes Indie Films and dislikes CGI animation.

He, to me, seems like he could potentially be the character that survives that you don’t want to, but I have something else in mind for him. I assume that maybe he could do something similar to what Sayaka and Miu did in their games. What I mean is, I think he’d end up being a victim, but because he tried to commit his own murder and tragically failed, leaving his target or someone else, to effectively turn the tables on him in a panic. I don’t know, I’m just going with my gut for this one.

Ayane Fukase is the Ultimate Psychic, and she’s another character that I feel a little indifferent towards. I don’t dislike her at all, but I most certainly don’t feel a unique fondness to her like I do to a large selection of the characters in this series. I do have a bit of a theory surrounding what she could do in the killing game, but before I get into that, here’s her description:

Ayuna is cheeky and outgoing and she says she can predict anything with her talent. If you actually ask her to predict something, the stars are out of alignment, her vision is too foggy, or the atmosphere is too unclear to focus...whatever excuse you can think of. She likes Desserts and dislikes Spicy Food.

I feel a scenario that she would play into is in the Case 3 murder, where maybe she has a prediction of who dies, who kills them, and where, and she tries to go and stop it, but then ends up getting killed in an attempt to stop the murder. So like I said with Sakumi, I think she’d end up being a victim in a case 3 double murder plan.

Next is Shu Uchida, a man who prides himself on his title of Ultimate Bounty Hunter, as well as his supposed body count. He’s egotsistical, rude, sharp-tongued and every sort of negative attitude you can think of, but he’s also one of the characters that I’m really really into as of right now, since I have pretty high hopes for him. 

From Shu’s talent alone, everyone’s on edge with a paid killer around. Although, after talking to him, he’s all bark and no bite. He assures he’s not a threat...only because none of them are worth his time. He likes Himself and dislikes Unimportant People.

I don’t know what direction the creators of the series plan to go in with Shu, but I’m really hoping they do something similar to what Danganronpa 2 did with Fuyuhiko. He starts off with a cold, snide sense of superiority, as well as an angry, brash desire to just be left alone, but eventually, due to unfortunate events in the killing game that negatively affect him, his cold heart begins to thaw and he ends up being a much more useful aspect to the group as a whole. If this does end up being his character arc basis, then I really expect him to be a survivor, and that’s my theory on him.

Haru Yoshino is the Ultimate Occultist and she’s...strange. I’ll let the description speak for itself, because I really don’t have much to say about her.

Sassy and sarcastic, Haru isn’t the easiest person to get along with. They like following around random people and sometimes making funny (and sometimes ominous) remarks to mess with them. They also claim to be able to summon demons and try and convince others to join then in dangerous anf questionable rituals. She likes Black Jewelry and dislikes Owls

Haru is another character who’s in the grey area for me. I see her being a victim, and maybe a killer. If she ends up being a killer, I feel it would be a bit obvious, based purely on what her character describes, but of all the roles she could fill, I think being a killer is the least likely one, judging from her overall character traits. If I had to lean towards a specific role, I think she has the potential to be one of the survivors of the killing game.

Keiji Iketsugi, this series’ adaptation of the Ultimate Surgeon, is a little bit of a stern, and rather creepy character. Necrophiliac is far from the correct term to describe him, but his...how do I best describe this...addiction, to dead bodies, is not something that can easily be ignored.

Due to his talent, Keiji is very skilled with scalpels, syringes, needles and other sharp objects...which can make other people uncomfortable. His demeanor is always calm, but calculating, and he is always looking forward to expanding his knowledge of biology through his own examinations of subjects... He likes Human Anatomy and dislikes Lack of Hygiene 

If there’s one small message that Danganronpa has taught me amongst others of course, it’s that sometimes a book CAN be judged by it’s cover. Sometimes characters who look like they could kill someone actually do end up killing someone. The best examples I can think of are Peko Pekoyama and Korekiyo Shinguji. I imagine a good backstory for Keiji is a sort of Jack the Ripper esc backstory, where it turns out he murdered people and stole their organs or body parts in order to research them or something else. Alternatively, what could be more interesting is if he stole the organs of horrid people and used them to save other people in transplants, kind of like Good Doctor Locklear. My point is, I think he could be a killer, and I’m leaning more towards that than I am any other role for him.

