#He's squatting fs | Explore Tumblr posts and blogs

yeniayofnymeria · 5 years ago

Text

SanSan “The Beauty and The Beast”

Hello!

Yes, I’m a Jonarya shipper but i could not resist to share this theory. :)

Personally, at first I looked cold but warmed up over time; Sansa and Sandor relationship. I've done a few researches on the subject, and frankly, I haven't found a satisfactory level of theory. But I used the excerpts from the video of asoiaf-theories and bridgte4 (youtube).

For those who do not know, Sansan is a Sandor and Sansa love theory.

GRRM is someone who leaves a lot of hints on his books. Like the detective, we can trace these traces and see what can happen. While I was reading Sansa's POVs - I didn't even pay particular attention - I saw a lot of signs about these two.

PROBABILITIES

Firstly, Sandor and Arya decided to go to the Valley, but for various reasons they could not. If he comes back, he may have to go to the Valley for his own reasons and may find her there. Since there is apparently no reason to go back to the south, it may be the direction of the Valley, where he has tried to go before. Although the North seems to be a possibility in the future, we understand from the conversation with Arya that he has nothing to do with the cold north. As a matter of fact, Sansa is currently in the Valley and may not turn north until the 7th book.

When we think that Sandor is in love with Sansa, it's normal for him to want to protect her. Especially when he see that Sansa was trapped by LF... Of course he knows that LF is the one responsible for Ned's death, this would be a second reason to push him to make that decision.

Throughout the scenes in KL, Sandor occasionally protected Sansa in some respects (as much as he could); Supporting the lie made to prevent Dantos from being killed; He blocked it when Sansa decided to push Joff to kill him (otherwise she would die), and saved her from rape in the city. If you pay attention, he often walks around Sansa.

If we look at the last point Sansa has come to, we can conclude that Sansa is no longer afraid of Sandor. Thus, when they spend time together, she can make the bad-tempered warrior, who has a bad mouth, harsh and threatening, see something good in him. As a matter of fact, when he heard the story that his face burned, she felt sorry for him. When they spoke badly about him, she defended Sandor from within and said that he was only afraid of fire.

While Sansa is a young girl who dreams of a handsome and heroic knight, Sandor is an anti-hero who is exactly the opposite of the knights in these dreams, hating knights. If we consider the irony logic of GRRM, there may be a story Beauty and the Beast we will read with pleasure. (GRRM already has a TV show with this name for 3 seasons. So he likes this story.)

The fact that the first three letters of Sansa and Sandor are in harmony is a nice detail, but of course probably this is just coincidence.

Sandor is a 30-year-old young man, so he's not that old. As a matter of fact, we cannot say that there is a very incompatible age among them.

SANSAN FORESHADOWINGS

Septa Mordane sniffed in disapproval. "A noble lady does not feed dogs at her table," she said, breaking off another piece of comb and letting the honey drip down onto her bread.

"She's not a dog, she's a direwolf," Sansa pointed out as Lady licked her fingers with a rough tongue

...

The king was in no mood for more argument. "Enough, Ned, I will hear no more. A direwolf is a savage beast. Sooner or later it would have turned on your girl the same way the other did on my son. Get her a dog, she'll be happier for it."

After the Lady's death warrant, the king said, "get her a dog." says. Some readers think it's a FS for Sandor.(.Remember, Sandor is Joff's dog, later he can be Sansa's dog)

The rasping voice trailed off. He squatted silently before her, a hulking black shape shrouded in the night, hidden from her eyes. Sansa could hear his ragged breathing. She was sad for him, she realized. Somehow, the fear had gone away.

The silence went on and on, so long that she began to grow afraid once more, but she was afraid for him now, not for herself. She found his massive shoulder with her hand. "He was no true knight," she whispered to him.

I mentioned above; She's seeing the wound inside Sandor and she approach to it with a sense of sympathy / empathy. I can tell you that women have a weakness for wounded men. As a matter of fact, when Cersei first saw Rhaegar, she looked deeply into his sad eyes and wanted to heal his wounds.

"I like dogs better than knights... A hound will die for you, but never lie to you. And he'll look you straight in the face."

In this scene, Sandor protected Sansa from the King Guard. And the knights never protected Sansa, but the dog did. There may be a sign that Sandor will always be honest with Sansa and die to protect her. Actually, I think there might be a moment when he has to protect her against the Mountain, but I don't know how these three will come together. (Remember Bran's coma dream "shadows of Mountain, Jaime and Hound" around her and yes, Arya)

In first book, Loras gave Sansa a red rose and she took a sweet smell (Remember, sweet word and dead symbolism: https://www.reddit.com/r/pureasoiaf/comments/cr8snv/a_death_mark_in_asoiaf_sweet_spoiler_main/ ). Red one is symbolism for love and "sweet" is dead or almost die (Like Bran and Tyrion).

Also there is this https://www.reddit.com/r/asoiaf/comments/am3xzt/spoilers_extended_the_serpentine_steps_of_doom/

When i read it, i noticed this scene...

She was racing headlong down the serpentine steps when a man lurched out of a hidden doorway. Sansa caromed into him and lost her balance. Iron fingers caught her by the wrist before she could fall, and a deep voice rasped at her. "It's a long roll down the serpentine, little bird. Want to kill us both?" His laughter was rough as a saw on stone. "Maybe you do."

Of course it could be nothing but caught my attention.

"Enough," she heard the Hound rasp.

"No it isn't," the king replied. "Boros, make her naked."

...

"Someone give the girl something to cover herself with," the Imp said. Sandor Clegane unfastened his cloak and tossed it at her. Sansa clutched it against her chest, fists bunched hard in the white wool. The coarse weave was scratchy against her skin, but no velvet had ever felt so fine.

It is remarkable that Sansa clings to Sandor's cloak and feels safe. A similar cloak issue will repeat one or two more times in the future. It's all about Sandor's cloak. The cloak represents “protection..

She even sang for Tyrion the Imp and for the Hound. He is no true knight but he saved me all the same, she told the Mother. Save him if you can, and gentle the rage inside him.

Here we see that she slowly began to care for the Hound, and of course she was grateful for saving her, which she will remember again in the future and will say to LF(inside her); "hound saved me, not you."

If the theories are true, the anger within Sandor may be a bit diminished.

"I could keep you safe," he rasped. "They're all afraid of me. No one would hurt you again, or I'd kill them." He yanked her closer, and for a moment she thought he meant to kiss her. He was too strong to fight. She closed her eyes, wanting it to be over, but nothing happened. "Still can't bear to look, can you?" she heard him say. He gave her arm a hard wrench, pulling her around and shoving her down onto the bed. "I'll have that song. Florian and Jonquil, you said." His dagger was out, poised at her throat. "Sing, little bird. Sing for your little life."

...

Some instinct made her lift her hand and cup his cheek with her fingers. The room was too dark for her to see him, but she could feel the stickiness of the blood, and a wetness that was not blood. "Little bird," he said once more, his voice raw and harsh as steel on stone. Then he rose from the bed. Sansa heard cloth ripping, followed by the softer sound of retreating footsteps.