I do like Otoha Okada quite a bit, but unfortunately her talent is Ultimate Basketball Player, AKA a sports talent. If you have a talent related to some kind of sport, then you tend not to survive that long in the killing game. The only characters that have a sports talent and have ever survived in a killing game are Aoi Asahina and Akane Owari. Characters like Leon, Nekomaru and Ryoma unfortunately aren’t as lucky. Before I explain how I think Otoha might go out though, here’s her description.

Otoha is pretty upbeat and active. She enjoys working out and encouraging others to do the same thing. She can get a bit too competitive at times, but it’s because she likes challenging herself. If Otoha is cooped up in one place for too long, she tends to get very irritable. She likes Excersising and dislikes Sleeping in.

I’m just gonna come out and say that I think she’ll end up being a killer, but I don’t see her having any malicious intent. Her bio states that she gets irritable if she’s cooped up in a place for too long, and I think that attitude might cause her to snap and kill someone to escape, but I feel like it would make more sense if her reason was because she killed someone on accident, or committed a murder to save someone’s life.

Second to last is Minoru Shinoya. He is the Ultimate Barista, and he’s the only other character who, like Kyusho and Haru, who sits in the grey area for me as to what he could potentially be. His description is as followed:

At first glace, Minoru seems like a cool, laid-back person, but he’s actually someone who enjoys cracking jokes around. He likes brewing coffee and hinting about his “secret ingredients” but despite his often reckless nature, he is also mature enough to keep a straight face in serious situations. He likes Baking and dislikes Decaffeinated Coffee.

Like I said, he’s in the grey area, and I imagine that most people would probably lean more towards him being a survivor or a victim, but as weird as it sounds, I’m predicting him to be a killer. I can explain why though. I imagine that his case can go one of two ways. The first is, like I already mentioned, I predict Toru will plan a murder of his own and fail it, as his target turns against him, and I also feel like that target could be Minoru. Minoru is pretty chill, so I don’t see him committing a murder willingly unless he acted in self-defence. An alternative scenario is that he pulls a Sakura and commits suicide due to a helpless situation, which would make him the killer and the victim at the same time. He seems alright though, so if he survived, I would be totally fine with that.

Last of all is Luna Tsuyuki, also known as the Ultimate Arctic Explorer, and the character who has possibly my favorite design out of everyone in this repertoire of Ultimate Students. Seriously, she’s a great mix of cute and elegance and she’s got a pretty friendly and nice personality to go along with it.

Luna seems sweet and kind on the outside, but don’t let that fool you. Because of her talent, she’s pretty tough and has incredible survival instincts. She instantly thinks of twelve backup plans in any mildly dangerous situation.

Now, based on this description, it sounds like she knows what she’s doing, and I see her being very helpful in the class trials. If Luna managed to survive to the end of the game, I’d be both happy, and very unsurprised. Unfortunately, her aptitude in these types of situations could make her a target, as to eliminate one of the most deadly aspects against you in the trial. Basically, I see Luna being a victim, and that’s all I can really say.

And that’s all the characters, so before I end this post, I’ll do a brief recap of everything I’ve said about these characters and what role I predict they’ll play.

I predict that Iori, Luna, Sakumi, Ayane, Toru and Reika will be the victims.

I predict that Naohiko, Otoha, Keiji, Minoru and Hitomi will be the killers

I predict Shu, Megumi, Haru and Yuuma will be the survivors

I predict Kyusho will be the Mastermind.

Once again, I really hope you will go and support this project, because I can’t wait for Chapter 1 to be fully released. However, please, don’t pressure the creators of this series to hurry up. They have lives, just like you and I, and they don’t want to spend every minute of it working on this project. However, I’m really into this project in particular, just as much as I’m into fan projects like Kill/Cure and more. I look forward to seeing what the team works on and I’d like them to know they have my full support!

[kolmogorov-is-sad]

Otoñal by Raúl di Blasio. Ice watercolor of Yuzuru Hanyu.

Yuzuru Hanyu’s 2018/2019 season SP analysis by Yulena translation. Source: pt1, pt2.

“The origins of my skating come from Russia. For that reason, I want very much to deliver a strong performance here. Both tomorrow’s and today’s programs have a connection to Russia. [Tatiana] Tarasova helped to choreograph the original “Otoñal” program. I am very grateful to the person who created the choreography and watched me standing, and also [Natalia] Bestemianova and [Igor] Bobrin, who had helped me with choreography for the “Romeo and Juliet” program. I am overwhelmed with emotions just because such people have awarded me with standing ovation. I saw Tarasova as I approached the jump, and Bobrin was in the guest seat of the arena clapping on his feet. Thank you very much” © 

                                                 –  interview after the SP at Rostelecom Cup 2018

Musical arrangement of the 2018/2019 season’s short program for two-time Olympic champion Yuzuru Hanyu is one of the piano piece by Raúl Di Blasio. Both of his programs this season go back to his origins and the starting point of Yuzuru’s career, to his childhood dreams. They are also an immense tribute to the skaters he’s considered his idols since his early days - Johnny Weir and Evgeni Plushenko.

According to Yuzuru’s own words Johnny Weir’s “Otoñal” is one of the programs that left the greatest impressions on him in his skating life. 

“The arm positions during spins, the softness of expressions, the way to pick up nuances and move to music, landing positions and so on, it was the music of the programme that led me to perform with attention to each of these details.”   

 –  Public practice in Toronto,  30.08.2018

Having seen Johnny’s performance as a child Yuzuru listened to this music while imitating his idol and dreamed of creating his own program.

“I was stunned by his neutral androgynous beauty that he as a man could present, that was his main charm. At that time, I couldn’t see and evaluate jumps by GOE right away, but the smoothness on the landings, beautiful positions on the exits, precision of jumps placement to the music – all that was made meticulously. First of all the landing. And that smoothness. Of course, all those things captured my attention. I clearly remember how I wanted to jump and skate just like that.”

  –  Public practice in Toronto, 30.08.2018

The choreographer for the new short program once again was Jeffrey Buttle. From Brian Orsers’ book “Team Brian”:  

"Yuzuru has incredible creative chemistry with Jeffrey Buttle and Shae-Lynn Bourne. You may say that it eould be hard for him to work with anyone other than those two. Yuzuru has his own jump entries that fit the way he moves, and comfortable timing of choreography is very important for him. Even his quads flow out of steps, he keeps an image of the perfect form in terms if speed, that step and curve angle in his head. He needs a choreographer who could share his attention to details, so unique for the skater of his level.” 

When Jeffrey learnt the name of the composition he first of all ask about Yuzuru’s associations with the music. He answered: “Something like reflection.” “Otoñal” means “autumnal” in Spanish.  Autumn as a memory from the past and reflection on the passing time, dreams and origins. That was the chosen theme for the choreography of the program, from the starting to final poses.

“And for him, Autumn is sort of a time of the year for reflection and about looking back. Almost a time of nostalgia? And I think it was so appropriate given what he accomplished and everything that happened last year. Choreography itself begins with… for me when I think of nostalgia, I think of looking through an old family photo album, so the very first movement is him opening that album.”

         –  Jeffrey Buttle, interview after Public practice in Toronto 30.08.2018 

The main idea of the composition lies in the travel in time and calling (обращении к ) to the personal story in figure skating. In the starting pose according to the Jeffrey’s idea Yuzuru opens the album with memories of the past. And so the skating choreography, musical and compositional structures of the program, distribution of the elements all go back to the origins and show great respect to the people that had influenced Yuzuru’s path.

The content of the program includes two quad jumps, one executed in the combinayion wioth the triple toe loop and a triple axel: 4S, 3A // 4T+3T, FCSp, CSSp, StSq, CCoSp.