When she crawled out of bed, long moments later, she was alone. She found his cloak on the floor, twisted up tight, the white wool stained by blood and fire. The sky outside was darker by then, with only a few pale green ghosts dancing against the stars. A chill wind was blowing, banging the shutters. Sansa was cold. She shook out the torn cloak and huddled beneath it on the floor, shivering.

One of my favorite quotes shows how much Sandor really is in love. Then Sandor throws his cape and she takes it, and Sansa clings to Sandor's cape again, to get out of the cold. We know that she keeps hiding his cape and he doesn't even know why she's doing it. It is also a remarkable detail that the desire to touch his face with a moment of strange emotion occurs.

Ashford Tournament and King's Hand Tournament

Jonsa fans use the Ashford incident for Jonsa, but this is a Sansan theory.

"Is the Hound the champion now?" Sansa asked Ned.

"No," he told her. "There will be one final joust, between the Hound and the Knight of Flowers."

But Sansa had the right of it after all. A few moments later Ser Loras Tyrell walked back onto the field in a simple linen doublet and said to Sandor Clegane, "I owe you my life. The day is yours, ser."

In both the King's Hand and the Ashford, the Lady's champions were another, and the champion was completely unexpected. The unexpected champion in Sansa's tournament was Sandor.

Dunk stood up against to a tyrant. Sandor did the same thing (against his big brother). And Dunk was probably not even a knight. Sandor is not a knight either.

Imaginary Kiss

The most emphasized issue in SanSan theory is Sandor's kiss. Sandor never did that, but Sansa remembered twice that Sandor kissed him.

Readers comment that Sansa had romantic feelings for Sandor. This why she remember this way.

Megga couldn't sing, but she was mad to be kissed. She and Alla played a kissing game sometimes, she confessed, but it wasn't the same as kissing a man, much less a king. Sansa wondered what Megga would think about kissing the Hound, as she had. He'd come to her the night of the battle stinking of wine and blood. He kissed me and threatened to kill me, and made me sing him a song.

...

Sweetrobin threw his skinny arms around her and kissed her. It was a little boy's kiss, and clumsy. Everything Robert Arryn did was clumsy. If I close my eyes I can pretend he is the Knight of Flowers. Ser Loras had given Sansa Stark a red rose once, but he had never kissed her . . . and no Tyrell would ever kiss Alayne Stone. Pretty as she was, she had been born on the wrong side of the blanket.

As the boy's lips touched her own she found herself thinking of another kiss. She could still remember how it felt, when his cruel mouth pressed down on her own. He had come to Sansa in the darkness as green fire filled the sky. He took a song and a kiss, and left me nothing but a bloody cloak.

She thought of dreaming of the Knight of Flowers when Robin kissed her, but suddenly she found herself thinking of the hound. And she says this. "He left me with nothing but a bloody cloak."

Another detail that attracts my attention. It feels like a lover talking about her lover, what did she expect? What he should left behind him for her?

GRRM interviews about imaginary kisses.

You will see, in A Storm of Swords and later volumes, that Sansa remembers the Hound kissing her the night he came to her bedroom… but if you look at the scene, he never does. That will eventually mean something, but just now it’s a subtle touch, something most of the readers may not even pick up on,

And there is this video: https://www.youtube.com/watch?v=cLynybVOi2I

Thank you for read.

#asoiaf #sansan #sandor the hound clegane #sansa stark

8 notes · View notes

pastelpunkpizzapower · 6 years ago

Text

ONE SHOT FANFIC~ Yay my first FS fanfic!

belated!Day Four + Five

(Halloween Party + Grimdark AU/Scenario/Whatever)

Plot: (takes place before the show, AU) Gary misses celebrating holidays, so he decides to round up the SAMES for a haunting good time! what could go wrong? ^^;

HUE noticed his prisoner, Gary, was hastily drawing what appeared to be paper masks, then crudely poking where they eyeholes should be with his thumb and finally, he taped each of them onto the SAME’s faces.

“Had you not added holes to those masks, I could have sworn you where blinding the SAMES so you could escape.” snarked the monotone AI.

“What makes you think that?!” spat out Gary, his arms folded and sounding seriously offended.

“You did it before.”

Not wanting to admit, the childlike “Captain” just blew a raspberry at him and labeled HUE a killjoy.

Gary swiped the blanket off his bed and wrapped it around himself like a cloak and put a makeshift “wizard/witch” hat on his head~ he looked at the bathroom mirror with a big goofy smile on his face before marching forward to the other SAMES.

“Alright, this holiday here we’re celebrating is called Halloween, it’s where earthling-peoples like yours truly dress up in costumes, usually characters that scare the snot out of someone, and watch scary movies and eat treats-” it wouldn’t be long before a certain other member of this cast would intervene.

“Heyhey~ Garebear, I want in!”

“Beat it, you infernal one-eyed needle in my pin-cushion, this party is only for non-stupid people!” Gary growled at KVN; for a device that was meant to keep an inmate’s sanity in check, they did a poor job.

“Pleaaaaaaaaaase?” he asked, dragging out the “ea” as much as he could and with a dramatic deep breath, Gary lightly snapped out: “Fine!”.

“Yay! yay! yay!’ KVN cheered as he clapped his metal hands to the tune of his voice, before adding “Do I get a costume too!?”

“Yeah....” Gary nodded, before quickly taking some paper, quickly coloring it red, rolling two of them up in two little cones, bending the tips and taping them onto KVN’s head, then cut the third one up to resemble a point-ended tail “It suits, too.”

“I’m a bull, everyone!” KVN cheerfully proclaimed, headbutting one of the SAMES and totally not realizing the obvious costume choice.

“Yeah, you’re a load of bull that’s for sure.” Gary facepalmed, then followed: “So we’re gonna watch a scary movie tonight, I’d carve a pumpkin but I’m STUCK ON THIS MISERABLE RAT’S NEST- *ahem* I mean I don’t think there are pumpkins in space, so I’ll have to figure that last part out.”

One SAME raised their hand, asking: “Do the movies where the human gets into a love triangle with the vampire and the werewolf as a scary movie?”

“Only for how it nearly ruined all three for me.” groaned Gary, rolling his eyes.

……

"Watch out, he’s right behind you!” Gary cried out as he and the SAMES huddled together, intimidated by the spooky flick they where viewing from a tiny but advanced television (Gary found floating among debris one day during his community service), while also trying to ignore KVN’s loud munching (shoving food in his processor slot).

“I want a refill, gimme a refiiil” KVN told Gary in sing-song and poking him only for the reluctant roommate to respond by shushing him; the floating troublemaker didn’t get the memo, hence why he waved his arm in Gary’s face, leading to Gary to whip him away.

“Maybe I’ll get his attention by turning off the movie.” he thought, problem his he had no idea how to turn the movie off, so he just flew over and smacked it onto the floor, yelling: “I NEED A REFILL NOW!” not that Gary would have cared as he was too busy screaming in panic as the SAMES lamented over not knowing how the movie ended; Gary hastily got up from his seat and looked at the broken TV, which aside from the satellites he watched programs on during his breaks, was his only window to Earth he had until his sentence was up. the blond’s eyes produced angry tears, for he had enough of KVN....then an idea came to him, one that would replace the tears with, strangely enough, a smile.

“Hey guys, I figured out how we can make jack-o-lanterns, follow me.”