The choreographic structure (composition) of the program was evolving during the first three competitions of the season.  

 1. The structure of the program has been changed that stood out as uncommon and unusuala and uncharacteristic for Yuzuru positioning of all the jumping passes back-to-back in the single block. That was a decision taken by Yuzuru and Jeffrey together because that distribution would allow to incorporate jumping and not-jumping elements (step sequence and spins) most harmonically in the musical structure. The jumps from the entry to the exit are executed one after another (bam-bam-bam ©), then comes a soft musical transition to two spins and the emotional explosion of the step sequence at the end of the program. “[...] Stillness versus the tempestuousness of the steps.” ©

In the first half of the program with gentle subtle music the jumps are done effortlessly softly and smoothly, when the emotions are expressed with the second half via the spins and sequence.

Originally the center element of the program – 4T+3T combination – was planned in the first half. But “it is all meaningless unless it allows to win.” © So after the very first competition of the season (ACI 2018) sports competitiveness and desire to win took over, and the combination was moved to the second half of the program.

This change brought corrections to the original choreography and composition: the entry to the 4S became more complex, the transition between two spins and sequence changed, and new skating transitions were added between the 3A and the 4T+3T entry. Before the Rostelecom Cup 2018 the entry to the triple axel also changed and new transitions between triple axel and combo were added once again.

Despite the move of the combo to the second half the jumping passes remained in one block that the most intricate skating choreography in between the elements and on the entries/exits mode possible. The notorious strategy of Yuzuru is based on the idea that the jumps are one of the performance parts. If they are done perfectly the program gains better fluidity and continuity of the movement from one element to another, and seems complete. More than that, Yuzuru is set to present the program in such a manner that the sound of the take-off and the landing themselves would enhance the выразительность of the quite musical intonations. 

“Also, the sound — shu! —of the edge when taking off, the sound — pa! — of the landing. I want to make [this program] such that even these sounds can be felt, as a part of the expression.”

                                       –   interview for Figure Skating Life vol 15 (10.10.2018) 

  2. Positions of the jumps and spins changed in the pattern of the program, with the latter becoming more multidimentional. The quad salchow (together with the trajectory of the entry) have been moved to the right part of the rink. Compared to the previous short program (Chopin Ballade №1) the triple axel and the combination placement changed. Th eboloved axel now is executed on the trajectory along the long board of the judging panel with additional chic, the combo went from right to the left side from the judges’ perspective. The camel spin went to the left side, the sit spin with the change of foot – very close to the left short board, and the final spin – to the center of the ice rink.

  3. Due to the placement changes after the ACI there also came the changes in the structure of the step sequence, it became shorted by 4s and the complicated steps and turns counting to the levels of difficulty became more “packed” together.

   4. Some of the difficult variations of the basic positions in the sit spin and the combination spin counting to the levels of the corresponding spins were changed. With that the variations are not just executed to earn the levels but also to choreographically enhance the interpretation of the music with precise and flashy accents with hands movements. The distinguishing qualities of Yuzuru’s programs is the prevailing skating choreography as the principal mean of interpretation; the continuous flow with various connecting elements and steps contributes to the wholeness and creates multiple dimension to the composition. This is accompanied with the special choreography of diverse upper body and arm movements. And the unity of both the skating transitions and the space choreography throughout the program makes the unity of the music and the skater’s performance stand out. It expresses the intonations and reflects the changes oh the tempo and the nuances of the phrasing. .

With the changes of the composition after the first competition came the changes of the arrangement of the music.

Right after the ACI 2018 Yuzu contacted sound producer Keiji Yano asking him to make corrections to Otoñal for the purpose of moving the combo. It is a known story that Yano-san has rearranged the track for SEIMEI more than 30 times following Yuzuru’s requests. This time he also confessed: “His orders were precise as usual. This time too, [his instructions] were detailed, as always. It was a test of my skills.” At the beginning of October Yuzuru received the new arrangement and started to training according to it.