The SAMES followed as Gary drug KVN to the kitchen, prompting the curious android to ask: “What’s goin’ on, Gary-Berry?” KVN innocently asked; “You don’t need to know squat, you floating sack of wet turds.” Gary growled back, his smile appearing less cheerful and more sinister when he taped KVN’s arms to the the table, then he pulled a kitchen knife from the drawers and snuck up behind the unsuspecting robot.

“Step one, you gotta remove the innards.”

“Huh?”

And with that, Gary struck a knife into KVN and sliced his way into removing his top, all with a blood-curdling scream from the yellow menace and nothing but half-confusion, half-amusement from the SAMES who where also getting sick of KVN’s nonsense; Gary then grabbed his bare hands inside of his long-time foe and ripped all his gears and what-not out piece-by-piece and as violently as possible with oil leaking all over the place; even though KVN didn’t feel pain, he knew the end was nigh and there was nothing he could do about it; it was almost as if it did hurt.

“Gary, stop this at once or your sentence will be extended to a week for property damage.” HUE announced, but it was drowned out by KVN’s dying wails.

Gary snapped: “SHUT YOUR MOUTH, YOU UNFEELING BUREAUCRAT, YOU HAVE NO IDEA HOW IT’S LIKE TO BE TRAPPED IN A SHIP ALL ALONE FOR ALMOST HALF A DECADE, YOU’LL NEVER KNOW WHAT’S LIKE BECAUSE NO ONE CARES ABOUT ME.”

That mini-rant hit HUE like a ton of bricks; even though he could be a handful, he always saw Gary as a friend, perhaps like his own child. he tried to say something, but he was simply left speechless. “I....have nothing.” and the AI temporarily shushed for a good long time, rethinking what he was told.

Gary finished up, revealing his brutal masterpiece, and he gleefully cheered “Ta-da!”, returning to his bubbly self, the SAMES just stood there and wondered when, or if, KVN was gonna turn back on; two of them stepped forward and poked at him; another came over just to clean up all the oil.

“That felt good!” Gary chirped, going to the kitchen and grabbing a drink; after three years of living in a bleak, conforming vessel with no celebration or any fun whatsoever, it felt a tint of catharsis in the air, for the little yellow parasite who haunted him the whole time was finally slain.

#fs halloween week #final space #gary goodspeed #final space gary #final space hue #final space kvn #fanfic

13 notes · View notes

littleharpethcrossfit · 3 years ago

Text

Tuesday, 1 March Warmup..........Back Squats..... Two WODs.

Great weather was anticipated, and we had it. Actually, this entire week is supposed to be fantastic.

Warmup:

50 yds Backward Sled Drag / 10 Tire Step-Ups 4 Rounds

Everybody participated.

Strength WOD:

Back Squats 8 /8 / 8 / 8 65 To 75% 1 Rep Max

Armando=255 Ed/Chase=225 Timmy=215 Herb=200 Smoothie=195 WG/Paul=185 Coach/Tom=175 Taylor B=135 (FS) Scott=115 Joe/Sue=95 Shannon=75 Linda/Tripp=excused

Metabolic Conditioner:

TWO WODs

21 / 15 / 9

Calories On Any Erg

Ring Rows

Sit-Ups (GHDs)

Continue On Same Clock: 2 ROUNDS

50 Double-Under’s (Scaled=100 Single’s) 25 Slam-Balls ( E-40 / 30 / 20 )

Elite:

WG=13:06 Chase=15:28 Timmy=15:45 Taylor B=16:01 Armando=16:27

RXers:

Sue=12:47 Scott=13:47 Smoothie=15:48 Paul=17:15

Scaled:

Tripp=11:09 Ed=12:39 Herb=13:51 Linda=14:00 Shannon=15:24 Coach=15:45 Joe=15:52 Tom=16:34

Notes:

Workout...The Group....and the weather were all superlative.

Afterwards about 6 of us stayed and did ROMWOD. Uncle Robert was not here but he would have approved. We were out of beer, so Miss Shannon ran out and returned with a mixed 6-pack, and still she had time to do half of the ROMWOD. She also brought a bag of something from BUCKY’s, which was well known to everyone except me. Did I ever say how much I love Shannon?

Again about the beer: If everyone brings beer that said they will bring beer, we will have way too much and it will turn skunky by mid-summer. Each person should bring just a LITTLE.

The Schwartz’s and Timmy and others have been working on the Patio Heaters that Robert provided. We now have 3 of those monsters, and a couple are attached to gigantic H cylinders of propane. We now have the potential to produce BTU’s exceeding Brentwood’s YMCA.

Everything is appearing favorable for a Thursday Bon-Fire and Wine Tasting. Please workout and attend the wine tasting and fire-ring after. Perhaps someone will bring snacks. Maybe even some Bucky’s snacks.

Old Joe keeps reminding me to stay awake and watch the Biden Mis-stake of the Union speech tonight. I don’t think it’s worth my effort. Our Old Joe will have to give me a report tomorrow. I’m not listening to the other Old Joe.

Less than 2 weeks and we will start Day-Light Savings Time. Springtime is upon us. I wonder how many times we will use the Patio Heaters before they are put into storage for the Summer.

Thursday at 4 PM.

0 notes

tsukihoshi14 · 7 years ago

Text

Last run-through before Men's FS

Everything was working out okay, until he popped that last lutz *giggles*

It's alright Yuzu, I'll give you points for that Besti squat as creative exit there :)) And then he corrected himself right away :D

Good job, good luck Yuzu! Enjoy the ice today also :3

#yuzuru hanyu #practice #figure skating #pyeongchang 2018 #olympics 2018 #gifs #byme #16.02.18 #2017-2018

92 notes · View notes

measure-for-measure · 3 years ago

Text

BUT THEN ITD BE TOO HARD

Chapter 1: First Grade

I sat at the kitchen table of our two room apartment. I had recently turned six or seven, maybe, I don't really remember any more. I was up studying for my... end of year..,? Spring exams? I hadn't passed the exams before that, and with my constant Cs and Ds from class exercises, not to mention my Fs, I knew that I would be expelled if I didn't score a B+ overall average on my end of year exams. I tried to study, desperately trying to decipher the Traditional Chinese characters on the page in front of me.

I remember looking up at the clock. It was nearing eight o'clock. I knew my mother would be leaving my room soon. I had to either pass the exams with flying colours or find a new school that would take me in, and we had already tried many schools, but nobody would take me. I failed all my term one exams, after all, and I had no class work to show except for my wobbly, childish attempts at feigning knowledge of the difficult language that is written Cantonese, and my English exercise book, which consisted of below international standard comprehension work, for my age.

It wasn't my fault I had to redo my homework. My brother had been crying all afternoon, and dad had been royally pissed off. He had demanded I showed him my homework before I put it in my bag; he demanded this. So I went and showed him, and he had flown into a rage, because, obviously, my messy hand-writing meant I was slacking off, and that I didn't care about my education.