Musical structure of the program and its collaboration with the composition:

Intro

(from the starting pose to the beginning of the combo entry (transitions – entry – 4S - exit – transitions – entry – 3A – exit – transitions). 

The program starts with some low piano harmonies turning into gentle and quite intonations at the beginning of the new phrase. This transition is choreographically translated with Ina Bauer and highlighted by the smooth lines and movements of the skater. This part is based upon two melodic phrases (like nostalgia and look back into the past).

Development 

(transitions – entry – 4T+3T – exit – FCSp – transitions – CSSp) 

Transition between two musical parts is highlighted with a series of twizzles. The combo entry coincides with separated abrupt low accords. Emotional tone and intensity grow stronger throughout the whole entry and reach the highest point at the moment of combination with both jumps landed on the beats. The transition from exit to the camel spin separates the two musical phrases. The new one has a contrast of intonations. And the momentary transition evokes images of the grim autumn sky with simmering clouds suddenly broken by a ray of sunshine, of nature coming alive under this warm light. But surely “everyone will see something different” ©. The phrase ends with another set of low accords at the transition to the sit spin with change of foot.

Culmination 

(StSq - CCoSp) 

This is the most passionate and emotional musical part with strings introduction  at the beginning of the StSq. The dynamism of the music increases and results in more energy and expanded scope of the movements during the step sequence execution. At the end of the sequence the strings die out and the final combination spin is set to the piano part that has a smooth transition to the ending pose and concludes the program in a beautiful way. All three music parts are intricately tied with the choreographic structure and create an integral image of the program, in which the music is not born by the fingertips on the piano keys but comes to life with the blades touch on the ice. Each musical phrase is accompanied with amazingly arranged choreographic accents. 

The elements and skating transitions connection to the musical phrases comes as follows:

The starting pose with elegant turn of head to the side of extended arm as the call to the past and reminiscence of the bygone days. 

The begining of the program consists of melody in five low separeted harmonies with piano accords. There is a turn on the first accord and a movement of both arms on the second harmony in the posing.

A LFO waltz three turn with accentuated lobe of the exit and a crossed step RBI/LBO on the beat (third accord), direction change forward, running step, chasse LFI/RFO and direction change right on the note (forth accord), lingering and accentuated crossover and two more crossovers on the final fifth harmony. Delicate and slightly reversed choreography of this part is connected to the laconism of the musical phrase. Then Yuzuru softly stands in the Ina Bauer (with elegant arms movement) that unites the first part to the second and also marks the beginning the solo 4S entry: accentuated waltz three turn LFO at the start of the phrase – backward power three turn RBO – inside spread eagle – RBO backward power three turn – 4S.

The element in the while fit the music phrase and in its length: a difficult entry to the jump, an exit after the landing and skating transitions right after are all executed in three measures of the musical phrase. The first measure starts with the entry steps and ends with soft and almost silent landing; the exit into counter - Ina Bauer for the second measure; skating transitions after the exit of the jump fit the third and final measure. Holding closer to the notes ©

The difficult exit from the landing lobe to the RBO counter (such exit from the quadruple jump in the only one in the field of men singles) with smooth transition into the inside Ina Bauer. Then comes direction change forward, LFO three-turn, LBI/RBI broad step with both arms movement on accent at the end of the measure. Softness of the piano sounds during transition to the Bauer is choreographically enhanced with graceful turn of the head and arms going down smoothly.

The accentuated crossover (with prolonged exit lobe), crossover, RBI/LBO chasse and to the fading sounds of the music Yuzuru goes into the outside spread eagle. This long SE set is executed with emphasis on the soft movement up of the head and the right arm that highlight the laconism and gentleness of barely audible sound on the verge of two musical phrases.

“He can make the most pregnant pause nothing moment be so memorable [...]”                                       

                                                          –   David Wilson, Japan TImes 21.08.2018

The beginning of the new musical phrase is marked with elegant change of edge in the spread eagle with arms softly going up on the note. The following skating transitions, difficult entry to the triple axel, the jump itself and the difficult entry are all in harmony with the musical structure: LBI/RBO chasse and accentuated RBO choctaw, change of foot, RFO/RFI change of edge, RFI swing mohawk, accentuated LBI/RBO chasse with right arm soft moving as if touching the piano keys and a crossover at the end of the measure. 