I had already spent the afternoon writing and rewriting my essay, trying to add every last extra word. He didn't care. He tore it all up, and threw it at me, as if I had won a prize and he was showering me in confetti. Well, he wouldn't let me pick the pieces up, obviously hoping they would be scattered all over and that I would lose them. But afterwards, I went down on my knees and tried to pick out as many pieces as I could, and desperately tried to tape them together. I hadn't had the time or the patience, or else I’d have rewritten it then and there. But as it was, I had many assignments due the next day, so I had handed in my wad of tape, with its occasional shred of paper, into my teacher. She hadn't found it particularly amusing, and sent it back with a note stapled to the front declaring I was clearly a useless “useless eater” attention seeker, that I was obviously faking some sort of home issue, and that I had obviously just torn up a printed off copy of an essay. She ended the essay home with a note demanding my parents watch me write a new essay under their supervision, this time under her choice of topic.

I remember now, girls pushing me, pulling me, trying to drag me out of my seat, through the corridor, into the toilets. God, the toilets. Squat toilets. There was always some mess next to the basin. They'd push me into it, into the messes, or the basin, or the corners, then they'd hit me. Hard.

I was endlessly tormented by fellow students and teachers alike, all looking for an outlet to wreck their frustrations upon. The system is notorious for causing early childhood depression. This school, as well as help from my parents, have caused my irreparable lasting torment.

In the years since, I have been traumatised- literally, traumatised- by these interactions in my early childhood, in my “Formative Years”. This, i know now, must've left me with baggage, but that's okay. We try our best to deal with it.

#persephone writes #persephone vents #persephone but then

0 notes

kolmogorov-is-sad · 7 years ago

Text

Бантики и пуфики © top-7 ISU World Standings, pt 2

Here comes the second part of the translation of top-7 men’s singles skaters’ FS analysis with regard to transitions. The original article in Russian by amazing Yulena is here.

Greetings to all figure skating fans!

Today I present the second part of transition analysis in the free skates of ISU WS top-7 men’s singles skaters to you. The first part (the short programs analysis) is here.

Today we’ll try to evaluate the free skates of Yuzuru Hanyu, Shoma Uno, Javier Fernandez, Mikhail Kolyada, Boyang Jin, Patrick Chan and Nathan Chen from the standpoint of continuity (smoothness) of movement, variety and difficulty of transitions both between the elements and on the entries/exits, by considering all the main criteria of TR component.

We do not include step sequences (StSq) and choreographic sequences (ChSq) in our review since they are independent elements of the program. I’d recommend not confining oneself to looking through the tables and diagrams but also read all the explanations carefully and simply watch the programs, of course.

Free skate in men’s singles is 4min 30s (+/- 10s). In that period of time the skater must execute 8 jumping passes, 3 spins and two sequences – step sequence and choreographic sequence.

Step sequence in the free skate averagely takes between 35 and 45 seconds. The range of ChSq execution time is much broader: from 5 to 35 seconds. Therefore, it takes a skater between 54s and 75s (1min 13s) to execute both sequences, more specifically (in decreasing order):

Hanyu - 75 s Chan - 72 s Fernandez - 67 s Jin - 65 s Chen - 61 s Kolyada - 57s Uno - 54 s

Other elements – 8 jumping passes and three spins - are executed in the interval of time from 3 min 15 s (Hanyu) to 3 min 36 s (Uno). The more the total amount of time spent on the execution of step and choreographic sequences, the closer are the remaining elements of the program to one another and the higher is the density of transitions between them, so it is more difficult for a skater to perform a program like that.

We consider the time of the free skate minus time spent on the sequences a unit of time (graph 1):

Total amount of connecting steps and turns, including one foot ones (footwork movement transitions), that are executed in the unit of time and characterize the density of transitions, are presented in graph 2:

According to the both graphs the highest density of transitions (not taking time spent on both sequences into account) belong to the ‘old guard’ – Hanyu, Chan and Fernandez. The lowest density of skating transitions distribution belong to Chen, Kolyada and Uno (in decreasing order). Boyang’s program in that respect is the golden mean in the middle. Variety of skating transitions and connecting elements (not taking body movement transition into account) is presented in table 1.

Diagram 1 below gives more amply characteristic of variety as quantitative ratio of one foot transitions to amount of running steps/crossover, other steps and other transitions (skating movement transitions and non listed element transitions).

This diagram data shows that qualitative characteristics of skating transitions variety differ significantly. The most well-balanced free skate program in terms of variety of skating transitions belongs to Yuzuru Hanyu. It has the widest diversity of one foot transitions and skating transition in form of steps, combined with least amount of progressives/crossovers. Latest constitute less than a half of the total amount of transitions on two feet. Connecting elements in the program are represented by a half axel, a half-loop and a hop, connecting movements - by five spread eagles, one pivot, one Besti squat, one Bauer and one lunge.

Javier Fernandez’s program takes the second place when it comes to balance and diversity of skating transitions. Wide range of skating transitions in form of steps compensates greater ratio of number of crossovers to number of one foot transitions. A little more than a half of skating transitions on two feet consists of crossovers/running steps. Connecting movements are represented by two lunges, two Bauers and a spread eagle, connecting elements – by a half axel, two Waltz jumps and five hops.

I’m pleased that Mikhail Kolyada’s program is last of three leaders in variety of skating transitions which are mostly represented by connecting steps. He has a bit more of simplest skating transitions as running steps and a bit less of one foot skating in comparison to Fernandez’s program. Crossovers/running steps constitute a bit more than a half of all transitions on two feet. Two lunge, a spread eagle and a spiral are used as connecting movements, a hop and a alf jump – as connecting elements.

Patrick Chan’s program contains two times more crossovers/running steps than one foot transitions with nice diversity of skating transitions on two feet in form of steps. At the same time crossovers/running steps constitute a bit more than a half of the program’s transitions on two feet. The skaters’ wide arsenal of connecting elements and movements is represented only by a spread eagle and three half jumps in the program.

The balance of skating transitions variety in Shoma Uno’s program is tilted in favor of crossovers/running steps the number of which exceeds the number of one foot transitions almost two times. Such an amount of crossovers/running steps, however “genius”© undermines all the benefit of Shoma’s one foot transitions (which have sufficient representation) by considerably decreasing the skating difficulty and is, in my opinion, unacceptable for the program of one of the top skater and medal contender at main competitions [e.g. European, Four Continent, World Championships and Olympics]. The number of skating transitions in form of steps (in comparison to other top-7’s programs) is minimal. The reason is that they are substituted by body movement transitions – posturing and glides on two feet. Connecting movements are represented by two Bauers, three spread eagles and a luge, connecting elements – only by a hop.

Boyang Jin’s balance of skating transitions variety is tilted in favor of connecting steps due to a decrease in number of running steps/crossovers and, especially, one foot transitions. The number of latest is very, very small. Skating transitions on two feet in form of simple steps prevail, and their amount riches the highest number in Boyang’s program. Connecting movements are represented by a lunge, a pivot and two half jumps, connecting elements – by a hop. In Nathan Chen’s program the balance of variety is tilted in favor of simplest skating transitions – running steps/crossovers. There are fewer one foot skating transitions than in Uno’s program, but there are more connecting steps, while the amount of running steps/crossovers is comparable. Such a minimalist approach to connecting steps and elements also decreases the skating difficulty of the program, and is unacceptable for the top-skater and a medal contender at the main events. And one more thing I’ve noticed. The fact that a skater changes the jumping content of the free skate all the time not only varying the placing of the jumping passes but also the types of them, it indicates an incredibly simplistic program in terms of variety and difficulty of transitions. Connecting elements and movements are represented rather poorly by only three spread eagles. Apparently, those are the very things that function as transitions and create an effect of rich skating choreography.

The next criteria with shall look at is difficulty. Table 2 and diagram 2 illustrate the qualitative characteristics of skating transitions difficulty in the free skates of top-7 skaters as ration of one foot transitions to running steps/crossovers.

Yuzuru Hanyu is the only skater in the WS top-7, whose balance of skating difficulty in the free skate is titled in favor of one foot skating transitions. Then there is Javier Fernandez’s free skate. The third place in regards of sating difficulty of the FS belongs to Mikhail Kolyada. Then in the descending order we have the programs of Patrick Chan and Shoma Uno, where the balance is tilted in favor of running steps/crossovers whose number is almost twice the number of one foot skating transitions. Minimum skating difficulty belongs to Nathan Chen’s and Boyang Jin’s programs, in which only one third of the amount of running steps/crossovers is the amount of one foot transitions.

In conclusion, let’s take a look at such criteria of component TR as difficulty and continuity of movement from one element to another (“smoothness”) of each skater in order of increasing skating difficulty of the program.

Boyang Jin starts his free skate with posturing and a skating transition consisting of simple steps and one difficult turn – counter. Then there is a series of crossovers, change of direction forward and the first jumping element, a 4Lz, entry. After the jump there is a glide on two feet, a transition of simple steps and turns, a couple of crossovers and a running step before a 4S entry (mohawk – add another foot – backward power three-turn). Then there are two crossovers with direction change forward, a transition of steps and a combination 3A+1Lo+3S. After the exit there is a change of direction forward, a three-turn and a camel spin, right after which Boyang executes a choreographic sequence (33 s). At the beginning of the second part of the program there is a combination transition (gif 1): three-turn, mini-Bauer going into pivot, direction change forward, cross step, chassé, rocker. Then there is a series of simple steps and a 4T executed from a mohawk. Before the next jumping pass there is a simple skating transition of steps going into a lobe with free leg out, one more transition of steps, a series of crossover and a second 4T (in combination) from a mohawk. Then – a direction change forward, a couple of running steps, simple steps and a 3A. After the jump the skater executes a transition of steps ad a connecting element: choctaw, broad step, mohawk, three crossovers, Bauer (gif 2), - and starts preparing for a 3Lz+3T combo. After the combination there is a direction change forward, a running step, a rocker, simple steps and a 3F taking-off form a mohawk. The ump exit is immediately followed by a sit spin with change of foot and a step sequence (32 s). The program ends with a combination spin with change of foot.

In the program Boyang uses skating on two feet with transitions in form of simple steps. Skating difficulty of the program is minimal. Transitions are simple, distributed uniformly between the elements ad are not considered difficult entries/exits. Preparation for every element is evident (coherency and continuity of movements on the entries is disrupted).

Nathan Chen’s free skate starts with a posturing and a simple skating transition – running step, mohawk, three-turn, four crossovers - before entering the first element of the program - 4Lz+3T combination. After the combo comes a running step, a mohawk, a crossover ans a combination transition for the judges (gif 1): spread eagle, couple of crossovers, broad step, chassé, choctaw. Then there are here running steps and simple steps before a 4F entry (from a backward power three-turn). After the exit there are a posturing, a three-turn, a transition of simple steps and a series of crossovers, a 4S from a backward power three-turn. After the jump – two three-turns with change of foot in between and a camel spin with change of foot, immediately followed by a step sequence (42 s). After he sequence there is a glide on two feet going into a spread eagle, a crossover, a change of direction forward, a three-turn, a crossover and a glide on two feet (gif 2). Then there are four crossovers and a preparation for a 4T+2T+2Lo combo (executed from a three-turn). After the combination the skater did three running steps, changes direction forward, added second foot and tried to executed second 4T (from a three-turn) *preparation for both the solo toe loop and the one in combo are identical)* Then there is a couple of direction changes forward with a three-turn in between, a running step, one Jackson, four crossovers, a mohawk into a Spread eagle and a 3A. After the jump we have a skating transition of simple steps, two crossovers before a 3A+2T combo, followed by a couple of progressives, a mohawk, a crossover and a 3Lz. After the jump a couple of running steps, choreographic sequence (19 s) and two combination spins at the end of the program.

In Nathan’s program simple transitions and skating on two feet with simple steps prevail. Especially strikingly apparent the minimal skating difficulty became when watching live. A quad – skate with crossovers/progressives and simple steps raising hands beautifully - another quad, and so on. Preparation for the jumping elements, when the skater just skates on two feet before executing is evident (disruption of continuity and smoothness of the movements). Transitions are concentrated between the elements and are not considered difficult entries/exits (except for the solo 3A). *But as soon as at the SA Grand Prix this single difficult entry has been removed due to the lack of necessity to make an already empty program even simpler*. Just like in previous season FS, connecting elements are not being used, the number of connecting movements is at minimum. In my opinion, the program is very empty for the transition scores it receives.

Patrick Chan starts his free skate with three crossovers, a rocker and a change of foo with direction change forward. There is a series of simple steps, two progressives, a broad step and a 4T entry (обманный шаг [three-turn, free leg lunge, other foot lunge, crossover] – three turn). After the jump entry there is a direction change forward, a couple of progressives, a transition of two Jacksons and two crossovers before a 3Lz entry. A half jump on the Lutz exit we have a skating transition of simple steps before the preparation for the combo with an Axel and a half loop. Right after the combo Patrick moves to the choreographic sequence (32 s) after which there are a couple of progressives with a chassé in between and second toe loop entry (обманный шаг - three turn). After the jump - a stop with some posturing, a toe step, a three-turn and a beautiful skating transition (gif 1): stepping over with direction change backward, broad step, rocker, Jackson, cross roll, two three-turns with fee leg out. Then there is a direction change forward, a skating transition before a solo Axel. A glide on two feet, a crossover, a couple of mohawks, a crossover, a choctaw going into a forward lobe and a 2Lo without preparation. After the jump there is a direction change forward, two three-turn and Patrick’s signature twizzle entry to the camel spin with change of foot. There is a posturing on the exit of the spin and a combination transition (gif 2): half jump, mohawk, broad step, mohawk, chassé , mohawk, Then – a couple of progressives, a series of mohawks and chassés before a 3Lz. After the exit there are two crossovers, a half jump, change into a forward outside lobe, backward power three turn, and a 3F. After he jump the skater goes for a sit spin without any preparation. A couple of progressives on the exit, a step sequence and a final combination spin.

In Patrick’s program transitions on two feet in for of steps prevail. Skating transitions are concentrated in between the elements and are not considered difficult entries. Combination entries to the elements are absent but all the triples are executed from short entries (with no preparation) or from steps. Only 3Lz has a complicated exit. All 4Ts (solo and in combination) and Axels (solo and in combination) are executed from simple and uniform entries. Despite that, simple transitions between the elements and on the entries are executed with smoothness and fluidity in single rhyme.