The entry to the 3A fits the second measure of the phrase: RBO choctaw – RBO/LBI crossed step – LBI/LBO change of edge – LBO/RBI crossed step – LBO counter at the end. The jump has a difficult exit on the lobe of exit – RBO twizzle – RFI three-turn – mini-Bauer – that fits the extension of the musical rhyme. Holding closer to the notes ©

His triple axel is not just a jump. It’s art. An element perfectly integrated in the choreographic pattern of the program and presented as organic ending of the skating on the entry and natural premise to the skating on the exit. It is remarkable that the skating transition after the landing is executed in two motions with inartificial pause (on the three-turn between a twizzle and a Bauer) at the end of the phrase to the fading music. Such an absolute harmony in movements is hard to put into words. It is complete fusion with the music, when the rhyme of the steps and turns on the entry/exit and the jump itself matche the music beats.

“Hanyu’s triple axel is a jump of an outstanding beauty with natural and effortless timing.” ©  Elvis Stojko

The exit of the triple axel precedes a transition of steps and turns musically inserted in the additional measure: crossover, LBO choctaw, accentuated RFI bracket, RBO/RBI change of edge, RBI/LBI broad step going into posing, crossover. Smoothness of this transition execution set to the final musical phrase of the first part demonstrates excellent interplay of movements and blade and the music.

The second part starts with musical phrase of changing intonation that is choreographically expressed with a series of twizzles and skating transition: crossover with accentuates arm movements – LBO choctaw - crossover -Jackson (composition step). Musical tone changes with increase in intensity and accentuated piano accords coming in at the start of combination jump entry, the change marked with arms movement. Skating transitions on the entry are following the increasing dynamics and executed in accordance with such. The combination itself takes a special place in the composition of the program; it highlights the intonations of the phrase precisely. Holding closer to the notes. ©

Direction change forward – LFO three-turn with great flow and body and free leg move on the exit – inside besti squat –  crossover with direction change forward – LFO counter - LBO/RBI crossed step – direction change forward – LFO three-turn – 4T+3T.

“He studied all the phases of the jumps in every detail and does them in one breath.” ©  Kurt Browning

This combination was executed [at Rostelecom Cup 2018] just ten meters away from me and was truly impressive, both light and powerful, fitting the general mood of the program. Yuzuru flied by the boards in a whirlwind and practically slammed a spread eagle on the exit in to the ice as if in a statement: “I’m Yuzuru Hanyu, I’m strong, I’m confident, and I crave for victory.”

A direction change forward and a FCSp entry are executed to the change of musical intonation at the start of the new phrase. This new musical theme is choreographically presented with a block of two spins and a skating transition in between. This is the most graceful and the airiest part of the program especially contrasting with the combination jump. Light and elegant touch of color in the music watercolors…

Features of difficulty of the spin:

Difficult entry (arabian)

Difficult camel variation (upper);

Difficult variation of the sideway camel spin (catchfoot) «ring»;

8 turns without a change of position («ring»)

The difficult variation of the basic position execution is perfect.

The spin is wonderfully fit the musical structure of the program: –  the Arabian jump on the entry highlights the change of phrases and intonations; –  the landing of the Arabian is placed right on the start of the beginning of the new phrase; –  the change to the difficult variation of the camel spin “ring”  at the start of the second mesure and the execution of the variation in two measures; –  exit from the spin highlight the start of the next measure.

Intricate hands gestures in the difficult variation positions throughout the spin enhance the musical accents: –  arms being raising and fists clenched at the end with subsequent arms movement down with palms unclenched to the accent at the end of the measure; –  undulating soft up and down movement of the left arm in the “ring” position with hand reaching out at last right to the accent; –  almost indistinguishable gentle movement of the left hand then elegantly going down that highlights the beginning of the next measure.   