Shoma Uno’s long program starts with basic stroke, two crossovers (though not so long ago at Lombardia Trrophy there was a one foot rocker-counter transition instead of the crossovers). Then – direction change forward, three turn, direction change forward, two running steps, broad step, mohawk, crossed chassé, three turn. Then the skater added second foot, changed direction backward on two feet and executed a 4Lo. After the jump exit there were direction change forward, a mohawk, a crossover, a three turn going into posturing , to three turns, a hop, direction change forward, a couple of running steps, a mohawk, a chassé with direction change forward, some posturing on two feet, a mohawk and a 3Lo. After the jump exit: Bauer, chassé, rocker-counter transition, two crossovers, direction change forward, mohawk, chassé, two crossovers, spread eagle - and then 3A. After the jump the skater sequentially executes two spins – a camel spin and a combination spin, with big crossover connecting two of them (I haven’t seen such a transition between spins in any other top’s program). There are two crossovers after the spin exit, direction change forward and a step sequence (35 s).

After the sequence at the beginning of the second half of the program there is a stop and some dramatic posturing, then a glide on two feet, a crossover with direction change forward a skating transition of two sets of running steps (!): three progressives – glides on two feet – two progressives – mohawk – crossover, after what the skater adds second foot, changes direction forward and executes a 4F from a three turn. Then there is a direction change forward, Jackson going into the glide on two feet and skating transition (gif 1): bracket - crossover - chassé- two crossovers - mohawk - three turn. Then there are three more crossovers, a glide on two feet, a direction change forward, a three turn – three turn – three turn - 4T. After that - direction change forward and a combination transition (gif 2): three turn, chassé, three turn, spread eagle, chassé, three turn, spread eagle, two crossovers, direction change forward, two crossovers with arms raised up. Then there is a mohawk going into a Bauer, a chassé, direction change forward, two running steps, a mohawk, a cross chassé, a counter-three turn and a 4T+2T. Then – a direction change forward, two running steps, a mohawk going into a lunge, a three turn, a skating transition of two sets of crossovers: two crossovers, broad step, three crossovers with direction change forward and 3A+1Lo+3F combo. There I a crossover after the combination jump exit, direction change forward, a three turn, a chassé, a backward power three turn and a 3S+3T. Then the skater makes direction change forward and executes a cantilever choreographic sequence (19 s), after which goes with two three turns into the final combination spin.

In Shoma’s program simple skating on two feet between the elements prevail. The numbers of crossovers/running steps are huge. After the step sequence and throughout the second half of the program he emptiness is glaring as well as pauses in preparation for the jump elements. Those sets of accelerating crossovers/running steps before the 4F and 3A+1Lo+3F combo are especially indicating in that respect, and have little to do with skating choreography and difficulty of skating transitions between the elements. But three out of eight jumping elements are executed from difficult entries - 4T+2T combo, 4T and 3A; 3S+3T combo has short entry. There are no creative (difficult) exits. In the free skate (like in the short) numerous body movements transitions are used - unvaried glides on two feet with pompous arms gesture to the heavens™, which fill up the pauses empty places in the choreography.

Mikhail Kolyada’s starts his long program with posturing, a toe step, a crossover with direction change forward. Then there is a choctaw, a crossover, a couple of mohawks, three crossovers before the first jumping element entry: three turn – add second foot – mohawk – crossover – 4Lz. There is direction change forward and s skating transition in the style of the program: rung step, Jackson, mohawk, toe half jump, mohawk. Then – a couple of crossovers, a mohawk, a running step, a broad step, a mohawk, a crossover, two backward power three turns and a 4S. After the jump comes a mohawk, a lunge on the knee going into a couple of three turns, a skating transition of simple steps (crossover, mohawk, broad step, mohawk, two crossovers, mohawk). Then – a three turn, a crossover, a mohawk, a running step, a chassé, a running step, bracket – direction change forward – 3A+3T. After the combination there is a direction change forward, a broad step, a three turn and a sit spin, after which the skater proceeds with a step sequence (43 s). At the beginning of the first half of the program there is a glide on two feet in the style of the program, a direction change forward and a combination skating transition: broad step, choctaw, half jump with change of direction, crossover, direction change forward, two three turns, chassé. Then – two crossovers before a 4T entry: chassé – mohawk – broad step – mohawk – chassé – direction change forward – three turn. After the jump exit there is direction change forward and a combination skating transition (gif 1): three turn, chassé into back outside lobe, backward power three turn into a spread eagle, crossover, choctaw. Then – a chassé, a Jackson, two crossovers, a mohawk, one running step, a bracket – direction change forward and a solo Axel. After the exit there s a skating transition (gif 2): Jackson into an arabesque, change of foot, bracket, cross step, direction change forward, three turn. There are three crossovers, direction change forward. Then – a running step, a broad step – mohawk – crossover – 3Lz+1Lo+3S. After that there’s direction change forward, a three turn, a crossover and choctaw – broad step – mohawk – 3Lo. After that comes a glide on two feet a la Elvis with the change of rhyme, three crossovers, direction change forward, two three turns – broad step – mohawk - crossover – 3Lz+2T. There are steps fitting the stylistics of the program, a choctaw, a hop, a broad step and then transitioning to a combination spin followed by a choreographic sequence (14 s) and the final came spin.

In Mikhail’s program there is a prevalence of skating transitions in form of steps with direction change, which are uniformly distributed between the elements. The skater mostly demonstrates fluidity and continuity of movements between the elements, that is provided by smooth execution of connecting steps and connecting elements. Both Axels (solo and in combination) are executed from short entries, the 4S and 4T are executed from steps. Axel, 4Lz and 4T entries are just the same used in the SP. There are no difficult exits from jumping elements. Sets of crossovers/running steps in the program serve the technical purpose (gaining speed before the jumping elements).

Javier Fernandez’s long program starts with a glide on two feet and a simple skating transition with direction change forward. There are two cross steps fitting the character of the program, two three turns going into a Jackson, direction change forward and two running steps before a 4T entry: broad step – mohawk – chassé– Waltz jump – chassé – direction change forward – three turn. After the exit there is direction change forward, glide in the style of the program, half Axel going into a lunge, a three turn, a chassé, a broad step, a crossover, a chassé, two crossovers before a 4S entry: choctaw – running step – broad step – mohawk – two backward power three turn. After the exit - direction change forward, waltz three/вальсовая тройка [RFO (three turn) – step on another foot – RBO exit] direction change forward, two running steps, a forward inside lobe going into backward inside lobe on the other foot and a combination transition (gif 1): three turn, crossover, chassé, two crossovers, Waltz jump going into a spread eagle–Waltz jump-direction change forward and a 3A. Then the skater executes a half jump and moves to a choreographic sequence (22 s) and a sit spin with change of foot. There’s a stop with posturing, direction change forward, a three turn, a glide on two feet, two three turns, direction change forward and two three turns. Then the skater makes some posturing putting a hand on one’s heart, a cross step, a three turn, direction change forward, two running steps before a Salchow-toe loop combination entry: broad step – mohawk – chassé – three turn – cross step, direction change forward and a Waltz jump (gif 2). There is a chassé, three crossovers, a Bauer and a 3Lo; then – toe half jump at the jump exit, a three turn, a cross step, a chassé, direction change forward, two running steps, a broad step, a mohawk, two crossovers. There’s some posturing on the left foot – direction change forward – three- turn – Waltz jump – direction change forward and a 3A. Then the skater changes direction forward and, after a running step, a choctaw and a crossover, goes for two half jumps (clock wise and counter clock wise) and after a running step, a choctaw, a crossover and a 3Lz. Then he changes direction forward and executes two progressives and a skating transition before a flip combo with half loop: broad step, mohawk, broad step, crossover, chassé, direction change forward, three turn. At the combo exit there are a three turn – Bauer and a hop as a combination spin entry. Then – a Jackson and a step sequence (45 s), followed by two crossovers going into a lunge and a final combination spin. In Javier’s program skating transitions in the form of simple and combination steps with direction change prevail and are distributed uniformly between the elements of the program. The skater mostly demonstrates fluidity and continuity of the movement between the element that is provided by smoothness of skating steps and elements execution. Both quad Salchows (solo ad in combination) are executed from the steps, two Axels – from difficult and unexpected (short) entry respectively. Triple Lutz and loop also have difficult entries. The 3Lo and the combo with a half loop have difficult exits. Sets of crossovers/running steps serve the technical purpose (gaining speed before jumping elements entries). There are also posturing in the program (body movement transitions) expressing the “Man of La Mancha” program stylistics and concept.