The end of this measure has very musical exit out of the spin with smooth and soft movements of both arms and head. Skating transition before the sit spin with change of foot fits in the next measure: exquisite bracket step going into lightest toe steps with direction change and half-dropped arms – as if running through the piano keys © This stunningly musical and delicate transition between the spins is one of my personal favorite moments of the program.

The sit spin with change of foot (CSSp) execution enhances the change of mood and highlights built-up of the emotional intensity as the culmination draws closer. Features of difficulty:

difficult entry  - “windmill” (illusion spin);

jump in the spin without change of foot (flying sit spin);

change of foot (from right to left);

difficult variation of the sit spin (sit sideways);

difficult variation (sit behind).

The maximum number of features of difficulty the sit with change of foot can receive for spinning on one foot equals two. This condition is fulfilled: two positions are executed on the right foot and another two – on the left. Thus the spin receives level 4. The spin is excellently inserted in the musical canvas of the program, the execution growing more dynamic in accordance with the music changing: –  difficult entry to the spin is executed right on the start of the piano passage accompanied with low piano accords at the end of the second part; –  “spinning” into the basic sit position on the passage; –  accentuated jump in the spin and the change of foot;

Melodic accents in the spin come with arms and hands movements in difficult variations of the basic positions and precise choreographic features: –  touch of both hands to the face in the basic sit spin position on the note; –  accentuated right hand touch to the cheek in the difficult body position of the “sit sideways” variation that influences the balance; –  right hand movement on the resounding low accord during the difficult variation “sit backwards”.

Yuzuru completely controlled all the space of the Megasport Arena. And the audience seemed to feel that as one, and responded with thunderous applause on the last two positions of the spin. Yuzuru wasn’t skating the program, he was telling his story. It seemed that music was emerging from the blades meeting the ice and his hands moving softly, as Yuzuru dissolved in the performance. During the program mood changed from quiet melancholy of the first half to passions raging on the combination jumps and then to the overwhelming happiness of the step sequence. How proudly did Yuzuru toss his head bursting into the sequence with a radiant smile! He skated like there was no tomorrow, giving his all to this performance, and involuntary tears came streaming down my cheeks. Ow happy, inspired and free he was at that moment! I haven’t seen enough of that ©

The Step Sequence

Toe steps L/R/LFI, broad step LFI/RFI, twizzle RFI ccw (2 turns), three-turn RFI ccw, turning choreographic movement (steps) of 720 degrees ccw, chasse LBI/RBO, choctaw RBO ccw, choctaw LFI cw, half flip cw, mohawk LFI cw, twizzle RBI cw (2 turns), half flip RFI cw, mohawk LFI, twizzle RBI cw (2 turns) - rocker RBI cw - counter RFI cw - crossed step RBO/LBI, change of edge LBI/LBO, crossed step RBO/LBI, change of edge LBI/LBO, choctaw LBO cw, broad step RFI/LFI, mohawk LFI cw, hydroblade (right on the final of the musical phrase), one-foot axel (in which Yuzuru basically flies up at the beginning of the new musical phrase), chasse LBI/RBO, mohawk RBO, crossed step LFO/RFI, bracket RFI cw, cross roll RBO/LBO, lobe LBO with free leg swing, loop RBI cw, falling leaf cw, bracket LFI ccw, crossed step LBO/RBI, direction change forward, rocker LFO ccw – counter LBO ccw – loop LFO ccw.

Scheme of the Step Sequence

Table of difficult turns and steps of the StSq:

Features of difficulty of the StSq:

Following turns and steps are cunted towards the features: two clean choctaws (cw and ccw), two rockers (cw and ccw) two counters (cw and ccw), two brackets (cw and ccw), two twizzles (cw and ccw), two loops (cw and ccw). All in all 12 difficult steps and turns.

All 6 types of difficult steps and turns are executes in both directions (clock-wise and counter clock-wise), that satisfies complexity criteria, maximum level of the StSq is 4.

Rotations in either direction (left and right) with full body rotation covering at least 1/3 of the pattern in total for each rotational direction (see scheme). Feature counted.

Use of body movements for at least 1/3 of the pattern (arms, head, thighs and upper body work is definitely enough). Feature counted. 

Two different combinations of 3 difficult turns on different feet (first on the right, second on the left). Both are executed with a clear rhyme within the sequence. Feature counted. 

Thus all four features are counted towards 4 level of difficulty.

The element as a whole is wonderfully implemented in the musical canvas. The timing and scale of elements (e.g. hydroblade, one-foot axel, Ina Bauer) compliment the rhyme and beats. Every step and elements also enhance the precision of interpretation and highlight the phrasing. The same can be stated about the choreographic accents during the execution that fit the rhythmic pattern: steps and turns at the start and the combination of hydroblade and one-foot axel executed on the change of phrases, the second combination of three difficult turns that coincides with the end of the phrase, the change of foot right after the final loop at the end of the measure and distinguishing the end of the sequence. Movements suit the mood and style of the music and also become a mean of interpretation. The final combination spin CCoSp is entered through the “traveling came” at the beginning of the new musical phrase to highlight wave-like changing intonations of the final part. Features of difficulty of the spin: Camel spin

change of edge in the camel spin from inside to the outside;

difficult non-basic position;

Change of foot (from left to right)

difficult variation of the sit spin (sit forward “a-la Johnny”)

difficult variation of the upright spin (“scratch spin”).

In the combination spin all the three basic positions are executed: camel, sit and upright. Four difficulty features are used. For the combination spin with change of foot the maximum number of features attainable equals two for each foot. This requirement is fulfilled (two position on the left foot, two – on the right). Thus the spin is level 4.

Change of positions in the spin on the left foot by the measures: –  change of edge in camel spin – transition to non-basic position – change of foot and transition to the difficult variation of the sit spin on the beat – difficult variation “scratch” of the upright spin on the fading of the melody at  the end.  Choreography is accompanied with the intricate hands and arms movements in the spin to even further express the musical accents:

–   accentuated choreo during the camel spin: –   undulating hands movements in the “pancake” position; –   gentle left hand gesture in the upright spin.

Transition to the final pose that mirrors the starting one, symbolizes the flow of time. The only fascinating difference: in the starting pose Yuzuru turns his head in different direction. His eyes seem to be fixed on the future, on new hopes and dreams. Everything continues to…

Johnny Weir, interview for Number 966, 22.11.2018: 

“Yuzuru used some elements of my program that looked very harmonic. At the same time the program became something personal for Yuzuru, he skated it in his own style, that touched me very much.Yuzuru did everything in order to fully express the music. And if I showed it as soft and gentle sadness, Yuzuru demonstrated his fierceness and the brilliance of the composition. Music just as people is versatile, and Yuzuru and I showed different interpretation sides of the same melody. His talent became obvious even in his childhood day, but he have grown up to be the athlete I couldn’t even imagine. Yuzuru became so unbelievably strong, and despite the injury conquered his second Olympic title. I never thought I would live to a skater so strong. To everyone who doesn’t know him personally I can say that after all this time his compassion for people and his humanity haven’t changed in the slightest. He’s famous all around the world, and yet his modesty and approach to people remain the same as they were on the day I’d met him for the first time.”

Translator’s notes:

* the original article was published in order to celebrate Yuzuru’s 24th  birthday, as was this translation, belated as it is. Hope you’ll be just as happy as you deserve for inspiring so many people all over the world with your skating, your talent and your heart, Yuzuru!

** some quotes were unfortunatelly translated from Russian (credits to Аnna Zamotayeva and Evgenia Mitrofanova) where the original wasn’t available. Considering that some quotes went from English to Japanese to Russian to English, nuances may be lost in translation. If you have sources with original (either Japanese or English) quotes, I would be happy to improve the text.   *** if you have any questions or suggestions concerning technical skating details, chances are I messed up in the translation, and it was not a problem of the original, so please, contact me first. Also, none of the photos belong to me, and if you would want your picture taken down, I would do so right away.  Thank you!