Yuzuru Hanyu starts his free skate with a skating transition: pivot on the left hand, cross step, forward outside lobe, change to the left foot, three turn, broad step, crossover with direction change forward, waltz three, chassé. There are two crossovers before the first jumping element, 4Lz, entry: mohawk – broad step – chassé – mohawk – crossover. After the jump and the direction change forward with change of foot there is a combination transition: a glide on the arc with accentuated torso, head and arm movements, two three turns, an inner Besti squat going into an outside Bauer, a counter, a three turn (gif 1). Then there’s one crossover, a mohawk, a broad step, a mohawk, a crossover, chassé, a lobe with the free leg out, a Waltz jump, a three turn. Then a 4Lo entry begins: mohawk – broad step – mohawk – chassé – cross step – mohawk (the jump is executed from a series of mohawks). Then – direction change forward with change of foot, a half-sitting glide on the right foot, a broad step, a Waltz jump, a three turn. Then there are two crossovers before a 3F entry: mohawk – three turn – direction change forward – three turn – three turn – three turn. On the arc of the jump exit there is a Waltz jump – counter – three turn transition and then direction change forward and a combination spin with change of foot. At the spin exit there is a three turn into an inside Bauer and a lunge with gesture in the nature of Seimei character before the beginning of a step sequence (40 s).

After the step sequence the is an accentuated stop and posturing in the style of the program, a three turn, a mohawk, a chassé, a choctaw, a broad step, a mohawk, a chassé and three crossovers. Then – direction change forward, a rocker, a cross step (change of foot), a chassé, a three turn, a running step and a 4S entry: broad step – mohawk – backward power three turn. After the jump exit there is a crossover, direction change forward and a combination transition (gif 2): Waltz three going into a spread eagle, Jackson, mohawk, chassé with accentuated right leg step down. Then Yuzuru executes three crossovers, before a 4T+1Lo+3S combo (he only managed 2T): mohawk going a spread eagle – cross step – broad step – mohawk – backward power three turn – direction change forward – three turn. With a change in the music rhyme and tempo after the jump exit there is a combination transition: half loop, toe jump, three turn, chassé, three turn. Then – three crossovers before a solo 4T entry: outside spread eagle – backward power three turn – direction change forward – three turn (at this particular competition a 4T+3T combo was executed). It is immediately followed by direction change forward, a running step, a broad step – waltz three – spread eagle – 3A+2T. There is a spread eagle at the exit, a half Axel, two running steps, a broad step, a mohawk, a crossover, Waltz jump – direction change forward – 3A, direction change forward and a sit spin with change of foot (what an incredibly precise timing of the elements). After the spin Yuzuru executes a choreographic sequence (35 s), followed by a direction change forward, a three turn, and then goes for a final combination spin with change of foot.

In his program Yuzuru demonstrates smooth and continuous movement from one element to another. Running steps/crossovers are used in sets of 2-3 for strictly technical purposes – to accelerate before the elements entries. There is a nice variety of skating transitions in the form of steps. There is no preparation for the jumps – there are steps and the next moment it’s already a jump:) The exposition of the elements and most precise timing of their execution enforce high density of the distribution of the elements, especially so in the second half of the program. There is almost no second to take a break, relax and restore the power. For example, last three jumping passes of the program (and those are 4T and two triple Axels) together with their entries/exits are timed like that: fifth jumping element – 15 s – 4T+3T – 5 s –3A+2T – 6 s – 3A. Out of eight jumping elements, six are executed from the steps; 3A+2T combo and 3F have difficult entries/exits as well. 4Lz and the final 3A have short entries.

Taking the number and different types of quads in the free skate, the continuity of the movement from an element to another, the density, variety and difficulty of transitions between the elements, as well as at the entries/exits, into the account, the most complicated program is that of Yuzuru Hanyu. It is followed by the programs of Javier Fernandez and surprisingly enough Mikhail Kolyada.

Thanks for your patience and attention

Once again, feel free to offer your suggestions. If you think that there is a mistake regarding technical content, this is most probably translator’s fault and shall be gratefully corrected.

#traslation #Yuzuru Hanyu #Shoma Uno #Javier Fernandez #Mikhail Kolyada #Boyang Jin #Patrick Chan #Nathan Chen #2017-2018 season

81 notes · View notes

wherespacepooh · 7 years ago

Text

Rostelecom Cup 2017 fancams: Yuzuru Hanyu practice & 6-min

(Rostelecom Pt 2/3) Overall, good condition here with some really quality jumps executed. You can see him and the team finding answers, getting a better and better sense of the ice, clearly working to differentiate between the different ways to jump each type of quad, timing, et cetera. As always, the stroking was a treat. (He was always so fast right at the outset, that I lost him momentarily in the beginning every single day. Apologies.)

In other news, Yuzu says his body is in good condition upon his arrival at NHK, all the best \o/

Please do not reupload the videos to other platforms, and please link to the original video for shares and edits. - gladi

2017.10.19 – Day 1 Practice

youtube

0:40 Brian and Kikuchi-san tending to Pooh. Yuzu stretching. 2:09 Brian giving Yuzu advice and pats.

3:15 On ice, stroking. 4:46 3A out of nowhere to begin practice 5:22 popped 4T (2T), takes off jacket, speaks with Brian

6:05 perfect 4T. nod in Brian's direction 6:44 niice 4S 7:23 saved 4S 8:42 popped 4Lo (2Lo) 9:28 4Lo 10:32 going through motions for Lutz 10:53 aborted attempted (Misha too close?) 11:32 4Lz, heavy landing 12:34 popped Lutz (Intended? Nodded as if he checked what he wanted to check on landing) 13:08 speaking with Brian

13:40 marks Lutz through twizzles 14:20 Run-through (popped Lz, 4Lo, 3F tight landing, spin, marked StSq, 4S-turnout-3T, 4T turnout, 4T hand down, 3A2T rippon, 3A, skipped flying sit spin, partial ChSq, combination spin)

19:45 cooling down after RT 21:36 speaking with Brian, pointing at his blades/toe (re: Lz take off?)

23:45 Imitating Deniss pose in RT 24:12 sit-skating, putting gloves on, applauding Deniss 25:00 checking with Brian 26:00 perfect 4T+Lo+3S 27:10 perfect 3A (SP entry) 28:35 popped Lz, checking axis 29:35 popped Lz 30:27 popped Lz 31:00 Checking with Brian abt arms and shoulders movements into Lz

32:27 popped Lo (SP entry) 32:45 Annoyed at himself, gestures frustration (it's cute! :P) 34:15 Popped lo (2lo), stretching a bit, does a "no, no" sign to Brian 34:50 Brian talks to him

35:23 marking Loop (SP) with twizzles 35:46 4Lo-turnout-hand down 36:42 perfect 4Lo (SP) 37:55 popped 4Lz (2Lz) 38:28 talking with Brian, squatting near Pooh, focusing

39:15 perfect 4Lz, Brian pat-pats his shoulder, then they speak 40:15 taking off gloves

40:31 4T+3T (rippon) (SP entry), turn out on 3T, huge 4T 41:30 sharp SEIMEI StSq 42:30 Brian telling him to cool down + start stroking 43.18 Bowing at end of practice, bowing to ice, patting it, going out.

2017.10.20 – Day 2 (SP) Practice

youtube

2:20 back-counter 3A out of nowhere 2:54 Chopin StSq to warm up 3:54 Brian break

4:50 3-turn sequence 3F 5:30 4S+3T 6:15 4T+Lo+3S 6:53 Brian break

8:06 3-turn sequence into 4T+3T (rippon), lovely transition out 9:43 popped Lz (1Lz) 10:11 Speaking w/ Brian, pointing to shoulder alignment

11:01 popped Lz 11:40 perfect 4Lz 12:15 back to Brian (Hi, gloves!) 12:35 checking video recording by Kikuchi-san 13:20 long-sleeves off, just to put jacket on

13:44 Stroking, stretches, sit-stroking 15:28 Twizzles marking 4Lz 16:06 Entry into back-counter 3A 16:31 Popped 4T (2T) out of nowhere 17:00 speaking with Brian

17:50 3-turn sequence 4T+3T (rippon) 18:55 popped Lo (1Lo) 19:02 checking axis with and shoulder movements with himself 19:23 beautiful 4Lo (in jacket no less :o) 19:42 Brian break

20:30 SE-popped 4Lo (1lo) 21:20 SE-popped 4Lo (3lo) 21:30 taking off jersey jacket by biting zipper. #Viral Yuzu

22:40 Run-through (4Lo fall, Flying Camel Spin, Sit Spin // 3A, 4T-almost-hand-down-2T (2ft), skipped StSq, Combination Spin)

26:00 cool down after RT 26:40 4T, saved landing 27:04 talking with Brian

28:32 4t3t (rippon) well executed 29:28 Marking SE-4Lo with twizzles 29:40 Stroking to cool down.

30:55 Bows to the audience, to Brian + handshake, to the ice + patting

2017.10.20 – Day 2 SP 6-min warm-up

youtube

1:45 Entering rink, distracted while awaiting introduction, confirmed jump actions while waiting 2:50 Pat legs, introduction, followed by stroking 3:40 Perfect 3A, taking off jacket 4:42 Perfect 4T3T (rippon) 5:40 Perfect 4Lo (you could have been perfect during SP, zu -.-) 6:50 Perfect 3A 7:10 entry into 4T (only marked jump) 7:40 marking some steps of StSq 8:15 going through whole entry for 4Lo (twizzle-marked the jump) 8:42 stroking 9:30 bowing to + touching ice

2017.10.21 – Day 3 (FS) Practice

youtube

0:00 Pooh arrives with its slaves 0:20 Clapping and waiting for first group to finish 1:00 Slaves working on Pooh, Yuzu lipsyncing to his own tune. 2:44 Practice starts, warming up, stroking 4:04 Warm-up 3A 4:33 4S, a bit tight 4:40 Jacket off, speaking with Brian

6:00 transition into 4T - 3A2T (rippon) 6:32 (hi, Matusoka-san, Nobu) 6:58 transition into 4T-Lo-3S 7:29 Brian, talking and drinking

8:16 4Lo, good but a bit heavy, not much flow out. Cute “stomping ice" moment after it 8:40 Brian, checking shoulder movements 9:02 patting ice where he stomped after 4Lo

9:11 4Lz, step out 9:47 checking with Brian

10:57 entry to 4Lz from the start, transition into Loop (popped to 2Lo) 11:43 speaking with Brian

12:22 stretching sweeping ice 13:08 From start, transition into 4Lz (popped into 1lz) 13:59 pointing to his head, gestures alignment to Brian (same as during practice on 19th)

14:48 popped 4Lz (1lz) 15:28 popped 4Lz (3Lz) 15:48 frustrated sign to his head

16:17 bending down, half-disappearing behind boards 17:22 4Lz, two hands down (fall), low parabole 18:06 speaking with Brian. (Hi Deniss!)

18:44 stroking 19:44 going through StSq 20:02 probably in the way of Deniss' entry into a jump, apologizes to Lambiel afterwards

21:03 pat-pat his own head 21:20 final 3A 22:13 transition into 4S3T, followed by moves until 4T-lo (not enough speed to complete the combo) 23:49 entry to 4Lo 24:26 apologizes to Deniss

25:36 popped 4lz (1lz) 25:51 stretching shoulders, checking hip alignment 26:50 4Lz landed on toe, struck landing, stepped out 27:43 preparing for RT with Brian (quickly)

28:44 SEIMEI RT (4Lz low landing and turn-out, 4lo fall, 3f tight landing, skipped spin, marked stsq // 4s3t, 4tlo3s, 4t hand down, 3a2t rippon, 3a, skipped flying sit spin, marked chsq, final combination spin)

34:23 power stroking to cool down after RT 35:24 speaking with Brian 35:55 taking off long-sleeved layer 36:18 laughter, animated explaining, then pointing at his own head

38:19 transition and entry to 4lo (marked jump) 39:28 putting jacket on 40:14 stroking 42:28 marking Lo and then Lz 43:06 bowing 43:43 shaking hands with Brian, nodding, exiting rink 43:58 bowing to the ice, pats it

2017.10.21 – Day 3 FS 6-min warm-up

youtube

0:25 - Pooh surgery by Brian and Kikuchi-san 1:55 - Ooh's and aah's at renewed SEIMEI costume 2:50 - Entering the rink (major, major sparkles!) 3:30 - Presentation 3:40 - Stroking 4:23 - 3A 4:57 - 4S3T 5:30 - 4TLo3S 6:33 - 4Lo 7:51 - 4Lz (two-hands down, fall), applauding someone 8:51 - popped 4Lz (1Lz) 9:11 - Asking Brian if he should go for another try or not 9:40 - Intentional 1Lz

おまけ

#yuzuru hanyu #hanyu yuzuru #羽生結弦 #rc2017 #fancam

313 notes · View notes